Synthwave

Today’s Track: Totally Enormous Extinct Dinosaurs – ‘Blood In The Snow’

April 5, 2022 — Leave a comment
Pictured: Vinyl copy of ‘When The Lights Go’ (LP) (Available from July 22nd, 2022) (via Nice Age Records)

Good Morning to you! This is Jacob Braybrooke, and the time has come for you to get invested in yet another daily track on the blog, despite any incredulous looks on my face, because it’s always my day-to-day pleasure to write up about a different piece of music every day! 2012 (Although I discovered this soon-to-be specified record a year or two later). Picture the scene. I was a young sprog, sitting on the college bus every morning, beginning to experience alternative music outside of the mainstream for the first couple of times with a hair full of dandruff, finding my place in the world. I was being simply swept away by the vibrant Drum ‘N’ Bass and ethereal Jungle sounds of Orlando Tobias Higginbottom (aka Oxford-born House producer Totally Enormous Extinct Dinosaurs) who injected colour in to the club environments of the 2010’s with his melancholic textures and a sense of longing in his voice, one in few of which I truly connected with at the time, with TEED’s critically acclaimed debut album release of ‘Trouble’. An entire decade later, ‘When The Lights Go’, the follow-up to that “Jacob Classic” of an album, is finally set to arrive on July 22nd. Higginbottom is a classically trained musician who is the son of a former choir conductor from New College, Oxford and he found his own footing through his studies at the Junior Royal Academy Of Music in London, before he became obsessed with electronic music through tapes lent by his siblings. He has since become one of my favourite musicians, and one of Britain’s most underrated exports in my honest opinion, although he is currently based in Los Angeles. To say that this dinosaur has been totally er, extinct between the ten year gap would be totally untrue, however. He has released several EP’s like 2013’s ‘Get Lost VI’, 2020’s ‘I Can Hear The Birds’ and 2021’s ‘The Distance’ to typically amazing results. ‘Heartbreak’, a collaboration with Bonobo, was also nominated for the ‘Best Electronic/Dance Recording’ nod at this year’s Grammy Awards. He has also collaborated with the likes of Anna Lunoe, SG Lewis, Kelsey Lu, Shura, Dillon Francis, Porter Robinson and Amtrac over the years too, as well as touring regularly. There is a great deal of excitement towards the new album, as it represents his most substantial body of material in ten years. Check out the lead single – ‘Blood In The Snow’ – below.

‘When The Lights Go’ will feature seventeen tracks, which were all largely recorded at Higginbottom’s own home in Los Angeles, California. He will also resume touring the US and Europe throughout the spring, including a Brooklyn show at Elsewhere Hall on April 29th alongside Kate Garvey and Heathered Pearls, with solo shows in Miami, Austin, Chicago and more to follow. Talking about the arctic theme of ‘Blood In The Snow’, he says, “The song is about melting glaciers and about wanting a daughter, and where to put love in this tailspin”, in his press assertion. Hitting the ground running with a haunting Double Bass intro accentuated by glistening Keyboard riffs and hazy Synth pads, Higginbottom warmly sings lyrics like “How much longer?, Before the damn begins to break” and “Precious winter, enough will all the growth” that feel downbeat and contemplative, while ominous and slightly reclusive in tone, as he questions his ambitions towards some parenthood and compares the emotions to the cyclical processes of nature. The chorus is gentle but striking, with the colder textures combining to the somber tune of lyrics like “Names for a daughter/Blood in the snow” and “But I want her, More than you know” that feel insular and precise, although the beat-driven pacing is laid out fairly sparsely. The instrumentation blends these arena-level electronics with his human, poignant vocals, where the distorted Synths create some interplay with the melancholic qualities of his vulnerable vocals by building gradually towards a halting crescendo, where his layers of textures simply crunch together. The verses are given space by the progressive Jazz-influenced Drums and the warping Synths that build to a slight alter in pace and mood in the late stages of the track where the different Snare sound comes in and, like his vocals, these changes feel subtle but delicate and merticulously crafted. This feels very different to the more club-driven sound of 2012’s ‘Trouble’ because the assortment of sounds deliver a low-key groove instead of an anthemic ‘danceability’ to them, but the delicate vocals of Higginbottom and the progressive, yet certainly grounded, take on Indietronica is still in there. It is admittedly a slow burn, but it makes for an emotional experience when you hear the different elements come together by the end and it has a similar tone of quintessentially British sadness and almost deliberately ‘flat’ vocals that only Higginbottom could really get away with, while the lyrics promise more maturity and growth from him as a songwriter, and it feels like rarity for him to use his own voice as the producer in this day and age too. ‘Blood In The Snow’ really stands out if you hear it on the radio, and it feels different to the spectrum of genres that he is often associated with, while sounding unmistakably like him in its bold production. Instead of totally extinct, this feels totally brilliant – and I’m stoked to hear the album.

Pictured: Orlando Tobias Higginbottom (aka Totally Enormous Extinct Dinosaurs) (2019) (Photo via EDM.com)

Here’s my TEED-related posts to get you warmed up for this highly anticipated album.

‘Los Angeles’ (2020) – https://onetrackatatime.home.blog/2020/08/05/todays-track-totally-enormous-extinct-dinosaurs-los-angeles/

‘Heartbreak’ (with Bonobo) (2020) – https://onetrackatatime.home.blog/2020/10/06/todays-track-bonobo-totally-enormous-extinct-dinosaurs-heartbreak/

‘The Distance’ (2021) – https://onetrackatatime.home.blog/2021/10/16/todays-track-totally-enormous-extinct-dinosaurs-the-distance/

Pictured: Cover Artwork for ‘The Distance’ (EP) (Released on October 27th, 2021) (via Nice Age Records)

That brings us to the end of yet another daily track on the blog, and thank you for continuing to support the site, as your time and attention is always appreciated very highly. It feels quite unbelievable that we’ve almost come up to another ‘Way Back Wednesdays’ post so swiftly, but that feature continues tomorrow with a post regarding a North Carolina-born Funk, R&B and Soul singer-songwriter who sadly left us in February. She was known for her controversially sexual-oriented performance style and songwriting. She was also the second wife of beloved trumpeter Miles Davis.

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Today’s Track: Maylee Todd – ‘Show Me’

March 10, 2022 — Leave a comment
Pictured: Toronto’s Maylee Todd in a recent photoshoot to promote ‘Maloo’ (2022) (Photo via TheStar.com)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to guide you through yet another exciting daily track on the blog from a very brave and ambitious singer-songwriter, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! ‘Brave’ and ‘Ambitious’ are just two words that describe the Toronto-based Art Pop musician Maylee Todd, who is new to this young writer’s eardrums, who has experimented with instruments as obscure as the Paraguayan Harp and the Tenori-on in her career since she began recording material in the 00’s. Todd has played across numerous festivals including the Crossover Jazz Fest and the Billboard Live Stage, she has performed alongside the likes of Janelle Monae, The Budos Band, Aloe Blacc and Thundercat on stage throughout the years, and she contributed her vocals to Bob Wiseman’s collaborative LP release ‘Giuletta Masina At The Oscars Crying’ in 2012. Todd was also the creator of Virtual Womb, a practical art exhibition where the audience walks through an enlarged CGI image of a Vagina and lies on the floor, awaiting the vibrant projections that float across on the ceiling, in 2017. Maylee Todd’s music seems just as visual and provoking, as a wide assortment of Indie Pop, Prog Jazz, Psych Funk, Bossa Nova and more have been incorporated into the sounds of her musical projects. Her latest full-length album – ‘Maloo’ – was released on March 4th via Stones Throw Records – an eclectic Funk, Jazz and Soul specialist label based in Los Angeles, California that has introduced several amazing artists like MNDSGN, John Carroll Kirby and Kiefer to my streaming libraries throughout the last few years of my work. Let’s give ‘Show Me’ a listen below.

To produce her latest artsy-craftsy LP project, Maylee Todd spent a lot of time researching VR throughout the pandemic, which led to some ideas on utopian, futuristic technology. The result is ‘Maloo’, a fictional character that she has designed in virtual reality that she created while working on the story and setting of a prototype VR video game, as she learned the skills of 3D modelling and body tracking to bring her vision to life. Dubbed as ‘The Age Of Energy’, a virtual space where the character is based, the concept album and the ‘Maloo’ avatar are influenced by intimate, personal origins. As Todd writes, “We participate in the digital landscape and our digital life has real-life implications”, in her press statement. Musically, she wrote and recorded ‘Show Me’ as the introductory single with the Yamaha Tenori-on – a discontinued electronic sequencer that was built by Toshio Iwai, a Japanese interactive media and installation artist. Her single begins with some glitched keyboard chords that convey visuals of futuristic cyberspace and post-modern technology immediately. The bass grooves grow deeper as her downtempo vocals become more hypnotic, and she allures you in to ‘Show Me’ with a noticeably Soulful skew that wouldn’t sound out of place on a Sly & The Family Stone or a Toro Y Moi record in it’s nostalgic, but free-form, nature. Lyrics like “Watch the birds, take their form/Icy hands, blood is warm” complement the peaceful and tranquil vibes, while the minimalist chorus of “Show me, your heart” is deep and intimate in it’s Lo-Fi textures. ‘Maloo’ may be conceptually driven and visually influenced at large, but the single is accessible enough to a fairly mainstream because it feels simple yet not simplistic. I also really admire the work that Todd has put into ‘giving the project her all’ by focusing on how the audio-visual aspects of the piece were written in tandem with her vocals. It reminds me of Bjork and St. Vincent, who are undoubtedly driven artists that have similar characteristics of boldness and communicating an idea through all aspects of the media at their disposal. In conclusion, it seems clear that Maylee Todd has a lot more to ‘Show Me’ – and I look forwards to seeing the rest of it.

Pictured: Vinyl Copy of ‘Maloo’ (LP/Album) (Released on March 4th, 2022) (via Stones Throw Records)

(That brings us to the end of the page for another day! Thank you very much for reading what I had to say about Maylee Todd for a few moments today, and I’ll be back tomorrow to guide you through a sneek peek at one of the weekend’s notable and new album releases. This week’s post involves the debut LP release from an emerging Alternative Rock 4-piece Post-Rock band who have been supported by the daytime playlist of BBC Radio 6 Music and they have been praised by NME. If you’re a fan of hard rock outfits such as Coach Party and Kid Kapichi – you’re going to enjoy it!

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Today’s Track: Toro Y Moi – ‘Postman’

February 15, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Mahal’ (LP) (Available from April 29th, 2022) (via Dead Oceans)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to virtually hand-deliver yet another daily track on the blog to your letterbox, because it’s always my day-to-day pleasure to write up about a different piece of music every day! We start the day with ‘Postman’ – a track that my mother is bound to enjoy since parcels are her thing. This is the new single from the South Carolina-born producer, singer, songwriter, multi-instrumentalist and graphic designer Toro Y Moi (aka Chad Bear), who is typically recognized as a figurehead for the Chillwave and Synthwave genres from the 2010’s, but his music also toes the line between a brevity of genres including Noise-Pop, Hip Hop, Post-Disco, Psychedelic Soul, Bedroom Pop, Ambient House and Alternative Rock. He has supported the likes of Ruby Suns, Phoenix and Caribou on tour and he has performed his single ‘Ordinary Pleasure’ on Ellen’s talk show. ‘Postman’ has been released as a double single that also includes ‘Magazine’ which features Salami Rose Joe Louis as the featured credit. These two singles are leading his new album ‘MAHAL’ that explores his Fillipino descent and it will be releasing on April 29th via Dead Oceans – the same label as the likes of Mitski, Shame, Khruangbin and Bright Eyes. The new record is a generous 13-track collection which includes contributions from Unknown Mortal Orchestra’s Ruban Nielson, Sofie Royer, The Matson 2 and Alan Polomo (of Neon Indian). Let’s pay his ‘Postman’ a visit below.

‘Postman’ and ‘Magazine’ are the follow-up singles to 2019’s ‘Outer Peace’ – Bear’s sixth studio album. He also collaborated with Flume on ‘The Difference’ during May of 2020, a collaborative single that scored a Grammy nomination and it was used in a global Apple AirBuds advertising campaign. Channeling his inner Bootsy Collins with ‘Postman’, Bear lays out some slinky Psych-Soul beats and some low fidelity Funk grooves that are accelerated by some breezy percussion, like the rattling Tambourine melodies, and the more melodic, driving Bass melodies. Aside from some occasional electronic yelps that sound amusing in how comedically processed they are, the vocals are pretty spacious. Lyrics like “Just another bill today/Just another bill to pay” are direct and to the point, while the repetition of questions like “Mr Postman, did I get a letter?/Did I get a postcard” reflect on the good old-fashioned anticipation that you experience while waiting for an inevitable arrival of a piece of post, a time that we’ve all been through. The last verse, however, features a more emotive lyric of “Mama wrote a letter/A Long time ago/Then she hit her head/God bless her soul” that implies that something more dark is occurring beneath the surface, albeit in a playful way when mixed to the slow rhyming scheme of Bear’s vocal delivery, followed by the glitched outro that feels slightly futuristic by heading towards indie computer music in the brief sequence. Bear clearly leans into how post is a little non-existent in our modern day and age to create some fun and give his track a feel that is both nostalgic and a little progressive. We get a strong grower overall that is a little bizzare, but in a good way, because the composition is frisky and the repetition builds on you with a few repeated listens, and it is the kind of track that can annoy you by getting stuck in your head at work all evening – and that’s coming from my personal experience – thus becoming a catchy little ear-worm. I really liked it with subsequent listens, and I’ve enjoyed quite a lot of Toro Y Moi’s music in the past since it has an air of ‘Almost Pop’ to it where he has a knack for structuring catchy chords and writing high-spirited hooks by directing a decent diversity of various influences, yet it is within his Lo-Fi and Minimalist production that really controls the pace. It has also been a long time since we’ve heard some new solo material from him in comparison to most other artists these days, perhaps, too – and so it feels like a welcome breath of fresh air to hear from him again on ‘Postman’. An engaging and quirky letter of revival and return.

Pictured: Toro Y Moi with Flume in a PR photoshoot for ‘The Difference’ (2020) (Photo Credit: Joyce Kim)

If you want to hear how Toro Y Moi’s style meshes with Flume, you can gauge ‘The Difference’ here: https://onetrackatatime.home.blog/2020/06/06/todays-track-flume-feat-toro-y-moi-the-difference/

Pictured: Cover Art for ‘The Difference’ (Single) (Released on April 30th, 2020) (via Future Classic Records)

That’s all that I have time for today, but I hugely appreciate your support by checking out the blog every day, or for the first time today, as you continue to spread the love to the site this Valentine’s Day despite it being finished. ‘Way Back Wednesdays’ is lined up for tomorrow, where we’ll be revisiting a classic of the Hip-Hop genre of the 1990’s by the Alternative Hip-Hop collective who made Charli 2na a household name.

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New Album Release Fridays: Trentemøller – ‘All Too Soon’

February 11, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Memoria’ (LP) (Released on February 11th, 2022) (via In My Room Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time to get through the last few hours of your tiresome working week with the aid of yet another daily track of the blog of the ‘New Album Release Fridays’ variety, given how it has always been my day-to-day pleasure to write up about a different piece of new music every day! One of today’s most eventful album releases comes from Trentemoller, a Danish film score creator, producer and multi-instrumentalist from Copenhagen, Denmark who has released lush compositions of a cinematic style for over 20 years now by drawing on elements such as Minimalism, Glitch, Dark Wave, Downtempo, Instrumental Hip-Hop, Synthwave, Post-Rock and more with productions that feel eerie and progressive for his grounded discography. Trentemoller started making music in the 90’s as a part of different Indie Rock projects and he has since founded his own label – In My Room Records. He also headlined the Orange Stage at Roskilde Festival in 2009 with a set designed by his close friend and touring drummer Henrik Vibskov, a night that saw him playing in front of 60,000 people with innovative visuals to captivate them. Today, he is releasing his sixth full-length studio album – ‘Memoria’ – via his own label. This is the follow-up LP to 2019’s ‘Obverse’, a record that was nominated for IMPALA’s European Independent Album Of The Year award of that same year and it also saw him collaborate with Warpaint’s Jenny Lee Linberg and Slowdive’s Rachel Goswell. For one of his latest singles – ‘All Too Soon’ – he has reached out to his own girlfriend Lisbet Fritze for a glistening series of radiant backing vocals. Let’s give it a spin below.

Taking us through the narrative behind ‘All Too Soon’ on his own Bandcamp page, Trentemoller says, “All Too Soon examines ostensibly diametric relationships of light and dark, life and death, day and night, love and hate, while actually presenting them as dualistic, and symbiotic, influencing each other as they interrelate. What might appear to be a dispiriting take on our mortality could just as easily be interpreted as its acceptance being liberating”, in his own description. Beginning with a light acoustic guitar strum that becomes more intense and darkens the atmosphere before Fritze’s mysterious vocals kick in, who croons pained lyrics like “Have you ever fallen in/Into an inner void?” and “Do you feel like I do? Abandoned from it all” with an enigmatic presence, with a Trip Hop-influenced soundscape that morphs into a more glitched and distorted picture frame of a piece as the four minute duration of the track takes its time. Trentemoller complements the scattering Shoegaze opus of the chorus – with regretful lyrics like “We can’t live forever/If we could, we would” being sprawled all below percussive feedback stabs by Fritze – with sumptuous melodies of melancholic Drums and antagonized trails of reverb. Together, it makes up for an ethereal combination of psychedelic Dream Rock and textured Progressive Pop with a few vague lyrics like “Is a growing darkness/All you see?” creating a platform of intrigue. Through the means of collaborating with his girlfriend, Trentemoller toys with the idea of connections, with lyrics like “Is it day or night/Is it love or hate/Is it anything between?” that contrast each other and his instrumental work employs some warm percussion that counteracts the more cold, dry tones of the guitar and drums. Overall, ‘All Too Soon’ is a detailed and well-informed exploration of items that are bound together, yet they are opposite and he soundtracks these relations with his pivoting instrumentation and his emotive yet guarded lyricism that doesn’t reveal much in terms of laying out a direct meaning, with an underlayer of Pop that ensures that light is appropriately clashing with darkness throughout his soundscape.

Pictured: Anders Trentemøller in an official photoshoot for ‘Obverse’ (2019) (Photo by David Ampong/Waves.com)

That leaves me with nothing left to say other than to thank you for time and wish you well on your way to the weekend. ‘Scuzz Sundays’ will return in two days time for the usual throwback to the ‘trashy teen’ era of our lives, but I’ve also got some new music to share with you tomorrow that comes from an Indie Rock duo from the Isle Of Wight who have been all played over BBC Radio 1 and BBC Radio 6 Music since their debut single – ‘Chaise Lounge’ – went viral last year. They are shortlisted for BBC’s ‘Sound Of 2022’ poll and they began touring in the US in December as they keep finding success.

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Today’s Track: Fasme – ‘ICI’

December 7, 2021 — Leave a comment
Pictured: Fasme (aka Tom Ferreira) playing a live DJ set at Gaîté Lyrique, Paris (2020) (Photo by Underscope TV)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for some big room melancholy that comes courtesy of 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! Said ‘big room melancholy’ is one niche that the Belfast-formed dance duo of Bicep (Matthew McBriar & Andrew Ferguson) have become a pair of unofficial kings of, scoring Best British Group and Best New Artist nominations at last year’s BRIT Awards for their concoction of Italo-inspired Electronica and multi-layered Breakbeat production. However, the duo have set a few new parameters for curatorial duties with the launch of their appropriately titled imprint label, Feel My Bicep. Their first signee is the Paris-born and Nantes-based experimental electronic dance music producer Tom Ferreira, who releases his music under the moniker of Fasme. Having caught the attention of the big-league’s Bicep when he released the ‘Stretched World’ EP last April, Bicep found ‘ICI’ on YouTube and so began playing Ferreira’s music in projects like a Friday Guest Mix for Mary Anne Hobbs on BBC Radio 6 Music and the duo’s own FMB radio podcast on Apple Music. Fasme has recently supported them on tour in October and he performed a live DJ set at Sarcus Festival in France in late September. Ferreira has said that “Fasme” is a nickname that his aunt gave him at her house during the summer one year. He takes his style from the Braindance, IDM and Techno Ambient scenes of the 00’s and he has named acts like RX 101, Binary Digit, James Shinra, David Harleydson and EOD as his influences. ‘ICI’ is taken from the new ‘Home’ EP which he released in late October via Feel My Bicep, of course. Check it out.

Bicep, as the co-managers of the Feel My Imprint indie EDM sub-label, writes that “his melodic sound is created on analog synths, evolving between Acid, Electro and Braindance” on the Bandcamp listing page for Ferreira’s recent ‘Home’ extended play, adding that Ferreira describes himself as “more of a live performer than a studio man” in the product’s description page. A track that reminds me of Aphex Twin’s ‘Druqks’ double album released in the early 00’s of misfit recordings with it’s set of minimalist Classical influences and Tin Man-esque Acid Jazz wiggling production that aims to conjure up some ‘Alien-like’ qualities overall, ‘ICI’ is a mid-tempo Trance serving that wants to provide a great example of why Fasme is a decent fit for Bicep’s Feel My Bicep label. Thankfully, this is a goal that Ferreira seems talented enough to succeed within, and ‘ICI’ has all the building blocks required to be in place to keep the festival crowds grinning, as well as feeling soft and melancholic enough to please those who would rather listen while tucked into their beds with their headphones at a good volume late at night because the chords never feel too overpowering and the distorted electronic Keys sounds never feel too harsh or aggressive for the scene either. It has it’s moments of melodicism with some moody chords that take a dark approach to the layered Lo-Fi production and some big emotive Synth hooks, as well as some mechanical electronic drum kit programming that gives the tone of the track a suitable uplift, but it never quite channels these sounds into an explosive track full of beat-driven sounds and plenty of ‘Bro-Step’ energy. Instead, it feels like a more pensive and contemplative wind-down for the end of a long night. A nebulous mix of acidic Synths, heartbroken Piano chords and neat, warm Bass stabs – ‘ICI’ is more concerned with multi-layered Synth loops and powerfully entrancing moments. Overall, ‘ICI’ is an impressive little recording that pulls off the fairly difficult task of making the Bicep-esque rave-ready despondency sound a tad more positively wistful.

Pictured: Fasme (aka Tom Ferreira) photographed for a wertn.com Q&A feature (2020) (Picture via Leviet.org)

That’s all for now! Thank you for checking out my latest post, and we’ll be counting down to Christmas with another festive-themed post featuring a track that left its mark on the niche in 2005. At the time, the track was written and performed by a Philadelphia-based indie rock band, but the project is now the solo work of multi-instrumentalist and producer Alec Ounsworth. The band appeared in the 2008 film ‘The Great Buck Howard’, and David Bowie was famously seen at some of their shows.

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New Album Release Fridays: Arca (feat. Planningtorock) – ‘Queer’

December 3, 2021 — Leave a comment
Pictured: Cover Artwork for ‘Kick iiii’ (LP) (Released on 3rd December, 2021) (via XL Recordings)

Good Morning to you! You are reading the words of Jacob Braybrooke and, for the final time until 2022 rolls around, it is time for us to take a deep dive into one of this weekend’s biggest new album releases, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! It all comes down to this. As the curtain draws the year of exceptional new music to a close, we are left with a final notable release. Or two. Or three. Or – in the case of Venezeulan experimental pop producer Arca – four. Last summer, she released ‘Kick i’ to an interesting reception and this week, she has completed the ‘Kick’ quintet with the release of ‘Kick ii’, ‘Kick iii’, ‘Kick iiii’ and ‘Kick iiiii’ all on the same day via XL Recordings, boasting a total of 43 tracks of wild Glitch Pop experimentation. I loved her track ‘Time’ on the blog last year, but a follow-up single – ‘Mequetrefe’ – received a more negative reception from me, so it will be interesting to see where ‘Queer’ from ‘Kick iiii’ (featuring the Estonia-based English DJ Planningtorock) lands with me. The critics seem to be liking the ambitious bible of projects, however, with The Guardian writing, “A wild ride to the dark, daring side of Pop” in their four-star write up. The Times added, “Pop that’s a pleasure to be confused by” in their appraisal. I mostly know Arca, also a transgender icon, for her friendship and a few collaborations with the Icelandic role model Bjork. However, Arca has also produced work for Kanye West, Rosalia and FKA Twigs (Who famously used to date Robert Pattinson for quite a while, I believe). ‘Kick iiii’ also features Garbage’s Shirley Manson, Oliver Coates & No Bra. Give ‘Queer’ a whirl below.

Pitching the fourth part of her ‘Kick’ series of augmented records as “an entry in the sensual charge in the cycle; my own faith made into song, a posthuman celestial sparkle, psychosexual pulsewidth modulation, queering the void, abyss alchemically transmuted into a deconstruction of what is beautiful” in her partial LP’s product description, Arca continues to explore the themes of alienation from the inside and a bursting apart of old skin with the glitch-driven lead single from her ‘Kick iiii’ album – ‘Queer’. Built up to be an anthem that is celebrating courage in the face of prejudice and encouraging queer romance in all of its forms, this is a dramatically exploratory single that establishes Arca in the ilk of a ‘true artist’ like Kate Bush or David Bowie where commercial accessibility is primarily not a target and expression with an almost ‘alien’ quality, where traditionally catchy genre traits are simply disregarded in favour of a creative approach. Therefore, I can definitely see why this track may not play ever so well to casual listeners and it, even for me, was a little bit overwhelming to fully grasp on a first listen. It has a vague resemblance to the Eurovision flavour of Pop, however, that gives us somewhere to start with her. Set against the backdrop of a Witch House trap beat that has an air of Latin Hip-Hop about it, calling to my mind names like 100 Gecs and Bad Bunny anyways, Arca and Planningtorock (her actual name is Jam Rostram) exchange a series of Spanish and English lyrics between each other in a trade, with anthemic lyrics like “Tears will shower in my time/Like a queer life/Queer fire” as the Synthpop textures and the science fiction soundtrack feel of the music dives along at a brisk pace that doesn’t ever quite let up entirely. Full of processed vocals and some more interchangeable genre influences that are buried underneath the broad instrumentals, ‘Queer’ finds itself preoccupied with swelling Synth arrangements and rattling percussive arrangements that each function as a mimicry of non-heterosexual forms of love in their diverse nature. The opening of the track is a highlight for me, where a screeching sequence of samples almost act as haunting strings that get the beats off to an unrelented start. Overall, while I can certainly agree that ‘Queer’ is a lot to take in at once and it takes some hard work to get the most out of, I felt rewarded by the emotive soundscape that becomes more vibrant and expansive in scope with my repeated listening. I can also appreciate the thought that goes into the visual aspects of her art too. A tsunami of seismic material.

Pictured: Arca in an official photoshoot to promote the release of “Kick i” (2020) (Photo Credit: Hart Leshkina)

As aforementioned, Arca has gained a little bit of attention from my blog before. If you found ‘Queer’ to be interesting, you can see what I made of ‘Time’ here: https://onetrackatatime.home.blog/2020/05/28/todays-track-arca-time/. You can also gain your own opinion of ‘Mequetrefe’ by visiting my take on it here: https://onetrackatatime.home.blog/2020/06/30/todays-track-arca-mequetrefe/

Pictured: Arca (Alejandra Ghersi) in a shot from the ‘Time’ music video (2020) (Photo Credit: Rolling Stone)

That’s all for now! Thank you for finding out what music that I had to share with you today, and we will be going back to our ‘Countdown To Christmas’ in glorious style tomorrow. Join me then for an in-depth look at a new holiday-themed album release by an American Acapella group from Arlington, Texas who won the third season of NBC’s ‘The Sing-Off’ in 2011 and they have won three Grammy awards following that time. If you are a fan of the three ‘Pitch Perfect’ movies, you may find it Aca-awesome.

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Today’s Track: Relaxer – ‘Narcissus By The Pool’

November 23, 2021 — Leave a comment
  • Pictured: Daniel Martin-McCormick in a Red Bull Studios Spotlight Session (2016) (Via RedBull.com)

Good Morning to you! This is Jacob Braybrooke, and the time has come for you to slip into something more comfortable for your 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! A New York-based experimental electronic music producer, Daniel Martin McCormick has enjoyed a career that reads like a long list of small achievements. He’s also known for releasing specialist music under the alias of Ital, and he is known for his frequent collaborations with the fellow DJ Aurora Halal. He has also been a member of groups like Black Eyes and Mi Ami, and he is the co-founder of Climate Of Fear, as well as being the founder of Lovers Rock Recordings. In 2019, he established a new alias of Relaxer and he released ‘Coconut Grove’, an album which delivered something that felt more close to a pure Techno album than his earlier releases. The follow-up, 2021’s ‘Concealer’, is his first album to be released on Planet Mu in ten years. It drifts towards hyper digital sounds and it marks his return to using PC hardware. The album’s cover art, created by the NY-based graphic designer Bjorn Copeland, is an indication of his new album’s sound, which explores the sub-genres of Dark Ambient and Microhouse. McCormick notes that it reflects “this open, airy material squeezed and wrestled into a contorted shape, suspended in air with an empty center. That’s exactly how the album felt. In this sense, I wanted to take myself out of it, to let the materials bloom into their own shape, guided by my hand but not defined by my intellect or any market concerns”, in a press statement. Let’s check out ‘Narcissus By The Pool’ below.

McCormick has revealed that his latest LP was “made in a very private way” and he describes this process as being akin to “peering into materials – the materials defined the record”, adding, “Rather than making a record that’s about an emotion, or a political scenario, or the dance floor, or the empty dance floor, or any narrative, this record was about communicating with the materials and letting them speak with me” in his own press notes. Taking a mellow approach to proceedings on mid-album cut ‘Narcissus By The Pool’, McCormick takes influence from old-school 90’s Glitch and more forward-looking minimalist Techno. By disregarding traditional Dance music traits and the normal contexts of finicky textures and spacial tricks that characterize popular Industrial music, he creates a more detailed recording that is defined by how the music flows and the intimate textures that it creates on its own. Using a slightly acidic Synth line and a chiming Chiptune melody, McCormick creates something simple and effective that would not have felt out of place if it was originally released during the mid-2000’s. It is far from just a nostalgic throwback anthem, however, with some downtempo oddities in sound and a peak-time euphoria feeling that creates something that feels more firmly post-modern. In conclusion, this is a beautiful record that isn’t focused on big hooks and catchy melodies, so it falls into a bit of a niche. However, there’s absolutely nothing that is inherently wrong with that, as it feels diverse enough to appeal to different sub-sections of audiences, like those who study at their computer to the beats of Lo-Fi radio channels on YouTube and those who are likely to take things down a notch right before bedtime with their ear plugs tuned into a podcast like ‘Ambient Focus’ on the BBC Sounds app. Whatever the case, this is meticulous, very thoughtfully crafted music that is approached like a sculpture.

  • Pictured: Relaxer (Daniel Martin-McCormick) performing with Halal at Rewire Festival (2020) (via PR)

That leaves me with little left to say! Thank you for reading the blog today, and I’ll be back tomorrow to resume the ‘Countdown To Christmas’ this year. Our next entry is a cover version of ‘Frosty The Snowman’ which was released in 1993 by a pioneering Scottish Shoegaze outfit whose lineup featured the head boss of Bella Union Records.

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Spooky Season Special: John Carpenter (feat. Cody Carpenter & Daniel Davies) – “The Shape Burns” (From 2018’s ‘Halloween’)

October 31, 2021 — Leave a comment
  • Pictured: John Carpenter (2021) (Photo Credit: Marlow Stern/Abaca Press/AP/TheDailyBeast.com)

Halloween greetings to you! This is Jacob Braybrooke, instructing you to park your Broom up and sit for a spell, since its time for the second part of our Spooktacular specials where we compare the classic and contemporary Halloween soundtracks, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Yesterday, we took an in-depth listen to ‘Michael Kills Judith’ from the titular scene of John Carpenter’s seminal 70’s horror flick, ‘Halloween’, and, today, we’re listening to ‘The Shape Burns’ from the recent reboot of the series. The production stages of 2018’s ‘Halloween’ saw the original film’s director and composer, John Carpenter, make his return to the series for the first time since 1982’s ‘Halloween III: Season Of The Witch’ as an executive producer and general creative consultant, and he also composed the soundtrack alongside Cody Carpenter and Daniel Davies. The flick was directed by David Gordon Green (Pineapple Express, Manglehorn) and it also saw Jamie Lee Curtis return to the franchise for more to reprise her role as Laurie Strode from the original film. Ignoring the narrative continuity of previous films from the series, which saw diminishing returns in later installments, the plot of 2018’s ‘Halloween’ is set 40 years after the story of the original Thriller film and it follows a post-traumatic Laurie Strode who prepares to face Michael Myers in a final showdown on Halloween Night. ‘Halloween’ (2018) was an enormous commercial success when it broke box office records for the Slasher genre previously held by 1996’s ‘Scream’ and it has gone on to become the current highest grossing Slasher film in unadjusted dollars, racking up over $255.6m in cinema ticket sales against a fairly small production budget of $10m. ‘The Shape Burns’ occurs during a pivotal moment in the film where Strode traps her old rival – Michael Myers – in the basement and sets him alight for the final time, presumably, since Myers also stars in ‘Halloween Kills’, the sequel that is now showing in cinemas. In the US, the new sequel is also streaming on some tiers of the Peacock streaming service for 30 days after its theatrical release. Another sequel after that – ‘Halloween Ends’ – will follow in 2022. Grab a slice of Barmbrack and hear The Shape burn below.

“We wanted to honor the original Halloween soundtrack in terms of the sounds we used”, Davies has explained in a press release for the reboot’s OST, adding, “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision. He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything”, to his notes for the OST’s release, with the aim of paying homage to the major ‘Halloween’ score that Carpenter composed and recorded in 1978. As with yesterday, I’ve attached a clip of the scene where ‘The Shape Burns’ is used below and a piece of the audio with a plain text background in this post – just for your preference of reference! At first instance, ‘The Shape Burns’ feels surprisingly very similar to the ‘Michael Kills Judith’ stinger from the original film that we explored yesterday and that is because Carpenter and company bring back the tingling Synth melody that goes back and forth throughout the original soundtrack. Once again, things feel minimalist and the production design is not very elaborate, instead relying on rather simplistic melodies to convey emotions of bittersweet melancholy and taking the final stand that Laurie Strode and the other characters perform in the movie since the chords feel urgent. There’s less of an emphasis on tension, however, and more of an Orchestral style that suggests something has been paid off, mixing some feelings of triumph and relief in the contemporary score. It revisits the chilling Synths of the original score and the non beat-driven nature of the old soundtrack with the clear nods to Halloween’s late-70’s past, but there’s a higher tempo and some more varied Electronic keys sequences that inspires a ‘send-off’ or ‘battle’ theme, connoting a higher sense of action and pace in the recent film than the vintage one. The score taps into a slightly higher gear and it introduces some lower pitched Synths that feel more grand and cinematic than what came before, but the production methods still feel rather low-key and not too overly produced because the formula is kept simple. Overall, ‘The Shape Burns’ promises a thrilling and exciting sequence that hurtles the unsettling Strings at a neck breaking speed, while keeping the same Synth patterns and Lo-Fi production of the original score in tact. This move, in turn, adds new bells and whistles to the score in comparison to the original flick but it also manages to make it feel rather old and reminiscent of the original flick due to the clear similarities which point directly towards the late-70’s. How very Ghoulish.

https://www.youtube.com/watch?v=SmAbvUaq58I

If you are not currently up to speed on the first part of our Spooky series that began yesterday, check out these thoughts on ‘Michael Kills Judith’ from the original ‘Halloween’ score. Try not to get caught up in Michael Myers’ killing spree while you do it here: https://onetrackatatime.home.blog/2021/10/30/spooky-season-special-john-carpenter-michael-kills-judith-from-1978s-halloween/

  • Pictured: Cover Art for ‘Halloween’ (OST) (Released in 1979) (via Columbia Records/Varese Sarabrande)

That’s everything for now – and all for this year’s All Hallow’s Eve too. There’s no tricks tomorrow though, and just treats, as we jumpstart the beginning of the new month with new music from a new artist. It comes from a 17-year-old singer songwriter who is releasing her ‘Artificial’ EP next Friday. She makes indie alt-pop songs with a hint of psychedelia and jazz – and she has received daytime airplay from BBC Radio 6 Music.

  • Pictured: Actor Nick Castle with Michael Myers’ iconic Halloween mask (2018) (Photo by Ryan Green)

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Spooky Season Special: John Carpenter – “Michael Kills Judith” (From 1978’s ‘Halloween’)

October 30, 2021 — Leave a comment
  • Pictured: Actor Nick Castle with Michael Myers’ iconic Halloween mask (2018) (Photo by Ryan Green)

Happy All Hallows Eve! I’m Jacob Braybrooke, and I’m wishing you a spook-tacular season with a two-part spread of new posts where we compare the work of John Carpenter’s music for the original 1978 version of ‘Halloween’ and the recent 2018 rebooted edition, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Born in Carthage, New York – John Carpenter is an American film director, composer and producer who is known for films like ‘Dark Star’ (1974), ‘The Thing’ (1982), ‘Big Trouble In Little China’ (1986) and ‘Vampires’ (1998), with the latter earning him a Saturn Award for ‘Best Music’. His films range between cult classics and commercial successes, but he was given the Golden Coach Award by the French Directors’ Guild in 2019 at the Cannes Film Festival for his overall contributions to cinema as an art form. Carpenter also holds a Commercial Pilot’s Licence and he has appeared in many of his own films as a pilot with a rotorcraft helicopter in cameo roles. None of his movies arguably scream seminal quite like his famous 1978 horror film, ‘Halloween’, which was selected for preservation in the US National Film Registry by the Library Of Congress for being “culturally, historically or aesthetically significant” in 2006. It remains to be one of the most profitable Indie films of all-time following its release way back in 1978, and it has grossed over $70m globally. The success of ‘Halloween’ kicked off a long line of Alfred Hitchcock-inspired Slasher flicks, and it has spawned a media franchise of sequels, remakes, reboots, novelizations, comic books and video games in the years to follow. The plot of the film follows the events of mental asylum patient Michael Myers, who was committed to a sanitarium for murdering his babysitting teenage sister on Halloween night – October 31st – when he was six years old. Fifteen years later, he’s on the loose and he escapes to his hometown, where he stalks a female babysitter (Laurie Strode, played by the very famous actress Jamie Lee Curtis), while being pursued by his Psychiatrist. It sounds like terrifying stuff – although I’ve only ever seen bits and pieces of the original film and the 2018 reboot, which we’ll be discussing to see what has changed (or not) tomorrow in musical terms. We’re going to listen to the music that plays in the opening scene where Michael kills his sister Judith, the catalyst for all of the stories that followed, from the original soundtrack released in 1979 in Japan, and 1983 in the USA. Grab your Pumpkin Spiced Latte and get in the seasonal spirit below.

‘Halloween Kills’ is the latest film in the series, which is showing in cinemas now. In terms of the original soundtrack, however, it was originally falsely credited to the Bowling Green Symphony Orchestra because one of the film’s producers felt that it wouldn’t be taken seriously if credited to Carpenter honestly. However, the harsh Synth theme of the film seems more famous than the film itself in some ways, and so the joke’s on them. Carpenter also states in several interviews that his father was a music professor who taught him to play a drum beat on the Bongo’s in a 5/4 time signature when he was a child, and that was the key inspiration behind the notable, abrasive Synth chords in the film that run throughout the score. I’ve included the scene where ‘Michael Kills Judith’ is used in the film for your reference, and a plain text background featuring the music itself above, just for your preference of reference! Anyways, it is easy to see that Carpenter wanted to capture a very seriously murky and uneasy atmosphere for his score, and he packs a lot of minimalist suspense material that basically acts as a recapitulation of the same eerie Synth motifs of the ongoing music into the scene. He doesn’t try to replicate a fake imitation of an orchestra playing the music, and he instead leans in to the unusual Drone sounds of the spacious instrumentation that he uses quite scarcely. The Synths are piercing and unpleasant as the original Synth sections from the original theme music keep replaying, but the opening music of the scene is not beat driven at all, and the chords and melody is barely existent. Instead, we get a slow and plodding build to some jump scare-ish like rhythms as the ghostly Piano music uses its few melodies to key effect and flutter beneath the long, Drone sequences of Ambient production. The sound quality is very good, but the patterns are irregular and they create a sense of ‘unearth’ and discomfort when you listen to it since there’s no emphasis on consistent hooks or very frequent patterns. However, there’s a slight glistening effect of the Synths at the start that could lull you into a sense of security that later proves to be false. In conclusion, this is a great part of the official soundtrack because it creates the atmosphere of inevitable stabbing and subtle tone changes to complement the horrific visuals of the movie scene while using elements of Drone music and Ambient classical music to create abnormality and uncanny emotions for the listener through the uneven instrumental patterns that are difficult to predict. It doesn’t necessarily frighten me or even scare me, but it manages to put me on edge a little bit since it prepares me for the dark and occasionally Gothic, yet coherent material of the movie.

That’s all for now! As mentioned, we’ll be comparing and contrasting the soundtracks of two of the more popular ‘Halloween’ films over the weekend, and it continues tomorrow when we listen to something from the more contemporary reboot of the series from 2018, which broke prior box office records held by ‘Scream’ on its release.

  • Pictured: John Carpenter (2021) (Photo Credit: Marlow Stern/Abaca Press/AP/TheDailyBeast.com)

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Today’s Track: Maya Jane Coles – “Night Creature”

October 21, 2021 — Leave a comment
  • Pictured: Maya Jane Coles in the official music video for ‘Run To You’ (2021) (Photo via PR/EDM.com)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for me to add yet another daily post to my monstrous tally of past uploads, because for the last two years, it has always been my day-to-day pleasure to write up about a different piece of music every day! Today’s track is ‘Night Creature’ – and this aptly titled drum-and-bass tune comes your way from the award-winning Maya Jane Coles, an electronic house music producer and studio engineer who was born in London, and Coles is an icon of the LGBTQ+ music community. Her success is no overnight sensation, however, because Coles has instead spent numerous years playing at festivals and clubs, and she has gained attention from making remixes for the likes of Ella Fitzgerald and Depeche Mode, along with getting sampled by mainstream stars like Nicki Minaj and Katy Perry. Ever since Coles became active in 2006, she has collaborated with names like Tricky, Peaches and Young M.A. on her own original work. Coles has a new album coming out, ‘Night Creature’, which is her first release under her actual name since her ‘Would You Kill (4 Me)’ EP that was issued last year, but she also released her second album under the Nocturnal Sunshine side alias – ‘Full Circle’ – in 2019. She was previously a part of the electronic Dub duo of She Is In Danger with Lena Cullen, and you may also recognize her from her other secondary alias of CAYAM, which she has also released her music under. She confirmed her latest album last month alongside the release of a Triple Single where she shared the mixes ‘Night Creature’, ‘Survival Mode’ and ‘Need’ from her new LP, which sees the light of day on 29th October via her own label, I/AM/ME, and it features guest feature spots from the likes of vocalists Julia Stone, Lie Ning and Claudia Kane, and her frequent collaborator Karin Park, who are all participating on the new 13-track collection of cuts. For Coles, a DJ of Japanese descent, her new record feels like the antidote to our recent collective experiences under Covid-19 restrictions, as the LP will be exploring the allure and energy of the rave experiences which comes to life when the evening gradually turns into night and the light becomes dark. Check out the title track below.

This is spooky season after all, and after performing recent DJ sets at Fabric and Leeds’ Mint Festival late last month, Coles has been building up a sense of terror and dread for next week’s perfectly timed release, explaining about the new LP in a press release, “When it comes to my music-making, I’ve pretty much always been a creature of the night. My creativity tends to work at its best during those peaceful hours when my surroundings are at a standstill and I feel completely in my own world”, before contrasting and comparing with, “Then on the flip side, in the club, the night can shift into the most energetic and ecstatic moments in time” in her press statement. ‘Night Creature’ – the title track of the record – feels like a fitting musical transfer of these ideas, starting off with a mix of twinkling and otherworldly Horn melodies, before the Bass kicks in and the tranquil Synth melodies continue to run through some rougher melodies and a paced increase in aggression. There’s a little distortion to the bassline, which begins with a relatively slow-burning energy before the tempos frequently become more erratic and irregular in their nature. Shimmering patterns in the later portions of the track contrast the more extra-terrestrial themes naturally, as the Techno-inspired drops of Bass rumbles and kick Drum melodies become more versatile and display contrasting moods to the other aspects of the single. It feels like an eclectic dance track that would really benefit from the high energy of the crowds within the European festival circuit, and there’s a rather ominous atmosphere that undercurrents the whole package. Although there’s not a great deal left to say about the track, it certainly feels groovy and danceable in an unconventional way as the Halloween theme fits the harder melodies and the cerebral production, and it is nice how the track never veers into an over-the-top ‘Bro-Step’ style of production, sticking to her roots in club-oriented Techno and rumbling Hyperdub-like, UK-synonymous Dubstep flavours instead. A monster-mash of good ideas, both visually and musically.

  • Pictured: Maya Jane Coles performing a DJ set at Parklife Festival (2015) (Photo by Derek Bremner)

That’s all for today! Thank you for checking out my latest post, and I’ll be back with more posts to celebrate ‘Spooky Season’ next weekend. In the meantime, though, ‘New Album Release Fridays’ is another matter for me to deal with, so feel free to revisit the site tomorrow as we talk about the new LP from a Florida-based musician of Ecuadorian descent whose previous album got a rave review from Pitchfork. He was the recipient of 2019’s Grants To Artists award in music from the Foundation For Contemporary Arts, and he appeared on a tune from Ela Minus’ debut album last year.

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