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Speaker 1: Whose emergency is this? And why is it yours? You

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found someone to play, but you can't find the door.

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Who is this problem?

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Speaker 2: Child?

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Speaker 3: And why do you resist.

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Speaker 4: The threatening?

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Speaker 1: Who you are inside? The illusion will persist. Songs as

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a libration become battle cries if they read this, faithful,

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when you're holding onsw ti.

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Speaker 5: I just want you to win. Go ahead and take

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my lens to a book and my face. This is

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how it big.

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Speaker 6: Some the sample lets you don't cool?

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Speaker 4: You play? How this stuff up? Books?

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Speaker 5: You been?

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Speaker 4: It's your canferen? Who's emergency is this?

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Speaker 7: Ask?

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Speaker 4: What's on your face?

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Speaker 8: Think?

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Speaker 4: Can't petrate in? Listen that place?

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Speaker 5: So to l roway shut sound like that's all cries.

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Speaker 4: Everything is good for when you're home.

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Speaker 5: And all soti. I just watch it.

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Speaker 9: Go ahead and take some place.

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Speaker 5: This is how we resche it come always.

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Speaker 10: We are answered jepantence. Yeah, don't exist in space A

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s Creian cliff hadens in battel place.

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Speaker 11: Those words you've made weapons.

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Speaker 7: Someone else smon. Someone else says sarmon. Someone else says sarma.

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Someone else says sarmon.

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Speaker 5: Someone else says Sarama.

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Speaker 4: Who's the emergency?

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Speaker 5: What's the urgency what's.

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Speaker 3: Tuburbas, see what's tubermascy?

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Speaker 2: Who's emergency?

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Speaker 12: What's the urgent?

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Speaker 8: See?

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Speaker 9: I want to learn to see what to learn to see?

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Speaker 6: What's the better?

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Speaker 12: Queen of about cries as they know when you're rips

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so tied, you'll then shame when you're been in my

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eyes still can't be between your lines and the barbe

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celebrate your own every.

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Speaker 3: Cook and away he find his own take that length

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which they get.

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Speaker 9: A boat may get up, a woman may get his.

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Speaker 12: Own bro whatever you know, a prop tied nada.

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Speaker 6: No feel that inside you want your not feel that

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inside you want you know?

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Speaker 8: You just want shoot twin When.

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Speaker 12: I just want you spin?

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Speaker 7: When I just want you swin, When I just want

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you to win, When I just want shoot to win,

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When I just want you to win, twin, I just

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want you to win.

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Speaker 5: When I just want you to win?

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Speaker 7: When where.

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Speaker 9: Such a great track? That is when Charlie Nyland or Niland?

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I think it's Niland, but we're going to ask him

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in just a moment because he is joining us online.

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Welcome everybody, if you are listening live. Today is Saturday,

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November twenty two, twenty twenty five. This is Matt Connorton

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Unleashed and we have entered our number three New Marrow

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trace of our program this morning from the studios of

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WMNH ninety five point three FM in Glorious Manchester, New Hampshire.

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And of course you can stream the show from anywhere.

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Go to Matt connorton dot com slash live for all

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of your live streaming options, social media links, contact infosho, archives,

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et cetera, et cetera. But let's get Charlie in here

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because I am dying to talk with him. Charlie, are

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you there, Hi, Matt, Hey, Welcome to the show. First question,

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how do you say your last name?

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Speaker 3: Nilandland?

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Speaker 9: Okay?

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Speaker 12: Good? I got it right.

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Speaker 9: I thought so, but I wasn't one hundred percent sure.

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I love that song when and we'll talk about that,

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and we'll talk about a lot of things. But what

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a great track. Who is that on the song with

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you at the end? Who's rapping?

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Speaker 3: His name is Spirit Child. He's based out of Staten Island.

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I've known him here in the New York City area

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for about ten years. For we both are in this

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thing called the Bushwick book Club. It's a performance series. Oh,

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I'll tell you more about it when we get to

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the song.

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Speaker 9: But he's great, sure, sure, yeah, no, he's really good.

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It's kind of it's one of those things where when

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you listen to the song for the first time, you

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don't expect that, but it just it's a surprise, but

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it's so seamless, like it just fits so perfectly.

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Speaker 8: You know.

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Speaker 9: It's it's a nice surprise because sometimes somebody might try

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to do something like that and you go, I don't know,

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it seems a little forced or whatever, but that is

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it just fits in perfectly. So good, so good. Absolutely,

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And you've got an album, let's see this. I guess

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this has been out for a little while now, Stories

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from the Borderlines or this just came out last month, actually, right.

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Speaker 3: Yeah, it's just been a few weeks.

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Speaker 9: Oh yeah, so this is very new. You've got a

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new single called Shame. I thought about playing that one,

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but we'll probably play that one a little later in

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the show because I wanted to play when I wanted

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to open with that. It's such a great positive song.

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But you've done You've done a lot of work. You're

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you've been around a while, you know, you've worked with

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people like Debbie Harry, Blondie, Rufus, Wainwright, Scissor Sisters. You're

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a composer. You know, you've done film and television. I

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really want to know. Tell us a little bit about

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your background, and then we'll kind of talk about what

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we're we'll come back to what you're doing now with

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your music, but I also would like to know more

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about you.

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Speaker 3: Well, I'm from the Midwest, but I came to the

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East Coast and graduated from college and moved to New

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York City, and then I was in a band called

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her Vanished Grace for about twenty five years, and a

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couple other bands throughout the nineties and into the two thousands.

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But in the beginning of the two thousands, I kind

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of stumbled into a situation where I was working on

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a film score for this movie called The Safety of Objects,

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and then I started producing. I became part of a

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production team, and that's where I worked with Debbie Harry

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on her solo album called Necessary Evil, which came out

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in two thousand and seven, and that was a really

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exciting experience, and basically we just continued writing with her

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after the album came out and ended up having some

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of those songs be on the Next Blondie record in

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twenty eleven.

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Speaker 9: Oh wow.

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Speaker 3: And since since about twenty thirteen, I've been working on

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being a solo artist in addition to producing people. And

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that's where I met Yeah. This is my fourth album.

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Speaker 9: Oh no kidding, Okay, what do you find most satisfying?

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I mean, is working on your own music as a

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soul artist?

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Speaker 13: Is that?

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Speaker 9: I don't know if more satisfying is probably probably not

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necessarily how you'd want to put it, but you understand

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what I'm asking you. I mean, do you get what

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do you get the most from in terms of what

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you're doing because you've worked in all these different areas well.

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Speaker 3: It's an interesting challenge because I've been in bands a

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lot of times where I was I did get to

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sing my songs, but it was in like a group

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where there was more than one singer, so I was

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always like the other singer when there's a female vocalist,

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you know. And so I've been writing songs for a

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long time and co writing with people, and in the

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past ten years I've got involved, as I mentioned, with

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this performance series called the Bushwick Book Club, where each

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month the book is selected and songwriters react to the

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book and write a song and then there's a sh

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where all the songs are presented, and I sort of

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got involved in producing that, so I ended up writing

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a lot of songs that way. Yeah, And I don't know,

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I've just been expanding my circle and getting involved with

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things like that and another series called The Loser's Lounge,

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which is here in New York, where we sing at

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Joe's Pub with a fantastic backing band. It's it's covers,

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but it's like there's a theme each for each performance.

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But I found that these things have helped me kind

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of find my identity as an artist, as a performing artist,

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and I'm really excited about it now. I enjoy playing

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full sets of my own music and I feel like,

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you know, I'm a vehicle for this thing that's coming

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through me, and so you know, I do love collaborating those. Yeah,

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And I get to do that a lot in production.

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When I produce my own music, it does it gets

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to be It's interesting because I can really take my

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time in certain parts of the process and just try

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a lot of different ideas and slowly build up layers.

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I think on stories from the borderlines. There's a lot

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of that it's kind of like a musical diary.

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Speaker 9: Okay, okay, In terms of how you approach how you

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approach songwriting, I'm curious if do you consciously try to

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do something that's that's unique and out of the mainstream

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or does that sort of happen organically because these songs,

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you know, none of them are anything that you would

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necessarily hear, Like, I don't know what radio format they

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would fit into necessarily on commercial radio. You know, they're

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they're they're different, which is what makes them so interesting.

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They're very catchy, they're very catchy and listenable. They're accessible,

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but they're but they're also unique. It kind of reminds

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me of just a random example, like like if a

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band like Talking Heads were to exist today and someone

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asked me, Matt, what would you do with this band?

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Speaker 8: You know?

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Speaker 9: And obviously talking Heads was hugely commercially successful in the eighties,

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But if someone said, you know, if they were out

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today and Matt, someone said, Matt, what did you do

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with this band? I don't. I don't know exactly. You know,

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I'd want to do like maybe some college radio stuff

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for them, but I don't know where I would put

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them in terms of a commercially viable radio genre, and

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I feel like your music is like that, where it's

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it's catchy, it's accessible, the songs are great, but I

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don't I don't know where they fit necessarily, and I'm

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wondering if that's intentional on your part.

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Speaker 3: I think it's natural, but I do. I'm aware of

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that definitely. I mean, I think for me, I think

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the most I think of genre as like a geography.

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You know, there are certain kinds of music that that's

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right in the middle of it of a genre, and

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you're like, oh, that's definitely dance pop, or that's definitely

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e DM or that's definitely you know, metal. But I

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think out of the edges of the borders of these genres,

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it's there are artists who are doing stuff that kind

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of freely mixes things and comes up with their own hybrids.

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I mean. And that's that's where someone like Prince came from,

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or Bowie True or Talking Heads, where like the Talking

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Heads weren't commercially successful at first, right, it took a while, Yeah,

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but now they're remembered because they did succeed as a

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college rock band, and again that was college rock became

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alternative you know, in the eighties, alternative didn't necessarily mean

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what it meant in the nineties, it was kind of

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a catch all for stuff that wasn't in a specific,

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you know, central style. That they often mixed a lot

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of different things together, and so that's kind of my

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natural that's my resting place kind of.

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Speaker 4: Yeah, and I've just.

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Speaker 3: There's been times when I've been in bands where we

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sort of really focused our sound into something that was,

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you know, the her vanished grace. We called it power

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dream pop, So we were kind of zeroing in on

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a certain subset of alternative of post punk and dream pop,

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and those are still strong influences in my music. But yeah,

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I think especially in this album, I just allowed each

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song to have its own character and its own landscape,

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and it's kind of like a series of different movies

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or stories. So my girlfriend said it, it's like they're

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all different stories, and that kind of led to the

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title of the album.

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Speaker 9: Yeah, yeah, excellent, excellent. I do want to hear more

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about the Bushwick Book Club because I'm curious if when

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you when you bring a song into that that forum,

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I mean, is that is that intimidating it all? Because

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obviously other people are gonna are gonna have there there

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there are judgments or assessments of it.

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Speaker 3: Well, it's fun because everybody has a different approach and

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the book. For me, I always write a song that

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can stand outside the Busher book Club performance. You don't

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have to have read the book to enjoy it, you know,

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and to relate to it. Usually I use some aspect

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of the story or a character or an idea from

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the book. Sometimes it's just one page in the book

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like sets me off and I'm like, oh, this will

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be good imagery for this thing that I've already been

250
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thinking about. And that's kind of what happened with Wyn

251
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and uh. That was part of an interesting uh, an

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interesting thing that happened where we got invited to the

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Kurt Vonnegut Museum and Library for a whole week for

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a residency.

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Speaker 9: Oh wow.

256
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Speaker 3: And they have a series where they have a banned

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book band book week.

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Speaker 9: Oh nice.

259
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Speaker 3: And usually usually it's writers that come and participate, but

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since we've done a lot of Vonnegut in Bushwick book Club,

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they invited a group of us. It was five of us,

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and we spent the week there and at the end

263
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of the week we presented songs that we had written

264
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that week, all inspired by band books, and we had

265
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a concert Oh wow, And it was to make a

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long story short, I was like, the last one to

267
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finish my song. Everyone's gonna got a song going, and

268
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I was like, I'm having really struggling. It was a

269
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great book I was working on I was working with

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called All Boys Aren't Blue. It was one of the

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most banned books in two thousand and twenty two, really,

272
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and yeah, it was a it's a coming of age story,

273
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it's a ya book about being young, black and queer,

274
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and it was really a beautifully written book, but at

275
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the time there was a strong book banning thing going

276
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on in schools. So anyway, I woke up in the

277
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middle of the night with the chorus words to that

278
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song I Just want You to Win, and I kind

279
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of like just wrote it down in the notes app

280
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on my phone. I got up in the morning and

281
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I was like, whoa is this really feels good? And

282
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then I'd also been thinking about some other stuff and

283
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the song just all like poured out that morning, and

284
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we all supported each other in terms of being each

285
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other's backup musicians for the concert. At the end of

286
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the week, and so we started working on my song

287
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and spirit Child was there doing his music and I

288
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was like, you know, I think this would sound great

289
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if you came up with something for this, And so

290
00:17:51,920 --> 00:17:53,599
at the show it was a kind of a combination

291
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of stuff he had written, you know, in response to

292
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my lyrics and freestyled kind of at the same time.

293
00:18:00,359 --> 00:18:05,319
Oh okay, And that got recorded, and then when I

294
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went to record the and it was so great, you know.

295
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So when I recorded the album like a year or

296
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two later, I asked Spiritual to contribute to it. And

297
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now recently we just at our album release show, he

298
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was able to join us live on stage and it

299
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was fantastic. It really kicked the room into overdrive. It

300
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was so good.

301
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Speaker 9: I can imagine, yeah, I can imagine, Yeah, that song

302
00:18:27,799 --> 00:18:30,799
must go over well live anyway, I would think, because

303
00:18:30,799 --> 00:18:33,000
it's got such an energy to it. And you know,

304
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I really like the lyrics, and I think, you know,

305
00:18:35,079 --> 00:18:37,519
you talked about what the lyrics are about, and I

306
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think you even referenced this that you know, obviously they're

307
00:18:41,519 --> 00:18:46,039
about that book, but also there's relatable themes within those

308
00:18:46,119 --> 00:18:49,559
lyrics that anyone can relate to. And and anyone who's

309
00:18:49,559 --> 00:18:52,359
ever felt marginalized in some way or actually a lot

310
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of a lot of your music I think is probably

311
00:18:54,880 --> 00:18:58,319
relatable for anyone who's ever felt marginalized or ostracized or

312
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I mean, I I feel like that's kind of a theme.

313
00:19:02,200 --> 00:19:05,000
You know, you've kind of you've got everybody's back, you know,

314
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you're in terms of what they're going through.

315
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Speaker 3: Well, I think, in my view and I envision that

316
00:19:18,839 --> 00:19:24,000
we've created identities for ourselves that make it feel like

317
00:19:24,079 --> 00:19:28,359
we're all separate from each other, but there's an underlying

318
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thing that we're all part of one energy wave. So

319
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if all these things that we've taught ourselves about other

320
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people and the way we relate to people that we

321
00:19:41,279 --> 00:19:45,680
feel our adversaries or our enemies, actually they become very

322
00:19:45,799 --> 00:19:49,279
close to us. You know, we really wrap ourselves up

323
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and identifying ourselves in opposition to things, and if that

324
00:19:54,799 --> 00:19:58,960
dissolves a little bit, that's really a solvent for a

325
00:19:59,039 --> 00:20:03,079
lot of the strife that's going on. And I just

326
00:20:03,200 --> 00:20:04,279
want to be a part of that.

327
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Speaker 9: Yeah, I notice that, you know, these ongoing sort of

328
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cultural battles around gender identity and and all of it,

329
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you know, which is seems like it's it's become so

330
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heightened in these times, and I feel like the music

331
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that you're making is really this is kind of the

332
00:20:23,960 --> 00:20:24,960
moment for it, right.

333
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Speaker 3: Yeah, I think I think we can be playful about it.

334
00:20:31,960 --> 00:20:34,960
And I understand that a lot of it is comes

335
00:20:35,000 --> 00:20:39,759
from fear and fear of people that we feel are

336
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opposed to us or are you know, symbolize something of

337
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an other. But so I'm sympathetic to that. I don't

338
00:20:49,720 --> 00:20:53,559
think people should be ostracized because of that, but I

339
00:20:53,640 --> 00:20:57,799
also feel like, I don't know, I think everybody has

340
00:20:58,920 --> 00:21:03,200
because there's there's been a the systems in place of

341
00:21:05,319 --> 00:21:07,960
systematic racism and stuff like that. We all have work

342
00:21:08,039 --> 00:21:10,440
to do, but it's it's something that we can all

343
00:21:11,119 --> 00:21:14,759
give each other some space to do instead of, you know,

344
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being cruel to each other.

345
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Speaker 9: No, I like the way you say that. I like

346
00:21:18,079 --> 00:21:19,759
the way you say that because I think it's important

347
00:21:19,799 --> 00:21:24,400
to you know, not everything. I mean, obviously, no one

348
00:21:24,480 --> 00:21:28,279
should be ostracized and marginalized and all of that, but

349
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I think that there's a difference, you know, fear, use

350
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that term fear, and I think that's an important word

351
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to use because people tend to fear what they don't understand,

352
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or what they've never been exposed to, or what seems

353
00:21:38,599 --> 00:21:41,960
unusual to them. And you know, not all of that

354
00:21:42,119 --> 00:21:44,559
stems from not all of it stems from hate. You know,

355
00:21:44,680 --> 00:21:47,000
some people are just blinded with hate for the you know,

356
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the quote unquote the other. And some people are just

357
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you know, they're just afraid. And I think music is

358
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a great music is a great vehicle to reach them.

359
00:21:55,599 --> 00:21:59,359
Speaker 3: I think, Yeah, I think. I mean, we're only fifty

360
00:22:00,599 --> 00:22:04,519
fifty hundred thousand years away from the Savannah, you know,

361
00:22:04,599 --> 00:22:08,839
we were. There's a lot of evolutionary imperatives that were

362
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still that created this amazing survival instinct that we have

363
00:22:15,559 --> 00:22:20,559
as Homo sapiens. And but those things can really create

364
00:22:21,039 --> 00:22:26,440
problems for us too, right, And so we're still we

365
00:22:26,559 --> 00:22:29,680
have all these instincts that cause us to be tribal

366
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and cause us to to over identify with groups. I mean,

367
00:22:35,839 --> 00:22:37,559
at the same time, we have a lot of wisdom

368
00:22:37,640 --> 00:22:39,680
that comes through with and I think a lot of

369
00:22:39,759 --> 00:22:44,279
it comes through culture and comes through art, and I

370
00:22:44,400 --> 00:22:49,640
think that helps dissolve some of this stuff and helps people,

371
00:22:51,039 --> 00:22:54,200
you know, kind of forget to be so hateful.

372
00:22:55,079 --> 00:22:58,640
Speaker 9: Yeah, yeah, absolutely, do you see reactions with your music,

373
00:22:58,640 --> 00:23:02,640
Do you see reactions from advocates, see groups, and is

374
00:23:02,839 --> 00:23:06,160
there any any contact from anybody wanting you to get

375
00:23:06,200 --> 00:23:09,559
involved with their organizations or anything because of your music specifically?

376
00:23:10,640 --> 00:23:13,400
Speaker 3: Well, yeah, I did. In fact, I when I did

377
00:23:13,440 --> 00:23:16,680
an interview with a journalist who has a series called

378
00:23:16,720 --> 00:23:21,160
on Tyranny, and it was about artists and their reactions

379
00:23:21,240 --> 00:23:25,519
to authoritarianism. So I said a bunch of this stuff

380
00:23:25,559 --> 00:23:27,480
that I just said, you know, But at the same time,

381
00:23:27,799 --> 00:23:33,440
I'm an artist, I'm not I'm getting more engaged politically,

382
00:23:33,599 --> 00:23:35,160
just on a local level here where I live in

383
00:23:35,200 --> 00:23:39,759
New Jersey. But yeah, that's just I think it's I

384
00:23:39,839 --> 00:23:44,640
think getting hand ringing and doom scrolling about the national

385
00:23:44,759 --> 00:23:51,119
political and world political situation can be a little overwhelming,

386
00:23:51,200 --> 00:23:52,799
and I think if you just get involved on your

387
00:23:52,839 --> 00:23:55,960
local level, that's way more helpful. So I've been doing

388
00:23:56,000 --> 00:23:56,279
that too.

389
00:23:56,519 --> 00:23:59,039
Speaker 9: No, that's great, I think that's I think that's great advice.

390
00:24:00,759 --> 00:24:03,559
I do want to talk a bit about the song Shame,

391
00:24:03,640 --> 00:24:06,279
and we'll we'll play that at the end of our conversation. Actually,

392
00:24:06,359 --> 00:24:10,160
I'm probably going to play both that and Brutalist Monuments

393
00:24:10,200 --> 00:24:12,559
because at the end of our conversation because I love

394
00:24:12,599 --> 00:24:14,359
both those songs, so I'll probably just play those two

395
00:24:15,000 --> 00:24:17,000
back to back. But but I do want to talk

396
00:24:17,000 --> 00:24:20,039
about Shame because officially Shame is the current single. Is

397
00:24:20,079 --> 00:24:20,519
that correct?

398
00:24:21,720 --> 00:24:24,400
Speaker 3: Yeah, it was the second single. Yes, it's the current

399
00:24:24,480 --> 00:24:26,799
single led the album.

400
00:24:27,319 --> 00:24:29,599
Speaker 9: Okay, okay, yeah, I want to ask you about this.

401
00:24:30,160 --> 00:24:33,759
This is another great track. There's an interesting line in

402
00:24:33,839 --> 00:24:37,640
it too, we eroticize what we despise, and I'm I'm

403
00:24:37,720 --> 00:24:40,160
curious about that. And uh, and if you can talk

404
00:24:40,200 --> 00:24:41,880
to about the song and you know, in a broader

405
00:24:41,920 --> 00:24:43,680
sense about what it's about, what the theme is, and

406
00:24:43,880 --> 00:24:46,599
and how it relates to everything that we've been discussing.

407
00:24:47,880 --> 00:24:51,559
Speaker 3: Well, again, I think that this was a song that

408
00:24:51,960 --> 00:24:55,480
was written. It's part of a Busherik book club event

409
00:24:56,279 --> 00:24:59,039
based around a book called When brook When Brooklyn Was Queer,

410
00:24:59,359 --> 00:25:05,640
and it was a history of queer and gay experience

411
00:25:05,839 --> 00:25:11,039
in Brooklyn for the past few hundred years. And I

412
00:25:11,160 --> 00:25:13,480
was just really struck by There was a part in

413
00:25:13,519 --> 00:25:15,400
the book where they described how there was a really

414
00:25:16,960 --> 00:25:22,680
thriving waterfront scene in Brooklyn in like the eighteen eighties

415
00:25:22,759 --> 00:25:27,799
and eighteen nineties, where and in the river on the

416
00:25:28,839 --> 00:25:32,960
Hudson River part of Brooklyn, or the Gowanis River. Maybe

417
00:25:33,200 --> 00:25:38,559
I'm sorry getting getting lost there, but that there was

418
00:25:38,640 --> 00:25:43,680
a lot of drag performing and there was these were

419
00:25:43,759 --> 00:25:47,319
kind of like bars and clubs where people would meet.

420
00:25:48,319 --> 00:25:50,079
But at the same time, there were a lot of

421
00:25:50,119 --> 00:25:53,319
people just came for the culture and came for the

422
00:25:53,480 --> 00:25:57,319
for the entertainment. And then at that time, there wasn't

423
00:25:57,319 --> 00:26:02,440
even a word homosexual had really been coined yet, and

424
00:26:03,759 --> 00:26:07,160
starting around I think it came into use around the

425
00:26:07,240 --> 00:26:12,519
time Freud was writing, and after that it became a diagnosis.

426
00:26:12,599 --> 00:26:17,079
And after that they started putting gays in jail in

427
00:26:17,880 --> 00:26:20,079
the New York area. They even made a special penitentiary

428
00:26:20,160 --> 00:26:23,000
for them, did they really? I didn't know that really

429
00:26:23,759 --> 00:26:28,720
in Brooklyn. Yeah, And it to me that just struck

430
00:26:28,839 --> 00:26:33,119
me as like once the name got coined, then a

431
00:26:33,160 --> 00:26:37,200
lot of people were able to focus in on that

432
00:26:37,359 --> 00:26:39,200
and say, oh, this is the thing we're afraid of.

433
00:26:40,519 --> 00:26:44,079
And it just reminded me of now how there's so

434
00:26:44,319 --> 00:26:51,119
much like sort of a fetishization of trans culture. And

435
00:26:51,559 --> 00:26:56,720
like RuPaul's drag race was like water cooler TV. You know,

436
00:26:56,839 --> 00:26:59,079
everybody talked about and everyone watched it and found it

437
00:26:59,119 --> 00:27:06,200
really entertaining. But then when the transidentities got weaponized by politics,

438
00:27:06,920 --> 00:27:08,880
all of a sudden, those same people who are so

439
00:27:09,119 --> 00:27:13,200
fascinated and kind of titillated by it were full of like, Okay,

440
00:27:13,279 --> 00:27:16,400
let's get these people out of public of public view.

441
00:27:17,119 --> 00:27:21,319
And I just think there's a real that my little phrase,

442
00:27:21,480 --> 00:27:25,960
we eroticize what we despise again, it's like we get

443
00:27:26,039 --> 00:27:30,440
wrapped up in identification with something that we are opposed to,

444
00:27:31,799 --> 00:27:36,640
and when actually there's a lot there's an extreme similarity

445
00:27:37,240 --> 00:27:42,160
between what we think of as our shadow, you know. Yeah,

446
00:27:43,200 --> 00:27:46,039
So this song is sort of like creates a couple

447
00:27:46,039 --> 00:27:50,880
of different identities and the verses like one person is

448
00:27:51,400 --> 00:27:54,880
going to see the entertainment and the other person is

449
00:27:54,960 --> 00:27:59,400
the entertainer, and they come together in the chorus where

450
00:28:00,519 --> 00:28:04,160
one says you'll know what you are when I give

451
00:28:04,200 --> 00:28:06,720
you a name, and the other says you'll know what

452
00:28:06,839 --> 00:28:08,759
you are when you give me a name, and it

453
00:28:08,920 --> 00:28:12,440
kind of goes back and forth, and then at the

454
00:28:12,559 --> 00:28:16,960
end it's like, you know, we're basically the same, right.

455
00:28:17,960 --> 00:28:21,039
Speaker 9: I love that. I love that. Oh, I want to

456
00:28:21,480 --> 00:28:23,319
ask you about the video too, because I love the

457
00:28:23,400 --> 00:28:26,440
video and I was reading that you worked with Hypno

458
00:28:26,559 --> 00:28:31,440
Doll as the director and editor and Alice Teepele as cinematographer,

459
00:28:31,480 --> 00:28:32,200
if I have that correct.

460
00:28:32,279 --> 00:28:32,440
Speaker 7: Yeah.

461
00:28:32,839 --> 00:28:36,839
Speaker 3: Yeah. Hypna Doll is a friend of mine who has

462
00:28:36,920 --> 00:28:39,319
been doing my artwork for the past couple albums and

463
00:28:39,720 --> 00:28:42,559
has done several videos for me, and we just relate

464
00:28:42,640 --> 00:28:45,519
really well. And she came up with the concept for

465
00:28:45,599 --> 00:28:47,640
the video of a band that kind of exists in

466
00:28:47,799 --> 00:28:52,640
several different time zone timelines. Yeah, and so, and then

467
00:28:53,839 --> 00:28:55,759
we had a whole bunch of our friends kind of

468
00:28:55,880 --> 00:28:57,680
join us at the end, like the band sort of

469
00:28:57,759 --> 00:29:02,559
explodes into a bunch of different identities. But we did it.

470
00:29:02,720 --> 00:29:04,759
You know, we did it in my recording studio.

471
00:29:04,880 --> 00:29:05,039
Speaker 8: You know.

472
00:29:05,200 --> 00:29:09,000
Speaker 3: It was definitely not trying to look high budget, but

473
00:29:09,079 --> 00:29:11,839
it the editing is so good, has a great energy.

474
00:29:12,200 --> 00:29:15,319
Speaker 9: It does it really does. No, it's great. I love it.

475
00:29:16,480 --> 00:29:20,400
And uh yeah, that's it's so important too. I think

476
00:29:21,640 --> 00:29:23,799
it's it to some people. It might sound odd to

477
00:29:23,839 --> 00:29:25,559
say this in the year twenty twenty five, but I

478
00:29:25,599 --> 00:29:28,680
think music videos are more important than they've ever been,

479
00:29:29,240 --> 00:29:31,920
you know, especially now. I mean MTV is apparently going

480
00:29:31,920 --> 00:29:34,359
away permanently, but they haven't played music videos in forever,

481
00:29:34,480 --> 00:29:36,799
but uh, I've noticed, and I don't know if you've

482
00:29:36,839 --> 00:29:38,920
noticed this. People outside the music industry, a lot of

483
00:29:38,920 --> 00:29:41,960
people have this perception that music video as an art

484
00:29:42,039 --> 00:29:45,240
form is dead, you know, because MTV gave up on it,

485
00:29:45,440 --> 00:29:48,359
you know, a couple decades ago. But in reality, because

486
00:29:48,359 --> 00:29:51,359
of social media, I think making videos and making a

487
00:29:51,440 --> 00:29:53,720
great video, it's a great video, even if it's low budget,

488
00:29:53,720 --> 00:29:56,480
it's I think it's fantastic, like like the video for Shame.

489
00:29:56,839 --> 00:30:00,680
It's so it's so important as a as a tool

490
00:30:00,880 --> 00:30:04,240
to get your you know, people. Still it's always been

491
00:30:04,279 --> 00:30:05,839
the case, at least since I was a kid, and

492
00:30:05,880 --> 00:30:08,039
it's still the case today. People listen with their eyes

493
00:30:08,599 --> 00:30:11,519
just as much as they do with their ears exactly.

494
00:30:11,839 --> 00:30:16,240
Speaker 3: There's been a lot of notice that came from exerpting

495
00:30:16,279 --> 00:30:18,359
the video and putting up in little bites and then

496
00:30:18,920 --> 00:30:22,160
sharing the whole video, but just also just that it

497
00:30:22,400 --> 00:30:26,240
had a performance aspect involved all these other people. I mean,

498
00:30:26,319 --> 00:30:28,880
but there are other videos that Himnadala has done for me,

499
00:30:29,039 --> 00:30:33,279
like for the song Drown, that were more just full

500
00:30:33,319 --> 00:30:35,799
of images and stuff, So I mean, I think they're different.

501
00:30:35,839 --> 00:30:38,720
There's room for different ways to approach it, But I agree.

502
00:30:38,759 --> 00:30:40,640
I want to make some more videos myself for some

503
00:30:40,759 --> 00:30:42,359
of the for some more of the songs.

504
00:30:42,559 --> 00:30:46,240
Speaker 9: Yeah, yeah, no doubt, no doubt. So what's kind of

505
00:30:47,799 --> 00:30:50,680
the future trajectory? Do you have another? Is there another

506
00:30:50,799 --> 00:30:53,720
single that's going to be coming after Shame or what's

507
00:30:53,880 --> 00:30:55,880
what's kind of the short term or even the long

508
00:30:56,000 --> 00:30:56,440
term plan.

509
00:30:57,559 --> 00:31:00,960
Speaker 3: Yeah, that there'll be one more single. I'm trying to

510
00:31:01,039 --> 00:31:03,480
decide which one it is. It might be Brutalless Monuments,

511
00:31:03,640 --> 00:31:06,720
or might be another completely different kind of song that's

512
00:31:06,759 --> 00:31:12,039
called Today that's on the album as well. But I

513
00:31:12,079 --> 00:31:15,319
don't know. I've put together a really great band and

514
00:31:15,799 --> 00:31:19,720
we've started performing, and we have another show this month,

515
00:31:20,279 --> 00:31:23,640
I'm sorry, in December. It's almost December, and I just

516
00:31:23,720 --> 00:31:29,880
want to keep playing out and just bringing in new

517
00:31:29,960 --> 00:31:35,240
possibilities by putting myself out there and playing the music.

518
00:31:35,440 --> 00:31:38,319
And you know, I'm sure at some point I'll have

519
00:31:38,480 --> 00:31:41,759
enough songs to do another release. I might not do

520
00:31:41,960 --> 00:31:45,519
full albums. I said that this time. Yeah, I did

521
00:31:45,559 --> 00:31:48,319
throughout full album, but I think you know, a lot

522
00:31:48,400 --> 00:31:50,680
of times people just put on EPs now and they

523
00:31:50,720 --> 00:31:54,599
don't have to take us long between releases. That's intriguing

524
00:31:54,680 --> 00:31:58,480
to me. Yeah, But you know, I have a besides

525
00:31:58,599 --> 00:32:01,440
the next show I have of as Charlie Eland for

526
00:32:01,559 --> 00:32:05,160
my band, I'm doing a Loser's Lounge performance at the

527
00:32:05,200 --> 00:32:08,640
beginning of December where they're doing Brian Wilson and the

528
00:32:08,720 --> 00:32:11,319
Beach Boys, and I'm singing a Beach Boys song I

529
00:32:11,400 --> 00:32:13,559
really love called All I Want to Do. And that's

530
00:32:14,359 --> 00:32:18,920
really exciting to sing. It's really nerve wracking just to

531
00:32:18,960 --> 00:32:22,039
sing one song in front of a crowded room, you know, yeah,

532
00:32:22,279 --> 00:32:24,920
with a great, great band, But it's It's taught me

533
00:32:24,960 --> 00:32:29,240
a lot about how to breathe and be in the moment,

534
00:32:29,519 --> 00:32:33,400
and it's really helped my own performing for my music too.

535
00:32:33,599 --> 00:32:37,359
Speaker 9: Oh excellent, excellent, Charlie. Where's the best place for people

536
00:32:37,400 --> 00:32:39,400
to go online to keep up with everything that you're doing?

537
00:32:40,559 --> 00:32:40,720
Speaker 3: Well?

538
00:32:40,880 --> 00:32:41,000
Speaker 8: Is it?

539
00:32:41,119 --> 00:32:44,599
Speaker 3: Charlie land website and I E L A and d

540
00:32:45,119 --> 00:32:49,480
yes And you know, I sell the music through band camp,

541
00:32:50,000 --> 00:32:53,799
which isn't not all people know about that. I mean,

542
00:32:53,880 --> 00:32:57,319
of course I'm on streaming all the streaming platforms, but

543
00:32:57,480 --> 00:32:59,640
band camp is a way you can stream and you

544
00:32:59,720 --> 00:33:03,279
can all so buy the music as a digital release.

545
00:33:03,759 --> 00:33:07,200
In any form that you like. Yeah, and I you

546
00:33:07,279 --> 00:33:10,920
know a lot of my artists friends work on that too,

547
00:33:11,039 --> 00:33:12,559
and we all kind of support each other on that.

548
00:33:12,759 --> 00:33:15,839
So check out band camp. I'm on band camp, I'm

549
00:33:15,880 --> 00:33:19,319
on Apple Music and Spotify and all those places.

550
00:33:19,759 --> 00:33:23,680
Speaker 9: Absolutely, absolutely well Charlie neland thank you so much for

551
00:33:23,759 --> 00:33:26,200
joining us this morning. This has been fantastic. I'm actually

552
00:33:26,240 --> 00:33:28,200
gonna play I will have time, so I'm gonna play

553
00:33:28,200 --> 00:33:31,680
both Shame and then I'm gonna play Brutalist Monuments as well,

554
00:33:31,759 --> 00:33:35,200
but both both great tracks. But I really appreciate you

555
00:33:35,319 --> 00:33:37,720
joining us. This has been a fascinating discussion. I love

556
00:33:37,759 --> 00:33:40,640
your music, and hey, when the next single is ready

557
00:33:40,680 --> 00:33:42,839
to go, I definitely want to have you back on

558
00:33:42,960 --> 00:33:44,400
if you're amenable.

559
00:33:44,000 --> 00:33:46,839
Speaker 3: To that, I'd love that. Thank you so much, Matt.

560
00:33:46,880 --> 00:33:48,640
This has been a total pleasure, wonderful.

561
00:33:48,640 --> 00:33:50,240
Speaker 9: All right, thanks Charlie. We'll let you go and now

562
00:33:50,400 --> 00:33:52,039
have a great have a great weekend.

563
00:33:52,359 --> 00:33:54,680
Speaker 3: You too, all right, take care, bye bye bye bye.

564
00:33:55,160 --> 00:33:58,240
Speaker 9: All right, that was Charlie Niland And let's play these.

565
00:33:58,240 --> 00:34:00,519
I'm gonna play both of these. We're gonna play Shame.

566
00:34:01,079 --> 00:34:03,160
This is a great track. Yeah, pay attention to the lyrics,

567
00:34:03,200 --> 00:34:05,240
and I appreciate I appreciate the song even more now

568
00:34:05,279 --> 00:34:07,559
that I know after talking to Charlie, now that I

569
00:34:07,680 --> 00:34:11,039
know exactly what's going on, uh in these lyrics and

570
00:34:11,159 --> 00:34:13,800
the different characters. But yeah, this is this is interesting,

571
00:34:13,920 --> 00:34:16,480
so pay attention. But this is really good. This is

572
00:34:16,559 --> 00:34:26,079
shame by Charlie Neland yeah, m hm, you're.

573
00:34:25,800 --> 00:34:34,280
Speaker 3: A perfect fit for my misinformed rage scanning down the page,

574
00:34:36,400 --> 00:34:41,239
dancing on the stage. We tend to be replaced by

575
00:34:41,320 --> 00:34:48,639
this catestriphizing space. I want to mask a rade.

576
00:34:48,599 --> 00:34:50,639
Speaker 4: And disappearing worlds.

577
00:34:54,199 --> 00:34:55,679
Speaker 3: You're looking like a man, but.

578
00:34:55,840 --> 00:35:02,400
Speaker 2: Just sound just like a girl by meed of the

579
00:35:02,559 --> 00:35:04,639
things that I could never tame.

580
00:35:12,280 --> 00:35:13,400
Speaker 10: You know what you are?

581
00:35:13,559 --> 00:35:27,320
Speaker 3: When give you name down by the waterfront, you cannot

582
00:35:27,599 --> 00:35:28,199
go away.

583
00:35:30,079 --> 00:35:34,800
Speaker 2: Today is just the day you found a part two

584
00:35:35,039 --> 00:35:44,239
play same space, dying to be heard by an adverse.

585
00:35:43,920 --> 00:35:50,960
Speaker 10: Flirt black bilt in cell work of.

586
00:35:51,360 --> 00:36:06,679
Speaker 14: Art, footing forward, taste of your collective blame, shame, don't

587
00:36:06,800 --> 00:36:07,599
know what you are?

588
00:36:07,800 --> 00:36:10,639
Speaker 9: Wind give me a name, shame.

589
00:36:13,880 --> 00:36:16,519
Speaker 2: See if bizarre to you will disguise.

590
00:36:16,119 --> 00:36:16,960
Speaker 7: Your own pain.

591
00:36:24,719 --> 00:36:31,320
Speaker 2: Call it little darling, I call a little child for

592
00:36:31,519 --> 00:36:33,840
your attention with starving.

593
00:36:35,559 --> 00:36:39,559
Speaker 3: Cool so composed the cools full of rage? Who is

594
00:36:39,639 --> 00:36:44,000
in control? Who is in the cage? Push the button

595
00:36:44,119 --> 00:36:45,119
when it plays.

596
00:36:44,920 --> 00:36:45,880
Speaker 2: Out on the stage.

597
00:36:46,440 --> 00:36:52,000
Speaker 10: Shame, You don't know who you are when you find

598
00:36:52,079 --> 00:36:57,760
him what you're blame? Shame, you know what you.

599
00:36:57,960 --> 00:36:59,880
Speaker 9: Are when you mean name.

600
00:37:00,800 --> 00:37:07,159
Speaker 8: Shame where exactly exactly exactly the same?

601
00:37:07,960 --> 00:37:15,599
Speaker 15: Shame when you kidder, when you're kidder, until you're kidder,

602
00:37:16,639 --> 00:37:18,760
When you kidder when.

603
00:37:18,679 --> 00:37:20,559
Speaker 4: You're kidder the name when you.

604
00:37:20,719 --> 00:37:26,639
Speaker 5: Kid show.

605
00:37:36,880 --> 00:38:13,559
Speaker 4: Shows fiction and destruction.

606
00:38:15,000 --> 00:38:18,079
Speaker 3: We can't seem to give more than we take.

607
00:38:21,119 --> 00:38:27,480
Speaker 6: We are so constructed, designed to reveal our dead mistakes,

608
00:38:30,159 --> 00:38:36,719
the form expressing nothing except to stay alive at derny cars.

609
00:38:39,599 --> 00:38:44,880
Could it be we're bluffing, picking up for something that

610
00:38:45,199 --> 00:38:45,960
we've lost.

611
00:38:49,480 --> 00:38:51,679
Speaker 2: Our groups lest.

612
00:38:51,719 --> 00:38:54,440
Speaker 10: One hundred thousand years surviving?

613
00:38:55,159 --> 00:38:56,760
Speaker 4: Just what didly?

614
00:38:57,880 --> 00:39:00,679
Speaker 2: We cannot find the soul in side of.

615
00:39:10,280 --> 00:39:12,159
Speaker 4: See how fun we travel?

616
00:39:13,440 --> 00:39:20,000
Speaker 6: We were starstaand slimed in things with brains, all our

617
00:39:20,159 --> 00:39:21,440
plans on level.

618
00:39:22,679 --> 00:39:25,760
Speaker 4: How are we social? We're not the same?

619
00:39:28,880 --> 00:39:34,079
Speaker 2: How are we superior? We can't even see just what

620
00:39:34,400 --> 00:39:35,159
we are.

621
00:39:37,960 --> 00:39:43,480
Speaker 1: Enjoy the plush interior, rows and rows of monkey head

622
00:39:43,639 --> 00:39:44,480
some jobs.

623
00:39:47,239 --> 00:39:52,760
Speaker 2: We are roots less, severn hearts in my connection.

624
00:39:53,480 --> 00:39:56,039
Speaker 4: Now here comes the twiz.

625
00:39:56,559 --> 00:40:05,679
Speaker 2: He become the architecture, biking monuments to miss the direction.

626
00:40:05,800 --> 00:40:07,519
Speaker 10: So bred.

627
00:40:08,880 --> 00:40:11,559
Speaker 4: Victory by the this section.

628
00:40:24,159 --> 00:40:30,440
Speaker 6: Fiction by destruction, we just cannot help but take that shape.

629
00:40:33,480 --> 00:40:39,800
We are so constructed, designed to reveal our big mistakes.

630
00:40:42,719 --> 00:40:45,559
Speaker 4: We our roots less.

631
00:40:45,760 --> 00:40:51,519
Speaker 11: Severn hearts, and by connection now becomes twist.

632
00:40:51,960 --> 00:40:54,480
Speaker 4: He become the architecture.

633
00:40:55,039 --> 00:40:57,039
Speaker 7: He became.

634
00:40:58,119 --> 00:41:03,039
Speaker 1: Monuments to mister Boutell best.

635
00:41:04,239 --> 00:41:05,880
Speaker 13: Mom, you man.

636
00:41:11,920 --> 00:41:13,639
Speaker 9: Foodte thats.

637
00:41:14,960 --> 00:41:23,960
Speaker 2: Ma, you man, booto.

638
00:41:25,760 --> 00:41:35,239
Speaker 9: Mom, you man Buchell, thats.

639
00:41:36,559 --> 00:41:37,960
Speaker 4: Mom, you man.

640
00:42:24,159 --> 00:42:28,519
Speaker 9: It's just epic. That is brutalist monuments, that is Charlie Neland.

641
00:42:28,599 --> 00:42:30,920
And before that we heard Shame, the current single from

642
00:42:31,000 --> 00:42:34,079
Charlie Neland, and really loved talking with him. If you

643
00:42:34,159 --> 00:42:36,480
missed any of it, definitely go back and check it out.

644
00:42:36,719 --> 00:42:38,440
I want to thank everybody who joined us today on

645
00:42:38,559 --> 00:42:40,719
Matt Connorton Unleashed. Of course, in the first hour we

646
00:42:40,800 --> 00:42:44,320
had six minds combined, and then in the second hour

647
00:42:44,480 --> 00:42:47,719
we had let's see, Jamie Higgs joined us to talk

648
00:42:47,760 --> 00:42:51,400
about his newest single. We talk followed by Adam Adam

649
00:42:51,480 --> 00:42:54,000
Hughes from at H and I really enjoyed talking with

650
00:42:54,119 --> 00:42:57,599
him too, so fun show today. If you missed any

651
00:42:57,639 --> 00:42:58,960
part of it, it'll be up in just a little

652
00:42:58,960 --> 00:43:01,719
bit at WMMH Radio dot organ in my website Matt

653
00:43:01,760 --> 00:43:04,920
Connorton dot com. Jenny should be back with us next week.

654
00:43:04,960 --> 00:43:07,079
If you want to keep up with everything that she's doing,

655
00:43:07,519 --> 00:43:09,679
go to Jencoffee dot com. And if you want to

656
00:43:09,719 --> 00:43:11,719
keep up with everything I'm doing, go to Matt Connorton

657
00:43:11,760 --> 00:43:15,159
dot com. And uh, really appreciate everyone who joined us today.

658
00:43:15,480 --> 00:43:20,199
Like I said, a couple other quick things. Uh, my dad,

659
00:43:20,679 --> 00:43:23,679
if he's listening, Dad, I love you, uh quick shout

660
00:43:23,719 --> 00:43:25,199
out to him. He did say he was going to

661
00:43:25,280 --> 00:43:27,880
listen this morning. I don't want to say too much

662
00:43:27,880 --> 00:43:29,599
about it because I want to protect his privacy, but

663
00:43:29,719 --> 00:43:34,119
he's been under the weather quite severely, so I appreciate

664
00:43:34,199 --> 00:43:37,039
any prayer's positive energy, whatever you would like to send

665
00:43:37,960 --> 00:43:40,119
my dad's way. He could certainly use it now.

666
00:43:40,360 --> 00:43:40,480
Speaker 16: You know.

667
00:43:40,519 --> 00:43:41,760
Speaker 9: I think he's going to make it through it. But

668
00:43:42,199 --> 00:43:43,840
again I don't want to say too too much, but

669
00:43:44,639 --> 00:43:47,599
but he's you know, things, things have been tough for him,

670
00:43:47,679 --> 00:43:51,679
so to say the very least. So uh So, hello Dad,

671
00:43:51,719 --> 00:43:54,880
if you're listening this morning, and uh uh thinking of you,

672
00:43:55,039 --> 00:43:57,480
of course. And the other thing I want to mention too,

673
00:43:57,639 --> 00:44:02,360
just briefly, is uh, come see Monday nights at Shorty's

674
00:44:02,800 --> 00:44:06,400
Mexican Roadhouse in Manchester. It's right on the Manchester Hooks

675
00:44:06,400 --> 00:44:09,079
at border. But if you don't know, I run trivia

676
00:44:09,159 --> 00:44:12,079
there every Monday night from six to eight pm. It's

677
00:44:12,119 --> 00:44:15,320
a lot of fun and come see me and you

678
00:44:15,440 --> 00:44:18,119
can win a gift card for Shorties. The food is amazing,

679
00:44:18,559 --> 00:44:20,840
the staff there is incredible, and you get to hang

680
00:44:20,880 --> 00:44:23,320
out with me for a couple hours. So king trivia

681
00:44:23,480 --> 00:44:27,079
every Monday night at Shorty's Mexican Roadhouse from six to

682
00:44:27,119 --> 00:44:30,239
eight pm. I think that's gonna do it for now.

683
00:44:30,440 --> 00:44:32,880
So we'll do our world radio premieres. We have a

684
00:44:32,920 --> 00:44:35,079
few premieres to share that we shared at the top

685
00:44:35,119 --> 00:44:36,559
of the show today, but if you missed them, I'm

686
00:44:36,559 --> 00:44:40,079
going to play them again right now. Some amazing artists

687
00:44:40,119 --> 00:44:42,599
who again these are artists who they have not been

688
00:44:42,679 --> 00:44:47,599
heard prior to today on American radio. And we here

689
00:44:48,119 --> 00:44:51,360
on Matt Connorton Unleashed and at WMNH ninety five point

690
00:44:51,440 --> 00:44:53,960
three have the honor and privilege of being the first

691
00:44:54,039 --> 00:44:57,519
American radio stations to play these incredible new singles from

692
00:44:57,599 --> 00:45:01,880
these artists and very very excited about that. So appreciate

693
00:45:01,960 --> 00:45:04,559
all the support, Love you all, and that's gonna do

694
00:45:04,639 --> 00:45:07,800
it for this. Matt Connorton Unleashed here and again. If

695
00:45:07,840 --> 00:45:10,400
you missed any part of it, go to wmnhradio dot

696
00:45:10,519 --> 00:45:12,760
org to get the show, or you can go to

697
00:45:12,840 --> 00:45:16,159
my website Mattconnorton dot com, or get the podcast version

698
00:45:16,280 --> 00:45:20,079
on the podcast platform of your choice. It is very

699
00:45:20,159 --> 00:45:22,320
easy to find, and it's very easy to find my

700
00:45:22,480 --> 00:45:25,039
name because Connorton is not a common name, So if

701
00:45:25,079 --> 00:45:28,079
you google Matt Connorton, chances are you're going to find me.

702
00:45:29,800 --> 00:45:31,800
There are not many Connortons. All right, that's gonna do

703
00:45:31,880 --> 00:45:33,039
it for us for now. We'll talk to you a

704
00:45:33,079 --> 00:45:35,679
little bit later. Here's some world premieres for you. Bye, everybody.

705
00:45:38,440 --> 00:45:44,400
Speaker 13: You're listening to Matt Connorton Unleashed on WMNHW five point.

706
00:45:44,320 --> 00:45:48,360
Speaker 9: Three and now the world radio premiere of the new

707
00:45:48,519 --> 00:45:52,639
single from Rivia Something in the Water.

708
00:46:12,199 --> 00:46:15,519
Speaker 17: Oh you can see me now, fit out would make

709
00:46:15,639 --> 00:46:21,320
you proud. Trum so far from Mona yesterday, I feel

710
00:46:21,400 --> 00:46:24,960
me still not clear? How the hell do we get here?

711
00:46:25,320 --> 00:46:27,920
The rest of years it'sern in suahge.

712
00:46:31,079 --> 00:46:33,239
Speaker 9: It's a concerning.

713
00:46:32,719 --> 00:46:34,559
Speaker 7: Family and I mean none.

714
00:46:34,639 --> 00:46:36,639
Speaker 4: There's nothing from me in a still.

715
00:46:37,800 --> 00:46:42,840
Speaker 5: I don't want a time for got. I've got a

716
00:46:42,880 --> 00:46:44,119
good train way.

717
00:46:44,360 --> 00:46:45,440
Speaker 4: Get up to the Free.

718
00:46:46,360 --> 00:46:47,840
Speaker 15: It's just a dot of pro.

719
00:46:51,039 --> 00:46:51,440
Speaker 7: Sting.

720
00:46:53,000 --> 00:46:53,360
Speaker 4: It's not.

721
00:46:56,679 --> 00:46:58,000
Speaker 9: Always chasing something.

722
00:46:58,119 --> 00:47:00,519
Speaker 4: You got to something in the view.

723
00:47:01,079 --> 00:47:03,239
Speaker 7: Am I going on my way?

724
00:47:05,519 --> 00:47:08,880
Speaker 8: Not want to the awful look that you never thought

725
00:47:08,960 --> 00:47:11,039
that you I am lunch to you.

726
00:47:11,320 --> 00:47:19,000
Speaker 5: And all your games me, I mean it all.

727
00:47:19,079 --> 00:47:20,400
Speaker 7: There's nothing for me.

728
00:47:20,639 --> 00:47:24,960
Speaker 9: I said, I don't want to tell you that I wanted.

729
00:47:26,360 --> 00:47:29,920
Speaker 11: I gotta got the train anyway, got on to the Free.

730
00:47:31,239 --> 00:47:37,840
Just a dot croly the sots not.

731
00:48:19,679 --> 00:48:22,800
Speaker 5: Fick out about that track you want to do.

732
00:48:24,119 --> 00:48:25,239
Speaker 11: It's just a down.

733
00:48:28,559 --> 00:48:29,119
Speaker 5: The south.

734
00:48:33,280 --> 00:48:33,840
Speaker 7: I don't want.

735
00:48:34,000 --> 00:48:34,679
Speaker 4: That's out.

736
00:48:37,480 --> 00:48:38,039
Speaker 12: The south.

737
00:48:42,159 --> 00:48:43,320
Speaker 3: Don't want that's.

738
00:48:46,360 --> 00:48:47,000
Speaker 4: The Southern.

739
00:48:52,480 --> 00:48:56,559
Speaker 9: Here's another exclusive, the new single by the forensics. This

740
00:48:56,760 --> 00:49:22,079
is called not giving up. There's nothing near.

741
00:49:22,159 --> 00:49:24,639
Speaker 5: I found me your own school breed chance.

742
00:49:24,920 --> 00:49:28,119
Speaker 4: It's not the thing that they could try to teach us.

743
00:49:28,559 --> 00:49:30,480
Speaker 12: Well, the will it's changed.

744
00:49:30,599 --> 00:49:32,199
Speaker 15: She chance to dig.

745
00:49:35,960 --> 00:49:36,280
Speaker 4: Got me.

746
00:49:36,920 --> 00:49:40,840
Speaker 8: It's something lost on her share where always meaning so

747
00:49:41,079 --> 00:49:44,559
we never lend day, he said, let him save He

748
00:49:44,719 --> 00:49:47,039
had decided honestly.

749
00:49:50,239 --> 00:49:53,119
Speaker 7: Cause I know not you didn't know.

750
00:49:53,599 --> 00:49:57,480
Speaker 4: It's take an chance, Nay, it's not dead and.

751
00:49:57,639 --> 00:50:01,679
Speaker 3: Some problem that it comes the least stay up tonight.

752
00:50:05,239 --> 00:50:06,760
Speaker 5: When Dolph says.

753
00:50:06,679 --> 00:50:10,719
Speaker 8: There's not even though to bee the one you will

754
00:50:10,800 --> 00:50:16,400
figure out to mom never comes us to stands out tonight,

755
00:50:42,239 --> 00:50:47,480
I know why God if he no say nine says

756
00:50:47,519 --> 00:50:52,239
it's my and some mom never comes. There's the stands

757
00:50:52,480 --> 00:50:53,320
out tonight?

758
00:50:56,960 --> 00:50:59,880
Speaker 11: Why Dolf fast there's not even though.

759
00:51:03,880 --> 00:52:20,679
Speaker 8: It's a lot of times stout that TODs to stay,

760
00:52:32,559 --> 00:52:35,480
listens to stay.

761
00:52:55,400 --> 00:52:57,960
Speaker 9: Here's another exclusive premiere for you this week, the new

762
00:52:58,000 --> 00:53:01,880
single from Paul Nasal neighbor Cadnezzar.

763
00:53:20,400 --> 00:53:26,519
Speaker 18: Found Forever. Like member Connessa, I know that whereever you go,

764
00:53:28,519 --> 00:53:31,480
that's is the distance, and you find.

765
00:53:31,320 --> 00:53:34,840
Speaker 12: The difference so much less than you know.

766
00:53:36,679 --> 00:53:42,920
Speaker 18: I said the under the Cognac thunder serenity.

767
00:53:42,239 --> 00:53:43,960
Speaker 9: Or instead.

768
00:53:45,519 --> 00:53:49,239
Speaker 4: My life found the break the ships. I still see

769
00:53:49,639 --> 00:53:50,599
no thoughts.

770
00:53:50,360 --> 00:53:51,480
Speaker 2: Left to say.

771
00:54:17,400 --> 00:54:21,119
Speaker 18: It's not a dream of a distance between us, and

772
00:54:21,360 --> 00:54:23,119
still I cannot.

773
00:54:22,800 --> 00:54:23,840
Speaker 5: Let you come.

774
00:54:25,320 --> 00:54:29,079
Speaker 18: Stops making notions and sicklical oceans.

775
00:54:29,480 --> 00:54:31,760
Speaker 12: See how the watters.

776
00:54:31,360 --> 00:54:37,480
Speaker 8: Can leave in my love on the shop, Fly home

777
00:54:38,400 --> 00:54:40,559
to answer a cold.

778
00:55:06,159 --> 00:55:11,679
Speaker 4: Days of confusion, the love the illusion with est into.

779
00:55:11,559 --> 00:55:18,800
Speaker 18: The shows through blo disentition to see revelation about it

780
00:55:19,199 --> 00:55:20,440
is open to you.

781
00:55:50,639 --> 00:55:53,679
Speaker 16: When Matso wakes up in the morning, he gets into

782
00:55:53,800 --> 00:55:56,840
the shower and to the top of his lungs.

783
00:55:56,840 --> 00:55:58,360
Speaker 7: He sings.

784
00:56:01,679 --> 00:56:11,880
Speaker 8: The radio show Now all the Best and Jammy.

785
00:56:15,840 --> 00:56:20,440
Speaker 13: You're listening to Matt Connordson Unleashed on WM and AH

786
00:56:21,000 --> 00:56:21,960
five point three.

787
00:56:30,719 --> 00:56:33,719
Speaker 19: Hey, this is Rob Azevido, host the Granite State of Mind,

788
00:56:34,039 --> 00:56:36,239
and I'm here to tell you about. Pembroke City Limits

789
00:56:36,320 --> 00:56:39,440
in the historic sun Cook Village. PCL is an award

790
00:56:39,519 --> 00:56:43,480
winning bar, restaurant and music venue with live performances five

791
00:56:43,599 --> 00:56:46,639
days a week and twice on Saturdays. Everything from country,

792
00:56:46,800 --> 00:56:48,199
lose funk, and a.

793
00:56:48,199 --> 00:56:49,119
Speaker 12: Whole lot of jazz.

794
00:56:49,239 --> 00:56:52,280
Speaker 16: PCL has twelve local beers on tap and some really

795
00:56:52,360 --> 00:56:56,559
delicious food to serve you. PCL also offers yoga, line dancing,

796
00:56:56,719 --> 00:57:00,199
tarot card reading, cribbage game, night, dog adoption events, and

797
00:57:00,360 --> 00:57:03,039
much much more. Come visit Pembroke City Limits at one

798
00:57:03,159 --> 00:57:05,960
thirty four Main Street in the historic Suncook Village.

799
00:57:06,039 --> 00:57:07,559
Speaker 19: Pembrooke Citylimits dot.

800
00:57:07,480 --> 00:57:14,159
Speaker 12: Com, Nana's Kitchen and Pizzeria.

801
00:57:14,519 --> 00:57:20,559
Speaker 17: From Nana's hands to your plate tradition, love and taste.

802
00:57:20,639 --> 00:57:25,880
Speaker 8: That's great, so fermented dough, flavor, so true.

803
00:57:28,239 --> 00:57:31,519
Speaker 12: Each bite, the story made.

804
00:57:31,880 --> 00:57:32,480
Speaker 9: Just for you.

805
00:57:33,519 --> 00:57:37,280
Speaker 12: Six o three two three two nine three six six

806
00:57:38,079 --> 00:57:43,400
Nana's Kitchen and Pizzeri fifteen Dartmouth Dry Auburn, New Hampshire.

807
00:57:44,679 --> 00:57:47,079
Speaker 9: Kitchen and Mizar.

808
00:57:48,840 --> 00:57:51,480
Speaker 20: Disneys Cafe is the place to put a smile on

809
00:57:51,559 --> 00:57:54,000
your face. Judy and the crew will take care of you.

810
00:57:54,239 --> 00:57:57,920
Bring your appetite and treat your taste buds right. Disiness

811
00:57:58,000 --> 00:58:02,119
Cafe is always a winning choice. Breakfast, lunch or supper.

812
00:58:02,599 --> 00:58:06,840
Dizze's Cafe at eight sixty Elm Street in downtown Manchester.

813
00:58:07,320 --> 00:58:10,719
Dine in, takeout or make a reservation call six oh three,

814
00:58:11,159 --> 00:58:15,440
six oh six two five three two each, drink and

815
00:58:15,599 --> 00:58:17,519
be happy Dizney's Cafe.

816
00:58:19,480 --> 00:58:20,280
Speaker 9: You are listening to.

817
00:58:20,519 --> 00:58:26,599
Speaker 3: Wm NHLP Manchester's radio podcasting from the top of one thousand.

818
00:58:26,280 --> 00:58:27,119
Speaker 9: Elms Street eights.

819
00:58:27,320 --> 00:58:30,679
Speaker 3: Our studios are located at one nineteen Canal Streets and

820
00:58:31,079 --> 00:58:34,960
Likedans to Manchester Public Television Service in Manchester, New Hampshire.

821
00:58:35,440 --> 00:58:39,559
Speaker 19: Contact us by email at wm NH nine y three

822
00:58:39,800 --> 00:58:44,960
at gmail dot com, or through our website at wmmhradio

823
00:58:45,239 --> 00:58:46,679
dot orgil