Not that you need to know this…but I was lazing on a sunny afternoon with a cornflake cake and a cup of tea. The cat was watching me from the grass and all was well, but then it started raining and I had to rush inside. With me back indoors and some time to kill, I turned to my ever-increasing musical intray and decided on the new album by GrayBeat. So here is my press information, and then on to my review!
“Special Characters,” is a collection of songs written & produced during a critical stage in GrayBeat’s development as an artist & producer. Boasting seven newly remastered tracks and four extended live studio remixes, it is an immersive and adventurous sonic journey that disguises a clever negligence of musical boundaries while showcasing the profound influences of the diverse array of individuals GrayBeat encountered along the way. In fact, the title “Special Characters” holds a dual significance, representing both these myriad musical friends & companions defining this album’s artistic direction, but also the technical obstacles GrayBeat overcame during its creation.
Before reinventing himself as an enigmatic producer, GrayBeat was a virtuosic jazz fusion-style drummer with a deep passion for improvisation and live production. Here he has meticulously crafted an album that not only embodies a deep musical prowess in multiple styles & genres but also highlights his innovative approach to performance. Drawing upon his expertise in software development and coding, GrayBeat has seamlessly integrated bold technical elements into his live show, resulting in an awe-inspiring audio/visual experience that is both dynamic & unforgettable. The cover art of “Special Characters” features a mysterious alien figure donning a lab coat, symbolizing GrayBeat’s dual roles as scientist and musician. This alien avatar is manifesting rays of sunshine and rainbows out of special characters and symbols like “@”,”#”,”$”, depicting GrayBeat’s ability to transform technical challenges into moments of brilliance. Icons derived from the cover art of each single on the album ride on the rainbow waves.
My review.
Released on June 6, 2025. Available on all main streaming platforms now.
So I don’t really make a claim to connect to science-fiction much; I dipped a toe into Star Wars once or twice after watching “Big Bang Theory” obsessively for a while, but I’m not sure aliens delight me as much as they do Sheldon! As for techno, keyboards and the like, I am probably the only one in the magazine who listened to this type of music much (although we have covered Priest in the past).
“Star Gram” opens things up with some techno grooves that would actually slot neatly as a soundtrack for some Dr. Who (as they are rushing down a corridor somewhere). It instrumentally reminded me a bit of the instrumental side of some of Priest’s sound. It has an intense beat, almost frantic.
“Galacticruisin” (remastered 2025). This is one I quite liked, the heavy drum sound and the psycho techno feel with that spacey instrumental feel. The in-house teenagers felt it had a bit of a club feel. A bit like the last track, I felt I was listening to a soundtrack for a sci-fi movie I haven’t seen.
“Diamond Mic” (remastered 2025) has some vocals and these do elevate the track and give it some extra punch over those keyboards. It’s a short track, at 2.33 almost over before you start.
“Baby Blue” (remastered 2025). Baby Blue is actually the name of one of my cats. As a track, this one is kind of funky techno. If aliens are out there, then I suppose they may well get into this. It is very much in its lane.
“Concrete Labyrinth” (remastered 2025). Okay, Gary Numan, I liked, and this track did take me into his territory. The vocals were very pleasing in this one; we had some melody and I felt this was the most commercial of the tracks so far. This is the one I would suggest would attract some commercial radio stations; the vocals told a story and the instrumental was not overdominant. This track I connected to.
“Levitron” (remastered 2025) is interesting as well. There is a suggestion of light and shade within the techno sounds. It is quite experimental, a sound montage that was interesting.
“Paper Shoes” (remastered 2025) is a slower track. The vocals are more tucked under a gentle layer of music in a number where the drums certainly are driving the direction, allowing a solid heartbeat.
“Realms of Passion” is effectively the last of the studio part of the album. It is an upbeat number that brings in some female vocal work and some very busy synth. It’s a breeze!
“Realms of Passion (live remix)” & “Baby Blue” (live remix) & “Concrete Labyrinth” (live remix) & “Diamond Mic” (live remix) – We have some live remixes of the above songs. I do think that with the visual impact of the live stage and the experimental nature of these pieces, the tracks do develop a new life. However, I’m not sure that playing two versions of “Realms of Passion” really works when placed back-to-back and I may have released the live material as a separate EP.
Standout Track: “Concrete Labyrinth”
In summary: In the end, this album feels like a sonic spaceship piloted by someone with a fondness for instrumental improvisation and swirling synths. While it never quite landed for me—perhaps my musical passport doesn’t include enough stamps from Planet Techno—there are moments of intrigue and flashes of style, especially in the melodic pull of “Concrete Labyrinth.” For fans of the genre, this may well be an intergalactic trip worth taking.
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Stream Music by GrayBeat here
By Lorraine Foley