Christmas Day Special: Angela Morley – “Snow Ride”

So – this is Christmas Day. Wishing you a Merry Christmas and a very Happy New Year.

Great Tidings I hope to bring – my name is Jacob Braybrooke, and it’s time for me to get writing up on the blog all about this year’s especially Festive track – because it’s always my day-to-day pleasure to write to you about a different piece of music every day! That includes Christmas Day – otherwise you wouldn’t be reading these words right now – would you? I really wanted to do something unique and special for this year’s Christmas Day post, and so we’re going to turn to some classical music to bring some light into a Christmas that’s unusual for us. An idea that may or may not have been suggested by my own mother – I’ll leave that one for you to get worked out. In any case, Angela Morley’s “Snow Ride” is a recording which began life as a Classical music composition for film directors and television producers to use for their suitable backgrounds of an icy winter’s journey, before it was originally lost in 1964 due to the Chappell fire. Although it’s sadly unclear when this composition was first recorded, originally, the track was later digitally restored from it’s original recording by the code of Morley’s webpages. It seems to be cleverly reconstructed – and the fascinating thing about Morley is that she was the first openly Transgender person to be nominated for an Academy Award, back in 1976. Morley has also scored works like ‘Watership Down’, ‘The Little Prince’ and ‘The Slipper and The Rose’. Sadly, we lost Morley in 2009, at the age of 84, due to some complications from a heart attack. Her memory lives on from hits with the likes of Dame Shirley Bassey, Robert Farnon and Scott Walker – and my research into her career tells me that she would have been a familiar household name with the BBC in the 50’s. Let’s check out “Snow Ride” below.

The work of “Snow Ride”, by the English – and later Arizona-based classical music composer – was included on Naxos’ compilation album of seasonal classical music entitled “Another Night Before Christmas”, and you can also catch it on the John Wilson Orchestra’s album comprised of reworkings of Angela Morley’s work entitled “The Film & Television Music Of Angela Morley”, which was released in 2009 – as a celebration of her life – via the Vocalion record label. Obviously, there are no singing vocals at all to be analysed here – but the orchestral String sections and the wide-eyed crescendo of Cello melodies mixed with sweeping Horn patterns manage to evoke a very nostalgic and cheerful range of emotions – The childhood excitement of waking up to a tree full of presents and the delightfully frozen, Arctic environments of a Scandinavian winter springs to mind for me. The instrumentation is catchy and melodic, with a jovial sense of percussion blending with a comforting and Traditional range of Brass instrumentation. The pacing is actually quite stop-and-start and push-and-pull – if you read between the lines here – as a sparse Woodwind melody creeps into the frame at the mid-way mark – only to be teased instead – and pushed aside by the main repetition of the theme of the Violin arrangements. It leads to polished Sleigh bell melodies and even an Xylophone beat supplying layers to the theatrical, swooping chorus of climactic, grand String melodies. Most of these instruments convey an exotic expression – but they never really enter the soundscape thereafter. Although the melodies are quickly paced, the laidback moods of each of these phases, if you will, within the track imply to me that there is no particular hurry to the winter’s journey taking place in the narrative framework – but the aim seems to be a fun, exciting time in the cold air. A warm mix of familiarity and powerful layers is the key and although it’s not something that I’d usually go out of my way to seek out – I enjoyed it – as the traditional sounds give me a warm feeling of pure winter joy inside.

Thank you for taking the time out of your Christmas Day to read my special post. Join me again for Boxing Day tomorrow – as we clear up our trilogy of unique and different seasonal posts with another large stylistic change. Instead of Hip-Hop or Classical music – We’re looking at a fun novelty track from one of the internet’s original favourites. Some of his most famous works have spooked or parodied the likes of Madonna, Michael Jackson, The Rolling Stones, Lady GaGa, Nirvana, Red Hot Chilli Peppers, The Backstreet Boys, Coolio, and many more. 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/

Scuzz Sundays: Blink-182 – “I Won’t Be Home For Christmas”

They are just interested in All The Small Things – nothing too big. It’s Scuzz Sunday…

You know what Day it is – but then I just told you, didn’t I? I’m Jacob Braybrooke and it’s time for a Christmas edition of our weekly Scuzz Sundays feature, where we take a look back at one of the ghosts of Emo-Rock and Pop-Punk past, first released between the late-1990’s and the mid-2000’s, to see how it holds up today! Well, if there was ever a time where the whole British public – and our friends across the globe – needed cheering up, it’s now. I’m going to try my best to do exactly that with this – “I Won’t Be Home For Christmas” from Blink-182. Following yesterday’s news in the UK, the title of the track feels like it’s weirdly taken on another context now, which is bizarrely fitting of our living situation since I’d chosen it about a week ago now. Nevertheless, originally, it was titled as a parody of “I Will Be Home For Christmas”, the vintage Walter Kent and Kim Gannon classic. It was released in 2001 by the US Pop-Punk megastars Blink-182, but you can also find it on their “Greatest Hits” compilation LP. I’ve yet to do a Scuzz Sundays post on Blink-182, which is a little strange considering how they were cornerstones of the era, but then, I wasn’t ever really that keen on them, to be honest. This single was a huge commercial success for them, however, and it became the band’s biggest hit in Canada, reaching the #1 spot on the charts there. Fill up your stocking with ‘I Won’t Be Home For Christmas’ below.

This was originally recorded in 1997 as a Radio Promo/Jingle – and Alex Robert Ross, of Vice.com, described it as “It is the Family guy of Christmas songs, the New Jersey boardwalk T-shirt of Holiday jams, the gurning, half-stoned brat of Yuletide anti-merriment”, and, even though it usually takes me some convincing to agree with the critics at most times, I think he’s got it pretty spot-on there. A cacophony of toilet humor, penis jokes, American loathing, and Power-Pop guitar chords, make for a prodigal mixture of Tinsel Torment. The vocalist, Mark Hoppus, exclaims: “Outside the Carolers start to sing/I can’t describe the joy they bring/’Cause Joy is something they don’t bring me” in the opening verse, to show a spot of Sass, and later sings: “Well, I guess it’s not cool to freak on Christmas Eve/’Cause the Cops came and arrested me/They had an unfair advantage” in a heavier second chorus. The song structure is a fairly conventional pop one, but the very “Indie”-sounding bass guitar riffs are adorned with ringing Church bells and percussive little Sleigh bell melodies to sell the rather brash frustration of our lead narrator. The chorus plays out with: “It’s Christmas time again/It’s time to be nice to the people you can’t stand all year/I’m growing tired of all this Christmas cheer” above the frantically paced blend of Pop-driven lyricism and the Skate-Punk driven guitar instrumentation. The vocals are admittedly just a bit rough around the edges, but the chorus is perfectly fine, because the overall sound is a fairly catchy and enjoyable one. The lyrics stumble down that fine path between teen rebel and sociopath a little, but the vocal delivery is quite sharp, and I found the Grinch-esque little rhymes to be mildly amusing. This is not a masterpiece, but I enjoyed it. It doesn’t sound too outdated on most accounts – and it fits our times. Before we raise our spirits again, let’s wallow in the sadness a little first.

Thank you for reading my latest blog post – and hang in there! Join me again tomorrow as we take our minds off the season for a bit of California love from a Swedish Experimental Electronic music composer who really dares to be different, with the title track from an album which he released back in September. He’s set to play Club shows, in Sydney and Adelaide, over in Australia, in March next year. 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: Christafari (feat. Makamae Auwae) – “Angels We Have Heard On High”

Don’t ever forget that it all happened Once In Royal David’s City! Time for a new post!

Twas’ the weekend before Christmas! My name is Jacob Braybrooke, and it’s time for me to get writing up all about your daily track on the blog, because it is always my day-to-day pleasure to get virtually typing up about a different piece of music every day! “Angels We Have Heard On High” is a track that I’ve actually been really looking forward to sharing with you all week – but I thought I’d leave it until now because it feels closer to the week of Christmas, and I know that you always want to hear a good one on a Saturday, or, I at least hope so. It comes from Christafari, an 8-piece Christian Reggae-Dub super-group who were put together by Mark Mohr, an ordained Church minister who was born as a Rastafarian, before he became a Christian at the age of 17. Morh also fronts the band. “Angels We Have Heard On High” was originally released back in 2013, from their “Reggae Christmas” album released through Lion Of Zion Entertainment, but it was re-released a year later, along with a new music video. This is a Reggae take on the “Angels We Have Heard On High” French hyym, which tells the story of the birth of baby Jesus from The Gospel Of Luke. Let’s take a listen to it below.

My research indicates that Mark Mohr found an affinity for Reggae music, becoming a grower of Marijuana, in his teens, after a visit to Jamaica in 1986, but his life took a turn for the best, and, after enrolling in Biola University in 1993, he received his ordination in 1997. The video for “Angels We Have Heard On High” is a real Christmas Cracker (Sorry!) and it makes me laugh out loud with the cast of colourful characters who answer their front door to find Christafari and Makamae Auwae singing the carol to them, and I feel that the Thor guy really deserves a special mention, in this post, for his dance moves. As for the song itself, it’s highly joyous and cheerful, with a minimalist vocal production that reminds me of Pentatonix in it’s Acapella influences. A fun Marimba beat and a percussive Jamaican Steel Drum beat form the groovy rhythm, as Auwae sings: “Angels We Have Heard On High/Sweetly singing O’er the Plains/And the mountains in reply/Echoing their joyous strains” on top of a light auto-tune effect that makes her voice sound clear and on-point, but not too artificial and overproduced. A Dub beat is created by Mohr, who adds a rhythmic delivery to “Me say, we give him the glory” and he, in fact, almost creates a Hip-Hop melody. The rest of the group provide some well-spirited vocal harmonies in the background, throughout the song, which are quite subtle and inobtrusive, but the odd “Hey” and the longer notes of the chorus make it feel more ‘Christmassy’ and more seasonal. It’s the cheerful chants of “Gloria, In Excelsis Deo” that gives it an uplifting punch, while the instrumental beats sound very jovial and melodic throughout. The percussion is really crowd-pleasing stuff, and I think the track manages exceptionally well to remind you of the true meaning of Christmas and slightly distract you from the heavy consumerism of the Festival, while still retaining a fun, engaging, upbeat and positive vibe. It also feels very ‘Christmassy’, while providing a nice alternative to the generic tunes from Band Aid or Paul McCartney that you end up hearing ten times a year. If you ask me, this is an absolutely fantastic way to put the “Christ” back into Christmas!

Thank you for reading my latest blog post! As per usual, I’ll be back at it again tomorrow, for a Festive edition of our weekly Scuzz Sundays feature, where we take an in-depth listen to one of the ghosts of Pop-Punk or Emo-Rock’s past, released between the mid-1990’s and the late-2000’s. 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: Sufjan Stevens – “Christmas Unicorn”

In our latest episode of random christmas songs that really exist! Time for a new post!

Season’s Greetings! My name is Jacob Braybrooke, and it’s time for me to get writing up about your daily track on the blog, because it’s always my day-to-day pleasure to type up right here a different piece of music every day! Sufjan Stevens is a singer, songwriter, multi-instrumentalist and composer from Detroit, Michigan – and a very prolific one. There’s plenty of albums, mixtapes, EP’s and more for you to stick your teeth into, and he’s never the type of artist who really sticks to one genre. There’s the downtempo, symphonic instrumentation of 2005’s “Illinois”, the lo-fi and minimalist Acoustic Folk style of 2004’s “Seven Swans”, and the swooping electronic textures of 2001’s Zodiac-inspired “Enjoy Your Rabbit”. It also seems to be, however, that he loves Christmas. “Songs For Christmas” was a box set of five seperate EP’s worth of Festive-themed music recorded between 2001 and 2006 that he released in 2006, and if that wasn’t enough, six years later, he released “Silver & Gold”, another box set of five EP’s worth of Christmas-related songs and carols, all of which were recorded between 2006 and 2012, and it was the spiritual successor to the previous Seasonal themed release. “Christmas Unicorn” seems to be one of the most beloved tracks from the release, and it’s 12 minutes long. Make a cuppa and take a listen to it, with me, below.

Stevens’ latest regular release was “The Ascension”, which he released in September this year, a high-concept Electronica album which looked at the human nature of finding active purpose and escaping emotional crisis in a technologically dominated world. A fun fact about Stevens is that his name “Sufjan” is a Persian one, and it most famously belonged to Abu Sufyan, a figure who predates early Islamic history, and the name was given to him by an inter-faith spiritual community which his parents belonged to when he was born – So he happens to really know about these things. “Christmas Unicorn” is admittedly not one of his most accessible tracks, due to the sheer length of the product, but it is widely loved by the critics and his fans alike. I would argue that it has a three-act structure though. Sufjan immediately cries out: “I’m a Christmas unicorn/In a uniform of gold” and compares the majestic, enigmatic character of a Unicorn to a metaphor of religious holiday and festive consumerism, over the top of a harmonious backing vocal and an Acoustic guitar rhythm that evokes the 70’s Art-Pop Psychedelia of David Bowie. A long vocal note leads into an off-kilter, electronic transition into Sleigh Bell percussion as the second third of the track morphs into a leftfield call-and-response ballad of Dream-Pop melodies and experimental synth textures, as Sufjan chants: “You are the Christmas Unicorn, too/It’s alright/I love you” to a more immediate and quirky Synth pattern. The closing act of the segmented track is an inviting cover of Joy Division’s “Love Will Tear Us Apart”, where the 80’s New-Wave Synthpop classic is given a lease of new life through the intersection of Sufjan’s consistenly repeated hook, mixed in with jingle bells and a slowly depleting suite of electronic beats as we finally move through the gradual fade out at the end. There is a lot of depth, and it’s very long indeed. However, it’s the Electronic synth instrumentation and the track’s ability of gradually adding new elements that keeps it from lacking in cohesion and getting too tiresome. All-around, it does strike me as a track that probably should not really “work”, but it does. While I can’t see it being added to every single Christmas-related playlist on every music streaming service due to it’s alternative style and it’s sheer length, it manages to balance a comical quality with a more emotional feeling pretty nicely, and the “Christmas Unicorn” title of the track and it’s lyrical hook is an implication of multiple aspects of Christmas – like the consumerism, the religion and the celebration which goes with it – being rolled into one manifestation or being. Santa is on his way, but it could also be the ‘Christmas Unicorn’ that’s destined to pay your ears a visit this year!

Thank you for checking out my latest blog post! Normal service resumes tomorrow, and it’s our final regular entry in the Scuzz Sundays series before we take a look at some more Seasonal-themed tracks that also fit the brief of the year-running feature. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Wombles – “Wombling Merry Christmas”

What is a 70’s kid’s favourite sport on Television? – Wombledon! Time for a new post!

Crikey – I really couldn’t think of anything else! Not to worry, because it’s now time for me to get typing up all about today’s track on the blog, because it’s my day-to-day pleasure to help you discover a different piece of music every day! In timely fashion, since today marks the first day in which you’re allowed to open the first door of your advent calendar, we’re going to take a look at “Wombling Merry Christmas”, a festive novelty hit from 1974. For those unaware, The Wombles was a children’s television series run by BBC in the 1970’s, which was based on a series of children’s books written by Elisabeth Bereford, and it was centered on a set of pointy-nosed creatures that lived underground and recycled human rubbish. It sounds pretty trash on paper, pun intended, but it was very popular and influential at the time. Naturally, the producers of the show decided to get a group of people to dress up as The Wombles and appear on an episode of Top Of The Pops in November of 1974 to kick-start a campaign for “Wombling Merry Christmas”, a novelty single released on CBS Records, to reach the #1 spot of the UK Singles Chart that year. It nearly did so, reaching the #2 spot, losing only to Mud’s “Lonely This Christmas”. This was actually only their first attempt at it, because the track was re-recorded in 2011, with a new music video, in an effort to reach the same goal of a Christmas #1 hit in the UK Singles Chart. It fared much worse, however, I think the reason being that The Wombles were too old of a property for the new generation of youngsters, who are typically the age market who consume the most music, especially via streaming platforms. The track was released in West Germany too, yet it failed to chart. Let’s watch The Wombles perform it below.

It’s tricky to understand that it exists. This is coming from a 22-year-old who has no real experience of seeing The Wombles on television, but I’m vaguely familiar of their existence due to some early memories. You’ve got to remember that it was actually a decent commercial success, even though my research tells me that the critics mostly mocked it during its original release, for reasons that seem pretty clear. That never stopped them from performing a short set – including this track – at the Glastonbury Festival in 2011, however. It was later compiled onto the LP, “Keep On Wombling”, which was surprisingly the group’s third album release as The Wombles. “Merry Wombling Christmas” could be described as a care-free tune for the seasonal time, with the lead erm… Womble singing upbeat pop lines like: “Open your eyes/Look to the skies/When you are lonely” and “Under the ground/There is the sound of a symphony” over the top of a 70’s-centric guitar riff that evokes the contemporary Pop culture of it’s time. The comparisons to The Kinks and The Beatles are measurable, and the hook comes through at a brisk pace, as “All day, we will be Wombling in the snow” and “We wish you a Wombling Merry Christmas” comes through with an uplifting mood, before a saxophone solo provides a brief respite from the Boyband-ish vocals. I wouldn’t say that the melodies are particularly Christmassy, and I don’t think the hook is really that catchy, but it’s a fun case of something random existing and the instrumentation is varied enough for it to not get tiresome. We’re obviously not meant to take it too seriously, and it’s cheesy fun. I could argue that it’s novelty diminishes the credibility of the arts, but I’m too busy Wombling along to feel the need to get too harsh on it. It doesn’t really take the trash out of it’s opposition since there’s not very much to it musically, but I still wish you a Wombling Merry Christmas!

Thank you for checking out today’s Christmas-themed blog post – I’ve got more to come later this week! As always, you can join me again tomorrow – Where we will be looking at something more serious, but it’s still quite light-hearted. The track comes from a new French Synth-Punk group who are still in their 20’s, and they have just released their debut album on the Un Plain Simple label imprint of Sony Music. The trio have supported Blossoms on a European Tour. 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/

Scuzz Sundays: The Bloodhound Gang – “The Ballad Of Chasey Lain”

Well…Here we are again! It really is a Dog Eat Dog world out there! It’s Scuzz Sunday!

There goes your Sunday! Greetings to you, I am Jacob Braybrooke and it’s time for another weekly installment in our Scuzz Sundays series, where we take a listen back to an Emo-Rock or Pop-Punk relic released between the late-90’s and the mid-00’s, to see if they hold on to value and quality in our current times! We previously covered “The Bad Touch” in our series, and it’s a song that everybody is familiar with (Never Again!). However, generally, the public don’t seem to be very aware of their other material, but the band have actually been quite successful, commercially speaking, with sales of 6 million copies of their albums worldwide, and a particularly decent following in European territories. Today – that changes – as we take a listen to “The Ballad Of Chasey Lain” in retrospect. Much like their biggest hit, this track was released as a single from their debut album, “Hooray For Boobies” (Yeah….Seriously), which was released in 1999. The track was re-released as a single in 2000, with the single’s title alluding to Jimmy Pop (Yes, that is really the alias of the lead vocalist) seeing Chasey Lain, a pornographic film actress, in a clothing shop advertisement. He commented “No” when he was questioned if the infatuation was real…and this was an interview with BBC. This reached #15 in the UK Singles Chart. Let’s listen in below.

Of all places, the track has been frequently used as the bumper music for a lucrative US Texas-situated radio station, KRBE. Along with this, Jimmy Pop has confirmed in his interviews over the years that the core melody for the track was sampled from “Sea Of Sin” by Depeche Mode, of all bands. Writing from the viewpoint of a mock stalker, Pop recites lines like: “I just wanted to ask/Could I eat your a**?” and “You’ve had a lot of d**k Chasey, but you ain’t had mine” over the top of a jangled, heavy guitar riff and a harsh bass guitar riff. You’ve probably noticed – this is just incredibly, undeniably silly music, but I think that it’s important to remember that Bloodhound Gang have always been a Novelty group, and you’re not really supposed to take them seriously as a sub-contemporary piece of music. That doesn’t mean it’s really any good, though. Lines like “Now, show ’em them t***ies” and, in the end, “Would ya f**k me, for blow?” feel tired and ware very thin by the end, although I think the monotone delivery that Pop uses is quite amusing. This is much less Rap-Rock driven than a lot of their other work, with a skewed Punk instrumental giving off a low-fidelity Folk-Blues idiom instead. The lyrics are about the lowest common denominator nonsense you would expect, as a harsh and crude set of lines like “How could I ever eat your a**, when you treat, your biggest fan like that?” and “You’ve had a lotta d**k/I’ve had a lotta time” get repetitive and lose any charm they had, before you gradually get to the end-point of the track when you realise that you’ve just wasted 3 minutes of your life – I’m sorry for wasting yours. It’s a shame that Pop isn’t using enough variation to keep things, at least, mildly catchy here, as the Punk-Folk mismatch of instrumentation is more interesting. For what it’s worth though, it’s crap.

I’m not sure why you really would, but if you must – You can read up on my thoughts of “The Bad Touch”, of which we already covered as part of our 1st Anniversary Special of our long-running Scuzz Sundays weekly feature on the blog, here: https://onetrackatatime.home.blog/2020/08/23/scuzz-sundays-1st-anniversary-special-the-bloodhound-gang-the-bad-touch/

Thank you very much for reading my new post! As always, I’ll be back at it all again tomorrow, as I hope to aid you through the daily grind again. We’ll be taking an in-depth look at the big return track from a UK hip-hop rapper, songwriter, lyricist and poet who previously appeared on a few episodes of Channel 4’s Celebrity Gogglebox with his mother – Jean Coyle-Larner. 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: Daniel Avery – “Lone Swordsman”

I wish that it was but a flesh wound for the 90’s Black Knight! It’s time for a new post!

Hands up if you got my little reference to Monty Python up there! Good Morning, I’m Jacob Braybrooke and it is time for me to write your daily post, because it’s always my day-to-day pleasure to write up about a different piece of music every day! “Lone Swordsman” is a different type of charity single – a tribute to the legendary 90’s DJ Andy Weatherhall, who we owe a lot of our music to. He sadly passed away at the age of 56 in February due to a Pulmonary Embolism. This comes from Daniel Avery, a London-based Electronic Ambient Dance musician. The track’s title is taken from one of Weatherhall’s numerous side projects – ‘Two Lone Swordsmen’ – a name which Weatherhall and Keith Tenniswood co-produced a series of albums and EP’s under. The track is the digital B-side to Avery’s “Dusting For Smoke” single, which has been taken from his latest album, “Love + Light”, that Avery put out earlier in the year via Mute Records. Proceeds from “Lone Swordsman” via Bandcamp will be donated to Amnesty International in memory of Andy Weatherhall, so please make sure that you seek it out there. Let’s sample the track with the Greg Hodgson-directed video below.

An improvisational piece, Avery posted on his social media: “I was in my studio the morning I heard about Andrew Weatherhall’s passing. The track ‘Lone Swordsman” is what formed that day”, adding, “Andrew was a hero, a friend and someone who regularly reminded us all how it should be done”, and he was close to Weatherhall personally, having performed some back-to-back live DJ sets together in the past. With no lyrics at all to speak of, the solemn and peaceful beats of “Lone Swordsman” are enough to create a fitting little tribute to Andy Weatherhall with a euphoric sense of innocence and purity that has no need for vocals to add an extra punch to the digital melodicism. It starts off with a percussive, stabbing drum pattern that almost replicates the sound of a Ping-Pong ball to me, creating a theme of childhood and soft nostalgia with the ambient soundscape. A musing sequence of gentle synths creep in, a Celestial sound that adds an element of Space-Pop and old-school 90’s rave tracks with it’s deeply electronic sound. The tempo slightly raises throughout the track as we gently build up to an ambient washing of vivid, colourful Synths and more deeply textured, percussive drum loops. There is a slick bassline that runs throughout, one which doesn’t feel too modern or contemporary, but instead feels analogue-driven and with a contemplative tone that fits the subject matter of the track nicely, and continues to evoke a nostalgic and light-hearted emotion with it’s light sonic steps. The recurring set of synths keep lurking in and out – as if to just slowly massage your ears to the beat of the more percussive layers in the repeating drum beat of the track. Rather than evoking a Dancehall-oriented club sound, it reminds me of the work that legendary DJ and personal favourite Aphex Twin explored on “Xtal” specifically and the general sound of “Selected Ambient Works 85-92” by using the simplicity of the drum sounds to Avery’s advantage. This is not really a heavy dance beat and feels more of an emotive ambient ilk, so you’re not going to find the next big dancefloor-filling club record if you’re looking to find that from this, but it feels perfectly suited for it’s purpose instead and it’s laid out very impressively, with merticulously planned synths which properly reward you with repeated listens to it. Rest in peace, old friend.

Thank you for reading my new post! As always, please feel free to join me again tomorrow – where will be skewing towards Post-Punk instead. We will be taking an in-depth listen back to cult classic track from 1989, an example of work taken from the early discography of a cult favourite 90’s Post-Punk band who were formed in 1986 by Ian MacKaye in Washington, DC. The band earned critical acclaim and crossover success across the world before starting their indefinite hiatus in 2003. 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: System Of A Down – “Protect The Land”

Get your Chop Suey ready at the double – IT has finally happened! It’s new post time!

Good Morning to you, I’m Jacob Braybrooke, and it’s time for me to type up about your daily track on the blog, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! WELL! This took 15 years, and a war between Azerbaijan and Armenia to happen, but… IT HAS! SYSTEM OF A DOWN ARE BACK! The Alternative Metal icons played a major role in my upbringing – as with countless others – in getting me into the Alternative music scene for the rest of my life, and after the band fell out 15 years ago due to ideological and artistic creative conflict, they have bonded together in the studio once again in an effort to raise awareness of the war going down in their native country, as every member of the group is of an Armenian descent. The Nu Metal icons had crossover hits with the likes of “Chop Suey”, “Toxicity” and “B.Y.O.B.” back in their heyday, and it’s easy to argue that they are one of the most influential groups, not just of the metal genres, but of Rock music in general. As mentioned, the band have released their first new output, after years of rumors and speculation that seemingly was false. “Protect The Land” and “Genocidal Humanoidz”, both of which are available to purchase now on their Bandcamp page, with the proceeds from sales going towards the Armenia Fund, and it was recorded to raise awareness of the Azerbaijan-Armenia conflict that started in September. “Protect The Land” has it’s own full music video. Let’s check it out below.

Shavo Odadijian, the band’s bassist, said the new music was “bigger than our ego’s” in relation to the band re-uniting after creative difficulties caused their original split in support of their country’s armed forces amidst a “dire and serious war being perpetrated upon [their] cultural homelands”, as the 4-piece dropped the two new tracks onto the unsuspecting public on Friday. Whereas “Genocidal Humanoidz” wouldn’t feel very out of place on their “Toxicity” output back in the day, “Protect The Land” feels more alike to the Prog-Metal style the Nu Metal icons explored on “Mezmerize”, back in 2005. Built on a towering bass guitar riff and a propulsive drum timing signature, “Protect The Land” sees the outspoken, Political Alternative Metal musicians go back to what they know, and seemingly reveling in that experience. Serj Tankian plays off a swaying lead guitar riff from Daron Malakian, as he sets big lyrical hooks like “The enemy of man is his own decay” and “Would you stay, and take a stand?” over the top of a concise bass guitar rhythm and a well-delivered, straightforward lead guitar riff that permeates through the track at a quick, sharp pace that doesn’t let up. The chorus is very anthemic, as Tankian chants: “Our history and victory and legacy we send” and “From scavengers and invaders, Those who protect the land” above a fragmented, but melodic, lead guitar riff and a climactic drum part. The instrumentation is heavy, but the vocals and the interplay between the members of the band manage to convey an emphatic sense of warmth – one that we haven’t quite heard in Metal for quite a while, I think. This just emphasizes what a great moment this really is for Metal and for Music in 2020, with vocals that feel expressive and political, just as we’re used to hearing from the band. There are some nice vocal harmonies throughout, and the switch-up of tone, with a more somber pace and a larger focus on the messages of the vocals, in the bridge are a good touch. The track is perhaps a bit reliant on repetition, but it mostly feels well-written and old-school. Does it represent their best ever work? Probably not – but it works really well overall because of the element of the suprise and the underlying warmth which expands the Heavy melodies well. For a first go in 15 years – The results are essential!

Thank you for reading my latest post! Please feel free to join me tomorrow, once again, where we’ll be taking an in-depth look at the brand new single from an emerging independent Dallas-based Dream-Pop singer-songwriter which REALLY made me think “Wow” – You will not forgive yourself if you decide to miss this next one out tomorrow! All will be revealed, then! 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/

Scuzz Sundays: Tenacious D – “Tribute”

All right, let’s take a look at the facts – Shallow Hal still wants a gal. It’s Scuzz Sunday!

You know what time it is! Good Morning, I’m Jacob Braybrooke and I’m here to type up your new weekly installment in our Scuzz Sundays series, where we dig out an ancient relic from under the marble ground of the Emo Rock and Pop-Punk classics of the decades past, to find out whether they can still hold up to quality and value in today’s era of rock. Actor, Comedian, Singer, Songwriter, YouTube Presenter and all-around likeable guy Jack Black is the cream of the crop when it comes to Hollywood talent. Along with the often praised rock singer-songwriter Kyle Gass, Black set up the Tenacious D side-project so that he could write and perform music with his best friend while he was not too busy keeping us entertained with funny movies like “School Of Rock”, “Shallow Hal” and “Nacho Libre” over the years. I consider myself to be a fan of Black’s work, and the band even got their own R-rated comedy flick, “Tenacious D in The Pick Of Destiny”, in 2006, although it was a Box Office misfire. Back on-topic, I can remember seeing the video for “Tribute” on Scuzz TV, in the early hours of the morning, very clearly as a child. This single came before the movie, and it was released in support of their debut studio album in 2001. It has garnered a huge cult following, and it’s one of the Tenacious D tracks that, at least, have always kept the band in the public eye, to their own merits. “Tribute” failed to make much of a commercial impact in the US, at first – but it has been certified Platinum in Australia, and it has been certified Gold in both the UK and New Zealand. “Tribute” was also the first track that Black and Gass performed together, as Tenacious D, live. The album managed to sell 426,000 copies in the UK, by 2005. Let’s pay “Tribute” to them below.

I’ve got to be honest… The demonic granny with the beaming red eyes at the end of the music video always used to manage to freak me out when I was a child. Liam Lynch directed the videos for both “Tribute” and “Wonderboy”, and they have both attained a strong cult status. “Tribute” is nearly entirely played in A-Minor, and the track’s chord progression is strikingly similar to “Wonderboy”. Written in the form of a comedy rock opera ballad, Black and Gass tell the story of slaying a Demon with the Best song in the world, with Black singing: “Long time ago, me and my brother Kyle here, We was hitchkikin’ down a long and lonesome road” before responding “Okay” to a Demon instructing them to “Play The Best Song In The World” to save their souls. Needless to say, “the Beast was stunned” after they played the Best Song In The World, which Black recites over the top of a heavy Acoustic riff and a clashing Drum beat. The bridge is hook-led and takes influence from Garage-Pop, as Black adds: “Look into my eyes and it’s easy to see/One and one make two, two and one make three/It was destiny” and Gass whips out a more electric-driven guitar solo for the breakdown, as Black concludes: “The song we sang on that fateful night, it didn’t actually sound anything like this song” over the top of a fading drum pattern and the incessant, rich acoustic bass guitar chords. The dynamic between Black and Gass is rather cohesive, and the vocals are delivered with a great deal of enthusiasm. This is a highly comedy-driven track, and so your mileage will likely vary on the humor. For me, it drags on a little, but it lands for the most part. While the claim that it could be “the greatest song in the world” is one that’s subjective – I feel it makes for a fun time.

Thank you very much for reading my new post! After a weekend of special posts, we’re all back to normal tomorrow as we take an in-depth look at some brand new music from a singer-songwriter and poet from London who we have covered on the blog before, and she was included in the BBC’s Sound Of 2020 poll. 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: Dread Zeppelin – “Your Time Is Gonna Come”

Mentally drained, the time for bedtime has almost come… It’s time for your new post!

It’s almost the weekend… The time is gonna come! Good evening 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 do so! For a band which is essentially a novelty tribute band for a 70’s classic rock band, Dread Zeppelin are strangely prolific, having produced and recorded a whopping total of 15 albums between 1990 and 2011. Obviously, Dread Zeppelin are a Dub-plate take on the 1970’s British Heavy metal pioneers Led Zeppelin, having produced each of their tracks as covers of Led Zeppelin tracks, with a Reggae style. The band were formed in California in 1989, which led to an extensive touring schedule as a part of a long tenure with IRS Records – led by an Elvis Presley impersonator named Tortelvis on lead vocals. Dread Zeppelin have also been publically endorsed by Robert Plant, the lead vocalist of Led Zeppelin, who has stated that he prefers Dread Zeppelin’s 1990’s cover of “Your Time Is Gonna Come” to his own band’s original version. Compare for yourself with Dread Zeppelin’s cover below!

Dread Zeppelin’s cover version of “Your Time Is Gonna Come” by Led Zeppelin starts off as you might probably expect, with the recognizable opening lead guitar riffs of the track being replaced by the bouncy sounds of a Sitar, before a fizzled synth-line and a funk-laden groove settles into a constant affair of mid-tempo arrangement, before Tortelvis enters the fray: “Women lie/You’ll be cheated, you’ll be hurtin’/Messing around with every guy in town/Puttin’ me down for thinking of someone new”, with Tortelvis adding a vintage 70’s rock-and-roll edge to the duelling Rastafarian backing vocals. He later continues “Made up my mind to break you this time/Won’t be so fine, it’s my turn to cry/Do what you want, I won’t take your brunt/It’s fading away, I can’t feel you anymore” over an acoustic layer of Cuica riffs and Harpischord sections. The chorus sounds as triumphant as Zeppelin’s classic original, but with a lack of stadium rock sensibilites and a replaced sense of care-free fun, created by a thumping steel drum rhythm and a soft dose of licked bass guitar melodies. On paper, it sounds like a horrific idea which simply shouldn’t work, but it does. I’ve found there’s a dark corner of my mind that tells me I like this song and I can’t help but nod in approval to that. It’s humorous and quirky, with a cheerful quality of light-hearted Dub textures and the anthemic chanting vocals of the chorus have managed to translate to a more pop-driven style with effective results. The joke doesn’t quite ware itself out and the varied instrumentation keeps it melodic enough to hold your interest. The result is an entertaining novelty track which strikes the balance of accessibility and credibility. Your time, to have a boogie to this, has come!

Thank you for reading this post! I’ll be back tomorrow, as per usual, with an in-depth look at the final track that I’m going to cover on the blog from “Our Pathetic Age”, the outstanding new double album from American EDM/Trip-Hop icon DJ Shadow, who claims to own a personal collection of over 60,000 records! 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