Music has an otherworldly connection to us all. Whether it’s playing that one song or album that brings comfort to us each time we play it, or a stellar song that comes on the radio at just the right moment in time to boost our mood, it’s no secret why so many of us adore the key artists we’ve learned about over our lives. Charity Bliss has returned with a cool-sounding third album, entitled Joy Algorithm, that has this concept top-of-mind. Brendan Machowski writes music as Charity Bliss, and he described the inspiration behind Joy Algorithm: “On July 6th 2021, I drove home from my day job. For whatever reason, the task of picking music for the commute felt more akin to waiting for a theme park ride waiting to take off. My anxious trigger finger accessed the entirety of my library and pressed the shuffle button. I’m used to this action resulting in me skipping past 10-15 tracks before settling begrudgingly on a universal song…Except this time, around 20 seconds before the end of ‘Song 2’ by Blur, I thought it’d be nice to hear ‘Angel Flying Too Close to the Ground” by Willie Nelson. Sure enough, there was Willie. My phone would go on this telepathic song and dance two more times. This was the catalyst behind Joy Algorithm.” By using a relatable concept of music finding us right when we need it the most, Charity Bliss offers up a fresh take on the importance of sharing music with others.
The album concept plays like a radio station that includes some familiar-sounding vibes and sounds to them, all complete with brief “commercials” to intertwine the themes going through the record. Joy Algorithm sounds like an artist that was deeply influenced by artists and albums by The Weeknd, The 1975, Owl City, and M83, while still adding some dashes of unique personality to avoid the carbon copy feel.
After a brief setting of tones on “Hello Listener,” Charity Bliss blends a cool combination of heavy synths, guitars, and smooth vocals on the title track. In the second verse, Machowski admits, “Identity is everything, so tell me who you are / We’ll all be forgotten / We’re so small / I’m working on living,” as he zooms out to the billions of people on Earth who can share a connection with each other through the internet, music, or a common activity. “Friendly Astral Projector” follows next in the sequencing with some vibrant guitar tones, similar to The 1975, and Machowski’s warm vocals engulf the listener like a blanket.
Charity Bliss breaks up some of the similar tempos with a rare ballad in “Look At Me Disease,” that tackles the theme of looking to others for recognition/acceptance, and the feeling of dread when we don’t get that attention. Things continue to drift towards the heavens on “The Blue Sky Under Everything” and the blissful, frenetic single “Limitless Engine / Sadness Machine.” On the latter, Machowski commands the song with a cool confidence and swagger, and the song reminded me a bit of a mix between Motion City Soundtrack paired with Hellogoodbye.
The tail end of Joy Algorithm never loses focus, even with an occasional misstep in songs like the long and brooding “Aluminum Dragon.” Things quickly get back on track with the synth-heavy “Digital Mannequin,” the self-reflection found on the summer anthem “I Kind of Like When My Phone Dies (It’s Relaxing),” before closing things out with “Ctrl+Alt+Sleep” that uses the piano as a bit of a pulse for the track to hit its intended tone.
Charity Bliss has carefully crafted the right mix of synth-pop, summery guitars, and a bit of stoner rock into a crisp, and thoughtful package on Joy Algorithm. Ironically, the album plays out like a radio station that sways from big hits to deep cuts that are all across the spectrum of stylistic and artistic choices that directly replicate our change in moods as certain songs come across our speakers and playlists. A concept album in its own right that maintains a deeper connection with all who find it. That’s a win in my book, Charity Bliss.