'White Billboards' is a reflection on the power of advertising on in our society and how models and standards influence our choices, happiness and feeling of adequacy. The song pictures an imaginary future where as an result of over-saturation, people have become indifferent to commercial models. Advertisers and brands have run out of slogans and have lost their impact on people and society. There is a question left open, which whether a society with empty billboards would indeed set us free to be happy or whether it would leave us lost and unable to regain a personal identity. I love this premise for the latest single 'White Billboards', from Dublin jangle-pop outfit Montauk Hotel, it is the dystopian futures of Huxley and Orwell in reverse, where instead of humanity becoming more imprisoned, it is liberated. With the intro you know that Montauk Hotel's sound has now become irrevocably noticeable over the last few years, even before the vocal joins in. Guitar and percussion are, just like the theme, upbeat, positive and of a sunny, hopeful disposition. The band could easily have stayed within the structure of the track for its entirety and the listener would have been more than happy, but lo and behold Montauk surprise us with a moving break at the 2:22 mark, lead-singer Claudia Verdecchia briefly pauses while a wonderfully deep bass-line pops up and is joined almost immediately by thundering bass-drum and stirring harmonies before closing. Consistently good and thoughtful song-writing, plus an ever-expanding musical landscape are what have seen Montauk Hotel's arc continue to rise upwards, long may that continue. https://open.spotify.com/artist/4jAGKoN1UfczuLA8qH6c99?si=ubwlQHSBTqmOryrE6_SlHQ
In our latest round-up of new Irish album releases which have come out over the past month, we feature the sophomore albums Suck the Wound from Dublin contemporary folk quartet Mongoose, and The Dancer From the Dance by Wexford's The Man Whom. We also have a wonderful debut LP via Dublin-based atmospheric art-folk artist RUNAH, titled Strange. 1) Mongoose - Suck the Wound Few Irish bands carve apart modern folk and put it back together again with so many different layers for the listener to explore in the manner that Mongoose do. Following on from their hugely successful self-titled debut in 2015, the four-piece open plenty of new doors for us to peep into on Suck the Wound. The opening title track is an empowering behemoth that sweeps away any feelings of anxiety or doubt right from the start, the dark tones and their seamless harmonies catch you in their trap in the most willing way early on on the LP. 'Hard Ground' shifts key in an instant, a confident jazzy strut which bursts apart at the 1:16 point, again that inspiring and assertive tone is so energising, there is sass everywhere. More melancholic moods unfurl on the sad but beautiful 'Draw the Line', a slow rhythm and tempo ease themselves across the track, and her the lead vocal and harmonies take on an almost medieval ballad hue, hearts are broken, but new chapters open. A very warm highlight arrives on the wistful dirge of 'Sister', steeped in bare classical folk á la Pentangle, the deep hum of the cello is brief but impacting, there is a lot of room for your ears to breathe here and soak it all up. 'While Away' picked me up and dropped me unceremoniously off at a dimly lit club in 1970's Greenwich Village, Joni vibes abound and every note trickles effortlessly off their instruments.
Lead single 'Body & Soul (For Cara)' arrives near the album's end, like what has come before, they execute the build expertly, but with more restraint, the melodies are enchantingly colourful as the percussion alternates between trundling passages and a slow metronome beat, it's a strangely beautiful and other-worldly experience. And that for me sums up in many ways Suck the Wound, it's a sprawling canvas of sounds, moods and themes, like one of those massive paintings you see taking up an entire wall in a French museum, you have to stand fully back to appreciate it (and attempt to) take it all in. Key tracks: 'While Away', 'Suck the Wound', 'Body & Soul (For Cara)', 'Sisters', 'Draw the Line'
2) RUNAH - Strange Another act that excels at arranging mysterious landscapes is Tara May, aka RUNAH, her sophomore EP Ghosts which was released towards the end of last year came from a place you'd never tire of wandering around. Strange is markedly different in many ways, from the jazz-tinged opener 'Winter' whose bass recalls Sneaker Pimps and early Massive Attack vibes, RUNAH tears up her own songbook on these 10 tracks. Gently trembling strings vibrate in the background on second track 'Shame', the bass rumbles and those early shy strings push themselves into a position of prominence giving added energy and power to her vocal, not that it was needed. There is so much to delight in on 'Ground', like a modern day Connie Francis, we're in spaghetti-Western soundtrack territory here, the music ambles in a lethargic yet purposeful manner as the vocal stares deep into our eyes and souls.
The tenderness and alluring beauty of 'Something Like a Prayer' is nothing short of heart-breaking, the enchantress possesses our entire being, a potion of deep and heavy piano keys, almost inaudible strings and ominous bass that kicks in at 2:32 take the listener hostage and the Stockholm syndrome is strong and cannot be unbound. Majestic. Closing with its title-track (above video) a rare moment of brevity which provides both a release of tension and also a platform for the artist to show another hand in her musical deck. This is utterly contemporary sonically, bordering on electronic, one last imprint on the listener's brain that won't be erased anytime soon. Escapist, hypnotic, mystique, power and a harrowing beauty, RUNAH's debut album has an individuality and uniqueness whose abstract creativity must be celebrated.
Key tracks; 'Ground', 'Winter', 'Shame', 'Something Like a Prayer', 'Strange',
3) The Man Whom - The Dancer From The Dance
Wexford's Ian Doyle, The Man Whom, released his much-lauded debut album The Greatest Event back in 2011, a mixture of melancholic and upbeat folk tracks with an alt-country hue, during which time the artist also made an appearance at Other Voices. Old man time has been nothing but kind to his song-writing in that 8 year intervening period, a glorious string-led introduction on the fittingly titled 'Time Reprise' makes a powerful opening impact, this is how you get back in the game.
'Saturdays She Plays Her Piano' is a thematically heavy and very real affair, opening with the line; "Once she was a singer in a jazz band, but that all ended when the kids came along, her piano now sits silent in the corner, locked key lost, buried in a drawer, and she says 'evidently I'm afraid of failure....'" Observance of the less happy twists and turns in life are a key feature in Doyle's lyrics, respectfully delivered with a benevolent vocal and moving musical passages.
'Pennies for the Poor Basket' is an interesting moment on the LP, a fulsome introduction makes way suddenly to the barest of bones, a delicate vocal and sparse acoustic guitar lead towards a meandering bass and piano sequence. A recollection of childhood memories seen through the prism of adulthood, and importantly leaving aside rose-tinted glasses.
For an album which regularly gravitates around a focal point of minimalism, The Man Whom is equally adept at producing grandiose orchestral flourishes, which are best captured on the captivating crescendos of 'Time', a track which initially disarms before pulling you out of your slumber to great heights. Towards album's end comes a key highlight in the form of 'Two Voices', an unusually morose warmth with a rich acoustic glow, again Doyle embraces simplicity in sound and rhythm because sometimes that just works far better than over-cooking. For a genre that I would probably not normally run to for gratification, The Man Whom has created an album which has far more depth than is initially noticeable on the surface, and more importantly, The Dancer From The Dance provides more than enough diversity to ensure longevity and repeated listens.
Key tracks; 'Time Reprise', 'Saturday She Plays Her Piano', 'Time', 'Pennies for the Poor Basket', 'Two Voices'
I've been away from home the last three weekends in a row, this is when I usually have time to catch up on reviews, so the latest Irish playlist is a bit of a bumper affair featuring 21 tracks which were released over the last few weeks, plenty to dip your wee ears into, lots of wonderful variety and then some! I recommend shuffle play, because there is no hierarchy of talent on this playlist.
1) Nix Moon - 'Ceremony'
One of the finest acts to emerge from Dundalk over the last number of years, Nix Moon share their latest single 'Ceremony' which will feature on their debut LP which is due for release later this year. Drawing on the best elements of 60's psychedelic folk-rock, trippy kaleidoscopic vibes wash over everything like a golden summer stream, a gorgeous aural balm.
2) Cinema - 'Temptation'
Peter Fleming aka Cinema released new single 'Temptation' with an accompanying video on the 2nd of May which he shot himself. A huge success on streaming platform SoundCloud over the last four years, his individualistic brand of lush ambient electronic music has amassed tens of thousands of streams. 'Temptation' is, to my ears, absolute heaven, disarmingly chill and subtly upbeat, Fleming masterfully melds old-school trip-hop with a contemporary flourish.
3) Nealo feat. God Knows - 'Questions'
I'm a late-comer to the music of Nealo who I caught live for the first time a number of weeks ago at Molly Sterling's headline show in Whelan's. The jazzy backdrop glistens with retro 70's funk and keys, Nealo's vocal is smooth and the best kind of nonchalant and despondent, and when Rusangano Family's God Knows joins the fray he balances that mood with more assertive tones, it's a doozy of a track from the pair.
4) Trick Mist - 'Scribble'
Cork-based experimental electronic artist Trick Mist has been such a musical gift to me over the last number of years, few acts have progressed their sound with such rapid pace, I'm still getting my head around last year's debut LP Both Ends. 'Scribble' is another leap forward, Gavin Murray's imagination and desire to dig deeper into his creative well and push himself is admirable. The track is dark, textbook hypnotic, and powerfully pushes the listener to expand their own boundaries.
5) Patricia Lalor - 'Anymore'
It's astounding to me that Wexford indie-pop / jazz tinged act Patricia Lalor is a mere 13 years of age, her single 'Anymore' was released last month, and it's so easy on the ear, with its greatest strength emanating from her smooth and endearing vocal delivery. She has already received high-praise from Hozier for her cover of his track 'Cherry Wine' and amassed over 100k views of another cover of Mac DeMarco's 'My Kind of Woman'. This is a classic but rare case of a huge talent that can go anywhere over the next number of years is she is already writing songs of this quality.
Patricia Lalor
6)Adam Garrett - 'On / Off'
Kildare act (now Dublin-based) Adam Garrett's debut single 'On / Off' can be summed up in two words, disco chic. Sultry keys, bass and an amorous beat wrap their arms around this retro 70's zinger.
7) Caleb & Walshy - 'Terminal 27'
South East London and Dublin hip-hop producers Caleb & Walshy shared latest single 'Terminal 27' a few weeks ago. The musical canvas reminds me of the jazzy movements of St. Germain's Tourist album, but with a heavy dollop of enjoyable retro disco glimmer.
8) BODIES - 'Roses'
David Anthony McGeown, aka BODIES released a compilation album of covers and new original material titled Glue a few weeks ago, and it's quite different to the wonderful debut album Drench he released last year. 'Roses' is far more upbeat and groove-laden to what we have become accustomed to from BODIES to date. Sleepy bass-lines and percussion set the scene on what is a very disarming and at times haunting piece of beauty that arches into bright and hopeful territories in its latter stages.
BODIES
9) VIDEO BLUE - 'Guts'
The third Dundalk act to feature on our playlist, U.K.-based Jim O'Donoghue Martin is another act who seems to be effortlessly able to blow apart boundaries in his song-writing. A master at connecting indie-pop with the most colourful and uplifting electronic palette, 'Guts' tempers its brevity with a calmly emotive and morose vocal by VIDEO BLUE.
10) The Vercettis - 'Cradula'
Cork-based The Vercettis have dropped their third single, 'Cradula' recently, from their forthcoming EP (due 17th May), based on the pov of vampire Cradula, and self-described as a sleazy alt-rock number with hip-hop influences, it has one of the most surprisingly and brilliant twists at its half-way point. A ska-heavy affair that bursts from it's lumbering tempo into an all-out blues-funk guitar jam, I am in love with every second of this track.
11) In Their Thousands - 'Water'
Donegal indie-rock outfit In Their Thousands are set to share their debut album Arcasia with a launch at The Grand Social this coming Friday. The most recent single 'Water' confirms their well-earned praise from the likes of Hot Press and The Last Mixed Tape. Their control of mood and emotion in their song-writing coupled with the broad atmospheric horizons they paint on this single indicate we could be sitting on an Irish album of the year.
'Arcasia', the title-track from In Their Thousands' forthcoming debut album
12) THUMPER - 'In My Room'
My favourite noise-makers of the last number of years, THUMPER released latest single 'In My Room' last month, a delightful slice of thrashing guitar-pop with little strands of Weezer-esque be-bops and rhythm. Retaining their trademark caustic distortion, the group do shed just the slightest amount of the dizzying wall of sonic mayhem as they proffer a more pop-focused sound. Their best single in my opinion from the last 12 months.
13) Ghostking is Dead - 'Deflector'
The freshest sound-maker to emerge from Cork recently, Ghostking is Dead's sound is already becoming recognisable as his very own. 'Deflector' is a devilishly entertaining hybrid of electro-funk and dark-wave electronica, bubbling with a vibrancy that is notably different to his immense 2018 EP This is Doubt. It's a word I have used extremely sparsely over the years, but there's a definitive genius to the music Matt Corrigan is making right now.
14) A. Smyth - 'She Kicks'
Ahead of the release of his debut album later this year, alt-pop act A. Smyth shared latest single 'She Kicks' on the 1st of May. His metamorphosis from indie-rock band member at the beginning of his musical journey to solo act continues apace, an homage to the women who continue to break down barriers, the Bruce Springsteen-inspired track grows rapidly on you after only a few listens. 15) ELKAE - 'I Feel' 'I Feel' is only the second single from Dublin electro-pop artist ELKAE, but she is already making a big name for herself among her peers. Her debut single 'Sold' received airplay on all of the major Irish radio stations, and she was in the Top 10 of IMRO's 2018 Songwriting Competition, and now a slew of major Irish festival performances await. The track is a fusion of classic 80's synth with modern escapist downtempo dance notes littered throughout, this is a really nice and addictive little pop pill from Laura Keane.
ELKAE
16) Ferals - 'TwentySevenOne'
Continuing the line of brash and hard-rock that Ulster has gratefully flown the flag of over the last few years in Ireland, Belfast post-rock outfit Ferals released latest single 'TwentySevenOne' at the end of April. A really fine homage to the golden 90's era of the genre (a little bit Idlewild 100 Broken Windows album) there is a very endearing bedroom-DIY rock feel to the crunching guitars, bad-ass bass and drums. Stop-start motion and rhythm abounds and a superb vocal from Shane acts like the anchor in the storm, this is by far their best single that they have shared to date.
17) Rêves - 'Short Dress'
Dublin indie-pop band Rêves (dreams) fucking kill it on new single 'Short Dress', this is like a synth version of an Old Hannah track, you can take it two ways, float away with the fun vibes, or slip underneath and let the deeply understated and almost unnoticeable melancholy of the vocal and lyrics grip you in another manner. An emotional dance-floor filler with great depth on a number of levels.
18) Shrug Life - '2009'
If I may blow my own trumpet a little here, one of my favourite song descriptors that I ever wrote was about Shrug Life's 2016 single 'Marvin Gaye' which went; "This is how I'd imagine Weezer and Morrissey combining after the The Smiths frontman finally found his bag of Xanax which he misplaced back in '83." '2009' drops Weezer but still has that Morrissey tint courtesy of lead singer Danny Carroll's personality-filled vocal. A joyous swarm of anarchic drums and guitar riffage, if you don't like this song, even if Dua Lipa or Michael Bublé are your normal bag, I think you are going to live a very unfulfilled life.
19) Paj - 'Yemanja'
Following debut single 'Friends Confused' shooting its way onto the 'Breath of Fresh Éire' Spotify playlist, Paj drops the outrageously funk-laden follow-up 'Yemanja' without delay. Dubliner Paddy Groenland is immersed in world music, which soaks into every pore of this track, an ode to the Afro-Brazilian sea goddess of the song's title. Loosely it reminds me of The Isley Brothers, The Meters and a lil bit of Sly & The Family Stone, but lathered with a culturally diverse veneer. One of the most heart-wrenching soul vocals in Ireland obviously adds infinitely to the supreme pleasure of his music. 20) Tanjier - 'Days' Tanjier push themselves further into well-produced haute-pop commercial enclaves with latest track 'Days'. It's a bone-fide top-down sunshine state three-minutes plus road trip that hits our ears just in time for (the Irish) summer. Whilst my inner-hipster tells me "I preferred their earlier stuff, maaaaan" one of the hardest-working Dublin-based bands are so deserving of a wider audience and bigger stages. 21) Danny G & The Major 7ths - 'Believing' Danny Groenland, yes, you guessed it! Brother of above soul-brother Paj (side note: I envy how handsome those two dudes are), was one of the first Irish acts I saw live when I started the blog, and I'm pretty sure the first musician to invite me to a live show back in October 2014 in The Grand Social. Anyway, the music, 'Believing' literally sings to me, if in an alternative universe I could only listen to three genres of music for the rest of my life they'd be rock, blues and soul. Danny G has an almost scientific ability to deliver the smoothest and most velvetine soul sound, this man knows his shit when it comes to honouring the genre in the most respectful and brilliant way. At 1:16 when the flute and singer Gráinne McCarthy enters proceedings the banger starts to bang bang bang. The track is an antidote to sadness, melancholy and dark personal times, music is a drug that remedies so many ailments, and you'll spend days, weeks and months trying to find a better prescription than 'Believing'.
One night in 2014, Danny G & The Major 7ths @ The Grand Social.
Eve Clague is an urban-folk / singer-songwriter hailing from Clonakilty in West Cork, who released her debut EP Young Naive Me last week.
Of the gorgeous opening self-titled track we wrote back in March; "On her debut single Eve Clague is nothing but natural, and there's a very fulfilling clarity and pristine delivery to her vocal here, no distractions. On first listen you are struck by the classic sound of both voice and music, but it also sounds effortlessly timeless, like it could never sound dated no matter when it was released. A disarmingly gentle sway drifts all across the track, comforting and warm, yet confidently driven towards a determined rallying call, sitting somewhere in the apex of folk, soul and even little hints of jazz vox."
It doesn't get more sleepy, and enchanting in the most melancholy manner, than on 'Endless Emotion', it's a stunning performance from Clague. During my late 20's to early 30's I would say 90% of my listening was 60's and 70's music, very little contemporary which I fell completely out of the loop with. Point being, this track, and other parts of Young Naive Me have me scratching my head as to what they are doing being born in 2019, this would have seen her make ripples between the late 60's and early 70's by any measurement, this is not hyperbole.
Falling back into contemporary folk territory, deft guitar plucking and a sweet jazz-infused electric guitar progression set the scene. Clague's vocal again is intoxicating, the pristine and lucid delivery is unique, even on its softer moments the power is observable. The orchestral movement and what sounds like upright-bass bending into the final thirty seconds add to the mystery and atmosphere.
By 'To and Fro' (and actually earlier on the EP after a few listens) you begin to note a defining characteristic of her song-writing, you think you are embarking on a bare acoustic-led journey, but the artist always has an ace up the sleeve later in each track where we are lifted to heightened plains of emotion, that said, this is probably the calmest moment on Young Naive Me.
Closing with 'In Needing Others' you are challenged moreso than at any point previously, that heart-bruising feeling the likes of Joni Mitchell or Jeff Buckley could conjure up with their voices, lyrics and music in combination is flush. Thematically, as the EP title suggests, the collection of songs are about vulnerability, and in this particular moment an admirable honesty admitting that there is a reliance on company, the opposite of the oft-used cliché of "I'm just fine on my own", independence doesn't lead to happiness in all cases.
Young Naive Me is so beautifully picturesque, it's authenticity can be heart-breaking and moving, sometimes more than you'd like to allow it to be, as an entire package you'll struggle to hear a more complete piece of song-writing by an Irish artist this year.
Dublin-based soul & blues singer-songwriter Stephen Robinson released his debut solo EP The Rest of the Night in 201, and is now putting the finishing touches to debut album Sunrise, a live studio version of the title-track was released a few weeks ago which you can enjoy above. There are a few familiar faces to be seen also in the band line-up such as Dec Quinn on keys and Aisling Browne on vocals.
Deep keys set the mood, and it doesn't take long at all to know you're in the thick of a very pleasing serving of classic blues-rock. Robinson's vocal is powerful and clean and the build is a swoon-filled affair, and then...at 2:47, Robinson's one-minute plus blues solo pushes everything next level, it's exhilarating and exactly what I love about this genre. Live videos rarely give the whole picture for what to expect from an album you haven't heard yet, but this is the perfect level of intrigue as we await Sunrise.
Formed in 2015, Wicklow-based alt-punks Felonies have striven to define themselves as one of Ireland’s most exciting live acts. Taking inspiration from the re-emergence of distorted garage rock and post-punk, the band combines raw lyricism, harsh musicality and melodic hooks to carve their unique sound.
There's a brash and intensely enjoyable hi-octane trundle that barges it's way unforgivably right across the entire 6 tracks of Felonies debut EP What Comes Next. This smash and grab sound trickles like dark melted treacle over the themes of the DIY-recorded and produced collection of tracks, whose theme is borne from the frustration of the myriad reasons behind the mass emigration of Irish youth over the past number of years.
This is an important concept to have delivered in 2019, when the crash happened it was jobs that were the issue, but despite 'positive economic forecasts', young Irish people still bear the impact of the crisis. Pay is negligible when looked at as a ratio to the cost of basic needs such as a roof over your head (merely renting), seeing colleagues further into their career but doing the same work (or less) earning multiples of your salary due to 'temporary' cut-backs, has led to a brain drain in many areas.
The opening passage finds us at an airport waiting to board, you can't even leave the country because of the weather! On 'Welcome' a background snare rattle and wonky riff light the match and set fire to the frustration, cleverly using the pilot's on-board announcement to explain why you are young, Irish, and fucked, musically Felonies fling catchy hooks at us like ninja stars whilst bone-rattling their way through a caustic and distorted call and response.
Following the skulking darkness of the drug crutch that is 'S.A.P.', lyrical delivery is spot on once again on the anti-rose glasses 'Small Town Syndrome', a despondent ode to those left behind, not just in the country, but by society, and who have given up all hope, condemned to what feels like a meaningless existence. The cross-over between psych-rock and punk from 2 minutes onwards is a joy to behold.
If you want to get aurally bruised the intro to 'You're so Dark' is just the ticket, here Felonies flush 90's noise-rock right down the middle of the sonic funnel, rabid and chaotic, the finale is a thunderous hand-slap in the face almost drawing blood. 'Guide to Art' is a highlight for me, again incorporating the call-and-response vocals which duel frantically amid hard-rock, in one song the band have managed to traverse punk, classic and heavy rock in the most entertaining way.
Sometimes artists can over-construe themes, burying them so deep and making them so broad that the message can get lost. Felonies are acute and precise with both lyrics and the idea behind What Comes Next?. It's a brave topic for a young band to take on, there or no illusions or allusions, it wears it's heart on its sleeve and it doesn't dwell on complexity, which isn't really a merry bedfellow for punk-driven angst anyway. Although they've been together for a number of years, it's still early doors for Felonies in terms of their output and reach, coupled with what I deem to be one of the best live bands in the country right now, and an ambitious debut EP, the world can be their oyster at the moment, and the path to the top of the mountain isn't looking too steep.
Larry is a three piece band from Dundalk. A combination of lofi alt-rock with raw emotive lyrics & pop sensibilities stems from the likes of Sparklehorse, Pixies and Wilco. Larry recorded their debut album with Steve Albini (Nirvana, Pixies, Shellac) in September 2018.
Having read an article recently by a medical professional in The Irish Times on how pointless vitamin supplements were (in relation to a new tax or something), I ceased taking my daily 1,000mg cod liver oil capsules which I have religiously consumed daily for the last 10 years. Whilst I feel liberated and have an extra 2 euro in my pocket every 2 months, some things are fading in my memory. Hence I cast myself back to a review of the first time I saw Dundalk trio Larry in The Bello Bar for the first time in May last year, supporting Just Mustard and Belfast's Hot Cops, Jesus, what a line-up that was. I'm glad I did, because the small number of lines I wrote at that time, which was also my first time hearing any of their music, are uncannily accurate to how I feel almost a year later with two singles, and a debut album now released.
"The first three songs were enjoyable slow-burners (29/04/19 - note:this is why I don't like reviewing live shows, Christ), and I found the sound particularly resonated very well with my inner love for old school US slacker-rock. I was enjoying my zoned-out slumber when they started to ratchet proceedings up in the second half and lead-singer Joey Edwards shifted from low tones to high to close out their set and leave you with a lovely rock-tinged finale. There are two sides to Larry's coin, and both are shiny."
With the new album well into the ear-drums, and the happenstance of having seen Larry on Friday night just gone at The Sound House in support of Third Smoke, the observation of both their sound and Edwards' vocal rising unexpectedly in their songs is fresh in the mind just as it was after seeing them perform for the first time.
I always love a gentle / rousing combination in lo-fi guitar-based music, the key for me is emphasis on the former, a roughly 80% / 20% split, and Larry do this so well. The two most influential albums on me since I was a teenager within this genre or style are Weezer's Blue Album and Pavement's Brighten the Corners which I reference a lot on these pages, particularly the latter. The great thing about Larry's sound is that they don't recall the sonic aesthetic of either, but more the platform DNA of both. The only track on the album that specifically reminded of Pavement is 'Liar' towards the end, and even then it's a stretch, reaching back for me to 'Old to Begin', the calm and the surprise raucousness of both vocal and percussion just when you are reaching peak-lull mood.
Edwards himself is a music producer whose name you will see in plentiful places in the production credits for other Irish acts, which undoubtedly was a contributing factor to Steve Albini wanting to cast his wand over proceedings last year. Having read a few interviews with Albini he always states that his modus operandi for working with bands is based on his gut feeling with that first listen, things like where you're from, what stage of your career you're at, or to be crass, economic benefits, are all irrelevant to him, it's purely based on his ear and nothing else, quite a ringing endorsement to say the least. Thankfully this process has been documented by KT Ball in an upcoming short which is due for release soon (trailer below). So, yeah, the album!
Opening with most recent single 'Cocker Spaniel', the track encapsulates the see-saw of understated energy and sleepiness of Larry's sound. There's plenty of thrash (not trash) early doors, jangly guitars and up and down drums, with the bass acting like a rope on a pier, holding a ship where it should be despite wanting to disembark. On a personal level it reminds me of one of the few hopeful passages from the gospels, Matthew 6:26:30 if memory serves me correctly; "Look at the birds in the sky! They don’t plant or harvest. They don’t even store grain in barns. Yet your Father in heaven takes care of them. Aren’t you worth more than birds?" Turns out god was a communist after all. Envy of the freedom and simple desires an animal enjoys (when they're not being hunted by a predator) vs. the complexity of meaningless anxieties humans experience as a result of our 'higher intelligence'.
'Wah' was the first track I heard from the album when Larry released the live video last year, and unusually for me I've found it hard to move on to a 'new favourite' as time has passed. It's perfect in a circular way, there are no rough edges, and everything is concise. Call it what you like, but it's prime lackadaisical slacker real estate, there are two sinkhole moments on the track, the guitar bend bang in the middle of 40 and 41 seconds, and that devilishly sleepy passage from 1:28 to 1:58, almost mathematical in its execution.
'Sea of Ringo Starrs' comes next, this track sprung out as something that should be on an OST for a Tarantino film (induced by a recent podcast I was researching for to a degree), it's Pulp Fiction / Reservoir Dogs soundtrack incarnate with a bruising finale, Dick Dale vibes abound, but also Link Wray's classic 'Rumble', here's where the past merges with a contemporary guitar rock sound.
'Marco' is by far the sleepiest track on the LP, the moment you pass out. As much fun as we've had with Larry's sound so far, this is an important stop-gap to remind us of the subject matter behind the song-writing, it's a non-pretentious and casual examination of our most basic insecurities, desire to be lauded and accepted, basically a blunt observation of one of the evolutionary hard-wired weaknesses of the human condition.
'Pushing' is a well-placed follow up, life is definitely not a miserable place on this album, overtly saying that insecurity and doubt is futile and you need to shake it off before it takes hold in a "you might be dead tomorrow" kind of way, so indulge yourself in the way you want to, not how you're told to. After the lament of 'Doggo', which may be an homage to a much-loved canine that is no longer trotting with us, comes 'Fako'. It's breezy, but in a different way to what we've heard thus far, that balance between light-heartedness and seriousness echoing from the drums and managed in a controlled way by Edwards' vocal.
Following the grunge-rock tone of 'Liar', the trio cast off from the pier with a whisper compared to what has come before on 'Deeper', a fitting swansong to bridge the gap between the next chapter. The tenderness of the song claws just enough at your innards to grab your focus without causing any emotional distress, the whistling somehow acting as the mascot for the entire collection of 9 tracks on Larry's debut album, if we can do this, you can do it too.
Larry's debut LP is now available on all good streaming platforms and a physical vinyl format can be ordered via Pizza Pizza Records' Bandcamp page herehttps://larrymusic.bandcamp.com/
REMY is particularly delighted to share the first look at Wicklow experimental electronic act EHCO's live video for their most recent single 'Hunted' which was shot in The Mermaid Café in Bray under the stewardship of director Rosie Barrett, with lighting by Conor Biddle.
After starting out as a solo project for ex-Enemies musician Eoin Whitfield circa summer 2017, the project quickly evolved when he teamed up with vocalist Jessy Lord on their first release 'Raise it up'. The pair have since released two other singles in 'FIA' and 'Éiclips'. After establishing their live performance in local venues in their hometown and Dublin, numerous festival performances followed such as Other Voices and Castlepalooza, and more recently EHCO remixed DAITHÍ's latest single 'Orange'.
Patience has been one of the bedrocks of EHCO's growing success, a remarkably hard work ethic in fine-tuning their live set and recording new material has pushed them quickly to the forefront of the Irish music consciousness. The pace has quickened slightly in recent months as the momentum builds, and they are due to release their debut EP shortly which has just been completed, as well as the concept video for 'Hunted' premiering on Nialler9 last week (see below - DOP - Robert J. Kavanagh).
Of the single itself, in our recent review we wrote; "With their fourth single, EHCO, led by Eoin Whitfield and fronted by Jessy Lord move firmly into the heat zone, they have truly found their groove now and taken it to another level. 'Hunted' has a life of its own, the movement of sound is so chill and all-encompassing that it takes control of your mind and switches every other sense off for its entire duration, incidentally, Lord has also become my favourite Irish vocalist in recent times. Not many acts are able to deliver such well executed escapism and such a spiritual drift in their music. That's 4 out of 4 for EHCO now."
You can catch EHCO live on the following dates below;
Our regular series of The VidList captures the best music videos (and tracks!) released over the past few weeks. Below we have new music videos across varied styles, from dance, indie, electronic, blues-rock and contemporary folk.
1) Æ MAK & Le Boom - 'Dancing Bug' What a combo, Le Boom and Æ MAK, two of the most progressive and artistic acts of the last few years merge their talents on 'Dancing Bug' which they recorded and wrote together over the course of a mere few hours. The combination of Le Boom's trademark bubbling electronic dance beats and Aoife McCann's vocal are highly complimentary, to the point you'd hope this isn't a once off. On many moments during the track, even though it's just under 3 minutes long, each act shares the best of what they do. Fun fact: the video was shot on Carnew Street in Stoneybatter, Dublin 7 and is the same location where pop queens The Spice Girls made their own video for their single 'Stop' back in 1998!
2) Paddy Hanna - 'Frankly, I Mutate' From what was easily one of the best Irish albums of last year, Paddy Hanna shares the title-track music video for 'Frankly, I Mutate', directed and produced by Niall McCann. It's a majestic visual that acts like a microcosm of his song-writing, theatrical drama, brevity, humour and awkwardness acting like a thinly layered bubble surrounding the deep themes of his music. As always the lyrics are poetic and provide huge scope for the listener's interpretation and imagine to run off with, and there's also a melancholy feeling of isolation which reveals itself right at the end.
3) Third Smoke - 'We Run in Bare Feet'
I haven't been able to stop listening to the latest (and best?) single from Third Smoke since its release a few weeks ago, and now there's a music video by Greg Corcoran to accompany it which captures their individual and collective live power. From our recent review of 'We Run in Bare Feet', feel the power.
"A much more intense indie-rock affair from Third Smoke compared to their previous singles, the quintet opt for rattling columns of sound on 'We Run in Bare Feet'. With multiple injections of joy coming from all angles, I'm tempted to say this is their best single to date, but it's a tough call as their sound varies enough across their tracks. A pounding drive of bass, percussion and electric guitar first push and then drive frontman Hugh Donlon's vocal to celestial heights. I love it."
4) The Murder Capital - 'Green & Blue'
It's a tough spot to find yourself in before you've even released your first single, The Murder Capital were already being piled on by a small but vocal number of cynics before they'd even released debut single 'Feeling Fades' earlier this year over the hype they were generating locally. This is the type of shithousery we've seen with fellow Dublin band Fontaines D.C., the classic Irish trope of "look at that fucker up there on the top of the hill, grrr". After seeing an arresting and kind of intimidating in a memorable way (this is what you want) performance of theirs last year I could see first hand that they deserved any success that was coming their way. You have to judge bands on their abilities and their music, and of course how that translates on stage.
Latest single 'Green & Blue' is a doom-laden post-punk affair that doffs its cap to the gothic sounds of The Cure's 80's output such as Pornography and Disintegration. Rumbling hypnotic percussion and crisp yet thick bass-lines ensure the mood stays sombre, yet engaging through the entirety of the track, the sparseness of the instrumentation allows lead singer James McGovern's domineering vocal to provide the unsettling discomfort that is quickly becoming a hallmark of their sound.
5) Laura Duff - 'Up To You'
Singer-songwriter Laura Duff released her single 'Up To You' towards the end of 2018, and now shares the accompanying music video directed by Róisín Little. This is a wonderfully colourful and addictive slice of psychedelic indie-pop, which is given the most fitting visual companion between the mid-60's pop lighting, rhythmic movement of the contemporary dance and kaleidoscopic backdrops. Duff has that easily loveable escapist vocal style that produces a nonchalant and disarming effect on the listener, haute-chill. 'Up To You' is taken from Laura Duff's promising debut EP For Your Company which was released on the 27th of February, listen here.
"Yemanja is the Afro-Brazilian goddess of the sea, the mother Orisha. This song was written after her 3 day celebrations spent in North east Brazil, enjoying the carnival but at the same time trying to shed some personal baggage. It's the feeling of going out but your heart's not in it.. at first, here Yemanja calls you back to your true centre." Dublin soul act Paj (aka Paddy Groenland) shares the follow-up single 'Yemanja' to debut 'Friends Confused' which was released in February. For an artist steeped in global sounds as a result of his passion for self-education beyond standard genres, the new single acts like a melting-pot of the best of soul and traditional world landscapes. The groove is over-flowing like a thick foam of sunshine beats and a slick rn'b vocal delivery filled with determination and passion. This throws me straight into classic OST's like Shaft and Superfly but with a massive dollop of super heavy funk. The tempo is aggressive in a manner that would recall George Clinton's Parliament, but the softness of a Shuggie Otis passage in those first 50 seconds. Interestingly it's in the percussion and loose rhythm that those earlier mentioned influences subtly lap in between the ravaging but fun-filled chaos. Paj plays his next show with full band and AV show on Saturday, April 27th in Whelan's.http://www.whelanslive.com/index.php/paj-mother-tongues/
'Yemanja' will also be live on Spotify and other major streaming platforms from the 9th of May.
Few would argue that Maynooth originated band Hatchlings are to the fore-front of Irish contemporary-folk, a genre description that is so limited in terms of their spread, and doesn't even begin to describe them. Their previous output confirms this and personally seeing them live, I was wooed. But they have verbally and aurally moved themselves into new spaces with latest EP Gay Hymns.
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Opener 'Conduit' is a serene piano-laden beginning to Hatchling's sophomore EP, the follow-up to 2017's Montessori, which was a more punchy but no less emotive affair. Here the vocal is painfully authentic and moves far beyond merely relaying a story, it demands transference of feeling to the listener, tenderness and a smidgen of melancholy, the peaks and troughs are so easily mounted and descended. This doesn't come as any surprise as Jamie Bishop, Conor Cunningham, Peter Kelly, Eamon Travers, and Niall Quinn are all fully accomplished musicians individually and match up seamlessly in delivering this holistic sound. 'Sin É' is a humorous jaunt which also addresses a life less lived and a reluctance to express ones true feelings; "I was watching Fair City and the girls were quite pretty, I saw my old love as an extra on the show, she bought a box of Carrolls from a shop called Farrells..." Here the theme bluntly lists the futility of holding grudges, meaningless exercises in escapism, a gradual linear progression which ultimately ends up six-feet underground, you had your chance, but now it's too late.
Whilst both are excellent, I find myself enjoying the live version (above video) of third track 'Until the Cows Come Home', this is Hatchlings in full jazz-mood and blue-eyed soul, Julie London-era old world style. You'll struggle to hear a warmer and more soothing vocal than Cunninghams, and the harmonies are so beautifully understated from Bishop and Kelly. This is a slip off the Earth into a self-induced coma that clears away all mental clutter it's that absorbing.
In a review of the first single from the EP 'Choir in the Belly' we wrote; "Vocally echoing Kings of Convenience, 'Choir in the Belly' from Hatchlings is a gorgeous serenade to the self. Undoubtedly masters of the harmony, the band seamlessly tie in classic folk with a contemporary polish, it's wonderfully sleepy and balances pensive happy / sad feelings effortlessly giving it a very timeless feel."
A strong finish to the five tracks arrives on 'Gay Hymn', lyrically intriguing, a personal recollection of a relationship that brought great happiness at one point. Like all recanting of stories about characters, you're left wanting for more insights, what went wrong, how does the story end? Hatchlings are probably eager that you fill those gaps yourself. A sweeping final minute sees all instrumentation, harmonies and energy converge in the most robustly glorious manner. As a collection of tracks, Gay Hymns really does feel like a short album in the sense of how broad it is (yes, yes, that's generally what an EP is) and it feels a lot longer than its combined 20 minutes when taken as a whole. There is pretty much no room for improvement here on the EP, and it must be marked out as one of the best collection of song-writing to emerge so far this year.
Hatchlings' 'Gay Hymns' Tour begins tonight at St. Mary's Church in Maynooth, tickets are available at the door.
