In the Studio with Charles FaunaArtist: Charles FaunaProducer and Arranger: Charles FaunaCo-Production and Additional Instrumentation: Jaguar SunAdditional Bass Production:  Ronnie LanzilottaMixing Engineer: Andy D. ParkMastering Engineer: Ariel Loh

The Origin: Absorbing a world where sound, vision, and feeling overlap, Charles Fauna — the moniker of the LA/NY-based producer and multi-instrumentalist Charlie Mischer—has developed a synesthetic field where emotion, atmosphere, and imagery continuously feed into one another, crystallizing into song. Within this cross-wired framework, auditory signals, visual cues, and sonic impressions lie buried deep in the subconscious. Fauna likens his creative process to excavation: a patient unearthing of these hidden melodies.Through this sensory lens, his musical evolution unfolded in clear phases — bridging early bedroom production with the exploratory work of his first musical project, Paideia, before arriving at the fully realized identity of Charles Fauna.As Fauna, that multi-sensory perception became his compositional spine. He approached each release as a series of self-contained sonic and thematic worlds. From the grief-torn symbolism of Eulogy and the isolated sci-fi transcendence of Yonder, to the rebuilding impulse of Renewal and the synth-soaked neo-purgatory of L I M B O, Fauna’s catalog evolved into distinct themes.Yet even the most expansive musical lifecycles eventually reach a tipping point. For Fauna, “Moon Dog,” the first single from his forthcoming full-length album, signals that inflection point. Driven most notably by profound personal experiences, the track reflects a subtle shift in the way he composes music.

The Production: “Moon Dog” entered his mind in the way Fauna says much of his strongest work does — as if it had already been forming just out of reach, arriving fully intact when it was ready to be heard. Sitting in a Nashville airport terminal, a sudden creative spark emerged from the surrounding ambient noise.“The ‘ooo’ melody for the chorus was the first thing I wrote,” Fauna recalls. To the listener, it plays like a vocalized ache, echoing forever. In hindsight, he connects that moment to the broader gravity surrounding the song: his father’s declining health and later loss. “That image of yearning, howling, desperately reaching out into the universe only to be met with silence, felt so devastating and powerful. It felt true.”That fragmented scribble in the airport foreshadowed a distinct heaviness. As his father’s health later declined, the idea Fauna had already drawn from his subconscious became the outlet. This spurred a creative push, fusing that  melancholic feeling with a specific key and color profile.“I always think in visual terms when I’m writing,” he explains. “I have synesthesia, so different musical keys have very strong color associations for me.” For Fauna, B minor is a key associated with a deep, nocturnal blue. Guided by this vivid sensory palette, the track settled into a vision of wide-open fields bathed in the stillness of the night. This imagery aligned with broader themes of expansiveness and freedom across the forthcoming album— a feeling he describes as “running without resistance.” 

Beyond the visual mechanics of his synesthesia, this concept of boundlessness translates directly into tangible production choices. Upending his usual digital routine, Fauna swapped programmed electronic patterns for live drums to give the rhythmic foundation a more physical, human feel. Leaning into this live instrumentation was a deliberate return to his musical background.“The drums are actually my first instrument, and the only one for which I received any kind of formal training,” he notes. That foundational background shaped how he balanced the rhythm section for “Moon Dog,” ensuring the low-end retained a deep, driving beat while maintaining high-end clarity. Ultimately, Fauna engineered this balance to evoke a specific physical environment: “a song meant for the car, for long meditative drives…”Texturally, this live rhythmic spirit allowed Fauna to layer contrasting musical elements and build a vivid, sensory ecosystem. He explicitly wanted the track to feel kaleidoscopic, juxtaposing a prickly acoustic guitar — which he notes “felt like rain drops down your neck” — against vast, open space.To achieve this fluid spaciousness without relying on electronic patches, Fauna studied intricate fingerpicking styles. “I was really inspired by classical guitar playing — how notes create these cascading waterfalls that seem to bounce downward — like a marble falling down a staircase," he explains. "Gravity dictates a unique rhythm. In this case, I wanted to fill this song with [similar] acoustic guitar textures. That ended up being a sonic throughline for the entire album.”

Translating that physical performance, however, presented a challenge. “It is a dance between creating that lush, transportive ambience while resisting the impulse to fill every empty moment with a sound,” Fauna says. “It’s very easy to start filling up the negative space in a track to the point where it becomes overwhelming to listen to.” Ultimately, the track rejects rigid, pre-constructed digital environments in favor of something more lived-in. This transition toward more tactile textures mirrors a personal evolution. “I wanted the production to reflect a version of me that was a little more mature, more assured, and more relaxed. Where before I might have produced an EDM drum beat and used synth bass, this time I knew it had to all be live. I wanted more of a band feeling with this album.”As one of the first songs to fully realize this new approach, “Moon Dog” signals a broader recalibration in his creative process.  Whether it marks the closing of a chapter or the beginning of something new remains unresolved, but whatever is on the horizon, Fauna is listening through his familiar synesthetic language while remaining open to how it might evolve.“It’s a perfect snapshot of me in my 30s,” Fauna reflects on the song. “Still doing this whole artist thing solely out of passion and personal fulfillment rather than some need to be seen. I’ll always love it for that reason.”

Photo Courtesy of Big Picture MediaThe post In the Studio with Charles Fauna first appeared on Music Connection Magazine.

Universal Music Greater China acquires Carrier Creative catalog, home to ‘golden-era’ Mandopop recordings by Little Tigers and Johnny ChiangThe deal was announced on Monday (June 8) at UMGC's inaugural China Summit in Beijing.
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Sheila Landis & Rick Matle at Ro Cham Beau Detroit, MIWeb: sheilalandis.com Contact: shelandis@gmail.com Players: Sheila Landis, vocals, percussion, kazoo; Rick Matle, 7-string guitar; John Hill, drums

One of Detroit's newest live jazz music rooms is the sleek and acoustically perfect Ro Cham Beau. The veteran duo of Sheila Landis and Rick Matle recently made their maiden voyage there, one for the books. They were joined by trusty sideman John Hill who embraced their swinging groove like a hand in glove. 

The evening’s theme was a journey through the decades, taking pages from the Great American Songbook through standard blues and pop. But you quickly realize that nothing by this ensemble is by rote. Each song is meticulously crafted where the ensemble stays faithful to the music’s essence while taking liberties at the same time. 

First popularized by Eddie Cantor during the heyday of vaudeville, Landis immediately captivates the crowd with the perennial “Makin’ Whoopee.” From the outset, she engaged the audience in joining her on the chorus as she dramatically “talk-sang” the lightly provocative and coquettish lyrics. Matle’s seamless blend of melody and walking bass establishes a comfortable rapport with Hill’s delicate drumming. “It Don’t Mean a Thing (If It Ain’t Got That Swing)” was a popular quote and classic from Duke Ellington. It came to life here via Landis’ outrageous kazoo soloing, bongo playing and Hill’s cue to step out. Landis kept a friendly rapport going with the crowd and dedicated the standard “Fly Me to the Moon” to the Artemis II astronauts. With a breathy Billie Holiday quality to her voice the lead chanteuse soared wistfully over a silky Latin rhythm. “The Lady is a Tramp” was appropriately swinging and edgy which transitioned to the sweet and seductive “Besame Mucho.” Hill and Landis provided dense percussion as Matle subtly blended looping chords and deftly placed lead lines. The first set concluded with the perennial upbeat “When You’re Smiling.” Landis’ spirited kazoo honks and Hill’s call and response drumming were a highlight.

Set two began with the Bacharach/David classic “I’ll Never Fall in Love Again.” It featured Landis on shakers as she supported a smooth samba-like vibe. Matle took some nice solos here as well. Another instrumental piece was the moody and noir-ish “Harlem Nocturne.”

A devotee of the late great jazz vocalist Betty Carter, Landis evokes that same spirit and charm into everything she does. And you could even include elements of Sarah Vaughan and Nina Simone into her vocal oeuvre as well. Her style blends the sublime with the slightly dramatic and absurd for a performance that is inviting, yet one of a kind. She fuses humor and reflection at the drop of a hat, with all the skill of a Broadway diva. Matle stands alone as one of the best 7-string guitarists on the scene. His ability to blend melody, chords and bass lines simultaneously is a joy to be had. And his encyclopedic trick bag of Wes Montgomery, Jim Hall, Barney Kessel, and Jimi Hendrix-type styles just adds to the versatile nature of their music. John Hill is equally comfortable laying down a solid pocket or adding subtle brush work. 

Whether they are doing classic cover material or a bevy of their well-crafted original songs, Landis and Matle always deliver and leave you wanting more. 

The post Sheila Landis & Rick Matle at Ro Cham Beau Detroit, MI first appeared on Music Connection Magazine.

Isaia Huron Signs With RCA Records/SlangDate Signed: December 2025Label: RCA Records/SlangType of Music: R&BManagement: Jaha Johnson, November YellowBooking: The Team (formerly Wasserman)Publicity: Amanda Zimmerman – RCA RecordsWeb: isaiahuron.com

The ink is barely dry on the contract, but Isaia Huron is already onto the next thing. In an industry that loves a long-winded origin story, the Greenville, SC native is refreshingly, almost surgically, brief. When asked when his musical journey actually got serious, he doesn’t cite a childhood dream or a viral moment. “It got serious around yesterday or so,” he quips.

That “yesterday” has actually been years in the making. From a childhood steeped in gospel—raised by a pastor and a choir leader—to teaching himself Ableton on a cruise ship in 2018, Huron has been quietly building a sonic architecture that defies easy categorization. It’s a blend of R&B, alternative soul, and indie textures that feels both intimate and expansive.

Now, Huron has officially leveled up, announcing his signing to RCA Records in conjunction with Slang. The partnership arrives alongside his latest single, “W.T.A.” (Way Too Attached), a self-produced, slow-burn track that serves as the first transmission from his upcoming era: Mr. Lovebomb.

While his debut album, CONCUBANIA, was a three-act play exploring the wreckage of heartbreak, Mr. Lovebomb promises to dive into the “messiness” of life. Despite the high-stakes backing of a major label, Huron’s process remains decidedly lo-fi and intensely personal. While most artists head to high-end studios in L.A. or London the moment they get a budget, Huron stayed close to home. “I recorded and produced those songs and the entire album right after we shot the visuals for CONCUBANIA, right outside on my parent’s back deck by myself. And yes, it’s conceptual, the album,” he says.

Following a breakout COLORS performance that continues to rack up views, he has found that the most rewarding part of the grind isn’t the contract, but the reception. “Watching people like it. Very strange, but wholesome feeling,” he says.

As for what the rest of 2026 holds under the RCA/Slang banner? His goals are as minimalist as his production: “Doing music” and “Tour.” For the aspiring musicians looking for a roadmap to follow in his footsteps, Huron offers no clichés or “10 steps to success” manifestos. “Not really, no,” he says when asked if he has any advice.The post Isaia Huron Signs With RCA Records/Slang first appeared on Music Connection Magazine.

From Suno’s $5.4B valuation to Bill Ackman’s exit from Universal Music… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Elvis Presley on the Milton Berle Show, June 5, 1956On this day in 1956, Elvis Presley made his historic appearance on The Milton Berle Show, his second time on the program. The King's magnetism is on full display, as he relaxes the tempo and turns "Hound Dog" into something close to a strip tease bump-and-grind, which delighted his young fans and scandalized the nation.

Michael Gilas at The Cutting Room New York, NYWeb: michaelgilasmusic.comContact: sotthuggermusic@gmail.com Players: Michael Gilas, lead vocals; Allan Phillips, musical director, keyboards, guitars; Natalya Phillips, guitars, background vocals; Daneen Wilburn, background vocals; Draeh Jirnae, background vocals; Shirly Ace, drums; Angelica Yamada, bass; Brian Kennedy, keyboards

It's hard to put a period on Michael Gilas’ music. His influences run the gamut from legendary artists like The Eagles, Fleetwood Mac, Carole King, and Steely Dan to as current as Billie Ellish. Those influences run through the set which was comprised of songs from his current release, 231 Kensington Road. 

Pouring all that musical diversity into the show, Gilas delivers a blend of mostly up-tempo, groove-laden songs staying in an adult contemporary lane, with his seven-piece band (including three backup singers) rounding out the sound. 

He kicks off the set with “Convenience Store,” a clever comparison between his open heart and a store that never closes: “There’s something ‘bout that neon glow/I can see so through ya/I can’t say no to ya/You go and get what you need/anytime you need it/my heart’s open 24/7.”

In “Sigmund Freud Girlfriends,” we hear tongue-in-cheek quips about past girlfriends dissecting their relationships and why they failed: “Tell all your Sigmund Freud girlfriends the damage, the savage/there’s always another chapter about the baggage we never unpacked…cheaper than a couch confession/ I’ll even pick up the tab for the session.”

Gilas surrounds himself with a coterie of excellent musicians and background singers. Though they offer strong support, an interlude or two of an instrumental breakdown, putting Gilas further out front would have given us the chance to hear more of his voice unfettered by the size of the band.

At the start of the show, a woman stepped up to the mic with a brief but cryptic comment alluding to the bravery of the performer we were about to witness. We never find out what that comment meant but what it most likely amounted to was a missed opportunity for Gilas to connect more profoundly with the audience. After a life-altering horseback riding accident that left him with a broken neck, unable to walk and limited use of his hands he took stock of his life. “Music became my therapy, my escape, and my way forward. I wrote song after song from my bed, never knowing they’d turn into my first album.”So, the question is how did this near-tragic event fuel the songs on the album? Audiences love to know these backstories.

Still, the show was entertaining with all its bells and whistles, though Gilas unfortunately omitted sharing these songs shaped by his life experiences, most notably, the riding accident. While many of us have been in a dark place at some point in our lives, we welcome hearing how others have overcome insurmountable obstacles. The post Michael Gilas at The Cutting Room New York, NY first appeared on Music Connection Magazine.

Remember ‘Say No To Suno’? Someone just hired a plane to fly it over an AI investor summit… featuring Mikey Shulman.Its location in the skies was significant – directly over the UBS AI in Entertainment Summit at the Shutters on the Beach hotel, where Suno CEO Mikey Shulman was among the speakers.
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Composer, Recording Artist, and Songwriter Colin Stetson Signs With Third Side Music News broke this week that "Global independent publisher Third Side Music (TSM) has re-signed award-winning composer, artist, songwriter, and arranger Colin Stetson, whose career trajectory has soared since the beginning of his long and successful 15-year partnership with the company."

According to a statement, "Through the exclusive, worldwide administration deal, TSM will continue representation of the renowned bass and alto saxophone player’s entire catalog, and work closely to foster new collaborations and creative opportunities in films, TV series, advertising, games, and other media.  Stetson’s talents and versatility as a multi-instrumentalist, his groundbreaking performances, and genre-defying scores have attracted diverse projects and made him one of today’s most in-demand composers."

"Colin has been part of the TSM family for years, and it’s been incredible to watch his career continue to evolve. As both a composer and recording artist, he brings a unique creative perspective to everything he does. Beyond his talent, he’s thoughtful, collaborative, and genuinely great to work with—qualities that make every project better," Alex Kelman, TSM EVP Creative Services/A&R, told MC.

A press release continues, "As the composer of more than 15 films and series, Stetson’s recent projects include the hit horror-thriller Something Very Bad Is Going to Happen, which has ranked as one of Netflix’s most popular original series, Mayday, Apple Original Films’ upcoming spy thriller and comedy starring Ryan Reynolds (releasing Sept. 4, 2026), and the IMAX documentary Stormbound, which premiered at SXSW in March and won the 2026 Special Jury Award. His film scoring credits include Hereditary (2018), Texas Chainsaw Massacre (2022),Hold Your Breath (2024), Color Out of Space (2019), Mayday (2021), the Netflix documentary Martha (2024), and The Menu 2022)."

"Stetson’s television credits include Hulu’s The First (2018), Adult Swim’sUzumaki (2024), the Disney+ NASA docuseries Among the Stars (2021), National Geographic’s Barkskins (2020), and Deliver Us (2019), among many others. For Red Dead Redemption 2 (2018), one of Rockstar Games’ highest selling games, Stetson collaborated with composer Woody Jackson and received critical acclaim for his contributions to the original score."

“Alex Kelman, and everyone at Third Side Music have been avid and active advocates of my music, in both my work in film and my solo recording career. They are, and always have been, truly familial in their care, consideration, and support. I am enormously grateful for all their dedication and counsel over the years,” said Stetson. 

“Colin is a dream to work with—truly a once-in-a-lifetime talent. He brings a singular, progressive creative vision to everything he does, paired with a genuine sense of care, compassion, and thoughtfulness. Every project he’s involved with is elevated by these qualities,” added Kelman.

For more information, visit: thirdsidemusic.com

The post Composer, Recording Artist, and Songwriter Colin Stetson Signs With Third Side Music  first appeared on Music Connection Magazine.

BMI promotes four executives across Creative and Corporate Communications teamsBMI promoted John Ellwood to Vice President, Creative, and elevated Deirdre Chadwick, Jeff Gilligan and Jodie Thomas to Assistant Vice President positions.
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2 Live Crew can’t take back their recorded music copyrights after all, appeals court rulesA US federal appeals court has overturned 2 Live Crew's high-profile victory in their long-running copyright fight
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Apply Now to the BMI Foundation 2026 Songwriting & Composer AwardsThe BMI Foundation has officially opened applications for its Summer 2026 awards, offering emerging songwriters and composers a pair of high-impact opportunities designed to support artists at a pivotal stage in their careers.

This year’s open programs include the peermusic Latin Music Award and the Pete Carpenter Fellowship, each tailored to distinct creative paths within the music industry. Submissions for both are due by June 30, 2026, with all eligibility requirements determined as of that date.

Aimed at songwriters working within Latin genres, the peermusic Latin Music Award recognizes excellence in songwriting while providing financial support and industry visibility. Meanwhile, the Pete Carpenter Fellowship is geared toward aspiring film and television composers, offering mentorship and hands-on experience in media scoring—an area often difficult to break into without direct access.

Together, the two programs reflect the BMI Foundation’s broader mission: to provide not just recognition, but meaningful resources for artists navigating the early stages of professional development.

“We are thrilled to offer these launchpads for the next generation of songwriters and media composers,” said BMI Foundation President Deirdre Chadwick. “Each award is uniquely tailored to the needs of creators within a specific genre. Everyone at the BMI Foundation is proud to provide financial, business and artistic support for these emerging artists at a critical point in their careers.”

While industry accolades can often feel symbolic, initiatives like these tend to offer more tangible outcomes—whether through funding, mentorship, or connections that extend beyond the award itself. Past recipients have gone on to build sustainable careers across songwriting, production, and media composition, underscoring the long-term value of such programs.

For artists currently refining their sound or looking to expand into new areas of the industry, the BMI Foundation’s Summer 2026 awards represent a rare combination of credibility, access, and support.

Applications are now open, find your application here. The post Apply Now to the BMI Foundation 2026 Songwriting & Composer Awards first appeared on Music Connection Magazine.

Classical Highlights for May 2026This past month there seemed to be a sizeable amount of very good keyboard music, as well as opera or opera-adjacent recordings. Nikolai Lugansky (pictured) gives masterful readings of three of Schumann's large piano compositions, while harpsichordist Pierre Gallon selects pieces to accompany the nighttime hours before dawn, and Claire Huangci plays music by German and American female composers.

Lily Allen at The Orpheum Theatre  Los Angeles, CAWeb: lilyallenmusic.com

The noise surrounding Lily Allen’s incredible 2025 comeback album West End Girl has been close to deafening. Justifiably so, because this is so much more than a regular album. West End Girl recalls, in excruciating detail, a chapter of Allen’s life that could diplomatically be referred to as difficult. Moreover, it’s a vitally important opus because it lends a voice to other women in an abusive situation. 

We knew, going into the first of Allen’s two nights at the Orpheum, that the album is essentially about her marriage to actor David Harbour which lasted from 2020 to 2025. We knew that there was a definite “ick” element about the whole concept of essentially being pushed into an open marriage. From the day of the record’s release, that felt like a very specific form of hell: wanting a loving, committed, monogamous marriage but being faced with the choice of “open or nothing” and choosing the former in order to keep the family together.

It’s also true that, while with Harbour, Allen didn’t release an album. Her last one prior to West End Girl was 2018’s No Shame. The fact that Harbour sent Allen a sinister note with “bad luck flowers” when she appears in the play 2:22 A Ghost Story in 2021 naturally makes one wonder just how controlling he was over her career.

Regardless, Allen is back now, the album is pure brilliance, and her one woman show at the Orpheum was a celebration of those things. Still, it remains a fact that we weren’t ready for the emotions that this album, performed start-to-finish on this tour, would stir in the live environment. Seeing Allen, alone on stage and utterly vulnerable, singing these beautiful, strong, devastating songs was an undeniably powerful experience. 

It’s worth mentioning that, as an opening act, the Dallas Minor Trio is a group of cellists who play songs from Allen’s prior albums, while a screen beams out the lyrics so that the crowd can sing along. Tons of fun to be had there, and it highlights the fact that Allen is the focus here.

Again, the album was performed in its entirety and in order, so Allen’s set list offered no surprises. The title track kicked off the West End Girl show, a song that immediately introduced the toxicity that plagued Allen’s marriage: “You were pushing it forward, Made me feel a bit awkward.” The songs also dip into the aforementioned play (gifting the album and song its title): “That’s when your demeanor started to change, You said that I’d have to audition, I said, ‘You’re deranged.’”

With the stage set, Allen moved straight into “Ruminating,” a song that any human can relate to. Her husband is out and about, sleeping with other people, and Allen is lying awake at night unable to exorcise the mental image. Pure, vicious agony!

“Sleepwalking” is nothing short of a musical plea. “Tennis” and then “Madeline” awkwardly introduce the begrudged rules of their “open marriage.” Jesus fucking Christ, it’s all so unpleasant. “Pussy Palace” follows, and then “4chan Stan,” with the refrain “What a sad, sad man, It’s giving 4chan stan.” 

“Nonmonogamummy” is the best song on the album, and of the night. Structurally, it’s an upbeat pop song with a ‘60s go-go vibe, plus additional vocals by reggae man Specialist Moss. But, unsurprisingly given this album, the lyrics touch all the feels: “I’ve been trying to be open, I just want to meet your needs, and for some reason, I revert to people pleasing, I’ll be your Nonmonogamummy.” Just ouch!

“Dallas Major” gets its name from the moniker Allen used on the dating apps that she didn’t want to be using. Through it all, she poured her heart out for Los Angeles, and the crowd reacted in kind. This wasn’t just a concert, or even a regular one-woman theatrical performance. This was and is a giant therapy session. It’s also a display of strength, of resilience, and yes, of love. 

Musically, the songs are dazzling; 14 pop gems ending with the ultimately affirming “Fruityloop.” Allen’s voice is on point throughout and, when she took her flowers at the show’s conclusion, it would be tough to imagine that any artist has earned them more. 

Photos by Christina Bryson (@averagecowgirl).The post Lily Allen at The Orpheum Theatre  Los Angeles, CA first appeared on Music Connection Magazine.

TikTok trumpets Temper City’s viral ‘Self Aware’ as SoundOn expands services for US indie artists and labelsThe track has surpassed 150m streams on Spotify and has been used to soundtrack more than 6.4m videos on TikTok
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