Today’s Track: Tame Impala – “Is It True?”

August 24, 2020 — Leave a comment

Can’t you see my eyes are open wide? Would I lie to you, baby? – It’s new post time…

Pictured: Tame Impala performing a live set on the Pyramid Stage at Glastonbury Festival 2019 (Photo via BBC Music)

Good Morning! I am Jacob Braybrooke and I’m typing up about your daily track on the blog, because it is still always my day-to-day pleasure to write about a different piece of music every day! Even if you’re just a casual listener of music, I’m sure that you’re probably at least familiar with the name of Tame Impala by this point – an Australian Psychedelic Rock outfit predominantly steered by Kevin Parker as a solo producer, with touring band members to fill out the band’s line-up. He’s been making huge waves with 2012’s “Lonerism” and 2015’s “Currents”, and he’s been gaining mainstream attention with his latest release, “The Slow Rush”, which was released back in February, by Fiction Records in the UK, and other labels internationally. A new single, “Is It True?”, was released from the new album two weeks ago, alongside a technicolor-inflicted new music video which engulfs Parker in a retro visual format of a Synesthesia-like aesthetic, as he grooves to the track around tripped colour art, created to look like it was made from clippings of VHS Recordings and Amiga 2000 graphic engines. Parker has also kept busy during the self-quarantine period with a remixed version of the new album, “The Slow Rush In An Imaginary Place”. On his latest album release, Parker wanted to craft a variety of Pop soundscapes, and Parker opted to write and record the album himself in his studios in Melbourne and Los Angeles. Also exploring wide themes of growing maturity and coming-of-age, he told the media: “A “lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards.” “I’m being swept by this notion of time passing.”, later adding, “There’s something really intoxicating about it.” Let’s have a listen to the brand new single – “Is It True” – below.

“Is It True?” likely marks the final nail in the coffin as to how far the project of Tame Impala goes as a guitar-based psychedelia rock outfit, embracing a vivid Synthpop flair of production and unabashedly catchy, rhythmic hooks, but it never feels derivative or tired as far as a modern Prog-Pop record can go, as the synth compositions instead feel rich and thoughtful, as “Is It True” marks one of the strongest highlights of his latest album’s material. Parker contemplates taking a promising relationship further, reciting: “We started talkin’ bout devotion/The kind that goes on eternally/And I tell her I’m in love with her/But, how can I know that I’ll always be” in the opening verse, layering his vocals over a smooth instrumental of shimmering West African drum samples and lines of drifting keyboard riffs that flutter across the cut, with an easygoing strip of Horn sections to keep the groove rolling. During the bridge, Parker asks: “That’s a promise I can’t make and I won’t validate, Was I being immature, I don’t know, I don’t care” to an upbeat rhyme over a wistful, bubbling Synth bed instrumental. That’s before the heavy electronic snares hit you hard, and the track sounds very polished in glittering Disco rock. The same kind of Psych-Pop, with a slight R&B infliction, vibe carries on, until a major key change marks the beginning of a mellow and delicate little interlude. The Vegas-inspired bassline is still faintly audible, with the same Strobing effects, which feel gradually slower and more contemplative. Parker sidetracks with: “In my head, I said, we’ll see how it goes, until we know, what the future holds” as the high production values increasingly get detailed with a laidback Conga drum groove and a slow-paced, fizzing bed of Keyboard instrumentals and gentle Synth work. It could disappoint fans fond of Parker’s more guitar-driven material, but I think that it works as a great pop track, sounding danceable and dancefloor-friendly, while using a reflective style of lyricism that complements the awkward narrative. Exciting and sonically stimulating.

Pictured: Tame Impala (Kevin Parker) in the video for “Call My Phone Thinking I’m Doing Nothing Better” (2020)

As previously mentioned, Parker always finds ways to keep himself busy, so he has been collaborating with The Streets on “Call My Phone Thinking I’m Doing Nothing Better”, of which you can read my review of the track here: https://onetrackatatime.home.blog/2020/05/08/todays-track-the-streets-feat-tame-impala-call-my-phone-thinking-im-doing-nothing-better/, and if you can’t get enough of the sounds and themes that Parker explores on The Slow Rush, you can check out my thoughts on “It Might Be Time” here: https://onetrackatatime.home.blog/2019/11/16/todays-track-tame-impala-it-might-be-time/ and “Lost In Yesterday” here: https://onetrackatatime.home.blog/2020/02/14/todays-track-tame-impala-lost-in-yesterday/

Pictured: Cover Artwork for “The Slow Rush” (Released on February 14th, 2020) (via Fiction Records in the UK)

Thank you very much for reading my daily blog post! As always promised, I will be back tomorrow for an in-depth look at a recent single, and a new LP announcement, from a popular Alternative Synthpop band from Baltimore, Maryland who went viral with a live performance of their 2014 crossover hit “Seasons (Waitin’ On You)” on the US talk show, The Late Show with David Letterman. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Jónsi – “Swill”

August 15, 2020 — Leave a comment

If you’re a Sigur Ros fan, you’ll be happier than a Hoppipolla with this. New post time!

Pictured: Cover Artwork for “Shiver” (Available to buy from 2nd October, 2020) (via Krunk Records)

Good Morning, I’m Jacob Braybrooke and I’m writing up your daily post on the blog, since it is always my routinely day-to-day pleasure to write about a different piece of music every day! “Swill” marks an exciting announcement of a new project from Jónsi Birgisson, who is the frontman of Icelandic post-rock alternative crossover stars, Sigur Rós. The band are currently on hiatus as several members of the band are busy looking after their recent children. However, Jónsi is pushing forward with the release of “Shiver”, which marks his first solo album release in a full decade, since 2010’s “Go”, via the Krunk Records indie label. The new solo record will be exploring an ethereal, Synth-driven sound, using Jónsi’s signature use of the cello and the Falsetto vocal delivery to create Dark-Pop textures, balanced with the use of the Bowed guitar to form a lighter contrast and incorporating the Classical and Minimal production efforts which Sigur Rós have become known for. If your a huge fan of Sigur Rós, “Swill” will probably leave you feeling right at home. In the press release, Jónsi explained: “It’s basically about when you get too drunk and do something stupid,” he laughs, “And you make a fool of yourself.” to Rolling Stone in an interview. “Shiver” releases on October 2nd, and it features work with Robyn, Liz Fraser (of The Cocteau Twins) and A.G. Cook. “Swill” is accompanied by an unearthly animated music video directed by Barnaby Roper & Pandagunda. Let’s have a listen to the new single below!

Using Avant-Garde experimentation, Jónsi crafts one of his most accessible – although that’s not necessary to say mainstream or commercial – sounds on “Swill”, a track which blends the organic with the synthesized in ways that remind me of Björk’s “Homogenic” from 1997 and Arca’s “Kick i”, released earlier in the year. Using his signature Falsetto vocals of the Sigur Rós style, crooning: “You say, I did something wrong yesterday/You’re right, I’m making a fool of myself in every way” in the post-bridge refrain over a light bed of flickering Cello effects and a gentle, soothing Violin line, before the peace is interrupted by a clashing, electronic Drum beat that explodes as we build to the chorus. They retain a dream-like quality as CGI bodies warp and twist Jónsi’s face in the video, but the mood replaces a warmth with an abrasive, often mythic, sequence of punchy Synth drums. Throughout, these electronic elements flutter between moods, dynamically changing between an unpleasant note of chaos and a calmer effect of respite, which alter based on Jónsi’s vocals, while a vibe that sits between Post-Industrial Pop and Art-Folk is created by the glitchy Synth instrumentals. Overall, I’m quite excited to see in which direction Jónsi takes the Avant-Pop direction as the new album takes shape, and finally launches in October. I feel that the auto-tune effects are used a touch bit excessively in the later sections of the track, but the instrumentation seems fresh and diversified, while in-keeping with a Contemporary Pop structure. It pays off well. Colour me intrigued about the new LP.

Pictured: Jónsi (frontman of Sigur Ros) performing at an undisclosed live concert (2020) (Photo Credit: Phillip Cosores)

Thank you very much for reading this post! Tomorrow is, of course, Scuzz Sundays, the time of the week where we take a leisurely stroll down memory lane and we dig out either a Pop-Punk or Emo-Rock classic from between the late-1990’s to the mid-2000’s to see if it can hold a candle to the modern quality standards! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Delvon Lamarr Organ Trio – “Inner City Blues”

August 14, 2020 — Leave a comment

What do you call a Wizard who Potters around the house a lot? Harry! New post time!

Pictured: Cover Artwork for “Inner City Blues” (Single/EP) (Released on May 22nd, 2020) (via Colemine Records)

That has nothing to do with today’s track, by the way, I just wanted to make you roll your eyes! Anyhow, I’m Jacob Braybrooke and I’m writing up your daily post on the blog since, as you’re aware of, it’s my day-to-day pleasure to write about a different piece of music every day! Also known as DLO3, Delvon Lamarr Organ Trio are a Jazz Fusion group based in Washington in the US, who formed in 2015, under a different original line-up. Their band name refers to how Delvon Lamarr, who is obviously at the helm of the trio, switched to playing the Organ at the age of 22 after playing the Drums and the Trumpet since an early age. Lamarr now works with Jimmy James (Guitar) and Dan Weiss (on Drums) to make up the trio. Commercially, they are probably best known for their debut album, “Close But No Cigar”, which reached the #1 spot of the US Contemporary Jazz Albums Chart when it was released in 2015. “Inner City Blues” marks a new era for the Colemine Records label, who have launched the “Brighter Days Ahead” initiative as a response to the COVID-era difficulties being faced by independent labels. As a result, they have been releasing a new single, from their artists, weekly on their Bandcamp page to coincide with Bandcamp’s waiving fees on the day, meaning that 100% of revenue from sales goes directly to the artists. This is a cover of Marvin Gaye’s 1971 track “Inner City Blues (Make Me Wanna Holler)” from his landmark LP, “What’s Going On”. Let’s give it a spin!

An upbeat, instrumental version of a vintage 70’s classic track, which can be a hit-or-miss prospect in the odd few cases, Delvon Lamarr Organ Trio put a new spin and a different perspective on Gaye’s original composition with a hefty splash of cool, involving Acid-Rock guitar lines and a Dub-based Funk style which reminds me of Khruangbin, amongst a casual and contemporary Jazz format that seems akin to GoGo Penguin. Driven by an airy Organ harmony, as per usual from the Seattle-born trio, the Jazz trio infuse elements of Soul and Swing that recreates the authenticity of a 1970’s New Orleans sound. Its embellished with short Brass sections and joyous, childlike keyboard chords to replace Gaye’s original lyricism of the bleak economic situation of the 70s and his informed lack of support from the government during the recession with deep bass guitar lines and increasingly layered Classical instrumentals to create a hopeful and optimistic mood with a vintage 70’s Jazz Fusion feel. Jimmy James turns the Funk up a notch on his guitar part, with consistently grooving, light-hearted guitar patterns. Meanwhile, Dan Weiss creates warm Drum beats that feel momentous, increasing the pace from Gaye’s recording, before it comes together with a mellow finish. Frankly, they all play perfectly well individually, but they all sync-up together very cohesively, and that springs the record to life. A head-nodder of a cover.

Pictured: Delvon Lamarr (Keyboard), Jimmy James (Guitar) and Dan Weiss (Drums) (2020) (via Promogogo.com)

Thank you very much for reading my daily blog post! Don’t forget that your weekly edition of Scuzz Sundays is coming up very soon, but in the meantime, please make sure that you visit the blog again tomorrow for an in-depth look at the brand new solo project from the frontman of one of the world’s most internationally popular Alternative Rock music groups, Sigur Ros. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Lynks Afrikka – “How To Be Successful”

August 12, 2020 — Leave a comment

It’s fair to say it feels like we are all living in Afrikka under this heat. It’s new post time!

Pictured: Lynks Afrikka in a publicity shot to promote the release of “Smash Hits, Vol. 1” (EP) (2020) (via LynksCorp)

Good Morning! I’m Jacob Braybrooke and I’m typing up your daily post on the blog, as per usual, since it is routinely my day-to-day pleasure to write up about a different piece of music every day! Lynks Afrikka is the pseudonym of the Bristol-based English EDM producer, Elliot Brett. Brett is an LGBT artist who has been gaining popularity virally on YouTube and social media, particularly within the LGBTQ+ community, by releasing his own music under his self-produced “LynksCorp” label, accompanied by quirky music videos with enjoyably low production values that have been garnering a cult following. “Smash Hits, Vol. 1” marks the release of his first EP, a compilation of his previously released singles including “On Trend” and “I Don’t Know What I Want” alongside new tracks, including his most recent single, “How To Be Successful”. He has sold out headlined live shows across London, Edinburgh and Margate, alongside supporting Goat Girl, Sorry and Shygirl on tour. On his unique alias, Elliot told DIYMag.com: “I’m worried Lynx Africa are going to sue me and I don’t even want to be called Lynks Afrikka because it’s only called that in England, so everywhere else, I just look like this random white drag queen with Africa in their name,” grimacing as he mocks British millennial culture in his Electronic Dance tracks. I first caught wind of Lynks Afrikka by hearing the new track on X-Posure, John Kennedy’s evening show on Radio X. Let’s hear some life advice as he tells us “How To Be Successful” down below.

Using the aesthetic of a deranged Children’s TV show in the self-isolation produced music video to illustrate his self-frustration of young people feeling pressured to lead a successful life by going to university, getting a marriage, kids and a job, Elliot mocks the “ideal millennial life” with sharp wit and intentionally low-quality Electro-Rock beats, paired with a harsh synth line. I can only describe it as “Heavy Pop”. The lyrics (Or should I say.. Lyrix?) are very sarcastic, while keeping an upbeat tone intact. He provocatively hints at the “Conveyor Belt” life pressures with a tongue-in-cheek view of an older person, with the bridge “Oh! 80.96 years on average/Your life, you have to manage” and later challenging the traits with “Your life feels wasted/Your kids have vacated your family home/You should have faced this years ago”, with an earlier verse emphasizing these points with use of repetition: “Now Ruby goes to uni/Then Alex goes to uni/Then Curt does an Art Foundation/and then goes to uni” that feels quirky, but there’s a charming semblance of Pop-Punk with the hint of angst. Melodically, it starts off with a glossy synth line that bubbles underneath the reverb-drenched vocals, and the synthesizer riffs gradually become more danceable and evocative, eventually forming an Acid Techno Instrumental that feels buoyant and energetic. “Cause’ now it’s the end of the show” signals a breakdown which gives across a 90’s “Club Anthem” feel. Scattered dance breaks around the video and lines like “What can you show?, from years and years and years ago?” take the effervescent British humor up a notch. This probably falls into a specific niche and I feel he’s put his hands on the Auto-Tune machine a little bit too much here, but it really makes me laugh and the instrumentation is good fun. At a time like this, I couldn’t really ask for a lot more.

Pictured: Physical CD copy of “Smash Hits, Vol. 1” (EP) (Released on July 1, 2020) (via LynksCorp) (via Bandcamp.com)

Thank you very much for reading my new post! I’ll be back tomorrow, as per usual, for an in-depth look at the popular new single from an Oxfordshire-based singer-songwriter who told NME in a recent interview: “When I was dropped I remember thinking, ‘You idiots – I’m the next Paul McCartney’”. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Nicolas Michaux – “Parrot”

August 11, 2020 — Leave a comment

You’ve got to listen to what the Parrot says – and try to repeat! It’s time for a new post!

Pictured: Cover Artwork for “Amour Colère” (Available from September 25th, 2020) (via Capitane Records)

Good Morning! I’m Jacob Braybrooke and I’m writing up your daily post on the blog, as like always, because it is my day-to-day pleasure to write about a different piece of music every day! “Parrot” is a hidden gem of a new track which I heard during John Ravenscroft’s edition of 6Music Recommends last week, and I’ve sadly never heard of Nicolas Michaux before. Michaux is an emerging singer-songwriter who was born and raised in Belgium, but, according to the info on his Bandcamp page, he now divides his time between his home-turf’s capital city of Brussels and the Danish Islands of Samsø, where his family lives. This is where he writes, records and produces his own music, alongside a bit of time growing vegetables with his family. He self-released his debut album, “à la vie, à la mort”, in 2016, and he performs his music in both English and French. “Parrot” marks the signal that his sophomore LP effort, “Amour Colère” is due for it’s release on September 25th, and he’s signed up to Capitane Records for his next creative endeavor. Let’s take a listen to “Parrot” – with it’s Visualizer video below!

Michaux writes that “It’s one of the oldest songs on the record, but the one I recorded last” and “It’s a slightly obscure and ambiguous song, but by its themes and images I have the impression that it speaks of our time.”, upon explaining the themes and writing of the new track. The hard work paid off, because this is an excellent jangly Tropicalia-Pop cut that hints towards 90’s Brit-Pop and 00’s Synth-Funk, with vocals that evoke Thom Yorke and synth melodies which remind me of LCD Soundsystem. Michaux opens with: “Your frustration has a face, but the guard said no picture” in a low-tone delivery, as a hint of Nu-Disco flavor bursts through the Indie Rock frame, with a dry Snake Drum bassline, and a stripped-back rhythm guitar instrumental. He introduces a radiant backing vocal in after the first chorus, as the Kick Drum groove carries on going within the background of a smoky, baritone Punk direction. The lyrics are ambiguous and undefined, although a soft Political message about using vice presidents as Puppets screams out to me, with the main hook of “Listen to the words that the Parrot says, and try to repeat”. It surprisingly builds to an eminently danceable, globally-influenced outro. It retains the core guitar-and-drum groove, but an acidly jittering bass guitar line gets woven into the mix, along with a repeatedly shimmering guitar backing and a soft, Summery electronic synth riff that makes you feel the need to get up and move. The outro is lively and exciting, evoking qualities of Tropicalia and World-Rock with a slightly Vintage sound with solid ease. Overall, I think it’s brilliant because the production behind the track sounds gloriously eclectic and fresh, with cool guitar lines and a melodic drum groove that burns slowly to the tropical finish. We should be supporting artists like Nicolas Michaux on daytime radio.

Pictured: Nicolas Michaux in a publicity shot to promote the release of “Parrot” (Single) (2020) (Photo via PR)

Thank you very much for reading my new post! I will be back tomorrow for an in-depth look at another emerging musical artist, but this time, it’s going to be on more homely ground, with an LGBT Dance artist currently residing in Bristol. The artist performs under an alias which is named after a popular brand of Deodorant that all British guys typically get for Christmas. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: The Cocteau Twins – “Lorelei”

August 1, 2020 — Leave a comment

As if Double Trouble wasn’t enough, this band has Triple the Trouble! New Post Time!

Pictured: Elizabeth Fraser (Lead Vocals/Writer), Robin Guthrie (Lead Guitar/Producer/Drum Machine) and Simon Raymonde (Bass Guitar) in a photoshoot to promote “Head Over Heels” (1983) (via The Audiophile Man.com)

Good Morning to you on this unpleasantly warm weekend, I’m Jacob Braybrooke and I’m writing about your first daily track on the blog of the new month, since it’s always my routinely day-to-day pleasure to write about a different piece of music every day! Yes, even on my Mother’s birthday (Happy birthday, I know you’re about the only one reading this…)! Here’s a classic for you… The Cocteau Twins! A Scottish Art-Rock trio who were one of the biggest pioneers of Dream-Pop and Shoegaze in the 80’s and 90’s comprised of vocalist Elizabeth Fraser, producer James Guthrie and bassist Simon Raymonde, The Cocteau Twins were a very hot commodity for 4AD, which is still one of the most successful indie music labels to this very day, housing popular current acts like The National and Future Islands. “Lorelei” was taken from Cocteau Twins’ third full-length album release, “Treasure”, the first of which to feature the band’s famous primary line-up. The sound of the record established the group’s sound development in very ethereal, downbeat moods. Some of the lyrics from the album were conceived as unrecognisable, and the dark synth instrumentation hid some intricate, melodic lines that helped them to capture the hearts of the millions, despite the LP really not being a mainstream, or accessible, release by any stretch of the imagination. It was critically acclaimed, and it’s considered to be the band’s finest work by a large portion of their fanbase, although the band themselves have reflected upon the album’s quality as “under-developed” in later interviews, which truly shows their dedication to their own craft. Let’s have a listen to their track – “Lorelei” – below.

Named after the legend of a siren that lures fishermen to their deaths upon the “Lorelei” rock, which exists in the Rhine River near Sankt Goarhausen in Germany, Cocteau Twins’ make sure the lyrics are difficult to understand, but the point is the lack of matter that it has. Fraser whirs: “Can’t look out, Can’t look in, you just might, get yourself kissed right” over a high-pitched bass guitar riff and delayed pedal effects that create a smooth and relaxing backdrop for the lo-fi indie rock beats to flourish. An emotional bridge: “We’re covered by the sacred fire/Then you cut me to, you cut me to the bone” glides along earthly moods and fantastical tones evoked by a calming synth buzz and an accentual swoop of whimsical lyricism. Fraser recites: “and we can go” above a pounding rhythm of delayed guitar licks, while the impending surge of guitar riffs add a harmonious melody to the dream-like personality. It’s a track that’s near-impossible to praise enough. The female vocals are tricky to understand, but they significantly add to the soft, introspective qualities by adding a honeyed, loving angelic feeling to it. You just don’t need to hear a polished section of clear vocals to feel the mood that it conveys. In a nutshell – it’s marvellous!

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

Thank you very much for reading this post! I’ll be back tomorrow, as usual, with your new weekly edition of our Scuzz Sunday series. It’s the time of the week where we revisit an Emo-Rock or a Pop-Punk classic from between the late-1990’s until the mid-2000’s to see if it can live up to quality in the present! It’s a celebration of the defunct Scuzz TV freeview music video channel. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Funkadelic – “Who Says A Funk Band Can’t Play Rock?”

July 30, 2020 — Leave a comment

By that logic, Who says a Music Writer can’t write about Steam trains? New Post Time!

Pictured: George Clinton and the numerous recurring members of Funkadelic in a press shot (1976) (via CBC Radio)

I don’t think I’d be fully qualified for the job… although I do love the oily and noisy old things. Good Morning, I’m Jacob Braybrooke and I’m writing up your daily track on the blog, because it’s always my day-to-day pleasure to write about a different piece of music every day! Today, we’re going back to the essential unity sound of the late-1970’s to cheer us up in these distressing times! “Who Says A Funk Band Can’t Play Rock?” is the B-Side to Funkadelic’s “One Nation Under A Groove”, an album which is regarded by many critics as the greatest funk album of all-time, and it always goes near the top of “Best Album” lists and polls for it’s related genres. Fronted by George Clinton, a true icon of the business, Funkadelic explored a heavier, more psychedelic sound compared to Clinton’s sister act, Parliament. Funkadelic was very significant in the development of Pop and Rock music, and it’s one of the most celebrated ethnic Black bands in the history of musical culture. On “One Nation Under A Groove”, the Funk collective used themes of unity and acceptance as a thorough-line to creating a “party album” that anybody could enjoy, regardless of sexuality, ethnicity or gender. As the title implies, “Who Says A Funk Band Can’t Play Rock?” blurs the lines between Funk, Jazz and Rock, underneath a slightly political undercurrent, and it pursues further influence of Soul. Let’s have a listen down below!

The 2015 vinyl reissue (above) provides crisper quality to an anthem that has always gone down as a classic. Many different members of the band take the lead for the different vocal sections throughout the track, layered below a guitar workout that evokes Heavy pop riffs and the P-Funk of the album’s title track “One Nation Under A Groove”. The vocalists sway to “Who says a Funk band can’t play Rock?” and “Who says a Jazz band can’t play Dance music?” over the top of R&B-inflicted guitar riffs which gradually add layers of new elements of Blues and Soft-Punk as the track’s duration goes on. The verses evoke a hip-hop beat as the vocals go: “We’ve been around for such a while/Be kinda hart not to have a style” and “When times get slower by the mile/We relax and wear a great big smile” as the simmering bass guitar riffs and the roaring kick drum sections create a crescendo and manipulate the ongoing groove as the textures gradually become rougher and smokier. The feedback effects and slightly distorted guitar lines in the later sections could be comparable to a “Funk version of Nirvana”, with a 1960’s Blues “Parade” that struts past the various elements of Funk, Rock, Art-Pop and a slight Grunge sensibility. Most notably, the track came out at a time where “Rock” was often identified as a traditionally “White” genre, while “Hip-Hop” and “Disco” may be dismissed as categorically “Black” music. Along with Jimi Hendrix, they changed the game and they re-wrote the rule book, because Clinton would not play that, instead drawing a live crowd with sounds of politically-driven, but positive and ambitious, Rock and Funk. To conclude, this may be quintessentially “not” the significant Black music sound of the 70’s… Which organically made it become so. That’s totally worth celebrating now more than ever…

Pictured: Cover Artwork for “One Nation Under A Groove” (Released in September 1978) (via Warner Bros. Records)

Previously, I have also covered the album’s main attraction, “One Nation Under A Groove”, as part of my daily post series on the blog. Please take a moment to spread the love and show your support by reading the older blog post here: https://onetrackatatime.home.blog/2020/04/28/todays-track-funkadelic-one-nation-under-a-groove/

Pictured: Cover Artwork for “Motor City Madness: The Ultimate Funkadelic Westbound Compilation” (Released in 2006) (via Westbound Records)

Thank you very much for reading this post! I’ll be back tomorrow for an in-depth look at the brand new project from Natalie Rose Findlay, who is a UK-based indie singer-songwriter from Stockport who has famously supported the likes of The Courteeners, Brandon Flowers, Jake Bugg and Miles Kane on tour. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Crack Cloud – “Ouster Stew”

July 29, 2020 — Leave a comment

How many people does it take to make just one song, eh? It’s time for your daily post!

Pictured: Cover Artwork for “Pain Olympics” (Released on July 17th, 2020) (via Meat Machine Records)

A winter comfort! Good Morning to you, I’m Jacob Braybrooke and I’m writing up your daily track on the blog, because it’s always my day-to-day pleasure to write about a different piece of music every day! The last few weekends haven’t really seen a lot of high-profile releases, likely due to the ongoing complications related to the COVID-19 pandemic, however, there certainly hasn’t been an entirely barren, record-shaped hole of exciting new music, because it has allowed for a lot of young and emerging artists to capture my interest with their fresh and developing sounds. One notable conformist to this rule are Crack Cloud, with their second album “Pain Olympics”, which they self-released on July 17th, in association with Meat Machine. Crack Cloud is not a “band” in the traditional sense, but it’s a very large collective of different musicians, film directors, street artists, fashion designers, and several others, all of which are based in Vancouver, Canada. This creates an interesting exploration of the relationship between film and music, bordering stylistically on the lines between Art-Rock and Post-Punk. The leading single from their new album is “Ouster Stew”, a track that’s been getting heavy airplay on BBC Radio 6Music. Let’s have a listen below.

I think it’s safe to say that on “Ouster Stew”, Crack Cloud reaffirms that, it’s a project dedicated to subverting your expectations at each corner of it’s turn. Whether they mean to or not, the cryptic collective evoke 1980’s New-Wave and 1990’s Synth-Funk on the fragmented guitar lines and the wonky synth lines that are also embellished with elegant piano sections on the repeated grooves. Zach Choy, the vocalist, spins nonsensical spoken-word verses like: “Excommunicated, we are free/What will we do? What can they say for us to agree” and “We’re writing from the start, so we gonna burn a few/Sizing up that Ostrich for our dear communal stew”, with a chanting chorus, while the playful keyboard melodies and the 80’s-driven synths elicit Prefab Sprout and Deacon Blue, while the tightly-wound drum section flies off the steering wheel for the next half of the track. An illogically powerful drum solo builds to a Jazz-inflicted Saxophone solo, with the brass section leading to a bleak synthesizer outro. Lyrically, the style is very animated and brash. The vague ideas of tribal settlement add a brief, thin context to the ensuing chaos. The direction is anarchic, with some small-sized chanting and quirky keyboard riffs thrown in for good measure. There’s no doubt that it’s daft and silly, but it feels retro and comedic. There’s an old-school evocation of 80’s New-Wave that takes center stage in the sonic aspects. Although it feels like the obvious single, it’s lively and eclectic. I like how it also feeds the interests of contibutors who are interested in different aspects of creative media, as opposed to just music as a necessary viewpoint. They’re clearly having good fun. A thumbs-up.

Pictured: Crack Cloud standing outside of the BBC Radio 6Music studios with Marc Riley (in 2018) (via BBC Music)

Thank you for reading this post! Please make sure that you check out the blog tomorrow, where we will be going back to the Black Funk world of the 1970’s for an in-depth revision of a sensational track that was the B-side of one of the world’s most famous all-time Funk singles, produced by a music collective who were fronted by the icon George Clinton, who also led their sister band, Parliament. A very legendary man, indeed! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: SAULT – “Wildfires”

July 28, 2020 — Leave a comment

Well… this is gonna make my image gallery for today really boring. It’s new post time!

Pictured: Cover Artworks for “5” and “7” (Albums) (Released in 2019) (via Forever Living Originals)

Is this an Enigmatic treat, or just an aa-SAULT on the ears? Good Morning, I’m Jacob Braybrooke and I’m writing about your daily track on the blog, as per usual, because it’s my day-to-day pleasure to write about a different piece of music every day! What is there to write about SAULT? Not much, as there’s little to no information on them. All we know is they’re a trio. They are based in London. They are signed to Forever Living Originals, and they drew high acclaim from NME, The Quietus and NPR for the release of two albums in 2019, titled “5” and “7”. As Alexis Petridis, of The Guardian, put it: “No one seems to know who they are, but one thing is for sure: SAULT make hooky, dubby, funky music with echoes of ESG and Can”. In response to the #BlackLivesMatter movement and political protests, SAULT have uploaded a brand new full-length album, “UNTITLED (Black Is…)” to their Bandcamp page, explaining: “We present our first ‘Untitled’ album to mark a moment in time where we, as Black people, and of Black origin, are fighting for our lives”. They’ve clearly been working very hard, with the rapid turnaround. Let’s listen to the lead single, “Wildfires”, below.

Their Spotify biography mysteriously reads: “Add a little SAULT to your life”, and it’s a simple plea that anybody could follow up on pretty easily. on “Wildfires”, SAULT demonstrate now, more than ever, how their music is firmly rooted in dense Black musical traditions, with the sound drawing from the likes of Afrobeat, Soft-Funk and R&B, but predominantly remaining to be a Neo-Soul record. A smoky, but vulnerable, female lyricist recites: “You should be ashamed”, pointing a finger at the US law and order system, before singing: “The bloodshed on your hands… Take off your badge, we all know it was murder”, as a gauzy and meditative synth line glosses over a hand-clapped drum beat and a calming bass guitar riff. The verses also address systemic racism in the US, but it’s more directed closely to SAULT’s personal thoughts and opinions on police brutality, as the female vocalist pines for a better future, and expresses a desire to escape from the political issues, adding: “We are dying, it’s the reason we are crying” to the emotionally-driven core of the heart in the lyrics. A call-to-arms: “But we will never show fear/Even in my eyes/I will rise, In Wildfires”, is used as the narrative thread, to string the anthemic and Ballard-like ideas together. It’s got a hefty amount of depth to the songwriting, and the lyrics can be painful and heavy to process in your head, but it never feels desperate or as though it’s deliberately seeking attention for the group, as instead, the Soul-driven backdrop and the elements of the Blues influence, created through the soft piano section and the mellow guitar-based instrumentation, convey a soothing and light texture. It’s also very refreshing to see a band make a name for themselves in secrecy and mystery, at a time where imagery can often be an over-saturated part of the multi-media music industry. Overall, this is another solid hit for the band. You should definitely check out “Why Why Why” and “Let It Go”, from the two previous albums, while you still can too.

Pictured: Cover Artwork for “UNTITLED (Black Is…)” (Released on June 19th, 2020) (via Forever Living Originals)

Thank you for reading this post! Tomorrow, I’ll be switching things up with an in-depth review of the lead single from the new album created by an act which isn’t really a “band” per-say, but it is more described as a collective of various musicians, film producers, street artists and costume designers from Vancouver who contribute to fresh music which straddles between Art-Rock and Post-Punk. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: The Go! Team – “Cookie Scene”

July 27, 2020 — Leave a comment

Go Outdoors must be eager to use this in their next TV advert. It’s time for a new post!

Pictured: Cover Artwork for “Cookie Scene” (Single) (Released on July 13th, 2020) (via Memphis Industries)

Good Morning to you, I’m Jacob Braybrooke and I’m looking to liven up your wet Monday morning by typing up your daily track on the blog, since it is routinely my day-to-day pleasure to write about a different piece of music every day! For The Go-Team, “Cookie Scene” marks their first new music release following the release of their fifth LP, “Semicircle”, released in 2018. A five-piece Indie Pop group from Brighton, England – the band subvert the conventions of Indie Rock and Garage-Rock with a fusing of Blaxploitation and Bollywood Soundtracks as their inspiration, using double dutch chants and distorted guitar lines to mesh with noticeably old-school hip-hop beats. It’s quite tricky to describe how The Go! Team really works as a project, but the basic gist is their studio recordings are a blend of live instrumentation and samples, while their live performances are fronted by “Ninja” (Nkechi Ka Egenamba), using various samples and guest vocals. “Cookie Scene” features Ian Parton as the producer, with guest vocals from Detroit-based rapper and songwriter IndigoYaj. Parton elaborated on the track’s Bollywood influence, saying in an interview: ““The stripped back swinging percussion of ‘Iko Iko’ by the Dixie Cups and the loud crunchy shaker in Salt-n-Pepa’s ‘Push It’ were both inspirations,” continuing: “And I’ve always loved the way Bollywood or William Onyeabor songs would have random laser beams and electro toms popping up. I wanted to mix the street corner with the intergalactic, to take Detroit to outer space.” – Let’s stream the lullaby below.

“Well, I’m feeling kinda funny ’cause life is like a game/Feeling like an enemy, but that’s OK”, is the opening hook of the track, recited energetically by Ninja. She continues: “That’s just who I, that’s just who I am” over the top of a very multi-cultural, globally-inspired sound. It’s very percussive, with Ninja rapping one-liners like: “Who’s gonna stop me from causing this commotion?, I want everybody to feel like me, broken, yeah” and “Taking over Michigan, then going outta state/Corrupting Hollywood, all the way to the UK”, with various endings like: “That’s the way to, that’s the way to go” and “It’s a thing we, It’s a thing we do”, over the top of a Flute-driven groove and World-based percussion from snare licks, Cabasa twists and easy-going Tambourine flourishes. The chorus is motivational and care-free, as Ninja recites over a slightly lowered tempo: “Heartbreak, but I’m OK, Imma wipe my tears, no fear this way”, declaring that she’s “Phenomenal” and “Unstoppable”, to the melodic tune of the Horn arrangement and the breezy Flute melodies, with Space-Pop effects scattered throughout the rest of the track. One lyrical interpretation is the track may be about keeping a healthy mental attitude at a time of civil unrest and political protests, but it dabbles only slightly into this, instead opting for a basic and generally uplifting sound. The track is vibrant and colourful, however, and there’s always lots going on, production-wise, as the track goes on, such as the bursts of Flute melodies warping their way around the electronic effects that zoom across the anchored lead vocals by Ninja. The lyrics feel a tad generic and under-developed in a few places, for me, but it would work nicely on a daytime radio slot since it has a predominantly modern electro-pop sound and light, motivational lyrics – but the non-violent and melodic Hip-Hop beats harken back to the likes of A Tribe Called Quest and De La Soul in entertaining ways. This is a playful, tropical respite for a wet Monday morning.

Pictured: Ian Parton (Producer/Rhythm Guitar/Harmonica), “Ninja” Nkechi Ka Egenamba (Lead Vocals/Percussion), Sam Dook (Lead Guitar/Bass Guitar/Banjo), Niadzi Muzira (Flute) & Simone Odaranile (Drums) (2020) (via Muzplay.net)

Thank you very much for reading this post! I’ll be back tomorrow, as always, with an in-depth review of the new single from an Alternative Soul band who…. well, no-one seems to know who they really are. But, as Alexis Petridis of The Guardian puts it: “One thing is sure: {They} make hooky, dubby, funky music with echoes of ESG and Can”. They flew straight to a good spot on my radar with the release of two albums last year, named “5” and “7”. 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