MAKINGS STARING AT LAKES RAPHAELS THE SCOUSE HOUSE NOVEMBER 2014
GYMNAST
DIMESTORE RECORDINGS
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THE RUBY SESSIONS
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HASSLE MERCHANTS
THE MANC TANK
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RAPHAELS SCENE & HEARD 16-19 DIMESTORE RECORDINGS 20-21 THE RUBY SESSION 22 HASSLE MERCHANTS 23-31 32-46 47-49 50
IRISH ALBUMS/EP REVIEWS INTERNATIONAL ALBUMS/EP REVIEWS SINGLE REVIEWS NOVEMBER 4x4
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U& I Mus ic Magazine 26 K ings Inn S treet Dublin 1 Editor-In-Chief: Phillip Ó’ Baoighealláin Deputy Editor: Greg Clifford Writing Staff: Eloise Cahill Gary Kavanagh Jamie Kelly
EDITORIAL This is November 2014 and we are now coming up to our second birthday as a magazine. To achieve that milestone the much humbled by here at U&I. Last month’s readership was
It is always about the music here and this month sees promising Manchester band Gymnast grace our cover. In
Liverpool Correspondent: Joe Loftus Manchester Correspondent: Dave Beech
included in there as well.
U&I Gigs Photographers: Eric Cooper Dom Marceleno In other news we have been in contact with people in the
Interested in advertising with U&I? Contact: sales@unsignedandindependent.com
proposed radio show. That is something that shows real
THE MANC TANK
GYMNAST by David Beech
With an abundance of technology readily available to even the most novice of musicians, the idea of a four-piece guitar band is slowly falling by the wayside, as more and more two-pieces begin to surface. Indeed some of these two pieces might well be nothing more than a guitar/drum combo,just another generic band without the womanstealing bassist / alcoholic rhythm guitarist. There are others though, who with the simple aid of a synth, manage to break the self-imposed boundaries they set themselves. Having two members might restrict a band, but having a synth can expand one hugely One band who are currently reaping the benefits of such a set-up are Gymnast. Comprised of Cathy and Chris, the pair's debut album Wild Fleet dropped last month, earning them lofty praise across the board. It's subtle blend of dark melancholy and brooding ambience making for an enticing if not that immediate listen. It's synth-pop at its most beguiling, full of tangible emotion, with an undercurrent of mystique running throughout.
The production over the course of Wild Fleet is as equally impressive as the record in it's entirety, and it's proof (if any was needed) that a synthesiser really does open up a world of possibilities to a band, providing they've the musical inquisitiveness to keep the end product feeling both as familiar and as contemporary as Gymnast have. We caught up with the band:
Hi both, thanks for taking the time to answer our questions. First of all, could you introduce yourselves and tell us how you got together? Hi, we’re Gymnast: Cathy (lead vocals, guitar, electronics) and Chris (synth, cello, vocals, programming). We met through being in a five-piece band based in Edinburgh, but when that ended we decided to head home (we’re both originally from the North West) and experiment with what we could achieve using only two people.
Your music isn't the most traditional to come out of Manchester, eschewing the indie stereotype in favour of something more sleek and electronically driven. Was this a conscious decision, or something which evolved naturally after a few writing sessions? Eschewing the indie stereotype (if that’s what we’ve done!) wasn’t necessarily a conscious decision, but the sound was. We became interested by the incredible palette of colours opened up by synthesised/electronic sounds, samples and effects, and wanted to try combining this with our initial interest, which was in the somewhat older tradition of songwriting as a discipline in itself that is more than the sum of just ‘writing music plus writing words’. We wanted to make things that worked as ‘songs’ but with the added sonic possibilities of electronic music. However, Chris still cracks out the cello now and then. What was your writing process for the record? Did the lyrics come first, or the production? Do you each have a set role in the composition or have input in both aspects? For the record as a whole we sat down and worked out quite a defined idea of how we wanted it to play out; the
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different moods, tempos, themes etc. that it would move through and in what order. At that point we had a few pre-existing songs that we wanted to be on the album, so then it was a case of writing the remainder of the material with an eye on the overall structure that we’d outlined. At the level of individual songs, the lyrics and music tend to be written in close conjunction because, as above, we view songwriting as something more than writing some music and then writing some words (or vice versa). The way that a good song works (in our opinion) is that all parts of it – the lyrics, the melody, the beat, the elements of the production – are in service of an overall idea that is ‘the song’. The division of labour is that Cathy writes the lyrics and we jointly work on musical and production elements, but, again, it’s all integrated. The generic and stereotypical sound of Manchester seems to be becoming a thing of the past, with bands such as yourselves and Acre Tarn amongst others shattering any preconceptions. Any idea as to why this seems to be the case?
We saw Acre Tarn at A Carefully Planned Festival #4 recently and they were great. We’re probably not in a position to give a grand theory of musical trends but here are three hypotheses: One obvious factor is the development and availability of technology. It’s now not overly expensive or difficult for the previously uninitiated to have a go at producing electronicallybased music at home, so many more people are doing just that. Another factor is the way that the weird phenomenon of pop culture’s self-referential retro phases works; we’ve recently come around to revisiting the 80s and early 90s, hence the return of more synth-led music and quite clean, spacious-sounding production styles. We’ll probably soon get to the mid-90s and early 2000s and we’ll be back to lads with
Photo by Lindsay Wilson
guitars, but this time ironically…Also, a third factor we think is gender. Certainly something we’ve noticed is an increase in women getting involved in grass roots music over the past decade. The lad rock you’re talking about – the masculine, penis-extending type – persisted at the local level far longer than it was ever in the charts. Nowadays far more women are on the local scene and this is probably reflected in the increased variety of songwriting and performance styles. Let’s have a pint and talk about this more! Your debut album Wild Fleet dropped last month, but before that you were drip-feeding each track through a week at a time leading up to its release. What made you decide on this method of previewing the record? Given the way that the internet has changed the manner of our music consumption, a conundrum facing new bands now is that you don’t want to give all your music away for free, but the only way that you can really take the first steps in reaching new audiences is by doing just that. We wanted to find some kind of halfway house, so we hit on the idea of time-limited streaming; people could listen to, share, blog the tracks as they came out, but we weren’t just giving them away for free forever (and you make sure that people know that). People who followed the project could (gradually!) hear the full album before buying – which is something most people pretty much take for granted now – but still have a reason to buy the album. On a more artistic level, as we mentioned above we put a great deal of thought into how the album worked as an overall progression, so it was a fun project for us highlighting that progression and seeing people’s reactions to the different songs each week. By the way, can we cheekily mention that you can get the album in physical or digital from www.gymnastband.com!
Similarly, how has Wild Fleet been received? People have been really kind – it’s so nice when people make the point of coming to speak to us after gigs to say they’ve been playing our album in their car or whatnot. Also, we’ve had some really complimentary write-ups both in print and online – Manchester Evening News, Now Then Manchester, DIY, Dots and Dashes… actually one of our favourites was a very thoughtful and balanced review from Slate the Disco blog. They liked it but also said: “If anything, the perfection is almost off-putting: the very worst thing to happen to this band right now would be a punk revival, or a second wave of Daniel Johnston imitators coming into fashion. They are the antithesis of lo-fi.“ This strikes us as quite insightful – fingers crossed the punk revival holds off for a while… You just played the Soup Kitchen as part of Manchester's Carefully Planned Festival on October 19th, in what looked like a great event with a ridiculously strong line-up. How was it for you? Excellent! Our set was really fun – great crowd in the Soup bunker as usual. Special thanks to Francis on sound who was a trooper all weekend. The festival as a whole was a great success – high quality in all respects. Kudos to the man himself Matthew Boycott-Garnett and his team of volunteers, we don’t know how you do it! Already looking forward to next year. Did your late-afternoon slot allow you to catch any bands afterwards? Who were some of your personal highlights from the weekend? Bad Grammar, Conquering Animal Sound and Veí are our top tips. All wonderful in completely different ways.
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As if Carefully Planned...didn't reiterate this enough in their line-up, but Manchester really is a melting pot of different bands and genres. Is there anyone you'd like to big up to our readers, that you think they should be checking out? In addition to the above, we are big admirers of Matthew Whitaker Band, Trip of Hares, Shield Patterns and Clockwork Radio. As we mentioned before, we are primarily interested in ‘the song’ and we think all of these bands are at the top of that game. With the album release now behind you, and 2015 fast approaching, what can we expect from Gymnast going in to the new year? We are teaming up with Brooklyn-based label Color Station in 2015 (home of maestros Baile, Shines, White Royal, Bewilderbeast) and towards the end of the year we will have some new material to share with everyone on both sides of the Atlantic. In the meantime we will be putting out videos, remixes, live versions of the tracks from Wild Fleet. We’re also hoping to take our album show to a few different UK cities (announcements soon) and we should be hitting a festival or two next summer. Finally, any exclusives you'd like to leave our readers with? Or any sage-like advice? Since you asked, we will be based in Brazil for the first few months of 2015. We will be doing a couple of gigs there and still sharing things over the internet. Até logo!
www.gymnastband.com www.facebook.com/Gymnastband www.twitter.com/Gymnastband
Makings are one of those bands on the current circuit in Dublin that have a little bit more to them than meets the eye. On the surface they appear to be a band with a standard indie fare, yet having seen them live on numerous occasions they display more than what is suggested on the surface. We caught up with the band to talk about the music and everything else that they have going on… It has been an impressive twelve months for the band with recording and releases following throughout. Given that it is now November that is ample time for reflection since ‘Lunatic’ began to get the band some serious notice and the video for ‘Icarus’ came out. How do you look back on the past year as a band? Rick: This past year has been our busiest so far, our EP ‘Lunatic’ was a minor success and brought us enough recognition to attract producer Chris Potter (The Verve, Blur, Keane) to get on board with our debut Album ‘Cognition’. The gigs that our management team Pinkman have been securing and hosting for us lately are great too. Now when people come up to us after a gig we're getting a sense that when they say they really enjoyed the show they mean it rather than just being polite. Paddy: Very fondly. I’ve really enjoyed the past year and I feel we’ve grown into our skin as a band. We learned a lot from the EP last year. We’ve really defined our live sound and being in the studio for half of this year, we’ve really been able to capture & build on it. Shock: This year has definitely been our busiest as far as regards to spending time in the studio, and for all our hard work we now have a nice album to show off. The video for ‘Icarus’ was also rather interesting in terms of the camerawork involved, which shows an incredible amount of talent and ambition for you as a band because it had a high end feel going for it. Who directed it and how did the whole concept come about? Rick: ‘Icarus’ was a real fun video to shoot. When I'm not working with Makings I work as an actor and sometimes a director. I had an idea for this floating shot that I never got to utilize in one of the films I was doing but then when we needed a video for ‘Icarus’ I knew it would be perfect. So we started off by doing two days of test shots in areas around Louth close to Studio28. The test shots were so good that the footage we filmed ended up being the finished product. How do you find the process of making videos compares with being in a studio or playing a live gig in front of an audience? Rick: Shooting a video could not be more removed to playing a gig as you have to hit other marks. It’s kind of how theatre is different to shooting a movie, there's no audience, no one to feed off. Makings are a live act that feeds off the audience any chance we get so it can be a bit strange when you're giving it your all and there's no one in front of
you, just a camera and the sky, as is the case with Icarus.
music was your calling?
Mr. Reynolds: Yeah they’re different beasts alright. I suppose when you’re doing a gig there’s room for improvisation, and a real connection with each other and the audience. When you’re in the studio you can do it again and again and again until you’re completely happy. That’s something you don’t get with a show, when you’re playing you’re completely in that moment, I think that’s why I love playing live because it’s some buzz
Rick: I was a big Prodigy fan and loved albums like Music for the Jilted Generation and The Fat Of The Land. I also liked bands like Death in Vegas and Leftfield. Raul: The band that melted my brain was definitely Weather Report, because coming from jazz they fused into rock, early electro, Latin and classic. I wanted also to create this versatility and grooviness in a band of my own.
How did you actually come together as a band? Rick: Makings came together when Shock and I started to exchange ideas; it was just the two of us at first. After a time jamming some tunes we had written we knew we needed a drummer. Shock: I knew Mr. Reynolds already and floated the idea of a jam with him. He said yeah and before we knew it those ideas we were working on suddenly had a banging beat! Rick : While we were carving out a more electro sound we went through a couple of bass players who couldn’t really commit to the level we could, and then enters Mr. Raul Marcos, who for us turned out to be the missing piece of the jig saw puzzle. He really gets what we're about and we clicked instantly. Raul: I saw an ad in the Musicians section of Gumtree. I was looking for an interesting band to play with at the time and Boom! The sound though that you have is one that is very organic. What seems to come across is something with a high end New Wave feel, but in there are blends of indie and retro leanings that meet cleverly with the EDM elements. And when we have seen you play live it seems to be something that the crowd really gets behind – even those members who have never heard or seen you before. How would you describe your sound? Rick: We enjoy the fact that people have difficultly describing our sound, because we do too. We like rock and we also like other genres of electro and dance so I suppose in some tracks you get a fusion of both. One of the things I always got a kick out of is creating a banging electro beat and having live drums on top of it and I knew Mr. Reynolds had the skill to pull it off. So when we started to play around with that idea it opened up all these other doors and instantly became one of Makings signature sounds. Mr. Reynolds: I suppose we have been dubbed electro-rock by some people. I think incorporating synths into our music has been one of the best decisions we’ve made. Looping down some dirty electro beats with some other synths and then coming in on top with live drums and bass and guitars…it’s as sweet as building this big wall of sound! What artists influenced you all growing up and which acts were the heroes who inspired you and made you realize that
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Mr. Reynolds: The first band I was properly infatuated with was Nirvana. I thought Dave Grohl was the Man. The drum sound on Nevermind is something else, so crisp, even to this day it sounds so sweet. Then I got into bands like the Pixies, Pearl Jam, and later into electro outfits like the Chemical Brothers, Prodigy and LCD Soundsystem. Shock: I was always into all sorts of music but the first band that really made me want to be in a band was Oasis. I thought that what they were doing was really simple stuff that was played with a big attitude. As a 16 year old kid I figured, if that’s all that’s required to be rock star then I’m in! You have also been recording an album. How long has the whole process been going on and who has been involved in working with you on it? Has it got a title yet? Rick: We've actually just recently finished recording the album. It took us about six months from start to finish. It’s called ‘Cognition’. We worked with the producer Chris Potter (Keane, Blur, The Verve) on it. It’s available digitally at this precise moment in time and to help promote it we're planning on giving a certain amount of copies away, so anyone reading this if you contact alexandra@pinkmanmanagement.com you could be in luck, but be quick! When are you planning on releasing it? Rick: We’re hoping to have an official album launch in the early 2015; the date is to be set yet. We’re launching our first single off the album on Saturday night the 8th of November in the Grand Social with good friends Analogue Wave. The Other Breed will also be playing on the night as well. If you’re reading this come along as it will be one hell of a Saturday night. When you sit down to get into making an album the direction of where you are going as a band is something that finally dawns on you. What direction do you now see yourselves moving as a band now? Rick: Makings already has been one hell of a journey and the album itself is a journey, so it’s difficult to predict the future, one thing we can say is it will be unpredictable. Mr. Reynolds: In the direction of Cold, Hard, Dollah Dollah Biyells
Ya’ll. I suppose wherever the wind takes us, we’ll give it a good lash anyway. Shock: Yes it’s not an easy question. You sort of take it a song at a time and when it comes to putting all those songs together you end up with your sound for the album. I think makings will always be about good songs and depending on what new synth has arrived or what new guitar pedal was picked up on adverts.ie. We will always be open to new ideas. Raul joined the band in April. Given that he is from Argentina how has he found the Irish music scene? Rick: He hates it. He’s actually going to France soon to get us gigs there…. only kidding (but not about the France part). Raul’s loving it, regardless of where the gig is, he’s the kind of cat who loves to play and the audience can see that. Raul: The music scene here is amazing, that’s one of many things I love about Ireland. Every night in Dublin there are lots of bands gigging for free: rock, pop, reggae, jazz, ethnic...You get to know the local bands and the atmosphere is really nice, fun and motivating. Buskers are awesome as well. Not everywhere you can use huge amps, drum sets. Grafton St in summer is a real music festival. What does he bring to the mix that you were probably missing before? Rick: Dedication. As simple as that. Mr. Reynolds: A real zest for everything we’re doing. He’s always there and he’s always enthusiastic. From the long album sessions to ten hour rehearsals before gigs, he always shows up. And that Latin feel of course he brings that for sure. Shock: Yes he is dedicated and very open to experimenting with rare off the wall sounds and that is beginning to show through on our live shows. He also loves the stews that we make in our slow cooker which is very important. Did that divide loyalties for the band during the World Cup in the summer? Rick: Not at all, we all really enjoyed the World Cup; it was one for the underdogs, well for the most part, Germany looked unstoppable so yes we were rooting for Argentina. Of course it was sad to see the Germans ruthless persistence but how cool was it to see Irelands well deserved draw with the World Cup champions, and on German soil. It just goes to show we can play when we have our backs to the wall. Raul: No, they all cheered and supported Argentina…Didn’t you, you bastards? This summer also saw some TV and radio appearances happen for you. It is a different environment somewhat to a
live audience but there is still the emphasis that you need to perform none the less. What approach do you take as a band in those situations? Rick: I think we keep it real, no performances in those situations. I met Liam Gallagher once. I kind of startled him as I came out of nowhere with two bouncer friends I knew and he looked very concerned but then I shook his hand. Two seconds after that this act of bravado was switched on. To this day I always wonder which was the real Liam Gallagher. My guess would be it’s the former. Did you play much of the festival circuit over the summer? Rick: With recording the album no, but all going to plan that will change next summer. The other release that happened for you was your double A side ‘Heart Attack’. We reviewed that in our August issue and gave it a thoroughly deserved 9/10. You are also planning to release ‘Dig’ as a single. There will be a launch night for that on November 8th in the Grand Social. Given the trend for how people consume music today is there any relevance to releasing a single? Mr. Reynolds: Yeah, single launches are a great way to get everyone together, listen to some great live music and have a party. Rick: To be honest for us it’s a promotional tool, Makings are a new outfit so the more good nights out we can give people with this album the better. It’s a 14 track epic debut and hopefully we can get a bit of a buzz going before the album launch. Plus we believe that people still want to have something physical with artwork etc. and Makings are fortunate enough to work with Lucynda Lu whose art is amazing. It’s thought provokingly stunning…so yes lots of relevance to releasing Makings singles. Raul: A single release is a way of enjoying live music, meet the album funders, dance, have the craic as you say in Ireland!! We recently came across an interesting article that stated that 2014 will also be the first year that no album released will be certified platinum. This will mean that no album has surpassed the 1 million mark for sales this year. This is something that will impact on the major labels as much as it will for the smaller independent labels. As musicians, where do you see the future of revenue streams being for artists? Rick: Licensing, buyouts, airplay, merchandise, gigs and broadcasting of every other kind. There are simply loads of areas to make money for artists, not to mention the countless other areas of the business musicians get involved in. If you’re in this game solely to make money its true that you may have a hard time in doing so, but that was the case in the 90’s as well. As an artist you’re in trouble if you don’t love what you do to the extent that regardless of the money you would still be doing it.
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Mr. Reynolds: I agree. There are loads of ways to make money from music, especially if you’re truly passionate about it. The day is gone where bands would go into the studio and churn out a ten track album in two weeks and sit back and watch the money roll in, we all know that. Musicians have to work harder now, be willing to move with the times and be more business savvy. Raul: Considering the crisis of labels and the traditional music industry, its commercialization that has changed. People like music, and they are willing to pay a reasonable price for it. The funding needs to go to the musicians and not to greedy corporations. Shock: There’s one thing that cannot be pirated for sure is the experience of going to a gig and enjoying the live experience. Bands are going to have to gig a lot for their bread and butter. But hey bring it on, we love gigging! There are plenty of other avenues as well as Rick just mentioned and I’m confident if artists educate themselves about where the money is then you can do very well in this industry. Some people would also view this as an opportunity for independent music and unsigned artists. The window of opportunity is there for them to take advantage of because the major labels are no longer signing acts as readily as they did in the past. That then gives them the opportunity to become the new artist that the media are looking to find for the sake of what they thrive on. How do you see that side of the argument? Rick: Yes it is true that the major labels are not signing bands now as willy nilly as they used to. But even when they were people seem to forget that 9 out of 10 of those bands failed to make any waves and got dropped. So the record companies were really just gambling, whereas now they have to be sure. I think it’s a win-win situation for all. Bands that should not have got signed in the first place don’t end up being tied to a contract they cant get out of and bands who are ready will be met in the middle by a label and from there they can work together to get to where they want to be. Raul: It is not a surprise that eventually what is independent becomes mainstream. Independent is a way of expressing your music through social media and traditional channels as well. So what else is in store for the band after the single is released? Mr. Reynolds: Pints! After the pints though I suppose we’ll do more video shoots, which we’re developing ideas for at the minute, the album launch in February, shows in the UK, France and Germany. Hopefully a busy summer of music and festivals. Shock: I’ll have Beamish Reynolds! After a year in the studio I’m looking forward to hitting all the music venues and festivals. Bring on 2015! Rick: World Domination.
Photo by Kate Flo Murphy
STARING AT LAKES
Interview by Eloise Cahill
Staring at Lakes is an alternative music group originating from Co. Tipperary. They began in 2010 as Rafiki, but in the past two and a half years have seen a complete revamp in name, image and music style. The band members include James Tooher, Laura Sheary, Grace Tooher, Ciaran Toohey, Sean Carroll, Tom Retamiro. I sat down with Grace and Laura for a quick Q&A session about who they are, what they do and their plans for the future.
Under what genre would you classify your music?
How did the band Staring at Lakes form?
Laura: “I like Lisa Varling, National and Daughter.”
Grace: “we were originally called Rafiki when we were working in Tipperary. We changed the name from Rafiki to Staring at Lakes because Rafiki seemed a little immature; people thought we were a reggae band when we were playing gigs in Dublin and it just didn’t match.” Laura: “The music changed as well so it just seemed kind of fitting to change the name with the music. We didn’t want to be associated with the film The Lion King for ever” You’re originally from Co. Tipperary and now you’re based in Dublin. Why did you choose to move? Grace: “We’ve been together as a band since 2010 and we were travelling back and forth from Tipperary to Dublin for gigs and then driving back that night. It was too much so we decided ‘are we taking this serious or not, let’s move to Dublin’ and so we all decided to move to Dublin. We’re here about two and a half years now. So with the move to Dublin came the name change as well and the complete rebranding. Better music, well we like to think. It just kind of all happened by an accident.” Who came up with the name Staring at Lakes? Grace “It was a friend of ours who suggested it to us and we were all kind of like that suits us…. another happy accident”
Laura: “We find it kind of hard to define the music because there’s a lot of influences and there’s a lot of different ways that the songs go so alternative just seemed an easy way to sum it up. It doesn’t really mean anything it just puts a label on it you know. It’s hard to put a label on the music.”
Grace: “We’re control freaks we’d be in the studio and Fran the sound engineer would be like, okay that song is done. We’d be like ‘No, we need to fix that there, fix that there and fix that there’. We completely put everything on for this album and now that that’s done, it’s let’s push this album, get it out there, play gigs to advertise it I suppose or promote it.” Where did you record the album?
What influences do you have as a band?
Grace: “Wallis Bird, Colm O’Brien, The Villagers and The Frames” Has your music been used in any films or T.V shows? Laura: “There was a little short film that we found recently by chance on YouTube which was narrated by Liam Cunningham.... there was really old Rafiki music on it and we hadn’t known about it at all. It was just by chance but that’s all we know of.” Grace: “We’d like to get into having our music on films and TV. It seems to be the way to branch out these days to have your music heard.” You recorded your album recently called Warm Wars. What was the recording process like? Grace: “The album took eighteen months to record in the studio and we paid for that out of our pockets. We got some help off Fund It, our friends and our family but the majority of it was out of our pockets.” Laura: “As regards to gigs we’ve kind of been off the radar for a little while because of making the album. That was our main focus up until recently so it’s just now that we’re getting back into gigging and stuff. It was literally a year of writing and recording.”
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Grace: “In Storm Studios in Portobello. We were doing a gig in the Hard Rock Café and we got on really well with the sound engineers and it turns out they have a studio. We went into the studio had a look around and liked what they were bringing to us idea wise. It just kind of worked out well; they really let us have some freedom in the studio. Any other studio I’d say we would have been pulled up six months ago and told no, you’re not allowed.” Laura: “We were in there for hours coming up with new stuff while we were recording and mostly that was just James. We went in with definite ideas of what to do and then within hours those would be all gone… you wouldn’t have that opportunity in any other place.” You played in the Hard Rock Rising; It is a little bit more than just a battle of the bands competition. Can you explain to me what this was all about? Grace: “We won the Irish leg of it. Each Hard Rock Café in the world had a competition running for a band to represent them and we won the Irish and supported Ireland. When it gets to online voting it gets kind of hard to win it because you know we’re such a small country.” As you can see the band have been working really hard . They are also looking forward to getting back on the road and doing more live performances. Some of these include November 2nd at The Twisted Pepper, November 8th at Bewleys Café Grafton Street and 19th of November at Whelan’s. Their album is also reviewed in the Irish section in this month’s issue.
Interview by Gary Kavanagh
SOLDIERS CAN’T DANCE Photo by Shane Doran
The thing about Ireland at the moment is that up and down the length and breadth of the country there are music scenes exploding out of everywhere. Be it the fantastic scene that is going on in Wicklow which seems to be producing a brand new band to get behind almost every week to the scene that is currently going on in North Kildare. We caught up with exciting Clane band Soldiers Can’t Dance who have made a triumphant return to the scene after a somewhat extended hiatus. But make no mistake they are back in a big way and their time away has been highly productive. Gary Kavanagh sat down to talk with Conor Cuffe and find out about everything that they have on the horizon. When did you guys first start playing together? We started playing together around July 2010. I had found Luke looking for a band 13 pages into Gumtree. Had you guys been playing in other bands before this one? Yeah, James was rapping in a band and Luke played guitar in a few bands, same as myself really. Why did you guys decide to start the band? We wanted to write music all the time. It is as simple as that. Why did you pick “Soldiers Can't Dance" as a name? Luke decided on the name, none of us can properly remember where it came from or how he thought of it!
Each one of us brings something to each song. By now, we all have a theme or a similar feeling when we go to write, so it is pretty easily done. You guys have played a fair bit in Dublin. Any venues you’re particularly fond of playing in? Looking back at all the gigs you guys have played is there a particular one you guys think was special in some way? I mean a show that went really well in some way that makes it stick out in your mind. In Dublin we've always enjoyed places like 'The Workman’s Club' and 'Whelan’s' but we've had some cool shows in smaller venues like 'The Mezz' and 'The Gypsy Rose' too. We've always had sick shows in Limerick. We're looking forward to getting back there. Dolans on Rag Week was insane. The show was with 'Hermitage Green' and it was sold out so we played to a packed room. How have you guys found the Irish music scene, especially when compared with other music scenes you guys might have played in? What do you see that is good about the Irish scene and what do you think could be improved?
favourite. It is going to be released with a video soon. Looking back at your earlier works, with all the experience you've gotten over the years, are there any particular songs you look at now and just think "I wish we'd written that now, I would have written it differently or played it differently"? No, I feel that whatever we wrote over the last few years is constantly getting 100 times better every EP, every song. So you need to start from somewhere and always keep working harder and harder, getting better on every release. I hear you guys are recording, or getting ready to record, some new stuff. Anything you can tell us about what you're planning?ch? We've more new songs to record, we can't say anything more, but we are very excited. When are you guys planning to release? We are releasing 3 more tracks over the next month that we recorded earlier in the year.
Ireland has different music cliques and scenes for bands. We've never tried to fit into any. There are some great Irish bands and promoters that want Irish music to continually break boundaries and we appreciate that.
When did you start working on it?
Are there any bands that you have seen on the circuit that have made you sit up and take note of them?
Are you guys self-producing the EP? If not, who are you working with?
The Notas are such a nice, talented band. We always enjoy playing with them.
We're working with David Prendergast (Clique Studios). He's sick. We love working with him.
You guys have been around for a few years. Has the Irish music scene changed much in those years? Have you guys changed much in those years?
How many tracks are going to be on the EP?
We're constantly changing, which is needed to keep a band going. Some bands never change their sound, which is fine if that’s what they are sure is right for them. We could never do that. We always have to be moving forward, working harder.
Any idea what you'll be calling it?
We started on it around March. We had more time to work on them which was a change from before.
What was the first gig you guys played as a band? Our first gig was a show in Whelan’s. A load of our friends came to see us on a bus so it was a pretty special night. You guys describe yourselves as alternative on your website. What kind of influences do you guys have for your music? I listen to a lot of 'Massive Attack' 'Lana Del Rey' and 90's rap/hip-hop. James would be into mostly rap/hip-hop and Luke again would be the same but he'd listen to a lot of metal too. Is there a particular artist you guys, as a band, really look up to musically, one that you’d kind of aspire towards? Yeah, Yelawolf is probably collectively our favourite artist. What’s the song-writing process like in the group? Is it primarily one of you that directs it and chooses the themes for the songs, or is it more collaborative between you guys?
What's next for you guys? Any plans over the next few months? We have big news and changes to announce but we aren't allowed to say anything yet. Sorry about that but watch this space. You have released an EP already, which track do you guys think is the strongest on it? I mean the one you'd want someone to listen to if they were only going to listen to one of them. Ok, so of the most recent songs that we have and are releasing, I think we all would have to say 'Flesh Party JK' is our
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There are 5 tracks on this particular release.
‘Part 1’. That is all we will say on that for now. Are the tracks you’ve previously publicly released, a good indication of the sort of stuff people will find on the EP, or is it a bit of a mix of genres and themes? Yes, the two tracks that we released 'Only Love' and 'Beautiful' are a good indication of the sound. Lyrically, is there a common theme between the tracks on the EP? What sort of themes does the EP deal with? Not really. It is all a mix of loss, jealousy, disillusion and lust. ‘Beautiful’ is a pretty cool track. That’s the one I’d say stands out the most for me.
RAPHAELS Interview by Gary Kavanagh
With the release of their debut EP ‘Colour & Sounds’ things are beginning to look up for Dublin band Raphaels. We have seen enough of them on the Dublin circuit over the last twelve months to know that their live shows indicate that they are a band who have something going for them. Their EP is an excellent showcase of what they can do musically and we reviewed it in our October issue ahead of its release this month. Gary Kavanagh caught up with Ray Mullan and Mike Tetlow from the band to talk about the band, their influences musically and everything else that they have going on.
Mike: For my part, I'd heard Ray's set of original songs from the gigs mentioned before and wanted to get involved; I could tell the songs were waiting for a full band the first time I heard 'Revolution'. Why did you pick “Raphaels” as a band name? Is it a reference to the artist in some way? Yes and No. Mike and I had been looking at a list of famous names from the world of art, and at the same time I googled ‘top 10 90’s cartoons’ and the Teenage Mutant Ninja Turtles was top of the list. I grew up watching the show and Raphael was my favourite!
When did you guys first start playing together? What was the first gig you guys played as a band? Ray: We’ve been together since the end of 2013. Me and Junior had been playing a few gigs as a 2 piece but when Mike and Tom got involved, that’s when we went for the band name. Paddy: Very fondly. I’ve really enjoyed the past year and I feel we’ve grown into our skin as a band. We learned a lot from the EP last year. We’ve really defined our live sound and being in the studio for half of this year, we’ve really been able to capture & build on it. Had you guys been playing in other bands before this one? Ray: At the time we were forming Junior and Tom were in a band called Real Horrorshow and Mike was playing bass and singing backing vocals for Handsome Handsome. I had been doing a few solo acoustic gigs for about a year before the band formed, and that’s when I met Junior and he got involved. How did you guys meet each other and decide to start working together? Ray: I met Mike because we had been playing the same bars around town (He was with his band and I was solo at the time). I had met Junior and Tom because they were friends with (and in the same band as) my younger brother, Andy. Junior and I had been playing a few acoustic sets around town. We got Tom involved after a Real Horrorshow gig in Sweeney's. Mike came to practice one day and, excuse the cliché, but it clicked. Why did you guys decide to start the band? Ray: I had always written songs with the idea of them being played by a band, I didn’t want to be a solo act, and I think the lads just love playing music.
The first gig we did properly as a band was in The Grand Social for Saucy Sundays. You guys describe yourselves as “alternative-janglerock” on your website. What kind of influences do you guys have for your music Ray: We all have a different taste in music, which is pretty cool. I listen to a lot of Biffy Clyro and Noel Gallagher, and grew up on everything from Muse, Foo Fighters, to smaller bands like Finch and somewhat quieter stuff like Explosions in The Sky. Mike: I'm a bit capricious with music. I have a few bands and acts I'll always like - I agree with Ray about Noel Gallagher and Foo Fighters, but at the same time I'll happily listen to Stevie Wonder, Slipknot, Jamiroquai, Metallica. Myself and Danny are fans of Django Reinhardt, Tom loves Joy Division and Waves, so there's an awful lot being brought to the table. Is there a particular artist you guys, as a band, really look up to musically, as in someone that you’d kind of aspire towards? Ray: I’m not sure as a band we could agree on one band or artist… but I would say Biffy Clyro are producing some of the best stuff out there at the moment.
for the songs, or is it more collaborative between you guys?
Ray: Its changed BIG time - the EP we are about to release contains 4 songs that I had written as a solo act. Having spent so much time in practice watching what the lads were doing I began to write stuff more for the band, both in terms of structuring lyrics and melodies, but it became more of a collaboration then at the same time. The dynamic has changed a bit for the new stuff we will be releasing next year – it’s a good bit more diverse and interesting. Mike: Yeah, the dynamic we have now is cool. We all write on the same wavelength with new songs. Generally Ray will bring in an idea then wince as me, Danny and Tom bend and twist it into whatever it becomes! You guys have played a fair bit in Dublin, and I heard you’ve played a few dates in Liverpool. Any venues you’re particularly fond of playing in? Ray: I like The Grand Social and Whelan’s if we are talking about Dublin. I really enjoyed playing The Zanzibar in Liverpool and The Lomax. Mike: I'm the resident Scouser in the band, and The Zanzibar has always been my favourite Liverpool venue. The sound onstage is phenomenal there, as is Pat (the sound-tech)! In Dublin, I absolutely love Saucy Sundays. Great venue, great atmosphere and you can tell it's really run for the love of music. Looking back at all the gigs you guys have played is there a particular one you guys think was special in some way? I mean a show that went really well or was just unusual in some way…anything that makes it stick out in your mind for the right reasons. Mike: We played a great little gig in Odessa on Dame Lane That was a Hot Press showcase gig, but there was no stage, so you got this really cool vibe of dim lights and people sitting on couches and armchairs a foot away from where you were playing. It was also a very attentive audience, which always helps.
Mike: We definitely wouldn't agree on one band! But I think that helps, we want to have our music be original, if all of us aspired to be like X, Y or Z band, we'd sound like them.
You’ve got your EP launch coming on the 27th, what other gigs do you have coming up before the launch?
What’s the song-writing process like in the group? Is it primarily Ray that directs it and chooses the themes
Mike: We're booking them at the moment, but we're looking at getting into another Saucy Sundays, maybe a Dimestore gig in
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Sweeney's and we're practising an acoustic set so we can get into the likes of the Zodiac Sessions and the International's downstairs gigs, Dublin's Underground Beat and the Monday Echo. How have you guys found the Irish music scene, especially when compared with other music scenes, like Liverpool’s? What’s good about the Irish scene, and what could be improved? Mike: I had a good few years playing in Liverpool and the North-West before I moved to Ireland. One thing I'll say is that gigs are much better attended here, and there seems to be far more free-entry stuff going on. It feels like Ireland is more for the music and less about making money for the venue, which is cool. Another thing I've noticed is there's an awful lot more cooperation between bands and artists in Ireland, or at least in Dublin. People are far more willing to help each other out here. In terms of improving, the only thing I've noticed is the proportion of singer-songwriters is massive over here. Are there any bands you guys have played with that you think are particularly great as musicians that make you appreciate them more? Mike: We supported Fox Jaw on their Irish tour recently, they're a phenomenal band. I don't often wax lyrical about bands but they're seriously brilliant. Other than that though, we always try to have a laugh and a talk to other bands we play with. ‘Monkey Dancing On A Razorblade’ has a pretty interesting video; how did you guys originally come up with the concept for it? Ray: Myself and Mike had been mulling over video concepts, and then one night we were listening to the EP and this idea of a house-party where the main character was experiencing what the lyrics were singing about just arrived. I ran the idea past Elaine (director of the music video) and she was a massive help. I met her a few times to go through stuff and she did a great job with the video. Everyone who helped was amazing, and we had great fun shooting it too! Is this your first EP? Mike: In this band, yes, but all of us have previous recording experience. When did you start working on it?
Mike: In February - We'd been practising and working since late 2013 and the four tunes were the most cohesive we had so we went ahead. Are you guys self-producing the EP? If not, who are you working with? Mike: We're working with Conor Friel, who - aside from being a bit of a perfectionist and task-master - is a friend. He's a brilliant producer and pushes us to get the absolute best, which is exactly what you want. How many tracks are going to be on the EP? Ray: It is just a standard four track EP, but we have other tunes that we would like to get down at some stage on a second release. How are you working on the distribution side of things – will it be a limited run of physical copies or will it all be released online? Mike: The release is happening every way we can get distribution - it'll be on iTunes, BandCamp, all of those, and we have physical copies available too. Is there a particular story behind the title of the EP or did the name just seem right? Mike: The name just seems right. It's the title of one of the tracks, and Ray is an artist as well as a musician, so it all kind of gels together. You’ve got the release party in Whelan’s on the 27th of next month with Ray Scully & Mongoose. How did that come about? Mike: We wanted to make it a good event - the kind it would be hard to miss - so Whelan's naturally comes to mind as one of the foremost music venues in Dublin. As for Ray Scully & Mongoose, we know Mr. Scully well and he's another outstanding talent making a name for himself. So it was a straightforward choice. Ditto for Mongoose, Junior and I saw them play live at Oktoberfest recently and since we were planning the launch, and they're a brilliant, differentsounding band, we asked them to come in. With those two onboard, it's going to be an amazing gig Are the tracks you’ve previously publicly released, like “Revolution” or “Monkey Dancing On A Razorblade”,
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a good indication of the sort of stuff people will find on the EP, or is it a bit of a mix of genres and themes? Mike: Revolution and Monkey Dancing... Are two of the tracks on the EP, but they have a different feel. Equally, the other two tracks have a different feel again. I think you can tell it's the same band and the songs are from the same writing period, but they take influence from a few different genres. Lyrically, is there a common theme between the tracks on the EP? Ray: Not really. They’re all different. Each song was written in very different surroundings, but that’s not to say it was a conscious decision. What sort of themes does the EP deal with? Ray: Love, in contrasting ways… ‘Colours & Sounds’ was written after a break up and ‘Need This’ was about wanting a way back from that loss. ‘Revolution’ is self-explanatory and ‘Monkey’ was written from a darker place, so it’s a bit different with each song. You run into someone you really want to impress with your music; you can recommend one track off the EP to him that he’ll listen to. What track off the EP would you recommend to him, and why? Mike: I would ask them to listen to ‘Revolution’. It has this anthemic feel, and it shifts from acoustic ballad to indie to rock on the way through, and it's a bit of a showcase of what this band can do. What are your guy’s plans once you release the EP? Are you going to start working on another EP or an album. Or will you guys tour a little bit for it before taking a short break to recharge? Mike: As mentioned earlier, our songwriting dynamic has changed since we recorded this EP, so I think we'll be looking to get into the studio in the next four or five months and get a longer EP out with the newer material recorded, see how that goes down. We're still working and growing as a band, so it'll be a good gauge of where we're going to be able to compare the two EP's side-by-side. The launch gig for their ‘Colours & Sounds' EP is on in Whelan’s on November 27th and there is a very in depth review of it included in last month’s issue.
I had heard about Sugarking for years. People were constantly telling me to check them out and to give them a listen because they’re great and all this but for some obscure and unknown reason I never got round to it, not properly anyway. A close friend of mine in school literally used to beg me day in day out to listen to them because she truly believed they were a band of excellence. I still didn’t listen to them for a while. I could lie and say I did and say that I was there from the beginning but then again, I’d be lying. However, eventually I gave them a listen, and what can I say? The people were right. Exceptionally right as well. Sugarking are the sweetest contemporary rock ‘n’ roll protein shake I have ever digested. They are a high speed collision between Jeff Buckley and Led Zeppelin with Black Stone Cherry, Buckcherry, Defeater and Ten Years After used as traffic cones cordoning off the beautiful catastrophe. Guitarist Kyle Taylor, known for his frequent guitar solo heart cries spoke to me openly about the band and their successes, struggles and a concoction of other things. How’s things Kyle? What are you and the band up to at the minute? Hey! Things are great thanks. For the stage we're at now Sugarking have never been in a better place we couldn't be happier! That’s great to hear. I know you've said in interviews in the past that there are far too many influences to mention, and I can hear a wide range of different bands embedded into your songs. But I was just wondering who really got you personally into music in the first place? And how have these
bands progressed and changed over time compared to the sort of bands you listen to A LOT at the minute? My dad started it properly. He had an acoustic guitar so long story short he showed me a few chords and I took a liking to it. So he purchased me a cheap acoustic to learn on to see if I'd stick with it, which I did. And since then he's been encouraging me ever since. One of the first bands I remember really drilling into my head is Velvet Revolver (I started pretty late on the whole rock thing) and that just opened the door for everyone else and so on. But as I've got older, some bands ain't so influential any more whilst others have crept in. For example I was confused by the whole Nine Inch Nails thing. I was completely against that stuff and now I love it. I can't get enough of NIN. It's weird how things can change. Suppose it's just natural as people get older. I could talk all day about influences coming and going. Well, I won’t lie – I remember playing a Busted cassette back to back when I was little so yeah it’s pretty crazy how our tastes metamorphosize. As a guitarist myself I'd be quite interested in hearing what guitar you use, and what is your favourite type to use and why? I use a Gibson Les Paul, just a standard model. I've never played a guitar that feels better for me. It's perfect. In a studio setting I'll use whatever type of guitar necessary to create a certain sound, depending on the type of song. I feel pretty lucky, I've played a few Gibson Les Paul models and never has one ever come close to my own. When I've taken it in for repairs, others have picked it up and loved it. People who've been playing for years have said it's one of the best guitars they've ever played.
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Do you have a favourite pedal? I'm like a kid with a new toy when it comes to effect pedals. If I get a new one I'll be all over it, messing with it for a few days and it'll get all the attention like a new born baby. I do own a Way Huge “Fat Sandwich” which is just an absolute monster, I love that. But all jokes aside, I'm very specific with what pedals I use. I've seen too many people, with giant pedal boards - all the pedals you can think of - which is cool, but they don't get applied to the songs correctly. Some people treat effect pedals like a child collecting Poke'mon cards back in the day. I own a classic “Small Clone” chorus pedal, which gets a really nice shimmery sound. And it's nice & simple, easy to use too, which is always good! I think it was used on the likes of “Purple Rain” & “Come As You Are.” I think that's why that pedal has a type of legendary status. But to me all pedals are great, if they're used correctly. But that's just my opinion. Anthony Burgess said that 'to be a great writer, one must also be a great reader' and I suppose this is symmetrical with music. You can't really be a musician without listening to music. However I'd guess that not all your music is inspired by music. Personally I’m inspired by life and the things we encounter day after day but what is it that inspires you? Not all my music, is inspired by just music itself. And I also agree with you on being inspired by life and everyday situations. Sometimes, a word or the slightest sound can just switch a light on in my head and I'll want and need to pick up my guitar.
by Joe Loftus
Why are you in a band? What is it that keeps you motivated? I'd say I've always had in interest in performing or creating music of some sort. In primary school I was in the brass band; and I was always up for getting involved in drama productions in school. So a sense of happiness in performing has always been there. I guess that keeps me motivated. And when Sugarking are playing a show this sense just overpowers me and then after it when we have strangers complimenting on our music. Nothing beats that feeling. Ah I can imagine. What’s it like to be in an unsigned band for so long? It's not easy; it costs a lot of money. It's very hard to get respect for what you're trying to achieve. It's very easy for people who don't understand the scale of it all, to just shoot you down at any opportunity. But musically I think it pushes us to crazy levels. We want to be noticed, we want to be the best and we want to be heard! So we put a huge amount of time and effort into writing our songs and rehearsal. We want to be the best band on the night wherever we play. We want to leave an impression on people. And that we do. So hopefully we'll progress to the next stage. We’ve got to earn our stripes as they say. You can't be at the top, if you've never been at the bottom. Sugarking have never been in a better position these days and it's all going smoothly. I couldn't be happier. What advice would you give to somebody starting a band? Quite simply, rehearse, rehearse and more rehearsal. People will judge your music from your first gig, and will
still hold that opinion of you in three years even though if they ain't seen you play since. It's crazy! Practice is the key, there's no magic juice. Just hard work and practice. And never stop…keep going through everything. Every argument with band members, just knock it on the head and move on. Life's too short. And there's only a few good years you'll get for choosing this lifestyle. Just keep on ploughing through it all. And most likely you’ll be fine. Too many bands split up too quickly and that's a major problem with any “scene”.
Have you ever been close to just giving up? (If so, what helped you carry on?)
Great advice Kyle. As Floyd Mayweather Jr says, ‘hard work, dedication.’ What has been the best thing you've encountered so far with Sugarking?
Good man. What, in your opinion, is the best Sugarking song? And if you can't answer this then what is your most favourite to play live?
I'm not sure, there's a few stand out moments. We did a show supporting “Vintage Trouble” and “Twin Atlantic” which was amazing to take part in. And I think we still broke through as the underdog and made a big impression. So that was an amazing feeling, knowing our set could easily hold up. I guess that was pretty cool.
Sorry to disappoint, but I can't answer that. There's so many, even stuff people haven’t heard yet. We put one hundred percent into all of it. But live is a bit different, we each have our favourites to perform. For me, it has to be “Coincide” - there's a lot of emotion in that song and I think it just floods the room with a certain vibe when we play it live.
And what has been the worst thing you've encountered so far with Sugarking? The worst thing we've encountered, and keep encountering is promoters getting our name wrong. It's SUGARKING. But we've been put on posters as “The Sugar Kings” or tickets have been sent to us with “Sugarkings” written on them even though all emails beforehand clearly say SUGARKING, so that's weird. Maybe it's the sign of a great name, who knows. Led Zeppelin got called “The Led Zeppelins” a few times. I guess it’s just one of those things ain't it.
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I wouldn't say we've ever came too close to giving up, but sometimes we can get down about it all. Sometimes it can be very hard. But we'll never stop. We love writing together, so that always keeps the ball rolling. When we receive compliments about our music, as I said earlier, nothing beats that feeling. We know how far we want to take this. And we're not going to stop until we get there.
What’s next for Sugarking? We're recording two new tracks this year. One is called “A Song For Anyone” which I'm excited about. We're currently planning our next recording sessions for 2015, which will include six or seven completely new tracks. We're constantly writing so we'll see how that may change. And we’re also aiming for as many gigs as possible.
www.facebook.com/sugarkingofficial soundcloud.com/sugarkingofficial
WINDMILL
One More Dance Review by Joe Loftus
Biblical is a term I don’t believe I have ever used to describe a song before. I don’t think I’ve ever heard a track entitled biblical either. But Windmill’s new single ‘One More Dance’ certainly has some faithful and religious – in some distant aspect of the word – feel to it. It is almost hymn-like in many ways. I must’ve listened to the song at least a dozen times now and each time it casts my mind to a new world. I’m not going to say it’s the best song ever written or anything like that but there is certainly something to it that I haven’t heard from many bands in a while. It’s different and it is fresh and quite therapeutic in many ways. Wow, biblical, hymn-like and therapeutic – there’s some words I haven’t thrown around in my reviews very often. In terms of what the song sounds like band-wise I’d have to say that only one track stands out every time I listen to it and that is Damien Dempsey’s rendition of Fire in the Glen which portrays very similarly the same sort of melancholic and tragic beauty through the cacophony of beauty which is of course the music itself. When I spoke with Mick Dolan of Windmill and told him of how I loved ‘One More Dance’ he was amazed and ‘chuffed’ in his own words. But it wasn’t all happy days as he went on to tell me the meaning of the song. He told me that it was about a young woman he used to know who had a family and from what I can gather seemed to be living quite the ideal life. But then she was told she had cancer that was completely inoperable. So her and her family decided to go on one last holiday together. Mick told me: “It greatly saddened me to think that when the holiday was over she must’ve been on that plane looking around at everybody knowing that her life was over too. I wanted to save her memory in a song. So I wrote about what she must have felt and how she was destined to be with her husband one last time alone together. To me it seemed that a last dance
together was the most appropriate way of explaining this in song. Dancing together is a thing that all lovers do where they become lost in a magical world together. I also wanted to say something in the song that would be familiar to anyone who has lost someone and so the lyric 'when I'm gone please remember me' seemed to be the most simple way to say that’’. ‘‘The outro speaks of the only hope that we are left with once a special person passes on and that is the hope that their memories will remain with us as a form of comfort, so the outro lyric 'blown on the wind, that’s where I'll be' came about as I thought about the moments when you'll smell a person’s perfume or seem to hear their voice carried on by the wind. I just hope I've done her justice, my song for her speaks of sadness, loss, remembrance and hope.” In my weary eyes I believe the song is certainly one of sadness, loss, remembrance and hope. It is also one of great atmosphere and enigma with a thunder storm of haunt. I think it has the ability to take you someplace if you close your eyes and allow it too in a dimly lit room. As I’ve said, it is not the best song I’ve heard in my lifetime but it is different that is new, fresh and quite powerful in a peculiar way. If we consider that this band have only been going for a few months it certainly makes one wonder what they will be capable of in time. As I like to think, you can’t write The White Album before you have written Love Me Do. Good things will come for Windmill. It’s a mere certainty. ‘One More Dance’ will be released on November 17th.
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Little Grace - Mind, Body & Soul Words by Joe Joftus
I’ve always been pretty shit at getting to the point. In exams and so I sort of linger on one point and just babble on that point for a couple of pages in the hope of the marker not noticing and enjoying my babbling nonsensical nothingness. It doesn’t normally work. For example, the fifty words you just read were pretty much purposeless. A waste of words really but I suppose there’s not much point to anything in this day and age so why not babble on. In the news of today more than 400 soldiers have been said to have died in Afghanistan as the guys at the top pull the remaining out, and for what? For what cause was bloodshed. What has been the end result? What damage has been caused? What a waste of life. What a waste of money. But anyway this isn’t a music review. Not yet anyhow. Just a mediocre rant.
I don’t quite know how they create that reflective and saddening reminiscent mood within just a few seconds but they do, and they succeed. The best thing about this song is that it progresses to all the right places. So many artists nowadays have a brilliant verse but then fall into a shitty chorus, or perhaps not a shitty one but at least a fair bit less appetising than the verse; or perhaps a shitty verse and a brilliant chorus. Nothing winds me up more, because what could so easily be a brilliant song is forced into being an alright one. I’ll be completely honest in my writings so I’ll say that at first listen, the opening vocals didn’t come to my liking. I loved the music, couldn’t fault it, but as the vocals came in, I thought ‘ah it’s just another one of those x factor types singing some soppy shit’, but I was wrong and learnt that within the minutes that followed - especially when they rose almost as high as James Vincent McMorrow. I would love to listen to this song whilst driving through the night. I can imagine that to be when this song sounds most fitting. Empty roads and darkness would be the perfect theatre for Little Grace on the radio. About 3am. I don’t quite know what more I can say. It has great drums, great vocals, great everything.
Little Grace – ‘Mind, Body & Soul’ is anything but a mediocre rant. What a song. The title reminds me of Plato but perhaps that’s just coincidental. Either way the song is an atmospheric, Jackson Pollock dripping of rainforest sounds and colourful heart break. It has slight touches of the sadness of Jeff Buckley’s ‘Everybody Here Wants You’ thrown against a wall of Coffee & Cakes for Funerals, Tensnake and Future Islands.
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DIMESTORE RECORDINGS - A Nightmare On Dame Street VI Sweeney’s Bar (30-10-2014) Tonight was all about the number 6 at Sweeney’s and it was a full night of live music, fancy dress and all round having a good time through a celebration of music from the Dublin scene. That this is the sixth year that it has taken place shows how established Dimestore Recordings is now on the Irish circuit, and based on the calibre of artists that played tonight it is easy to see why.
NURSERY CRIMES Getting things underway was family band Nursery Crimes. On the initial viewing you could easily dismiss this as something of a novelty, but when they start playing you realise that it is all there for them as a band, despite their age. The delivery of their first track ‘Park Shark’ has a good even showing to it that is guided in under a neat sense of structure. The taut feel lowers the tone in a measured way here which gives it good flight as it takes off. The good feel about the grunge aspects is also considered and this shows in the sound. The two drummer combination works extremely well on ‘Fridge’. On appearance it appears not to be much but when they get into things it is a beneficial inclusion because it adds depth. That then holds in the rhythm and locks around the build. Another compact number followed with their version of System Of A Down’s ‘Toxicity’ before their own tune ‘Solo’ brought some catchy and funk to proceedings. This is what travels through on how the intent is laid out here. The deeper
sound is layered and the stoic motion accentuates upon it all in a telling way. There is also a plaid feel to the lyrics here that is admirable and the substance in the beat is also managed well. With ‘Psycho Social’ they engage with the tenacity of Slipknot and give the song the showing it deserves. Then a drum solo kicked into a cover of ‘Song 2’ by Blur. This though was missing something and was off key, so in that respect there is a lot of work required on that one. Saving grace for the band after that was ‘War’. The neat turn weighs in to bring it all together. Adding to that assessment is the high pitch in the vocals. This commands the showing in a confident manner and provides the heavier context with a basis that is mirrored in the delivery as a whole. Signing out was a version of ‘Killing In The Name Of’. Their version of the Rage Against The Machine classic showed enough to suggest that they are a band in transition and one that have a lot of ability to go with that.
............................................................................................................................... THE SEX BEASTS
This next band has been on hiatus for a long time but it is good to see them back. Sweeney’s is something of a second home for them and they looked like they were up for it tonight when they stepped out on stage. The calm composure of ‘Too Young’ cleanly comes off the tempo. The essence of cool that the band also possess consumes the air as it plays through. That is a thorough projection that motions the tempo with a casual ardency that is highly attractive. It is a steadfast tune that develops the slick grooves in the play that come to own the song. Another actively engaging number then followed with ‘Freak Out’. The lean and robust showing is tidied away here but it gathers in confidence as it plays. There is also something in the curt vocals that adds face value here. You are consumed by the tenacity that feeds through and that is what gives it the celebrated determination it comes to have. The dependable way that the saunter gathers on ‘Melancholy’ drifts along with real purpose. The drum and bass elements relax into everything that the conviction of the lead guitar brings. There is a slight blues undertone at work here that is pitched in a commendable way. This in turn provides it all with reach and is uncompromising in a spirited way. After that comes another encouraging tune with ‘Smith & Western 22’. The gung-ho style is tidy and it is a real crowd pleaser because of the catchy qualities. The rhythm wraps around the formations with real consideration. It is a weighty number that muscles its way through with bravado written all over it. As they were getting into the tune the lead singer threw his hat into the crowd which was then greeted by a female audience member screaming ‘take it all off’. So it was a charged up room and they were really feeding off the crowd now. That then hung back to allow a 60’s revisionist vibe come to pass with ‘On The Prowl’. The developed guitar drives it all on and in the true sense it calls the shots. The rich volume also brings appeal through while there is a sublime pitch to how the pace picks up here. A surf rock vibe extolls with utmost readiness on ‘Death Rattle’ which gives it a hard shoulder. The rough around the edges feel to this adds appeal and charm that is checked by the loaded feel in the pace. The raw and brash performance on all fronts has a distinction that keeps it all on track. Set about impressively is their final number ‘My Baby’s Dead’. The gnarl of the vitriolic vocals lights this one up. The emphatic breakdown soups up the roadhouse trappings in a way that is superbly figured out.
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SEVEN BAR BOY
Another band making their debut tonight was Seven Bar Boy to play what was only their third gig. But their experience of playing in other bands stands them good stead and it shows on ‘Where Have You Gone?’ It is a sweet tune with a solid sense of sophistication. The weight in the running is neatly balanced, while the clever pitch of things vocally is beneficial. As a body of work the bereft touches cling to the snappy pace as things pound away. ‘For The Men’ is another track with a tidy tumble in the rhythm that is pleasing for the consistency. The majesty in the framing is imaginative and attentive. Those charm offensive qualities are honed in the showing here and convey the stylish sense it deserves. With ‘Creative’ they slow it all down. Exuberance consumes it all with the signature style of the band in how conclusive it feels. Then it picks up and the tightness shown is excellent. The dandy feel procures a lot in the handling that works in the right way. The dalliance is repeated again somewhat with ‘The Hole’. It cracks along sweetly and is inspiring in terms of tone and flight in the showing. The versatility in the changing playing arcs is rolled out maturely which is why this one packs a punch. Jefferson Airplane’s ‘White Rabbit’ got a play which was then followed by ‘Show Yourself’. Here is a tune that confidently spills out. The drum and bass are built around this and the overall calling is magnificent. This is a tune that snaps into being off the back of how well it is laid out. The fusion of rock is appropriate to how it blends with the indie appeal. Not just a token tune on that account but also one with real drive behind it. The tepid draw of ‘Last Time’ stands it all good stead. The tracking leads from the intro and is built in an intended way that is justifiably rewarded. What comes across is measured by this approach as the music does the talking in a way that has a lot to say. A determined little number called ‘Let Me Be Your Pill’ brought the curtain down. How the rhythm feeds through here adds a tapered sense to it all which allows it to cruise along impressively. The bass hooks are impressive and bring brevity as they get down to it. The gritty hooks work with the certainty on show and you feel the force of the bridge. The layout is wonderful and suits the arrangement as a whole also.
............................................................................................................................... Tonight was a night for catching bands that we have not seen for a while and the next ‘on hiatus’ band for us was Those Creeps. A steady affair got things underway for them with ‘Mr. Mental’. The take-off in the intro is superb. How they lock in on the catchy side of things styles the tune. The lean sense adds a point of focus for it all at the same time. This is handled with panache and imparts in a steadfast way. ‘I Thought You Said You’d Catch Me When I Fall’ is a great tune. The signature seasoned calling here drags through with West Coast America apparel to it. The vocals also catch things excellently here. It is a well thought out offering that is fronted excellently. That is why it has such a staggering amount of credibility going for it. Another tune that comes into its own is ‘Willow’. The static and stationary opening is met with the right amount of flair. That is an approach that fits between the two styles impressively. The splendid handling on a musical level calls the shots, while the quirky eccentricities charm their way on the vocals. They then motion something comparative through on ‘Corpses’ that is telling from how the bass fits the playing. It is exacted with a true sense of purpose about it all. The progressive aspects come to settle in a committed way that works well with the delivery as a whole. The highly detailed feel of the rhythm and the little nuances sit just right on this one. How invested they are as a band cannot be questioned with ‘315’. The timings are spot on which develops the sound to a fine degree. The gradual calling fits the more progressive showing than previous songs in their set. The high hint of alternative attributes playing through enthrals further as they go all out on the bridge. They impress kindly from the off with their final number ‘Toadchode’. It is a very rich instrumental affair inn a lot of regards. Those ensemble qualities relax into it in a relative way and it is a captivating tune that concludes everything appropriately.
THOSE CREEPS - 18 -
THE WITCH TRIALS
Another band that we have heard a lot of good things about is The Witch Trials. They were playing their second gig of the night after the NCAD ball and they showed no signs of weariness despite taking to the stage at for the 1 am slot. They have a substantially developed sound which comes to pass in a neat way with ‘Heavy Petting’. The saxophone bellows out alongside the highly attentive attributes that the sombre calling generates. That ellipse style is highly self-referential and the delivery accommodates this in the overall contextualisation. What is yielded brings forth a great deal from the detailed and layered approach here. Then we come to the upbeat tempo of ‘Long Drive’ which sees them up their game without skipping a beat. The drift has shades of Beats International’s ‘Dub Be Good To Me’ in the undertone. It is very hip indeed and the margins determine a great deal in the transitions here. Then the nouveau disco beat ravages ‘Wonderland’ with an ample and fluid showing. The changes in the arcs are kept on track. That leads to some catchy hooks in the play here that superbly enhance the live showing. Adding to that appeal is the sultry panoramic feel of the sax that is another positive to speak highly of. Then the fanfare was produced by a medley that merged the Star Wars theme tune into a medley of ska and other funk. After that things reverted back to a more off the hook feel with a belter of a tune called ‘Soda Pop’. The richness in volume and texture blesses everything with a chic zest that is highly appealing. The transitions seem to capture the formidability in a highly engaging way that leaves a lot to appreciate. Some further sophistication sneaks through with ‘Cat Groove’. The clever meander to the rhythm gives the sound the rich curves it deserves. The bridge is also something that purposefully builds and procures it a well-earned calling. It is formidable to say the least and has some exceptional work on the guitar front. Then they closed out with ‘Better Off Alone’. Here their version of the floor filler classic filled the floor at Sweeney’s and took things off to a flier.
............................................................................................................................... CULT CALLED MAN
When you need a band top close out an excellent night of music like the one we had tonight here at Sweeney’s you can’t go wrong with Cult Called Man. There is a great lift off from their first track ‘Wickyr Mice’ that holds firm. But it also has a charming whim of creativity to it all. The offbeat tracking is deserving of appreciation as it hone the innovation in all the right ways. They are also highly conscious of this. They again place the fundamentals correctly with ‘Style Of The Time’. The song is allowed to build in a way that accommodates these attributes. The revelry on show all comes through. It is fashionable and the smart considerations are apparent in the ambitious showing here. The practicality that they are capable of building in a knowing way lines up on ‘The Walkyr’. The animation of front man Luke Cunningham is superb here. The comfortable marriage of tune to performer it could be said. This is a tune which takes stock of the vibrancy which in turn energises the showing with fanciful turns that are backed up by substance. Things become more morose and sombre with the lucid intro of ‘Jar’. The big expansive movements come to pass with the rich and full bodied feel here. This is an engaging number in so many ways. The backing vocals are equally important to this one. They give it all a physicality that the stage presence absorbs. They leave nothing to chance and the charm of the bridge is something they are mindful of because the details fill out on it. A new song was next called ‘Sad Bunch’. The panache shows how polished it is as a tune as much as it does the collective ability of the band. Here they are again on top of their game. The keyboards add electronic wizardry to it all that cuts to the chase. The savoury and enigmatic touches fostered from start to finish are impeccable here. The originality of the band pours through on ‘Mr. Wednesday’. The off centre appeal yields in the running. But it is big on harmony which adds an anthemic weight. They are incredibly comfortable in how this transition comes off. Their intentions mark their territory when they are on the stage and the formidable live showing makes them somewhat untouchable in their moment here. The trajectory that is built on that one gives ‘Lightbulbs Sam’ a retro kick that is rich and an impressive plus. How it builds has volume and the vocals lend it bite. They fully immerse themselves in the handling. The synth scores it incredibly, while the consistency is also key. Framed in a noted way is ‘The Kids Are Alright’. This allows for a relevant indulgence from each member of the band as performers. The mainstream qualities spill out and make it a magnificent number. The sense of intent and notoriety in terms of that concentration hold firm. Then they closed out with a cover of ‘Let’s Dance’. Here the Bowie classic ticks all the boxes and they bowed out with real class off the back of this one. A baying crowd demanded an encore and they duly obliged with ‘TVM Show’. What a tune indeed, but it was the showmanship that worked so well here. They dismantled as a band midway through the song – a kind of full band Scott Walker trick if you will – without any of the rhythm losing momentum. It goes unnoticed and it was just brilliant to witness here tonight.
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THE RUBY SESSIONS Doyle’s Bar (28-10-2014) The weekly ritual that is our Tuesday night’s took us once again to Doyle’s for that hallowed musical Irish musical institution that is The Ruby Sessions. Making the line-up tonight were John Byrne, Maurice Burns, Niall Thomas and Elevation Falls. As usual everything was of the high standard that people come to expect and it was another fantastic night of live music by all concerned.
JOHN BYRNE Getting things moving for us here tonight was John Byrne. There is a degree of showmanship about him that always sees him engage his audience, which always seems to be immaculately timed. But he also has an air of confidence to how he manages everything as an artist. With ‘Breaking Our Own Skin’ he got down to the task at hand. The gentle parlance of the track steers through and the deftness of touch to be found in the mild manner of his voice absolves it further. The breakdown of the tune is what matters here and this sits well with the equally reflective aspects. The framing comes together in a suitable way all round that is both soothing and tranquil in equal measure. ‘Close Our Eyes’ is another remarkable tune that comes to pass in a sublime way. The intro rolls out admirably and that provides a passing for the keepsake traits to be embraced. That carries through a sense of wonderment in the beautified way it is all done. The outline of his voice leaves its mark and it is befitting of the styling because it brings a dependency in the weight that works. As the tempo hangs in the air you really get behind ‘An End For Love’. It is a real marvel to admire from how it captures the sentiment and it keeps it all close to the song. The token feel captures these traits expertly and you sense that he is mindful of this as his performance ventures forward in a highly engaging way. Overall the endeavour is excellent and sets up closing track ‘Abbie Rose’. Here the tune is more upbeat in comparison. The meander in the rhythm has a developed texture. Overall it is a refined tune that avoids the pitfalls over being over sentimental. Instead, the quality in the lyrics capture the heartfelt side of things in a way that prevents any dictation otherwise.
............................................................................................................................... MAURICE BURNS
Here is an artist that has been on our radar for some time and this evening we finally got to see what all the fuss was about. Armed with just a guitar and a divine voice we soon found out why. Inspired by the story of Rocky Lockridge gave ‘High Tide’ what it needed. It is a stomper of a tune with a refined blues feel to it that is championed by his voice. This is superb. The tune itself is also a well pieced affair and the rhythm gives it a fine derivative that is clean and fluid, but also holds in an affirmative way. After that came the imaginatively titled ‘Steam Clouds Coming Up From A Window’. This is another clean tune that lights up from the off. His voice seems to caress all of the qualities required of it. The class rises up on this one. It is steered through with the confidence that he has as a performer and his overall conduct here tonight is very much a top drawer affair. The pleasing bounce of ‘Louise Louise’ draws you to it for the right reasons. Here the demeanour impresses well upon everything and allows the grace to filter through. The loving call of the lyrics is comfortably considered by his vocals. So much so that in how it is matched to the performance as a whole secures the sincerity that comes to pass from it all. His fourth and final track of the night was ‘Mercenary Man’. It is a tune with fine revelry that fulfils all potential. The simplicity to it is highly effective. In how it comes to pass there is an invested sincerity that abounds in a giving way. That balanced keel in the rhythm is a delightful application that carries through in the showing figuratively.
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NIALL THOMAS Another artist that we are familiar with was next tonight. With Niall Thomas you get this under rated performance from him time and time again. It is because of how he composes himself that we are always pleased to see him perform. The measured calling of ‘Hand On Heart’ brings something light and relative to it all. The sunken drift is something that befits his voice as things are laid out. This is a captivating number that is neat and tidy. The glimmers of testament in the lyrics line up excellently on this one. After that came ‘Indian Summer’. The upbeat tempo gathers in a hard way here that is taken stock of in a steadfast manner. The sturdy sense of maturity provides it with inspiration. The song then touches out with a calling about it all that is a big draw. The face value of ‘As It Is’ is there to be picked up on in the tune. Here the toiling of the guitar sees him lose himself in his own performance. That artistry gathers momentum and there is an admirable dynamic at work to it all that is played with relevance. ‘Breathe Easy’ then sums up how commendable he is as a songwriter. Along with that is the drift in the guitar work that is another tidy showing here. The degree of certainty shows. Another aspect that is highly agreeable here is the careful veneer of the softer touches that accentuate on it even though it is a brief tune. To go out with a fifth song he chose ‘Spilling Diamonds’. Here his dulcet tones pull through. The kind admiration comes to pass in the majesty on show. The extent of the philosophical musings allows the American to build alongside, which secures the presence it richly deserves.
............................................................................................................................... It is a stripped back set from this band who normally convey a heavier sound but they still managed to come up with the goods here tonight. Opening song ‘Lately’ got played live for the first time tonight. The call of the guitar is a good one that adds to the draw of the vocals of Hazel Jade Rodgers, while the lead guitar flies away on it. There is character added from the dark charm residing in the tempo and the lyrics embrace this. The feel of the full band is felt on ‘Its 4 a.m.’ The vocal harmonies are kept in check and deliberate over it sufficiently. Adding to the mix as they play into it all gives the tune something to go with the resounding abundance in the rhythm.
ELEVATION FALLS
Catchy number ‘Fantasy’ then follows. This was one that the crowd got behind. There is a lay 60’s revisionist hint to it which adds an affectionate appeal to how it sounds. The American vibe also does not go unnoticed and the hints of West Coast bands in the layers pays off. They closed out with their upcoming single ‘Watching Over You’. The video is something we have recently had a sneak peek of this week. The enamoured appeal found in how it plays is held from the guitar here and this leads to an instinctual graduation in the vocals. Again they underline that American resolve that is prominent in their sound. It is solid and grounded and the bridge sits well here as it proves to be a big number with a sense of ambition and scope opening it all out.
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HASSLE MERCHANTS @ The Twisted Pepper (24-10-2014) A Friday night that had a hint of foreboding to it all. As we entered The Twisted Pepper to see this band play for the last time we were joined by a crowd of dedicated fans that were doubling up as mourners watching them perform at their own wake in a sense. We even helped to get them a gig in New York when they were in the States. But undeterred and not giving in to sentiment, they went out on a high and played it for the sake of it being a gig, which is what it also was underneath it all. Starting the ball rolling was ‘The Wolf’. The build of the intro is commanding before the sharp and scatty rhythm bounces across it with precision. The offbeat appeal of the tune is there in how it is pitched. Somewhat askew, but it is the rough around the edges that adds to the impact of the tune here. Second tune ’Slow Boat To China’. This leads in with panache and the lean calling to it is rounded on with the catchy derivative meeting with the substance. It is a rigorous live showing and that it gets followed up by ‘The Jackals’. The skittish and withdrawn charm on show in the even way that the tempo carries through works in a big way. That is something that is lead in evenly and held just as smart. They show that they are on their game with it. ‘Glory To The DJ’ signals the intent. A reckless abandon absorbs the live performance here and it is in keeping with the glorious feel of the tune. The catchy hooks tumble away and that raw sense to it comes off impeccably. The measured pace giving it further leverage adds the necessary kick. Leaning into the guitar on ‘Trying Too Hard’ manages to sway you in the right way here. How it lands has a true sense of affirmation to it. The drop down in the delivery hitches up, but collectively the real worth is
found here. The change in the playing arcs give it more direction that encourages the live showing from start to finish. A self-processed ‘mad old song’ is how they called ‘Felix’. The sentiment to their back catalogue matters. Here the tune is built upon a resonance from the guitar. That is kept in check and the steady shades of underground hiding away in the playing brim alongside the kindness of the sharp cut that makes it what it is. They then breeze through with ‘Petrol Tank’. The closeness of everything is relayed in the vocals. There is also something about the presence that they have that assuages a sense of safety to it. They proceed to career through the progression and this gives everything a telling punk conveyance as they do so. Grounded in poignancy is ‘Immaculate’. The mature narrative of the lyrics is a convenient character building trait. The even structure in the arrangement necessitates the right things for the delivery. From this it all flows in a freer way. They also recognise this and use it as an opportunity to feed off the crowd. One of their real crowd pleasers came next –‘Prostitute’. This has everything. The slick pull of the guitar is only one quality that stands out. The other ingredients worked into the mix smack you in the face in the right way. They also have an air of confidence on show that handsomely hangs back and allows them to process a cool vigour from how it all sounds. The shoot the breeze feel that then meets with the harder calling sells you on this one in a big way. They then show that they could also write a top tune with something to say when they
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want to. ‘Let’s Start A War’ has a lot to say. The menace fronts it well and the pace is another commendable feature here that is well gathered. The lean cut comes off and hits the spot. It is taut, but this is well reasoned in how the delivery is arranged. Their first single ‘The indie War’ was next to get a play. The statement of dissatisfaction with how they perceived the industry at the time prompted them to proactively do something about it all. This was the end product. What it shows is a warranted appreciation for the clean feel. The burst of play celebrate this, while the vocals carry a sense of urgency that is all their own making here. It is also well arranged, composed and contained. The solemn opening in the way ‘Run Rabbit’ works has a high yield before the play kicks in. This is a tune with certainty that can claim it comes alive of its own volition. The pace is well considered and the energetic showing is calculated. At this point there was a massive stage invasion by everyone who could make it up there. It was great to see and it was something that gradually began building on their previous track. Then the touch of elegance on ‘Dublin Screaming Murder’ brought the curtain down on everything in more ways than one. In those touches everything is mirrored on all fronts. The steady deliberation along with the freshness keep it together. And that was it. Another band goes out with a gig that was deserving of their calibre. That so many people turned up for it shows how appreciated they were and how they will be missed. Thanks for the music guys from U&I.
Irish Artists PETER DORAN Outlines Review by Greg Clifford
August (2014) saw the Mullingar songster release his 4th album ‘Outlines’. I first discovered Doran back in 2012 at the Ruby Sessions a few weeks before he released ‘Overhead The Stars’. I was immediately struck by his solo rendition of ‘Julia’ that night; a lyrical masterpiece which leaves the listener clinging onto every word of the tale. ‘Outlines’ was recorded in a small lake house in the Irish Midlands and Doran must be commended as he moves away from the polished studio sound that permeates his previous effort to a more pure and honest vibe, which truly suits the artist. He’s at his finest here. No click-tracks, auto tune or, as he puts it, ‘studio wizardry’ were used in the making of this collection of songs, resulting in unity and genuine character. ‘Moon’ gets us underway with vintage Doran. The hummed melody is most pleasant and is beautifully accompanied by cello and lap guitar, courtesy of Gerard Toal and Brian Murphy respectively. Doran cites RAY LAMONTAGNE and NICK DRAKE as sources of inspiration and their influence is certainly present in the albums opening track. It’s an emotive offering in which he offers his loved one ‘the moon’ and begs for her to ‘please come soon [as his] life’s in ruins’. ‘Always Kind’ is up next and carries on in a similar vein from the previous track in terms of subject matter. There’s a fantastic moment of word painting, which is music conveying the words of the text, when the keyboard enters as he sings ‘she is the keys to the kingdom’. It’s a simple touch but one I appreciate as a fellow musician. The song builds in terms of instrumentation and anticipation in a satisfactory manner and is certainly a memorable moment in the album. Track three, ‘Puzzle Box’, is another one of those DAMIEN RICE/LISA HANNIGAN type Irish soundworlds. Nothing overly original ultimately, but
9 well executed with Doran revealing his vocal and guitar picking skills. ‘The World is Wide’ follows and explores a slightly darker avenue, while allowing the song to soar and wash over us. The lyrical imagery is astute and so is the passionate performance. ‘Do (What I Do)’ is another insightful, charming folky offering in which the singer-songwriter opens up about his shortcomings. Subtle backing vocals, shakers and lap guitar are aptly placed and create coherency in terms of the album’s sound. It’s quite amazing how effective a simple shaker can be but it really pushes the song forward. The sonic quality is much desired here. ‘ Tug’ again highlights how important lyrics are to Doran. With this album he really captures passion and honesty, thus creating the perfect late night candlelight LP. The album has serious potential to be a film’s soundtrack too it must be said. ‘Bright With Hearts’ is more of the same with controlled guitar technique standing out, along with the low, beautiful cello drones. ‘Out Of Time’ is merely voice and piano, which is a welcomed change, as the underlying sound of birds whistling and distant people creates a poignant, reflective air. ‘Things Your Dreaming Of’, along with ‘Always Kind’, features Colm Lynch on harmony vocals. Doran has chosen his band wisely and the collaboration and direction created is very accomplished. ‘Waves’ brings the album to a close. Traces of DAVID GRAY at his melancholic best are present here, while the song builds up effectively with percussion (tracked by Tom Osander in Berlin) added at the right moment. Doran excels himself with ‘Outlines’ as a whole and must be applauded for stripping matters back. The album can be streamed or purchased on his Bandcamp page. If one downloads the LP they’ll be treated to accompanying artworks and hand written lyrics.
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SEA PINKS
Dreaming Tracks Review by Greg Clifford SEA PINKS are a Belfast ensemble who, according to their Facebook page, are ‘inspired by sea glass, bleached grass and ghost guitars’. The group has been releasing a ‘sunny’ brand of festival tinged 60s meets 90s revival, akin to THE CORAL, since 2010 with acoustic and electric guitars fused effectively. This LP marks a big leap forward in the development and story of this band, as they channel their past studio experiences and honed songwriting skills with aplomb. Their fourth album (‘Dreaming Tracks’) is certainly their strongest to date. ‘Dreaming Happening’ sets the album in motion with an introductory cello playing drones and a drawn out melody. The melody is a sinister adaptation of the songs main musical theme and hints at a real epic crescendo. However, what comes next is quite the juxtaposition as the band distances themselves from the cello opening and kicks on with an indie rock meets psychedelic folk vibe. The cello could be deemed superfluous but at least the band is thinking outside the proverbial ‘box’. The jangly style that unfolds is quite charming and one must admire the fluid bass lines of Steven Henry and the general ‘tight’ feel that accompanies an intriguing and accomplished vocal performance. This is no X Factor vocal performance, and thank God for that. Give me attitude and character any day of the week over pseudo-emotion! ‘Art Imitating Life’ (contrary to Oscar Wilde’s beliefs) starts off with a feel similar to that of THE SMITHS before further exploring avenues they touched on in the previous track. The ‘lah, lah, lah, lah’ sing-a-long section is a hook that will certainly have festivalgoers vocally active too! ‘Meat & Drink’, which follows, is another summer song consisting of skillfully interwoven shimmering guitars with a prominent and memorable bass line.
8 ‘Waiting For You (To Go)’ begins impressively with something a bit different, as the drums and proficient bass opens proceedings. The groove is great throughout, as is the cohesive sonic quality. ‘Not Belonging’ then contains traces of THE LA’s and THE ONLY ONES on one of their more languid numbers. ‘Magpies Eyes’ shows off their fondness for ‘surf rock’, as vocalist Neil Brogan sings ‘Spring break sent back to winter’. Comparisons between BRIAN WILSON and Brogan can be made here in the way the vocalist phrases the lyrics and in the way he ends his syllables. The vocal melody is interesting range wise and the subtle guitar riffs and tones are well worked. For me, this is one of the strongest songs on the album. ‘Wasted On You’ is up next and is a sort of pop/rock ballad comparable to ‘Needles and Pins’ (versions by THE RAMONES and THE SEARCHERS springing to mind) due to its chordal progression and general direction. ‘DREAMING TRACKS’ explores the Manchester vibe of the 80s while maintaining unity and cohesion between the preceding tracks. The cello is also prominent thoughout and blends nicely with the bass line. ‘Pacific Standard Time’ follows and again showcases what the band is all about – warm, bright, reverb sounds with melancholic musings. ‘Invisible Lines’, which brings the LP to a close, follows the same formula we’re presented with in the previous tracks. The beginning has urgency and a charming guitar hook with the music dropping off as the vocals take centre stage. The song continues to develop much the same as many of the numbers that have gone before, in terms of its dynamic shape and production. The message of the song is sentimental and is accentuated by the sorrowful cello (courtesy of Jonny Agnew). This is an album well worth listening to as it truly marks the band’s advancements. However, personally speaking, they could have deviated a tad from their favoured creed and pushed some more boundaries. The album is close-knit in terms of style but is predictable in places and at times too similar to THE CORAL and THE LA’S. The band are yet to find their true individualistic voice but this Belfast outfit are sure to forge one in the not too distant future.
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LETHAL DIALECT 1988
This ten track album testifies that the Irish hip hop scene is alive and well by drawing your attention in a way deserving of your time. The casual determination of opening track ‘School Dayz Are Over’ writes an impersonal manner into the lyrical content. The indifferent calling speaks volumes and doesn’t disappoint or come short as it progresses. Raising the game is ’13 ‘til Infinity’. Things are casually dropped, yet the tempo commendably meets with the rapping. The depth lingers with an impartial appeal that corners the savoury build in the delivery. A more mainstream and radio friendly effort follows with ‘Headstrong’, yet it is not a sell-out. Instead it is a well pieced tune with a smart and focused transition. The lyrics also mature which adds appeal, while the backing vocals enhance the richness and texture in a reputable way. Marked by a softer calling in the piano is ‘26 Laws’. This is another attractive tune with majesty. The steadfast ebb and flow is well judged and frames the delivery as the tune picks up and comfortably goes with the running. A voiceover preceding the intro to ‘Still A Darkhorse’ conveys intelligently. Then it cuts into the track giving the running a heavier feel. The determined drum and bass broadens the sound with the overture conclusively fitting around this. A criticism is levied at ‘The Shark Interlude’ because it takes
8 away from the album by being an unnecessary addition that doesn’t work. Making up for that is ‘Set You Free’. This balanced offering comes full circle in the concise way it takes flight. The relaying of the approach here is admirable, while the prominence of the delivery hangs back and the soothing transition that fixes a solemn bearing upon it all from the vocals suits. An honest assessment of how he sees society provides ‘Beast Mode’ with substance. The reflective mood breaking things down with his the side of the story shows where his roots lie. That reality of life provides the basis for the tune and is fully utilised. To a large extent it is impartial despite the inclination of the acknowledgement in that commentary that projects the angst of the situation a lot of people face every day. Again Jess Kav provides the backing vocals on ‘Energy’. It is a great tune that plays the part. The lay feel of the tempo has a comparison to Massive Attack with a steady garage feel relayed in the delivery, while the backing vocals enhance the overall appreciation. There is a symmetry to the delivery as a whole that stands it good stead as it feeds through. The closing track here is ‘Brave’ and features Damien Dempsey on vocals. It is a tune that benefits from the different styles carried through in the arcs. The passive side is comprehensively considered and it is a bold tune that holds it together despite the twelve minute running time. - 25 -
SUPERSTAR TRADESMEN Pen To Page
There is a fine lift to the first track on the album ‘Maybe I Won’t Be’ and it hangs neatly in the air with resolve as it is all carried off which suits the arrangement. It is carefully considered, and the vocals accompany the flight in a direct way deserving of praise. The tidy framing of ‘Trading Blows’ brings everything round. Again there is a neat kick to things when it takes off that holds firm. The eloquence is a realised trait that pays its dues. Then a more finite sense of urgency frames ‘Cross The Line’. The sound also becomes hardened and it is a more full on affair that shows bite. The deftness of the acoustic guitar enamours the eponymous ‘Pen To Page’. The softer styling is spirited and a hint of ‘So Low’ by Ocean Colour Scene is there to be found. In that casual style the song toils away knowingly and it is a tune that you get caught up with easily. After that comes ‘Inner Demons’ and the rock running is a light affair, but it is primed to match the pace. The hardened feel of the tune is well tracked and it has a resolve that is commendable albeit a bit too light in places. Sixth track ‘Since You Know Better’ raises their game. It is a more developed tune and the weathered feel sees them break into stride with an air of confidence coming across in the delivery. It is an earnest tune and is carried off accordingly from start to finish.
7 There is a smooth air and grace about the tempo of ‘One Night Stand pt.1’, while the lyrics tidy away the narrative in a way that completes everything. The breakdown of the song directs things in a forthright manner. While the follow up ‘One Night Stand pt.2’ is more engaging in terms of how it plays out. The structure rolls out in a formidable way and it is a fine contrast by design of the previous track. It is a mellow affair that is light in places but it holds firm as it plays through. The intro of ‘Keep Writing’ curtails the delivery in a relative way. The progression is strongly worked through and it has a proven raw feel that rides in commendably. Again the rock side of things sit well in a way that is in line with the layout and running, but again doesn’t see them develop it further than what it displays. There is a heartfelt feel to ‘Sorry For The Way’ that works so well. The collective way the tempo merges with the vocals derives the fond qualities in an acknowledged way that carries weight. This is a great tune. The scope is immersed in a meaningful. This is a tune that should be a future release because it has a large degree of radio play about it. It then gives way to ‘Me, Myself And I’. This is loaded with a clean turn of pace about it all that is well considered. The rigorous and rotund showing here is what marks it out. The album closes out with ‘What Will You Do’. Again there is a degree of comfort in how it breaks down that falls into place comparatively. By virtue it eases the neater qualities through – the vocals included. But it holds them in place and what pulls across is neatly arranged which suits the lift in the tempo as it all plays out. - 26 -
STARING AT LAKES Warm Wars
‘Mrs Dalloway’ seems to intelligently build the windswept awe. The delicate structured vocals notably find their place alongside the inviting patience in the calling here. As a progressive tune it comes to pass in a way that lays down a fine marker. After that is ‘Cope’. The reach of the steady rhythm in the intro ratifies in an appreciated way. The lay alternative ambience settles into the resolve here intuitively. It is well structured and the detail in the sublime running is enriched by the volume that course through. ‘Consanguinea’ is an interesting tune. There is real poise to this and it sets a tone that is delightfully passive. The intuitive essence is secured and denotes an appealing level of ability as songwriters. The savoury calling graduates in the progressive way it all builds. The intelligence of the lyrics coasts along on ‘Good Grief’ before the shared vocals work their way through with prominence. The persevered and fleeting qualities conceptualise in the tune in a highly obliging way. That adds a personal touch to it that is endearing as much as it is highly expressive, while the bridge is a fluent touch that carries through with aplomb. Interesting tune ‘Scent Of Mental’ piques interest. It has this minimalist approach that works in a thoughtful way. The taut sensibility matures in the follow through here with a thorough sense of control and conviction fronting it.
10 With ‘Warm Wars’ there is a pilloried feel that captures the inner essence as it picks up. On show there is a sedate styling but there is a hardened call to the vocals that you fall for. The detached flow of ‘Disinter’ is managed by the creative drift. The vocal harmony has a gifted impersonal longing that sets it apart for the right reasons. The spatial showing completes it in a worthwhile way, while there is a highly detailed reach secured in how it is all arranged. ‘Book Of Belongings’ sets things up excellently. It is very radio friendly and the canter of the tempo is one that really gets beneath the playing. In turn they make the most of the approach here, while the catchy spring in the step retains a consistency which provides well for this in terms of how it is all set out. The blissful temperament of ‘Outsider’ then comes full circle. There is specificity to how it branches out. This has a toll to it that is warm and token in equal measure. From the sedate way it falls into place a fine foundation is put down for it to all build on and it takes the momentum places when it takes off. A declared sense of worth collects on ‘Cowards Cry’. It again denotes their determined ability to develop tunes with pace and keeps this one very much in check. But it still has an enormous amount of reach as it takes flight. The closing track is ‘Her Story Repeats’. The listless feel of the guitar billowing away builds the presence. The vocals are another staunch feature that presides over proceedings. The transgressed feel captures a sullen attribute also and they comfortably run with this. The soothing lull also suggests more than what is there at face value. - 27 -
BEN GLOVER Atlantic
The telling hold of ‘The World Is A Dangerous Place’ finely crafts the delivery. The solitude to the lingering filters through with precision and wraps around the tune in the calibre that could be produced by Bruce Springsteen. His voice also has that same enamoured quality and it is a riveting tune. There is a subtle Americana definition that opens up ‘Oh Soul’. In how this captures the essence in the tranquil reflections leaves a lasting impression. It is also developed and the tracking reflects that while allowing it to step out in a desirable manner. How ‘Too Long Gone’ moves is a thorough showing. It is grounded and there is a strong sense of poise in the build. Yet it is in how it retains that consistency that the reach of the song is developed. Again the Americana creeps up on you with ‘True Love’s Breaking My Heart’. This warmth allows it to settle and reside into the casual manner that it finds. The refinement on show is excellently attuned to the vocal performance and it all adds up. The smooth slide of the dobro meets the upbeat tempo of ‘Prisoner’ before hanging back when the vocals come in to play. What gets beneath it here is a big draw. This very goes the distance with the broad range and scope formidably enhancing the appeal. A clean sense of reflection
9
develops the tone of ‘Blackbirds’. That it is a duet comes unexpectedly but it suits the keepsake quality to have it felt out like that. The harmonies are in sync and the solid showing is assured from the manner in how it is fronted. The poignancy benefits from this approach. On ‘The Mississippi Turns Blue’ the courteous ebb and flow closes in around the delivery. It lights up in a select manner that is very easy to admire. The lay feel also allows the chaste side come across in a welcome way. Inspired from the off is ‘Take And Pay’. The upbeat and free flowing tempo lights it all up. The relative ease to the vocals builds the tune allowing the running to fall into place. It is confidently pitched and considered, which shows in the breakdown. Gauging the sentiment in a considerate way is ‘How Much Longer Can We Bend?’ From this the longing of the song engulfs the process musically. It procures an imaginative break and the longing is backed up by substance which bears heavily on the leanings. The uplifting ‘Sing A Song Boys’ has an easy going passivity to it that collects sternly. It bristles along and the timely hold of the tune is there to be found in the simplicity, but it is an effective calling. The album closes out with ‘New Year’s Day’. Presiding over the tone is an elegant sense of reach that is not found wanting. Teaming through is a softness that saddles the song with a deserving sense of stature. It develops in mood and tone from that considered approach which is why it stays with you for the right reasons. - 28 -
Irish Artists SWORDS
Live At Smalltown America It is a mark of how good this band is that this is a live EP and opening track ‘Betty Machete’ is a rich and lavish number indeed. The taut quality of the tune meets the tracking head on, while there is inspiration to be found from the vocals and charm offensive of the lyrics here. The way the tempo drags across has an unerring sensibility to it that adds volume. On ‘Glock’ there is a more imbued calling to everything. A bucolic signature collects in the steadiness, while the morose tone builds around this and sets across it in a way that enhances the reach. While it is compact it also has presence and spatial distortion in the right places that enhance the appreciation in a tacit way. As the piano softly befalls ‘Sitting On Walls’ you are hooked. The soft and deft attributes of the vocals enrich the tune in a deserved way that demands your appreciation from the welcoming way it is pieced together. The EP moves away with the more upbeat ‘Who Took Your Soul’. There is a demeanour about this that exudes confidence and class. The substantial way it is all laid out is highly detailed. The factoring in of the nouveau elements is a captivating consideration, while the march of the drumming beats away with a calling all of its own. It sits neatly in the background here and works is an explicit way throughout. Closing proceedings is ‘Wicklow’. A savoury tune that is patiently detailed and allowed to build in a way that is conclusive. The ornate attributes adhere to the delivery in a stellar way which creates context, mood and the calmness that befalls it is quite impressive. The synth also carries through on the background here along with the drumming to superbly allow the vocals come to the fore which secures mood and stature for the delivery.
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.......................................................................................................................... KEROUAC
The Dark, The Shade, The Light (Vol.1) Metal is a tricky thing to appreciate if you are not a fan, but this EP deserves to be judged on its own merits and first track ‘Sea Of Cowards’ cuts to the chase. The genre is defined in the guitar work, while the expansive bridge that inhabits the tracking has a dalliance that then takes the tone down to a moodier reposing that is broadened further as it holds in place. The conjecture of the guitar work has a fluidity about it on ‘Run Away’, while there is a steady hold to the way the delivery comes off. The inspired way it lifts off is kept in check and that allows the running to hold in a fixed way. It is apparent and the hold it develops gives the track shape. With third track ‘Holy Blood, Holy Grail’ the vocals just roll out. The way the delivery is leaned into is a full on affair. Pitches of scream in a way, while the y give way to allow a more composite tune come into being. The rhythm is rolled out in a convincing manner that snaps it all into place. Off the back of a telecast comes on ‘Of God And Man. Softer and reflective in the breakdown, the affair as a whole is more inward and honest. The convincing way the vocals develop on this one keep that referential quality on track and, as such, the guidance is a tidy affair that materialises in a believable way. The hooks on ‘Burning Bather’ get underneath the running and bring it all out. The way this is fastened down stands out for the right reasons. The harmony of the vocals is another trait that befits it, and then the steadfast kick is assured as they go all out on the playing. ‘My Exploding Chest’ is a long player but it has relevance about it in abundance. The lay Krishna keel incorporated in the rhythm at the beginning is rather fanciful. That entices the tune, while things pick up and there is a lot to be said for how well contained it all is.
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THE WITCH TRIALS The Witch Trials
There is a slick feel to the opening track ‘Long Drive’ that is explicitly suave. The drum and bass smoothly feed through here, while the casual and cool demeanour of the vocals accentuates the poise furthermore here. This is a tune that has been crafted by real artists at the top of their game. On ‘Wonderland’ the nouveau beat merges with the nou disco feel formidably. This wows you. It is slick and impresses you from how engaging it is. The mainstream feel to this is one thing, but there by design is a finely layered track that sublimely clicks into gear from the off and is carried forward with such precision that you can’t help but acknowledge how great it is collectively. ‘Heavy Petting’ seems to borrow the tempo from Paul McIntyre And Paul Campbell’s previous band Real Horrorshow’s track ‘This Side Of Paradise’. The tune prevails and the latter progressions seem to co-ordinate styles such as ska and reggae into an already full on affair without the tune being overwhelming as a listening experience. Closing number ‘Soda Pop’ is a brilliant tune also. The patient build hooks you immediately. The coup-de-grace feel hangs back and the stylish stature suits this approach. The structure tempestuously encourages the delivery and they raise their game considerably here. It diversifies the overall feel of the EP but retains a comfortable sense of belonging in how it resides at the same time.
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.......................................................................................................................... MIND RIOT
Summer Breeze ‘Low’ opens the EP and it busies itself in a reasonable way. There is a condensed feel in the way it sounds that is met with fine work from the guitar and drumming combination. That also settles into the play easy enough and they carry it all through with a formal distinction that neatly shows. It is the sum of its parts and they do add up reasonably well. Things are more inclined to rock out on ‘Brother’. Catapulting straight into a harder flow on the intro it then hangs back. The link up of the play staves away and there is a telling pick-up on show that is carefully brought around. The thorough framing here catches things just right in the dynamics. A more concentrated ebb and flow comes through on ‘Boyz Of The Tomahawk’. They seem to put some more effort into the build which shows. The clean catches add up and there is a big build in the overall layout here that drops across it tellingly but it is let down by the lyrics unfortunately. The smart drift of ‘Fire’ is impressive and seems to extoll a sense of purpose upon proceedings. It is a clean tune that is followed through in a way that works right. The bass line on show is fine and they up their game with this one. We then come to ‘Vain’ which again sees a good bass hook stand out. The same goes for the guitar work on show. The urgency is locked down in a pleasing way and the full on moments play their part. This is a harder affair and it has purpose. Last track is ‘Summer Breeze’. The resilience of this works well. The lay of the vocals is realised in the showing here. The sensible way it clocks in holds its own also. It is a steady number and all the right things are there on it to be picked up on, which is what the rock side of it needs.
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CATHRYN GREEN The Apple
The closed feel of the opening track ‘Hello’ has a testified reach that the deftness of the arrangement manages in a specified way. Her voice is another quality that tidies away here with a neatness and resolve to it in the right way. That keepsake quality gives everything a token reach as the dainty ebb and flow brings it all full circle. Then comes title track ‘The Apple’. The somewhat haunting intro cuts across and then the progression is a learned one that builds upon that approach. The reach and context are somewhat distanced, yet they marry well to the downbeat sentiment tidying away here. ‘Enjoy The Silence’ is a cover of the Depeche Mode classic and it is a slowed down affair that is encased in the wonderment of the approach. The final track here is ‘Place To Belong’. The confident stride in the tune is impressive. There is also a confidence to it that suits the charm. It is imbued with warmth and that is placed in the structures with a determination. The sleight of hand to it all gets it moving ! in the right way and it is a tune that is sweetly worked through.
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International Acts
FOX AND THE LAW Stoned To Death From the very first second we heard this Seattle based band they became an office favourite here at U&I. They are a true gem to discover for anyone who appreciates fine rock. Their opening track ‘Cheap Talk’ is very much on the money. The pedigree walks through it with real swagger. If a song can walk the walk and talk the talk this is it right here. The hardened breakdown catches the full on calling just right. The progressive determination shoulders the delivery of ‘Hot Water’. The way it brims gives it a true underdog appeal with the weathered contention about it all. The vocals animate considerably well and are just as important as the wall of sound that comes through. ‘Nod To The Devil’ is a brief tune, but clocks in considerably well. The bounce in the tempo sits right on this one, and despite the running time, they manage to go all out and bring across something that comes full circle. Completely let off the hook is ‘Let It Ride’ with hints of ‘Appetite For Destruction’ written all over it. The air is scorched as this one comes through and it is a full on affair with no let up, summed up by that comparison because of how excellent it all is. They then hone things with ‘Emily’. The developed affair that is the intro is a long one
9 before the vocals come in. The highly passive rise of this one imparts everything with a kick from start to finish. That energised pomp is apparent as it provides it well as it breaks into stride. Then with ‘Up All Night’ they give no quarter and launch into it cleverly. It harbours a loftier sense of ambition with the flush feel of the guitar work playing out with a clear progression in the direction. ‘Heatstroke’ seems to be an inconsistent tune as it starts off, but it holds in the latter showing quite well. The defined cut to it in that regard also engages a side that takes their style off to a more rotund movement. This regency in the running allows the tune to be tracked in a fundamental way and the sharp manner in how it closes is then followed up by the more solemn interlude of ‘Emily’s Sister’. After that things do embrace a more select turning with ‘Ripped Off’. It is a big number, which is hinted at from the start, and it doesn’t fall short. The abundant stature means it just gets better on repeat listening. A dalliance seems to lead it all in before it goes full on, but it is a brilliant tune that sees them up their game considerably. Things sign of with ‘Don’t Wanna See You Go’. The strong sense of the blues developed in the sound shows in the right way. The lean ferocity of it doesn’t overwhelm here and the sedate touches frame the way it sounds superbly.
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REVELLER
Cold Engine Start Review by Greg Clifford REVELLER are a Dutch pop/rock duo act. Their name, interestingly, is derived from the famous British racing horse, who had much success at the St. Leger Stakes. Ken Stringfellow, who has worked with The Posies, Big Star and R.E.M., produced this debut album and helped the band shape their own identity. REVELLER (Sven Sterk and Ramon de Wilde) cites Bob Dylan, Tom Petty and David Bowie, among others, as sources of inspiration. However this Dutch duo fuses and channels their influences into something quite authentic and certainly do not look to regurgitate past sounds. Getting proceedings under way is the intriguing ‘Cold Engine Start’, with the music/soundworld suitably constructed. We’re treated to an eerie, strung out tune akin to LOU REED. The droning vocal melody, doubled by the glockenspiel, is both haunting and trippy and captures the listener’s interest immediately. ‘Cold Engine Start’ makes a virtue of minimalism, which is epitomized by the constant down strokes and block chords. As the track unfolds the opening melody is developed and more instruments and textures are explored. The lead and backing vocals are worthy of a mention here too. ‘This Armor’ follows and reminds me of ‘Dead End Street’ by THE KINKS and ‘The Importance Of Being Idle’ by OASIS, thus getting two thumbs up from me! Heavy guitars, riffs and steady repetitive percussion provide the driving force behind this rather catchy, bittersweet number. ‘Seeking Up The Danger’ kicks off with ominous bass guitar creating a sense of anticipation. This one offers us a different side to the group as they present an acoustic, laidback, melancholic pop tune. Up next we have ‘Absolute Zero’, which consists of astute musical colours and an overall cinematic
8 quality. The lazy, languid style is comparable to THE VERVE, especially the sparse electrical guitar entries that feature on the ‘Urban Hymns’ LP. ‘Pulse’, which was the second single off this album, is a real stomper, containing bags of attitude. The choppy groove is similar in character to FRANZ FERDINAND, but is ‘cleaner’ and even has the potential to be remixed into a dance floor anthem. As a single however, I find it lacking in regards a true catchy reprise that immediately infiltrates the mind. Having said that the track is a very accomplished song and very much warrants inclusion on this debut offering. The album continues with ‘Ammo’ and, for me, is a touch banal when compared to the previous five songs. It lacks the exciting ingenuity of ‘Cold Engine Start’ and the power of ‘Pulse’. ‘Play’ is a charming number, which showcases their lyrical and pop sensibilities. The broken chord in the electric guitar is hypnotic and creates a ‘spacey’ atmosphere, while the percussive pattern bares similarities to ZERO 7 and AIR. There’s an air of wistfulness created by emotive lyrics such as ‘fake as a cardboard scenery that surrounds us, fake as an artificial Christmas tree, fake as the love we make in our houses, fake like plastic flowers’. ‘Hard Times’ is in total contrast to ‘Play’; in fact could almost be another band. ‘Hard Times’ is quite generic and bland in all honesty unfortunately. ‘Hold The Horses’ restores hope and groove! In the spring of 2012 this track, which was indecently the first one they’d ever penned, was chosen as the theme song for the Paul Verhoeven film ‘Tricked’ (Emmy winner in 2013). The song also contains aspects of later Arctic Monkeys. ‘Queen Or King’, which brings matters to a close, is a well-produced song and further showcases their love of layering and cosmic textures. However, it’s a slightly underwhelming conclusion. REVELLER serves up a fine debut here in which they reveal an array of ideas and styles. They are still searching for a true distinctiveness, but signs are promising for the group. Their multi-layered productions and clever mix of acoustic and electronic elements are acknowledged and they will surely obtain more interest and recognition over the next while. However, I can’t help but feel they play it a bit safe at times and should embrace more sinister atmospheres similar to the one created in the opening track of the album.
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NEW MYTHS Give Me Noise Review by Greg Clifford NEW MYTHS are an all female trio hailing from New York, who produce a blend of electronica and spacey rock. They get their debut album under way with ‘Howl’, which is seductive throughout. The opening has touches of BLONDIE and JOY DIVISION before the track unfolds into a neo-80s, rocky, danceable affair. The inclusion of a saxophone solo works a treat and may be a reference to their jazz training (Slater and Boras had previously studied at the same jazz conservatory). ‘Edge Of The World’ continues on from where the previous track left off with a distinct ethereal quality. The song sets off with potential but never really ventures far enough, let alone reach the tip of the earth. The song is still sure to get people moving at one of their live shows though. ‘False Gold’ is up next and has proved to be quite the success story for them thus far. The catchy number was featured in the digital ad campaign for the California surf company REEF and was also chosen by Lou Reed to be featured on his Sirius XM radio station. It contains plenty of hooks and sing-along-able moments. ‘The Ends’ kicks off with plenty of character, which is similar in nature to MUSE, due to the drum pattern and ‘fuzz’ electric guitar melody. Again the group attempt a number of hooks and invite the listener to sing along. Although NEW MYTHS have solid intentions, more variety would be savored at times. ‘Calling To The Fade’ is also in keeping with the group’s flirtatious ethos. Restrained angst is prevalent, with cosmic guitars and synths conjuring up an ethereal atmosphere that take the audience on an otherworldly venture. Calm, calculated groove epitomizes the following track, ‘No More Dreaming’, in which synth countermelodies are nicely fused with the harmonized lead
7 vocal line. The voices are most charming and dreamy and the percussive patterns, courtesy of Rosie Slater, are the standout aspects of this song. As the song unfolds however it begins to lose focus and deviates away from its intriguing and astute outset. Possibly exploring more subtle and original avenues, as opposed to the clichéd rocking climax, could have transformed this into a great song rather than a good one. ‘Out Of Control’ is too a mixed bag. It’s an amalgamation of pop, neo-80s and modern American rock. Comparisons can be made to U2’s track ‘Vertigo’ here. Up next is ‘It Burns Through Your Armor’, which is undoubtedly the album’s best track. Here we have a true synthesis of the band’s best attributes and qualities. They nail it here. This is what the band needs to delve into. Don’t just scratch the surface, jump straight in and reap the rewards. The track opens fantastically with an ethnic quality and primordial tom drums. I must also commend the ‘cheeky’ bass glissando that’s present before the song takes flight. All aspects are just right, including timbre, instrumentation, production (as in the introduction of new sounds, hooks and melodies), chordal progressions, the vocal line, the inclusion of strings and the harmonies. A slight personal criticism would be that the lyrics are not always so clearly understood and they could possibly be louder in the mix. The ‘string’ melody heard during the coda’s fade out is a nice touch too, evoking a poignant, thought-provoking scene, which is quite cinematic. ‘Poison’ further marks the advancement of the album with the latter stages of the LP becoming more gripping and exciting. Again the strings are present and create a full, rich texture. ‘Playing with Fire’ is pure 80s with the kick drum designed to get the listener dancing and engaged, further instilled by the inclusion of handclaps. Airy and breathy vocals create an almost ghostly, intangible force, which gives the song its character. To finish off we have ‘Give Me More’, which is a digital bonus track that reminds me of the trippy sounds KASABIAN crafted in their debut release. NEW MYTHS serve up an eclectic tapestry of sounds and colours. The sound is ‘crisp’ and has potential, but I feel song arrangements and further production should be further considered in the future.
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JIM MANSER
The Rough Guide To Ruin It is a spry opening from the first second ‘Loose Change’ sets off. The guarded calling of the vocals decisively saddles up alongside the running as a whole. The even and fluid feel of the rhythm is balanced in a figurative way that smartly unfolds. Prelude ‘Wake Up To The City’ is then followed up by ‘Which Ways Free’. There is a choice roadhouse element at work that carries it all across. It boxes clever and the traipsing of the harder tempo gives it good shape. The careful distribution packs it all in tastefully. A roadhouse styling captures you on ‘Waves’. The richness of euphoria washes over you and the psychedelic calibrations are a rich and enamoured characteristic. The referential hold they take shapes everything in a telling way here. Then the 60’s vibe is retained with ‘Til The Day Is Done’. The stature in the calling of the intro alone is a throwback to a bygone era. Flower power vibes are there in the vocation also but it is more about developing the sound. It is a tripped out affair that succeeds in cornering those remote aspects but relying on an attentive reach in the running. What feels like a continuation of this is ‘Flying High’. It runs deep
9 and the finesse that the transitions seem to process slow it all down to great effect. This comes to pass in a referential way that blends in with the movement as a whole here. The solid way it all rolls is a confident showing indeed. The psychedelic approach that runs through the album comes to pass on ‘Signals’. Formations in the arcs imbue with a credible level of substance. That is brought to bear in the overall passing with great consideration, while the soothing vocals radiate on the track with true exuberance. The vacant existentialism of ‘The Illuminator’ adds scope to an already immersive listening experience. Swathes of elusive playing gather on this one and they set the tone impartially. The select calling of the wall of sound presiding over affairs is a rich and detailed affair indeed. Again this applies to the approach adopted on ‘Kick It Out’ but it is more developed. The emphasis is apparent and the derivative is one that shifts focus from the psychedelic overtures that have been the forte until now. If anything it is a chill wave offering that operates in a smart way before the factoring of the vocals narrows it all down. Closing proceedings is ‘Out There…It Is’. This is brilliance also. The detail and love for music pours out with such vigour. The brevity on show is marvellous and the processing of it all here, from the distinction in the overtures to the blissful deluge of the movements in their entirety, really showcase a truly engaging listening experience that takes you away with the artist at work. - 35 -
ALEX CAROLE & THE CRUSH Vol 2 The Death Of Alex Creole
It is best to judge this as an album of two parts because it consists of a side A and a side B. The eponymous opening track is a deft electronica interlude that projects a competence alongside the retro feel. This falls into place and gives the lavish structure serenity. They get straight into things with ‘Get The Ghouls (Out Of My Head)’. Hints of glam rock brilliantly show through and pump up the delivery. How this saturates the play is a novel calling that clicks into gear formidably. That handling is again contended with on ‘Lady Parasite’. A west coast rock calling to it akin to AC DC et al lights it up which defiantly carries it all off with true splendour. That is repeated again with ‘Turn It Up’. The sparse vocals relaying angst is a formidable quality. They fit the hard shouldering of everything and it takes off with a degree of relativity built around that. Cruising along is ‘Getting Hot’. It is a full on mosher’s wet dream. The languished guitar adds kick and the full on disregard way lets the music do the talking. It all comes off is impressively from start to finish and the vocals are a marriage made in heaven. Then we come to ‘Hang On For Love’. The way it cuts across from the solitary brass note on the intro slows the tone down. It is more expressive in terms of depth and marks a progression in the album for all the right reasons. It feels like a Tom Petty sweetly tracked effort that takes flight in a fashionable way that suits the tempo.
8 The B side of the album gets going with ‘Carole Barmy Army’. Ringing out the intent is a slick guitar derivative that gets beneath the playing. The raw animalistic delivery collects and that togetherness provides it with a thorough presence that is channelled smartly. The swift pull of the tempo is grounded in sophistication. ‘Got Nothing To Do With It’ exacts a fine six bar rhythm. It is a bit lighter in comparison to previous offerings, but it has a fanciful sense of flight that ignites the showing in the right way. After that comes ‘Made Of Man’. Here the delicate plush of psychedelic rock coming to bear is savoured. This frames the track favourably with a necessity in the weight giving it lift. With the guitar calling it all out on the intro is ‘Tuesday Lover’. Largely repetitive, it is also seems to fall short as it starts out, and, being honest, it doesn’t make up the lost ground in the later progression until it begins to close out. With ‘Heavy Rain (Parts I and II)’ there is ambition from the off. In how it is big on scope they do pull it off. There is substance to it, but there is an over-indulgence in places also. The bridge is fantastic and the tight showing sets it all apart for the right reasons. ‘Part II’ is a full on affair brimming with pace and tenacity that also connects the dots. Two bonus tracks are also worthy of mention. The first is ‘Night Train’. It is a steady affair full of rock superlatives. How it cuts loose is just that – loose. Lacking a sense of tightness in part, it still channels the running through with enough determination to warrant appreciation. After that is the very cool ‘1/2 Cat’, which is cruelly overlooked for initial inclusion on the track list. The offbeat nature makes the grade alone, but how they run with it sees them get the best out of it. The unbridled feel off this one catches the enigmatic style they have brilliantly.
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THE WYTCHES
Annabel Dream Reader We have been suitably impressed with this album. ‘Digsaw’ is an honest track with a rich ebb and flow from the grunge sound cornering their intentions squarely. The morose attributes brilliantly linger alongside lay psychedelic touches as it all builds. Dragged through charmingly is ‘Wide At Midnight’. The seductive way it travels and the seamless hold of the vocals also add up. It is a withdrawn tune and that anomic value is something that is delivered in a high end fashion. The catchy hooks of ‘Gravedweller’ graduate from the intro to a more progressive calling. It is a select number in its own right. The amble running cornered fits around everything rather fashionably. There is a harder sense of urgency to ‘Fragile Male’. The vocals navigate this in their own way. The distinction is secured from the narrative of the lyrics which knowingly find their place to produce an astounding tune that moves things up a level. The brash swagger of ‘Burn Out The Bruise’ sets up an unrelenting tune in the process. The snappy drumming and rounded guitar combine well. The raw objectification is what sells you on this as it comes through with pure menace. With ‘Wire Frame Mattress’ they show what they can do. The awning vocals merge with the steady build. This is then lead into a more proportionate affiliation as the progression closes around the delivery. It is a conclusive tune with distinction written all over it. The personified
9 coolness of the bridge is also excellent. A scattered rhythm shows sternly on ‘Beehive Queen’. There is a temerity to how it is scored that is crowned by the disenfranchised vocals and lyrics. As it plays out it burns brightly with perfected brilliance. They revert inward on ‘Weights And Ties’. This in turn correlates the volume in the coveted conveyance that tidily bides away of its own accord. You realise how good they are with ‘Part Time Model’. The exactness leaves its mark in the breakdown. There is a well-reasoned approach adopted in the running that takes prominence before a leaner cut sharply drives it forward. The depth of the rhythm guitar enhances what is motioned in a rotund fashion that makes you sit up and take note. Then they bring things down to a more personified level with ‘Summer Again’. They expand on the lighter workings. The structure and arrangement are a point of focus here that is picked up on. It is their inclusion that cleverly frames this in a remarkable way. They walk through it but there is nothing sold short. ‘Robe For Juda’ reverts back to their shoegazer style. In the regal front of the rhythm is an engaging process that recedes in a coveted way which treatises the music efficiently. After that is ‘Crying Clown’ and it catches the cautious side with relevance. There is a comfortably numb knack that comes across which then procures a refined calling as it plays out. It is a heavy affair that is actively full on. Distinct closing number ‘Track 13’ falls into place by design. The emerging and ornate nature clings to it cleanly. It is a short and sweet number that brings the curtain down on a fine album in the manner it deserves.
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NOBLESSE
Nothing Is Anything The way ‘Massive Experience’ leans into a withdrawn state procures a sense of the comfortably numb. The delirious shoegazer undertone cuts in sharply and comes up with a sense of symmetry that is highly practical. The inviting hush of the vocals is another imparted quality that really works. The tidy drift of the guitar on ‘Dawn Of The Age’ neatly guides the tracking from the intro. The rock styling cornered is hard with the appropriate amount of pace giving it lift. The vicious keel of the lyrics burns brightly here, while the steadfast motion secures indie credibility from the passive calling gathered. The catchier ‘Frames’ then follows. There is an alternative aspect of this that radiates clearly from the anomic pomp. The tempo bears down on it smartly with a resonance from the guitar yielding a cleverness that tacks to it in a thorough way. Then the deliberation of the guitar slickly cleans up on ‘Sit Please’. It has a bit of an indifference to it. There is a rock side that opens things but it then seems to display a more downbeat feel that seems to fall flat in places. It is a tune of two halves really because in some ways the latter half is a bit limp, although there is a steady motion in things that picks it up at certain
8 moments. Gothic number ‘Eat, Fuck, Sleep’ comes next. There is a dark texture that sits forthright here. The noir that consumes the tune drags across it impressively and it runs in a neat way. The brief running time ensures nothing feels overplayed. Then we come to the very stylish ‘The One With The Gun’. This has poise and the deft way it opens grabs you in the right way. A smooth transition that cleanly hangs back allows it to glide in with flair. There is a casual crescendo to this one that draws it all together in an impartial way. The catchy hooks on ‘Excess Baggage’ brim with obvious class. The softness of the vocals adheres to the running in a sensible way. What that in turn does is mark out everything in a highly active way. The deftness of it all comes full circle, while the slant of the dazed and confused clean cut brings it all to pass in a bereft manner that is highly absolved none the less. On ‘Try, Slide, Fall’ they come up with something that is highly memorable. How the song is pitched takes everything into account. The excellence of this frames the tune wand the potential of it all is very much realised. The content measuring to it all adds up superbly. The final track here is ‘The Sleeper’. Here you sense the album is brought full circle. A richness in the alternative approach serves it well, while the fundamentals in how it is all outlined come together in a way that is highly practical and thought out in the flourishes. - 38 -
International Acts COLONIZER
Dawn Of The Hunter There is a rich and glorious feel to the synthesised sound on ‘Dawn Of The Hunter’. It is sharp and the retro very much filters through with a free discourse in the trappings here. What it does rather well is obtain a sense of stationary as it builds. That closes around the flow in an even way that matures along with the changing arcs extremely well. ‘Code Name: Numerical’ is also an interesting prospect. The glorious freedom of expression is built furthermore as the layers of playing are added into the mix here. What that allows for is a neat progression that takes it gradually from the intro to a necessitated point of conclusion that suits the even way it is all motioned through. With a title like ‘Sundown On Starmist’ you know that the track will have a sci-fi feel. This is suggestively procured and the track graduates in a distinguished way from the opening. The way it is all leveraged here captures a sterling effort head on and doesn’t detract from what it sets out to achieve. The brilliance of ‘Cyborg Jailbreak’ is there to be picked up on. The energised feel of the synth functions as it should, while the beat of the drum machine behind it all is an excellent call. The volume of the end product is absolutely brilliant and it saunters through with scant disregard other than the sole purpose of remedying everything by design through music. On ‘Into The Grid’ is another tune with a lavish feel to it. Hints of what made ‘The Gremlins’ theme tune so appreciated come to the fore with the unintended catchy drift in places. The arcs are incredible though. The last track is ‘On The Prowl’. Again there is an endowment to the way this one plays out. The petering of the tempo locks things down. The steadfast resolve is also cornered here in an endearing way that resides by design. The fine sense of reach in the tracking here carries the motion of the running with that consideration as a point of focus here.
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.......................................................................................................................... BRYNOVSKY Losing Control
The steady flow of the reggae on ‘Losing Control’ is a real plus here. The control and charm are courteous, while the vocals hang together in a way that shows their eye is firmly on the prize. The zest of the musical arrangement holds firm and it is placed in a way that carries the prowess across in a determined way. The disco feel of the ‘Put The Baby Down To Sleep’ owes a lot to the remix. It also says a lot that it enhances the tune from that approach. Then the Caribbean influence specifies the reach of ‘Better Life’. It is a lustre affair indeed. The stirring way that the vocals dictate the direction here is exemplary. The beat in the organ churning away holds figuratively and the spacing of the beat is a touch that is applied candidly.
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Again the direction that things move in with ‘Don’t Shake’ has a bigger impact on account of the ambitious scope displayed in the arrangement. It is a beautiful piece of work indeed that is big on structure. That emphasis shapes it in the right way and the distinction is merited with the string arrangement tidying away alongside everything else in the layout with true dignity. Then a second remix makes up the running order. This time it is a version of ‘Beauties’ that gets the treatment this time out. It is a clear tune with a definite approach undertaken and on account of that it seems to fit well with being included here.
SEADANCE
Delirium Celeste This is another interesting recommendation from The French Connection. As the guitar rounds out the opening track ‘Seadance’ you are charmed by the exceptional way it is called out. The sharp beat falls into place while the drift of the tempo richly carries it all off. The sweet ebb and flow meets with the substance here commendably, but it has a sharpness to the appeal here that shines through. The chill wave sensibility is cleverly worked on ‘Holy Moon’. It is distinctly Gallic. Resounding in the confident way it is all pitched allows you into the musical experience. The opulence of the tune itself is grounded in an exact way and from this the reach is affirmed. The air of cool about it is also a demanding aspect that appreciates with each listen. ‘Glimmer’ seems to come through as a more experimental offering. The progressive tempo does have an abundant skip which correlates selectively. The alternative appeal of it all gathers the urgency and also houses a creative approach that is fashionably tied down here. At this point you are drawn to how reputable the EP comes across. With ‘Parallel Crosses’ the hypnotic allure of the rhythm marries to the psychedelic touches that are deftly applied. That awareness by the band brings it full circle on all fronts. The chic angles are all covered and how that crosses over here draws you in for all the right reasons. Then things move up another gear with ‘Your Place’. The ease of the tempo is a big plus on this one. The hint of Belle And Sebastian in the air is a warranted comparison. A lightness in the playing carries it through. This is a vigorous appeal to it all with the fond affection pouring out explicitly in the vocals being a stellar attraction. Then we get to the eponymous track. Expansive from the intro onwards, there is an astute calling in the shoegazer vibe that comes off. That Illuminates it by design and the suggested New Wave calling is tidied away with real panache. The final track here is another effort with flair written all over it called ‘Wonder Why’. Here the lyrics have a narrative that is eccentric to a certain degree, but it serves a purpose. The way that they dig in on this shows and the simplicity of it coming through from the acoustic guitar strips it down. The imperfection is a nice touch and that elevates it with it being a carefully considered move that rallies the tune by design. Overall this is a great EP and one to really add to the collection.
10
.......................................................................................................................... SUNHAZE
Last Summer This is a fine recommendation from our network in San Francisco. There is a candid sense of structure about opening track ‘Last Summer’ that fills out expertly. A lavishness is there in the reach and this collects in a way that is expertly considered. Adding to that assessment is the closed off way that the vocals locate in the delivery, which are further enhanced by the spring in the step that the tempo procures by deliberation. With ‘The Hill’ the tidy manner of the build is carefully considered. There is a roundabout texture on show that catches things just right here. A highly inviting tune that benefits from the tasteful enamouring of the running overall would be a fair and complete assessment of this one. We then come to ‘Wild Hearts’ and this is another charming effort that has substance. How the tune lingers is a big deal because it exudes an apparent confidence in doing so. The tidy progression leads it somewhere and the way that it all coasts along is truly a marvel in itself.
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A tantamount tune indeed comes next with ‘Sundown’. The fashionable way the intro curtails the rhythm then gives way and you are swayed by how it all moves. It is energetic, direct and focused. The channelling of everything comes together and the technique behind the lightness of touch has bags of aplomb as the upbeat aspects take hold. Then we come to ‘North’. The drumming that beats away has an atonement built in that categorically injects with presence. The soft calling of the vocals also carry it all through. This is a solid number that is built in a way that has a lot going for it and calls upon it in a dependable way. That forward manner of it is rather direct and it occupies the running in a most favourable manner. To close it out there is a cover of Kendrick Lemar’s ‘Swimming Pools’. They get down to it all and their stamp in this gives them a justified version that they can call theirs.
GRANNIES!
Ziqqurat Review by Jamie Kelly The first track on this is ‘Odyssey’. This starts of brilliantly with a really interesting original sound. The riff that gives foundation to the song is quality. I particularly like the sections where the vocals matched the melody that the guitar played. This is strong in all aspects. A very high level of musicianship sees it gel. The vocals are very strong in both lyrical and performance aspects. Then comes ‘Believe Something But Don’t Trust Me’. This starts off with a sweet riff, quite reminiscent of the band ‘The Offspring’, and carries most of the song. It varies a small bit throughout but these guys stick to their guns. It’s a very interesting even though a little repetitive, but in a good way. Next up is ‘The Place You Can’t Leave’. This has great energy radiating from the start of the track. The chorus is really catchy and gives it quite the hook for the listener to fall in love with. There is a cool little guitar solo in the middle that leads into the second half. The repetition of the chorus toward the end makes it even more of a hook. Fourth track ‘If I Disappoint You With A Gun In My Hand’ bursts in with huge energy in the form of a riff. That aggression gives it some real feel. Though overall it is repetitive, there was another cool riff that dropped in for a few seconds toward the end but not long enough for my liking. While a chipmunk remix of ‘Odyssey’ also closes it out. Overall the EP was decent. The first song was excellent, but I thought maybe the others weren’t as good in comparison because they lacked a bit of variation throughout with the riffs becoming repetitive. That is not necessarily a bad thing in all aspects, just a small criticism in my book.
7
.......................................................................................................................... HIGH HIGHS Ocean To City Review by Jamie Kelly
The first track on this short three track EP is the title track – ‘Ocean To City’. Things start out with a nice intro and vocals accompanied by guitar. The beat then comes in and brings it to life. There are some really nice vibes coming off this tune. The way the vocal melody is mirrored on the synth is highly effective. It gives the sound and flow distinction with the title well implanted into the chorus. I thought the way guitar and synth bop in and out of each other just after the three minute mark was brilliant. The next tune is entitled ‘Glamorous Party’. Again this is quite relaxed and slow in tempo. It could be described using the term largo. It has some really nice vibes that are quite relaxing to listen to. The vocal performance on this track was great. It is quite short and doesn’t change much throughout. The final track on the EP, called ‘Catch The Wind’. This has a great intro. The way the synth comes in and then drops out to allow the vocals to make their mark is very effective. This creates a good foundation. The vocal melody that repeats throughout is a great hook that really gets into your head. The guitar towards the end sounds great as well, with a lovely bit of chorus/flange on show giving this a great outro. Overall I thought this EP was pretty good. All the songs were well put together and overall just have a very good, distinct sound. I just wish it had been longer.
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STEGALL IV
With the catchy and spry kick in the rhythm, opening track ‘We Better Fear’ is something that makes you sit up and take note. The impeccable way that it covers the ground in the upbeat manner it does marks out the intention, while the vocals soar across. It is an absorbing tune that takes you along for the ride. The minute way that the synth scores ‘Glow’ is a marvellous application. Then the vocals fall into place and the intoxicating feel of the track is secured. The tempo has bold strokes which then accommodate the upbeat tracking. Overall this is an outstanding track. The changing arcs that provide vitality to the process musically grow in stature with each turn. It has these snappy overtures that very much play the part. ‘Danced In Black’ suggests a more ambitious offering from how it opens. Sweet hints of Lana Del Ray are likened to the patient build. That kindly steadies the running here to great effect along with the synthesised background touches calling it out. Then it takes off. It is sublime and everything is on the money. The reach of the vocals is a top draw prospect that sweetens it all here. Closing track ‘Tribal Woman’ and it has everything going for it. The maturity that unravels in the lyrics has a notoriety to it that is intelligently considered. The empowering stature of the arrangement houses this and the way everything is focused, from the vocals to the way it sounds, gets everything right. The boldness grabs you on this but they have an appreciation for their craft which spills out in the delivery. Overall this is a flawless EP full of impeccable replay value…which is what great music should always be about.
10
.......................................................................................................................... STILL PARADE Fields
The tranquillity of the pop sensibilities evens out on opening track ‘Fields’. The lavish callings are there in the vocal harmony and they marry well with how the rhythm is transitioned. That allows the fullness to spill out on each turn. A sense of comfort cushioning the playing builds a broad arrangement into the workings that narrows the scope and range in a specific way, but this suitably closes around it all here. Second track ‘Actors’ has a meander in the tempo that gathers gracefully. It steers things through and the guidance of the tune is a steady one. The fortitude of the appreciation is there in the musical layers that accompany the delivery, while the lingering of the vocals situates the captivation explicitly by design. Hints of influences from acts like Band Of Horses are picked up on from listening to this and on ‘Beach’ that is confirmed. The walk through feel of the song is a big plus. A depth seems to subside in the tapered approach that is highly suitable here. The instrumental side of things is slightly more detailed also, while the soft and tender calling of the vocals carry it. The EP closes out with ‘Reunion’. All the affection is outlined in the approach. The dream like feel of the music courses through here before it picks up and a harder shouldering of music muscles through in the bridge. You feel the urgency as it impacts and it builds the tune deliberately in the process. What is manufactured in the approach here rises in a high and even way that yields in a big way for the band. It is a just reward for their endeavours also and closes out with a dynamic conclusion.
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THE TWOKS First Light
The rich retro feel that hangs off first track ‘First Light’ transports you back to the 1980’s. It is so brilliantly engineered. The fantastic movement is there on all fronts, while there is an apparent revelry from the vocals that gives it lift. ‘Hey’ is just a brilliant track. The catchy hooks on the intro are simple but they provide well for it. The drive of the rhythm is sharp and focused here. The tumble in the running gives it bounce and light it up in a resounding way from the off. It is a clever tune that seals everything in and lets it out in the form of a tune that is nothing short of excellent. The slick ‘Hold On’ just goes the distance after the first couple of seconds. It has this unbridled retro charm that meets with the substance. How that gathers up also has a controlled and capable demeanour that hangs back expertly. The vibrant flourishes on show work effectively and this is another track high on the wow factor that holds everything in place. In how everything is held together you can’t help but sit back and admire the artistry. The cautious ‘Step Slide’ moves at its own pace. The steady glide of the delivery has the necessary sublime touch to it that feels it all out in the right way. Acclimatised by design they direct everything with a purity that is astounding to say the least. The insightful allure is impeccable here and the progression towards something with a broader scope takes your breath away with the brilliance that spills out here. The full on nou disco feel of their closing track ‘My Place’ hits the ground running. There is a justified completion in the feel of this band that impresses for all the right reasons and this track exemplifies this. The transition in the pace is a blistering attribute here which is backed up by the determination of the handling as a whole here. The next best thing to sending you back to the 1980’s would be a DeLorean. Get on this.
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.......................................................................................................................... VERDIGRLS
Heartbreak Hour The richness of the electro chamber pop sees everything right on ‘Long Gone’. The enamoured appeal of the running is a sophisticated attribute that is called out in the right way here. The way the intro is sunken is a good call because the electronica added lights it up effectively. The intricate flow necessitates excellently here and commendably allows the vocals to front everything. They extend that richness of appeal with ‘Feeling Nervous’. They catch a formidable level of appeal in the delivery that shows through on so many levels. A patient attribute in the synth is taken stock of with a redeeming sense of excellence surging through that commands the running in a highly effective way. The string arrangements also close around it in a telling way that absorbs you in the listening experience, while they also make good use of the lyrics in the track to give everything a fluid sense of meaning. A sense of versatility comes through on ‘Think In Blue’ that rounds everything off. The spirited saunter of the tune is keenly kept in check. There are pockets of charm at work here that are highly detailed. The approach undertaken is one that is highly proactive and takes hold sensibly. The rich calling of the workings cleverly create structures that magnify the gradual processes at work. They then take things in on ‘Take It Easy’. The way it is all figured out is thrust forward in a promising way and the accentuated essence of the strings carefully processes the more genteel aspects on show. The final track here is ‘Heartbreak Hour’. This has a haunting and reflective calling to it all. The sweet sway of the flow carries through with real bravado, yet retains a still sense of identity that works exceptionally well.
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FROM BEARS Wompus & Son
If you are looking for something completely different with style, substance and innovation then you will find it with opening track ‘Bizarro’. The clean flow of everything has a virtue that embraces the creative processes and allows the music to develop in a catatonic state that is comfortable. The hardened psychedelic flourishes catch everything neatly and the precision applied develops the tune in an incredible fashion here. After that we have ‘Growing Flowers (In The Microwave)’. The dalliance of the arrangement is well considered. The fresh take on the vocals matches the obscure face value of things. But it avoids pretentious. Instead the neat details on show cleverly reside over everything by design and that secures a comparative sense of wonderment that cuts through in the mix superbly. The catatonic sensibility of ‘Strange Eyes’ builds everything up in a fashionable way. The apparent way things come together considers the approach and undertone in an impartial way. This gives everything a stray calling that cuts to the chase and builds up in a creative way. The down feel about it is also a rich characteristic that fronts it with real zest. The last track here is ‘Pink’. A level of funk hides away on the running that cleverly announces everything. The smooth and choice way it lights everything up is worth every penny. The lucid awning also processed is a big drawer, while the laboured feel is candidly included and defines everything with a pure essence that captures a true appreciation for all the music in how it is laid out.
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.......................................................................................................................... KALEIDOSTARS Kaleidostars
‘Autograph (I’m Gone)’ opens proceedings and the guitar is the thing that grabs you. Then the vocals come in over that and own the moment. The tasteful way it all develops has an intake that considers everything on merit. The lay feel of the tempo hangs back and has a sturdy enough impact that carries through. The steady ‘Phenomenal’ has a shoot the breeze feel to the delivery that it clings to. The tapered vocals residing feel comfortable and know their place. There is a hint of the Go- Go’s about it all. It has a light feel but that adds to the appeal because it is a solid footing that everything is built upon. The riff on ‘Soar’ seems to procure a feel that gives everything a Violent Femmes appeal. There is a withdrawn sullenness to the way it then sounds. The laboured feel of the vocals that front it consolidate before things pick up off the back off that determined opening riff which carries through when it picks up. Quite the pop tune then follows with ‘Goddess Of Murder’. They seem to embrace the calling here and it is a polished effort that comes together in a reasonable way. The calibre of confidence laid down measures up and signifies a stellar footing in all the right ways. That shoots straight from the hip and the mainstream appeal could secure radio play for a song like this. Whether or not that is there by intention or design matters little because the assessment of the end product would remain the same. Things sign off with ‘From Here’. The sturdy guitar and drumming dictate the pace on the intro. A neat follow through in the vocals passes through in an impartial way and it comes alive when the chorus kicks in. The build and arrangement are commendable from how they frame the song. The other positive to it is the way that it keeps shape and stays the course.
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BLOOMS If
Felt through with a comparative quickening of the emotion is ‘Lust’. What it strives for in the minimalist approach is achieved with the high yield of the synthesised characteristics on show. The longing of the vocals touches through in a heightened way that is rich in texture. The synth adds the necessary hint of flavour and the way it is all pitched drives it forward with a sense of togetherness about it. Mirroring that approach is ‘Skin’. The replete calling of the vocals adds a touch of notoriety that the solitary reflections demand. The sincerity of her declarations accompanying the lyrics adds warmth that seduces you as it plays through. The broad structures allow it to be framed in the right regard, while there is an anomic reach procured in the delicate details that saunter along in the tempo. ‘If I’ adopts a stationary approach. The interesting sediment in the bearings stifles through with clear distinction. The lightness of being holds that sedate quality with a degree of composure that moves through the sullen attributes of the rhythm. The fourth and final track is ‘Last Time’. This again brings a fine consideration of scope and texture to the table. An atmosphere builds in the reach that heightens everything appropriately. The leverage that the tempo considers brings things through in a formidable way. Despite the lack of pace or urgency, there is still a large degree of ability apparent from the neat way the impact is developed from the approach. It wiles away and her voice wraps around the running in a superbly comfortable manner.
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.......................................................................................................................... VISITORS Truth
The skip in the tempo shades things on ‘Truth’. It is a solid number that collects in an even way. The shift in the direction on the playing is a brief one and just rings out with a guitar riff. But it adds bite before hanging back in the more restrained comfort of the delivery preceding this. Gifted by the intro is ‘Stay Away’. It is backed up by the intention that selectively courses through. There is an air of confidence to it all. The slick feel of the playing cushions things and does offer a suitable degree of framing to it all here. That then connects with the passive attributes in the vocals and the lean calling comes through where and when it should. The third track here is ‘Radioactive’. This is a clean tune that immediately grabs you with the catchy hooks. The toil of the vocals adds a New Wave appeal akin to Joy Division but armed with a harder calling when it lifts off. The impartial manner of the tune is one thing but the leveraging in the running seems to be the real deal. The generous layers of playing add a formidable reach when they are called upon. What also lights it up here is the enigmatic allure of how catchy the bass riff is on this one.
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EMILY & THE NOIZZ
Making Noizz With Emily Review by Jamie Kelly The first track is called ‘Shy Friends’. It starts off with a quirky little intro. The vocals come in the form of pros for this track as the spoken word is very effective. There are a lot of great sounds going on with this making it very psychedelic. The melody that bursts in from time to time throughout is sweet and gives it a bit of dynamic. Next comes ‘Feather’ and is a little more intense than the last one, which is sustained throughout. It has a comfortable flow which gives off a great vibe. I really enjoyed the section in the middle, which tones it down and it complements the spoken word layered on top of it. There is so much going on that it’s hard to pinpoint what it is that gives it that vast enjoyment to listen to. ‘Leda’ instantly gives off some strange vibes. There is something very sinister about the intro. The spoken word comes in over the top and it goes into full blast. This gets fiercely intense in parts. The piano throughout the track was top notch and really contributed to the vibe as a whole. Following that is ‘Heart Note’. This starts off with an evil type of feel to it. It’s quite an industrial effort. Some nice chuggy distorted guitar throughout really made it for me. It is always good to hear and it gave the song some nice variation to make it stand out. This has an excellent fade out too. Things come is a little softer with ‘Chillwind’, which lets the listener relax for a few minutes. It has a very long intro, not too long though, that is highly effective. When the beat makes an appearance half way through it really brings it up a notch. It’s very uplifting and positive. There is some cool melody going on in there also. A lot of great sounds going on throughout, and again this has a great outro that really adds up. This brings us to the last song on the EP. It’s a remix of the first track entitled ‘Shy Friends (shroomz mix). Seems like quite an appropriate name anyway. It doesn’t stray too far from the original just a bit more up tempo. A good mix and a great addition sum it up.
9
Overall I thought this was a great EP. All the songs are very well written and put together. You can hear a lot of work went into the production. Lyrically, it is also fantastic. It’s like a strange mix between poetry and psy-trance which makes it a great listen that is very psychedelic and trippy.
.......................................................................................................................... BABE PARADE Babe Parade
The first track on this EP is called ‘Motel Secrets’. This has a great intro. I really liked the little melody they used. From the get go something that is instantly noticeable is the two singers. It’s not something that you really hear that often. It is very effective when done right like it is on this track. The nice bit of repetition on the chorus gives this a good hook for the listener to catch hold of. Then we come to ‘Paper Máché’. This comes in with a nice relaxed vibe and a lovely groove. It’s a small bit repetitive, or more that it lacks a little variation throughout. The vocals are great though, and suit a great performance and are well produced. Third track is ‘Slow Down’. This is positive and upbeat from the get go, while it also sounds great. The drum beat gives it huge energy and life. In fact the drum performance throughout it really controls the dynamic and mood. Vocally it is very strong. I really liked the melody that creeps into the background toward the end and it is quite different to the previous tracks, which gives this EP a nice bit of variation. This brings us to the last track ‘Fickle’. The drum beat is incredibly integral to the vibe and mood. It has a great energy to it. From the first note the vocals are superb, and have a sort of ‘Kings of Leon’ vibe to it at the start. There are some lovely melodies throughout the track. One in particular that is played on a xylophone stands out. This sounds fantastic and gives the song some really positive, uplifting energy. This doesn’t change too much throughout, but overall is a great effort. It is probably my favourite song out of this collection.
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Overall the EP is pretty decent. It is a good listen but nothing too out of the ordinary.
International Artists SPIRIT BUNNY Disco Horseride This is a great tune and one that has face value from the very second her voice cuts across it. A listless calling fits the slight opening and she graduates into the delivery in a very smart way. The wanton feel of her vocals give it lift and the delicate showing of the arrangement also mirrors this. That is why it weighs in as considerably well as it does.
9
POLAR STATES Concrete
9
The simplicity tides away on the rhythm here, but the full on impact is apparent. The lift in the tempo shows promise while they find their groove as they corner the faster and loaded elements of the track here. What is left standing is a wall of sound that is full on with the way it pitches up but also cleverly pieced together with the right touches dropping in an out by design.
International Artists
GOING 90 Slow
The hardy feel of the guitar work brushes through here with real gusto. This in turn seems to steady the song and the vocals have a withdrawn stirring going for them that plays the part here. Hints of American rock come to settle upon it and those comparisons are justified. How and ever, the pace is a steady calling which houses the framing of the delivery as a whole overall. Quite clean and catchy dynamics shoulder the overall way it runs.
8
TOY SOLDIER Sugar
9
There is a rich European vibe to the beat on this one. There is also a distinction to the vocals that works. In a way it is supple qualities filter through and the obtuse disco beat then turns a corner for the track that seals the deal. There is a conveyance in how it steadies that faithfully holds its own. The even flow of the track is well considered and leads into the pick-up smartly.
DOODAH FARM Oi Oi The clever and ample way the tune develops is down to the courteous embracing of folk elements. But they seem to direct this in a contended way that tellingly surges through. It has a laboured confidence and charm to it all that is equally impressive because it gives the eccentric side a face value that wiles away in an even way.
8
THE BLACK DELTA MOVEMENT The Trip
10
How the psychedelic curves around the sound here takes it back in time. The wondrous ebb and flow is there to be appreciated. The hard angle of the guitar clings cleanly and builds it all with a sense of purpose. This is pitched and there is a narrow angst in the vocals that the trippy aspects of the sound embrace furthermore. The turn of hand in the delivery is sublime and graduates with a formidable presence secured in the running that never puts a foot wrong.
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OCEANICS Feel It Coming On
International Artists
There is a seasoned calling to this song that materialises in how it plays through. Overall it is a safe and considered tune that warmly comes to pass, while there is a favourable appeal about the lyrics that crosses over here. The neatness of the harmony works in a dependable way and this is matched by the relativity of the flow in the tempo.
8
ETCHES Ice Cream Dream Machine This is a tune that is impressive for the way it seems to develop an inward projection in the tempo that connects with the listener. That ominous feel depicts a foreboding gravitas but the inspired calling of the other elements in the tune bring it all through. The projection is one that is rich in substance and texture while also engaging an alternative approach that doesn’t alienate.
9 NO HOT ASHES Goose
The location of the funk in the tune is a stylish calling that knocks on the right doors. International It has a strong calling and the catchy way that it retains that level of consistency in the running here is an imaginative turn that it calls upon with real flair. The meeting of style and substance also brings through indie credibility in the process that is finely considered and factored in.
Artists
9
12 GAFS Never Stop On Yellow Lights This is a masterful tune indeed. The clever way that it takes off is sustains a fine level of ability and intent. The clever way that the reach is secured in the process flirts with a brash nature but seems to stumble upon something formidable by design. That is then carefully considered as everything comes to pass and the urgency gets beneath the delivery to give it the desired kick it needs.
8 THE DURTY WURKS Hold On
This is a blindingly catchy number. The stomp of the rhythm that feeds through from the guitar weighs it all up. Then a free and tight spirit spills forth from the vocals corners the break down. This in turn handsomely embraces the delivery and the full on effect is keenly felt for all the right reasons as it hangs back in the clever manner that it does. A lot is also going for the lyrics on show and how they hold up here.
9
THE BLACK ISLE Shake Up
9
This really brings the rock it must be said. The opening guitar riff burns the air and the vocals come in and match the promise that is suggested. The lean and heavy sound is one that collects as it should. The volume and brash overtures move you in the right way, while they get down to the task at hand in a way that superbly comes up trumps with the effort as a whole displaying hard rock values but matching them to a showing that contains substance.
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YAWNING DOG Doll/Torso Dojo
International Artists
This double A-side gets going with the withdrawn and disenfranchised ‘Doll’. The raw and unbridled feel of it deliberates in a sufficient way, while the undeterred feel of the play moves through to suggest that although it is rough around the edges there is potential. Which it has. ‘Torso Dojo’ is the better of the two. The trajectory in the delivery yo-yos through considerably well. The animosity of the sound is secured and the pitch of the vocals is an invested turn that lights up on the break down impressively. The shoegazer touches contrast with the hardened flow smartly.
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TEMPER-MENTAL MISSELAYNEOUS Heart Lose Tempo
8
Another double A-side, and this offering from Dublin hip-hop artist synchronises everything on ‘Heart Lose Tempo’. The relativity in the beat catches a secondary characteristic that dwells in a way that agreeable reaches out. The shorn flow of the lyrical is a narrative that smoothly holds it together. The second track is ‘Tír Na Nóg’. The contemplation in the delivery comes through. A balance and versatility is noted here which gives the track an excessive pull that is completed by the backing track. The nuances of synth and electro add a vibrant flux that is observed in a neat way.
INDIA MILL Morning Song This is a tune that connects from the off. The way that the delivery is steered International through benefits from the approach if the weighted lyrics and how they break down on this. The passive approach seems to meander through in a way that is in keeping with the settled turn that builds it all up. High in indie and high on appeal indeed.
Artists
9
STEPHEN YOUNG AND THE UNION Duty Free 200
8
Here is a tune that has a settled sense of identity which helps it finds its identity. The momentum in the breakdown of the music has a solemn feel that configures in a much celebrated way. An ornate awning in the vocals whittles away and suits the placid broad arrangement that forms around the delivery.
I AM HARLEQUIN The realised flight in this track is something to admire. The dalliance of the vocal harmonies is a neat attribute that stands it good stead. In the arrangement there is a layered flow that captures an enigmatic resolve that grows in stature. It is a tune that is high on appeal and innovation, and because of that unique sense of identity and awareness it leaves a lasting impression.
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THE ESKIES
9
The offbeat charm of the song weaves through here. There is a sense of intent form how the chorus bellows out that grabs you in the right way. The eccentric charm of the ditty that makes up the rhythm supports it all in a savoury way. Overall it is a pleasing effort that strongly comes up with the goods and it is a track that has a presence all of its own making.
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This is the November 2014 4x4. It is an editor's pick of four videos by four artists selected from four of our music networks. At U&I we work with 94 co-ops across 49 countries and the music network that the recommendation comes from is indicated in brackets.
TINY VINYLS "Black Eyes" (Dublin)
DARREN SYLVESTER "Fresh Face" (Melbourne)
BLACK SONIC REVOLVER "Sometimes" (Manchester)
PUPPET REBELLION "Cupboards Painted Red" (Manchester)
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