Synthpop

Today’s Track: Tropea – “Technicolour”

July 18, 2020 — Leave a comment

Sip down on some Kia-Ora and relax out in the Sun to this! It’s time for your new post!

  • Pictured: Cover Artwork for “Might Delete Later” (EP) (Released on June 12th, 2020) (via Self-Released/Bandcamp)

Good Morning to you, I’m Jacob Braybrooke and I’m writing up your daily track on the blog, and that’s because it is always my day-to-day pleasure to write, up on the blog, about a different piece of music every day! Tropea – a 4-piece indie Tropicalia band formed in Milan, Italy in 2017 – are one of my biggest recent deep dives, since there’s fairly little information about them on the internet, but I had first caught wind of their Summery sounds through KEXP’s Song Of The Day podcast. The 4-piece outfit have been keeping their minds active during the Covid-19 pandemic by self-producing a six-track EP, “Might Delete Later”, via Butik and peermusicITALY, last month. Tropea like to describe their music as “Pajama music for Pajama people” in relation to their pop-driven, dreamy Shoegaze-inspired 80’s synth sound. On the “Might Delete Later” EP, the band aimed to arouse the feelings of a live show, with six tracks that naturally conjoin into one another. Tropea said on “Technicolor”. via a press release: “It’s a very bonding moment and it gives a sense of community with our audience. We wanted to capture the same live energy, but also give it a new meaning since we are facing tough times: it’s a song for dreaming, dancing, or just exercising and taking care of oneself, for burning with love and taking care of each other even in the midst of the difficulties of this absurd world. It’s a tribute to those who help others see the magic, despite our illusions and the lies we tell ourselves”. Let’s get our groove on to it below.

Synth overload, anyone? As much of an independently produced track by nature as it is by its name, “Technicolor” is a sparkling 1980’s-inflicted Synth-Pop ditty that is, obviously, sung in Italian, with certain auras of New-Wave and Tropicalia gauzing throughout its short three-minute duration. It has a very European club sound, with agile synth rhythms and vibrant keyboard riffs, with a less guitar-driven flair than the other six tracks from the EP. It’s filled with chanting vocals, especially at the mid-way point where vocalist Pietro Selvini exclaims the refrain: “Your eyes in the blinking town/Betraying the night”, prior to a very bouncy synth-led chorus of joyous keyboard melodies and looping synth pads. The pacing is quick and snappy throughout, with a speedy vocal delivery on the verses and glistening synth strobes in the post-bridge. The verses sound fluid and rich, with glitching drum machine loops and fizzling Acid-Pop melodies that complement the Italian lyricism and the Psych-Pop oriented textures with clean and polished production. As for improvements that I could suggest, I think there is a slight over-reliance on the auto-tune machine here, and some more natural vocals would achieve a similar effect of writing a Summery indie pop track, and an incorporation of more World music Elements, such as the use of a West African drum, will also capture the vibe while decreasing the processed sound a notch. On the flip side, the vocal performance is strong, the production is handled with a tidy precision and the Blade Runner-esque 80’s aesthetics are fun. It really reminds me of The Weeknd. It’s not usually my thing, but I can tell there’s more than “just trying to have a hit” here. I want a fancy glass of juice with an umbrella in it.

  • Pictured: Tropea in a self-produced photoshoot to promote the “Might Delete Later” EP (2020) (via Facebook.com)

Thank you very much for reading this post! I’ll be back tomorrow, as per usual, with your brand new weekly edition of our Scuzz Sunday series. It’s the time of the week where we take an in-depth stroll down the memory lane of classic emo-rock or pop-punk releases from between the late-1990s, through to the mid-2000s, to see if they can hold a candle to the new kids on the block (Modern standards, I mean, not the 1980’s boy band that flopped). 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: JARV IS… – “Save The Whale”

July 17, 2020 — Leave a comment

JARV IS… finally releasing a new full-length album today! It’s time for your daily post!

  • Pictured: Jarvis Cocker in a promotional photoshoot to promote a UK tour (2018) (Photo Credit: Roberto Ricciuti/Getty)

After raving to “House Music All Night Long” over the summer, Pulp’s Jarvis Cocker has managed to create something of a very memorable Lockdown anthem, with the single, which was released back in March, garnering huge popularity with the internet music community, universal acclaim with fans and critics alike, and gaining significant airplay on BBC Radio 2 and BBC Radio 6Music. Several interviews and in-depth articles featuring Cocker, as well as his Bedtime Stories podcast series on Facebook and YouTube, have drummed up the marketing machine while we waited for his new album, “Beyond The Pale”, which releases today on Rough Trade Records. JARV IS… is not a group per-say, but it’s the 90’s Brit-Pop icon and his touring band. I’m quite fond of Jarvis because he’s an eccentric character and I think that British pop-rock music would never be the same without him, since he’s also an influential figure. “Beyond The Pale” was originally set to release on May 1st, but it was delayed to July 17th due to complications amidst the Coronavirus pandemic. It seems to have definitely been worth the wait, as the album has been garnering widespread acclaim from critics, enough so to give it a 92/100 on Metacritic, a review aggregate site, with many critics categorizing it to be his strongest work since… Well, Pulp. I loved “House Music All Night Long”, as countless others did! Let’s listen to “Save The Whale” below!

Fate didn’t seem to want “Beyond The Pale” to exist in the way that it does, since Cocker only wanted the band to only perform live, releasing no albums, but Geoff Barrow (from Portishead) gave Cocker the nudge, and he used studio overdubs to live tapes they were recording for personal use to create their band’s self-dubbed “alive” album rather than a live one, after the COVID-19 pandemic threw a wrench in the way of the original concept. Many of the YouTube comments for the music video of “Save The Whale” tell you how the sound of the track was heavily influenced by the gritty jazz sensibilities of Leonard Cohen, but it’s a mature style of music that doesn’t get created often anymore. Cocker introduces: “Take your foot off the gas, because it’s all downhill from here”, breathily delivered over the top of a bubbling synth pad, and a pattern of mellow drum machine loops that blip along to a shimmering lo-fi synth beat. He adds witty remarks: “You are a manifestation of the universe, your form is unimportant” and “People daubing the walls with seamen and blood” over the top of a mellow Violin section. Backing vocals coo under his noticeably Baritone, in-tone delivery, and “Tell the truth/Take my hand” marks a shift in structure, as a reverb-drenched electronic beat comes into play. The unique songwriting reminds me of the cinematic flavor of Baxter Dury, as Cocker croons: “Me and you, we’ve gone and found a new civilization, now how much are we going to charge people for admission?”, an eccentric line that leads to a swelling string section and a light guitar groove. The key refrain: “We’ve got to move, Beyond The Pale” adds a calming, Zen-like meditation feeling to the ongoing Sci-Fi mannerisms. It’s strange and intriguing, with downbeat vocal hooks that feel meditative and ASMR-like, but there are crescendos of scheming synth patterns that evoke Depeche Mode, meaning there is enough of a 80’s new-wave pop melodicism to carry the deep and cerebral structure through. Unlike the endangered species of Whale, It’s not likely to get extinct too shortly, and it makes for excellent summer listening. It’s challenging and academic, but it’s melodic and witty enough to work. Just like many others, I feel that JARV IS… smashing it all over again!

  • Pictured: Cover Artwork for “Beyond The Pale” (Released on July 17th, 2020) (via Rough Trade Records)

As mentioned beforehand, I have also covered Jarvis Cocker’s lockdown hit “House Music All Night Long” on the blog, the lead single from the new album “Beyond The Pale”. You can peruse the link and take a look at it right here: https://onetrackatatime.home.blog/2020/03/09/todays-track-jarv-is-house-music-all-night-long/

  • Pictured: Jarvis Cocker performing at the Primavera Sound Festival in Barcelona (2019) (Photo Credit: Adela Loconte)

Tha you very much for reading this pos! Don’t forget that our weekly feature of Scuzz Sundays is right around the corner again, so you can expect a new entry in two days time! But, in the meantime, we’re going to take a look at a brand new track from one of my recent finds from the KEXP Song Of The Day podcast, from another band who have been getting creative during the lockdown crisis. An Italian 4-piece group, they describe their music as “Pajama music for Pajama people” in relation to their 1980’s-inspired Dream-Pop synth sound. 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: Man 2 Man (feat. George Parish) – “Male Stripper”

July 1, 2020 — 2 Comments

Novelty classic, or “Stripped” of it’s quality in the years since? It’s time for a new post!

  • Pictured: Cover Art for “Man 2 Man: Hits & Rarities 1985-1990” (Released in 1995) (via Retro Disco Hi-NRG)

Good Morning to you, I’m 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’ve been looking at a lot of very serious, big new releases for the last week or so, and so I thought it would prove to be a nice palette cleanser to kick off the new month, of July 2020, with a look back at a novelty club classic that became a big hit in the golden age of 1980’s dance and disco music. “Male Stripper”, by Man 2 Man Meet George Parish, was originally released in late 1986, prior to it reaching #4 in the UK Singles Chart after a re-release in 1997. The project originally started as a New York Punk-Dance band called The Fast, it was part of the HI-NRG movement of uptempo and risky club music around the time, but two brothers who were part of the band – Miki Zone and Paul Zone – continued the act as a duo, teaming up with cult electro-pop producer George Parish to record “Male Stripper”, a song which gained big steam on the European club circuit, under the aliases of Man 2 Man. Sadly, Miki Zone became a victim of the AIDS Epidemic and died in 1986, shortly after it’s release. Since then, Paul continued as a solo producer under the name of Man To Man, and released a few tracks that had moderate success, but didn’t trouble the Top 40 singles charts very much. However, Paul Zone did even get to perform “Male Stripper” on Top Of The Pops with George Parish, so it’s not entirely awful. Let’s have a listen back to “Male Stripper” with the original music video below.

Magic Mike will be pleased. You can have that for free, Channing Tatum. A single that sounds almost like the quintessential European disco club classic from the late-1980’s because it more or less was, “Male Stripper” aimed to draw a crowd to the dancefloor, and it succeeded. Beginning with the funny, recognizable Horn sounds, the Zone brothers take the lead with an upbeat synth groove which they interweave with a robotic backing vocal which repeats “I was a male stripper in a go-go bar”, before Paul Zone recites lines such as “Ripples on my chest/I never got an address” and “A modern day jock, A jock with an act” over looped, bouncy drum machine sequences and echoing Vibraphone melodies, with a neat Conga Drum solo added in the bridgefor the good measure. The chorus is absurd: “Strip for me, babe, Strip for you/Strip for you cause’ I want you to”, completed with dueling female backing vocals and the odd “OOh” or “Ahh” from Miki Zone. More gloriously moronic lines: “Built like a truck/I’d bump for a buck” and “Tips in my G-string/I made my living” add humor, layered over the consistently repeating drum machine hooks and synthesized instrumentation sounds. Whilst it’s clearly not designed to be an emotionally challenging display of fine art, it’s entertaining to listen to, and it stands out as a relic because nobody would really write a club track about a gay Male Stripper in this present era, because it’s seen as risky in the sense of modern cultural representation. Conclusively, it sounds like the quintessential 1980’s club track. It is, but it’s good fun.

  • Pictured: Cover Artwork for “Male Stripper” (Single/UK Mix) (Released in late 1986) (via Recca Record)

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, continuing to kick off the month in style, with an in-depth look at a track from a Grammy-winning American singer-songwriter and producer from California who is a huge fan of the Dragonball Japanese Manga/Anime series, and he uses it as a big part of his brand. 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: Jacob Collier – (feat. Mahalia & Ty Dolla $ign) – “All I Need”

June 16, 2020 — Leave a comment

After hearing this anthem, All I Needed was to switch it off! It’s time for your new post!

  • Pictured: Jacob Collier performing “All I Need” for “Jimmy Kimmel Live” from home (in May 2020) (via Twitter)

One of the contenders for this year’s Sound Of The Summer! Good Morning, my name is Jacob Braybrooke and I’m writing about your daily track on the blog because – as I’m sure you’re well aware of – it’s my day-to-day pleasure to do so! For a multi-instrumentalist, producer and writer at just 25 years of age, Jacob Collier sure does seem like a very prolific musician, with four Grammy Award wins, in 2017 and 2020, attached to his name already. Collier rose up the ranks on YouTube with his cover of Stevie Wonder’s “Don’t You Worry ‘Bout A Thing” in 2014, before releasing his debut album “In My Room” in 2016, a record which he produced entirely in his bedroom – obviously. There have been two volumes of his “Djesse” series of albums, so far covering a wide range of music genres such as Groove, Soul, Folk, A Capella, and a few more, using the music magic of reharmonization. “Djesse Vol. 3” had finished recording in May, and Collier plans to release it at some point during the summer. He says it’s more based around electronic and Space sounds, and he created the single “All I Need” by using samples of sounds from his bathroom. He’s enlisted the help of BRITs Critics Choice Award nominee Mahalia and US rapper Ty Dolla $ign (Fun Fact: He used to be dating the Fifth Harmony singer Lauren Jauregui) for the new single, which I first caught hold of in the third episode of the new series of “Later… With Jools Holland” on BBC 2 – See him perform “All I Need” on Jimmy Kimmel Live below.

Looking for ways to stay creative during Lockdown, Collier uses the soulful voice of Mahalia and the synth direction of Ty Dolla $ign to evolve his Jazz sound to a more contemporary R&B/Neo-Soul one. The opening line: “Hi!”, leads to small talk: “I love the way that I feel when you put your arms over me”, is based on a small Keyboard groove and a high-pitched vocal delivery, before Mahalia chips in: “‘Cause every time I think about it/I can’t stop thinking ’bout it”, with a line of admittance: “You are all I need”, leading to a bridge of synth-pop sounds that feel very aired and radiating, paired with a line of energetic key changes and backing vocals that chant along to the beat of the synth-led breakdown, before it settles into the opening keyboard riff again. If I’m being honest, there isn’t much I like about this track at all. I really liked the “Later… With Jools Holland” performance since it was more acoustic, but the studio and Jimmy Kimmel Live versions sound pretty terrible. A basic synth groove composes itself around a low-pitched delivery that sounds annoying. The ideas feel half-baked and the songwriting feels quite shallow, saying nothing other than “Hey, I like you” which isn’t very interesting in the first place. The chorus sounds generic and gets tedious by the end, and the Ty Dolla $ign section… just wow! It’s horrific! It’s just so needlessly drenched in cheesy auto-tune effects that it makes you cringe, leading to an all-together breakdown of stupidly high-modulated voices, floundering along with synths that don’t seem to have much direction. It’s a pity, as Collier clearly has a sense of humor, with a well-animated look, some of the transitions are neat too, but the track feels cynically headed for the mainstream and the Electronic direction does him no favors at all. Overall, I really hate to say it, but it’s soul-less. You’ll be hearing it in your local supermarket soon, and the label will be glad they’ve got a hit. I’m sure Collier is capable of more and I can’t wait to hear it. This one is just too overproduced.

  • Pictured: Cover Artwork for “Djesse Vol. 3” (Set for release in Summer 2020) (via Hajanga Records/Geffen/Decca)

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 assure you, I’ll be back to my positive self tomorrow. We’ll be looking at the brilliant new track “The City” from Jockstrap, who absolutely blew my socks off with their single “Acid” earlier this year. The duo are one of the latest signings to Warp Records, along with Squid. 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: Blossoms – “If You Think This Is Real Life”

May 4, 2020 — 1 Comment

These five have been “Blossoming” their musical friendship – It’s time for a new post!

  • Pictured: Tom Ogden (Lead Vocals/Songwriter), Josh Dewhurst (Lead Guitar), Charlie Salt (Bass Guitar/Backing Vocals), Myles Kellock (Keyboard/Synths) and Joe Donovan (Drums/Percussion) at the 2017 BRIT Awards (via PR)

May the Fourth be with you! Good morning to you, I’m Jacob Braybrooke and I’m writing 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! Blossoms seem like a fairly well-known band because they’ve been getting airplay from BBC Radio 2 and Radio X over the last few years. Blossoms are a 5-piece Pop band from Stockport who had one of the best-selling debut albums of 2016 with “Blossoms”, obviously their self-titled first LP. They’ve spawned fairly big chart hits with “Your Girlfriend”, “Charlemagne” and “I Can’t Stand It”, the first of which I find to be fairly okay and the latter two of which I’m not very keen on. Blossoms are back with “Foolish Loving Spaces”, their third album, produced by The Coral’s James Skelley and released back in January. The record was a number one album on the UK Singles Charts. It’s interesting to note that although they are classified as “Indie” for their sound, they’re not proper indie because they’re signed to Virgin Records as opposed to making and releasing their music independently, so it’s an example of “Indie Bollocks” as you know I like to call it here. I’ve been singing “If You Think This Is Real Life” while pottering around the house a lot lately as BBC Radio 2 have caught on to it. Let’s have a groove with the video below…

Reading my description above, you were probably expecting for me to give it a scathing review, but that’s not actually the case! Although it is a very radio-friendly track, I actually feel that it’s pretty decent and that it’s a lot of fun. Tom Ogden chants: “If you think this is real life/Look and you may find/Run, son, it’s your sunlight, don’t act so uptight” over a triumphant, big synth riff. Rhythmically, he quickly chimes: “I made a mess of your heart/I think we’re falling apart/I made you wait in the rain” over a Technicoloured keyboard riff and a nostalgic, 90’s Pulp-like guitar riff. Ogden also recites: “I said that I would move on, I thought I’d see the world, But I stay in watching the news/At night I think about you” adding a recurring “It’s unacceptable” refrain before a very 80’s guitar interlude and a repeating chorus with the unashamedly 70’s electric instrumentation carrying the melodic formula. It has a tinny, almost makeshift, drum riff repeating throughout the track that oddly reminds me of Men At Work’s “Down Under” mixed with an aesthetic which screams ShowaddyWaddy to me. The lyricism is quite direct and it’s delivered over a sumptuous disco-pop groove, with soft guitar riffs adding to the keyboard-driven melodies that feel classic and game show-like. It’s a bit more mainstream than my usual standards and it’s no doubt an example of “Indie Bollocks” as they’re not independent artists, but, that aside, I find it to be very groovy, infectious, the hooks are catchy and it will appeal to an audience. It’s Pop, but I do think there’s something about it. Therefore, it manages to transcend my musical snobbery – but I will just try not to act “So Uptight” about that!

  • Pictured: Cover Artwork for “Foolish Loving Spaces” (Released on January 31st, 2020) (via Virgin/EMI Records)

Thank you for reading this post and I hope that you enjoyed it! Please make sure that you self-isolate with me again tomorrow where I’ll be covering the brand new single from one of 2019’s finest! It’s from an American Female Solo Artist who took a break from music to give birth to her lovely child and starred in both seasons of The OA, a Netflix Drama series, as Rachel. 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: Tomo Nakayama – “Tick Tock”

April 21, 2020 — Leave a comment

The clock is ticking, hopefully, on this awful Quarantime time! It’s time for a new post!

  • Pictured: Portrait Cover Artwork for “Pieces Of Sky” (Released on September 8th, 2017) (via Ricebelly Music)

He’d like to “Get To Know You” now! Happy Tuesday, I’m Jacob Braybrooke and it’s my day-to-day pleasure to write about a different piece of music on the blog to you each day! One of the most recent releases that I’ve covered on the blog lately, “Melonday” is the new LP record by Tomo Nakayama, an electronic artist signed to Ricebelly Records. Nakayama was raised in Japan, but he is currently based in California. Nakayama has a strong background in composing independent film scores and he’s also got his roots set in indie folk, as he is best known for being the leader of cinematic indie folk group Grand Hallway. “Melonday” is a surprising departure from the ambient and tranquil sounds of his previous catalogue because he’s exploring a very pop, feet-on-the-dancefloor sound, focusing on groovy disco-pop anthems, with the aid of co-producer Yuuki Matthews, who’s also worked with Teardrops and The Shins – Let’s have a listen to “Tick Tock” in the self-produced music video for it below!

On his first day of COVID-19 quarantine, Tomo Nakayama laid out a white sheet in his studio and decided to groove to the sound of “Tick Tock” to film his own music video for the track. It’s a compelling move to release a dance album while nobody is allowed to congregate for a boogie on a dancefloor. I feel that Nakayama has done as good as a job as he could have though, and I think the intimacy of this video adds a light-hearted humor that we all need in this time. Nakayama croons: “Girl in the evening gown/Where do you go when you’ve got nothing around?” and “We live in a lonely time/You’ve got your devices/I’m in service to mine” above a stuttering synth melody which shimmers and shakes over a tender backing vocal. He also comments on the dating app culture that we’ve come used to, quickly reflecting on his age and experience level when it comes to romance: “Swiping away the signs/Of growing older/But, I believe in you”, before he repeats the chorus: “Tick tock when you look at the clock/And the second hand starts to move/You look tough, but I like you a lot and I know you like me too”, a melodic synth hook that comes after a slowed, self-reflective line of interwoven synth beats. The chord progression is very propulsive, as he trades acoustic guitar strums for bright, swirling watercolor synths. It sounds very 80’s, and unashamedly so, with a clear Breakfast Club throwback style. It’s a track simply about being open and honest when it comes to finding love in the digital era, but I feel there’s a personality and maturity behind the simplicity of the surface and the part where he grabs a shoe and shimmers: “hello” with it held to his ear as a phone cracks me up. Lyrically, it’s easy and simple to follow, with kinetic hooks and catchy vocals creating a very Phoenix sound. It’s bright, ‘cutesy’ synthpop sweetness!

  • Pictured: Tomo Nakayama with a physical vinyl copy of “Melonday” (Released on April 7th, 2020) (via Facebook)

Thank you for reading this post! I’ll be back tomorrow, as per usual, with an in-depth look at a recently released single which made it to John Kennedy’s X-Posure evening show playlist on Radio X! It’s the new dance project from a trio of musical icons including a former Radiohead producer, the vocalist of FEMME/lau.ra and Joey Waronker, who’s toured with REM and Beck as their live drummer. 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: Little Dragon – “Hold On”

April 11, 2020 — Leave a comment

Dragons would make good accountants… The economies of Scale! It’s new post time!

It’s just another Gothenburg morning for this Swedish electronic funk band, but it’s just another Saturday morning for me – Jacob Braybrooke – because I’m writing about your daily post on the blog! It’s my day-to-day pleasure to give you an in-depth look at a different track every day! Little Dragon were formed in 1996 when they attended music “jams” at an after-school club in high school, with frontwoman Yukimi Nagano meeting Fredrick Wallin and Erick Bodin, deciding on their name due to the “little tantrums” that Nagano would stress over during their sessions. She’s a perfectionist! So far, Little Dragon have six LP records under their belt, with “Nabuma Rubberband” from 2014, their fourth album, being considered their best, receiving a Best Dance/Electronic Album nomination at the 57th Annual Grammy Awards in 2015. The quartet are back with “Same Me, New Us”, pairing up with the Ninja Tune label this time for it’s release, which was on March 27th. The new album explores more soul and disco elements than the group have previously. Let’s listen to “Hold On” below…

It doesn’t quite veer into cosmic-themed territory, but “Hold On”, the leading single of the new album, is still a celestrial groover based on a disco-tinged rhythm. Lyrically, the track explores the qualities of having an evolving life that’s worth living. This is conveyed through a pulsating keyboard riff and a mid-tempo drum groove. Among a wealth of calm synthesizer framework, Nagano croons: “Hold on/Where you gone?/Where you going?” over a sleek melody of 70’s dancefloor pop. She continues: “Baby stay/time has changed us so in every way/Beyond our dreams and more/the stars are not aligned”, a vocal hook of reconciliation glazed in an R&B smoothness. She later adds: “Hold on, before you go/One thing that you should know/I never meant to hurt you so/I wish you happiness, joy and good fortune, boy”, before a short interlude paves the way for a luminous keyboard riff that sounds timeless yet contemporary, but looks to the Saturday Night Fever of the 70’s for an added punch of inspiration. The feet-on-the-floor soundscape is dance-able and relaxing, but it feels a bit sophisticated in extra measure. The key sound changes throughout the song and it’s diverse, which acts as a fun teaser for the core theme of shift in the album. The sound is very clean and polished and I think it would be a good fit for a daytime radio station because it feels accessible, but it isn’t too generic. Although the track delivers the key beats of the album to good effect, I feel the modern electro-pop sensibilities can feel a little bit half-baked or undercooked, with the track being a soulful blend in alternative pop, electronica and disco-funk, but never feeling entirely cohesive. It’s decent though, and I think that comparisons to The Knife shall be made.

  • Pictured: Yukimi Nagano (Lead Vocals/Percussion), Fredrick Wallin (Bass Guitar/Synths), Håkan Wirenstrand (Keyboard/Mixing) and Erik Bodin (Drums/Cowbell) (2020) (via Rolling Stone)

Don’t forget to catch up with my WWE WrestleMania 36 Weekend Special if you missed out – Friday’s post, “El Santo: The Silver Masked Avenger” by The Nick Atoms, is here: https://onetrackatatime.home.blog/2020/04/03/wwe-wrestlemania-36-weekend-special-the-nick-atoms-el-santo-the-silver-masked-avenger/. Saturday’s post on Bruce Springsteen’s “The Wrestler”, is here: https://onetrackatatime.home.blog/2020/04/04/wwe-wrestlemania-36-weekend-special-bruce-springsteen-the-wrestler/. The weekend’s final post on “The Legend Of Chavo Guerrero” by The Mountain Goats can be perused here: https://onetrackatatime.home.blog/2020/04/05/wwe-wrestlemania-36-weekend-special-the-mountain-goats-the-legend-of-chavo-guerrero/!

  • Pictured: Cover Artwork for “New Me, Same Us” (Released on 27th March, 2020) (via Ninja Tune Records)

Thank you very much for reading this post! I hope that you stay safe and that you enjoyed reading it, as well as discovering some cool music in the process! Don’t forget to check back with the blog tomorrow – Yes, it’s Easter Sunday – but it’s also going to be time for your first new Scuzz Sundays post in two whole weeks! We’re almost there! 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: The Knife – “Is It Medicine?”

March 18, 2020 — Leave a comment

Here’s a cult favorite act who’s popularity never got the chop! It’s time for a new post!

Pictured: Karin Dreijer (Lead Vocals/Keyboard) and Olof Dreijer (Splicing/Effects/Bass) (2006) (via NPR; press shoot)

“Cutting” their discography loose at just four solo albums over their career, The Knife are a Swedish Alternative Electronic pop duo who achieved huge breakthrough success with 2003’s “Deep Cuts”, spawning a big international following on their own independent label, Rabid Records. A certain aura of mystique is built around the careers of Karin Dreijer and Olof Dreijer, who certainly aren’t afraid to rush new music into production, along with their public appearances wearing Venetian masks at press events and their bold refusal to attend awards ceremonies. The Knife eventually disbanded after the release of “Shake The Habitual” in 2014, not counting a joint-production with Mt. Sims and Planningtorock. But their impact wasn’t beaten to the cut, neither like my awful Knife puns have been. One of the most curious tracks on 2003’s “Deep Cuts” is “Is It Medicine?”, which merges a rolling, synth-based electro-bassline with a power-led, 1970’s retro-pop sensibility. Let’s have a listen to it below!

“Is It Medicine?” is a powerful dancefloor filler about handling the difficulty of social anxiety and claustrophobia. This rough-edged tone is created by an aggressive electro-pop strobe line, which effervescently interweaves with a brazen vocal hook, as Dreijer croons: “I don’t know/I don’t know what to say/Is it medicine or a social skill?” over a layered fusion of futuristic guitar samples and progressive keyboard riffs, aided by a call-and-response part of backing vocals from Dreijer. The duo make jabs at the 9-5 office work culture: “Another day has come to an end/Then you start to cry again” and discuss feelings of internal quarantine: “being sad is a full time work”, as a mid-tempo acid techno beat jousts with a conflicting, loud vocal shriek from Dreijer near the end of the track. The female vocals will almost certainly be of an acquired taste and it may be difficult for new listeners to access on a first listen, but “Is It Medicine?” has managed to stand the test of time fairly well, with a timeless pop sound that feels dated and ahead of it’s time in equal measure. It provides call-backs to the new-wave influences of New Order and Eurythmics, while also having a contemporary euro-pop sound that feels closer to the likes of Robyn and Bjork. A track that’s tucked away a little bit, “Is It Medicine?” still has it’s imperfect pop appeal.

Pictured: Cover Artwork for “Deep Cuts” (Released on 17th January, 2003) (via Rabid Records)

Thank you for reading this post! I hope that you enjoyed reading it! I’ll be back tomorrow, as per usual, with an in-depth look at a single released back in 2018 by a Canadian indie dream-pop band who have self-released all of their music and once performed at the Montreal Jazz Festival, along with live performances at the heavy-hitting Coachella and Lollapalooza festivals! 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: Róisín Murphy – “Murphy’s Law”

March 10, 2020 — Leave a comment

Just as it feels like Róisín Murphy’s at the top of her game, she decrees Murphy’s Law!

  • Pictured: Róisín Murphy perfoming a headline set at the BBC Radio 6Music Festival (2020) (Photo Credit: Sarah Jeynes)

Murphy’s Law has struck again! Good night, I’m Jacob Braybrooke – writing about your daily track on the blog, as it’s my day-to-day pleasure to do so! It certainly comes as a pleasure to report on a new Róisín Murphy track being released – a follow-up track to her 2019 club banger “Narcissus”, a club track which made it onto the radio! Murphy is best known for being one part of an Irish electronic dance duo with producer Mark Brydon called Moloko. They had mainstream chart hits around the world, with the likes of “Sing It Back” and “The Time Is Now”, being particularly successful commercially in the UK. She’s been authoritatively re-assuring her position as the new queen of disco with a recent comeback of-sorts, which led her to become one of the headline acts at this year’s BBC Radio 6Music Festival, which took place at The Roundhouse in Camden last weekend. Evolution was a recurring theme of her set, following frequent costume changes and altered versions of the key tracks in her discography, both from her time as one half of Moloko and as a solo artist. She also dedicated her live set to the late-great Andy Weatherhall, which was a very touching notion. With a song called “Murphy’s Law”, you already know it’s going to be a banger! There’s a 3-minute edit available on YouTube, but I’ve attached the full version below!

A twinkling keyboard riff sets us off, as Murphy provides the narrative framework for her vocal performance: “I feel my story’s still untold/But I’ll make my own happy ending” as a percussive layer of hand-clap effects take us through the refrain: “I think maybe I’ve outgrown this old town/I see you almost every day/And every time I turn around/Our love is stuck on replay”, a line which echoes the sentimental tone through a melodic, old-school pop rhythm. Murphy continues: “Ever since we broke up/I’ve been afraid to go out”, as Murphy matches a 70’s disco throwback style with more emphatic songwriting functions. An expertly polished synth line draws the chorus in: “It’s Murphy’s law/I’m gonna meet you tonight/Just one match could relight the flame”, a static bass guitar riff underlines the sonic direction, “And just when everything is going ‘alright/Murphy’s law is gonna strike again”, with the track gradually adding layers of wavering drum loops and interweaving guitar licks, as Murphy writes from the perspective of an ageing character visiting her old town to rekindle interest with an old flame: “All of my hard work keeps going down the drain”, while feeling unfulfilled and untapped. A mature dancefloor filler, Murphy anchors the end of the track with: “Keep on/Keep on/Keep on/Keep on…”, a sentiment which evokes the disco classics of “Saturday Night Fever” or Chic’s older work on classics like “Le Freak” in the late 1970’s. In comparison to Narcissus, Murphy’s Law detracts from the string-based arrangements and provides a larger variation of moods with it’s more gentle pacing. It manages to live up to the lofty expectations of the track’s title, with Murphy’s personality, as an artist, really managing to hold your attention throughout the long, 8-minute duration of the track. The lyricism is memorable and the style is nostalgic, albeit progressive. I think Murphy’s great – your Queen Of Disco!

  • Pictured: Róisín Murphy in a photoshoot for an interview with London In Stereo (2019) (Photo Credit: Nicola Nodland)

You can read my thoughts on “Narcissus” here: https://onetrackatatime.home.blog/2020/01/09/todays-track-roisin-murphy-narcissus/

  • Pictured: Róisín Murphy pictured with her co-producer and co-lyricist Mark Brydon in their Moloko days (date unknown) (Photo Credit: Alwaysontherun.net)

Thank you for reading this post! I’ll be back tomorrow, as always, with an in-depth look at a wrestling-themed track, released in 2012, by a British post punk band who were formed back in 2005, had a UK top 10 hit with “Heavyweight Champion Of The World” and were invited to support Oasis on their final tour – playing a blockbuster show at Wembley Stadium! 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: Confidence Man – “Does It Make You Feel Good?”

February 26, 2020 — 1 Comment

Did it make me feel good? You’ll have to read my thoughts in today’s post to find out!

  • Pictured: Janet Planet (Vocals) and Sugar Bones (Vocals) in a photoshoot for “Does It Make You Feel Good? (2019) (Photo Credit: Zac Bayly)

Good evening – It’s Jacob Braybrooke here, writing about your daily track on the blog, as it’s my everyday duty and pleasure to do so! I’ve been very busy helping on the latest Staffs TV production, “Society Pub Quiz” at University today, so it’s another late-night post from me, which might be a blessing in disguise since I’m going to be introducing you to a chilled dance-pop anthem from the Australian EDM group Confidence Man, who were formed in Brisbane in 2016. The group made a huge name for themselves with their debut album, “Confident Music For Confident People”, which they released to critical acclaim and commercial success in April 2018, with the LP record earning the group the award for the “Best Independent Dance/Electronica Album” at the AIR Independent Music Awards last year. It was a very goofy, comical dance record which is very fun and entertaining to listen to! They’ve since returned with a one-off single, “Does It Make You Feel Good?”, which they released back in November 2019. The group are now signed to the Heavenly Recordings record label. Let’s have a little listen to “Does It Make You Feel Good?” with the music video below.

Did that make you feel good? The track is a slight departure from the sound of their full-length album, with a lighter emphasis on underlying darkness and humorous songwriting, with the group opting for a more feel-good and internationally appealing focus, with a light-hearted, old-school disco tone. The funnily named Janet Planet asks: “If something doesn’t make you right/Does it make you feel good?” above a mellow infusion of gentle house scratches and sentimental synth-line patterns. Planet croons: “I know you’re gonna do me wrong/But I got numbers in my telephone”, a verse she later ends with “It’s our love baby/our love, baby”, a line which carries itself to a soft-centered pop groove, through the use of a settled, mid-tempo snare and a hidden layer of synthetic Bongo drum patterns. The track ends on a very hopeful note, as Planet finishes: “Does it make you feel good?/Does it make you feel good?” over a pulsating drum machine riff, followed by a simplistic fade-out. Whilst I don’t think the track is necessarily bad, I couldn’t help but feel rather lukewarm towards this one, which is a shame. I really enjoyed their album because it was filled with invention and humor, with an overly tongue-in-cheek thread which connected each of the tracks together, which made it sound unique and inspiring with it’s unashamedly “dorky” context. In the case of this, I feel it’s following the influence of more mainstream pop acts, rather than doing it’s own thing. As for the positives, I like how it’s an accessible record for casual listeners to enjoy and I think it’s good how the band, lyrically, explore a more serious theme. However, the reason I’m not overly fond of this track is because of this evolution. With a less chaotic style and the removal of witty vocals, it just lacks the energy and rebellious spirit which made them a unique act to follow. While the subtle psychedelia is nice, it doesn’t match the fierce and sharp dance beats which made them stand out. It ultimately sounds like the band are just trying to have a hit, an aesthetic which doesn’t sit right with me. While I feel the 80’s disco style is entertaining to a point, the band lost one of their bigger strengths along the way, leading to a track which is chilled and laidback, but it feels quite dull and not inspired too fully. It’s alright, man – but it’s not my Confidence Man!

  • Pictured: Janet Planet (Vocals), Sugar Bones (Vocals), Reggie Goodchild (Synths) and Clarence McGuffie (Drums)

You can also read my thoughts on Confidence Man’s Christmas track, “Santa’s Comin’ Down The Chimney”, here: https://onetrackatatime.home.blog/2019/12/04/todays-track-confidence-man-santas-comin-down-the-chimney/

  • Pictured: Confidence Man performing a live gig at “The Great Escape” (2017) (Photo Credit: Brighton & Hove news)

Thank you for reading this post! As always, I hope you enjoyed it! – please make sure that you check back with the blog tomorrow to read my in-depth review of the new track from a legendary English Alternative Rock singer-songwriter who recently contributed on the production of the recent independent venue week documentary film: “Long And Winding Road”. along with Phillip Selway, Gaz Coombes, Squid, Kele Okereke, Novelist, Fatboy Slim, Richard Hawley and many more! 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