Trinity News Ball Guide 08 by Trinity News

Ciaran Durkin: Top black tie fashion tips • Martin McKenna: How to take the best snaps on the big night • Catriona Gray: 2008 Ball mixtape

TRINITY NEWS

MARK RONSON • VITALIC BLACK REBEL MOTORCYCLE CLUB LIGHTSPEED CHAMPION • THE METROS

BOYZ NOISE • ROYWORLD • KAVINSKY • REPRAZENT THE MIGHTY STEF • THE CORONAS • SOMETHING HAPPENS

THE WHIP • PALLADIUM • JAMIE SCOTT • THE SPIKES • ROYWORLD • CRAZY P

Thomas Read Group present:

Your Trinity B THE CHAMPAGNE BAR, located on the First Floor above Ron Black’s at 37 Dawson Street, is the ideal destination for any occasion. Whether its Christmas drinks, Private Parties, Corporate Launches, Celebrations, a ‘Meeting Place’ or just to relax and experience the beautiful ambience with views over Dawson Street and The Mansion House, why not drop

into The ‘beautiful’ Champagne Bar and experience a hidden gem in Dublin’s social scene. Dublin’s only designated Champagne bar offers over 60 choices of Champagne and more than 80 different Cocktails, aswell as Champagne Courses & Tastings. LINCOLN’S INN, the traditional style pub, has re-opened at the far end of

Nassau Street, in Lincoln’s Place, Dublin 2. It’s a listed building so still maintained its Victorian exterior, high ceilings with the original features. Known for its connections to James Joyce and Nora Barnacle, as well as being an ‘institution’ in Dublin and especially within Trinity College Dublin, the Lincoln’s Inn has always experienced high levels of interest from all facets of society. The opening of

Ball night out the bar has guaranteed the conservation and repair of existing historical features and continues to stay true to tradition as a “pint drinker’s pub”. The ideal place to drop in for a quiet chat with friends or to have a drink at the bar and a chat with the friendly staff, it really maintained the local pub feel, in a big city. Edgy, alternative and home to some of

Dublin’s best live music and DJ club nights, PRAVDA is a dynamic rock-n-roll late bar serving hot food, a huge range of international beers and over 80 vodkas. The Russian themed bar hosts acclaimed club nights like the hi-octane, scream-a-long King Kong Club on its new stage every Wednesday as live bands, free bananas and a home made Clap-O-Meter battle it out for great prizes. Thursdays

veer between electro, indie and latino while our big name DJ’s come out to play on Fridays and Saturdays with an eclectic mix of indie faves, classic rock and funky floor fillers. Admission is always free and with an uber hip music policy and some of the friendliest bar staff in Dublin Pravda’s unique, energetic atmosphere is the perfect place for parties.

Experience something new in the Old Library

The Trinity Library Shop The Library Shop opening hours are: 9.30 - 5.00 Monday to Saturday 12.00 - 4.30 Sundays Email: library.shop@tcd.ie

http://www.tcd.ie/Library/Shop

Contents

38 22

“I don’t understand why anyone would pay money to hear me moan about girls accompanied by music.”

32 27

BRMC

Boys Noize 24

Cover image: Martin McKenna Hand Model: Kate Tarlton Carbon-based light ﬆands: David Adamson, David Molloy, Catriona Gray, Gearoid O’Rourke Thanks to: Topshop

Thanks to: Ed O’Riordan, Joey Facer, Daire Hickey, Conor Sullivan, Mark & Rob @ Mortons, Dara Cummins, Jim Lawless, Siobhan O’Dowd, Jess @ Meas, Thomas Reads Group, Grainne @ MCM, Adrian Frutiger, David Adamson, Kate Tarlton, Tori Snowball, and of course Niall Morris, Bebhinn and all @ MCD Promotions - thanks guys!

TRINITY NEWS

68 17 “They realised there’s more to rock music than just cranking the amp up to eleven”

54 Shortshorts Last year’s Ball The ‘07 hit list Practical advice from MEAS You are what you eat at the Ball Ridin’ in style Running the Millenium Ball Holly White: on her Ball Snap happy photo tips Win stuff The ‘08 hit list

12 13 14 15 15 16 17 19 20 21

Have a word with Ed

Boys Noize The Spikes Kavinsky Palladium Royworld

24 26 27 28 29

Longerones Felix da Housecat Something Happens The Might Stef Vitalic Lightspeed Champion Mark Ronson Black Rebel Motorcycle Club Ball fashion Tying your bow tie The Coronas The Whip The Metros

32 36 38 40 44 48 54 62 64 66 68 70

Album Reviews

Editors Gearoid O’Rourke Catriona Gray Design Gearoid O’Rourke Martin McKenna Advertising Gearoid O’Rourke Layout Gearoid O’Rourke David Adamson Martin McKenna David Molloy Copy Editor Joey Facer Contributors Catriona Gray Steve Lydon David Lydon Caroline O’Leary Ciaran Durkan Conor O’Kelly Rebecca Gray Tim Smyth Ailbhe Malone Nick Hamilton Layla Hancock-Piper Rachel Kennedy Joey Facer Ed O’Riordan TRINITY NEWS

Q&A Thinking of furthering your studies in business? UCD Michael Smurfit Graduate Business School awaits you. Come to our Open Evening on Wednesday April 16 from 4pm at our Blackrock Campus.

Itâ&#x20AC;&#x2122;s your chance to meet with top professors, alumni and current students.Theyâ&#x20AC;&#x2122;re ready to answer your questions on any subject in our wide range of programmes.

For further information and to register your attendance visit smurfitschool.ie

M32103_UCD OEve TrinityNws.indd 1

25/03/2008 11:32:41

Short shorts

• Last year’s Ball - 12 • The perfect ride - 15 • Holly White - 17 • Taking the best pics at the Ball - 19

shortshorts

Ash (left) and CSS (above) both played storming sets at last year’s Trinity Ball.

The year that was

ray Catriona G

aﬆ year's Ball sold out in record time. Wondering why? Laﬆ years line-up saw a ﬆrong mix of acts, which made the moﬆ of Irish talent, by using a significant number of home-grown bands. Ash headlined the Ball, playing the Main Stage along with fellow Irish act, Director. The Main Stage also saw two of the hotteﬆ acts of 2007, with both CSS and the Hot Chip DJ's playing sets. The Dance Stage was particularly popular, with the tent

filling up faﬆ and becoming completely jam-packed by the time Boys Noize took to the ﬆage at 11.30pm. Highlights from the dance tent were Erol Alkan and the fantaﬆically named Dr Lectroluv. The Second Stage was a bit more laid back, with performances from The Flaws, The Immediate and The Blizzards. The pioneers of nerd-chic, Datarock, also played on this ﬆage, donning thickrimmed spectacles and rocking an eighties computer geek vibe. As if all this wasn't enough, there was a hoﬆ of

07 other bands playing the Outdoor ﬆage, among them Aslan, Channel One and 2007’s moﬆ promising young newcomers, Delorentos. With such a diverse array of acts, it is difficult to pick out favourites, however, CSS definitely ﬆole the show with their incredibly energetic performance, playing a set of their songs from "Alala" to "Meeting Paris Hilton" and inspiring a rabidly enthusiaﬆic reaction from what was possibly their moﬆ formally-dressed audience to date.

TRINITY NEWS

The ’07 hit list Ash: Burn Baby Burn CSS: Patins Hot Chip DJ's: Over and Over Director: Reconnect The Blizzards: Trouble Delorentos: Leave It On Datarock: Computer Camp Love The Immediate: In Towers and Clouds The Flaws: 16 Aslan: Crazy World A Lazarus Soul: Me and Maradona Dunne Busy P: "What's Your Name Again" remix

TRINITY NEWS

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So you didn’t make it to the Ball last year or you just want to relive it listen to this mixtape for the highlights of that damp night last May! 13

shortshorts

Practical advice

kodunmi Jess Maje e.ie drinkawar

You’ve ordered the tux or bought the dress, collected your ticket, maybe even booked the limo…what else? Here’s how to make sure you have a ball and not a nightmare. on’t conk out early and miss the best part of the Ball! Grab a glass of water every few drinks to keep you looking refreshed and feeling energised so you can last thru til the sun comes up over Goldsmith Hall. Look out for the free water taps. Eating before you drink is way better than scoffing a bag of greasy chips after a skin full. Puking up on the dance floor cos you drank on an empty stomach tends to be a party killer. At least take advantage of the options onsite while you are drinking. Keep your drink close, it could get spiked with dodgy drugs or an unexpected extra shot of alcohol. Lads, don’t think this doesn’t apply to you also. Alcohol passes from your blood stream into your brain cells, which in turn affects your bodily functions. Dancing included. Let’s face it, if you can’t strut your stuff when you’re sober, there is even less chance of your body combining rhythm, coordination and style when drunk.

Remember too much drink will do nothing for your looks – you’re drop dead gorgeous until you drop down drunk. Take just a moment to consider how you are going to get home afterwards. On the night, keep aside enough money to get home safely. The nearest taxi ranks to Trinity aren’t far at all, head to College Green, Dawson Street or Pearse Street. And if you are thinking of walking home (ladies, two words – bring runners), don’t walk through unlit or unsafe areas. Or indeed anywhere at all on your own. Don’t let your mates wander off by themselves either, especially if they’re overdone it. For many years now, the Trinity Ball has resulted in many an embarrassing and mortifying memory for a number of trinners grads. For each pint you drink, you have more of a chance of falling victim to the beer goggles effect. Add a slippery nipple or two and you’ll be waking up next to a face you will try to spend the next few years of college avoiding. To prevent any nasty itchy surprises or life changing conversations a few months down the line, use a condom.

TRINITY NEWS

Ridin’ in style

You are what you eat

The only cars to be seen in pulling up to front arch

Catriona Gray

(especially when you will end up wearing it)

et's face it, excessive al cohol consumption often leads to some unwise de cisions. The best way to avoid anything you may later regret is to plan ahead. Eat something before you start drinking, preferably high in carbohydrates to sop up the booze. Don't drink on an empty stom ach it's a recipe for disaster and the Trinity Ball is a long evening. Once drunk, it's just a matter of damage lim itation. After the ball, it's either a case of ending up in a takeaway or in a kitchen. If you go with the former op tion, and end up in a fastfood outlet, eating healthily will be impossible: the only thing you can do is to go for plain, stomachcalming food and avoid any thing that might stain your clothes i.e. ketchup. If you wind up back home, do not, under any circumstances, try to cook something, as this can lead to un pleasantly flammable consequences setting the kitchen alight is not the ideal ending to any evening, believe me. Cereal is a safe option for the in toxicated, as is bread. Don't forget to drink some water it'll lessen the hang over the next day.

TRINITY NEWS

The Mercedes E-Class is the bog standard chauffeur driven car that you get in Ireland. If you are going to arrive in style this is the minimum acceptable standard. Avoid “funeral” stretched versions and instead go for a saloon with full chrome package and tinted windows

They may be frowned upon by the environmental brigade but nothing makes such an imposing entrance as a “Rangie”. Rreferably go for a top end model in black with some tricked out 30” alloy rims. Make best use of the excellent Bose ICE en route to listen to Vitalic’s finest to get you in the mood.

Tomato ketchup: avoid at all costs while drunk or while wearing black tie

Nothing says “My Da d could buy your whole street” than riding around in a Bently. Go an Arnage and not a na for sty new VW model. Loutish be haviour will not be tolerated on these fine hide seats so think English toff rather than Spurs fan.

shortshorts

Running the Millenium Ball

Caroline O’Leary

Former Ents Officer and now successful music promoter Siobhan O’Dowd talks about her year running the Trinity Ball

ong ago, in the ancient years prior to 2000, the Trinity Ball was not run by big budget publicity company MCD but by the Students Union. Siobhan O’ Dowd, now a publiciﬆ for Pod, was the laﬆ ﬆudent Ents officer to run the Ball in 2000. Bright, bubby and enthusiaﬆic, she has chaotic but fantaﬆic memories of the night, “We had a production meeting late afternoon and from there I (very glamorously) got changed in the jacks of the ﬆudents union before running to Commons to dinner! The whole night was spent running with ball dress, trainers and radio headset looking absolutely ridiculous!” Along with booker Declan Forde (another ex Ents officer and current Pod colleague) O’Dowd’s Ball featured bands such as Supergrass, “I definitely remember getting roped into a football match and losing fairly spectacularly to their tour team”, Asian Dub Foundation, The Undertones, Laurent Garnier and Royksopp. However the inevitable problems, both personal and with the acts, had to be dealt with, “So Solid Crew were booked but there was a drama of some sort and they couldn’t play. My parents came and I asked radio control to give me an urgent call to base every

O’Dowd was Ents Officer in 2000 and now works for concert promoters POD. (Above right) O’Dowd travels in style

half an hour so I could go out for a cigarette... Classy!” Despite the dramas, she praises the support she got at the time and credits those around her for the year’s success, “Declan was the booker so I leant quite heavily on his expertise. I probably put my oar in moﬆ on the dance front, but the live element would have very much been his forte. My background was in the marketing/ sponsorship area rather than the talent so this was where I contributed moﬆ really. College were really supportive of all of our decisions from what I remember. The majority of the issues that they flagged with us came from insurance policy ﬆipulations etc.” As well as the drama and chaos that was the Ball, O’ Dowd had a pretty eventful year as Ents officer in general. Pondering her favourite memory of the time, she recalls the highlights of the ups and downs of her tenure, “Maybe the proteﬆ I got roped into as part of my

attempt to be a socialiﬆ for about a week when we barricaded ourselves into the old library? Or when my Ents crew went on ﬆrike during freshers week of my Ents term? Or having to volunteer for the slave auction in a bid to encourage people to sign up to Rag week (I don’t think I’ll ever get over that to be honeﬆ)” O’Dowd was lucky enough to transfer her newly earned expertise to her career afterwards, and is now a publiciﬆ for Pod, “I went back for Fourth year and worked part time organising the ﬆudent nights in Redbox before moving into full time when I’d done my finals. It was a fairly organic move from organising the ﬆudent club nights and the venue marketing into the feﬆival marketing, sponsorship and promotion.” Ever the ﬆudent however, it seems that old college habits die hard, even in the workforce. Admitting to a major caffeine vice and an addiction to TRINITY NEWS

. . . e t i h W Holly

r as Becs) e h w o n k u o (y

Jack Daniels and coke, she recalls how her life then resembles her one now, “When in Trinity I think my ﬆaple diet was sausage rolls, beans and chip from the Buttery which I ﬆill get cravings for! I’ve also been a demon for the JD and Coke, a taﬆe which hasn’t changed at all! When you live on campus you tend to get really lazy and not look beyond what’s on the doorﬆep. Now our offices are on Leeson St and the venues are on Harcourt St so I’d be a regular in Little Caesars and have a fairly serious Starbucks habit!” Despite the criticism the College has come under since its decision to employ MCD, O’ Dowd doesn’t necessarily believe it was a bad idea, “I think the ball is bigger than the sum of it’s parts. The Trinity Ball is an inﬆitution isn’t it? Peoples memories of it are far more likely to be of their own moments watching the bands, being with mates and watching the sun rise over front square rather than of individual Ents officers, committees, organisations or promoters pulling the ﬆrings backﬆage.” Always a good sign of a good show is enthusiasm to go back, “I’m definitely going to the Ball this year, its one of my favourite nights of the year even if it makes me feel increasingly ancient!” Now a Trinity Ball pro, she even has her perfect night planned out “I would moﬆ definitely have taken the day off so I could enjoy the show. Brad Pitt would pick me up at about 7pm, we’d go for a nice dinner and then meet some friends for cocktails before heading into the ball nice and early.” TRINITY NEWS

l l a B r e h ...on Daire Hickey

On her first ball... I went to the ball when I was in first year in Trinity, way back in 2002. I was with a guy and we couldn't find each other all night. It was so loud. We couldn't ever hear each other on the phone. We were just so pent up and angry we ended up leaving at midnight. It's just too stressful if you're a couple. Last year... Last year I managed to get a ticket at the last minute. I was young, free and single and it was the best night ever. My friend Joe had this homemade cider, we mixed it with red bull and it was like rocket fuel. I was getting a bit tired by 2am, had some and I was still wide awake the next day. Crazy stuff. On how to survive... Girls, don't even bother with shoes, they're just a killer on the cobbles. Just wear flip flops. It's not important to look nice, girls just spend too much time on the details. Don't be too stressed. People think 'ball' and they think 'glamorous'. It's not; it's more of a festival - but it's one of the best festivals. Make sure you have a friend on campus so you can borrow a hoodie later in the evening. People tend to forget that it's Ireland and its freezing. Oh, and stash some drink somewhere because the queues are massive and its mostly beer. Plan to see bands otherwise you'll miss loads. You’ve got to have some focus. Last year my friend asked if I had seen CSS and I was like CSS? They're playing? I love them. On this year’s ball... I love Mark Ronson. He's gorgeous, I wouldn't mind an older man, and guys with guitars… hot. I really hope I can get a ticket. I wouldn't mind giving him a kiss… Holly White is a former BESS student and recently starred as 'Becks' in the popular RTÉ Series 'Dan & Becks'. Holly is nominated as Ireland's Sexiest Star in the Walkers TV Now Awards – vote for her online www.tvnowmagazine.ie

DIT – Another Way to Study Law… For over 30 years, the Department of Law at the Dublin Institute of Technology has offered innovative programmes to graduates interested in studying and practicing Law.

POSTGRADUATE DIPLOMA IN LAW This popular conversion programme is ideally suited for those considering a career in or involving Law. Offered over one-year whole-time, the programme may be of particular advantage to graduates wishing to sit the Law Society of Ireland entrance examinations. A Masters supplement is available for a select number of graduates on completion of the PG Diploma. A minimum 2.2 honours degree in any discipline is required for entry. Closing date: Friday April 25, 2008.

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DIT – It’s a step closer to the real world.

Snap happy Martin M cKenna

Here are some ways to improve your photos from this year’s Ball — just in case you need to jog your memory the morning after. o you’ve clipped on your bowtie, secreted that shoulder of vodka on your person and squared the bets with your mates on how long your girlfriend will last before she ditches her heels for the flats in her bag. But these days, your night out is ultimately judged by how glamorous and cool your Facebook album on the event is. Happily, there are a few tricks of the trade for making your mates look like the trendy sophisticates they are.

TRINITY NEWS

Disable the flash If you want to take a photo of the buildings in Trinity lit up, you’ll have to forget about your flash. It’s not powerful enough to reach the buildings, and even if it did, they’d come out their normal colour! You can turn off the flash on your camera by pressing the flash button until you get to the symbol of a lightning bolt with a line through it. The problem is that you won’t be able to hold your camera ﬆill enough to make the picture sharp. So, balance your camera on something ﬆable: a bicycle seat, a sign, the counter of a faﬆ-food van, maybe the chains around the lawn with a jacket thrown over them. Gently press the shutter button and keep the camera ﬆill for a second or two.

“Night portrait” mode Lots of cameras these days have a “night portrait” mode. It usually has a symbol of a person with a moon or ﬆar beside them. (Sometimes this mode is called slow-synchro or similar; the symbol for this is an S with a lightning bolt beside it). In this mode, a flash will freeze the movement in your subjects while ﬆill letting in plenty of background light. This is handy since it avoids the problem of jet-black background, where it looks like you went to an empty warehouse in a tuxedo. You won’t get any lovely coloured background light, though, if there isn’t any in real life; so try face the ﬆage when you’re photographing your friends, and you’ll get the ﬆage lights in the background. The flash is so good at freezing the movement of your friends that you can actually shake the camera as you take the photo. This’ll give you some great effects on the lights in the background; try it.

! p a n s snap! sna p!

Winstuff

Win 3Pay mobile broadband 3 have announced Ireland's first pre-paid mobile broadband service, available in retail outlets nationwide and is offering no-strings attached pre-pay broadband aimed at students looking for connectivity with 'no bills and no bother'. The 3Pay vouchers can be used for mobile broadband or 3's pre-pay mobile phone service, so whether customers wish to phone, text or surf they can use the same credit to do both. Additionally, with the best data roaming rates on the market, 3's broadband service is ideal for international surfing with '3 Like Home' offering domestic rates on 3 networks abroad.

To win tell us what 3 piece band are coheadlining the Trinity Ball with Mark Ronson? Answers with name and address to 3@trinitynews.ie Closing date April 12th

Be in with a chance to

WIN TRINITY BALL TICKETS

simply by registering with tipoff.ie and telling them you heard about the service in Trinity News

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The hit list 08

Catriona Gray

Mark Ronson: Oh My God feat. Lily Allen Mark Ronson: Valerie feat. Amy Winehouse BRMC: Whatever Happened to my Rock 'n' Roll Vitalic: La Rock 01 Lightspeed Champion: Midnight Surprise Something Happens: Forget Georgia The Metros: Education Pt 2 The Whip: Trash Royworld: Elasticity Kavinsky: Deadcruiser Boys Noize: Oh! The Coronas: San Diego Song Jamie Scott and The Town: When Will I See Your Face Again TRINITY NEWS

Shortshorts

Have a word with Ed... Joey Fa cer Ents Office Ed O’Riordan talks to Trinity News about the plans for the Ball, the lineup and getting “pissed” on the big night. When did you start organising the Ball? We ﬆarted organising the ball late laﬆ year, and I had the firﬆ big meeting with MCD in early January in Dun Laoghaire where we discussed the acts for this year. So by Ball-day, how long would you say it has taken you to arrange everything? By the day of the Ball it will have taken juﬆ over six months to plan the whole thing. How important would you say the Ball is to Trinity? I think that the Ball is of immense importance to the heritage of Trinity, because huge acts have played the Ball in its hiﬆory, including U2 and the Clash. Some of my favourite memories from College have been at the ball. I think that every Trinity ﬆudent remembers their firﬆ trinity Ball. It is, and always will be, a massive social event and the envy of other colleges. Does this year's Ball have something for everyone? Mark Ronson's album has been one of the biggeﬆ sellers of this year so I think people will definitely know at leaﬆ one song from it! If his performance at the Brits was anything to go by that'll be truly out of this world. Vitalic, who will be in the dance tent, rocked the ambassador at the Eaﬆer bank holiday and Boyznoise were amazing at laﬆ year's Ball in the dance tent. There will also be Something Happens fronted by Ireland's top indie DJ Tom Dunne of Today FM. Their song "Parachute" is a classic of the nineties. Lightspeed Champion have been on the cover of NME twice in the laﬆ few months, and Jamie Scott, BRMC and Kavinsky are great… I personally think that the line-up is unreal this year!

What are you wearing to the Ball? I will be wearing a black tux with a black tie so no surprises there to be honeﬆ! I'm told that some of the girls will be getting their dresses from Chica (I think that's a clothes shop?). We will have Bond Brothers on campus fitting people out for tux hire in the days leading up to the Ball so look out for them. What was the Ball like last year and how will yours be better? The Ball laﬆ year was amazing. Barry [Murphy] and MCD really got it spot on. They got some massive acts juﬆ before they were about to explode in a massive international way. They also got an act that everyone knew, Ash, one where everyone could sing along to at leaﬆ one of their songs. With Juﬆice and CSS they got acts that have now really broken through to the mainﬆream. I think that we have a rocking dance tent again this year, and an act that everyone is familiar with in Mark Ronson. He is an artiﬆ who will create a great atmosphere and moﬆ people will be familiar with his music. For the music fans of every genre we have something to suit them from huge American rockers BRMC to Lightspeed Champion. Tell us an amusing Ball anecdote! Well apart from ﬆories of sex in portaloos, drunken friends doing cartwheels in the dance tent… I'm not really sure if I have any good enough ﬆories. Perhaps you'll run a competition in the paper for the beﬆ ﬆory? What will you be doing on the day/night of the Trinity Ball this year? There won't honeﬆly be a whole lot for me to do on the day as CSC run the ticketing diﬆribution with great efficiency and then MCD control the tents, artiﬆs etc on the night. So I will probably juﬆ be getting pissed! TRINITY NEWS

DUBLIN UNIVERSITY PUBLICATIONS COMMITTEE

Applications for the DU Publications Committee Bursary are now open. Contributors to any publication recognised or provisionally recognised by DU Publications Committee are elligible to apply for this award. The Bursary is awarded in recognition of work that has been done throughout the paďŹ&#x2020; year and also on the basis of a committment to continue this work for the year ahead For more information and/or an application form, please contact either the Secretary (maishmal@tcd.ie) or the Chairperson (graycr@tcd.ie) in writing before the closing date below. The closing date for applications is Thursday 10th April. No applications will be accepted after this date

shortshorts

t’s a pluralised name but a solo project – Alex Ridha is the name of the DJ behind the music, and he’s been labelled by eventvibe president Tim Ortiz as ‘one of the most watched and sought after young talents in the electronic dance music industry today.” Boys Noize has a definitive sound which has been compared in it’s ability to pull impossibly huge crowds of people onto a dancefloor – and keep them talking about it fanatically, for hours afterwards – to the legendary live performances by Daft Punk. In a manner close to the methods of Mark Ronson – yet still uniquely his own – Ridha has done reworking of many popular mainstream tracks, putting a fresh spin on the worn out anthems of the past years. These include music from Depeche mode, Marilyn Manson, Feist, Bloc Party’s “Banquet” and Kaiser Chiefs “Everyday I love you less and less.” It’s worth mentioning however that Ridha wouldn’t appreciate this review’s drawing comparisons to other artists on the scene, as the DJ himself is beholden to a strong dislike

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of the mainstream music industry and a slightly anarchist outlook. When asked in an interview why he had founded his own label – Boys Noize Records – his response, charismatically, was to say “I founded my label to shit on major concepts of music and to be independent.” Ridha worked as a cleaner for two and a half years from the age of fourteen onwards – his method of affording the records and turntables that would eventually prove to give him a far more lucrative career. Four years of dedication to both drums and piano besides this would also prove useful components to inspire his progression into a musical career. This is a DJ now currently doing so well for himself that he is in demand all across the world – his tour list labels Paris, Toulouse, Madrid and Amsterdam, as well as Miami, Quebec and Montreal. In the past, Boize Noize has played at Cream, the true mark of success for any DJ. It also gives away the fact that when he finishes his turn on the decks at Trinity Ball, he’s going on to continue at Spy

S Y O B E Z i NO – a fact that a few hardcore dance lovers might be tempted to take advantage of…! In the meantime, I would recommend enthusiastic techno and electronica fans to go and track down Boys Noize on their myspace page, full of commendably addictive tracks in a playlist composed from the forthcoming album, a rehash of his own original “oi oi oi.” There’s also a good crop of promising clips on Youtube betraying some seriously excellent live performances – search out their performances at Cream and Electrofield 2007 for entrees. The rising name of Boys Noize, tagged as the ‘Sid Vicious’ of electronica, could in my opinion be the essential dance act to go and see for the upcoming ball. Hitch up long skirts and pull back sleeves – it’ll get hot in there.

TRINITY NEWS

1st 3rd

4th TCD E nts

Y P ARM TCAMwednes O BuO chen t r y kit p

ril 16th Ap

in Assoc iation W ith

Vodafon e Pres ents.

day 23 rd

april

2nd

TR GivINITY ea BALL wa TIC y KET

4 Nights, 4 Weeks, 4 Themes, 4 Floors, Until 4am

roar gov id

Catriona Gray ith a name like The Spikes, it’s easy to guess that this band is from Dublin. They’re a rock band of the traditional school, as you can hear by their music, which has absorbed the influence of every major rock band from Cream, to Led Zeppelin, to The Strokes. The band is made up of frontman Tom Dunne (no relation to the Tom Dunne from Today FM and Something Happens), Gareth Lewis on guitar, bass player Paul Redmond and Aaron Mullhall on drums. The Spikes formed in 2005, when Dunne, travelling in New Zealand and short of money, entered an Irish Song Conteﬆ in an attempt to win the top prize of $1,000. He was narrowly beaten by Lewis, a travelling Welshman masquerading as an Irishman in order to win the prize money. One thing led to another and eventually, back in Dublin, The Spikes were born. Their firﬆ single, “Monﬆer”, was released in 2006 and managed to get a place on the Irish Singles Chart. The band themselves rely on an extensive amount of touring in order to secure their ﬆrong fanbase- they have played virtually

YOU’VE BEEN SPIKED

Shortshorts

every venue in the country in the laﬆ couple of years. Since then, they have put out a few more singles, “In Love No More” and “Ninja Girlfriend”, and have juﬆ released “Hypnotized”, the firﬆ track from their debut album. Dunne talks about the process of recording their album: “As it was a debut album it’s really been in the pipeline for the laﬆ three years... we’ve spent a lot of that time writing and gigging our material, fine tuning our sound and figuring out what would work beﬆ in the ﬆudio, because we’re essentially a live band and we knew we needed to capture what we do beﬆ on the album. The recording itself was also quite a long process in the end, kicking off in autumn laﬆ year and with the finishing touches being applied as we speak!” So what do The Spikes think about playing at the Trinity Ball? Dunne is enthusiaﬆic: “Really looking forward to the ball, really looking forward to the ﬆandoff between the two Tom Dunnes, and really looking forward to being on the bill with some of the biggeﬆ world acts right now! Our bass player Pete is a Trinity graduate and experienced ballgoer... he swears to us all that it’s the gig of the century. To quote the man himself, “Fuck Glaﬆonbury, it’s not even black tie!”” TRINITY NEWS

rench electronica is so hot right now. Any selfrespecting fashion whore needs to be aware of the Ed Banger crew and the pill-fuelled raves that they have been creating across Europe. For the uninitiated, Ed Banger is a record label (a French one, naturellement) set up in 2002 as an offshoot of Headbangers Entertainment and run by Pedro Winter, who also DJ’s himself under the name Busy P – not to be confused with Trinity Ball act, Crazy P. The group of DJs signed to the Ed Banger label are a close-knit crowd, supporting each other at gigs and eﬆablishing their identity as a unit, helping to collectively raise the profile of their genre. Although you might think Kavinsky is a dedicated member of this French label – considering that he hangs out with them, has played support slots to both SebaﬆiAn and Juﬆice and been remixed by Mr Oizo, the Parisian is really signed to the Record Makers label. He has released two EPs: Teddy Boy in 2006 and 1986 in 2007. There seems to be a bit of confusion regarding Kavinsky though, in that he claims that he died in a car crash in 1986 (hence the title of his lateﬆ EP). He is, in his own words, a member of the “living

TRINITY NEWS

Catriona Gray

Electronica often has a distincitve feel to it, but French electronica artist Kavinsky is unique- he claims to be dead and sometimes performs from inside a glass pyramid. dead”, who has decided to compensate for his lack of a pulse by following a highly lucrative career as a DJ. His song titles reflect this highly traumatic Eighties car crash, with names like “Teﬆarossa Autodrive” and “Deadcruiser”. Despite his initial cool factor, mainly due to his superficial association with the Ed Banger label, Kavinsky actually comes across as a bit of a wanker, judging by any article ever written about him online. Take this example: the only interview with Kavinsky currently in exiﬆence – taken from a clip of him on Auﬆralian TV. It’s short, but surprisingly revealing. Some choice quotes are: Interviewer: “Do you come from a soundtrack background?” Kavinsky: “No, no, no - I come from nowhere and, um, I’m already dead.” Interviewer: “What superpowers does Kavinsky have?” Kavinsky: “No one - juﬆ a big dick.” There you go, Kavinsky, a DJ who has fairly high pretentions, an allegedly “big dick” and queﬆionable mortality. Because he plays French electro, he does have a vague claim to coolness; however, if you feel you muﬆ add a Parisian DJ to your record collection, do yourself a favour and ﬆick to SebaﬆiAn. 27

longerones

London’s Palladium

Layla Hanco ck-Pip er

alladium have been causing something of a critical hubbub in the UK, where their relentless touring and consistently vigourous performances have been winning over even the most stubborn detractors. The band comprises of the magnificently named Peter Pepper, Rocky Morris, Rostas Fez, and Rufio Sandilands, and they play the kind of music that really really makes you want to punch the air, hi-five your neighbour, and invest in a golf visor immediately. Listening to “The Greatest Dancer” a gloriously Glam-Rock B-side my boyfriend spontaneously started a bizarre guitar-god-pelvic-thrusting dance (complete with gurning and air guitar) in our living room. I wondered if this was an appropriate reaction “Very much so.” They assured me, “That is generally how we entertain ourselves on the tour bus - well at least we make [guitarist] Rocky play air guitar along to Steve Lucather while we drink beer and

laugh at him. There’s a Brother’s Johnson record called ‘Winners’ which has fantastic opportunities for pelvic thrusting and strange gurning.” Of the place of all this determined Rock-star action in a Ball line up that has become increasingly dance music heavy in recent years Palladium are nonchalant. “Proper bands will always be popular. Maybe there was a lack of ‘good’ proper bands for a while so people turned elsewhere. Now there are more and more good bands emerging - also more good electronic music is coming through”. Because the band look so great, and because they seem to be having so much fun, it’s easy to forget that it’s the music that matters to these guys, “The music is by far the most important thing but it goes hand in hand with the life we have. We have loads of fun and we owe it all to the music.” Fun is the keyword here and you really can’t take Palladium too seriously. Take Sandilands, stationed behind a bank of keyboards, his sparkly “party” visor cocked at a jaunty angle, it’s im-

possible not to like them. The visor incidentally has multiple uses, as Sandilands explains, his party visor is “far too small for me so whenever I squeeze it on I get a severe head rush- ideal for a party situation”. Take tips kids, say no to drugs, invest in a snug piece of headwear. I put it to the band that as the Tinity Ball is a formal occasion, something more than a party visor might be required, and I’m assured “we’ll have to make a special effort. Maybe we can persuade Fez to wear a ballgown - it has been known.” So if you can tear yourself away from Aslan in the buttery, and resist charms of Mark Ronson – whom Palladium assure me will be Winehouse free (band members were in her original backing band and I’m informed “She rarely turned up at her own rehearsal), then Palladium will be offering gloriously unselfconscious entertainment. “All we can promise is that we’re definitely gonna have a good time and your more than welcome to join us and Fez may be wearing a ball gown - that’s gotta be worth a peek”

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this electro music juﬆ isn’t doing anything for you, then maybe a little piano-driven pop might be more appealing. Enter Royworld, snapping at the heels of MIKA and Keane in the queﬆ to incorporate the piano into the traditional guitar-bass-drums combo. Though the name Royworld isn’t the moﬆ inspiring of monikers, the band do have subﬆance, which is immediately apparent when you hear their melodic songs. The band themselves are currently based in London- although they hail from all over the UK-and they consiﬆ of Rod Futrille (vocals), Timmy Miles (keyboards), Gerry Morgan (drums) and Robbie Parkin (guitar). The quartet are definitely rather into their Eighties music, and liﬆ Talking Heads, Kate Bush, Fleetwood Mac and The Buggles amongﬆ their influences. Unfortunately, while some critics have compared “Elaﬆicity” to The Buggles’ “Video Killed the Radio Star” or to Sailor’s “Glass of Champagne”, Royworld’s song is not in this league. Both The Buggles and Sailor achieved something very near pop music perfection with their respective songs, which, unfortunately, simultaneously labelled the groups as one-hit wonders. Their songs, however, ﬆand alone as classic tunes, representing what pop music can achieve at its absolute beﬆ. It is unfair to compare “Elaﬆicity”- good song though it is- to these pinnacles of pop culture. Royworld’s sound is not particularly unique, they do everything right as a band, but somehow the overall effect is not mindblowing. Anyone who has spent an evening trawling through the music on MySpace will have come to the conclusion that there are an incredibly large number of bands out there, and quite a high proportion of them play well- as well as the average band you will hear on the radio or whose CD you will find in HMV. The

TRINITY NEWS

Catriona Gray unpleasant truth is that the bands that are seen as the moﬆ commercially viable win the moﬆ backing and support from record labels. If a band is outﬆanding, the chances are that they will be discovered eventually. The internet has provided a showcase for every band in exiﬆence, although, as in life, the bands who get the moﬆ page views and publicity are those who have their pages professionally laid out and managed and who have a network of people to handle their publicity for them. It is a difficult thing to predict whether Royworld will succeed or not, although their intensive liﬆ of tour dates poﬆed up on their MySpace site looks pretty impressive. It juﬆ remains to be seen if Royworld will ﬆand the teﬆ of time. 29

TCD Ents in Association With Vodafone Presents.

THE FINAL

FOLLOWED BY

ASLAN

LIVE

Thursday 1st of May

The Academy (formerly Spirit)

TICKETS AVAILABLE FROM THE STUDENTS UNION SHOP

Longer ones Mark Ronson Felix da Housecat Vitalic BRMC Lightspeed Champion Something Happens The Coronas The Metros The Whip

longerones

da cat is back in da house Remixer to the stars and electro clash pioneer Felix is coming back to play the Trinity Ball Launch Party Ailbhe Malone

TRINITY NEWS

ot only the founding father of one of the most important Chicago House labels in the 1990s (Radikal Freak Records), but also a pioneer of the Electroclash movement, and remixer to the stars, at 35 years old, with 23 aliases (at the last count), Felix Da Housecat will play the Trinity Ball Launch Party on April 4th. 20 years ago, Felix Da Housecat (née Felix Stallings) released his first single- the heavily Prince-influenced ‘Phantasy Girl’. Fittingly, his new album is a return to roots. “To guys like Justice, Digitalism and Boyz Noize, I’m more of an ’old school contemporary’ guy,” says Felix Stallings. “I leave it up to them to make the noise, ’cos I’ve done that. Now I’m more into making

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longerones songs, telling stories and good melodies sorta like how Prince was.” More of the new record later though. “Phantasy Girl” was a massive underground hit, but his religious parents disapproved of dj-ing as a career and Felix’s involvement in the club scene. He traded his decks for desks, graduated high school, and attended Alabama State College. It wasn’t until 1992, that his interest in House music was re-kindled by DJ Pierre (the man who had produced “Phantasy Girl”). That year, he released ‘By Dawn’s Early Night’ under the pseudonym Aphrohead. “By Dawn’s Early Light” became a club smash worldwide. This, combined with the success of the follow-up single “Thee Industry Made Me Do It”, resulted in Felix being hailed as a seminal DJ of the second wave of Chicago House. Any decent club-night or party, anywhere, during the 90’s was soundtracked by Felix’s wild-pitch house tracks. His most important work, however, was yet to come. In 2001, “Kittenz and Thee Glitz” was released on the Emperor Norton label. Utilising the talents of French uber-chic DJ Miss Kittin, it was a fore-runner of the electro-clash movement, and has managed to remain a credible record after electroclash’s brief popularity dwindled (Fischerspooner, anyone?). The Miss Kittin-voiced lead single off the record – “Silver Screen (Shower Scene)” – propelled Felix into the mainstream. After a decade of being a cult figure on the underground scene, Felix Da Housecat was a household name. “When Kittenz And Thee

“I leave it up to them - Justice, Boyz Noise - to make the noise, ’cos I’ve done that. Now I’m more into making songs, telling stories and good melodies - sorta like how Prince was.”

Glitz came out, I was living the glitz, I was wilding out, partying, you name it, man,” recalls Felix. “I was kicking it with everybody in the industry, from L.A. to New York, I was out there, I was gone!” The success of “Kittenz” resulted in Felix doing remixes for Madonna (“Die Another Day”), Britney Spears (“Toxic”), and Gwen Stefani (“What You Waiting For?”). Thom Yorke, declared “Kittenz & Thee Glitz” one of his favorite albums of 2001, and promised to collaborate with Felix. Felix penned some songs for Yorke, but the hook-up never happened. The follow-up to “Kittenz”, 2004’s “Devin Dazzle & The Neon Fever” didn’t match the magic of its predecessor. Despite the fact that it included collaborations with LCD Soundsystem’s James Murphy, the record lacked focus, and the likeable charm of “Kittenz”. Felix admits that the record suffered because he allowed too many singers and producers to get involved. After “Devin Dazzle” Felix found himself in Sydney in a musical hinterland. Rykodisk (the label that put out “Devin Dazzle”) had closed down, and Felix was without a deal, making an album called “Son Of Analogue” with a programmer from England named Klaus Heavyweight Hill. He also worked on a project called Darkstar which was intended for Marilyn Manson, but that didn’t happen. In the interim Felix also worked on tracks with his pal, P Diddy/Puff Daddy/ Sean Coombs. These sessions with P. Diddy were soon to pay off. In 2007, Felix was invited to a party on

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Diddy’s yacht in St Tropez. On board, Felix ran into Dallas Austin, who he’d known since 2001 through Puffy. Austin is one of the world’s leading R&B and pop producers, having worked with TLC, Kelis and Gwen Stefani, and agreed to produce what was to become Felix’s most recent album, “Virgo Blaktro and the Moving Disco”. Felix says to Dallas: “Let’s hook up. You’ve got all these people doing something crazy, like Gnarls Barkley, so let’s do something crazy!” Dallas says: “Gimme a call, come to my studio. When you see my studio you won’t believe it - it’s like a rocketship’’. The results speak for themselves. “Virgo Blaktro” is a stomping, ice-cool synth-disco classic. Felix designed the entire record around the lead track, “Like Something 4 Porno”, “With this album, I said I think I know what I’m going to do. It only takes one song to know where you want to go and that song was ‘Something 4 Porno’, the first song I did. So I based everything around that.’’ The track retains the four to the floor beat of early Chicago House, infused with a disco groove, while sounding entirely up to date. Felix acknowledges the Studio 54 influences on the record: “This is the first record I’ve done with black folks,” says Felix, “but to me it’s not a colour thing, it’s more like a roots thing. This record has a black, soulful groove, it’s more like Sly & The Family Stone. With this album I wanted to go Parliament, I wanted to go Prince, and at the same time I wanted to go like George Michael and Pet Shop Boys, only them being black. This stuff is all black-influenced.” Most tellingly, the record is song-based, making it more cohesive than “Devin Dazzle” Felix wrote all the songs on the album, and sings lead vocals for the first time since his teenage days. He references eighties synth-pop on “Lookin’ My Best”, “I Seem 2 Be The 1”, “Sweetfrosti” and “Monkey Cage”, but brings these tunes back to a lustrous and addictive Soul Train groove. Dallas Austin calls “Virgo Blacktro” – “Felix’s ‘Purple Rain”. It’s Da Housecat’s master-work, both hip and accessible, done with underground posturing. After twenty years of elitist acclaim, he finally wants to write some songs. “I used to be like, fuck all the mainstream stuff – I just wanna be underground and do cool stuff!” chuckles Felix. “But now I’ve got a family. Not only that, I’m evolving. I stopped doing underground when I turned twenty-five and decided to make songs.”

TRINITY NEWS

a pair of

TICKETS to see

FELIX DA HOUSECAT

@ the Trinity Ball launch party April 10th

We have 2 pairs of tickets to see Felix da Housecat in action at the Trinity Ball Launch Party in SPY on April 4th. To be in with a chance of winning just asnwer the following question: When was “Kittenz and Thee Glitz” released? Email your name and answer to felix@trinitynews.ie 35

longerones

Dunne and dusted off

e Something happened onc m with a parachute, and To Dunne was involved... Catriona Gray

TRINITY NEWS

“IF YOU LOOK BACK AT THE OLD PHOTOS OF YESTERYEAR, YOU WILL SEE FOUR RATHER ATTRACTIVE, AND EXCEEDINGLY CHARISMATIC YOUNG MEN, WHO WILL REND YOUR HEARTSTRINGS AS THEY GAZE INTO THE CAMERA LENS IN A MODISH, EIGHTIES MANNER” Before the days of chai lattes and mobile phones, before anyone had heard of smoothies, Blackberrys, recycling, cuﬆom-made muesli, sushi, Starbucks, or even professional leg waxing, before the now-aging Celtic Tiger firﬆ roared into being, there was The Eighties, and its lesser known successor The Early Nineties. Into this waﬆeland of bad clothing and cheap housing, of soggy Kit Kats and penny sweets infused by the sour taﬆe of cigarette smoke, the brave, penniless musicians of Ireland attempted to climb the long, arduous path to global success and all its accompanying delights. But sadly, since Ireland is a small country, there was only one spot in the global market’s heart for a talented Irish rock band, and U2 got there firﬆ. Although Something Happens were sadly eluded by international fame, here in Ireland they had an extremely ﬆrong following. It’s easy to see why. If you look back at the old photos of yeﬆeryear, you will see four rather attractive, and exceedingly charismatic young men, who will rend your heartﬆrings as they gaze into the camera lens in a modish, Eighties manner. If their looks alone won’t win you, juﬆ liﬆen to the fantaﬆic titles of their albums- from their debut album Been There, Seen That, Done That, to Stuck Together With God’s Glue, to Bedlam A Go-Go, and, my absolute favourite: The Beatings Will Continue Until Morale Improves. TRINITY NEWS

Still not convinced? Then have a look on YouTube, where there’s a clip of Something Happens being interviewed on The Den. It’s surreal, to say the leaﬆ. Ray Darcy is youthful and has an abundant crop of hair. Zig and Zag are there. Duﬆin isn’t, thankfully, as he is ﬆill merely a side-character that only appears when the producers feel the need to give Ray Darcy a particularly good slagging. Something Happens are looking slightly bemused at being berated by two puppets, but ﬆill manage to get in a plug for their new record (CDs haven’t been invented yet). It’s priceless ﬆuff. The albums that Something Happens produced are ﬆill very liﬆenable- they released a couple of really classic songs. If, while liﬆening to the lyrical melodies of “Forget Georgia”- a song which is so beautiful that you could liﬆen to it on repeat all day long and never, ever tire of it- you lazily wonder what happened to the band of the musicians who wrote such a wonderful song, never fear, the answer is to be found on Wikipedia. Tom Dunne has a highly successful radio show on Today FM, guitariﬆ Ray Harman works in television, drummer Eamonn Ryan works for MCD, who, coincidentally, are organising the Ball. There is no mention of what bassiﬆ Alan Byrne is getting up to, but since they’re playing at the Trinity Ball this year, perhaps you could ask him if you see him around. 37

longerones

An inveterate gigger, in his own words, The Mighty Stef ‘has graced every scum hole there is in his native town and country’, and Trinity’s annual campus shindig is no exception.

The Mighty Stef Nicholas Hamilto n

omething of a ﬆalwart of the Dublin indie/garage scene, The Mighty Stef has quite literally become part of the fabric of many of its moﬆ popular hang-outs, where his face peeks out, between more recent additions, from poﬆers for gigs long passed; the basement of Simon’s Place, in the George’s Street Arcade, being one such venue which boaﬆs the sort of rich tapeﬆry of Dublin musical hiﬆory, that will keep archaeologiﬆs busy for years, in millennia to come. For those who haven’t yet had the unusual pleasure of being accoﬆed – musically – by the man they call

S 38

TRINITY NEWS

Mighty, his inclusion in the lineup for this year’s Trinity Ball provides the opportunity to overcome your ignorance – and quite possibly, given his taﬆe for the siniﬆer, your innocence too. Despite some success and a hectic touring schedule as frontman of punk outfit, The Subtonics, one musical outlet proved not to be enough for Stefan Murphy (soon to be renamed The Mighty Stef). As a means of developing his songwriting he turned to playing solo, acouﬆic sets in support of friends in, among others, The Things, Republic of Loose, Mainline, and Liﬆo. Increasingly positive reception to these experimental, solo outings prompted Murphy to ﬆart taking them more seriously before, in the summer of 2004, he finally decided to part company with The Subs and go it alone. While not lacking in any selfconfidence, the Mighty moniker is in fact the coinage of a Belfaﬆ promoter who realised, when put on the spot, that he had neglected to ask his protégé’s surname. The name, however, quickly ﬆuck and is teﬆament to Murphy’s booming vocal abilities and ﬆage presence, as much as his physical ﬆature. Delivered, it often seems, with the passion of someone whose life depends on it, The Mighty Stef ’s work, which he describes as a “documentation of his life of sin”, certainly has much in common with that of other musicians familiar with the seamier side of things – from Johnny Cash and Jonny Thunders to Nick Cave and Tom Waits, and his no-holdsbarred, bluesy sound would not be out of place in a whiskey bar in the Deep South or a frontier

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saloon. Despite such exotic allusions, however, The Mighty Stef is fiercely loyal to his hometown and beneath the undeniably enjoyable poﬆuring and bravado, there are moments of tenderness in his music, as in Sunshine Serenade, the plea of parent to a drug-addict child: “You can ﬆick that dirty needle in your laﬆ responsive vein,/ but don’t let it ﬆeal the sunshine from your eyes./ Beﬆow upon your family a multitude of pain,/ but don’t let it ﬆeal the sunshine from your eyes./ You can beg, borrow, ﬆeal juﬆ to pay for your next deal from a man in a tracksuit./ But the one thing you muﬆ promise, before you leave my side: don’t let it ﬆeal the sunshine from your eyes.” An inveterate gigger, in his own words, The Mighty Stef “has graced every scum hole there is in his native town and country”, and Trinity’s annual campus shindig is no exception. Having played at what his website explains is a ‘posh feﬆival in a posh university in Dublin’ once before, in 2004, this veteran of the early years of the Hard Working Class Heroes feﬆival, before it became dominated by ponces and bedwetters from the Southside, is doubtless delighted at having been invited back to ﬆorm such a fortress of privilege. So be sure to make him feel welcome when he makes his triumphant return, by shaking your jewellery wildly, in appreciation, when he ﬆicks it to you proletariat-ﬆyle.

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icture this. Itâ&#x20AC;&#x2122;s the night of the best party of your life, you have never looked hotter, you have never danced better. All your friends are right there with you, and youâ&#x20AC;&#x2122;ve all just come way up...

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...The lights dim, the bass slows right down, slower and slower, and as your heart starts to follow, out of the darkness a spotlight falls on the DJ booth. With that, the best mixmaster you have ever been fortunate enough to witness takes to the decks and brings forth a tsunami of beats. Whaddyah gonna do? What you better do is bring some of the sickest moves of your short beautiful life straight to the dance floor. You better throw your hands in the air like you never have before. You better get down like a rockstar while you and the most privileged punters in Dublin get treated to the one of planet earth’s most talented party starters. Lucky for you - you don’t have to picture it - because this is what techno producing superstar Vitalic does for a living and that’s where you want to be when he plays Trinity Ball 2008. Don’t get me wrong, if something a little more acoustic, perhaps with a guitar or two, something you would perhaps be comfortable with as background music for a little study, is more your thing, then don’t make your way to the dance tent. No, definitely not. But if white-hot, smokin, tunnel vision inducing, proper hard, beattastic, electro dance anthems are the sort of thing that rock your ass, then step inside, cause if

you can’t dance to this mans music, you can’t, and shouldn’t ever, dance. Vitalic is the moniker of Frenchman Pascal Arbez. Born in 1976, Arbez cut his teeth in the underground French electro underground of the 1990s under the name Dima. Early associates from that period include The Hacker and Laurent Garnier. His mixes are still reminiscent of some of the legends of that period including, most obviously, Daft Punk and Air. Arbez graduated to the big time in 2001 with the release of his ‘Poney’ EP and heralded a break with his previous style by changing his name to Vitalic. Off this release, the track LA Rock 01 proved a huge success, fuelling parties across Europe and getting re-mixed by all and sundry. It was one of the euro-techno-trash anthems of the summer. Less like the clean studio sounds of his contemporaries, this track had a raw sound but a straightforward mission – louder, faster, dance, dance, dance. So while the discos were rocking to Wheatus’ Teenage Dirtbag the clubs were moving to dirtier adrenalin fuelled beats. Vitalic’s new style relied on less of the ambient soundscapes that he had matured around and more of the anthemic success of LA Rock 01. The ‘Poney’ EP is still hugely popular and has aged

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well given seven years have passed since its release. The most introspective track off the EP – You Prefer Cocaine – starts with a pared back sound and mixes in a distorted lyric track, something that has since become a trademark of Vitalic’s sound. Less dance orientated than his other mixes, the influence of the Ubermeisters of techno – Kraftwerk – is written all over this song. It wasn’t till 2005 that Vitalic released his first album, ‘OK Cowboy’, although countless collaborations, singles and bootlegs appeared in the interim. ‘OK Cowboy’ included the successful LA Rock 01 and Poney parts 1 and 2 from the previous EP and the development of that style is discernible in tracks like My Friend Dario and Repair Machines. These are songs that embrace cuts from rock and alt music genres. The guitar and drum samples of My Friend Dario, with its overlaid lyric tale of moral irresponsibility, achieves a seamless mix of rock and techno. This is the sort of sound exemplified by crossover acts like Fat Boy Slim. At the other end of the scale, Repair Machines is quite untypical of the dance anthems Vitalic is celebrated for. This is a ruminating piece of audio surgery, with half beats mixed with chopped lyrics and what can only be described as a melancholic experimental sound. It most obviously references Radiohead at their most experimental. An influence which is made concrete by the albums title – a tip of the hat to Radiohead’s 1997 smash hit ‘OK Computer’. This album, immensely popular when released and already spawning a two disc collectors edition, proved Vitalic was not just a beat happy knob twiddler. Experimental, not afraid of crossing genres and styles, he has proven he can produce a complete album of quality tracks. With his star still in the ascendancy, he followed up with a mix album in 2007 titled ‘This is the Sound of Citizen.’ Mix CDs are always a tricky proposition. You need coherence and development across a number of tracks, rising and falling

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with something close to aesthetic grace, but at the same time, you are, by definition, working with many different, unique artistic styles. You know the score – it’s an evenings soundtrack in a house party where you have control of the CD player. Not a task for everybody, although all of your mates reckon they can do it no problem, in this situation, experience will always out. Vitalic’s mix comes across as a deeply personal album, these are some of his favourite tracks and he lets them speak for themselves. It’s a diverse collection, but overall it is an ambient outing. There are some beautiful songs, and the albums last – La Ritournelle by Sebastian Tellier – leaves me wanting more, but this is not an album of Vitatelicesque stompers; it’s more chill out than dancefloor. One for after the gig rather than before then. Besides these albums there are a few once-offs and DJ-centric rarities in Vitalic’s oeuvre. However, the fairly limited quantity of official Vitalic releases disguises the influence of his sound. Vitalic has been remixed by Erol Alkan,, 2ManyDJs, The Aphex Twins to name only a few. He himself has been in demand to remix other artist’s work including Daft Punk, Basement Jaxx and Royksopp. Vitalic, then, has been influential in the dance world move from studio concept albums, to a raw lo-fi dance sound. This taste is mirrored in his quoted admiration for rock minimalists like The White Stripes. He puts the clash in Electroclash. Whaddyah gonna do then? Download ‘OK Cowboy’ or, even better, the two CD collectors edition, invite your friends round, put it on, turn it way up, and dance your little hearts out. When Vitalic takes the stage on May 9th you can expect him to twist and warp his masterpieces into an altogether original evenings entertainment, and when he mixes in LA Rock 01, My Friend Dario or Poney you want to be right up front rocking like a hurricane. Go forth you beautiful dance fans.

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At the speed of light 44

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he first time Devonte Hynes appeared on the cover of the NME was back when they were trying to convince us that the dance-thrash of his former band Test-Icicles was going to be the sound of 2006. While they sowed the seeds of the nu-rave scene, they weren’t even the sound of the month, and they imploded in acrimony shortly afterwards. “We had just grown up,” Dev observes. “We wrote those songs when we were seventeen. Three years is a long time when you are that age. You get in and out of things. We got stuck together, and then it got out of hand – it got weird near the end. We’d play thirty minutes of noise. I’d imagine the fans didn’t want to hear that, and we didn’t either. When the hype started, it freaked us out. The bands that we liked – even the big bands – were able to put out an album or two before they got their exposure, but we were just kind of thrown out there. What people misunderstood is that the breakup wasn’t a punk, DIY thing; we just didn’t think we were good enough to warrant the attention.” But when the Buddy-Holly-lookalike’s bird’s-nest barnet again adorned the NME last January, it looked like the ailing mag had gotten it right for the first time since Bloc Party, nominating

Hynes’ new guise Lightspeed Champion their, er, champion for 2008. Naming himself after a comicbook character he created to kill time in maths class (“He used to solve equations and eventually save the day. It was pretty bad if I remember correctly”) and taking the most unexpected career move since The Killers grew ’taches, Dev won justified admiration after swapping spiky punk for a lush, pastoral swirl. Even this time, though, the crown doesn’t sit easily on his head. “It freaks me out really!” he reveals. “And I’m not that happy with the cover shot – if I’d know the photo would end up there, I’d’ve shaved. And probably not have worn that hat.” Despite his own reservations, his summery new sound (which he describes as being “like losing your virginity for the fifth time”) should be just the ticket for the Trinity Ball – provided climate change doesn’t do away with our summer entirely. I call it a reinvention, but the Texas-born Hynes is quick to stress that the change in direction isn’t so much an innovation as a return to his roots: “The first music I was into was musicals, stuff like Hair and the Rocky Horror film, and I’m an unashamedly huge country fan. My aunt in Houston always played the country stations.” The recording of debut Falling Off The Lavender Bridge – a sure bet for the albums-of-the-year roster – saw

Named after a self-created comis book hero, there is something larger than life about Lightspeed Champion. It seems NME may have got something right afterall.Tim Smyth

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I stayed in Omaha between a guesthouse and a studio owned and built by Conor Oberst. Our paths even crossed once or twice. I’d spent a lot of time in Nebraska when I was younger. I have to say I didn’t want to come back at all – I suppose I’ve always felt more at home there than in London 46

him head back Stateside to record with Bright Eyes helmsman Mike Mogis in Nebraska. Guest turns from Mogis and Nate Walcott (both members of Bright Eyes) and sweet-voiced London folkie Emmy the Great ensured that the resulting LP was more Saddle Creek than Shoreditch. Hynes himself spent a lot of time soaking up the rural vibes. “I stayed in Omaha between a guesthouse and a studio owned and built by Conor Oberst. Our paths even crossed once or twice. I’d spent a lot of time in Nebraska when I was younger. I have to say I didn’t want to come back at all – I suppose I’ve always felt more at home there than in London. I love the Midwest. I feel so at ease and the atmosphere is so relaxed, which is exactly what I wanted for this record,” he reflects. It certainly shows through on an album packed with bittersweet melodies. Though some of the titles tend towards the abrasive, “Let The Bitches Die”, “All To Shit”; “Midnight Surprise” features mellow arcs of slideguitar and the kind of blasted, blissedout guitar coda last perfected by Neil Young. “Galaxy of the Lost” drips with the melodrama of his beloved musical numbers, from the slow opening duet to the distressed theatricality of the coda. But don’t expect Lightspeed Champion to stay in one place for long. Given that Dev’s as comfortable celebrating Christmas by posting laments on YouTube as he is documenting his whinge-worthy lovelife in a blog, don’t expect a conventional cycle of album/tour/more of the same. Dev has a relish for reinvention that would put David Bowie to shame. “I just write songs and however they come out is how it happens. I have a lot of songs that are in a lot of genres, and initially I was thinking the album was going to be a post-grunge thing. And I mean even though I’m

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glad the album sounds the way it does, I probably won’t make a record like it again. Lately I’ve written a couple of rock-based songs and some hiphop/R&B songs. See, Lightspeed Champion is, in effect, the songs. not the genre of music they are performed in,” he concludes firmly. But don’t worry: the Kid A-esque experiment is a way off yet. “Madame Van Damme”, given its first airing at SXSW last month, is a pleasingly mellow acoustic foray that promises much more mining of the rich folksy seam Hynes has uncovered. Given his almost obsessive approach to songwriting – “I wrote about fifty songs for the album and just whittled it down” – it’s not surprising that Hynes prefers composition to performance. Part of this might be due to the

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fact that he’s suffered from chronic stomach cramps since the age of thirteen. “I don’t understand why so many people would pay money to hear me moan about girls and my stomach accompanied by music. It’s completely ridiculous,” he sputters, more than a little bewildered. “I’m constantly shocked that anyone likes anything I do because I tend not to. The stage fright is worse now, and the only reason I’m playing live is because I want to get the songs across and I can only do it through me at the moment. I’d rather do it through someone else. Like writing songs for and with Florence & The Machine [whose lead singer features in his touring band, along with Hope Of The States violinist Mike Siddell].” The origins of the album title are a signpost to

its escapist content. “I used to be able to send myself into the same dream every night if I concentrated hard enough,” he explains. “I had a lavender frog and I’d hug it until I fell asleep.” While his songs may be rooted in introspection and he may crave solitude to a degree bordering on the monastic, he enjoys playing to an audience as long as he thinks they’re enjoying it. “I like playing to younger audiences: you get an instant reaction,” he remarks of the number of underage shows he’s booked of late. ‘”When there’s a bunch of people looking back with their arms crossed it makes the show much worse; it gets much, much worse. I’ll walk out.” Which is all the more reason to give his Trinity Ball set a most rapturous reception. The poor chap’s well-being depends on it.

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Getting by with a little help from your friends

How do you turn a great pop song into a true classic? These days it seems you just have to add Ronson into the mix David Lydon

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“Hey you!” he asks Ronson.

“Why don’t you write your

Far from a throwaway comment, he has a good point – how can a man who deals almost exclusively in cover versions be received as such a creative force? scene in Mark Ronson’s latest video gives a valuable insight into the state of the music business. The video in question is for Ronson’s latest single “Just”, a cover of the Radiohead song that first brought the attention of the world to his ability to reinvent pop songs at will. The video takes its inspiration from the original: for those yet to see either, the concept revolves around a man who, for no apparent reason, lays down on the middle of a busy road. Ronson’s version sees the man lying on the street but, unlike the Radiohead ending, he gets up and starts dancing away, trumpet in hand. However, it is a comment made by a street-cleaner that proves interesting – “Hey you!” he asks Ronson. “Why don’t

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you write your own songs?!” Far from a throwaway comment, the street-cleaner has a good point – how can a man who deals almost exclusively in cover versions and remixes enjoy such a great reception as a creative force? Surely he’s just recycling other people’s work? Many others have tried to forge a career out of covers, but never with the success, or credibility for that matter, as this. For every Ronson there are at least two boy bands that have only succeeded in churning out one turgid rehash of a classic after another. That would be where Mark Ronson comes into his own. Yes, he is a DJ, the most tenuous of all musicians, and yes, he is a cover artist. What Ronson has done so well is reinterpret songs, rather than just reproduce them. His trick is to lure you in with a familiar hook or beat before discarding your preconceptions and

opening your mind (and your ears for that matter) to a completely new style of music. When Ronson chooses a song, it’s never by random: each one of his covers, from Queens of the Stone Age to the Kaiser Chiefs, is selected for various qualities, be it the riff that’ll sound much better through a horn section than a guitar, or the sheer ability to let loose and dance to it. With Ronson, it can’t just be any old tune, it has to be unique. If you haven’t heard of this man, it is well and truly time to emerge from underneath the rock that you have been calling home for the last twelve months. This act isn’t any old headliner, but perhaps the hottest name on the world music scene at present. With the multi-platinum success of his second album Version and production credits as varied as Lily Allen to Amy Winehouse’s Grammy-winning Back to TRINITY NEWS

ur own songs?!”

Black under his belt, it is fair to say that Mark Ronson is the man of the moment. He recently won a Brit Award for Best Male, beating hot favourite Mika, and in doing so becoming the first recipient not to actually sing on a winning album, which guarantees that he’s as popular with the critics as the hordes of fans he’s played to as both a DJ and in his live band promoting “Version”. His inclusion on the Trinity Ball line-up is a major coup for College, and should be the must-see of any Ball-goer’s evening. It is quite fitting that Ronson should be playing Europe’s largest private party. Reflecting the diversity of Trinity’s student population, Ronson is something of an international hybrid himself, dividing his time between New York and London. Cynics would say being transatlantic is a handy means of furthering one’s career, but with Ronson it has played a major factor in the creation of his own sound and style. His dual-nationality can

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be found in the choices of artists and songs found on his records: his first album, the American hip-hop orientated “Here Comes the Fuzz” featured Sean Paul and Nate Dogg whereas “Version” retraces his British roots to cover songs by the Jam, The Smiths and The Charlatans. Known for having an eclectic musical palate, his covers have often completely reinterpreted the song in question, with his collaboration with Alex Greenwald on “Just” transforming the original’s aggressive guitar riff into a brass section reminiscent of the cream of Stax recordings. In fact, Ronson’s use of funk and soul has been accredited with the revival of Motownflavoured pop records in recent years; newcomers Duffy and Adele owe their positive receptions to the groundwork that Ronson provided. Using the same brass section as he did whilst producing Amy Winehouse’s “Back to

The King makers: Lily Allen and (top) Amy Winehouse have both have hit tunes with Ronson.

Black”, the Dap-kings, Ronson was able to combine uncompromising funk patterns with recognisable choruses, resulting in a succession of hits that were well-received on dancefloors worldwide. There is a lot of mystery behind the name that has adorned records and chart listings for the last year. Subsequently he has become as wellknown through myth and anecdote as for his music. The oft-quoted story about P. Diddy giving Ronson his number on a $100 bill after getting an entire club on the dance-floor is one such example, and the infamous incident where, DJ-ing at Tom Cruise’s wedding, Ronson played a remixed version of the Top Gun theme adds to the mystery surrounding one of the leading producers of our generation. Indeed, Ronson now rivals Timbaland for chart-domination worldwide, with several of his originals and remixes garnering attention on both sides of the water and featuring prominently on advertising campaigns, a far cry from his days as a DJ-for-hire on the New York scene charging fifty dollars per gig. He is truly an inescapable tour de force at the moment, and this year’s ball offers students the chance to see an artist in his prime in the unusually intimate surroundings of New Square. Like CSS last year, Ronson will arrive at the ball on the crest of a wave that should give a final chance to see him live before he turns stratospheric. Never before have the hallowed walls of Trinity played host to an artist with such crossover appeal. Mind you, never before has there been an artist who crossed over so many genres as Mark Ronson does. Not content with selling millions of albums across the world, Ronson has recently expanded his interests to incorporate scoring films, with the soundtrack to the Oscar-nominated Half Nelson already on his impressive C.V. He has also become the face of

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DKNY, illustrating his appeal beyond the world of hip-hop and soul. Of course, these projects are only secondary to his primary goal of making music in various capacities and genres, and his label Allido records is proving to be quite the wise investment, with Grammy-winning and sometime-Kanye-Westcollaborator Rhymefest and Daniel Merriweather (the voice on Ronson’s “Stop Me”) already signed on to what looks like becoming the Stax hitfactory of our time. With such a range of projects behind him, it is fair to say that Ronson has become the face of the modern generation, with Version providing the soundtrack. Far from the covers album critics initially labelled it as, Ronson’s second album is visionary, setting the bar against which all DJ’s and producers should measure themselves. The days of the discspinning hit-monkeys are gone; DJ’s and producers are now expected to be musicians in their own right, and Ronson is the architect for this particular revolution. So what can Trinity students expect from Ronson as a live act? Well, if last year’s set at Glastonbury is anything to go by, look out for a blend of reinterpretations of songs such as the Zuton’s ‘Valerie’ and Radiohead’s “Just” sitting comfortably alongside his instrumental numbers. Recent gigs have seen him play songs from the records he produced as well as his own’ covers, and he has even taken to live collaborations with Sean Lennon (son of John) on Beatles’ numbers. Of course, Version wouldn’t be the album it is without the bevy of big name artists lending their considerable talents to Ronson’s covers, with several of them popping up at the live shows. As for whether the Ball will witness another famous rehabber to rival Kate Moss’ unexpected appearance in 2005, you’ll just have to wait and see.

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here hasn’t been a band like Black Rebel Motorcycle Club playing the Trinity Ball in a long time. Not only are they the most interesting band of their kind on the line-up, they’re head and shoulders above their peers in

general. What makes them different is this: they realise that there’s more to rock music than just cranking the amplifiers up to eleven, donning black leather jackets and strutting moodily round the stage to bask in the adulation of adoring fans. Which is not to say that they don’t pull it off. Here’s where the clichés stop. What really separates

these guys from the posers is that they possess those ever so elusive qualities of legitimacy, musicianship and stagecraft absent from many of today’s most popular bands, be they indie, rock, or otherwise. Expect hazy distortion, classic rock beats, and vocal immediacy preserving the spontaneous quality, which gives this music an edge.

Whatever happened to our rock and roll? It’s kind of like the Strokes, but with balls. BRMC come from San Francisco, but are based in LA. They are made up of Robert Levon Been, Peter Hayes and Nick Jago. Their self-produced debut was released eight years ago and was the subject of a heated bidding war between record companies. Its eventual release on Virgin received rapturous

applause stateside as well as from the notoriously fickle English press. The album was praised not only for the sheer quality of the tunes, but the rawness and immediacy with which it was executed, which many saw as a breath of fresh air from the burgeoning nu-metal phenomenon. The album took its cue from classic rock bands of the seventies and fused it with the

near-psychedelic layers of sound associated with shoegaze bands of the nineties, creating a dense yet immensely listenable fusion of bluesoriented rock and ambient soundscapes. Think the Stooges mixed with My Bloody Valentine. The hands-on approach to the album production worked strongly in its favour. Very little in the way of studio

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Steven Lydon

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gloss marred the immediacy of the mix, resulting in what sounded true to reality – three guys, three or four instruments, one room. The single “Whatever Happened to my Rock and Roll” became an instant fan favourite and seemed to encapsulate the nofrills approach the band had chosen to take in regard to the music. The video was shot in a warehouse at an illegal party the band had set up. It was organised by sceptical record company bosses who were worried about the legal consequences, but enjoyed frequent rotation on music channels in Britain and Ireland. The band were often openly disdainful of their contemporaries’ concern with the fashion-based aspect of the music business, and they relished their role as the only band courting mainstream

success while not pandering to its squeaky clean production values. The band picked up some serious momentum on the back of the critical attention they were receiving on this side of the Atlantic, and their willingness to promote the album on the road paid off dividends by earning them a reputation as a great live band. In interviews they expressed an enjoyment of life on the road, calling it “the best job in the world,” and cultivated an image as the bad-boy saviours of rock and roll. But it wasn’t just the press that were paying attention: big names kept popping up in connection with their various exploits. Noel Gallagher publically expressed his admiration and intention to sign the band prior to their first album, and following its

release they were to tour with the Dandy Warhols in the States. Bono even personally wrote to the US government to request a visa for Englishman Nick Jago after he was refused re-entry after a tour. If you believed the media hype, BRMC were indeed the saviours of rock and roll, with picture after picture of the band fully clad in leather jackets appearing in numerous publications. Things were going well, but although the band set critics on this side of the pond frothing at the mouth, they weren’t to achieve the same scale of success in the US. By the time they got round to making their second album Take Them On, On Your Own, the English press had already turned its back on its darlings and scoffed, in search of the next big thing. There

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were accusations that the band had made a record overly similar to the first, but executed more poorly, and in 2004 the band were dropped from Virgin due to lagging critical attention and sales targets, mere months after the release of their second album. There were also numerous reports of tension forming between the band as the constant touring began to take its toll. They were seen arguing at gigs, and interviewers never had an easy time in their presence. This culminated somewhat humorously in an incident involving the presentation to the band of an inflatable penis by an over-eager fan at a record signing. The departure of drummer Nick Jago was soon confirmed. Seemingly on the brink of collapse, the remaining members rallied and reentered the studio for their third effort. The result was a dramatic change of direction which led to the gothicacoustic Americana of Howl in 2005. The record was recorded in a friendâ&#x20AC;&#x2122;s basement in typical low-key fashion, but tended to go for more grandiose lyrical themes in an attempt to place the band more firmly in their American context. They now sang with weighty religious imagery including the devil and Jesus, and even a streak of Johnny Cash was discernible in the concern with prison life. A gospel choir was introduced to back up proceedings, and acoustic guitars replaced the electric guitars of old, though that trademark fuzz was not completely gone. This all signaled a

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drastic change of direction of a band either in crisis or on the verge of an artistic awakening, and the album was widely considered a success. By the end of the recording, everyone was back on board and ready to give it another go. Last year saw the release of album number four: Baby 81, which was hailed in some quarters as a return to form which showcases, once more, lots

of electric guitars, sneering vocals, and punchy melodies. We know that the band can do this type of stuff well, but the glossy sheen of the album production and the nature of the repetition have led some to ask if this is still a band worthy of the adulation it received in its earlier days. Is apathetic cool still justified eight years on? Does the classic-rock format still hold weight

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Does the classic rock format still hold weight today, when indie is shifting ever more into electro, and rock into more complicated forms?

today, when indie is shifting ever more into electro, and rock into more complicated forms? Can we still claim that this band are legitimate? The answer lies in their performance. If one thing can be learned from BRMC, it’s that the words of critics should be taken with a pinch of salt. The band has already been through the media circus, one minute the next big thing, the next, last year’s has-beens. Great bands still with us today have had their share of ups and downs, and we should make our own decision based on the evidence as we see it. One thing can be counted on, and that’s that we can expect a damn TRINITY NEWS

good live show. Here’s why: BRMC consistently try to court spontaneity in the songwriting process, with many of the earlier songs deriving from jamming both in studio and on-stage. This is undoubtedly one of the most interesting aspects of the music, as it lends a sense of danger to live proceedings and a rawness to the studio output. Sometimes it works, sometimes it doesn’t, but the point remains that very few rock bands these days will ever choose to play something in front of a crowd that isn’t rehearsed to oblivion. This willingness to experiment belies an ability to rely on the musicianship of every member, and it quickly becomes apparent when this stuff starts happening that there are no choreographed fashion drummers on stage right. It is refreshing to know that at a time when style outweighs substance in a lot of indie-rock around today that there’s still a band going that actually know how to play their instruments properly, and to channel spontaneity into the music itself instead of tight jeans and sideways haircuts. Musically, the band achieves a great balance between up-tempo beats and spaced-out shoegaze, achieving a hypnotic quality through repetition but always knowing when to fire it back up. This is always done with a keen sense of melody in mind. The songs might tend to be based on a jamming ethos, yet the audience always figures as a strong element of concern, as the band know when to reel it in and when to let it go. Their stage presence is effortlessly cool, and they’re a great band to see on stage, and there are a diverse number of influences at work within these ostensibly simple songs, which guarantees their appeal to a broad audience. All things considered, this is definitely a gig to look forward to.

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or the ladies to look elegant and glamorous while retaining a modicum of comfort can be quite difficult. Yes, it is a formal Ball, but a full-length ball gown will cause more problems than it’s worth. If you are considering resurrecting an old debs dress, think about getting the hem taken up to a cocktail length. That way you can spend the extra cash on enjoying yourself, and avoid ripping the bottom to shreds. There are benefits to the maxi style, such as being able to wear flat shoes underneath without losing any of the glamour, if this is your priority avoid light floaty materials or full skirts, as there is always the risk of being stood on with so many people; or if it is wet, capillary action may mean you will end up soaked to the knees. If your intention is to splash out on a new dress, try and focus on the night in question. Cocktail length dresses with full skirts will allow you to look fabulous while getting your groove on. There is a huge range on offer this season at very reasonable prices. With a turn away from the grays of winter, this spring is all about bright colours, floral prints, and hippy inspired tie-dyes. If you want something a little livelier than the standard LBD, check out Oasis for cheap and chic floral print dresses, Coast for some beautifully feminine damask silk, and satin numbers in a huge range of colours. Monsoon, Karen Millen and House of Fraser have a large selection of fabulous dresses and skirts which would melt the heart of any Prince Charming at the ball, and of course there is always the mind-boggling array of dresses available at Debenhams, which tick all the top trend boxes for Spring/Summer at a price that won’t break the bank. Alternatively, if you’re into make and do, why not try creating your own? Check out vintage stores like Jenny

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Vaunders, A Store is Born, or the smaller shops around the George’s Street Arcade. With sheer feminine chiffon, tie-dye and retro chic, and the hybrid style matching of floral, tribal and graphic prints all huge this season you have any number of looks to choose from. Go for a bodice and skirt in muted tones and add a splash of colour with a satin sash, or bow. A great place for fabrics is Murphy Sheehey’s just across from the Powerscourt Townhouse Centre. If neither time nor money is a problem, a nice

“Well-tailored tails always look great at a ball, but beware of your body shape, as this is generally more suited to a tall, slim silhouette” way to whittle away an afternoon trawling through the many boutiques in town could result in the discovery of a beautiful one-of-a-kind number. For the guys, there is no option other than a tuxedo. This is a black tie event after all. If you are beginning your College career think about investing in a good suit, which can be tailored to suit many occasions, that way for a black tie event like the ball all you have to do is dress it up with a waistcoat, tie, and dress shirt. Places like Marks and Spencer’s very often have sales with great discounts on Italian suits and tuxedos, which work out cheaper than renting a suit every time it is needed. If this seems like a lot of work, and you are dressing on a budget, keep an eye out for discounts from the formal wear rental stores in town. Black tie, among others, has special offers for students,

and there are always discount flyers littering the cobbles in the weeks coming up to the Ball. If you are going to opt for the suithire option, make sure you try on the trousers with the shoes you are going to wear to make sure the length is correct. Also try on more than one size of jacket to get the best arm length and chest size. Otherwise you may end up in an ill-fitting monkey suit looking less James Bond in Casino Royale, and more Dumb and Dumber. When it comes to tuxedo rentals, the key to making it look bespoke is all in the details. Be selective when it comes to things like waistcoats, belts, and shoes. A wing-collar shirt always looks classy, and can be worn with a tie, cravat, or bow-tie. A black bow tie is not essential, and sometimes it is more stylish to choose something a little bolder, but beware of pale pastel colours; this is a nighttime event, and not a wedding. Other small details, such as cufflinks, can add personality to an otherwise common tuxedo, and there is a huge range to choose from in Topman, River Island, Burton, and Debenhams. For the adventurous there are more options. Well-tailored tails always look great at a ball, but beware of your body shape, as this is generally more suited to a tall, slim silhouette. You could also try looking in vintage and second hand stores like Eager Beaver and A Store is Born for a more unique outfit. You will find a huge selection of suits, jackets, tails, dress shirts and waistcoats in all styles, shapes and sizes. Be warned however: no matter how cool you think it might be, a suit in any pastel colour with a frilled shirt and flared trouser is not a good look. White suits should also be avoided. Traditionally they should only be worn during the day and even if they have made a come back in recent years on the catwalk as formal wear, it would be impossible to keep clean in the mayhem of the Ball.

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Tying a bow tie

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These diagrams are mirror images so they will look exactly (hopefully) like what you will see in the mirror! TRINITY NEWS

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Caroline O’Leary he Coronas have come a long way from the gang of fifteen-year-old boys who formed their firﬆ band back in secondary school. Originally dubbed “Kiros”, the band underwent several name changes and member swaps before the final line up emerged a year ago with singer Danny O’ Reilly, guitariﬆ Dave McPhillips, drummer Conor Egan and bassiﬆ Graham Knox. Inspired by musicians such as Jeff Buckley,

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Photos: Dara Cummins

The Beatles, The Stone Roses and Radiohead, the group have developed a huge following in the laﬆ few months and are now making the major jump from small venues to Europe’s biggeﬆ private outdoor party, the Trinity Ball. In a year that has seen the band’s profile skyrocket, guitariﬆ Dave McPhillips is thankful but a little exhauﬆed as he chats about their sudden success. A late recruitment to the band, McPhillips joined the 3 eﬆablished members a year ago in their attempt to bring the band to the big time, “The boys had been gigging for a few years and it was juﬆ the end of college and it was decided to juﬆ give it a go for a year and see what we could make happen”. With all the members originally from the Terenure

Libertines”. Having supported larger acts such as Aslan, the band are now regularly selling out venues such as Whelan’s and more recently the 1,300 capacity Ambassador Theatre. However the sudden popularity does take its toll. On the day of this interview McPhillips was relishing his firﬆ day off in three weeks, while band mate and lead singer Danny O’Reilly was admitted to hospital complaining of severe arm pains. “We are lucky that we are getting on really well and there haven’t been any problems in the band with everything we have been through. We’re not complaining- it’s a good complaint to be busy!” With more than 6, 000 gueﬆs, the Trinity Ball will be one of the biggeﬆ

and juﬆ…fell over and broke it! It was early in the night too, before everyone had even drank much it was mad!” Due to the heavy touring schedule, the band have little time to produce a follow up to their popular single “San Diego Song” and debut album “Heroes or Ghoﬆs”, which led to them being nominated in the Beﬆ Irish Pop Act category at this years Meteor Music Awards. This is something the band hope to rectify soon, as Mc Phillips explained, “We would love to take a few weeks or a month out to juﬆ write, and once the tour ends we will definitely do that.” However he does promise the gueﬆs at the Ball will get something a little new, “We juﬆ spent a few days down in Dingle filming for the show Other Voices. It was really

“Praise has also begun to flood in, with The Irish Times’ Kevin Courtney describing them as “A slice of feverish rock’n’roll salvation”and Hot Press praising their music” and Ranelagh areas, the group ﬆarted out locally, and with the help of manager Jim Lawless began playing in small venues around Dublin and ﬆudent events such as the UCD Freshers Ball, “We built up a bit of a fan base in Dublin and then ﬆarted in small places in Cork, Galway, Limerick.” Their exposure and fan base grew dramatically and the laﬆ three months have been a ﬆorm of gigs and shows for the group. “We are currently on our second Irish tour at the moment and have a gig pretty much every second night! It’s fantaﬆic to see venues where we originally played to 50 people now sold out!” Praise has also begun to flood in, with The Irish Times’ Kevin Courtney describing them as “A slice of feverish rock’n’roll salvation” and Hot Press praising their music as “Walking a soulful line between Jeff Buckley and the

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crowds the band have every played to, “We usually play smaller venues, 200 or so, that are nice and intimate. Of course our crowd on the night will all depend on what ﬆage we are playing on and what time, and who else is playing at the same time! But yeah this will probably be one of the biggeﬆ we will have played. Hopefully we won’t be too late so we will be able to get out there and socialise and see the other acts.” Having been to the Ball as a gueﬆ twice before, McPhillips is looking forward to the usual fun of the night, particular seeing Mark Ronson and the Black Rebel Motorcycle Group “It’s can be a messy night; a cross between every one out of it and everyone in tuxes! But it has always been great fun.” All this despite the fact that laﬆ year Mc Phillips had his own problems on the night, “One of my friends broke her ankle! She was holding a few drinks

great because we were juﬆ all jamming and different things were developing and evolving and we wrote two new songs. One we have put ﬆraight into the set, the other ﬆill needs a bit of work but we will hopefully have it and a few other new things for the Ball!” Playing Trinity Ball a huge achievement for the band, who are now succeeding where laﬆ year they failed, “We tired really hard to get a spot laﬆ year but juﬆ missed out laﬆ minute. Being asked outright to play this year was juﬆ incredible!” Despite jokingly commenting they were moﬆ happy juﬆ for the free tickets, McPhillips also seriously emphasized how much the band owe to ﬆudent support, “The support of the College crowd has been so important and we are really thankful to them. We are really delighted to be involved. Hopefully we will put on a good show!”

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Whip it up Catriona Gray

Electro-pop purveyors The Whip will literally have you dancing in the aisles at the Ball. Be warned thought these guys like to get down into the crowd and party!

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f you want to dance, liﬆen to The Whip. Their electro-pop is so infectiously catchy that you absolutely muﬆ put them on your muﬆ-see liﬆ for this year’s Ball. As a band, their sound is confident and sophiﬆicated, reflecting the complex tunes of their self-confessed heroes, Daft Punk. The Whip hail from Mancheﬆer and are made up of Bruce Carter, on vocals and guitar, and keyboard player Danny Saville. The pair were joined by bass player Nathan Sudders and the line-up was completed by Sudders’ then-girlfriend Lil Fee on drums. Carter and Saville were formerly in the band Nylon Pylon, which collapsed after their big-label record deal fell through. It is evident that this experience has had an impact on The Whip. In an interview, Saville said: “It makes you ﬆronger. You learn from miﬆakes, don’t you? You learn what not to do the second time around.” The two exNylon Pylons kept writing songs, got jobs in music shops to make ends meet and spent six months in a run-down pub cellar in Salford crafting an array of new songs and laying the foundations for The Whip.

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“When we do a gig, we’re at the same party. When we’ve finished, we want to get down there and have a dance while the other bands are on. There’s no separation of ‘us band, you audience.’” There is something to be said for a band which has had to tough it for a bit, especially when they can overcome an initial failure and ﬆill have the necessary dedication to keep on going. Carter and Saville have vision, and this is reflected in the music that The Whip are producing. It is full of Kraftwerklike sections, with a heavy use of synthesisers which creates a synthpop sound akin to fellow Salford natives, New Order. Though The Whip are often cited as having drawn a lot of their inspiration from Joy Division, it is New Order, the reincarnation of Joy Division formed in the wake of Ian

Curtis’s death, that bears a far closer resemblance to the music The Whip are producing. The firﬆ single the band put out was on French indie label, Kitsuné, with their song “Divebomb” making it onto one of the label’s popular Kitsuné Maison compilations. They’re now signed to UK label, Southern Fried Records, who are releasing the band’s debut album. The choice to ﬆick to smaller record labels reflects the attitude of the band, who are also very down-to-earth when it comes to playing live. “When we do a gig, we’re at the same party. When we’ve finished, we want to get down there and have a dance while the other bands are on. There’s no separation of, ‘us band, you audience’.” The group are in the middle of an extensive tour, playing everywhere from Munich to Melbourne, with their Dublin date falling somewhere in the middle. All this is to promote the release of their debut album, X Marks Deﬆination. Judging from the singles so far, the album should be worth a liﬆen – the sound is easily on a par with Hot Chip or Klaxons. The song “Trash” is one of the beﬆ electro tunes released so far this year. If you haven’t heard it yet, don’t worry, you soon will.

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he Metros are on the brink of releasing their debut single, “Education Pt 2”. There is, as yet, no sign of anything that can be described as “Education Pt 1” – presumably it is being kept under wraps until the forthcoming album comes out. The Metros are the lateﬆ London youngﬆers to hit the indie scene, and they really are young; all of them ﬆill in their teens. The band was formed by singer Saul Adamczewski and guitariﬆ Jak Payne. The pair have been friends since childhood; their parents had been school friends, who both ended up working in the music induﬆry. The two ﬆarted writing songs together when they were, recruiting their mates Charlie Elliott on bass and Freddi Hyde-Thompson to play drums. The newly formed band ﬆarted off playing ska, calling themselves The Wanking Skankers. Seeing as they ﬆarted with such a memorable name, it seems almoﬆ a pity that they switched to The Metros. “We changed it purely for commercial reasons, I feel,” muses guitariﬆ Payne. Their band’s sound has changed since its original formation, moving from ska, nu-punk, The Libertines and The Strokes, to a more traditional punk sound. The latter occurred as a result of Adamczewski unearthing his Dad’s old vinyl collection, which contained everything from The Specials and The Clash, to Ray Charles and Bo Diddley; but moﬆ influentially Squeeze

Just good old noise

Catriona G ray

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and Ian Dury & The Blockheads. The connection with the latter band and The Metros would later be ﬆrengthened, as Ian Dury’s son, Baxter, produced The Metros’ demos. ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ ♪ ♪ ♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪ These came to the attention of 1965’s ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ ♪ ♪ ♪ James Endacott, the man who signed ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ The Libertines to Rough Trade in♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪won 2002. 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♪♪♪Big ♪♪ another. ♪♪♪Reunion ♪♪♪ ♪a♪bit ♪♪Skegness ♪♪♪♪♪♪♪♪♪meet, ♪♪from ♪♪♪When ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Feﬆival. ♪When ♪ younger ♪ pub ♪♪ ♪playing go with ♪♪♪ ♪asked ♪to♪the ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪♪about ♪♪♪♪♪♪♪♪♪♪♪were ♪♪♪♪♪we’d ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ live, and ♪ ♪ﬆrong ♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪ dad ♪♪♪be♪♪surrounded ♪♪♪their ♪♪♪♪♪♪underage ♪♪♪♪♪♪♪♪♪♪♪♪my ♪and ♪♪♪♪♪♪♪with ♪♪eaﬆ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪♪♪♪♪ said:♪♪“Our fanbase, ♪ dealers, ♪♪♪ ♪♪♪♪♪♪♪London ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪♪♪Adamczewski ♪♪♪drug ♪♪♪♪♪really ♪dodgy ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪old shows♪with younger ♪♪ drink ♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪the ♪♪♪ ♪♪♪♪♪♪♪ ♪people. ♪♪♪♪♪♪kids ♪allowed ♪♪We’d ♪♪in♪proper ♪♪men’s ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ in are ♪ always As♪much ♪ the ♪♪of these ♪♪ones. ♪♪ as ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪beﬆ ♪♪♪ ♪♪♪Cockney ♪♪♪♪♪boozers ♪♪full ♪villains.” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ 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♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ venues. Adamczewski ♪ ♪♪♪♪♪ admits: ♪ ♪♪♪♪♪ admits ♪ he♪♪was ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪♪that ♪♪♪expelled ♪♪from ♪♪♪“We ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪♪ ♪♪ ♪♪ ♪ ♪ ♪ ♪ ♪ ♪ tend to ship out♪fairly ♪ hurling ♪♪♪ ♪early ♪♪♪the ♪after ♪♪♪♪♪♪♪school ♪♪♪for ♪♪♪♪a♪♪computer ♪♪♪♪♪at♪♪♪a ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ around younger shows.♪We ♪hang ♪♪a lot♪♪♪♪♪♪ ♪teacher. ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪♪ ♪ones ♪♪♪♪♪to♪♪pull ♪all ♪♪♪♪♪ With ♪ ♪ ♪ ♪ more at the adult trying ♪ ♪ ♪ ♪ ♪ ♪♪♪ ♪for ♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪ ♪♪♪♪♪♪♪♪♪a♪reputation ♪♪♪♪♪♪havoc ♪causing ♪♪♪that ♪beﬆ ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ the older women!” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ and a sound can be described ♪ ♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪ ♪ ♪proved Recording an♪♪album ♪♪a♪cross between View Dirty ♪♪♪♪♪♪to♪♪be♪♪♪♪♪♪♪♪♪as ♪♪♪♪♪♪The ♪♪♪♪and ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ rather more difficult ♪ ♪that ♪ band ♪ ♪Things ♪♪ ♪of♪♪early ♪♪♪ ♪♪♪♪♪♪Pretty ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪♪♪the ♪had ♪♪♪♪♪♪with ♪a♪dash ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ initially imagined.♪♪ “It ♪♪was♪♪really ♪♪ ♪thrown ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪♪♪♪♪♪eighties ♪♪punk ♪♪♪♪♪in♪♪for♪♪good ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪♪♪♪♪ ♪♪♪♪♪measure, ♪ Metros’ fruﬆrating,” concedes ♪ ♪♪♪look ♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪Adamczewski. ♪♪♪The ♪♪♪prospects ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪than ♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪ “There were times were ♪♪ we ♪♪when ♪♪♪♪all ♪♪♪♪♪♪promising, ♪♪♪♪♪♪in♪♪more ♪♪♪ways ♪♪♪one, ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪♪♪ ♪♪♪♪♪ ♪ ♪ ♪ ♪ ♪ tearing our hair♪out. spent ♪a lot♪♪♪♪♪ since ♪ ♪Ball ♪ﬆrictly♪♪an♪over ♪♪18’s ♪♪ We ♪ ♪ ♪ ♪ Trinity is ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪♪ ♪have ♪♪ ♪♪♪♪♪♪affair… ♪♪Metros ♪♪coming. more money than♪we ♪♪should ♪♪and ♪♪The ♪♪are ♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪♪♪♪♪ Watch ♪♪a♪leg ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ it’s coﬆ us an arm♪and ♪♪♪♪than ♪♪♪more ♪♪♪ ♪♪♪♪♪ out.♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪♪♪♪♪ ♪

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Back beats

The good, the bad and the “should be burned”. Albums and EPs of the Ball’s top acts p75 -78

longerones Album

Album

Falling off the Lavender Bridge

Version

B.R.M.C.

Baby 81

Lightspeed Champion

Mark Ronson

Black Rebel Motorcycle Club

ev Hynes first appeared on the music scene back in 2006, with his nu-rave band the Test Icicles. His debut album as Lightspeed Champion has a rather melancholy vibe, encapsulating the disillusionment which Hynes has admitted to having experienced. The album spans a number of genres: pop, country and classical. It’s a strange combination: the slide guitar in conjunction with the dramatic cadences on the track “Midnight Surprise” sounds like what would happen if The Eagles performed in a musical with Ryan Adams. This is a brave and bizarre album, full of lyrical ballads which weave together a disparate spectrum of influences. CG

lot of people don’t get Mark Ronson. I didn’t, until recently. It seems to completely invert the accepted order of the music world, crediting the producer rather than the singer as the artist for a song. But the true talent of Mark Ronson lies in his ability to get the best out of everything he encounters. He is like a magpie, picking out the songs brimming with the most potential and interpreting them in a completely unexpected way, be it in the instrumental adaptation or the choice of singer. The result is something utterly unexpected. Small wonder that Ronson won a Brit Award for Best Male this year. CG

ssential listening for anyone planning on seeing BRMC. The band’s first album is a classic and clearly shows why BRMC received so much media attention when it debuted. Its fusion of raw vocals and bluesy guitars gives the album an immediate, live sound. Like early Oasis, BRMC combine energy and confidence in their playing. The only downside to the album is the length - the average song lasts for five minutes, with “Rifles” being dragged out for seven minutes - it feels slightly too long when listening to it. Still, the album is full of great songs, especially “Whatever Happened to my Rock ‘n’ Roll”. CG

he latest offering from BRMC, Baby 81 sees a departure from the subdued tone of 2005’s Howl and a welcome return to their rock roots. Tracks like “The Likes of You” and “666 Conducer” build up layer upon layer of electric faze, like a twisted version of late-sixties psychedelica. More than any other band around at the moment, Black Rebel Motorcycle Club really make the most of the electric guitar, revelling in the reverb and distortion. The album is far more sophisticated than their debut album- it has the same urgency and rough vibe, but it is far more technically polished. Well worth a listen. CG

TRINITY NEWS

longerones Single

Album

Education Pt. 2

The Happy Hour

X Marks Destination

Heroes and Ghosts

The Metros

Palladium

The Whip

The Coronas

eleased on 17 March, Education Pt 2 is a taster of what we can expect from The Metros’ upcoming debut album. The song is heavily inspired by punk: it has same simple structure, the cobbled-together lyrics and the rough, youthful sound that characterised the British punk movement in the early-eighties. The Metros never quite reach the dissolute, sneering standard set by the Sex Pistols, but rather hit the now almost-forgotten middle ground of punk- think The Dickies or Ian Dury and the Blockheads. Modernise this sound, lighten it up a bit, drop the screaming, add a couple of indie guitar riffs and backing vocals, and you have The Metros. CG

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appy Hour” is a difficult song to listen to- it sounds like a chipmunk attempting to do karaoke with a woodpecker accompanying him on percussion. The lyrics are very kitsch, with lines like “the man at the bar he shouts ‘HAPPY HOUR!’/ it’s all gone sour,/ it’s still happy hour” making you cringe with embarrassment. The people who wrote and performed this song should be ashamed of themselves. Everything sounds like it could have come off the soundtrack to Dallas (not in a good way). Luckily “Happy Hour” is only available on iTunes, so at least there’s very little chance of running into this godforsaken EP anywhere else. CG

Marks Destination is packed with insanely brilliant songs that you can't help but dance to. On their MySpace site, The Whip say that they sound like "Robocop- part man, part machine", and this, admittedly bizarre, influence can be heard on the album, with their fusion of minimal, Gary Numan-esque vocals and insistent synthesizers. The only downside to the album is the repetitive song structure, and length of the songs- each one lasts between four and six minutes each- a fact which becomes incmreasingly noticeable towards the end of the album. Still, X Marks Destination is stuffed with some of the best electro-pop around. Check out "Trash" and "Divebomb". CG

veryone in Dublin seems to have heard of The Coronas. This is partly due to the number of live gigs the Teranure band have played. They sound like a more guitar-based version of Ash, and their album Heroes and Ghosts has been doing well so far: it's full of light, catchy, pop-rock ballads that have been getting a lot of airtime. The album includes the single "San Diego Song", possibly The Coronas' best known track, which spent 20 weeks in the Irish Top 40. Their latest release, the upbeat, soulful "Grace Don't Wait" looks set to be as successful. A pleasant, easy-to-listen-to album from one of Dublin's best-loved new bands. CG

longerones Album

Album

Single

The best of Something Happens

Park Bench Theories

Man in the Machine

1986

Something Happens

Jamie Scott

Royworld

Kavinsky

his greatest hits album was originally called The Beatings Will Continue Until Morale Improves, but when it was rereleased in 2004, it was given a rather more conventional moniker. Name aside, this album really does convey the best of Something Happens. It seems incredible that a band that was making music that was so representative of its era didn’t find more mainstream commercial success. If you’re new to Something Happens, this album will shock you with its sheer listenability: if comparisons must be drawn think U2, The Smiths and REM mixed up with The Stunning. A very good introduction to a far too underrated band. CG

as the world no originality anymore? Does nobody listen to Jamie Scott’s album and think “Wait a minute, doesn’t this anaemic singer songwriter sounds exactly like James Blunt/ Daniel Powter/ Jamie Cullum?” Why, in a market already saturated by singer-songwriters, does Jamie Scott merit the slightest bit of attention? He looks right, sounds right, but really isn’t doing anything outstanding. The tracks on the album are average, if slightly insipid- the sort of thing that will be quickly assimilated into the category of supermarket music. All the guitar-strumming in the world won’t alter this unfortunate fact. Let’s hope, for all our sakes, he puts on a good live show. CG

he single “Man in the Machine” is pop music of the Eighties variety. Listening to it, one could almost imagine that David Bowie and The Buggles were still in their heyday. The song itself sounds like it could be the soundtrack to a cartoon set in outer space. It’s strangely addictive and the tune lingers in your head for far longer than you had anticipated. The lyrics tell of a man named Dave, who asks himself “Am I still a man or am I part of the machinery?” Profound. But, like all good pop songs, poor Dave’s existentialist crisis pales into insignificance beside the upbeat melody and catchy chorus. CG

986 was the year in which Kavinsky fatally crashed his Ferrari Testarossa. This EP, which takes as its title that fatal year, explores the trauma of that car crash. The self-professed zombie DJ has been doing quite well recently, playing in venues across Europe, and steadily increasing in popularity, thanks to the growing vogue of French electro. The album is better than one might expect from an animated corpse- it’s well mixed, but it is difficult to take the music seriously when it is packaged in such a cheesey, not to mention sleazy manner. Perhaps Kavinsky should ditch the alter ego and go back to being plain old Vincent Belorgey. CG

TRINITY NEWS

Album

OK Cowboy

Virgo Blaktro and the Movie Disco

Kittenz & Thee Glitz

Oi Oi Oi

Vitalic

Felix Da Housecat

Boys Noize

italic has always held a close place in my heart after the 2001 release of “Poney Part 1” where the video consisted of pampered pooches flying through the laser filled air. If you’ve never seen a flying Chihuahua now is the time. And while you’re at it, hear perhaps one of the best French electro acts. Ok Cowboy contains hit singles such as “La Rock 01”, a pulsating electro anthem you’ve probably danced to already. Then there is the bitchy “My Friend Dario” which will have you throwing moves you didn’t even know you had. So you want a taste of the strangely emotion filled sounds of Vitalic? Ok Cowboy is your ticket to dance heaven. RG

TRINITY NEWS

elix Da Housecat is a two time Grammy Award Nominee and the pioneer of a unique electronic sound since he released his debut. His latest album,Virgo Blaktro and the Movie Disco, has a sleazy eighties feel (in a good way) and a more reflective mood. The album is a move into individual songs as opposed to the merging electro disco sounds of the past. “Pretty Girls Don’t Dance” is worth a listen with its sugar coated vocals and synth-funk, as is the single “Like Something 4 Porno” where "you’re feeling sexy, meow" is sung amongst the sound of clashing synthesisers. Despite the name, Felix Da Housecat is no pussy. RG

ittenz and thee Glitz is definitely the Felix Da Housecat album to own. It showcases his talent at creating the smoothest techno you have ever heard to the full. Seamlessly, Felix mixes the monotone vocals of the dark yet playful Miss Kitten to his signature pulsating retro sound in the undeniably gorgeous “Silver Screen Shower Scene” and the ironic “Madame Hollywood” (“one day I become a great big star, you know, like the Big Dipper”). Kittenz and the Thee Glitz is all about sleek and robotic dance with a whole lot of 80s glam thrown in. It is the cats whiskers for sure. RG

i Oi Oi is the debut album from Boys Noise, the best thing in the electro music scene right now. Hailing from Germany, this one-man band is certainly worth a listen (and, more importantly, a dance). It’s loud, full of raw energy and it’s the rawness of these jagged unharnessed synths that makes Boys Noize so irresistible. The inhuman, robotic vocals on “Oh!” is just one of the reasons why this is one of the best electro tracks I have heard in a while. Another stand out track is “Battery”, full of shards of heavy noise. This album has balls and not much else. Maybe next time we will get the full package. RG

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