Welcome all to ๐๐ผ๐ป๐ป๐ผ๐น๐น๐โ๐ ๐๐ผ๐ฟ๐ป๐ฒ๐ฟ, a series of weekly reviews by Charles Connolly – an artist in his own right. Here, Charles delves into the greatest brand new singles brought to you by the best unsigned artists on our electrifying and eclectic set of ๐๐๐ฌ ๐ผ๐ง๐ฉ๐๐จ๐ฉ ๐๐ฅ๐ค๐ฉ๐ก๐๐๐๐ฉ playlists.
๐ฝ๐ ๐๐ค๐ช๐ง ๐๐ฌ๐ฃ ๐๐๐๐๐ฅ – ๐พ๐๐ช๐๐ ๐ฎ ๐๐ง๐๐๐๐ฃ๐ ๐พ๐ค
Charles picks something elseโฆ
โWhatever you choose, itโs fine with meโโฆ This can be seen as politeness. It can also be a sure sign that they donโt really give a damn. Then thereโs laziness in not bothering to make a decision for themselves. But more often than not, it is the willingness to fit in. Or not so much willingness as need or compulsion; almost a fear of NOT fitting in. Although I like people to be happy and for things to just flow in an ease of contentment, I am not the type to fall in line with what everyone else is thinking, saying and preaching. Though I might entirely agree with them, I like to make up my own mind rather than blithely nod while barely listening (although that sometimes is a tactful option). I never automatically love or hate; I like to put thought into the matter before coming to a conclusion (the conclusion usually being neither one nor the other). Extremes of view can be contagious, but they can also be dangerous or simply unnecessarily unhelpful (can unhelpful ever be necessaryโฆ? Ask customer service). And itโs this contagion that I worry about when people simply follow the voice of the masses – the masses only get massier.
So, whatโs my point, here? Iโm not sure yet; but Iโm sure something will come to light at some juncture or other. Some people plan. This time, I seemingly didnโt. Some people see that people are now using HAL (A.I.) to write anything and everything they need to write (I have even had private message replies that have evidently been written using HAL – weird!). I simply donโt use it. I was fine before, and Iโm fine now. No need to change my ways because everyone else is. Despite what some say, Iโm not being left behind in some dark, forgotten hole. How about when someone says โYouโve GOT to listen to this!!!โ – I donโt, ya know. I donโt gotta do nuffinโ. But I might choose to, when the time is right. Other than in the case of extremely low self-esteem, I see no reason to do/think/be a certain way, simply because others are. Taste is the biggest absurdity when it comes to cloned thoughts. It is surely the most personal thing, and frankly ridiculous to take on the taste of another. Youโre not even going to offend anyone if you choose personal honesty (as if honesty can be impersonalโฆ).
Take, for example, folk music. Some I love, some I like, some I think is meh, some I really donโt go for, and some I cannot stand. Mostly, it tends to fall into the meh category (FOR ME). But then along comes Joni Mitchell, and I am away in the blue clouds – nothing can fill those shoes. But even her, some albums I really do adore, while others I find dull and mildly irritating. I wonโt just automatically decide I love everything she has ever released. Hell, there are even a few Beatles songs I canโt stand (interestingly, often in the folk/country genre). And dare I say it, there are many artists in the indie community that are not (TO ME) flawless with every single release. Some songs thumbs up, others flipped from top to bottom. The more I observe people, though, the more I realise that I am something of a black sheep in this regard. I seem to be in a land of agreers (ridiculous looking word).
And then thereโs Chucky Trading Coโฆ A twosome that occasionally turns into a band. A twosome never to have fallen on these pages of mine, Iโm ashamed to say. I’ve never kicked myself as much as when I DIDN’T review their single, โWhite Widowโ. It’s an absolute stunner. Look, we all make mistakes. Also, whenever that was released (September last year, says the researcher) there was probably strong competition from other artists; not that that fierce competition doesn’t exist these days too… The thing is, I have always harboured quiet guilt and regret in NEVER having reviewed this duo. Surely the answer is to simply review the following single, then… Sadly, it’s not like that, not with me anyway. I don’t review the artist in general. I am deeply focused on the song itself; that one particular release rather than the artist as a whore. Whole, sorry. Which is perhaps what Iโve been getting atโฆ I sometimes feel that fans are those โforever fansโ – fans of the artist, rather than of specific songs or pieces of music. Every week I spend an hour or two listening to all the new music released (and some older) within the community. I donโt so much pay attention to the artist name but simply allow the music itself to be my guide; I donโt like to be swayed either way. This way, everything gets an equal opportunity to wow me. Or to bludgeon me. But itโs not just a case of quality and its uppy-downyness (a technical term if ever there was one); itโs a case of taste. Even with quality at its standard 5-out-of-5 rating, I will naturally go for some songs more than others; and so should we all. I missed โWhite Widowโ – that ship has sailed. I was determined not to miss their next humdinger. But single after single, while appreciating and enjoying each release, they never quite hit me like the one I did not review. I was also all too aware that they were probably/possibly/potentially a little miffed as to why I hadnโt touched their music thus far. Fair dooze, as well; the world adores them, so why doesnโt CC?? Iโm simply a picky little so-and-so, and I need to write authentically. When I praise things, I need to FEEL it; I wonโt just automatically go with the crowd – I literally CANโT!
Has anyone else noticed that folk music is really coming back in a big wayโฆ? Even Kings of Leonโs latest record is decided folky. So many acts and bands are thinning their backline and producing music that is more personal and from the heart. The beats are disappearingโฆ The bass is softening from harsh distortion to dull thud. Music is sounding less like it was recorded in an arena, and more like they borrowed your cosy living room. Itโs quite a change! And it ainโt just the mainstream that is affected; the indie scene is also very much โgoing back to basicsโ – I put this in inverted commas because it is notoriously hard to get this vibe to sound good: more attention on the performance, the mic setup and the mixing; it ainโt just a case of recording it raw and leaving it raw โfor that home feelโ. And less editing means more takes. Correct me if Iโm wrong, but there are three main folk acts in our community: Emily Gray (recently number 1 in our chart for weeks and has appeared here multiple times), Valeryan (usually high in our chart, appeared here multiple times, also has a brand new fab single out this week), and Chucky Trading Co (a regular high charter, but never having appeared here). So thereโs that healthy competition I told you about; which I love – healthy competition makes people better. Aggressive, unhealthy competition will make you realise youโre making music for the wrong reasonsโฆ
And finally, we get to the duo, Chucky Trading Co (CTC from now on), with their brand new single, โBe Your Own Sheepโ. About bleeding time, say the bro and sis from different American states. For yes, Charles and Patricia – confusing to me because my mother is called Patricia (when sheโs not being called Mummy) – are brother and sister! The difficulty comes from them being in different states (not comatose and lively). Charles Taber is in Noo Yoyk (or New York), while Patricia Taber is in Nay-ash-veal (or Nashville). And yet, they somehow manage to make music together (loud voices, evidently)! Well, I suppose these days recording from different parts of the world is not as hard as it used to be (nor as rare)โฆ But still! Together, the Tabers create the most delightful smile, often not too dissimilar from The Seekers – actually, itโs rather less plodding than that, and rather more superior. Charles takes guitars and lead vocals, while Patricia is on backing vocals (sometimes they switch this arrangement for other songs – like in โWhite Widowโ). This time around (but not always), they are joined by Daniel Helfman on accompanying acoustic guitar, and Facundo Flores on percussion. The gorgeously smooth bass is played byโฆ I have no idea who plays the bass, but claps for the anonymous. As with all their recent work, the cleanest of mixing is by Adam Whittaker, and mastering is by Pete Maher for that perfect sheen. The result is something refreshingly – yet subtly – pointful, cloaked in amusing wrapping paper. The cover artwork is comically satanic – just add horns and youโre there! The idea of the song (I think) is that we are basically all sheep, but some of us can learn to be less like sheep than others.
With the fullest bloom, crispest enunciation, and proudest, most tuneful oration, the Tabers explain all with bold confidence and perfect tuning. Top tip: if you sing with a smile, you will hear the smile on the record. And THIS is what I associate CTC with most: the smile. At first aural glance it might seem twee or even a bit โGod is loveโ, but then when you start listening to the lyrics, you realise how tongue-in-cheek so much of it is; they really have a great sense of humour. This is most evident when realising that Patricia is doing impressions of sheep!! Hearing these two VERY strong voices singing together somehow enriches the soul, but doesnโt take itself too seriously. The fullness in these voices is something I have always admired about them – itโs mainly singing but also part mixing. Warmth R Us. Despite Patricia taking on backing vocals in this track, the pair still manages to balance one another. But thatโs just the voicesโฆ The acoustics, complete with impeccably timed plucks and precise harmonics, attain a level of professionalism not often found on more jovial music like this (jovial with hidden moral sense, in this case). A bass like this is quite rare on record, and often only achieved live. The grinning percussionist sways in his element (remembering he is a percussionist, not a drummer), while wearing tousled curly hair like a neat hat (I assume). At 1:40 a wonderfully synchronised guitar section lends time for a little dance. This really is a very impressive song, and I have a feeling most will not realise. I think what I love most is the unadulterated purity of it all. Itโs like Christianity reborn, but someone forgot to invite God. Or perhaps itโs hard on the outside and soft on the inside: a sheep in wolvesโ clothing.
Tabers various, Iโm sorry it took so long – Iโm feeling sheepish.
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