𝗖𝗼𝗻𝗻𝗼𝗹𝗹𝘆’𝘀 𝗖𝗼𝗿𝗻𝗲𝗿 - this week: Hung Me Out To Dry - Forever Forever
- Charles Connolly
- 9 hours ago
- 9 min read
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.
𝙃𝙪𝙣𝙜 𝙈𝙚 𝙊𝙪𝙩 𝙏𝙤 𝘿𝙧𝙮 - 𝙁𝙤𝙧𝙚𝙫𝙚𝙧 𝙁𝙤𝙧𝙚𝙫𝙚𝙧
Charles won’t leave you hanging…
Do you ever get that feeling when you’re so totally alone? I don’t mean being lonely. I don’t even mean some sort of fear of isolation. I just mean when you see and hear everything around you, but it feels like no one else is speaking the same language… Does that seem familiar to you? Or how about when nothing specific has happened, but you feel abandoned, or even spat upon? Do you ever get that feeling? It could be personal; it could be very distant, yet still affecting. Sometimes I think about my country and my government, and they don’t seem to mesh. Sometimes I think about my health service that doesn’t work. Sometimes I think about my work and how previously good clients have shown a darker side in more recent times. Sometimes I think about my landlord and my neighbours refusing to do the right thing. Sometimes I think about the artists I have reviewed, refusing to do the right thing. And sometimes, I just think.
To an extent, I feel abandoned. I feel a lack of support. I don’t mean literal mental health support, and I don’t mean shallow “I love your articles even though I don’t read them” kind of support. I also don’t mean even more literal support in the form of crutches. I mean something much deeper than that. People seem to be a lot more selfish these days. People simply don’t care. Of course, I am not talking about literally EVERYone, but a great deal of people. Most people. Of course, there has always been an element of this - one must always put oneself first. But after that, there simply needs to be a modicum of care for others; and it must be genuine. To put it bluntly, I feel like they’ve hung me out to dry. Those unfamiliar with the phrase, it means to be left, abandoned, unsupported and flailing in the wind. It has nothing to do with me being sodden or even moist. But it does leave me clammy, I must admit. It’s unsettling, and it leaves me feeling a tad numb.
Music, however, is the thing that keeps me going. Music that I KNOW was created by humans. Music that excites and takes me over. Music I can feel. Music where I can hear the hard work and love that has gone into making it. I can hear the journey. I can hear layer upon layer of unforeseen magic. I can hear the inspiration, but I can also hear the spark of originality. But what of my own music? Let’s just say I have been in a little bit of a rut lately. But I do hope to get out of it soon; I’ve been getting that tingle. That itch. And itches need scratching. As to this rut, though… Why…? I have wondered this a little, and I think it is due to the feeling of “why bother”, brought on by fake artists making fake songs, and generally general fakeness in general. The fake care, love and support just screams “I don’t give a damn!”. And I see this in my government, my national health service, my police force, my landlord, my neighbours, some clients and even some people who I used to think of as friends. Some might instantly suggest “Why don’t you use this feeling and turn it into song?”… It’s a good suggestion! But the main reason is because I don’t want to keep writing about things that are shit and depressing. Where’s my ‘Europe in the Summertime’? Where are my smooshy love songs? Where’s my ‘Parakeet’?? These are songs of mine, for those who have no idea what I’m on about. I don’t really want to write about rebellion or cruddy times.
Due to fake songs by fake artists, it is becoming increasingly difficult to choose songs to review. Whether you’re for or against machine-made music (or indifferent), imagine it from my perspective. I am REVIEWING it. If I know a certain song is fake, but it’s still really rather good, what am I to say about it? My weekly reviews are all about praising (who I see as) the best of the best. I often go into great detail in the arrangement in terms of instruments, lyrics, sounds, rhythms, chord changes, tone, mixing, and general talent (in general). I try to portray the energy, feeling or emotion that the artist has managed to “put down on tape”. Imagine if it is all simply made by a machine, and all the “artist” has done is press one button once… Or maybe they have written the lyrics…? The thing is, I won’t ever know because they never own up to things in the credits. I have even started to see people INVENT credits!!! Literally making up names in order to deceive and pretend that actual people were involved. It is sick. Ach… There’s that rut again. It’s quite deep, ya see. So, THIS is why I am so utterly against generative machine-made music. I have nothing to review. What happened today, though, was that I nearly chose a song that I thought was brilliant!! I started my research, and realised that it was fakery. So, if I hadn’t realised, I would have inadvertently lied in public and praised them to the sky, when there was in fact no one to praise. I would have been duped, and I would look like a fool for having been sucked in by a lie. Where’s your trust NOW…?
Having said earlier that I don’t particularly want to write depressing songs or songs that exude that numb feeling, there is definitely a place for such songs, and they should exist. They’re important. And I must say, I do like them. Not so much the depressing (I have actively gone off that vibe - here’s looking at you, Radiohead), but the honest feeling and emotion that comes from more serious songs is like nothing else. There’s something kinda cool about them. Please welcome once reviewed London quartet, Forever Forever with their debut EP, ‘Good Light In’! That’s right, folks; it ain’t all heartache and heartbreak. There’s optimism here! In fact, each of the songs from the generous 6-track EP gives a whole host of emotions. But let’s focus on just one: ’Hung Me Out To Dry’ (the final track). The song is performed by the band, but written by the band’s main man, Fionn Connolly (great name), and co-produced by Fionn Connolly and Jasper Trim (such great names!). The EP opens with ’Skip Intro’ (a gorgeously brave title). It’s a smattering of this final track, all cut up and played with, making tracks 1 and 6 bookends for the tracks within. A beautiful touch, very much framing this record as an EP, and not just a collection of songs. ‘Hung Me Out To Dry’ is partly an outro, but it is more of an epic finale. And I must apologise for starting at the end, but we know you’re all going to be listening to the whole EP anyway (no, you’re not - but I can only do my bit in trying).
We open with something that sounds a little like a piano, but also like a soft synth. It’s actually almost like a piano with the attack cut off. It’s sleepy, like one of those apps designed to get you to dreamland as quickly as possible. A soft bass synth pads its way like a tired teddy’s paws. The stars are out tonight, and the moths are nocturnally wired for sound, fidgeting in their usual way with even the slightest presence of light; but that’s none of your business right now. 28 seconds later, we are greeted by Fionn’s voice; full, rich and warm. If you listen closely, you will hear the subtlest harmonies. I suspect this to be artificial harmonies of the original voice in order to add thickness and a certain cosy cushion. This is just one of SO many details that most artists wouldn’t have even thought of doing (if they’d even know how to). The brief vocal pause between verses one and two starts to glitch out in the most pleasingly subtle way, to the extent that it is now starting to be difficult to follow one specific instrument. The flow is seamless. Bon Iver uses this technique to great effect, and so does Coldplay in their more ethereal interludes. Fionn’s voice is very real; very natural. I hear notes of Rufus Wainwright (but far less whiny), and strangely there’s a bit of Robbie Williams (especially in the lower notes). But already in the time it’s taken to write that sentence, we have claps and soft kicks, guitars imitating pizzicato strings, and effects galore; it’s music recorded in CinemaScope!
At 1:20, Papa Bear has awoken from his slumber, and now we get the REAL bass. The sky sizzles and shimmers with a crisp softness. The full band’s voices come to the fore, and we finally get what we all wanted. A most satisfying chorus of whipped cream and sprinkles! These incredible harmonies are something the band is known for. But couple this with the layers of sound, and we end up with what I can only describe as a modern Beach Boys. Not meaning Forever Forever sounds ANYTHING like The Beach Boys - lord no. But Brian Wilson was a chemist of sound and invention, with the lushness of those inimitable Beach Boys harmonies. This conscious coupling is the similarity. So, if this chorus is anything to go by, ‘Hung Me Out To Dry’ really isn’t sounding like a cold, sad song… And that’s because - despite the title - it isn’t. Not really, anyway. There is such optimism in sound, and yet there are lines like “You hung me out to dry; I didn’t mind”… Ambiguous, no? It’s so curious and interesting - yet another thing I love about songs that go further and deeper. Forever Forever is/are fabulous at this perfect blend of mainstream pop and “that indie sound”. It just works; satisfying both the casual and the eager listener.
At 3:49, there is an abrupt stop. I said a couple of weeks ago how this has become quite a popular thing in music lately… BUT!! It ain’t the end. Do you remember that annoying thing that annoying school mates used to do? To push you then quickly pull you back again, saying “saved yer life”…? Well this is that, but rather more classily done. Forever Forever stops your heart, only to unleash their trusty defibrillator. It’s more like a shock, followed by lashings of treats! The compression and saturation goes up several notches (not too shy of 11). The drums power through like there’s no tomorrow. Papa Bear finds his groove (he’s now had his porridge). The guitars do their best impression of that weird (and wonderful) first Foals album, plucking like chickens when they realise someone’s left their cage open. And those HORNS!!! No, I’m not kidding. What started as a relatively soft song (with strong feeling) has ended with a big, fat horn section! The whole thing is almost like a dubstep vibe, but with real instruments. Absolutely thri-hi-HILLING!!! And finally the band winds down in true live rock style: boo-boo-BAH!! You wouldn’t believe what this kind of music does to me. I should hope it does similar things to you.
I urge you to listen to the whole ‘Good Light In’ EP. It’s truly top drawer stuff.
As to that “why bother” thing, there are two reasons why you should bother and keep going with the music. One, for your own wonderful satisfaction: “Look what I’ve achieved”. Two, while you might not quite have as many fans as Taylor Swift, you will still have fans. Even if just ten people enjoy your music, it’s worth it. God, in my first twenty years of making music, I was pretty much the only listener. I was my biggest fan! And even THAT was worth it. So, don’t give up, look on the bright side, and MAKE REAL MUSIC!!! Where’s the blood, sweat and tears in pushing a button…?
Must dash. Mama Bear needs help with the washing: “Hang it out to dry”. You all know my reply.
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