Welcome all to ๐๐ผ๐ป๐ป๐ผ๐น๐น๐โ๐ ๐๐ผ๐ฟ๐ป๐ฒ๐ฟ, a series of weekly reviews by Charles Connolly - an artist in his own right. Here, Charles delves into the greatest brand new singles brought to you by the best unsigned artists on our electrifying and eclectic set of ๐๐๐ฌ ๐ผ๐ง๐ฉ๐๐จ๐ฉ ๐๐ฅ๐ค๐ฉ๐ก๐๐๐๐ฉ playlists.
๐พ๐ก๐๐ง๐๐ฉ๐ฎ - ๐ ๐ค๐ ๐๐ช๐๐ฃ๐๐ฎ
Charles wishes to make one thing clearโฆ
As the world seemingly loses its collective mind, I continue the progressively difficult task of keeping a grip on mine. Just like it is a New Year of some sort most days of the year, it would seem like it is April 1st most days too. I base this mainly on my daily perusal of The Times. I think by now, most of you know I am a Times reader. The main two reasons used to be because the news was vaguely unbiased, and each article was relatively well written and โnewsworthyโ. I say โused to beโ for a reason. Things have changed. The world has changed. People have changed. The only options are, to go with it and accept what is apparently reality, or to absorb said information, chuckle a little, and move on. Actually, there is a third option. To duck under the covers (being sure not to leave oneโs wits on the outside), to tightly close oneโs eyes, and keep hold of oneโs sanity. Deny, deny, deny. Or maybe a little of all threeโฆ? Retain a sense of balance. As said by a young Ebenezer Scrooge in the 1951 classic - based on the 1843 classic - (please excuse the unseasonal reference): โI think the world is becoming a very hard and cruel place, Mr. Marley. One must steel oneself to survive it. Not to be crushed under with the weak and the infirmโ. Now, although I donโt wholly agree with this statement, I very much do feel its resonance in the modern day. A more contemporary approach would be to HELP the weak and infirmโฆ
But speaking of Dickens - as I so often am (at least in my head) - The Times informed me yesterday that a certain London university is to issue a content warning for Oliver Twist, because it might cause โanxietyโ or โdistressโ among literature students. Letโs just take this in for a second, here. A novel published in 1838 predominantly about children living in poverty, is to be given a warning, for fear that it might upset people. Are we not supposed to FEEL anymore? Is emotion now considered a bad thing? Am I also to ignore everything on the internet and in films and series on Netflix, that causes much more genuine pain and discomfort? Is it completely fine for me to watch ubiquitous raw, close-up violence, and yet brace myself for reading about a child treated like vermin, in need of food? And another thingโฆ This is fiction. A feeling of sadness from reading something sad, is not equivalent to oneโs mental health being unstable or impaired. More than anything, it is the sign of a great writer, able to evoke certain emotions by taking charge of oneโs feelings. It canโt all be peaches and cream. Should we ban dissonance in music? Maybe even abolish the minor key altogetherโฆ? And so, on this occasion I buried myself deep under the covers, took a deep breath, realised I couldnโt breathe, quickly flung away the feathery down, attempted a successful breath, muttered a few profanities, and moved on. Regaining my sense of clarity. It is the only way to not be crushed under with the weak. Are you man enough - probably canโt say that these days (but I will, nevertheless) - to brave the prose of one of the greatest writers ever to have graced this earth, without needing an attentive nurse to hold your hand? I know I am. Otherwise I will find myself in a straitjacket when something TRULY distressing comes along to darken my outlook on life. A little sense can equal much clarity.
And so we move past the blether, and onto the reason youโre all here. Quincy Jones. No, no. My mistake. Joe Quincy, with a track from his Cake and Wine album: Clarity. This Pennsylvanian has created something quite unique, and anything but clear! Is it a waltz? Sort of, but in some ways it could be considered as 6/8 (with a count of 6, rather than 3). It is all about where one feels the accents. I personally feel it as a bar of 6/8 followed by a bar of 3/4. For the people in the cheaper seats, just think of Bernstein/Sondheimโs West Side Story: โI like to be in A-me-ri-caโ, while the rest of you can sit in smugness of your higher intellect (I guarantee those in the cheaper seats are having a better time). There is an awkwardness and discomfort in Joeโs singing style (and yet it was issued no warning!) that keeps the attention in the most unusual way. I suppose this is where indie rock meets prog. The drums are full and rich - clear, even. For me, the bass is what really propels the song. It is solid and grounded, but never afraid to leap outside the box. Maybe less grounded, and more anchored. The song is forever fascinating! Aside from the unusual timing of the song as a whole, Joe regularly jumps around in time and rhythm. This doesnโt lose structure or feel, as the instruments are tied together with interlocking piston hinges - not literally, for that would be silly. There is something of Incubus and No Doubt in his sound, but also of musicalsโฆ! The excited, crisply rhythmical lyricism throughout is a key factor in the magic of this piece. The song is densely packed with subtle sonic treats in each and every instrument. Around the halfway point, we are truly taken into a sound not too dissimilar from The Darkness. The layered guitars and voices take on a new level of complexity, that can only be accomplished by a professional. Before the closing 30 seconds, we are unexpectedly thrown head-first into a thunderous full-on metal-ridden wall of sound, with the weight and force of a steam train. Itโs one thrill of a ride! Joe Quincy sells himself short in his complete yet brief YouTube biography: โI make music and do silly thingsโ. Although itโs refreshing to see he doesnโt take himself too seriously, Joe evidently knows what heโs doing. A humble man of many talents.
Having been given this sensational piece of music, we should count ourselves lucky and be very grateful indeed. And โgivenโ, is exactly what this is. Along with all the stunning music on the New Artist Spotlight (not to mention the rest of the 90 million songs on Spotify and other streaming services), we are given it all! We donโt have to individually pay for a single one of them. Poor artists. Lucky public! But this time around, Joe Quincy has given us not one, not two, but 13 brand new tracks on his latest album, Cake and Wine. Despite this pudding and this beverage being just about the worst concoction ever conceived, the album itself does not disappoint. In fact, it is the most astoundingly versatile collection of multifaceted gems you ever could imagine. I urge you strongly to give this artist the time and attention he deserves. I cannot imagine how many hours, days, weeks and months went into making Cake and Wine. Probably quite a few. You will not be doing this out of respect, but simply for your own enjoyment. I give you permission to be a bit selfish, in pressing play for your own pleasure. Permit him take you places you never knew existed. Even through different eras!
I hope I have made at least one thing clear.
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