U&I Music Magazine (January 2013 Issue)

FEATURED band OF THE MONTH

JANUARY 2013

Live reviews The Ruby Sessions and The Sunday Roast Dimestore Recordings plus more...

Album/EP reviews Robert Delaney Myles Manley The Radioactive Grandma The Thespians Mrs. Magician plus more...

Eric McGrath - Solo Artist of the month Sunday Roast Dimestore Recordings Snow Place Like Dome plus more inside...

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CONTENTS: 1-4

Band of the Month - SAL VITRO

5-8

Solo Artist of the Month - Eric McGrath

9-12 13-18 19-23 24-27 28-29

30-41 Reviews: Phillip Ó’ Baoighhealláin (Managing Director/Editor)

-SCENE & HEARDThe Sunday Roast Dimestore Recordings Make-A-Wish Foundation Snow Place Like Dome The Choir Invisible -ALBUM/EP REVIEWS-

-Irish Artists-

Album Reviews

Robert Delaney Myles Manley The Radioactive Grandma Carried By Waves Seven Summits The Funeral Suits

Graphic design/page layout: Greg Clifford (Deputy Editor) Gigs Photographer: Eric Cooper

-International ArtistsDoris Brendel

Sal Virto shoot: Mark Doyle (freelance)

The Thespians

Mrs. Magician The Hollow Threads Britta Kay Ummagma 42-46 47

EP Reviews -4x4-

Advertise with us: sales @ uandimusicagency.com

Band of the Month

Sal Vitro Our featured band this issue are Dublin band SAL VITRO. We caught up with them during rehearsals at Volt Studios recently and this is what they had to say.

It would be safe to say that 2012 was a year that was very good to the band. Your EP “This Thing of Ours” began to get recognition from people in the right places.

There was Marty Miller at Nova and other stations that picked up on your music and got behind you.

That must have come as a great boost to you being a band, but doubly so for being a Dublin band because of how difficult it is to stand out from the crowd at the moment because the scene is so healthy with great bands.

JD: Well we had won the “Hard Rock Calling” in 2011 and represented Ireland, so that was something that acted as a springboard for everything. We’d been together 3-4 months before that happened, but we were beginning to build up a bit of a following. The likes of Marty Miller and Pat Courtney had been coming to our gigs a fair bit. Pat was even at our EP launch. Even though we’d been working hard you still need the help from the right people to get you that extra yard, so it was great that they got behind us. We really appreciated it.

To underline that point, it was a good year for your music getting recognised and being put out there. There was “Cirque Du Sleaze” being included on the soundtrack for “The Present”. How did that come about?

JD: We had our video for “Strange Friends And Peculiar Enemies” made by our friend Kev O’Lution and we gave it the first showing at a small set, but it went down very well

The guys were filming and we were recording in the studio at the same time. They heard what we were playing and it was a fresh demo that was literally off the cuff on the day. They heard it and they just wanted it straight away for the soundtrack. We were happy to help them out and happy to get the exposure. I was literally one of those ‘right place, right time’ kind of things.

January also brought some studio time and “Its Not Love” was released in April as a track off the back of the EP. How did it feel to finally get that track out there?

JD: It was a standalone track that we recorded after the EP. We recorded it in Sun Studios in 1 day. We got Mick Heffernan to produce it. I suppose there were two reasons for us wanting to put it out there. The first was because we wanted to show the stamp that Rourkey was putting on the sound we have as a band, and also because we wanted to show the progression side of things musically since our debut EP “This Thing Of Ours” came out.

A lot of things went right in the weeks building up to the release of the single. Both The Sun and The Mirror also picked up on your single and plugged it. You also launched your website and produced an excellent video to accompany the single. How important is it to get those things right? And do you think the fact that you guys put the smart work in and did it right make the difference in terms of being picked up on by the mainstream press?

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Band of the Month

Sal Vitro

JC: It was definitely a smart move on our behalf. We approached Kerbute Productions and we were extremely impressed by what they delivered for us in the end. I definitely think that we were taken a lot more seriously as a band and by people in the industry off the back of it.

In May the gigging side of things effectively took off for you. There were the gigs in Cork and other venues and festivals around the country. How healthy do you think it is for a band to get out of Dublin play to newer audiences and venues?

There is the acknowledgment from the mainstream press, but the recognition from your peers is another because in May there was the inclusion on the Chew Your Own Fat compilation. What is the contrast in those recognitions like for you on a personal level as a band?

OL: It is very healthy and completely different. Continuously playing the Dublin circuit can get tiresome after a while. Our objective last year was always to get out on the road, and that was made possible when DAWN KELLY came on board and became our manager. She really raised our profile and we were able to really step outside our comfort zone because of that.

RB: It is very important to get any recognition as long as it is for the right reasons. I guess the mainstream media recognition is very important though.

JD: I think though that the difference with the mainstream media is that everything seems to be packaged. Whereas with CHEW YOUR OWN FAT it can be more personable compared to THE SUN, but seeing ourselves on the same CD as some of our friends from other bands was a good thing. It was very encouraging.

JC: It also introduced us to a few other bands that we hadn’t heard of before that we started getting into. So that was another good thing that came from the compilation CD that you sometimes don’t get from mainstream media because they would tend to focus on one artist and give them all the exposure.

RB: The other thing about it is that you get to play to crowds that you don’t know. That keeps it all interesting for you.

The summer also saw you play Knockanstockan, which is a festival that is very close to the heart of any artist who plays there. What do you think it is about the festival that has that nostalgic hold over musicians?

JD: A lot of it is down to the people running that festival.

They know what they are doing, but they keep it as a festival run by musicians for musicians. There is no other festival that I would rather be on the line-up for. It is a quality line-up all the time.

RB: It is a massive family of musicians. The other thing that you get at is a clash that you don’t get anywhere else where you are conflicted about what band to go check out.

There is always a great act on at every stage and the people who are there also make it happen.

OE: It is also organised very well. We have been at festivals in the past and they are just thrown together. The organisers are just in it for the cash, but Knockanstockan seems to be run by people in it for the right reasons.

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Band of the Month

Sal Vitro

JC: The camping also adds to it because you are in the area with all the other musicians and the fans. It is just one big musical community and that is something that you don’t get anywhere else.

It also set up a very busy August for you as a band off the back off the festival circuit. The beginning of the month saw you get some recording time done in the studio before performing some gigs in London over the weekend of the 17th/18th in Camden and Brixton, while there was a TV appearance for your Knockanstockan performance that month throughTG4. They are very different extremes as an unsigned band. Is there a different perception to playing abroad as opposed to playing at home? What would you say differs from the live side of things? How productive did that month prove to be in terms of what it brought to the music?

OE: We found a slight difference in London, especially in Camden. We noticed that over there the crowd are more interested in how you look and sound, whereas you could be ignored in Dublin while you are playing. We were received very well in London.

JC: We went busking for two and a half hours and people stayed from start to finish. We even got a bag of cans for our efforts from a guy named Roy. JD: Then there was this other guy who came up and told us that he normally mugs buskers but he wasn’t going to rob us because we were good.

JC: The other thing is that people over there have no hesitation about paying into a gig over there. As long as it is only a nominal door charge too…like £3, £5 or something like that but people gladly pay it. They kind of expect to pay it is what we picked up on.

JD: As long as it represents value for money that is.

Although that side of things over there would also show that a lot of vetting is apparent. There is a pretty good standard of music, but we would still say that the standard in Dublin would be higher.

JC: Playing live it is pretty much the same set up. There is no real difference there. It is just the difference in the interested crowd. People told us that a band of our ilk currently stands out on the circuit over there because it is made up primarily of indie and electro acts at the moment. Well the circuit that we were playing on that is.

JD: I don’t think it changed anything for us musically, but it certainly did a world of wonder for our confidence as a band. It was the next stop after the summer, but it also felt like it was a step up the ladder. It boosted our confidence and I guess we needed that drive and never realised it. So for that reason we were definitely glad that we did it.

Then in October the big news was announced that you were going to be the support act in December for THIN LIZZY. Obviously it goes without saying how big a deal that was. What was it like to get the news?

JD: It was brilliant. We had flogged MCD with “It’s Not Love” and we never heard back from them. So we thought nothing of it and then when we got the e-mail back from them we asked them who the support slot was for. When we found out it was THIN LIZZY it was a done deal for all of us. We were in.

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Band of the Month

Sal Vitro

What was it like to play the gig itself? Both in terms of the prestige and honour, but also stepping out in front of a big crowd in Dublin like that given that it is your home town. The significance of that must have been something that boosts the confidence before you go on stage.

JC: It was amazing. The sound check was surreal. We weren’t playing to a full house, but it was a near capacity Olympia and that went down great. We’d played gigs before to a full house, but nothing like that size of a crowd.

JD: Then when you hear them shouting “Sal Vitro” after every song it lets you know that you are getting back what you have put in. That had been the biggest gig we’d ever done but we’d prepared for it too. We were able to handle the big crowd and not be overwhelmed by it. I think because we had put the work in before it that we revelled in it.

RB: We were nervous before we went out, but we were ready for it. We were confident that we could do it and there was a good few home support in the crowd that night. So we just went for it. Then to hear a crowd shouting “one more tune”…it was mad.

How did you feel when you came off the stage after the gig?

OE: It was nice to get the recognition in getting the gig, but to be so well received by 1600 people is something else.

JD: It was a relief as well to get the gig done too. We were just full to the brim with the adrenalin.

The year closed as you started it. Along with the recognition there were live gigs in Monroe’s and Seshtival, so what can we expect from Sal Vitro in 2013?

JD: We were asked to play “The Vibe For Philo” and that was a big honour. They are a lot of hard core Lizzy fans and we were asked to deliver two cover versions, but do our own take on them. We were somewhat apprehensive about doing that and we were only told 24 hours beforehand that we had to do it. We were mindful of offending the die-hards but our two songs went down really well with the crowd.

RB: That was another packed house and we just nailed it.

JD: Then before we went on stage SMILEY BOLGER told us that we were the band occupying the special guest slot.

No one told us that beforehand but we weren’t phased by that. We just went out on the stage and did it.

Up next from the band this year is their eagerly awaited album. Pre-production is already done and they will start recording it in February with a release date to follow later in the year. There will also be a single release off the album in May and the band will be back on tour with the gigs announced at a later date.

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www.salvitro.com www.facebook.com/salvitro www.breakingtunes.com/salvitro

Solo Artist of the Month Looking back on it now, it would be very safe to say that 2012 was a great year for you as an artist. The first thing was the Hot Press Lift-Off nomination in February.

That is a very impressive recognition to receive. Even though you didn’t make the final 10 it seemed to act as a catalyst for opening a lot of doors to you. How did you view it?

EM: Yes 2012 opened far more doors than I ever imagined. The Hot Press nomination was certainly a nice pat on the back from a very reputable magazine, and a great way to start the year too!

Eric McGrath April was another really good month for you. Firstly, you released “Lets Get Curious” as a single and it got a great deal of airplay and coverage in the mainstream press. Did you then begin to think that things were beginning to turn the right corner for you at that moment?

EM: I released my first single back in April and was delighted with the response it received. It’s always a great feeling whenever I hear my stuff on radio. It also helps bring a few more people to my gigs.

Photo by MASER and Alber Hooi

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Solo Artist of the Month

Eric McGrath

Speaking of gigs, that nicely brings us to our next question. The other big thing that happened for you that month saw you support BIC RUNGA at two very big venues. There was the Cork Opera House and The Olympia Theatre in Dublin. What was that experience like in comparison to the size of venues and crowds you had played to before then? How does it compare to playing the smaller venues?

EM: Playing in the Cork Opera House and the Olympia Theatre were great experiences. The Cork gig is probably still my favourite gig ever. It was such a lovely venue and a very welcoming audience. Up to that point, I had only really played pub type venues and they were both a nice step up.

Opening for a very big name like that must also carry a mixed bag. I am sure there is the honour and the wow factor that boosts the confidence significantly, but did it also bring any additional difference to you as a performer?

EM: In particular, I found I learned a lot from my Olympia gig. As a support act, the crowd often don’t know who you are so you have to work that extra bit harder to win them over and give them a reason to remember you. I feel that show was a turning point for me and my shows have improved ever since.

Photos by Alex Hitchinson Then your album began to really get noticed. It was given a lot of high profile exposure with established mainstream media such as Hot Press, The Mirror, U Magazine, but in equal measure by highly regarded music corners such as Arcade.ie amongst many others.

Did the exposure from February to April help in any way, or was that part of the plan?

EM: I was very pleasantly surprised by the high profile exposure that my album release received. It completely eclipsed any exposure I’d ever received before. I put an awful lot of work into my music and it’s always brilliant to hear that somebody is paying attention to it!

The album launch was held in the Sugar Club in June.

That is a great venue to use because it would really seem to suit the closeness of how the album sounds. It was to prove to be the beginning of a very good summer for you. More radio play followed from that – you were picked up on by Dave Fanning, FM104 and 98FM, as well as a lot of local and smaller radio stations. How different is doing a live radio show to a live gig?

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Photos by Alex Hitchinson

EM: I think I have become quite comfortable in a radio studio and, as it’s generally going out live, I enjoy the

Solo Artist of the Month

Eric McGrath

fact that there’s no room for error! The benefit of live gigs, however, is that I can usually bring my band with me and there’s no better feeling than jamming your own music with great musicians.

On the subject of live gigs, you played at the White Horse Sessions, the Volvo Ocean Race in Galway and The Phil Lynott Exhibition.There is a good contrast between all three of those. What would you have picked up on as being a real stand-out feature for you amongst them?

EM: What’s noticeable about those gigs is that at around that time I was being invited to play around the country and not just in Dublin. Things were starting to change and we were being taken more seriously as a live act. It’s great to be considered for these events, but we’re still only playing the earlier slots and I look forward to hopefully playing a bit later in the evening and maybe even as headliner some day!

That was repeated again in terms of the high profile stage with The Minefield Stage at Electric Picnic, but two smaller support slots with Peter Doran and Roisín Ó standing out in terms of gigs. You also played last year with Colm Lynch, Julie Feeney and a number of others. Does playing support to other artists see you pick up and learn from them in a different way that you might not necessarily get if you are headlining a gig?

EM: Electric Picnic was definitely one of my most enjoyable gigs. I had always wanted to play that festival and was chuffed to see the tent so full of people singing along and having a good time. Supporting other artists is not only a great opportunity to impress some of their audience, but also a good way to learn from the headline act.

Supporting Julie Feeney was a privilege. She’s a true artist and cares about every angle of her work. It was wonderful to have had the opportunity to appreciate how hard she works behind the scenes.

Photos by Alex Hitchinson

The year also saw you take in London. It is a great city to play in and it is a certain part of the world that it is impossible to come back from without learning something that can be beneficial to you as an artist.

Mayfair is a great place to go for its rich musical history and culture. What did you learn from the experience?

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Solo Artist of the Month EM: I often head over to London to either play gigs or to work with other musicians. It’s a vibrant city, full of great opportunities and I can see myself hopefully spending a lot more time there in the future.

November was a month that was quite kind to you.

Hot Press featured you in an issue, we caught you play live at The Ruby Sessions and then David Mc Williams featured one of your tunes (Alluring Lady)in his “Punk Economics” series….but to a crowd in Australia. What was it like to know that someone that high profile had not only heard of you, but had also exposed your music to that corner of the world? It must have been very satisfying.

EM: I’m not sure if it was actually David McWilliams himself that chose the music, or if it was his production team, but either way it was a very nice surprise to hear that my music was used in a venue as prestigious as the Sydney Opera House.

That month also closed off nicely for you. There was your first headline show with Aiken promotions in Whelan’s on the 24th. How different is a gig like that in comparison to your album launch in the Sugar Club a few months previous?

Eric McGrath There was also the Christmas charity single “’Til I’m Home”, which is an original track. It was also a very well worked track and we featured it on our Facebook page on Christmas Day. Our reason for that was because it was a pleasant change to see an artist actually put the effort into writing a tune for the festive period and then accompany that with a video to match.

The track was for Make A Wish Foundation, but how did the whole process come about?

EM: Thank you very much for featuring it on your site on Christmas Day. I was approached to write a Christmas song over the summer for a different project, which never went ahead so I decided that once I had the song written to go ahead with the release myself. I’ve always admired the work that ‘Make a Wish’ does and when I approached them with the song, they were delighted to get involved.

So that was 2012. A year that was really kind to you.

What can we expect to see and hear from you in 2013?

EM: I keep on writing new songs and I often think my song writing is improving as I learn more and more about the craft so I can’t wait to get back in the studio to work on some of these ideas. Fingers crossed 2013 might be as rewarding as 2012. Who knows…. !

EM: Aiken Promotions put on some of the best shows in Ireland so it was a great compliment that they would consider supporting one of my gigs. The Sugar Club gig was very much my own doing, while for the Whelan’s gig I could just concentrate on the music.

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Photo by Ann Gillman

SCENE & HEARD

Sunday Roast

The Mercantile 13th January 2013

Tonight at The Mercantile saw four amazing acts take to the stage and deliver an incredible night of live music. The first act on the night was LAURA ELIZABETH HUGHES and she opened things with the heartfelt “Rock The Boat”. That heartfelt aspect is all down to the symmetry that comes off the playing. It is very enthralling and has this true homely feel to it. It also shows her to be a very capable performer in addition to it having the significance of being the first song she ever wrote.

With “Hearts And Spades” everything bubbles ever so pleasantly. The hum on her vocals is a nice little caveat that comes across as very inventive sounding here. It also keeps thing very interesting on the sound front. The rhythm on show is also very commendable and it shows that she has really dug deep with this number because it is all put away nicely. One thing that can be said about “Fear Of Falling” is that it is a wonderful sounding song.

There is no disputing that. What also goes in its favour is how it sounds. The pluck on the guitar seals in a rhythm that heats it all up. It gives some defined broadness to the sound off the back of how clever the pick up on it is applied. The other aspect of it that impresses is how strongly all the playing holds together.

A new song next with “Who Is That Stranger” and this is one of those songs that you hear and you really are impressed by it first time around. There is a cautious side to it here that fits it as it plays. All of the elements that come together here are courted expertly. What is on show here is transfixed and while it seems to be a song searching for closure, you get the impression that with the personal all pouring out here that it has been achieved. “8:7” sees some really beautiful arrangements on show.

They also really give it a splendid flow that seems to embody an essence that is very mindful. It seems to conjure up images of the bucolic on account of how tightly it is all closed together.

Up next from her is an incredible amount of gigs and they can all be found in her website: www.lauraelizabethhughes.com

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SCENE & HEARD THE NEEDABLES followed next on the night’s line-up and they were a band who delivered a set that was quite interesting. Not just from the music perspective but also in terms of the showmanship.

With “Next Year” they got into things and this has a real burst of flavour that is enhanced by the way that the harmonica settles into it. The acoustic delivery hammers out a strong 12 string rhythm that really comes together. It is one of those resolute songs that can produce a charm all of its own on account of how spry it is. There is a tension in the opening of “Baby I’m On My Way”. When that unwinds you see some very smartly played work on show. There is a little element ion show here that is Mariachi like and it carries it off very finely. While on “Better Late Than Not At All” there is something of the unsettling about the lyrics. They wrap around the song and the way that they deal in the speculative gives it something of a pristine sound. It also has an ample closeness going for it that is interesting to hear. What is really fine on their next song “Beauty From A Kiss” is the mandolin playing. It gives an added sense of width to the rhythm and makes the sound more sweeping.

A lot of the right things are done right here and that is why it sounds so good. It is all structured around some very well judged timing and the lyrics are satiated with fulsome nods.

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Sunday Roast

The Mercantile 13th January 2013

A good opening is just as important to a song as the rest of it, and with “Jesus Don’t Climb That Mountain” that point is underlined brilliantly. This imbues a tenderness from the off that the vocal harmony homes in on. That shows it all to be competent and everything that is deliberated over isn’t overdone and that makes it pleasing as a whole. Then there is a fine flight to contend with on “Leave A Little Light”. It is well wheeled and it keeps something of a calling in the reckoning on things here. There is also the way that it drops out and fades out on the playing that is really finely done. They then played their upcoming single “Bring It Home” next. There is sharp side to the mandolin that really cuts across it all here. The hardy work in show keeps it all together. There is also something of how it sounds that seems to solider on. That steadies the pace side of things here and gives it a bright optimism that is tailor made for it when the harmonica breezes in. What is laid on all the way across here is lavishly done.

Their closing number here was “Rainy Day Blues” and it defined by the strumming. However, that is charmingly played in and it gives a recall to it. In particular with the a capello moment on show. All that aside, what really is striking is how it conveys a mid-western American sound that has something of a retro feel to it and harks back to the likes of artists such as HANK WILLIAMS. You can check THE NEEDABLES out on the following link: http://www.theneedables.com

SCENE & HEARD

Sunday Roast

The Mercantile 13th January 2013

CASH IS KING were the third band on the night and with their opening track “Just A Memory” there is a good hang to their sound. All the playing efforts do come together well enough and they seem to put something resilient about how it sounds across.

Then with “Caught In The Middle” the drumming becomes a very prominent feature on the playing.

The song is also something of a big player all the way here. All the corners on it meet at the right points and that is also what sees the urgent aspects of the sound being well tracked. They then played another tune in “Lay Me Down” that spins out very well. There is an obvious order on the rhythm that the guitar pierces when it plays. That resonance gives it an added boost while again showing some good work all round from the band.

With “No Way Out” there is a drumming on show here that really announces the song. It is something that stands out and again it sets up the rest of the song to launch into being the big player that it is by giving it the platform to launch from. The guitar has a fine descending bar-work. The whole of the song comes to realise the potential that is mirrored by the promise of the opening. “City Lights” is the upcoming debut single from the band that will be released on February 8th. Here the band plays something that has a pomp and stride going for it.

The rich guitar on show steals it all really, but the rhythm that it has is also very nimble. To close off their set they played a cover version with “I Want To Break Free” by QUEEN. Overall that is a difficult song to deliver because will only ever be one FREDDIE MERCURY, but they made a decent go of it and it was played in a way that worked for what it was intended to do.

For more info on the band check out the following link: https://www.facebook.com/CashIsKingmusic

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SCENE & HEARD FUTURE PHANTOMS closed the night’s proceedings. They are a band that we really like here in the office and we have been eagerly trying to catch them live for some time. Tonight we got to see what they are all about when they play live and with “Just For A Day” there is a contained performance to match the song. The sound on it is excellent and slick, with the drop downs on show being very well engineered. That lends it a real flow and it is also framed quite well. What hits you is how hard and fast it travels. The guitar solo on the intro for “Loving The Idea” is something that shows good work. The bass playing is also another defining quality that sits up right here and heralds in a fine sound. But there is an enigmatic stage presence on show here from frontman IAN BRENNAN that sees that burst of sound be backed up by the necessary street cred up on stage. They are not found wanting when that is asked of them here. Things are steadied then with “Talk Of The Town” and there is a very inclusive sound that comes of how it is all pitched. The handling here is very impressive and this is a big number and they show that they are up for it. There is a rich indie vibe to this and the slides from the guitar playing really get the thumbs up. Then “Do You Want More” was next and again the manner of how solid everything is incredible. The projection of everything has something very specific in how it sounds. It is not just in how it sounds, but here is a song that really has paid its dues. The feeling of brash from it is not an over indulgence either, it there intentionally for the desired effect.

Sunday Roast

The Mercantile 13th January 2013

From here on in their set gets interesting. With the next two songs marking them out as a band to really keep an eye out for this year. “Circles” is the first of the pair and there is an even keel to how this opens. It shows an enticing prospect that stands out from the previous songs in their set. The sound here is very brisk and snappy. It throws down and is a contender. That is down to the grounded approach of the opening giving it an assured footing that holds it together well. The latter of the pair is “Nobody Knows” and the guitar gives life to it. How it all merges is well doctored and gives the sound a real purpose. There is a calibre on show here that also that gives it a fine bounce. This has all the right stuff and it is like catching lightning in a bottle.

Wearing the heart on the sleeve with a cover of “Don’t Look Back In Anger” by OASIS. It went down very well here and what was interesting deliberate mistake (?) was the slight little guitar flush with the drum solo that is not on the original. Hence the question mark because if it was intentional it was effective, if not, it was incredible fluke that really worked. With “Can You Tell Me” their sound has matured and the guitar on this one is more sturdy and pronounced. As you hear it play you catch on that the tempo is designed to make this the catchy little number that it is. Everything is tucked in nicely on here. Then an encore was called for and they played us out with “Yellow” by COLDPLAY, with everything about it worked well and showing some nice work.

The band is currently looking for a manager and they next have a gig at Fibbers this Friday, January 18th.

You can check them out on the following link: http://www.soundcloud.com/futurephantoms

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So they were the acts and that was what the show was all about this evening. All in all, just another night making toast at the Roast…and by toast we mean music.

SCENE & HEARD The first act tonight at DIMESTORE RECORDINGS is the one and only NICO FITZ. This guy is an artist that a lot of people talk about and always seem to say good things about him to us. So to see him here tonight was something we were very much looking forward to. He got things underway with a song called “This Song Is About You” which exudes something fine and commendable about it from the off. It has a real “shooting the breeze” feel going for it. It is very well lit up with the lyrics imparting some very astute observations on life. Then something quirky, but quite interesting with “The Ballad Of Charlie Sheen”. There is a sense of the clever clogs about it, but where it incorporates the theme tune to “Two And A Half Men” gives it a little bit of cheeky that goes down well. There is also something emphatic about the social commentary on show here. You look beyond the humour and you will see some very interesting angles. Then the pace is really turned on with next track “Maggie”. It is a plucky little number that is full of character. There are elements on show here that draw comparisons with THE KINKS. How everything is applied here is thoughtfully done and that is why it sounds so bright. The strumming that opens “Tired Of Waiting” puts in place a steady and strong upbeat tempo that matches the lyrics. That helps the song hold all the way through and it is also a song that is cleverly delivered.

DIMESTORE RECORDINGS Sweeney’s 10th January 2013 What stands out on next song “Scarecrow Blues” is that it is a song from the perspective of the scarecrow. The lyrics on it also portray a true intellect at work here, while still allowing for something of the tragic to come off it as it plays.

Then there was “I Like Shoes”. With the enigmatic approach taken here being a refreshing sound, it also fits in well with the vibrant and positive sounding work that is going on with it.

It is well shaped and that helps it get everything right as it plays. It is one of those strange ones to call it on because it is somewhat divisive. Then we were treated to the first play of “It Could Be Love”. This lights up on the second verse in a very credible way. It is worked around a well formed structure that matures on the lyrics side into something very sensible.

An off the wall kind of song in “I’ve Got Beef”, but it turns in some very interesting twists with some of the tortured metaphors in the lyrics.

While the sound doesn’t seem to hold onto anything specific it still maintains a graceful side to the playing front of it all. Then something of the very fanciful sounding with next track “Parties And Long Conversations”. There is however something very taut that comes off how it sounds. The guitar here is very speculative and there is a harrowing element on show here that plays out longingly. It does this easily and shows a song that has been well nurtured in the process. With “Something Cosmic” we have a song that really showcases an impressive effort. While it is very accomplished on the playing front, there is a warmth and true flavour behind the lyrics that rise to the occasion. It gathers the thoughts finely here and puts the feeling to them as they pour out over what has been gathered here in the form of a song. Then to bid us adieu he played us out with “32”. This is a sweet and homely sounding track that plays cautiously but somehow still breezes along. The rhythm is well tailored on this one and gets behind it to give it the necessary push forward. It also allows the lyrics and harmony come to the fore.

For more information on NICO FITZ check out the following link: https://soundcloud.com/nicofitz

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SCENE & HEARD Up next was MILK AND HONEY. They are another acoustic act and one who incorporate the violin as a central feature with their sound.

Everything is vocally in tandem and finely countered with “Boats”. The violin adds a stirring quality to it that allows it to remain distal while still floating. The end result is something that has a minute bustle to it that really works.

Transforming a poem by Robert Louis Stephenson into a song is an impressive feat.

“Goose” is a bountiful song here that corners what they want it to sound like quite well. With it being supported by the violin they manage to turn in a competent sounding tune that has real purpose. That is down to the tranquillity that abounds from the lush strings on show here. It all really flows on next track “Bucolic Call”.

There is an evident collusion between the musical aspects that brings it all together. There is also a vacant feel to it that is down to the harsh and wispy lyrics. The vocals are well projected behind this and as they lean into the song it

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DIMESTORE RECORDINGS Sweeney’s 10th January 2013 The harmony that comes about because of the shared vocals on “Oscar” is something that is very switched on. The violin is left out of the play here but it still delivers as an able bodied acoustic number. It is also moving in the right places. There is something of the tenderness that is etched in next song “Octopus Speak” that sees the song embrace it quite well. That then readies the song to harbour all the tender aspects and lead it out as a sheltered song that is both cursive and patient. Then a harmonica fills out their final track “Fishbone” and shows a real burst of appreciation on show. It is spread out well and has a sense of certainty to it that is backed up by a consistent degree on the playing side. They then closed off with a cover version of “Park” by unsigned Irish act WYVERN LINGO. Again this was something that was really well played and knowing the original version it was refreshing to see an independent artist support a fellow independent artist as part of their set.

SCENE & HEARD

DIMESTORE RECORDINGS Sweeney’s 10th January 2013

IGO HOJO is a band who was playing tonight on account of a reunion of the band being made possible by the return of their drummer from Australia. They began with a song called “Smug” and the play on this one is a real show of bravado. It is strong and it runs with the repetition in such a way that it is given a real spring in its step as it does so. There is a real jump to it and it is also infused with a serious effort on the delivery side. Then onto something very glorious sounding with “Rambler” that has a superb roll on show. The licks of the blues applied all sound very well. They also absorb a lot on the playing side and invest it back in. There is something about “Idiots” that is neat and tidy but at the same time is also very original. There is a good footing put in place for the track but it is the application of a second bridge in the playing that really shows a lot of smarts.

They then played a slow number in “Mother” and the opening sound that it has does grab. There is also the spacing out of the playing as a whole here that is worthy of consideration. That sees the sound become formative and play with in a controlled rhythm that unexpectedly changes direction from being a lavish number to a more upbeat tempo. When it does it doesn’t disappoint. That change in direction to the beat on show really transforms the whole of it. The bass line holds firm with “Honey”, but it is the drumming here that takes centre stage. It is feverish

sounding and again the bridge fuses the funky elements together with some progressive soundings around the original structure. It also does it very open-mindedly so you know it is not accidental. With “Clementine” the opening deliberately leads everything into something that motors along. There is a high calibre on the playing side to what is on show here and the rhythm is ricocheted off this.

While up next was a cover version of “Ever Fallen In Love With Someone You Shouldn’t Have Fallen In Love With” by THE BUZZCOCKS. A great cover version of it though that was played in a way that had everything placed where it was supposed to be. Their next track is called “Shine” and this picks up and threads everything on show quite well. The drum and bass combine to also convey a calypso sound here that scores it all finely. The chorus here is also something that benefits from the energetic rhythm and the passing of the baton on the sounds is terrific. Then they closed their set with “Turbo” and there is a whirl from the guitar driving the intro and giving it a very real presence. It is a resolved sound and the heavier elements on the sound hit hard. That attentive and raucous play is directed well and it informs you that this is how it is 15 supposed to sound.

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DIMESTORE RECORDINGS Sweeney’s 10th January 2013

MY MIND RACES are another band on tonight’s line-up that we were eager to see again. They got their set underway with the diligently handled “Hurricane Fly”. That diligence is down to the way that the guitar hangs in the air on the intro.

That then gives way to a very expansive sound that brings the whole of the sound together.

There is a very grand scope to the playing side of things here that all meets in the right places. It is also shapely progressive with the drawl on the vocals late into it betraying the impression that it is exclusively an instrumental piece. That was then followed up by “Manson” that is another very cursive sounding piece of work. What follows here is sweet all the way. The band is not afraid to play or show that they can. It is another song rich on the progressive side of the progressive side of things, but again it is all well balanced and full bodied. It is also helped by the sublime touches added here and there.

With “Shape Shift” there is a tempestuous opening on show. The riff on here is aided by the drum and bass to show a true depth to their playing. It stores up all the work and plays a reserved card very well. The drumming really parlays all of the sound here. The other stand out elements here are the slide from the lead guitar and the way that the rhythm and bass section of it stand in admirably when asked of them. There is something fetching and elusive about “Scars”. It is charged up and that makes the sound something forceful that is somehow kept in check. It is not restrained, nor is it fully let off the leash and that shows a good degree of sensibility from the band. That is why the song benefits considerably. A song described as a “work in progress” was next from the band and that just whets the appetite to see how the finished version sounds. “Keep It Lit” is a resilient effort from the very second it opens.

There is a strong guitar playing away here that pulls back the sound and is evened out by the bass playing. This gives a sense of the elaborate to the entire thing.

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You can check out MY MIND RACES on the following link: http://breakingtunes.com/mymindraces

SCENE & HEARD MARKAS CARCAS were the penultimate band playing here tonight and with “We’ve Been Fooled” the guitar sends everything up. It is frenetically played and that remains a constant throughout and it tees up the Cajon for this one.

It has an aspect of it that is Native American in how it sounds and the vocals pierce commendably on that front. There is something impish about it when it does and then it changes direction musically and anchors the tempo in a deeper rhythm. The pace on show when it happens it rains down on proceedings and makes it all that little bit more boisterous in the process.

There is something about the undertone on “Roach Material” that draws a comparison to “Fire” by KASABIAN. It is a neatly composed bass line and the song rides in on the back of that with a pace and rhythm that follows through. All the elements on show here are well worked and how they commend it all gives it something of a crafty sound that plays with a real verve. “What Is To Be Expected” followed that up and here is a sterling effort indeed. There is a captivating sound on show here that is very grandiose that doesn’t over indulge. That also restricts the play from being overly laid on. Applying everything that way is what pushes the song on. While the drive on it is a milder effort it still has a silky sound going for it that is matched with a credible live performance. With “Into The Ground” they bring a little country song with a big kick to their set. The controlled approach here evens the sound into things and gives results in a grounded effort that clears the lines and takes off as a seriously good tune.

DIMESTORE RECORDINGS Sweeney’s 10th January 2013

With “Polecats” there is a wonderful rhythm that has tremendous bite. However, there is more than just teeth is on show here. It feeds off the atmosphere in the room and sends it back out in spades. The Cajon and bass are prominent in the sound here and the acoustic guitar played in is also definitive. It is also the application of the capo that turns this hoe down into one big showdown. “Alone In Silence” charges along and the bass line to it is enormously creative when it meets the Cajon. There is however a sense of something extra here and the scatty/ratty sound that briskly rounds it out stokes up the rhythm here. The tempo on show is absurdly foxy when it meets the bass. With “Mississippi Wine” there is a song played with authority that wonderfully rattles after the heavy aspect of the sound break off. It is an excellent that underlines a passionate display from the band. Their closing song “Grim Reefer” fuses elements of “Cocaine Blues” by JOHNNY CASH. The man in black aspects aside the song, when judged on its own merits, surges along off the back of a kick-ass opening. That then sees a monster of a song come to the fore and play like a beast. There is nothing static about what is on show right here. It is fully charged and adopts a full steam ahead perspective that is well worked.

You can check them out on the following link: https://soundcloud.com/markascarcas

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SCENE & HEARD The band that closed the Dimestore this evening was THE BOO BOX. A band that is very welcome here and on the back of what we witnessed here tonight it is easy to see why that is the case. With “E-Jam” there are a number of catchy and wellrounded riffs that give a real progression to the sound here. There is a sharp feel from the guitar and the bass hangs nicely to form a good partnership with the drumming here. There are a lot of formative hangs and beats in here that changes the direction, but also keep it on course.

There is then something very catchy going for “People”. It is forceful and is something to be reckoned with. There is a magnetism to it that is complimented by the stage presence. It is an obvious departure from the opening track and it is also very fresh sounding. That is helped in part by the good blend of blues and funk. Things get going with the slick sounding “Break Me Down”.

It is very telling from the rhythm side of things and that is what gives it a true heft, while also allowing the lighter elements of the play to be factored in. There is a wonderful roll to the sound and when things all come together there is affine snap to it all. “That Night” came next. In addition to it having a sultry feel to how it sounds, there is a devil at work with the funky sound it has. Some of that incorporates an element of reggae but it also heaps the rock side of things on fully. That is also helped by the drop down on the sound as it closes out.

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DIMESTORE RECORDINGS Sweeney’s 10th January 2013

With “Shotgun” the vocals are spot on. There is a loaded sound that lets it all hang out and is very well polished. The tempo on show is catchy and easily takes you along for the ride. They then launched into a cover version of “Hit Me With Your Rhythm Stick” by IAN DURY AND THE BLOCKHEADS. Everything on show here is where it should be, but they also put their own little spin on it. They then laid on the sound with “New Jam” and just played away. A stylish effort that is pretty fly with the tight hooks on show.

“Mr Style” was then the curtain closer and this is a song that has real venom and a sting in the tail.

That is just in how it opens. From there it spaces out and the frisky elements put pace on it like a bullet. It pans out and back to the opening beat and when it comes full circle the intro is added to and improved upon.

Up next from the band are a couple of gigs supporting THE STONEY BROKES and you can check them out on the following link: https://soundcloud.com/the-boo-box

SCENE & HEARD

MAKE-A-WISH-FOUNDATION Benefit Night Sweeney’s, Thursday 27th, December 2012

Thursday, December 28th saw Dimestore Recordings take on a different meaning and the night was given over to being a benefit night for the “MakeA-Wish” Foundation, with both floors featuring a fine array of unsigned and independent artists who came out to play for a good cause. To get the night’s proceedings underway was HOLY GHOST HOLY GRAIL. "The Aether" is a slow opener here but it is evenly delivered. It plays in a beholding sense and that also gives something of a very easy listening feel to it that us really effective. The guitar also gives it something of a sullen soak as it plays out acoustically. That then sees a real twist in the tail with the vocal lift that happens. It is well timed and it sees the song pound out assertively. That was then followed up by a cover of MANCHESTER ORCHESTRA’s "Where Have You Been?" and the breakdown on it works really well here. They do deliver a very polished version that has something of their own stamp written on it. "The Ark" has a rich texture to it that beds in well with the playing.

It lends a grandness to it that flows neatly. This is a very fulfilling tune and it has a

mellow aspect to it that also plays with a sting in the tail.

"New Song" is so new that this was the first time it had been played live. In fact, it was so new that they had the lyrics on a page before them.

Although for a new track they knew their lines and the chords like a real pro. There is a softness and optimism that offsets the bitter lyrics rather finely here. The stylish way it is played also comes across tellingly and holds everything together. It embraces the subject matter and lifts the song when it does. "At The Bottom" is another cover version, this time by BRAND NEW. The shared vocals here are well worked and it is a fine effort, while "On the Bones" closes things for them and this has a broadness that lays down a true marker. The lyrics have a fine cut to them and the pace holds well throughout. They hold firm on that front and draw out a very fine effort by doing so. In short how they approach the tune sees them make sense of the task at hand.

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SCENE & HEARD

MAKE-A-WISH-FOUNDATION Benefit Night Sweeney’s, Thursday 27th, December 2012

The next act up on the night was FUNZO and he was also joined by CLASS A’Z and TERRAWRIZT. "Better Than You" got the set off the ground here and this is a really telling piece of work. There is a veneer and a real savvy side to the lyrics that are delivered with an incredible burst of enthusiasm and skill. Everything is a real full on effort here.

This is not a flash in the pan effort either. It is infused with menace and delivered with conviction.

While on "Never Be Better" there is an 8 bit backing track that is very retro. That gives it a good platform to launch into some very good lyrics that are sharp and very well sorted. Then "Here I Am" followed that and all three artists share vocal responsibilities here. It is very cleverly worked and the focus behind the lyrics is something impressive.

Things on show here have an incredible degree of substance to them. But with an incredible bounce to it, they got straight into "The Evidence". The backing track seals the deal here in a big way that really gives a presence to things. There is a slide on the lyrics that puts it all out there. There is a good flow on how it is laid down and they really seem to be on top of their game here.

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"Irish Tune" is a very refined effort that boxes clever. It is sturdy and has a very vertical loft on show. The aggregate of the lyrics is well shared and they all combined well on the vocal side of things. This is very representative of life where living is hard but also real enough every day. The song is about the Irish image that is never conveyed and exposing the mythic perception that people have of Ireland. Then "Dublin Tune" is another track here that passes muster. It spins very confidently and it is very true to Dublin. There are the graphic aspects of real life conveyed in the lyrics, and while they are there, they also point to the positives. We were treated to some easy listening next with "Me and Her”, which has a carnival aspect supported by a brass sample. That section on the backing track is a neat little touch.

While “Never Be Like Them” is a track that is very rich in ska based influences. It is clever and it registers a very respectable effort indeed. Then to close off their set was "Take Some Time”. The gospel aspect on show settles into this one very well and it sells it. There is a rich opening from an excellent backing track, but what is different here is that this is something that sounds like a more orthodox song. On account of how well worked it is there is something about it that is more mainstream than the rest of the set on show here tonight.

You can check FUNZO out on the following link: https://www.facebook.com/funzoband

SCENE & HEARD

MAKE-A-WISH-FOUNDATION Benefit Night Sweeney’s, Thursday 27th, December 2012

From Belfast, the first band on the night really brought the noise. PIGSASPEOPLE reflect the great music scene that the city has to offer at the moment and proved to be great musical ambassadors here on the night. With “Vicious Speaker” they really bring the noise. There is a heavy side of their play that is tied up with a frenetic pace. It is rolled out in a way that pounds the beat here. The thump from it is nothing short of awesome. Again there is a rip from their sound with next track “Gutters”. It generates a surging rhythm that is ripped up by the guitar that plays into it.

Everything from the heavy drum and bass sound infuses a presence onto proceedings. The hold off on the bridge is neatly dropped in and out on it and that gives it a true span as it plays. They followed that up with the excellently titled "Postcards From Waco". This is a song with a tantalising drive from the beginning. The ‘swirl’ from the guitar gives it a real panache and it is rich with the rock side of things.

Everything is put on show with next track "Cities" that fuses real pace with a complete wall of sound.

This gives a good hilt to a song that is a long player with a phenomenal bridge. There is a real fortitude on show with this one and the end product is something that is very tight and solid work.

A very different approach is adopted with "Quiet Earth". Everything on the spacing and timing on it is more prepared and patient. That change in sound gives rise to a very progressive sound that also carries a lot of alternative quality to it. It is also very sophisticated musically and how the timing leads on in is a true measure of impressive instrumental work. They then nail everything down finely with "Glass Fields". It has a way off the play that singes the air as it plays. The guitar that is on show sears and that gravitates nicely to some magnificent drumming that rolls like thunder. To bring the curtain down they played "The Art Of Leaving Your House”. It is a new song from the band that grabs you with the opening.

The playing also has an assured sensibility going for it. That is down to the fine way that the guitar and drumming sit inside the tempo that level out in fine fashion. www.facebook.com/PigsAsPeople

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SCENE & HEARD

MAKE-A-WISH-FOUNDATION Benefit Night Sweeney’s, Thursday 27th, December 2012

STOP ALL THE CLOCKS are a band that really give a great amount of time and dedication to the true musical side of things. They opened their set here with “Magic Karp” and this is something that is well structured, but the way that the end product comes together and sounds is breath taking. There are changes in direction here that pick the rhythm up, change how the tempo runs and a lot of other things but still manage to keep it all on track.

“Rascalise” was next and this has a deeper sounding. There is an ambience from it that has a lot of very forward playing features. It is quality through and through. It arcs at the right moment and the expansive side of things impresses and leaves a fully formed rhythm that is well contained and plays into “Retractible Ants” effortlessly. The fusion of both tracks is magnificent and the qualities on show from both are marvellous.

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The next track was called “Pierced Film Lid Several Times”, which again has a very detailed playing side of things on show. Everything about it is steely and resilient, and when elements are dropped in it all seamlessly blends together. The combination and changes are the impressive aspects here that work in its favour. Then a bongo comes into the reckoning with the intro for “Undone”. After it drops out they go full on with the music. The playing on this one shows an ambitious instrumental ensemble. They drop the bass playing on things and it holds steady, while at the same time rhythmically being astute with the effort. Then “Atrocious Grammar” has sharpness and a real wisp from how it is played. Then there is a contrast between that and the bass line because while the guitar gives it a piercing resonance, the bass seems to give to it a trippy feature. However with the pacing of both it easily flourishes and this is why it is a great track to track down and get listening to.

SCENE & HEARD

MAKE-A-WISH-FOUNDATION Benefit Night Sweeney’s, Thursday 27th, December 2012

The final act on the night was NEW SECRET WEAPON. This was a band who on the night delivered a long set with a lot of songs included in their set here this evening. Beginning things for them was “Too Full On” and this is a precise number that has a sharp pace that cuts everything full on. It opens scattily but then it fires up and nails everything dead on. A deeper bass on “Tea Party” gives it a lift and lets it breathe out nicely.

The roll from the guitar drops from on high and drops out cleverly. All in all, everything is finely weathered and it shoots from the hip. Then there is something of a lift off with “The Freak” that is held together with the guitar and bass. There is something about the bridge for this track that is so well maintained. It drives it on in a consistent and fluid manner.

An obscure title in “Surfing Down The Ladder On A Badger’s Back” doesn’t take away from the fact that there is a lot on show here. There is abundance on the rhythm that fronts the entire song. It showcases a lot of talent and the lofty hold it has over the sound is enhanced by an amazing pick up. This is then merged with “Jan” over the course of the song becoming a long player and the fusion of both is incredibly showy. Then with “Attack Attack” they

deliver another track that is an exceptionally well worked number. It walks a fine line and there is something graceful in how it holds form. It has a very rattled sound that inhabits it, but it gives to the sound a very good bend that it easily comes up on. “Questions” is another track that has pace and lifts off from that. It does also have a finesse hanging over the intro. The patchy elements of it also work to great effect and see them turn on the style while also having something of a comely appeal going for it.

There is something of a trade up with “You Had To Lie” that really wows. The play is blindingly rich and the warmth from it is lavish. It courses along and the playing side of it is electric. It has a stamp of authority on that stomp that comes off it.

Then a very inspired piece of work with “Rooster” comes next. The rhythm is kept in check and the groove is really going on to let everything out here. It is treated and handled delicately. However with “Could Have Been Us” there is real muscle on the intro. It drops down and the bass trips it all out. It is very proactive and heavy with a constant fine shove going for it. That sees it all come together very clearly and well-schooled musically.

Final number here was “You’re Still Losing” and the bass grips things here. It concludes a very fine set and powers along nicely. It is a focussed piece of work that has a collision of good sound meeting fine playing and that is why it all works.

You can check NEW SECRET WEAPON out on the following link: http://breakingtunes.com/newsecretweapon

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SCENE & HEARD

SNOW PLACE LIKE DOME Sweeney’s, Friday 28th, December 2012

A

show of support for No Place Like Dome and the festival organisers here this evening saw both floors have an excellent line-up comprised of local artists. We caught the action on the first floor this evening and getting things off to a flyer was Apollo Sessions stalwart JOHN BYRNE who was accompanied by The Guilty Treasures. Keeping in the festive spirit they opened their set with a song called “In Love At Christmas Time Or Whatever”.

The song itself has a fine melody locked into the tempo. However, there is a dandy side to how it all falls into place. All in all it is a rather dainty little number that has a little bit of charm on the side.

With “Make It Your Own” the rhythm on show is something that is finely mastered. On the pace side of things it also shows real strength, but it keeps it in check and doesn’t let it run away. This is one of those songs that can expand as it plays. That accounts for how it comfortably comes into itself here. There is a strong feel good factor working its magic on “Young Love” that blossoms out the sound here. There is simplicity in the sound that is well orchestrated and that keeps it going. It does however have a rich and full body that sees the upkeep on it finely delivered.

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A song that had an appropriate amount of Friday good will was next with “Reggae Song”. It has a mellow vibe that breezes along. That sound also has a zest going for it that makes the milder aspects of the sound that little bit more interesting.

While “Star” has something of a real kick to it, there is a reserved stance that gets going on the beat and is very well done. It matches up to the intro, but also sits well with the drop down off the lead guitar and the deep bass line of the tune.

There is real warmth that comes off from the playing on the intro to “Abbey Rose”. That is down to the personal meaning of the song to the artist and that lends a wholesome sense of belonging to the lyrics. The bridge on show here is also solid, and overall, the song itself is quite catchy.

That also brought his set to a close.

SCENE & HEARD

SNOW PLACE LIKE DOME Sweeney’s, Friday 28th, December 2012

MORGAN LA FAYE are a band that has been on our radar for some time and to catch them tonight was a true privilege. With “The Emperor’s New Clothes” has a true sense of grandeur about the playing side. The rhythm and pace to it are mirrored by an excellent beat that appears tailor made for the song. It scores highly on the arrangement because of how well layered it all is, but also because it is catchy and well delivered. There is a heavy blues sound that is prominent on the next track “Fuck The Airwaves”. That powers it up and all the hooks on show hang deftly within the playing. What also stands out on it is how well versed and well worked it is. There is a high degree of roadhouse and Americana in the aspirations here and they don’t fall short of what they are reaching for. With next track “Cometh The Hour, Cometh The Man” there is something of a STEELER’S WHEEL vibe going on. That is down to the undertone at the start, but it moves on from there. What it then moves into is something that has a flush rhythm that shows something very sophisticated and refined, in particular with the manner that the vocals are wired in. They then played a new song with “Eyelids” that has an excellence in the pick up on the intro. There is a very reserved mood that comes off it too that settles into something homely.

With “Grass Is Greener”, the first single from the band, things step out. There is a good hold and turn from the sound on it. It applies the fine touches with the bridge that sees a consistency to it. Overall, it is one of those songs that are wonderfully played. Then things are laid bare on “All I Have”.

The rhythm side of things drops to a slower tempo that really holds its own. It then picks up gracefully and the transition becomes very evident. What it is also commendable is that it works well when it is held back. It adds something more to the sound. A track off their new EP was next. “Ferp” has something of a true pleasance to how it surges from the opening and the intro. There is a true sense of bravado to it. That is down to the band being able to relax into this which is why it plays so well.

With “Silams Sen” there is something soulful about it. There is an enchanting quality on show here that has flushes on the music front that add to it. The bridge is something that has a storming delivery to it and how heavy it is on the play and rhythm front is rather fetching. Then to close off their set was a cover of “Happy, Happy, Happy, Happy, Happy Christmas” which saw them joined by COMMON WOLF and the best part of the crowd up on the stage. Overall it was a fine set from them and that was a nice crowning way to sign off for the night.

Up next from the band is the EP that they are currently working on and recording at Windmill Lane studios and will be reviewed in a future issue of U&I Music Magazine.

You can check the band out on the following link: www.morganlafaye.com

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SCENE & HEARD

SNOW PLACE LIKE DOME Sweeney’s, Friday 28th, December 2012

THE YIPS are another band that we like seeing on the Dublin circuit and tonight they didn’t disappoint. Taking to the stage and getting everything going with “Fever” they laid down a marker. This song has a sultry hold and a very casual sway with the opening here that gets down when everything else about the sound comes in. It is very smooth sounding and shows fine form when it does get going, in particular the guitar on it is impeccable. Then a real diamond in the rough with next tune “Happy Murder”. It has something about the opening that seems tamed, but it is rounded and it sits well. That sees them storm into things and show real presence up there tonight. This is down to the real bite to the sound that comes off the play. While on “Skip” there is something psychedelic coming to the fore. It really whips the sound on into shape and the guitar slides on show are finely rifled out.

The pick-up and the direction change sees it bounce along with something that is definitive on the rhythm front that are matched by luminous elements that also pour out from the playing as a whole.

The harmony on “Where The Wind” is really pleasant and the shared vocals is an effective turn in things here. It also has a real beauty on the way that the tempo shapes the song. It is neat and catchy, and it tidies the form up with these unmistakeable calypso elements that complement it very effectively. The high retro feel on it also makes it a song that is worth its weight in gold. With their closing number “Sooka” the pace seems to jump out at you from the off. There is a searing guitar and steady drumming on show here that

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explode and see it hit the ground running.

The place on it really is straight out of the trap and the showmanship on show here also sees them walk this.

Up next from the band is an EP that is in the works and when released we will review it in a future issue of U&I Music Magazine.

You can check the band out on the following link: http://breakingtunes.com/theyips

SCENE & HEARD Tonight was an exceptional night of music and it was appropriate that it was closed by an exceptional band. THE FITZAFRENIC were the last band on the night and they are one of the bands on the current Dublin circuit who really are held in high regard by their contemporaries. Based on tonight’s performance it is easy to see why. There is a real assertiveness to “Joe Agro” that underlines the finely formed rhythm on show here. The overall way it sounds is nothing short of excellent. How it wraps around the song as a whole is what gives it real spin, but it coasts along because the keyboard and guitar all work in tandem here. While “Walk Tall” allows the saxophone to bellow out, it also gives it a sense of mood and purpose. That lavish feel is bossed by a definitive bass sound. Everything on show here is well measured and the rhythm has a real style going for it.

“Sneaky” is one of those songs that is really funky. It really does play like a cool cat. The rhythm on show here is something to be reckoned with and it picks up on the pace front.

However all sides come in on the delivery on this song and that is the reason why. Then “Kiss My Ass” is something that is very telling with how it opens. Even though it is laid back in how it sounds, that is still a much focussed sound. It has a marvellous reach going for it and the keyboard stirs it up nicely to give it a confident sounding stride.

The way that the drum rolls off on “What They Don’t Tell You” is something that is perfectly suited to the sax solo that opens the song. The other defining feature here on the sound is the way that is dropped in for good measure. It is lively and energetic all the way through and the claps added in the performance are highly effective. The whole song really carries you away. Another song that walks tall was next in “Cruising For A Bruising”. A quality song from start to finish that strolls into the playing and packs it out with a stark sound because of that approach. This is made of the right stuff and when the lead guitar comes in on the bridge it pierces the sound and gives it a nasty crack. A richly influenced ska sound on “Part Time Publicans” comes to the fore. If you know the anecdote about this song you appreciate it that little bit more. It is commanding in how it turns on

SNOW PLACE LIKE DOME Sweeney’s, Friday 28th, December 2012

the charm and very skilful in the delivery here. The band really makes sense of what they have here with this song.

With the catchy hooks and clapping on show there is a great deal to like about this one. A track off the upcoming album with “One Can Van Damme” was next. This is something that is an absolute corker. The fantastic riffs in the play are given a real pull by Caribbean/calypso elements in the sound. It is a contender that has the potential to land the band with something on their hands that could be a true anthem.

The word ‘whopper’ springs to mind when describing next track “Fancy”. This grabs you as it opens and never lets you go until it is over. It is excellent from start to finish. The rhythm on show is very funky and it is all tightly worked. It is an almost perfect all-rounder here. The effort itself is fanciful, while the speed of the delivery gels it together and the crowd lapped it up. Then they showed some proper dues by covering “On The Banks Of The River Nile” by MADNESS. It is not just that their version of it is a well worked cover, but also the fact that is well worked into their set. While “Full Moon Party” might have a laid back feel to it, it does move along quite expertly. The rhythm on it is right on time, but there is a ferocity that shows they know how to kick out a live tune here (pun intended). There is also no messing around with “Dr. Bad”. There is a true sense of stature with how it builds and the playing side here is remarkable stuff. It is a knockout tune that is played with an incredible sense of determination. That was also the track that brought to a close their set here tonight and what a set it was.

Up next from the band is an album that is due for release in March and will be reviewed in a future issue of U&I Music Magazine.

You can check THE FITZAFRENIC out on the following link: http://www.thefitzafrenic.com

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SCENE & HEARD

The Choir Invisible are one of those bands that we have seen live on occasion and each time we have seen them play we have always considered them something of an interesting prospect. Tonight we caught them live at their EP launch and we stand by that belief in them as a band. Opening up their set here tonight was “Changing My Spots” and it has a sturdy aspect to the sound that is well directed from the courteous whip from the guitar.

The sparks really fly with this one. That is because it charges an element through it that is very well proportioned. There are hints on the sound here that show an influence by bands that were around in the day like JOY DIVISION. That is because there is an enormous amount of energy on it but also a sense of the nostalgic to how it sounds and plays. It is a really intelligent sounding tune that is aware of its surroundings. Then they got into their next song in “Richard And Elizabeth” which is as resurgent as it is languished. It is well knitted together and that closeness on show here is incredibly catchy. It is fed into the rhythm in healthy doses but it is in the live performance of it here that something really efficient is on show. The tempo and the pace on this one really are a knockout when they combine. The pace on things is dropped down on “Fighting On The Wrong Side”, with the guitar really cradling the sound before it beefs up. It is unexpected when that occurs based on the opening, but it does deliver and they never shy away from the playing side of things here. It has a leafy quality on the sound to it that shows a real dedication to crafting this song.

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launch Sweeney’s, Friday 4th, January 2013

THE CHOIR INVISIBLE – “Hundreds & Thousands” EP

There is something harrowing and haunting at the same time from the guitar on “A French Kiss” that elevates it above ‘shoegazer’ status. It comfortably slips into a comfortable stride. What is also impressive about it is that even though it seems to have a static quality, it fills up and doesn’t remain stationary at all. The romantic notions on show here are really endearing and serve their function well. The intro on “Make-Up Tips” though is very lush. The way that it picks up on the pace side is divine. It tempers it along and the composure on show here is very much well-mannered.

It is stylish and it also shows the difference between showing how good you are as a band and showing off.

This is bursting with excellence all the way through.

There is a lot of quality on show with “Overseas” and everything about it is impeccable. The standout feature on show here is the sweeping drums. This is a really sure fire track right here. There is a resilience that meets the laid back sound on it, but it has an appealing freshness that draws a comparison with bands like THE HOUSEMARTINS. Grabbing hold of you with “Fuss” and again the drum and bass take prominence here. It is very British sounding and it is really done with such aplomb that you do appreciate it. It is in the same category of music as great under rated bands like SLEEPER on account of the way that the bridge here holds fast. It is a hearty effort and it flies as it plays.

SCENE & HEARD

launch Sweeney’s, Friday 4th, January 2013

THE CHOIR INVISIBLE – “Hundreds & Thousands” EP

What really impresses on “Wonderful Misery” is the loop from the rhythm guitar and the way it sails in. The way that the sound also seems to move up a gear is very catchy while still being able to maintain that distance that sees it be easy to listen to but marked out as not being a pop song. It has a reminiscent aspect going for it and how it plays out is marvellous work. It is played with the best of intentions and sets out to do what it intends to do.

What is also worth noting is how sharp the guitar sounds all the way through it. There is something about “Your Boyfriend” that traps in the sound. The lyrics on it are incredibly smart and the rhythm is a victorious given on this one. It is given the kiss of life with the guitar and bass. There is something sheltered about it and what is really worked into the bargaining here is the bridge. It manages to pack something heavy on here as it breaks that stripped back sound into some thing impressive. It really

commands all the elements here. “Hundreds & Thousands” is the title track off the EP and this is a song that is cleverly worked. The rhythm on it is assured and it seems to hold off in a way that gives it a real sway. It is great to listen to and has something about it that rings in the changes. There is a very well worked demeanour in how it sounds that gives it a real punch. Then to close off their set they did a SCOTT WALKER cover with “City On A Hill”. Even though it is a cover version it is still treated with the respect it deserves. What also works here is the stage exit from their front man is something that is a great bit of showmanship. The way it is played out brings to a close a fine set and sees them out impressively.

For more info on THE CHOIR INVISIBLE check out the following link: http://www.thechoirinvisible.com/

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Album Reviews

Irish Artists

ROBERT DELANEY Rising Tide Rising Tide is the debut album from Dublin artist ROBERT DELANEY and this is a very solid album from start to finish. With the first track “That Way” being a fine selection to open with. This is one of those songs that has smooth operator written all over it. It also has an incredible turn of pace bestowed upon the rhythm that really kicks in and fires it up.

The vocals on show here are also up to the task at hand. With next track “When Beauty Hit the Street” there is a graceful essence that is captured and leaves its mark on things. It is a catchy little song that is full of charm. What really spruces up the sound on things here is a savvy side that really hits the spot when you listen to it. Another effort that has fine written all over it is third track “Flight of the Honeybee”. This is another song that is gifted with an irrepressible sound that rises and flows from the very second that it opens. The rhythm to it bounces along and it is really pleasing to listen to. There is also something about “New Wave” that easily works its magic on you. It has a hazy and laid back feel going for it that is very easy to warm to, but when the rhythm begins to pick up it tantalises. What also works in a big way are the jazz and brass elements that breeze in on the sound and how they wrap around the song really gives it a fine form.

That is then followed up on the album by “Lilies for My Sweetheart”. This is a song that has a warmth and affection that show an artist unafraid to convey and express his understanding of emotion into a song. It is also the way that all the instrumental work on show comes together that really shines. There is a feel to “Rising Tide” from the opening that you easily get caught up in. The intro from the guitar is carefully played in, but it is how the entire song is constructed from here on in that really takes you by surprise. It becomes this unexpected big player that really delivers and the lead up to the way that it takes off is expertly done. It has a captivating quality to the sound that puts the wind in the sails on it. “True American Girl” is a country song and while it changes the direction of the album it doesn’t feel out of place. The song is littered with vivid lyrics and gives a real sense of American life from them. It is a

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fine and dandy effort that abounds with a spirited feel that easily comes off it as the song unfurls. Then things move back into the sultry and smooth sounding with “If I Had You”. This has a rich Latin feel that takes you away with it as it plays. That is on account of how sweet and seductive it sounds.

There is a very urgent sound that impacts upon you from the off with “Between the Canals”. It has this stray like quality to it and the vocal tone on this one is something that very much beats in tandem with the playing side of things here. It is a tune that has soul and what it is being reached for is grasped by the artist. The way that “Mercy on My Soul” begins is something that really enthrals, but when the lyrics come in a comparison to PAUL SIMON has to be made. It is how it all comes together on this one that brings that about. It stands out on account of all the right qualities it possesses and the way that it pieces them all together here. On “Without You” another song comes to the fore that you easily get lost in. It opens delicately and then flows into a song with a stark and natural essence that is naturally balanced as it transforms into something with a lucid allure going for it. The final track on the album is called “Home” and this is another wonderful song that doesn’t feel out of place among the rest. It is cradled delicately and it is a content listen because of that. The style that it is played in also seems to hold back and also rein everything in on the music side of things, but it tailors it all to be as sharp as it is.

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Album Reviews

Irish Artists

MYLES MANLEY AND THE LITTLE PEOPLE

Rock’N’Roll Vicar/Rock’N’Roll Priest

One of the best albums that we heard in 2012 and this is an album that in our opinion defines what it means for an album to be an under-rated gem. This album is a real work of genius. The opening track is a two minute wonder that is called “I Pay to Play to You”. The stripped back and laid bare approach on show here is very effective, but the real money is on where it leads as the song builds and opens up. What pours out from here just showcases an amazing talent at work and a comparison to GRANT LEE BUFFALO is not too far off the mark here. That point is underlined on next track “I Thought You Were On To Something” and with this song they are the ones who are onto something. The lyrics are not just sharp and clever on this one, but the tracking on the playing and the arrangement laid down here is incredible. The attention to detail on this song alone is outstanding and that it is equalised on all fronts really shows a serious talent to consider. Some more of the eccentric on “Easy Money” but look past all that and you see a song that has been well crafted. There is an undertone to it that seems to flirt with a reggae aspect merged with a distinctly indie sound. It is a terrific experiment if that was the intention here. If not it is still something terrific that marches on regardless.

“Pornstar” is a song that really transcends as it plays. From the changes in the tempo of the opening to how it becomes a poignant tune as it closes is a real classy effort. In between there is this jazz fusion sound that fizzles out. The progression of the song as a whole is really something that you don’t see every day. While “Easter Morning” is another tune that sees the band deliver another experiment in sound that is brilliantly done. One of the signature things that this album has is that no two tracks ever sound the same. A real music lover’s feast this album proves to be. The rhythm from this song is magnificent. The eccentric aspects that have been a noted feature of their live set are prominent on this track and they really light it up. Then with “Sleep Junky” there is a sense of

things becoming more intimate. This opens lushly and turns into something very tidy indeed. It sits back and just glides into itself with the utmost of ease and that lends it a leisurely feel that is well suited to it.

“Gotta Get out Of the Country” is a song with a real heft to it. The pace on it really commands it and it is in that same category of originality as other eccentric bands like TALKING HEADS. It is a splendid effort that has a lot of neat licks on the playing side of things that add flavour and substance to it. Then a distinctly heavier and a very much more dead on sound opens next song “I Pay To Play To You (part ii)”. This time about the second visit is the mirror plays like the opening version, but there is an added difference to it in the sound that is only a slight tweaking but what it does is really elevate the track.

“Defeat” is the track that closes the album out. A song that is sweet in how it sounds, but bitter with the lyrics.

None the less, what it is at the end of the day is a song that has a presence. That is achieved through some enraptured fluctuations on the playing side of things that bring a melodramatic side to proceedings but never drag it down or drag things out. The verdict here is that this is a really great album to listen to and one that would take pride of place in any collection. Get on this is what we say.

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Album Reviews

Irish Artists

THE RADIOACTIVE GRANDMA Self Titled The Radioactive Grandma are a band who are gathering a lot of momentum on the unsigned Irish music scene and are one of the acts we selected for our recent feature “The 10 Bands Of Christmas” that was released as a special edition of U&I Music Magazine. Their debut album is something that really lives up to the hype and it opens with “The Game”. It appeases as it opens. It opens very softly but then it begins to turn into something that both contends and entertains at the same time. There is a lot of bite to it when it gets going, but it still keeps everything wrapped up nice and tightly. The Cajon and acoustic guitar call the shots on the rhythmic side of things in a way that really suits, while on “Don’t Look Down” there is a more steely side to their playing. Things are run off a lot quicker here and it all goes from the off. The consistency and deep sound to the rhythm here is sweetly done. Then on “Another Wasted Line” that frenetic aspect of their sound is revealed and this is when they are at their full strength. The charged way that the vocals are delivered really comes across and they are a sober selling point on this one. It is all well controlled and kept in check, which culminates in a very neat and diligent effort from them.

“Chasing My Tail” has a secluded feel to how it sounds from the intro, but it is then leads into a song that knows where it is going. The ebb and flow to it is a strong feature here that shows how creative they are as a band. It still delivers a catchy little number that hits the ground running while at the same time bringing a high degree of well-crafted music into the equation from them. “Robot Song” has a harrowing feel from the lyrics. It is something more morose and poignant from the band that deviates from how the rest of the album has sounded up until this point. It is something that is taken seriously and it has a crafty little guitar riff on show that is a nice touch when applied. Similarly, “Waves” has a sense of the morose but they embrace it in a different way. That causes an instant comparison of the two songs but the differences in both are obvious. This track has a steadier pace that comes in to the mix when the song gets going and it is set up to embrace those faster

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felements. They do however have coined that extra something on next track “What Are You Running From”. It is great the way it opens. There is a blistering sound that comes from it that is a highly focussed effort of the Cajon and guitar. It is so prominent from the playing here that it has the ability to take the entire song and dictate the odds.

There can be no complaints on that front because this is a real tour-de-force and it bellows out from the off.

On “Fly with the Crows” things lead on from this ‘buzzing’ intro. From here the song coasts along on at a pace that is eased in and slowly fascinates. It is how it all builds that is the very important thing of note here. When it takes off it really flies and moves in a very positive direction that only ever heads forward. Then there is a more solemn sound to “Not Soon Enough”. That sees a more telling side pressed ahead from the band on this song that wouldn’t be the case with all the other tracks. It stands out for this ambitious approach and it cuts a fine rhythm out of the process here. That in turn makes it a decisive sounding tune. With “The Walls Have Ears” they close the album with a song that plays through commendably. The energy from the playing feeds into the sound and it rounds everything out. “Blinding Light” is a bonus track on the album.

The effort on show here is really a pleasant surprise to listen to when you play the album all the way through to the end. This is very progressive sounding and how the music is filtered on the song shows a band that are very in touch with their ability and confidence to put together a tune that challenges them. It has a soothing and grounded feel going for it that wears it really well.

Album Reviews

Irish Artists

CARRIED BY WAVES Softly Held Together “Softly Held Together” is the debut album from Cork experimental electronica act Carried By Waves. The fusion of various influences and genres is felt through on each single track and in equal measure so too is their experimental approach. “For The Absent” delves into the electro quite lavishly. There are also string arrangements that that make their presence felt in the background on the sound while the synth based aspects flourish. It is a very interesting collage of sound that gets things off to a very fine start. “Stranger Talk” is the next track that rings out off the back of a chime that is strikingly well composed. The rest of the arrangement is formed around this and it pumps in a rhythm that focuses the tempo quite well, which leaves a very good impression overall because what is engineered here has a great deal going for it. “Growing Up Together/We Go Together” is something that is very intuitive in how it sounds. It very much plays with the catchier elements of their sound and it has the real makings of something from the opening alone. It has a decadent feel to how it sounds when it does get into its stride that really soothes and suits everything that goes on the track in terms of playing and sound.

that leads to a steady rhythm coursing through it from the off. The retro elements are enhanced by the sharpness of the synth. These things all come together to realise something that is majestic and very deserving of the praise here. “Thoughts That Count” holds quite well from how it opens. There is a fondness that seems to come off the bright way that it begins. It then moves along very spiritedly and it collects as it gathers. That is what keeps everything that is on show here very tidy.

“Sleepless” is well orchestrated in terms of how it builds up and is spaced out. Things that are added to the sound or drop out do so appropriately and how they are substituted into the mix works extremely well. That is what drives the sound on this one forward while also showcasing musical ability. There is however something more ethereal about next song on the album “Parting Speech”.

The music side of things heralds in everything and it glides along on a pristine sound of evenly tempered beats that when applied don’t drop the ball. On account of this it bounces along neatly and the lavish side of the play sets in and sees it home. With “Lights/Climbing Trees” takes hold of the pace side of things and fires it up. The elements on show here formulate rather well and

“Aviatophobia/Carried in Your Palm” is something that sounds distinctly different to all the other tracks here.

It is marked out by an acoustic guitar that takes pride of place as it is strummed along. It also marks a simple sounding tune out and when the other elements come in around this it all pieces together. Next is “Expecting a Killer”. A tune that brings a more mellow feel to the playing side, with a fuller bass sound complimented by little electro riffs that are nicely scattered about on here. “Together Refrain” is the last track on the album and it short and to the point. It is something that brings the album to a close while also giving a sense that for the band everything musically from them has gone full circle. It is a track of substance even though it is brief, and it rounds the album off handsomely.

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Album Reviews

Irish Artists

SEVEN SUMMITS Fossils The sophomore album from Belfast five piece Seven Summit is one of those great little albums full of those constant little musical moments and touches that indicate that you are listening to something of substance. With first track “Sooner Or Later” being one of those songs that utilises some imagination to head in the right direction musically. The organ that opens it falls in with the rhythm quite deftly. That then produces this very clever and industrious tune that is closed around the whole beat here. On “The Worrier” the sound is something more concise but it is also very appealing and easy to listen to. That is down to the way that it is nurtured here. The hang from the guitar at the beginning talks the talk and walks the walk here, but it is not the only saving grace on show here. The arrangement is very well layered and when applied creates a gentle sound incredibly well suited to the lyrics. With “Know It All” everything just falls into the right place. It is very well sewn up and it has a way of drifting along that is quite refreshing. That lends a blissful evoke to how it goes about and it is a very affable tune indeed on account of this. It is one of those numbers that wraps you around the finger when it plays. The sound on it is so incredibly easy going that is hard not to dig it. While “Burning Heart” has a resounding bass line that is then accompanied by a grand piano sound that is lavishly applied. It is very silky sounding and it is a song that is carried off quite well. It is catchy and well deserving of inclusion on the album here because it is one of the better tracks on the album that has everything on the playing side well figured out.

The title track of the album follows that up next in “Fossils”. This is a very subdued sounding track but it has a progressive element to it that is rather interesting. It is when it all gets into its stride that you see it for the very good track that it is. Next track “Pig” is something that is incredibly quirky. That aside, how it rolls out and sounds as it plays is something that is very figurative. The band approach things in a way that removes the novelty aspects and brings something very serious to the table that manages to blend everything very effectively into something

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considerable here. It is also very full on with the charm side of things. There is something retro about “I Want Somebody” that immediately jumps off the page. That well bodied sound is incredibly dominant. How it comes to the fore really calls the shots here. It is well fronted off the back of this and, while the sound is simply put together, it never complicates the sound by adding things unnecessarily.

There is something very abstract sounding about how “On Record” begins. It is very well dissected in how all the different elements of the sound come together. They stand alone and the piano and lyrics have a slow and harrowing sense to them, but, having said that, they do very much belong together. “Twelve Signs” is very efficient and it broadens the sound that the band has. It begins with a safe and sheltered approach but it leans into something heavier.

Then it becomes somewhat more grandiose by dropping the rhythm side of things down to something slower, but as it does so it transforms what contains the body of the song. The closing track on the album “Okay” is another one of those songs that seems to open reservedly. Initially there is a lot of the playing side being treated in a reserved manner, however it does open up to allow the band bring some elements of the playing side to the reckoning. There is the ‘whirl’ from the guitar and the organ on the bridge that works very well when applied, but you also can’t help but get the sense that the holding back on the playing here detracts a bit from the track. That aside, it is still an album that is well worth checking out.

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Album Reviews

Irish Artists

THE FUNERAL SUITS Lily Of The Valley The album opens with “Mary’s Revenge”. This track has a synth sound underscoring it quite nicely off the back of a harmony sung in a capello style that is then infused with a rather sturdy guitar that melts into the drum and bass on the play. It is brandished with a deadly intent that really means business. It manages everything on the playing side in an accomplished fashion and drills that ethos into next song “Colour Fade”. Things cut across quite sharp on this one and when they drop out and back in it chases down calypso elements that are quite awash with the drum and bass elements of their sound. It is a very well worked effort. Again, there is a synth sound meeting a guitar that works the magic for their music on “Health” and this is just what the doctor ordered.

Everything that is surrounded by one element of the sound spins nicely off that and shows a very good judgment call with each application. The way it is all pitched is formatively done. There is a neat little play on the guitar that is very fetching as “Hands Down” opens that really applies the patient approach to things. It is finely weighted, while giving everything the time and space to breathe. It is a five minute plus track that has an unintentional melancholic feel to it.

However, it is in the calmer sound that the song is heralded in on the back of something rather significant that keeps you enticed and listening to the very end.

There is then something rather fetching about “All Those Friendly People” that instantly hooks you. The way everything comes to work on the whole thing is nothing short of the real deal. It has a get-up-and-go that is so energised here that is more of a statement of intent than a song. It really is rich on the synth side of things and the rest of the rhythm comes to pass in a fine fashion that really plays pure of heart.

That is why it sounds so good. “We Only Attack Ourselves” then delivers an introverted effort that simplifies things by having nothing but an acoustic guitar strumming along before the violin comes to feature in the play. It has a fulsome feel to it that suits that is nicely turned in. There is a sense of the well commanded that comes across on “Adventures/Misadventures”. That is aided by the guitar and drumming presenting themselves front and centre to guide this one along. There is something to be said for the way the guitar

resonates across this because it gives it an additional kick, but there are also little flushes playing thrown in for good measure that also elevate it. With “Stars Are Spaceships” they seem to play with a sultry, heavy drum and bass sound that picks up very well and then spreads out evenly. From there everything about it is well worked and they show a real competence to how it is all pieced together. In equal measure the style that shows through on the playing side is very commendable.

There is more of the grand organ playing on “Florida” as it opens. There are also these flashes of retro video game effects played in on it, but what is really the key point on the track here is how it sounds. There is a full on playing side of things that is backed up by the synth sound. It is also ‘fired up’ on the pace wise. Well delivered, spaced and arranged on that front. “Machines Too” hauntingly soars through the air with how it sounds. It takes a step back when it plays in and that steadies it all. That little bit of subtlety is something that refines the entire song on the sound aspects of things. The real clever bit to it though is how that draws the margins for the tempo. It is a considerably clever little thing that makes a big difference here and really impresses. While “I Still Love the High” is a brief song that closes the album. It none the less has a real gravitas that raises the bar. It opens with a stirring guitar sound that drops out and comes back in where it should. While the background gospel elements meet up nicely when the real playing side comes into the reckoning.

It is a real standout tune that keeps everything very much in check while taking the time to sit back and let the music play.

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Album Reviews

International Act

DORIS BRENDEL Not Utopia The album “Not Utopia” marks a change in direction for Doris Brendel by being a studio album as opposed to a live album like previous efforts. It opens with “Lonely Girl” and there is something about the way that all the different sides of the playing piece together. It has a scope to it that reflects the time and dedication on the production side. The vocals are well matched to her husky drawl seems well suited to the heavy sound of the drum and bass on here. “Ebay” is the second track on the album. It marks a different direction because it has a placid opening that the sound runs with on the opening. It is a song that is driven by the piano and the other softer arrangements and marks a very distinct contrast to the opening track. It adds little flashes of softer playing here and there that bring out the sound and give it a motivation. It is deftly done and the song is able to feed off that to its benefit. “Drawing The Line” scales back things on the playing side and runs from a defined acoustic guitar rhythm. That sets it all up and again it plays with the lighter sounds to produce something that is evenly balanced. It shifts the tempo about and adds other elements musically, but still maintains something consistent that is easy listening all the way. “Going Out” sees a really good pop song come in to the reckoning on things here. There are synth elements that run through here that really give it volume. The catchy aspects of it are treated properly and it does have a throwback going for it that makes it an interesting listen.

On “Passionate Weekend” has something about the sound here that seems to ferment. It is all these interesting orchestral applications that are very interesting. Here there are pan pipes at work that tie in with something that is pronounced and broad sounding. The inventiveness of it shows a great deal on the playing side that leaves a lot to be appreciated. With “Beyond Words” the contentment behind the string arrangements is what shapes the song. It sees it sit into a settled pattern and while it doesn’t seem to match the grander aspects of the other tracks, it does however show a great deal of expression through the music. “Too Bad To Be Good” attempts to put that right.

This is another song that reverts back to the formula of the opening track on the album and is the better for it.

There is a percussive way that it plays that opens out on the song and takes it away from being a carbon copy. It borrows just enough from it to give it a catalyst. It then has a beat to it that skips into things and commendably finds what it is looking for. With “Conflicted” there is something about it that stands out. It takes the time to come into things and the timing is something that works

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in spades. It peters it out and lends to it something that has a morose sentiment underlying the heavier aspects of the playing.

“Not Utopia” opens with a very interesting synth sound that seems to have a lot invested in it. The guitar that wraps around the song and gives it form is decently applied. It then seems to shift in the sound and maybe loses a little something in the process for that. With “Kind To Be Cruel” a very distilled sound comes in to the reckoning, and so too does a song that really runs along finely. This dazzles and it does it so effortlessly that it really catches everything just right. The tempo is so well suited and the grander vocal harmonies step up to the plate. This is something on the album that elevates it above the others on account of how good it is. The ethereal qualities on show here are beautiful and encouraging to listen to. What comes through on next song “Thank You” is something of a simple sounding song that delivers quite effectively in how it is applied. It runs quite well and the voice here is what draws you in and also draws it out. It is a sweeping little number that doesn’t do anything too extravagant and the keeping it simple approach is what works for it. The arrangement on show is something that also works for this. With “You’re So Not” the music is something that comes first when it comes to the sound. It has a lot written into the playing. There are woodwind elements that give it a real sense of closeness that you have to respect. That they also sit alongside some heavier elements that are well weighted and delivered is also an impressive trait. There is a bonus track on the album here called “She Just Won’t Eat” that has a sprightly sound going for it. Even though the lyrics and the subject matter are not a cheerful subject there is still something upbeat projected from how it sounds. It is an intriguing sound to listen to. “Drawing The Line” (Radio Edit) closes out the album.

Album Reviews

International Act

THE THESPIANS Haven’t You Heard?

The debut album from Liverpool band THE THESPIANS is one of those little gems that have the rawness of the band ingrained in the DNA of every track. It opens up with “Haven’t You Heard?” which cruises along. That is all down to the vibrant sound that comes across from some very smart playing. There is a raw quality on the whole sound here that is very well pitched and accomplished at the same time. It all kicks in and is finely played with the vocals having a gravelly aspect that merges with the playing to give it that lean edge. Then “I Don’t Care” is one of those songs that impresses you from the very second you hear it. This has real pace, but it is well structured and has a lot of credibility going for it. There is angst to it that is carried off impressively and this could also become one of those tracks that can become a classic for a disenfranchised generation.

That is then followed up by “Love and Music” which really has something going for it that marks them out as one of the most promising indie bands on the Liverpool circuit. They turn in a neat tune here that has a fine rhythm coming off the drumming and guitar work on show. This gives it that drive that allows it to hit the ground running with such exuberance. On next song “People You Don’t Understand” there is an expansion to their sound.

Both in terms of the lyrics and the ambition, yet nothing has to be sacrificed to make way for anything here. It fits in nicely with the sound that the band have, while also having something about it that gives you the sense of hearing a band growing in confidence with their song writing ability here.

Fine guitar work welcomes in “Reason To Reason” that is very well controlled and keeps all the pieces together. It also draws a comparison to bands like THE STROKES because of how fresh it sounds.

There is a determining style on the playing that is also a standout feature on show here. The feint little musical riffs that are applied are very effective and they bring a sense of thrill to how it plays.

While next song may be called “So So” it is any-

thing but. What is on show here is very much on the money. It has a laid back vibe to it. There is a great ‘knack’ to how it sounds from the off and as the song plays on everything that comes in on the play not just fleshes it out, but it seems to extend an elevation to things. It is one of those tunes that you can just listen to over and over and they don’t come around too often.

There is something about the scratchy way “The Crash” opens that really pulls you in. From there the pace is a constant and the frenetic playing is met with vocals that keep up considerably. Everything on show here is very much on the money. The way that it roars along gives it an incredible presence that never lets up. It is impressive how it all holds together here. With the resonance from the guitar turning it all on with a lush style that amounts to a real star turn here.

The closing track on the album is “Too Fast to Live” which is something that sees the philosophical ponderings of the lyric come in with a very urban indie sound.

It does seem to keep the pace very much in check. That allows it to have a steady build up and get into things with real aplomb. They add some more pace and steel on their sound musically with the second verse. It really evolves the song and also sees it become a track that has all the elements on show balanced out. The band has produced a real gem of an album here, and while it may only be eight tracks in total it still represents something significant and important musically.

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Album Reviews

International Act

MRS. MAGICIAN Strange Heaven When our San Francisco and Los Angeles music networks combine their efforts and highly recommend a band to us, we always know that they have found something very special for us. When we listened to “Strange Heaven”, the debut album from the San Diego based band Mrs. Magician that proved to be the case. Announcing the band is the opening track “Nightlife” which hits you with how catchy and groovy it is. It has an enviously cool sound that is distinctly west coast, while also containing something of a gritty freshness about it. “There Is No God” meets everything dead on and it shows no compromise. It draws a comparison with THE BEACH BOYS. It is somewhat soulful and has definitive hooks on the sound that really makes it sweet. It is an effort that seems out of time, but not out of place. There is a great lot to admire about it. They then seem to repeat the trick with “Don’t Flatter Yourself”. A song that plays lazy and catchy riffs all the way through like they grow on trees but still pursues and pushes a song of incredible force across at you. A piece of work that is well worked sums it up rather finely because that is exactly what it is. “The Spells” also plays exceptionally catchy and it finds itself a nice comfortable groove to play in. It has a real good pull off how it sounds. The guitar that is played from the lead guitar turns on the style and wraps it around the drumming and bass to produce something with real feeling that is very slick.

“Actual Pain” pounds into the rhythm from the off, with the guitar on it producing a rolling sound that really plays it forward with true resonance. It is bright and charges along with a real skip in its step. Then there is “Heaven” and it holds back on the opening. The drumming and bass line take over the intro, and then the rest of the instrumentation lines up and falls in place with a song that is softer and slower to the others. The chimes and the rest of the song have a hazy quality that very much hooks you when you hear it. That is because there is a tenderness going on here that makes that work. Then things move back into the faster pace on “True Blues” and this one is really well controlled. There is curve that the rhythm follows on here that is interesting. It begins with a heavy sound that thunderously plays in, but that then drops down and plays out and into something that is more controlled and reserved. It sounds easier when it does that and then it gets back into the heavy thunderous sound that it starts with, and it is the way the full circle is achieved on the sound that stands out. Following that is “Prescription Vision” that is back to the laid back and catchy sound of the earlier efforts. This one has some heartfelt lyrics about a lost love. That somewhat whimsical aspect shines

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through to make everything incredibly easy going and easy to like.

“I’m Gonna Hangout with the Lesbians Next Door & Drop Acid” has these incredible licks on show (no pun intended) that really stand out. They shape the way the tune is rolled out. It is loud, brash and very well constructed and the blues aspects on show here are very well mapped out. On next song "Hours of the Night” there is choppy sound to the guitar that draws a comparison with WEEZER. There is also a decent pace that picks up on it that gives it a little bit of a raw sound. The pace is really picked up and consistently maintained on “Dead 80’s”. It coasts along here effortlessly and it is the purity of how it sounds that is incredible. It all comes off a simple formula of a decent guitar riff that meets a steady drum beat that is as imaginative as it is catchy.

“Videodrome” is another effort from the band that captures the imagination on account of how vibrant it sounds. That is created here by the sturdy guitar and drumming on show that safely sees everything home. It also lends to it a rhythm that can drop out and still capably come back in when it does without the foot being taken off the pedal. That is a very good trick that they pull off with their sound when it happens. Their closing number “You Can’t Be My Man” really is something to behold. It has a sound about it that has an enormous force about it that wraps around the whole body of the song. It effortlessly does so, with the band also embracing a slight change in direction on their sound here. It still sounds lavish but it seems to furnish an edgier sound here that is not as prominent until now. It is not out of place either and it what it does is send the album out on a real high.

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Album Reviews

International Act

THE HOLLOW THREADS Strands Another band that was recommended to us through the combined efforts of both our Los Angeles and San Francisco based music networks are The Hollow Threads. The Pasadena natives have a sound that is experimental and alternative, but one that also showcases their ability to understand the boundaries of music and push beyond them in their sound. Once you know that about them you can then appreciate their album that little bit more.

The album opens with “Temporal Lobe” which is a sophisticated track that merges ambience to synth beats. Yet it somehow remains elegant and mysterious. The elements that come together complement each other and the way it is all suited is quite interesting. The tracking from the opening on “Baby Shoes” finely keeps the song on course. It sifts the sound out in the right places while still keeping the lighter sounds at bay from the heavier. By doing that a harmony and balance are maintained on here that is an impressive showing. There is a heartfelt drift that coasts in from next song “The Shivers” that also helps it come across as intriguing and beguiling. The sound on it here is clockwork-like and paints something vague while also conveying clarity behind the play. That is what impresses about it and they do it without asking anything of you in the process. On next song “Wide Awake” the vocals feature PATRICK JOSEPH, and they showcase some more expansive qualities of their sound. There is an embrace on the electro here that produces a lucid and loosely-fitting sound. That charges a drum machine beat while still retaining a great degree of composure that keeps things on the fringes without marginalising anything in the process.

There is a great contrast between the next two songs off the album. With “Sad Season” there is something of the formal to how it all pieces together. Even though it is pieced together finely there is still a sense of the fractured to how it sounds and plays.

That juxtaposition is a very impressive feat that is accomplished in a formidable fashion. While “Namesake” is not as subdued and constrained. Instead it is more expansive and there is a very oriental hue that scores the undertone nicely. This is a real exercise in the expansive from the band that they pull off with aplomb. Then the stirring “What The Ghosts Say” is next. This is something that harbours gothic elements

in the mix while containing them behind a veneer of finely worked electro and synth. That fusion is an imaginative process that is well thought out and it accommodates for the rhythm while allowing the finer elements to play in effectively.

With “We Could Be Here” there is a freestyle element scratching away that breathes a real sense of life into it.

That sits neatly on the tempo that the drum machine casts over it. The real work that is on show here is when it all progresses. It speeds up the pace and that is all, but is plays as if it has been a completely reworked track for it. There is nothing added but it sounds as if there is. Again there is something poignant about “With Shape” that is fed admirably by the accompanying aspects. The things that work about it are not just restricted to the sound and playing, but the vocals and the arrangement of them really suit what is intended here. It seduces as it plays and, while not as dangerous as a siren song, it does enthral just as mystically.

The aspects that unravel on “Speakeasy” do so in a way that it is all let out a leisurely pace. There is still something of substance behind it that is captivating. This is down to a cautious feel that comes off the track that gives it a fragile feel that is very captivating, while looming in the background are other lush elements that make it work. “Never Let Me Go” is a bonus track on the album here that seems to flit between the sombre and the menacing with the tone set down here. Then it brings both of them together as it progresses and that fusion sees it profit considerably when they come together. Likewise for the track when that fusion is dropped out of proceedings. It has a coldness to it that is ever-present and this casts a blanket over things keeping it all somewhat in the morose but also in the likeable.

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Album Reviews

International Act

BRITTA KAY Quoth: The Roughcuts Of Britta K From Camarillo, California BRITTA KAY is an artist that we got the time to know on the Dublin music scene towards the end of the year through meeting her at a number of gigs supporting unsigned and local artists. Her album “Quoth” is a very intriguing piece of work that really captivates you when you listen to it. Her voice is the only musical instrument on show with the opening track “Attention”. This is a very emphatic effort that sees her voice ring out across the entire score on an original tune. There is a harrowing and well fronted side of this that sweeps you up in it. The piano that opens up next track “I Missed You” really sees it go by gracefully. The vocal performance is exceptional and it conveys a true sense of depth. There is a very well shaken up approach taken on “Quoth”. With a backing vocal sitting in place as the rhythm, there is another a capello effort firmly on show again. What also gives it a striking quality that drives it on are the way that the different vocal performances meet and meander it out. It has a barbershop quartet lull to it but somehow it is a little intriguing for its own musical values that are declared here.

“Lucifer” has a devilish sway about it. There is something in the lyrics that agonises over the subject matter. It is this sheen that presses it forward. It sits within a confined space but it still doesn’t restrict the way that the movement of it all pushes forward. This is an interesting prospect it must be said. The manner that “The Older Sentiments” opens holds a rhythm and tempo that are somewhat tragic sounding. They stir the piano arrangements to give numbness to how it all comes across. It has a very sterile and unsettling demeanour about it indeed. While with “Open” things seem somewhat more distant in the sound of things. It traps in something here that is derivative to the sound overal. That open

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ended feel to it is something that is very captivating and at the same time very nonchalant. It is an impressive lift to it and leaves a sense of wonderment to it that closes it appropriately.

Something about “The Mermaid Song” delivers a perceived song that immerses itself inside itself. There is a sense of true hibernation that comes to the surface as the song warms up. It is a song that comes across as being highly immersed in itself and it has harrowing elements in the lyrics that carry it out. With next song “Like I Believe” there is an obvious fragile nature that is nurtured by the artist. It also allows it to implicitly embrace everything on a personal level. By doing so it extends upon proceedings here an embellished and rousing effort that has real purpose and intent driving it on. To finish out the album is “Beautiful Man” and this one is the song album that has the most closeness to it. Everything on the playing side here is equalled out by a mastery behind the playing that flows into the arrangement to take all the chords on a journey of sorts. It opens out and embraces all that springs forth from doing so. It also has a sheltered and buxom like way of bringing everything back into the fold as easily as it lets it all out.

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Album Reviews

International Act

UMMAGMA Antigravity In our first issue we reviewed the self-titled debut album

by Ukrainian/Canadian duo UMMAGMA which was sent to us in a press kit. That album formed one half of a pair of releases and “Antigravity” makes up the second half.

The opening track here is called “Lama” and this is something that touches on the boundaries of what you can do as a musician when it comes to sound. The approach experimenting with sound here results in an album from start to finish that is a true music lover’s album. There is a great progression from the assured way it opens into how it plays through that sees it truly languish in the psyche for the right reasons. What they bring to next track “Micro Macro” is something interesting. It has a way to it that sees it take a stance and be dreamy in the approach, but the beat box that cuts in on the sound over the acoustic playing is quite innovative. It brings out an additional quality here and also in what was already there. The conveyance of “Back To You” harks back to a bygone era musically. This is something that invests a lot on the psychedelic way it comes across. It also puts on a good show and this track has a mainstream appeal going for it. The rhythm on show is steady and it seems to differ from the others because it creates an end product that shoulders the sound here rather than tries to change it. It is more inclined in its sounding to add to the existing structure than take away from it and that is why it sounds as good as it does. While with “Kiev” it lets the vocals come to the fore. That sees it somehow draw comparisons with bands like ST. ETIENNE or THE VINCENTS because of the seductive way it comes across, but on the back of something very sultry and new wave.

“Live And Let Die” is a song that somehow plays into dream pop territory and still maintains its new wave street credibility. It presses the sound on show together and what it creates from that amalgamation is an animated process. An animated process that is lucid and fluid at the same time, and there is a feel of a follow through of that process on next track “Colors”. This plays the elements out and plays them in with equal measure.

That sees the sound rebound from the competent showing on the playing side of things here. There is a lot to like about “Photographer”. It carries itself off on the back of an appropriately placed acoustic rhythm that sets the tempo all the way. It leads the sound into a territory that is comfortable while still being on the alternative and experimental side of things. It impresses also and concentrates all of the creative side into the process which is why the desired result is achieved. There is a courteous appeal on show with “Beautiful Moment”. The track

itself is something of two halves really. It opens calmly and the application of the string movements give it a lilt that then grow into somehow incorporate a sound that comes across as imbuing elements of afro-Celt music in the process. That second half of the music brings the deeper sounding elements to the mix here. ‘’Autumnmania” is a track that is included here and based on that alone it makes the album worth tracking down and adding to your collection. It is sharp with the drum machine that kicks in on it. That is then met with a bass and guitar that slide in and give it a bounce and pick-up that really sail it along. It is nothing short of excellent from start to finish here. “Balkanofellini” seems to imbue a quirky sound with Eastern European folk that seem to meet jazz elements. The whole process is very obscure but interesting none the less. The brass aspects that come into play here give it some additional shape and show how clever it is, not just in how it sounds, but in how it all comes together. The steel drum on it overlays the guitar on “Titry” and follows into a calypso sound that invigorates things in a big way. It is very well fashioned and the temp on show is a stylish little bit of work. There is a loom from the playing that is also fetching and shows a real expansion in terms of how their experimental approach yields results on this one. While “1+1=3” is the title, they also show that they have done their sums when it comes to this one. Everything about what is on show here really adds up. While it doesn’t necessarily have the catchy side of the playing going on, it does incorporate a fusion of elements that are designed to test the waters when it comes to sound production. For that to work things have to really be daring and push boundaries. That is exactly what happens with the alternative and progressive approach that is applied.

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EP Reviews THE CHOIR INVISIBLE Hundreds And Thousands

Irish Artists

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“Hundreds And Thousands” gets things underway on the EP here. It has a really incredible rhythm that appears to burst at the seams and it amounts to something very credible here. It gives a formative sound to how it all plays out. The guitar seems to cut in on the playing while the drum and bass seem to do their own thing. It is how the identity seems to be ascribed to the different playing sections that results in the song playing as effectively as it does. This is an impressive opening to the EP and from here it lays down the marker that the rest of the tracks match up to. “Overseas” has this really ingenious rattle off the drumming that is rolled out and sets in motion the way that the whole song will be carried off. The sweeping rhythm to it is very catchy and the guitar riff that cuts across it also adds an added depth to things. It holds it closely all the way and the playing is very direct. On next song “A French Kiss” the playing immediately gives it a heartfelt impact from the intro. Then the playing comes in around that and it all builds up gradually while staying within the lines of how soft it sounds. There is something low brow about it that conceals something underneath the music here. There is a “shoegazer” aspect on show here, but it is only a brief flirtation if there is one. It is a clever track that is truly well pieced together and the spacing in between the lifts and drops of the sound are expertly timed.

“Wonderful Misery” doesn’t just have a great title. It also has a rich playing side to it that is innovative and catchy at the same time. It lets it all out and what a tremendous effort it is. It aligns everything here in an expert fashion that realises everything that the song is about. That is always a good sign and the luminous catches form the guitar playing bear real fruit on here. Excellent guitar riffs seem to be the band’s forte and on “Richard & Elizabeth”. This time around there is a resilient and a true resonance to how it all sounds, but also in how it is all held together. It is also very energetic and injects a seriou s pace on to the whole

Things get underway with an unmistakeable bout of authority here with “Set It On Fire” and this echoes and reverberates in equal measure on the vocals and the playing. It measures it nicely and they set out something with their stall that is undeniably indie. The heavy sounding bass and drums sitting inside the guitar rhythm really shake it all up. It hits hard and fast because that is the way it has all been set up. “Into Oblivion” has an intro that is indebted to the drumming, but not wholly reliant upon it. There is a real zip coming off the guitar here that sees it into things. There is also something about it that leans towards an American angle on the sound. It fills the air with a charge as it plays and there is a level of control behind all of this.

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of the song. While “Your Boyfriend” is another song that really exemplifies how good this band are. There is a bit of a rambling feel to how all plays. The curt elements on show are met with some very sharp guitar and the bass line is decisive on it here. It is all tempered by the drumming to show that all round the song gels and holds firm. In particular when the bridge comes in and replaces the softer approach with something that is hard edged and not out of place. Then to fall back in with the original way it plays is another ace up their sleeve that they play really well here. This could be one of those unsung gems that make it onto many a best of list later on in 2013. If it doesn’t it is a little bit unfair on the band.

The air of acoustic opens “Shine A Light” and then sees the guitar and the rest of the grander sounding elements come in on top of this.

This boxes quite cleverly in places and there is a very English sound to it that it is indebted to in a slight way. There is a bit of a mantra to the bridge that is a nice application before it is overloaded with the guitar, but it none the less still remains a decent effort from the band. With “When All Else Fails” there is a synth element playing it in that drops out after the intro and comes back in with equal measure along the way through the track. That said it does hang nicely off the hooks and bass line that litter the track here. It has a sturdiness going for it. Then closing number is “16” and this is something that turns in an effort that does pique the interest. There is the tempo on it that gives some shape and form to it that exudes a little of the classy. While there is something else going for it here that touches on the somewhat heartfelt.

EP Reviews THE ESKIES Sherry Go Round

Irish Artists

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“Down, Down, Down” has a lavish polka element to it that meets an even tempo. There is a sense of bravado to the entire affair with the lyrics sitting nicely inside this structure. It really dazzles as it plays through and the mandolin scores it very finely here. It has a curtsey about how it all comes together that makes it feel very refined and it impresses highly off the back of this. The sound on “Who’s Crying Now” is something that comes across as a blend of traditional folk that meets bluegrass. On the tempo side of things everything is highly charged here. It moves with a real sense of adventure and it all connects up in a way that really joins the dots. It is vibrant and it is very full on with how it flows. A song well worth tracking down for those reasons alone.

“Jailhouse Son” is something that has a swagger to it. It sounds bad ass from the very second it opens. That piques the interest considerably.

How it goes about its business is very much on the money. It is one of those songs that is a real smooth number. The bass seems to hone it all in and then the bridge on it casts off any shackles that may have been holding it back. There is also a soulful harmony that comes from the backing vocals that is very effective here. It is a classy affair all the way through with “Momma Never Told Me”. This exudes nothing

THOSE CREEPS Mixtape #1

short of brilliance all the way. There is a serious pomp to it and it hits all the heights that are expected of great tune. This one is high on the wow factor. Then “Wild, Wild Heart” is the final track on the EP. It has a rather distinguished sound to it that really sees it hit fine form. There is a great tempo to it that is finely tuned in to what they are all about musically. It sails along confidently as it plays. It is marvellous and impressive in equal measure.

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The first track on show here is the brief “Hotplate Harry” and this is one of those songs that sets out the intentions for a band and their sound from the off. It is one minute and twenty seven seconds of an absolute belter of a tune. That is all that has to be said on that front. Go check it out. On next track “Doghouse” things are played with a quirky sense but what is on show here with the way it all plays together is an exceptional effort. This has a sound to it that is definitively laid back and cocksure at the same time. The guitar on show is forcefully well rounded and it feeds into the whole of this in a way that gives it an incredible zest. It is a remarkable track indeed.

That is then followed up by “Mr. Mental” which coasts along off the opening guitar riff and then eases into a transition that easily sees a top class tune banged out. It is also a serious instrumental that cut glass off how sharp the overall sound is.

With “Chocolate Milk” there is something about the lyrics that are so off the wall that logic dictates they shouldn’t and couldn’t work with being in a song. Well this merely throws the rule book out the window and gets on with the task at hand. It personifies an indelible charm that really sells this. The magic is in the overall sound and the guitar storms in on the sound and gives it not just heart, but a real wow factor. That wow factor is repeated on “I Thought You Said You’d Catch Me When I Fall”. This is a very heartfelt song even though it sits well inside the confines of a song that could easily be classified as West Coast American. It is a well thought out piece of work that has a hard edge to it that punches you in the face when it all kicks off. The hard edge of this gives it a truer sense of being a punk classic just as easily as it would be for something that speaks to an entire disenfranchised generation.

The final track on show here is called “Serious Creepin’” and it is worth checking out for the opening guitar on it alone. It steadies it all up and the drum and bass come into the reckoning on it also. This explodes into something that takes your breath away. That it is coming from a band on the Irish music scene may require a double check for some upon hearing this because it clearly has Los Angeles written all over how it comes across. This is one of those songs that really pieces everything together and has already figured out what it is about before the first chord is struck. How good this is borders on the dangerous because it shows a lot of bands how it should be done.

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EP Reviews

Irish Artists

COMMON WOLF Self Titled

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“Take It All” storms into proceedings here and the way that it all jams together is incredibly energetic. In addition to that fine rhythm that sends it along there is an incredibly astute lyrical flurry on show here that is absolutely amazing to hear.

The focus of how the bass line plays would seem to mark their territory very comfortably here. There is also something about how this goes that seems to flirt with new wave elements while still having a starkness going for it. There is a very urban and industrial vibe going for this on account of how much is going on with the music side of things coming into play.

There is a synth aspect on show with “Goodbye” that easily passes muster. Taking that out of the equation for now and concentrating on the rest of the sound it all amounts up to something that is elegant sounding. It has a high brow chic going for it that sits neatly inside the rhythm and how the guitar and bass line come in around things is remarkable work.

They then meet up with the synth and everything about is becomes retro. It still sounds glamorous and there would be no mistaking this as a song that valued style over substance.

Instead it gives an incredible amount of dedication to combining the two and that is what is on show here with this track.

CONOR MCATEER ELBOW ROOM

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The pitch from “This Night”, albeit only a demo at the moment, showcases an incredible amount of potential. It sounds lucrative and the guitar on show pinches the air. It is a sturdy and very accomplished sounding piece of work. That is indicative of the sound on this one overall and it is glorious with how it takes. The scatty sounding features on it really frame it. The drum and bass aspects form around it brilliantly and give it a sense of closure while leaving it play out as an open book here.

Derry native CONOR MCATEER recently released his EP “Elbow Room” on Noisetrade as a free sampler and it is something well worth checking out. The title track of the EP gets things underway and this is something that whispers softly as it pours out the lyrics on the playing side of things.

It plays like a combination of GRANT LEE BUFFALO meets JOHN LENNON. It is something that has an incredible heft to it all hiding behind these lightly applied aspects of playing that give it something that puts meat on the bones. That is then followed by “Gin And Tonic”. This positions the playing at the front and shows a good deal of imagination. The accordion on the playing soothes in some comfort on the track. It gives it a sense of a platonic romance when considered alongside the lyrics and the sentiment of them. “Grace” languishes off the back of the guitar and has a comely conviction to it. It also draws comparisons in the sound with MIKE SCOTT for the vocals. That is three incredible artists to be compared with and this song has a good construct that hangs over it. There is a lush and brittle feel that is conveyed on the playing and lyrics here and they are very well suited to each other. The final track is called “Get Over Him (And Get Under Me)” and is a heartfelt ode to a lost love. It is a song with a lucid and candid aspect that is very fetching. The song does have a depth and reach going for it that manage to pull you in and give it an added level of appreciation for how they are applied.

EP Reviews

Irish Artist / International Act

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PIGSASPEOPLE The First 4 Months

PIGSASPEOPLE are a Belfast band heavy on the noise and equally capable of delivering when they play live. To listen to their EP without understanding or appreciating those aspects about what they are about could lead to them being easily dismissed out of hand on first listen. Knowing that about them gives a listener an advantage because they will then know a little bit more about what the band is about. With the opening track on the EP here “Glass Friends” launching into everything. It packs the rhythm into the sound and it locks it down tight. There is a shove to how they go about everything on the track that sees the heavier elements of their sound come to the fore. That sees the focus of it project onto the sound here and they showcase a high level of competence on that front. With “Gutters” the sound seems to peel away under a sharper rhythm. That is also more inclined to play on the faster front when it comes to the pace and tempo of things. Those elements do factor in expertly on here with the guitar. The sound itself revels in being something that incorporates punk and metal to the process. How that works is truly to the benefit of the band and showcases their ability and sets them apart from being just another noise machine on stage.

“The Quiet Earth” brings something different on the sound front of things. It seems to hold back and show a

10 From Plymouth, LAND OF THE GIANTS is a band that really incorporates the very essence of life into their sound. It is one of the characteristics about their stage performances that stands out and always sees them so well received. On “Best Days” there is no disputing this claim. The song vibrantly bursts into life from the off and gets everything off the ground. There are elements of ska mixed up in things and that seems to give an added degree of class to how it runs. The catchy hooks of the guitar playing and the way they meet the rich brass sound on display surge it along and give it a revered shuffle that seals the deal. It is an excellent track to listen to. Again the brass sound takes prominence on “Love Me If You Dare” and as it takes off and it

progressive side to their play that is really interesting and plays in a proper expansive process all the way. It is high on the instrumental before it brings in the signature elements of the band to proceedings. It is a full on instrumental and everything in show here works. “Cities” is the final track on here. This is something that shows a lot more than the sum of its parts. It charges into it all from the off and the playing is masterfully done. The rhythm from the guitar and bass give it a true form that it adheres to all the way and sees it come across as an impressive that shines through.

gives it a true pert quality. It fires it up and still manages to do it by keeping things laid back and letting the music do the talking.

It is a thrifty sounding number that capitalises on its strengths here. It has a real swagger to it.

With “Golden” the guitar plucks away and sees things in. There is a more sombre tone adopted here, but it really suits the voice of ANDREW QUICK. The gravely tone he has is tailor made for this song here. This is the band showing that the carefree aspects of their music can be matched on the serious side of things just as well. This really shows some impeccable credentials and composure all round. Then with “Hide The Sausage” the rhythm that is on show really makes all the right moves. It locks in an incredible energy that gives it an enormous lift. It is an immensely satisfying song to listen to and it moves you along with it. What is siphoned off on the sound with the trumpet and saxophone elements in the movements give it a sway that enriches what is already there. To close off the EP is a track called “Joanna” and this has something smooth that comes off the play. The choppy sound that is placed in here with the guitar sees the rhythm gradually settle in. It is well spaced and timed and it knocks it out of the park when it all takes off. The way it plays skids off the pace and is nothing short of brilliantly done.

It is expertise handled by experts in short.

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EP Reviews

International Acts

KATHRYN HALLBERG Nocturnal

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A recommendation that comes courtesy of our Texas based music network, the Houston native is also an artist who shows an incredible amount of potential given her age. She underlines the old adage that if you are good enough, you are old enough. There is a fine stride to opening track “Move On” that really showcases something about it that has a withdrawn structure underplaying all the way. It has a soulful pick up that cuts and runs. When it does so it also shows a wonderful vocal range that she has and none of the work on show here is down to any guesswork. “Lovely” is something of a love affair with her Southern music roots. The violin and the rest of the instrumental all sparkle here and they really shine. It raises the bar and the country elements of it are really prominent. It is a tune that rallies around the heartfelt buzz that the playing is able to induce. Then with “Nocturnal” another fine effort is turned in. The time is taken for it to collect and gather its thoughts. There is something of the magical about it that sees a wistful approach pull something out of the bag that impresses quite rigorously. The tranquil way that it all pieces together really is commendable feature that powers it forward while also letting it do so at a rate that it is comfortable with.

“Whole Lot Better” brings an edgier sound to things and throws off any misconceptions about her music being all about a good country girl and clean living. This brings a raunchier side to the lyrics and the sound also seems to match the ambition here. It brings an authority and a very refined blues sound to go with the weight

JESSICA KAYE It Is What It Is

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This is a very empowering piece of work that muscles its way into proceedings but it doesn’t outstay the welcome either. Then to close out the EP is “Hear, Say, See”. This takes what it wants from the sound and runs with it. There is something very sultry about it and it comes across as something that flirts with gypsy traits.

It really puts a lot of telling behind the work and this gives it a true sense of gravitas. It then plays elegantly as the bridge is factored in and it does pull you in with the playing. The arrangement and production side of things here have a lot of work and time invested in them and this really comes to the fore.

JESSICA KAYE is an artist from Montreal and her new E.P. “It Is What It Is” consists of five tracks that showcase an array of ingenuity on each one.

“The Best” opens things up here and this has a rich acoustic vein. There are spirited aspects on show behind the playing here that benefit from the cautious approach taken. There are also elements to it that catch everything just right when it all picks up, while on the whole also smoothly playing out. This has a refined sound to it and it unfurls as it plays in a very credible fashion. There is a taut and longing aspect that comes off the guitar on “Third Time’s A Charm”. There are also some very interesting musical elements on show, in particular the application of a xylophone into the process, and what they bring to proceedings here is duly noted. On “All You Had To Do” something about really rings true. It has an essence that comes off the playing and this really does a lot more than sugar coat the sound here. It brings a true sense of subtlety to how it all plays. The flourish to how the chords are struck brings a finesse and texture that pad it out. They combine to pad out how it sounds and give to it a freedom of expression that enhances the authenticity of the subject matter. “Motives And Moves” (feat. CLARITY) shows a mature perception. That is not restricted to the rhythm and pace, but the heartfelt and nostalgic aspects of the lyrics. The steadiness of how it all plays impresses, but the piece de resistance is all on show when the rap lyrics come into the mix. They keep it all tied inside the lines that have been set out from the beginning and then drop out at the appropriate moment. With “Outro” there is a stinging feel to the guitar on show. That also gives it a stirring quality that stands it in good stead. The entire way that it plays flushes out neatly. There are little delicate touches imbued upon it and how they are applied gives it a true ambience that curtails everything on it towards the direction it needs to head in musically.

4x4

www.youtube.com/uandimusicagency The U&I 4x4 is the editor’s pick of four videos selected from our music networks and featured as a dedicated playlist on our YouTube channel.

The January 2013 4x4 consists of the following artists: (The respective music network is indicated in brackets)

Ali Ingle “Ribcage” (Liverpool)

Funzo feat.Leiko “Take Some Time” (Dublin)

Vigo Thieves “Forever” (Glasgow/Edinburgh)

Computer Magic “The End Of Time” (New York) 47

www.uandimusicagency.com

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