New Album Release Fridays: Beach House – ‘Once Twice Melody’

February 18, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Once Twice Melody’ (LP) (Released on February 18th, 2022) (via Sub-Pop Records)

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to give you a sneak peek at one of the weekend’s most exciting new album releases, given that it’s always my day-to-day pleasure to write up about a different piece of music every day! In most typical weeks, my choice for ‘New Album Release Fridays’ on the blog is a highly anticipated affair that we’ve only got two or three singles from at most prior to the big moment of release, however, in the case of ‘Once Twice Melody’ – you can hear three quarters of it already. The latest LP project from the Baltimore, Maryland duo of Victoria LeGrand and Alex Scally, otherwise known as Beach House, a Chamber Pop duo who have been nominated for a GAFFA Award in Sweden, ‘Once Twice Melody’ is effectively a double album that contains 18 tracks that have all been presented in four chapters of four tracks that have seen staggered releases since November 2021, a risky move that notably finds music contributing to the streaming algorithm more closely than ever before. In aid of supporting the behemoth of a record, Beach House will be touring the UK and Europe in May and June 2022, as well as performing alongside fellow Psychedelic acts like Tame Impala and Lorde at this summer’s Primavera Sound Festival. ‘Part 1’ was released on November 10th, 2021 followed by ‘Part 2’ on December 8th, 2021, followed by ‘Part 3’ on January 19th, 2022 and, finally, the final chapter releases today alongside a full release of the project on Vinyl and Streaming. The duo have also recently provided the soundtrack to ‘Marin’s Dreams’, a short film. With their drawing and expansive sound that has been focused on conveying an abstract reflection of a message that idyllic moments are never quite as fruitful as fantasy, I have a lot of faith in LeGrand and Scally to pull out all of the stops with this mammoth of a release. For a sampler, let’s revisit the title track below.

Self-produced entirely by themselves, the ambitious LP project by Beach House was mixed by Alan Moulder, Dave Fridmann, Caesar Edmunds and Trevor Spencer, and it has been recorded over the past two years in a handful of studios spanning across Los Angeles, Baltimore and Cannon Falls. The lyrics for the title track speak of a girl that is placated by her own eccentric imagination, an unnamed character with an enigmatic narrative that we experience with refrains like “Nights fly by in her mind/All along the boulevard” and “She tries to understand/A never, never land” that find LeGrand focusing on the finer details of her mindset and they play out above a gorgeous sequence of looping synths and live drums on the title track. Guitar arpeggios continue to conjure up a sweeping and decorated soundscape that evoke sinking into the grass or the sand from an hourglass slipping through your fingers while LeGrand croons about the sensual slow pace of a hot, gauzy summer’s day. Lyrics like “Days go by/In her eyes/Belle De Jour in front of me” and “The purple on the vine/The velvet deep tree line” find the prismatic mood of the vocals basking in the far-away lands that have been constructed by our shy character’s wandering mind. It feels lush and vibrant as a complete package, with LeGrand and Scally telling a mysterious yet intriguing tale of the illusion of a crystal clear universe of fiction that are polished carefully with intimate Strings and a symphony of creative backing vocals, and yet the idealizations of our leading lady are never truly filled in. The sound simply takes you back to the very core of Shoegaze and Dream Pop music, which is all about filling a simple few melodies with meticulous details and an atmosphere that is simply designed for you to get lost in – and the kicking drums/synths combo of the vivid instrumentation escalate their own levels of intensity as the sprawling sounds move up to a higher scope. Therefore, I have a lot of faith that despite the sheer length of ‘Once Twice Melody’ as a full release, LeGrand and Scally will give the project plenty of depth and variety as to not grow tiresome and justify the length in creating music that doesn’t lose it’s intimacy over a run time. I concur that Beach House are brilliant!

Pictured: Victoria LeGrand and Alex Scally (2018) (Photo Credit: Robert Johannson/InterviewMagazine.com)

I’m off to visit my sister in Kent today, and so I haven’t got any longer to chat about all things music with you for today, but thank you very much for checking out the blog and your support is highly appreciated! If you deeply love your Dream-Pop and your Shoegaze styles of music, you’re also going to enjoy tomorrow’s post, which is why I decided to cover these two tracks so tightly together. It comes from the main solo project of the French multi-instrumentalist and producer Melody Prochet who got a 9/10 score from Drowned In Sound’s Dom Gourlay for her debut studio album in 2013.

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Way Back Wednesdays: The Smashing Pumpkins – ‘Cherub Rock’

February 9, 2022 — Leave a comment

Pictured: Billy Corgan (Lead Vocals/Chief Songwriter/Producer), James Iha (Bass Guitar), Jeff Schroeder (Keyboard/Rhythm Guitar) & Jimmy Chamberlain (Drums/Percussion) in a press shot for ‘Cyr’ (2020) (Photo via PR)

Good Afternoon to you! This is Jacob Braybrooke, and I’m here to deliver a ‘Smashing’ new entry into our exhaustive library of weekly ‘Way Back Wednesdays’ posts on the blog as we remember some of the seminal sounds of the past with another daily track on the blog, given how it has always been my day-to-day pleasure to write up about a different piece of music every day! TNA promoter, of all surprising side hustles, Billy Corgan is a 90’s-leaning songwriter with an artistic drive who always puts a great effort into the visual aspects and the guitar effects within his material. Although some of his Smashing Pumpkins work has varied in quality, he is still going today and, as I’ve mentioned on the blog in previous relevant posts, he is never without inherently uninteresting ideas and one of his risks paid off neatly with ‘Cherub Rock’, a 1993 hit that was taken from his band’s second studio album – ‘Siamese Dream’ – that was unveiled to the globe as the first single from the release at the time. It was nominated for a Grammy Award for ‘Best Hard Rock Performance’ and it was later covered by Rochester-based indie rock band Roses Are Red in 2005. ‘Cherub Rock’ was one of the last songs to be written for ‘Siamese Dream’ and it peaked at #31 in the UK Singles Chart. The influences and lyrics of ‘Siamese Dream’ stood out among other Alt-Rock releases at the time despite recording sessions fraught with high tensions and some difficulties, and it was regarded as one of the most critically-acclaimed alternative albums of the 90’s by institutions like Rolling Stone. Let’s revisit ‘Cherub Rock’ below.

Although ‘Cherub Rock’ was not as widely marketable or commercially successful as ‘Today’ by critics upon its initial release, it remains to be a fan favourite and it was given a new lease of fresh life during the 00’s when it was included on the playable soundtracks of popular rhythm action video game franchises like ‘Guitar Hero’ and ‘Rocksmith’ available for multiple console platforms. Starting off with marching drums that remind me of The Red Hot Chilli Peppers, who arrived on the scene a bit later on, that morphs into a prominent set of guitar riffs that have a heavy Grunge aura to them, we thrust defiantly into fuzzy and soft instrumentation that is energetic and driving in its excess of feedback. This glitched delivery has a clear Shoegaze element that also points towards My Bloody Valentine or Ride with the textually thick balance of hypnotic Post-Punk and high-cadence melodic precursor to mid-90’s Brit-Pop. Lyrically, Corgan relates to his own relationship with the ‘Indie’ music community of the 90’s and his perceptions within the larger media, with forceful lyrics like “Doesn’t matter what you believe in/Stay cool” that encourages you to follow your instincts as an artistic matter and “Hipsters unite/Come align for the big fight to rock for you” that carry his determined ethos to bring rag-tag gangs together to enjoy music socially and within a communal environment that is free for you to express yourself in as an artist or audience member, with a bad-tempered hook of “Let me out” that mirror the relationship of a songwriter and a record label getting sour as towering creative differences ware on. Corgan delivers one of his most fiesty vocal performances and the soaring guitar solo is a highlight in showcasing his skills as a guitar player. What is interesting is how he recorded the prominent effect section of his guitar parts by recording the music to two different tapes at simultaneous fashion, and he clearly alters the speed of one of his tapes. What this means is that it makes the effects feel as though they are not really coming from the guitar, leaning into his Shoegaze influences most directly. Overall, ‘Cherub Rock’ still sounds great as the lyrics ring true, the instrumentation is more diverse than it may feel at first glance, and you have a well-informed vocal performance by Corgan who layers his furious songwriting on top of the stellar drums and the distortion-drenched guitar melodies to build up a cascading wall of sound around him as to convey his emotions with a swelling buoyancy. Drifting through Shoegaze, Alternative Rock, Electronica, Psych-Rock, Prog-Punk and Dream Rock through a vicious cycle that is paced coherently, ‘Cherub Rock’ could represent Corgan at his most creative and most visually detailed.

Pictured: Cover Artwork for ‘Siamese Dream’ (LP) (Released on July 27th, 1993) (via Virgin/EMI Records)

If you’re looking to smash some more pumpkins, you’ve come to the right place. You can get festive with my write-up of the rare track ‘Christmas Time’ from 1997 here: https://onetrackatatime.home.blog/2021/12/19/santas-scuzz-sundays-the-smashing-pumpkins-christmas-time/. You can dive into some of Corgan’s latest material with ‘Wyttch’, a promotional single taken from his 2020 album ‘Cyr’ here: https://onetrackatatime.home.blog/2020/11/27/todays-track-the-smashing-pumpkins-wyttch/. Or take a trip to the moon with my older assessment of ‘Tonight, Tonight’ with this post: https://onetrackatatime.home.blog/2019/10/27/scuzz-sundays-the-smashing-pumpkins-tonight-tonight/.

Pictured: Cover Art for ‘Mellan Collie and The Infinite Sadness’ (LP) (Released in 1995) (via Virgin/EMI Records)

Thank you for checking out my latest post, and it is always a pleasure to join you in remembering the creatives who bought the excellently produced LP ‘Mellan Collie and The Infinite Sadness’ to the world in the 90’s. I’ll be back tomorrow, however, with a large emphasis on fresh new music as I introduce you to a very interesting Berlin-based Experimental Rock musician who made a name for themselves as a part of LA’s LGBT community of underground producers. They have performed alongside Charli XCX and Flume, and they’ve received positive support from the likes of Mixmag.

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Today’s Track: Foals – ‘Wake Me Up’

February 5, 2022 — Leave a comment

Pictured: Yannis Phillippakis (Lead Vocalist/Lead Guitarist), Jack Bevan (Drums/Percussion) and Jimmy Smith (Rhythm Guitar/Keyboard/Synths/Production/Occasional Backing Vocals) (2022) (Photo Credit: Ed Cooke)

Good day to you, and thank you for gearing up for another daily upload on One Track At A Time. I’m Jacob Braybrooke and I’ve got another eventful daily track in store for you on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Typically, I only tend to have around 7% of my week’s energy left in me on a Saturday morning like this, and so a new track with the title of ‘Wake Me Up’ could be the caffeine pill that I need to keep me motivated today. It comes from the Oxford-formed rock band Foals, who are commercial heavyweights in the UK, who are led by Greek-born vocalist/guitarist Yannis Phillippakis. Foals won ‘Best Live Act’ at the Q Awards in 2013, as well as ‘Best British Group’ at the BRIT Awards in 2020, and they have toured internationally for over a decade. They also performed a surprise set at Glastonbury in 2019 and their discography includes a staggering number of 27 singles at time of writing. The last time we heard from Foals was when they released ‘Everything Not Saved Will Be Lost – Part 1’ in March 2019 followed up by ‘Everything Not Saved Will Be Lost – Part 2′ in October 2019, which was Foals’ first album to reach the top of the UK Albums Chart, and it doesn’t feel like a gap of two years at all. Those bodies of work matched political and ecological themes against daring Dance-Rock and their trademark Indie Rock sound that made heavy albums like 2015’s ‘What Went Down’ hits in the mainstream. Last September, keyboardist Edwin Congreave decided to leave the band to pursue a postgraduate degree in Economics and, now as a trio, the rest of the band have been writing and producing their new album with Dan Carey (Sinead O’Brien, Black Midi) and John Hill (Carly Rae Jepsen, Bleachers) in Peckham, with the album due for a release at an as-of-yet undetermined point during 2022. Our first tease of it – ‘Wake Me Up’ – is below.

Described by frontman Yannis Phillippakis as “Our version of a dance or disco record” with lyrics which “transport oneself out of the oppression of lockdown and the bleakness of last year”, in a press release, ‘Wake Me Up’ is Foals’ first track since they lost a member to find them experimenting with different elements of Psych-Rock and revisiting the interlocking nature of the grooves and the guitars architecturally that have made Foals a household name in recent years, with Phillippakis concluding that, “With ‘Wake Me Up’, I just wanted to write a song about transporting yourself to a better, idyllic situation”, in his lengthy press statement. Kicking off immediately with a shimmering lead guitar riff that is met in the middle by an energetic drum section and some very intense percussion, Phillippakis awakens us with “I’m walking through a dream/I’m walking through the finest place I’ve ever seen” as the opening hook, encouraging the listener to make a swift return to reality after spending ages sitting at home due to the law’s enforcement. Punchy refrains like “I’m kicking down the doors, I’m climbing up the walls of the house that’s yours” keep the fiesty rhythm of the drum’s brisk cadence intact, while a later verse goes for more of a chant-along style with a light call-and-response format that will likely find large summer festival crowds repeating lines like “Deny your own expression, deny the things you now” and “I’m deleting all the codes, no I’m not that man you know” back at the band, with brief lyrical explorations of masculinity that add some nuance to the band’s musings of their experiences during various lockdown periods, with the ideas of independence and seeking your own path back to joy each coming through the most strongly throughout the overall tone of the new single. There’s an 80’s tinge to the Synth-enhanced guitar chords, and the upbeat lyrics are likely to relate to a wide crowd of listeners. Foals’ sound is certainly appealing to a lot of crowds including Radio X’s target demographics, football fans who play FIFA on their favourite gaming consoles, and large festival crowds who gather around for a good time for the weekend’s shows, and so I can understand why they have found popularity by connecting with various communities. Yanis’ voice is as powerful as ever on ‘Wake Me Up’ as he builds up a commanding presence through his vocals that don’t overlap the flexing style of the instrumentation all too much. Overall, I felt that ‘Wake Me Up’ sounds very solid. It’s not something that feels hugely original and it’s not unexpected from Foals, but the joyous vibe of a Disco ball with a flavour of good old rock and roll is welcome and it sounds cheerful, thus putting me in a good mood. I enjoyed the more Synth-driven electronic dance sound that was hidden in prior singles like ‘Exits’, and the 5-minute showcase of ‘In Degrees’ more specifically, quite a deal – but this dance-rock style is simply made more obvious by ‘Wake Me Up’ in my opinion. A fun and immediate comeback that carries their ‘greatest hits’ while feeling (just about) refreshed enough.

Pictured: Foals performing a live set at All Points East Festival, London (2021) (Photo Credit: Emma Swann)

That leaves me with nothing much left to write other than to thank you for checking out my latest blog post as I finally draw my musical musing of the day to a natural conclusion. ‘Scuzz Sundays’ is back tomorrow, as always, however – and we’ll be remembering a guitar-oriented rock band from Leytonshire, East London for this week. They only released two albums before splitting up in 2008, but they developed a strong cult following that still praise them to this day and they opened up the Radio 1/NME stage at Reading and Leeds Festival in 2005. Although disappointing second album sales and a lack of label marketing led to a short lifespan, they re-united for two gigs in Oslo, Hackney, London in 2016. They also performed on ‘Top Of The Pops’.

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Way Back Wednesdays: The Beta Band – ‘Squares’

January 26, 2022 — Leave a comment

Pictured: Steve Mason (Lead Vocals/Rhythm Guitar), Richard Greentree (Bass Guitar/Keyboard), John Maclean (DJ/Samples/Producer) and Robin Jones (Drums/Percussion) (Date n/a) (Photo via NME.com)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to take a break away from the new year of new music releases by revisiting a small sample of the seminal sounds of the past as we go ‘Way Back’ for Wednesday on yet another daily track on the blog, given that it is my day-to-day pleasure to write up about a different piece of music every day! A late-1990’s and early 00’s Alternative Rock group who have been remembered as “The self-destructive pop saboteurs who did it all wrong in all the right ways” by James McMahon, a writer for NME, in 2018 – The Beta Band are the rare case of a band that were, perhaps, a little misunderstood by the contemporary critics of their heyday, and they have only really been seen as highly influential in more modern times. Known for their experimental blend of Folktronica, Trip Hop, Plunderphonics, Psychedelic Rock and Progressive Pop, The Beta Band were praised by Oasis and Radiohead, eventually opening up for their live shows in 2001 and went on to build a healthy cult status with audiences alike. In 2001, in a very strange coincidence, both The Beta Band and Sheffield-based indie pop duo I, Monster decided to add a vocoder and some beats to The Gunter Hallam’s Choir’s ‘Daydream’ to form their own sample-based tracks of ‘Squares’ and ‘Daydream In Blue’, respectively, and the tracks melodies seem similar enough at first glance as to listeners being confused between the two but, upon a further inspection, ‘Squares’ has a more edgy, nightmarish feel in comparison to I, Monster’s more commercially successful adaptation of the 60’s piece. It was taken from The Beta Band’s sophomore album – ‘Hot Shots II’ – which was included in the 2010 edition of the book ‘1001 Albums You Must Hear Before You Die’ and it also reached #13 on the UK Albums Chart and it was co-produced by Colin Emmanuel. Let’s revisit the music video below.

The Beta Band’s music was memorably featured in a scene of the 2000 Romantic Comedy/Drama hybrid movie ‘High Fidelity’ that was based on the Nick Horny-authored novel of the same title. In an iconic clip from the film, a record store owner portrayed by John Cusack states “I will now sell five copies of The Three EP’s by The Beta Band” and he dances around to a full minute or so of ‘Dry The Rain’, a scene that exposed the cult Scottish group to a wide range of new listeners, especially in the US and internationally, and so there’s a fun slice of trivia for you. Back to the task at hand, we start with the immediately familiar lyrics of “I’ve seen the demons, but they didn’t make a sound” and “They tried to reach me, but I lay upon the ground” that get repeated later on, with Steve Mason sounding positively forlorn as he murmurs about seeing darkness trying to control him. You get the sense right away that things are off, with a very glitched Hip-Hop beat meandering and playing with the pitch of the melodies by itself, and a traditional beat only forms barely until the iconic String loop of the sampled track bursts through. The iconic lyrics of “Daydream, I fell asleep beneath the flowers” and “I saw miles and miles of squares, where’s the feeling there?” are met with Faust-like towered Drum backing beats and a neat Kosmiche guitar solo in the final half, forming an ankle-deep Electronica groove that is disorienting textually, almost as if Mason is simply wending through a humid fog but he is neither cynical or clueless. ‘Squares’ by The Beta Band and, also, ‘Daydream In Blue’ by I-Monster have two nearly identical hooks, but while ‘Daydream In Blue’ came and went a little more after it’s initial impact on pop culture, this revision of the sampled track by The Beta Band feels remembered more often, and I think that it has stuck simply because of a better use of sampling. ‘Daydream In Blue’ was memorable for adding a vocoder and a beat-driven style to the track, but that was largely it. However, ‘Squares’ just has more depth to it when you read between the lines. It features the usual hallmarks of The Beta Band in terms of it’s Radiohead-like experimental rock approach, but it also feels more minimalist in it’s light blending of R&B, Hauntology and Hip-Hop elements that are small, but stand out. The darkly psychedelic sounds feel like they’re playing off what you’ve heard before to give it a more nightmarish context that comes with the alienated fear of an awful acid trip. The risk pays off, and we get a half-remembered track that feels strong for this effect.

Pictured: Cover Artwork for ‘Hot Shots II’ (LP) (Released on July 16th, 2001) (via Regal Recordings)

That’s all for today! Thank you for being the companion to my Doctor Who with our throwback post today, and I’ll be back tomorrow with some more music, of the fresh variety, that you’re hopefully going to enjoy. We’re looking at a recent single from the London-born DJ and Writer Chris Menist, who began the project of Awkward Corners when he was living in Islamabad. His releases have since spanned record labels like Boomkat, and early recordings were made with local artists from Thailand & Pakistan.

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Today’s Track: NewDad – ‘Say It’

January 24, 2022 — Leave a comment

Pictured: Julie Dawson (Lead Vocals/Rhythm Guitar), Áindle O’Beirn (Bass Guitar/Backing Vocals), Sean O’Dowd (Lead Guitar/Backing Vocals) and Fiachra Parslow (Drums/Percussion) (2020) (Photo via PR/Fair Youth Records)

Good Morning to you! This is Jacob Braybrooke – of course – and its time to dive headfast into another week’s worth of work and pleasure with yet another daily track on the blog to start it off, since it’s always my day-to-day pleasure to write up about a different piece of music every day! A 4-piece indie rock band from Galway, Ireland who can always be relied upon to create a charming blend of melodic Dream-Pop and ethereal 90’s Shoegaze, NewDad have already received support from BBC Radio 6 Music – with ‘Blue’ gaining a spot on their daytime A-list last year – and BBC Radio 1 Indie Show presenter Jack Saunders to consistent results. Led by vocalist/rhythm guitarist Julie Dawson, the quartet are also comprised of bassist Áindle O’Beirn, lead guitarist Sean O’Dowd and drummer Fiachra Parslow. An 80’s-leaning group, they have cited Alt-Rock heroes like The Cure, The Pixies, The Smashing Pumpkins and Just Mustard in some interviews and, in an article with DIY Magazine, they expressed that Charli XCX would be a dream for them to work with, a fantasy link-up that I’d certainly like to see materialize. Last March, they released the marvellous ‘Waves’ EP via Fair Youth Records and they are due to follow it up on 9th February with their second EP – ‘Banshee’ – which is also due to arrive via the same label. It was co-produced with Chris W. Ryan and mixed by John Congleton (Phoebe Bridgers, Lana Del Rey) in Belfast. Later this year, they will be performing at All Points East, London and SXSW. They also have regular tour dates set for the UK, the US and Ireland in March and April. Let’s check out the opener and first single from the EP, ‘Say It’, below.

“Say It is about unrequited love, about when someone is with you but not really, it’s supposed to capture that frustration you feel when you’re giving someone your all and they’re giving you nothing in return”, Dawson says about the simple but relatable themes behind their latest single, adding about the EP, “This EP is definitely bigger, having more time in the studio definitely meant we got to experiment more and layer more into each track so there’s an overall bigger sound” in their press release. ‘Say It’ is yet another indie gem with a whimsical atmosphere that starts off with some guttural deep breaths before the guitars and the drums kick in for the opening verse, where Dawson recites lyrics like “You only want to make things right at night/But it’s not the same” and “Today you didn’t even look at me in the hallway/I know you saw me” as she taps into the rushing tensions that you feel emotionally in the midst of an unrequited affair. The chorus is also strong, with the simple hook of “So I don’t want to say it, ‘Cause you don’t want to say it back” that feels piercing in it’s clear cut nature. The pacing is quite upbeat, and it comes across like Dawson is venting her complications about her irritation and bitterness about her own handling of the situation and her romantic dreams that won’t pull their own weight either. She strikes a perfect balance between feeling whimsical and forceful, with ragged lyrics like “You just look down at your laces like your f***ing famous” amongst softer spoken refrains like “You just want to see me fall for you” that capture the mildly psychedelic warmth of the emotive guitar riffs that surround her vocals. The angular drum beats have a stark mood to them, while the more textured guitars give off a calming vibe that contrasts the restless frustrations felt about the topical one-sided relationship with a lighter ambient energy that becomes an endearing hint of what will be explored on the forthcoming EP project. Overall, ‘Say It’ is another solid single from NewDad that really showcases Dawson’s abilities of mixing strength and warmth together in her vocals and her bandmates’ abilities of blending anxious emotions with remaining feelings of hurt from their textured instrumental work. It’s also a track that appeals equally to lovesick teens or young adults as much as the parents who will hear the bands they used to love during a similar snap shot from their lives. Simply great stuff.

Pictured: NewDad performing a live gig at the Yes Basement, Manchester (2021) (Photo via EvenTheStars.co.uk)

If you liked the latest single from NewDad and you want to hear more, don’t feel ‘Blue’ here: https://onetrackatatime.home.blog/2020/11/07/todays-track-newdad-blue/

Pictured: Cover Artwork for ‘Waves’ (EP) (Released on March 26th, 2021) (via Fair Youth Records)

That brings us to the end of the page and, just for your reassurance, NewDad have said that none of them are actually Dad’s before. Anyhow, thank you for showing your support as always for the site, and I’ll be back tomorrow to muse over some more melancholic music due to arrive on a larger project in February. This time, it comes from a Los Angeles-based Psych-Rock band whose guitarist is the son of David A. Stewart from Eurythmics and Siobhan Fahey of Bananarama. It is a very small world!

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Today’s Track: The Mushroom Herders – ‘Gainesville Square’

January 20, 2022 — Leave a comment

Pictured: Cover Artwork for ‘HERE!’ (LP) (Released on December 18th, 2021) (via 2189610 Records DK)

Good Morning to you! This is Jacob Braybrooke, as per usual, and it’s time for us to invest just a little bit of time into yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! A self-described “North Georgia Cat” as per his Bandcamp profile, The Mushroom Herders is the underground indie rock project of singer-songwriter Christopher James Estrada, who has spent time in a few places like Colorado and Atlanta, but has always returned to his “original stomping grounds” of the Northern Georgia area. Introduced to the likes of Cypress Hill, The Offspring and AFI by his close brother at twelve years old, Estrada became enamored with the acoustic guitar and fell in love with genres like the 60’s Psych scene, the 70’s Punk scene and the late-80’s Alternative scene in his young adulthood. He likes to describe his music as “music for the common people” and says he thinks “It’s always been about inspiring others to feel the motivation to create their own world” when reflecting on his own work in recent times. He released his latest LP – ‘HERE’ – on 19th December, 2021 via 2189610 Records DK, a collection of recordings that he’s been producing and writing since 2016. After a few years, he re-discovered the rough recordings on a burned disc in his car and retrieved the files via his PC’s hard drive and, after feeling nostalgic about the length of time the unreleased material has been kicking about, he has decided to publish it for the world. I loved ‘Gainesville Square’ when I first heard it, which gets the music video treatment below.

“Gainesvile Square means a lot to me. There are stomping grounds for me. It’s wild. I first started performing it on the square out of convenience. It didn’t seem to bother anyone that I would play my loud, silly music here”, Estrada says about his productive live experience in the video’s description, adding, “Eventually, I started bringing out actual amplifiers and playing louder music, and even that didn’t seem to bother people, surprisingly. This allowed me to flourish creatively. It gave me an open space to try out weird, strange sounds in the public eye. It allowed me to really discover what I wanted to play and perform for people”, as he comments on the connection between the outdoor environment and musical influences of the track. Kicking off with a modulated vocal sample that progressively gets warped and just surrounds the listener with an atmospheric gloom reflective of the informality of the track’s title location, we soon get a driving drum loop that kicks into gear and raises the tempo with percussive handclaps. The vocals are screwed and chopped, providing a hazy and psychedelic 90’s backdrop for the delayed pedal effects to create a buoyant melody from. The lyrics are difficult to hear in the mix, but the soundscape is detailed with helicopter sound effects and drowsy backing beats that feel a little trippy, continuously adding more intensity to the layered melodies that each reflect the sprawling, open and public setting of the track’s title. A strange groove of playful keyboard riffs and hazy guitar loops is created as the buoyant Synth riffs and the glistening Keys merge together to provide an overall psychedelic shine of production that makes the leading hook of the chorus of “Just sitting around on Gainesville Square” feel very triumphant and not mundane as it may appear on paper, but it feels relaxed and calm because the tone of the rhythms are positive and high-spirited in the mood they evoke. The lyrics are simplistic yet very bright, with sequences like “There’s leaves on the ground, and leaves all around” that describe the scene in a catchy flow, while other lyrics feel more wide-eyed and observational in delivery, as “There’s cars and there’s people too, and there’s me and you” that address you in the second person tense and make you feel more believably absorbed into the scene. Overall, it becomes not only a track about finding cheer and joy in your current surroundings, but a light commentary on the philosophy between making music and where you perform it. By the sounds of it, it is also a location that I really want to visit.

Pictured: Cover Art for ‘Midnight Outings & Blacklight Showers’ (LP) (Released on August 16, 2011) (Self-Released)

That’s all for now! Thank you for checking out my latest post and giving ‘Gainesville Square’ a few minutes of your time, and I’ll be back tomorrow to celebrate one of the weekend’s most exciting album releases for ‘New Album Release Fridays’ as we mark the debut album release of a Leeds-based indie punk 4-piece who have admittedly featured on the blog a few times before, but there’s a huge air of anticipation about their first LP. They have been supported regularly by BBC Radio 6 Music for the past eighteen months and they are included on BBC’s ‘Sound Of 2022’ poll. I also got the chance to see this band perform live at The Portland Arms (Cambridge) in September.

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Today’s Track: Spiritualized – ‘Always Together With You’

January 3, 2022 — Leave a comment

Pictured: Jason Pierce (Lead Vocals/Lead Guitar/Keyboard) (2018) (Photo via Juliette Larthe/Nasty Little Man)

Good Morning, it’s Jacob Braybrooke! How has your year been? It’s time for me to write up about yet another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! This is the first of roughly 250 ‘Today’s Track’ on the blog aside from my other features in 2022, so I thought it was only fair to kick things off with a cosmic bang alike to a big meteor hitting a Volcano – or something not quite as dramatic as that. Either way, ‘Always Together With You’ is a fresh new single by Spiritualized that I’ve been hearing on the radio lately, and I really can’t get enough of it. Spiritualized is now the solo project of Jason Pierce (J. Spaceman) of former Spaceman 3 fame who was born in Rugby, Warwickshire. Spiritualized used to be a group featuring the likes of guitarist Doggen Foster, drummer Kevin Bales, keyboardist Tom Edwards and more, among a few line-up changes over the years. At the time, Spiritualized won NME’s ‘Album Of The Year’ award in 1997 by beating stiff competition like Radiohead’s ‘OK Computer’ and The Verve’s ‘Urban Hymns’ with their critically acclaimed album release ‘Ladies and Gentleman We Are Floating In Space’ that year. Pierce’s ninth studio album under the Spiritualized project – ‘Everything Was Beautiful’ – has recently been announced with a release date of February 25th, 2022 via Fat Possum Records. On the new record, Pierce plays a staggering amount of 16 different instruments that he recorded in his home and in 11 different studios. More than 30 musicians, including Pierce’s former band-mate John Coxon and his daughter Poppy, will also appear on the new album. Penned during lockdown, Pierce says the album was written in a state of embracing the isolation while viewing it as a “beautiful solitude” and noting “I felt like I’d been training for this my whole life”, as per a press note. Let’s check out the opener below.

“There was so much information on it that the slightest move would unbalance it, but going around in circles is important to me. Not like you’re spiraling out of control, but you’re going around and around and around and on each revolution, you hold onto the good each time”, states Pierce – who will be taking his Spiritualized act on the road for tour dates beginning with North American gigs running through April – adding, “Sure, you get mistakes as well, but you hold on to some of those too and that’s how you kind of… achieve. Well, you get there”, in his own words. Thankfully for Pierce, his new single begins with pin-point precision by kicking off with a whirring Synthesizer loop and a settling, if distant, voice amid the soft strums of the guitar melodies and the spacious backing vocal that feels ragged in delivery. Simple lyrics like “If you will be my lonely girl/I would be a lonely boy for you” and “If you want another world, I would be another world for you” make up the fragmented soundscape as discordant yet lightly textured Post-Punk bass guitar riffs and hard-edged Drum beats quicken the pace of the swelling sounds. The vocals are layered yet forceful and the quietly shimmering backdrop of diverse sounds make for a detailed but fairly grounded arrangement. Towards the end, a sudden crescendo of Strings set to lyrics like “If you walk the galaxies/I would walk the galaxies for you” and “Always together with you/If you’ve got a lonely heart” that transforms the brief moonlight of his vocal textures in the early going into more full-blown Space Rock as Pierce gathers up his dreams and allows the themes of high romance and space opera to collide more fully. Lonesome yet humble, Pierce looks inwards while gazing upwards with this beautiful new tune that feels beautifully textured and carefully produced with thoughtful pacing choices to the point where the peak cinematic explosion between Psychedelic Pop and slightly classical Rock feels astounding. This is an artist who clearly knows what he’s doing, and the new single is a very effective teaser for a pretty and intricate new album exploring heartache and tranquility with a sense of grandeur that will hopefully be met promptly. A fantastic single that could only be Spiritualized.

Pictured: Cover Artwork for ‘Everything Was Beautiful’ (LP) (Available on February 25th, 2022) (via Bella Union)

Thank you for journeying into a galaxy of new music with me today, and I’ll be back tomorrow for our second best regular post of the year so far with an intriguing Alternative Punk track that I recently found through KEXP’s ‘Song Of The Day’ podcast recorded by a Manchester-based band with over 2.3k monthly listeners on Spotify. The 4-piece’s producer and third member – Liam Stewart – has toured with Lonelady.

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Today’s Track: The Spirit Of The Beehive – ‘I Suck The Devil’s C***k’

December 30, 2021 — Leave a comment

Pictured: Cover Artwork for ‘ENTERTAINMENT, DEATH’ (LP) (Released on April 9th, 2021) (via Saddle Creek Records)

Good Morning to you! This is Jacob Braybrooke, and you’re tuned into the final part of my underrated underground series leading up to New Year’s Day as I deliver yet another daily track on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! ‘I Suck The Devil’s ****’ is a title as irreverent as they come, and one that I write about hesitantly due to the demonic implications of the name, however, this is the most suitable representation of ‘ENTERTAINMENT, DEATH’ – the latest album from the Pensylvania-based Prog Rock band The Spirit Of The Beehive – that we’re going to get. An insanely beautiful yet intensely difficult project to wrap your head around, the record reflects late-night paranoia music that is enigmatic and cryptic. It is also intimate without giving any significant details away, and that’s made it a favourite among the year-end lists of high-brow critics this year. Taking their name from a Spanish cinematic masterpiece released in 1973 with the same title, the band are signed up to Saddle Creek Records and boast Zack Schwartz among their lineup who honed his Vaporwave craft as a former member of Glocca Morra. A reclusive release that has gained universal acclaim this year – and one of my back-and-forth favourite listens of 2021 – ‘ENTERTAINMENT, DEATH’ is the band’s first album without the former drummer Pat Conaboy and rhythm guitarist Kyle Laganella who left the band in 2020. The second single – ‘I Suck The Devil’s ****’ – is a four-part song that essentially feels like four different singles sewn together through post-production trickery. The workout-in-hell themed music video was also helmed by a trio of different directors (Part 1 is by Ada Babar, Part 3 is by Documavision and Parts 2 and 4 by Noah Burke) that each unfold in four chapters along with the music recording. You will just have to see how it all fits together below.

In what initially feels like a labyrinth of a near 7-minute recording, the band notes, “It’s our take on ‘A day in the life’. A man, overworked and undervalued discovers a portal to another time and a place where he hears a familiar song on the radio. In the context of the record, this track specifically encapsulates the dread of required performance, ultimately leading to a freeing death”, in a joint press statement. As the band channel a multitude of influences including Post-Hardcore and Vaporwave among many others, the band deliver a lengthy ego death sentence that blurs the lines between homespun Lo-Fi Rock to mangled Dream-Pop to aggressive Post-Rock to dis-associative Ambient Pop – all while wrapped in a noise collage Shoegaze thread – to create a very psychedelic journey that takes listeners from upside-down textures to inside-out downbeat sounds. Through these ever-winding spirals of self-reflection, the group pull us from one realm of bizzare fantasy to another, while creating enough compelling rhythms and bold, if fairly obscured, textures that make up the highly experimental piece of twisted Psych-Rock and melodic bursts of Post-Rock that echo glimmering fragments of Tame Impala and Black Country, New Road among other diverse comparison points. There aren’t any particularly memorable lyrics, but there are multiple planes of eclectic instrumentation that underscore the more emotive qualities of lyrics like “Scared of needles, but not of everything” and “Another middle class dumb American, falling asleep” to a notably playful effect, and so the complete package is more enticing, lyrically, than the wonky title of the track may lead you to believe. The music, however, sounds just as mischievous – mixing up some ethereal guitar rock with peculiar tangents that keep you guessing what may come next as the trio continue to create unpredictable shifts in tone. At each point in this release, I would forgive you for thinking you were listening to a different track with each few beats skipped, but it is a testament to the band’s abilities to create something so captivating through playing with cohesion, as the track cycles through its chaotic vignettes to build to an acknowledgment of an insignificant fate of the lead character, if you will. If you have been on the fence about Spirit Of The Beehive at any point, this kind of rare recording will certainly help any listeners to decide to be on the right one.

Pictured: Zack Schwartz (Co-Lead Vocals/Lead Guitar/Samples), Rivka Ravede (Co-Lead Vocals/Bass Guitar/Percussion), Corey Wichlin (Keyboard/Rhythm Guitar/Backing Vocals), Kyle Laganella (Bass Guitar) and Pat Conaboy (Drums/Electronic Drum Kit/Backing Vocals) (in 2018) (Photo Credit: Natalie Piserchi and Isabel Liang)

That brings us to the end of a very interesting post. It was nice to deviate from my typical formula a little with this segmented single, and I thank you for joining me by reading the results. Tomorrow, we’ll be looking back at a mid-00’s winter Folk classic in the spirit of the New Year’s Eve and Christmas season. The single comes from a well-known and critically acclaimed Seattle-formed Alternative Folk band who took a hiatus between 2013 and 2016 when the frontman pursued an undergraduate degree.

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Countdown To Christmas 2021: Marc Bolan & T-Rex – “Christmas Bop”

November 27, 2021 — Leave a comment

Pictured: Marc Bolan (from T-Rex) in a rare photoshoot (Date n/a) (Photo Credit: Roger Bamber)

Good Morning to you! This is Jacob Braybrooke, and now is the time for you to relax, sit down and slurp your warm Gingerbread Latte as we continue our ‘Countdown To Christmas’ with yet another daily track on the blog, seeing as it is always my day-to-day pleasure to write up about a different piece of music every day! As a legendary Glam Rock band who were inducted into the Rock ‘N’ Roll Hall Of Fame last year, T-Rex were a group of 70’s Psych-Rock icons – led by the famous English guitarist and poet Marc Bolan – who barely need any introduction from me. However, their yuletide anthem – ‘Christmas Bop’ – is a very different story. Despite my greatest efforts in researching the track’s rich history for this here entry on the blog, it remains to be one of, if not, Bolan’s most elusive records and I couldn’t pinpoint the song’s exact origins to a clear place. A popular story goes that Bolan originally recorded it in 1975 and he planned to release it with ‘Metal Guru’ and ‘Telegram Sam’ as a triple single on Vinyl, but that first iteration of the record was never released or printed because it was withdrawn due to Bolan’s fears of plagiarism, since he was mindful that EMI had experienced prior problems with George Harrison’s ‘My Sweet Lord’ due to similarities with Ronnie Mack’s ‘He’s So Fine’, however two of the labels that would have been pressed for the release have circulated around and sold at auction in November, 2004 for £896.00 as an antique. Rate Your Music also have a ‘Marc’s Christmas Box’ release of the original triple single dated for 1996. There is also another variation of the single in existence because it features some awful alternative cover artwork, where Marc is playing his guitar on a stage. Furthermore, it was also re-released as the ‘T-Rexmas’ EP by Bolan Boogie via Bandcamp in 2011. Therefore, I am thankful that we have YouTube in modern times to find the audio through. Check out the rare record below.

Another interesting fact about ‘Christmas Bop’ is that a small snippet of the track, featuring the backing vocals from his real-life girlfriend Gloria Jones, briefly appeared on a commercial for the US shop Target in 2011. ‘Christmas Bop’ was also, apparently, also included on 1994’s ‘Messing With The Mystic’ compilation of unreleased singles, as well as T-Rex’s ‘The Best Of The Unchained Series’ similar compilation dated for 1997. Bolan and his associated Children Of The Revolution may not seem like the most likely champions to back a Baby Born doll, but when it comes to advertising something like a giant LEGO dinosaur, it’s as logical a choice as any. Switching back to the task at hand, ‘Christmas Bop’ is a fairly conventional festive pop/rock crossover by usual standards. However, it noticeably pulls in some of the Disco and Soul ideas that Bolan was picking up from his girlfriend Jones at the time. It doesn’t lean into the darker influences of T-Rex’s discography, and it reminds me of The Beatles ‘Twist & Shout’ in the way that Bolan attempts to invent a new dance move for casual listeners to associate the music with. “T-Rexmas” is an amusing lyric, while he also commands us to perform actions like “Get on your silk jeans/And your space shoes” and “Hey baby, lend me your ear/Christmas time is drawing near” to give the vocals their warm, upbeat and involving character. While it may sound like Bolan is aiming for primary school disco’s by my description, he luckily embeds some instrumentation that feels more eclectic than your bog-standard 70’s Christmas song into his assortment of sounds. Therefore, it still feels more like a T-Rex song in essence than a Pop song that Phil Spector would have likely been producing. The hazy, fragmented Synth riff that bounces above the choral backing vocals is a highlight of the song because it makes things feel a little wonky in the best way. It was also nice to hear some raw vocals and Surf-like guitar rhythms that reminded me a little bit of The Avalanches since Marc’s vocals sound like something that Australian duo would sample among their hundreds of unreleased recordings. Although a little forgettable, ‘Christmas Bop’ is still a good alternative to the annualized yawners from Elton John or Paul McCartney with its mix of rarity and nostalgia. Despite studio issues, it is a well-produced Psych-tinged effort.

Pictured: Cover Artwork for “Messing With The Mystic” (LP) (Released In 1994) (via Edsel Records)

That’s enough of my ‘Bopping’ to Bolan for today! Thank you for continuing to support my content daily on the blog, and I’ll be back tomorrow with a post that has an air of sadness to it. That’s because it will be our last regular installment of ‘Scuzz Sundays’ until the beginning of January, as I have something special planned for December. To end the series on a high note, we’ll be looking at a well-known single by a mid-90’s Alt-Rock group whose frontwoman was vital to Black British music history.

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Countdown To Christmas 2021: Cocteau Twins – “Frosty The Snowman”

November 24, 2021 — Leave a comment

Pictured: Cover Artwork for “Snow” (EP) (Released in December, 1993) (via Fontana Records)

Good Morning to you! I am Jacob Braybrooke, and it’s time to revisit a unique spin on a vintage Carol as we ‘Countdown To Christmas’ with another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! ‘Frosty The Snowman’ really is a tale as old as time, but a lesser-known cover version of the track came from the 90’s Shoegaze legends Cocteau Twins back in 1993. Drawing influence from early alternative rock bands like Joy Division and Siouxsie and The Banshees, Cocteau Twins scored a UK top 30 hit with ‘Pearly Dewdrops Drops’ in 1984. They also produced critically acclaimed albums such as ‘Heaven Or Las Vegas’ and ‘Treasure’ on indie labels like 4AD and Fontana Records. However, the ‘Snow’ EP they released in December 1993 has become a rarity. A double single release featuring covers of ‘Winter Wonderland’ and ‘Frosty The Snowman’, the short-form release was only available in extremely limited quantities and Pitchfork have named their take on ‘Frosty The Snowman’ as the 36th best holiday song of all time. Another interesting fact about the record is that one story says Robin Guthrie, the trio’s bassist, was very reluctant to record any kind of true Christmas songs, and so Liz Frser and Simon Raymonde opted to record non-specific winter songs instead. Let’s hear their distinctive spin on ‘Frosty The Snowman’ below.

Although the ‘Snow’ extended play had received a pretty positive reception from the contemporary music press of the time, one expert suggested that fewer than 5,000 copies were ever put together. Nowadays, the record is out of print but the two songs later appeared on the ‘Lullabies To Volaine’ boxset compilation that 4AD released in October 2005. As for the cover of ‘Frosty The Snowman’ as an individual piece, Cocteau Twins strike an equal balance between familiar and ethereal. The lyrics are the same ones that we all know already, but the instrumentation adopts a darker daydream approach to the songwriting and this provides for a great contrast against the playful, child-like style of the overly joyous original track. Beginning with a radiant Piano riff, the band match the customary lyrics of the traditional anthem with a flood of vocal effects and distorted guitar riffs that create a chiming array of breezy bass guitar melodies and a dizzying bassline. In terms of the vocals, Liz Fraser almost replicates the vibe of the wind swooping all around the title character of Frosty as her multi-layered effects include some nice breaks where Fraser spaciously croons atop the programmed drum sequences alone, and it’s a highlight of the song. We have always known Cocteau Twins to be a group who were never focused on singing conventional lyrics, and so they fill their take on ‘Frosty The Snowman’ with their own gravitas here as you may expect. You could never properly hear any of their lyrics anyways in usual terms, but it is a common trope of the band that plays a decent role here. They are fairly easy to make out, but she really twists those words around with a variety of different shapes and, at times, these moulds are equally as unintelligible as the fascinating beats that swirl around her pitch. To conclude, the Scottish Alt-Rock icons did a pretty spectacular job with this rendition of ‘Frosty The Snowman’ as it brings some solid insight into the unique vocal style and diverse instrumentation of the associated band, while also sounding recognizable and warm by covering such a widely known carol, and so it fits the theme of the festive season without explicitly mentioning Christmas, so they succeed in making the beat sound as cheerful as ever.

Pictured: Elizabeth Fraser (Lead Vocals/Writer), Robin Guthrie (Lead Guitar/Producer/Drum Machine) and Simon Raymonde (Bass Guitar) in a press shoot for “Garlands” (1982) (Photo by Chris Garnham)

If you can’t get enough of this, why not check out my thoughts on ‘Lorelei’ here: https://onetrackatatime.home.blog/2020/08/01/todays-track-the-cocteau-twins-lorelei/

Pictured: Cover Artwork for “Treasure” (LP) (Released on 1st November, 1984) (via 4AD)

That’s all for now! Thank you for your continued support for the blog, and I’ll be back tomorrow to delve deeply into the highly anticipated return track from a London-based Electronic Afro-Jazz collective who last released ‘Doko Mien’ in 2019 on Merge Records. They performed at KEXP’s ‘International Clash Day’ concert of the same year.

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