U&I Music Magazine (March 2013 Issue)

All aboard The Ceol Train!

- Exclusive interview with MARK DOYLE

March 2013 Issue

ready for war!

TOY SOLDIER BAND OF THE MONTH LIVE REVIEWS: The Ruby Sessions Saucy Sundays Dimestore Recordings

Hassle Merchants The Cujo Family The Juice

Album Reviews EP Reviews March 4x4

CONTENTS: 1-2 The Ceol Train 3-5 Band of the Month - TOY SOLDIER

U & I Music Magazine

6-11 12-13 14-17 18 19-21 22-24 25-28

Phillip Ó’ Baoighhealláin (Managing Director/Editor) Graphic design/page layout: Greg Clifford (Deputy Editor) Reviewers: Emma Maher Ben Heary Gigs Photographer: Eric Cooper

29-39

-SCENE & HEARD-

Saucy Sundays Dimestore Recordings The Ruby Sessions The Juice The Noisy Plug Sessions The Cujo Family Hassle Merchants

-ALBUM/EP REVIEWSAlbum Reviews

-Irish ArtistsEmpire Saints The Juice Marita Connolly Suzanne Savage

Toy Soldier photography: Mark O’ Connor

-International ArtistsAmelia Curran Galia Arad Yellow Red Sparksirl Modern Superstitions Race Horse Elonzo The Banana Convention

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EP Reviews -Marchy 4x4-

Advertise with us: sales @ uandimusicagency.com

The Ceol Train The Ceol Train has been going for over six months now, but unlike most other based music projects it managed to take off from the very beginning. The steady way that it all started off saw it become something that artists wanted to be associated with. Being something that was getting How did the idea for it all come about? to it all here. While being both rich and vibrant it is also somewhat Americana sounding. The well rounded effort imparts some very introspective elements and bodes quite well for it. There is a true accuracy in how the mechanics of it all come together here. While on the whole, the roadhouse appeal of it shows something impressive to it in equal measure.

The idea came about when I had just ventured into doing music videos as I was just doing photography beforehand. Music has always been a big influence on me, so for me it felt like a natural progression. I knew a good few great musicians who we're interested in getting some videos done so I thought, hey, lets give this a bash! The name was thought up by Cathal Grant, a good friend of mine who has done some camera work for the series. After many rejected names, The Ceol Train it was to be!

What was the motivation for launching it?

A big motivation for me was the learning, learn by doing, the trial and error approach. I was/still am very new to this, but with every video I do I learn a lot of ‘do's and don'ts'. Another big part of it was to promote some amazing musicians I knew who I thought needed to be heard, while finding some new ones myself.

Can you describe what the concept about The Ceol Train is all about.

Basically“The Ceol Train” is a platform for musicians to promote themselves and get an HD video done without having to pay over the odds. Also, for people to find some great new local musicians which Dublin has in abundance!

The quality of the project is something has seen a lot of prominent and respected figures on the local scene want to get involved. Some of the most promising talent on the Dublin music scene has been featured - both bands and artists –and there seems to be a very positive reflection of the music community that by and large goes unnoticed. The perception of what it is all about has earned it a good name in the process. How much of a benefit has that been for finding the right artists to come on board for the videos?

When it comes to finding the right artists it has been surprisingly easy –mainly through word of mouth and friends of friends- but some really great musicians have contacted me showing interest which is really positive. For me to approach a band it's someone a friend has recommended or someone I've seen out gigging around Dublin that makes me stop and listen. So I may drop them a card or send an email showing them what I'm doing. People seem really keen so far so that's a plus!

One of the things that we find impressive is that there is no complacency in it. There is a steady stream of videos coming from it. In September it seemed to be two new videos each week, with the output then increased considerably by November. There was a new video almost every two days Is the work ethic one of the principles that the Ceol Train is all about?

Keeping the train chugging along steadily is important as it is integral to making the series as balanced as possible. Although sometimes it could be the case of too many great artists and not enough days!

The videos themselves also seem to have a quality to them in terms of how raw they are represented. They also seem to reflect the honesty and integrity of the artists in the process. How do you scout the locations for the videos?

The mix of locations is down to me asking the artists is there anywhere they would like to play, and some fantastic locations have come out as a result! I like to keep the videos fairly raw and gritty, to show that it is raw live music…there's perfection in the imperfections!

What else are you hoping to achieve from it?

I've never really thought about what I wish to achieve from it. To me, it's something I wanted to do. It's a culture and scene I love. To use a cliché, at the end of the day it's all about the music. Meeting great people on the way and enjoying what I’m doing in the process is a bonus!

Speaking of not being complacent, the Ceol Train seems to also be a factory for good ideas. They also seem to be well worked on and clearly thought out. One of which that springs to mind is the 7 videos in 7 days that was launched in October. We have seen and reviewed two of those bands in our magazine, so we know that the quality of their live performance is of a high standard. Does a vetting process take place when it comes to selecting an artist for inclusion?

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The Ceol Train

With that particular idea, I filmed a lot of the musicians in the week or two prior to this and I thought it would be a good promotion tactic for the series that would help to help get the name out. There was no vetting at all, it was an idea that just happened. It wasn't overly planned, so I’m grateful it was well received but with those musicians it's easy to see why.

The Ceol Train is something that breeds a lot of very good ideas, but also practical ones. These ideas are very rooted in becoming a tool that supports unsigned and independent artists. That progression of ideas has seen the establishment of a monthly club night – The Ceol Train Sessions. The first one launched at the end of January. How has the club night been going? They are now a steady and regular night held the last Thrusday of each month in The Mercantile.

November also saw a milestone on YouTube when you passed the 10,000 views mark. For a project that was only three months old at that stage that is an achievement to be proud of. Seeing a milestone like that come about in a short period of time, especially at a grass roots level, is a very positive thing. There was also the tweet from The Rubber Bandits. How does something like that motivate you?

The first gig night went much better than I expected for opening night.

There were some top class artists on so it was great to start on such a positive note. I can see it becoming a staple in the Dublin gig scene over time and as the word spreads, and that's down to it being all about music, scoops and a bit of banter with your friends. Which is what we do best!

That tweet was excellent. I'm a big Rubberbandits fan, and it is one of the only video's I play in myself. It took a bit of persuading to get Nella to sing that one. When it comes to reaching them views it is pretty cool.

It also shows there are people interested in the Irish music scene so it does motivate me to keep doing what it is I'm doing.

Does it impart into the ideas process by giving you the confidence and the belief?

There is no real idea's process for me. The idea's just come and go, usually after a few jars, but if it's something I want to do and think would be cool, I just go for it. I've got nothing to lose.

The views wouldn't add much confidence to idea's I do have, but I do have a lot of faith and confidence in the talented musicians I’ve filmed to make it work.

Speaking of ideas, you showcased a great deal of Irish talent in December through a very simple idea called “12 Ceols Of Christmas” which was well received. Is it a conscious decision to always think the ideas through and not recycle the same old ideas and rehashing them like so many other people do?

When it came to the 12 Ceols of Christmas, it was something straight away I knew I wanted to do. Whether it went down well or not, I didn't mind as I love Crimbo songs, and just wanted to hear some different takes on some classics and an original thrown in there too. It turned out better than I expected and I was very happy with the end product. With rehashing ideas, we'll see next Christmas! But it do try to keep it fresh and interesting, there's a few new ideas up my sleeve so we'll wait and see.

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How did that idea come about? Was it a natural progression and extension of the original idea or was this something that was always part of the plan?

I don't really have a plan, if an idea crops up I'll roll with it. With the gig night, that was an idea my brother brought to me around Christmas, and I had seen a lot of artist's were looking for gigs so I went for it.

How much of the artists that you work with will feature on the line-up?

100%. Only artists that have been on the series will feature for the gigs.

For now that is the case anyway.

There was also the Ceol Train episode that came from Nashville. That was a nice boost. Is the development of the idea intended to branch out of Dublin and take in other music scenes around the world? What other ideas are in the pipeline for 2013?

That was a cool idea my friend Kurtis Murphy, who's in a band in Nashville called 'Folks and Ghosts', had and I went with it. Although it's not something I can see taking off in the near future, but I won’t rule it out. It was a really cool boost, but there are still so many local musicians I would like to discover in the time being, and maybe explore more genres of music so The Ceol Train can be as diverse and cultured as possible.

The other ideas for 2013, you have to wait and see! Rock and Ceol!

The gigs are the last Thursday of every month in the Mercantile at 9pm.

Bands interested in getting on board the Ceol Train should check out the following links:

www.facebook.com/theceoltrain www.youtube.com/theceoltrain

Featured Band Of The Month

Toy Soldier

The band have been playing together now for over two years. How did the band come together?

It started with myself and Fergal getting together to jam some acoustic tunes I had been working on. For the hell of it we entered the HWCH festival and got in. From that point onwards we began to take it more seriously. We came across Ciara through mutual friends. The three of us gelled very quickly. It’s been moving very fast since day one.

The sound that the band has is very distinct. It has a rich leaning towards incorporating synth and electro into the mix with the end result being something that is high on a retro appeal. Who were the influences growing up?

We all site Michael Jackson as an early influence. I guess you could say our pop sensibility stems from listening to him when we were kids. Oasis got me into guitar music and song-writing. I would say artists like Depeche Mode, Nine Inch Nails, Blondie and Georgio Moroder all influence any possible retro leanings.

The album is “Calling Up The Dusk” and the album is well worth listening to and it is an office favourite for us here.

How much of the album was already prepared before you went into the studio? How much (if any) came together while you were in the studio?

We spent over a year recording the record. We really took our time with it, made sure we were happy with every fine detail. Our producer Ciaran O’ Shea really brought out the best in us during the recording process.

We demo all our material before we hit the studio. In preproduction Ciaran listens to our demos and makes suggestions which we take into account. So in many ways the vast majority of the work is prepared before we hit the studio. There is however room for manoeuvre.

Tracks like Rough Diamond very much came to life in the studio.

You also worked with Fergal Davis and he mastered the album. Did having the right producer behind it bring out aspects to it that you are able to see when you hear it yourselves? How crucial was getting the right producer behind the project a factor on things overall?

Fergal has been our mastering engineer from day one. We always trust him to do a good job and he never disappoints. As I’ve already mentioned our producer Ciaran really gets the best out of us. Be it from a song-writing or a performance perspective. I think the production values on the album speak for themselves. We are very happy with our production team as a whole really.

The first single off the album, “Natural Disaster” had to be rescheduled from the original release date in June. That was obviously a knockback, but you remained undeterred by that and just kept doing what you do best. How did it feel to finally release it in October? The video release for the single was something that coincided with the launch, which wasn’t in the original thinking. The single charted very well and it crashed into the top 30 overall.

How important was launching both of them simultaneously? How important do you see video in the creative process?

In a way it worked out much better that the release of ‘Natural Disaster’ was delayed. As you said we were able to coincide its release with that of the video which really gave the release a much greater impact.

These days a good video is so important when you are releasing a single. I think that the video really boosted our chances with radio play. It was partly on the strength of it that we were chosen as Today FM’s Irish Single of the Week by KC.

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TOY SOLDIER The album itself has been reviewed and it seems to be getting the recognition it deserves. Hot Press and Golden Plec have spoken favourably about it, while we gave it 9/10 in the last issue. Do you think that the single success is now being reflected in the way that people are now beginning to notice you as a band and what you are about? Obviously the launch of the single is geared towards this level but where do you see the whole process linking up?

We have been very happy with the reviews so far and were delighted to see that you gave us a 9/10! We are not even half way through our album cycle yet and we hope that more and more people will catch on with the release each single. It is important to approach your album with a good strategy and I think we are on course with ours.

Part of what is getting you noticed is your live performances.

Like all other bands you have done the hard circuit and played the smaller venues. Though last year also saw you take the stage at some of the more prominent events. In February(last year) you played at the Hot Press Music Show in the RDS. How did it feel to be invited to play at what was one of the hottest tickets in the country at the time?

The RDS performance kind of happened spur of the moment. It was a great opportunity to play to a brand new audience. I think we picked up a few new fans after that. We really enjoy doing the circuit venues too though. It’s great to see that each time we return to a venue the crowds seem to keep getting bigger.

You have also been featuring on the Dublin circuit a lot.

Part of the tour originally took in gigs at both The Grand

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Social and Whelan’s. Both the Cork and Dublin music scenes are thriving at the moment. You even made an appearance on Balcony TV Cork. What similarities can you see between the Dublin and Cork scenes when it comes to gigging? Are there any notable differences between the two?

Well I guess Dublin is just a bigger pool overall but there are definitely similarities. We’ve played with some great bands in both cities. Most recently a band called Juliet’s Rescue opened up for us in Whelans. We thought they were great. We also came across another Dublin band called Hawklion who were very impressive. In Cork the likes of Versives, Time is a Thief and Dead School are all good friends of ours who have great potential.

The other big appearances for you were Indiependence and supporting Aslan. That is always the level that most bands aim for. How does it feel to play to a crowd of that size?

We actually feel more at home to playing bigger crowds.

You would think that the bigger the crowd the more nervous you might be but it’s actually the opposite for us.

The ambition of the band is something very evident. The touring side of things seems to be a step up from how most bands are able to approach things. How important is having the right manager behind you?

Our manager Triona is doing excellent work for us. We just seem to be getting busier and busier from a touring perspective and she can take a lot of credit for that. The right manager is essential for any band.

Touring for the band has also been something that has been a mainstay feature. When you play it is promoted as a tour more so than a gig. That is something that you seem to be dead set on differing between the two, but you also took in two mini tours in the UK. Both were to London. How important is playing abroad? Does it differ to playing in Ireland?

Does it lend anything to the creative process by being in different surroundings?

Touring abroad is an absolute must for us. We feel that our music has international appeal and it is important that we pursue that. No matter where we go our job is to put on a good show so from that view point there is very little difference in playing abroad. Some of the venues we play in London have a very unique atmosphere though. There is a place we play called Proud Camden which is an art gallery during the day and a club by night. It is right up our street. Creatively speaking our experiences abroad have certainly inspired the song-writing process. You see so many great acts that influence you somewhere along the way.

The promotion of the album has also been something that has been very well handled. You launched it in Cypress Avenue, but then you had a re-launch in Whelan’s in January this year. Why launch it twice? The gig in Whelan’s was billed as being your debut headline show. Did that influence that decision in any way or was there another reason behind it?

The Whelan’s gig was our physical album launch and the Cyprus avenue gig the digital launch. We felt that it was worth promoting our first Whelan’s headline as a launch night as we knew it would make the night a very special occasion.

It would appear to have been a very shrewd move. February has been a very busy month. There were three consecutive gigs, but the standout one has to be the Other Voices Trail in Mason’s in Derry. From all accounts that was an amazing gig. Are you beginning to see the hard work pay off and the whole strategy begin to come together?

Yes we are certainly seeing the hard work come into fruition. We have played two shows in Derry recently and we were blown away with the reaction. We really seem to be garnering a fan base up there. The people up there are so into their music.

What lies ahead for the band for 2013?

Well we have two more singles to release with accompanying videos. We will be heading back to the UK very soon and we are also lining up the summer festivals right now. Exciting times!!!

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SCENE & HEARD LISA MCLOUGHLIN The hostess herself took to the stage and got things underway. Her first song in her set here was “Out With The Old”. This has an adorable little whisper to it coming across off the tranquil quality of it all here. This also bides its time well. The soft playing of the guitar is something commendable to it all. The way the chords are all brushed on the playing is able to finely hone everything in on this one. “Letting You Go” then followed. The openness to it echoes and streams out of her voice ever so well. The feel to it is a thorough affair here complemented finely by the manner in how it is all fed in.

There is a good show to it in how the lyrics are controlled. That harrowing appeal is able to push it all out in a way that has truthfulness in how it travels. A new song was next in “Gone Away”. This has a pronounced way that gives it an elegant touch that goes a long way. The gentle nature of it is matched well to the kindly stroll it takes. The comfort surrounding it is able to give it a nice catchy run when the bridge kicks in.

“Slow Song” gets you with how it comes in on a nice bend. All the elements of it come together and the whole process lies in a sweet little place. The passionate performance to it also gives it a lustful high. This is a well guided piece of work from her. “Seven Colours” has a fuller pace. This is also a far loftier sounding track. The delivery to it gets everything onside early on. The crisp way to it brightens as it progresses. The angst in her voice on it times it well and gives the sing a vocation that locks in what it needs to. The final track in her set here was “So The Story Is Told” which has a vacant feel to how the intro ion it sounds. The story is one well suited to this approach. The tune is able to while away inside the playing. Everything to it is well courted by here. It unfolds along with the playing to merge with the lyrics.

This is a clever piece of work indeed.

Up next from her is a gig supporting BRIAN BRODY at his album launch in The Grand Social on March 28th, while her own headline gig will be held on July 13th.

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SAUCY SUNDAYS The Grand Social (03-03-13)

SCENE & HEARD

SAUCY SUNDAYS The Grand Social (03-03-13)

LAURA ELIZABETH HUGHES We have seen this artist play before and to see her again was nice pleasant surprise it must be said. “Rock The Boat” is a song with a precision about it that is also languid while taking pride of place in a well-tailored affair. The situating of all the playing is properly done. There is an evasive way to her voice that carries across on it that brings out the best in it here. An excellent delivery also brings out the best in the notes from her here to show a song that has a lot going for it in the expression of it all. The melodic pace on “Hearts And Spades” is able to run finely. It is peppered on here with some very good showing. This hearty little tune shows a lot of consideration to it all. The playing has a very careful duty that beneath it all serves it well. The detailed sounding feel to it doesn’t over-elaborate either which is important to mention.

With “Who Is That Stranger?” you are drawn in by the telling tone to it. There is a teasing way that it comes across and the play is able to form up in a well-found way. The passivity to it all doesn’t go unnoticed. The intriguing way that it all hangs off the play here matches everything on show. There is also something about it that is able to easily conjure an understanding behind the lyrics. The timely ramble to “Fear Of Falling” catches it all faithfully. That good flutter and fluency are equalled by her vocal delivery. The fired up way to the song has the strength on show where it counts. The harmony to it is another strong point that it playfully follows through on. With “8:72 she strums in a pleasant gesture to her closing track.

Holding it all in place, there is also something very practical in the application here. This is captivating for all the right reasons and her voice projects upon it in an even way.

An upcoming gig in Whelan’s on May 23rd is next from her.

For more information and free music check out the following link: www.lauraelizabethhughes.com

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SCENE & HEARD NATHAN CONWAY AND THE RIVER VALLEY BAND The first band on a stellar line-up got things going with “Lord I Got It Bad” and this is a real bundle of joy to listen to. There is a relaxed sense to it that plusses out the rhythm in an exact way. There is a fairness to be found in it also. All of these aspects are enhanced by the weeping of the vocals to it here. This nicely sets up next track “Weeping Willow”. The brisk and dashing sound it has is fastened to some fine spacing on show. The haughty quality of it here is brought out in a big way from the tempo. There is a quirky and refined feel to it. There is a steady and truthful feel behind it. The things that get behind it here are poured into it and you get a MORRISSEY feel from it all. This is all down to how charming it all feels. On “All Your Other Men” the tidy little tumble is instantly felt as it dallies on the playing to this one. This comes with a lot of appeal to it and somewhere in there is a subtlety that shows the intelligence of it all. This hangs and glides delicately while being affluent in how it is styled.

With “Back on Me” the ambience of it all is a good quality that creates something upbeat that shows what they can do. The balance of it all here shows some tidy and effective work. The right things are coupled on it and the appeal from it all comes off it nicely here. The next track is called “Songs From the Engine Of The Model T”.

There is an immediate comparison to THE ALLMAN BROTHERS from it. The tide to it is steady and it stems from a rich southern sound. The timely roll to it converges on the rhythm in a systematic way. That keeps it swinging while giving off a slow burn that breaks through. The rise to it is a supple and well expressed experiment. The final track here is “Troublemaker” and the parlance to it conjures up a comparison to JEFF BUCKLEY. The speculative way to it all comes under a blanket in the sound that is kept under it all in a way that sees it cross over nicely. The playing is also remarkable by capturing what it needs to for the end product here, but it is all done in a specific way that is telling in how it comes across.

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SAUCY SUNDAYS The Grand Social (03-03-13)

SCENE & HEARD

SAUCY SUNDAYS The Grand Social (03-03-13)

AMIDSHIPS We have seen a steady tide of exceptional Belfast based bands playing on the Dublin circuit in 2013 and AMIDSHIPS are another example of the vibrancy that can be found on the circuit in that city at present. With “Friendly Fire” there is a striking way to it all that comes across on it in how intricate it manages to open things for them. This sets down a fine marker and adds to it here by panning out. Here is a band in full command of the stage here. The intense way to it pulls away and the vocal delivery is startling. The intensity of the performance is matched from all corners here and amazes because of it.

“Steps” was the second song from them and it has a captivating groove. That it is as sharp as a tack is an added bonus to it. The sideways way that it sounds scintillates and gives it a flavour that ushers it all in here.

They play it in a very full way and the demand placed on the whole of it in the process, but they achieve what they set out to do on it. On “Sine Waves” the evasive sound safely comes into it all. The song floats along with the shared vocals but there is a lot on show to it that makes it a big draw. It marches on commendably and it has a sublime touch of class that brings out the best in it. What they have here is something that holds the line and is very much the real deal.

There is a likeable bounce to “No Language” that gives it an attractive opening. The gifted slide on how it sounds will also entertain anyone who listens to it. The direction to it marks it out as a rather remarkable number. When it bestows what it intends upon it the song makes you sit up and take notice of this band. The integrity to it is well felt from how much they invest in it all. That is then succeeded by “The One” and there is a true splendour on show with it all that hits you immediately from the formation off the arrangement. Everything to it is able to hang together and the convergence of everything about it is well focussed. The release on the back of it factors in the right things that sit well with an exceptional live performance here that sees them put more than just their best foot forward. The drumming brings their closing track “A Friend” in cleanly. The rapture on the sound hollows out on it and it is tantalising in the build here.

This marks the band out and shows the justification of their reputation with a thoroughly believable performance. They deserve top marks here because it all clicks where it should, even for an expansive effort, and all the right things show for them here.

For more information on the band check out the following link: www.amidships.net

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SCENE & HEARD

SAUCY SUNDAYS The Grand Social (03-03-13)

JULIET’S RESCUE Another band that we have had the pleasure of seeing live before was performing here this evening. They opened with “Right But Not Right Now” and this has a capacity in the playing that abounds well. The purpose to it is something that comes off nicely here while the vocal delivery of it is a sweet thing to admire. The pedals create soluble loops that reside on the sound in a way that works for it. There is a lot invested in the band that shows on this one. “Calvia” has a synth rhythm coursing through it surges in on the playing, while also managing to blend in neatly with the calypso sound it displays. The spin of it is notable for these reasons, but it is catchy and blustery. The canter to it is something that works well for them but also shows that they are a talented band deserving of the recognition they are getting at present. The rhythm on “Judas” doesn’t betray the band in any way. It is a consistent feature that has a figurative tempo that gradually builds here. The dreamy shape that it moulds is another interesting facet that it has. The avalanche in how the heavier sound comes in on it is well handled by the band and they steer it all quite well with the playing after it happens.

“Vespa” is marked out by the upbeat rhythm it has.

The echoes on show to it are neat little flurries that afford a lot out of the pedals in their sound. The dimensions of the playing here are clearly marked out from them and the rhythm is a true darling that shows a lot about them as a band. Everything comes in on it in a good way here while the retro sounding has the intention it deserves. There is a flavour to “Heartbeats” that sits nicely in the canter it creates for the sound. This intricate feature is well tracked and the open way to it is captivating. They put a lot away on this one and it proves to be a good tune as it progresses. There is a lean side to this that is fitting when it hits the drum and bass combo on it. They also show a little Latin influence in the sound that brings out something more to it.

The sound on “All For You” brings a good deal to the rhythm. They contain it all in a way from the catchy way that it all meets up. It races into it in a suitable way that grows in stature. The clarity of it is also neatly expressed, while they command a tighter side to it performance wise. “Goldmine” gets strummed along and the bass is specific to the sound here. The beat then surges along and there is a little seductive treat in how the voice rings out over it. The song is evenly timed and cleanly fits in everything. They fasten it all down here and it shows in a good way. They infuse all the things they have mastered on it here and do it in a very good way.

Up next from the band is a gig in Sweeney’s on Thursday, March 7th and a gig in Whelan’s on St. Patrick’s night. For more information on the band check them out on the following link: www.julietsrescue.bandcamp.com

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SCENE & HEARD TONGUE BUNDLE This band likes to bring their own version of jazz fusion to the table and every time we have seen them play live we have been left with a very good opinion of them. Creative and unafraid of expressing themselves through the power of music their first song here “22 Is Too Long To Wait” is a descriptive and colourful display from them that nails down everything about them. The looming sound on it encompasses everything dutifully. What also stands out on it here is the brass section that gives it the necessary flourishes, while the tempo shows a stylish swing to it all.

“Shits In Feck” characterises what they are about in how it bubbles along. The pace to it is high on appeal, whole the brass modifies all of those features. The positivity to this is something immediately felt, while the lead guitar on it gives it the necessary starring role that brings out the vibrancy in it. With “Biscuit Holiday” the sound is decisive on it. It melts in and becomes something fresh and funky that neatly judges it in a way that gives it a sound mind to how it hangs. There is a distinct 70’s vibe hinted at from it and it is brash in a way that is very experimental that also stands it good stead.

“That Is A Thick Cake” is boosted by an ensemble that changes a lot in the musical direction. It takes in a freshness in that process that is highly appealing to what is on show. Rounding it out is a distinction to it all that brings something impeccable to it to the fore. With “Schleepface” there is a clear atmospheric attempt from them. This imbues their show with a lot in the alternative and progressive approach in their music. This roots out a lot of fine playing and the jazz influence on their sound is evident.

Never more so in fact, yet it is styled well and the upbeat nature to it is solid work. There is an avant garde feel to their final track “Easter Island Bath House” that closes in around their sound. There is a way to how the bass tumbles, and the same can be said about the clean drumming on show here. While the guitar riffs are nicely placed and applied honestly.

The other thing that works for it is the brass section coming in rightly here. This is a convincing ensemble piece that has the necessary gravitas to see it all through.

For more information on the band check out the following link: www.tonguebundle.bandcamp.com

SAUCY SUNDAYS The Grand Social (03-03-13) JERICHO A band from Cork that we had never seen before and it is always a tantalising endeavour to discover another band that is an absolute gem. The piano that softy brings in their opening track “Hit It” does exactly that. This gets down to the serious side of business pretty well. The animated performance from frontman DARRAGH KEALY greases the wheels finely. The hilt on the sound reflects well on this and it creates something broader that is steadied on the pace side of things. It scuttles along and scores highly for this by proving to be very fly. With “Trip The Light Fantastic” does exactly what it says on the tin. The pleasing way it runs conjures up a comparison to THE STYLE COUNCIL in how it comes across. That hint about it is down to how the rhythm absorbs you in to the process here. There is a lot going for it. The spirited and confident stride in the performance is well measured. The piano again proves to be a driving factor on “Soul Survivor” and collects it all up finely. There is also a conservative way about it and the piano and bass kick in on it to see it become s something definitive. There is a whip to it when it gets down to the funky and this rush comes over on it in a most welcome way.

There is a change in vocals on “Fools In Love” that sees MUIREANN HOLLY bring the whole thing in. It is delivered with a nice sleight of hand and it sails in well. The power in her voice is placed up on it finely. With that consideration aside, the guitar capably resonates on it with a fine sense of autonomy. This whole tune proves to be a simple and effective endeavour that is more complex than it appears at first. A new song followed that up. “The Weird And Wonderful” has a fullness carved out on it. The rhythm to it is stirring and it comes to life off the back of it all here. This has a well-reasoned run to it all. The tidy playing to it shows genuine style, but the sophistication in the arrangements is the true selling point on it all. The sound is one thing on it, but the live performance is what matters and this marks them out as a band to get on. “Dancing In Vienna” brims with a true touch of class. The big feel to it is all turned in nicely and it produces this handsome sound that moves with the margins but is not constrained by them.

This is bountiful and hot while the soprano duties are something that looks the part on it. This is all arranged with a chic feel it that presents all the qualities and prises the best from them. “What Is That Not?” is the final track from them here and ripeness comes off the cuff on it. The edge it has booms out and shows an effort that has to be admired. This booms out and shows it well. Everything is very much kept in check and the productive effort on it breaks in well. This is solid and points the whole thing in the right direction from start to finish.

For more information on the band check out the following link: www.jericho.ie

A word of mention also goes to THE ESKIES who were the final act here on the night. They played an exceptional set and it was delivered with the typical performance and high standard we have come to expect from them. They are already included in the “Scene & Heard” section of this issue as support for HASSLE MERCHANT’S gig, but they also have their own headline gig on March 15th in The Grand Social.

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SCENE & HEARD

Dimestore Recordings Sweeney’s (28-03-13)

STEVE CLIFF We last saw this artist play at the “What The Folk” semi-finals back in September 2011 and it was a very welcome boost to see him play live again. The first song he played was called “South America” and it is a new song from him. It was also the first time it had been played live. The fullness to it is able to give a good account and the tempo is played in finely on it. The overall verdict here is that it is fetching in how it comes across. The neatness to it all shows through and it is bequeathed by everything on show. “The Only Picture” bristles and paints a nice setting in the lyrics. The drawl on his voice is felt and the chord work here falls into place nicely.

There is a nice turn on show that is brought out neatly and the good structure to it all benefits here from what is in the script. There is a straight way to it that is creative and remarkable. “I Give Myself To You” glides along effortlessly. This has an innocent feel to it. By guiding the play off that trait he steers it safely through here. The recoil to it gives it the necessary fortune for it that goes well. The sound then becomes sharper on the playing on “Say My Name”. It is also leaner with the lyrics and they impart something upon it with the frailty and vividness of it all. This is an interesting tune that is rounded out by the rhythm here. The tension on it is bided well and a good assessment is made in the delivery. In his voice a lot more lies and it is able to furnish the song with what is needed.

“Not What I Expected” is a new song that has a softer side. The opening line on it is quite remarkable and that is what pulls you in. The song has a framework to it that forms particularly well. The playing on it is well guided. It goes in eyes open and creates this sweet little lullaby in the process. That is a big gain for the song also. The strong resolve to “Ripples” is painted on the playing here.

The foundation is set in place and things take off gradually on it. The fine cut it has is sharp, while everything that is fixed on it is able to coin the best out of it. The well-to-do opening on “Happy Families” has a nice topping to it from the freestyle vocals. That bursts along nicely on the playing to it here. Things are gauged well on it from the chorus and the bridge and the both of them are calculated finely into things. To see out his set he played “King Of The Swingers” from THE JUNGLE BOOK. A nice little number to close out and it went down well.

Up next is a collaboration for the soundtrack to “Jenny Is A Raver”. The play is running in the Smock Alley Theatre on March 5th, 7th and 9th.

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You can find out more information on him by checking out the following link: www.steviecliff.com

SCENE & HEARD

Dimestore Recordings Sweeney’s (28-03-13)

WE THE PEOPLE

“Sell It To Me” pulses from the guitar on it and finds a fetching way to make the most of the comfortable bass line on show to it. The charged delivery of it all has a kick in its nature. There is also a cruder side to it that comes out on it that is an additional attraction on show. With “Geronimo” the purposeful roll on the rhythm internalises all the angst to it well. This projection is a key attribute showing through.

That is worked onto the lyrics and the raw sensibility to it playing in on the chorus. There is a serious whip to it while also coming across in a very hungry mould indeed. The weight is very much on show with next track “Richer Than Kings”. That is the muscle that guides it all. The edgy sound that it has is something that shows well for it. The sound shifts around this approach. The guitar is able to sink its teeth into it all and it takes a prominent position on the song.

“Shadow Thieves” then follows with the chop to the sound here carried across on this and being what shapes it. The tone to it is consistent and catchy in a good way. The bass also has a good hook to it, while the lean drumming also brings a sense of proper to it all.

“What Say You?” jumps to it all from the off. The headstrong way it does it has a twitchy feel to it and it plods along in this frame. The big hitting way to it all is influenced by RED HOT CHILI PEPPERS and that drive to it is also enhanced when the drumming becomes a focal point to it all. The bold way it all progresses is very much on show, but also shows something more complete in the process here.

With “Lights Out” the scatty sound lights up the shades of punk it has. There are other genres coming across on it and the empirical feature is all shown in the angst of the vocals.

The practical way it drops down is also something here that fronts the tempo well. There is a good drift to it and the lead guitar spins nicely on it. “Hollow Thoughts” has a darling little thump to it that meets something on the intro. That meeting amplifies the song and wheels it out with the guitar pounding on it with a fierce pace. This rings the changes here. The pomp to it has a broad definition that gives it a hard shoulder while being resolute and built around a nice charge. Their closing number here was the stable sounding “Razorblades And Ashtrays”. The resonance of the entire combination is felt. The balance in the approach also serves it well. It is drummed with a precision alongside a solid lead on the bridge. It is also able to close out with a real zip to it.

The band play Monroes, Galway on March 21st and Whelan’s on April 9th. For more information on the band check out the following link: www.wethepeopleinternational.com

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SCENE & HEARD

TheThe Ruby Sessions Ruby Sessions

The Harbour Bar, Bray (22-02-13) Doyle’s Bar (26-02-13)

W

ith a line-up tonight consisting of four top drawer acts, the array of talent on show underlined why The Ruby Sessions has come to be held in such high regard over the last 14 years. The nature of the night being about music goes hand in hand with all the proceeds of the night going to The Simon Community. So in addition to supporting local music it also helps out a worthy cause.

GARR CLEARY was the first act taking to the stage here this evening. Having just played 12 shows in New York, he is on the road again in March to play some shows in Berlin and Paris. Playing here tonight for the first time he got his set underway with “Leaving Up”.

The sing is more than capable and it grows in stature. There is a handsome quality to the humble ambitions of the lyrics. The realisation that it is the honest confession of a working man sorely adds some further character to it all. The manner in how it plays is vibrant as it comes into the second verse, and off the back of working that so well it then turns inward and plays out in the internalised way it opened. As Godard said a film should have a beginning, middle and end so too does this song. “20 Percent” has a listless rhythm to it all that is dependable and passes through from the guitar. How it is all stroked on the playing gathers it all up and it tenderly plays in on the bridge. The good hook to it is able bring across the message of the song rather clearly here.

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“Waves” is a blissful song that illuminates in how it opens.

The intro is able to hold everything on it in a specific way that allows the vocals on it to show in a way that sees them come in finely. Here the song is all fronted by the voice. That aside, judging it on merit here the introverted approach to it all works in a way that delivers on all fronts. It steers the sound, delivery, tempo and pitch and puts them all in the one bracket. By being inclusive in this way he is able to create something personifies the experience. To close out his set was a content little number called “Ghost Underneath”.

This plays distinctly to the rest of the set here tonight. The anecdote told beforehand lends a necessary understanding to it all. The poetic sounding lyrics of it all give it a truthful and honest account that serves it well. The performance is more eased into here and the sense of the safe from it is evident. This is what navigates it all and how it draws comfort is related back from the artist in the performance here.

SCENE & HEARD TARA LEE was the second act to

appear from behind the famous curtain tonight. Her set consisted of showcasing her talents on the piano and here she got it all underway with “I’m Dying”. The piano itself is very descriptive to it all and it lies very well in the shattered way that it designed to come across here. There is a sense of the underwhelming to it that pitches a lot of things that are well controlled. The fulsome way of it is worked into a timely structure that keeps it going as a long player.

The second song in her set here cushioned all of the playing around the mid-section keys. “Soundtrack” has a succulent way to that listlessly comes into the reckoning as it takes hold. Into that it drops in a hollow

TheThe Ruby Sessions Ruby Sessions

The Harbour Bar, Bray (22-02-13) Doyle’s Bar (26-02-13) sound that stows away things favourably here. It effectively allows for the essence of the playing to be captured in a way that reflects better on her voice.

“Overboard” was given its first ever live performance here this evening. There is a smart and uniform way about it that lets it perpetuate into the sweeping moments of the play. The piano helps bring it over the line. While that all begins to fall away the emotive performance has enough weight on it to see it through. The catharsis felt from the song doesn’t go unnoticed here and the docile tempo on show is able to let go and step it out finely. There is a more forceful turn of events on her final song “You Suck”. That more forceful tempo guides it along. It is also attentive to the minute details and it forms something from the personal resonance in a big way here. The sharper way it sounds plays into this rhythm quite well.

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SCENE & HEARD

TheThe Ruby Sessions Ruby Sessions

The Harbour Bar, Bray (22-02-13) Doyle’s Bar (26-02-13)

SOLAR TAXI

The only band here tonight was SOLAR TAXI. “The Fool” smoothly wraps around everything in a clear and distinct way that charges up the rhythm in a superb way. That is then complemented further by the professional way the delivery on it brings out the delicate side to it all. This has an even chase to it and it is constructed well. The vocals are particular and they shape it with how the right notes are held.

While the acoustic guitar and bass are both able to merge in the medley in a way that squeezes something extra from it. The piano perks up “Within An Inch Of My Life” and it governs the whole song here. The process selectively shines when the acoustic guitar comes into the reckoning here. The bass then plays in a simple note structure but that grows the song more. It is a big song from the band that powers along despite it being stripped back here. The intensity being contained is how it channels the playing so well.

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A cover of “Push And Pull” by NIKKA COSTA was next. This sees the band catch a break and the sound of it plays to their ability as a session musician you feel. Everything to it is tuned in and it suits them as a band. “Chasing The Day” has a well checked opening and something old-school about it all. The timely reverence from the tune has a quality that is chased down well. This gives it a good running time here that sees it land on its feet. Their closing song is their current single parcels, which was released on March 1st. The sunken sound of it draws the finer points out and slips into things effortlessly. That feeds well into it and brings the onward drive it needs. The forceful reckoning of it all here catches it all well and it gets the right reaction out of it all.

Up next from the band is a gig in Whelan’s on March 25th. You can find more information about them on the following link: www.solartaximusic.com

SCENE & HEARD ROBERT GRACE Playing only his second live gig was ROBERT GRACE. He is also a very talented song writer who has been signed to Religion Music and will be releasing his own material later on during the year. “Crashing Down” has a tone on it that has the effort behind it showing. The way it follows through presents itself in an appropriate way. The backing vocal track on it overlaps on it very well and the soar from the guitar to it is all caught ever so well. How it glides along is a nice piece of work in deed.

The second song is an ode to his brother. “I Wrote This To You” gets hold of everything musically. The nicks on the play abound on it considerably. The pick-up on it is also notable for how it pairs up with the rest of the sound here. The pedal and kick-box sit well with the acoustic plating and clue it in with definition.

TheThe Ruby Sessions Ruby Sessions

The Harbour Bar, Bray (22-02-13) Doyle’s Bar (26-02-13)

Then he played “Make Them Fall” and this takes a good run and jump to come up with something pretty fanciful. There is a little bit of synth behind it but it drops out. When it does the sound becomes more descriptive sounding. The freestyle method on show takes in the strengths of his voice and shapes it. The fetching rhythm here has a tumble that keeps it all going just right. To see out his set was a song called “Regret My Love”. The piano in the background to it checks it in a way that makes the opening splendid. Then it shows some grit. The sound is trusted with a deeper temperament that has a lower vibe going for it.

This is all aided by a burst of power on it that thumps it along while the claps to it are able to give it the little extra it needs, but able to do it without overdoing it.

They were the acts, that was the music, we were the audience and this was The Ruby Sessions.

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SCENE & HEARD

The Juice

The Mercantile, Album Launch (01-03-13)

“Up, Down, Left, Right, A, B, Start” is the new album from THE JUICE and tonight was all about launching it with the appropriate fanfare it deserved. With a full house to play to they were unfazed about playing to the big crowd who turned up to see them and they got a well disciplined and well drilled set underway with “Blossom Hill”. The opening to the song showed a descriptive precision to it that opens out into a fine body inside.

The whole of it is cleverly shaped and imbued with true felling in the lyrics.

They combine well to push it all on and it is able to collect everything well on it. The guitar spinning on “Jealousy” nicely helps it find a groove. That is contained within a controlled rhythm here that merits mention for how loaded it comes across. The suave feeling that comes off it follows through with some smooth movements in the play. Then they played “Ella Fontaine”. This is a very strong track from the band and one that has a lot of appealing qualities to it. The loops on the intro keep a level of consistency on it. This proves to be a catchy little number that is kept on track with the pace picking up when required. They also show the ability to be a band capable of running with it. The edge on the vocals here is something that boosts it out. A cover of “Last Night” by THE STROKES followed and this was delivered well. As cover versions go it was designed to ease them into their set as much as it was intended to work the crowd here.

“My Farewell” has a spring in the step as it abounds. The purpose off the intro is evident here and checks everything in a good way. The play is narrowed on it in a way that lets it slip into gear nicely, but also shows a tough side to it. There is a lot packed into it and they give account of themselves as a live band because of it. A crisper sounding song comes along with “Fade”. This kicks into touch with the heavy rhythm backing it up. There is a tightness to it that blossoms on the tone and the bridge shows a steely quality that shows a polished heft.

The clarity in “I’m Not Gone” is what moves it forward. It also gives it the front necessary and the running of it is solid work. There is a tasty way that the guitar wraps around it all that keeps it ticking over. The formation of all the other elements in the playing here go a long way while the correctness coming from it is also a stirring quality that works on it. They bring something that deserves recognition in “For You”. The clear way it sounds has a lift to it that freely flows. The concise way it does it embodies everything in a remarkable way that is plush in small measures when required. With “Stop The Lights” they charge into it in a big way. A rush resonates from the very beginning of it that fences the whole track neatly.

This is a rather upbeat number capable of balancing out everything on show.

The intro sharply comes across on “Line Of View”. That is a big plus for the tune and it guides it well. They show a fine hold on it and the bass line is a selling point on it. The content way the song pieces together sees all the right things come into line on it. “Diablo” has a sterling way of aligning all the playing on the intro in a way that is a true marvel. The mood on it is accomplished by the vocal application, while the slinky way it moves captures what it strives for.

“Black Out City” comes in on the back of some well-timed work. The descriptive way to it all is enhanced by the minute details and the composure that they bring to the mix. This shows a figurative approach in capable hands here. On “Real” it is the neat little dangle on the guitar and the way the playing slowly creeps up on it that catches the attention. This is another dependable tune from the band that has the required finesse to it all. The performance also keeps it all real and the stage presence from the band here matches it all. From this you can see how well they are working the crowd.

The dancing shoes are required for next tune “All I Wanna Do Is Dance”.

This has an immediate impact caused by the tour-de-force that it is. This hits the ground running and there is something very big about it. The accuracy of it all sees it take off in a big way that leaves no doubt in the mind that they are contenders. A cover of “Touch Me” by RUI DA SILVA was then followed by “Senses”. The shine to it is evident by the stamp imposed upon it from the playing here. This is a song that ticks along nicely and has all the defining qualities necessary on show. The sing might be a refined state of affairs but there is no mistaking that it has the reach required, while the conviction of it all bags it for the band.

“Break Away” surges along with a plucky stride in the playing bringing out the best in it. What is on show is very much realised and the scintillating rhythm to it is a brisk affair portioned out correctly. The way it all breaks down keeps it going and shows it to be a well thought out number. The fact that they have this song in the repertoire does the band a great service.

“Come Together” was the first of two covers that sandwiched in “Pimped”.

This was a version played as it should be and holding up under any scrutiny.

While “Pimped” itself slips into gear comfortably and cruises along on a lean sound that has the exuberance to match. They finely flesh out what is required to produce something of well meaning. The definitive sound comes off the back of a curve that puts the right amount of weight on it all. Then to bring down the curtain on a fine night of playing was a cover of “Pumped Up Kicks” and here was a nice little song that offered a fine way to cap off their whole set.

The album has also been reviewed and is featured in the albums section.

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SCENE & HEARD

The Noisy Plug Sessions

The Twisted Pepper (23-02-13)

SINEAD WHITE An artist who has been regularly gigging since October on the Dublin circuit and one we first caught live at The Ruby Sessions last year, Sinead White is a prospect that we have been wanting to see ever since. Tonight we caught her set from start to finish and her first song “Mouth Trumpet” is a tantalising and impressive track. There is a weight on show within the playing that is rounded out by the eccentric and reclusive aspects of the sound. That is all backed up by the vocals here in a splendid way that evokes the right reactions when applied. “Flat Battery” is a sweet sounding track that is sent along by how well everything appears to seep into it all. The lyrics have substance to them, whole how it all comes together is rather choice it must be said.

They show an intelligent songwriter at her best here. There is a spirited and well worked delivery that elicits all the passive sounding on the intro. This is what marks “Work On It” out. The balance between all corners of it is capably done. In doing so, the song then has a good run to it all that comforts on the listening front.

“Disgrace” has a lavish flutter to it that is worked into the playing with a strong sense of virtuosity. Here we see the thoughtful and considerate side to her playing come full circle. It is all cushioned along on a healthy roll that captures everything firmly here. “Do You Know?” comes across easily by the substance and sincerity afforded it in the way it is pieced together. They give it something that comes across well here. That is down to the token way the playing is able to pull you in from the bend on the clever way it is all conceptualised. “Closing Doors” sees out a sturdy set. Sonically it all falls into place with a good definition about it coming to the fore. From this it is able to collect itself in a captivating way. That is an ample dealing that brings a rich and closeness on the specific touches to the playing. In short the song, like the whole of the set, has plenty to like.

For more information on Sinead White check out the following link: www.facebook.com/sineadwhitemusic

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SCENE & HEARD

The Noisy Plug Sessions

The Twisted Pepper (23-02-13)

DEREK ELLARD Opening song “Letter To The Queen” has a gifted way of coming together between the spacing in the play. When it finds the necessary stride it turns in something fine that takes it where it wants to go. The attentive side of it is something that is wonderfully brought out. That good turn on it stands it in good stead and imposes something with purpose upon it all. His voice also grinds into it to bring something more to it all. The pedals that echo out on “Stuck In My Head” jar out the sound. They also create a stationary sound to it that is quite stark. The leaning in of this all is able to create a delectable fashion to it all. How it is all ushered in brings out the best in it by displaying an intensity that closes out with true tenacity to it all.

“Rain, Rivers & Footpaths” again feeds the pedals into the sound to create some very lavish loops indeed. They show a slight departure in the sound here by being more experimental, but the comfort to it all cherishes it. That results in something more reflective that has the upkeep on show that is well placed to allow it all to settle finely. The plenitude to it all is rather handsome and is one of the big drawing factors in his set. The animated way of “A Song For Leigh” is something to behold. The chirpy way to it brightens up things with a favourable tempo. That encompasses it to create a telling feature that shepherds everything finely.

“Indiana” was the last song here. The hooks on the guitar play in a remarkable way. They are very percussive sounding. What they also have about them is a way of imbuing a confiding sensibility to it and combining it with a poetic stillness. The versed way about it is also very concrete and sets it all up for him.

For more information on Derek Ellard check out the following link: www.breakingtunes.com/derekellard

FRIENDLY PERSUASION Their opening song is called “Elevator” and this cruises along.

There is a pleasantry about it that bursts into life and this is what sees it through. There is also substance to it. The song has a solid way of building up with the rhythm on it. That rhythm is catchy and it gives it a crisp sound. “Chinese Girl” is signifies by the way it unleashes the play. This is something to savour. The reasons for it are down to the guitar and drums blending well. The consistency of it all is well managed. How it remains fluid is also something that counts here.

They play something with a wonderful poise to it in “This Time”.

There is an evenness to it that seems to have it all. Steady in how it is applied, the guitar is able to bring out something more from the hooks on the sound, Here-in is a song that comes across as trusty and that is down to the nifty way that it all carries off. There is a practical showing with the lead up from the intro to “Tropical Air”.

There is also a discipline to it that gathers well. They take stock of this and the performance benefits tremendously from it all. What they show here is a well thought out song. The final song from them was “The Guy Behind The Guy”. This lets loose in a big way. The brashness of it all manifests nicely and comes across as such. This is played with resilience to it and is banged out with purpose. The approach of it all sews it up but they also show a big appetite for playing the bigger songs in the process of doing so.

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For more information on the band check out the following link: www.facebook.com/FriendlyPersuasionGalway

SCENE & HEARD

The Noisy Plug Sessions

The Twisted Pepper (23-02-13)

MOO! The tameness in the structure is something that has to be praised about “Rainy Day”. How it comes together is something of note.

The drumming rolls in on it descriptively to create something serene in all. The ability of the song is well seen in. That is able to impart upon the rhythm and give it force when it begins to all pick up. That activity is well steered by the band here. “The Running Fool” holds firm. The tracking to it is a superb piece of work it must be said. That is then whisked along with true spirit. There is also a pomp in the stride to it all that is a remarkable effort from them. The confidence of how they deliver on it all is well conveyed here. “Man Of Habit” has a drift to it. That lets it coasts along but it also something innate about the entire song at the same time. This is why it sits so well on things here. There is a 50’s nostalgia to it, but it still retains a trendy side to it. That rail-road sound that flows thorough it gives it the necessary bones.

That is all merited by the gusto it is seen in with that leads neatly into the bridge on it.

There is a gravelly feel to “Dead Cat Walking”. It does bottom out in a way that is rather assured. The contemporary style to it all is well detailed and it creates a mood within the sound that frames it quite well. That lies neatly within the tempo here, while the lyrics grandly bring more out of it. The sound that surrounds “Eli Jones” is nothing short of remarkable. The band embraces it fully and the downbeat way to it is something that excels. The dandy way to it is stacked upon the playing. The way that it does so gives it the inspiration it desires. Bracing into things is the best way of defining “Restless Blues”. They keep it all enclosed and that opens it well. There is a contemplative way to it all that is well thought out by the way the arrangements of the playing all fit so well. This is a song from the band that doles out all of the agreeable aspects to it with good measure. The delivery of it is

imbued with a great amount of passion that leaves you feeling for the song. There is a brash way to “Long Way Down” that moves it all along with a high degree of charm. “Long Way Down” is one of those songs that move along off the back of the brash way about it.

The playing here longingly does its stuff. What also works for it is the skiffle quality that complements it considerably here. It then becomes a fanciful song that rises to the occasion off the back of it.

“Pretty Thieves” is a brand new song from the band. The electric guitar on show here easily helps it find the right groove. The management of it all keeps a good hold on the sound and that proficiency is what works for it. The playing elements at the core shape it, while the tempo gives it a timely boost by creating the right amount of sentiment on it. The pedigree of the band is very much on show here. A song about a summer in Italy is the back story to “A Little Boat”. The song has a sublime way about it and the heavier ways on it are what pick it up. It does however maintain a sunken feeling that is also able to pick up and come across amicably when required. The calm and influential way it all seizes hold of the song here make it a tune worth checking out. The blues steal the show on their closing number “Zombies On The Highway”. The steadfast way to it all is chased down and polished finely. Smoothing it all out with the playing is done by filling it out with the appropriate flits from the pace picking up where it should and when it should. All in all they marshal a fine tune all the way here and it is the right to close out a fine set with.

For more information on Moo! check out the following link: www.mooband.com

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SCENE & HEARD

T

he Cujo Family are one of the most prominent and well respected bands on the unsigned circuit in the country and it has always been an ambition to see them perform in their hometown.

Tonight in The Harbour Bar we got to witness first hand just how good their fabled live sets in Bray are and they justified all of the hype that surrounded such stories. They have been relatively quiet in terms of live gigs in 2012 but they still managed to maintain that presence that they have boldly displayed over the years. Beginning things was one of the new songs. “Cosmic Death Ray” marks a true departure in their sound from their debut album, but it still maintains their signature ferocity. The song is fired up and well-timed and they instantly settle into it. It contains a very impacted rhythm that is helped out in a big way by the drum and bass on the sound here. All the aspects on it are tracked well and they gather things well to give a composed performance to a song getting its first ever live play.

The next song was “Hours Of The Wake”. One of their songs that always works the crowd. That is down to the innate urgency of it all and it well deserves its place in their set list. The tune is laced with an incredible charm to boot but it has a true strength in the rhythm. The very fulsome way it is all crafted is reflected in the performance here. The keyboards in the sound add a shuffle to it and everything to it is brought out well. “North Of The Knowing” has a token sound to it all here. While being both rich and vibrant it is also somewhat Americana sounding. The well rounded effort imparts some very introspective elements and bodes quite well for it. There is a true accuracy in how the mechanics of it all come together here. While on the whole, the roadhouse appeal of it shows something impressive to it in equal measure.

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The Cujo Family

The Harbour Bar, Bray (22-02-13)

SCENE & HEARD

“Sleep Lemonade” is another track from the band that shows how innovative they can be. The sound on it is impressively hollowed out and they follow through in the convincing way that they deliver it.

The boisterous vocals of it in the delivery shake it all up rather well. It whistles along nicely and it is safely seen home while playing with an edge to it all. The sound of things becomes a bit more vulnerable with “Green Trees” and it shows a tender side to their music. They compress it into a formula that finely brings it together. How they take it by the hand and safely see it out shows how sweet it is.

The lonesome sorrow to it all is stirringly done in the lyrics here. That then steps out with “Fool I’ve Been”. In particular the way they launch into it sees the whole venue erupt. They head into it and show that they mean business. The rhythm to it is full on and nothing is out of sync here. They show that they are playing to their strengths and this is a mean feat indeed.

Then they play something elective sounding in “Water Into Wine” which forms up particularly well. The intro is well handled and it is one of the things that serve the progression of the song well.

The creative and considered sides to it all are an asset to it and the whole of it is able to captivate and sweep you up in the listening on it. The work on the strength of that and this is why it works as well as it does.

The Cujo Family

The Harbour Bar, Bray (22-02-13)

“Holy Moses” came next. This is another of the songs from their debut album that is blessed with the ability to express itself well. It counters everything on the rhythm and it has a clear saunter to it all. The liver delivery achieves what it reaches out for here. They capture the audience and have them hanging on every word to it. The way that “Patti Girl” picks up the pace is a remarkable thing to see any live band do. There is a fine cut to it all the way here and the tempo to it all is as frenetic and matches the intentions to the intensity. The organ playing brings something additional to it. The spirit of the performance from the band matches up with the catchy here. They draw a comparison to THE POGUES on next track “Paris The Hate In My Heart”. The influence is felt in how it is a folk song that has a lot of kick to it. The drumming exemplifies the credibility on show and it helps to mould the impact of the delivery. There is also a lot to be said about how fluid it runs here. There is nothing on it that sells the band short here. A progressive tune in their set followed. “Killing Song” shows a lot in the way it soldiers on. The glossy way it sounds is created by a detailed currency that they cash in on with aplomb. The spacing to it hangs tidily and the compact way to it all is carefully managed.

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SCENE & HEARD They then played a brand new song in “Mountain Song” and it opens in true superlative fashion here. When a song arrives fully formed it is something to admire. Here it all resonates from the organ and the whole of it washes over in a wave of euphoria. The sincerity and good intention to it circulate a true endeavour from beginning to end. It prospers from the soulful way that it is all encapsulated here. The sheer way that it is all withdrawn and solemn sounding shows real quality. This was followed by “You Choked”. The lift on it breaks out nicely here and the way it breaks off into the pace is magnificent work. By keeping it together with that approach they corner it in a way that sees it come out fighting. The depiction of the intensity to it leaps about in the music while still having a reserved way about it all. “Alloz Nia” encompasses something rather specific and the arrangement to it is something that handles it all well. The placement of the sound is what makes it sound figurative. The vocals are also commanding in how they are delivered. In short, the band show up here and it all gels in nicely with the resolute back story told in the lyrics. “Dog Gone Crazy” is a track that draws you in and has some rich helpings of Americana flowing within.

They keep a grasp of what is needed here. There is some softness in it and the rhythm is tantalisingly played in while it seems to stand still in a way. The bridge is exceptional on it and it is a song that really shows the true strengths of the band.

The rhythm on “Cage Rattler” is a timid affair that brings out a lot of character in the process. The judgement on it is brilliant. The tempo sits inside it in a miniature way that has a nimble way to it that effortlessly impresses.

The song is showy and staunch and has this traipse to the vocals that give it a fleeting sentiment. While “Half Of Bray” is an obvious track that is going to go down a treat influences and it pounds to that beat quite well. The enormity of how well that song goes down with the crowd soaks up that energy from them and returns it back in spades with the live output here.

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The Cujo Family

The Harbour Bar, Bray (22-02-13)

“Bray Head Hotel” is another of the older songs that they have that goes down well with the home crowd. The dedication to their music is matched here tonight with how much they wanted to put on a good show. They show a forceful manner in things here. Every second that it is played is played with such an earnest endeavour. There is nothing about it that is overdone. They show that they are calling the shots here and they accumulate everything that is needed. This is really impressive. Then the pace is dropped down on their next two songs. “Sign on” couples in the side of their lyrics that is able to reflect upon things in an elegant fashion. That they can pull a song like this and put it into their set list towards the end without detracting from it all in any way is a testament to their live abilities. The composure of it all rests here where it should. Here is a song that sways in the breeze yet captures everything inside the moment.

The same applies for “God In A Tree”. This song stirs the emotions admirably. The poignancy to it all is handled well, while still allowing for things to branch out and encompass what is necessary. The development in the band’s sound is also evident in how the song has progressed from the original version. Gone is the Krishna like chant on the rhythm, and in its place sits something more considerate when played on the keyboards. The new sound that the band has is a departure from their first album, but it is also something that has been a natural progression in it all. To close out they played a balled called “Roads”. How it comes across largely relies on a sound that curtseys in a very appealing way. The playing to it is descriptive and how it all is maintained leaves a lasting impression. The devotion to it shows in the intent that holds back on things yet still has the correct amount of pulling power as any of their other songs here on the night.

The band has currently recorded a second album “Stories of Ruin” and the final stage of having it mastered is now the subject of a fund-it campaign.

This can be viewed on the following link: www.fundit.ie/project/cujo-family-stories-of-ruin-release

SCENE & HEARD

HASSLE MERCHANTS (NYC FUNDRAISER GIG) The Twisted Pepper, Saturday 9h, February 2013

MARKAS CARCAS One of the finest live bands currently performing on the Dublin circuit came out tonight to show their support for U.S. bound band HASSLE MERCHANTS at their fundraise gig here tonight. The fluidity in the movements is apparent on opening song “What Is To Be Expected” and that brings out the mean side in it here. The whole of it is very efficient sounding in fact. The rhythm on it has a timely hold that has all the makings of a great song. It breathes inside the spaces on the playing, and while there is a restraint to it, it remains pleasant and relaxed. Next song “Roach material” booms out with the way that it hits the ground running. It is like a stream locomotive in terms of how it goes. The playing shows a true burst of temperance and from start to finish it is catchy and finds its groove. The cajon glides along on it also and that is a principle trait on show here. The very rich bluegrass number “We’ve Been Found was next”. The pace on it is exceptional and very southern sounding. It slows it down and then neatly comes into a well tracked beat. The hiss on the vocals brings it out. They exude power into the performance and deliver it all with precision. While “Into The Ground/Cocaine Blues” is stirring and evokes good intentions. It lays on the helpings here and how it sounds traps in the feeling to exert a competency that leads a good run into things here. The performance is high on the zesty side.

“Alone In Silence” fills out in a way from combining the bass and cajon effectively. The result is a rhythm pulsating through it that positively charges electric. All the playing elements accomplish what is on show with this one. “Pole Cats” floors it in an enormous fashion from the off here. It is a grand and steadfast comely rhythm that is steered well. That drives it on and is testament that it is one of those songs that is a killer of a tune. It is classy and catches the right things and holds into them, while the backing vocals are something else that stokes it finely. A tune that can only be described as a stomper is “Mississippi Wine”. The delivery of this one is amazing and it glides along. The eccentricities on show to it seal the deal here. The final number from the band here was “Grim Reefer”. The reverence in the way gives it a thump that demands attention. It gets everything spot on and the delivery kills it all the way around. The cajon and bass perk it up and it retains a sense of true style and purpose. The smart playing is denoted by a depth in definition on the bridge. That sees it get down and dirty in the playing.

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SCENE & HEARD

HASSLE MERCHANTS (NYC FUNDRAISER GIG) The Twisted Pepper, Saturday 9h, February 2013

THE ESKIES The second band playing support here tonight was THE ESKIES. With a support gig the night before at The Grand Social for ROCHER, it was proving to be a busy weekend for them. “When The Storm Came” got things underway for them here. This is shapely with a specific eastern European sound.

The impressive polka is a prominent feature on it that is given lift by the steely vocals. It is positively charged and draws an energetic roar from things that it re-invests into the performance. The wonderful structure on “Down Down” gives it a sultry way as it flows. It gives it an allure that is commendable for being consistent. It is kept together in a very steady way and the folk elements are essential for it. “Eloise” holds and opens in a way that flushes out the rhythm. It is magical. It fills the air with a quirky sound that has a wonderful cut to it. That finesse to it shows real playing chops. Then they played a more upbeat number in “Chin Up Jack”. This elevates things sweetly and the pace meets up in a way that counts. The drumming and mandolin stand out and make it devilish sounding. The gangly way it is worked shows a lot of connectivity. It also has a neat flurry that is rich in folk.

What is impressive about “Down By The River” is how striking it is from the opening. All the playing in it has a part in this. It hits hard and fast when it needs to, yet is unafraid to hold back when required. The purity to it is formed off the back of this approach. The mandolin again gives a spring in the step to “Rapture & Revelry”. All the playing wraps around the rhythm and remedies it all.

There is a sense of a waltz to it that sways and side-steps its way through impressively. There is a curtsey to it that is quite specific. A song off the upcoming album was next. “Wild Wild Heart” jumps to life. The lyrics on it are sharp and specific, while a real spirited rise forms up from the playing. The wrap off the guitar fastens to it. It drops out only to come back in to see it home.

Things are excellent all round on this one. Another

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new song followed with “Tear Along The Line”. It has a true jilt to it and the fast delivery sees it fly out of the traps. They keep a good hold on it and there is a nice turn on the vocals. The rhythm is fluid and suited to the quirky melody to give it charm. The gypsy sound on here also shows real quality.

“Thelma Erve” contently plays in. There is a real embodiment to it and the playing rises to the top.

Each step taken seems to be well calculated. The burst of guitar makes it boisterous and the handle all things when it comes to the bridge professionally. “Fever” incorporates a lot of influences and has a true spring in the step. It is a shapely little number that plays with a swagger. The quaint little dashes applied combine to make it pleasant sounding. It is very attractive in how it plays out.

“Mamma Never Told Me” came next. This is hearty and spirited. It is also backed up by the playing which gives it a real spine. They catch everything spectacularly. The beat to it is wonderful and it easily melts into the tempo. There is real style on show when that gives it the lift it deserves. A dedication to Roisín Kelly was next.

“Jailhouse Sun” places everything to the front here.

The result is a commanding presence that is all in sync from the band. On all fronts it goes all out. As it plays it shows itself to be the top dog in the yard.

An excellent set closed off with a brilliant song.

SCENE & HEARD

HASSLE MERCHANTS (NYC FUNDRAISER GIG) The Twisted Pepper, Saturday 9h, February 2013

HASSLE MERCHANTS The band behind the gig took to the stage and were poised from the get go. “Trying Too Hard” is like a coiled spring and really snaps into it. This candidly sweeps you up in the way that it goes about things. An impressive start from the band and they build on that with “Slow Boat To China”.

This has a heel to it and the rhythm manages a good beat to it overall. There is a resilient feel from the playing here and the hook on it is very specific. It leans into it and the graft on it somehow grits through. A new song was next with “Your Condition”. They rip into it and chew the scenery with their performance here. Things are pinned down with a comparative and relative way that reverberates fully. There is some good weight to go with the substance and that is what helps it along. “Glory To The DJ” has the potential to become the “Panic” for this generation of disillusioned radio fans. There is a real good pick to the way it is played in that holds. It is worth its weight in gold here. There is some glorious work on show here and it spins nicely. It comes across as a very proactive number that works the crowd well. The lyrics also have a lot to say.

“The Wolf” absorbs a lot of the positivity to produce an engaging sound bursting from the vibrancy. The vocals seamlessly bring it to life. The song itself is well mapped out and very precise. It has a telling way about it, whole the bass protects it all. It is an electrifying performance helped by the animated way they take to the stage. “Prostitute” has a crisp and smooth way to it. They seem to gently ease into it and compose themselves. They are able to sail all the tracking to it and the lead guitar soars all the way on this one. “The Jackals” plays in a way with the vocals meeting the playing at well-timed moments. It shows the work the band put in. their indie credibility is preserved by this because of the crispness it brings. It is played hard and fast and there is no letting up. Another brilliant turn follows in “Clear Out”. It is a mesmerising turn and the way the guitar chomps away is amazing. The drumming and bass help fire it up.

There is a gnawed sense to it all here, while the jamming on the bridge shows the right intentions and that the song is in the right hands.

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SCENE & HEARD

HASSLE MERCHANTS (NYC FUNDRAISER GIG) The Twisted Pepper, Saturday 9h, February 2013

HASSLE MERCHANTS (continued) “Old Park Rd” Is a very accomplished effort. The opening to it here is something that has stark qualities to it that are really interesting. The impartial way that it all sounds serves it well. The inviting aspects of it give a good contrast and it is schooled very well. The hooks and sincerity of it all come across well. “Red Raw” is then delivered at break neck speed. It opens and immediately brings the rawness in places to the fore. This is a punk tune. It has the painful and disillusioned ideals down pat. This is exemplified by how brief it is played for. “Immaculate” brings some intimacy to proceedings. The tune turns on the back of a very smooth sound that distinctly flows from it. There are some serene and Parisian flourishes that meet the significant rock elements. It denotes a “Midas touch” at work. It is also very generous with the rhythm and that forms it here.

Another new song in “Shot You Down” sees the lyrics turn in something industrious. It is well played and given real bang for their buck. The integrity to it is very much kept in check. It is very serious sounding and the intensity picks up on it in a big way here. It fires on all cylinders from start to finish.

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“Let’s Start A War” is a well noted affair. It has a real punch to it and compromises on nothing.

Everything is let out on it. The result is a performance which is both raw and cursive in equal measure, while it has the attitude and confidence in the composure to back it all up. “Bad Rabbit” is razor sharp. The real edge that it has focusses all the playing from them. They are then able to project something that abounds with purity. It heats up and stresses the importance of what it is about without losing sight of what it is about. An old classic closed out their set. “Dublin Screaming Murder” is a vivid little number. It opens and changes direction with relative ease. This projects a tough exterior that muscles the play whole bracing it all for impact. The extreme hooks hang in the air and that is crucial to how it all sounds. Based on this gig we really look forward to their March 2nd gig with THE HOT SPROCKETS and NEW SECRET WEAPON playing support

Album Reviews

Irish Artists

EMPIRE SAINTS Product

This Bray band is one of the bands that deserve the high regard that they are held in on the Irish music scene. There is something to their opening track “Hands” that sets the tone for them. It is a favourable tune that has a good beat to it all laid down. The crisp drumming separates them from the indie following crowd and marks them out as not being sheep. The leading way it all plays here is an astute affair that promises much and delivers on it in a big way. Having set the bar the next track on the album is “Rescue”. Again it is marked out from the drumming. The pace on it here infuses some hard pace onto it all, yet it still keeps it intact by the vocals coming across on it. The playing to it pieces well and the way it entwines is something to acknowledge.

There is a feverish call to it and it mesmerises as it delivers on the elevation in a fine way. This has quality tune written all over it. There is a competent turn of events to “Mazy Haze” that is symptomatic of what defines the band. The calm and haughty sound to it all surrounds the tune in a way that longingly brings out the best in it. The indie feel to it is decisive. The instrumental to it is so close on it that the precision on it as it lets go proves to be a fruitful endeavour for the band. This lets their music do the talking for them in a big way.

The fourth track on the album here is “Note The Meaning”. This is something that stands out for all the right reasons. The drum and bass is comfortable alongside the synth aspects of the sound here. By this the band then has licence to create a new direction for their music and they go in the right way with this.

This shows some forward thinking from the band that works for them. The rhythm to it is a lean state of affairs here that brings something innovative into the equation from them. With “Soundtrack To The City” has a solitary feel to it that is handled by them in a way that sees it come across cleanly. The steady way it builds is all threaded through and then it takes off in a jilty fashion. The acoustic guitar on it comfortably sets it all off. The turn of events here is a splendid sign from the band and it involves you as a listener on account of how strong it is. A song that is cut from the same fine cloth is “Come On”. There is a darling way about it that comes over in a proper

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way. That is down to the whole process being assembled in a way that lets it fulfil the potential it has. It burns brightly off the back of the playing. The flow to it is what is crucial here and how it achieves it is a true marvel.

With “Flow” there is an edge in the vocals that laces it all out perfectly. With the temperance presiding over the gradual build on the song it comes together finely. Standing off in a way, the shrinking sense to it hangs clearly on how the lyrics are expressed here. The guitar that echoes in the background on it gives something spiritual to it all here. That is followed here in the listings by “Blood Is The Difference”. This sprouts from the earnest conviction of it all. On all fronts this is reflected. The rhythm to it is upfront and matches the intent of the lyrics here. The interaction to it all shows the structure of the song is solid and it remains intact from the off here. “Wrong Direction” is able to bring some more of the synth into their sound and it seems to have a protected way about it. The rhythm to it admirably plays along and it backs it all up here. The way it is all scored is also impartial on the intro and it evens out when the vocals come in. It has a slickness to it that is finely on display here. The closing track on the album here is “The Drowning”. This again flirts with bringing a more experimental approach to meet their indie sound. The end result here is something that goes the distance. There is a rush to it that nicely brings things to the surface in the sound. The synth and electro moments on show here give it a path for it to follow and it somehow edges a retro facet to it further into the song. That creates a precision in the way it garners a presence on the album.

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Album Reviews

Irish Artists

The Juice

Up, Down, Left, Right, A, B, Start The first track on the album here is “Stop The Lights”. It bustles along nicely and the playing on it has a compact way to it that is instantly felt. The grab of the sound is helped by the way that warmth on show to it all comes across on it. There is a bounce that comes off the whole thing that is properly applied and it nicely sees in the album. The next track is the excellent “Ella Fontaine”. The first thing that stands out on it is how crisp it feels. There exists a finesse to it that sublimely drops into things after a well measured and gradual build. The guitar follows in here and it is a constant feature hanging over it that brings an additional quality to the sound. The song itself is one that shows the strengths of the band. “Soul Searching” is a neat creation from them.

It has a free place that it finds in the sound. There is another plus to it in the harmony that styles it when the vocals drop out. The silver lining is there to be found in this one. With “I’m Not Gone” the beat from the drum is what sees it in and then the playing seems to get caught up in something that resembles a lullaby. The sound is very coveted and finds the right way to come across. The hold on it is able to serve it well here.

There is a more experimental sound that they attempt on “Fade” and they are rewarded for their efforts.

The song is cursive, while the patient and cautious approach it adopts opens up with bravado. There is faithfulness in it that catches the intended as it plays.

The next song is “Black Out City” and it is all about home. That is why it is able to comfortably draw on the best things in the vivid imagery at the same time it points out the negative. Home is where the heart is and it is very much on show in this song. The procession that comes after the intro is light but it is also something that adheres to a set design. Acoustically the tempo on “Line Of View” opens it up. The song is able to hold close to all it has and there is a safe feel to it. There is a neat side underlying the play that has a high likeable factor working for it. “Diablo” is a song that flushes the playing into the rhythm and comes across handsomely. There lies within it an essence that does what it needs to do. With it there is also a progression on show and the bass line on it is something that feeds it all well. There is a nice side to it all in how it branches out.

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9 the album here. “Toffee Pie” is a rather remarkable tune.

“Glow” is an intriguing little number from them it has to be said. There is a flow to it that is easily felt, but it is how it gives rise to the song that matters on it. There is a loose fitting way to it on the one hand, but on the other there is something very descriptive about it. What then happens sees both those sides even out on it in a way that sees the song come together in a way that shows a prim and proper layer to it all. “Wasted Wisdom” proves to be a lush affair that incorporates a more innate sound that it releases upon the song. The song is about imparting and that is what happens here with the sound. There is a comfortable way that things trickle down on it. What also has a lot of a say in things here is the expanse that shows on it. That is on the front of the vocals, the lyrics and the tempo and while all separate in their own sense, they combine well on it.

With “Senses” the intro to it is a matter that brings a broader definition to it all. They lay it down in the way that everything is able to remain true and this is able to travel well. There is a psychedelic feel to it and it is an interesting arc in the way that the album sounds as a whole. The final track on the album is “Break Away”. This proves to be a fine selection to close the album out. It crosses the line off the back off the effective way the playing combines. There is a sharp feel to it that gives it the necessary backbone and weight. Using these to their advantage they deliver on it from all fronts and close their album out with the utmost pedigree.

Irish Artists

Album Reviews MARITA CONNOLLY In Disguise

“Too Many Times” is soothed into things and from there it bursts at the seams with an enormous heft off the rhythm. This is very telling and there is something in the make-up of the song that seems to take it back to a timely era in music. Comparisons with BURT BACHARACH are made with the easy listening appeal to it, but also in the astute observations that typify the lyrics on it. There is another likeness to it in how the sound dictates around a carefree tempo that dutifully plays it all out. There is an energy emitted from it that is very sophisticated indeed. The second song is “Forget About You”. This again catches a charm and works it into the sound. The pleasing thing about it is how easy listening the whole song is. There is feeling behind the lyrics and it is able to compress that into the end product that it the music. The way it is all showcased here is finely done and that is down to catching everything just right on it. A fluttered guitar riff opens on “Anywhere But Here” to distinguish it from the piano based driven sound of everything so far. It works and it has a way of branching out from that. There is a synchronised way to it all that gets caught up well in everything and it easily branches out. The positive run to it is also well felt on it and the song is all tracked well. There is a complete way to it and the guitar on it gives it some weight that it is able to press ahead with.

The next track on the album is called “Happy Thought” and it condenses the sound in a way that turns pretty. The clued way to it is somewhat sexual and the lyrics are very upfront in that context. It is also clever in the way that the style to it seems to be post-modern in a way by empowering the female side of things in the equation of a one night stand. There is a very specific mood set out from the beginning of “Party’s Over”. It saunters along in a way that feels somewhat obligated and forced upon it from the pace, but that is designed to fit around the lyrics and the conveyance. This all works and comes together in a loaded up way to it all and sees everything play a part on the track. “Forgetting (Piano Interlude)” is exactly that. It is an interlude on the album that showcases a piano ensemble which is the tracking for the second track of the album. While this is a stripped down version it hints at belonging on

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the album here. “Toffee Pie” is a rather remarkable tune.

The way it walks in the entire sound to it is a nice touch.

While taking the time to allow it build, the fusion of jazz influences come to the fore on it quite well. The song is about temptation and forbidden fruit, while exhibiting some restraint. The honesty of it is another striking song about female empowerment and it speaks volumes at the same time. There is a way that it dances and it wanders safely about within it all here in a commendable way.

There is a reverence to “Remember The Time” that holds it all aloft. The playing is refined and how it is imparted upon it all is something that is skilfully done on this. There is a neat way that everything on show is cradled on this track.

The softness bellows out adequately from the sweet way the piano glides across here and when the guitar comes into the reckoning it is reasoned out finely. At the same time it all remains well-grounded and that is why it is very much on the money here. “The Road” is also a song that leans heavy on the piano at the intro stage. From there the whole of it is able to come together in a way that brings out the fuller aspects of her voice. That is the key to how the song is driven on. The arrangement of it all is turned in on the back of a controlled tempo that instils a belief into all of the essential points on show here. “Want You Back” is the song that closes out the album. The way it pushes it all out fares well. That is somehow able to show on it even though there is something haughty running along through the lyrics. The way it is all done bequeaths upon it all in a way that is intriguing and colourful, while also showing an expanse in the way the strokes to it are applied. As like the rest of the songs on the album this is a piano driven affair, yet it is also managed well and arranged in a way to allow the finer points of it to narrow out on the sound.

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Album Reviews

Irish Artists

SUZANNE SAVAGE Jellymould

This Belfast singer is one of the hottest prospects on the Northern Ireland music scene. Her album opens with the violin stretching out across a finely laced piano arrangement on “Dizzy”. That shows a heart to the song and as her voice comes into the song it nestles in a way that lingers upon it all here. The sifting way that it all comes across is imbued with a level of feeling and sincerity that longingly stirs this to a content finale. “Dart” seems to be more specified in how it differs. The song has a tidy way to it that is cheerfully managed and it cuts to the chase from the off. It is all well-tuned in and has this terrific optimism in how it sounds. There are flush moments to it that cut a dash and get the song noticed. Her voice holds on the notes in way that brings as much out of everything as the fine rhythm does. While “Just Fine” seems to stick to its guns and it is a classy little affair indeed with a fine piece of mind to it. There is a funky and more jazzed up tempo to it. The run to it all trades up in a big way.

This is a song that carries a lot of sophistication to it all and it works it finely. There is a vibe to it that inhabits the song in a way that pushes out the best in it. The clever little saunter to “Somewhere In Between” gives it a riveting bounce that easily comes to the fore. The heartfelt and thoughtful way it is managed is an additional bonus to this one. There is a colourful slide to it all that shows well here. The refreshing way that the song all manages to come together is very much heartfelt and helped considerably here by the rhythm and tempo remaining in check throughout.

A sense of the quirky about “The Violin Song” is also an intriguing prospect. Further inspection shows it to be able-bodied and a closer listen to the lyrics show something that is encapsulated in a progressive way. The neatness to it all is siphoned out by the violin that encourages the shape of the sound here.

There is an innocence to it here that is another feature that is deserving of the artist’s attention here.

The eponymous “Jellymould” is next. This is a song that is crafted from an ambitious starting point. It builds very well and steadily, and that is the base upon which all of the large scope it has set out stands

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upon. It is telling how well it builds and smooth in the way it drops to a tender beat to see it out. Her voice is soulfully carried out over it all as it closes. “Travel Song” has a tasteful way to it that loosely plays out on it. Her voice and the sharpness of it is one of the features on it that give it a slight of hand. In light of that the playing to it valiantly brings out something in it here that is elemental in how it sounds. How it all equates is down to the fine way these things combine on it and the boat is really pushed out on it with the way it lovingly all carries in the air so freely.

The nature of “Don’t You Wanna Know” is feverishly brought out by the playing. There is a weight to the piano that suffices on it and gives it the weight behind the punch it has. The clean way to it shows an imaginative approach when it meets the other playing elements. The whole thing pieces together with the necessary passion and has a matter-of-fact way to it that also looks the part. “Say” however is a big tune. The timing to it is all precisely assured upon it. The tempo of it sits well with the bright substance and positivity in the lyrics. This is a song that is a big hitter and the contentment to it is something that is highly bankable. Everything to it is carried off as intended and leaves nothing short. There is wired way that the beat is delivered on “Onetwothree”. This is a song that is short, sweet and very much to the point. All of the points to it dazzle. The closing track on the album here is “I Still Love You”. There is a moving way to it all that is fronted by how it is gestured in with due care and consideration. Listening to it you see how it marvels and has a true touch of class to it all. The handling of it conveys a lot of the emotion in it while allowing to retreat inward. This is a clever piece of work that has been styled well and it shows.

Album Reviews

International

AMELIA CURRAN Spectators

The second album from Canadian artist AMELIA CURRAN is truly an album that deserves all of the plaudits that have come its way. The song turns in something mystical in opening song “Years”. The fortunate way to it all is imbued from the very first line of the song. The true skill displayed is measured by how it all comes together. Bringing in a lot of metaphors to the lyrics the song is also marked out by the feverish fabric of it as a whole. This cleanly sweeps along and turns a corner with a brilliant autumnal feel to it easily coming off the rhythm. The bold strokes on “What Will You Be Building?” are something to behold. This pleasantly finds its feet and grows as it progresses. The stature of it is superlative and the brass orchestrated into it all is something that smartly pads it out. There is a savoury edge to “The Modern Man” and it plods along in a way that has a pleasantry to it. That displays on it in a dreamy way. There is a tried and true substance to it that canvasses off the styled it is played in. The rhythm on it is reasoned and placed, but done so in a way that makes the most of it all.

“Blackbird On Fire” cradles all of the right prospects in a mild mannered way yet still manages to play with bite. The vitality to it awakens something inspired in it that is carried off as a key point of note.

The beat to it is barrelled universally and it obtains a way to it that harvests it all to unfold before the listener in a way that means everything. This song alone makes the album a must have. “The Great Escape” treads the playing in a great way. The fulsome way that the acoustic guitar spruces the sound on it is something to appreciate. It holds in the right parts and it is able to place upon it heart in a way that is irreplaceable if done any other way. How it is done shows a level of ability that underlines the reasons why this artist is held in such high regard.

This is a master class from beginning to end. In “Strangers” there is another tune on shoe here that truly makes the album. The slight way to it is what allows it to play to its strengths. Those strengths include an involved manner from the lyrics that marries with a sweeping tempo that gives it a true pedigree. The direction of it is blessed with such

10 fortune that it finely envelops it all. With “Soft Wooden Towers” there is a fluid and good mind to it that comes off from it at the beginning. That stable nature to it fancifully serves it well. The soft touches to it faithfully run through it in a way that shows the right amount of consideration.

How it plays out is nothing short of beautiful and the whole transition of it musically is such a captivating prospect that one can’t help but get caught up in the moment of it all here.

“San Andreas Fault” is a song that stands out for all the right reasons. There is an even feel to the playing to it and this is coupled immaculately with the prosperous lyrics.

They combine on it soulfully and soothe into the rhythm.

How it all combines is a well-seasoned effort that exhibits a controlled effort that takes to the frail aspects and nurtures them along inside the sound. The penultimate track on the album is called “In A Town (200 Days)”. It too is a song that stretches out with a carefree and laid back way to it that is carved out on the sound. However it is all mapped out and distinguished by these characteristics. The way it breaks down contemplates a lot of features and it is this approach that allows it to drift away. The accompanying brass section on it is applied with the appropriate level and as a result the performance turned in on the track shows a true knack that is worth its weight in gold. The closing track on here is called “Face On The News”. The compassion to it is painted well here and reflected in the lyrics. There is a solemn weight that finely cuts across here. The deep way that the song is pieced together brilliantly commands respect. The vocals to it are implemented on it and they give it a showy side but still allow it have a mysterious quality in the format. From beginning to end it is so well arranged and the devotion is unmistakable here.

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International

Album Reviews Galia Arad

Ooh La Baby The album opens instantly with “I Must Have You”. This is a song that is helped along by a way that carries the melody along and makes it instantly attractive. The accordion playing in the background gives warmth to it that commends the detail in the melody with the softest of touches. Her voice soothes into the tune here in a way that makes it a classy affair that is sweetly brought to life with the best intentions. The second song on the album here is “Ooh La La”. There is an undeniable sprightly way to it here that is very sophisticated. The bass line that is central to it allows it all to progress in a way that brushes out all the playing in a way that is commendable. The sultry way to it is all locked in and kept tight on the sound, while it also appears to breathe something of the seductive into the sound. This attractive aspect in her sound is repeated again with “Something Sweet” to give it a Parisian boardwalk feel to it all. It comes over in the tantalising strains in the sound here that bring the right mood to it all. The saunter to it is surrounded by all of the playing on show. Those elements bring out the finer features in it and they let it flourish.

“Don’t Go” has a vulnerable sensibility to it that is immediately picked up. The lyrics on show are pleasing and open up the song through the emotional expression on show.

The confessional nature of them shows a bitter and sweet side by being relatable. The running of it all endears admirably by it not being a song demanding pity but rather one that follows through on the lamenting side of things.

With “Four Leaf Clover Boy” there is something about it that falls nicely for it all. The playing here is a relaxed state of affairs that scoops everything up along the way. On vocals here to make it a duet is SHANE MCGOWAN. He adds to it all while still keeping the song within the confined framework that shapes it all so well. “Dad’s Intro” sweetly opens with a precise sounding violin coursing through it from the off. It is inclusion is merely as an interlude but it is a wonderful piece of playing none the less. That is then something that drops out and things become tailored by a bucolic sensibility. The strident way to it all remains contently controlled and it is within this tempo that the lyrics shine from the suspension they have to them on “Will I Be Loved (By You)”. The softer showing here is what is able to draw the listener in. The whole process to it coming together is remarkable and the lilt to it all cannot be faulted.

There is a more recognised pick-up to the pace on “Better Than Bonnie”. The chipper sound to it is something that carries the necessary charm, albeit a song about bitching, but it is still able to convey it all into a fashion that collects it all rather well. There is a completeness to it all but it has these sharp pop culture references in the lyrics that show some

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song writing smarts that boss it properly. “You’re Always There” traps in a bare like quality to it that fleetingly is poured out just right. There is something to it that is carefully laid out by the arrangement as a whole on it. Everything is played along with a relevance to it all that adjusts when required and that is what creates the inviting crest to it all. “Mom’s Intro” is a second interlude on the album, although this time it is a piano driven affair that is played with gusto.

“Dear Friend” parlays between the soft and antiquated way to it all to produce something that acquires a recognition to it all that is kindly helped by the hushed way to it all. The intentions of it all slip underneath the tempo and lyrics in a way that are kind to it on both fronts. The song is sweet and pleasing in how it eases into itself. There is something to “Gypsy Boy” that enthrals in a specific way. There is a lament to it all that is seen through and delicately handled. The wandering nature to it all carves out something of it that is almost niche like in how it hits the floor.

“Full Of Sh*t” is a song with a true splendour and there is nothing pretentious about it. The song convinces with the way that the tempo brings it to life. The bright start to it configures all of the right aspects on the song and from there it buzzes along with a great sense of fortune to it all. This is well styled and has a trusty way to it that impresses upon it by making all the right moves. To close out the album is a track called “Tonight I Found The Blues”.

As the title suggests it is something that is very introspective. The feeling to it all sweeps along in the lyrics and tempo to give it a sweet release that is coveted by the artist here. What it equates to is all rather pleasing and it is a song that you feel for. The finesse to it all here is vital to it prospering. That is not a bad thing as it is finely sees it all home and the release to it is all echoed in a way that realises it all passively enough for the intentions to pass through in a way that feels right.

Album Reviews

International

YELLOW RED SPARKS A recommendation from our Los Angeles based music network, YELLOW RED SPARKS are a folk band that we have really warmed to here at U&I. That is down to the cinematic vein that their music plays in and how refreshing it is to here. The album opens with “Buy Me Honey” and this is a soft little number that comfortably finds the bands forte. The tempo to it is deftly applied and has a sweeping way to it that is commendable. All the instrumental work on it soothes into the playing here in a way that overwhelms you in a way on account of how decent it all follows through. “My Machine Gun” starts off very well and it has a gradual ascent on show.

There is a blustering rhythm on show here that comes out on it all. This is a feature to it that dresses it up well.

A finesse to it freely comes across on it with the back and forth rhythm showing here something with a zip to it. “Happiness Comes In A Box” tolls along and the honesty in the endeavour is conveyed in the heartfelt lyrics. They sit inside a simple formation on the musical arrangement here and the sound languishes. What is displayed here shows real smarts within the tidy and enclosed structure of it all.

A fancy feel comes across on “To Love And Loathe” that suits the bend and break of all the words. This is a song to warm to on account of it having a trustworthy composure to it that captures a particular sentiment and capitialises on it in a big way. It resists taking it to a homogenised centre which would be the easy route to take, instead it internalises the angst and turns it in to the driving force on the track. The loom on “Mr. Wonderful” charms considerably. The softness of the string and piano arrangement in the background is a thoughtful consideration on show here. What instantly comes across on this one is the way those aspects are cradled in on the sound. They are what make it so appealing and the delivery is a track that confidently does the job here.

They spruce things up on next track “Monsters With Misdemeanours” and it has a harder way to it that chases down everything by having a violin sitting nicely alongside it. You get the sense of it being well planned in how it is all steered. From that enchanting opening the song meets a lot of likeability in the lyrics and they show very well here. “Yellow Red Sparks” bursts into being from the string arrangement on show. They gracefully give it a reference point from which it all branches out. The twee like feel to it is embellished within this show. The comfort to be found in it etches across and while it has a hint of displacement to it here, the son very much finds its way.

9 The rhythm to “A Play To End All Plays” sort of situates the intro in a morose and sombre place. What follows from that is a gradual progression to everything on show. The display from the band on this one commendably shows how specific and deliberate the sombre opening is to the outline of this track in being the focal point for this to be keyed in from. “Scents And Sensibility” is an attractive little number from the off. The folk elements of it are intricate. The pace to it compromises on nothing here and it presses ahead with a steady hand behind it.

With other instruments added into the mix, such as the organ, the benefit to how they bring out the best in the song becomes evident. The breezy way that it whips along here is thoroughly enjoyable. An evident pep in the step is what helps to bring out the best in it and nothing about it falters. What they have here is a well framed song. The deadened way to “A Buffalo” seems to enamour the song in a graceful way. The ambient presence of it is tracked by a fluid rhythm that skips along with a true virtue to it indeed. A magical way to it is also felt with how it coasts along. This gives it a sway and it levitates as it plays in a very particular way that is impressive. The closing track on the album is a rich affair called “Hope On A Rope”. Being filled out by a tempo that canvasses all the anguish of the lyrics and exposes the sound to a more revered musical influence is a shrewd move here. The rhythm to it is an expressive piece of work here. Likewise the lyrics and vocal arrangement have the feel of being an extension to all this laid out in them. Kneading it all together is also something that gets everything right. Adjusting for very little and showing no compromise, but that is down to everything having a place and being in the right place. The verdict on it is that it is a great tune to close the album out on.

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Album Reviews

International

MODERN SUPERSTITIONS This album was highly recommended to us through our Canadian based music network and the glowing reference that the band received whetted our appetite. The album opens with “Last Night’s Dress” and it ploughs into things. The vocals combine well with the tempo on play. The rawness to it gives it some teeth. There is also a decent pick-up to it all that shows a decent mover hitting fine form while still maintaining the edge to it all. This is an endearing effort and that it opens the album is what keeps you listening intently. The crude comes across on the next track “Black Moon” and it turns it around. The song is another effort that speaks to the disillusioned youth but also gives them the voice they need. It all aligns for the band here. The distinct way it sounds is able to drag it along while being crossing over on the back of the appeal it presents.

“Let It Melt” is a peachy tune that automatically glues you in. The heart of it all is evident. What it also proves to be is something that merges an underground kitsch and stays true to it. The underground feel to it has a purity that never leaves it. This says a lot about the band and it tracks it all well.

There is an indie vibe to “Bandits” that gleans across on it. The vocal here on it hounds it out, but it is the lyrics and what they try to say that is the bonus here. The playing draws out a fine manner to it all and it is definitive sounding.

There is reach and character to it in high quantities. This is actually one of the tracks on the album that make it worth tracking down. “Hometown Radio” is something here that marks them out. This is an absolute gem from beginning to end. The song keeps everything very much in check. There is an energy to it that punches above its weight. The way it keeps it all in line shows and it brings out the best in it all here. The rattle on “School Days” is what gives the song the presence it has. Midway through the album and we are truly enraptured by it here. What shows on this is a spectacular sounding effort that shows

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9 the band is capable of turning out a decent tune. On the evidence of this tune it is plain to see. “String To The Sun” calls the shots with the guitar riff that colours it all in. The angst in the voice lays into it here. What happens to the sound in how it wraps around it is well worth checking out. The intense nature of it is easily felt but it is all in the neat way it builds up before launching into it all that shows the strength of it in a big way here.

The aspiration burns bright on “Way I Want”. This is something that lets the vocals take pride of place for once. They are very definitive on it here, but what is also notable is how strong the tune proves to be. This is an effort from them that puts it all away and plays with the front that allows it to do so. “I’m A Coward” has an endearing coolness to it that comes away on it.

The way it jumps is something that holds down everything well on it. The catchy way it is all delivered grows in stature and it centres on this. There is no let up to it and it is well turned in all the way. The closing track here is “Bad Habit” and this hits you like a bomb.

The feverish delivery to it ushers in the playing. The sound to it all shakes it up thoroughly. The necessity of it all is understood. This is a song that is hard edged and uses that quality to get the best out of it.

Album Reviews

International

RACE HORSES Furniture Our Cardiff based music network recommended this local band and their album. This is something that proves to be a completely charming affair. The eponymous track is the first offering on the album.

It zings and there are synth aspects to it here that sit nicely with the extraordinary way it has about itself. The song is an eccentric tune that meets the music side of things nicely. The tempting feel to it is all grasped by the band well and it is able to go forward independently. That is followed up by “Mates” which opens on a repetition of the title over and over. The mixed tempo to it has a lot of appeal. The fresh way that it all sounds is something that comes to be bold. It is also able to draw out something when it gets going that has a fine cut to it. A retro feel comes off “Nobody’s Son”.

The tune itself is a coveted piece of clever and decisive music. The band draws comparisons with bands like PULP. This is able to sit in the realm of misunderstood and awkward experiences that alternative bands can turn in. This is a brilliant effort from them.

“Sisters” twists on the playing in a tantalising way.

The pace on it is a consistent affair and one that gives the quirky side of it the makings of the track.

This is another outstanding tune that is a refreshing listen from a band clearly on top of their game with this one. It has a twisted nature but it is a striking tune that impresses considerably. The heart that beats on “What Am I To Do” is something to die for. This strips back and the emotion comes forward on it as a result. There is a formation to the playing that is a true bonus to it all.

With the guitar and drumming giving it the necessary muscle to ponder along in this hip way.

“World 6” has a flutter and an accomplished arrangement on the intro and the ensemble piece is a suitable interlude on the album here. It is then followed by a track called “Bad Blood”. This is a consequential affair that has a singularity to it that narrows the whole process. Then the playing turns

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on this and it begins to bring more elements into the mix. This has a lot going for it for this approach and it takes on a lot of different directions in all the sound, but it loses nothing in the process.

“My Year Abroad” is another great tune that appears on the album. The build up to it is monumental and the thought processes congregate on the track in a sublime way. The finite way to it in how it sounds completes it all. The song lights up and the high regard that it deserves for it is just reward. The band gives a lot on “See No Green” that has a heightened substance to it.

However it does kind of go somewhat awry in part. The collective way to it here is what gives it weight. That then gives way to the enchanting and rich piano rhythm on “Old And New”. This is a ponderous affair that moves and shines a light on their sound. It harks and retains a hollow solitude to it that gives it a soulful measure that serves it well. “Dresser” is a bonus track on the album. It is able bodied and it hits a pitch inside the setting here. This is made from a fine substance. The avant garde credentials to it are something that is fully grasped. They take a liberty in a way with the direction it goes but it is a scintillating and tasty number that delivers fully with the eccentricities considered well on it.

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Album Reviews

International

Elonzo

Salt In The Wound, Flesh On The Bone The South Carolina band is a recommendation from our United States music network. Their album was mailed to us at the end of January. From there on it became an instant favourite in the office and it is has been one of the constant favourites played here ever since. The album opens with a track called “Reprise” and this is one of those songs that can put an album on the right footing. The piano to it has a way of drifting along on the playing here and it is able to bring out the deeper feeling to it all in a respectable way. It heavily rounds it out on the close and tees it up nicely for a harder sound on “Ghost Coast” to come to the fore. Here the guitar and the percussion are weighted in to the mix here in a way that comes across on it with true prominence. The spacing on show is also something to commend the band here for as it is able to give the necessary depth to the sound. “Cannon Fire Desire” has a serious poise to it.

The clean way that the song simplifies the rhythm keeps it all intact. That is then directed and the song has this grandiose fashion to it that it keeps firmly in check. By taking stock of what matters to it from a musical perspective the best in it is all brought out and they see it home comfortably here. A lot of “We Were Once Young” has a transition about it. There is a fullness to it here that pieces it all together. The premise of the sound is defined by the way all the features within the sound are able to keep everything within reach. It suits up nicely and there is a refreshing way about it that is highly appealing.

“Leaves, Trees, Disease And Detachment” is a wellrounded effort. The playing on show catches a lot of things as they should be. As it plays out it proves to be a very attractive tune with a commendable forte accomplished by the tempo released from it all here. There is a polished way to it that whisks along quite nicely and it is an agreeable prospect from the band here. Things are thinly played with the next track “Shiny And New” and they equate upon it in a tasteful way. The little glances it casts across on the playing go down well here. They act as descriptive features that work for it as much as they are worked into things. Applying them here allows the song to open out with a glossy way to it all. With “King To Your Queen” there is a free and easy vibe to it that is singled out by the harmonica on show. There is something reggae-like about how it opens on the intro. That seems to be something about how it that helps it to find its groove. The fluency washing over it on the sound also packs in something considerable it must be said.

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The roll to “Graveyard Love” is something tempestuous.

Consistent in how it is conceived it remains true to form and gets everything dead to rights here. The harmonica sweetly crosses over on it and the raucous way it all powers along showcases the brilliance of it. The sheer class of this is evident from the very beginning and it is a song that you will play over and over when you hear. “Free To Go” is another song on the album that is an instant favourite. The way it roams and gets everything down pat in the music is a commendable trait.

Soft in the sweeping moments, it takes off cleanly and it proves to be a true gem.

With “Here It Comes” a banjo brings something fast to the sound. It all goes by in a true Southern fashion. All the playing is cajoled and it snaps into life. This is a song that catches everything right and how it moves along is an impressive turn here. By locking it down inside the tempo that it has everything remains consistent throughout. The final song on the album is “Blinding Reminder”. It draws everything out on the play and it has a distinction to it that floods it in an unmistakeable way to it that brings out the best in it. How this is cleanly pieced together is complemented by the way the aspects of it have their moments. Be they in the timings or their place among the sound, the band balance and judge all of the progression for this one finely. The brass moments that are tacked in sit expertly with the blues scale features to it here.

All in all this is a fine effort to close out a very fine album with.

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Album Reviews

International

THE BANANA CONVENTION Some Points In Between This is a live album that the band recorded on the road throughout a tour they undertook that saw them play across the United States and other venues. The audio quality of the album also shows a well-produced album and one that showcases why THE BANANA CONVENTION have the live reputation that they have. The 13 tracks are also an album that is currently a work in progress and we feel very privileged to get the exclusive here.

The album begins with “Grand Illusion”. The guitar careering off it here embellishes it all in the right way on the intro. The warmth of the voice is then granted a presence and comes over on the song.

The way that it lets it all out on the song is an impressive piece of work. What also comes out finely on the recording is the whip from the guitar and the frenetic way that is wheeled on the bridge is clearly a good turn on it. “Head” admirably plods along. There is an ideal little bit of sass that it lays down with the vocal work.

There is a steady structure to it that sits the ratty way it flies. The slide from it all is a convincing and dependent effort that is ably fronted. The next song is called “Entertainer” and it places nicely.

There is a focus on aspects to it that are eager to get down to the rock side of their sound. It does carry across with a nod to their blues influenced sound coming across on it well. By doing it they give it a cushion to bring the structure around that is fancy enough to do what it is asked of it. With “Two Houses” the bass line that introduces it all is met with an easy sounding guitar drive. That opens it up finely. The running of it all is well housed in the tempo on show. The overall verdict is that is checks in nicely and shows a good performance in the mix also.

On “Saddled With No Tears” they are straight into things from the off. The calling of the song is an effort that switches in a token rhythm and weighs in with a good take on it all with the lyrics. The presence on the recording seems to indicate a band that marshals a stage well. The song bulks up on a bridge that is saddled with a resonance in the guitar riff that is able to keep it on course. With “New Guy’s Hotter Than Me” there is a change with the vocals being shared. The song takes off and it has a volatile feel to it. The way that it rips along is something that suits the angry side of the lyrics. The conveyance of it comes off it and it is the selling point on the track. This is a catchy little number that curtails things in a way but marks a direction from the band that they are well suited to. That is followed by “Taking Back The Fun” and from this recording it would seem to suggest a band comfortable as a live performer. The energetic approach on the pace is also matched up in a notable way to the obscure heel to it. The pace has a way of edging out the guitar smoothly and that is also a reflection in the delivery of the vocals on the track. They get down to it all on this one and it is a really interesting direction their sound appears to take on it all.

The band tears into things on next track “Call To Arms” in a good way. The focus on it shapes the song in a way. The rise to it is met with a very blues driven sound. They channel that in to the way it plays and it is able to elicit the right response live from the way it is delivered. Then the guitar is controlled and it has a patient drive to it on “Go Fly A Kite”. What it doesn’t betray though is the capacity that the band has for pumping up the sound on their tracks. This is one track that plays with good control and floors it all in the play to come up with the goods. The handling of it all is

bounced along with the lead guitar calling the shots on it here in a big way. On “Folded Up” the intro is all down to a formidable bass and drum combo. They saddle up and sound the business. The guitar then becomes added and there is indifference in a way to it before it takes off. Then things hold tightly on it and the sound steers it in. The means to it all are savoury here and comes cleanly to the fore here.

“Fine Dammit” has an expectation on it that rides well. The sliver to it all has an intended way about that keeps their game face on. How it begins to run has something routine about it, but there is a kick to the vocals on it.

The delivery is able to confidently keep up with the pace. Touching base with the tempo is something it does well here, in particular when it slows down the whole song and gives it a good draw. Then it brings it all to the fore before streaming the play along figuratively. “Jessica Fletcher” is the penultimate track here. This is filled out by a discreet rhythm that gathers in the progression. Everything on it collects well. The hang to it all is relevant to the spacing, but it is how the pace is able to tease out something deliberate with it all is what is impressive. The taut way to it is referential and it applies some soft touches to the playing in a way that is admirable enough. The closing track on here is called “Safe And Sound”.

It opens in a way that indicates the inevitable. The bass line rests on it nicely. There is a graduation in the song coming together that is all there to hear. Things are pondered on the lyrics and that slips the song into a little bit of shoegazer territory, yet it still picks up on the sound and stays above water on that front. Things slip away on it and the song also seems to have a way to it that skims along neatly. There is a forceful delivery from the arrangement and it is all carried home in a routine way here.

As a live album this has excellent sound going for it and the mastering of it is there to see. That an unsigned band from Michigan can take the initiative and produce something like this in the process says a lot about them. It also reflects in a positive way in how technology is shaping and benefiting music for the better.

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EP Reviews

Irish Artist

ROCHER A three track EP from another artist that we have seen perform live recently. The opening tune here is “Seven Hours” and it has a form to it that shines on it. This brings something to his debut effort that has a nice bit of work firmly on show with it all. Here he finds a calling with it and what marks it out is the colourful influences of different genres upon the sound. There is a continental flair to it spruced by the Latin flourishes of Spanish guitar on it, while the maracas that shake it out are also an added flair that suits it all. The tempo to “Officer Officer” seizes upon the potential of it all by fusing an accordion into the sound as an ever-present characteristic. It lies behind the flow and it is able to imbue upon it something that broadens the sound on it and truthfully push more integrity upon it all. The final track on here is “The Girl Next Door”.

The rhythm to it is a steady affair that has a fusion to it that also seems to bring something to it here that coins what it requires. Again there is a nod to the Latin influence in the sound and this is a plus for it. By applying it to the tempo he shows an uncanny knack that is able to drive it on as intended.

MONGOOSE

Songs From An Umbrella –Booth

This four piece band is an impressive live act that we managed to catch live recently. On the opening track to the EP here was loudly stands out is the soulful way that the voice of lead singer MOLLY

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The lyrics come in on a chorus that follows something rudimentary and sticks to it, but it is the musical arrangement on here that stands out..

O’MAHONY comes across on this. The content way that it sits with the tempo draws a comparison in their sound to SADE. This is down to the smooth and silky feature that it holds true to. There is a closeness to it here that manages to finely weave it all in. Then “Knocked Singing” follows and it has a more withdrawn feel to it. There is a heavier impression left upon you from the intro to it but it has an impeccable feature to it that gains from the stray composure it presents. The playing to it has a faded sensibility to it but it also passionately rolls free. The guitar on this is timely and it ticks over nicely on it, which is how the whole process is carried about on here.

“Yesterday’s Clothes” has a neat flurry to it that moves it on finely. What also gives it the weight is the vocal delivery. There is a way about it that encapsulates all of the finer points to it all. That is underlined by the soft way it sounds as it comes across and on the face of it all you realise that it is something that has a value to it in everything that it packs in here. The final track on the EP here is called “Bottom Line” which has a faster tempo on show. It also comes across in a more direct fashion to the others. They show here a sound that has a more upbeat and refined direction going for it. What is also impressive about it is the way that they contain it all within a free style frame while also giving it a life with the quirky feel that it has going for it.

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EP Reviews GARR CLEARY Goodbye To Yeahman

Irish Artist

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The opening song here is called “Waves” and it has a safe feeling to it all.

What also is apparent is the conjecture to it all. There is a tender way to the spacing that lets the other playing elements come across on it in a soothing fashion here. When they all come to the fore the feeling behind them can be felt and trusted. The trumpet blaring out on it is something that closes it out with verve here. “Twenty Percent” has something to it that seems to have a closed off feel to it. There is a stark feel to it and it has a lucid formation on show to it. Abounding along it shows the strength of the song finely. The guitar has a listless pull to it that it is able to count on. The dependable playing to it is what keeps it all in check.

“My Friend” has a very creative sound. The drumming to it and the guitar combine well on it to fill it out. There is a sweeping trait to it all that shows a verisimilitude to it all. The song is highly appealing while also having the good sense to convey the talent of the artist in the make-up of it all. Here is voice heightens the listening experience and all the right things seem to be second nature here.

The closing track is “Waiting For The Morning”. There is something to it that carries something bittersweet off with a trait that betrays the upbeat rhythm of it. Inside the lyrics is the sorrow and listening intently allows you to hear the confessional and the experience of it all. What is important here is that all the ends meet and when they do it is an impressive achievement.

SIXOVERSIX Circadian Rhythm The first track here is called “Skyline” which has a sound to it that is very influenced by American bands and that is immediately picked up on from listening to it. What it has about it is a rhythm that conforms to the playing in a suitable way. The delivery is attractive on the back of how it all sounds, with the guitar and drumming being the backbone to it all. The lyrics and chorus are also engineered to reflect the sound that they are hoping for and it achieves it. With “The Little Debts” they step up to the plate. On this one they show a bit more to them as a band with it all. There is a separation felt to the rhythm here that has a portrayal of the emotion in the lyrics that serves it well. They do also seem to remain true to the approach of the opening track in a way but there is still enough on show here to mark it out as something that finds its own way.

“Persona Non Grata” is brought in on a chord structure that has a displaced way about it. Then it begins to gradual pick up while still retaining this stillness. The connection of it all here situates this as the frame for it all. There is also something withdrawn about it all, matched by lyrics that have a fractured essence to them. While not being a gothic prospect here is something melancholic and introverted about it that veers on the less optimistic side. “Clockwork Origin” plays with a nice formative guitar rhythm onto it all here.

From there it opens into something that marks a return to the sound of the first track on the EP here. This plays with weight on the guitar

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and drums to produce something with the heft required to take it to the ambitious showing they want from it here. There is something on the bones that gives something specific to “…And His Father Before Him”, the final track here. Here a more metal focused sound is projected on it all. The definition it gives it is able to bring out more in it, while the vocals drag something out on it as they hold the notes when required. They wear their hearts on their sleeves with it. The result is a neat and tidy affair that sees the band play to their strengths in what the end product comes to resemble.

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EP Reviews

International Acts

THE PERFECTIONS This Melbourne six-piece are a soul band and their sound is something that is refreshing to hear. There is a fine ramble off the opening track “Lemon”. The brass coupled with the descriptive whip that comes off the guitar and bass combination is very much the business. This shapes up well and it capable of walking the walk. The vocals are another thing to admire on it and they bring out the best in this tune, but it is bursting with vitality. The style is turned on again on next track “Regular Woman”. This has a more staggered presence that is somewhat wayward. The rhythm to it comes in with a set out intention that is of huge benefit to it. Everything on it seems to be refined and capable of bringing out the full potential through this deliberate process. The band finds religion on “Born Again” and there is a pretty fly way that it captures the sound. The smooth handle on it is something the sways across here in a noticeable way. This also serves to underline the nostalgia that they induce when you hear them play because this harks back to a bygone era in a big way.

“I Keep Trying” is delivered on the back of a taut guitar riff that generously gives it a tremendous boost. The rhythm is also served with good intentions and it is able to finely charge forward. The song has a testy way to it in how the arrangement breaks down but all of it becomes exposed to something that puts it all on the line. The song is short and sweet, but it has a lot of content on show that brings out the real quality in it. What they bring to the table on “Peaches” is equally commendable. This is a song about Sapphic love and it meets a joyful sound that corners all the right things on. The vocals have a growl to them that fine tunes it all, but how the sound on this is delivered is something to just go wild for. The upbeat tempo it is well styled, has a graceful presence and exudes class in a big way. There is nothing to fault it on. That is then followed by another soul song in “My Man Don’t Think I Know”. The run on it is a distinct

GREAT PAGANS The six track self-titled EP from the Brighton band is another recommendation from our London based music network that have fast become an office favourite here at U&I. The opening track is called “Teenage Silhouettes”. The direction of it shifts from an opening that suggests a laid back affair before it delivers a strong guitar riff that sits tight and is played in with the right amount of commendable ability that doesn’t leave you asking for anything more of them.

This is an ample effort that gets it right from the start.

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and classy little effect that they carry off with aplomb. The bass and guitar cleanly cut across on it. The succulent of it is also something that empowers the woman in the song. The vibe to it is also a clean affair and it properly gets down to business here. The hooks on the play greet it all and the vocal deliver is something that hunkers down to the task at hand. It also shows a voice well up to the task.

The way that “I’ve Not Been Myself Lately” drifts along effortlessly. The musicality of it all here is a stellar affair. The song easily becomes something that you see as natural and the playing unfurls on it with sheer brilliance. The manner of how it plays out is not shy either but it does it by following through on the promise it shows. There is no mistaking it delivers on all fronts. The third track on here is called “Living In Sin”. There is a pretty run on it all that is fed in precisely. It seems to illicit the right response from everything. The tempo on show is given a lot and it is distinctly keyed in by Caribbean and other controlled elements that are lightly applied to bring out the best in it. There is no substituting anything from it because of the control they have on it all.

The playing is cradled in on “Slow Crash” and it is a languid affair that has a light trippy feel to it. That is not something that hurts it here either. Rather it lays it down and watches it all come in the way it should. They roll the playing in on a haze created from this, with the looming features on it an apparent selling point to it all. In short the experimental, intended or not, process here is something that lends it weight and the playing is given a true heartbeat with it pulsing through it as slowly as it is. The bass line also brings something regal out on it. “Under The Cover” is another excellent effort turned in from the band. It skips along in a way that also drifts in hazily. The symmetry on the sound is channelled in a fuller way that fires up in a big way. When it releases what it holds onto there is something gradual to it all that is a token sign that siphons all the essence of it and focusses that energy into something smart. This is a blissful little number that is a joy to hear every time.

The final track here is “We Dance Alone”. The soft echo on this is a timely facet that is well judged. They cover a lot of bases on this one and it is a song that stands up and deserves to be counted.

EP Reviews

International Acts

The Franklys This four-piece were highly recommended to us through our London music network and since their debut EP arrived here in our office it has become something of a favourite. The opening track on it is called “Weasel” and this soars along with the pace. There is a skip to it and they have the necessary ingredients in the make-up of it all to satisfy any requirements asked of them. The pace picks up on in an adorable way that forcefully brings it all into the reckoning for them. The guitar resonates on it in a way that shows a creative and telling aspect that hooks you right away. “My Love” has a scuzzy sound to it that comes off the playing here. That is tailored to the song because it has a streak to it that is designed to celebrate the unglamorous. The resonance to it is a high point and the drumming is well timed on it. Keeping it all in check by binding it within this setting is a shrewd move from the band because it burns brightly for it. It also marks out the potential of the band and separates their sound into the category of bands that are good enough to make the grade.

The surging quality of their sound is again apparent on “Imaginarium” with the wounded feel to it being honed here to show something with a longing to it. This is a guitar driven number that has a kick to the pace that catches it all in a formidable way. The presence and good mind to it are a good pairing that brings out the best in it. “Roadtrip Reality” shows that they have the mettle required to mix it with anyone who asks. What is dropped on the pace is significant and very much realised. It snaps into being and runs on automatic when it slips into gear.

CZECHMATE Pipe Bombs

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One of those songs to sit back and listen to because it will take you away with it whether you consent or not because of how strong it is. The final track on the EP here is given the same treatment as the others. “Some People Leave” is able to arrive and have the same positive impact off the back of how well designed it is. The plying elements of it are crisp. In particular the bridge on it shows something about them that proves none of their sound can be discarded as not being important. The band has got something that says a lot about them from the evidence displayed here from this EP and they would be a band that we would recommend highly.

This very much comes into it all and hits the ground running by sparing no expense in bringing the paced of their sound to the front of everything on the opening track “Bus”. The whole process is all delivered in a high octane burst that is very much fired up here. The sound on show is distinctly indie and has a raw edge to it. The other thing of note is that their sound is strongly guitar driven. That is underlined on “Ties And Lies”. There is something to their sound here that has a delightful punk presence on show. The catchy riffs tie in nicely with the jumpy chorus. All of what is in the mix is ready to stand up and be counted. The bridge on this one brings a lot of sound before coming back into the catchier prospects of it all.

There is a charm that peruses out of “With Me” in the way the playing is wrapped up. The whirl to the sound here on the intro is a feat worthy of mention. The song is able to sit back and go with the flow. There is a convincing draw to it all here that sets it on its way.

There is a splendour contour to it all that seeds it all in nicely, in particular the heavy weight of their sound defines it for them here.

“Tonight” is a long player from them that goes the distance. This is another one of their songs that is rich in indie and offers a safe pair of hands to the song. They give it the careful consideration it deserves and they approach it from the right angle when it comes to how it sounds. The lead guitar gives a sharp background riff that slips into it nicely and courts something extra from the playing. The placing of everything on show here is a considerate move and the song is able to welcome more from it in the process because if this.

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

HUMAN HUMAN “Home’’ (Canada)

UMMAGMA “Rotation” (Ukraine)

THE SUITS “In Your Keeping” (Los Angeles)

JUST NO “Where You Come From” (Dublin) 44

www.uandimusicagency.com

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