New Album Release Friday: Nubiyan Twist (feat. Soweto Kinch & Nick Richards) – “Buckle Up”

March 12, 2021 — Leave a comment

You may stop to ask, how many people does it take to make one song. New post time!

Pictured: Cover Art for “Freedom Fables” (Released on March 12th, 2021) (via Strut Records)

Good Morning to you! My name is Jacob Braybrooke and, you guessed it, it’s time for me to get typing up for your daily track on the blog, since it is always my day-to-day pleasure to write up about a different piece of music every day! Here we are again. New release day. This week’s offerings include a new solo LP from Cypress Hill’s DJ Muggs The Black Goat, a live album from North London’s Sorry and the return of German indie pop duo Haerts – who have had their music featured in numerous film & TV productions like ‘Carrie’, ’13 Reasons Why’ and ‘Love, Simon’. Tom Grennan is paving the way for the mainstream crowd, and Grouplove are back with a surprise new album. However, the record that’s earned the spotlight from me for this week comes from Nubiyan Twist. Born out of Leeds and currently based in London, they are a 10-piece Afro-Jazz collective comprised of a 4-piece Horn section, two vocalists and an electronics rhythms section. Orchestrated by guitarist/producer Tom Excell, the band have released their second album, ‘Freedom Fables’, today via Strut Records. The guest list includes CHERISE, KOG, Ria Moran and more – each of which “explores their own memoirs, a freedom of expression underpinning our belief that music is the ultimate narrative for unity” on the record. The group have seen rotational airplay from BBC Radio 6Music in recent weeks, among frequent performances on Jamie Cullum’s show on BBC Radio 2, with an appearance on ‘Later… With Jools Holland’ set to follow this month. So – let’s hit the gas pedal (Ya get it?…) on ‘Buckle Up’ below.

‘Buckle Up’ sees the London-based collective enlisting the help of saxophonist Soweto Kinch for a melodic solo, and a further call for help from vocalist Nick Richards, who sings about the mundanity of an unfulfilling life cycle. With Latin Jazz, Afrobeat and Trip-Hop callbacks, the single was an effective teaser for a record where “You can hear touches of broken beat, blunted hip hop, highlife, Latin, jazz and UK Soul running through the tracks” according to Tom Excell in a press statement for the album’s announcement. Although seeing a few Covid-related delays along the way, it’s here in the end. Predominantly, I feel that ‘Buckle Up’ references the sounds that the ensemble grew up becoming attached to, with a vintage tinge of Roy Hargrove-esque Brass melodies and undulating Organ polyrhythms blending with the more modern production allocated by the synth-inflected backing of the grooves and the bright horn lines which permeate the mostly Soulful qualities of the sound. The vocal section of “Sometimes I lean back in my chair, look up at the sky, Past these clouds and stars/To find new perspectives to loosen up my life” pads out the first half, while the second portion of the track goes for a more Hip Hop-inflicted beat. A speedy vocal delivery from Richards lowers the melodicism a tad, and the chorus allows the splashings of Trumpet melodies to shine with a more summery, energising mood, with vocal lines like “A journey to find a sense of peace and not desire” and “If I could catch a glimpse, Maybe this time find a door to the peace of my mind” feel much more self-reflective and self-developed. The Latin Jazz style feels at ease with the more melodic Hip-Hop influences though, with a little Dubplate and Reggae bursting through the Spoken Word outro. Overall, while the results are not a groundbreaking record, they are deeply satisfying and quite likeable. It feels relaxed, although not too restrained, and it feels nicely accessible – I’m glad that I could come along for the ride.

Pictured: Tom Excell (Lead Vocals/Producer), Nick Richards (Saxophone), Pilo Adami (Percussion), Oli Cadman (Keyboard), Denis Scully (Baritone Saxophone), Joe Henwood (Drum Machine), Finn Booth (Bass Guitar), Luke Wynter (Synths) and Jonny Enser (Horns/Woodwinds) (in 2021) (Photo via PR)

Thank you for reading my latest blog post! I’ll be rather busy making the trip back to my university term-time accommodation tomorrow, and so my entry tomorrow will probably be a little shorter and sweeter than usual. I can’t let the team down though, so I will be back with an in-depth look at the final track in my pre-Christmas backlog, at last. Tomorrow’s band emerged from a promising wave of early-2010’s British Hardcore Punk groups, with the line-up being a 5-piece super-group of musicians from bands like Arms Race, Vile Spirit and Gutter Knife. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

International Women’s Day 2021 Special: St. Vincent – “Digital Witness” (2014)

March 8, 2021 — 1 Comment

An alternative ode to just sitting in front of the TV! Happy International Women’s Day!

Pictured: St. Vincent performing “Digital Witness” on Later… With Jools Holland (2014) (via BBC.com)

Good Afternoon to you – and wishing very a happy International Women’s Day to all readers on the blog, thanks for continuing to stick with me in these harsh times! Or, if you’ve never been here before, Welcome – I’m Jacob Braybrooke, and this is the place where I get writing up about a different piece of music every single day! As noted, it has been declared as the annual International Women’s Day today, and so I thought it would be nice to feature a female artist who inspires me today. I would usually always pivot towards Bjork and I think she’s my favourite female music artist of all time for her socio-economic currency, but I know I’ve talked to death about her on the blog and on the radio, so let’s give someone else a well-deserved celebration instead. St. Vincent is the alias that Oklahoma-born Art-Pop singer songwriter Annie Clark uses to release music under, and she’s become an icon of the Alternative music genre ever since she began her career as a member of The Polyphonic Spree. She is of a similar ilk to Prince or Bowie in the ways that she’s going to release her raw, unedited material whether the industry cares or not, and she always pushes the boundaries and reinvents herself successfully between her releases. She’s currently gearing up to release her next album, “Daddy’s Home” on May 14th, and the internet music community seems to be super excited for that one. However, when I look to the archives, arguably none of her tracks stick out at me quite like “Digital Witness” does, which was released as a single in 2014 from her self-titled fourth album. The album received unanimously strong praise from critics, with publications like The Guardian, Slant and NME naming it their Album Of The Year at the time, along with winning the Grammy Award for Best Alternative Album in 2015 – also making Clark the first female artist to win the nod twice. One fun bit of pop culture trivia for you is that she dated supermodel and actress Cara Delevingne between 2014 and 2016. I think Clark was actually quite a bit older than Cara, not that it’s all that relevant, but it’s a solid Showbiz fact still. Nevertheless, St. Vincent is a much beloved female artist who is definitely paving the way for the industry and the ways in which high-caliber female creatives perform on the stage and on screen. Let’s delve into “Digital Witness” below.

St. Vincent (aka Annie Clark) has also been very significant for the representation of gender politics in her work, with St. Vincent telling Rolling Stone in a 2014 interview that “I don’t have anything to hide, but I’d rather the emphasis be on the music” when she was asked whether she identified as straight or homosexual, and she’s also worked with high-profile names like David Byrne and Swans, a collaboration of which Byrne commented: “Despite having toured with her for almost a year, I don’t think I know her much better, at least not on a personal level… mystery is not a bad thing for a beautiful, talented young woman (or man) to embrace. And she does it without seeming to be standoffish or distant.” in a profile for Village Voice. Clark just carries an aura of bold, vibrant focus on just her creativity itself, a natural sense of passion and determination that I hold dearest in “Digital Witness”. She immediately instructs us to “Get back to your seats” in the opening line of the track, before she builds her commentary on the social media addiction themes with a funky, squelching trumpet beat. It feels tense and sophisticated, while having a defiantly odd and lovingly strange sound. The Jazz elements feel idiosyncratic, with light Pop hooks like “People turn the TV on, it looks just like a window” and “Digital witnesses, what’s the point of even sleeping?” permeating through the angular grooves. Her vocals are balancing a slightly bitter tone with a more celebratory one, with the chorus lyrics of “If I can’t show it, If you can’t see me/What’s the point of even sleeping?” permeating over the top of a delayed pedal effect where the Synth-adjusted Brass instrumental feels a bit more raw and painful. There’s a sense of flirtation with the dissonance of the guitar work that characterizes the overall sound, as bright and pastoral textures are added to juxtapose the more angry, unsettling sections. The instrumental feels busy, but each of the different elements plays a detailed part, where the themes of viral media consumption and the wider implications of this – a wonky perception of personal image and the risks we pay to attain surveillance, are all hidden between the chords too. It’s really a brilliant tune – with smart wordplay and a layer of surrealist themes that feels as relentlessly likeable as it also feels cautionary. I also love the moments where she adds a “YAH” to the end of the chorus – as well as being purely adorable, it feels cryptic and manages to put you in a train of thought, almost hypnotically as the off-kilter Trumpet section continues raging on. It all feels a bit Prince, but it also feels culturally relevant and distinctively original. A very accomplished piece of truly great music that can never age and may yet evolve with the times. *Readjusts Neck* YAAAH!

Pictured: Cover Art for “St. Vincent” (LP) (Released on Feb 24th, 2014) (via Loma Vista Recordings)

Time to catch my breath – After I remind you that I’ll be back tomorrow, like always, with an in-depth look at some more music. It’s a brand new tune that I’ve been loving on my radio show tomorrow, as we keep up the positive energy. Indeed, tomorrow’s new track is a great find that comes from the solo project of one half of the sibling Chicago Psych-Rock duo Wild Belle, and the track was also featured on a recent episode of BBC Radio 6Music Recommends with Tom Ravenscroft. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Lost Horizons (feat. The Hempolics) – “I Woke Up With An Open Heart”

October 28, 2020 — Leave a comment

Likewise, I hope that I didn’t wake up on the wrong side of the bed. It’s new post time!

Pictured: Cover Artwork for "In Quiet Moments" (Available from February 26, 2021) (via Bella Union) — Pictured: Cover Artwork for “In Quiet Moments” (Available from February 26, 2021) (via Bella Union)

Good Morning to you! My name is Jacob Braybrooke, and, as per usual, I’ve arrived to fulfill my duties of typing up your daily post on the blog, because it is always my day-to-day pleasure to get writing up about a different piece of music every day! Lost Horizons marks the collaboration between Simon Raymonde, the former Bass Guitarist of Cocteau Twins and the founder of the Bella Union record label, and Richie Thomas (best known for his alias of Dif Juz), who have been writing and producing music together in a capacity ever since the 1980’s, and decided to officially form the collaborative project a few years ago. “Ojalá” was their debut album as Lost Horizons, released back in 2017, and it saw the duo collaborate with guest artists including Ghostpoet, Liela Moss and Marissa Nadler, along with a few more of Raymonde’s and Thomas’ friends from over the decades of their time in the music industry. Three years have passed, and it’s time for the follow-up. “In Quiet Moments” is the title of their second album as Lost Horizons, and it’s being released in two parts. The first 8 tracks will be shared digitally on December 4th, whilst the next 8 tracks will be available from February 26th, and you can buy the whole collection of these tracks on physical formats like Vinyl on that same date. This time around, Raymonde and Thomas have included a star-studded list of guests including Porridge Radio, John Grant, Penelope Isles and Karen Peris (from The Innocence Mission). “I Woke Up With An Open Heart” is the lead single, and it features vocals from the South London-based Gospel Soul group, The Hempolics. Let’s have a listen to their new track below.

“I think In Quiet Moments is more in the direction of where we’re going”, is what Raymonde told the media in the press release for the new album, with the duo adding: “People have retreated into their lives, and in those quiet moments, reflected on the world, how we fit in and who we trust” to tease the themes of the new record. “I Woke Up With An Open Heart” is reflective of the central themes, and it’s not too difficult to notice how it unashamedly goes back to the Birmingham sound of the 1980’s, with further similarities to Bristol’s Massive Attack and the 1970’s Reggae-Ska pioneers The Specials. Mixing old elements of Dubplate and Ska-Punk, with a connected Trip-Hop style, the track manages to encompass a dazzling array of moods and tones. The Reggae sensibility may not be abundantly clear in the beginning, but it develops progressively with Thomas’ deceptively lo-fi drum beats, with the addition of the whistling Horn sections and the Brass-driven Jazz sounds. It also feels rooted firmly in the “London Soul” sound, a quality that is created through The Hempolics’ soulful vocal delivery. Grippa Laybourne croons: “Must have been in the night, where you stole my time, rolled right over me” and “In my apple tree, you’ll find just what you’ll need/In my apple tree, you’ll find all the care you’ll need” over melodic shards of smoky Brass interludes and Dub-like guitar work. The lyrics feel contemplative, and they gradually build to a Ska-led instrumental of downbeat Saxophone melodies and a very subtle, woozy synth line. I like how the vocals feel quite enigmatic, and a very Urban texture connects these broad elements together. It feels directly in the lineage of old-school, grim British music that perhaps doesn’t see much vibrancy or colour. It’s a huge success, and it feels as diverse as the Lost Horizons name suggests.

Pictured: Ritchie Thomas & Simon Raymonde in a press shoot to promote "Ojala" (in 2017) (via PR) — Pictured: Ritchie Thomas & Simon Raymonde in a press shoot to promote “Ojala” (in 2017) (via PR)

Thank you very much for reading my new blog post! As per usual, I will be back on the proverbial case again tomorrow. You can join me then for an in-depth listen to a soulful new single from a Canadian Alternative R&B singer who was featured as the vocalist of the Kaytranada single “What You Need”, which was previously covered on the blog. She is identified as Queer. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Mountain Goats – “Get Famous”

October 23, 2020 — Leave a comment

I’m just here to win your heart and soul – That is my goal! It’s time for your daily post!

Pictured: John Darnielle (Lead Vocals/Acoustic Guitar/Piano), Peter Hughes (Bass Guitar/Backing Vocals), Matt Douglas (Flute/Saxophone/Clarinet) and Jon Wurster (Drums) (2017) (via Bandcamp)

Good Afternoon to you, I am Jacob Braybrooke and I’m here to write about your daily track on the blog, as always, because it is routinely my day-to-day pleasure to write about a different piece of music every day! The dawn of Friday means that it’s time for a handful of new album record releases to drop, and one of the weekend’s selections that I am personally most looking forward to hearing is “Getting Into Knives”, the nineteenth (!) studio album by cult favourite American Indie Folk band The Mountain Goats. Back in the day, John Darnielle and Co. used to produce their own music on low-fidelity Cassette Tape recordings to be released on both Cassette or 7″ Vinyl formats, and they’ve since become one of the most influential pioneers of production and songwriting of their genre. “Getting Into Knives” follows last year’s “In League With Dragons”, 2017’s metal-themed “Goths” and 2015’s wrestling-themed “Beat The Champ”, and it was recorded at the Sam Phillips Recording Studio in Nashville with frequent collaborator, Matt Ross-Spang, in the very same room that The Cramps recorded their debut album in. The latest single, “Get Famous” features work from organist Charles Hodges, and it comes with a bobble-head themed music video marking their first official music video in five years. Darnielle had this to say about the track in a press release: “If I told you all how much fun we had making this one you wouldn’t even believe me, but we hope it comes through”. Let’s see the results below.

“Get Famous” is a Horn-Inflicted acoustic track which makes fun of modern celebrity culture, and Darnielle said this about the recording of the new LP in the album’s notes: “We would work until midnight and then return to the house where all four of us were staying, directly across the street from the studio, and hang out for hours on the patio”, showing the band’s dedication to their love for writing music and producing their material independently. “Get Famous” also feels like a satire towards mainstream industry practices, and the mentality that major record labels have of trying hard to make each of their artists get very popular, at a rapid pace, before possibly allowing them to lose a stream of relevance later on. Such ironic lyrical motifs are an old-school tactic used by the Indie Folk band, and it’s really nice to see them returning to a classic trademark of their sound once again. Darnielle’s lyrics feel bitter, if slightly relaxed, as he sings: “You were born for these flashing lights/You were born for these endless nights” with an upbeat, poetic pace as the Organ sounds and the Horn sections layer a hazy sense of Americana. There is noticeably a classical Jazz element to the overall sound, with a bold and sweeping Brass instrumental whistles through the chorus, a part where Darnielle slightly growls as he declares: “Go on and get famous/I want you to be famous” in the chorus, before a more rhythmic chorus where he sings: “Shine like a cursed star/Show everybody exactly who you are” over a fairly soulful Saxophone section that adds upon the poisoned chalice that is fame and the powerful Pop machine. Although these themes are widely typical of The Mountain Goats, there’s enough variety with a reference to late-Chicago musician Wesley Willis, and the sampled effect of a crowd applauding over a referential line from Darnielle, to keep things from feeling too formulaic or predictable, and the Jazz sensibilities are delivered at a pace which feels brisk and crisp enough to feel upbeat and witty. Overall, the sound is quite a familiar one, but it’s also one that feels delightfully old-school and classic of the band’s trademark sound in it’s approach. It’s not likely to really change the world or anything, but it feels warm and I couldn’t ask for much more as a loyal fan of their music. As the old saying goes, it’s simply as solid as a rock.

Pictured: Cover Artwork for “Getting Into Knives” (Released on October 23rd, 2020) (via Merge Records)

The Mountain Goats also released a surprisingly wrestling-themed album, “Beat The Champ”, back in 2015. It’s well worth a listen and you can find my thoughts on the monumental single “The Legend Of Chavo Guerrero” here: https://onetrackatatime.home.blog/2020/04/05/wwe-wrestlemania-36-weekend-special-the-mountain-goats-the-legend-of-chavo-guerrero/

Pictured: John Darnielle with Chavo Guerrero Sr. in “The Legend Of Chavo Guerrero” video (in 2015)

Thank you very much for reading my new post! As always, I’ll be back at it again tomorrow, with an in-depth look at the latest single to be released by another American indie rock band who I’ve also been a loyal follower of, for a number of years. The new track is made in collaboration with the new film from the film director Sofia Coppola, of which the band’s front-man is actually married to! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Janelle Monáe – “Turntables”

October 19, 2020 — Leave a comment

A few tables continue to turn for this international activist. It’s time for your new post!

Pictured: Cover Artwork for “Turntables” (Single) (Released on September 15th, 2020) (via WMG)

The tables are about to turn! Good Morning, I am Jacob Braybrooke and I’m here to write about your daily track on the blog, because it’s my day-to-day pleasure to write about a different piece of music every day! “Turntables” is the new single from Janelle Monae, a well-known US rapper, songwriter, actress, producer and activist. She has received eight Grammy nominations in her career and she won Billboard’s Women in Music Rising Star Award in 2015 and Billboard’s Trailblazer Of The Year Award in 2018. As a matter of fact, the Boston City Council has also named October 16th as “Janelle Monae Day”, since 2013, in the city of Boston (in the state of Massachusetts) in celebration of her work as an empowering female activist. 2018’s “Dirty Computer” was an absolute hit for Monae, both critically and commercially, and Monae has been breaking into the Hollywood acting world on the side, having starred in 2015’s Oscar Best Picture-winning film “Moonlight” and 2016’s award-nominated “Hidden Figures”. Her latest film project is “All In: The Fight For Democracy”, an Amazon Studios-created documentary about suppression of electoral voting in the US, and it features and was produced by Stacey Abrams. The documentary was released on September 18th, and it is available now on Amazon Prime Video. You probably think I’ve missed a trick by putting this blog post up on October 19th, just a few days shy of Boston’s day dedicated to her work, but I only began my research on the day after, so be it. Let’s hear her rap on “Turntables” below.

Janelle Monae is also starring in the new film “Antebellum”, and she laid out an explanation to Entertainment Weekly, via a recent interview, on why she decided to combine the two worlds of her Hollywood career and her music creativity to come off an informal hiatus from producing rap music to write the track, replying: “Right now, I am focused on turning the election in our favor and I hope this song can inspire those who are on the ground doing the work.”, and there is a clear level of confidence and awareness that you can easily take away from “Turntables”, whether you’re a casual listener or a more hardcore variety of music fan. Monae is never afraid to speak strong words on the track for the causes that she genuinely believes in, mixing her sharp one-liners like “Cookin’ with my crisco, Look at where my fist go” and “You gaslight, ’bout to meet your match” and more politically-charged lyrics like “I got a new agenda, with a new dream/I’m kicking out the old regime” and “America, you a lie/But the whole world ’bout to testify” with an upbeat and rhythmic hip-hop delivery, over the top of a smooth set of subtle gospel backing vocals and quick splashes of classic Jazz instrumentation. It creates an old-school Funk vocal sensibility of togetherness and unity, while feeling contemporary in it’s headstrong approach. The rap verses also have a tinge of 80’s Soul to their pitch, with the anticipation of excitement creeping in as Monae repeats the lines of “Turn, turn, turn, The tables got to.” above an uptempo drum beat and a bass guitar riff which lightly courses along to her backing vocals. The emphasis is placed on Monae’s vocal performance, and it pays off very well, because Monae simply knows what she is protesting about, and her passion really shines through her vocals, which sound direct and straightforward without feeling too formulaic and/or controversial. The classic hip-hop elements don’t progress much beyond Monae’s initial idea and the overall themes of the track sound very simple and clear-cut. However, it results in some upbeat helpings of classic Jazz Fusion beats for you to nod your head along to, and it promotes a sensible and relevant message. Even though it’s probably not her best work musically, it’s perfectly suited for the times and Monae puts in a passionate, strong vocal performance that deserves recognition and feels true to herself, despite tying in to a movie marketing campaign. This gives me hope that a few tables do turn.

Pictured: Janelle Monáe at The Castlefield Bowl, Manchester (in 2019) (Photo Credit: Melanie Smith)

Thanks for reading my new blog post! Please don’t forget to join me again tomorrow, where we’ll be taking an in-depth listen to the groovy new dance track from an Australian Disco-Pop band who we have covered on the blog previously, although it was months ago now. The band are comprised up of members who inhabit funny characters, and they have performed at music festivals such as Splendour In The Grass and Falls Festival. They won AIR’s award for “Best Independent Dance/Electronica Album” for their debut LP, in 2019. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Emma Jean Thackray (feat. Blu) – “Open (Remix)”

August 27, 2020 — Leave a comment

Listen up, here’s a story about a little guy that lives in a Blu world. It’s new post time…

Pictured: Emma Jean Thackray in a recent promotional interview feature (in 2020) (Photo Credit: Luis Muñoz)

Good Morning! I am Jacob Braybrooke and I’m writing up about your daily track on the blog, just like always, because it’s always my day-to-day pleasure to write about a different piece of music every day! I hope that you’re in the mood for a spot of Jazz today, because Emma Jean Thackray mixes up the Trumpet with the Drums. Thackray is a composer, producer, DJ, vocalist and multi-instrumentalist from Yorkshire who has set up Movementt, her own independent record label, to “move the body, move the mind and move the soul”. Associated with the iconic UK label Warp Records, Movementt is a showcase for emerging Jazz artists from the wide, exploratory Jazz scene in the UK, and across the pond to the states. Thackray has performed as part of the London Symphony Orchestra, and she has hosted her own radio show on Giles Peterson’s Worldwide FM, as well as gaining notoriety as part of the daytime playlist on BBC Radio 6Music, with a few tracks from her recent string of EP’s being featured on the nationwide station’s main curated list. It includes further success for her latest single, “Open (Remix)”, a remix of the earlier track of the same title from Thackray’s EP “Rain Dance”, featuring a guest collaboration spot from the Los Angeles-based rapper and singer, Blu. Let’s see what all the fuss is about with “Open (Remix)” below.

On the new remix of her track, “Open”, Thackray commented: “I took a drums and Rhodes loop from a session with my band and layered the other instruments myself – using the studio as an instrument alongside live elements to get a perfectly balanced sound. The tune has a real wonk to it and it is in 6, so I needed a rapper with not only deep words but a sophisticated flow. Blu goes against the grain and makes it look easy.” to ebb the flows and the direction of the project. Conclusively, the sound feels really kinetic, and the contemporary Alternative Jazz production methods of each corner of the sound equates to a good quality of mellow, warm Hip-Hop and poetic, symphonic Psych-Jazz. Blu lays out a motivational rap ballad, adding “My mind is open/My time is open, Juice pours out as if the mind is open”, to a virtuous chorus of Brass synths and ephemeral stabs of Drum samples to shift up the tone, creating a Percussive groove which shifts in pitch and tempo to comfortably alter the course over the course of the track. The presence of Thackray is just as important, as she delivers a Soulful backing vocal on top of the Jazz-heavy, grounded sonic loops and she blasts out a whimsical solo with her Saxophone towards the end of the track. There’s a slow-moving, if constant, theme of evolution within the sound, such as with Thackray’s solo, as it changes up the Trumpet chords for a nimble Saxophone section, and I really like this. Blu’s lyrics are a little bit generic and don’t quite feel that highly unique to him for me personally, but he still does a fine job with the material he’s given and his 1990’s-style vocal sound still works for the track. The production feels ultimately more crucial, however, and this is the area in which the track stands out. Thackray’s instrumental qualities feel smoky and old-school, while pushing some exciting melodicism forward with contemporary beats. But, the question is – Has it moved your body, moved your mind, and moved your soul? For me, this certainly has.

Pictured: Cover Artwork for “Open (Remix)” (feat. Blu) (Single/EP) (Released on June 30th, 2020) (via Movement)

Thank you very much for reading today’s blog post! As promised, I’ll be back at it tomorrow with a slightly more mainstream, but still fresh and very cool, track. The post will mark the long-awaited release of the third LP for the Surrey-born DJ duo. Their first studio album was nominated for Best Dance/Electronica Album at the Grammy Awards in 2014, and their second album was nominated again for the same award, at the Grammy’s in 2016. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Drab City – “Troubled Girl”

August 20, 2020 — Leave a comment

Will this Problem Child find itself in a serious bit of Jeopardy? It’s time for a new post!

Pictured: Islamiq Grrls (Vocals/Producer) and Chris Dexter-Greenspan (Guitar/Percussion) (2020) (via Bella Union)

Good Morning! I am Jacob Braybrooke and I’m writing about your daily track on the blog, just like always, since it is my day-to-day pleasure to write up about a different piece of music every day! “Troubled Girl” is a recent-ish track that I sadly didn’t quite get the time to spotlight nearer to it’s release, back in April. Drab City is made up of US Witch-House producer Chris Dexter-Greenspan and Berlin-based producer Asia, who perform under the guises of Islamiq Grrls and oOoOO, respectively, for their Drab City project. The two started working together from a joint-album, “Faminine Mystique”, which was released in 2018. Their debut album under the Drab City name is “Good Songs For Bad People”, which they released on 12th June via the Bella Union label. Their sound has been likened to Portishead and Broadcast by Jude Rogers of The Guardian, as their dark palette incorporates elements of Dub, Alternative Hip-Hop, Dream-Pop, Pop-Punk, Art-Pop, Progressive Folk and Experimental Jazz into their lyrical themes of social alienation, violent revenge and spiritual salvation. Not much is known – as this is a very secretive project. Let’s stream “Troubled Girl” below.

“Troubled Girl” is a narrative-driven story piece about a misunderstood and belittled teenage girl’s dreams of her escape from a neglectful home life and her emotional dealing with her angst through a runaway trip. This is a classic pop trope, but it gets reconfigured with a ghostly sentimentality and the enigmatic presence of Greenspan and Asia as left-field producers. The track begins with a whispered vocal delivery, as Asia sings: “There was a troubled little girl/From a small troubled town/With nowhere to go” during a Spoken Word intro that builds to a mid-tempo drum groove that plods along to an airy vocal section, feeling laidback and mean-spirited in both measures. The slow Drum backing develops in interesting ways, with a doo-wop Trumpet melody and a Spanish guitar-laced chord riff that throws in a 1960’s Art-Pop aesthetic. The lyrics progress to a calmed stage, as Asia recites sections like: “Some day, no, I won’t come back/Some day, mother knows what others say” and “You don’t know your own/Whatever they will have” over the top of a muted production flair and some prickly, vintage Jazz qualities that balance the tone out. The mood is downbeat and hopeless, but there are glimmers of peace and hints of a content emotion buried within, especially towards the closing stages of the track. It sounds a little bit like a Shoegaze track, with a semblance of My Bloody Valentine and Pale Saints in the painted, cerebral instrumental qualities, yet it feels melodic enough to latch on contemporary Emo-Pop sounds closer to Billie Eilish or Dashboard Confessional. This will take longer for some listeners to connect with and it falls into a “niche” box, but I really like what I am hearing. There is a woozy Alt-Jazz sensibility which is curiously appealing, and the eclectic drum centric layout develops in subtle, but tasteful, ways.

Pictured: Cover Artwork for “Good Songs For Bad People” (Released on June 12th, 2020) (via Bella Union)

Thank you very much for reading this post! I’ll be back tomorrow, as always promised, with an in-depth listen to “(The World) Outside My Door”, the new single by Brighton-based 4-piece Pop band The Magic Gang, taken from their second studio album, “Death Of The Party” which releases tomorrow, via Warner Bros Records. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Delvon Lamarr Organ Trio – “Inner City Blues”

August 14, 2020 — Leave a comment

What do you call a Wizard who Potters around the house a lot? Harry! New post time!

Pictured: Cover Artwork for “Inner City Blues” (Single/EP) (Released on May 22nd, 2020) (via Colemine Records)

That has nothing to do with today’s track, by the way, I just wanted to make you roll your eyes! Anyhow, I’m Jacob Braybrooke and I’m writing up your daily post on the blog since, as you’re aware of, it’s my day-to-day pleasure to write about a different piece of music every day! Also known as DLO3, Delvon Lamarr Organ Trio are a Jazz Fusion group based in Washington in the US, who formed in 2015, under a different original line-up. Their band name refers to how Delvon Lamarr, who is obviously at the helm of the trio, switched to playing the Organ at the age of 22 after playing the Drums and the Trumpet since an early age. Lamarr now works with Jimmy James (Guitar) and Dan Weiss (on Drums) to make up the trio. Commercially, they are probably best known for their debut album, “Close But No Cigar”, which reached the #1 spot of the US Contemporary Jazz Albums Chart when it was released in 2015. “Inner City Blues” marks a new era for the Colemine Records label, who have launched the “Brighter Days Ahead” initiative as a response to the COVID-era difficulties being faced by independent labels. As a result, they have been releasing a new single, from their artists, weekly on their Bandcamp page to coincide with Bandcamp’s waiving fees on the day, meaning that 100% of revenue from sales goes directly to the artists. This is a cover of Marvin Gaye’s 1971 track “Inner City Blues (Make Me Wanna Holler)” from his landmark LP, “What’s Going On”. Let’s give it a spin!

An upbeat, instrumental version of a vintage 70’s classic track, which can be a hit-or-miss prospect in the odd few cases, Delvon Lamarr Organ Trio put a new spin and a different perspective on Gaye’s original composition with a hefty splash of cool, involving Acid-Rock guitar lines and a Dub-based Funk style which reminds me of Khruangbin, amongst a casual and contemporary Jazz format that seems akin to GoGo Penguin. Driven by an airy Organ harmony, as per usual from the Seattle-born trio, the Jazz trio infuse elements of Soul and Swing that recreates the authenticity of a 1970’s New Orleans sound. Its embellished with short Brass sections and joyous, childlike keyboard chords to replace Gaye’s original lyricism of the bleak economic situation of the 70s and his informed lack of support from the government during the recession with deep bass guitar lines and increasingly layered Classical instrumentals to create a hopeful and optimistic mood with a vintage 70’s Jazz Fusion feel. Jimmy James turns the Funk up a notch on his guitar part, with consistently grooving, light-hearted guitar patterns. Meanwhile, Dan Weiss creates warm Drum beats that feel momentous, increasing the pace from Gaye’s recording, before it comes together with a mellow finish. Frankly, they all play perfectly well individually, but they all sync-up together very cohesively, and that springs the record to life. A head-nodder of a cover.

Pictured: Delvon Lamarr (Keyboard), Jimmy James (Guitar) and Dan Weiss (Drums) (2020) (via Promogogo.com)

Thank you very much for reading my daily blog post! Don’t forget that your weekly edition of Scuzz Sundays is coming up very soon, but in the meantime, please make sure that you visit the blog again tomorrow for an in-depth look at the brand new solo project from the frontman of one of the world’s most internationally popular Alternative Rock music groups, Sigur Ros. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Thundercat – “Funny Thing”

July 2, 2020 — Leave a comment

The lady who shouts “Thundercat” on The Undateables would love it! New post time!

Pictured: Thundercat (Stephen Lee Bruner) performing at the 02 ABC, Glasgow (2017) (via WikiMedia Commons)

Good Morning, I’m Jacob Braybrooke and I am writing about your daily track on the blog, since it’s always my day-to-day pleasure to write about a different piece of music every day! For today’s track, Thundercat is obviously not their real name. It is, indeed, the stage name used by Stephen Lee Bruner – a Funk, R&B and Soul singer-songwriter from Los Angeles, California – who adopted the name as a tribute to his love for anything Geek culture-related, such as his love for 1980’s cartoons and the Japanese Manga/Anime franchise Dragonball. It’s all a part of his brand! His fourth studio album, “It Is What It Is”, was released earlier this year, and it is dedicated to rapper Mac Miller, who sadly died aged 26 in 2018, as you might know. Bruner produced his new record with Flying Lotus, and it features guest appearances from Childish Gambino, Kamasi Washington, Ty Dolla $ign, and many others. A single that grabbed my attention from the album, while listening to BBC Radio 6Music in the daytime, was “Funny Thing”. Let’s have a listen to “Funny Thing” with its video below.

Just shy of two minutes long, Thundercat could have a potentially big hit on his hands if he allows the bouncy electronic drum grooves and the celestial synths of “Funny Thing” to swell. Bruner uses a playful fusion of old-school Funk, Soul and R&B, with a modern synth-led instrumental twist, to detail a romantic moment as a dancehall-like, drug-infused love party nears toward it’s end. There’s a cheeky idiocy in all of his lyrics: “Someone hold my phone/Cause’ I can’t hold my tongue” and “Then I’m gonna ruin the fun/ that’s not your problem because I’ve seen to much baby, Sorry if I get a little PTSD”, as Bruner delivers the honeyed vocals, layered above the backdrop of a bouncy, stomping bass line and a skittering drum loop to create the wonky, synth-soul sensibility. In the chorus, he intonely warbles “I just want to party with you tonight, because you make everything alright” over a soft, lo-fi keyboard riff. The visual aesthetic is vintage Funk-Soul and animated, and the sonic direction is rickety and psychedelic, but I also find there to be a sadness to the track as well. The synth lines are mid-tempo and downbeat, with an expressive vocal delivery that makes me feel like Bruner could also be lamenting a failed relationship or an unstable life decision at the party. It sounds intimate, and the poignant Falsetto lyric delivery is what makes this track stand out for more than it’s playfulness and it’s quirky humour. It’s a very old-fashioned sound which harkens back to the thematic racial unity of Funk and Jazz in the 1960’s and 70’s, and it’s more appealing to mature listeners than a teenage audience. The contemporary lick of synth makes it compulsively listenable.

Pictured: Cover Artwork for “It Is What It Is” (Released on April 3rd, 2020) (via Brainfeeder Records)

Thank you for reading this post! In regards to #BlackLivesMatter, we endorse the peaceful protests on One Track At A Time. Please go and check your local area for good charity causes that help those directly affected by racism and injustice. I’ll be back tomorrow with an in-depth look at the new track from an emerging female solo artist, who I have covered and positively reviewed beforehand, whose last music video was co-directed by Loyle Carner, and she landed a spot on the BBC’s Sound Of 2020 poll. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Moses Boyd (feat. Poppy Ajudha) – “Shades Of You”

June 27, 2020 — Leave a comment

A South London Jazz/Grime blender with 50 shades of influences! It’s new post time!

Pictured: Moses Boyd in a press shoot for an interview feature with TRENCH (2018) (Photo Credit: Hyperfrank)

Good Morning to you, I am Jacob Braybrooke and I’m writing about your daily track on the blog, because, as you know, it’s always my day-to-day pleasure to write about a different piece of music every day! Moses Boyd is an artist who is difficult to box into one category, since he does a bit of Jazz Fusion and a touch of Electronic Rock, along with a wider Grime influence. Boyd started playing the drums at the age of 13, taking as much inspiration from Jazz legend Miles Davis as 00’s British Grime pioneer Dizzee Rascal. Boyd was born in South London, and he graduated from Trinity College with a BMus (Hons) Jazz Drums in 2016. Since being one half of sax-and-drums duo Binker & Moses and fronting his own band, Exodus, Boyd has worked with the likes of Experimental Electronic Ambient artists Four Tet and Floating Points, and Jazz-and-Soul songwriters Lonnie Liston-Smith and Zara McFarlene to expand his role as a collaborator in 2017. Boyd released his debut solo album, “Dark Matter”, on February 14th, 2020. It’s a diverse record, which explores a variety of Jazz Fusion sounds, which also shows his abilities in Electronica, Neo-Soul and Industrial Hip-Hop. It features the likes of Poppy Ajudha, Obongjayar and Joe Armon-Jones. Let’s have a listen to the breakout single “Shades Of You”, which features the R&B singer Poppy Ajudha, below.

The South London-based award-winning drummer, composer and producer enlists the help of talented R&B/Neo-Soul voice Poppy Ajudha to draw from a melting pot of influences on “Shades Of You”. Their collaborative track has a gloomy, but stylistic, aesthetic, as Ajudha sings about self-acceptance in the beginning verse: “Don’t hide from yourself/There is beauty in your darkness/So much colour in your soul”, which gets layered above a bright bass-synth groove. The pre-chorus is affecting when Ajudha asks: “Are you afraid of the dark?/Could you bathe in my darkest?” and reaffirms: “You’re not alone” over the top of bright, percussive splicing effects and a central Techno melody which drops small drum beats at a regular pattern. Ajudha’s chorus goes: “I gave away all my colours/I’m left with shades of blue/I Can’t handle your darkness/But they all want the shades of you”, paired with the input of a Tuba that’s played by Theon Cross, whilst the ethereal drum-led groove carries the key melodies along. The second verse is much the same, while the repeated choruses end it on a high note, with the consistent drum notes and melodic Vibraphone sections creating a Kaleidoscopic effect, which feels dancefloor-primed. The complex Soul influences have the usual South London Soul sound, with an effective blending of Neo-Soul, Electro-Pop, Jazz and Grime elements fusing and pulling-in-and-out of each other together. To me, It manages to stand out on a typical daytime playlist of BBC Radio 6Music, and it feels both catchy and pop-friendly enough for you to hear it in a large-chain clothing shop. Meanwhile, it doesn’t lose it’s lush experimentation, and the overall sound points towards club culture with it’s soulful artistry and dance flair. It’s very engaging. The Neo-Soul, Dance and subtle Hip-Hop production is at the heart of the music, and this is a dazzling Jazz banger that was built for the dancefloor.

Pictured: Cover Artwork for “Dark Matter” (Released on February 14th, 2020) (via Exodus Records)

Thank you for reading this post! In regards to #BlackLivesMatter, we endorse the peaceful protests on One Track At A Time. Please go and check your local area for good charity causes that help those directly affected by racism and injustice. I’ll be back tomorrow with your new weekly edition of Scuzz Sundays, the time of the week where we revisit an emo-rock or a pop-punk classic from between the late-1990’s to the mid-00’s to see whether it still holds up! This week, it’s a track from the US-Christian rock band who famously composed the theme song for legendary Mexican pro wrestler Rey Mysterio! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime