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Speaker 1: 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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w n H ninety five point three FM in Glorious Manchester,

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New Hampshire. And of course you can stream the show

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from anywhere. Go to Matt connorton dot com, slash live

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for all of your live streaming options, social media links,

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contact infosho, archives, et cetera, et cetera. But let's get

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Charlie in here, because I am dying to talk with him. Charlie,

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are you there, Hi, Matt, Hey, Welcome to the show.

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First question, how do you say your last name Niland?

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It is Nland? Okay, good, I got it right, I

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

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

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

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great track. Who is that on the song with you

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at the end, who's rapping?

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Speaker 2: 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 you get to

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the song.

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Speaker 1: 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. You know.

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It's a nice surprise, because sometimes somebody might try to

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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?

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Speaker 2: Actually, right, yeah, it's just been a few weeks.

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Speaker 1: 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're you've been around a while. You know, you've worked

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with people like Debbie Harry, Blondie, Rufus, Wainwright, Scissor Sisters.

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

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I really want to know tell us a little bit

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

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

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with your music, But I also would like to know

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more about you.

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Speaker 2: 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

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Objects Okay, and then I started producing it became part

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of a production team, and that's where I worked with

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Debbie Harry on her solo album called Necessary Evil, which

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came out in two thousand and seven, Okay, And that

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was a really exciting experience, and basically we just continued

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writing with her after the album came out and ended

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up having some of those songs be on the next

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Blondie record in twenty eleven.

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Speaker 1: Oh wow.

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Speaker 2: 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'm now. This is my fourth album.

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Speaker 1: 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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solo artist? Is that? I don't know if more satisfying

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is probably probably not necessarily how you'd want to put it,

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but you understand what I'm asking you. I mean, do

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you get what do you get the most from in

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terms of what you're doing because you've worked in all

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these different areas well.

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Speaker 2: 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 show

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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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Speaker 1: Yeah.

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Speaker 2: 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

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those Yeah, and I get to do that a lot

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in production, but when I produce my own music, it

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does it gets to be It's interesting because I can

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really take my time in certain parts of the process

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and just try a lot of different ideas, yeah, and

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slowly build up layers. I think on stories from the borderlines,

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there's a lot of that. It's kind of like a

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musical diary. Okay, okay.

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Speaker 1: In terms of, uh, how you approach how you approach songwriting,

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I'm curious if do you consciously try to do something

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that's that's unique and out of the mainstream or does

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that sort of happen organically because these songs, you know,

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none of them are anything that you would necessarily hear, Like,

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I don't know what radio format they would fit into

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necessarily on commercial radio. You know, they're they're they're different,

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which is what makes them so interesting. They're very catchy,

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

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they're also unique. It kind of reminds me of just

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a random example, like like if a band like Talking

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Heads were to exist today and someone asked me, Matt,

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what would you do with this band? You know, and Obviously,

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Talking Heads was hugely commercially successful in the eighties. But

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

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and Matt, someone said, Matt, what do you do with

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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 2: 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 at 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 where someone like Prince came from,

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or Bowie or Talking Heads, where like the Talking Heads

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weren't commercially successful at first.

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Speaker 1: Right, it took a while.

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Speaker 2: Yeah, but now they're remembered because they did succeed as

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a college rock band. And again that was college rock

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became alternative. You know, in the eighties, alternative didn't necessarily

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mean what it meant in the nineties, it was kind

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of 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 1: Yeah, and I've just.

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Speaker 2: 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 1: Yeah, yeah, excellent, excellent. I do want to hear more

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about the Bushwick book Love, 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 their their

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their judgments or assessments of it.

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Speaker 2: Well, it's fun because everybody has a different approach. Yeah,

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and the book for me, I always write a song

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that can stand outside the busher Club performance. You don't

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

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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 books. 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

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

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And that was part of an interesting an interesting thing

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that happened where we got invited to the Kurt Vonnegut

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Museum and Library for a whole week for a residency.

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Oh wow, and they have a series where they have

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a band book Band Book Week nice and usually usually

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it's writers that come and participate, but since we've done

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a lot of Vonnegut in Bushwick Book Club, they invited

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a group of us. It was five us and we

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spent the week there and at the end of the

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week we presented songs that we had written that week,

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all inspired by band books, and we had a concert

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Oh wow, And it was to make a long story short.

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I was like, the last one to finish my song.

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Everyone's gonna got a song going, and I was like,

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I'm having really struggling. It was a great book I

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was working on I was working with called All Boys

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Aren't Blue. It was one of the most banned books

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in two thousand and twenty two, really and yeah, it's

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a coming of age story. It's a ya book about

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being young, black and queer, and it was really a

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beautifully written book, but at the time there was a

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strong book banning thing going on in schools. So anyway,

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I woke up in the middle of the night with

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the chorus words to that song I just want you

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to win Oh, and I kind of like just wrote

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it down in the notes app on my phone. I

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got up in the morning and I was like, whoa

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this is this really feels good. And then I'd also

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been thinking about some other stuff and the song just

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all like poured out that morning. And we all supported

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each other in terms of being each other's backup musicians

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for the concert at the end of the week, and

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so we started working on my song and spirit Child

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was there doing his music and I was like, you know,

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I think this would sound great if you came up

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with something for this. Yeah, And so the at the

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show it was a kind of a combination of stuff

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he had written, you know, in response to my lyrics

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and freestyled kind of at the same time. And that

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got recorded and then when I went to record the

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and it was so great, you know. So when I

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recorded the album like a year or two later, I

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asked Spiritual to contribut you to it. And now recently

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we just at our album release show, he was able

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to join us live on stage and it was fantastic.

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It really kicked the room into overdrive. It was so good.

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Speaker 1: I can imagine, yeah, I can imagine, Yeah, that song

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must go over well live anyway, I would think, because

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it's got such an energy to it, And you know,

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

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you talked about what the lyrics are about, and I

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

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about that book, but also there's relatable themes within those

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lyrics that anyone can relate to, and and anyone who's

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ever felt marginalized in some way.

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Speaker 2: Or actually a lot of a lot of.

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Speaker 1: Your music I think is probably relatable for anyone who's

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ever felt marginalized or ostracized or I mean, I feel

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like that's kind of a theme. You know, you've kind

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of you've got everybody's back, you know, you're in terms

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of what they're going through.

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Speaker 2: Well, I think, in my view and my uh I envision,

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that we've created identities for ourselves that make it feel

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like we're all separate from each other, but there's an

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

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So if all these things that we've taught ourselves about

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other people and the way we relate to people that

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we feel are our adversaries or our enemies, actually they

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become very close to us. You know, we really wrap

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ourselves up and identifying ourselves in opposition to things, and

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and if that dissolves a little bit, that's really a

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solvent for a lot of the strife that's going on.

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And I just want to be a part of that.

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Speaker 1: Yeah. I notice that, you know, these ongoing sort of

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cultural battles around gender identity and all of it, you know,

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which is seems like it's become so heightened in these times,

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and I feel like the music that you're making is

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really this is kind of the moment for it, right.

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Speaker 2: Yeah, I think I think we can be playful about it.

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And I understand that a lot of it comes from

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fear and fear of people that we feel are opposed

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to us or are you know, symbolize something of an other.

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But so I'm sympathetic to that. I don't think people

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should be ostracized because of that. But I also feel like,

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I don't know, I think everybody has because there's been

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the systems in place of systematic racism and stuff like that.

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We all have work to do, but it's it's something

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that we can all give each other some space to

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do instead of, you know, being cruel to each other.

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Speaker 1: No, I like the way you say that. I like

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the way you say that because I think it's important

283
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to you know, not everything. I mean, obviously, no one

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should be ostracized and marginalized and all of that, but

285
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I think that there's a difference, you know, fear. Use

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

287
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to use, because people tend to fear what they don't understand,

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

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unusual to them. And you know, not not all of

290
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that stems from not all of it stems from hate.

291
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You know, some people are just blinded with hate for

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the you know, the quote unquote the other, and some

293
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people are just you know, they're just afraid. And I

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think music is a great music is a great vehicle

295
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to reach them.

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Speaker 2: I think, yeah, I think. I mean, we're only fifty

297
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fifty hundred thousand years away from the Savannah, you know,

298
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we were. We there's a lot of evolutionary imperatives that

299
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were still that created this amazing survival in ste that

300
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we have as Homo sapiens. And but those things can

301
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really create problems for us too, right, and so we're

302
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still we have all these instincts that cause us to

303
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be tribal and cause us to to over identify with groups.

304
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I mean, at the same time, we have a lot

305
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of wisdom that comes through with and I think a

306
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lot of it comes through culture and comes through art,

307
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and I think that helps dissolve some of this stuff

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and helps people, you know, kind of forget to be

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so hateful.

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Speaker 1: Yeah, yeah, absolutely. Do you see reactions with your music?

311
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Do you see reactions from advocacy groups and like, is

312
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there any any contact from anybody wanting you to get

313
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involved with their organizations or anything because of your music specifically?

314
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Speaker 2: Well, yeah, I did. In fact, I when I did

315
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an interview with journalist who has a series called on Tyranny,

316
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and it was about artists and their reactions to authoritarianism.

317
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So I said a bunch of this stuff that I

318
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just said, you know, But at the same time, I'm

319
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an artist, I'm not I'm getting more engaged politically, just

320
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on a local level here where I live in New Jersey.

321
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But yeah, that's just I think it's I think getting

322
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hand ringing and doom scrolling about the national political and

323
00:18:31,359 --> 00:18:36,839
world political situation can be a little overwhelming, and I

324
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think if you just get involved on your local level,

325
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that's way more helpful. So I've been doing that too.

326
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Speaker 1: No, that's great. I think that's I think that's great advice.

327
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I do want to talk a bit about the song Shame,

328
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and we'll play that at the end of our conversation. Actually,

329
00:18:51,880 --> 00:18:56,039
I'm probably gonna play both that and Brutalist Monuments because

330
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at the end of our conversation, because I love both

331
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those songs, So I'll probably just play those two back

332
00:19:00,759 --> 00:19:02,759
to back. But but I do want to talk about

333
00:19:02,759 --> 00:19:05,440
Shame because officially Shame is the current single.

334
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Speaker 2: Is that correct, Yeah, it was the second single. Yes,

335
00:19:09,400 --> 00:19:12,640
it's the current single led the album.

336
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Speaker 1: Okay, okay, yeah, I want to ask you about this.

337
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This is another great track. There's an interesting line in

338
00:19:19,359 --> 00:19:23,200
it too, we eroticize what we despise, and I'm I'm

339
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curious about that, and uh, and if you could talk

340
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to about the song and you know, in a broader

341
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sense about what it's about, what the theme is, and

342
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and how it relates to everything that we've been discussing.

343
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Speaker 2: Well again, I think that this was a song that

344
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was written as part of a Busher book club event

345
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based around a book called When brook When Brooklyn was Queer,

346
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and it was a history of of queer and gay

347
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experience in Brooklyn for the past few hundred years, and uh,

348
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I was just really struck by. There was a part

349
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in the book where they describe how there was a

350
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really thriving waterfront scene in Brooklyn in like the eighteen

351
00:20:07,839 --> 00:20:13,319
eighties and eighteen nineties where in the river on the

352
00:20:14,359 --> 00:20:18,519
Hudson River part of Brooklyn or the Gowanis River. Maybe

353
00:20:18,720 --> 00:20:24,240
I'm sorry getting lost there, but that there was a

354
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lot of drag performing and there was these were kind

355
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of like bars and clubs where people would meet. But

356
00:20:34,119 --> 00:20:35,920
at the same time, there were a lot of people

357
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just came for the culture and came for the entertainment.

358
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And then at that time, there wasn't even a word

359
00:20:44,440 --> 00:20:50,400
homosexual hadn't really been coined yet and starting around I

360
00:20:50,440 --> 00:20:55,119
think it came into use around the time Freud was writing,

361
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and after that it became a diagnosis. And after that

362
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they started putting gays in jail in the New York area.

363
00:21:04,119 --> 00:21:07,400
They even made a special penitentiary for them, did they like,

364
00:21:07,640 --> 00:21:13,079
I didn't know that in Brooklyn. Yeah, And it to

365
00:21:13,119 --> 00:21:16,799
me that just struck me as like once the name

366
00:21:16,920 --> 00:21:21,880
got coined, then a lot of people were able to

367
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focus in on that and say, oh, this is the

368
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thing we're afraid of. And it just reminded me of now,

369
00:21:27,680 --> 00:21:35,160
how there's so much like sort of a fetishization of

370
00:21:35,279 --> 00:21:40,640
trans culture. And like RuPaul's drag Race was like water

371
00:21:40,759 --> 00:21:44,119
cooler TV. You know, everybody talked about and everyone watched

372
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it and found it really entertaining. But then when the

373
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transidentities got weaponized by politics, all of a sudden, those

374
00:21:53,319 --> 00:21:56,119
same people who are so fascinated and kind of titillated

375
00:21:56,160 --> 00:21:59,400
by it were full of like, Okay, let's get these

376
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people out of public of public view. And I just

377
00:22:04,079 --> 00:22:07,839
think there's a real that my little phrase, we eoticize

378
00:22:07,839 --> 00:22:12,119
what we despise Again, it's like we get wrapped up

379
00:22:12,720 --> 00:22:17,519
in identification with something that we are opposed to, and

380
00:22:18,160 --> 00:22:23,279
when actually there's a lot there's an extreme similarity between

381
00:22:24,039 --> 00:22:28,279
what we think of as our shadow, you know. Yeah,

382
00:22:28,720 --> 00:22:31,599
So this song is sort of like creates a couple

383
00:22:31,599 --> 00:22:36,039
of different identities and the verses one like one person

384
00:22:36,359 --> 00:22:40,279
is going to see the entertainment and the other person

385
00:22:40,359 --> 00:22:44,599
is the entertainer, and they come together in the chorus

386
00:22:44,720 --> 00:22:49,519
where one says, you'll know what you are when I

387
00:22:49,519 --> 00:22:52,160
give you a name, and the other says, you'll know

388
00:22:52,200 --> 00:22:53,960
what you are when you give me a name, and

389
00:22:54,240 --> 00:22:57,920
it kind of goes back and forth, and then at

390
00:22:57,920 --> 00:23:02,680
the end it's like, you know, we're basically the same, right.

391
00:23:03,480 --> 00:23:07,000
Speaker 1: I love that. I love that. Oh. I want to

392
00:23:07,039 --> 00:23:08,880
ask you about the video too, because I love the

393
00:23:08,960 --> 00:23:12,079
video and I was reading that you worked with Hypno

394
00:23:12,079 --> 00:23:17,000
Doll as the director and editor and Alice Teepele as cinematographer,

395
00:23:17,000 --> 00:23:17,720
if I have that correct.

396
00:23:17,799 --> 00:23:21,960
Speaker 2: Yeah. Yeah. Hypna Doll is a friend of mine who

397
00:23:22,200 --> 00:23:24,799
has been doing my artwork for the past couple albums

398
00:23:24,799 --> 00:23:27,799
and has done several videos for me, and we just

399
00:23:27,839 --> 00:23:31,000
relate really well. And she came up with the concept

400
00:23:31,000 --> 00:23:33,119
for the video of a band that kind of exists

401
00:23:33,119 --> 00:23:37,960
in several different time zone timelines. Yeah, and so, and

402
00:23:38,000 --> 00:23:41,240
then we had a whole bunch of our friends kind

403
00:23:41,279 --> 00:23:43,119
of join us at the end, like the band sort

404
00:23:43,160 --> 00:23:47,599
of explodes into a bunch of different identities. Yeah. But

405
00:23:47,720 --> 00:23:49,319
we did it. You know, we did it in my

406
00:23:49,359 --> 00:23:53,359
recording studio. You know, it was definitely not trying to

407
00:23:53,480 --> 00:23:56,480
look high budget, but it the editing is so good,

408
00:23:56,559 --> 00:23:57,400
has a great energy.

409
00:23:57,720 --> 00:24:00,880
Speaker 1: It does it really does. No, It's I love it,

410
00:24:02,000 --> 00:24:05,960
and uh yeah, that's it's so important too. I think

411
00:24:07,160 --> 00:24:09,359
it's it to some people. It might sound odd to

412
00:24:09,359 --> 00:24:11,119
say this in the year twenty twenty five, but I

413
00:24:11,119 --> 00:24:14,200
think music videos are more important than they've ever been,

414
00:24:14,759 --> 00:24:17,440
you know, especially now. I mean MTV is apparently going

415
00:24:17,480 --> 00:24:19,960
away permanently, but they haven't played music videos in forever.

416
00:24:20,000 --> 00:24:22,359
But uh, I've noticed, and I don't know if you've

417
00:24:22,359 --> 00:24:24,440
noticed this. People outside the music industry, a lot of

418
00:24:24,440 --> 00:24:27,519
people have this perception that music video as an art

419
00:24:27,559 --> 00:24:30,839
form is dead, you know, because MTV gave up on it,

420
00:24:30,960 --> 00:24:33,880
you know, a couple decades ago. But in reality, because

421
00:24:33,880 --> 00:24:36,920
of social media, I think making videos and making a

422
00:24:36,960 --> 00:24:39,240
great video, it's a great video, even if it's low budget,

423
00:24:39,240 --> 00:24:42,039
it's I think it's fantastic, like like the video for Shame.

424
00:24:42,359 --> 00:24:46,240
It's so it's so important as a as a tool

425
00:24:46,400 --> 00:24:49,799
to get your you know, people. Still, it's always been

426
00:24:49,799 --> 00:24:51,400
the case, at least since I was a kid, and

427
00:24:51,400 --> 00:24:53,599
it's still the case today. People listen with their eyes

428
00:24:54,119 --> 00:24:55,519
just as much as they do with their.

429
00:24:55,400 --> 00:24:59,720
Speaker 2: Ears, exactly. There's been a lot of notice that came

430
00:24:59,759 --> 00:25:03,559
from exerpting the video and putting up in little bites

431
00:25:03,599 --> 00:25:06,920
and then sharing the whole video, but just also just

432
00:25:07,480 --> 00:25:10,640
that it had a performance aspect involved all these other people.

433
00:25:11,559 --> 00:25:14,000
I mean, but there are other videos that Himnadala has

434
00:25:14,000 --> 00:25:17,160
done for me, like for the song Drown, that were

435
00:25:17,200 --> 00:25:20,599
more just full of images and stuff. So I mean,

436
00:25:20,640 --> 00:25:23,200
I think they're different. There's room for different ways to

437
00:25:23,240 --> 00:25:24,920
approach it, but I agree. I want to make some

438
00:25:24,960 --> 00:25:27,359
more videos myself for some of the for some more

439
00:25:27,359 --> 00:25:27,920
of the songs.

440
00:25:28,079 --> 00:25:30,079
Speaker 1: Yeah, yeah, no doubt, no doubt.

441
00:25:30,799 --> 00:25:31,880
Speaker 2: So what's kind of.

442
00:25:33,319 --> 00:25:36,240
Speaker 1: The future trajectory? Do you have another Is there another

443
00:25:36,319 --> 00:25:39,279
single that's going to be coming after Shame or what's

444
00:25:39,400 --> 00:25:41,440
what's kind of the short term or even the long

445
00:25:41,519 --> 00:25:42,039
term plan.

446
00:25:43,079 --> 00:25:46,559
Speaker 2: Yeah, that there'll be one more single. I'm trying to

447
00:25:46,559 --> 00:25:49,039
decide which one it is. It might be Brutalless Monuments,

448
00:25:49,160 --> 00:25:52,279
or might be another completely different kind of song that's

449
00:25:52,319 --> 00:25:54,799
called Today that's on the album as well.

450
00:25:55,079 --> 00:25:56,079
Speaker 1: Okay, but.

451
00:25:57,519 --> 00:25:59,880
Speaker 2: I don't know. I've put together a really great band

452
00:26:00,000 --> 00:26:04,880
and we've started performing and we have another show this

453
00:26:04,960 --> 00:26:09,079
month I'm sorry, in December. It's almost December, and I

454
00:26:09,119 --> 00:26:14,319
just want to keep playing out and just bringing in

455
00:26:15,240 --> 00:26:20,799
new possibilities by putting myself out there and playing the music,

456
00:26:20,960 --> 00:26:23,799
and and you know, I'm sure at some point I'll

457
00:26:23,799 --> 00:26:27,119
have enough songs to do another release. I might not

458
00:26:27,240 --> 00:26:30,920
do full albums. I said that this time. Yeah, I

459
00:26:30,960 --> 00:26:33,680
did throughout full album. But I think you know a

460
00:26:33,720 --> 00:26:35,839
lot of times people just put on EPs now and

461
00:26:35,839 --> 00:26:39,640
they don't have to take us long between releases. That's

462
00:26:39,680 --> 00:26:42,640
intriguing to me. Yeah, but you know, I have a

463
00:26:43,559 --> 00:26:47,000
besides the next show I have as Charlie Eland for

464
00:26:47,079 --> 00:26:50,720
my band, I'm doing a Loser's Lounge performance at the

465
00:26:50,720 --> 00:26:54,200
beginning of December where they're doing Brian Wilson and the

466
00:26:54,240 --> 00:26:56,880
Beach Boys, and I'm singing a Beach Boys song I

467
00:26:56,920 --> 00:26:59,119
really love called All I Want to Do. And that's

468
00:27:00,000 --> 00:27:04,400
really exciting to sing. It's it's really nerve wracking just

469
00:27:04,400 --> 00:27:06,880
to sing one song in front of a crowded room,

470
00:27:06,960 --> 00:27:09,799
you know, with a great, great band, But it's it's

471
00:27:09,960 --> 00:27:13,880
it's taught me a lot about how to breathe and

472
00:27:14,000 --> 00:27:16,759
be in the moment, and it's really helped my own

473
00:27:16,920 --> 00:27:19,319
performing for for my music too. Oh.

474
00:27:19,400 --> 00:27:23,000
Speaker 1: Excellent, excellent, Charlie. Where's the best place for people to

475
00:27:23,039 --> 00:27:25,000
go online to keep up with everything that you're doing?

476
00:27:26,079 --> 00:27:29,759
Speaker 2: Well? Is it? Charlie naland website, and I E. L

477
00:27:29,799 --> 00:27:33,599
A and d yes and you know, I sell the

478
00:27:33,680 --> 00:27:37,759
music through band Camp, which isn't not all people know

479
00:27:37,799 --> 00:27:41,440
about that. I mean, of course I'm on streaming all

480
00:27:41,440 --> 00:27:44,200
the streaming platforms, but band Camp is a way you

481
00:27:44,240 --> 00:27:47,839
can stream and you can also buy the music as

482
00:27:47,880 --> 00:27:51,240
a digital release in any form that you like. Yeah,

483
00:27:51,599 --> 00:27:55,279
and I you know a lot of my artists friends

484
00:27:55,759 --> 00:27:57,519
work on that too, and we all kind of support

485
00:27:57,559 --> 00:27:59,839
each other on that. So check out band camp. I'm

486
00:27:59,839 --> 00:28:04,079
on band Camp, I'm on Apple Music and Spotify and

487
00:28:04,119 --> 00:28:04,920
all those places.

488
00:28:05,279 --> 00:28:09,200
Speaker 1: Absolutely absolutely well, Charlie Neland thank you so much for

489
00:28:09,279 --> 00:28:11,720
joining us this morning. This has been fantastic. I'm actually

490
00:28:11,759 --> 00:28:13,720
gonna play I will have time, so I'm gonna play

491
00:28:13,759 --> 00:28:17,240
both Shame and then I'm gonna play Brutalist Monuments as well,

492
00:28:17,279 --> 00:28:20,759
but both both great tracks. But I really appreciate you

493
00:28:20,839 --> 00:28:23,279
joining us. This has been a fascinating discussion. I love

494
00:28:23,319 --> 00:28:26,160
your music, and hey, when the next single is ready

495
00:28:26,200 --> 00:28:28,400
to go, I definitely want to have you back on

496
00:28:28,519 --> 00:28:29,880
if you're amenable to that.

497
00:28:30,240 --> 00:28:32,559
Speaker 2: I'd love that. Thank you so much, Matt. This has

498
00:28:32,599 --> 00:28:33,960
been a total pleasure.

499
00:28:33,759 --> 00:28:35,680
Speaker 1: Wonderful, all right, Thanks Charlie, we'll let you go, and

500
00:28:35,680 --> 00:28:37,640
now I have a great have a great weekend.

501
00:28:37,920 --> 00:28:40,200
Speaker 2: You too, all right, take care, bye bye bye bye.

502
00:28:40,680 --> 00:28:41,119
All right.

503
00:28:41,119 --> 00:28:44,160
Speaker 1: That was Charlie Niland. And let's play these. I'm gonna

504
00:28:44,160 --> 00:28:46,880
play both of these. We're gonna play Shame. This is

505
00:28:46,920 --> 00:28:48,759
a great track. Yeah, pay attention to the lyrics and

506
00:28:48,759 --> 00:28:50,839
I appreciate I appreciate the song even more now that

507
00:28:50,920 --> 00:28:53,279
I know after talking to Charlie, now that I know

508
00:28:53,720 --> 00:28:57,640
exactly what's going on in these lyrics and the different characters.

509
00:28:57,640 --> 00:29:00,559
But yeah, this is this is interesting, so pay attention.

510
00:29:00,880 --> 00:29:03,599
But this is really good. This is Shame by Charlie Neeland.