Remembering Like Memento: Living With Bipolar From the Inside and Tracking the Cycle: Understanding Bipolar Mood Ranges are two posts originally posted by Neal Reid on his Facebook account on October 27 and 28 2025. Shared with his permission on The Listening Room HQ
The first one is a raw, first-person reflection on living with bipolar disorder by Neal Reid memory, mania, and recovery told through the lens of Memento.
The second one a clear, practical look at bipolar mood cycles and self-tracking, shared by Neal with resources for allies and supporters, with links to Bipolar UK mood map for sufferers and e-course for supporters.
They are worth reading. I did the e-course and have the Bipolar Ally badge. If you have a relatively, friend, acquaintance, work colleague with bipolar I recommend it.
My radio show Amazing Songs & Other Delights # 86 – The Time Travel edition by Manuel Carvalho & Raquel Pinheiro os now on mixcloud.
Amazing Songs & Other Delights airs the first and third Monday of the month with respective repeats the second and fourth Monday of the month 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).
You can read more about Amazing Songs & Other Delights # 86 – The Time Travel edition by Manuel Carvalho & Raquel Pinheiro here.
Tracklist: 01: Blur – Stereotypes (Raquel) 02: Charlie Hunter Trio – Come As You Are (Nirvana cover) (Manuel) 03: Emperors New Clothes – East On The West Road (Manuel) 04: Faith No More – Evidence (Raquel) 05: HIM – Painted Egg (Manuel) 06: Kuyss – Hurricane (Raquel) 07: Mcalmont & Butler – Don’t Call It Soul (Raquel) 08: Monster Magnet – King of Mars (Raquel) 09: Nightmares On Wax – Nights Introlude (Manuel) 10: Oasis – She’s Electric (Raquel) 11: Peter Scherer – Nerve Type No (Adrian Sherwood Remix) (Manuel) 12: Ron Sexsmith – Summer Blowin’ Town (Raquel) 13: The Ballistic Brothers – Portobello Café (Manuel)
words: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota
Six years on, The Young Gods returned to Porto for a performance that in no way disappointed the legion of devoted followers who filled the Hard Club to capacity.
With Swiss punctuality, the trio -long familiar to Portuguese stages since 1990 – appeared to promote their latest album, Appear Disappear, released in June this year.
“I spend my time in the brain of the monster,” sang Franz Treichler, quoting Che Guevara, on Appear Disappear. Riding the mounting tension woven by the energetic guitar riffs, the vigorous electronics of Cesare Pizzi and the tribal percussion of Bernard Trontin, the concert flowed through the creative storm of their latest work before revisiting TV Sky (1992), creating an intriguing juxtaposition that reaffirmed the unmistakable sonic fingerprint of the Swiss trio.
Undisputed masters of finely orchestrated industrial landscapes, The Young Gods delivered a flawless performance that extended across two encores.
The finale came with Did You Miss Me, from their 1987 debut album, a multifaceted evocation at a time when the band celebrates forty years of existence. The night reaffirmed them as a performative force still capable of surprising and stirring… the teenagers of the ’90s.
The Season Beneath the Soil is a reflection on the quiet creative, art, personal work of transformation, what roots learn in the dark before renewal returns to the surface having tulips and auren lilies as starting points. It can be fully read at The Polymath.
When male anger has nowhere safe to land, it turns inward, explodes outward, or becomes control. When Male Anger Never Lands is a post on The Listening Room HQ on risk, repression of anger, and what real release looks like.
Here’s an excerpt: There’s a silence that follows an explosion, not calm, but scorched. The walls still echo, the air feels heavy, and everyone inside that space carries tremor. Full post here.
Good morning with the phenomenal return of Sugar with House of Dead Memories. There is nothing dead in Bob Mould, David Barbe and Malcolm Travis. I’m delighted to see one of mine, and Mondo’s favourite trios back. Have a nice weekend.
words: Paulo Carmona (freely translated by Raquel Pinheiro); photos: Nuno Lopes
With characteristic mastery, Samuel Úria prepared his transition towards solo performances on iconic stages, and the Coliseus were no exception.
Samuel appeared in full splendour, surrounded by a panoply of settings, stages and instruments, all enriched and animated by special guests and a chorus of celestial voices. Everything was in place for the night to be memorable, and indeed, it was.
It all began with 2000 AD, the title song of his latest work, and straight away the breath became a complement to the syncopated rhythm of my shoe soles. There was a touch of spaghetti western about the song, and a festive spirit swept through the entire hall of Coliseu do Porto.
Soon after came Pedra e Cal, and someone whispered in my ear, “Samuel does whatever he wants with his voice.” The procession was only just beginning when he announced the first guest – the Queen of Hearts herself: Carol. The song, inspired by Xico da Ladra, a character from the alleys and narrow streets where the artist once roamed and drew inspiration, unfolded like a fable. Imagination is something Samuel knows how to translate into song, and those who listen closely can feel it.
The audience responded instinctively; the atmospheric intensity rose with every beat, every sway of the hips. Samuel is, by nature, an entertainer, a consummate performer. He communicates with ease, radiates genuine warmth and just the right measure of humility, deeply endearing qualities. The crowd loved him for it, answering his gestures with bursts of applause.
There were more surprises and more guests joining Samuel on stage: Margarida Campelo; Manuela Azevedo, with whom he ventured into the middle of the audience to perform Carga de Ombro in a completely acoustic version, a moment that set the Coliseu ablaze.
Then came Milhanas and Gisela João. Each of them wonderful, each unique. One could not have asked for more. The stage even shifted hands, as the band from earlier days – Flor Caveira – filled the air with rock’n’roll à la carte. Like a chameleon slipping between parallel worlds with a diplomat’s passport, Samuel moved through genres that met and mingled here and there.
A special note must be given to É Preciso Que Eu Diminua, in which the artist seemed to perform a near-penitential act. With the wisdom and craft of a poet, he offered his reflection on what it means to accept one’s own place when standing in the light, gently criticising the hollow vanity and narcissism that often accompany it.
He closed the concert, as he must, with Um Adeus Português. It belonged there, perfectly attuned to the moment.
I left Coliseu do Porto as one might leave a banquet of the gods, with a full soul. And I caught myself thinking: “If this man keeps going like this, what more could I possibly say?” Oh captain, my captain?
Mondo Bizarre Magazine 