Coolonaut, born in the unforgiving yet majestic lands of Scotland and now dwelling in the sun-kissed tranquility of rural Australia, has created analogue and psychedelic music that embodies the very essence of our chaotic world. His music is a bridge to two worlds: one that owes allegiance to the legendary musicians of old, and another that is driven by the increasing absurdity of our modern world. On October 24th, Coolonaut released his ten-track odyssey, *Karma Smile*, which is less an album and more a relic of a bygone era in this digital age. This is a masterclass in texture and soul, and the difference between plastic perfection and the warmth of tape and the reality of life. Allow me to take you on a journey through this wonderful, kaleidoscopic world he’s built.

The record kicks off with “Confabulation”, which hits you immediately with a squalling, spiraling guitar riff and splashing cymbals. It’s restless and propulsive, setting a mood of urgent uncertainty. The theme goes deep into the psychological phenomenon of “confabulation”, how our minds create false memories to fill in the gaps of our own history. It’s a song about the stories we tell ourselves to stay sane in a world that makes no sense. The character in the song clearly asks to be told lies, lies he will probably cling to. Musically, the track is a masterclass in controlled chaos, with the guitars sounding like they are fighting against the steady beat, creating tension that is reflective of the internal battle of the mind trying to convince itself of its own lies. The impact of this is a total immersion into Coolonaut’s analogue haze; it forces the listener to wake up and pay attention. And this wonderful track opens the album.

“Be on the right side” moves the energy into a more mod-influenced rhythmic punch, opening with a jangling, biting guitar line that feels like a nod to the mid-60s British invasion, but with a much sharper, more cynical bite. The song is a scathing commentary on the modern obsession with moral absolutism and the suffocating social imperative to take sides in a world of grays. The character in the song pleads for people to do anything they can to be on the right side of everything: history, morality, and life in a journal.  On the other hand, it deals with the sheer mental exhaustion that comes from trying to stay “correct” or “on the right side of history” when the truth is being actively hidden or manipulated by those in power. The music is catchy and energetic, built around a bassline that feels like a heartbeat under stress, keeping the energy high while the vocals preach a sermon on moral fatigue. It’s a track that leaves the listener feeling both energized by the music and introspective about their social allegiances, successfully taking a political commentary and making it into a danceable, gritty anthem.

We then drift into the song “Boganville”, which has a more grounded cinematic feel, a slow build that feels like the heat haze off a country highway in the beginning. The lyrics are again very vivid and character-driven, offering a portrait of Coolonaut’s life in rural Australia, and one that is both loving and disapproving at the same time. It deals with issues of cultural stagnation, the “stuck in the mud” attitude that can sometimes accompany life in a small town, and the alienation that can result from living in an area that distrusts change. It’s a very relatable piece because it reflects that sense of being an outsider looking in on a community that lives by some ancient, unwritten code. The music has a more expansive feel than the previous pieces, with reverb-drenched guitars that evoke a sense of open space and emptiness. There’s a sense of bittersweetness to it, a mix of humor and longing that makes the listener feel the weight of the dust and the passage of time in a place where nothing ever happens, and yet everything is significant and purposeful.

Up next is “Volvoman”. This song offers a quirky rhythmic change, launching into a chugging engine-like rhythm reminiscent of an old engine trying to turn over on a cold morning. Coolonaut, being an old Volvo enthusiast himself, uses the vehicle as a metaphor for strength, safety, and the “boxy but good” approach to life. The song is about the physical and emotional armor we cling to when the world seems to be crumbling all around us, and we know that his option is the Volvo. If you didn’t notice, this song is Coolonaut’s way of opening up to us listeners and hoping that we can connect with him further, now knowing about something from his personal life. The musicality is playful but solid, with a repetitive and driving rhythm that evokes a long road trip. The listener is left with a sense of nostalgic warmth, as if they’ve spent the afternoon in a cluttered garage, searching for beauty in the grease and gears of a well-loved machine. It’s an upbeat and foot-tapping pop song that highlights Coolonaut’s skill in finding the deep meaning in the mundane and using his obsession as a metaphor for all of us.

The album’s heavy emotional core is found on “The Reckoning”, which kicks off with an ominous revving bassline that indicates a storm is about to break. The song is a direct and unfiltered response to the atrocities that have unfolded around the world, and the deafening silence from those in power. The lyrics are unapologetically aggressive, detailing those people who observe others from their ivory towers. The theme is one of inevitable accountability, the idea that although justice may be delayed, there is a “reckoning” forthcoming for the soul. The music is rich and heavy, full of swirling and swinging of very exciting instrumentation and vocals that threaten to become a warning siren. It’s the most sonically demanding track on the record, and the listener is left with a sense of massive responsibility. It’s not an easy track, and nor is it intended to be; the effect is one of stripping away apathy and forcing the listener to confront the dark side of our global reality.

The title track “Karma smile” begins with a shimmering psychedelic glow that initially starts low but gradually picks up the pace. It begins with reverb and fuzz that evokes the sun coming through thick clouds after a rainstorm. The theme is “ultimate karmic justice” but not in an angry way; rather, it’s gentle and inevitable, balancing the scales of the universe. It’s the philosophical core of the album, combining utopian optimism from the 1960s with the grittiness of the 21st century. Musically, it’s a rich melodic journey with a chorus that feels like a sigh of relief. The arrangement is rich with analogue textures that feel alive, moving, and breathing with the listener. The effect is profoundly cathartic; it’s the sound of a man finding peace in the middle of a chaotic storm, leaving the listener with a sense of hope that is grounded in reality rather than fantasy.

This is followed by “Rainbow”, with an upbeat, trippy opening that sounds like the music is literally bleeding beautiful. The music itself has a gentle, swaying beat and soft, saturated colors. The lyrics are a meditation on the transience of hope and the beauty we find in moments just before they disappear. This is a song that requires “proper attention” as the subtle analogue warmth creates a space that feels deeply personal and intimate, like a secret shared between artist and listener. Musically, the song is fluid and has melodies that drift in and out of focus like a prism. The listener is invited to slow down, stop the clock, and simply breathe. It serves as a necessary emotional bridge, moving the album from the heavy critiques of the middle section into a more reflective headspace, which is also incredibly foot-tapping and entertaining.

“Pebble dash heaven” gets the energy going again with a strong, snappy guitar sound that sounds quintessentially British in its ancestry. It starts with a nod to the “mind-numbing boredom” of the mid-80s in suburban Scotland, where the houses were pebble dash, and the skies were gray. It is a song that looks at the burning desire to break free from a dull, monochrome existence and find something more colorful and purposeful. The character in the song seems to be fed up with the place he is and wishes he had a Time Machine that could take him away so that he can have a change of scenery. It is a song that anyone who has looked at their hometown and felt themselves shrinking will be able to identify with. Musically, it has a sharp focus and an aggressive but polite quality, using the instruments to create an energy and beat that keeps the pace high. The effect is like a shot of pure adrenaline, making the listener feel as though they are part of some sort of secret revolution against the mundane, turning the frustration of a “grey” life into a colorful, loud, and defiant celebration of the desire to escape.

The second-to-last song is titled “Into the Sun”. The song begins with a slow build-up, with a very uplifting sound, particularly with a high, clean lead guitar sound that sounds incredibly uplifting. The theme of the song is one of total surrender, letting go of all the anger, politics, and pain to reach something higher and more universal. As the song progresses to an instrumental workout, it moves away from indie-pop to a trippy, post-rock world where the instruments do all the talking. The musicality is soaring and majestic, with layers of sound building upon one another until they resemble a wall of light, and I cannot tell you how much the guitar sounds were the moment!!!. The impact is transcendent, providing the listener with a sense of flying above the personal and global chaos that defined the earlier parts of the album, providing a moment of pure and unadulterated sonic freedom.

Finally, the album ends with “I don’t need to apologize”, which begins with a moody and defiant bass line and slashing guitars that slice through the silence. The subject matter here is the ultimate reclaiming of self-worth and the final statement of artistic and personal independence. It’s a snarling, unapologetic statement of defiance, of not backing down, of “fitting in,” or watering down the message for the sake of the masses. Coolonaut’s vocals are more convincing and smug than ever, bringing the journey full circle not with a plea for understanding, but with a bold, bitter, and brilliant declaration of independence. The music is raw and stripped back from the rest of the album, but its focus is the power of the lyrics and the strength of the performance. As the final notes fade away, the listener is left with the feeling of being empowered and renewed, as though they have just completed a long and arduous journey with their soul completely intact. If I take anything away from this song, it will be nonchalance and being unapologetic!!!

“Karma Smile” is an album that doesn’t so much resemble a digital file as it does a handmade artifact recovered from some bygone era. It’s not merely an aesthetic choice; it’s a philosophy. Every note of this record was recorded and produced using an 8-track analogue machine from the past. Coolonaut intended to recreate the elusive “ghost in the machine” that’s so prevalent in mid-to-late 60’s recordings: the ambiance, the warmth of the tones, and the strict artistic discipline that tape recording sometimes enforces. There’s no desire to be relevant or to hide behind the slick, sterile veneer of digital production. This album has been an exciting journey for me, a journey through magical lands that I shall not soon forget. Coolonaut, you have created a series of songs that have a timeless quality to them, above and beyond the fleeting trends of today. It is a triumphant masterpiece, and I am already looking forward to seeing where your sonic travels shall next take us.

Stream the “Karma Smile” album on Spotify.