Track Of The Day

Here’s a track that has been floating in the background of my life for a while now — a slow, moody synth chugger by the mysterious UK electronic artist known simply as Anna.

This track by The System — not the other The System I posted about before — was recommended to me by a friend in this confusion of names. This instance here about the far more obscure UK synth-pop band of the same name.

The second album from San Diego’s Three Mile Pilot gets the occasional listen over the years since acquiring the record in the 90s. There’s some thoughts penned here on the band’s sound as well as the totally unique style of the band’s bass player, Zach Smith.

A buried, minimal synth gem from this short-lived Cornwall-based group from the 1980s. Like many groups doing DIY synth music at this time across the globe they offer a hidden flash of brilliance with this track.

Being a new listen by an artist I’ve been familiar with for a long while, here’s a look at a track from the latest album by Tara Jane O’Neil — formerly of the cult 90s post-hardcore group Rodan.

Coming back onto my musical radar recently after a long gap, this epic, classical music influenced track of punk-influenced electronics is a standout for this UK group who released a run of albums on Mute Records.

One of my favourite track collaborations between David Sylvian of Japan and Ryuichi Sakamoto, who is actually Japanese — a track that fills in the winter vibes very nicely.

The début album and its title track by this Swedish musician and composer opts to create expansive soundscapes using lesser used traditional instrumentation, and for me is a relatively new listening experience.

A late 90s, cult, synth-inflected post-hardcore classic — one I’ve written about here and there before — the closing title track of this American band’s one and only LP gets taken up with a unique angle here.

Having had interactions with members of this band over the years — whether it’s being in the same tour van or in friendship — here’s look at an interesting track from an incredibly underrated post-industrial album Ugashia by the this group formed in London UK out another group, Noi Kabát.

The first album by English dream/jangle pop band Felt — and more specifically this track — has been an occasional hazy weekend favourite since discovering it well over 20 years ago.

A great track by this Vancouver-based synth alchemist (and a friend of mine from back in the day) from his latest album Myth And Murmur — one full of lush, electronic kosmische soundscapes.

This track from the band’s 1981 self-titled début (of which there’s two versions) offers a strong fusion of post-punk, Aussie pub rock, DIY percussion underpinned by rhythmic structuring more aligned with electronic dance music.

A dark, psychedelic cosmic burner that “out-goths” a lot of goth music out there, courtesy of one of the many projects that emerged out of the ashes of the seminal midwest US post-hardcore group Slint.

This track is a slower-paced disco “chugger” by the Canadian electronic production duo Moral Support, who like a number of other similar Canadian electronic artists of the time were making more of a splash with Hi-ENG and minimal synth tracks over in Europe.

A stand-out, unique track from the recent album Vanishing Point by UK synthesizer artist This Is The Bridge, adding to his catalogue of prolific output.

A look at this track from the 1991 Fugazi album Steady Diet Of Nothing, from a band that is for me one of the most important in terms of influence and direction in my musical history.

Releasing a string of slower-paced, romantic italo hits in the mid-1980s including “Don’t Cry Tonight”, some of these tracks by Savage sound oddly similar to one another!

Possibly the most well-known track by this Japanese vocalist — a slice of synth-y electro-funk — from a career spanning around 50 years.

This one is about a somewhat well-known slow and sensual disco-influenced number by acclaimed French actress Isabelle Adjani that cycled in my head recently, as well as a look at acting talents trying out music.

From the first album of three that he released on Mercury Records between 1981-1983, this track by iconoclastic, new wave guitarist Bill Nelson is a late-blooming yet crucial discovery for me.