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365 Days later and 52 weeks since the start of 2020, we’re still at a point that many of us couldn’t have possibly predicted at this same time of last year. Political turmoil, environmental turmoil and general life turmoil may have plagued our enjoyment of how we would usually spend a year – and the words of “Unprecedented” or “(Insert Item Here) is not allowed right now” have each become frustrating catchphrases and cringe-inducing cliches. However, I also feel the year had provided an opportunity to enjoy the moments of our lives that are small and profound – such as hearing the birds outside your window in the morning or allowing for time to reflect on your own wellbeing. Among all, I feel that 2020 has also allowed us to go back to the humble roots of our general appreciation for music, and the ways that artists like to express their worldview through my all-time favourite noise in existence. When you really go back to look at all of the material that was released by musicians of the art form over the past twelve months, it really was a good one – and I’d be honored if you can take a few minutes to read the (slightly late, sorry, Masters degree) list of my Top 25 Albums of 2020 below. But – first of all – I’m going to start with some EP’s for you to check out!

BEST EP’S OF THE YEAR

#5 – Obongjayar – “Which Way Is Forward?”

Release Date/Label: February 7, 2020/September Recordings Ltd.

The first badge of honor of the past year goes to February’s “Which Way Is Forward” from the Nigerian-born, but London-based Experimental Electronic artist Obongjayar. On this record, he celebrates black urbanity and Western selfhood in ways that manage to feel as richly textured as they are viably personal. Connecting back to his roots in West African Afrobeat, Obongjayar confidently serves up exciting grooves and complex rhythms that may leave you salivating at his mix of simple, catchy punch of traditional instrumentation and the intersecting, discordant electronic noises. The motivational anthem of “10K”, the golden Jazz opener of “Still Sun” and the well-spirited vocal performance on “Dreaming In Transit” are representative of some of his best artistry yet, and while the EP isn’t very long in terms of it’s duration, it still sustains it’s radiance by competently progressing through a lively courtship of genres.

#4 – 박혜진 Park Hye Jin – “How Can I?”

Release Date/Label: June 26, 2020/Ninja Tune

Park Hye Jin’s “How Can I” EP was one of the standout electronic releases of the year when it was released on the Ninja Tune label back in the summer – and I can remember reading that Ashley Yun, a project manager of the label, said “It’ll be a really good benchmark for how ready society is to hear music that isn’t in English. That prospect is really exciting”” on this release. While I can’t speak for the masses, I’d certainly like to hear more of this. She grew up in Seoul, before spending her time in Melbourne and London, and now she’s based in Los Angeles – and I love the cathartic production methods in which she uses to infuse these global influences into her downtempo, IDM-influenced compositions. I also love the way that she uses the melodious chiming of her voice to express a range of emotions. The sad, intuitive tones of “How Can I”, the unrelenting hostility of “No” and the push-and-pull synth beats of “Like This” are amongst the finest offerings heard on this impressive release.

#3 – Denzel Curry X Kenny Beats – “UNLOCKED”

Release Date/Label: February 7, 2020/PH Recordings & Loma Vista Recordings

Doubling up as both a visual album and a short film, Denzel Curry and Kenny Beats’ eight-track collaboration on “UNLOCKED” utilized it’s cinematic formation and it’s animated grandeur to it’s full advantage, effectively creating one of the strongest hip-hop releases of the last year. A breakout performance sees the Florida-based lyricist Curry deliver quick bars to the effortlessly slick, boom-bap instrumentals from the highly acclaimed DJ, Kenny Beats, in turn pointing back to the sampling influences of the late-great MF Doom and the Jazz-led, West Coast Hip-Hop sounds of influential rap acts like A Tribe Called Quest and Digable Planets. “Cosmic” is the home of my favourite Hip-Hop music moment of the year, while the ever smooth-flowing “So Incredible” and the explosive, if concise “Take It Back” provide more watertight high points on a brief, if precise, release, where the overall package is difficult to put down.

#2 – Totally Enormous Extinct Dinosaurs – “I Can Hear The Birds”

Release Date/Label: May 27, 2020/Self-Released

I’ve always considered TEED (classically trained London-based electronic producer Orlando Higginbottom) to be one of the most underrated creatives working in the British music industry, and I absolutely eat up any work that he puts out to the world. Things are no different on “I Can Hear The Birds”, an EP that he released in May, after self-producing it during the first national lockdown. Using field recordings of bird noises sent to him by his friends from different locations around the world, Higginbottom keeps things fresh after leaving his usual Jungle, Drum-and-Bass club music fare to embrace natural samples and birdsong elements in their place. The sprawling city skyline aesthetics of “Los Angeles”, the meditative soft pads on “Brockley” and the sublime Piano piece on “Isles Canaries” effortlessly tug on your heart strings on this memorable release – and I’d highly recommend for anybody to check this out while we’re (frustratingly) still in the moment. Another win for the tally.

#1 – Sinead O’Brien – “Drowning In Blessings”

Release Date/Label: September 16, 2020/Chess Club Records

The Irish Post-Punk poet, Sinead O’Brien, emerged to me in the year like a shining emerald of the glowing variety with her debut EP, “Drowning In Blessings”, which was released in September via Chess Club Records. O’Brien manages to harness a perfect marriage between her literary influences, of Frank O’ Hara and Joan Didion, and her music influences, of Nick Cave and Mark E. Smith, to create a Spoken Word sound that feels entirely fresh, memorable and not restrained by any genres. Together, the lyrics of the EP’s track listing can be read as a riff on staying sane in a crumbling world. However, the Post-Punk backing instrumentals of her poems – a genre that is rooted in ideas of freedom and rebellion – feel insanely clever and sophisticated when paired with the drifting qualities of her words. The No-Wave fabric of “Fall With Me”, the rigid, loosely improvised wordplay on “Roman Ruins” and the unusually melodic hooks of “Most Modern Painting” are some of the most superbly enigmatic moments on this release, which affirms her as one of the most fascinating and unique new talents. In a world driven by media franchises and stale overexposure of ‘the generic’, it feels so enriching to discover a new talent who is driven by something so original, yet there’s a personal quality behind her Goth image. I hope that 2021 brings out it’s best for her.

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BEST ALBUMS OF THE YEAR

#25 – The Orb – ‘Abolition Of The Royal Familia”

Release Date/Label: March 27, 2020/Cooking Vinyl Records

Starting off my list (The proper one, this time) – we have the sixteenth main album release to come from the pioneering 90’s Chillout and Ambient house now-duo, The Orb. Being truthfully honest with you – “Abolition Of The Royal Familia” seemed to receive quite a negative reception. I saw several users on sites like Metacritic and RateYourMusic posting reviews on the album as a ‘tedious slog’ and an overbloated affair due to it’s very long run time. Jacob being Jacob – naturally – I disagree with these opinions. Although it doesn’t really cater as an expansion of The Orb’s pre-existing mantra, it shows their influences are as diverse as ever. The rolling UK Dub throwback of “Afros, Afghans and Angels”, the soulful 70’s Disco soft-Pop of lead single “Daze” and the classic, quintessentially British Orb-like humor of “Hawk Kings” – followed by a quirky sample-led closer that hits harder to home due to the Covid-19 lifestyle, make up for a worthy collection of erratic, psychedelic 90’s sounds that are methodical and well-paced enough to connect the transitions between the abstract little moods. If you find yourself in the situation where you’re stuck on a long train journey at some point in this unpredictable year – you owe it to yourself to stick it on.

#24 – Fiona Apple – ‘Fetch The Bolt Cutters’

Release Date/Label: April 17, 2020/Epic Records

“Fetch The Bolt Cutters” is the fifth album release to come from the US Art-Rock singer-songwriter Fiona Apple – and it was the first new album release to receive the perfect “10” from Pitchfork in a number of years. Apple was classically trained on Piano as a child, and Apple produced the recent record in Venice Beach. A raw and unbridled commentary on oppression and escapism, “Fetch The Bolt Cutters” was absolutely showered with praise from critics. If I hear that a record has done this well, it’s usually difficult for me to connect with it. The unconventional percussion rhythms and the bold, non-music objects that she uses to mimick instruments – on the other hand – really made me sit up on my first listen. The subversive, yet inspiring, message of “Shameika” and the unapologetically honest songwriting, particularly in tracks like “For Her” and “Under The Table”, feel well-placed and pure. Although I did not relate to it as much as some of the other selections on this list, the raggedy instrumentation is original, and the authenticity commands your attention. It’s certainly worth a listen.

#23 – Jane In Palma – ‘Safety Net’

Release Date/Label: July 8, 2020/Snake Free Roofing

https://www.youtube.com/watch?v=aZlQeWbhwy4

One of my biggest deep dives into Bandcamp of 2020 – you’d be mistaken for thinking that “Jane In Palma” (the moniker used to operate a side alias to “Dan Froth” – the Majorca-based US Experimental Electronic producer Julian Smith) is a broadly comedic tribute act to Aussie Psych-Rock icon Tame Impala. Partially, it is. However, it’s a very obscure product. I interviewed Smith for my evening radio show, and, along with having a perfect radio voice, he also deduced about how “Safety Net” – the album in question – is an expression of nature being a truth in a technology-oriented world, and an interpretation of his natural surroundings in response to the corporate, environmental issues faced by the world. Sonically, the Garage-Rock production of “Modern Tackle” and the happy-go-lucky Surf-Rock beach sounds of “One By One” stand out, while the later tracks on the LP are teetering into unconventional Hip-Hop delivery. It feels very out-there, and the experimental recording means he uses feels like a promising creative outlet to express his ideas. The transitions could do with a tad more cohesion, but it is very interesting overall – this creativity is worth your time.

#22 – The Mountain Goats – ‘Getting Into Knives’

Release Date/Label: October 23, 2020/Merge Records

Not too differently to The Orb, another long-running act in the US DIY Folk quartet The Mountain Goats made a return to my streaming library this year – and they demonstrated the reasons why they remain to be one of the most beloved cult bands still with us. The album feels unmistakably like The Mountain Goats – and it’s all the better for it. The warm and comforting guitar tones take you back to the time where John Darnielle and his comrades were curating their music onto low-fidelity VHS recordings, and the Jazz-led instrumentation in tracks like “Get Famous” still sound energetic. Mixed with the dense soul and country elements of tracks like “As Many Candles As Possible” and “Pez Dorado” – this LP is a comforting and self-affirmed invitation back to the simple roots of Darnielle’s band, who I’ve been following for a long time now. If you search among the track listing, you’ll find some of their best work – and it’s a band which has sustained to last past the milestone mark of 20 years.

#21 – Kelly Lee Owens – ‘Inner Song’

Release Date/Label: August 28, 2020/Smalltown Supersound

Over the course of the last few months, I’ve slowly fallen in love with the luscious Acid-Techno and the richly layered tapestry of “Inner Song”. It’s been a breakout year for the Welsh independent electronic dance music producer, with critical acclaim and a growing fanbase forming in the left, right, front and centre of her work. The album flips between the qualities of downtempo, ambient and IDM – with merticulously layered Acid-boosted dance compositions on tracks like “Melt” and “Jeanette”, and the emotive, meditative chimes of the loop-sampled grooves on tracks like “Wake Up” and “On” making for a hugely varied and Soulful platform of talented percussive outlets and emotional expression for Lee Owens’ work. As ripe for a riotous club setting as it is for late-night, in-bed reflection – “Inner Song” shines with it’s hypnotic layouts and it’s star-shaped Techno at ease. A landmark for her young musical career.

#20 – Róisín Murphy – ‘Róisín Machine’

Release Date/Label: October 2, 2020/Skint Records

Just when we all thought she was at the top of her game, Roisin Murphy decreed “Murphy’s Law” in February. Later in the year, the former Moloko singer-songwriter followed up on that triumph with another fun time in “Roisin Machine”, her critically-acclaimed fifth studio album. Doubling up as a love letter to early House, and as the crowning of a new Queen Of Disco – Murphy’s latest creation veers headfast into witty dance music, 70’s throwback vibes and no-nonsense Pop intent. The aforementioned single, the Greek Mythology-themed dance number “Narcissus” and the self-reflective floorfiller “Simulation” were the greatest feathers in the cap of an album which is sharper, and more focused than most of the other nostalgic Disco-themed releases of the year. Above all, Murphy makes it all look really effortless. It’s the culmination of her tweaking of Nu-Disco sounds that she’s been steadily perfecting over the course of her established career, and so the results are nothing short of a Royal achievement.

#19 – The Orielles – “Disco Volador”

Release Date/Label: February 28, 2020/Heavenly Recordings

True story: I managed to see The Orielles playing a live gig at my city of Stoke-On-Trent. It happened back in February, and it proved to be my first proper live gig experience – and my last for quite a long time, it appears. Nevertheless, The Orielles – a 4-piece indie rock group from Halifax – managed to leap over the frightening prospect of a sophomore slump by taking their sounds to a cosmic, although nostalgic, level. The unsullied, D.I.Y. Post-Punk roots of their impressive debut LP are still left intact, but the band kept things fresh with a Space-themed silliness that’s impossible to ignore. The new-found incorporation of 80’s electronica feels like an inventive sense of progression for their visual imagery, and they have abandoned traditional pop song structures by exploring new textures. The vivid retro funk of the title single, the 70’s Tropicalia-Afrobeat fusion of “Bobbie’s Second World” and the exotic Dream-Pop of “7th Dynamic Goo” are gorgeously appealing hallmarks of a record that feels more polished, without being overproduced. A knowing nod to their sonic 80’s predecessors, but an exciting point forward to the future of soulful Disco-Rock and nerdy Indie music yore. Oh, and they’re an excellent live act too, by the way.

#18 – Julianna Barwick – ‘Healing Is A Miracle‘

Release Date/Label: July 10, 2020/Ninja Tune

I think that we’ve all been looking for some soothing and relaxing music to get our teeth stuck into while the frustrating circumstances of Covid-19 continue to bring a sense of uncertainty to our lives, and if you have not heard of the Brooklyn-based ambient composer Julianna Barwick before, I don’t think that you really need to keep searching any further. Throughout the record, the chilled Synth loops drift beautifally over the top of the natural harmonies of Barwick, where the themes of finding peace with one-self and emotional reassurance being elucidated through slowly dissolving tension and the swooping, gentle Math-Rock territory. The gorgeous simplicity of “Inspirit”, the expansive intimacy of “Oh, Memory” and the rumbling bass of Jonsi featured “In Light” are just a few bright spots of a record that embraces the category of “Background Music” through continually drawing your attention to it’s minimalist production, and your troubles cease to exist for the profound moment. It’s just lovely.

#17 – Sufjan Stevens – “The Ascension”

Release Date/Label: September 25, 2020/Ashmatic Kitty Records

Although the last year offered an extensive platform for young, emerging songwriters to make their mark on a sizeable listenership and allow their talents to flourish – It may be easy to forget, but it’s still crucial for us to remember, that it also gave established artists the chance to break new ground and add to their pre-illustrious legacy. In using his Acoustic, alternative folk songwriting roots to boost a set of delicate electronic textures forward, Sufjan Stevens’ “The Ascension” was one of the most glaring examples of this, and he succeeded in bringing more casual ears to his repertoire, without alienating his existing fanbase. The atmospheric science fiction of the sweeping synths on tracks like “Death Star”, the catchy pop hooks of “Video Game” and the self-assured, bittersweet Space-Punk influences on opening ballad “Make Me An Offer I Can’t Refuse” boosted the explorations of humanity, existence and religion to the heights of one of the autumn’s essential releases. A fragile delight.

#16 – Marlowe – ‘Marlowe 2‘

Release Date/Label: August 7, 2020/Mello Music Group

As much of a grander, more cinematic sequel to their lesser-known debut LP as much as The Matrix trilogy is a well-loved Hollywood blockbuster series, “Marlowe 2” allowed the North Carolina-based hip-hop/producer duo of L’Orange and Solemn Brigham to pull out all of the stops with an incredibly exciting, gloriously quirky and reliantly catchy expansion of their original, underground style of previous releases. Solmen Brigham is full of quick wit and seamless flow when he raps, while the boom-bap instrumentals produced by L’Orange are hyper-melodic and well-paced throughout. The quick sampling on “Future Power Sources”, the whimsical energy of the Trumpet effects on “Same Team” and the speech-sing interludes scattered throughout the record are clear highlights, while the production itself feels more mature and less straightforward than most of their contemporary East Coast Hip-Hop peers. One of 2020’s most exciting releases – and my favourite rap duo in a long while.

#15 – Moses Boyd – ‘Dark Matter‘

Release Date/Label: February 14, 2020/Exodus Records

Next up, the Mercury Prize shortlisted nominee Moses Boyd – a London-based drummer and Alternative Jazz composer, seemed to be criminally overlooked by quite a few award ceremonies with the release of his superb LP collection, “Dark Matter”, when it was released early in the past year. This one steadily grew on me over the duration of the last 11 months, where a diverse guest list of collaborators including Poppy Ajudha, Joe Arman-Jones and Nonku Phiri, blended harmonious vocal work perfectly into the Grime-accentuated melodies of Jazz Fusion and sophisticated Dancehall that Boyd creates so seemlessly. The lush, vivid Jungle-inspired melodies of “Stranger Than Fiction”, the hastening EDM of “Shape Of You” and the quickly paced journey into Future-Garage and Prog-Jazz of tracks like “2 Far Gone” and “Only You” are just a handful of the strikingly diverse range of genres that Boyd cohesively dips into – on this statement from one of Jazz’s new, true innovators.

#14 – Baxter Dury – ‘The Night Chancers’

Release Date/Label: March 20, 2020/Heavenly Recordings

The recent Heavenly Recordings signee, Baxter Dury, has always been one to implement cues from his iconic father, Ian Dury, and the Sophisti-Pop of Jona Lewie. However, on 2020’s “The Night Chancers”, Dury manages to become even more mature and intellectual than the sound of his earlier releases, and the fact that Dury is still improving, and is still sharpening his bow of skills, is a prominent proposition. The cinematic grandeur of “I Am Not Your Dog”, the black comedy of “Carla’s Got A Boyfriend” and the intellectual New-Wave of standout track “Say Nothing” are clear strengths of his flourishing and bleak tone. However, the beauties in “The Night Chancers” derive from the uniquely and quintessentially British sound that he manages to craft between the subtle, smart humour and the insane understanding of Post-Rock as the influential genre behind this slowly grooving body of work. Six albums in, and the delivery of his playful moods are just impossible not to pick apart. It goes a long way to rewarding repeat listens by narrating a fictional universe in itself.

#13 – Slow Pulp – ‘Moveys’

Release Date/Label: October 9, 2020/Winspear Records

Lucky number thirteen goes to Slow Pulp – a Chicago-based Dream-Rock band who easily became one of my favourite new discoveries of the year. “Moveys” is their debut album release, and it’s a highly enjoyable one. It went through a tumultuous period of developmental hell – with the cross-country compilation of the track list being provoked through vocalist Emily Massey’s separation from the rest of the band following a series of matters made worse by the outbreak of Covid-19. Nonetheless, it arrived in the final months of 2020 – and the hard effort more than paid off. I adore this record – with the pastoral guitar lines and the strength found in the vulnerability of the lyrics going completely noticed above the sugar-sweet textures of Shoegaze and Folk-Rock crescendos that reflect on past feelings, while celebrating the victory of their outcomes. The gentle wit of “Falling Apart”, the coming-of-age celebration of “Idaho” and the Harmonica interludes peppered throughout the record evoke a wonderful atmosphere. A stunning piece of work that I wasn’t expecting, but the total refresh that I’m glad it was. I wholeheartedly suggest that you give this one a fair shot.

#12 – Fleet Foxes – “Shore”

Release Date/Label: September 22, 2020/Anti- Records

I expressed my enjoyment for “Shore” by mistakenly posting that Alternative Folk collective Fleet Foxes were a British band… and that’s when a good friend pointed out to me that they’re American. That probably tells you how familiar I am with their past output, but I could never have asked for a better entry point into their loving callbacks to traditional Folk music characteristics than “Shore”, an album which was announced on the day before it was released, and was mostly self-produced during lockdown by Robin Pecknold, who calls the work a “celebration of life in the face of death”. The absorbing, inviting opener of “Wading In Waist-High Water”, the County-embracing namedropping of “Sunblind” and the grizzled variation of moods on lead single “Can I Believe You?” are some of the bright spots of this Autumn-fit release. Although I’m embarrassingly unfamiliar with Fleet Foxes’ prior work, I don’t think that matters because it is just an album about how it makes you feel. That’s why I like it so.

#11 – Phoebe Bridgers – “Punisher”

Release Date/Label: June 18, 2020/Dead Oceans

Much like Fiona Apple’s “Fetch The Bolt Cutters”, Phoebe Bridgers’ sophomore LP effort and second foray into the Emo-Folk genre, “Punisher”, was absolutely hyped up to be the “next big thing” by numerous publications and the wider internet music community. Instead of allowing these opinions to sway my own perceptions on the record – I instead took a listen to it a few months after it’s release, once the media hype died down a little, and, unusually for me, it clicked. When you really pay attention to the ways that Bridgers tells her stories, and the methods she employs to make powerful words stick into your head, it’s easy to see a lot of potential in her contemplative lyricism. The wistful horn sections of “Kyoto” deems it to be one of the year’s best singles, and the slowed, stripped-down acoustic instrumentation on tracks like “Garden Song” rightly places the emphasis on Bridgers’ vocals. This makes the more melodic offerings, such as “ICU”, all the more exciting. She’s become the young lady of the moment – a bandwagon which I am unusually happy to jump onto.

#10 – Photay – “Waking Hours”

Release Date/Label: June 12, 2020/Mexican Summer

Believe it or not – Photay’s “Waking Hours” is one of the most recent additions to my Best-Of list. My friend has been playing his favourite tracks from the new album on The Carbootarium, his Sunday afternoon radio show on HUGS, which had prompted me to check it out towards the transition into the new year of 2021. Needless to say, it immediately grabbed my attention. The 21-year-old electronic producer, the Woodstock-based Evan Shornstein, has quickly created an unequivically strong LP offering – pioneered by the Bowie-like disco effects of “Pressure”, the Boards Of Canada-esque sampling hooks of “Warmth In The Coldest Acre” and the knowing nods to a love of nature and the global environment – remind you never to miss a beat in experiencing your life with open arms. The irreverant humor also feels lovingly influenced by Shorntein’s childhood hero of Aphex Twin, while the production quality is higher than the hills. If you decide to take a concentrated listen to this for the first time, I get the feeling you might mirror my initial reaction of “Wow – this guy is good”.

#9 – Alexandra Savior – ‘The Archer’

Release Date/Label: January 10, 2020/30th Century Records

Following a period of writing new music with Steve Turner, of Arctic Monkeys fame, the Portland-based indie singer-songwriter and graphic designer Alexandra Savior was sadly dropped from her major label, Columbia Records, after her first record didn’t sell very well. 30th Century Records took her under their wing, and, in my opinion, that’s a great decision. It’s unfortunate that “The Archer” seems to be one of the most underrated albums of the year, because it was released at the beginning of the year – and I have still kept coming back to it in the months ever since. Much of the LP plays out like an undeniably bluesier, moodier and cooler incarnation of the popular artist Lana Del Rey, with a mysterious Vegas aesthetic and cold, vintage Americana-like production that intrigues as much as it develops. The rare use of synths on “Howl”, the unofficial Bond theme of “But You”, the poetic songwriting motifs on the title single, and the glimmer of romance in “Can’t Help Myself” are some of the many enjoyable moments on the album – which embodies a gift that just keeps giving, although that gift being an unashamedly sad and strongly narrated one.

#8 – Caribou – ‘Suddenly’

Release Date/Label: February 28, 2020/Merge Records

He is ace – is our Dan Snaith, the Canadian electronic music producer who is perhaps best known for the hits “Sun” and “Can’t Do Without You”. His tenth studio album, “Suddenly” marked a more experimental process of production for Snaith, where the LP record is his first to prominently feature his vocals. It’s a gamble – and it pays off in dividends. Through “Never Come Back”, Snaith manages to bridge a gap to more commercial-ready territory without losing any of his fearless charm. Other highlights include the absorbing, lovingly Soul/Jazz infused “Home” and the breakbeat hip-hop production of “Sunny’s Time”. Meanwhile, the electronic beats are always changing on a whim – like the events of Snaith’s life over the past six years – to create various pathways to new, emotive textures and creative directions that feel otherworldly, yet easy to connect your own experiences with. The top-tier electronic release of the year.

#7 – SAULT – ‘Untitled (Black Is…)’ & ‘Untitled (Rise)’

Two albums – on one chart position? Is that cheating? I don’t think so – but I’ll leave that up for you to ponder. Meanwhile, I’m going to sing the praises of the two releases from the mysterious and enigmatic London Neo-Soul act trio SAULT – which are commonly being named as the best albums of the year by many publications of the music press. Both released as “Untitled”, but adopted as “Black Is” and “Rise” to distinguish the two releases, the Jazz/R&B/Soul-loving sound of SAULT has been a part of my streaming library for a small number of years now. This year, they added to their quickly ascending popularity with two releases that smartly expanded on the conversation of the “Black Lives Matter” movement in progressive ways, both musically and lyrically, while posing the argument that, despite the circus of media attention, we haven’t really progressed much at all since the buzz of the Funk world 70’s, as a society. In short, we don’t know who they are – but that means we can pay our rewarding attention to what they are saying instead, and I think that is the key point of this body of work. Meanwhile, the sounds are heartwarming and honeyed to shape a very different style of new, protesting artistry. The overall results are urgent and inspired, while classical and interesting in it’s fusion of the traditional and the contemporary – and so the experience of listening to their output is an unrivaled one.

#6 – Run The Jewels – ‘RTJ 4’

Release Date/Label: June 3, 2020/BMG Rights Management Ltd.

Unleashed in the height of the “Black Lives Matter” movement of culture and publicity in the summer – “RTJ 4” was simply a case of being in the right place when being in the right time, and that’s meant in the best sense possible, because it was simply the record that we needed to hear when their voices needed to be heard. The fourth album from the rapidly emerging duo of rapper Killer Mike and DJ El-P was undoubtedly a powerful and strong statement – with the energy of leading a short-fuse response. The guest list included Josh Homme, 2 Chainz, DJ Premier and Mavis Staples – and yet the personality remains solely on the duo’s pioneering blend of industrial hip-hop and rapidly melodic electronic sounds. The madcap TV sitcom caper of “Yankee and The Brave (Ep. 4)”, the protesting morality of “The Ground Below” and the nostalgic, 80’s-loving sound of “Goonies vs. E.T.” are some of the most vibrant, exciting tracks that we heard all year, but they’re still given space to breathe through the grooving and on-point interludes that deliver essential lessons of black history in inventive ways. It’s amazing to think that Mike and El-P decided to release this material for free, but it’s arguable this is art that you can’t measure a price tag on.

#5 – Khruangbin – ‘Mordechai’

Release Date/Label: June 26, 2020/Night Time Stories

The Houston, Texas trio of Dub, Funk and World-Rock musicians Khruangbin largely provided the breezing soundtrack to my warm summer on their third studio LP, “Mordechai”, which is their first album release to include continous vocal sections on each track. Yet, it manages to retain the appeal of their previously instrumentally based material on past releases. There’s an air of Disco and a light touch of early Punk to the formula this time around – where long stretches of globally-influenced grooves and retro-sounding, nostalgic guitar riffs add an edge to their winning template. Although it doesn’t represent much in the way of a re-invention of their style, it embodies a refinement to perfection – where the sound is pushing their horizons, yet lovingly exploring the mellow roots of their production. The optimistic Disco-Pop of “Time (You and I)”, the themes of motherhood on “Father Bird, Mother Bird” and the both uplifted, yet stripped back “Dearest Alfred” were my favourite take-aways from my multiple repeat listens of the project, which reached into my soul to win my heart.

#4 – La Roux – ‘Supervision’

Release Date/Label: February 7, 2020/Supercolour Records

Those who have encountered me in the “real, physical” world probably already know that La Roux – the 32 year-old British electronic synthpop singer-songwriter Elly Jackson – who is more widely known for the mainstream hits “In For The Kill” and “Bulletproof”, is an artist that I always get as giddy as a little child about. It was a six-year wait since the release of “Trouble In Paradise” (which I’d usually consider to be my favourite album of the 2010’s), but the follow-up of “Supervision” was a very worthy one, and one that rewarded the wait in large response. Jackson was dropped from the major Polydor Records label in the time since, and she wasted no time in finding her feet as a now-independent artist. It sounds like she was thrilled about it, in fact. Heavily inspired by David Bowie and Nile Rogers’ Chic, but articulated tremendously – “Supervision” represents a new sense of maturity and freedom for my childhood favourite. Although I felt it was slightly lacking the same variety as Jackon’s prior releases, hence it’s No.4 position – the synths were as polished as ever, and the record finds a clever niche in just making good old-fashioned pop music, avoiding the absurdity of the heavy autotune on more chart-oriented releases and their focus on viral marketability. It’s very refreshing, and it’s excellent Synth-Pop for the mature crowd of Pop listeners. “International Women Of Leisure” was the best single of 2019 without a doubt, while the reflective songwriting skills of tracks like “Automatic Driver” and “Gullible Fool” manage to sustain an excitement to them, while pushing the progression of Jackon’s personality as an individual to the focal point of her floor-filling Disco-House – veering into Funk – tunes. Above all, it sounds gloriously like the sound of La Roux – the biggest compliment that I have left to pay it.

#3 – Thundercat – ‘It Is What It Is’

Release Date/Label: April 3, 2020/Brainfeeder Records

An artist who seemed to be criminally ‘snubbed’ from my “Spotify Wrapped” stats listings for the year – the Los Angeles-based Funk/Soul/R&B singer, songwriter and producer Stephen Lee Bruner (Who goes by the alias of Thundercat due to his love of Japanese anime and mid-80’s culture) finally earns his justice through a spot on my Top 3 of Albums in 2020 – and he thoroughly deserves it too. “It Is What It Is” was released back in April and I was still regularly streaming it in December, because it just continued to grow on me during the months of the year, although my initial listen wasn’t a short-fuse smash. The classic Funk sounds are gorgeous – and the element that simply kept me coming back to this record time and time again is his sense of humor, and how he uses it to express a genuine range of emotions. “I may be covered in cat hair, but I still smell good” is among my favourite lines of the year, and the album does a perfect job of managing to be funny, but without veering deliberately into parody or comedy. “Black Qualls”, “Funny Thing” and “Dragonball Durag” are the top tier points of a release that doubles up as a tribute to the sadly and prematurely lost US rapper Mac Millar – wholeheartedly and lovingly so. There is going to be a ton of hype as to where he goes next, and I absolutely cannot wait to be a part of the ride.

#2 – Yves Tumor – ‘Heaven To A Tortured Mind’

Release Date/Label: April 3, 2020/Warp Records

Whenever somebody asks me about my most-anticipated album releases of the year ahead, I always respond by stating that it’s the album that comes out of nowhere to grab my attention and work hard to earn my admiration. In the past twelve months, the US-born but Italy-based songwriter and producer Yves Tumor has certainly been that artist. “Heaven To A Tortured Soul” feels like the perfect release for the innovation-led Warp Records label to have spear-headed in 2020, and I’d have never anticipated to fall in love with this record as much as I have, right back at the beginning of the year. Through echoing artists like Prince and Kate Bush, Tumor managed to conjure up a project that was so immediately appealing, and so musically diverse, with synth tones and guitar licks that sound demonic to an certain extent, changing on a whim as you’ve just thought that you’d figured out where it was going. The blended elements of Glam-Rock, Art-Pop and Brit-Pop manage to build excitement and carry this air of freshness and creativity throughout the start to the finish of the record. And it’s not even just the music – The videos, the costumes, the live performances, the artwork and all other media tools that Tumor has in his arsenal contribute brilliantly to the design of the project as a whole. The songwriting flips between heartfelt and heartbreak, while the tracks manage to maintin a distinct character each to their own, while feeling thematically connected to craft top-notch cohesion for their ideas to flourish. An outstanding, breakout record for Yves – and a potential icon of Alternative music in the making. Excuse my Lingo – but it just fucking blows my mind, and “Kerosene”, to it’s own merit, was my favourite single of the year.

AND…

FINALLY…

#1 – The Avalanches – ‘We Will Always Love You’

Release Date/Label: December 11, 2020/Modular Recordings

My discovery of The Avalanches, an Australian sample-delia/plunderphonics duo, only actually occurred in my sixth-form college days of 2015/16 when my friend pointed them out to me and I deduced that I owned the well-known single of “Since I Left You” on a chillout compilation album on CD. Therefore, I was oddly never a part of the crowd who had to wait 16 years between the release of their landmark debut and the follow-up LP, “Wildflower”, which was released five years ago. However, I have always considered the duo to be among my favourite music acts since the time, and I hugely admire their work for being imaginative and creative in how they simply make their music. “We Will Always Love You” is a definitive record for them, and although it uses an illustrious Gorillaz-like guest list of contributing stars, it still never overshadows the talents of the group to create something transcendent from their crate-digging material. This album makes very interesting moves on Disco-Soul fusion and Psychedelic Trance in it’s extensively detailed production, and it’s inspiration of a story that tells a truly out-of-this-world narrative. The exciting Techno and House marriage of “Wherever You Go”, the coming-of-age implications behind the neatly crafted “Born To Lose”, the fluttering keyboard beats on “Overcome” and the sweet melancholy of “The Divine Chord” are among countless brilliant moments on this release, and the long run of single releases was rewarded in spades by the time of the album’s release at the very end of the year. I’ve always been majorly into the duo since my discovery of them – and I think, that, for many – this could prove to be the masterpiece of the year they were not expecting – especially in the way that it echoes 2020 in it’s explorations of basic humanity and diversity of love throughout the run time that feels fit for a Hollywood blockbuster. Among all pleasures, it’s just the realization that The Avalanches are still, if not more, gifted in using ancient or forgotten material to generate something original and transformative – and if you pardon the pun – I will always love them for that, and I have got my hoodie to prove it.

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Now it’s time for me to take a deep breath – after thanking you for sticking with the blog over the past twelve months, and for your support throughout the new year! If you’re new to the blog, please like my Facebook page to receive updates of my daily scheduled posts here:  https://www.facebook.com/OneTrackAtATime/

Looking for a Tennis Court joke? – I’m not going to Deuce one up. Time for a new post!

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Let’s see what the Post-Punk Tuck shop has to offer us this time then. I’m Jacob Braybrooke, and it’s time for me to get typing about your daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Courting are one of the most promising newcomers of the ‘Indie’ Brit-Pop revival scene, and we’ve previously looked at “David Byrne’s Badside” from them on the blog. “Popshop!” promises to be a great start to the new week for us – a track which they slipped into the end of last year. A new 4-piece of youngsters from Liverpool, Courting draw from the influential US sounds of Parquet Courts, Pavement and LCD Soundsystem for their own composition and songwriting, yet embrace their British identity. Their debut EP – “Grand National” – is set for it’s release on April 6th via Nice Swan Records. Physical pre-orders have already sold out. The band love to play their in-joke of describing themselves as a “Take That covers band”, and frontman Sean Murphy O’Neill told the media that “Popshop” is the group’s reflection “about the music industry, the idea of selling out, and consumerism”. Check out the video below.

From the evidence of their latest press shoot, Courting seem to have added a new member to the line-up since we’ve heard from them last time. On top of this, Courting have noted that the title of “Popshop!” derives from “Keith Haring’s store of the same name” and the new track is about “the idea that it is positive for your art to be consumed by a larger audience rather than only seen as something for upper class art collectors or something to buy for it’s future resale value”, before chipping in: “We’re also poking fun at bands writing the same song over and over again, and wishing that we could sell our bathwater like Belle Delphine”, to show off that trademark personality of well-meaning mischief. “Popshop!” feels boisterous and noisy, which is different to the sweet and innocent feelings that become invoked by the upbeat title of the track. Above the sharp style of the calculated guitar riffs, Sean sings: “Some sort of getaway is what I’m wanting, Take the lads on tour, we’ll go to Pontins” with a bitter vocal delivery, as the rhythm winds up from a Brit-Pop influenced guitar riff to a more full-on and grunge-driven guitar-based chorus. The chorus plays over the repetition of ‘mainstream’ music, with Sean gradually shouting: “Over and over and over, and over again, Popshop”” to reinforce a bold, angular rhythm above the Post-Punk direction. Jabs at the industry arise, with refrains like: “When fame buys you money, but money buys you fame” and “If you stream Shape Of You you’re going straight to hell, I promise you” ascending above the aggressive and unbridled bass guitar work. The lyrics sell a sense of cynicism, with speak-sung vocals and Jangle-Rock energy. Although the Post-Punk sound feels more structured than “David Byrne’s Badside”, you can tell that Sean and the lads have done a nice job in keeping their personalities intact while giving their work a more nuanced and less laddish, noisy feel. It feels like it’s been polished more wisely by retaining their 90’s Brit-Pop roots while toning down on the aggression a little bit. The chances are that if you’re a fan of Arctic Monkeys or Blur, then you would probably like this. A solid improvement.

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We previously took a listen to one of Courting’s prior singles on the blog. If you don’t want to get on “David Bryne’s Badside”, then you could check it out below: https://onetrackatatime.home.blog/2020/07/11/todays-track-courting-david-brynes-badside/

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Thank you for checking out my latest blog post! As always, I’ll be back tomorrow. Join me then for an in-depth listen back to one of the biggest ‘Indie Pop’ hits that 2020 offered up to us – by a US singer-songwriter and actor from Las Vegas, who got their foot in the door of the industry when, after graduating from high school, they sent a demo tape to the Godmode label of New York City. They were raised as a Muslim, and identifies as Non-Binary. 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/

Cats have nine lives, but a Dog makes for a life-long companion. Time for a new post!

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Good Morning, Afternoon or Evening! My name is Jacob Braybrooke, and it’s time for me to type up about your daily track on the blog, because it is always my day-to-day pleasure to get writing up about a different piece of music every day! Strictly speaking – I’m actually making the trek back to my home from University life today, and so this has been written three days in advance. I’ve always got a lot of music to filter through as part of my daily passion project of the blog and so I would usually only cover one track per artist, unless they are one of my long-term favourites. We covered one of Jordana’s tracks, “I Guess This Is Life”, a few weeks ago – but I truly feel she is a new artist who deserves what little exposure that I can gain for her. “Reason” is the most recent single from her – that being bedroom pop singer-songwriter Jordana Nye from Wichita, Kansas – and it was the final single to release prior to her LP, “Something To Say To You”, a collection of the “Something To Say” EP that she released earlier in the year and the new “For You” EP that was released on December 4th, along with the LP collection that I just mentioned beforehand. I was absolutely blown away by “I Guess This Is Life”, and I assume the fact that I’m spotlighting her again for you today is a bit of a spoiler of what’s coming after the jump. Let’s watch the video to “Reason” below.

“Reason” is also the final track of her LP collection, and the music video was directed by Ethan Nelson, even though the gorgeous puppy Milly is the real star of the show here. This time around, Jordana explained that “Reason is a song of realization, how you can find worth and happiness in life just by showing love and compassion through simple gestures and being present in the moment”, but I also love how I can interpret the track as Jordana mourning the loss of her pet dog. The pace is set up by a simple Piano piece that continues to permeate through the vocals with an emotive feeling, singing: “I had a reason for all of this/But, the answer I dismissed as I gazed and reminisced/and I kissed you”, with the latter line marking a turning point for a touch more of bass melodies and relaxed Drum grooves. The witty motifs of Jordana’s gently philosophical lyricism in “I Guess This Is Life” are retained, as amusing lines like “The smell of you is on my clothes, in my mouth and in my nose” and “I can’t f**e this shit” are delivered to add some humor to the otherwise hypnotic and slightly downbeat production. This sense of humour is also emphasized by the visuals within the music video, where the director does an excellent job in bringing Jordana to life in her character and her songwriting. Whereas “I Guess This Is Life” comes across as nostalgic and very smart, “Reason” comes across to me as more personal and subtle. The soft Violin strings and the whimsical Dream-Pop elements add a textured feel that, combined with the music video and her songwriting style, balances a tone that wavers beautifally between a bittersweet reminiscence and a poignant self-reflection and it manages to convey a real gut-punch of vibrant personality and emotion. She reminds me very nicely of my personal favourite, Jens Lekman, yet with a more contemporary Country-Pop layer that also reminds me of Laura Marling and Julien Baker, but her tones and energy are unique to her, and at the end of the day, I can’t praise her enough. I absolutely love this. She is my favourite discovery in a long time!

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As mentioned beforehand, I have also covered another track from Jordana – titled “I Guess This Is Life” – in the last few weeks. If you really liked this, please don’t miss the boat by checking out my introductions to her here, and I would wholeheartedly suggest that you do so: https://onetrackatatime.home.blog/2020/11/10/todays-track-jordana-i-guess-this-is-life/

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Thank you for checking out my new blog post! Tomorrow, we’ll be getting back into the festive spirit for an in-depth listen to an Alternative christmas track which comes from one of the most quietly successful independent bands of Scotland, who released a Christmas-themed EP in 2008 via Columbia Records! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

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Good Day! Whether you’re reading this post in the Morning, the Afternoon or the Evening – It has admittedly been a rather long time coming. Judging by how the time has flown us forward to the 17th November (at the time of writing), I have somehow quite possibly missed the boat a little bit for your highlights of October 2020 highlights post. The genuine truth is that I have got a Masters degree to do, rather honestly. However, that doesn’t mean that we should forget to look back at the music that October 2020 brought to me, for sharing with you. This was another rather standard, but solid, month’s worth of eclectic and exciting new music, and it was difficult to squeeze in some of the classic tracks due to the interesting music that came hot off the press. I’d love to give an honorable mention each to Fleet Foxes’ “Can I Believe You”, as well as Nas & Hit-Boy’s “Ultra Black”, two more tracks which I covered on the blog this month that are well worth your time. For the interests of your time, however, I have kept it to Ten. Without further ado, let’s take a belated look back at the Ten biggest joys of October 2020 on the blog, and a look back at the worst.

THE BEST

Coco – “Last Of The Loving” (2020)

October 22nd, 2020 – “Last Of The Loving”, and the first on your alphabetical list of October’s greatest musical pleasures on the blog, was this soothing and warm venture through Chamber Pop and Acoustic Folk, with a sparsely Soulful vocal undercurrent, that came courtesy of Coco, a secretive new Dream-Pop trio from somewhere within our universe who declined to even reveal their identities. They use this practice because it puts the focus solely on the feelings that their sweet music evokes, and when the vocals feel this well-balanced between warmth and darkness, and the guitar patterns feel as dense and affectionate as in this track, it’s hard not to get lost in the light, gentle breath of melodies that are composed in this little treat. On my second thoughts, I’m not sure that I want to know anything else about them at all.

Djo – “Keep Your Head Up” (2020)

October 21st, 2020 – I don’t know if you’re a skeptic, or get as cynical as me with things like this, but when I first hear “Hollywood actor embarks on a musical career”, I instantly think of unnecessarily overused auto-tune, generic lyrical themes and not much of anything that isn’t driven by commerce. So, I was really pleasantly suprised by Djo (Who is actually Joe Keery, who most famously plays Steve in the Netflix blockbuster ‘Stranger Things’), who was well on his way to pulling out a certified Future-Funk banger with “Keep Your Head Up”. On the track, he constantly subverts your expectations with the push-and-pull pacing of the instrumental Synth beats, blending them up with obscure, yet amusing, lyrics which evoke the Pop sensuality of Prince, and a flashy bass line that evokes the groovy early Funk sensibilities of the legendary George Clinton, of Funkadelic and Parliament fame in the 1970’s. Keery even whips out a glamorous Saxophone solo at one point, to throw in to the off-kilter mix of Nu-Jazz influences and dynamic Synthpop patterns. It gets a huge thumbs up from me, and the layout is played absolutely wonderfully to the idea of “Who Knew?”.

Evanescence – “Going Under” (2003)

Scuzz Sundays, October 22nd, 2020 – It is rather rare that one of our Scuzz Sundays 90’s-00’s Pop-Punk and Goth-Rock throwback tracks really pricks my ears up these days – mostly because I’ve now realized that Scuzz TV, in itself, was a music video channel that promoted a lot of commercial music, but I genuinely feel that Amy Lee’s European favourites, Evanescence, were really on their way to something very special in their crossover success to a more mainstream audience. “Going Under” was simply just Pop with Heavy chords, but that’s a very good thing in this case. Lee delivers an impressive vocal performance, with catchy hooks and memorable lyrics, along with the quick pacing of the darkly melodic guitar work and the fast drum signature. However, some decent textures lie deeper within – as the lyrics of consumed lust and toxic relationships resonate strongly through noticeably layered Piano melodies that twinkle in the background. Lee was quite ahead of her time too, as she was the main credit for her band in a time where it was a more male-dominated niche, so there is something very valuable going on here. It’s definitely more than just a fun throwback.

Jane In Palma – “One By One” (Original Mix) (2020)

October 8th, 2020 – At a first glance, “Jane In Palma” probably sounds more like a parody take on Australia’s Psychedelic Rock native who has recently crossed over to the more mainstream borders with his fresh Indie Pop sound, but Julian Smith’s latest is actually a project which delights in experimentation, in both of it’s creative processing and the literal recording stages. Having previously used the acoustics of an actual cave to good effect during his previous album under the “Jane In Palma” moniker, Smith has further explored his love for nature and disconnection from social media in his “Safety Net” LP. Based in Majorca, Spain – Smith evokes a very funky and evocative series of sun-dripped moods with “One By One”, an instrumental single filled with infectious Conga Drum rhythms and a percussive, Tropical soundscape that feels very transporting and heavenly. I even managed to interview Julian on my student radio show – and his voice certainly did not disappoint – Much like the music!

Loraine James (feat. Jonnine Standish) – “Don’t You See It?” (2020)

October 7th, 2020 – Tis’ but a distant memory now, since we originally took an in-depth look at Loraine James’ “Don’t You See It?” ages ago since the track came to my attention right at the beginning of the month, but I certainly did not forget about it, and it’s still very worthy of five minutes of your day. It’s wildly experimental, but enthralling and wise. Enlisting the aid of Neo-Soul vocalist Jonnine Standish, James manages to evoke an emotionally mature tale of hazy summer romance and an unfolding long-term relationship with skittering IDM drum beats and down-pitched, yet sonically diverse, samples that play beautifully to the internal ideas of the chaotic disorientation of the mind in the self-trans-formative event of breaking up with a meaningful partner. A hopeful, bittersweet ambience is also conveyed through the soft synth line that intersects the deeply scattered sounds and the rapid shifts in flow, with a tonally connected dynamic. One of the most promising new electronic artists.

Lost Horizons (feat. The Hempolics) – “I Woke Up With An Open Heart” (2020)

October 27th, 2020 – The Soulful itch was also scratched, fully capably, by “I Woke Up With An Open Heart” by Lost Horizons, the duo of former Cocteau Twins bassist Simon Raymonde and Richie Thomas (Best known as ‘Dif Juz’), which, equally with Loraine James, really doesn’t deserve to fly under-the-radar. Using the Neo-Soul undertones of London-based vocal choir The Hempolics, the duo manage to blend old-school Trip-Hop with Classical Music textures and modern London Soul to a comprehensively well-developed effect. As a result, it feels like a love letter to the Birmingham and Essex Dub sounds of the late 90’s, creeping into the early 00’s, with the assistance of a smoky Jazz layer established through a natural Saxophone solo, and it blends with the downtempo lyrical motifs to create a darkly melodic, but very diverse, array of tones and feelings. Rich and bleak, the sum of it’s parts are essential.

Pan Amsterdam (feat. GUTS) – “Carrot Cake” (2020)

October 9th, 2020 – As with Coco, not much has been published in print and online about Pan Amsterdam, a unique Prog-Jazz enigma who seemingly resides in New York, other than the fact that he was reportedly found lying on a beach by The Godfather of Punk himself, Iggy Pop – in his own words. However, one thing is known: He makes some addictive music. None of the lyrics in “Carrot Cake” really go anywhere, in the traditional context, but the flow of the Trip-Hop sound, together with his offbeat wordplay, is effortless. It calls back to the days where Hip-Hop wasn’t really a thing like it has since become, with a sophisticated feel of nightlife being recited through his rich, low-tempo vocal pitch. The energetic grooves work wonders with the Funk rhythms and the irreverent humor to create a quirky, rhythmic sound that blurs the distinction between the genres being explored. It’s probably one of the least mainstream-driven tracks on the list, but I love the fact that it’s so difficult to pin down – and I get the sneaky suspicion that Pan Amsterdam revels in the obscurity. I, for one, cannot wait to hear a full sequel to this track. Sticky Toffee Pudding, anyone?

The Flaming Lips – “Will You Return/When You Come Down?” (2020)

October 17th, 2020 – Evoking the lo-fio Art Rock/Shoegaze textures of 70’s Bowie and the chilling poetic nuance of artists like Nick Cave and The Brian Jonestown Massacre, The Flaming Lips managed to deliver one of the most essential singles of a long career that spans 16 albums in their discography with the simple beauty of “Will You Return/When You Come Down?”. Taken from the new album “American Head”, which followed a series of live gigs where the band, very literally, performed in Covid-19 secure “Bubbles”, The Flaming Lips wrote and recorded a track which felt exciting and refreshing, despite keeping old influences of their work intact, and layering very fragile little keyboard melodies and harmonic Cello strings over the top of a subtle off-kilter production aspect that evokes a perfect balance of absurdity and narrative polish. This is a single that feels gorgeous and mesmerizing, yet, brilliantly, simply so.

The Mountain Goats – “Get Famous” (2020)

October 23rd, 2020 – Another long-serving Alternative/Indie outfit, along with The Flaming Lips, to release a new double-digit album in their historic discography are The Mountain Goats, who managed to prove both in how far they have come since releasing Lo-Fi Folk on low-fidelity Casette recordings, and how little they have really changed – and commendably so – in the case of “Get Famous” from their new LP, “Getting Into Knives”. Quite frankly, this is some of their best work yet. It feels very endearing to hear their old style creeping back in, even as a relatively new follower of the cult favourite California-based Acoustic Folk band. With enchanting vocals from John Darnielle that satirizes commercial fame mentality, a striking old-school Jazz sensibility and a refined set of bass guitar work prove to be the icing on the cake of the lightly psychedelic tones and the slightly relaxed textures. Yet, it never feels formulaic or predictable for the band to take their classic direction – it instead feels wholesomely like The Mountain Goats. We needed it more than we probably realized!

Working Men’s Club – “Valleys” (2020)

October 5th, 2020 – Finally, one recent (-ish?) track which really caught my ears all throughout the month and (let’s get candid) the majority of the next month, was “Valleys” from the recent Heavenly Recordings signees, Working Men’s Club. Taking small cues from Depeche Mode and Soft Cell, Sydney Minsky-Sargeant and his equally creative co-horts perfectly capture the detrimental qualities of small-town mentality and living in cultural isolation through a methodically calculated series of euphoric Drum Machine riffs and towered Synth melodies. The youthful rebellion ideology of Post-Punk lurks around the corner, and the Techno sounds that end off the extended album edit of the track are a real hallmark. Very appealing. Very impressive. Very cool.

And Now…

THE WORST

Good Charlotte – “Lifestyles Of The Rich and Famous” (2002)

Scuzz Sundays, October 4th, 2020 – Good Charlotte. Good Heavens, more like. Ironically, there isn’t much in the way of “Good” about this one, in my personal opinion, with vague Rap-Rock lyrics being delivered over the top of a swooping Record Label chorus that feels painfully obvious, and overly generic guitar melodies and non-existent substance in the drum part. Above all, the reason that the track fails, for me, is that it’s a song about moaning that high-level celebrities are always complaining, which, in turn, if you’re deliberately trying to score a big radio hit, and you’re famous with a few US and UK-charting albums for yourself, loses all of your credibility in doing this. Then again, one of the most loyal followers of the blog commented on my Facebook post that she really loves it. I suppose – What do I know?

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Thank you very much for reading this post – my apologies for the delays in getting this piece of writing out to you. I guess it’s true, that I do love to be, a busy, busy bee! Please like the Facebook page for the blog to receive all my updates here: https://www.facebook.com/OneTrackAtATime/

Last Of The Loving, but let’s hope this is just the first of many. It’s time for a new post!

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Good Morning! I am Jacob Braybrooke and, just like usual, I’m here to fulfill my daily duties of typing up a post about your 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! Coco are a secretive new Dream-Pop trio who are supposedly from America, and it has been hinted that their line-up could be made up of songwriters and producers that we know from other projects. It seems they’re not willing to reveal any of their true identities, however, and their Spotify bio just reads as “We choose to share this music with the world anonymously because we want Coco to be truly and solely about the music”, alongside the introduction of “Coco is not about who we are; It is not meant to magnify our personas” and their outroduction of “We want the songs to speak for themselves, to be received in pure form by the listener alone” and it doesn’t seem to make my hobby of writing this post any easier. As you’ve probably guessed, it was also very difficult to find any images on the web to use for this post, and most of the search terms that I tried just came up with screenshots from the 2018 Disney/Pixar animated film of the same title. The band have been generating a following on the Alternative Folk music genre from the sense of enigmatic discovery, and they have released two other popular singles thus far, entitled “One Time Villain” and “Empty Beach”, two sublime creations the peculiar musicians refer to as “a shout in the wind”. “Last Of The Loving” was a single they released back at the tail end of August, and it emerged from an eight-day recording session at the end of February, which implies the band are releasing their latest material only when they want to, and it might not all be released in the chronological order of their recording and production in which we’re used to seeing other acts typically tend to follow. Let’s listen to the track below.

Thankfully, Coco decided to share some information on the backstory that regards the latest track, describing their eight-day recording session as “We didn’t prepare any material for the session – we wanted every song to begin from the ground up with the three of us together,” and briefly elaborating on the meanings conveyed behind the lyrics, saying the single “portrays the feelings and sentiments of a blossoming relationship. The world turns and moves while you exist in a new little bubble.”, and it’s noticeable how their recent track takes on a more Chamber-Pop stance than their prior material. The guitar work is designed to harmonize over a simple but eclectic rhythm, and the later stages of the track build an almost upbeat and danceable pace, but the vocals retain their feeling of moodiness and yearning. In the verses, the female vocalist is very interested in creating an atmosphere to set the table for the tone of the track, as she sings: “Holing up and watching movies while you sleep/The sun glows on the curtain/And a month is like a week”, as the track quietly builds up a dreamy visual that feels rooted in the subtle Synth work of early 80’s Shoegaze material. The lyrics in the second verse play on adventure and warmth: “We could venture for a moment down the street/We could hang around here, but there’s nothing much to see” with a delivery that feels optimistic and affectionate, although not quite upbeat. It progresses to an effective release of quiet tension when the chorus kicks in, and she delivers the hook of “I love you more when you never say goodbye” as the sound ventures more into Art-Pop, and a soft Post-Punk element that didn’t really come before. “Last Of The Loving” doesn’t really have much to say, but I feel it succeeds beautifally because it offers a lot to make you feel. Both musically and lyrically, with an atmosphere that manages to feel very touching and heartfelt. The unashamedly “indie” pop atmosphere creates a fun environment that really speaks for itself. I think that it’s also intriguing to see a band use such a tactic of mystery as they do, because it feels unique and refreshing for a time where all the major record labels want their acts to all get very popular, and very quickly, and they all seem to be rushing for that meme-oriented hit. The focus with Coco is purely just the melodies and the harmonies. It is very special indeed, and I can’t wait to hear what comes next.

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Thank you for reading my new blog post! Please don’t forget to join me tomorrow, where we’ll be taking an in-depth look at a track from the brand new album release that comes from a fan-favourite and beloved American indie/alternative Folk band who were known, throughout the 1990’s, for the release of their self-produced home fidelity recordings (mostly from an old cassette boombox) and releasing this material on classic 7″ vinyl formats. 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/

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Good Afternoon (or Morning, or Evening) to you! In any case, my name is Jacob Braybrooke and, since it has always been my day-to-day pleasure to write up on the blog about a different piece of music, whether new or old, regardless of any real genre, every single day, it has reached the time of the new month where we take a cheerful look back at a selection of the findings that I nabbed over the course of the last thirty days (and a bit, since this is now going up in the just-about mid-October stage) to sample on the blog for you, with our monthly highlights round-up post. Throughout the next set of paragraphs, we’re looking back at ten of the best (Well, most of my personal favourites) tracks that have all been featured on the blog in September. If you read on until the end, we’re also going to take a look at the worst for a bit of fun. Generally, it was a month that started out fairly slowly to begin with, as we have just left the packed “Summer Music” season , however, the amount of competition progressed to a very high level by the end of the month, and it’s been tricky to pin-point just ten of the tracks to a single list, because they’re all very unique for their own reasons. So, I would like to give out two Honourable Mentions to PlanningToRock’s “Jam Fam” and JW Francis’s “New York”. Keep reading on to hear about ten of my favourite tracks on the blog last month… and also … one of my least!

THE BEST

Beck – “Hollywood Freaks” (1999)

22nd Birthday Special, September 2nd – A true outlier in the discography of music’s very own shape-shifting chameleon, Beck, “Hollywood Freaks” is a white man’s pastiche of a cult “Black Funk/R&B” record from the 1970’s remade in a more contemporary Alternative Disco-Pop/Indie Rock form for the grand heights of electronic experimentation during the late-1990’s, filled with the quirky lyrics that you’d typically come to expect from Beck himself, tongue-in-cheek humor that satirizes higher elitists, without patronising or offending the group to a certain point and a cherry-coloured synth interval which fully integrates the Rap-Rock elements of the developing track into full force. It manages to cram a lot of ideas into the space of four minutes coherently, and it is essential because it sounds like nothing else that you are quite going to hear from anybody else, especially as the times keep rolling on.

Billy No Mates – “Hippy Elite” (2020)

https://www.youtube.com/watch?v=9Jm3UOef7o0

September 8th, 2020 – When I first heard the comical line of “Well, I wanna save the whales too, but it’s a f****ing Wednesday afternoon, so a Canvas bag and a smile is the best I’ve got for you”, I knew that we were going to be in for a wild ride. Although not necessarily a comedy or a novelty track, Billy Nomates (the alias of Tor Maries, a British singer-songwriter who is based between both Bristol and Bournemouth), will definitely make you crack a smile with her satirical, and punishingly arguable, take on the contemporary global warming and climate change issues that our modern media seems to be just obsessed with reporting about. While a New-Wave influence creeps in with jolting bursts of subtle synth instrumentation and gentle electronic Drum textures, it’s the punk-fuelled attitude of Maries which really makes the track, and it sounds inspired as a result. A track that will probably take some time to connect with, perhaps if you are the ‘casual’ type, but it’s a real good grower. Purgatory? Not for me.

Garbage – “I Think I’m Paranoid” (1998)

September 18th, 2020 – A fan-favourite of Garbage’s more Pop-Grunge and Industrial-Rock endeavours, and a classic of the Post-Punk genre overall, it took a while for Garbage’s frontwoman Shirley Manson to properly find her unique characteristic in a vastly over-crowded Pop-Punk market, but “I Think I’m Paranoid” marked the genuis point for Manson to finally both, literally and metaphorically, find her voice. With some whimsically addictive hooks, the refreshing use of DJ scratches, and the clever guitar work erupting through the cracks of a fairly basic lyrical theme, Manson and her comrades cooked up a huge storm that righteously garnered decent mainstream attention for them. It somehow holds up today while also feeling vintage.

Marlowe (L’Orange & Solemn Brigham) – “Future Power Sources” (2020)

September 9th, 2020 – An exciting new rap ballad from two new, emerging talents on the underground hip-hop scene, “Future Power Sources” has just proven to be a ton of fun over the course of it’s growing strength across the last four weeks. Marlowe (the duo of producer L’Orange and rapper/lyricist Solemn Brigham) dip into a kinetic, but not jarring, pace of movement with a stunning ebb-and-flow on their modern Acid-Rap take on the melodic Hip-Hop sounds of the early 1990’s, with L’Orange matching quick samples and Nu Jazz-inflicted stabs of brief instrumentation to expertly match Brigham’s very quick-witted and his zany, memorable lyrics about self-development and personal growth, and scratches from DJ Trackstar to make an exciting sound. This is now one of my favourite new rap duo’s in quite a few years, probably since the new team of Run The Jewels burst onto the scene in the early-10’s.

Michael Kiwanuka – “Hero” (2019)

Mercury Prize 2020 Special, September 26th 2020 – It was quite surprising for me to find out that British R&B/Blues singer-songwriter and producer Michael Kiwanuka had scooped up the award of this year’s Mercury Prize for his psychedelic wonder of an album, “Kiwanuka”, which he released all the way back in November of 2019, which is almost an entire year ago now. I honestly wasn’t massively familiar with him, and I saw it as an excuse for the media to just shove Dua Lipa down our throats yet again, as she was also nominated. Alas, it was a pleasant suprise. “Hero” develops nicely, with a 1960’s-set Jimi Hendrix influence that propels relevant racial themes and contemporary ethnic messages across without them feeling forced, or as if they are just there. It’s a track that’s worth verbally talking about, as further elements of 70’s Soul and 60’s Afrobeat smoothly enters the fray, without a loss of cohesion or relevance. With Gaz Coombes on the judging panel, I am genuinely thankful the ballot made a nice choice in Michael Kiwanuka as their guy. It gets better with repeat listens.

Porridge Radio – “Born Confused” (2020)

September 11th, 2020 – Also nominated for this year’s Mercury Prize, and the act which I personally might have chosen to win along with Moses Boyd, was the female-led indie punk 4-piece group Porridge Radio, led by Dana Margolin, who showed serious prowess earlier on in the year with their second album, “Every Bad”, which gained universally positive reviews from critics upon it’s release back in March, and it sadly seemed to get a bit overlooked by audiences, to my vision. The opening track, “Born Confused”, in the meantime, is just absolutely wonderful. The mood and tone of Margolin’s vocals change on a whim, but it always feels dynamic and emotionally meaningful. Although it may be difficult to identify whether Margolin’s textures are sincere, sarcastic, or both, the sheer beauty in the track comes from not only how much fun it is, but also how Margolin expertly manages to convey a rich and complex set of emotions together, with an accessibility for casual listeners, but also a dense palette for those more likely to really take a seat and listen back to it. It’s outstanding!

Sibille Attar – “Hurt Me” (2020)

September 22nd, 2020 – Swedish indie songwriter Sibille Attar’s “Hurt Me” proved to be one of the darkest horses of the September 2020 line-up on our daily blog, with an innovative new single release that may have been rather overlooked when it hit it’s originally scheduled release date, back in May. I found “Hurt Me” to seem very creative and imaginative for a pop release in the era where “Indie” has now become just a brand, with Avant-garde Violin string sections creeping into an eclectic soundscape that also featured two-step drum signature patterns and fragile, tender Cello melodies. The track always stays quite refreshing over it’s duration, with a well-executed key change towards the end that opens the door to an angelic Art-Pop sonic pallete of increased intensity, across the board. A mesh between the classical and the organic, “Hurt Me” makes up for a surprising, and quietly diverse, well-textured, treat.

Sinead O’Brien – “Strangers In Danger” (2020)

September 3rd, 2020 – An emerging Irish poet who formed a bright picture of intrigue over my listening tastes with a previous release on the blog, the promising experimentation of Sinead O’Brien came fully into it’s own in her single, “Strangers In Danger”, which was also the lead single for her new EP, “Drowning In Blessings”, released towards the end of the month. “Strangers In Danger” is a very poetic and tranquil effort, meshing tonal similarities to Nick Cave and Kate Bush with a wide range of her literary influences such as Joan Didion and Frank O’Hara, to create a final result that feels heavenly and provocative. The singular grooves of the Post-Punk guitar backing track creates an effortless melody for O’Brien to bounce a wide variety of unique ideas and anecdotal lyrics off, with a sweeping crescendo that manages to make O’Brien’s cerebral lyrics to feel melodic enough to almost dance along to. It’s tricky to fully explain through words how it all works, but it succeeds beautifally. I find her to be weirdly attractive too. Anyhow, definitely make sure you take a listen to this!

Songhoy Blues – “Worry” (2020)

September 14th, 2020 – A recent single that must be driving the main bulk of my housemates to the land of nuts because I have been constantly singing it around the student crib, “Worry” is the latest single from Malian rock 4-piece group Songhoy Blues, who are set to release the album “Optimisme” at the end of October. Formed out of the ashes of a Civil War and the remains of a heated conflict in their native country, Songhoy Blues deliver a promise of hope and a message of self-confidence in their irresistibly catchy blend of traditional African melodicism and a punchy old-school, 1960’s Desert-Rock instrumental sensibility that culminates in an impressively written ballad of perseverance and contentment which feels very open and loving throughout the form of the universal language of music. It will get stuck in your head for days – and if you’re anything like me – you won’t particularly want for it to leave it!

Yard Act – “Fixer Upper” (2020)

September 15th, 2020 – For a new Minimalist Post-Rock 4-piece group who sadly only managed to play a grand total of three gigs together before the global lockdowns occured earlier in the Spring, it may come across as a shocker to you that they’ve already managed to write and produce a track that sounds worthy enough to end up on a “Best-End” list such as this, but, luckily, Yard Act’s “Fixer Upper” is a huge success. It plays a bit like a forgotten, but ultimately beloved, cult classic from the late-1980’s due to it’s striking Post-Punk sensibilities, but the guitar melodies land in spades and the angular, clattering Drum patterns adds the correct amount of tone and context to the narrative of a parody upper-elitist character called Graham, for the humour to land with a great deal of heft, without ever feeling as though it’s veering into a more Novelty-based territory. Lyrically, it ends up being a refreshing social commentary on class and British people’s attitudes in 2020, whilst it manages to be funny, without being a comedy. One of the best debuts in our complex circumstances.

And Now…

THE WORST

Yukon Blonde – “You Were Mine” (2020)

September 17th, 2020 – Yukon Blonde’s forthcoming fifth studio album, “Vindicator”, is set to be the band’s first to be self-produced entirely in their frontman Jeff Innes’ studio, and if “You Were Mine” is anything to go by, you may want to reserve an ounce of your anticipation for this one. “You Were Mine” was sadly rather underwhelming to my ears, and I found that it fell a bit flat on a few different levels, for me anyways. The production feels very reminiscent of Tame Impala and Foster The People, but it sadly lacks a key piece of nuance that makes these two radio-friendly Psych-Pop acts execute pop so excitingly. The synth beats are vaguely interesting, but they seem to flounder and meander with a lack of progression throughout the song, layered to the beat of vocals that, again, sound mildly interesting, but don’t quite seem to mesh together with the soundscaped-production very thoroughly. The middle section is a bit of a slog, and the vocals just don’t quite manage to grip me with an emotional impact. A danceable bassline and some vaguely intriguing R&B concepts keep it from becoming a real failure, but it sadly left me on a misfired note for it’s generic production qualities. Just to clarify, I don’t necessarily think this is an offensive track, it is just the track of the month that I was unfortunately left the most disappointed by.

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That’s just about all for my wrap-up of the past month!  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

I was Born Ready… There’s a cheesy 80’s action movie line for you! It’s new post time!

Good Morning! My name is Jacob Braybrooke and, as usual, I’m writing up about your daily track on the blog, because it’s my day-to-day pleasure to get typing up about a different piece of music every day! One of this year’s shortlisted Mercury Prize nominees is “Every Bad”, the severely overlooked second studio album by Porridge Radio, a female-led five-piece lo-fi Indie Punk outfit who were formed together in Brighton, in 2015. The band are fronted by vocalist, songwriter and lead guitarist Dana Margolin, and it is also made up of keyboardist Georgie Scott, bassist Maddie Ryall and drummer Samuel Yardley. “Every Bad” was released in March, and it marks Porridge Radio’s debut album for a label, having recently signed to US cult favourite Secretly Canadian. Although the album hasn’t gained as much traction, as I feel that it should, by audiences, the record gained a very positive critical reception, scoring an 85/100 mark on the review aggregate site, Metacritic. The group have described their sound to the press as “Slacker Indie”. Let’s get a sampler with “Born Confused” below.

“I’m bored to death, let’s argue” is an opening line that wields a hefty power in whichever way that you look at it, much like the healthy warm bowl of oats that the band’s name probably has you directing your imagination to. I feel the real beauty of this music lies in the evocation that each individual moment offers a new tone, a new balance of emotions and feelings lyrically, but it’s unclear whether Dana skews towards a feeling of sincerity, sarcasm, or perhaps, even, a mixture of both. The verses are filled with three-chord structured guitar work, and a fluttering Flute section that subtly adds to the background. A few violent outbursts are teased after a more upbeat chorus, as Dana exclaims: “Well, maybe I was born confused/And baby, I was born confused, so I don’t know what’s going on” as she delivers a more cathartic, faintly anthemic chorus, before the vocals quickly reverts back to a joyous, celebratory tone. The track, however, ends with the line of “Thank you for leaving me” before Dana continually repeats: “Thank you for making me happy” over and over again, starting with a more bitter and ironic tension while performed over tremulous melodies and chanting backing vocals that sound delightfully cheerful and sun-dipped in happiness. This continues at a breakneck pace, rolling along at a dramatic frequency, until we’re left with a solo vocal fron Dana, as she angrily steams with intensity and emotion, as she shouts “Thank you for making me happy” with a voice gasping for relief and urgency. She sounds both reeling in bitter, sarcastic irony and flooding in tears of sadness and repression, and you’re left to wonder if it’s heartfelt gratitude, or burning regret – and it works because relationships are hard, and feelings to do with lust and attachment are complicated. While it may not stand out as particularly unique on the surface, it’s rather innovative. It provides a strange way for live crowds to start a mosh pit but it really works. This is an exceptional piece.

Thank you very much for reading my new post! As always, I’ll be back tomorrow with an in-depth look at another Spring-time release of that I am trying to catch up with. It comes from a lesser-known group from Finland, who specialise in fusing together their very own African-influenced sound. The group have, so far, released music on labels such as Queen Nanny and Pernament Vacation, along with producing a remixed soundtrack for a 1920’s silent drama film, “Lost World”, as well as attained the remix treatment themselves from left-field EDM producers such as Luke Vibert and Call Super. 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/

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Good Morning, Afternoon or Evening to you, I am Jacob Braybrooke and it’s always been my day-to-day pleasure to write up about a different piece of music every day! Therefore, this 22 year-old YA male gets through A LOT of interesting music, new or older, on a daily basis. However, if we’re being very honest with ourselves, how easy is it for us to just move on and forget all about the brilliant music that we’ve been exposed to, as life goes on? That is why, for the past two months, I’ve been wrapping up the finished month with a reminder of my favourite tracks that I have discovered through my daily maintenance of this blog, as we get to ring in the new month. August was a month that started off as a little more subdued than usual, but, as we progressed throughout the last few weeks, the competition was really heating up. Although I like to keep my listing at the well-rounded, traditional number of 10, I’d like to give out an Honourable Mention each to Drab City’s “Troubled Girl” and Doves’ “Prisoners”. But, without any further ado, let’s refresh our memories with a look back at ten of the best tracks featured on the blog last month and, for fun, two of the worst.

THE BEST

Aphex Twin – “#3”

August 18th, 2020 – Mid-month, we celebrated the 49th birthday (or Should I Say… Lornaderek), of Richard D. James, who is personally one of my very biggest anti-heroes in music, with a look back at “Selected Ambient Works Volume II”, which the Cornish myth-weaver says to have made in his sleep, by the power of Lucid Dreaming, back in 1994. Although there is no way of telling if he really swears the Gospel truth or not, as common from Richard, it remains to be one of the most fascinating album releases of our lifetime, and one of his most acclaimed works from fans and critics alike, and that is coming for a producer who has released hundreds of tapes worth of music, from several different monikers, throughout his illustrious career. “#3” is a testament to the quality standards of this record. Serene and beautiful, but ethereal and melodious. This shows an alternate edge to him, a humanity to the Horror villain.

Beckie Margaret – “God”

August 19th, 2020 – Moving on from an established artiste to an emerging presence, Beckie Margaret is a youngster based in Southend-On-Sea signed to Luke Branch’s Cool Thing Records indie label. Margaret impressed me in the last month with her latest single “God”, where Margaret conveys a purposeful confidence in wavering an enigmatic Americana aesthetic with an inversion of No-Wave pop and Desert-Rock harmonization. She croons about the violent and intense emotions of a one-sided relationship over a pure, stripped-back guitar rhythm and Blues-y, if hopeful, ambient Synth washes, mixing the dark instrumentals with lyrical connotations of faith and spirituality. It is her strength, within her vulnerability, that leaves a lasting impression.

The Cocteau Twins – “Lorelei”

August 1st, 2020 – Early pioneers of Shoegaze and Dream-Pop, The Cocteau Twins kicked off the last month in incredible style, with “Lorelei” serving as my personal introduction to their music full of fantasy and child-like purity and doubling up as a reminder of why they’re so beloved to their existing fans. A glowing highlight of their discography from 1984’s LP, “Treasure”, “Lorelei” presents great use of delayed pedal effects and surges of creative, high-pitched bass guitar riffs to produce a gorgeous, dream-like harmony above Liz Fraser’s distinctly exotic vocal style. You can barely understand any of the lyrics, but it does not take a rocket genius to understand that this is wonderfully crafted Folk-inspired music…and I think that’s the key point of it…

Darkstar – “Blurred”

August 26th, 2020 – The English experimental ambient group of James Young and Aidan Whalley, who record their music under the moniker of Darkstar, released a heatfelt tribute to the Grassroots music venues which fell under the impact of the COVID-19 pandemic, in the process of lifting “Blurred” as their new single from their latest album, “Civic Jams”, released via Warp Records in May. The production is top-notch all-around, and really adds to the slow-moving ambient melodies with an emotive Choir vocal effect and a gentle flicker of 80’s Synth instrumentation to carry the melancholic and cerebral sound textures into a more peaceful and industrial harmonious melody. This definitely deserves a showing on the list due to the hard-hitting simplicity of the satellite-based video, which I implore you to check out above.

Delvon Lamarr Organ Trio – “Inner City Blues”

August 14th, 2020 – I found myself in the mood for some melodic Jazz across the month, and the Seattle-based indie Jazz 3-piece Delvon Lamarr Organ Trio easily scratched that itch with “Inner City Blues”, an energetically Groove-driven instrumental cover that allocated a fresh spin on Marvin Gaye’s 1971 original, with an authentic 70’s New Orleans-based Swing sound that put a smile on my face with a joyous, aired Organ beat and an optimistic, upbeat Drumming signature. The first track to be released from Colemine Records’ “Brighter Days Ahead” fee-waiving initiative, “Inner City Blues” is based on the synergy that can only be created by three individually sublime musicians coming together for a kinetic, polished anthem which blends all of their individual strengths together for their diversified common purpose.

Disclosure – “ENERGY”

August 28th, 2020 – Lesson learned. I probably should not have dismissed Disclosure, the Surrey-based brother DJ duo of Guy and Howard Lawrence, as “just Pop DJ’s” as early-on in their career as I did. “ENERGY” is brilliant, as it explores Earthly sources of World-based instrumentation with a pulsating West African drum melody that gets repetitiously delightful, and just doesn’t let up, as the core groove continually builds to a cooling Acid-Techno section of Synths that feel both empowering and very club-friendly in equal measure. A preacher vocal from Eric Thomas commands the moving presence of the swirling Synth contortions and the continous Conga drum pattern in a track that feels surprisingly varied, refreshing and memorable, especially for an act who had their biggest UK Top 40 hit with Sam Smith.

Falle Nioke (feat. Ghost Culture) – “Barké”

August 31st, 2020 – Clear in our memories is Falle Nioke and Ghost Culture’s “Barké”, a single that was lifted from their recent “Youkounkoun” EP, which I covered for you on Bank Holiday Monday. Falle Nioke is a songwriter and percussionist from Guinea Conkary, West Africa. Ghost Culture is the alias of London-based English IDM producer James Greenwood. The two cultures bash together with no discombobulation at all, with an intriguing style that gets expertly crafted with a Syncopated Drum bassline and a flowing, hand-clapped Strobe backing that manages to inflict UK Drum-and-Bass elements into a diverse, ethnic West African vocal harmony with successful cohesion and decent flow. A track that may take longer for casual listeners to grasp a lasting connection with, but it’s absolutely worth some perseverance to get you there.

Nicolas Michaux – “Parrot”

August 11th, 2020 – “Listen to the word the Parrot says, and try to repeat” is the fun, catchy Tropicalia-Pop hook that emerging Dutch singer-songwriter Nicolas Michaux invents on his latest single, that undoubtedly leaves some questions unanswered, since we never find out what the Parrot said. Still, I am very grateful to John Ravenscroft for introducing me to this new artist, and Michaux shines in the ambiguity of “Parrot”. Jittering Bass Guitar lines and wry Snake Drum bass-lines effervescently link-up with a cooling, warm instrumental outro which blends Earthly guitar riffs with sun-dripped Synth with superb originality and meretricious precision.

Tame Impala – “Is It True?”

August 24th, 2020 – A few of my physical mates, and virtual friends off the Interney Music Community, seem to have been a bit sniffy about the latest work from Tame Impala (Mostly a solo vehicle for Aussie Psychedelic Rock producer Kevin Parker), but I’m still finding myself really enthralled by his work, even as he continues to reach mainstream soil. “Is It True?” is a shimmering highlight of new LP “The Slow Rush”, as he ditches guitar-driven hooks for a disco-rolling production flair, but this is strongly to his benefit. A harsh, 80’s Acid Strobe acts as a stimulating intersection between cooled, rhythmic pop lyricism and preludes a contemplative outro that re-positions the emphasis on a sonic West African drum backing hidden within the rest of the track. It becomes an addictive, involving Alternative Pop track. To me, that’s the truth.

Totally Enormous Extinct Dinosaurs – “Los Angeles”

August 5th, 2020 – Last – but anything but least – is “Los Angeles” by Totally Enormous Extinct Dinosaurs, an early highlight of the month on the blog. I have always been an avid follower of London-born EDM producer Orlando Higginbottom’s work and it’s a pity that he doesn’t get more recognition than he currently does. “I Can Hear The Birds” is a recent EP put together by samples of chirping bird sounds given to him by his friends across different locales in the world during Lockdown, and the results are naturally superb. “Los Angeles” uses the slight rumbling effects of Bass and Treble to add a bustling, dystopian flavour to the minimalist, twinkling Piano section and a fragmented, downbeat ambient texture which creates vivid pictures in your own mind. These are open to your interpretation, but they’ll surely feel majestic.

And Now…

THE WORST

The Bloodhound Gang – “The Bad Touch”

Scuzz Sundays 1st Anniversary Special, August 23rd, 2020 – This month, we commemorated the entire year anniversary of our weekly Scuzz Sundays feature with… THAT song! You know… THAT one… and the results were like we all expected. “The Bad Touch”, remembered mostly for it’s video, is sadly just no good as an actual track. The crude lyrics grow tiresome very quickly. The intimate, beat-driven Synth bassline becomes even more repetitious, and the Hip-Hop elements feel widely underdeveloped, with rhyming that comes off as very basic. Worst of all, the melodies just never actually go anywhere. They know to make a funny and memorable music video, even if it makes little sense, at the very least. Still, we hit rock bottom with this!

X-Ecutioners (feat. Mike Shinoda & Mr. Hahn) – “It’s Goin’ Down”

Scuzz Sundays, August 2nd, 2020 – Often mistaken for a Linkin Park track, due to guest spots from Mike Shinoda and Mr. Hahn of the former group, “It’s Goin’ Down” could never quite hang with the greatest of our weekly Scuzz Sundays throwbacks. This track encapsulates everything that was trendy in the mainstream of the early 00’s, and it now sounds badly dated as a result. The lyrics are simply about a new sound sweeping the masses off their feet, lacking any real substance or expression. The Hip-Hop driven rap verses are average at best, and the Turntable beats get rather too tedious towards the end, with abrasive Guitar and Drum samples that do not form much of a consistent groove. We’ve heard a lot worse from the Scuzz Sundays feature, but it sadly doesn’t stand up to it’s contemporaries with much flair that feels timeless. There is some ‘trashy fun’ to be heard here, but it sadly doesn’t equate to good music.

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Good Morning, Afternoon or Evening to you, I’m Jacob Braybrooke and we’ve slowly reached the time of the month where rediscover a snapshot of the great music this snobby young adult has written about, as we remember ten of the best tracks, subjectively, that I have covered on the daily music blog over the last month as we prepare to welcome the next month, August, with open arms. We’re also going to put ourselves through one or two of the worst to feel all the pain again for a laugh. That, and because of the ongoing pandemic, we all get particularly bored enough to do so. Despite there only being one or two high-profile album releases – July 2020 was still an ABSOLUTELY packed month on the blog, and it was very hard for me to pin it down to ten, since some music of different genres are almost impossible to compare. A lot of impressive new young talents have enthralled me over the recent weeks, and it’s truly been a blockbuster month in hindsight because there’s only one song that I can say was bad this month. So, it’s been great going indeed. In alphabetical order – Here are my ten favourite tracks that I reviewed on the blog this month…and one stinker…

THE BEST

Arlo Parks – “Black Dog”

July 3rd, 2020 – An emerging artist who blew my socks off (..and I’m still not wearing any…) with “Eugene” in the early stages of 2020 returned over the summer with “Black Dog”, a hard-hitting and painfully honest Acoustic Folk ballad which discusses an anecdotal issue of mental health and depression in mellow and luminescent, but powerful and thought-provoking flair. The minimalist acoustic guitar riffs place the emphasis squarely on Parks’ soft, melancholic vocals… and it pays dividends. She’s been getting mainstream attention now, and BBC Radio 1 have started playing the track. I’m usually against commercialism personally, but I truly feel that exposure is really fitting in this case. Simple, but very poetic and moving. A breathtaking triumph!

The Avalanches (feat. Jamie XX, Neneh Cherry & CLYPSO) – “Wherever You Go”

July 23rd, 2020 – An all-time favourite group of mine made a big return to my heavy rotation this month after going radio silent during the pandemic after constantly teasing an upcoming third LP in the months beforehand. A club banger that enlists the help of Jamie XX, Neneh Cherry and CLYPSO, The Avalanches – an Australian Plunderphonics duo best known for all-time classic “Since I Left You” – used samples taken from a 1997 NASA mixtape and explore cosmic, extra-terrestrial themes to seamlessly mesh Hip-Hop, World-based instrumentation and Experimental Psych-House beats in exciting, inventive and vibrant ways. The production is top-notch, with flickering voices and static radio effects soaked into the soundscape, while the different narrative elements flow cohesively with a slow Piano section that leads to an explosive payoff, closed out by the great rap section from Cherry. It’s out of this world.

Funkadelic – “Who Says A Funk Band Can’t Play Rock?”

July 30th, 2020 – The B-side to Funkadelic’s world-famous hit “One Nation Under A Groove”, “Who Says A Funk Band Can’t Play Rock?” was as much of a bold, ambitious statement of George Clinton’s band refusing to conform to the stereotypes of “Black music”, as it was a refreshing and sophisticated “party” anthem. The heavy Funk-led guitar riffs blend seamlessly with solid evocations of classic Jazz and Soul, blurring the lines between music genres and ethnic demographics whilst various different members take the lead vocals throughout the song. It firmly remains to be a classic in Psychedelic Funk, an influence of modern Pop and Rock. Hence, it deserves a place on the list. Given it’s political undercurrent, it’s worthy of celebration and recognition. As much so now, possibly even more so, than upon it’s original arrival in the late-70’s.

Ghostpoet – “Concrete Pony”

July 20th, 2020 – South London-based producer and songwriter Obaro Ejimiwe commands a “ghostly” presence on “Concrete Pony”, the lead single from his fifth album under his Ghostpoet pseudonym. An eerie project that is artistic as much as it is hauntingly realistic, the two-time Mercury Prize nominee pulled out all of the stops on “Concrete Pony” earlier in this year, an observational piece dealing with themes of modern society at a standstill, and the regret of risks not paying off. A distorted synth intro builds to a soft Piano section, leading to whistling Harmonica parts and subtle key changes, on top of a Spoken Word ballad that evokes the Post-Punk of Nick Cave and the Art-Rock flair of Perfume Genius. Oh, and that’s not all… Wait for the cowbell!

JARV IS – “Save The Whale”

July 17th, 2020 – Pulp’s famous former front-man Jarvis Cocker has made a long-awaited return to mainstream media attention with the release of his critically-acclaimed new LP, “Beyond The Pale”, via Rough Trade this month. It’s being named as his best work since, well… Pulp – and it doesn’t take a genius to figure out why – That’s because the genius shines through in the Leonard Cohen-esque songwriting. The overall sound of “Save The Whale” is strange and bizzare to newcomers of his work, and that’s a key part of the appeal. The quirky lyricism mixes intelligently with swelling string sections and cerebral synth melodies to create a melodic New-Wave undercurrent to the slow-building guitar lines and an eccentric Sci-Fi mannerism that borders on calming ASMR. It’s a fantastic achievement to see an established artist like Cocker put out such a fresh and intriguing sound 30 years into their career, but he’s done it.. and that is after listening to “House Music All Night Long”… and all day too…

Julianna Barwick – “Inspirit”

July 25th, 2020 – If you are looking for the perfect slice of soothing, ambient headphones-on-in-the-bathtub music, you’d need to look no further than “Inspirit” by Brooklyn-based electronic composer Julianna Barwick. The lead single from her fourth solo album “Healing Is A Miracle”, Barwick records a gorgeous vocal loop of “Open Your Heart, It’s In Your Head” that unfurls above gradually-unfolding layers of meditative synth pad cresendo sections and faint Pipe Organ sounds that create a collage of pure, beautiful electric harmonies and subtle elements of distorting bass lines that briefly rumble to the scene. This keeps the looping vocals from feeling too tedious because the sonic layering quietly adds interesting new elements to the palette at regular breaks. This is a peaceful record of solidarity, at a time so uncertain!

Manu Dibango – “Soul Makossa”

July 14th, 2020 – We sadly lost Cameroonian music legend Manu Dibango earlier in the year after he contracted Covid-19, but it gives us an opportunity to look back on his storied history as a very successful artist. A 1972 single that was too big for US record shops, “Soul Makossa” is his claim to fame, a refrain that Michael Jackson and Rihanna have both famously nicked off him. The track sees classic Soul blend with the “Makossa” origin sound of Cameroon, as the title implies. The West African elements are sparkling with Reggae-pioneering drum beats and Jazz-inflicted Saxophone solos, while the vocals get a catchy and infectious groove going. The music equivalent of necking a cold can of San Pellegrino down on a scorching hot day, “Soul Makossa” lives on with Manu Dibango’s enduring legacy of an iconic status.

박혜진 Park Hye Jin – “Like This”

July 10th, 2020 – A recent “boom period” of Asian-born female DJ’s, such as Peggy Gou and Orion, has been a refreshing and interesting movement to follow, and 박혜진 Parl Hye Jin has stepped up to the plate, as no exception, with her stunning “How Can I?” EP, released by the Ninja Tune label, at the end of last month. On the lead single “Like This”, Jin uses melodious chiming vocals and scattered ambient wind effects to form a clever groove of hypnotic sonic delivery and vivid, dream-like percussion. A bittersweet hint of melancholy can be detected underneath the gauzy, relaxing sounds of the low-pitched vocal shards and the breezy, minimalist pacing. A lower-key sound than some of Jin’s contemporaries, but it works with great precision.

The Radio Dept. – “You’re Lookin’ At My Guy” & “Could You Be The One?”

July 15th & 16th, 2020 – A Swedish Dream-Pop project that me and a friend, Harrison, call “Lund’s Finest” as our in-joke, The Radio Dept. continued to scatter new releases this year with the release of a new double single featuring “You’re Lookin’ At My Guy” and “Could You Be The One?”, and I covered both as part of a two-part series. The former track, a cover, switches up the doo-wop’s of the 60’s original by The Tri-Lites for a subtle and articulate Shoegaze-driven atmosphere. The latter track, an original, uses a charming Horn section to add a lullaby feel to Duncanson’s monotone vocal delivery. Both of the tracks are wholesome and gentle, and it’s amazing for me – and other fans of this cult group – to hear the voice that sounds like home to us again.

Thundercat – “Funny Thing”

July 2nd, 2020 – To put it simply, I liked Thundercat’s “Funny Thing” at the start of the month, and it’s been steadily growing on me, even in the weeks since. In the brief duration just shy of two minutes, the California-based Psych-Funk revivalist uses celestial drum grooves and playful R&B motifs to balance a self-contemplative tone of lyricism with a modern lick of synth paint to write a love letter to the quintessential old sound of mid-1970’s Funk/Soul/Jazz fusion, but he also elicits humor to the document the winding-down climax of a drug-induced party, and he throws in a vulnerable vocal section to evoke a playful, slightly downbeat pitch that makes for an intriguing tweak to his typical formula. A critical standout of the year for good reason!

And Now…

THE WORST

Biffy Clyro – “Tiny Indoor Fireworks”

July 9th, 2020 – Just what really is there to say about Biffy Clyro’s newest Power-Pop/Rock stinker, “Tiny Indoor Fireworks”…You know what…I really can’t be asked…

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