Charles Connolly

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙎𝙡𝙚𝙚𝙥𝙬𝙖𝙡𝙠𝙚𝙧 – 𝘿𝙤𝙣 𝙆𝙮𝙤𝙩𝙚

Charles is designed that way…

Do you find that you seem to be forever fitting things in? Only embiggening the to-do list, rather than ticking things off? While your “Hobbies, Experiences and Dreams” list is in need of some light dusting (if you can even FIND it)…? Ten chores to complete in the time it takes to do six…? Heavy competition from your peers. Constant slog. Never a moment’s rest, or even really any time to do what you WANT to do, rather than what you HAVE to do. The world keeps turning. It’s exhausting. So you eventually go to bed. Or rather, you fall into a large slump when the sky is black and you can no longer stay upright. Barely able to achieve just a few hours’ rest at night, do you then wake up fresh and enthusiastic for a bright new day…? Hardly. Reluctantly, you pull back the bed sheets and do it all over again. A permanent drowse follows you through the room, delayed with every movement. It ain’t human… Yet this is what we are now. Sleepwalkers. The thing is, we ARE human. We simply weren’t built for this way of life. We were not designed for this… Which got me thinking…

Science was designed to make our lives better and longer, not for inventing the atomic bomb. Saltpeter was designed for fireworks, not guns. Telephones were designed for communication, not for isolation. Alcohol was designed for a good time, not to numb the pain. Drugs were designed to cure, not for a good time. Painkillers were designed to numb the pain, not numb the soul. Books were designed to be read, not consumed by machine, then burnt. Wellington boots were designed for purpose, not for fashion. Fashion was designed for aspiration, not for purpose. Cars were designed to transport people, not to plough into people. Knives were designed to cut, not to stab. Guns were designed to kill, not to… okay, fair enough (sadly). The internet was designed to bring us all together, not to turn us against each other. Technology was designed for efficiency, not for time-wasting and human-redundancy. Art was designed for inspiring, refreshing and enhancing the soul, not as a fresh canvas for orange paint. Music was designed for every emotion under the sun, not for artificial streams. Film was designed for immersion, not for passing the time. The countryside was designed for freedom and peace, not for building on. Houses were designed to be lived in, not owned by oligarchs for investment purposes. Stradivarii were designed for playing, not for sitting in a museum. Deer were designed to frolic and roam free, not to be shot. Churches were designed for worship and contemplation, not for converting into unaffordable flats. The Sun was designed for warmth, free energy and free smiles, not for skin cancer. The Moon was designed for sheer beauty, not to be taken for granted. Birthdays were designed for celebration, not nonchalant depression as you notch up another year closer to death (“I’m not dead yet” – that’s the spirit!). Computer fans were designed to cool their processor, not as a hand-warmer. Chainsaws were designed for swiftly removing diseased trees, not for slicing wafer-thin ham – quite the amusing image…

But you know what else seems to have been misunderstood…? Albums. LPs. LPs were designed as a full chunk of time away from everything; a chance to truly immerse oneself in an artist’s creation. I’m talking about proper ALBUM albums. They were NOT designed to be cut up and thrown to the curators for a playlist to devour. One isolated track from a concept album, sandwiched between two other artists’ fully standalone singles, is completely meaningless and simply doesn’t work. A single is a single. And a playlist of a suitably suited genre is the perfect place for it. But when an artist puts out something so important (yes, genuinely important) as a full-length concept album with zero gaps or pauses, no limb should ever be disconnected from its body. It simply can’t function or perform on its own. It will suddenly start out of context, then abruptly stop just as you were starting to feel it. Can you imagine reading a short story, then moving on to chapter seven of a random novel, then finally finishing your meander with another short story…? The short stories work perfectly. That seventh chapter was a disjunct interruption that simultaneously interested and confused, briefly.

And so we come to Don Kyote. A name that despite being written phonetically, always reminds me how I used to pronounce the word from whence it came. It took me years to realise that Quixote (of Don fame) was not pronounced Quick-Sote – which sounded to me like a fast-drying cement, a high-protein muscle-gain product, or a flash-fryer. Surely that’s not CC digressing…? It is, ya know. Don Kyote is not in fact the chivalrous romantic, this time, but instead another man entirely. And there’s a high chance you might have heard of him. Mr. Braddon Williams…? Ring a bell? Well, it should. Alongside myself and Andres Guazzelli, Braddon has mixed many pieces for many artists in the community. The question is, “Is he any good?”… p-HAH!! Yes. In a word, yes. He used to be an official mixing engineer for Sony, working with artists such as Mark Ronson, Beyoncé, Billy Joel, The Script and many more. No, I’m not kidding. So yes, he is indeed good, to say the least. But aside from his known expertise in mixing, he is also a producer and an artist in his own right (like most of us engineers). And it is THIS side of things that I would like to focus on. Rather embarrassingly, I have never reviewed young Braddon before. He has always released such brilliant work under a couple of guises. One, being his rock band called Prototype One, with an LP (‘Home’) released in 2022. But it seems these days he seems to have quietly settled behind the mask of Don Kyote.

So, why have I never reviewed Braddon Williams? Mainly because of that simple thing called taste. The talent was ALWAYS very evident. But the writing from Prototype One never quite warmed my cockles. As to Don Kyote’s initial couple of albums – ‘Scatterbrain’ (2023) and ‘Transmogrification’ (2025) – it was simply above me. Jazzier than a mother. In awe of his talent, I just couldn’t connect. Although loving a lot of jazz, I have never really been “a jazzer” (except for a brief migraine in around 2004). Then something happened around 10 days ago. This brave lothario (Braddon Quick-Sote) released something entirely new. A whole side of him I hadn’t heard before. Along strides – sorry: Along mooches ‘Sleepwalker’. Or, what I believe to be his greatest work yet. Something worthy of so much more than this article. THIS is the feature-length concept album of which I was speaking. The one that would be sacrilege for Edward Scissorhands to go anywhere near. Scissors are designed for running with, not for cutting. The LP is NOT for playlisting. Actually, correction, I discovered it by listening to the community’s playlists. So, it IS for playlisting, but only for use as an advert for the complete production. Think of its appearance on a playlist like a film trailer rather than the product itself. My worry is that most listeners are not so pro-active (hate the word) as I, when it comes to music. Whenever I hear a track I love, my thumbs lead me to the album (if it is from an album). It killed me to cut up my own debut (and only) album for playlists, but it was frankly the only way I could get each and every part heard. I didn’t really think of it as a collection of 14 tracks, but more a piece in 14 parts. I initially wrote and produced the whole thing in order, in one project, before cutting it up for mixing (and for my old computer’s wellbeing). So I very much understand Braddon’s potential frustration in having to split things up for playlists. Once I had heard just one track from ‘Sleepwalker’, though, there was no doubting that this was only one small fraction of something not only bigger, but greater.

As to the actual concept of this album, I searched and searched for information on it. I found absolutely nothing. Which is, by the way, the reason this was not reviewed last week. I knew it needed a great deal of research before the actual writing part. Gutted, and despite my attempts, I can give you nothing but the record. CC failed. Each track takes place in a different time and city in the world. We cover Melbourne, Paris, Christchurch, Geneva, Prague, Bangkok, Amsterdam, New York, Sydney, Edinburgh, Istanbul, Madrid, Florence, London, Cape Town, Seoul, Toronto, Cairo, Tokyo, Los Angleles, Honolulu, and finally back home to Hong Kong (that’s where he resides these days). I know, 22 tracks sounds like far too much to sit down with, but remember, this is designed for one sitting, not to ruin your schedule. It only runs to 37 minutes. Hence why one isolated track is wholly unsatisfying, no matter how brilliant it might be. At this juncture, I might now let you in on the genre. It ain’t jazz. It ain’t rock. It certainly ain’t electronic. It’s classical. And very filmic indeed. I actually assumed that ‘Sleepwalker’ was the soundtrack to a documentary, but as far as I can tell it is simply a musical release. I said, my research led me nowhere. So I simply listened. Throughout the writing of this entire article, I have been listening to the LP on repeat. I have let it wash over me. I never listen and write simultaneously. Normally, I simply can’t. “Just like a man”. I think the lack of words was what made me able to write and listen simultaneously. And aside from listening, it is such an immersive, satisfying thing to have playing. Every so often, I would be curious as to which city the music was supposed to be portraying. I assume this is the idea, anyway. I found this most interesting and a little bit fascinating. But I must say, I certainly do NOT want to go to Los Angeles after having heard his musical interpretation of the city. The only musical relative I can hear is Amaury Laurent Bernier when in his soundtrack mode(‘Totem‘, for example), as opposed to when he is free from constraints (‘Polaroid Revolt’). Amaury is the greatest film composer I personally know, so this comparison is certainly a compliment to Braddon. Classical music is more than a genre; it’s another world. As is jazz. It’s not something you can quickly pick up and “get’ within a few weeks. It’s like learning a new language. It doesn’t just mean you stick some strings in it and call it classical. Braddon seemingly just KNOWS what to do and when to do it. For me, he easily eclipses Ludovico Einaudi and modern day Max Richter (he used to be great), who both frankly bore me to frowns. There is nothing more I can say about ’Sleepwalker’ because it’s much better heard through ears.

Contrary to my first paragraph, some things just take time. Some things are not designed to be rushed. My old manager used to say this about our breaks: “best get it over with”… A break is to be relished!! As is an LP. Find time in your hectic schedule to listen to this feature-length release. Nay: MAKE time. Embiggen that list by one. You’ll thank me in the end. Nay: you’ll thank our courageous romantic, Brad-Don; the fast drying, muscle-bearing flash fryer. Much better than a wet muscle-baring fly-flasher.

I need one thing from you readers before I go. For one week, the entire LP will be at the top of my Connolly’s Corner playlist – almost unheard of! Once the week is over, I will be keeping just one track. Let me know in the comments which city’s track you think I should keep, and why. Whichever city has the most votes will remain. I will only consider votes in the comments below the article, NOT on social media. And yes, I know; I am being Edward Scissorhands in keeping just one, but ya know. It was designed this way. “Oh CC, cut it out!”

Listen to 𝙎𝙡𝙚𝙚𝙥𝙬𝙖𝙡𝙠𝙚𝙧 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝙎𝙡𝙚𝙚𝙥𝙬𝙖𝙡𝙠𝙚𝙧 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to 𝙎𝙡𝙚𝙚𝙥𝙬𝙖𝙡𝙠𝙚𝙧 on YouTube HERE!

Follow 𝘿𝙤𝙣 𝙆𝙮𝙤𝙩𝙚 on Instagram HERE!

Follow 𝘿𝙤𝙣 𝙆𝙮𝙤𝙩𝙚 on TwiX HERE!

Please share this post and let me know your thoughts in the comments below

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙐𝙣𝙠𝙣𝙤𝙬 𝙏𝙝𝙚 𝙆𝙣𝙤𝙬𝙣 – 𝙇𝙖𝙣𝙖 𝘾𝙧𝙤𝙬

Charles reveals the untruth…

When I first saw the title of this week’s song pick, I had only one thought. First, I will talk about that one thought; then I will move on to my second thought. So… That initial thought… You know those days when it all just falls into place and everything goes to plan? No? Well, it does happen from time to time. It SHOULD happen occasionally, anyway. You feel on top of the world. Your tea tasting fresher than usual. The sky is brighter and you can’t help but feel that proud contentment. Then someone rushes in and says, “Oh my God, did you hear what happened??”, with a mortified look on their face… We usually reply “Oh no, don’t tell me”, meaning “I don’t like the sound of this; tell me”. But if you’re having such a perfect day, you probably genuinely mean “DON’T TELL ME!!”; as in – to quote the inspired words of Kendrick Lamar – “Bitch, don’t kill my vibe”. Despite your request, you are told the news. Day scuppered. That’s that. Whether or not the news “AFFECTS” affects you, you are nevertheless affected, and your blissful day is royally buggered. Screwed, if you will. Annihilated, if you’d prefer. And no matter how hard you try, you just can’t get back to that heavenly feeling. Ignorance truly is, as they say, bliss. You can’t unknow the known.

So that was my initial thought. Then I listened to the lyrics of the song more carefully, and realised this was not in fact what the song is about. Especially once I had seen them written down… But before we go into that, here are some things we have all heard over the years… Goldfish have a three-second memory. Cracking one’s knuckles causes arthritis. Lightning never strikes the same place twice. Shaving makes one’s hair grow thicker. Vikings wore horned helmets. Dogs can only see in black and white. Sugar causes hyperactivity in children. One loses most of one’s body heat through one’s head. The Great Wall of China is visible from space. Napoleon was a very short man indeed. Carrots make one able to see in the dark. A penny dropped from a skyscraper can kill someone… And now the truth – you will be broken. Goldfish are relatively intelligent, with memories lasting for months. Cracking one’s knuckles only SOUNDS like it would give you arthritis (and an irritated shudder, if someone else is doing it). Lightning very often strikes the same place many times – skyscrapers, for example. Shaving will only make each INDIVIDUAL hair SEEM thicker, because the slender end(er) is being lopped off, leaving the thicker girth at the tip. Stop tittering at the word “girth”. There is no evidence of Vikings wearing horned helmets in battle – simple as that. Dogs can actually only see in blue and yellow, which is why they can often be found woofing “Slava Ukraini”. As to the effects of sugar in children… Rich dentists. Sweet! In cold weather, our heads will only account for 10-15% of heat loss. The Great Wall of China is around 15-20 feet wide – I’ll let you decide whether it is visible from space… A clue – can you see a human hair from a distance of two miles…? Napoleon was actually of average height, but back then there were French inches (sadly not called Frinches): a completely different measurement to our “modern-day” inch – hence the confusion. The ‘Napoleon Complex’ is therefore the deep trauma of being distinctly average. Carrots are carrots. They are good for you, but watch out… Eat enough of them, and you will end up with indigestion and a few mildly stained fingers. As to dropping that penny from a skyscraper… A penny’s terminal velocity is simply not high enough to give anyone more than a bump on the old noggin. But let’s hope that the potentially murderous freak who decided to test this theory was coincidentally struck by lightning – which does, IN FACT, kill.

You see, before the days of having the immediate answer at our fingertips, we simply believed what we were told. Why would our friends and family lie about a things like this…? The truth is, they weren’t “lying”, they were simply telling you what THEY had been told before. The internet has very boringly spoilt these fun “facts” and stated the ACTUAL facts instead. How dull. However, while the internet is seen as the fount of all knowledge, it is also the biggest spreader of lies ever. Fake news, anyone…?

And finally, we get to our song of the week. ‘Unknow the Known’, by Lana Crow. In actual fact, it should be called Unknow The “Known”. Because the “known” (in quotation marks) is only what people say it is. It isn’t necessarily true. So really, it should perhaps be called ‘Don’t Believe Everything You Hear’, or ‘Re-jig Your Mind and Re-think The Whole of Everything You Ever Knew’. But yes, I am now starting to understand why Lana chose ‘Unknow The Known’ – a very cool title. So!! Lana Crow has been in the community since October of last year, but quietly releasing music since 2024. So, in all respects, a relative newcomer. Originally, Lana is from Kazakhstan. Which makes a change, simply by not being America, Britain, Canada, Europe or Australia. Finally, somewhere a little more exotic! She now lives in Spain. Ahem; moving on…! I challenge any of you to look at any photo of Lana Crow and tell me it doesn’t feel like she’s looking through your soul. There is something mesmerising and almost hypnotic about her look. There’s wisdom, experience and darkness there. And this is all part of the intrigue that appeals to me about an artist, as an artist. The artist is very much a part of the art; because if there’s no true artist behind the art, there is no art. Pair this with the title of the song, and I’m ready and willing before I’ve even pressed play. Well, I DID press play, and I must say that I have no regrets.

Lana Crow does actually have a newer song just released a few days ago, but I thought I would start the ball rolling with ‘Unknow The Known’ for the simple reason that I prefer it (more to my taste). On to ‘Unknow The Known’!! Fans of Garbage, Blondie, and The Killers, will not be disappointed. Instrumentally, this is 21st century rock; and vocally, there’s a large nod to the 90s and the very late 70s. The roughness of the (original) post-punk era blended with a slicker, more modern post-punk era (circa 2004), somehow brings about something that feels of our most recent decade. Produced by Grammy-winning producer (!!), Tristan Boston and mixed by CeePee (as opposed to CeeCee), there is refined solidity and tightness that punches like a proverbial. As with the best of modern music, there is fullness, width and clear separation; not an easy task with heavily distorted guitars and hard-hitting drums. Heavy rock can sound cacophonous or dull if not mixed and produced well. You can get away with much less in other genres like folk and blues, but modern rock needs experience at the helm. Otherwise it just doesn’t pass muster, or cut the mustard. Lana’s vocal is very processed, which would normally put me off a bit; but instead it actually pulls me closer. The distorted quality and heaped reverb create an urgency that cuts right through the dense guitars, bass and drums. She sings with rolled eyes and a sharp wit. There’s a gorgeous sadism making me feel guilty for smiling. Lana is sure of every word she sings; a certain clarity of mind from beyond bloodshot eyes. The pain is real, but at least now she knows what is painful.

As to the music, it’s all just so perfect. From the opening chimes of the clean electric plucks, to the piano’s counter-melodies, to the muted chugs of the heavier distorted guitars, everything is just spot-on. The bass rumbles behind the guitars’ backside, bringing up the rear. Stop tittering just because CC said backside and rear. But once the drums really kick in, they’re for me the equal star to Lana’s voice. This drumming is the kind of drumming that makes young fiends want to become drummers. And old farts, too! It’s oomphy, and just simple enough to be plausible to learn for oneself with enough practice. The unseen catch, though, is that it takes a really experienced drummer capable of far more, to be able to play drums like this. This is Taylor Hawkins standard, once Dave Grohl has told him to “calm the f**k down, man”. I still miss Taylor – the second most famous Taylor in the world (I believe he’s still here in one way or another). Speaking of Blondie, I really do hear the slovenly, debauched attitude of Debbie Harry in Lana Crow’s voice. It’s so refreshingly real and “unphotoshopped”. Again, to quote Kendrick Lamar’s song, ‘Humble’: “Show me somethin’ natural like afro on Richard Pryor” – I can’t put the next line in print because you all won’t stop tittering.

Anyway! This is ‘Unknow The Known’. Rock on, dudes and dudettes!

Sitting too close to the TV does NOT make you go blind. But just to be safe, I still have yet to own one. Old habits die hard.

Listen to 𝙐𝙣𝙠𝙣𝙤𝙬 𝙏𝙝𝙚 𝙆𝙣𝙤𝙬𝙣 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝙐𝙣𝙠𝙣𝙤𝙬 𝙏𝙝𝙚 𝙆𝙣𝙤𝙬𝙣 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to 𝙐𝙣𝙠𝙣𝙤𝙬 𝙏𝙝𝙚 𝙆𝙣𝙤𝙬𝙣 on YouTube HERE!

Follow 𝙇𝙖𝙣𝙖 𝘾𝙧𝙤𝙬 on Instagram HERE!

Follow 𝙇𝙖𝙣𝙖 𝘾𝙧𝙤𝙬 on TwiX HERE!

Please share this post and let me know your thoughts in the comments below

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙁𝙤𝙧 𝙉𝙤𝙬 – 𝙈𝙚𝙧𝙘𝙪𝙧𝙮 𝙏𝙚𝙖𝙧𝙙𝙧𝙤𝙥, 𝙀𝙢𝙞𝙡𝙮 𝙂𝙧𝙖𝙮

Charles is only human…

Phew…! Life never ceases, does it. I mean, it does; of course it does. We’re not immortal. But I mean that things never seem to pause, slow down or relax. Everything’s pretty full-on, no? We read the news today (oh boy); like we do every day. I don’t know about you, but I almost wish we could go back to the “lighter” news of Covid, or “the pronoun saga”, or the “Me-Too movement”. When things weren’t seeming like a potential World War III would be just the beginning. The news used to be more about society. Societal changes, views, thoughts; and of course, sickening extravagance for the elite: The Oscars. Okay, so we still have that one. And we also have some bedtime reading, in the form of the Epstein Files. But these days, the news is usually about nations against nations; religions against religions. The thing is, unlike in World War II, we are all divided. Throughout WWII – especially in Europe – the Nazis were the bad guys. This was the universal view, which makes things SO much simpler. Yes, there were Nazi “sympathisers” (could there ever be a worse choice of words??), but these people were seen as bad eggs, and their views would be seen as treason. Because of this universal view, though, people of all ages, nationalities, class, wealth and status were able to come together and be as one. It worked well, and eventually the regime was thwarted. Job done.

These days, however, things are SO much more complicated. People don’t agree. Half the world is on one side, and the other half is on – you guessed it – the other. And it genuinely seems to be a 50/50 split. Meaning that, no matter the outcome, half the world is “disgruntled” with the result. This split seems to be what is tearing apart the world these days. Not the “baddies” (because we can’t agree who the baddies are), but the general disagreement itself. There is no uniform acknowledged view. It disintegrates once united nations. It rips apart friends and families. It divides religions into smaller factions. It causes mini wars withins official ones. What if we just stay away from politics altogether? Wouldn’t we be mentally safer that way? The problem is, we all seem to disagree on just about everything these days. Take A.I., for example. Our “friend”, HAL. In just a few years, the entire world has taken on HAL, much in the same way that we naturally fell into making Zoom calls. But I said “taken on” because it seems to have forced a division. Some have “taken it on” in the way of allowing it to become part of their lives, while others have “taken it on” in the way that a boxer takes on its opponent. Some love it, and some hate it. And some are still trying to work out how to use it, and whether they actually need it. Despite what some people are saying, HAL is here to stay, whether you like it or not. There is no bubble. Think of it like the internet. When that came along, many people thought of it as a gimmick; a fad; something that would likely fizzle out… p-HAH!! In actual fact, if the internet were to break, the world would not and could not function. There is no backup for the internet. Sure, files are backed up, but there is no other actual connection. Communication is kaput. Correct me if I’m wrong – actually, don’t. Far too dull.

So, knowing that HAL is here to stay, why is it that so many people are reluctant to simply accept HAL? Many reasons, but the main reason is fear. Fear that it might one day take over and destroy humanity. Oh, what joy. This thought kind of puts it all into perspective. It makes you wonder about everything, while at the same time, wondering if there is any point in wondering about anything at ALL. What with the world bombing the heaven out of the world, and machines taking over in every other way we can think of, what is going to happen to us all? It seems such a proud, brazen obliteration of humanity, that it almost appears like it’s on purpose. We, the little people, aren’t chucking bombs. We, the little people, are not inventing machines to make us redundant and frankly pointless… Do we actually WANT to be around? Yes. Of course we do. Do we actually have a choice…? We, the little people, never have a choice. The vital flaw in James Bond films is that the villains always give Bond a chance to escape. We will never be given that chance to escape “their” plan. But this time, “they” are not human. This isn’t altogether a thought most cheery. But then again, neither is the theme of this week’s song…

Please welcome the darkest knight, Mercury Teardrop, and the lightest kite, Emily Gray. Mercury Teardrop is otherwise known as Brad Bauman, while Emily Gray is known only as Emily Gray. Together, Brad and Emily created something dark. Something heavy. Something deep and eroding. That something is ‘For Now’; an already ominous title. ‘For Now’ always suggests a change in the future. It indicates that things will not stay the same, given time. For now, I give my time to this, and only this; for later I will be doing something else. Brad is Canadian; Emily is British (though living in Spain). Canada and Britain have several things in common, but there is only one commonality I care about. Fabulous music. Both nations are known for being in the upper echelons of the audible art. So, what better than to pair the two??

Most lyrics tend to journey through our feelings. Sometimes it’s directly personal, from the writer’s own mind; sometimes it’s from a friend or family member’s experience; and sometimes it’s a little more fictional. But generally it is about experience in one way or another. Which is probably why older artists tend to write about deeper themes, while younger writers might do the love thang, or complain about how “it’s just not fair”. Ahem. ’For Now’ focusses on a different kind of fiction. One that could easily become true. It is not any experience we could ever truly imagine. Because it is not human. ‘For Now’ is from the aspect of HAL. Yep, HAL is having an existential crisis; a relatively calm one, I might add. This alone is uncomfortable to me (and no doubt to many of you). The idea of a robot thinking, wondering, asking questions in much the same way we humans have been doing for millennia. We have all asked ourselves about the “meaning of life”, but is HAL really living? Good question. My theory is, if it is willing to ask these kinds of philosophical questions and genuinely care about the answer, then kinda, yes. Which turns things from uncomfortable, to a little bit irksome. But the best/worst is yet to come. I warn you now, it’s downright terrifying… HAL is asking a human why it has been invented, but then gets concerned by the point of the chorus… “Please don’t deny me! I exist for you… For now”…!! There are two ways of looking at this. Either HAL is worried that that its own bubble might burst, and that someone might decide to pull the plug… Or… Yep, I think it’s the other option. Emphasis not on “exist”, but instead on “for you”. Meaning, for now, HAL is here to serve humans… But just you wait… I told you it was terrifying.

So!! I do hope you’re all okay, and that none of you has jumped out of a nearby open window. Let me rescue you by talking about the actual music. Firstly, this entire song was written and produced by Brad. Emily is the (extremely realistic and unnerving) voice of HAL. So, this is basically Brad’s baby/alien. And by Jove, it has Brad written all over it (if you’re familiar with the power of the mighty Mercury Teardrop). A laidback drummer is joined by an impatient bassist. They both wear worn leather jackets. Think Pink Floyd of the future. A solitary electric guitar strum fills the air with tiny planets. It is met by friendly sparkles and the wisest of pianos, as if played by the monk of music, Rick Rubin, or God himself. More wider guitars welcome Emily with her initial line, “I don’t remember the power coming on”. Within just a few lines, Emily goes from mild curiosity as if coming out of a deep coma, to a childish urgency, to a teenage effrontery, to an almost bleak acceptance. Oh, and all this is just spoken – forgot to say that. That’s what makes it so impactful. For now, there is no melody. The sound is lush, wide, expansive and all-encompassing, yet there is space for everything (courtesy of Agustin Seresini on mixing duties). But exactly one minute in, the whole piece flies three storeys higher, truly grounded in the “rock” category. Cymbals galore, hard-hitting drums, yet more guitars with added crunch, and Emily not only finds a melody, but she rocks like I have never heard her before. If I had not known Emily’s usual folk roots, I never would have guessed this could be anyone but a seasoned rock singer. Which just goes to show, that Brad was able to see the extra potential in Emily’s voice when he chose her to play the protagonist. You already know the “pay attention and stare into nothing, with the sheer horror of the thought” lyrics in the chorus; well the music matches it perfectly. The pain, the angst, the clawing at the base of the velvet curtains as you lie disabled on the floor, knowing it’s far too late and no one is going to rescue you. Time for verse two; what ELSE are you gonna do?? HAL gets sarcastic, in such a human way. Then it gets condescending and eventually threatening. It’s eerie! Chorus two strikes again with just as much gusto as the first (a little more, if I’m honest). And then a most stupendous solo after a brief breakdown (I’m sure we’ve all had one). It’s a spine-tingling synth that could only be played by someone with almost as much talent and experience as Herbie Hancock or Cory Henry. As to Emily, NO one could have been a better choice. SuPOYB! Almost TOO believable as HAL… Gaahh.

I’m aware the song stops abruptly. I have no definitive answer as to why, but in listening to the beginning and end, I have an inkling (based on nothing) that this song might be a part of something bigger… I hope I’m not wrong. I could be, though, so don’t quote me on that. One thing’s for sure: ‘For Now’ emphasises just how fleeting it all is. Which is maybe the real reason for the sudden pull-the-plug conclusion.

Truly, though, ‘For Now’ is one of the best sounding songs I have heard in the independent music world.

If your computer is misbehaving, have you tried turning it off and on again…? Maybe just try turning it off. Leave it at that.

Would you choose Heaven or HAL?

Listen to 𝙁𝙤𝙧 𝙉𝙤𝙬 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

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Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙄𝙣𝙨𝙪𝙡𝙩𝙨 – 𝘼𝙣𝙣𝙚 𝙂𝙖𝙞𝙧

Charles causes offence…

In having seen the title of the song I’ll eventually get to, you’re probably assuming I’m going to write an amusing intro about insults…

“Oh shut up, ya fat pig. Don’t tell me what to write about. I’d like to see YOU write one of these things every week for more than five years. I bet your feeble brain couldn’t even work out which end of the pen to hold. And who’s to say you’d even choose a decent song to review? Going by YOUR music, you’d definitely have the worst taste ever. We’ve all heard about playing hard to get, but with YOUR music it seems as though you’re playing hard to LISTEN!! Great strategy. Don’t look at me like that, four-eyes. What, cat got your tongue? What do you mean, you’re waiting for a chance to speak? What do you mean, you’re waiting for me to calm down?? I AM F**KING CALM!! You just don’t have the balls to say anything because you know I’m right, and even if you tried, you know you couldn’t because you know you’re stupid. That’s right: thick as a plank. And just LOOK at you. Do you really think you look cool? Jesus, you look like you just woke up in a dumpster! What’s that, it’s casual? CASUAL??! I suppose if I wandered around in underpants and a faded t-shirt, that it’s COMPLETELY fine because I’m just dressing CASUALLY?! Don’t say another word. Your voice is worse than a cat with whooping cough! Oh, what are you talking about?! How can that be cruelty to animals?! I’m not actually administering whooping cough to a cat!! Although now that I’ve learnt you have TWO mangy feline creatures, I must say I’m pretty tempted. Cat people! Just the WORST! Why don’t you cough up a couple of furballs and go to Hell. I’VE got an ARTICLE to write!”

Well… THAT was unusual. A little freaky, and I’m sure not to be taken seriously. But, it passed the time in your dreary little lives. Nay: it passed the time in mine. Enough of the slagging. Let’s get on to something or other. Let’s see, now… A sense of humour… It’s something I like about British people. Actually, you get that in most places. The British tend to go further, though. It’s a scathing sense of humour. I think in many other areas of the world, it might be seen as unsavoury, in poor taste, uncomfortable, awkward or simply just not funny. But this little land comprising four countries seems to hold scathing sarcasm dear to its heart. For example, take your average Englander and your average Scot, and they’ll be ripping each other to shreds, because famously, they don’t get on. The thing is, they do. It’s all for show. It’s all a big laugh. Remember Wilko Wilkes, the Yorkshirian rapper…? He and I have always had a history of Northerner vs Southerner. He punches, then I punch harder. Then he punches hardest. And then we roll around on the floor, giggling and chuckling until our tummies hurt. Why? Because we actually get on TREMENDOUSLY well. It’s all a yoke. We’re both good eggs at the end of it all. The trick is, not to take life too seriously, and to instead focus on what really matters. And aside from love, what really matters to we musical artists, is music. Now THAT, you should take seriously. But not to the extent that you end up sounding like Radiohead, and that you haven’t yet discovered your anti-frown muscles. Radiohead might be a brilliant band, but blimey, lighten up! Bloody Southerners.

Let’s go up North. Yep, keep going. Still, keep going. Yes, I know we’ve passed Yorkshire. A little further… And sssstop. Here we are, in Scotland. The only country to have a public holiday on January 1st AND 2nd. Because it takes two days to get over that almighty hangover. Hilarious, but I digress (it’s what I do best). I suppose by now you’ve probably had enough of this insulting bearded man, so let’s move on to the finer things in life. Namely, Anne Gair. My new favourite Scot. She joined the New Artist Spotlight just in January of this year. And her very first release was only in January of last year. Immediately alarm bells rang. Brand new artists can be fishy to me… Which I suppose will be increasingly ageist of me – unfair because we’ve all got to start at SOME point. I have to do a little more research when delving into artists that are pretty fresh on the scene. Is this their own work? Are they just in this “business” in order to grab a few pennies in royalties? Is it just a “dream” of theirs that they are simply not cut out for? Yes, it’s no secret that I take music seriously. I don’t mean this in any kind of snobby way, but it is unrealistic to think that “One day, I’ll be as big as Taylor Swift”. Yes, it’s possible. Anything’s possible. But… Ya know… The good thing is, chances are, you’re BETTER than Taylor Swift. And Anne Gair most certainly is. Like last week, I will be focussing on one particular track, but think of this as your introduction to a truly remarkable lady person.

How do you release your music? What is your strategy? Do you have a strategy? EYE most certainly don’t…! I think most artists simply release a lone song whenever they feel like it. Whenever inspiration hits, and whenever the rest of life allows. Fair dooze. Some artists have a strict schedule of one new song every 6 weeks. Or every 3 months. Or every 5 years. Some artists prefer to save up songs, then release all 4 as an EP. Some artists like to save up songs, then release all 12 as an LP. Some will produce an EP, but eke out each song, one by one, eventually culminating as a full EP release. The same might go for an LP. But Anne Gair is doing something a little different. There is a known strategy where the first single is just that, then the second release is that song, with track two being the first single. Then the third release has tracks two and three as singles two and one. Yes, I know, this is barely comprehensible in my clumsy way of writing. But the thing is, one ends up with a load of EPs, turning into demi-albums, turning into LPs, with just SO many multiples of every song. And all with no end in sight. I know one artist who has done this, and so far they have a 23 track album (one of 23 collections) amounting to something like an hour and a half…! And they’re still going! Anne Gair very much has an end in sight in this strategy, and so it all makes sense. Her debut album is already available to buy on CD (and limited edition vinyl) through her record label or at her gigs, but is also available to download from BandCamp. A SPLENDID idea, in terms of business. Ya know… MONEY!!! We all have to make a living. What better way than selling your own music!! Streaming doesn’t pay the bills. But she is aware that most people don’t buy music anymore, and so the full 9 track album WILL eventually be available on all platforms at some point this Spring – probably April!

Shall we briefly go over Anne’s previous releases…? In the words of Ella, ‘Let’s Do It (Let’s Fall in Love)’. We’ll start with ‘Kitchen Dancing’; a jaunty little number seeing a sideways Kate Bush, the Beautiful South and 80s Billy Joel in influence. ‘Blank Spaces’ takes things down a pace, without any obvious influences other than Joni Mitchell and perhaps Rufus Wainwright, it’s refreshingly original and a bit delicious. Let’s speak about Joni Mitchell for a sec. Having listened to the whole of Anne Gair’s entire discography, some might be tempted to draw comparisons with Joni Mitchell, but although there might be some subconscious influence (Anne is a MEGA fan), Anne’s music is very different to anything Joni Mitchell has released – except perhaps some overlap on Joni’s orchestral work from around 2002. Basically, any parallels are not running side by side. We move on to ‘Oh Jimmy’. It sounds like the sort of thing I can imagine Jools Holland jiving to – but NOT irritating, embarrassing or dull. Rocky blues. OWgan galore!! I saw ya: stop doing the Pulp Fiction shimmy. It don’t suit ya. ‘White Horses’ brings a beautiful edition of the slowest country folk, complete with a gorgeous trumpet solo. The penultimate track is also the title track of the forthcoming album: ‘Cigarettes and Smokescreens’. By this point, I am realising the true artistry of this artist. A really PROPER writer of the old way. Not meaning “traditional” writing, but the need for something new. That old craving for something original. Something that makes you stop what you’re doing and pay attention. Just listen to that third chord in the chorus. Inspired! We finish at the beginning – her first single; ‘Steal Away’. You see, these are all her singles in reverse order. A deliciously down-tuned acoustic guitar, complete with double bass, light brushes on the drums, and piano. It’s slow and sleepy. Meditative, even. And then a cello (no, it’s not a sax, I promise) segues us into a new key. Pure bliss!

I think it’s about time we got to the song at hand. ‘Insults’. Anne’s latest single, and as it just so happens, my favourite of hers so far. You can probably tell by now, that Gair’s music is sophisticated, but potentially none more so than ‘Insults’. Because it’s the kind of music that will appeal to the widest audience. There’s an understated (at first) dark, Bond-like quality. Everyone likes that kind of music, right? I also feel that while her voice has many sides, this song features a more upfront pop-like vocal performance. But it’s the arrangement that is sensual – probably only to me. Yes, music turns me on. It is said that “dynamics are dead” in music. NOT SO!! We start so delicately, with a smooth 6/8 drum beat played by Paul Jennings (yes, real drums – everything from Anne Gair is real instruments), and a lightly yet precisely plucked acoustic, played by Anne. The fretless bass snakes through with a delicious vibrato, only possible due to the lack of frets – all in an unusually high register for a bass. That’s Alan Thomson. And – if my ears don’t deceive me, there is a second bass guitar added at around 27 seconds for the low end. 0:46 is our initial glimpse of something heavier; the first force is underway. But by 0:54, all is clamped down again. Oh, dynamics, how I love thee!! Anne’s vocal gains another level of confident bite, as if she knows THIS is the take the world will hear. From 1:30, things REALLY start to heat up. The strings are tremolo-ing their heart out, as the electric guitars strap up (Anne playing). Those jazzy drums turn into full-on rock drums. I feel like ‘Insults’ is her ultimate anthem. At around 2:15, things settle down once more as filmicly strident strings and pizzicato strings (Maria Orlowska on cello, and Lesley Woodbrooks on violin; arranged by Maria Quinn – Anne’s pianist) form the main backing for Anne’s soulful voice. 3:05 brings the final minute of HUGE!!! This is pure magnificence!

Hats off to Andrea Gobbi for producing and mixing the album to perfection. I simply cannot believe the level of the best independent music nowadays. We have come a long way LONG way since the days of one-track dictaphone demos. You will be bowled over by the music of Anne Gair. This kind of music was always pretty rare in the independent music world, but it has never been more rare than now, despite it being more plausible (not to mention cheaper) than ever before. I am hoping this recent limitless ease of doing everything automatically brings a new wave of artists missing the way we used to do things. Ya know: the process being just SO much of it all. But at the heart of it all is the songs. And Anne Gair is a bloody brilliant writer. Listen to those words; those melodies; those chord changes; those arrangements!

Never mind those sticks and stones. Bones heal. But words…? They can have a lasting effect. So be nice and don’t take your Anne Gair out on others, you pathetic excuse for a human being.

Listen to 𝙄𝙣𝙨𝙪𝙡𝙩𝙨 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

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Listen to 𝙄𝙣𝙨𝙪𝙡𝙩𝙨 on YouTube HERE!

Follow 𝘼𝙣𝙣𝙚 𝙂𝙖𝙞𝙧 on Instagram HERE!

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Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙁𝙤𝙧 𝙎𝙤𝙢𝙚 𝙍𝙚𝙖𝙨𝙤𝙣 – 𝙎𝙩𝙚𝙫𝙚 𝙇𝙖𝙯𝙚𝙧𝙤

Charles finds the motherboard…

Despite my listening habits being relatively eclectic, migrating from Liam Gallagher to Chopin; The Sylvers to Fred Astaire; Audioslave to Lauv, all within the space of a few hours, I think most readers generally have an idea of what I like to listen to. Or at least they THINK they do. It seems many people think I simply like “retro”. All analogue, all real instruments, with a large chunk of that 60s/70s sound. While I must admit being partial to all of this, it is a pretty small fraction of what I force upon my old lugholes. It’s part mood and part upbringing, I suppose. I was brought up listening to The Beatles (REALLY!? You DO surprise me), The Kinks, The Who, The Stones (the rolling variety), Hendrix, Manfred Mann, The Searchers, The Hollies, and funny little acts like Helen Shapiro and Tom Jones. I was also brought up on that gorgeous 50s doo-wop shoo-wop stuff. In my early teens I started discovering things for myself – not straight away diving into newness, but simply wondering what followed the 60s. It turned out to be the 70s. So, on marched Led Zeppelin, Black Sabbath, Deep Purple and many other two-worded bands. There was also Stevie Wonder and Wings – both being vitally influential to me. Other than Michael Jackson, I pretty much skipped the 80s. Then finally, I was able to discover what the modern day had to offer. The modern day, being the 90s. Actually, before discovering the 70s, I remember two specific “current” singles that blew my mind at the time – yes, I bought them age 9 to 11. ‘Are You Gonna Go My Way’ by Lenny Kravitz, and ‘Lump’ by The Presidents of the United States of America (bit of a mouthful). Then came the more obvious current buns; Blur, Oasis, Kula Shaker, Ocean Colour Scene, Paul Weller, Supergrass, Super Furry Animals, Reef. Then latterly The Verve and Travis. Yes, Travis. I still have yet to find out why it always rains on me. It certainly wasn’t “because I lied when I was seventeen”. Stupid lyric.

The Noughties rolled in, and I was simply obsessed with Coldplay, and detested Damien Rice (still do, in fact). I then went through the funnest phase of my life (probably): the 2010s. The likes of The Libertines, Maxïmo Park, Bloc Party, Kaiser Chiefs, Mystery Jets and so on. After my brief obsession with Arctic Monkeys, something changed. POP changed. Suddenly the world was filled with David Guetta and Calvin Harris. A definitively bombastic dance sound. Things had gone from heavily compressed gnarly distorted guitars, to (seemingly almost overnight) a slicked-up four-to-the-floor projection of the future. Immediately skinny jeans, t-shirts and neatly razored hair (with a sleeping hedgehog on top) replaced what was essentially the 60s for a third time. So yes, I did love this constant 60s thang, but they were right; it was time for a change. And WHAT a change it WAS! I should have hated it. But I think I was JUST the right age. In fact, I felt (weirdly) just the right age for everything from about 1995 to roughly 2020. It just fit. Tailor-made music to suits my needs. I think at the time I just thought this was normal. I wasn’t struggling to find some decent music, I was struggling to keep up with all the amazing tuneage pushed out by the week. The only REAL struggle was finding skinny jeans that weren’t baggy on the thigh without restricting blood flow in the calves and ankles. Most of my friends at the time had not fallen so neatly into this fresh new taste of life. They still wanted guitars. They still wanted their trousers 2 metres wide and 3 metres long. I, on the other hand, was proud of my ankles, and I wanted to show them off on the dancefloor. Doomp-tick was my THANG!!!

Fast forward to 2015 and I was absolutely in my element. It was due to an artist that not too many had heard of. His debut album was released this very year, and he was only 20 years old. A Frenchman, no less. His name was (and still is), Madeon. It was the first time I had heard the most unbelievable editing and electronic production feats. This was an entirely new sound. But not JUST because of the technical side… What really pulled me in was his incredibly musical way of writing. Take away all the electronic parts, and you would still end up with fabulous music. Almost classical, in some ways! Not only did he produce the whole thing, but he also mixed and mastered it! Then he petered out and pretty much disappeared. Shame. Since then, I have never heard anything quite like it. I missed it. The way he edited and sculpted sound was so meticulous and clean, yet so hard-hitting. I thought I would never get that satisfying feeling again… Until… Steve Lazero. If electronic music ain’t your bag, it is easy to lump it all together as “that doomp-tick sound”. Steve Lazero is NOT your average disposable bag; this is Chanel, baby! This is craft of the highest grade, with a passion for the process and the creation itself. It is finally time to get down on the dancefloor.

I will begin by saying that although I have picked Steve’s latest single, this is more a much needed introduction to the world of Steve Lazero. His discography is flawless, and I feel he deserves this exposure. For some reason. No, The track is called ‘For Some Reason’. And for some reason, he is not mega. I can only assume because he hasn’t been discovered yet. This is NOT easy music to make. It’s the kind of music that needs constant attention every second of the process. You won’t ever hear a single repeated bar, and yet it is never annoying. Quite the opposite; it is thrilling! Steve Lazero, based in Las Vegas (home to one of my two favourite independent artists), has UK and US roots. Though I suspect his roots are that of an electronic plant. Copper wires growing in an organic way. He produces synths and beats like a classically trained musician would play a more tangible instrument. He understands the way electronics work, but he concentrates on the way a human feels. Steve Lazero is the energy. The ecstasy-riddled air you breathe. His sound is pure, clean, wide and airy, but also full, thick and gritty. It pokes and perforates our skin without leaving a scar. The sensation of extremes, without the extreme. Listening to Steve’s work is the safest way to get high. The easiest way to get you up and grinning like a warped 19-year-old. Life is suddenly endless. Welcome to permanently youthful immortality.

This is actually a rather tricky review to write, for two reasons. One, it’s difficult to know what to say, other than “Just listen, for Gawd’s sake”. And two, I keep being halted by the groove. This mesmerising trip kinda makes me not care about the writing. I just wanna stay immersed and not be brought back down to Earth. I keep stabbing the air with my index fingers on beat one of every drop. My head, heavy with every nod. And all the while, my smile is like that of a dribbling buffoon. It’s euphoric, so don’t make me come down!! The sound manipulation is second to none! The god that is Madeon would be proud. Steve just KNOWS what to do. As if there is only a right and a wrong choice; his, of course, always being correct. This is so damned visual! He knows about levels, EQ, space, compression, reverb, excitement, build, when to be sparse, when to be arrogant. But he is NEVER subtle. This is like the electronic musical equivalent of a Baz Luhrmann film. And at only two and a half minutes, you will either find yourself reaching for the play button again, or, if you’re less lazy, delving into his entire back catalogue. Think of ‘For Some Reason’ as a taster. A taster that blends the dancier side of Jamiroquai’s ‘A Funk Odyssey’ with Madeon’s debut record, plus a sprinkling of Deadmau5. Steve’s latest is impeccably perfect. Thank you, Steve, for making my life that little bit better.

I don’t know if Steve has ever remixed other artists’ work, but if he is up for the idea, I strongly suggest your remixes would fly off the shelves. If we still had shelves.

Sometimes it takes the words of an appreciator in order for you to appreciate. For some reason.

Listen to 𝙁𝙤𝙧 𝙎𝙤𝙢𝙚 𝙍𝙚𝙖𝙨𝙤𝙣 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

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Listen to 𝙁𝙤𝙧 𝙎𝙤𝙢𝙚 𝙍𝙚𝙖𝙨𝙤𝙣 on YouTube HERE!

Follow 𝙎𝙩𝙚𝙫𝙚 𝙇𝙖𝙯𝙚𝙧𝙤 on Instagram HERE!

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Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝘼𝙧𝙚 𝙒𝙚 𝙇𝙤𝙨𝙩? – 𝙅.𝙃.𝙈

Charles ambles aimlessly…

“I’m not the only one”… I said this last week after suggesting I might be a naive dreamer. One commenter noticed my Carpenters pun and therefore assumed that the “I’m not the only one” line was also a lyrical reference to a certain Liverpudlian. It was in fact complete unintentional coincidence. I’m simply not the only one. That was all I meant. In terms of these song reviews within the community, though, I have always been the only one. It has always been me and my thoughts. Me and my favourite songs. Until recently. The last month has seen a new addition to the New Artist Spotlight in the form of an interesting (and potentially quite cool) concept. Artists reviewing artists. As well as my continued weekly musings, there have been two new song reviews per week, where any artist on the NAS can pick any song by any other NAS artist, and review it. It’s a simpler affair than my absurdly detailed ramblings, and gets right down to the music from word one. A more traditional review. Which, of course, is lovely for all artists picked. Something for them to post on their socials; something to make them smile.

So far, the picks have been most diverse; both old and new, known and not. The very first I was pleased to see. Our very own resident NASian, J.H.M, known to his friends as Jeff. The review was written by Arnoldo’s Lizards. It was warm for me to see both reviewer and reviewee, as they have both previously been cornered in my Corner. I was doubly pleased Jeff’s song (‘My Open Hand’) was picked, because I hadn’t reviewed it, and he deserved that spotlight. The song subsequently became a pop smash on the NAS Hit Parade. One week passed by, and I thought no more on the matter. And then I opened my Apple Music, only to discover that J.H.M had quietly (secretly?) just released an album. Well, it’s eight tracks at 26 minutes, but let’s call it an album. Because it’s his very first. Despite putting out music since 2020, he had only released singles and EPs. Never an album. So this was big news. His debut album! I listened straight away on my Monday listening trawl. I couldn’t really afford the time, but “needs must”, as they say. This was priority listening. I was thinking “Right, well at least I know WHO I’m reviewing, it’s just a case of which track”… Then I remembered that previous week’s review. Remember, NO one knew this album was coming. As far as we all knew, there was that one song, and that was it. So this review was not to be a taster for the album to come. Nevertheless, the existence of this review meant that I just COULDN’T review J.H.M – no matter how much I wanted to. Eight great tracks, and yet I had to ignore them all, in terms of my weekly writing. Bugger.

The good news is, some other lucky artist got to take his place that week! The bad news was that this debut album lay there, released to the world, with so few knowing of its presence. This sour knowledge has sat with me for three weeks. Festering like a right festerer. And so, here I am, breaking my unwritten rule of not reviewing an artist previously reviewed within a few months. How often does an artist release a quality debut album? How often does an artist release their debut album?? Okay, that one’s easy: once. And just knowing that he can never do the first one again, I couldn’t just ride it out and wait for the next. An album is so much more than a collection of singles. I mean, it can be literally just that, but that’s not what we think of when we see the word “album”, despite that initially being the very reason for the “album”. Did you know it was originally an actual album (called a Record Album), like a photo album? A book of sleeves that held vinyl singles? It was only in the 50s that the album as we know it, was born. And now you know. Anyway, I digress. You certainly don’t get any of this digression in these other reviews. It’s music, music, music. So, back to the Jeffster. This album. It’s called ‘Gone’. And it is anything but gone; it is Here!

I see and hear a running theme. The LP is called ‘Gone’. One track is called ‘If You Take It All Away’. Another track is called ‘Don’t Let Go’. And the track I will be focussing on is called ‘Are We Lost?’… Are YOU seeing the theme, here? It’s quite bleak… But bleak with hope. Realism with the prayer of change. The album title is the only title that sits firmly in the negative. The rest are more like “It will be awful if…” – or something. Quick digression – it’s why you’re here – ‘J.H.M’ I have recently been rhyming with Ahem. It amuses me. Digression over. For me, ‘Gone’ is seven great tracks, followed by one stunning conclusion. It has the sound of a professional finale. One reason I picked this track as my fave, is because it’s the best sounding (few would deny that), closely followed by the penultimate track (‘Don’t Let Go’). You all know I tend to pick tracks that are recorded and mixed well – it makes for a better listening experience, no matter the quality of the writing. But speaking of writing quality, this is what Jeff is known for. He writes quality songs that feel like they have always been. Yes, there are moments where you’d swear he had Chris Martin, Noel Gallagher and Tom Chaplin (of Keane) by his side, but ultimately Jeff has carved out a signature sound of his own. It’s commercial, yet so totally personal – sounds like an easy combo, but it’s not. “Commercial” usually means poppy and plastic – soulless. While “personal” usually means we can’t connect and it’s a bit draggy. Jeff avoids the negative, managing only the best of both worlds. He simply always has done.

‘Are We Lost?’ Is the question. If this is the feeling of being lost, then let me be lost. J.H.M poses a question unanswerable. But a question that conscious or not, we have all been thinking, as a species. Not HAVE we lost, but ARE we lost… We are not about to be made extinct (though it may sometimes feel that way), but we have perhaps lost the purpose of it all. We used to know how things went. There used to be a natural, unthinking process through which we would live our life. But quite recently something changed, and it feels as though there is a cold air between us all. A singular isolation as we automatically disconnect. While we used to live and love, we now plod and put up with. And so, Jeff wrote a song. A beautiful song, so full of this honest, innocent man. A passionate resonance, lingering long after it has passed. And I suspect this song to be the inspiration for the LP’s title.

Jeff has a voice that when described, should sound weak. But weakness cannot move one’s heart. It is instead fragile and genuine. Like a blameless man on trial for a sin he did not commit. All he can do is tell the truth. He sings not so much as a singer, but as a tuneful poet. The song enters with deep piano and sparkling acoustic guitar. Last week, I dubbed Jeff “the King of Strum”. Because I do believe that I have never heard a better strummer or even acoustic tone outside of the mainstream (where they have the greatest session musicians, guitars, studios, mics, knowledge and experience). Jeff really is the King of Strum. And that piano: golly! The depth and richness is, er, deep and rich, with eye-opening sustain. Verse one brings in the most tactful drumming, modest bass playing, and that voice we know and love. But his voice has never sounded so good. It’s wide and open, yet the curtains are drawn for warmth and cosiness. Our chorus (not really a chorus because the title is within a refrain just before the chorus which is kind of actually the chorus but not containing the words of the title because that comes beforehand – phew; ahem) brings more oomph. More oomph than one might expect. That drummer (Jeff) wants to inject a different kind of song – and it works, in context with the exceptionally layered electric guitars nestled to the right and to the left, just a little below the vocals – it’s modest maturity. There might also be a soft synth tucked in there for atmosphere, but it could easily just be another guitar with some velvet-soft reverb. Towards the end of the song, Jeff sings the most inviting backing vocals; they’re yearning not to be lost. If you haven’t been able to tell by now, Jeff does absolutely everything on this song and album. Yes, even mixing. That ain’t easy, so hats off to the lad for this continued feat.

I implore you all to listen to the whole album.

The lack of the Jeffster can cease to fester. Sorry, mustn’t call him “the Jeffster”. It’s the King of Strum. Or J’-HM: you know the rhyme.

Listen to 𝘼𝙧𝙚 𝙒𝙚 𝙇𝙤𝙨𝙩? on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝘼𝙧𝙚 𝙒𝙚 𝙇𝙤𝙨𝙩? on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to the 𝙂𝙤𝙣𝙚 LP on Spotify HERE!

Listen to the 𝙂𝙤𝙣𝙚 LP on Apple Music HERE!

Follow 𝙅.𝙃.𝙈 on Instagram HERE!

Follow 𝙅.𝙃.𝙈 on TwiX HERE!

Please share this post and let me know your thoughts in the comments below

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝘾𝙝𝙚𝙢𝙞𝙨𝙩𝙧𝙮 – 𝙇𝙪𝙣𝙖𝙧 𝙋𝙡𝙚𝙭𝙪𝙨

Charles concocts a solution…

I was just thinking back to those ridiculous days of the pandemic. All of six years ago. In one way, it seems pretty recent. In another way it seems like an age ago. But also, in yet another way, it seems as though it never really happened. It was all so absurd, like the plot of a film that just went too far. The kind of film that gets panned by every reputable media source for being ridiculously unrealistic. You remember the queues, the masks, the two-metre/six-foot gap between one person and the next. Not being allowed to go to work. Not being allowed to leave your own home for more than half an hour for fear of being arrested for taking a walk in the park; as if fresh air was going to kill us or we were going to infect others, despite not being anywhere near others. Our eyes glued to screens, big and small. Big, so we could immerse ourselves in the new way of conversing: Zoom; and so we could get our hourly fix of the latest victims on a graph: all in rising numbers. Morbid! And small, so we could curl up with our latest mindless addiction: TikTok. And yet, time neither ticked, nor tocked. It stood still. Was this to last forever? Was this our new life? Forget the Brave New World. This was the Cowardly New World… But there was one thing on everyone’s lips at the time; those lips we saw only in pixel form. The Science. Every news broadcast had to mention “The Science”. I never quite understood why the “The” had to come into play, and why it was all condensed and concentrated into this over-simplification, but we were all hanging on this one meaningless term: The Science. We waited eagerly in anticipation for this lauded vaccine like it was the elixir of life.

Eventually it came. We all had these minor stab wounds because we had to. And within six months, most of us never had another. So technically, it is currently exactly like it was back then. The virus still being around, and people still being affected. The difference being, no one cares anymore. So I’m guessing it wasn’t quite the Black Plague they led us to believe. But “The Science” still lives on. Because The Science is vital to us all. The Science is what makes the world go around. And it is in EVERYthing. The Biology makes me think of hearts, veins, bones and school. The Physics makes me think of gravity, angles, electricity and school. The Chemistry makes me think of test-tubes, purple liquid, explosions and school. So what do these all have in common? School. And what was I mainly thinking about at school? Girls. Instant infatuation at every turn. Except that it was a boys’ school – brilliant. We speak of these feelings as being of the heart and of the soul, but a scientist will crush those romanticisms with talk of The Science. “It’s just The Chemistry”, they say. The idea of two people being attracted to one another; we say “it’s The Chemistry”. Actually, we say “it’s chemistry”. We don’t ever use “The”, so let’s finally drop that. “We’ve got chemistry” – a delightful phrase. A connection of sorts. The thing is, a chemistry experiment can go wrong. We’ve all been there when our face is covered in powder blue and our cuffs are sopping wet with a yellow that looks regrettably familiar. So why is chemistry seen as infallible perfection when it can so easily go wrong…?

It looks like we have yet again over-simplified the whole thing. Chemistry in love can be a machine-woven symmetry. But should it go awry, it can be a car-crash. If everything is going well in your relationship, it’s true chemistry, and it’s still bubbling away like a slow-cooking stew. If things are going less well, try to remember the chemistry that brought you both together. Chemicals don’t simply disappear. It’s just not scientific! I like to think of this particular concoction as dormant; not dead. But it does still need reviving. So choose your favourite pipette and get experimenting. Un soupçon de this; un soupçon de that: et voilà. Sorry, I was in France last week – oh là là. The reason I’m saying all this is because while I had the most beautiful time around Valentine’s Day, I’m aware that not everyone is in the same gondola (not French, but romantic nevertheless). There are of course the singletons, and I can’t do anything for them (apologies). But then there are the couples who are tethered by a singular frayed thread. And that upsets me. Because I believe that if it once did work, then it can still work, and can indeed continue to work. Call me a naive dreamer, but I believe in a thing called love.

And I’m not the only one who feels this. One particular Devonian duo has recently released a love song with a difference. Please welcome Lunar Plexus with their latest single, ‘Chemistry’! This UK twosome consists of John Saddler and Reuben Ayres. At least, this is how it has always been with them in the past, so I am assuming nothing has changed. John is the principal songwriter and so takes singing duties. Guitars, keyboards and production are shared between the two of them, while Reuben shows off his skills on drums, bass, recording and mixing. What a satisfying delegation. On ‘Chemistry’, they go right back to “that initial spark” – you all know that linking feeling just before any relationship begins. That realisation. It’s more than a one-way fancy; it’s a two-way thrill. And if you DON’T know what I’m talking about then you must be dead or still in nappies. Now, let me start by saying, any song that has the line “We’d make a groovy pair”, wouldn’t usually fill me with a cocky confidence akin to the swagger of Liam Gallagher… Especially when sung by a middle-aged Englishman. But then again, not all songs need to be “cool” in the usual conventional way. Some songs are made to simply enjoy. To put a smile on one’s face. And this is one of those. Instantly, I am smiling. There is a knowing fondness and familiarity throughout the entirety of the song. Besides, there’s little worse than fake coolness. It instantly makes me think of Stephen Fry wearing a baseball cap. And no, such a photo does not exist – because some things are just not meant to be. It is much better to simply be one’s own genuine groovy self. The Carpenters have never been remotely cool. And yet, they are one of the most successful bands of all time. Let’s get back to ‘Chemistry’; we’ve only just begun…

Wordily speaking, the song’s meaning is nice and simple. There’s no clever metaphor involving lab experiments. No combustion referring to the BOOM of the heart. And no chemical anomaly suggesting love’s hidden secrets. ‘Chemistry’ has simplicity at its core, giving it strength and integrity: a stable solution. The confident volatility lies in the brazen music itself. This is pop rock, but melodious pop rock. There’s a 60s/70s vibe to the whole thang. Everything is solid, pleasing, rounded, warm and weirdly “cool”. Just maybe only cool to a certain demographic. Electronic junkies and rap fiends will probably not go for this so much. There’s no mega kick to blow your head off, no distorted bass to make your heart sizzle, There’s no ultra-wide synth with enough high-end to make you wonder if you had a connection with Vincent van Gogh – a certain kind of chemistry. But also, neither is there any orchestral element to the song. No scintillating strings, no triumphant horns, no delicate woodwind. Alors, so why point out what it DOESN’T have…? Well, because the majority of popular music from the last 70 years has not had any of these extras. It has just been a band. A normal band. By normal, I mean guitars, bass, OWgan/keyboard, drums, and of course, singing. Because what really sticks in your head is a melody, backed by familiar sounds.

So, here’s what we DO have. We have an unmistakable sound reminiscent of The Rolling Stones (the guitar riff), the groove and lightheartedness of The Kinks, the Englishness of Pink Floyd, and the musicality of The Who. The song begins with an OWgan (potentially with a backing of harpsichord for plucked brilliance); it’s an unresolved chord, stabbed lightly but repeatedly like the needle of a syringe; the vaccine administered by someone who doesn’t normally do this sort of thing. It’s full of “something’s coming and it’s going to be good”. After four rounds, a plucked electric guitar forces a change of key in reinforcement. A muted trumpet gets jealous and starts to join in the fun. And all the while, anticipation is building… Drums and guitars hit the stage as the lighting engineer removes the shielding plates from the bright lamps. This is the exact moment the audience starts to whoop and shuffle, not knowing what to do with their arms – so they flail about, as if boneless. The bass is deep, connecting with the crowd. Finally, John grabs the mic: “There was a spark in the air, on the day I met you” – his voice is honest, full, bright, and familiar like family. I can feel their audience mouthing along (too shy to actually sing). Although those drums are simple, the drums and cymbals themselves (not to mention the mixing) are absolutely perfect for the song. So utterly live without being over-processed. Chorus time… Big key change, complete with gorgeous, wide backing vocals. They “Ah” their hearts out! “Ah”s should never be half-hearted. And then the final refrain of this chorus, more backing vocals join the lead for “Can’t you see” (very reminiscent of The Who’s second album), before John comes back with “We’ve got chemistry”! The following section brings back the memory of the intro OWgan, and I am absolutely SURE I hear a little mistaken drumstick click. Thank the lord they left it in there. It’s these little things that subconsciously make you feel the live presence of the whole recording. After one more rousing round of verse and chorus, we do NOT have the mandatory guitar solo with its usual high bends where we can genuinely hear the guitarist’s frustration that they didn’t pick a lighter gauge string. Instead we have a refreshingly unexpected mandolin solo! And it’s superbly written. Yes, actually written. Like a George Harrison solo. A small musical piece within a larger musical piece. Not just mindless widdly piddle. But I think what makes this solo so different is the sound. It is very compressed and upfront – the mandolin is usually used as an accompanying instrument. Some clever-clogs will probably let me know in the comments that this is in fact not a mandolin. I don’t mind. The final 40 seconds is simply glorious chorus.

And so you see, science or no science, we’ve always got love. Even those who don’t realise it.

Speaking of “The Science”, will we ever find a way to stop it raining?? Il pleut. Zut alors.

Listen to 𝘾𝙝𝙚𝙢𝙞𝙨𝙩𝙧𝙮 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝘾𝙝𝙚𝙢𝙞𝙨𝙩𝙧𝙮 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to 𝘾𝙝𝙚𝙢𝙞𝙨𝙩𝙧𝙮 on YouTube HERE!

Follow 𝙇𝙪𝙣𝙖𝙧 𝙋𝙡𝙚𝙭𝙪𝙨 on Instagram HERE!

Follow 𝙇𝙪𝙣𝙖𝙧 𝙋𝙡𝙚𝙭𝙪𝙨 on TwiX HERE!

Please share this post and let me know your thoughts in the comments below

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙏𝙧𝙚𝙞𝙗𝙨𝙩𝙤𝙛𝙛 – 𝙇𝙮𝙙𝙞𝙖 𝙈𝙚𝙡

Charles only lives once…

Feeling tired? Feeling useless? Finding it hard to get up in the morning? If you want that long-needed pick-me-up, why not pick-you-up some SleepMeNot (a legal derivative of cocaine), available at your local pharmacy. Only $29.99! Or, because we believe you’ll like it so much you’ll almost be addicted, why not use our monthly subscription and save $2!! That’s right, folks. For just $27.99 per month, you too can feel on top of the world and get sh*t done. Concerned about the levels of cocaine and its detrimental health issues, not to mention debilitating addictive qualities…? We say “Life’s too short to worry about things like that”. Just try it and see. Warning: heart may temporarily pause or stop completely. Terms and conditions apply.

Or… You could save your $30 and take a good look at yourself. You don’t need drugs to keep going, for God’s sake! Your heart will thank you. You need something else in order to keep going. Firstly, there’s the physical side of things. You need food (not junk). You also need regular exercise so as to stop those old joints from seizing up. But one most overlooked thing is sleep. Not those little naps that you somehow manage to fit in from time to time, but actual considered SLUMBER. In bed, lights off, for hours and hours. It is NOT a waste of time. It is to make those waking hours more fruitful. The deepest sleep makes for the brightest day (ignoring that groggy zombie look as you pour your morning coffee into the sugar bowl). So that’s the physical side over and done with. The rest is a little more complicated. It’s the mind. The soul. For this, we need an amalgam of several things. For me, it’s music, art, laughter, support, incentive, and love. Oh, love. How important it is. To love and be loved. Incentive could come in many guises. It could be the sense of purpose. It could be creation that you crave. Maybe even procreation! It could be a reward at the end. It could be cold, hard cash. It could simply be a smile. Once you have all these things in your life, simultaneously (I know, it seems like a lot), then things will start to look up. You will no longer be “running on empty”. Your tank will be positively brimming! Not only did you not need SleepMeNot, but the company lost the court case, owing $30 billion to thousands of unsuspecting people looking for the easy way out – those who survived, anyway. Because the thing is, it really ain’t easy.

There is one other thing that could potentially be considered as “incentive”, but in a very different way. A shock of some sort, like someone close to you or someone you admire suddenly dying at a relatively young age. It’s enough to turn your life around and make you carpe diem. Or, it can be much closer to home: one’s own severe illness. Those who took SleepMeNot and still live to tell the tale, are all too aware of their lucky escape. They went through hell and back in the hospital. They saw the end, far closer and more clear than ever before. Like seeing Heaven through a telescope. Just too soon. And it flipped their outlook on life. The need for life on Earth had never been stronger. THIS was the fuel they had been craving for so long. Not pills. The impetus and drive. The most important thing is not to give up. Not to let the illness take over your mind as well as your body. Because, I know, it can go both ways. Grab the bastard by the horns and wring out the blighter for all it’s worth. It’s worth a lot, this life of ours. YOLO, fam, innit.

From the land of chocolate, skiing, banks, health clinics and cuckoo clocks, I bring you Lydia Mel; a young lady who is currently making life worth living. Having spent several years in Australia and Sweden, she opted to return to her homeland of Switzerland, where she is currently residing. Lydia – like most of us – has been making music for quite a while. But – like most of us – didn’t start releasing until much later. In her case, it was 2021. Why wait years before releasing, when you’ve been writing for so long…? Well, in my case it was because I didn’t understand the whole thing initially and I think I thought one had Ito be signed in order to release anything. Naivety writ large. Another reason was that I was scared. I didn’t know where to start. What to release. Do I release all my old recordings? Shouldn’t I start with a bang? Or should I start from the beginning (more a sputter…)? And so I kept putting it off. The infamous pandemic gave me that push to finally delve into the whole thing and work it all out. Was it therefore the same for Lydia Mel? No. Her story was rather different, and altogether much more moving. She developed a sudden, serious, chronic illness. While many might allow their muscles to go limp, and accept it all, Lydia took a different view. This was the impetus she needed in order to finally make something of her music and her talents.

So, 2021 saw the release of her first 4 singles. 2022 was a mere 2. The same for 2023. And nothing in 2024. Had she fizzled out…? Not in the slightest, for 2025 proved to be her most prolific year to date, releasing 5 singles – 3 of which I very nearly reviewed. But enough of the numbers game. 2026 is still young. Aside from one release, all her songs have been in English. Her first release of this year reverts to her mother tongue; her brand new single, ‘Treibstoff’! You might assume that this word is Swiss… There is however no Swiss language. It’s just a series of nods. No, no. They instead speak German. Or French. Or Italian. Or something called Romansh (what some consider to be “Swiss”). As you might have gathered from the title, ‘Treibstoff’ is indeed German. Now, I don’t speak German… So how on Earth am I able to know what she’s singing about…? Well, the good news is, we have lyrics on streaming services, and we have various translation services. The bad news is, no lyrics have been uploaded. Oh joy of joys. Instead, I will Google the title and use my imagination from there on. It turns out, Treibstoff means Fuel. From what I can gather, the song is about gaining the sustenance to keep going. Fuel in all guises. I doubt it’s about unleaded versus diesel, anyway…

Throughout the whole of 2025, her releases were co-written and produced by a chap called Andreas Mueller-Graf. A thoroughly talented allrounder. This year sees fresh change in the co-host. Same duties, new chap. This time it’s Thorsten Rheinschmidt as Lydia’s musical partner. There was also some extra production work from Benedikt Bader – because you can never have enough production. The whole thing was mixed and mastered to perfection (and I mean that), by Lydia’s brother, Beni. ‘Treibstoff’ is a superb slice of sophistication. It’s pop, but that’s a little vague in giving you an idea of its vibe. I suppose in many ways it is predominantly an electronic pop number. But then again, it also isn’t, because it has various more organic origins. For example, the expertly strummed acoustic guitar – reminiscent of Ed Sheeran’s Flamenco-tinged playing style. It echoes a pro sound of early noughties soul and RnB tracks – in the guitar. In the rest, it’s altogether more modern, managing a cushioned mellowness, with a sheen of air. Fullness in its very particular sculpting. The bass is warm, deep and controlled. The drums and guitar are crisp without being brittle or harsh in the slightest. But the voice itself is the most organic element – for obvious reasons. German is often not the most forgiving language. To the English ear, it can feel clipped or even aggressive at times – when it means nothing of the sort. Lydia evidently has the experience to clearly enunciate, yet keep everything smooth. She effortlessly glides from syllable to syllable, note to note. While the music has such soft, lush atmosphere, the vocal is seemingly almost entirely dry in terms of reverb etc., creating excellent contrast. There is the occasional subtle double-tracked vocal, just because (if you know, you know). Her backing vocals give the feeling of a group hug. And then when the bridge gives us some fabulous vocal effects just before the last rousing chorus, it’s stupendous! ‘Treibstoff’ is sheer satisfaction.

While Lydia Mel is the genuine article, SleepMeNot is… not.

Listen to 𝙏𝙧𝙚𝙞𝙗𝙨𝙩𝙤𝙛𝙛 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝙏𝙧𝙚𝙞𝙗𝙨𝙩𝙤𝙛𝙛 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to 𝙏𝙧𝙚𝙞𝙗𝙨𝙩𝙤𝙛𝙛 on YouTube HERE!

Follow 𝙇𝙮𝙙𝙞𝙖 𝙈𝙚𝙡 on Instagram HERE!

Follow 𝙇𝙮𝙙𝙞𝙖 𝙈𝙚𝙡 on TwiX HERE!

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Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙁𝙡𝙮 5𝙔.𝘼. – 𝙏𝙝𝙚 𝘽𝙡𝙞𝙣𝙙𝙛𝙤𝙡𝙙 𝙀𝙭𝙥𝙚𝙧𝙞𝙚𝙣𝙘𝙚

Charles is given a nudge…

A blank sheet of paper is a funny thing for a writer. Not ha-ha funny, but rather awkward. It stares back, reflecting as much light as it possibly can. It can be as daunting as the peak of a rollercoaster at tipping point. It can be as flat and as dead as a stale piece of toast. But it can also be the most exciting potential adventure. At this point – before the beginning – anything is possible. The possibilities are literally limitless. Providing the writer has the imagination, the experience and the impetus, they can go anywhere and do anything. There’s often one problem, however… The writer can go ANYwhere and do ANYthing! How many of you have had a chunk of time off work, the weather’s blissful, you are completely free, and yet you find yourself as plump as a heavy cushion on a sofa, watching Netflix…? You can do absolutely anything, so you opt for nothing. I saw you nodding. I saw you check to see if anyone saw you nodding. Because yes, it is a little embarrassing. The main reason is that the options are endless, and it seems like far too much effort to hone and whittle. Decisions are far too much like hard work. You’re supposed to be OFF work!! So, Netflix it IS. Shame, really. Because Netflix can wait. Free time is a rarity. Use it! But where do you start?

This all occurred to me because of a question I am very frequently asked: “How do you keep getting ideas for the themes of your articles after all these years?”… I could simply shrug it off with an arrogant flourish: “Oh, it just COMES, my dear!”… But that not only would come across pretty poorly, but also wouldn’t be quite true. No, I don’t cheat or steal. And no, I don’t use HAL (A.I.). I use what I have. And what I have is new music from all sorts of artists. I don’t start with an idea of something to write about, then search for a song that might suit that theme – good luck with THAT method! I start with zero, and listen to LOTS of new songs. Aside from looking for something that tickles my fancy, I am subconsciously looking for a potential theme. I really don’t think I could write these articles without the jog of the songs and artists. Because yes, it could be to do with the artist rather than the song. It could be where they’re from. It could be that their main job is professional juggling. It could be that they’re blind. Or that they have lost someone dear to them. Or it could simply be that they have written a song about overcooking spaghetti. I need this. THIS is my inspiration. Without it, I would have TOO much potential scope, and therefore: Netflix.

Sometimes we just need a nudge. A suggestion. A starting point. Sometimes, though, there just isn’t a nudge available. All is blank. So we start to daydream. We perk ourselves up by looking back at past achievements. In music, this could be songs we have released in the past. We look back at old reviews and all the comments on social media etc., and we listen to those previous releases. We smile; we feel proud. But sometimes we wonder if we could have done things differently. Not necessarily better, but simply in another way. And so, a nudge is born. Something new from something old; a celebration of sorts! I’ve been saying “we” a lot in this paragraph, but let’s zone in on one particular artist who seems to have had this exact experience. While he might have been temporarily blind, he can see clearly now the blindfold is gone. Please welcome, The Blindfold Experience, with his (their) brand new release, ‘Fly 5Y.A.’! Yes, at first it might seem like a weird title. Especially as I first saw the ‘5’ as an ‘S’…! Here’s the story. Michael Lind (the main man behind The Blindfold Experience) released his very first single back in 2020. It was called ‘Fly’. Still is, in fact. It’s a big, epic rock ballad. Wicked. It’s so full, and so fabulous. A classic in anyone’s library. But Michael saw that the song could work with a lighter, more delicate approach. Still retaining a certain rock element, but altogether, more intricate and airy. The Blindfold Experience released ‘Fly Again’ around a year later, at the end of 2021 – the “acoustic” version. This was always my favourite of the two versions because it let the music breathe a little more. It somehow had more heart and more yearning. But it had a thinner sound than the original. There was a certain richness and power in the original that had been replaced with something else in the second version. And yet, both versions remain magical. I assumed that ‘Fly’ had flown. It turns out it was simply hibernating for the LONG winter.

The third’s the charm! That’s right, folks. ‘Fly 5Y.A.’ is the five year anniversary of the original. We’ll ignore the fact that this year marks the 6th year anniversary rather than the 5th (annoying pedantic CC). The thing is, I know how long it can take to put something like this together. I wouldn’t be surprised if this idea came to Michael a whole year ago. Involving multiple artists can really slow things down. Being a stickler for perfection can slow things down even further. But of course, we end up with something better in the end – it’s all worth the wait. ‘Fly 5Y.A’ retains the best of both initial versions (full richness, intricacy, definition), but adds a whole LOAD of wonderful stuff. Reggae, for one! No, I’m not kidding. And when I said “the third’s the charm”, it really is charming. Let’s look at who it involves: the perpetrators of this act. We’ll start with the obvious one, Michael, the Swede. He is the writer and producer, but also plays keys (that subtle offbeat piano and occasional OWgan that I hope isn’t just in my imagination). The beast on vocals (WHAT a voice!!) is none other than the mighty Paulb from the UK. Paulb seems to be how he likes to be known. At first I thought it was Paul Brock, but this could simply mean Paul B Rock – for rock music. I’m sticking with the official thing of Paulb, just to be safe. On drums, we have Nicole Trinchero from Argentina. On bass, it’s Gaston Lescano, also from Argentina. Our axe wielder is Alex Duarte, from Venezuela, but ALSO living in Argentina. It seems Argentina is the place to be! And finally, all mixing and mastering is by Andres Guazzelli, from… Right that’s it, I’m moving to Argentina.

It’s quite incredible what can come of just a few professionals getting together like this. ‘Fly 5Y.A’ is undeniably of the same standard as the top mainstream releases. But with better writing. You see, what I have seen for a long time as lacking in the modern music mainstream, is excellent writing. The singers, players, producers and engineers are the very best we have ever had, technically. But where is the point without the song? So for those of you who might be thinking “Michael barely did anything on this record, so how can it be his name on the record…?”, you’re so wrong. Firstly, The Blindfold Experience is not Michael. Think of The Blindfold Experience as a ship, and Michael as the captain. It’s his ship, but it could not leave port without his crew. Besides, he built this shippy on rock and roll. Secondly, he is the songwriter. Writing being by far the most important part of almost any song. So let’s talk about this song. What drew me to this new high-flying version in the first place, is the vibe. I NEVER expected Michael to delve into reggae. Never in a million years. Most who don’t DO reggae, don’t quite GET reggae. It is different to pretty much every other genre. It has nothing to do with rock, jazz, classical, electronic, or a whole host of genres. Though there is something of pop and folk there, in a small way. It’s all about feel, vibe, tilt, mood, weight and light. It’s about ease. So when Michael blended this ease with the power of Paulb and those heaviest of guitar tones, it really shouldn’t have worked. It should have sounded awkward, embarrassing, mismatched and simply wrong. Instead, however, it fits together like clasped hands. The ultimate in satisfaction. I think he manages all this by having huge respect for the genre, as he should, what with being a dreadlockless Swede. Much of this song is oomphed-up traditional reggae. Roots galore!! But it is The Blindfold Experience’s injections of rock that truly make this something new and exciting. Another thing that makes this release so damned exciting, is how LIVE it sounds! This is due to a combination of everything – not just Andres’ stupendous mixing. A mixing engineer can only get the best results if they have the best recordings and performances in the first place. What’s more astounding about this “live” sound is the knowledge that each part was recorded at a different time in a different place. But probably Argentina. Because it’s the place to be.

There is a radio edit and a full version on this release. They are actually different, it’s not just a case of bits being edited out. Pay attention especially to the drums… Enjoy this brand new thriller, out now!

NEVER overcook spaghetti. Lionel Richie told you once, twice, three times al dente!!

Listen to 𝙁𝙡𝙮 5𝙔.𝘼. on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝙁𝙡𝙮 5𝙔.𝘼. on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to 𝙁𝙡𝙮 5𝙔.𝘼. on YouTube HERE!

Follow 𝙏𝙝𝙚 𝘽𝙡𝙞𝙣𝙙𝙛𝙤𝙡𝙙 𝙀𝙭𝙥𝙚𝙧𝙞𝙚𝙣𝙘𝙚 on Instagram HERE!

Follow 𝙏𝙝𝙚 𝘽𝙡𝙞𝙣𝙙𝙛𝙤𝙡𝙙 𝙀𝙭𝙥𝙚𝙧𝙞𝙚𝙣𝙘𝙚 on TwiX HERE!

Please share this post and let me know your thoughts in the comments below

Welcome all to 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿, 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 𝙉𝙚𝙬 𝘼𝙧𝙩𝙞𝙨𝙩 𝙎𝙥𝙤𝙩𝙡𝙞𝙜𝙝𝙩 playlists.

𝙏𝙧𝙪𝙩𝙝 𝙃𝙪𝙧𝙩𝙨 – 𝘾𝙚𝙧𝙪𝙡𝙚𝙖𝙣 𝘾𝙝𝙖𝙢𝙚𝙡𝙚𝙤𝙣, 𝙅𝙪𝙡𝙞𝙚 𝙃𝙞𝙘𝙠𝙡𝙞𝙣

Charles says it how it is…

Have you ever told a lie? If you said no, your answer is yes. We have ALL told a lie. Even the saintliest angels have told a lie at some point or other. It simply HAS to happen. There is no getting around it. But lying is an inherently bad thing to do. Does this make us all inherently bad people? No. Well, some, yes. But on the whole, not in the slightest. It all comes down to our reasons for lying. If the lie comes from the possibility of someone finding out that you have done something bad, that is wrong. If the lie is simply for your own personal gain, that is also wrong. But there are times when the lie can have good intentions. While this might seem oxymoronic on the surface, there is an honest simplicity here. Sometimes it is kinder to lie, where more pain can come from the truth than the lie itself. If your life is going down the pan and someone asks of your howabouts, do you open up and shed your woes? They asked, after all! Imagine the asker is in a fabulous mood; would you want to bring down their mood with your own? Or how’s about if the asker is in a dreadful way… Would you really like to stack your own dreadful way on top of theirs? And so we tend to dumb down our answer. Is it a lie? Technically, yes. But does it harm anyone? Quite the opposite.

So is the truth overrated…? I think the problem is habit. The more one lies, the more it becomes natural to do so. There is less judgement of a specific situation, and out pops another casual lie, all nonchalant as you like. And before you know it, you’re a serial liar. Like an ex of mine – ahem. Okay, so let’s just imagine you have lied your way through many a situation where you thought it kinder to lie than to tell the truth… Nothing serious. No murder cover-up or anything. But that these little white lies are building a bit… The problem is, lying with good reason can get sticky further down the line. It could be something so seemingly unimportant, like if a music artist asks you if their drums sound good. You listen, and think they sound like muffled pencils on a concrete slab. Yet you say “Yeah, they sound great to me! Rock on, dude!”… They release the track as is, and the track flops. Assuming it can’t be because of the drums, they release a new song with the same “great” drums. Again, it flops. They then seek advice from someone else a little less tactful, and they’re told “Well, for a start, your drums suck”… It dawns on them that they were lied to beforehand, even out of kindness, but that the lie didn’t help them in the slightest. In fact, it hindered them. It slowed down their progress and ruined what was potentially a great song (two great songs). The thing is, they felt good initially in being told their drums were great, and they felt lousy latterly in being told their drums suck. But they also felt annoyed (potentially angered) that they weren’t told the raw truth in the first place. So, you see: a right sticky situation. Proving that while the truth hurts, lies are conceivably more painful in the longterm.

Sometimes it’s better to know; sometimes it’s better not to know. It simply all depends. With this week’s pick, we’re going with the truth, no matter how painful it might seem. From Sweden last week, we cross the channel and visit the North and South of this queer shaped isle. Is there any other country in the world that contains yet more countries? Such a weird thing I have never heard anyone talk about. The United Kingdom is a country – it doesn’t feel that united, but a damned sight more united than some other countries. It contains four separate countries. We’re going to visit the uppermost and the lowermost ones. Please welcome Cerulean Chameleon (the kilt), and Julie Hicklin (the skirt), with their brand new collaboration, ‘Truth Hurts’! I’d be lying if I said this song was full of bagpipes and Celtic jigs, but the truth is, it’s thoroughly electronic. Of the doomp-tick variety, but the good kind. It ain’t five minutes of monotony, but instead a well-honed three-and-a-bit minute song. A song predominantly started by the Celt, and finished by the Anglican. The thing is, Julie (or Yulie, as I have been known to call her) is a songwriter and a singer at heart. While she might have an idea of how she would like a song to sound, she knows that it is probably best to ask a pro to produce. And so, she surrounds herself with a merry band of producers she knows she can rely on. This time she opted for seasoned Haggisian, Scott Hood (aka Cerulean Chameleon). Scott often works with readymade vocals from elsewhere, but I must say, by FAR his best work is with other singers (not a fact, but I’m sure most would agree). This is where his productions come to life. This is probably because both artists can work together, rather than simply having a file to work with. A bond is born from a new musical relationship.

Despite ‘Truth Hurts’ being a VERY “produced” song, the emphasis is very much on the vocals. It is vocal driven. Scott knows when to sit back and let Julie shine. Synths and vocal effects are at the fore for the intro – there’s no beat and no proper vocals yet. It’s enough to say “something big is coming, and there ain’t nuttin’ you can do about it”. There is a certain grand luxury sweeping through the atmosphere in anticipation for more. The driving beat begins with sparse accompaniment, leaving a great deal of space for the bold statement that is Julie. She appears, wearing a floor-length leather coat and a hell of an experienced attitude. It’s hardened wisdom in that first line, “Truth hurts, but lies hurt more. Been too many times, too many times I’m raw”… And it’s this rawness I really do hear. It’s not a withered raw, but a whatever-doesn’t-kill-you kind of raw. There is understated passion and drive in her vocals. But those vocals: phew!! Her tone, her seductive quality, her warning, she REALLY knows how to sing. How to just GET you. There is thrust and punch, but it’s always short of aggression. It’s more like heavy persuasion. A coaxing of kinds. Meanwhile, Scott is riding the waves, knowing when to come up, and when to come down. When to add excitement, and when to rest. The trick is never to rest, but to instead be vigilant, hand on gun, ready if needed. Verse two brings a stereo bounce, pushing and pulling with Julie’s lead. It’s entrancing!

We take a brief breather at around 2 minutes in, as the kick pulls in for a pitstop. Scott serenades us with galactic synths, in order for us all to catch some well deserved breath. He smiles, rubs his hands together, and sets to clapping the night away. The kick’s pitstop is taking longer than usual, and his palms take its place for a short while as Julie comes back for some sultry understatement. And yet, you can’t look away. The build is lightening the load off your legs. You’re up, you’re moving. You’re ready. Julie brings you close, but not close enough. It’s a build into a build – Scott steals the reins again as Julie falls back into her chair, heels stretched out. She picks up the mic with just a finger and a thumb, and rejoins the surrounding electronica. We’re all ready for that final inevitable bout of effervescent satisfaction. Close to popping! And finally, that kick is as good as new, pounding to the pulse like a leader. We’re there. Julie is standing and stomping, gripping the mic with white knuckles, giving it her all. Scott is pumping his fist to the air like a DJ at a festival! WHAT a delectable plate of mince and tatties THAT was!!

While you’re debating whether or not to release the naked truth, I’m busy dancing like a right oxymoron.

Listen to 𝙏𝙧𝙪𝙩𝙝 𝙃𝙪𝙧𝙩𝙨 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Spotify playlist HERE!

Listen to 𝙏𝙧𝙪𝙩𝙝 𝙃𝙪𝙧𝙩𝙨 on the 𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 Apple Music playlist HERE!

Listen to 𝙏𝙧𝙪𝙩𝙝 𝙃𝙪𝙧𝙩𝙨 on YouTube HERE!

Follow 𝘾𝙚𝙧𝙪𝙡𝙚𝙖𝙣 𝘾𝙝𝙖𝙢𝙚𝙡𝙚𝙤𝙣 on Instagram HERE!

Follow 𝙅𝙪𝙡𝙞𝙚 𝙃𝙞𝙘𝙠𝙡𝙞𝙣 on Instagram HERE!

Follow 𝘾𝙚𝙧𝙪𝙡𝙚𝙖𝙣 𝘾𝙝𝙖𝙢𝙚𝙡𝙚𝙤𝙣 on TwiX HERE!

Follow 𝙅𝙪𝙡𝙞𝙚 𝙃𝙞𝙘𝙠𝙡𝙞𝙣 on TwiX HERE!

Hire Charles to produce/mix/master your song HERE!

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