Connolly’s Corner

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!

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

Listen to 𝙄𝙣𝙨𝙪𝙡𝙩𝙨 on YouTube HERE!

Follow 𝘼𝙣𝙣𝙚 𝙂𝙖𝙞𝙧 on Instagram HERE!

Check out the official 𝘼𝙣𝙣𝙚 𝙂𝙖𝙞𝙧 website 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!

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

Listen to 𝙁𝙤𝙧 𝙎𝙤𝙢𝙚 𝙍𝙚𝙖𝙨𝙤𝙣 on YouTube HERE!

Follow 𝙎𝙩𝙚𝙫𝙚 𝙇𝙖𝙯𝙚𝙧𝙤 on Instagram HERE!

Follow 𝙎𝙩𝙚𝙫𝙚 𝙇𝙖𝙯𝙚𝙧𝙤 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.

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!

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.

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!

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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.

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!

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.

𝙐𝙣𝙩𝙞𝙡 𝙏𝙝𝙚 𝙏𝙚𝙖𝙧𝙨 𝙃𝙖𝙫𝙚 𝘿𝙧𝙞𝙚𝙙 – 𝙋𝙖𝙩𝙧𝙞𝙠 𝘼𝙝𝙡𝙢

Charles listens to his friends…

Lowness is a common feeling these days, it seems. Okay, it doesn’t “seem”, it IS. But how is this any different from the past? We’ve always had low times. We’re human, after all. Up, down, up, down, up… down. Like a yo-yo that eventually loses its impetus to rise. The difference between the lows of then and the lows of now is that the lows used to be slotted in between the highs, whereas now I don’t see too many people talking about the highs… But the main thing I’ve noticed is how this general lowness seems to cover the full age spectrum from young to “how are you still going??”. I don’t know of this ever happening before. And it ain’t good. So, what are we to do? You could try to distract yourself with brief nonsense… You could maybe analyse what’s wrong and attempt to put it right… You could see a therapist… These are all fair ways of sorting the matter. But sometimes it’s just a case of riding it out. Where there isn’t a great deal one can really do, but wait for things to get better. I suppose I’m more talking about sadness rather than lowness. While you wait for time to pass, you might as well use this overflowing emotion and get something out of it…

I have spoken several times about music being a healer. It is so much more than a distraction. It can weave itself into our genes and become a part of us. We all feel, but none so much as an artist. Artists tend to feel everything in overdrive. Something good is something great. Something bad is something horrific. Something happy is something exciting. Something sad is something mortifying. Passion and emotion are turned up to eleven. A “normal” person (not an artist) can put on some music in a vague attempt to distract or soothe. It ends up as background sound or something to hum to. An artist can place the needle within the groove and find something rather different. It is far from background sound. The artist is not hearing it, but listening to it. The music is absorbed into the bloodstream, and the artist’s soul has a partner with which to dance, feel and cry. There is such beauty in sadness, but it must be properly honed in order to be beautiful. Otherwise it’s just depressing. Basically, music stops things from simply being a bit shit.

But although I have mentioned this thing about music being a healer many times before, this time it’s a bit different. Because I’m not talking about music in general; I’m talking about specific songs. Now you’re waiting for me to tell you which magic songs those are. It’s not quite like that, however, because these special songs are different for everyone. If you’ve lived a little life of music, then you’ll know that there are just a few very important songs for you. This isn’t necessarily your favourite songs. For example, the song that joins ME in the hardest moments, I have not heard in years. It’s not even a brilliant song. But it helps me. It moves me. It moves WITH me. It has been a close friend of decades, but a friend I don’t “see” often. And that song IS…… Nah, you’re not interested in knowing that, so let’s move on. But you see, songs are genuinely like friends to me. You know how your closest friends can not only make you feel better, but can mourn and weep with you? Well, that’s what these few SPECIAL songs are for me: my friends. Sad, innit. Think about it, though. That song is not ever going to be too busy to help, you can summon it in seconds, and it will never let you down. It’s the perfect friend! “I’ll be there for you, cos you’re there for me too” – Friends. And I am, always there for it, but it never seems to need anything from me, except my ears.

It seems as though Patrik Ahlm – who may or may not have appeared here once or twice before – has similar feelings about certain songs by certain artists. Patrik Ahlm, the sweetest Swede, has put this idea to music in his latest release, ‘Until The Tears Have Dried’. It’s such an excellent, clever observation, that until the tears have dried, we have “the one song we can fall back on”. Oh sorry, this is the bit where I’m supposed to tell you all about the artist… Well, you all know him well, or rather, his music. For he’s a jolly good fellow, “and so say all of us”/“which nobody can deny” (depending on whether you’re familiar with the British or the American version). But he is, a jolly good fellow. Very lovely, very caring and very kind. But more importantly to us, he’s the fabbest music man. I say “music man” loosely because he does it all; the writing, the arranging, the producing, the playing, the programming, the singing, the mixing and the mastering. To me, that’s a music man. But I’m not impressed by the list, I’m impressed by the quality. I must admit I didn’t adore his last single (rare for me); but the good news is, I was evidently in the minority. ‘Sandstorm’ was possibly his biggest hit of the last year, certainly in terms of the New Artist Spotlight Top 20 chart. So what does it matter what EYE think…? This new song of his, though, I feel like he is right back on track with what he does best. Smooth, slick pop with a heck of a lot of heart.

Back to the song. Verse one mentions Bowie. Verse two mentions Janis Joplin. Chorus one blows us away. Verse three mentions R.E.M.. Chorus two hits even harder. The bridge reinforces the song’s passionate point. Chorus three has you singing along, sure of the fact that your voice is as good as that of John Legend. Fade to completion. Yes, an actual fade. Come on, it’s 2026: isn’t it about time we brought back the fade-out?! I’m rather bored of those sudden stops at the end of most songs in the last couple of decades. That abrupt halt so often emphasising the cheapness of a production; as if the loop has naturally stopped at the end of the bar, and therefore there is no more. Fading out is so much more musical, anthemic, sophisticated, and gives the whole piece a grand, lasting quality. Lord, I can’t remember the last time EYE used a fade-out. Must do it. Anyway: Bowie, Joplin, R.E.M…. These mentions are brief, yet key moments in the song. They are simply examples of what COULD BE the artists behind those songs that mean so much to you. They wouldn’t be MY choices, but they might well be YOURS. And I’m sure they veer more towards Patrik’s choices. Again, these have little to do with “favourite” songs, but instead the ones that hold you in times of trouble.

I have had this ultimate honour a few times, where people have told me that when they’re in a certain mood, nothing but a certain song of mine fits better. And what’s even more surprising is that it’s not always the same song. The first time someone told me this, I was absolutely bowled over. I simply couldn’t believe that a song I had written (‘If You Would’, unreleased) could have this effect on anyone. And I have a strong feeling that ‘Until The Tears Have Dried’ could become that very special song for several. Not just because of the words, but also everything else it has to offer. The luring synths pulsing through one’s veins? The close, personal nature of Patrik’s dry voice? The sporadic heart-jolting percussion that catches you off guard? The heart-melting melodies that make your tears hot? The exquisitely placed polite piano that drifts above like clouds of safety? Or maybe it’s simply the anticipation of that chorus with its loud, rich, airy harmonies that have you on your knees as you pound the carpet with your fists, and your tears and drool get together to form a soggy puddle – the carpet darkens but you continue to sing along…? Whatever it is, this is more than a song. It is an important part of someone’s life. Patrik Ahlm is more than a man. He is an artist.

If you’re willing to share, I’d love to hear which song is YOUR friend. Mine is… Nah, you’re not interested.

If you’re planning to cry into the carpet, make sure to initially remove all traces of eyeliner and mascara, or that song will be an ex-friend.

Listen to 𝙐𝙣𝙩𝙞𝙡 𝙏𝙝𝙚 𝙏𝙚𝙖𝙧𝙨 𝙃𝙖𝙫𝙚 𝘿𝙧𝙞𝙚𝙙 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.

𝙄 𝙒𝙖𝙨 𝙊𝙯𝙯𝙮 (𝙊𝙯𝙯𝙮’𝙨 𝙍𝙚𝙨𝙥𝙤𝙣𝙨𝙚) – 𝙑𝙖𝙡𝙚𝙧𝙮𝙖𝙣

Charles plays with a ball of string…

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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.

𝙗𝙮 𝙢𝙮 𝙣𝙖𝙢𝙚 – 𝙀𝙢𝙞𝙡𝙮 𝙅𝙤𝙣𝙚𝙨

Charles looks forward…

Due to unforeseen circumstances, I have heavily edited this article before publication.

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