May Issue 2013

BAND OF THE MONTH

D I R T Y E P I C S

May 2013 Issue

CANDICE GORDON Live at The Workman’s

Interview with Dublin winners RAFFIKI

Live Review of Semi Final #3

CONTENTS

14

DIRTY EPICS CANDICE GORDON

24 RAFFIKI

6

8 GREG CLIFFORD

FUTURE PHANTOMS

4 10

Plus:

Scene & Heard 12-13 The Ruby Sessions 15-19 Dimestore Recordings 20-23 Saucy Sundays 27-40 Album Reviews 41-49 EP Reviews 50-51 Single Reviews 52 May 4x4

EDITORIAL The May issue of U&I Music Magazine reflects the progress we have made in our first six months.

We would like to thank everyone for their continued support over the last six months. Together we have been able to get behind each other and focus on what is important – the music. That is what we are committed to promoting in the pages of our magazine and what we will always be about.

From our modest launch in December we have gradually built up a respectable reputation through our commitment to unsigned and independent music. That has been shown by our continued presence at live gigs and supporting such institutional club nights as Dimestore Recordings, Saucy Sundays, The Sunday Roast and The Ruby Sessions.

We are also sponsoring The 2013 King Kong Club with a prize of a website to the value of €1000.

This issue contains a high calibre of music from Irish and international artists in our album, EP and single reviews pages. We have an interview with Dirty Epics, who are our band of the month. In addition to that we also caught up with the 2013 Hard Rock Global Rising Dublin winners Raffiki.

We also interviewed our current Deputy Editor Greg Clifford about his music and one of the most promising bands on the Dublin circuit Future Phantoms.

In addition to our new layout, we have also added some incredibly talented people to our roster in live reviewer Mark Lynch and photographers Mark O’Connor and Eric Cooper. The main thing that has been pleasing in terms of adding these people to our roster is that their creativity, talent and commitment have been great attributes which have been of huge benefit to our progress.

We are also hoping to add other people over the summer.

Now that U&I Music Magazine is established we intend to start building on that foundation and reflecting that in our music based products and services that are currently being developed.

This will begin to show in our June issue which will feature a new column focussing on the Manchester music scene called “The Manc Tank” and will showcase artists recommended from our music network there.

Phillip Ó’Baoighealláin Editor-In-Chief

We’re talking to....

The Band in the Mirror

Last month we saw Dirty Epics perform at The Ruby Sessions in Doyle’s and we uploaded the live review to our site. The band recently released their second album “One Way Mirror”.

What makes this album different from “Straight In, No Kissing” and what makes it a Dirty Epics album that made people fall in love with your first album?

DE: Our first album was a straight up punk rock and roll affair. This album is a few BPM slower and it's got a blend of some music genres in there too like a little funk. This album musically feels a bit more post punk and there are more vocal melodies and vocal range in the second one. The guitar on this album is less staccato and more understated and what ties them together is heavy drum beats, urgent bass lines and me I guess!

The first single from the album was “Let’s Be Alone” was released in September, while “Midnight Missing” was recently released as the second single. Are there plans for any other single releases off the album?

DE: Yes. I guess we'll be releasing more as the year goes on. We really struggled to decide which one to release first but I think we are all in more agreement about what the next one will be.

Some people would argue that the charts no longer hold the importance or stature they once held. Do you see the single as something that is outdated/redundant in the digital age or do you think it still has an integral part to play for a band?

DE: I think that chart music is one thing and "real music" is what everybody else listens to with the exception of a few crossovers. The music I listen to would never usually make it way into the main stream charts but they may be very successful

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artists. The single is really there these days as it always was to promote an album. I don't think it has become redundant but I do think that people are buying music is such a different way as they used to. I personally have bought only a few songs on an album but I do generally feel it's better to buy the whole thing and listen to it from start to finish.

You have recently played The Ruby Sessions and The Hot Press Storeroom Sessions. They are two institutions on the Dublin music scene in their own right. With the current state of the music scene in Dublin can you see anything new emulating their success? Be that in the sense of a new club night or music venue?

The video for “Midnight Missing” is something rather interesting. Tell us more about the inspiration for the video concept.

DE: I think there will always be nights and events highlighting new and old talent. The Ruby Sessions are a testament to that. Thankfully in Dublin there are a few decent music venues but it's quite sad that in other parts of the country there seem to be less and less places to play. This is so sad as music is such an important role in country living. That’s how I got into playing music and singing when I was growing up in Roundwood...there was nothing else to do!

DE: The video and song are based on true events that happened in America in the late 50's and early 60's. The CIA would target people whom they wished to discredit and black mail and they would spike them with LSD and film them in compromising positions. I'm no conspiracy theorist but I do think the whole thing is quite fascinating. I was reading up about it and the more I read the more I was surprised by what people really believe. I would love to know what truth and what is fantasy.

Vincent Gallagher was involved in the process for the new video. How important is video as a medium for you as a band?

DE: Vincent directed the video and Fail Safe films produced it. I was at a party in Vincents' at Christmas time and I asked him if he'd be interested in doing another of our videos. He thought the song has a really strong narrative as did we and we haven't done many narrative style videos so we said we'd push the bought out a bit for it. At a limited budget I think the quality is super and I was really grateful for the huge effort that people put in for free.

Do you think it could be possible for an online music based idea to develop in its own right in the future to become something as pivotal for the music scene in a similar regard to them?

DE: I think so. Gifted Live is a great Irish concept and of course Balcony TV is a great success story.

It would be nice if they all linked up to different countries so we could have a look at a singer songwriter in his open mike night in Arkansas and his guests could listen to us. How we find music now with the internet is brilliant and I'm sure that there'll plenty more ideas that will spring up.

London is something of a focus point for you as a band. While gigging is the lifeblood of any performer, how important is gigging abroad to you on a personal and creative level?

DE: It's super important. It's exciting, fun, eye opening and plain smart as Ireland is so wee obviously.

Is the current scene in London more receptive to Irish bands on account of the success of bands such as TWO DOOR CINEMA CLUB, CAST OF CHEERS and THE STYRPES? Or is it exactly the same as it has always been and they have just been lucky enough in that they have gotten the all elusive big break?

DE: I think that Irish bands have a superb tightness to them and that really becomes apparent when you travel. I think people elsewhere do have a soft spot for Irish artists though which of course is helpful.

Apart from London, are there any other definite gigs that are pencilled in for the band?

DE: We just played in Dun Laoghaire on April 27th as part of The Harbour Festival and we had a gig in Sligo on May 4th in Fifth on Teeling and we have a gig in Derry on the 12th of May. You also supported Ladyhawke in October.

There is always something to be picked up from playing a gig. There is obviously a difference between the two, but do you find that you learn things from being a support slot that you can carry over to being a headline act and vice versa?

DE: Without a doubt. From instruments to performance to crowd interaction. If you play music it is always thrilling to see bands that you admire, especially if you view it from backstage.

Picture from the band’s latest appearnace at The Ruby Sessions

‘I think that Irish bands have a superb tightness to them and that really becomes apparent when you travel’

The album “One Way Mirror” is now available to buy and we also featured a review of it in our album section.

May 2013 Issue U&I 5

INTERVIEW

RAFFiKi

How long has the band been together and how did it all come about?

In the summer of 2010 Toots and James began working together and later asked Grace to join with her vocals, following with Jinky on bass and Laura on piano and vocals. Then we had the harrowing task of finding a drummer.

Having gone through a million, we finally found one after we moved to Dublin with Aarif joining the band earlier this year.

Were there any other names that you went through before deciding on Raffiki?

Not really. We named out a few but nothing stood out. On a night out together someone said Raffiki and we all agreed it encompassed our humour. We’re all really close as a band so the Swahili translation was an added bonus. It means ‘BEST FRIEND’.

The summer of 2011 was one that saw a productive output for the band. That saw four songs recorded -“Howling At The Sun”, “Milk”, “Purple Bag” and “The Hills”. Were these new songs or older ones?

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They were new songs we wrote and were already performing with good crowd reactions so we decided to go ahead with them.

How important was it for you as a band to get them recorded in that period?

Well the next step for us was to release an EP and meet a deadline for a launch date.

You also beat RUBY AND THE NIGHTHAWKS in the All Ireland Youth Rocks Final. How would you describe the current unsigned and independent music scene in Munster at present? Are there any other bands that you would recommend people to check out?

The music scene in Munster is thriving but the music venues are not. Aside from a few, the majority are based then in Dublin. From our own town Nenagh in Tipperary we’d recommend Silent Noise Parade, Moscow Metro and James McGrath.

INTERVIEW

In August 2012, a year later, you made the conscious decision to be in Dublin full time as a band. What influenced that decision?

We were clocking up a lot of miles to and from Dublin and felt we had cracked our home town and now it was time to be small fish in the capital and to try crack it.

How much of that was down to the ambitions that you have as a band?

It was all down to our ambitions for the band. We want to do everything that we possibly can for the band, and it’s our main goal and drive.

In December you recorded your last single “Hollow Man” with Peter Maher. How important is it for the band to be working with the right producers? Was that one of the key factors in the decision to concentrate on being a band in Dublin full-time?

As a band it was brilliant, the exposure was great and we’re looking forward to representing Ireland.

What happens next for the band in relation to the competition?

In relation to the competition we now go on to represent Ireland’s Hard Rock Café in an online voting competition against the other acts representing their countries. If we are successful here we will be flown to England to play in the global finals.

Are there any other things that have gone right for the band since moving to Dublin that you feel might not have happened otherwise?

We are meeting new promoters and connections and finally found a drummer.

We also met Storm studios after the Hard Rock gig and are in talks at the moment about recording a new EP. Oh and were also all broke and missing our mammies!!!

It is one of the main factors for us when recording. If you don’t click then the song is affected. It wasn’t a factor at all really in moving to Dublin. If the right studio and producer is outside Dublin then we will make the travel.

You also played Bennigan’s in Derry as part of The Other Voices Trail. That was a line-up involving some very high profile upcoming acts currently on the national circuit. Tell us a bit about how that came about and what it meant to you as a band.

It was a competition online to enter and was great to be accepted. It was exciting to be a part of Other Voices. It was an excellent buzz and got us a small bit of exposure to the locals of Derry. Being on last we didn’t get to see any other acts on in other venues which was disappointing.

In March you won The Hard Rock Café Global Rising 2013 Final in Dublin. We were there that evening and we reviewed the final in our last issue. The standard on the night was incredibly high. What did the success of that mean to you as a band?

What does the summer involve for the band?

Hopefully to crack the festival circuit, lots of gigs and the release of our new EP or album. We’re unsure yet as to which.

RAFFIKI will be playing the following upcoming gigs: 30th May The Library, Limerick 5th June The Crane lane, Cork 6th June Whelan’s Upstairs ( Midnight hour show) , Dublin 8th June O’Connell’s, Dundalk

May 2013 Issue U&I 7

Last month we say Dirty Epics perform at The Ruby Sessions in Doyle’s and we uploaded the live review to our site. The band recently released their second album “One Way Mirror” and look set to have

GC: What I receive through the Fund It campaign is going towards mastering the tracks and paying for venue rental for the release gig. The main benefit of the campaign is I’m getting money that will help speed up the whole process and get people/fans involved. Such sites bridge the gap between performer and fan; they feel part of the process. It’s cool – music is communal in essence. Not entirely sure of any negative impacts. I suppose people just need to be clued in when setting an amount they hope to obtain. Be objective and honest with yourself. Don’t set rewards that will set you back financially, time wise or ones that you can’t see through.

Generally I look at Fund It as a very progressive means of aiding an artists creation. I’d also like to take this opportunity to thank everyone who did support my campaign. Means a lot to me and I greatly appreciate it.

was aware that we may never grace the stage again as a four piece. Due to this fact, I was eager to document the moment in time through recording videos.

We recorded six live takes in the space of three hours in a Temple Lane Rehearsal space. I knew that with us being four good musicians we would come out with something decent, but I certainly didn’t expect the tracks to be as solid as they were. The live takes, the energy, the positivisty and the talent in the room that night can all be sensed off these recordings.

It’s remarkable the chemistry we had given that we are not even a conventional band! I enjoyed having three talented players interpret my songs. I let them express themselves and be free to explore avenues I may have overlooked initially. It led to a fantastic atmosphere. The idea to put the tracks out as an EP only came over me in February. I was getting good responses from the YouTube videos so I decided to have the songs released as an EP. The process has certainly aided me on a personal level. It’s hard to articulate, but I feel more accepting of my musical journey and development of late. I’d like to think this recording project played its part in my recent outlook.

The EP is entitled “The Temple Lane Recordings” – which as a project was handled with a lot of care and detail put into it overall. There were videos made in December 2012, while the audio was recorded by NDT Productions. How important has this EP been on a personal level and how much on a musical level?

How much of the sound here resembles the music from your debut album and how much of it is a progression? What aspects of it will we see that are progressive from the first album? Are there any different influences on the sound to this EP to those that had a bearing on the first album?

GC: This EP and general process has been an absolute breath of fresh air for me. Initially I hadn’t even planned on making the Temple Lane Recordings into an EP. I arranged the session so I’d have new content to load up onto YouTube.

Before getting a session band together I had been getting too hung up on my own inhibitions and I wasn’t totally sure how I felt about my soundworld and direction. I was a touch lost.

Preparing for my album launch and having just concluded being involved in RTE’s ‘Instrumental’ had taken its toll. We played our first gig as a group in Whelan’s 1st Dec 2012 (which was my debut album launch). The session players all have various musical ambitions and commitments of their own, so I

GC: It’s hard to say are there any different influences on this EP. I didn’t set out to sound like anyone on my debut album and certainly didn’t on this occasion. My sound is a true reflection of me as a person and as a musician at any given time. It’s eclectic and diverse. Both this EP and the debut album contain a fusion of singer songwriter, with rock, blues, classical, country and jazz elements. These are all genres I’ve played with various groups and ensembles over the years. The sound is different on this EP in that session players are involved. They put their own stamp on the songs.

The new EP is currently being financed through a fundit.ie campaign. What do you see as the benefits of crowd funding that are beneficial to any artist and are there are any aspects to it that can have a negative impact?

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On my debut album I recorded practically every instrument I could get my hands on, including guitar, drums, piano, bass, glockenspiel and even glass harmonics. That’s not even the lot! I also did out all the chamber orchestra arrangements that appear throughout the album.

For this process I let go having total control. It left me more relaxed.

With the current EP there is no click track used. It’s a natural live feel and the songs prosper as a result. Click tracks can restrict a song at times, while the live approach sounds and feels more organic. What’s interesting is that a few of the songs on this EP also appear on my debut album. However, the arrangements and instrumentations have been changed. For example, ‘Hold On’ now has bouzouki instead of the guitar, while the bass and drum accompaniment has a more up tempo groove. The violin also provides the lead lines. It’s not that I was unhappy with the album versions; I just wished to try out a few new angles. For me a song is not defined by how it sounds on the album recording, or any recording for that matter. That’s simply just a snapshot in the song’s life. I adhere to the Bob Dylan/Rory Gallagher aesthetic of changing up the song from performance to performance and even releasing different versions of the track.

How is the second album coming along?

GC: It ain’t really coming along at all to be honest! I haven’t even truly considered one yet. The new EP tracks won’t be part of a second album. They are an entity in their own right. In May I’ll be doing live take recordings in Sun Studio, Dublin. Gonna put down 3 tracks.

During the summer I can revisit these tracks with fresh ears and consider overdubs and fleshing out the songs. This 3 track EP will be released in Dec ’13. I’d say a second album won’t happen for quite a while. It’s not down to shortage of material but I just think at the unsigned level EP’s and singles are the way to go. I pumped a lot of money into my debut album. It was all self funded. I’m delighted I have it to show where I was at that stage of my life, but to do a second album I feel there would have to be some kind of demand or genuine interest from fans and even industry heads. I am keen to keep releasing EP’s though and to keep the sound evolving. I’d like to hit up some gritty, rocking sounds sometime again; Grinderman-esque.

Also, recently I have been building up my portfolio of instrumental and film music. This is an area I hope to embrace in the near future.

When you weigh up the pros and cons, how different is performing for you as a solo artist to the days of being in Elavator?

GC: Very different!! When I play as a solo artist my set goes down better in more intimate settings. I like this as you feel audience members are actually listening and are maybe more appreciative of what they are hearing. A downside to being solo is you get the earlier stage times off venues and also lose out on having the big sound that gets people up and moving. I like aspects of both forms. I’m quite torn between them in fact. I do miss the raw Elavator sets. They were loud, sweaty affairs. When we were on form we could really put on a show.

It was an invaluable experience in my development as a musician.

However, when you’re in a band there are clashes of ego and compromises have to be made frequently. Fights are inevitable.

Everyone has to be on board, hold the same vision and make the sacrifices. In Elavator’s case there was clashes.

‘It’s hard to articulate, but I feel more accepting of my musical journey and development of late’

We spent over 6 years giging and trying to forge a name for ourselves. By the end there was contrasting levels of commitment and different views on where the sound was heading. It was unfortunate that it ended, but I did feel a bit restrained and trapped.

I even felt that I was writing songs that would suit the band and the players involved, rather than writing openly and attempting new styles. The 3 of us are very much still friends. We all could have handled the demise a bit better, but we move on and learn from it.

Since going solo I’ve grown as a musician and have been enjoying the freedom. I can move at my own pace – which is a fast one. Faith is in my own hands as such.

Tell us some more about your musical background- What artists first got you interested in music? When did you decide that you wanted to start making music full time?

GC: I was surrounded by music at a young age. My Dad used to have a music magazine and put bands on in venues around the country. Bands would stay in our house and he played with a group also (The Amazing Colossal Men). He would constantly be playing vinyls of bands from the 60s. I always wanted to be a musician from a young age and held many pipe dreams of being a star throughout the years! I began receiving musical tuition by the age of 6. I went on to study music in college, where I graduated with a Bachelor of Music Degree and a Masters in Contemporary Composition. Here I learnt from being around fellow musicians, learnt how to orchestrate scores and even played with a guitar orchestra. During my time in college I was well involved with Elavator and we were giging prolifically. So really I’ve always wanted to make a living out of music and be full time. That’s what I’ve shaped for myself now through giging and teaching music.

I’m influenced by so many acts. I’ve always loved the 60s bands – The Kinks, The Stones, The Small Faces, The Doors! My main influence is The Beatles - hands down! They were my first musical love. I was obsessed – full on! Discovering the music of Pink Floyd and Rory Gallagher was also massive for me. Great time in my life!

More recently Nick Cave has become a major source of inspiration.

Love how prolific and versatile he is. In the classical world the work of Bach, Mahler, Stravinsky and Debussy does it for me. I must also mention Brian Eno. You are also enrolled in the Hot Press MIX music business course. How beneficial is your background in music to that course and vice versa?

GC: The course concluded at the end of April. I enjoyed it. The majority of the lectures were insightful and it offered an opportunity to network with fellow musicians, aspiring music managers, promoters and reviewers. Having such a strong musical background meant I could relate my own experiences to what we were being taught. It was certainly an eye opener in places. The industry really is such a game. Having a solid team of booking agents, a publicist, manager, accountant, publisher and so on is more important than talent. The industry wants control and categorisation. Not sure it always allows for true freedom and natural growth. The course revealed the ins and outs of the industry and was very helpful in terms of assessing future record label contracts that may be offered down the line.

The new EP is released on June 1st in the Mercantile www.facebook.com/gregcliffordmusic gregclifford.bandcamp.com

May 2013 Issue U&I 9

FUTURE PHANTOMS

Future Phantoms are a band that we have been following for the last 18 months or so. They are a band that we really like and we see a lot of them on the live circuit. We caught up with them at their recent gig at The Ceol Train Sessions last month in The Mercantile and this is what we chatted about.

Are there any plans for another EP or any other releases in the near future?

improved on it. So we can’t see any sort of “con” to a competition, they would all be “pros”.

FP: In 2011, Ian Brennan (Guitar/Vocals) and Rob Kavanagh (Bass) started the band and soon after got Kenneth Keegan (Drums) and played together around Dublin as a three piece and at the end of 2012 they got Ross Kelly (Lead Guitar) and the band is now a four piece.

FP: We are currently working on a debut single and going to record on the 8th and 9th of June and it is set for release towards the end of August.

The single is titled “Until I See the Sun” which is set to be a 2 track single.

You had an excellent start as a new band.

Then in the summer you parted ways with Deadbeat Productions. Was it an amicable parting of the ways?

Who were the musical influences for you all growing up?

Is everything just focused on the debut single release?

FP: The band varies on different genres of music so the music is a small mix of everything but the main influences would be Brit-Pop and Alternative rock.

FP: We are focused on the recording and working on a video for the single too, but will be gigging along the way.

How did the band come together?

Your first Demo “Do You Want More?” was released in September last year. You are a band that seems to record a great deal.

How does the song writing process come about?

FP: Well Ian would bring in the lyrics and melody into the studio and as a band we construct the rest of the song. That is when all the musical influences come into play.

How much of that would be done before you get into the studio and how much of it comes together when you are recording?

FP: Sure all the song would be done and rehearsed before we go to record them.

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The band played their first gig at The Pint Bar Competition for “Live and Unsigned” in January 2012, did this serve as a good outlet for you as a band who are starting off.

FP: To be honest we didn’t see it as a competition, we seen it as more as our 1st gig together so we were more focused of how well we performed as a band. This gig was the defining moment when we realized that we are a band.

What do you see as the pros and cons of them?

FP: Well it is important to realize that if you get knocked out of any competition it doesn't mean you are a “bad” band, for example, we have got knocked out of competitions and looking back on the gig we reviewed our performance and

FP : We felt the terms of our agreement with the label were not met, so we decided to part ways in a professional manner.

What did you learn from that experience?

FP: Well when we got signed with the label we were over the moon and we thought things were looking up for the band. The label had promised us support slots with bands around the country and some headline gigs, photo shoots, recording and everything else but we got nothing. After 6 months we realized that nothing was being done for the band and it was like the label forgot about us. After several contact attempts it was hard to get a word out of them so we realized that we were going backwards. So we parted way with them as they breached their end of the deal.

Twitter - @FuturePhantoms Facebook www.facebook.com/futurepmusic Soundcloud – www.soundcloud.com/futurephantoms Reverbnation www.reverbnation.com/futurephantoms

On reflection do you see it as something that came about too early for the band or something that perhaps the band weren't ready for just yet?

FP: Well both really. We were delighted that we got signed but it was too early for the band. We got a good experience of sorting out the contract and setting our deal with the label, but now if someone was to approach us we would have more experience.

Aslan are held in high regard throughout Dublin. They are a band that are very generous to other up and coming bands in terms of giving them the opportunity to play with support slots. How big a deal was it to find out that you were playing alongside them?

FP: It is a major achievement for any band to support Irish musical icons. We felt privileged to be selected by a band that we all look up to.

How did you feel before and after the gig?

FP: Before, nervous as hell!! After it we felt even more nervous waiting for feedback from our friends. Then we got personally invited up to the Aslan dressing room and after the feedback they gave us, we couldn't have felt better.

FP: We are always open to help out other unsigned acts, so yes we would do it again.

You are a band that is very proactive on the Dublin circuit. You are always gigging or attending gigs. Are there any other bands or acts out there who are up and coming and you would urge people to check out?

FP: Ah yeah where do we start? Great Irish acts such as Hyper Giants, Late City Edition, Crafty Fuzz, Just No, Mr. Sands, The Eskies, White Roads, Bennett Vs Matrix, Featuring X, Kurtis Murphy, Sinead White, Ray Scully, Superstar Tradesmen, The Phoenix Departure, Stevie Cliff, Ciaran Brennan and 24 Broken Amps. Straight off the top of our heads that’s all we can think of right now.

What have the band planned for the rest of the year?

FP: A lot is planned for us but as we mentioned we have the debut single fully produced with a launch and video. Then we have gigs all around Ireland, and maybe a surprise or two.

You are a band with over 1000 Facebook followers, yet you used some innovation in terms of allocating a support slot. You created a poll and asked followers to vote for a band to open with you at the Aslan gig you played.

Whereas most bands would have given it to someone they know you decided to open it up and give other up and coming bands a shot.

The idea was a complete success.

How did that idea come about?

On reflection do you see it as something that came about too early for the band or something that perhaps the band weren't ready for just yet?

FP: Well both really. We were delighted that we got signed but it was too early for the band. We got a good experience of sorting out the contract and setting our deal with the label, but now if someone was to approach us we would have more experience.

Aslan are held in high regard throughout Dublin. They are a band that are very generous to other up and coming bands in terms of giving them the opportunity to play with support slots. How big a deal was it to find out that you were playing alongside them?

FP: We felt getting the gig was a massive accomplishment, so we thought this was a good opportunity to get the name “Future Phantoms” out there. We put up a status saying the first 10 people to put their act forward would be in with a chance to support Aslan. After we got the 10 acts we made a poll on our Facebook page and put the 10 acts into the poll. How it worked was the act had to get their friends to vote, but in order to vote they had to “Like” our page as the poll was set private. The idea was very effective.

Is that something that the band will be doing again in the future?

‘It is a major achievement for any band to support Irish musical icons. We felt privileged to be selected by a band that we all look up to’

FP: It is a major achievement for any band to support Irish musical icons. We felt privileged to be selected by a band that we all look up to.

How did you feel before and after the gig?

FP: Before, nervous as hell!! After it we felt even more nervous waiting for feedback from our friends. Then we got personally invited up to the Aslan dressing room and after the feedback they gave us, we couldn't have felt better.

You are a band with over 1000 Facebook followers, yet you used some innovation in terms of allocating a support slot. You created a poll and asked followers to vote for a band to open with you at the Aslan gig you played.

Whereas most bands would have given it to someone they know you decided to open it up and give other up and coming bands a shot.

The idea was a complete success.

May 2013 Issue U&I 11

SCENE & HEARD GALIA ARAD GALIA ARAD is an artist who is set to perform with Jools Holland for six gigs in the coming weeks as well as opening for Paddy Casey in Whelan’s on May 24th. We have seen her perform before here at The Ruby Sessions and her set tonight was equally as impressive as the first time we saw her play.

She began her five track set with “I Wasn’t Finished”. It is a song that has a dainty quality in how it is relayed but what sets it out as something truly remarkable is the voice of an angel that is placed upon it. The sturdy rhythm that is played in gives it a depth that curtails it to a slight degree but at the same time doesn’t hold it back. That was followed by “Hope It Was Worth It” which is lovingly pieced together. A barren warmth on it flows in a minute and detailed way. The ability displayed that draws the listener is extraordinary and helped by how steady the rhythm remains. It adds to the harsh tone in the lyrics in a way that gives it an integrity and distinction.

An anecdote precedes “Mr. Detective” and it is suitable to the performance on the night in the way it adds presence to her set. A figurative rhythm is to be found on this on that is very attentive in how it sounds. The handsome and full bodied sound is then delivered in a way that marks out her performance for the right reasons.

The delirious manner in how it is composed stands her in good stead. The picturesque “How Much Trouble Are We In?” comes next and is a song that flies sweetly with the lyrics and the story they tell. It is a sentimental and homely affair that holds together in a way that takes you away with it. It busies itself in how it concentrates that to craft a song that is both beautiful to hear and that produces a graceful display.

She closed her set with a version of Britney Spears’ “Toxic”. There is a pristine way to her version that comes across from the acoustic delivery on it that lovingly fixes everything in a way that is highly appealing.

12 U&I May 2013 Issue

The Ruby Sessions Doyle’s Pub, 30th April

JOHN BYRNE The Apollo Sessions aficionado was the second act to play this evening in Doyle’s and his set began with the delightful “What You Say”.

How it is styled is scintillating and rises in a decent way that canvasses a tidy beat to it all.

It is able to create an animated stride all of its own that shows a contained prominence that ids made all the more lavish from the slow handling of it. A dedication to his daughter was the second song in his set. “Abbey Rose”.

The admiration felt for it is allowed because it doesn’t overdo the sentiment. Instead it has a steady way to it that creates a compact song with a purpose about it. The spring to it gives it that fullness and it brings the flair to it off that.

“Another Someone Else” is lean sounding and the forceful tone is felt on it from how it opens.

It holds steady in the live delivery and seems to find a way to motion the rhythm from this.

How it is carried off shows great precision to it. The guitar creates small folds in the sound that catch everything right on “An End For Love”. That allows it to travel in a pleasant manner. That is cleverly done with the delicate way that it lingers in the moment but also helped by the spacing of it all.

His final song has an ample feel to it. “This One’s For You” keeps a good handle on all the playing. This shows clearly in the spirited way that it is delivered. There is a revel in the vocal tone that soothes across on it and keeps the sincerity of the song intact.

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EMPIRE CIRCUS Having just released their new single “True Believer” the final act to play tonight treated the audience to an incredible live set. Beginning with “Planting Seeds” they instantly amaze anyone seeing them for the first time. The vocals on this have as much weight as the tempo and it is cleverly pieced together. What comes across displays an imagination and has a fine cut to it. It is sharp and truly amazing to see performed live. A song with an edge and a kick best describes “Lights Out”. The direct manner to it instantly impresses and spruces their set even further. The catchy hooks are one thing, but in the chorus it becomes a true delight. It also has something about it that gives it a modern disco feel. On “True Believer” the rhythm comes in on it in a way that is able to overwhelm the sound. While dictating how the body and shape of the song form it makes the delivery all the more formidable. The direct approach on it brings a mark of distinction to it overall.

Some snappy drumming and crisp piano pull you in on “There Is A Light”. This is a classy affair and there is no denying this. The progression in it as it plays makes the graduation in the sound more exceptional and situates something of virtue in how it is outlined.

Equally so in how it breaks down. The strength in the rhythm brings out something scintillating on next tune “In Dreams”. The execution of it allows for an autumnal pull to the dynamic of the song. Invigorated by this it then finds a trajectory that shoots straight like an arrow. An even sided version of “Blood Buzz Ohio” by THE NATIONAL closed their set.

It is a great version that is merited by how they play it and sits finely in a truly outstanding set.

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SCENE & HEARD Having first seen her play a gig in the JCR as far back as 2002, CANDICE GORDON has been an artist that we have followed intently in recent years. An extreme 1970s New York feel grips “Smoking Like The Barrel Of A Gun”. It is apparent in how it feeds into the rhythm here and the song becomes all the more formidable in terms of tone. This raw side of the sound builds the intensity behind it. What is beckoned on “The Child” creates a wicked delight that the performance seems to revel in.

While being rich and voluptuous the band is able to lean into the playing on it in a way that gives it texture. The heavier tone again sits evenly on it.

An acoustic guitar comes into the set on “Sound Of Horses” and it is able to create a delightful and dandy sound. This is sufficient enough to create an elevation that courses through on it. With the handling it is also able to imbue a clear sense of identity that puts a spring in the step to accompany the kick that the sound has.

The sorrowful and lilting vocals come along and bring something on “I See A Demon” that intrigues. This has an abundance of class in terms of how it is put together. It all lines up. The timing of it is well figured out and a feral quality is also picked up on from the vocals. A gypsy influence comes into the mix on “Fairytale” that rolls across on it in a superlative way. It is upbeat and the how the pace picks up impressively shows. A NICK CAVE comparison can be made on account of the gothic overtone. This is also backed up by good stage work that shows the muscle on the rhythm. The hard heel of it creates a grandiose display that incorporates a brief polka dalliance as it closes.

A spellbinding effort was next from “I Haven’t Eaten In Days” that is enhanced by the guitar slide on it. It excels further as the vocals come in and is invigorated in the process. The lingering way that it has about it is so natural. Nothing on it is rushed and it is able to languish in the spotlight in a belonging way.

The lyrics have a partial way of expressing on “Before The Sunset Ends” that are tailored finely to the tempo. What is built around these elements finely comes together in an evocative and powerful way. With all of that honed in on the song plays with a true panache. “I Belong To The Night” then follows and powers into the playing. How it is handled is efficient and it thunders across at the appropriate moments. The bridge here is solid work. What is displayed has a tenacity that is energised and charged. While it is reserved in a way it is still able to let loose in a formidable way.

Coming with a confidence and assured way to it all is “Nobody”. That verve it has going for it is reflected in the live delivery that builds up the urgency about it. It steps up to the plate and is all the more remarkable for how it creates the New York feel that was picked up as the set opened.

You are hooked by how the rhythm is fixed on “The Laws Of Nature”. The determined feel from it is helped by the catchy side that shows on it. This is done so well that a comparison is made to the more raw efforts of JOY DIVISION. It has a smart and soldierly control that finds a great groove in the sound that gives it a true zip while still retaining an ambient stillness. A true frenzy greets “Cannibal Love” and the playing tears into the task at hand. Here the band rips up the stage in terms of pace and intensity. What you also see here is an artist who is able to invest herself in her performance. It convinces all the more by being edgy and raw.

Playing “Sinnerman” as an encore proved to be an inspired choice. The wholesome way that it runs is given a wonderful lift by the acoustic guitar that locks in the sound behind the strumming. Behind that bold beat sits the guitar and it is all matched with a dignified showing that is concise. The final song of the night is “In My Garden” which has a withdrawn artistry that allows the harrowing side of the lyrics to catch things just right. While being sombre it still manages to steady itself with the inclination in the sound and how it comes to prominence on the song. It allows a broadness to be felt on it from the way it caresses the barren ache that is so sorrowfully sung out on it.

The EP “Before The Sunset Ends” is on general release from May 6th and is reviewed in this issue.

14 U&I May 2013 Issue

Candice Gordon The Workman’s Club (01-05-2013)

SCENE & HEARD

Dimestore Recordings Sweeney’s Bar, 2nd May

PETER KEOGH Dimestore Recordings always proves to be an excellent night of music and tonight things got underway with a brief set from PETER KEOGH to get things underway. His four song set began with the imaginatively titled “Larry The Llama”.

The lullaby like structure to it is sublime and comes across splendidly here. There is a quirky aspect in the performance with his improvised trumpet that lights it up. How everything about this comes to rest in the playing allows for all ends in the delivery to meet.

A sweetly handled version of the ED RUSH and GEORGE CROMARTY folk classic “Plastic Jesus” followed. With this version everything is kept in line and it then allows for “Blame Faced Girl” to come around with a delightful keel.

Having that approach gives the way it hangs in the air an inspired feel. This is well located in the song and matches how close it sounds with the smart fashion of it all. It is also expertly played and brings something specific out on the shallow way that it sounds.

The closing number from him here was another cover. This time it was LOUDEN WAINRIGHT III. The song of choice was “I’m The Way” and it merrily allows the rhythm to travel. Easily carrying off the task at hand the play is given a gentle kick that perfects everything in a way deserving of merit.

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STEVIE CLIFF

There is a befitting way that “The Running Picture” is arranged overall. The tempo is able to constitute a large portion of how it all holds together. By employing these elements gainfully the whole process becomes a figurative piece of music. Albeit a solo effort, it still manages to create a sway to it that pleases. “South America” develops a cumbersome side to the styling that adds a subtle flavour to his set. There is a hint of the reckless coursing through it here.

What it is able to do is connect everything that creates a neat flurry to it all as it builds. It is very captivating to hear.

A conviction cuts across on the vocals to “Thorns” that is able to apply the angst alongside the sheltered and refined development. That sauntering allows it to fly with a reckless abandon that becomes more compact as the playing picks up.

His endeavour is finely rewarded on “Rooftops” by the arrangement. It is thoroughly deserved on account of how strong the innovative and patient styling on show proves to be.

The weight applied to it shows well and it applies the weight on it in a way that goes a long way for it.

An artist that we have seen perform at Dimestore Recordings before was next on the night’s billing. He opened with “Say My Name” and it capably flows across in a timely way that fixates something in the sound which complements it finely. There is animated side to it here that bides its time well in allowing things to open up. Things then move in a more dramatic way on “Burn Baby Burn” in terms of pace. The spacing on it is applied in a way that sets the tempo free. Here he places a good hold upon it that holds it still and looks up for it. Then that defined sound is released in a way that finely flies.

With how everything is applied on “If You Don’t Love Me” there is a transition built on it. Honing in on this allows the tempo and rhythm to be supported in equal measure here and it seems to impart a slight “Country Roads” undertone by JOHN DENVER. That is not a bad thing either.

His final song here is called “Regression” and is fronted by the way that the rhythm falls out on it. The whole process is able to get beneath the song with the delivery. By doing so it becomes a more forward affair that applies something that the performance revels in here. The delicate showing corners what is needed rather well.

Up next from him is a fundraising gig for Siteation which takes place in Little Britain St on May 18th.

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BENNETT VS MATRIX We have caught BENNETT VS MATRIX on occasion several times, yet always mid-way through their set. Tonight we finally manage to catch a full set from the band. Their first track “Separate Beds” is able to trap something clever in the sound and ably feed that element into things in a way that sees them slip comfortably into gear as they play. A redeeming quality of it here is the gloss that it has. The vocals add to that sheen by imparting a selective trait that is finely measured. Their second song “Quake” sees the band as a whole gradually line up everything. As it takes flight the drumming begins to figure finely on it.

The definition that it creates on the whole process is something that clearly shows imagination.

With the riled up sound of it, “Geraldine Street” is able to muscle its way in with a degree of real force. It does however do it in a way that stays firmly on track here. The guitar gives it a mean streak that shows well and overall the delivery is able to convey an incredibly tight showing from them collectively as a band.

On “Tooth & Nail” they place everything steadily. How they lean in to it as a playing process overall creates the necessary bite on it. The steadied influence this has on it overall is felt by the vocals being in time and in sync on it. The presentation to it all is able to find a fine

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hilt that drives it on. With “Snow” everything about it has a colourful array that lightly applies things in a way that is well thought out. They allow the expression to form the song in a way that finely complements it overall. It also shows that the band is the real deal with the great bridge on it that pulls you in.

“Montauk” is about more than the music. It is vibrant and pacey with a good whip from the guitar healthy allowing it to sail. The demeanour has a definitive west coast feel about the sound. What also stands it in good stead is the showmanship. Lead singer LISA FARRELL moves into the crowd and teaches them an ad-libbed dance routine that goes down well. The focus is on many fronts on “Once Or Twice”. For the rhythm it creates an impact. A sharp and spry beat is produced that is very much guitar driven with a rich capability to it.

Their closing tune “Steps” has a bass hook that looms in on the sound.

Creating a reserved feel it also has an energetic presence that is well honed. The lift on it is caught in a rich and imaginative way that holds out well.

The band currently has a busy month ahead of them. They will play Derry this weekend as part of the inaugural “Its Happening” tour.

You can find the other dates on their website: www.bennetvsmatrix.com

THE TRIPTIK EMPIRE The great thing about Dimestore Recordings as a live night of music is in the way that they produce some incredible bands on their line-up for true music fans to discover. THE TRIPTIK EMPIRE rocked Sweeney’s when they took to the stage from the very first chord struck on “The Surf Song”. A rock sound plays in behind a slick blues sound that opens things. Giving way as it does allows it to concentrate a great deal on the progressive. It seems to surf along (no pun intended) and gives everything a competent showing none the less. “The Snaake” then follows and then it scuttles into the intro with the drumming. The formation concentrates the musical side and delivers an even showing to it all. There is a new wave element displayed that meets a progressive rock side. It pulsates on it in an incredible way here that shows an inspired and solid defiance.

The guitar on “Faster Than A Mistake” creates a zip that gives the drumming a rather abundant feel. The slide guitar is another thing to admire on it here. An avant garde feel from the vocals season the whole performance. Sealing those traits in they manage to craft and effort that fuses industrial and retro qualities in their sound in equal measure here. Their next song is an instrumental affair that plays the part well. The rhythm gathers on it here and as a body of work it is well defined. The directional changes in the sound create marvellous arcs that finely grab you.

This was then followed up by a wonderful rendition of NANCY SINATRA’S “These Boots Were Made For Walking”. This saw them clearly own this version by putting across a formidable showing that is immensely satisfying. “Fuck You So Much” is well weighted in terms of tone. The composition of it contains a sharp and edgy sound that sits well with the raw necessity that it has going for it. Here the force of the tempo is matched in equal measure by the handling on show. The rich way it sounds gives it a stride that is purposefully felt. The statuesque pose by the band mid-way through the set is a very interesting piece of showmanship that is pleasing to see.

A strong hint of metal seems to feel out on the way “Flashback” is played. When it gives way here is a fluidity to it that is admirable for the kick it gives to the sound. What is important about it all is the manner in how it develops and based on the showing here it is done with an integrity. They then close out their set with “Batman Is On Prozac”. The sharp keel of how it sounds combines the elements in a clear way. The crowd are captivated by this wonderful showing. The tenacity that shows is able to absorbing. A strong showing underlines it on a musical side and this is matched by the live ability of the band.

Up next from the band is a gig on May 17th in The Twisted Pepper.

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SLACKERS’ SYMPHONY “Technology” gets their set under way and it is a song with an incredible sense of purpose to it. While quaint and obscure somewhat, the offbeat sound has a punk styling that draws comparisons with cult bands such as THE ADVERTS. There is a good heft in the sound and the high retro value of it underlines this comparison with a pumped up delivery to match it all. An expanse is noted on the opening of “Wolves” that holds in a diligent way. The high appraisal of it is fully warranted. The band carries it off with true exception here.

The playing is styled and displays a very keen sense of their surrounding on it.

The acoustic guitar is an impressive say in the systematic creation of the song on “Green Light”. In terms of tone and structure here is something to marvel. They then draw you in and the appreciation is felt for the suave way that it flows.

They then up their game a little on “Denial”. The guitar angles into the rhythm in a way that gives it a true reckoning. They cleverly collect it all. This is aided by the playing arcs that bustle on it. The definition shows here and the track is all the more animated for it.

“Summer’s Coming” derives a neat roll in the sound that gets everything right. Within these margins lies the structure to it all as it comes to life. The catalyst for it is the beat. It is able to create an eager vibe that concentrates the urgency in the sound onto the delivery in a sublime way. A closer style of play shows on their last song “Takes A Little Time”. It tidily connects and delicately creates a timely turn on it in the process. Entertaining in an enigmatic way the scintillating showing to it all serves it well. There is a fine outline traced by the sound that works ever so well for them here.

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ROB STEENSON AND THE APARTMENT 6 CLUB regarded as a hip hop act to take seriously. They wheel this out with a timeless showing to it. That is matched by how they step out the delivery and the beat on it flies in a token way.

With their credibility very much intact an ambition then shows on next song “The Moon Turns Green”. Applying a gentle feel on the sound the crispness of the beat is felt and reeled in. The vocals strongly push out on it and let the importance of the message be felt. With FUNZO adding something in his vocals it all shines for them. It is a stellar performance marked out for all the right reasons from beginning to end.

How “Down To The River” articulates is matched step by step on the beat and vocals. The excellence to it all is portrayed in the delivery. The rhythm is matched by a high level of belief that gives their tight set her the confidence it deserves.

“Five Years” readies itself and creates a mean feel to it all that shows the mettle they have. This is very proven and accomplished by the strong pinch in the sound. The ambition stands them in good stead and the representation of how life is something they don’t shy away from. It becomes a truly spectacular showing from them.

With an appearance at Vantastival and Knockanstockan for them, this summer is one that beckons for this band and will see them get the well-deserved break that they have worked hard for. “Faithless” situates the acoustic guitar on their sound as it patiently strums across. It sets it all up to define it by the delicate opening. The lyrics then break down on it cleverly and show that it is mapped out in a strong way by how it breathes.

The utilising of all the elements here is impressive work.

With “Breathe” they again justify the manner that they have come to be

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Their next song “If You’ve Got The Money” is an appetising tune that astounds. The funky heel it has is engaging to hear. It is backed up by the detailed tracking that the bounces along on the tempo. Applying an intelligent and choice use of words in the lyrics sells it. The originality of it is a proactive asset that gives the play a veneer. The amazing and vibrant “Summer Rain” brought the set to a close. The upbeat style moves freely with a true zip to it. The release is felt on it and gifts a relativity to it here that takes it home with aplomb.

THE BOO BOX Here is a band that knows how to play and they show this with the formidable way they build “E-Jam”. The guitar has a cursive hang to it, while the bass and drumming are a tidy and well managed affair.

That gives it all a brisk temperament that is commendable for the distinction that defines it. “Shotgun” then opens with a zest and spring in the step. Collecting on the back of that is an inspired funk.

That then seems to broaden in a particular way that adds to the overall aesthetic on show here. The mechanics in operation are impressive to say the least.

A fine beat that is concentrated finely marks out “Break Me Down”.

The efficiency of it all here manages to inject a desirable kick to it all.

The handling on it shows here and they capitalise on it with their playing ability in producing a long player that goes the distance here.

A smart tumble and lean bass hook show on “That Night”. The result is a spirited feel that lays out everything and opens it up with a clear trajectory that realises everything required of it. From there a rock element shows on “Rage” that is rich and lavishly applied. Shaking loose the sound produces a tempo with an evident charm. It is able to navigate and accommodate the finesse here because of this.

The hip comes across on “B-Jam” and the cool vibrancy is magnified by the conviction behind it. The guitar channels this affluence through and imparts across on the rhythm here with a strong sense of deliberation. "People LikeYou” spins the rhythm with an elegant trait that fancifully fills out on it as it plays. Crunching the sound but in a way that is anything but a ‘by-the-numbers’ approach. The keen focus on the task at hand produces a blistering display that completely astounds.

The steel and backbone show on “Mr. Style”. It materialises within the full-on impact of the rhythm. There is a clean cut way that it cannons across. The figurative showing here gives a good account of the band. The full on way to it all is an endeavour to savour. The mean rise on their final track “Follow Me” leans into in a felt way on the opening. The ebb and flow given to it is justified and they compress all of that into a way that shows the body it has. The lift is retained by the direction and in doing so the song benefits for all the right reasons. In short, the music very much does the talking here.

May 2013 Issue U&I 19

SCENE & HEARD

Saucy Sundays

The Grand Social, 5th May

EMER BRADY She eases us into her set with ‘We Love Each Other Well’. It’s a slow tempo song with an interesting opening from an almost slide guitar effect. The verse is quiet and continues to get louder for a big chorus. The chorus is very different to the verse in terms of the style in which the song is played. It almost feels like two different songs coming together and merging as one. There is a very distinct vocal that stands out throughout the song. She moves on to ‘You Be You’ which has a very modern feel to the song. She holds a steady guitar riff throughout a clever verse which again changes to an unusual chorus that strangely fits well into the song. There is a real feel good element to this which ends with sung effects and a well-crafted solo ending. ‘Head of Gas, Heart of Oil’ (originally by her band FERN FLOOR) has a picked introduction with quite a soft guitar sound but with a quicker tempo. The guitar continues to gradually get louder with the verse alongside a powerful vocal recital. The song is about oceanic pollution and the performance shows that the subject is something the artist cares about.

The next song ‘Orbiting’ opens in similar fashion to ‘You Be You’ with a soft picking motion. The song has a stand out melody and memorable chorus. The chorus is sung with a very unusual melody which ties in nicely with the guitar. The song steps up with the introduction of percussion for the outro which works very well for the process as a whole. Again a song that has two or three different

directions in the playing, ‘These Frustrations’, feels like two merged into one. Clever links take us from the verse to the chorus which sound very different again. There is almost a shock element when the verse unexpectedly changes to the chorus. The vocal is well delivered and the message behind the song is reflected very well throughout. There are nerves evident that will gradually be phased out as she gathers more playing experience. It is to be expected playing a set consisting of brand new songs, most of which being played for the first time live. There is a distinct pattern to the songs in the way they are written. There is a clear approach to how they are written and the vocal really suits the unusual melody. Overall a quite enjoyable set.

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ROCHER No messing around here, ‘Girl Next Door’ opens with a clever chord sequence to grasp the attention of the audience. There is a very distinct style of guitar playing which works well in the song.

The verse is very well arranged here and the chorus is sung well with the vocal moving up an octave. There is a hook for the audience to latch onto making it stand out. This makes the song that much easier to buy in to and is a great way to open the set.

Opening with another clever riff, ‘Officer Officer’ creates imagery in the song which is very well structured and has a well put together chorus.

The riffs between verses really stand out here song and impress. The imagery of the song combined with the delivery gives off a very theatrical feel and you can imagine it being sung with a big production built around it. Nevertheless, it is delivered well with a cool vocal tone slotting in nicely.

Not dissimilar to ‘Girl Next Door’ and again opening with a brilliant and cleverly arranged chord sequence is ‘She’s On Your Mind’. It has a stand out guitar riff that just plays in the shadow of the vocal in the verse. There are a few different directions in terms of how the song is arranged but all work well together and play nicely off each other.

There is a very upbeat feel-good vibe from the song that is very catchy and works well in a consistent set so far.

There is a more relaxed approach to ‘Caroline’ which is a love song. It still contains quite uplifting elements. I think the style of which the song is sung contrasts with the lyrical content. He alternates well between strumming and picking the guitar at the right times in the right places.

This takes us onto another upbeat song. ‘Seven Hours’ has clever lyrics with a standout melody which plays well into a catchy chorus.

Everything comes together quite well here, and again the vocal delivery gives rise to another solid performance.

Ending his set with ‘The Open Book’ the song has a different type of approach to the others in the set. The verse builds up from the off and changes up for a big chorus that again feels like two different songs that complement each other well. ‘The Open Book’ is another very well written song showing fantastic potential as a songwriter as he uses past life experiences in his songs for inspiration and does the job very well.

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SAMUEL & TICKLY TEETH Opening up with ‘Cada Dia’, the song is sung in Spanish and there is a very soft and easy listening start to ease us into the set. It has a very relaxed feel to it and the mood of the song is reflected quite well in the room. The vocal is expertly delivered and we can’t help but listen to the fantastic tone of the voice. All you have to do is sit back and listen to a brilliant song and a very enjoyable way to start to the set.

Quite a similar laid back relaxing song yet to be titled (for now we can call it no name) again shows off that fantastic tone to his voice. It’s an asset he uses very well throughout the song. The clever dynamics help show this. It is well arranged and the chords give a nice feel to it overall. ‘The Dervish Dance’ has a more uplifting approach. The chord sequence keeps the song well levelled throughout with the melody giving the song its standout feature. There is a catchy chorus to go hand in hand with the verse. There is a solid guitar and vocal delivery displayed which is again easy to listen to. This is probably the pick of the bunch from the set so far.

A strange song with an interesting melody and direction, ‘Jungle Dream’ creates fantastic imagery for us. There is an unusual theme to the lyrical content. The vocal again stands out here, but it takes more than a vocal to stand out here as clever guitar playing in the background gives a polished sound to the track.

This is a very standout quality here and the song is quite different to what else we have heard on the set so far.

It does the job well and takes us on to ‘Avocado Baby’. Here he takes all kinds of different directions all round. From guitar to lyrics to vocal tone, there is plenty going on. It’s again a very relaxing song, despite all that’s going on and the

different elements all come together well. The song is well written with the audience hung on every word throughout the set.

‘Popcorn’ is the final song on the set which has a story telling style. The required standout lyrics are well delivered, again creating stand out imagery. The song has a very good and strong chorus well delivered that brings it to life. The chord sequences l which work well together don’t go unnoticed.

There is a defined style here as Samuel plays mainly easy to listen to and relaxing songs. While it would have been nice to see a bit more variation from the artist, but he does his job well and ends his set on a high.

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ERIC MC GRATH Eric opens with ‘Sweetest Tasting Kiss’, which has a series of stand-out features, from the quality of vocal and the lyrics to a big chorus. There is an old school groovy feel blended together with some contemporary pop elements. The song gives us a good feel and indicates the type of artist that Eric is and this reflects through the remainder of the set. The catchy chorus is probably the feature of the song that makes it stand out.

‘These Are The Good Old Days’ is quite an upbeat feel good tune (indicated by the name, you get the impression that the song was going to be a feel good song). There is a very positive vibe coming from this. Clever guitar playing and riffs between the verses stand out along with the vocal which really shapes the style that is

He then moves on to ‘Always the Same’. It has a very professional feel in terms of the way it is arranged and written. His style of play becomes more and more obvious through the set. He plays with plenty of energy and passion that comes across very well in the vocal delivery.

The song has a very typical singer songwriter feel to it. You can draw some comparisons with Ed Sheeran from this.

‘Secret’ is another upbeat, uplifting song. There are elements of the old school big band style mixed well with the typical singer songwriter style. I can see how the old school and new modern approach to song writing are coming together here to help shape it. Another solid display, I would like to see something different with the chorus, maybe dress it up a bit more to get the most out of the song. He strips back tempo slightly for ‘Ripple into Waves’ to something slower, but that doesn’t necessarily mean that the mood changes entirely. A similar structure to what we have already seen, the high point comes when the bridge takes us into a mini breakdown that leads nicely into a big chorus that is worked extremely well.

‘A Last Romance’ changes the mood down and tells a love song about an elderly couple. The story telling approach is a tricky approach to any singer songwriter as they must get the right lyrics to describe the imagery and keep it interesting for the audience. The style of the vocal and the way it is delivered gives rise to a solid effort. Here the song is very well written and leads nicely to the final song of his set. ‘Let’s Get Curious’ is a slow starter. Yet the song has that distinct feel good style seen throughout the majority of the set that works against the emotional vocal delivery. It’s very much a traditional singer songwriter tune. With a well worked chorus that hits the audience hard it is clear that Eric has a defined direction he wants to take. I think there is a lot of room to grow and he has time to experience playing outside his comfort zone. The set indicates that he is capable of doing this and shows what else he has in his locker.

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RUFUS COATES AND THE BLACKENED TREES This six piece band introduces us slowly into their set with ‘Wasted Lifetime’. The song starts out soft by introducing some fantastic harmonies. The strength of the two lead vocals combines well. This keeps the focus of the song as the band play around the vocals in the background. There is a very relaxed approach to the way it’s written. This gives us an early sign of what the band is all about. There are elements of traditional folk in the song.

‘Safe For Now’ takes up where the first leaves off. The songs complement each other very well. The chorus really grasps the audience’s attention and has them hooked on their every word.

This song I feel is more enjoyable than the first and hits the audience much harder. Each member of the band works well together and brings something unique to the table.

Building from the off, ’The Crossover’ starts slow with just guitar, before instruments are continuously added through the verse to build to a strong chorus. The combination of lead vocals with backing harmonies works well here throughout. A special mention must be given to the background keyboard that gives a brilliant finish to the song. While it may go unnoticed for taking a backseat to the vocals the arrangement is well worked here and throughout the set.

There is a very blues feel to ‘Neatly Intolerable’, and is quite different to what we have heard so far in the set. The guitar riff remains steady throughout. It all comes together with the addition of drums, bass and keyboards. The standout moment climaxing where the band’s harmonies come into play. This is the pick of the lot so far in a consistently strong set.

This takes us to the next song, ‘Old Man Prowls’. It comes together very well from the off with clever hooks thrown in the chorus for the crowd to enjoy. A brilliant guitar solo is well worked and executed. This stands out during a short breakdown before being brought in for one more hard hitting chorus that is well delivered.

They strip the tempo back here for ‘Not That Easy’ that has a very pleasant feel to it. The song is very well written with good lyrics and delivered with plenty of emotion. It does its job well. While it doesn’t stand out in the set as much as the others it does take us nicely onto the final song in their set.

‘Menacing Form’ is another blues number that directly relates to ‘Neatly Intolerable’. There are plenty of distinct moments throughout the song.

Again each member of the band showcases their talents and individual quality that works well when it all comes together. The chorus again hits the audience and has that brilliant hook to buy into. The music completely takes over the room as this band end a great set with a huge finish.

Catch the band next Sunday 12th May in The Cobblestone in Smithfield.

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HYPERGIANTS Rock’n’roll band HyperGiants start their set with the up tempo ‘Little Sparks’. It introduces well into the set with clever riffs throughout the verses and then takes it to the next level for the chorus. The harmonies work well together and are played with plenty of attitude. They strip it back slightly for a funkier feel to ‘Lumen’. The song is introduced with a solid intro on guitar with the drums keeping the tempo level as well as the bass driving the song. Clever stops and starts show how tight the band is. This quick number plays straight into ‘Halogen’ which is a more up tempo song that plays very well off ‘Lumen’. They both go hand in hand and are the perfect combination together. There is very much an old school rock vibe from the song with a catchy chorus. The pace to it is electric and played with plenty of energy.

Powering through the set they move onto ‘Devil’. The songs retain a quicker pace and never dropping in excitement level. This one alternates very well between hard and soft rock’n’roll sounds for the verses and choruses. It builds from the off and hits the audience hard for the big finish. It takes us into ‘Manifesto’ which opens on guitar and builds up the whole way through from the opening guitar riff. This comes together midway through and then steps up another gear to play to a fantastic outro. ‘Song to Wake the Dead’ starts in similar fashion to the previous by building from the opening riff and vocal.

When the drums kick in for the chorus we get that rock’n’roll feel. It has another slow groovy beat. Well written and structured, it plays nicely into ‘Lost Souls’ which opens with a great guitar solo and excellent background guitar effects. It is still taking a different direction to the other songs in the set though.

That expertly plays into ‘Love To Make’. What starts off with a brilliant guitar riff keeps up through some well put together rock’n’roll which make it stand out as a tune. The vocals come together very well as the song remains exciting throughout. It’s one that will live long in the memory and a personal favourite from the set. They take it back a notch with ‘Dobris’. It has a slower intro with a memorable melody for the audience to grab onto and builds throughout the chorus. There is a lot of energy built up and they deliver an explosive chorus here. They move onto ‘Fantastic Voyage’ with a pleasant opening and fantastic chord sequence. The song has a great hook in the chorus which leaves the song stuck in your head. They always seem to add that little bit extra to the ending of the song to give it that extra kick. The end of this is no exception.

They end with ‘Mother May I’ which builds from the opening riff. It’s interesting to watch their rhythm guitarist play his telecaster like a violin. Doing so creates a unique effect that works surprisingly well.

The band breaks down before ending with a massive chorus to end an excellent set.

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MOO

The final band of the night Moo! Open with ‘Running Fool’, a bluegrass/ rockabilly tune which stands out for the feel good elements throughout the song. The chorus is expertly delivered.

Clever breakdowns are capped off with an excellent guitar solo that introduces this rockabilly band very well. ‘Long Way Down’ has more of a blues/rock sense to it. The drum beat keeps everything in check and the powerful vocal is delivered expertly but the bass riff driving the song stands out here. Another great song and a great follow up song to their opening number.

Next is ‘Petty Thieves’. Opening up with a clever guitar riff, the vocal is delivered with great power, has a very different feel than the first two songs and shows brilliant versatility. It is well delivered and gives off a positive vibe. An excellent guitar solo plays us into the final chorus. Here is a very interesting arrangement to the outro but sounds great. It takes us nicely into ‘Eli Jones’ which takes us back into that definitive rockabilly sound. It relates very much to the opening songs and has the crowd up on their feet and right where they want them. The brilliant harmonies cannot go unnoticed in this song.

With an opening sounding like a flock of seagulls’ effect, a slower tempo song through the verse kicks into gear. ‘Dead Cow Walking’ is again quite mixed up that little bit from what we have heard but is thoroughly enjoyable.

They then move on quickly to ‘La Citta’. Sung in Italian, the song has more of a reggae rock feel on this occasion. Clever guitar work throughout the song stands it in good stead. This shows off the talents of each musician from guitar to bass to drums and the song comes together again very well.

Another high tempo bluegrass/rockabilly tune gets the crowd going again ‘2000 Horses’ is delivered with plenty of energy and passion.

Again the guitar solo stands out here and is delivered with exceptional quality as the band continues to impress. The Little Boat’ keeps to a similar theme. There are some clever breaks in this song with plenty of riffs and excellent harmonies. The lyrical content is well crafted and can’t be faulted for delivery. They move on to debut single ‘Man Of Habit’ which grabs the listener from the start and continues through.

By the end of the song you will find yourself singing along to the catchy chorus. Everything falls into place very well here and expertly shows off the quality of the band.

They end their set with ‘Zombies on the Highway’ which is a real classic blues song built around the bass. It begins with a powerful vocal delivery building from a low pre chorus which really adds to the chorus.

There is a funky breakdown followed by another exciting solo to build to one last powerhouse. The band show serious quality and play a fantastic live set. Anyone who has the pleasure of seeing this band live won’t soon forget it.

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SCENE & HEARD

The King Kong Club The Mercantile, 5th April

The third semi-final of the ‘Home of Enthusiasm” took place in The Mercantile on Friday, April 5th and as we are an official sponsor of this year’s competition we were there to review all of the performers on the night. The standard of music was exceptionally high and all the artists performing on the night played their part in an excellent night’s entertainment. The prize that they were all competing for here was a paid slot at The Groove Festival this summer, in addition to a place in the final line-up for the biggest battle of the bands competition in the city.

THE CONFUSION THE CONFUSION was the opening band on the night and “Help Me Baby” was the first of their three songs. The blues styling of it powers along and it shows the influence it has had on shaping the sound that they have. It is also richly done and has the necessary kick to bring it to life. That tempo is a well-disciplined showing that holds up and maintains the necessary speed. That gives the whole playing a sure footing that comes off cleanly and the confident delivery sets up the rest of their live set. “Street Literature” has a richness that gives the tempo real value. It is very quintessential in how it opens and it tells a lot about the band in the way that it builds and picks up pace. It is something that provides the playing with the necessary to drive it forward and the bridge has a lot of work on show also. What is displayed from the band here is a competency that is matched by the music.

Their final track was “Across The Divide” and they cleanly drop the rhythm in as the voice personifies over it all. The delivery is evocative and lively, and comes together in a truly sterling way. The playing is lit up by the vibrancy that sees the rock truly brought to proceedings. It stands out on all fronts and is a superb long player that easily sees the band able to go the distance.

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BEE MICK SEA There is something about BEE MICK SEE that divided people on the night. There is a novelty in their pre-act that showcases some comedic aspects and is not for everyone. However they were here tonight to be judged for their musical ability. “We Took A Dive” sees them show what they are about and while not silencing all their critics, they certainly divided them. The optimistic beat shows a sting in the tail that pumps things up. The backing track incorporates a rock edge that nestles nicely behind the drum

machine on it. That sound sits comfortably with their stage presence and they seem to lock in a showing with real style about it.

With “Awkward” they come to the table with something more formative and with a bigger presence from the dynamic. There is a more urgent calling about it and the rapping on show handles all of the beats well on it. That sees a raw vitality come through, but what also cuts finely on this here is the way that the backing track sashays. The scatty pressing on it sizes up with a slight retro turn on it. Another thing that is noticeable here is that they grasp that this is a competition and they put on the show to match.

They brought their set to a close with “Alphabetic Blocks”. Here is something that shows the eccentric side of their act, but also comes across as a breath of fresh air. The credentials of it are underlined by the tightness in the sound. The adventurous approach results in something energetic that sits with the zany aspects of the lyrics.

There is a novelty to it and it seems to be something that finds a mixed reception. While it is good to say that music should divide, there is something to the lyrics that doesn’t work as well as they would like. While they do give their all on it, some more concentration on the music side of things is required. They do get it right in the sense that draws a comparison with the likes of HAR MAR SUPERSTAR, but this is somewhat hit and miss in the very same way.

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THE LAST MONROES Our third act on the night was THE LAST MONROES. The intensity felt from “The Devil’s Girl” shook the table. There is a heavy leaning from the band on the guitar elements of their sound that has a precision. The body of the playing is able to create a raw and edgy feel that defines it by the very angst on show. The trajectory shoots straight ahead and the band do not ease up at any point.

hard sharp sound that is given a spring by the guitar licks on show. The playing is all rolled out into a compact rhythm which follows something specific in how it is all laid out. This is a song demanding of one’s attention but it also has the attention to detail applied to it by the band musically.

They steal everything with their final song “Dead In The Water”.

The electric guitar is an immense attribute on show. The composure that it displays focusses the rhythm on it in the right way.

That sees the slick blues come across with a particular feel that is best suited to the style of play. The handling allows them to deftly build the momentum, but what defines them as a band is their ability to change the arcs within the playing and keep everything on course. They are a band well worth checking out.

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BE CURIOUS KID

A dedication to ‘Mr. Sean O’Brien’ is how they introduced “30 Pieces Of Silver”. This skips along with a “Make Kings” is heavy on the playing style, yet it is spaced out in a way that boxes clever. That is what you notice first about how BE CURIOUS KID sounds as a band. How they collar the rhythm on it maintains the fresh feel to it all. The hard way that drives it follows through and holds up well. “Floating” has a bustle to it that is kept in line with a harder edge direction how the intro lays things out. The dots are connected well here and improved by the shared vocals. It grows in stature as a result. How it closes is impressive by the smart way it is all done.

The sporadic approach is adopted in the playing style of “Holiday In The Sun”. A wonderful roll from the lead guitar flushes out the sound. It is a warranted display that regulates the rhythm in a way that shows well for them. There is also an urgency pulling it along with the progressive display on the bridge. In short, the display from them here shows that they nailed it from start to finish.

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UNDERCOVER X The final act to play was UNDERCOVER X and “Past Perfect” has a languid way that walks the intro in. How it is applied creates a lavish tone that steps out gradually. It toughens up and gives a hardened industrial metal sound an airing that is caught just right with the momentum it gathers. It builds finely to trap in an expansive loop that cuts in on the delivery and drive quite well. That was followed by “Ria” and this has a true European finish to it. There is a veneer that comes across with the gothic overtures on it felt in the folds in the playing. At the point that they give way on this one sees the band get the most out of their performance. The guitar pieces together with it on the bridge. That gives the sound an expanse that is walled in and held steady.

It never alters anything in the playing despite it having a crammed feel to it.

They closed with “I Silly” which has a good lift going for it. PLACEBO would be an influence on the band and their sound. The comparison between both is instant here. How they embrace that gives the song a front that also graces everything with substance. The reverence that comes off it also comes around in a substantial way. The lead in from the playing is something of note here as it gives a fortified showing to it all, while the pep they find satisfactorily solidifies all of the playing here.

As this is a competition there had to be a winner on the night and that honour went to UNDERCOVER X. We would like to extend our congratulations to them and wish them the very best of luck in the final. We would also like to say well done to all of the other bands who played on the night as they all played equally impressive sets.

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Album Reviews

Irish Artists

THE CRAYON SET The amble finesse that stares back at you on the opening song “I Wanted You” draws strength from a number of avenues. The vocals sit alongside the dalliance from the tempo. The ebb and flow ticks all boxes giving it an autumnal relish. The double entendre of the opening line pulls you in on “K+J=O”. The flush roll focusses the guitar to suit the lyrics. It rambles along with spirit and projects a neat pleasance about it all. This captures something proactive in the approach.

They then head into a heavier direction with “Breakdown”. They invest an elective approach that embodies BLONDIE and they have a song on their hands with this. If you didn’t like the band before this is the track that converts you.

More of the same on “Smalltown Kids” gives it a tremendous kick. The indie showing does so here in a magnificent way. The rhythm purposefully perpetuates and drives it forward.

Following that is the equally catchy “I Worry”. With its effervescent chant it scurries along. The stationary pull occupies something that is laid out well on it. Bringing it all to the fore creates an enchanted slant that suits it well.

“No. 1 Fan” and “No, 2 Fan” come next. The former tumbles along finely with a summer feel. It elicits a stark influence of cool underrated British bands like SLEEPER that cuts across and injects the cool in a way that gives it volume. The latter is more withdrawn in terms of how it opens.

Pensively styled it soothes on the play and the brief running time makes it more of an interlude. It circulates the sound in a way that weathers well. The next track has a sophistication finely fed into it. “Sickdays” has a

contemporary significance conveyed by the conviction of the lyrics. Drawing strength from this, the resolve is neatly controlled by the violin giving it a saunter.

“Wonderland” reverts to the faster tempo that was the signature of the earlier tracks. Finely detailing all the right moves it rallies. Here the guitar leans out to create crispness in the rhythm. That accounts for all of the right moves on it. “The Art Of Letting Go” has an aura that curtails the play. This magnifies the intensity. Intimately attractive it incorporates it takes advantage of the delicate approach in the tracking.

With “Drifting Closer To The Sun” an abundance brings it together as a whole. The tidy way it opens is majestic, and remarkably improves when the pace picks up. Upbeat in terms of tempo it is not just about how it sounds. The lyrics are at home in the structure. This has stellar written all over it. What follows through on “Eurodisco” embodies something that traps in the flow of the rhythm. Closing out the album with a tune that shows an intent it also serves to underline that here is an album that never puts a foot wrong.

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LOUISE KILLEEN Brilliant Tease

The album opens with a dandy spry feel on the first track “Ease Up On Me Dear”. The rhythm creates a warm sentiment that defines the song. It is able to follow through on this and the poise that comes from the lyrics sweetly does so. The tempo to it steadies it into a settled manner here that shows. That approach is repeated but done in a way that lingers sweetly for “Coalmines”. Everything about it evokes something ethereal in how the lyrics and rhythm to it merge in an enchanted fashion.

It is a song to really fall for.

Then the tempo seems to pick up and it has an immediate effect that pleases on “Charming Hands”. How it comes across is euphoric. There is a bounce in how it all comes around that suits the beat generated and it is on the strength of this that it flows so richly.

On “Easy Talk” again the laid back approach to it is something that sees her play to her strengths. The carefree sound is also matched with the flamboyance in the tale told by the lyrics. It has an inventive flair that takes in a great deal musically and is able to reflect that into a positive vibe that catches the imagination. A piano creates a soothing rhythm on “Everywhere Out There” that gives a definition to the soft and solemn sentiment on show.

Taking that broad sense it is able to push the feeling out. As you listen you get caught up in the moment. On “Brilliant Tease” things step out finely. A

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tidy tumble underlines the rhythm and flashes something sweet across off the strength of this. It is dandy and spirited to hear, yet it is able to hold that finesse gracefully with a neat fluidity.

The guitar clearly brings out everything on “Not Yours” and leans it towards a fine country tune. There is a light feel to it that zips along. Here is a rhythm that delivers on the promise of the opening by smartly coming together as it progresses. There is a dutiful feel about the way it is delivered that makes it all the more distinctly tasteful.

“This Love” then creates a fine hold that is chased down by the way the rhythm is slowly stoked. It comes around in a timely fashion that is keenly felt and it gives the song a reserved feel. The delightfully titled “Appletinies” follows and here is another track that is high on the upbeat. It has a persuasive cut as the tempo comes across on it. She also embraces something about the playing that conveys a persuasive way that sells you on the song.

A quaint appeal is felt on “The K.V.T. Song (Killen’s Village Tavern)”. Sauntering along with a breezy feel, it is a song that has a tidy showing in the fine way it is carried off. The sophisticated way that it is styled is unmistakeable here and it very much creates a strong outline for it all. The final track on the album is “Starstruck”. This is a beautiful song and it is marked out by the delicate balance within the play. The way that everything falls into place on it shows a true talent at work. It captivates and it closes the album expertly.

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NICOLE MAGUIRE

What You Really Mean NICOLE MAGUIRE is an Irish singer who has gathered a wellearned admiration from other musicians and her album is a testament to why that is the case. A wonderful movement is picked up on from the first track “Run With Me” that is able to stir the emotion finely. Her voice glides across and is backed up by the playing. As a result, everything is captured finely here and draws you in. The slight kick on “With You” paces the song and it gives it a gradual build. It takes flight with an excellence of note showing for it.

It is on the strength of her voice that “Two Weeks Today” impresses. While there is a timeless feel to the playing elements, the gentle strumming of the acoustic guitar is able to coax the best from it.

On “What You Really Mean” the rhythm filters through in a rather refined way. It has a neat skip that pulls you in and holds your attention. Her voice eases into the song to meanders across in a way that suitably helps it coast along. The softer approach works for next song “Falling For The Truth”. In how the rhythm forms it proves a tantalising prospect. It softly rolls out and feels right by the delicate application feeling at home on it. A subtle and suitable country influence is also projected. With “Casey” one gets caught up in the heartfelt on it.

There is a deep side that comes through finely. Her voice delicately wraps around this and

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instils in it a loveliness of merit that draws comparisons with other female artists such as EVA CASSIDY.

Delightful in the way it opens, “Fall Apart” is one of those tunes blessed with that specific warm quality. There is a shape to it befitting the tempo. Binding the sound inside this allows the positive aspects to come forward and underlines the tremendous vigour it possesses. An allure is felt from the beginning of “Hard Love” that instantly seduces. Hitting hard but having the necessary restraint to allow the delicate nature balance out. It plays to a timely sequence that elegantly suits.

“I Don’t” has an intrigue to it. The playing incorporates a suave feel in how it sounds and is laid out in a more settled way that gradually rises. When the lift occurs in it you are carried up in the moment. The finesse pours out on it here. “Out Of Our Hands” has an upbeat country styling that sweetly tumbles along. It creates a positive tune that slips into gear. Her voice slips away on it here and how it adds the weight is remarkable.

The closing track on the album is “Don’t Let Go”. The tone catches everything evenly. In doing so it elevates it above being pigeonholed as homogenised. Instead it shows it to be a song based around an intent that is retained in way that the song flourishes under.

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DIRTY EPICS

One Way Mirror “Under The Knife” opens the album. The intent that the guitar gives off immediately stands out.

Building tidily it then launches into the full body of the tempo with a delightful revelry. A rich retro feel shows that is kept in check to produce a track showing an imagination at work on many levels. The second track here is “Electric Ballroom”. This has a true bluster to how it sounds.

Catchy and upbeat, it is also marked out by a gloss that finely accumulates. This gives it substance and elevates it above being considered a standard pop tune. A delight is felt from the cut on “Light Show”. The neat guitar riff playing across enhances this. Definitive and able to finely manoeuvre within the structure, this flows in an electrifying way and cleanly brings in some expansive moments as electronica becomes factored into the mix.

The first single released off the album “Lets Be Alone” follows.

Belting out the opening it never lets up. Hitting the ground running, the overall result produces an appealing tune that is accompanied by a high music and vocal standard. The lyrics synchronise with those components and the overall combination on it is a wonderful endeavour. Scintillating best describes “Grey Matter”.

Maintaining a fresh and vibrant keel sees the experimental side to it become more expansive as the play progresses. Collecting well sees the track done in a way that motions these elements across in a bold way.

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The opening of “Beautiful Mistake” pumps an imaginative synth element through that creates a clean and clever shape to the body of the song. The tone felt is formidable. Driven by the synth more so than previous tracks, it is able to invest that to create an approach that shows by the big way it moves.

“Those Pretty Things” has a revered feel to it that lightly brushes the play. The settled feel from how it sounds gracefully locks the rhythm in handsomely to invigorate the process as a whole.

The sharp sense to “Midnight Missing” stands out from the off.

That sees the way the song climb with a sense of urgency. The groove that it carves out steers it in a clever way that you easily get caught up in. Next is “The Darkest Hour” which is a delirious tune.

There is a magnificence displayed as the chorus echoes out on it that excels. All the catchy aspects are applied in a way that any band would covet. The closing track “Surrender” is a sublime affair. The efficiency in how it is all traced is underlined by the stillness in the movement. That creates an enigmatic way that brings a finely felt heft as it reaches a crescendo. It closes the album in a way leaving you wanting more.

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VICKERS VIMY

Vol 1: That Vinyl Scratch A chord is struck with “Late for Years” that fleshes out the tempo and hangs neatly on the sheltered take. This travels in a way that nestles something imperative. Solemn and steady, there is a lullaby like stroll to it from how it rises. The heartfelt sentiment is impressive. “Days Are Getting Better” is a belter.

Wholesome and majestic are two appropriate superlatives to describe it. This runs sweetly and it is impossible not to warm to. It is timeless. A gentle caress feeds through “Orbit Sleeper”.

Soft and bespoke it catches that warmth and expresses it in the lyrics. The tempo suitably keeps in line with this approach and the elation on it is specific.

The gratifying is a foremost feature going for “Devil On Your Back”. The play motions a haunting and bereft feel that is lavish. The emphasis on the attentive side takes precedent and the feeling steers the delivery. That sets up “Route 48” nicely. There is a GEORGE HARRISON showing to it that is dusted off nicely. The gospel tidings suitably come across here and there is a delirious way to how it all holds. It is assured and evenly distributed.

“Shipsong” is another wonderful piece of music. Holding firm on the delicate balance the acoustic guitar brings along on the guided softness is a joy to behold. That is backed up by channelling this into the creative flow. The zest shown is a prudent display that comes to pass delightfully.

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The obscurely titled “Offseason By The Aquarium” imparts something whimsical with a blissful and timely stature. There is a subtle hint of jazz on this that none of the others possess. It is all completed by the deft touches like that in the sound. An upbeat and splendid beat is what you first pick up on with “Clarity”. A lovely song that is gifted by a gratifying ability showing in the delicate way the pace picks up. The lyrics prove their mettle in how well they show.

“Old Fashioned Lover” is arguably the standout track on the album. It has a tough side to it behind the formidable standing of the rhythm. Gliding across it electrifies the song and offers something proven that is elegant in stature. Blending the Americana styling on it suits and brings out everything in a relevant way.

What follows in “Southbound” leaves you breathless. The finesse is enhanced by a deluge of excellence on all fronts. With it comes a truly staunch sound that steps out. A spirited way lingers as it opens that pockets something that instils a regulated tightness to admire.

Closing track “Broken Star” has an unmistakeable country demeanour. This suits and situates neatly with the heartfelt lyrics.

The solemn and bittersweet tone finely breaks through. By sitting back the process as a whole is defined by the way the ramble on it soothes.

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WILLOW SEA

Across The River Into The Trees We have seen WILLOW SEA perform live on two occasions in recent weeks and on both occasions his sets have been an intriguing and innovative showing. His LP here is something that matches that. The contemporary styling of it here is an omnipresent feature throughout the whole album.

The experimental approach and fearless endeavour are rewarding to hear. The opener here is “Night Light” and it has a tranquillity situated finely in the electronica on show. An electric guitar hinges on the rhythm. As it leans into it the cursive side of it sits brilliantly in the background. Second track here is “Moore Street”. This has a more tripped out attraction going on.

Being braver and nuanced it is formatted to make use of the core influence that defines it here.

The broader depth shows on “Solitude”. It is descriptive and it fuses a defined techno feel with a strong synth score. The result is able to move along and remove any monotony in tone by adding deft little flashes in the playing. It sits on a periphery because it designed not to be a mainstream track. This is all about lacing the experimental and the musical influence how it matters. It achieves it here. That is followed by “Pretty In Bonfire”. It is seminal and it signifies a more lucid tone that sets it alight. The drumming machine and tumble from the twinkling ivory on show combine to great effect. The industrial edge in the tempo does come to the fore as it should.

The interestingly titled “Jitukulea” comes next. This is a track that concentrates a sparse sound into a way that collectively joins the dots in terms of piecing the elements. The drumming machine marches across and then the piano adorns it in a chic

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fashion. It is elaborate none the less and it conveys a descriptive elegance that shows on it. Fleeting is how best to describe “Sugar Rush”. This is arguably the standout track on the album. It has a catatonic stasis to it and it is a bright showing in terms of the clear way it sounds. The percussion aspects and synth on it are able to conjure up something delirious that is rather mellow but confidently strides along. Even if you were not a fan of this genre of music you would warm to this tune.

“Uncanopied Sleep” is something that parlays a patient build to meet with a bold approach in the sound.

Undeniably experimental, it phases in different melodies and adopts a legitimate progressive tone. There is something quantified about the end product here that captures a stoic rhythm and manages to convey it in an interesting manner. The rich noir essence of the closing number “Silver Moonlight Falls” proves to be more than an endnote and saving grace here. The starkness formulates upon it all in a pressing manner. Giving life to the delicate effects in the playing on it the lithe feel to it forges ahead with dignity intact.

Overall the album is something that is for people with a specific taste in music as it does require a harder and more detailed listen to those uninitiated or unfamiliar with the genre. It is still however very descriptive and has the moments necessary to make it worthwhile if you want to discover new music.

VERONA RIOTS

Live For The Moment A guitar riff akin to “That’s Entertainment” by THE JAM finely rolls out on “Keep On Movin’”. That focuses the rhythm in a relative way that clicks into gear. It is properly worked out in a fresh and energetic way. There is an effective transition on the arrangement of “You’ve Got A Hold On Me”. It works effectively to become nostalgic.

That progresses in fine time. In doing so the best in the song is brought out. Third track on the album is “Everything You Are”.

Clearly defined from the opening the vigour is seized upon in how the rhythm comes together. This is a pertinent song underlined by the importance of a good arrangement.

You are grabbed by “Live For The Moment” as it opens. This lights up and engages musically.

Those qualities are appreciated and invested into the final product. This showcases a top drawer and catchy effort. The ambition of “Long Way Home” is on a par with bands like ECHO AND THE BUNNYMEN. There is no shying from the task at hand. The piano imparts a yearning in the structure that drives the lavish indie side. It hits big in a way that is not beyond the band.

Tumbling along is “People”. The timely show compresses tighter elements to create a wonderful openness. This lifts the tempo into upbeat territory. By not getting lost along the way the listener gets lost in the music.

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Next song “Anybody Else” has a hint of ELO in the tempo. The piano spreads across in a smart way. The precision felt from the bounce is what sells it. The vocals specify what shows for the song in the right way. How it all combines impresses. Instantly catchy on account of the harmony is “Open The Gate”. It encapsulates a degree of importance that signifies a grand cut that juts across.

That allocates a hold that signifies the band’s ability in a positive way. This has classic written all over it.

Embodying THE STROKES in places is “I’ve Met You Before”. The leanings are obvious. Judged on its own merits is what matters.

Here something happens for the band. Blissful yet able to stagger the playing creates a forceful rhythm with an evident kick.

On “Figure It Out” the beat has a taut feel. That commands a tone that builds neatly. Topping it off is the seminal way the lyrics shift and show a well thought out Britpop influence. “Til I Hurt You” tellingly shows a good band at work. This embraces the charismatic fully in terms of delivery. What it does becomes enigmatic all the more for as a tune dictated by the sorrowful lyrics.

Final track “It’s Over Now” is appropriate because like all goodbyes this is sudden and brief in terms of running time. The piano relaxes and shows a hint of PULP. This places a reverence upon it in terms of vocals. The sparse elements of it ride along finely.

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THE DAVID NELLIGAN THING Dark Matters

The album from this Cork band is imparts something specific from the first track. A symbiotic avalanche conveys finely on it that determines the fullness of the sound. Comparisons with SIMON AND GARFUNKEL are apparent for the mellow folk like leanings.

Rich and full bodied, the tempo is laid back and commits fully to the delivery. “Every Day We Wake” is a joy to behold. Incorporating a simple and stationary approach, the vast way it expands traverses in the sound yet keeps it actively restrained. That placing flashes across here in a way that gives a true splendour . “Reinventing The Wheel” figures out everything required. That allows the focus to be on the music. They make the best of good intentions on the inventive sound here. It is impressively imparts a resolute showing to the beat.

Spruced up by the opening piano, “Hell Is A Waiting Room”, the song is a true marvel. It clearly comes across with a proven imaginative curve. There is another side that has a redeeming show on account of how impressive it is able to channel that positivity into the creative process.

“Dark Matter” is a highly inventive piece that is matched by the artistic merit. The composure on show is acknowledged by how the elevated feel on it sits back. The steady heel to it shows. A sense of catharsis shows on “The Human Condition”. Yet it situates a gothic stillness that hangs a grandiose wonder from it. That drags across to create a dainty pull which satisfies the listener.

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“Noughts + Crosses” takes their sound out of the dark. This draws a positive display in terms of sound. The laid back approach works a fine angle. Skipping along pleasantly suits the arrangement. The lyrics are fixed to reflect this.

“Feelings Unlike Words” is another well delivered prospect. The distal way about how it rolls lingers in a stimulating way. This is a creative and defined folk song. Then it is straight into “Been Burned” which brightly shines. The voice soothes across and extracts an exquisite quality that returns something pristine upon it all. The uplifting and vibrant way about it is amazing.

“Fresh Starts” is all of its own making. The rhythm forms on it with a precision that expends upon it all here in a way that generates a positive focus. There is a tantalising realisation about it that holds it all in and the vocals give it an ambient allure. On “Beersoaked Blues” the upkeep loosely gifts the song a descriptive vitality. The reflection in the lyrics pours out effectively meriting a BAND OF HORSES comparison for all the right reasons.

The drumming on the intro to “Soso Farso” is met by a flamenco aspect. That makes way for an astute performance to clock in. The switch between the playing styles commendably shows the ability of the band. The penultimate track “Flip A Coin” displays a relativity.

The wandering feel is balanced in a pleasant and illuminated. The final track is heavy on the instrumental. “I Don’t Think (A Song In Two Halves)” is just that. The instrumental opening makes way for song that takes flight in the second offering. Honing that sorrowful tint in the vocal range seems to perfect the approach.

International Acts

Album Reviews THE MONDAY CLUB A resonating guitar opens the album and the kick to “Held It High” immediately comes in. The raw nature puts everything in the right place. Tantalising in how lean it sounds, the keel is something to truly admire. It is then followed by “Oh My My”. This euphorically hits the ground running with a thunder.

Rolling the guitar in the astute fashion it does lights up the pace with aplomb. The heft is saved up and cashed in leaving the right impression.

“Back For Your Love” puts the band in the game. The snappy rhythm gets so many things right. Co-ordinated in a decisive way this shows the band cut their teeth with how it rises, and at the same time it shows their credibility.

A rich indie vibe denotes “When You Needed Me” that cleanly meets the blues/rock element. How it is bound together has definition written all over on account of the layout.

Menacing with the right amount of bite this is cut from a fine cloth. The heavier sound gives way on “I’ll Be There”. The dutiful arrangement returns a homeward and spiritual dalliance to it. Softly delivered with LEONARD COHEN undertones behind it clearly suits.

The harder side returns on “Life & Soul”. The bass has a hook to it that gives it front. Leaning into this the song develops a swagger that is backed up.

With “Lies” the pace is floored at 100mph. The tight showing to it pulls away like a bullet and directs the playing in a way that shows. A mean bridge pours out on it that handles the playing tangent quite considerably as it climbs. The compliant steadiness to “Leaving Train” loses itself in a groove that is all of its own making. Delectable in the lean riffs that come in on it with such vigour, the muscle it displays in the sound enhances those prospects. This takes flight and never looks back.

A resilient running releases on “Easy”. The band put their hands on something in the playing process that finds a way of coming through that leaves you with a great degree if satisfaction. The pull to it is highly appealing. Displaying a high yield in terms of ability this rocks out and takes no prisoners in doing so.

The last track on the album is “Itchy Feet”. Denoted by a lighter and catchier side they still raise their game on it. They chase down all of the necessary points in a concrete way that leaves a mark. How the rhythm is concentrated shows a band with their finger placed firmly on the pulse.

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ALEX KARELEKAS Broken Tree We caught the American singer/songwriter at The Ruby Sessions last month. An accomplished live performer, his album is also reflects that ability. The mournful tone is elegantly directed on “Blynd”. The end result is something that circulates fully with a reverence decreed from the lyrics that enhances the captivating quality. On “Brand New Dream” the guitar steadies the tempo and concentrates that into a steady flow. The determined and fine hold sets it right. The composite side is aided by how the voice penetrates the veneer of the playing. “They Can’t Swim” adds a harmonica to the styling. The lyrics come around in a sweeping fashion.

Lightly applying the tumble, there is something specific coming forth permeating in a way that finely catches the glimpses of honesty.

The eponymous “Broken Tree” is fuelled by an American splendour.

There are shades of LOU REED in the delivery. Crossing over in a way that charges the track, everything is stoked in a mean-spirited way that is delightfully done. The expedient tone of “Whisper” admirably displays.

Fired up by the restraint it leads the way to mould the looser aspects of the song around this. This results in a lucid sound that knowingly imparts a dignified showing upon it all.

“New Melody” branches out in terms of appeal. Playing to those strengths wonderfully makes this approach line up everything and places them correctly. Gathering all of this allows the potential to be very much realised.

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Clarity is noted for “Mahalo”. Deftly surfing across on a wave that regally takes hold, there is a glow to be found upon listening. The follow through is something that accentuates in the portrayal that the acoustic guitar gifts upon the sound.

“Northing Burns Worse” has a dainty strum. Behind that is a song with a harrowing sentiment. The resentment and regret are etched within the lyrics. They are exceptionally reflected in the voice with the delivery. Being fully realised in the process the song retains a lot from that stark realised aspect.

Brief track “Southeast Corner” has a spiritual side to it.

That is balanced by the reflective lyrics. Granted a wonderful showing it all remains on course inside a contented structure. That situates everything and his voice applies something that stimulates the song. Doing so keeps the hallowed in check. The last track on the album is “Eyes Wide Open”. This is a restrained effort highlighting the ills of society. While not a protest song per se, the design is more intent on reflecting the inequalities of the world.

Highlighting the side of human nature that chooses to ignore what is not right in society denotes the lyrics. Again it rests on the spiritual side and demonstrates that quality finely.

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DIZRAELI AND THE SMALL GODS Moving In The Dark This album is a sublime effort showcasing an incredible array. The interlude of “Odd Creature” gives way to “We Had A Song”. This is carried off the back of a strong beat with lyrics cleverly dropped. Considerably well worked, this gives a good account of life. The tempo incorporates scratch elements that drop grime qualities in with distinction. Celebrating and capitalising a hybrid of folk in their sound is “There Was A Rapper”.

Boldly experimental, it accentuates to give it a telling ramble .

Returning to a grime sound is “Moving In The Dark”. Spinning finely sees a fine beat weaved that is fresh and resilient. That joins up well with the brisk flow generated.

Harbouring this dalliance is what gives it a high appeal. “Strong Bright” conveys perseverance. Marked out by that attitude in the lyrics, the message becomes more urgent by the patient build. Flourishes in the music make the rhythm equally sharp. With “The Istanbul Express” the opening is a lavish affair. Purely Eastern influenced, it is an instrumental piece capturing the cultural essence in a fine arrangement. “Never Mind” adds a Parisian flair. The fresh beats rock out and energise the sound. The mean flow of the tempo and lyrics tantalise. The manic feel is compact enough and t puts a good foot forward.

Intelligently sharp is “Sailor”. The cut to the lyrics translates all the more by being backed up by a riveting backing tune. This has a fine cut on many fronts. It is the track that proves a true testament to character.

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Expending something that strips back their music defines “White Rum”. The sense of the poetic is displayed. Vivid depictions and reflections give the track a conscious awareness that shows in how it cosies up to the groove.

“Pure And Simple” is another interlude on the album that then finely sets up the final five tracks on the album. After that follows “Million Miles”. Given heart by the violin opening the intro, it then sits finely incorporating subtle Eastern European influences in the sound. Recognised by the tangible aspects here the invigorated sound it creates is something of true substance.

“There Is A Way” considerably grabs the attention. Decreeing something that is soulful and embracing of a folk influence it is aided by how homely it sounds. The distinct hollow reverence astounds.

Something that moves finely on “A Trick Of The Moon”.

Regulated by the session styling of the undertone, the clean cut to it shows. Strongly rounded out it fixates a great deal of intriguing elements handsomely. “Little Things” impresses and fondly feeds everything into the song with care. That is reflected in the creation of a sedate tune to idolise. Final track “The End Of The World” again invests a folk influence that shuffles across. An ambience is felt directly. Drifting along on the sound it looks up being brave in the endeavour and the static feel gives it a solid foundation.

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KING GIZZARD & THE LIZARD WIZARD Eyes Like The Sky The eponymous title track defines the album and opens. The album from the Melbourne band deeply draws a comparison throughout with PAUL HARDCASTLE’S “19”. Hitting hard and fast with a very well fashioned frontier theme in the sound, the overdubbed telecast aspects make up the lyrics. It is a bold and intriguing track and it is then followed by “Year Of Our Lord”. The Tex-Mex makings of the song are more evident here.

Outlined by how it marches to the beat you acknowledge that each track is about telling the story through the telecasts. It is a modern audio opera of sorts.

“The Raid” is the third track here and the rhythm is sped up and comes across like an episode of “Bonanza” on speed. It is marked out as innovative. That is because it experiments musically. The vision is all the avant garde by not originating from a dance or rock genre.

“Drum Run” fuses a Native American influence in the sound. It underlines the interesting narrative and here you appreciate what they have created all the more. The band is clearly in alternative territory with the sound.

The appropriately titled “Evil Man” formulates something with a true sense of authority. What you are listening to on this album is cinematic and one imagines Quentin Tarantino digging this in a big way.

While eccentric to a point it hones it all in delightfully. The imagination displayed here is paramount.

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The rhythm to “Fort Whipple” tentatively catches you.

Smoothly defined by the guitar riff it has an expansive yearning to it that broadens the horizons here. Tidily trapping it all in the moderation to how it builds has an astounding distinction. The limber sound on it formulates on it here in way that creates an expressive impact.

Interestingly titled “The God Man’s Goat Lust” has a narration that tells of an unhinged tale. That is one thing about the track. The other is the detailed way that it rolls off.

Guitar and drums are applied tellingly. What they produce spills out with true vigour.

The movement in “The Killing Ground” stands out. Lithe in how the music opens the song, it sets a precedent that the arrangement follows and moves around. Lavish in terms of the cut that it has, it embraces the Americana styling to produce a hardy effort.

Up next is “Dust In The Wind”. Incorporated in the sound are mechanical traits that blend the electronica subtly into the sound. The tension picked up from the rhythm enhances the narrative. Charmingly affluent is the last track “Guns & Horses”. More of an interlude it still devises something specific to the sound that wraps the album sweetly.

While this is an album that is bold in the experiment, it does become repetitive in the middle. However that is no reason not to appreciate it for being a good album.

THE PLASTICS Pyramid The South African band proves their credentials with the first track on the album “Best Pretenders”. It incorporates a staunch kick to the beat. It corners a vibrancy that functions well for it. Drawing the tempo from this locks in on the core elements with relish.

“Occasional Lies” seals in the pace generously. Infused by this the lift that is given to the song is reflected in the upbeat rhythm, but with a cagey delivery and edge the finesse shows in the sound.

Underlining the old adage that third time is the charm is “Stereo Kids”.

Fronted by a laidback vocal pitch, the needling of the beat in the sprightly way it sounds proves to be something delightful. Gifted with a lush presence it presses ahead and forges something descriptive that burns brightly here. It is also dangerously catchy.

“Out Of This Town” has a two guitar aspects in the sound. One is the catchy riff that plays in the intro and the other is the lead and rhythm gives it a bounce as it all comes around. It soars when it takes flight exhibiting an unmistakeable exuberance as it does so.

Catching something on the right side of kooky is the best way to call it for “Underwater Kite”. They get under the playing in a certain way that seems to evoke a resolute side.

Carnivale aspects are subtly factored in which give it a flutter.

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That descriptive flurry in their sound comes to the fore on “Sooner Than Later”. It drifts into the play with vigour and seals in the purpose it has. The relaxed feel collars the carefree showing to induce a formidable trait surrounding all the elements in how it sounds.

With “Rat” their sound seems to move away from the upbeat sound and flirts with a gothic sensibility. A shoegazer aspect becomes present, but it isn’t necessarily signature for it here.

The guitar does lean towards that in terms of delivery but it breaks away to follow through with a more blues driven edge.

There is a scope to “Mud And Honey” that has a sunken feel to the sound. The withdrawn vein that all of the sound is defined by a dulcet tone that is well measured by it all hangs.

There is a telling way that it revels in the lingering sentiment.

The excellently titled “Girl You’re Nothing Like A Woman” lives up to the billing. The ingredients of it all here were made to be put in a song. The lyrics merge with the playing and the devotion to the task at hand sees them become a perfect marriage.

Seeing out the album is “Hallway Of Mirrors”. Retaining a steady hold as it builds, the patience is rewarded. The loving glimpses echo across before the reserved lift to it kicks in.

The deep cut is finely weathered by a particular softness on it that collects finely.

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ORGANIC Under Your Carbon Constellation The electro styling and experimental is evident on “Seeds”. Here a rich and ambient trance in the sound finely derives something from the bass elements. Fissures in the sound commendably fuse these components. Defining their sound as electrowave, the duo’s next offering is “Johnny Craque”. The Flemish applied to the lyrics gives it a sublime continental flair. That countenance reflects the sturdy synth elements filtered through. “Waves Are Running” industrialises their sound.

Evoking a high retro aspect creates a pique. That dynamic cruises along with a true stature.

“Sequence Of My Projector” is next.

The looming sound travels to add a determined gruffness that makes it atmospheric. That funky side inhabits it and a resonance is finely courted.

Shaking things up with the scatty “Disturbing Street” lays down a marker. It also showcases a raw passive side akin to the early workings of JOY DIVISION. The vocal delivery matches it in that regard and this applies for the whole process.

What is exacted on “Ordinary World” is paraded finely. The upstanding tempo and beat revel in the new wave subtleties. They create a broad and open flow that rides up along with sufficient notoriety.

A lush guitar aspect hits hard and fast on “The Day Of The Locust”. The focus sees it come across on a wave that slips into a tune with an incredible gothic appeal. Hankering that sees it cut across imperatively to the structure.

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A rich drum machine kicks into gear on “Katharina Distortion”. What stands out is the transition that has occurred in sound. The focus has moved from electronica to new wave, yet progressed by retaining a settled showing. The kindling ferments noir elements merged with a classy beat here. This now sees the music become more definitive.

They collect a withdrawn opening on “Colossal Baroque” which displays a DEPECHE MODE influence. That is worked to maximum effect. The benefits are reflected in the stark collective permeating. They retract it at the right moments and in doing so bring you along for the ride.

Next track “The Meat We Kill” explores more. The definition on show with the instrumental converges neatly. All of the sound comes to locate in a hollow axis. In doing so the urgency of it allows it to slip into gear.

“UFO” produces a hard keel that annexes the reach.

Compounding the body with a deluge of trance elements fixates a core degree to what is on show. That splinters in places and each element either sits in the background or fronts the playing. This is quite an interesting trick that is pulled off.

The album hones in a sophisticated and solemn approach on “Waiting”. As a long player it acquires the attentive properties in a way that create a deluge, but one that is not a burden upon the process.

EP Reviews

Irish Artists

THE NOTAS

Creatures Of The Night The Notas have long been held in regard in circles on the Dublin music scene as an innovative band. Their current EP serves to preserve this reputation.

The opening track “Culture Vultures” connects well with the listener. The guitar that runs through it creates a calypso styling that bounces along when the tempo begins to pick up on it. A sense of urgency is keenly felt on it also with the way that the drumming portrays the snappier side of the playing. What is worked in on the song to inject the pace and more intense style to it is commendable. It gives a resilient feel to the song overall and it is on the basis of this that you remain interested.

On next track “Rosemary” the band show what they are about.

There is a delicate and sweet tumble from the playing here that is set out and it is complemented by the vocal delivery. It pulls back on the playing finely as the build begins to steady itself. Here is where the song gives a very good account of itself. The vocals sit nicely with the stray approach of the lyrics.

The languid feel to the song from this makes it a sophisticated affair all the way.

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Then “Masquerade” is another track rich in style and substance. The qualities of the playing are obvious and properly felt in terms of how it sounds, but when the progression occurs there is a shift from how the intro opens. This is a good thing and there is a sense of the avant garde to it, but it is not pretentious. Rather, it is very spirited. The rhythm to it is able to exact an exquisite feel to it all and there is no mistaking the artistic mastery about, but they maintain something about it all that eliminates any accusations of it being pretentious.

The final track here is called “Vvalentina”. This is a track that also has that lucid feel to it as it opens. The spatial approach that denotes all of the EP is well mastered here and how it gives the running to the track overall is a shrewd move on the band’s behalf.

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THE LAST MONROES

We saw this band play live at The King Kong club and their style of rock is one to truly savour. Getting the EP off to an accomplished beginning is “Dead In The Water”. A deft hook is extracted from the vocal delivery by front man SIMON QUINN that hits everything dead between the eyes. The blues influence on the sound here is evident. Armed with an authority in their sound they lean into things to create a unique sound that blends everything in a fierce fashion. lean into things to create a unique sound that blends everything in a fierce fashion. The second track here is “Dirt’N’Glass” which has a clever emphasis placed upon the sound manufactured. It captivates and the withdrawn follow through on it here canvasses the tracking well .

“Devil’s Girl” readies the play. The slides in the riffs are angled with a specificity that electrifies the rhythm.

Having the raw cut and fusing it with a lavish blues sound is what invigorates the whole of the song here. It cleverly finds a niche and carves into that with good intentions. The last track is the marvellously charming “30 Pieces Of Silver”. The delicate toiling on it delivers a sound that draws comparisons with BECK. Arching the guitar riffs and stowing something brisk behind the sound it makes for a tantalising prospect.

There is an efficient way to it that consolidates everything neatly.

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ODDSOCKS REVIVAL

Something’s Going On

We recently reviewed the EP launch gig for this band in Whelan’s. A classy affair on the night and this seminal approach is reflected in the opening track. It imparts a classy groove that very much brings the funk. Neat and refined, it goes down easy. When you hear a song as slick as this you are compelled to listen.

The scratchy little bass hook on “What I Got” really polishes the song. It is able to elevate to a status that conveys something with an impressive reach. Displayed by how the leaner elements of it propagate there is a figurative array of musicality working for it. Shuffling along with a sedimentary briskness is what really impresses about it.

Third track here is “Bringing Your Love”. Elegantly rolling off a guitar hook, the reserved demeanour to it catches everything. The fluidity of it is kept in check and embodies a texture that has class written all over it.

The harmony in the vocal delivery has a stillness that lights up and brings the finesse to it all. The last track is “Till The Heat”. Sharp hooks to the sound on it illuminate the intro. From there the sound seems to hang back and the languid tone of it is impressive. Well controlled and descriptive, this has a method to it all that invigorates it. In doing so the band raises their game.

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FICTION PEAKS

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How the first track opens has a tidy reverence to it. The soothing stature that the voice seems to convey finds a fine partnership to sit alongside the tidy ramble on the tempo. It softly ushers it along.

The substance and feeling to it are chased down and turned around with an apparent saunter.

There is a chemistry that felt to how it all sails through here. “Chrysanthemum” is a short number. The spiritual sensibility on this one sees it grow. The gravelly voice here seems to have a way of moulding the lyrics with the purity to match.

Joyfully upbeat and capable defines the intro on “Ruthless Paradise”. This seems to acquire something in the manner that it hitches all of the rhythm to it. Promising and extremely positive is how it mirrors the reflective cut to it all. This is a tune that can only induce a happy mood in the listener. That is followed by “Wildlife” which has another spiritual essence to it that mindfully takes it all away in inspired style. There is a poetic way that the movement on it has that lingers exquisitely and it is admirable for how easy they slip into that enchanted sound. The last song is “Seamless” and this is something that hits like OASIS when they were in their pomp. The vocals weigh in with that and there is so delectable and controlled that it is hard not to note the similarities. Everything about the rhythm and delivery turns on a sixpence here. It is a great tune and one to acquire for the i-pod.

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THE SKIN WE’RE IN

EP #1

The first track here is “Society” and is represented by a fine handle to it all. The intimate style to it steps out as the pace begins to pick up. It retains a formal control in doing so that is evident in the flow. What is also impressive about it is the way that it has a dependable feel to it all.

The second track skips to a fine beat. The piano is a flush accompaniment to “Blood Runs Red”. Wholesome in the way that it generates a skip to it all, there is a pertinent follow through to it all that sees it gel.

Trapping the elements in it is able to concentrate it all into the music with a timeless turn.

A more frank and harder tune in “Asunder” seems to have a retro feel to it. The nostalgic feel to it takes pride of place. A pragmatic sensibility takes hold on it and the bite that it has is determined by those qualities in the rhythm. This links together in a way that shines through with flying honours.

The final track here is “Factions”. There is a solemn feel on it that corners an intrinsic quality. The gradual build of the whole track is denoted by a fantastic awareness of spacing in the sound. That creates the scope within which this one begins to forge ahead.

There is a clean cut to it also.

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MIRIAM DONOGHUE Bookmarks

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The six track EP from the Galwegian folk singer opens with the delectable “Streetcar”. It is a tune that is finely guided. What is also worthy of mention on it is the minute detail that tidily forages in the tempo. This is a track with a veneer to it that makes it all the more captivating upon listening. “Bookmarks” then succeeds that and is denoted by a gentle strumming of the guitar. It curates a tranquillity that marks time with determination here. Starry eyed in terms of appeal it is able to induce a prominent fondness that floats by on it. Harbouring that is what fleshes out the sentiment.

With “Plassey” a tale is told about the boat from the opening credits of “Father Ted”. The ballad narrows the sound, yet the tale it tells is one that is figurative. All of the emotion is conveyed upon it in a way that dangles in a tempting way. Ethereal in a way demanding of it, there is no showing of the song being beyond her means as an artist. On “Feathers And Stones” the breakdown of it sees the rise and fall become the focus of the song. That is reflected on all sides and marked out by the comfort in how it traces all of this to produce something that remains firmly within the lines.The spry country yearning in the sound greets the listener on “Waiting”. The deep sound to it iscontradicted somewhat by the positive styling of the lyrics. The optimism reflects something in direct opposition to the stark sound it has. A love recording of “Beautiful” is included to round out the EP. The quality is of a high standard. The performance itself seems to be marked out by the composure and confidence that comes across in the recording. A light and tip-toe charm is also picked up from the delivery.

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THE LATE TWOS The eponymous opener here has a defined purpose that lightly slides across on it. The stellar showing in the ambition shows with the delivery. A paunchy and complementary shuffle is assisted by the lively rhythm. It collects in a way that makes the most of the catchier handle in the sound. From this it derives the necessary kick that pushes it on.

The sound is developed in a more inward fashion on “Modette to Ladette”. It still produces something that contains a catchy signature. Abundant in how it is delivered, the attractive qualities on it are evident.

This is a very stylish production that is able to contain what is required.

The third track here is “Don’t Want To Stop This Dance”. It puts a good foot forward. Particular attention is paid to how the beat is constructed on it. The lyrics fall into place on it and the blissful formation to it all seems to draw comparisons with bands like SQUEEZE for how they have managed to put the tune together.

The hipness is found in how the observations in the lyrics shake it up in a way that fixes that post punk quality in the sound.

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NATHAN CONWAY & THE RIVER VALLEY BAND Trillovision – The Soul EP

From the very beginning of “Fabrizio” there is an imaginative display in terms of the body and how they lock in the necessary ingredients. Blessed with a guitar riff and catchy hook, it all snaps into life. Everything that needs to line up does so and the intent contains it all. On account of this you warm to the song for all the right reasons. The smooth showing to “Pretty Little Girl” invests something that has a BRYAN FERRY quality to it. The tone and laid back style has that brass element driving the sound. Connecting everything behind the drawl on the vocals there is a delightful way that it slides across. Little deft touches and flashes also impart creatively on the song.

They then produce another song to marvel in the splendour of “Goldmund”. The stoic arrangement to it hinders on a melancholic trait, yet it steers away from being complacent. The percussion applied satisfies a niche for them as artists you feel.

The expression behind it is a plus that denotes ability. The romantically titled “All Your Other Men” has a ratty feel to it.

The trumpet bellowing out on it met with a cautious strum hangs nicely. It is styled in a sombre way that offers up a great deal. Very much a private affair in terms of delivery, it is none the less an affair to remember.

Closing out the EP is “Rock O’ My Soul”. The gospel leanings of the song enrich it. How it generates the necessary pulling power is able to point everything finely in the right direction. The warmth of it all doesn’t go unnoticed.

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TABLOID TV

It’s the Bike Thief!!

The EP from the Dublin band contains five tracks that mark them out as a band with potential. The wistful manner is felt on “Let’s Dance”. On account of this there is a quaint showing to it that encapsulates something promising. THE CURE like oddness to it is something that counts here. The liberation is firmly realised with the clear cut channelling of this wonderment. The second track here is seems to further the underground appeal of the music with “Ruby Don’t Kare”. Raw production values aside, they are an attribute to it here. They inject something specific on it and it is the post- punk/new wave style that is the subtle point about it all.

Retaining that purity on “Two Faced” has a VELVET UNDERGROUND vibe that comes through. By concentrating on the music it then seems to develop an identity all of its own. Whether that is intended or not is immaterial. The end product is what matters and in this instance there is a sound that deserved to be championed created.

On “The Breakfast Club At Dinner Time” repeats that trick.

It is all there for the taking and they don’t pass on the opportunity. The serenade here has a potency that gives it reach. The interest is piqued and a gem of a band appears to have been discovered when you hear it. The last song is “2012” brings it. The sterile feel off the sound here is unmistakeable. Thrilling for the way that it chases down all of this is what marks them out. Shying away from being forefront and commercial is what the band become all the more respected for.

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TOD DOYLE AND THE TROUBLED These Days

This is more of an LP than an EP as it consists of eight tracks, yet is no case of over compensating by promoting quantity over quality. The first track “These Days” cleanly leaves a rich folk taste. Becoming concerned with expanding their sound this influence works well. There is a contained body and shape to it all. The fleeting expanse lays it all out and with “Terrorised Side” has an elation worked in that gives a refined hold something additional. Exerting that folk aspect centres all of the playing comparatively.

A perused piano movement gracefully calls the shots as “Intro” does just that. It presents as an instrumental and displays a countenance. Teddy boy influences circulate on “Soviet Song”. They steer it well and give it a much needed kick. The sound spruces up and the astute tumble segues upon it with importance. “Kirbman” is built with a gradual purpose.

That cohesion suits the emotion conveyed in the back story. With the violin strumming behind the flow, the rhythm is enhanced as the pace picks up. THE WATERBOYS spring to mind upon hearing it play. The gifted tumble to it is not one that is squandered. Instead the most is made of it.

There is elation carrying the tempo of “Four Walls”. Splendidly displaying a large degree of practicality allows the world weary to give a good account n the context of the lyrics. Eternally optimistic and circumstantial, they secure an accepted sobriety and relay it all back. A saunter defines “Blamed” from the intro it then splendidly trades on this. The configuration languishes expertly. There is a fine showing produced and the final track is the very brief “Outro”. Thus concluding it as a work of two halves in a way, the piano depicts a barren and gothic hold that reacts positively with the astute demeanour.

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May 2013 Issue U&I 45

IAN O’DOHERTY Never In Colour An artist who we recently saw performing live at the Ruby Sessions, the tracking on “The Temptation Of Eve” finely leads into a formidable tune that steadies itself with true splendour. Such warmth in the lyrics and tempo is unmistakeable. That is then able to grace the song with a fragile sensibility that connects something in the play that situates the solitary side appropriately. A delicate piano arrangement shows on “Home” and it connects with the lost sense of the song. As the lyrics and vocals combine the process as a whole drifts along with a clear and detailed sense.

There is something more formidable to “You’ll Never Find Me”. This is not just reflected in terms of the way it sounds but there is an angst conveyed in his voice. It is a little bit more than a simple black and white affair.

There is a derivative in the way that the pace picks up on it that sells it.

The final track is “Somebody’s Hands On My Skin”.

With a graceful application the lush aspects are given prominence. There is a belief shown in the feeling and emotion showing. Watchful in how the pace n it remains steady it shows a high and careful attention to the detail. For this it is all the more engaging.

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ABLE ARCHER Bullets

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As the taut guitar shoots across on “Superhuman” the intention and potential of the band become evident. The channelling of their sound brings everything needed very much into focus. Emphasising it in a way that sees the music gives the track a necessary substance. From there it is further enhanced as the sharp cut to the delivery shows. The second track is “Bullets”. Here they maintain a slight distance in the opening.

This proves a shrewd move as it allows the gradual pick up on it to hang neatly when it takes off. The showing to it is a decisive affair and there is a comfortable resonance that is engaging while allowing the arrangement have a clear and decadent feel to it.

Patiently sitting back and allowing the play to gradually come together gives “Patches” a slight morose feel. That however is pushed along with a high degree of composure. The pace that is set out for it proves to be judged well as the track benefits from the consideration. On show is a guitar focused number that evenly applies the rock elements but also situates them appropriately.

The harder tumble on “The Great Henry Watt” assists in creating the definition. There is a considerable finesse to how the guitars hook that actively pursues something of consequence here. In making the rhythm more active it allocates the trajectory but when things are reined in the dynamics at work show well. Helped by a competent showing throughout the EP, it retains that ability on all fronts here. Vocally there is something additional on each track that is a quality fully availed of.

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CANDICE GORDON

Before The Sunset Ends With its stark styling, “Before The Sunset Ends” has a seductive enlightenment. This is apparent and concentrated in the ambient playing. It is withdrawn in a way that allows the play to situate the solemn attributes. They centre upon the drawl in her voice, and in doing so see everything hang with a true reliance. The enamoured sentiment to it is unmistakeable. “I See A Demon” is marked out by a rich gypsy vein in the sound. The folk nature of it is flowed through on the delivery. Flawless in that regard it is able to process a sincere and integral push to it all.

A more pronounced Eastern European folk influence is to be found on “Fairytale Of Love And Betrayal”. The polka flits along and that is reflected in the obscure nature of the lyrics and singing. There is a maturity to it that truly shows from the arrangement. On “God, The Devil And Me” the clean cut way that the rhythm has sits comfortably behind the song. Percussion elements derive an essence that is artful. They create a loom in the sound and that projection is countered by the sweeping and artful styling of a song that is unafraid of expression.

“The Sound Of Horns” has a charisma to it. Wonderfully easy to warm to, it is able to step out with a handsome objectivity about it.

The structure to it gives it a partisan touch that enriches it on many fronts. By embracing this it turns in a fine effort that is lavish and extravagant in appropriate measure. The last track here is “In My Garden”. What fronts this is her voice and it shows that she can carry a tune. Behind that the playing melts away as the guitar strums across in a way that snatches at the affection. Everything that collects on it contently does so. This limbering allows the delivered to grow from a retreat within the play.

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JACK RYAN Strong

Another artist that we have seen perform live on the Dublin circuit this year, his EP went straight to number on the Irish download charts last month upon release. That is not surprising either. There is a high sense of accomplishment showing with “Strong”. The precision displayed from the vocal delivery is complemented by the strength of the musical arrangement and vice versa.

Completely at ease with what is required of it sees an invested spirit cut finely across on it.

That is followed by “Fingertips”. A truly trustworthy affair it is outlined by a Latin influence on the sound. That wraps around the guitar. When applied it creates buoyancy in the sound. With that in mind the soothing quality is portrayed in a good light that makes the song the pleasant feel-good track that it is.

A striking acoustic rhythm on the intro to “My Dear B” holds up and then steps back. In doing so the track really brings out everything that is important. The commanding presence that comes through is matched by an abundant showing in the tempo.

With the competent showing to it all there is a confident stride undertaken that is pleasing to hear. “Just Friends” brings a close to the EP. Truthfully embracing the feel good factor shows that the high appeal that it generates is an intended showing. Settling into that it displays a lot of fine attributes that accompany the music.

These particular traits include a whistling segment and they all serve to enhance the listening experience.

This is a great EP and one to really sit back and listen to over the summer because it is tailor made to do so.

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May 2013 Issue U&I 47

EP Reviews

International Acts

THE BEDROOM HOUR

Themes

The opening track “Shadowboxer” is marked out by a mean sound. There is a heavy drum and bass focus on show, but behind that is an electro element. The new wave manner to it all is a superb offering and one that balances everything. As the track progresses it motions more from it and angles all of these points in a definitive way. Second track here is “Tyrannosaur” and it is another great tune from the band that keeps to the formula that works so well for them. It is outlined by a fine tracking that brings it home. With “Themes” the band shows more of their mettle. It is easy to get caught up in this track on account of how great it is. This is also one of that has a high level of appreciation to it.

“Midnight Game” projects a lot of the band’s credibility. Here what is present is a tune that is able to carve out a niche in terms of how it sounds. The dynamic involved in doing so is able to garner the alternative traits but condense them a little bit more.

“X Marks The Spot” shows a steady hand involved in the decisive way that it is played. Complete in how it is arranged there is something even coming off on it. That distinctly holds for it. It invests upon it in a way that reaches and achieves. The last track here is “Slow Motion Camera”. This has more than just a great title going for it. The finesse shows in terms of tone and balance to it. For that it is able to draw you in admirably.

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COLABA POINT

The Mumbai band is a recommendation from our Indian network. This three track EP is one that signifies their desire to get down to jamming. Their love for music is expressed finely on the opening track “Rum Aging”. The alternative and progressive styling to it sharply reflects their musical ability. They tap into the potential that they wish from the experimental approach yet also showcase a characteristic instrumental piece full of neat flourishes.

“2nd Floor” is the midway piece yet this seems to take Indian folk and Shakra sounds and include them in the endeavour.

That lights up all the more with the prominent way that the delivery has about it. A commanding presence asserts in the music in a way that volumises everything.

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The third offering here “Signals” is able to blend and incorporate the musical leanings towards something with a sense of direction. Different musical arrays fall into line on it as they determine all of this. No one specific genre dominates and it is more of a leaning towards embracing the potential of the instruments and their orchestral value over creating something specific.

TAZER

All My Days The Nottingham band reflects why the city is currently a hot bed of music. Their EP opens with the eponymous lead track. Charged by a committed blues rhythm the track has a full body. The lean showing from the guitar meets a tight and taut body of work in the drumming.

They turn up the intensity on the way it sounds. A nimble handle gets underneath the blues on “Buggin’ Me”. As the tune rolls out it creates an openness that shows. The result is an engaging tune that embraces their influences while also showcasing their ability to play and produce quality tunes.

They bring a shake to the controlled way that “Centrefold” is played. With how the voice becomes etched into the obvious sexuality of the song is something invigorates it fully.

They wield that component and match it to the tone of the play in marvellous way. Last track here is “Who’s Laughing Now”. This creates a sunken roll that befits it all.

Energetic and taut enough to allow the rock showing to it all come in with the right amount of reckoning.

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51.50 Man’s Ruin

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The hard based Liverpool band fuel their sound here with a true allegiance to rock. This is underlined on “Point Of No Return”. Hanging off the back of the guitar riffs, the blistering approach is designed to allow the music do the talking for the band. The hard side of the sound rains down and there is no mistaking the impact it has. After that comes “Baptism Of Fire” and is marked out by the acoustic guitar on the intro. The rug pull them occurs as the pace electrifies. A consistency surges through it and leans a lot towards the darks side in how the chorus is delivery. It is also something showing a slight punk sensibility in places.

“Run Wild Into The Night” harks back to the bygone days of men in perms fighting over cans of hairspray.

Harder in terms of rock but the theatrical slant to it is something that seems to be evoked upon hearing it. “Superman” plays inside the acoustic spectrum.

The more harsh rock side is put to the side to allow for a song with a more introspective aspect traced out. The vocals flow on it and the reverie to it doesn’t go unnoticed. Here the band seems to up their game and the attempt shows. However there is a sense that perhaps the ambition to it is not achieved fully.

“Hellhound” then reverts back to what works for the band. The even keel to how the sound is ground out on it here is stark. From there the anthem like qualities hold with the vocal hooks on the chorus. To use a pun it does have the necessary bite.

May 2013 Issue U&I 49

Singles of the Month

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“Taking Control” - SONS OF ENCOURAGEMENT

The rhythm is collected on it in a way that seamlessly picks up. Enhanced by the colourful flourishes in the sound, there is a competent control also present. There is a particular way to it in how it is all present and correct. There is a good emphasis on making something worthwhile and that this approach produces something with a smart mainstream appeal is all the more reason to like it.

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“All The Boys” – SWORDS

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This is a marked progression from the early workings of their “Chasm” EP. It still retains the synth based element that is a signature of their tune. Here the cut to it is fine. The affluent manner that the rhythm possesses imparts a true sense of the avant garde upon things yet sees it retain an original identity all of its own making. It is quite a formidable affair that is tidily put together.

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“This I Know” – CHAIN SKA BRASSIKA

The ska overtures are immediately apparent on this track. That sophisticated and classy sound feed the song and gives it a soul. The splendour that it all has on account of the rhythm is secured by the essence that follows through. A layered approach gifts the flow the freedom it is afforded. As a result the whole song is able to wrap you up with it on so many levels.

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“Peacock” – THIRD SMOKE This is a song that has a genuine stray quality to it. However it is all tied in behind a tight showing to the rhythm that any band would be proud of owning. The attentive way that it is designed is ably expressed. The relaxed feel is accentuated by a beat box vocal style. In short there are a lot of components at work and because of this it is an enthralling listen. The other thing that we were impressed with was the colourful artwork to the sleeve that the CD came in.

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“Home”– TARANTELLA FALL

Tidily running and maintaining that to form the tempo, the song marches to a steady beat.

In light of that and the catchy hook it creates, there is a great deal to admire for it. The descriptive tone develops a richness that comes through in a pleasant manner. The fondness that permeates possesses a knack for illuminating it in a number of ways. The broadness also shows imaginatively.

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“Take Me With You” – PRINCIPE VALIENTE

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The Swedish new wave act turns in a fine effort here. The true measure of how good the song is can be found in the delirious synth scoring the track. It imparts a riveting retro styling and then elevates it above being classed as a mere nostalgic throwback. The convergence of all elements in their sound is highly effective. The pace that it runs at is also a true testament to the pedigree they possess.

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Singles of the Month

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“Silver Lining” - CITY TRIBE

When you hear the song you are immediately drawn to how honest and humble it is. This is a strength that the band plays to. Furthering their appeal is the svelte delivery. Matched with verve in terms of sound there is a taut showing to how it is sung. This cleverly joins the dots but you feel they always had one eye on how the bigger picture was going to look in terms of how strong it all is.

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“Let My Lady” – KA TET

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An innovation is apparent with the build and how it all leads from the intro here. All the components point to a song with a slick feel to it. The veneer that it displays cradles a staunch kick that lights it all up like the proverbial Christmas tree. Leaning in to the play with the guitar delivery sees the handsome and spirited approach rewarded with an intense and urgent end product.

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“Medicines” – ED ZEALOUS

This is a tune that is able to ingrain a lavish blend of electronica with a timeless quality that somehow represents a forward approach by taking a nostalgic approach. The precision displayed from the tempo is rich in a retro appeal and places an edge upon the way it motors along. What the track creates is a top tune with a tantalising appeal in how it finds a groove all of its own.

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“We Love Everyone” – THE ROMLEYS The Liverpool band’s single is one to savour. From how it is styled a rich influence of 60’s artists shows. Bands such as THEM jump out at you in terms of how it has a shake to it. The consistency to it is able to create something about the playing style that harks back to that bygone era. The admiration felt for it can be credited with the hipness that they are able to draw from it.

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“Kiss, Kill (Back To Love)”– THE OPEN FEEL

With a hint of the seductive the tidy traits on show here, the melodic hang to it is something that clearly comes across on it. Incorporating something bold yet laid back in the approach suits it. That is able to see the splendid attributes spread out evenly in terms of the focus that they give to the rhythm. Hearty in appropriate measures there is a skilled showing underneath the subtleties.

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“All Of The Way” – AUDIO FIRES

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We also included this track as one of the videos in our May 4X4 on our YouTube channel. Such is the high regard that we hold for it as a tune. The guitar plays across on it to show a neat indie vigour that handsomely measures up. Helped in no small measure by the catchy side that merges with a strong catchy chorus, this follows an intelligent train of thinking in terms of how it is all pieced together. This is a tune by a band that could be one of those surprise acts that catch everyone unawares.

May 2013 Issue U&I 51

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4x4

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

THE HOT SPROCKETS “Soul Brother” (Dublin)

ELEVATOR ART “Bear 141” (New York)

AUDIO FIRES “All Of The Way” (Ireland)

HITCHCOCK BLONDE “Sexy Like You” (London) 52 U&I May 2013 Issue

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