Unsigned & Independent (December 2015)

DECEMBER 2015

WE, THE OCEANOGRAPHERS PENROSE BURNT TOAST JULYO GLUE

THE

VRYLL SOCIETY

SAUCY SUNDAYS - THE RUBY SESSIONS - GIGONOMETRY

THE MANC TANK

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10 6

JULYO 4

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PENROSE

SCENE & HEARD THE RUBY SESSIONS 12-13 14-15 GIGONOMETRY 16-19 SAUCY SUNDAYS 20-33 34-37 38-39 41

ALBUM REVIEWS EP REVIEWS SINGLE REVIEWS DECEMBER 4x4

BURNT TOAST 8

OUR FRIENDS IN THE NORTH OUR FRIENDS IN THE NORTH

LAST MONTH’S READERSHIP: 172, 400 Source: issuu.com

U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1

EDITORIAL A lot can happen in between two issues and since our last issue we achieved the very modest landmark of surpassing 10,000

Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford Writing Staff: Jamie Kelly Sean Brennan Marky Edison Liverpool Correspondent: Joe Loftus

We look back on 2015 as a year of real highs and many

on the momentum that is now behind us here at U&I and big

!

To this month’s issue we turn and our cover features one of the

Manchester Correspondent: Dave Beech U&I Gigs Photographers: Peter O'Hanlon Shari Denson Dom Marceleno

In terms of Scene & Heard this month we saw the curtain fall

Interested in advertising with U&I? Contact: sales@unsignedandindependent.com

Editor-In-Chief

BURNT TOAST

Adrian Lawrence, Patrick Luke, & Abrar Hafiz (bass) are a jazzy, hip hop outfit from London. They have an old school groove and vocal style, reminiscent of the ‘80s hip hop of De La Soul with a bit of Gil Scott Heron thrown in, particularly on recent single ‘Money as Debt’. They have an unusual set up that sets them apart visually and sonically. Patrick and Abrar both play bass while Adrian provides the beats and imparts potent socio-political messages in a laid back North American twang.

Raised in Canada, Adrian plays the drums himself and prerecords his Burnt Toast beats. "The result is an infectious cocktail of American paranoia, Canadian objectivity and a very English obsession of introspection and fly on the wall documentary with the warmth of an accessible sound".

Their debut album ‘Tubs n Tongue-Fu’ was released in June and the double A- side ‘Money As Debt/ Hi Time’ is out now.

They’ve already started work on the follow up album.

As part of our SONAR column this month, U&I had the pleasure of chatting with Adrian, who the Observer described as ‘very funky, but with an English sentiment.”

What’s the craic?

Patrick, our producer, and me have been busy writing and doing our thing. We’ve a new track coming up called 'Octopropagandapussay'. We just locked that down. It’s a lot more energy in it but still the msg. It’s coming on in leaps and bounds. We’re just laying down the demo for the second album now. We’re halfway through and the masterplan is to go and lay down the drums and what not.

Do you record with the two bassists like the live setup?

Yeah, definitely. How the two bass thing came about was, I don’t really play bass so the bass lines I was coming up with, I was thinking like a drummer. Cos I play drums. If I’m doing a polyrhythm, one rhythm on one hand and one rhythm on the other hand, that’s how the two bass thing came about. It works well. This is the result of being a drummer, doing it and trying to translate a polyrhythm on drums onto a guitar, and bass made the most sense.

I like hearing the bass as a lead instrument like Royal Blood.

You remember that band the Cocteau Twins? They were a big influence on me. And that kind of melodic sound that they had. The Sundays, and bands like that. They’re a big influence in terms of a different way of playing.

I grew up listening to Archie Bell And The Drells, and Fats Domino and all the stuff my mom and dad listened to. Outside of the house was the other influences…like Zeppelin and Cocteau Twins. We had a show in Toronto called City Limits. I'd run home on Fridays and get into that and stuff that was coming over from the UK. So that was the real big influence in that way.

What brought you over to London?

I was born here in Tottenham. My parents left in the 70s. My dad was an engineer, got a job there, and sent for us a year later. And I was raised there. I was raised rurally. If you ever need anyone to milk your cow or drive your bulldozer I’m your man. I mean proper rural. That expansiveness gives you a different headspace. As opposed to living in the city where everyone is living on top of each other. It’s cool to have that background.

Ontario is just massive.

Yeah, I’ve just moved house. Even though it’s a 40 minute drive, that’s still just down the road. If it wasn’t for traffic it would be that quick, (clicks fingers). I’m grateful for that space. It’s definitely a headspace as well as a geographical space. I’ve been in Ireland a few times and the people aren’t living on top of each other. You get to think and feel that space arrange you as opposed to here, where

everyone is vying for the same space. It lends itself to writing music differently If you listen to London Grime, I don’t think anywhere else could have made Grime music. Because of that tension. That’s an example of close space music.

The expansiveness in your music reminds me of DJ Ease and Nightmares On Wax. That was a seminal record for me. When they first came out with ‘Smokers Delight’, I remember hearing it in a cafe in Vancouver and thinking what the hell is that? Even now that first track with The Technicolor, it doesn't sound dated. It’s still relevant because of the space in there it isn't locked to a timeline.

Did you have a GoPro on your head for the 'Hi Time' video?

No man, that was a Nokia N95. I was holding the phone up in front of me walking down the street.

That was real time. When I say "hello" to somebody, I saw her coming down the road, she must have thought I was mental. I had the phone in front of my face and the headphones on as she was walking by.

She was smiling. There just happened to be a break in the music where I say "hello" to her. It was perfect. You couldn't have set it up.

'Hi Time' was one of those tracks that I had written some time ago and it just sat on ice. I never really finished it. So one day I had the drums down and Patrick said we need something more melodic in there. He came in with the bass and the keyboard lines and it just seemed to belong together. It really helped complement the video. It's a good working relationship.

I love that refrain at the end of it.

I don't really do editing. That was a case of "how many times around this?" So I guess it kind of became a happy accident.

With the live shows and the two bass guitars, you really get elements of punk and funk jumping out.

I worked on Denmark Street for about four years in a drum shop. At the time I was studying Sociology And Cultural Studies and still playing drums.

Trying to figure if I was doing music because it’s the only thing I can do or doing music because I want to do it. I came back to London, stuffed my clothes in the drums. I started to wonder if I had done the right thing. Feeling guilty about the social conventions. Mum And Dad saying "get a real job"…that started to bleed into my head.

So I was taking time out. I was working on that street and the second bass player Abrar, he was the one who got me in touch with playing the downbeat again. I spent so long playing swing that I forgot there was a two and a four. You get so used to playing in between the beats and one becomes this thing. It is sacrilege to state the one all the time. He said "look I'm starting up a new band, do you wanna play drums?", and he got me back into playing the downbeat. All the other influences of the Cocteau Twins and Happy Mondays, Zeppelin, Beatles and all that was in there but Bluenote, Impulse, all that jazz had kind of taken over. It was a nice marriage to have that fuse back together again. That was one of those things where Abz has been a massive contributor with getting me back to that downbeat. It's funny you hear the punk. That's definitely been a massive influence…Killing Joke, the old stuff. I'll always be naturally someone who swings but the more punk rock aspect is a massive part of my DNA as well. In this new track when you hear the verses and the chorus, even though it swings there's still a big element of punk and rock in there.

Do you process the beats yourself?

Well they're not really processed. I play them. On this drum kit. Funny story. I worked in the drum shop and Mapex drums made me a kit. I wanted a jazz size. 18 inch kick drum, short stack toms instead of the deeper rock toms. I build classic Minis. I was trying to finish this 74 Clubman Estate I was restoring and in a moment of madness I sold the drums to help pay for this restoration. I sold it to a guy I know in work on Denmark Street.

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He sold them on and I really wanted to buy those drums back. I tried vintage and wasn't happy. I tried new stuff but it was too expensive and I couldn't get my sizes. So I thought I should buy my drums back. So we found the guy he sold them to and he has now sold them back to me. So all the drums on that album are that drumkit I'm telling you about now. I just got them in time for the second record. Serendipity played its part. Nothing programmed… it's all played. Some takes I'll play all the way through, some takes I’ll chop and change. Like you're more consistent on the snare in this section so let’s use that, and move that up. But it's all live.

This is something we've been thinking about.

Sleaford Mods have been a good testimony to the fact that you don't necessarily need a live drummer.

We've come a long way without a drummer. We've tried a couple of different players. Some beats they couldn't play but we could have worked around that. But the thing really made me decide about not doing it was that they were all heavy hitting kind of drummers. That's not what was needed. When I was on tour with Fink, we were opening for Massive Attack. What they were doing was having the drummer play over or under the tracks that were floating by pre-recorded. So I thought that was a great way to do it but no one seemed to be able to get the concept of playing underneath the beats. They all wanted to play over the beat. They couldn't play beside it. And because I played the beats, I was unsure and not satisfied with it.

How did the Massive Attack gig come about?

I was a drum tech after I graduated. About two months before I graduated, this lady heard me rehearsing in the drum shop and she said "I really want you to record my record in Spain". And I said "I can't, I'm writing my dissertation and it's massive and I can't fuck that up". So she said "I will wait until you graduate and comeback with a plane ticket". I thought, "yeah yeah yeah, talk talk talk", but she did everything she said.

She came with the ticket the day I handed in my dissertation. I had a ticket in my hand, got on a plane went to Spain from that I started drum teching. Fink (who are signed to Ninja Tunes), I toured thier first record ‘Biscuits For Breakfast’.

They were looking for a drummer. I tried out and went in there. And the drummers they had tried didn't have that sensitivity of touch. So I got the gig from that. Then halfway through the tour we ended up picking up Massive Attack. Met them in Cologne in this 2000 year old amphitheatre. And we did two dates with them. It was cool. I didn't even know what they looked like. The guys were shy about talking to them but sometimes naiveté is bliss.

You played Glastonbury.

It was good. That was a strange gig. There was this studio that was built out of hay bales and clad with mud. So the sound was uber dead. This was one of Kate Tempest's first gigs. And they only had room for two guys to come along and do the Glastonbury show so I ended up doing it myself with a backing track. But it was still quite full. I'd never rolled it out to a big audience by myself but it was really well received. As I was doing 'Money As Debt', it sounded awesome. It was coming out over the trees.

It was the first time I could hear the sound travelling so far. So I thought that was uber cool.

Was it my favourite gig? It is definitely up there but we did a few charity gigs and those gigs have been equally, if not more, special. People there were doing it for a reason. Not to say the Greenpeace stage isn't a reason, but it is so big. So the receptiveness is different coming back from the audience when you're in a small venue. Everyone is shoulder to shoulder. You're sending your message out. That seems to superceded playing the big stage because everyone is right there engaged. Taking the message in. A guy came up to me at one of the gigs and said "that was awesome, and really fits in to where I am in my life at the moment". That was the most poignant thing anyone has said to me. Better than a thousand "Thank Yous”. He, personally, was affected by that because of his narrative in his life at the time. That's what makes those gigs particularly special. It's those small intimate venues that are being shut down left and right that hold far more cohesion. It’s that reason why we do it in the first place.

Through The Kong Club we have gotten to see a number of emerging bands over the years. But something like that doesn’t happen without the right people behind the scenes.

One of those people making it all happen is Julyo. But he is also an accomplished musician in his own right. We took some time out to get to know him a bit more and to talk about all things music as well. Here is what he had to say – The main thing you have going on is the release of your new EP ‘Mediterraneo’. We are familiar with some of your other works, and we reviewed one of your previous releases ‘Corner Of The Universe’ in our magazine before. In terms of a comparison between the two, what similarities did you find when recording the two and what was different this time around?

Corner of The Universe (C.O.T.U.) was a sort of tribute to my ‘heavy metal ‘years at the time when I was living in Italy performing with local metal bands. It is somehow a mix of mysticism and ‘80s instrumental metal music, a tribute to guitar players like Tony McAlpine, Vinnie Moore and of course Steve Vai and Yngwie Malmsteen.

‘Mediterraneo’ on the other hand is the first chapter of a trilogy dedicated to the theme of travelling. ‘Mediterraneo’ is about the ‘physical travel’ in particular the experience of exploring the cultures of the sea port cities of the Mediterranean. The music is quiet and hypnotic and each song in the album explores a different seaport city.

Is it strictly a solo effort with this EP or has anyone else being involved with the process?

It is a solo record featuring collaborations with legendary Hungarian guitar player Péter Szalai (Korai Öröm, Color Star) and unknown percussion players from Bulgaria I met during my short summer tour in Bulgaria this year. In a way is a multi-cultural project in vein with the World Music spirit.

How long have you been working on the latest release? As in from writing, performing and all the way through to recording.

The recording of ‘Mediterraneo’ started completely unplanned while touring in Hungary during December 2014. I was recording ideas in a studio in Budapest and later on during 2015 I had start to notice something in common with all the recordings, the ones done in Hungary and the ones recorded during the 2015 European Tour… they all are some sort of souvenir, a memory of a different place in Europe, some sort of travel diary. Later on the vision of a trilogy dedicated to the theme of traveling took shape clearly and ‘Mediterraneo’ has become the first chapter.

Your style is classical guitar, but are you classically trained or is something you have picked up through necessity over the years?

When I was a teenager I had the luck to study classical guitar with Japanese virtuoso Katsumi Nagaoka, it helped me enormously to express my emotional states through dynamic control of the instrument. I still find so called ‘classical music’ to be incredibly inspiring and somehow transcendental, almost from another dimension. I have learned to use the pick by studying the mandolin even I prefer the sound of nylon strings played without pick. Sound to me is something extremely personal, just like the colour palette for a painter.

Are your musical influences classical guitarists also or is it a mixed bag. Either way, who do you cite as the main musical influences on you as an artist growing up and who would you admire today as an inspirational figure for you?

Even before birth I was exposed to classical music, traditional jazz and world music (recordings of folklore music my mother used to have on vinyl and play during the day when at home). The first music I have heard (and I was few months old) was J.S. Bach, Mozart, Gershwin, Miles Davis and Ravi Shankar. Later on I got exposed to Hendrix, Frank Zappa, Pink Floyd and during teenage years to the first wave of heavy metal and European hard rock bands. Right now I am listening to a bit of everything, from any historic period and any geographical location; I really enjoy listening to world music (or folklore music). For example traditional music of Italy, Greece, Bulgaria or India and of course I do enjoy any composition or song that has that unique magic you can only find during live performances. A recording is somehow a piece of art, a door to access another level of consciousness.

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One of the things you took part in this year was ‘Busker Abú’ for TG4. Busking is something of a hot topic among musicians on account of the new regulations that have now been put in place for buskers in Dublin. There are two sides of the coin- there are those who recognise the importance of buskers for both their cultural relevance and those who see it as a way of ‘doing your time’ as you hone your skills as a musician. There is also a small minority who have welcomed the idea as well. Either way, the topic has not been well received and it has proved a hot bed topic among every grass roots musician we know on the Dublin music scene. What is your take on the whole thing?

Well Dublin and the Irish music scene is amazing. It is still rough and spontaneous and full of so many potentials! Busker Abú has been a very interesting experience for me. It was also my second time being on national TV since my appearance on bass guitar on the Ryan Tubridy show in 2008.The busking scene in Dublin is amazing and is here to stay. It is an essential part of the Dublin identity and an amazing stage for artists of any kind to test their performance skills!

It is something of a noble craft in a way. Have you fond memories of busking?

My busking experience is mostly related to outside Dublin. Busking in Budapest, Bulgaria and around Europe…the TG4 experience has been a sort of memories of my improvised performances in the streets of Europe while touring during 2015.

Are you solely a classical guitarist or are you schooled in any other instruments?

To keep it short I play any stringed instrument with the exception of fiddle, viola and cello. I love the feeling of ‘touching the sound’ when I perform music on stringed instruments, the same way when I perform on guitar, Indian sitar or Greek bouzouki.

You ended last year with some time spent in New York and one of the venues you played at is a venue we are very familiar with through our New York network – Rockwood Music Hall. It seems this year you are also ending things in

J

fine style with your release gig for ‘Mediterraneo’ being filmed by MTV. So that is something of a big deal. Let’s talk about that.

The release party for the ‘Mediterraneo’ album on the 6th December was filmed for a special feature on the Viacom TV channels (MTV Latin, HBO Latin and AXS TV). It is indeed a big deal since those channels very rarely feature instrumental music. Over the last years I had become a sort of ‘ambassador’ of instrumental music trough ‘mainstream channels’. This is an honour for me since I had been performing mainly instrumental music since late ‘90s often struggling to have instrumental music being recognized as more than simple ‘background music’!

That must be a huge confidence boost. It also comes off your video for ‘Comiche’ being played on MTV. So how did the whole thing come about?

About two years ago the French advertising company AKA Media started to feature some of my videos on their Sky channel. A few of my music videos were featured on national airplane companies in France and local televisions around the world (for example the video of my performance at the Buda Castle in Hungary). A couple of months ago an offer from Viacom to have a live concert music video featured on their ‘Latin music channels’ was offered to me, maybe hyped by the recent success of instrumental music performers like Estas Tonne and Lindsey Stirling.

When will the recording be televised?

Sometime during early 2016, the recording of the live performance at the ‘Mediterraneo’ album release party will be featured on MTV (South America) and on the cable TV channels of HBO Latin and AXS TV. I am looking forward to seeing the reaction of their audience!

little hope for the artists that believe in the 100% self-made man model. Art needs a scene (real or virtual), the human interaction and the emotional response to any form of art will never die and we see this with the revival of the vinyl medium and the never ending success of music festivals and live performance in general.

One thing we did find is a quote from The Trichordist "There is no internet empowerment for professional musicians. There is no democratization of music in creating a new and robust ecosystem of middle class professional musicians. Internet piracy and the new “digital music economy” have only created equality when everyone is equally poor. That’s a pretty lame revolution."

Some would say that the internet has given everyone the opportunity, but it has also given it to hose people who have no right to it. Those who haven’t worked at honing their craft or playing to shit crowds in shit venues. Do you think the notion of The Promised Land of equality is an illusion?

It is taken in the context of how the internet has marginalised musicians more than ever. There are others who would say it has levelled the playing field and those who disagree just don’t know how to get in the game.

Would you agree with that sentiment or would you agree that the internet has been something of a false messiah for artists at a grass roots level?

We are living in a very interesting period: on one side the huge hype on data and on the other side the struggle to get meaningful information out of an ocean of data. The Internet and the whole digital revolution have profoundly changed the way we interact with each other and the way we listen and consume music. My personal advice is to use all the beautiful tools technology offers us with a human approach. Do not forget that ‘virtual fans’ do not always translate into ‘real fans’! Educate yourself and understand how technology can help you not define you.

There is no denying it has been a serious game changer. In the last decade certainly, illegal downloading, streaming and YouTube would be the main three bastard children of the digital revolution. Where do you see the future of music heading?

Music is heading to the same path of the world of Apps and software industry: understand sharing, monitor data (where your music goes, who is using it and who is listening to it) and of course a smart and objective use of the social media channels. There is

Somehow I think no matter what age you live in nothing will replace hard work and commitment for an artist: work on your crafts and skills, perform live and be consistent. There is so much information around us and so much music available for free that original music composers and songwriters really need to be present and productive as much as possible. I won’t suggest to anyone to over-produce. I strongly encourage having a clear idea (or vision) of what an artist wants to achieve with his or her music. Some people play as a life expression, of one’s true talent. While others are inclined to do it for the material return in the form of entertainment: no matter what be honest with yourself in the first place and then you will project that honesty and coherence during your live performances.

You closed out 2014 in New York and this year you are closing it out with MTV. So it would seem that you are heading in the right direction. What is in store for 2016 then?

Right now I have two projects for 2016. I can’t give away too many details. All I can say is that one is the second chapter of the trilogy dedicated to the theme of ‘travel’ and the other project will be focused on music publishing service for emerging artists with a focus on the Irish music scene. We are living in the ‘information age’ and there are too many people still struggling to make sense out of it especially in the music industry. Hopefully I will bring a fresh new channel for emerging artists to promote their music and educate themselves on the amazing tools available to artists willing to stop, think locally and be global!

JULYO -7-

WE THE OCEANOGRAPHERS

by Dave Beech

Interview by Marky Edison

OUR FRIENDS IN THE NORTH We, The Oceanographers are Conall McIntyre, Joseph Edwards, and Sean Bradley. Their debut album ‘@Ventures.002’ came out in March and was widely praised for its lo-fi, indie-folk sensibilities with nods to post-rock and electro. From their base in Dundalk, they’ve recently toured the UK and Scandinavia as well as becoming regulars on the Irish festival circuit. They’ve played shows with We Cut Corners, Funeral Suits and Le Galaxie and are lining up more shows for 2016.

Conall- Also I like the idea of a band name that requires punctuation.

It does stick with people too. You hear so many band names that start with 'The', and then one word.

Joey- We're pressing ten copies of our new Christmas single which will be available for one day in a record shop in Dundalk. Ten copies and then they're gone.

Joey- And it's not too long as well. There are definitely longer band names out there.

It's the Wu Tang Clan approach.

We caught up with Joseph and Conall from the band to talk band names, music streaming, and bizarre collaborations.

Joey- Captain Beefheart and His Magic Band. Forget The Beatles, they’re going nowhere.

How was London?

Conall- I enjoy the fact that The Beatles is a pun but you don’t really notice it. You just forget it and it's accepted.

Conall- I grew up listening to Super Furry Animals and Gorky’s Zygotic Mynci and those kinds of bands.

Conall- We are quite like the Wu Tang Clan in many respects. I can’t really think of any right now but we're people. We have the same amount of eyes. We wear clothes.

Joey- We have all the attributes of a person in the common world.

There is an official Wu Tang/ Fugazi album called Wugazi.

Joey- We did a show in Hoxton on Friday night. Nice venue, The Underbelly. Conall kept getting electric shocks though. He was completing the circuit with his mouth. That's the level of performance art that we bring.

Conall- I wasn't feeling ok to communicate the depth of emotion involved in the songs so I gave myself a series of electric shocks to bring the performance to the next level.

Were you playing like Jimi Hendrix?

Conall- Oh no, it was the microphone stand. The circuit my guitar was on wasn’t earthed properly so whenever I got near the mic I was completing the circuit. The circuit the mic was on was earthed so it was a shocking experience.

Joey- It was like those warning cartoons with the wee stick man and the lightning bolts and you just see his bones and zig zag lines every time.

Was that your first time playing London?

Conall- That was our third show over there. We haven't got out of east London yet. Hopefully we'll be back over soon enough.

Joey- We were over in September. We had a bit of a trek around Scandinavia and London was a good launch pad. We stopped off in London to do a show then hit Scandinavia. Well Sweden and Denmark anyway. Not all of Scandinavia but some of it. More than we had seen before anyway. We saw that bridge that disappears into the sea. That is all you need to know about Scandinavia right there.

We stopped in London going there and back again. We've a good promoter over there.

You’re in Belfast, Joey. Do you live there?

Joey- Yeah I do. Just a few minutes ago I was involved in a rigorous debate with software developers cos I’m training to be a software developer in Queen’s. I like it here. It's a nice cold city. It's so much colder than Dundalk its crazy. Whenever I come home I walk around in a t-shirt in the cold like its nothing.

You've done blogs about the struggles of being an independent band.

Conall- That was when I had a bit more free time. I was going really well with the blog and I ended up getting a rat race 9 to 6 job. It became a case of I have time to do the blog or I have time to do the music.

Joey- It's still something that we're fascinated by. Different ways of streaming music and finding ways to get the music streaming. We found a new way last week to get the music onto iTunes and Spotify without having to have a contract with them. Therefore you can get a different percentage. There's loads of interesting things like that.

We’re trying to find our own niche and all that is a bit of a sideline.

Conall- It's still something that I’m really curious about. The whole point is that if you want to spend less money making music and distributing your music than you take in. With Spotify and all those things you get a big push from the big labels, the large tech companies, the internet service providers. The economies of scale. The more product you have the lower your costs are. As a small band we have a shite economy of scale.

Joey- And to be fair, our girlfriends also made us change the name.

It brings up that idea of people who have a strong interest in locally made independent music. Like the readers of U&I and blogs that focus on independent music. Would there be room to create something similar? Like a subscription service. But I neither have the business know how or the time to create something like that. Everything is squeezed so tightly. Bands now rely either on sales of physical copies which probably don't get listened to. Or just give away their music for free. I don’t completely agree with it because it's resigning yourself to financial failure and giving it up to a hobby.

Conall- I really like the name. It sort of embodies more of an electro band though we're more folky and old school.

Joey- You hope that you can make money from another avenue other than selling your music.

Joey- We started the band intending to be electro superheroes. It didn't work out.

Conall- Like publishing or licensing for TV. I was at school during the Napster thing. The world of music has changed so much since then.

It’s very sad when you see bands that are internationally well known and highly regarded who say that there is no point in making another record. It’s throwing money away. It’s just very sad. People aren’t making things because there is no financial incentive. There’s a financial disincentive.

Where does the name of the band come from?

Conall- We were originally called ‘@Ventures’, like the album title, and it became impossible to do anything on the internet. We decided we needed another band name.

Conall- We played one gig as ‘Internationally Famous Oceanographers’ which then got shortened. We were playing as ‘The Oceanographers’ and it turned out there was a band in Canada called ‘The Oceanographers’. I was looking online and I came across this manifesto which opened with ‘We, The Oceanographers’. And so we're named after that.

Joey- I like the 'we' in there. It implies a grander collective.

Conall- We had an idea of a band that played Morrissey’s music but in the style of Van Morrison and call it Van Morrissey.

I’m interested in your approach of limited physical copies.

Conall- That's topical. We have one coming out very soon. How many do we have Joey? Ten pressed?

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Conall- So about that Christmas single. We have an A- side and Bside, both of which are Christmas songs. We hope to release a Christmas single every year for the next couple of years in the same manner. And we'll have a Christmas album after a while. We’ve started work on some new tracks. We’re not really sure what approach we're going to take. Whether to put out a couple of singles or whether to do another full length record. I suppose well take our time to record it and see what direction things are going.

Joey- This is also the first time Sean will be recording in the studio so that will change it too. Its not that it’s more difficult but it will come out differently.

Conall- When you’ve done a record and you do that and work. You come up with a system for doing things and this will alter that system.

Which isn’t necessarily a bad thing. Often bands stick rigidly to the same system the whole time. The process carries so much weight.

Joey- When we started this we intended to release eight albums in two years. Obviously we weren’t able to do that. Time wasn’t there. We wanted to do different styles. We play lots of folk and country music.

Recently we’ve been doing a jazz thing too with the old standards. So two years ago we wanted to do everything and now were focussing on what we really want to do. We just need to figure that out.

Conall- Time is the big thing. It can hold you back. Or progress you forward depending on how you look at it.

Where do you get together to record?

Joey- A lot of the time we do it in Conall's. That’s where we recorded the album but we've a new studio now. We got a lot of equipment recently. We bought the old desk from The Spirit Store in Dundalk.

Were all analogue now which is nice. It’ll make the album recording a lot nicer. We haven’t really been practicing much lately. If we’re going to practice well do it in Sean’s in Dundalk. In his big room.

Conall- We play an awful lot of music together in different settings.

We play a lot of folk and country music with friends of ours. So even though were not playing the tracks that are part of our set; that kind of practice gets you used to everyone else’s playing style. We may not even be playing the same instruments that we would be playing in We, The Oceanographers. It’s all about relationships. Once all three of you are trying to communicate the same idea, in the same manner, in the same tone. Not that we'll all play with the same intensity, but once you all aim towards the same end product, I don’t think it matters what you practice.

What have you got coming up?

Were hoping to do a few shows in January and February with a band called Strength, from Derry, and well definitely have new material in some form next year.

by Dave Beech

PENROSE Interview by Sean Brennan

Penrose are an indie rock band hailing from Dublin, oringinating in 2013 around the musical talents of Darragh McGrane. Since it’s initial inception the project has evolved into a four piece ensemble, incorporating Caolan Fitzsimons Mark Bolger and Donal Bowes.

to have certain similarities to different musical influences. I think it's a good thing and makes the band appeal to a wider audience, as I don’t necessarily sit down to right a Brit Pop tune or a classic 60's rock 'n' Roll tune. If it’s a good song and works well with the band then it’s meant to be.

Their debut EP “Live for the Dream” was released in July 2015 and features the single “Melody” which became available in November of this year. Their catchy, hook laden indie retro rock takes influence from such formidable acts as the Beatles, T-Rex, E.L.O. and the Verve.

Was this direction solely decided by you or did the other members also influence the direction of the band once they came aboard?

With a string of high profile gigs performed at venues including The Academy and the Button Factory in Dublin and the INEC In Killarney, along with multiple radio appearances on Nova, FM 104 and Today FM, Penrose are gaining a solid reputation as one of Ireland’s most popular indie rock outfits.

Sean Brennan caught up with Darragh McGrane from the band to find out what makes them tick.

There’s a definite thread of influence throughout your music from 50’s rock and roll right through to the Britpop era of bands such as Oasis and the Verve.

Have the band always approached their music with their intention to sound like this, or is it more of a case where it just subconscious comes out sounding as such?

I suppose having an extensive record collection and being the main songwriter in the band, I feel it's a case in which the songs that are written and then played by the band just seem

I would be the main driving force behind the band and with that too comes the direction.

But it’s not a dictatorship. The lads have their directions which get explored too and then it’s a simple case of what is best for the band.

You’ve listed the Beatles, ELO, T-Rex and the Verve as major Influences. What other music or bands have inspired and shaped your music?

Great Irish bands such as U2, Aslan, Rory Gallagher and Thin Lizzy along with others like Oasis, Steely Dan, The Jam, The Sone Roses and The Kinks along with many more.

You’ve mentioned that the EP “Live for the Dream” was recorded in your own rehearsal studios. Were the songs written long before the decision to record was made, or was it a case of these songs being written with the intention of featuring them on the EP. Yes it was all recorded in our rehearsal room out the back of my mam and dad's house in Ashbourne. All the songs were written well before the EP was recorded and it was just a case of picking the four best songs we had at the time. We also wanted to feature songs which appeared to fit together and told

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somewhat of a story or carried you on a journey as a mini-album.

The last few years have seen a particular focus on solo artists, or electronic duos for example. In your view and experience, do you think that guitar music and bands in the traditional sense are making a comeback?

YES!!! And we with a lot of other bands are bringing it back with a BANG! Being a guitar band, there must be considerable energy and adrenaline when playing live, and you’ve done some pretty high profile gigs. How does the excitement of performing your songs live compare with that of writing them and tracking them in the studio?

It's a different buzz when you are on stage, one which is hard to describe, whereas when you are tracking songs and see it coming to life over a few days it's a great feeling listening back to the final version and thinking "wow that sounds good". On stage most gigs finish in 30/40 minutes so you get up to do your set, you're smashing it, the crowd love it and they are singing along to your songs. I don’t think there is a better feeling in the world as a musician than that.

What are the plans for the band in the next 6 to 12 months?

Our plan is to get signed up, get a hit single and play as many festivals as possible. We will also be recording our second EP in FEB of 2016 and hope to have it out sometime in April.

Then gig like crazy everywhere and anywhere that will have us, the above is more like what I would like to happen!

High Society...

by Joe Loftus Photo by Shari Denson

THE VRYLL SOCIETY One of the most exciting bands to spire out of Liverpool in recent times is The Vryll Society. They have been going for a few years and in that time they have raised numerous ears with their distinct and peculiar sound. It is a car crash of genres.

Psychedelic, rock, punk, funk, indie…resulting in a moving, haunting and frightening cacophony of mystery. Check em out would be our advice to anyone seeking music that is good for the soul.

time, in that place, creating that music from that point of view.

Who are the bands biggest influences?

Andrei Tarkovsky, Surrealism, Pink Floyd, Alan Wills, Art House, Stereolab, David Axelrod, Can, Neu!, Bridget Riley, Funkadelic.......the list gets endless You're soon to be heading on tour with Blossoms.

I've spoken to Blossoms in the past. They are a little but more than just a great band. How are you feeling about touring with them?

So guys, what have you been up to recently?

We've just come back from touring recently and we're preparing to go into the studio to record our next single.

We can't wait, we get on really well. They’re our biggest fans to be honest! Our biggest fans seem to be sound men and other bands! Yer naturally it's going to be something neither band is going to forget in a hurry.

How did the band form?

We were in different projects and then we kind of came together under the wing of our manager Alan Wills. We went into the practice room and got to work!

What has been the hardest thing The Vryll Society has been through?

Why do you write songs and play music? What is it that drives you on?

Without a shadow of doubt losing our manager Alan Wills, I don't think I've ever felt so empty and hopefully I never will again.

Well us as the artists have a duty to document the human heart. Some people do it by building, others by painting.......we choose music as our vehicle. Our late manager’s wish for us to be a success.

What has been the best thing The Vryll Society has been through?

You’ve been together quite a while now. What is it that inspires you to write the music you do?

Finally finishing our EP 'Pangea', lots of hard work went into it and it was really satisfying to hear people talking up.

We need to forget about that now though and move onto the next single. We have had this band on the U&I Radar for some time and they really are a band who could very well have an impact on the indie music scene in a big way in 2016. Watch this space is all we have to say.

Being inspired by other people's exploits and being driven to make something better from our reflection of where we're from and what we've experienced. This is why a new band is always doing something new, even if the influences are strong, because those people have never existed and that

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THE MANC TANK

by Dave Beech

are a band who operate outside of the assumed MO of a lot of the city's bands.

Crafting their own brand of melodic melancholy, they effortlessly merge sleek pop sensibility with universal appreciation of the downtrodden, creating music that's never quite miserable, but nor is it liberal in its optimism either. That said, such observations can only be made from the three tracks that have found their way online in the last year, the most recent of which, 'Blood Red' surfacing just this weekend.

Whilst 'She Said' and earlier track 'Shadows' prefer a dreamy almost wistful approach, 'Blood Red' feels darker, at least through the verses; a propulsive bass pushing the track towards its hazy chorus. It's here the track comes in to its own, the dream-pop of previous releases breaking through the track's dark undertones.

Having only been together a year, it's clear that we've still got a lot to see and hear from with opportunities for the band, we thought we'd grab them for some questions between their sell-out show at The Wellington, and the released of 'Blood Red'.

Hey guys, thanks for taking the time to answer our questions. First of all could you introduce yourselves and tell us a bit about the band?

We are Owen, Charlie, Jonny, Nic we have been together for just over a year we make ambient dream pop vibes. We all met in high school but we didn't start making music until we left.

What's the story behind the name? And what's the importance of the stylised U? We had a few awful band names at the start which aren't to be repeated! We wanted a one word band name and as hard as it is to find a word that isn't a band name we wanted to make it obvious that 'GLUE' was us, so the importance of the accent above the U is to separate us and make it clear that if you're looking for us you can find us easily.

The band has released a couple of tracks over the last year or so, none of which are typically 'Manc' in their delivery. So how has the city been an influence?

The concept of having nothing and then being able to take on the world with your music is something we have taken from Manchester bands such as The Stone Roses and Oasis. The idea that you can come from nothing and make something of your life is important to us. We don't want to sound like any other band! Obviously it's hard to dodge comparisons but we write so organically sometimes it's hard to put a finger on where some songs come from.

Similarly, if not Manc bands, who would you argue as being your biggest influences?

We all bring different aspects of sound to the band we all have very different influences that range from heavy rock to pop, which is why I think it's hard to put a finger on us because every song sounds different and has different elements to it. We have some songs that are dark sounding and others that are the uplifting and very cheerful!

It's obvious that there's been some kind of musical shift in Manchester, which has seen an outpouring of bands very much removed from the assumed

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Manchester sound. Why do you think this is?

Music like most things is in an on-going cycle of change, it's constantly evolving, people are growing up and finding their own favourite songs instead of listening to their dad’s favourite band over and over which is why I think the outpour of these new bands is so different! No one wants to be labelled as 'the next' because that defeats the object of why you started making music in the first place‌it's a personal thing and if other people like it, great. If they don't then at least you do! You can't keep clinging on to the same sounds forever!

There's a new song in the pipeline, 'Blood Red' and it's actually being released this weekend.

What can we expect from that?

You can expect a darker sound than our previous releases it still has all the guitar riffs you could wish for but it's on a different side of our spectrum than 'She Said' and 'Shadows'.

With us quickly approaching the end of the 2016 is looking positive for us, we have a few gigs booked already and they are way bigger than anything we have done before! We hope it brings success as we are a very ambitious band but we are still very young so we understand that things take time to happen and hopefully we will be somewhere someday!

Finally, are there any exclusives or parting words you'd like to leave our readers with?

Keep a look out for our releases in the future, the support is brill at the min, we appreciate everything!

THE RUBY SESSIONS Doyle’s Bar (8-12-2015)

YE VAGABONDS Over the past 18 months The Ruby Sessions has cemented the reputation it has earned as the best thing on the Irish music scene for all the right reasons. An incredible who’s who of household names have played there in that time – with Ed Sheeran, Hozier, Kodaline, Gavin James and, just two weeks ago, The Corrs – while it has also provided a platform for emerging and international artists as well. Tonight was no different and there were three acts on the bill with Glen Hansard being a late cancellation due to illness.

The first of the three acts taking to the stage this evening was Ye Vagabonds. An act who have recently supported Glen Hansard on tour and recently played their first headline gig at The Grand Social. That is all in addition to the release of their EP ‘Rose And Brier’ as well, so they are a duo who have been productive it must be said throughout 2015. With how the bouzouki finely feeds the rhythm the closeness of the delivery locates something rich in how the vocals are conveyed against this. It has a slight Moby comparison going for it but it is something married in a rich mire of traditional folk influences. This is also conveyed from the conviction of the lyrics. They adopt a more serious tone with their second track of the evening. The source material for which takes its starting point from the experience of seeing the current refugee crisis in Vienna. The lyrics capture a wonderful sense of social commentary but those protestations are aptly addressed.

Another effort which comfortably falls into place is ‘Half Blind’. It is quite desirable in a striking fashion. This approach takes the requisite and forsaken side of things to hand. As such things feel that little more serious. An intricate hold in the play is advantageously to create a delightful little number it must be said. With the higher placement of the capo, ‘Daylight Under My Wind’ finds a whimsical sense which leaves its mark. There is a tidy bustle in the tempo which is closed down with an apparent sophistication. With the high end of charm on show the live delivery sees them considerably raised their game. By championing this carefree showing they also imbue it with an impressive stature to go with the colourful revelry. They extended opulence upon their last track of the evening. Doing so brought through the warmth located in the bespoke. This saw the grandeur of the sentiment called out bring a Mediterranean sleight of hand from the musical side of things.

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THE YOUNG FOLK

Another familiar face from our time spent here on many a Tuesday night is The Young Folk. They were playing here tonight having just mastered their second album ‘First Sign Of Morning’ which is due for release in April next year. So that is something of a little exclusive for our readers. With the tidy amble of ‘Wolves’ there is a haunting temerity located. This in turn envelops the delivery with an exceptional sense of proficiency. The setting here seems to add to the comfort on show, with an unrelenting compassion captivating an already appreciative audience. ‘Bright Eyed Thieves’ then followed. From the neat refrain in the pitch everything is carefully lead in. The impressive showing from the band yields a piqued sense of scope. That is an approach which ably processes the crestfallen touch in the vocals. How it bears down in the open showing provides a comely and refined effort in the process.

If you have seen the Leap card ad then ‘Way Down South’ might just sound somewhat familiar. It is an enjoyable tune and one which is further enriched by the intricate flourish from the xylophone. What also holds off in the delivery is a noted exactness in the lyrics. It seems to situate a compassionate expectation which is met in the reflection of the lyrics. Here it is impeccably carried through. It is a rather excellent showing with a courteous flight wrapped up in everything on show.

Despite it being over 4 years old, ‘This Time Of Year’ was only being played live before an audience for the second time. As the sincerity holds off in the lyrics a compassionate expectation is met and impeccably carried through. With how the maturity is stowed away it adds to the sullen drop in the tempo but it is not an overbearing affair either. ‘Home’ is their upcoming single and they seem to tidy everything up here. There is a contained sense of it all being carefully nurtured and this is followed in the outline of the tracking which develops the tune. It gives off an intelligent showing. The graceful magnitude abounds and the shared vocals give it a fundamental degree of happenstance.

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VILLAGERS Every Christmas The Ruby Sessions closes out the year with two festive shows. The line-up of which is a closely kept secret but it is something that has people queuing around the block to get in for. To close out proceedings tonight was an artist who needed very little introduction really. It was Villagers….aka Conor O’Brien. The man himself and just a guitar, but there is so much more to what he is about than just a humble troubadour. Despite there being a stationary calling to it, ‘My Funny Valentine’ actually exerted noted deftness of touch. Just watching the man on stage was a telling definition of what artistry is all about. He commanded the delivery as much as he captivated the audience.

He then followed that up with ‘Dawning On Me’. As the light hold in the guitar reaches out a consummate quality is heralded that brings proceedings through in seriously notable fashion.

The apparent level of ability he is able to call upon allows him to locate an apparent level of ability as much as he capably situates himself within the performance. It is an artistic extension that is remarkable in every sense of the word. By moving around the stage as he played ‘Nothing Arrived’ he seemed content to own the moment. It is a brilliant offering and the handling is equally apparent.

A contender for best self-confessed line of 2015 goes to his earnest admission that ‘Courage’ is the closest thing to a Dolly Parton song he could have ever written. How it all gathers brings an astute parity to that claim. Yet the majesty present helps to give it belief. From the commendable lament he then breaks away and ignores the microphone. But every word from his mouth could be clearly held from that very same audience he had in the palm of his hand.

With ‘That Day’ then following suit, the meaning is fortunately seized upon and located in the sedate temperament. It helps it to arrive in a savoury way. And as he leans into the chorus and the words ‘Can you hear me now’ are carried across the Paul Simon vibe on show lets you know you are in the presence of greatness. Showmanship is everything. For his final song ‘Occupy Your Mind’ he invited all of the performers on the night to join him on stage. It was an effort blessed with a checked running. This gave to it hardy governance which offered an interesting contrast when considered against the beholden dynamic. Yet the regaled touch as it cuts loose very much sealed the deal.

With a performance of such magnitude an audience will always bay for more and he duly obliged with two more songs. The first of which was a rendition of the traditional song ‘Silver Dagger’ which had them hanging on every word and then the piece-de-resistance of the night would have to be ‘Hot Scary Summer’. How everything added up with the delivery here was exceptional. It capped a tantalising performance and as he made his final bow I heard Shauna let out these words: ‘I will never be the same again’. That is a fine endorsement for how the man’s music touched everyone here tonight. He has a live album due for release in January and if tonight is anything to go by it will be one to have in the collection.

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NEW MELLOW NEW MELLOW

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It has be the Gigon are lo do so What only s Conwa excell scene here o imme betwe why t hidde emerg of mu

s been an honour and privilege to e official media sponsor of nometry throughout 2015 and we ooking forward to continuing to throughout the whole of 2016. we saw throughout the year can see us sing the praises of Dave ay and Elaine Doyle for the lent work they put in behind the es. We only caught two of the acts on the night but it was an ensely interesting contrast een both bands which underlines this club night is one of the real en gems for giving a platform to ging artists simply for the sake usic.

LET’S SET SAIL

As the keyboard is struck for the typing of this review it dawns on us here at U&I that we have been part of something really special for the last three years through having the privilege of writing the live reviews for Saucy Sundays. On Sunday, November 29th it played for the last time. Over the five years it has been running it has always been of an impeccable standard.

Some of the highlights we have seen include the last gig by The Strypes as an unsigned act to organising a band from our Israel co-op called Lego Lepricons to grace the stage. But they are merely two amongst many. If we were to list all the other great acts we have seen perform there since we started our magazine, then chances are this would be a very long article indeed.

Yet there is rich archive in our back issues that stand as testament to it and they will always be there for prosperity.

But tonight was not a case of dwelling on the institution we have now lost. Far from it. Instead it was a proven celebration of everything that made it great by keeping it all about what matter most – the music. All the acts on this evening’s line-up were there by personal invite but also because it was all about having a stellar night of music. The acts who took to the stage tonight recognised the significance of it all and they never let the emotion get the better of them either.

“The star that burns twice as bright only burns for half as long”….well in this case that doesn’t necessarily ring true. Every week the dedication to pulling off this wonderful night of music made it the best place to be in Dublin on a Sunday. It will leave a big hole on the music scene it must be said.

But what about the music? Well read on and find out….

SAUCY SUNDAYS – 5TH Birthday and Farwell Party The Grand Social (29-11-2015)

SHAY COTTER SHAY COTTER has been a stalwart here over the years. Not only was he a regular but we would never see anything about his set to suggest any complacency when we saw him perform. He maintained that same high standard here this evening.

His class showed on the opening of ‘A Pair Of Dice’. It is a rather astute number.

This is found from the deliberation that holds in the lyrics. Even though he comprised an acoustic set here this evening there was a great deal on show. The floom off the playing carried through on ‘Morning Insomniac’. It expands intricately and this brings a colourful tune to life in the process. The sensible foray about the delivery comes across comfortably and collects cleanly. That restless touch placed upon is most welcome it must be said. Joined by Chris Cakewell for his next track ‘It’s The Old World For Me’ carries it all through with a captivating Parisian sleight of hand that traipses across. This steers the tempo in a modest sunken fashion. As a result the pockets of charm present kindle an aspect of richness that is seasoned furthermore by the stature in the approach undertaken.

‘Distraction’ sees a colourful and spree consistency locked down in the rhythm. It is rather marvellous in a certain way and holds up accordingly. What prevails in terms of a fine lyrical structure is framed neatly by the fuller collectivity of the guitar. A more jilty effort followed with ‘Coat Tails’. It opens in a direct manner that works the dynamic rather well. This makes the shape of the tune more apparent and the attractive old-school rockabilly touches also don’t go amiss. A considerate effort closed things with ‘Ball O’Malt’. The listless apparel really steers it through. In the consummate touches a lot is played right and the favourable Polka rush brings it to a close with a real crescendo about it all.

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ENDA REILLY

One of the cool things that Saucy Sundays was always noted for was the appreciation for all forms of Irish music and artists. This has seen folk, trad, indie, electronica…well a whole smorgasbord of artist play over the years.

Enda would be an artist who would fall into the trad/folk category. Opening in an a capello style was significant and played right with ‘Light From The Darkness’. There are a lot of careful considerations taken in to account which brings his vocals very much into the mix.

He then played a wonderful rendition of the Irish folk song ‘Mary And The Soldiers’. He seems to capture the heart in the right way here and it gives everything a hint of inventiveness in the process. Then an as gaeilge number followed with ‘An Nasc Nua’. Or ‘The New Connection’ as bearla. It is a wonderful tune that was carried through with a fine appreciation for the Irish language as much as it was the traditional folk approach. Noted for the somewhat sentimental foray in the lyrics is ‘In My Garden’ . It is vivid in a pleasing way. This is a token appreciation which also sweetly comes to pass through how the warmer qualities hold their own.

He stepped up to the plate with his next track ‘The Samurai Sword’. From the richness in the tempo there is a consistency about it all that keeps the pace incredibly fluid. The abundant touches are found in the right places here by design, but so much is owed to the sharpness (no pun intended) of the lyrics. It also captures something in the catchy style of the guitar that helps hold it together. Closing proceedings was another as gaeilge number called ‘Ag Ól Ag Ól Ag An Garghóg’ which was co-written with Pearse McLoughlin. The story of Donn Cualgne provides it with its inspiration and it is a well-crafted effort indeed. The clean and well-versed showing here adds up and it has a consideration located which helps keep it on course all the way through.

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Strangely enough, it was at this very same club night when this band first turned up on our radar.

We have kept close tabs on them ever since and we have watched their progress intently. From the dignified calling of their opening song ‘The Good Life’ they laid down one hell of a marker. You immediately pick up on the realised sense of wonderment as it takes flight. The country influence they call upon is also rather modern in the approach. This helps steer the clean build behind the rhythm as the steadfast temperament is closed down as it breaks into a stride. They followed that up with the incredibly charming ‘The Yodel Song’. You get this sweet Johnny Cash/June Carter vibe off the delivery here. They get everything right in all the right places here. To see this live is to see something that very much goes against the grain on the Irish music scene but also holds its own. Again there is a rich pick-up in the tempo which steals an immediate march on ‘Wichita Is A River’. It progresses in a way which truly opens it all up. There is a lot to be said for how great the transition of the broader sense of presence is accommodated for in the arrangement.

It is brilliantly chased down and the vocal delivery here is outstanding.

KICKING BIRD

With the addition of a ukulele proves effective on ‘The Bluebird’. Quite how this grows on you is hard to describe in words because it is difficult to sum it up with the right superlative. Suffice to say the whimsical approach undertaken is one that is carefully measured. This stokes the richness in the texture of the vocals of Shannon Byrne which more than pays its dues. A new song then followed called ‘The Only Place I Rule’. Ornately lead in, there is a neat sense of togetherness captured as it moves along. This is felt from the saunter in the rhythm which carefully closes around everything. Also noted here is the commendable attentive way it is structured which is fashionably pulled through in the sullen tracking. Saying ‘Damages’ is a tune that kicks everything into touch from the off is a little bit of an understatement. The drumming calls the shots and a formidable heft is then channeled through in the sound. This weighs in with a noted sense of contention. Not only is the wow factor incredibly high here but the vocals are leaned into expertly to give it the added push.

On ‘Melon Man’ things cut straight to the chase.

This sturdy effort relies upon an incredibly well considered showing in the lyrics which eases through the strong calling of the lyrics. The love affair with all things Americana adds splendour and the trajectory clocks in effectively alongside the pace. Another new song followed called ‘Shallow Grave’. The sweet lick of the electric guitar riff is seized upon in the calling here. This merges with the stature in the rhythm favourably. Not only is it catchy but it is also rather rich and this is picked up on as the hooks get behind the beat. The noted sense of substance abounding here on every turn makes it all the more an American influenced effort but also one with a more universal appeal.

A carefully tracked ukulele allows the longing in the vocals become called out on ‘Nowhere To Die’. The intricate movements hold back nicely here. Overall it is a tidy affair and the way it is touched out results in an effort which really plays to their strengths as a band here. With a video of their next track online doing the business, ‘Tear Me Down’ benefits from the fleeting touches which are beautifully felt alongside the sentiment of the vocals. This in turn sees the longing come to the fore. It fixates upon a sense of contention in the patience of the build which then hardens with the pick-up. All things must come to an end and their excellent set was closed by ‘Edge Of The Earth’. The definition here carries across in the play and it becomes a very rich effort indeed. Another feature which pulls you in is the harmony. It is a big number and if they can get it released as a single they could very well have a huge hit on their hands.

There is a true potency to the dynamic here which really adds up.

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It wouldn’t feel like a proper send-off this evening if The Hot Sprockets had been absent. In the absence of Andy Sutton on drums it was all left to be an acoustic affair. But the stripped back style is something we have seen from them before at Dimestore Recordings.

On stage here this evening at The Grand Social they made the most of the occasion and lavished suitable attention on ‘Bad Jim’. The approach managed to give something coveted to the conveyance but retain the hardy resolve the original version is noted for.

Recently the band has been working on some new material and this was also a staple of their set here tonight. The first track given a run out was ‘In The Long Run’. An added certainty is secured in the careful terms of the consideration that spills out. A remedial turning is picked up on which also hints at a solid sense of maturity in the lyrics. The acoustic setting really suits the keepsake nature of the delivery.

They somehow managed to keep the contention of ‘Cruising’ in check but still kept it stripped back. This denotes their ability as a band. How the harmonica and the delicate flourishes of the guitar work their magic in a way that underlines the old maxim of sometimes less is more.

Carrying proceedings smartly was ‘Shake Me Off’.

Proceedings become more pronounced here and the kick in the song shows. It all lines up. While it is compact in terms of how it holds its own the shape of the delivery benefits greatly from how the pragmatic approach works. As the faithful dictation in the lyrics of ‘You Got Yours’ comes through you appreciated how well everything pieces together. A prevailing note of pedigree carries it all across and whets the appetite in the mindful way it all breaks down. It is bound by it all and that straightforward approach is what counts.

THE HOT SPROCKETS

As the richness of the mandolin collects on ‘Woke Up’ it becomes a tune which more than holds its own. It allows the precision in the layering sees things come to pass favourably. Another good thing going for what is on show here is how pleasing it is to see the Sprockets lose themselves in the delivery as well. This is one of their new songs that left the baying crowd wondering just how good it sounds with the full band behind it. The token psychedelic touch harbours a latent revisionist vibe at the same time which easily wins you over. With a divine sense of completion comes ‘Sanctified’. How they run with it has a tight showing. The considerations which collect in the delivery are carefully distributed throughout.

Throughout this set there was a careful approach adopted but balanced between their harder signature style in the right places. To close out everything was ‘Right Spots’. A wonderful sense of worth held its own in the licks of the lead guitar. This was a really big draw. Not only does the track sound the part but it took flight in a highly conclusive fashion. The handling which gets behind everything cuts across in all the right places. Marked in the progression is an approach which allowed them to go all out despite it being an acoustic setting.

Two other acts also playing on the night were The Shades and The Louisiana 6. We reviewed The Shades in our November 2015 issue and they produced the same high standard again here this evening. While the old school showmanship of the classics covered by The Louisiana 6 went down a real storm with the crowd.

Due to time constraints for more pressing matters we were unable to catch the final two acts on the night.

An honourable mention must go to My Tribe Your Tribe who were the second last act on the night. We caught some of their set and it was of the usual high standard we have come to expect of them. They could very well be one of those dark horse acts to break out on the Irish music scene next year. But tonight and the honour of closing for the last time fell to Gavin Glass And The Shakers. When we woke up on Monday and looked at our Facebook feed everyone was raving about it. So we can only imagine how good it was.

I suppose everyone has already said it, but we would just like to say a huge thanks to Lisa and Joey for giving us the privilege of reviewing Saucy Sundays here at U&I. We wouldn’t be anywhere near where we are today without that step up they gave us. We will always be grateful for that. So from everyone here at U&I thanks for the memories.

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ALBUM REVIEWS FUNZO

Artificial High For the large part most people dismiss the notion of an Irish hip hop scene existing, but it is something with a lot going for it.

One of its stalwarts is Funzo, who would be one of a number of artists we are familiar with. This is an impressive album which starts off in a proven way with ‘Artificial High’.

On show is a collected showing which confirms the intent. The de facto appeal of the retro temperament is immediately apparent, while the relative lyrical touches bring it forward. What is tidied away moves along neatly and, as an opening track, is an astute move. Somehow ‘Like The Beat’ channels something, which draws comparisons with Prince. This is rather fresh, but it wins you over from how it connects deliberately with the funk. It happens upon this undeniable air of cool in the process. In its own way the careful control of the deadened rhythm of ‘Lime Wedge’ sees the depth of the narrative call the shots in affirmed fashion. A lot of credibility is located in the accomplished dynamics here and this helps everything prominently come full circle.

With the clever touches on show in the movement ‘Putty In Your Hands’ cleverly controls the combination of tone and tempo. It is all followed through. How the definitive touches accentuate the shape of the tune truly underlines something distinctive which bears fruit. A higher sense of deliberation is called upon with ‘Dreamer Girl’. Calling upon a tender showing sees a mindful exuberance come through as he finds inspiration. This gives the lightness of touch in the endearing reflections a specificity which makes the song more accessible to the listener. Scored by a broader sense of scope on the intro is ‘Once Upon’.

10 What is welcomed through on the opening line seizes upon a sense of acquiesce in the opening line. Then a cursive tempo is built around the vocals and it all holds up. The album sees other artists contribute and the first appearance is by Leika on ‘Love Is’. This is telling tune mixes it up. Not only does it effectively combine a knowing degree of style and substance, but the positivity on show brings through a larger mainstream appeal. It rides in high on the positive side of that approach in terms of how it is structured by carefully staying within those outlines. Finding a deeper resolve is the brilliant ‘1963’. A fundamental appreciation washes through here as the shots are called. You note the hip hop showing here but it is schooled in the likes of other contemporaries such as Massive Attack on account of the appreciation for the arrangement. It is a neat affair with a proven pedigree in abundance.

‘Future Holds’ sees Kid Antics & Bony feature. Filled out by the more spacious beat the lyrics are then dropped in a way that is rather fly. As the latter progression comes about you recognise the opportunity seized upon. If you also follow the trajectory of the delivery it is something which commendably comes full circle. There is a personal track on the album called ‘Odin’s Ode’ which is a dedication the producer Alan Newman’s son who died after a premature birth.

Here it is included merely as an ensemble piece which wonderfully sets up the album’s closing track ‘Hardman’. A guest appearance by Rapthor brings it forward. The necessity of the pick-up gives the lyrics a choice conviction. This is stimulated by a calling of the ‘real’ in the lyrics and is mirrored by the pensive contribution of the delivery.

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WORK DRUGS Louisa

As the opening track ‘My Billie Jean’ calls the shots a retro countenance in the rhythm immediately lights up for all the right reasons. The approach showcases a clever consideration as it slips into gear and builds intelligently on the approach in a true way of note. A continuation of this apparel holds with ‘Minor Flaws’. Softened by the fawning vocals it corners the right balance of pop and indie credibility. Things then develop as the overarching structure takes hold on ‘True Romance’. It coasts along in a tidy fashion yet it is proactive.

As the relative softness pushes out it brings with it flushes of synth and guitar beats which don’t miss a trick.

The keepsake manner is rather select and holds in its own right.

‘Left At Redemption’ cleverly rounds on an air of cool which is noted from the abject virtue that steadily rises as everything touches out. This approach gives the flight a noted sense of value. From how it holds in place alongside the vocal context is impressive. A telling appreciation for the 80’s running through the album as a theme is highly apparent and noted furthermore on ‘The Diamond Life’. What is realised in the running fancifully calls upon a wonderful sense of volume as much as it pays homage. The charm offensive is worked smartly from start to finish.

This sees the neater foray in the processes desirably feel out the track which gives the running added substance. If the album might feel a little

10 laboured in places it is made up for with ‘Stars’. An outstanding tune it must be said. The rich fervour stands it good stead by providing industriously from how it plays its part. You feel a hint of a Nile Rogers/Daft Punk ‘Get Lucky’ influence at work here but it is also something that stands out in its own right as well.

You are seduced by ‘Chase The Night’. An intrinsic richness defines it here as the flight is chased down. From this approach the presence is apprehended in the right places yet there is also a patient sense of momentum stowed away. This contrast really captures the imagination in redeeming fashion. Brought through on the back of a somewhat carefree whim is ‘Another Life’. Yet this dandy quality is observed and deliberate. The aplomb of the seasoned touches is smartly placed which ably gives it a comfortable degree of accountability in how it breaks down.

You have to love the assured confidence of ‘In Dreams’. What is realised here considerably moves the album up a notch. The fresh appreciation seeing the funk factored into the mix plays like a dream. A bigger impasse collects in the rhythm which gives the dynamic an extra push.

Another excellent tune follows with ‘Hey Nineteen’. You sense it arrives fully formed because a collected sense of excellence pushes out in the rhythm. From the off it draws you in and nothing lets up in the highly condensed delivery. Final track ‘Just Like The Wind’ casually opens. The smooth transition on the intro closes around the track. From there it follows through in a clean fashion which is angled superbly. What also prevails is a stellar sense of majesty in the breakdown which takes you along for the ride expertly.

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CHORD

Ode To Scarlet In how the bespoke quality of ‘Yesterday’s Storm’ accentuates the delivery gives the flight delivery both a warmer quality and noted presence. That comfortable dalliance in the pitch is mirrored by the tempo on the bridge in a comfortable which carefully works the fortunate realisation in the trappings. Cornering the piano in the intro of ‘Fight’ underlines an apparent Lennon influence. But it is a sophisticated sense of mood channelled. The controlled depth of the lyrical narrative is exercised and exerted admirably. Things move up with the synthesised charge of ‘Science’. The New Wave countenance creatively draws comparisons with a 90’s Bowie/Trent Reznor.

How it is pitched has its own identity and carries a progressive weight in the sound which is effectively worked.

Sweetly moving along on its own steam is ‘Life Support Machine’. Deft in the right places, it becomes a rather attractive effort. Also commendable is the credible whim which grows on the listener. Where it deserves merit is in the application of the arrangement because the calculated instrumentalism is a big drawer. Coming in off the supple intro is ‘Ode To Scarlet’. A broader definition is called upon and the pensive vocals corner the intimacy. They line up and the enamoured showing is carefully constructed alongside all of the

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appreciated aspects which comfortably play in. Again there is a heightened deliberation found on the piano with ‘Someone’. It breaks away from that approach. This is confirmed by the modernity located in the higher sense of scope which envelops the end product. The sophistication is admirable and doesn’t fall short.

The rainfall is a nice touch as ‘Justify’ opens. It brings a replete sentiment across which keeps the delivery in a carefully detailed moment.

This is taken stock of in an affirmative fashion to equally underline the emotive context. Proceedings pick up subtly with ‘Outlines’. There is a clever chic to the nouveau elements in the tempo here. It is more post-modern than retro which helps it hold up. Sharp in terms of how it takes off, the focus is cleverly channelled as it all touches out. Again there is a tidy skip to the acoustic rhythm with ‘To Have And To Hold’. By calculated design it moves forward. In the opportune assertion it fashionably veers on the right side of pop and retains composure. This is ably helped by how the dynamics play their part.

Benefitting from the intricacy of the playing gains sees ‘Ugly Like Knives’ take shape. In the lightness of touch it elegantly calls upon a sullen drift. An abundant flight superbly underlines the versatility of the tracking. You feel ‘Elizabeth Street’ is a more honest effort. It beckons an impeccable reverence forth in the outlines of the refined narrative. How this gives the lyrics meaning captures an earnest prominence and is made to count alongside the arrangement’s careful layering. The album closes out with an interlude in the shape of ‘Forgive And Forget’. The broader hold and one verse do add up in that brief time though.

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GEMS

Kill The One You Love From the opening interlude of ‘Blood Runs’ the band’s alternative notions are comfortably processed. It also fittingly sets up ‘W/O U’.

The lush vocals suitably carry the euphoric discourse. It is rather leftfield but the development of the wayward attributes draws suitable comparisons with the lavish signature of ‘Teardrop’ by Massive Attack. They keep to that deadened euphoria with the intro to ‘Soak’ forming into a highly developed tune.

Residing here is a heightened sense of expressionism which feeds the pensive notoriety.

On show is a committed Avant Garde flourish that commits to the delivery in a resolved manner. It astutely holds and allows the detailed scope of the delivery to accentuate furthermore.

This band has been on the U&I radar for some time and ‘Living As A Ghost’ is testament to why. Located in the stillness is an appreciated touch which takes it where it needs to go. The approach is rather deft and hardens the chorus expertly. How it is impressively balanced accentuates the fuller showing with a latent shoegazer/pop hybrid which piques interest. Embracing that same dream pop sentiment with ‘Empires Fall’ brings the ethereal quality of the vocals through in an intoxicating way. What is fostered here finds something highly productive in the lyrical narrative.

Equal in terms of being resolute and grounded is ‘Heartbreaker’. Nurtured in

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the approach is a sweeter sound which prevails with true determination as the fronting pushes it all out. As the famous quote goes ‘pop is not a dirty word’ and this is a track which proves it is true.

Another appetising effort follows with ‘Scars’. The developed reach in the sound locates something high in the wow factor. A resilient touch is also favourably called out as the overall delivery is pitched in an almost perfect way.

Lingering in a carefully measured way is ‘Tangled Memories’. In the animation of the delivery it presses ahead in a forthright way. This weaves its way through the tempo and the ornate flushes tellingly add character. An apparent sense of virtue rings out on ‘Savior’. A bespoke allure bears down favourably upon the delivery. It allows the keepsake quality of the vocals marry well with the orchestration. This docile touch brought to proceedings effortlessly imbues it with substance.

If any track on the album stands out more than the others it is ‘Epitaph’. Steadily coming together the patient approach is cleverly worked. A leaner derivative is traded upon in the sound but it commendably gives the showing a noted sense of completion as well. The exquisite touch from the vocals is also a formidable trait which equally adds up.

With the final track ‘White Light’ there is a settled showing to everything. This plays comfortably alongside a graceful overture in the lyrics, which find true relevance from how they are called out. Add that into the suitable way the flashes of industrialised synth filter through on the arrangement and it proves itself over and over.

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LABASHEEDA

Changing Lights From how the alternative approach is undertaken a fine marker is laid down on ‘Spiral Song’. It draws upon this in a highly detailed manner, with the drawl of the sound carried across in a way of true merit and distinction. It has an obtuse sentiment in the sound which is also rather fetching.

Trading on something rather clever is ‘My Instincts’. The eventful indie attributes abound in a majestic way. Yet there is something found in the delivery which keeps it somewhat underground and marginalised which comes across in a cool fashion. They continue that approach with ‘Head’. It corners a hint of punk in parts, but the inspired way it runs feeds off this immaculately in terms of overall execution and style.

How the sturdy resilience of ‘On The Beach’ grabs you is outstanding and it is all carried off in a way that denotes authority. The weathered feel of the pitch is excellently noted. The inspired Chrissie Hynde like vocals also locates a wonderful sense of completion here. Charging in with a rich unbridled burst of guitar is ‘Wasteland’. It fleets along in a raw fashion that soothes a raw sensibility in the undertone. The eventful weight in the running is formidable as the rhythm climbs. ‘Changing Lights’ is something that trades on an emotionless commitment all round. Yet it closes around the delivery in a prominent fashion. The true intention seeing out the maturity also captures a proven essence all the way through.

10 ‘Tightrope’ is an incredibly inspired effort which leaves you wanting more. An incredible sense of real is cornered here which is traded on squarely in the overall dynamic. They steal a real march on everything for the album with this one. A sweet ensemble piece then follows with ‘Leave Of Absence’ that fits the overall mood of the album as much as it defines the latent alternative calling of previous tracks. The sedate richness of ‘Circles’ opens the track, before it blends in neatly with a full-on approach in the secondary calling of the play. This is rounded out in a consistent manner and the impressive yield is one of a fine artistic merit indeed.

Coming into the closing stretch with ‘Fifty-Nine’ is a more gratifying approach. The catchy hook in the guitar riffs is highly appetising. By embracing a heightened sense of development in the play the finer structures come to pass in the overall approach. This is tracked expertly in the pitch and the approach works immaculately. It is modern, and the slight grunge slant is made to count. The penultimate track ‘Cold Water’ signals intent. The favourable broad strokes gather well and the outlay is traded upon brilliantly. The deftness leaves its mark everywhere and the dignified flourish offers a lot of promise and delivers upon the potential.

Closing proceedings is ‘Into The Wide’. Burning with inspiration it also exudes confidence. The all-out showing here tidies away an edgy calling. But there is a determination abounding here which is excellently executed and the secondary calling of a light folk influence adds modernity to proceedings in brilliant fashion.

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INSIDE VIEW Hollywood

This sophomore effort from this Wigan band is a fine album it must be said. Getting matters underway is ‘All Night Long’. Its steadily comes around and the figuration benefits the delivery.

Doing so captures a fluid paunch in the brash calling which counts. After that comes ‘Hollywood’. The well checked guitar riffs have it licked on the intro. It then coasts along with a sullen undertone backing it nicely. But in some ways it falls short and it attempts to cover that over with an emphasis on playing against development which works against it. Where it holds up does have a lot going for it.

On third track ‘Come Over Girl’ things come together. There is an air of confidence in the pitch favourably calling the shots. The cumbersome handling of the vocals also provides well alongside the layering in the arrangement. It breaks down into a somewhat indie pop tune but is handled in a way which necessitates this calling without it feeling contrived.

Keeping the knack they have for grinding out a tune from the guitar is ‘Hurricane’. Again they retain a good balance between mainstream apparel and an indie calling which stays the course. The hurried feel balanced out on the bridge brings an impressive richness to the details. With ‘Heartbreaker’ they attempt something more ambitious. The lyrical narrative is found asking in places. This leads to it feeling too familiar and the ‘by-the-numbers’ approach, albeit one with a gloss, doesn’t feel as if they are pushing themselves. This leads to a jaded feeling despite it reaching for something more determined in the process. They do right those wrongs with ‘Into The Darkness’. In truth this is more like it because it is a case

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of them playing to their strengths. A condensed calculation also gives the deliberation a more grounded sense of movement; while the darker subtext of the lyrics also adds substance. The rotund tempo holds fast to give it the shot in the arm it needs. They continue that rich vein of form with ‘Dancing All Night’. While it feels looser the approach sits right. From the lightness of touch it comes across as a more relaxed effort which duly works on the listener. What it also has going for it is a clean sense of structure which is impressively kept in check. As the sturdy hold in the rhythm gives it flight ‘Casanova’ becomes a tune in its own right which holds up. The astute calculation captures a telling sense of the replete, while there is a homely sentiment in the lyrical reflections which give it a fonder touch. The heart located in the earnest temperament carries over in a token way that is blessed with richness.

Set out in the acoustic approach on the intro, ‘April Showers’ is a tidy affair in its own right. A noted sense of accomplishment is located in the running here is pitched fairly. ‘One Night In Vegas’ continues in that same vein. An impressive urgency is cornered in a direct fashion on this. You sense the prowess from how they pay it forward by giving a lot on the delivery with this one. Perhaps it is the pensive longing, but ‘Ariel’ grabs you in the right way. An appreciation sees it unfurl correctly which is then locked down as it takes flight. It brings through a faithful sense of realisation which gets everything right. How they get behind it makes it a solid tune off the back of how it all works. Going for it with ‘Something Real’ achieves the objective. It is a consummate effort with a graceful showing in the urgency. This gives the fluid momentum a careful balance made to count in a prominent way that feels the part. ‘The Jump Push Fall Test’ closes proceedings. Nicely fleshing out the intro invites the pique of the pursed vocals. Thus suits the sullen intricacy of the outline of the arrangement. How it is then corralled with the upbeat tempo realises a great deal as it comes full circle.

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SUPER HYPER GIANT Retro Futuristic

Opening proceedings is ‘The Universe’ and it is high on the wow factor. Building upon a noted sense of appreciation in the arrangement sees the depth of the lyrics and the vocals marry seamlessly. The accentuated attributes in the careful attention to detail accommodate a higher sense of scope and range. Following that is ‘Always’. Here the emphasis on an EDM calling sees a noted sense of pace in the tempo but it falls back in a calculated manner. It hints at a rich Balearic influence in places but has the good sense to break away from that by seizing upon an identity all of its own. As the notoriety hangs in the air with ‘Sometimes’ a darker narrative pitched is impressive. The haunting touches of noir in the tempo build the delivery and when it steps out there is a careful calculation picked up on which provides method to the madness.

The commitment of the glazed touches gives ‘A Song To Wake The Dead’ a wonderful sense of worth. Yet how it builds also corners a weighted degree of intent which matches the overall ambition. How the lingering aspects are felt out captures an essence in its own right. Stealing a march in a way that calls on an astute Radiohead comparison is ‘Train Tracks’. As the sunken drift fits around the delivery it brings a realised fortitude to the fore. How it is imparted is highly practical, yet also sees a noted sense of the referential cornered in the lyrics to add character. While it doesn’t necessarily continue that darker calling, ‘Sally Speaks’ corners an industrialised

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organic. This formidably closes around the delivery and what is also accommodated in the pensive trappings matches the compact fashion.Next up is ‘Little Sparks’ and the fleeting flight of the delivery smartly calls the shots. Then a rich synth beat comes across and everything falls into place. How it steps out is calculated and because of this it steals a march in a way that is incredibly easy to admire. One thing noted about this album is the invention and the careful intro of ‘Fantastic Voyage’ draws you in. It is rich in ambience and then the vocals richly call out the wonderment of the lyrics. This is probably the best track on the album and it shows. The substantial way it pushes the envelope sees a burning sense of ambition meet a realised level of ability. This is magnificent from start to finish.

An ethereal richness befalls ‘Heaven Awaits’. How remarkable it is as it takes hold is down to how the track is carefully constructed. A careful deliberation in the arrangement keeps everything together, while the reverence of the lyrics also adds structure and substance in equal measure. This is reflected in the due care and consideration of the overall delivery at every turn. Another tune given the right treatment is ‘Carnival’. What works in the approach gives the looming structure presence. Also astutely picked up on here is the secondary progression because it gives it a more grounded sensibility as it takes hold. In the process it bridges everything with a cautious hold but also steadily feels it out. The final track is ‘Debris’. From the off there is a soothing harmony. As it filters through the consummate showing as it comes full circle is rather favourable. All the tangible aspects are down to the musicianship on show which is a signature move of the album overall.

An exceptional album that deserves pride of place in anyone’s collection.

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KISSING PARTY

Looking Back It Was Romantic But At The Time I Was Suffocating As the chime of the church bells ring out on the first track ‘Tomorrow And Tomorrow And Tomorrow’ you are caught unexpectedly by how the track comes in over that. The resulting quickened pace imbues proceedings with a frenetic kick which meets the lush vocals sweetly.

How it fills out is impeccably stylish and the injection of indie credibility is a subtle affair and resides prominently and brings an air of confidence with it that is rather exceptional. A retained leftfield sentiment is noted with ‘Right Out Of Real Life’. Instantly the chic veneer of the tempo grabs you in the right way and the way it takes hold is prominently noted for all the right reasons. The deliberation displays an attention in the execution that is brought full circle in a way that denotes real class at work. We then come to ‘The Swimming Pool’.

Although it is a brief tune at just over a minute and a half there is enough on show. Again it has a hint of underground apparel going for it.

This justifiably comes across on a true air of cool.

By design ‘Justine’ is another tune with a similar running time. At just under two minutes it is a true statement of quality over quantity.

The catchy hooks on the rhythm breathe life into it and it is given a viable lift in the glazed vocals. What is locked down here by the band has it licked from the word go. Finding another gear with ‘New Glue’ sees the band play to their strengths.

Hedging through in an upright way there is credibility to how the languished touches bring the right degree of impact to proceedings. It is short and sweet but it really nails it all down. They then revert to a retro sense of hip with ‘Michigan Madonna’. Landing a comparison with The Cure from the subtle way the rhythm travels, it is also rather intricate and layered when the arrangement is considered in context.

From how the forlorn sentiment comes across on ‘You Can’t Have Everyone’ it proves to be a big draw.

There is a precision to the sway which is effectively outlined and

10 tracked. The replete touches of the vocals alongside the drifting overture in the tempo suitably collect and it allow the sunken temperament to be further appreciated for all the right reasons. Again the upbeat tempo of ‘A Vain Victory’ champions the album brilliantly. It takes you along for the ride and the triumphant execution is flawless. It is so brilliantly applied that when it takes flight it leaves you wanting more. ‘Skinhead Jen’ is another showing of true brilliance. The way it gets down to business is on a par with the jouiessance of an early Belle And Sebastian. It holds this whimsical charm offensive in how the beat weaves through that it cleverly goes the distance. The paunch in the tempo adds a bounce that also gives it an even keel and grandeur all the way through. A developed shoegazer style denotes everything about ‘Stabs At Happiness’ that sits right. Out of the attractiveness of the pursed vocals the lyrical narrative also busies itself and sets the track on the right path. The lightness of touch is also something which prevails by design on account of how it comes to pass.

Straight away ‘Trash’ chases it all down. It has a hint of garage and punk influences at work in the dynamic, but it is fuelled by a raw undercut which sharply comes across in the right places. In the undertone is a latent shoegazer flair and the contrast between the two make for an excellent listening experience that keeps it real. We then come to ‘Two Boys’ which is a more full on affair. The brash swagger of the guitar rips it all up.

As it toils away the track finds a neater sense of resolve which is commanded in forthright manner and, while there is no let up, finds a good degree of balance as it is delivered.

‘I Live With The Mystery’ is another galvanised effort which holds firm. The abject confidence oozed signifies a band on the top of their game. It is a short and sweet effort but one that grabs you in the right way. From the taut figurations in the rhythm comes ‘Night Of The Pigs’. The delightfully way it slips into gear catches everything right. A justified sense of appreciation sets it all on its way. How this is tidied away is enigmatic and the walked through charisma of the tune is brilliantly judged. Closing proceedings on a truly excellent album is ‘You’re Gonna Wonder’. It is an acoustic effort and it fits right in. The bequeathed composure is attractively placed, and the way the vocals seep through splendidly calls the shots. From there it builds ambitiously in terms of scope to close out in a highly realised way.

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SHOPPING

Why Choose Here is an absolute gem of an album which shows that punk is alive and well. Holding a neat disenchantment in the charm offensive running through opening track ‘Wind Up’ gives the tempo a tidy deliberation. How it stares down the vacant calling draws on an inspired turn that locates a spry calling and comfortably runs with it.

Retaining that fluid pastiche is ‘Take It Outside’. The hearty movement feels rather inspired, but there is something akin to it that has a leftfield draw and cool in the vein of bands such as The Cure et al. It is a high calibre effort though with true smarts displayed from the even way it is brought through. A dandy keel sees everything right on ‘Straight Lines’. Yet there is a sullen touch in the process here which is both intriguing and enigmatically touched upon. As the accomplished fervour of the vocals impart upon the delivery it becomes slightly erratic and settled in equal contrast. This feels rather brash and highly intentional you feel.

From the pensive distribution of the bass line, something accomplished is found with ‘Time Wasted’. Achieving a more telling sense of scope in the minimalist approach brings a more realised sense of ambition. It is a commendable effort which appeals to the disenchanted because of its unapologetic projection. Yet how they let the music do the talking creates an ambience on a par with Portishead in their heyday. The development continues with ‘Say It Once’.

Also noted is how the lyrics are given the right treatment.

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They create a seamless cohesion with all the elements. Where it becomes truly inspired is where the momentum becomes concentrated to give the flight something incredibly nouveau and chic. Again the polished groove of the tempo is locked down on ‘No Show’. It is rather patiently built but the concentrated resolve expelled gives it a more noted sense of relatively as it is all turned on.

Boxing clever is ‘Why Wait’. A ska influence gives the simple approach undertaken certainty. The dynamics have a consistency which prevails from the roots manoeuvre approach tidily scoring the rhythm as it effectively gets beneath the delivery. As ‘Private Party’ hides away things add up. The select touches give the delivery a gleaming appeal.

Yet the supple deliberations cornered effectively yield a forthright majesty from how they travel. Throughout the album there is a mix between more formed tracks and those that feel raw. The latter applies to ‘Sinking Feeling’ but the pensive styling captures the essence. In the deeper calling of the tone proceedings are capably locked down. This teases the groove in a settled way which is rather appealing and lavish.

Equal in both sullen measure and developed tone is ‘I Have Decided’.

How the vocals hang off leads it all in equally relevant fashion. The approach stows away the pensive attributes but capably gives them direction from how they are relayed in the delivery overall. The pitching has an easily appreciated sharpness as well. Coming after that is ‘Knocking’. It ably rounds on a countenance in the rhythm. In turn the quickened pace bristles through and corners a formidable heft which is keenly felt. Getting straight down to business is the incredibly catchy last track ‘12345’. While it is somewhat simple in terms of layering and approach it comes across in an ample fashion from the steady execution.

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THE ONLY OCEAN The Only Ocean

From the inferred calling of the album’s opening track ‘Don’t Go To Sleep’ a subtle degree of class prevails. A localised sunken calibration fosters upon proceedings. In how it weaves through it creates a pique in the sound which keeps it all together in the catatonic projections. Up next is the rather clever ‘Enigma’. From the appreciation in the delivery they happen upon an effort rich in prominence. The careful layering meets with the running in all right places. But from what they are able to bring through with ‘Snake’ holds the lighter elements in place but also checks all the higher calibrations as the play becomes harder. It drops in the right places and this helps the subdued appeal come through with a high degree of the pragmatic behind it.

Not only is ‘Winona’ a fine effort but it is an awesome offering as a tune in its own right. A qualified significance is brought to bear as the delivery comes together.

Yes the band reap what they sew but here they commandeer a latent shoegaze touch which animates the process furthermore. Aiding that appeal is the catchy veneer of the chorus which leaves you wanting more. At the halfway point in the album we come to ‘Daydreams’.

The pensive progression cuts it some slack. From there they embrace a high foundation of instrumentalism in the way they work the arrangement. Add in a

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forlorn sense of sophistication in the reflective lyrical narrative and it is more than the sum of its parts. A candid wonderment is found with ‘Waiting To Just Leave’. How it is delivered is incredibly believable it must be said. Not only is a good account given by the band here but it has a timeless merit about it all in the right places. Detected in the scope here are influences of Pink Floyd and ELO. It richly appreciates and is one of those tracks well worth checking out.

Pardon the pun, but ‘Dagger’ cuts straight to it. The sublime and ornate hold of the running catches up with the delivery. It is a steady build and the impressive way it presses the advantage allows the fuller formations of the latter progression to be fully felt. As a result it has impact but it retains a distance in how it is all fixed in the approach. ‘Pheobes’ is an instrumental piece and for its inclusion alone it comes across as a most welcome ensemble piece on a very fine album overall. As the New Wave rhetoric comes to pass straight from the off there is a richer organic to be found musically with ‘Why Won’t You Go?’ They play down this approach and it then comes into its own with great determination. The closing track here is a sublime effort indeed.

How the comfortably numb aspects of ‘Flying To Nowhere’ linger are picked up on. There is also an ambient touch located that is a big drawer here. In terms of scope it is a bigger number and this intent is admirable. Nothing is sold short either and they never feel as if the musicianship is beyond them either. What a great closing tune.

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SHIVERY SHAKES

Three Waves And A Shake We give a big shout out to our co-op in Austin for this excellent recommendation.

The excellence of opening track ‘Recurring Dreams’ comfortably goes with the flow. An effortless sense of cool manages to do the important thing – mix style with substance without losing anything in the process. A bit of an oldschool 1950’s influence is squarely locked down on ‘Hold On’. The lucid trappings of the rhythm richly abound, but a bolder modernity carries this tune across.

In the incredibly slick way it is executed it becomes a tune which wraps you around its finger. From the carefree fluidity of ‘Take It Back’ coming to pass it is matched by the inventive revisionist flair. This stirs the tempo but what is stared down in the exchanges is immaculately expressed.

Smartly trading on the charming approach that has become the album’s signature is ‘Swimming’. A prominent largesse feeds into the sound that is akin to Band Of Horses. The higher sense of definition located feels out the track as everything falls into the right place at every turn. Again there is a proficient flair in the execution that reasons incredibly well on ‘Remember When’. It is on a par with the solo work of Ray Davies. The substantial high standard here doesn’t fall short and they really showcase just why everyone

10 has been talking about them with this one. With the tidy skip in the step there is admiration to be found from how they make it appear so effortless on ‘Remember When’. A well-reasoned lyrical showing also adds up. Finding a flawless appreciation with ‘Summer Lover’ sees a rich and fluid sense of character conveyed in the delivery which works like a charm. Yet it is bountifully worked and that careful consideration reflects the apparent calculation behind the dynamics.

Maybe it is the Hammond organ but a psychedelic zeitgeist to ‘One More Try’ is attractively stowed away but cuts loose as it comes to the fore. The prevailing whim of the tempo creeping through enriches how it all holds in place to really seal the deal here. Extending that 60’s richness is ‘Strange Houses’. It is an approach which keeps everything very much in vogue. Relaxing into the delivery is an astute approach as this allows them to seize upon the full potential of the sophistication carried across.

After the sharpness of the drumming in the intro, an equally tidy guitar hook draws you in with ‘Thirsty’. As the clean temperament takes hold it processes a comfortable presence. Be it the lyrics, vocals or the overall high standard displayed it is a carefully administered effort at every turn. With their final track ‘Time Will Tell’ they just exude the class that has prevailed throughout the whole album. It does have a definite Kinks comparison but it is truly earned. It is an encapsulating effort which is pitched in a forthright way that borders on perfection.

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TWIN OAKS

White Noise We featured this band in our Los Angeles based SONAR and they lay down a fine marker with a gloriously formidable album teeming with opulent presence and structure on every turn.

From the unsettling obtuse calling of ‘Dreams’ the exactness executed meets well by design. It draws on the sullen characteristics but is subtle in the application and work in a highly favourable fashion by design. The eponymous ‘White Noise’ sees the richness of scope located on the intro come to pass with a noted ethereal volume. The bequeathed touches exuding quality against the lush and calm tranquillity offer a permanent sedate touch which lingers appropriately throughout. By taking to the task at hand and pushing the synth elements across in the tempo the connection found on ‘Constellation Lines’ holds up. Ably assisted by the spacious trappings, the arrangement carefully becomes all about the music.

The deeper prevalence wrapped around the vocals provides it with an enriched aura that is captivating from how it connects with the listener.

In fourth track ‘Clarity’ the pensive touch modestly deliberates. Yet the maturity provided for in the weight is thoughtfully touched upon in the listless structuring of the arrangement. It follows an articulate outline but the patient approach adopted

10 manages to get the best from it in all fairness. In how the harder pressing of the intro is executed, ‘Skyscraper’ is a neatly gauged affair from start to finish. A clever pique blanketing the sombre definition allows a sense of freedom to be found as it takes flight. It is a steady number realised on a great degree of levels artistically as it comes together. Playing like a peach is ‘Moon Phases’. The highly pitched vocals add presence, yet the abject depiction gives off an inviting sense of the withdrawn. How it is all transitioned is incredible.

Even though it feels more reflective and personal there is nothing contrived from how ‘Animal’ comes across. The committed sensibility penchant feels appropriated. Yet the distribution of the musical elements fastened corners the change in playing arcs considerably well. Reaching a most welcome crescendo in the tempo is ‘Vices’.

How everything gels animates proceedings as much as the careful resolve drawn from impeccable layering sits. It has a kick leveraged against a high standard which is pushed through comfortably. In a way you could say there is an influence of the leftfield on ‘Ghosts’ that draws on a ‘Play’ era Moby. As the barren touches feel isolated they also allow the progressive foundations of the band’s identity play their part. This is confirmed by the assertive way it becomes a more fleeting effort in the secondary sense as the latter progression takes hold. ‘Ruin’ is the final track and it is fleshed out. The softer calling condensed is highly productive. With the warmth and richness of the conveyance it becomes an effort that leaves you hanging on every word.

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BRAVE BABY

Electric Friends Blessed with both foundation and substance is the first track ‘Daisy Child’. A highly creative effort there is a level of sophistication displayed in the high instrumental touches. This meets well with the running to give the delivery a telling shot in the arm, while it is carried across in way that is excellently pitched from start to finish. The rich volume of their sound continues on ‘Find You Out’. In some ways it locks down an unassuming retro pastiche.

This is a token trait and the substantial way the lyrical narrative rounds it out is also highly conclusive. When you hear ‘Plastic Skateboard’ the air of cool that comes off will make you go all Meg Ryan in ‘When Harry Met Sally’’.

Such is the prolific appeal here that everything about it screams ‘Yes’ in the most appropriate way.

Given an elective sense of worth in its own right is ‘Octopus J.’ As the cleaner weight of the breakdown comes to pass there is a fundamental groove carved out in the process. Yet it seems comfortable and the impact garnered from how they get behind the delivery sees things pick up in a magnificent way at every turn.

Even the Tex-Mex sleight of hand on the bridge is exceptional. The diversification of ‘Atlantean Dreams’ doesn’t take away from anything that the album has going for it either. The sedate attributes that pour out on the vocals are smartly rounded upon.

But it is the richness of the

10 bridge here and the way the proverbial envelope is pushed which sells you. Slightly askew and withdrawn in equal measure, ‘Be Alright’ trades finely upon the approach found. A bespoke notion of commitment granted upon the delivery is sharply felt and they comfortably lose themselves in the running with a commendable showing of pedigree in the process. Stared down in a carefully measured fashion is ‘Electric Friends’. The undoubted appreciation carried through absolves it all. Another fine attribute is the lay calling of the vocals. Alongside the management they prove to be as equally comprehended from how they play their part.

Getting into the groove and steering on the right side of indie pop is ‘Ancients’. A rich fervour gives it an eventful appreciation which goes the distance. The snappy execution in the tempo lights it all up and you just sense that if you got to see the band play live this would be a tune you would take away with you. Again there is a lateral 80’s influence shown on ‘Larry On The Weekend’. This is so colourful and active that you have to admire it for everything it brings. What holds on ‘Hare Krishna’ is majestic. As the layered approach soothes the calypso trapping play their part in a highly referential way.

You sense the farewell in the air on ‘Call It’. This is a telling effort and the endearing touches calling the shots add a formidable sense of prowess. Yet how it all hangs back carefully ushers the higher sense of productivity through with a prevailing neatness that more than finds its worth.

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DRUG CABIN Yard Work

‘Baywatch’ is majestic opening number which cruises along on the back of an effortless blend of surfer cool and Americana. The two contrasting styles land squarely here which brings an apparent sense of reach across. A deeper referential located in the lyrics is also highly thrilling here. Blessed with a calculated burst of speed, ‘Bubbles’ seems to locate an urgency which is also incredibly neat. The animated motion of the rhythm is carefully chased down but it is the sweet temerity of the harmony which gives it what it needs.

‘California’ breathes an effortless sense of West Coast cool. It is an enamoured showing here. Held in the tender aspects is a virtue.

This is processed fairly and it conveys in the lightness of touch a prevailing wonderment that breathes life into the song.

‘Dogs’ is a carefree effort. The thrilling, yet brief, running time is a little bit Gershwin in places but it all sits right as it calls the shots. This is something which certainly meets with approval in the grandeur sense. The competent willing on show with ‘Golden Wall’ is an immaculate standard indeed.

Not a foot is put wrong here.

Lovingly addressed by the softer vocals also enriches every aspect on show in a way that leaves the listener feeling every touch along the way. As an album in its own right it very much stands up.

Proving this to be the case is

10 ‘Hollywood’. Adding touches of ska and Bossa Nova in the rhythm it captures an imaginary streak which is naturally intimate and elaborate in equal measure. The commendable way it comes full circle benefits from the mature climb in the tempo as much as this approach is neatly mirrored by the vocals. Maintaining the high standard is the exceptional ‘Jesus’. Bridging something that is rich in funk and a blues influence, there is a fine fitting of all the elements on show. How it moves is outstanding from start to finish.

‘Noche’ is a more becoming effort. The broader calling here is a fine fit.

An astute Simon & Garfunkel appreciation is noted for the token qualities kneaded through. The bigger value in the lyrics make it what it is but there is a harder and sullen sulk in the sound which ably enriches the delivery to no end. Cleverly appreciated from the off is ‘Powder Moon’. This secures the album’s timeless apparel. Carefully layered and arranged, how it is treated is also noteworthy. It oozes an expressive sense of touch in the lyrics which allows the vocals to drop down and call the shots despite it coming across as a contented number overall.

All good things must come to an end and it is the case with ‘Sapphire’.

Attentively getting down to business but also shooting the breeze in a carefree fashion, it is an immaculate tune. All the considerations here show. As it boxes clever there is an element hiding away which accentuates the tidier calling in a more forthright manner on every turn.

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EP

Irish Artists REVIEWS

Decadence & Abandon As the rich foray of the opening track ‘Homo Superior’ comes to pass there is an exceptional pedigree pressed ahead. The forward appreciation of the track is gracefully projected and what holds in the warm touches is eased across in way that also gives everything a noted sense of contention. Overall every aspect has appreciation to it that matches the style with an equal level of substance on every turn. Steady in terms of how it opens, ‘The One’ carries across on the back of the rounded foray and it draws suitable comparisons with the inspired early works of Elbow. Not only do his vocals sound like Guy Garvey but there is a stoic sense of the poetic wiling away in the lyrics which breaks down in an astute manner as the maturity is cornered. A larger sense of scope is also noted and the inspired way every aspect filters through is truly telling for all the right reasons.

His obvious musical ability travels across on ‘Jupiter Rising’.

It is a carefully crafted effort with an endearing whimsical essence in the outline that meets a detailed sense of structure in the arrangement. In the intricate touches it finds a further degree of resolve and the investment of artist in the performance is apparent. Taking a more patient approach sees everything about ‘Better, Brighter, Good’ build appropriately. The backing harmony gives it a ‘black’ feel that leans on a gospel influence. Or at least that is how it comes across. The steady flourish of the layering gives it deserved credibility and it seems to have been crafted in a way with a true appreciation for letting the music speak. A lot of the layering here calls upon an inspired touch and the depth to be found here prevails in an unprecedented fashion.

10

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ALI INGLE

The Great Romantic Drought It is no secret that we have been big fans of this Liverpudlian artist for a long time and again he comes up with the goods with this four track offering. As the deftness of ‘Hey Kid’ takes flight his signature maturity softly filters through. It captures the heartfelt sentiment but keeps the development of the track grounded. How this is schooled keenly corners the musical aspects and still prevails in a way that allows a relativity be noted as the tempo steadily climbs. ‘Allana’ is another excellent tune. The first attractive quality which stands out is the nouveau disco beat which corners a chic sense of cool that immediately draws you in. Add in the value that his pursed vocals bring to the telling weight of the lyrical narrative and you note everything for all the right reasons. A dandy essence is also picked up on the running but it is a feature which adds relevance because it is finely executed alongside the overall delivery.

Maybe it is the Godspeed feel of how it opens but ‘the Great Romantic Drought’ calls the shots in superb fashion. The desirable flow of the track is cradled by the voice. Yet it follows through with a stern sense of conviction which allows the broader trappings give the ambition on show a platform to truly build upon. His sharp ability as a songwriter is felt furthermore on ‘Killer Crush’. You feel for him as much as you feel the worth of the subject matter. As he plays it through he carries the tragedy with him. That leaves a determined mark upon you as a listener that you can relate to. Blanketed by a mindful touch of euphoria there is parity in the delivery which is cleverly trapped. In doing so he gives it a humble fervour that you appreciate.

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MOTHER MOOCH Nocturnes

An incredibly lavish opening track in the form of ‘This Tempest’ lays down a fine marker indeed. The pensive worth of the lyrics is met with an equally underbearing touch in the vocal delivery. How this accentuates the dragged overture commendably allows the quickening pace change the arcs. It becomes a charged affair from there on in and the high manner of how they raise their game doesn’t go unnoticed either. ‘Sinners’ corners their hardened style in an equally fitting way. It sees the hardened pitch in the tempo travel through in the clever way the deliberation is accounted for. A resolute distinction is locked down in the lyrics. How this is employed in the delivery is impressive and the overall weight bears down with an exceptional degree of true prominence.

They turn on a punk cornering with ‘My Song 21’. It has an edgy quality and the running accommodates this in the raw value which is injected into proceedings from the approach, but it is developed to give it a more warranted grounding which is locked down as it plays through. What is shown on ‘Into The Water’ shows a band that is not out of their depth.

The appreciated touches carrying through are finely applied and it seems to see the band locate a comfortable rock calling.

A sedate quality is picked up on against this but how they invest themselves in the overall process captures that considerably well.

As ‘L.H.O.O.Q.’ cuts loose it unleashes a true cavalcade of focused energy. This drives the tempo through but it is matched by a stellar conviction in the vocals. The pace is also factored in and the whip-smarts shown settle into proceedings to see the band lay down a fine marker in the process.

Arguably the track here that is the making of the band is ‘Misery Hill’. How the heavier aspects of the tracking are made to count holds firm. Immersed in the vocals is an excellent performance which carries across both comfortably and with an excellent sense of contention. It is an abundant track with everything going for it. Then we come to ‘Hive Mind’.

Enveloped in a duality of styles it loses nothing in the delivery.

Rather everything comes through in a celebrated fashion which embraces the lavish overture to get the best out of the delivery. You can pick up on a slight retro touch with the last track ‘Out On The Western Plain’ in the rhythm. The opening line here nails it. Not only is it highly imaginative but it seems to kindle a latent New Wave touch in the right places. This is one of those tunes which could stand independently of being included here but also fits right in with the others. It is an absolutely brilliant track which rides in comfortably and sees them save the best until last.

10

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SALTWATER SUN Wild

It is hard to pin down just what makes first track ‘Wild’ so damn likeable. But everything on show is very much on the money. They have this neatness trapped in the showing that is ably matched by a pensive sense of worth in how the shapely tempo and vocals draw inspiration. The determined cut of the transition is also recognised in its own right. Making the seductive allure count gives ‘Making Eyes’ a real shot in the arm. Yet the harder showing here is also industrious. Not only is the tempo hardy but it has this prevailing bounce to it that sits right when it gets going.

Good things always come in threes and the trinity is completed by ‘Habit On My Mind’. Straight away the pace draws you in as the signature of their style takes hold. This is cornered with efficiency and the dynamic happened upon is excellent. The drop in the delivery gives it face value. It is laid out in a commendable showing all the way from the off and they could very well be a band that people should watch intently in 2016.

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ROMP

Sorry, Not Sorry Our New Jersey co-op sent us this EP and we have been suitably impressed. Getting things underway is ‘Drive’. Not only does it have a leftfield calling but the unassuming context of the delivery is incredibly fashionable. Flourishes of guitar tidied away hint at something shoegaze but it is driven across in a neat way to commendably elevate the indie credibility at the same time. It corners an abundant richness in the transition that every aspect nailed down is impeccable.

Going all out is next track ‘If Your Head Gets Any Bigger You’ll Float Away’. They nail it all head on and the brief running time is also a smart call.

The energetic impasse collects in a noted way and the surge in the tempo channels all of this to a formidable conclusion that is richly earned.

With third track ‘Portrait’ a softer calling is noted.

The longing of the narrative impressively toiling away comes to pass. Then the flight sees proceedings confidently step out. It corners a degree of tempestuousness that is rather attractive and keeps things comfortably in a more real context. You fall in love straight away with ‘Sorry, Not Sorry’. They cut straight to the chase and the approach puts them in the shop window for all the right reasons. Everything on show is gloriously sturdy and yet they get underneath the delivery in a way that savours the moment. How glorious it becomes as the approach undertaken becomes takes it where it deserves to go. We then come to the final track ‘Burrito’. As the neat Tex-Mex calling of the intro toils away they take the running into a more Riot Grrrl style. Policed in the approach is a fine balance between pace, charm and substance but it also has this exuberance in the touches which is finely located and made to count.

10

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INDIGO FACE At The Gate

Not only is this EP a highly alternative affair but it also has a majesty located in the first track ‘At The Gate’. It has this inspired fancy to it and the flight is carefully constructed around the approach. Here the lighter characteristics glide across in the transition yet there is an ornate intricacy calling the shots which is made to count. A well felt out tune then follows with ‘Come Close’. How it is expressed carries a definitive notoriety. Not only does the sleight of hand in the breakdown corner the retro apparel but it expels a noted sense of modernity in the process which is uncompromising. It travels in a safe fashion but it is commendable for how innovative the touches corned become in the overall end product.

In terms of the leftfield values the band adhere to ‘Golden Face’ is a consummate effort. The inspired reach called upon from the withdrawn calling carries with it an ethereal sense of reach.

This is then collected in the sparse trappings which gives the attentive showing a further sense of appreciation. Fond touches litter the EP and they come to pass on ‘I Was Wrong’. In the patient calling it finds form. Yet there is a consummate transition to the vocals which errs through. You do sense an influence of Kate Bush but it also carries across a committed sense of identity all of its own makings. The movement also contains a highly stylised grandeur which gets behind the trappings in an emphatic way that goes the distance. An intuitive offering closes the EP with ‘Unfaithful’. In some ways the delivery calls the shots in a way that brings an inspired fairy tale calling to the lyrics. It is tidied away in the intricacies and you feel an earnest sense of conviction from how the delivery materialises.

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THE WATERMELONS Best Of You

Collected in a way that is both cool and relevant is the eponymous ‘Best Of You’. You are taken in by the arresting value of the vocals and how the pop calling is rounded on calls the shots in an equally impressive fashion. A sedate sense of symmetry is picked up at every turn but the determination is what also gives it the shot in the arm it deserves.

Another steady tune follows with ‘To Be In Love’. With how the flurry of the guitar is worked through it seems to channel a fondness in the delivery. Yet the apparent conclusive foray of the overall delivery is excellently pitched and catchy.

They seem to be content in the approach that is their style but it works again on ‘This Time’. It has a keepsake consideration to it all and this is made to count. The high foray of the rhythm works and never falls short. Then we come to the last track ‘If You Want To Love Me’. Enriched by how everything on show works the accountability in the execution shows. How it lifts carries the tune and the approach is offset by a revisionist principle which draws upon those sentiments prominently.

8

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NISHE

Underlaps There is a welcome sense of composure to the first track ‘Out Of Place’. A hard derivative is noted yet this is also cornered in the execution to allow the vocals shine.

Nothing feels over bearing either. How the hold is taken account of gives it a neat kick and the blues influence of the band is also handled with a commendable sense of determination that works extremely well.

Also brought around and felt out abstractly is ‘Minor’. The pensive makings of the intro give way and the controlled exertion broadens the arrangement and connects well in terms of how the hold is happened upon. It is comfortably pitched and the distinction in the playing arcs ably shifts the direction here.

8

Teased in how it takes to the pitch of the delivery is ‘Want It Back’. Yet there is a guarded sense of appreciation chased down which holds up. The chorus is catchy and shapes things marvellously by giving a higher sense of contention. It is detailed enough and the way it all carries through denotes presence. A bit on the lighter side is ‘(All My) Sense Blows’. The reserve shows and it is a steady affair but it has a slight short coming in part. Yet it closes out neatly and carries itself admirably in the execution.

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SINGLES

REVIEWS

International Artists

BLØSH Give It Away Straight away the potential of this tune grows on you. From the intricacy of the slower beat everything becomes fashionably reasoned further from how the vocals and lyrics combine. The elaboration of fluidity in the tempo is intelligently followed through. This in turn beckons an alluring nouceau disco chic across in the tempo. As this plays through the flight of the delivery is impeccably tracked and showcases how well-crafted this is by design. The excellence prevails from start to finish here as nothing is left to chance.

10

HANA PIRHANA Fishing With Dynamite

8

Blessed with efficiency, this is a tune which fires on both cylinders. It is a hard showing in the right context and this shows as the delivery runs through. The conclusive lyrical showing fires it up with a telling sense of presence. With this ably meeting alongside the finer calling of the hardened approach it ticks a lot of boxes but also holds a steady determination in place where it is needed.

International Artists

THE STATICS Fake Sorrow

Very much a band who are earning their reputation on the Dublin music scene, this is another offering from them which plays to their 60’s Revisionist strengths. Yet how the showing holds realises the potential as it all cuts across. It allows a flitting cut to the chase between the playing arcs but makes that urgent calling count. It is very pleasing on the ear as it all comes together. The steady bounce in the tempo is something that cleverly calls the shots.

10

DISCOPUNKS Party Animals

10

It has been a productive 12 months for this Irish band and they have come up trumps yet again with this track. There is a surmised quality to the tune which makes good use of the tethered trappings and leftfield allure of the carefully placed structures. This allows the progressive aspects in the tempo hold but when the secondary pitch comes to pass it raises the bar. There is a modernity located and the wonderful richness of the retro fluidity also gives it a noted appreciation. Get on this band now because they are heading in the right direction it would appear.

VIGO THIEVES Free How the band up their game here does see them initially appear to be emulating the status quo. But they also put their own stamp upon proceedings here. the careful consideration of the arrangement allows all of the elements to come together, while the mainstream apparel on show does catch things with the right sense of balance. This is why the bravado on show cuts across in a way that doesn’t detract where it could easily fall down.

9

THE HUGS Fearless

9

There is a lot to like here. The rhythm has a pensive calling but they also adopt a lighter approach in terms of how it bears down. As a result there is a proven pragmatism located in the breakdown. The vocals also have a richer projection which executes an imbued and compliant sense of realisation at every turn. In its own way it corners a neat pop overture, albeit unintentional you feel, but one that lights it all up fashionably well.

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THE CRADLES

Denmark Street A firm old-school sense of goodness holds sway on this tune. This gives it a refined sentiment and the trappings reflect this. The noted observations in the lyrics persuade you with their poetic manifestations. This also collects in a most endearing way and blankets the song with an intrinsic sense of abject warmth which is duly noted. The innovation in the approach is highly relevant.

8

RADIO ROOM

Nobody Told You

8

As the off centre intro draws you in deftly the full on affair of the full weight of the track hits hard. Not only does it see the band get down to the task at hand but it is an abounding dynamic which is intricately located. The urgency resonating in the guitar structures find their way through and the comfortable manner of how it travels drives it on. It is a telling track and one with a major American feel about how it sounds overall.

SUGARMEN

Plastic Ocean A tune that is very much more than the sum of its parts is also backed by a compelling International sense of revelry at every turn. It is an effort brimming with confidence. How the dressy touches in the beat are trapped lay down a fine marker, while the restless display cornered adds vibrancy from how it engages with the listener. Press play…press repeat…and lose yourself over and over because this is just what the doctor ordered.

Artists 10

BAGELS

To An End

9

Long on the U&I Radar, Bagels are a band we have been waiting for and they have delivered something incredibly brilliant here. The choice maturity in the lyrics gives it a noted impact.

You sense that the conviction pressed ahead in what it asks comes from experience. Yet it is not something dwelled on too much. Instead they interjection of playing ability resounds ever so tellingly from the off on this track and the steady flight brings it to a clever impasses which adds up.

EMPIRE CIRCUS Here is a tine which carefully brings it all together. The delectable touch in the lyrics captures the relative notions on show in a forthright way. How it holds so close allows the patient virtue accommodate a more pressing delivery as it comes together. It is large on scope and the impeccable standard of the delivery marks a welcome return for a band we are big fans of here at U&I. With ‘I Find You Lost’ they capture something on a par with Talking Heads. While it is loose and leftfield it also sees them keep an eye on the prize. The confident touches in the delivery are immaculately presented here and they really show pedigree from the comfortable way they lose themselves in the music here.

10

BARE TRAPS

Be Here Forever

9

One of the prominent features on show here is the telling way the beat is processed. From how it is approached it locks down a nouveau disco chic which is rather shapely. Yet the indie calling of the vocals and the overall pitch offer a fine contrast. This faithfully works in how the two approaches interact. The end product ensures that the clever break down never overlooks one approach in favour of the other.

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THE MAGNETTES ‘Bones’ (Sweden)

THE GALACTICS ‘What We Wanna Do’ (London)

CANDICE GORDON ‘Smoke In The Air’ (Dublin/Berlin)

STONE COLD FOX ‘Contagion’ (New York)

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