Without wanting to condone their hero’s chemical excesses, Babyshambles aficionados would be forgiven for worrying that a newly rehabilitated Pete would mean an end to the gloriously anarchic Babyshambles shows of the past. Judging by this Heineken Green Spheres gig however, they may rest easy.
They are chums with The Dandy Warhols and have been compared to Brian Jonestown Massacre. But Australia’s The Morning After Girls have patented a sound entirely their own.
A pivotal figure within Dublin’s psycho-rock scene, he’s been threatening something special for some time, and praise be, The Sins of Sainte Catherine is a fine representation of his considerable talent.
On the evidence of their debut, Reading-based four-piece The Race have nothing to worry about but their terrible moniker. Be Your Alibi may well be one of the best things to come out of the Thames Valley since the famed festival.
Less overtly blues-flavoured than previous efforts, this is an intriguing taster for Boss Volenti’s forthcoming debut album. Tipping its hat to, among others, the Red Hot Chili Peppers, the Dublin band’s third single packs a classic pop punch and features enough bass noodling to turn Flea mildly green with envy.
Taken from her forthcoming album We’re Smiling, this slightly skewed break-up song finds Scott sharing the studio with Katell Keineg, David Kitt and former Frames Karl Odlum and Dave Hingerty. Suggesting nothing so much as a heavily sedated PJ Harvey, Scott delivers a haunting vocal backed by a deep, dark bass and sparse electronic noodlings. There are shades of Bjork here too, yet Scott ultimately carves out a territory all of her own.
Liverpool-born Wilkes has acquired a growing internet-following, thanks in no small part to world of mouth acclaim on several Irish music forums. Backed by Mersey band Ella Guru, 'They’ve Got Nothing On You' is a fine suite of of rootsy folk, in the vein of Bob Dylan and Neil Young. Opener ‘Your Face It Cracks’ demonstrates to good effect Wilkes gravel-toned voice and Ashcroft swagger. However, it’s the sparse and haunting title track which impresses the most. We may have a young John Martyn in the making.
No, this is not a cover of the incessantly catchy festival anthem by The Automatic. Rather ‘Monster’ is the slick and punchy debut from Dublin-based The Spikes. Propelled by a sparse rhythm, singer Tom Dunne (no, not him) delivers a vocal performance that puts one in mind of a stripped-down The Zutons, with more than a hint of Joy Division.
This is from the the Northern band’s forthcoming Fingerprints album and is in much the same vein of their older material. The only difference is that, this time, The 4 Of Us are addressing Big Questions, specifically climate change and what it’s doing to the planet. Leave it to Al Gore lads.
Having worked with Travis, The Smiths and The La’s, producer Mark Wallis is no stranger to classic pop. Now at the helm of St Julien, the Dublin-based Londoner here offers his own contribution to the canon. Lyrically, the single is treadbare but there’s enough of a melody to make it worth investigating. Fans of Travis and Snow Patrol will probably adore it.
Notwithstanding their habit of name dropping Syd Barrett at gigs, Mystery Jets have proved far less experimental than one might have hoped. Still, the Londoners have an undeniable knack for polished pop sings and ‘Diamonds In The Dark’ is likeable if a little forgettable. There’s a bouncing bass-line in the vein of Supergrass and a melody not a million mies removed from The Cure’s ‘The Lovecats’.
Strokes guitarist Hammond drops a taster from his much anticipated solo debut Yours To Keep. Predictably, ‘Everyone Gets A Star’ isn’t a million miles away from the retro vibes of The Strokes. Interestingly, his vocals are a great deal more accomplished than those of Strokes frontman Julian Casablancas.
Kilkenny-born Murphy made history earlier this year when she became the first artist in the world to launch her debut album on a mobile phone. Get past the hype that surrounded her Sony-Ericsson venture however, and you’re left with a fine, subtle, independent singer-songwriter. Much in the vein of Jewel’s ‘You Were Meant For Me’, Murphy’s ‘Lunchtime’ finds her delivering cutesy lyrics which in lesser hands might have you reaching for the sick bucket. Here, they go down a treat.
Missing out on the acclaim afforded fellow travellers The Strokes and The White Stripes, New Zealand band The Datsuns have decided to give their bluesy sound a indie makeover. ‘System Overload’ is duly loaded with Strokes guitars, topped off with a ridiculously OTT guitar solo. Indie greatness may well be within their sights.
Though one of the finer Irish releases this year, much of Cowboy X’s debut album Who Are These People? seemed to consist of multiple versions of the same song. ‘Shot Down’, the album’s third single, is thus almost a carbon copy of its predecessors. Once again the Dubliners have served up a glossy melange of The Breeders and Goldfrapp. The song is elevated above the mundane by Karen McCartney’s alluring vocals. Stop us if you’ve heard this one before.
Top 20 singles, festival gigs – Boy Kill Boy have come a long way from the East End. But they know where they really want to end up – lovely Mullingar.
Fame has come remarkably quickly for Lily Allen, with her sensational debut album Alright, Still hitting the No.1 spot in the week of its release. But, with babysitting for Bez on her CV, anything is a breeze – and the bolshie young singer is taking it all in her stride. Plus, having lived in Ireland for a number of years, she has more than a few interesting tales to tell. Just don’t ask her about Bob Geldof...
In contrast to Lynch, Peter Doran’s debut is much more in tune with traditional singer-songwriter fare. This however, doesn’t make the Mullingar performers work any less impressive. Delicate and reserved, Doran’s tender voice swells with the sparse, acoustic-driven melody. Owing a great deal to Damien Rice, there’s an impressively warm and enchanting feel to ‘Scenic Route’. If debut album Wood is half as good we really do have much to look forward too.
Available to download freely on his website, Lynch’s follow up to his decent debut ‘The Storm’ shows an altogether different side to his normally restrained musical palate. Gone is the traditional singer-songwriter fare – in its place stands a raucous, blues-driven back-bar stomp much in the vein of the Killiney man’s heroes Paul Brady, Springsteen and Dylan. A taster, perhaps, for what gems may lie ahead on his forthcoming A Whisper In The Riot LP.
The stand-out in their awesome live set, ‘Stop and Remember’ is an agitated and boisterous call-to-arms that shifts styles and tone more often than the band swap instruments.
Singer/drummer/guitarist Conor O’Brien seems to fizzle with excitement as he delivers his thumping vocal. Rising urgency eventually sees him erupt into full-on preacher mode, making for OK Computer as seen through the eyes of punk misfits.
Poetic and rather sweet, Duke Special’s first release on V2 sweeps the listener back to the music halls of the ‘20s. There are shades of, among others, George Gershwin. But witty and charming lyrics add a modern appeal. The result is a record that will appeal to fans of The Divine Comedy. Throughout, Duke’s saving grace is his ability to inject some fun into his playing.
Naïve lyrics and more than a passing resemblence to the awful Leeds outfit The Music have, in the past, seen Wicklow five-piece Hybrasil flounder. Debut EP, We Got Music, in particular was a mixed and unfocussed work. Yet the electro-rock stompers redeem themselves on the infectious ‘When I’m Yawning’. The hook-laden feast draws comparisons to Kasabian. In particular, there are echoes of the Leceister band's ‘Processed Beats’.
With its driving, dirty, fuzzed-out guitars and frantic pacing, Kittser’s comeback single is as whiskey-fuelled as the weekend bender he describes in ‘Say No More’. Giving us a glimpse of his darker side, Kitt moves away from the cringe-worthy, lovelorn lyricisms which smothered 2003’s Square 1. The soppy innocence of the past has also been replaced by a new found edge, bordering on anger. The results are menacing and moody.Judging by some of the titles on his forthcoming LP (‘Don’t Fuck With Me,’ for example), there’s more to come. The honeymoon is over. And thank God for that.
Rags frontman Danny Anderson’s gobby self-assurance may prove off-putting to some, yet to dismiss the Finglas five-piece outright is unjustified. Their recorded output is deserving of the hype that surrounds them and ‘Razors and Ropes’ is no exception. Easily digestible, yet utterly memorable, this compelling slice of Smiths-esque guitar-pop stands out as their finest recording to date. Its charm ultimately lies in Anderson’s deft lyrics and vocal delivery. Here, he channels his arrogance into an emotive anger rendered all the more persuasive by his tender, often fragile vocal style. It’s an approach which echoes Pete Doherty and The Libertines in particular. B-side ‘Owner Of A Loveless Life’ adds weight to such lofty comparisons. Dublin’s answer to The Libertines? Maybe. Certainly, The Rags are just as exciting.
With a thriving scene developing in Cork, local three-piece rock outfit Eve of Mind have steadily attracted acclaim. Their latest release sees them treading similar angular terrain to Editors and Director, particularly on the EP's title track. Lyrically, however, Ger Buckley and company fail to impress. Minimalist production presents problems, too. A darker, more menacing tone creeps into b-side ‘Come On Down’, though again poetic naivety scuppers proceedings.
A radio favourite since January, the delay in releasing ‘Rocky’ can be attributed to a desire to similarly see it take off across the pond. A story of lush melodies, chiming instrumentation and Paul Noonan’s bittersweet lyrics, ‘Rocky’ will probably be most of interest to Irish fans for its b-sides. Amongst them lies a sparse acoustic reworking of Depeche Mode’s ‘Enjoy The Silence’ that should prove a live favourite on their forthcoming November tour.
Their Nice and Nicely Done LP isn’t half as impressive as many would have you believe. But it does include a few notable gems. Daydream pop-jingle ‘Oh Mandy’ is one such treasure. Vocally reminiscent of Clap Your Hands Say Yeah, Sam Hughes mumbles his way through the song's verses, accompanied by flourishes of mandolin. It’s the wistful and infectious chorus, though, which will put you under its spell. So catchy it should bear a disclaimer.
The most riveting track on their underwhelming Broken Boy Soldiers debut, ‘Hands’ is a combination of ‘60s infused power-pop and hardened guitar. It shows that, when they hit their stride, Brendan Benson and Jack White can crank out a decent racket together. Benson’s polished vocal is off-set by White’s spiralling, Jimmy Page-inspired guitar lines. ‘Hands’ does, perhaps, slightly overstay its welcome but is fun in doses.
Recorded in 2003, McAlmont and Butler’s ‘Speed’ won’t be followed by a new album or tour dates. Indeed, the sometime collaborators haven’t recorded anything else in the intervening three-year period. So why has it been released? Reportedly Rough Trade boss Geoff Travis was so impressed upon hearing the track he immediately wanted to put it out. And ‘Speed’ is impressive. Much in the vein of ‘Yes’ and ‘Falling’, it’s full of bombastic arrangements, dirty guitar interventions and feel-good calls to “keep moving on”. Fingers crossed it sparks a re-birth.
With Michael Eavis letting the grass grow at Glastonbury this year, Scandinavia’s long-running equivalent was bound to be a huge draw for international music fans. Those seeking a people-friendly atmosphere and a musically-varied experience were always likely to flock to Roskilde, a festival structured along similar lines to its English counterpart
Though they’re still hammering on about western society (‘Everything’s In Question’), corruption (‘Packing Things Up On The Scene’) and corporate greed (‘Ascension Street’), the political message is more weighted within the music rather than weighing it down.
Having promised so much for so long, The Things have finally delivered. While previous efforts like 'Demon Stomp' and 'Psycho Lover' brought fine doses of schizophrenic blues and garage punk to the party, the Dubliners' recorded efforts always seemed disappointing when compared to their furiously frantic and fabulously ludicrous live shows. All that has changed. 'Some Kind Of Kick' is a near perfect slice of punk rock. So feverishly does vocalist Neilo howl out his sleazoid predatory lyrics, it's as if his larynx is about to explode at any minute. The type of rock tune any band would kill to have written.
Something of a minor classic, the debut EP from Kilkenny's Blue Ghost is almost unclassifiable. Equal parts Gorillaz and Republic of Loose, Collapse Or Keep Going floats between jazz, electronica, funk, rock, hip-hop and blues. 'The Altitude' builds with a frantic funky bass line pumping through a punk infused jazz odyssey, 'Float Feet First' is a poignant fusion of summery funk and soul, and the frequently brilliant 'Why Good Guys Die' investigates darker, more Blur-y territory. Only the lack of real vocal power dulls an otherwise fine introduction.
Renewed interest in Guns n' Roses might have knock-on benefits for Mayo's Whitewater. On the evidence of this debut single, Axl Rose and co have rarely left their communal stereo. 'Original' is a chugging monster of commercial cock rock full of lines such as "I'm cranking up the meter/I'm pumping up the dials/Kicking out the jams/For miles and miles". Pure class, boasting a memorable chorus line: "I want to hear original/I'm sick and tired of the usual". Great fun.
You've got to feel sorry for the poor old Sullivan Brothers. The first challenge for them in sustaining any sort of musical career will be in shaking off the You're a Star debacle. 'High' sees them play to their strengths - the country market. Or rather, inoffensive guitar pop with dated guitar lines. It's not a particularly poor effort, but remains too workmanlike to get excited about.
With their debut LP sinking without trace, Wexford's My Invention have taken a decidedly lo-fi approach to the follow-up, and the shift in styles to a leaner, dirtier sound reaps boundless rewards: Americana a la Grandaddy and Pavement, executed with no little panache. The EP's opener 'Jelly Fire' glistens with a mellow melody punctuated by light blotches of electronica. 'Saddest Girl In Powder' switches to darker shades, rampaging guitars illuminated by Justin Cullen's eminently listenable vocal, while 'Alligator Farm' continues an imaginative use of instrumentation without sacrificing melody.
Waterford band The Heard have recently picked up some notable plaudits from the likes of Alison Curtis at Today FM, and at times it's easy to see why. Raw production lends a hint of punk energy to their otherwise straight melodic rock songs. 'Holiday Camp' brings to mind Modern Life Is Rubbish-era Blur whilst 'Shame' has the swagger and punch of The Undertones and the melodies of The Stunning. If there is a criticism, it's that the songs lack imagination. Decent enough nonetheless.
With his recent Colour Me Colourful LP proved something of a gem, the release of the swoonsome 'Trailin' The True Star' testifies to the Birr man's true power, swelling with rich nocturnal imagery and beautiful one liners. Armed with uplifting melodies, Roesy soars without ever succumbing to bombast. Always subtle, hints of the great Leonard Cohen crop up throughout. A joy to have him back.
Scottish combo Aberfeldy (who are named after a small coastal town, fact fans!) return to the fray with another dose of chiming, upbeat summer pop. This, the lead track from their second album Do Whatever Turns You On, will inevitably draw comparisons to the horrid Magic Numbers, but 'Hypnotised' is a much more cleverly structured and less irritating stab at melodic pop. Think B-52's with a flicker of The Chalets and Teenage Fanclub and you're halfway there.
Having impressed with their early demos, Dubliner's The Star Department managed to rope in legendary Low, Daniel Johnston and Lou Reed producer Kramer to mix and master this debut EP. Kramer adds eerie soundscapes throughout, though what's most interesting is the imaginative structure. The trio play with tempo shifts and sonic hooks at will. 'Embers' shines with a masterful melody, while 'Flickering Lights', with its sozzled vocal, just about works. Top it off with the fact they've been together less than a year and we have something very interesting to look forward to on future releases.
Do Whatever Turns You On follows on from the lovelorn splendour of 2004’s Young Forever, with more whimsical melodies and quirky tempo shifts to enchant and enthral.
Having wowed David Bowie into a collaboration, Brooklyn’s TV On The Radio – an idiosyncratic mesh of Spiritualized, The Beach Boys, Radiohead and My Bloody Valentine – have seen their profile spiral skyward.
For over an hour at the Temple Bar Music Centre, the prodigious Australian Ben Lee took us on a journey through his life affirming and spiritually fertile world.
Any discussion of a Best Of or live album is as likely to revolve around what’s left out as what gets in. Mundy’s first foray into such territory, Live And Confusion, is no exception, but it also marks a genuine milestone in the career of the Birr troubadour.
A split seven-inch, Porn Trauma’s first effort since last year’s ‘Sunrise’ debut, sees the young Dubliners maturing nicely as a songwriting unit. Where their frantic live shows have often been let down by their material bleeding into one, ‘Casanova Blues’ is sufficiently stripped-back to allow fuller appreciation. All Waits-esque lyricism, its drowsy blues and Sunday morning comedown aura bring to mind slices of The Coral’s debut.
From a Belfast band causing something of a stir across the pond, ‘Little Heat’ is a indie club classic in the making. It's all nonsense lyrics, clever hooks and a beat which can’t but set you in motion. There may be nothing here to indicate V//Formation are in it for the long haul, but nonetheless ‘Little Heat’ remains a fun four minutes in which to get your groove on.
Cowboy X’s follow up to debut ‘Gabbi’ continues their marriage of Kim Deal vocals and Goldfrapp melodies, amid wafts of guitar-induced electronica. Peppered with hooks, ‘Between The Hit And The Miss’ references punk and radio-friendly pop before erupting into a mass of sunshine electronica. Constantly shifting styles and consistently engaging, this is pop music for the thinking man. Good stuff.
It’s been almost two years since Boss Volenti released a single but 'Ain’t no Use’ was so worth the wait. Hot on its heels is the Dublin rock quartet’s first studio album, due out in September. This song is bursting with the energy that Volenti exude on stage. If ‘Ain’t No Use’ provides a taste for what the album is going to sound like, then autumn can’t come fast enough.
The title track from Hawley’s masterpiece LP is a gem of understated beauty. Using Sinatra-esque vocals, he crafts four minutes of sincere nostalgia, bleeding with absolute beauty. The sense of longing wrapped in his vocal delivery, coupled with his aching lyrics of hope and desire paints an unforgiving and all-consuming picture of loneliness and unfulfilled desire. A beautiful piece of music from a true master.
As the title would suggest, ‘Diva Lady’ sees Neil Hannon return to the flamboyant form that helped make his name a decade ago. Though easy on the ear like much of Hannon’s more popular work, there’s little exciting or lasting about his latest effort. As ever he hands up disposable pop, driven by throwaway lyrics, delivered with his ‘ain’t I clever’ Wildean phrasing.
The Automatic’s third single restores them to the realms of candyfloss indie dross. Previous single ‘Raoul’ may not have been half bad in a Killers-meets-The Futureheads kind of way. But ‘Monster’ suggests The Automatic are just another slice of great white hype. Heaving with synth riffs, hints of ska, teen lunacy and dumb chorus lines, ‘Monster’ is as irritating as it is poor.
Third time’s a charm for raggle-taggle Londoners Mystery Jets. Given yet another outing, the furious and infective ‘You Can’t Fool Me Dennis’ is primed to become a festival favourite. All witty one liners amid warm melodies, it sees the Jets mash together the frivolous pop of Blur with some Johnny Marr-derived classic guitar lines. Gloom free – it’s like hearing The Coral on E.
Formerly The Fluid Druids, and fronted by Navan man Oisin Leech, 747S take their lead from classic rock n’ roll with a furious R&B rhythm and ascending Beatles harmonies. Though its loose melody hints at cabaret rock, there’s enough rattling energy here to keep the train on track. Not unlike the classic pop of Brendan Benson, it's little surprise then that they’ve recently completed a tour with The Raconteurs.
The most welcome of bolts from the blue. Envelope’s debut is the most gloriously delightful opener to come from an Irish group this year. A feast of pleasures, State and Nature shifts from the seductively visceral to deep and responsive melancholia. At its best, specifically on staggering second track ‘Cost of Living’, the Dublin trio eloquently spit contempt from the speakers, whilst locking their rage behind Simon Rand’s warm vocals to make for an uncomfortable hybrid of sound. It’s like Coldplay’s ‘Politik’, as executed by a crossbreed of Whipping Boy and Radiohead. The epic and the extraordinary continue to dominate on ‘Politis’ and ‘Store In A Dark Place’, with the sounds of Elbow, Doves and their closest Irish contemporaries God Is An Astronaut resonating throughout. An absolute gem of a debut.
Double A side single Translation/Break sounds completely different to any of the singles Republic of Loose have released previously. With its thumping beat, 'Translation' will have you hooked. And how could you resist Mick Pyro’s persistant refrain “You like it rough, right?” on 'Break'? Always the charmer.
Shuffling in amid the whispered sounds of an acoustic guitar and a piano, Staples' husky voice is afforded the most glorious of introductions on this gorgeous first single from his second solo album.
Available as a free download from their website, The Flaws' new single does little to justify their increasingly hyped reputation. Though ‘Out Tonight’ is a fine surge of pop-punk delivered at breakneck speed, it isn’t particularly memorable. Little here will set the Carrickmacross lads apart from a host of new acts plying the same territory.
Glasgow trio Cosmic Rough Riders may have fled Alan McGee’s Poptones label, but they haven’t left behind their '70s rock sound. ‘In Time’, however, waves goodbye to the psychedelic influence of the past. Gone are the colourful sounds of ‘Revolution In The Summertime’, whilst the group have long steered away from their ‘Scottish Super Furry Animals tag’. Here, they hark back to Crosby, Stills and Nash or Matthew Sweet’s collaborative group, The Thorns.
George Murphy is a great singer, and with his second LP, And So The Story Goes, he has effectively positioned himself for a marathon rather than a sprint.
In this heathen age it’s not often that a gig is put back out of respect for the Sabbath; but devout Hasidic Jew Matisyahu is in town, and, as it turns out, worth the wait.
Maroon 5, James Blunt and Savage Garden admirers clear space on your CD racks. Everyone else run for cover — The Feeling are going to be huge and you can do nothing about it.
As a long time acquaintance of Pete Doherty, Steve Cummins was looking forward to a fly-on-the-wall seat on the Babyshambles tour bus for the band’s five day jaunt around Ireland. But no-shows, court appearances and the attentions of one Johnny Headlock gave him a rather different perspective on the Doherty circus.
“I can’t believe it’s taken us this fuckin’ long to get here,” says Johnny Borrell from the Olympia’s stage. And neither can we. On the eve of the release of their second album, Razorlight have finally made it to the capital for their debut Irish headliner.
Better known these days as a shlocky horror film director, Rob Zombie’s first album since 2001's The Sinister Urge draws from a wider frame of music, with glam rock and sleek, smooth electronic grooves infusing the most potent of these new songs.
With the Doors-like ‘White Women’ opening with the line, “You know I want to bone you” followed by “Fuck fuck me baby” it’s obvious that former Moldy Peach Adam Green hasn’t quite abandoned his penchant for puerile adolescent humour.
Lotus Lullaby could do worse then buy a handful of lottery tickets. The Cork disco swingers are on a roll. Fresh from their win at Murphy’s Live, the electro infused four-piece continued their domination of the country’s battle of the bands contests with a resounding win at the Bank of Ireland sponsored Student Music Awards.
On this evidence, anyone could blag their way through a ‘music’ career. Once again, brother and sister duo Matthew and Eleanor Friedberger have succeeded in committing some of the most frustratingly fragmented, downright odd and abstract sounds in living memory to record.
Where do they get them? Once again lovable Uncle Wayne is back with yet another slice of sublime musical weirdness, this time tackling subjects as heavy as global political attitudes and positions of power in the wonderfully abstract and uplifting manner which only The Flaming Lips are capable of. In the vein of ‘Do You Realize’ Coyne questions the listeners' understanding of the mindset of those in power before concluding “You can not know yourself or what you’d really do with all your power”. This all unfolds amid a backdrop of typically weird and eclectic festival friendly sounds making for an infectious, intelligent and very welcome respite to the barrage of Blair bashing and anti-Bush protest songs. On this form Coyne and co just can’t be bettered.
There’s no fear of Snow Patrol surprising us. ‘You’re All I Have’ is as safe a return as you might expect from the Belfast band. Chugging guitar lines and baby faced vocals characterise three minutes of Gary Lightbody’s pleas “to hold on” to whatever girl may or may not inspired this rehash of previous offerings. Its incessantly warm and catchy chorus may make this no bad thing necessarily but we could really do without Final Straw mark two.
From the moment the crash of Director’s instruments build to a wall of sound you know you’re in for something truly special. ‘Reconnect’ is one of the most impressive and intelligently constructed Irish debuts in an age. In parts as po-faced as Interpol, it is at its heart an abashed pop song fed astutely through new wave punk. Frontman Michael Moloney exudes an effortless cool with his sharp vocal delivery whilst those around him serve to make this one of the most exciting pieces of guitar music to come out of Ireland since The Edge struck the last chord of ‘Out Of Control’. Were it not for those pesky Flaming Lips, single of the fortnight without a doubt.
There’s no disputing that Tara Blaise is a fine vocal talent, but as of yet the young Wicklow woman has yet to wrap her considerable abilities around the right song. Her debut album Dancing On Tables Barefoot was a mixed bag full of as many bad moments as there are good. The flaky wishy-washy ‘Unbearable Lightness’ marked a notable dip with it’s over earnest chorus and cheesy guitar lines. Frustratingly its warm and engaging verses intermittently hint at the talent within. Album number two will most certainly prove make or break.
One of the highlights of The Frames recent showcase gigs in Vicar Street, ‘Sleeping’ is evidence enough of how great a songwriter Glen Hansard can be. As a moment of startling beauty, this collaborative effort with Irglova harks back to The Frames frontman’s For The Birds era. In particular his wounded evocative vocal brings to mind the opening minutes of ‘Santa Maria’ or ‘The Mighty Sword’. Irglova’s contribution is to paint a haunting almost cinematic backdrop to Hansard’s lovers lullaby leaving us with a stunning piece of music. Forthcoming album The Swell Season may well prove something of an unexpected career highpoint.
Having previously threatened to break to prominence some years back, Cork band The Fallen return after a serious of line-up changes and what they describe as “bad luck”. The bad luck carries into the production of their debut EP with badly recorded and hollow sounding drums frustrating throughout. Nonetheless ‘Generationless’ is sharp and spiky enough to impress whilst the sublime ‘Waiting For The Dark’ indicates there’s more here then just cranking it up to eleven.
God it’s good to have them back. The second single from Deus’ comeback Pocket Revolution doesn’t disappoint. An eclectic stomper of a track, ‘What We Talk About (When We Talk About Love)’ is classic Deus – all interesting arrangements and eccentric pop undertones driven by a stomping melody from Tom Barman, which erupts into new territory at each chorus juncture. Roll on their Electric Picnic appearance.
Lifted from their often stunning Ten Silver Drops LP, lead single ‘Lightning Blue Eyes’ somehow fails to have the same sort of impact felt elsewhere on the group’s second album. Euphoric and ambitious certainly but for all its turns of cinematic prog-pop it remains a tune you’re unlikely to come back too. Oddly it’s also reminiscent of something you’d expect from latter day U2 – which isn’t a good thing.
One of the stand-outs on their patchy The Life Pursuit LP, ‘The Blues Are Still Blue’ is classic Belle And Sebastian bolstered by the glistens of a shiny pop melody amid quirky lyrics drawing comparisons between laundry and relationships. Where it receives it’s injection of new blood is in the shades of glam rock guitars, and if that wasn’t enough to entice you, then a wonderful cover of ‘Whiskey in The Jar’ as a b-side should seal the deal.
Recorded live at Dublin’s Vicar Street venue this cracking version of Steve Earle’s slice of magic marks one of the best things that certainly Mundy has been involved with for some time. Delivering a superb rasping vocal, the man from Birr is in his element bouncing off Shannon’s exceptional band in a recording which aptly captures the sheer passion of her live shows. Her forthcoming Irish tour shouldn’t be missed.
For all his protests otherwise, more than a hint of Pete Doherty’s shadow hangs over fellow Libertine Carl Barat’s much anticipated comeback single. When Barat (who taught Doherty how to play guitar) sings lines such as “I gave you the Midas touch before you turned around and scratched out my heart” you can’t but bring to mind the duo’s tempestuous relationship. This though is no bad thing. The Libertines were at their best when telling it how it is, and like their last record, ‘Bang Bang You’re Dead’ feels like a front line report from Barat’s being. Musically the shambolic beauty of The Libertines remains, though thankfully without ever a hint of it all about to implode. The boy’s done good.
On Top Of Our Game sees the Atlanta, Georgia four-piece of Jizzal Man, Parlae, Pimpin and Buddie once again pre-occupied with the usual bitches, bling and cars.
It all comes down to this. After making their way through their respective heats, Cork’s Lotus Lullaby and Waterford’s Ashley Sheehan & The Mute gathered in Cyprus Avenue for the final of Murphy’s Live and a winning prize of two grand’s worth of recording time.
To say Know Your Station Gouger Nation grates in parts is an understatement. In truth the combination too often sounds more like street poetry with an improvised backing than anything of real musical heft or subtlety.
Despite their phenomenal achievements west of Galway, success on this side of the pond continues to elude the Dave Matthews Band. Their seventh studio album, Stand Up is unlikely to have any impact on such a change.
In a manner befitting their name, various setbacks and the loss of over a hundred demos have meant the follow up to the Delays’ widely under-rated 2004 debut has endured a difficult birth. The wait, however, has been worth it.
Purveyors of high-IQ indie rock, We Are Scientists have built a reputation as incendiary live performers. But they won’t be satisfied until their shows include performing tigers.
This is one of the finer moments from Bell X1’s patchy and somewhat overrated Flock LP. Anyone with even half an ear cocked to radio will be well aware of this infectious sing-a-long from the X1 boys. A proven favourite on the airwaves, the group’s collective ears will be firmly tuned to see if UK disc jocks show a similar penchant for ‘Flame’s shouty chorus and chiming guitar lines.
Irish fans however will be more interested in a live version of the track, due to be made available on the group’s website in the coming weeks.
Unlike most independent (and skint) new Irish acts, Dubliner’s The Reverb can boast of recording their debut single in sunny California. Produced by Cynthia Catania (of Saucy Monky fame) ‘Stuck in Berlin’ proves a catchy, if uninspiring debut.
Powered by a chugging guitar riff, there’s a noticeable US twang to singer John Power’s vocal as he sings over and over again a chorus which (to the band’s credit) lodges in your brain. Yet despite such a contagious hook, there’s little else here to really get excited about. Average.
Hot on the heels of Clap Yours Hands Say Yeah, The Spinto Band look set to be one of the hotter US indie bands of 2006. Like their Brooklyn counterparts, quirky and slightly off kilter are the words you’re most likely to hear in relation to Delaware’s finest. Quirky because The Spinto Band are full of typically surreal and off beat x-generation lyrics, taking in crushing skulls, hairlines, champagne and art. Owing a debt to Evan Dando and Crooked Rain-era Pavement, ‘Direct To Helmet’ is a chirpy, playful, almost eerie lullaby which builds to a crushing fall and which is coined with the sort of California melodies and precision instrumentation sure to make them The OC’s next favourites and the cult band of the year.
At least The Saw Doctors never let you down. You always get what you’d expect: good old slap-yourself-on-the-knee pub songs! Toning things down ever so slightly, ‘If Only’ marks a slight return to the subtler, less raucous folk rock of 1996’s Same Old Town.
Though it retains the vibrancy of the past, it also marks a more mature Saw Doctors outlook of regret and nostalgia. Excellent b-side ‘Going Home’ builds on such wistfulness, adding to the group’s well of immigrant songs, and is worth the prize of the single alone.
If the singles released thus far are anything to go by, Declan De Barra’s forthcoming debut Song Of A Thousand Birds should prove a cracker. ‘Apple Tree’, the follow-up to last year’s ‘Blackbird Song’ is another sparse, haunting and piercing piece of work. Again De Barra’s fragile and emotive voice is to the fore, often bringing a spiritual quality to the track.
This particularly shines through in De Barra’s oft bewitching and frequently poignant lyrics. Another gem and another track to whet anticipation for Song Of A Thousand Birds.
Originally released last year, the Dubliners’ Hats Off EP receives a re-release thanks to the lad’s recent Vicar Street support slot with The Frames. As a result, the EP captures the group at a point they’ve long since departed. The acoustic ‘Crashin Down’ and ‘My Fault’ may be fleshed out to a full band sound here, but it’s only on ‘(Jammin’ In) Room 5’ that the group sound like the more cohesive unit they’ve since become. An own-goal in some respects; TKO have better than this in their canon.
As Fatboy Slim is well aware, folks just can’t get enough of wacky dancing. In the past month unprecedented media exposure has been bestowed on Chicago’s OK Go, thanks to a $20 video of them dancing in their backyard.
Eclipsing even Pamela Anderson and Tommy Lee’s infamous recording, it has since become the most downloaded video of all time. The song itself is a punchy guitar-led James Bond-type punk-funk tune. Though memorable, it’s not a patch on the video which accompanies it.
Sounding unlike their name might suggest (or indeed their tranquil sleeve artwork), Still Life’s sound is seeped deep in the classic rock sound of the ‘70s and ‘80s. Their sound is Lizzy-esque hard rock done softly. Not rocket science then, but ‘Silver Lining’ manages to be engaging enough in its simplicity. Doubtlessly louder than bombs when played life, its ubiquitous guitar lines lie low enough in the mix to draw out the subtlety in singer Jack Walsh’s clever yet very ordinary melody. Sometimes it just works. This is one of those times.
With little or no fuss, Placebo still somehow manage to shift hundreds of thousands of records and to pack venues across Europe. Just as with 2003’s Sleeping With Ghosts LP, ‘Because I Want You’ is far better than we’d expect.
The track is bolstered by a chorus just as memorable as ‘Nancy Boy’ or ‘Bruise Pristine’. Clearly frontman Brian Molko has lost neither his sneer nor his turn of phrase. The angst which made them famous is still present and just as palpable as before. On this evidence, you wouldn’t rule out a comeback.
Beautifully-titled, Irish duo Stellarband’s debut is as melancholic and wistful as its title might suggest.
First coming to prominence after being asked to support Cake in Vicar Street last year, the California link is one which rears its head time and again. Brian Durnin’s warm and soft vocal will doubtless draw comparisons to The Thrills’ Conor Deasy, however the band are far closer to Mercury Rev or Woodstar.
This is particularly the case through the lush and tender soundscapes Steve Lynch sketches on the staggered ‘Break It’ and the ultra harmonic ‘Stop The Music’. A fine debut.
One of the more interesting all-girl guitar groups in years, LA three-piece The Like blend Blondie with The Clash through the upbeat bounce of their second single ‘June Gloom’.
Sounding not unlike ‘90s Brits Lush, there’s less bombast here and a greater focus on melody then their previous outing.
Sure, the single fizzles with punk pop values but it is remarkably low on angst. Impressive.
Not since Dylan went electric has such debate raged over artistic choice. The revolt has begun. Walk outs, heckling and cries of “worst Frames gig ever” marred the first and the last nights of The Frames' three sell-out gigs at Vicar St. So irked was Glen Hansard by fans’ calls for ‘Revelate’ and ‘Star Star’ that, at one stage, he angrily announced, “How about you be the audience and we’ll be the band. Okay?” This wasn’t the happy Frames of past.
Ambient composer, Grammy winner, producer extraordinaire – there was a time when William Orbit's name was ubiquitous, but in the five years since the release of his critically acclaimed Pieces In A Modern Style, he seems to have retreated into semi-retirement.
Flying solo for his first hometown show in over four years, the full force of Carroll’s voice shines through, with simple guitar and piano backing bringing to the fore his strong lyrical ability.
Another graduate from The OC soundtrack hall of fame, Jason Mraz is best described as a funkier version of John Mayer or a close relation to New Radicals front man Gregg Alexander.
By now you’re probably aware that Arctic Monkeys really are as good as everyone’s making out. If you’re still sceptical, then just give ‘When The Sun Goes Down’ a whirl.
Confident, edgy, intelligent, witty – this is a record to get genuinely excited about. With a nod to Pete Doherty, front man Alex Turner drops observations on the seedier sides of life. In particular, he has a knack for breathing life into the characters he sings about. Like The Libertines, there’s a dark romantic undertone throughout. Impressive as previous singles ‘Fake Tales Of San Francisco’ and ‘I Bet You Look Good On The Dance Floor’ were, this is a great leap forward. The fact that Turner is still in his teens merely adds to how exciting their future looks. What a band.
Where its predecessor took a slice from a psychotic Jesus and The Mary Chain, Humanzi’s second single is more in tune with the current raft of UK trend setters. You can see it sitting comfortably on Bloc Party’s Silent Alarm or Editors’ The Back Room.
What sets it apart however are Shaun Mulrooney’s cool, confident vocals. This promises to cement their growing reputation as one of the finer Irish acts around.
Like Humanzi, Limerick’s Vesta Varro show much promise. Their much anticipated double A-side has been delayed as interest in the UK has grown. With a sound taking in early U2, Joy Division, Wire and The Cure, they fit snugly into the current scene. Sharp, polished guitar hooks are punctuated by a strong chorus. At times ‘Blue Mirror Boy’ evokes memories of Woodstar’s wonderful ‘Dumb Punk Song’. An assured debut and a band to keep tabs on over 2006.
Pulling every epic indie trick in the book, Boy Kill Boy come across like a more serious version of the Kaiser Chiefs. So ‘Back Again’ is dabbled in pop tunefulness, whilst front man Chris Peck’s soaring vocal remains franticly over-earnest. It makes for a gem to dance to while drunk. But a spin on the stereo reveals this to be more of the same Britrock drivel, from an act to file under ‘never-gonna-happen’.
Wow! Be Your Own Pet’s debut single just doesn’t let up. At only 59 seconds long, ‘Let’s Get Sandy (Big Problem)’ seems to explode from the speakers, leaving a carcass of frantic, speed-induced riotous punk in its wake.
After such a start, b-side ‘Early Sandy (I Got A Big One)’ is hugely disappointing. It is little more than a studio outtake. You couldn’t even call it a song. Nonetheless, at an average age of just 17 and with a female singer primed for indie pin-up status, expect to hear more from the quartet over the coming year.
At 26, Leeds-born Bailey Rae is already being groomed for success in America. Even her name has an American sound to it. Taking her cue from Natasha Bedingfield, Joss Stone and Nelly Furtardo, ‘Put Your Records On’ is urban soul, ripe for chick flicks and a safe bet to dominate airwaves over the coming months. As to its quality, a different, arguably better, producer would have preserved Bailey Rae’s raw undertones rather then pop produce with a glisten and a twinkle to seal every gap.
Having written for Leann Rimes, Frances Black and Richie Havens, renowned Limerick songwriter Don Mescall is gearing up to establish himself in his own right. Following debut single ‘You Don’t Love Me’, ‘Left In L.A’ will doubtless please fans of the aforementioned artists. Country-rock in the vein of Shawn Mullins, this is middle of the road stuff in terms of sound. Within its genre, however, ‘Left In L.A’ is a strong example of why Mescall is so highly regarded amongst his peers.
The guitar riff which pumps Infadels ‘Can’t Get Enough’ seems to bite at your insides. Snarling above a classic house beat and a regional accent it doesn’t just come at you, it kicks out. This is sure to be a stable of indie clubs around the country. ‘Can’t Get Enough’ is dancehall-punk infused with ska and electronica. With these tunes and this attitude, Infadels can expect to be tipped as this years Hard-Fi.
Ghostly and remorseful, Cat Power seems to sigh rather than sing through the title track of her seventh album. Cautious piano chords and funereal strings reluctantly offer comfort to Power’s whispered hush as she lets the words “Once I wanted to be the greatest” slip from her tongue. Such regret is soulful in an early hours sort of way but, though Cat Power should be praised for pushing her anxiety under the listeners skin, ‘The Greatest’ is an uneasy listen and unlikely to wash away the January blues.
Not only is it produced by the legendary John Leckie (of Muse and Radiohead fame). The lead track from the Mexican pair’s second studio album continues to endear by pandering to everyone’s innate hatred of winter. The flamencial tunes take us to warmer climes where there’s sun on our back and salad al fresco. Exactly what’s called for in this current season.
Word is spreading. Following a run of successful support slots with The Chalets, Turn and Kerbdog, Boss Volenti are creeping into the nation’s heart. Their debut as a four piece is all Southern State blues and straight laced rock ‘n roll, combined with an irresistible dark dirty guitar riff. Not as hard hitting as devotes of their live show might expect. But hip-shakingly good nonetheless.
No surprise to learn that Dubliners Doris previously operated as an acoustic three-piece. ‘Will I Ever Learn’ is awash with that chirpy acoustic sound. Upbeat and melodic, it also has the tendency to lodge itself in your brain upon first listen.
Obscenely catchy, it follows a path well worn by the likes of Travis, Picturehouse and Paddy Casey. They may not exactly be reinventing the wheel, but this is a decent debut nonetheless.
You’d be hard pushed to get better bang for your buck in this city. The annual return of heroes old is one thing, but couple them with two of the country’s most exciting and original acts and you’ve got one of the potential home-grown gigs of the year.
Lisa Dorrian was popular and fun loving. Then she fell foul of the North’s paramilitary underworld. A year since she vanished, her family is still trying to uncover the truth about her disappearance.
With two members of The Kooks having just turned seventeen, it’s no surprise to learn that it was The Strokes ‘Reptilia’ that first inspired them to form a band.
Where did it all go right? Oasis are back. Six years on from Noel Gallagher’s enquiry as to where it went south, the Gallagher brothers have begun to regain some of their phenomenal mid-'90s popularity
Life on the road isn't always a blur of parties and groupies. Sometimes it's exhausting, and oftn plain boring, as Irish hopefuls Director found out when they went on tour with Hard-Fi.
It’s been quite a year for PETE DOHERTY, the former Libertines frontman, and now leader of Babyshambles. 2005 featured a series of drug busts, failed rehab attempts, the tabloid witch hunt of his girlfriend Kate Moss, several non-appearances and live shows that fluctuated between agonising and ecstatic... oh, and the small matter of a debut album. As hotpress went to press, the news broke that Doherty had been busted yet again, barely two days out of an Arizona clinic. hotpress talks to Doherty’s label boss, Rough Trade founder Geoff Travis, tour photographer Danny Clifford, and former Babyshambles drummer Gemma Clarke, for the insiders' view on what’s becoming an increasingly sad and fearful saga.
It’s a minor criticism though, and for the most part One Good Reason is a confident, rounded and absorbing record full of catchy radio singles and comfortable in its skin as an old school rock album.
Tonight, however, she seems nervous. She has natural presence, but she hasn’t worked out fully yet how to project it – whether to play the diva or to sing from the heart – with the result that she doesn’t always do full justice to the fine lyrics of her songs.
Tonight, from Bob Marley’s ‘War’ to Burning Spear’s ‘Jah Nuh Dead’, Sinéad O’Connor and her sidekicks deliver in spades. On a musical level, the reggae-fuelled set is funky, moving and, above all, inspiring.
Porn references, bad ‘80s synth music and middle American pop punk dominate Hefty Fine. A lot of it we’ve heard before and the Bloodhound Gang’s only original initiative is to take the stale formulaic genre and plunge it through new depths of filth.
Eccentric, humorous and a giddy story-teller, she ensures that tonight we’re guided through love-lorn territories with laughter and warmth. An intimacy is created, luring the audience in and allowing them explore frequently stunning and moving pieces of music, infused with Rusby’s infectious personality
They've hardly played any gigs and have only a handful of releasees to their name. Thanks in part, to the blessing of Damien Rice, however The Guggenheim Grotto are going places.
The college circuit is an important stepping stone in rock music around the world. While the potential remains unfulfilled in Ireland, there’s a new breed of Ents Officer who are aiming higher.
Within a minute of meeting Olivia, you realise you're in the presence of a future R&B star. It's depressing. Depressing because you don't even need to hear a record to know that the 23-year-old New Yorker is destined to be all over MTV and the music media within the blink of an eye.
An absolute treat, this is a shimmering, dreamy pop song evoking lazy sun-drenched afternoons. A delicious melody makes the Pilots’ catch-all chorus simply irresistible and, with its country undertones, ‘All My Wasted Days’ peculiarly brings to mind the slackerdom best showcased by Evan Dando on his glorious Baby I’m Bored LP.
The first thing that strikes you about ‘Stop’ is its complete lack of balls. There was a time when Turn were well on their way to becoming the best rock band this country has produced since Whipping Boy. However, the days of tracks like ‘Face Down’ and ‘Beeswax’ are seemingly over. Given the snip, ‘Stop’ is a slice of radio friendly day-time pop very much in the vein of Snow Patrol. There’s even East 17-style Christmas glistenings at the track’s close. Far from their best work.
Former frontman of Clann Zú, ‘Blackbird Song’ is the first single to be lifted from de Barra’s forthcoming debut, Song of a Thousand Birds. The first thing that hits you about de Barra is his voice: it’s full of that quivering emotion found in the vocals of Antony and The Johnsons, and even Johnny Cash. There’s an intensity and darkness which stems from the way he wraps his voice around the lyrics. Not since Jeff Buckley has hope ever sounded so desperate and wanting. On the flipside, ‘Throw Your Arms Around Me’ is equally mesmerising. Desolate and bare, it affords de Barra’s voice the opportunity to soar. His phrasing, enriched by his country accent, only serves to highlight the vulnerability he sings about. A passionate, intense and stunning record.
Soft drum intro. Check. Husky lead vocals. Check. Lovey-dovey lyrics. Check. Female harmonic backing vocals. Check (and nice addition by the way). What we have here is a classic teenage heart-breaker of a song: complete with powerful chorus and guitar bridge. OC devotees will love it, and that’s no insult.
A taster for his forthcoming third album, 'Ol’ Death Whisper' marks Goodtime John’s first batch of new material since signing to Irish indie label, Trust Me I’m A Thief. Fans will be aware; Goodtime John is all about sparse atmospheric folk songs much in the mould of Bonnie Prince Billy. This means the connection between music and lyrical content is all-important. Of these five tracks, he hits the mark twice. ‘Play Funerals’ draws the listener in with its wistful vocal and melancholic imagery. ‘Nothingness’ has a similar impact. The only real let-down is the awful ‘Thought Dictionary’, with high-pitched guitar feedback that torments the ear.
Dave Couse has been reinvigorated. Back with a new band, ‘Batman and Robin’ is an old style slice of caustic pop from the former A-House frontman. Where his solo debut was stagnant and without shine, ‘Batman and Robin’ bounces from the speakers with vigour and energy, Couse's vocal returning to the sarcasm and spite of past glories. His finest solo moment thus far.
Music Review | Single
13 Oct 2005
Steve Cummins
God help us. We need The Magic Numbers like a heart attack. ‘Love’s A Game’ is a terrible, terrible song reminiscent of Michael Bolton or, worse, a Mariah Carey duet. Its polished vocal productions and sickly-sweet harmonised chorus make for one of the most vomit-inducing tracks you’re likely to hear all year. Hell is hearing this sung live, with groups of couples in the audience swinging from side to side and Romeo Stodart edging them on. Believe me. I’ve been there.
Impossibly depressing, ‘Thirty One’ is unlikely to get you out of bed in the morning. Yet there’s something inexplicably beautiful about the latest single lifted from Matt Lunson’s excellent Miss Vaughn LP. Lunson’s voice captures the inherent depression in growing older, compounded by drunken birthday celebrations. “I’m thirty-one years closer to dying,” he sings, “And I’m loaded again”. Enough said.
It’s a mark of the quality of material at their disposal that The Frank and Walters were able to discard tracks like ‘You Asked Me’ as B-sides. Lifted from Souvenirs, the group’s forthcoming rarities collection, this is another slice of the group’s indie-pop brilliance. Fast-paced and with more than a hint of Teenage Fanclub running through its sweltering three minutes, ‘You Asked Me’ is as bouncy and catchy as their cult classics ‘This Is Not A Song’ and ‘After All’. B-sides ‘How Can I Exist’ and ‘Pathways’ are equally impressive. We eagerly await Souvenirs.
Album number three sees them progress to such a startling extent that they have a right to believe both critical acclaim and commercial success will follow.
Singer-songwriter Stephen Fretwell may be getting heavy airplay on the Beeb, but the compromised nature of the song receiving all the attention means he’s not a happy bunny.
It’s been an age since David Hopkins’ name has been whispered within the Irish music industry. Formerly of Dublin prog-rockers Lir, he elected to call it a day during a mid-90s US tour.
Their Live 8 appearance has elevated Razorlight to rock's top table, and Johnny Borrell is loving every minute of it. Steve Cummins meets the outspoken frontman
And so it is. Humanzi arrived back to Dublin on the back of a triumphant tour with The Bravery, and a level of anticipation befitting their signing to a major label.
As well as enabling us to use a painful Usual Suspects pun, catching up with the Kaiser Chiefs at Oxegen meant we could quiz them about U2, Live 8 and becoming filthy rich rock stars
Never again, I’d sworn to myself. “Mark my words,” I’d said following their dire Lansdowne Road show in 2002, “never again am I watching Oasis live.” Five years later, and I’m standing in Marlay Park for my 11th (yes 11th!) Oasis gig.
He’s just staggered off a tour-bus and could sleep for a week. But The Dears frontman Murray Lightburn digs deep and talks about the success of the band’s best-selling No Cities Left album
Josh Ritter never did anything for me. A patchy debut and an over-rated follow up only served to increase my amazement as to how he had become so successful in this country. Tonight though, I may have begun to come around.
In a last-ditch attempt to regain some of her initial commercial success, Alanis has re-recorded her 30-million selling Jagged Little Pill as an acoustic album. ‘Hand In My Pocket’ is the first fruits of such an uncalled for exercise, and it sounds like the sort of terrible cover version you’d hear on something like You’re A Star.
Not a guy with a camp, talking car, but a Dublin based three piece that specialise in mellow indie-pop. There’s a touch of Belle And Sebastian to ‘Foals’, the first single lifted from their forthcoming album, particularly in Richie Murphy’s understated and polite vocal.
Yngve Wieland’s debut EP brings with it shades of early Bright Eyes and David Kitt throughout its five tracks. While exploring familiar lyrical territories of lost love and all that goes with it, Wieland, at his best, manages to draw the listener in with his wistful vocals and stripped-back guitar hooks.
You can’t but hark back to the days when Ash made good punky pop music. But thank goodness for the fantastic Nine Black Alps. The Manchester boys possess the same youthful energy which Tim Wheeler and company used to churn out at the drop of a hat.
The subject of much hype, Clor are one of the bands expected to break through over the festival season. With shades of Can, Roxy Music and Talking Heads to ‘Outlines’, they certainly possess a sound best described as idiosyncratic.
Ah, Lady Sovereign. Do you remember Julie Burchill’s god-awful documentary on ‘Chavs’? Well, centre stage was Lady Sovereign. Burchill described her as “the voice of an emerging youth culture”.
Fans of MTV2 will be aware of this gem of a tune. From the moment Luke Pritchard sings the line “Did you see the way she looks at me?” you know you’re in for a slice of sublime geeky indie-pop.
Rivers Cuomo is eager to point out that the Californian's current single is not an endorsement to go out and get mashed. “This is not a pro-drugs song,” he writes in a sticker attached to every copy of the group’s latest slice of brilliant power pop.
In 10 years time we’ll be looking back at The Libertines as the band that launched 100 other pretenders. The Paddingtons are the latest to take their call of punchy guitar lines and skewed vocals from Messer’s Doherty and Barât.
Continuing on from last years reunion, and having bagged one of U2’s Croke Park slots, The Radiators continue to show that there’s still water left in the creative well.
Specialising in bluesy rock ‘n roll, there’s a touch of the Kings Of Leon about Dubliners Porn Trauma. Their often raucous debut EP offers an interestiong sample of what the four piece are about. A live track, an alt-country ballad and a classic rock number are all included and, though marred by slight production, there’s plenty to get excited about. The title track in particular is a revelation.
Imagine Lemon Jelly putting away the decks and building sounds around an acoustic guitar track. Now you’ve got something akin to Headgear. ‘Singin’ In The Drain’ begins with a lo-fi acoustic and vocal track interspersed with gulps of water and other idiosyncratic sounds. The chorus explodes with an Opera like “Rah rah rah”, bringing Baz Luhrmann’s sunscreen track to mind.
I bet if you asked him, the Wainwright’s family dog would be able to knock out a tune or two on the piano. There just seems to be no end to the well of talent in the household. While dad Loudon 111 continues to be acclaimed as one of America's finest songwriters, and brother Rufus continues to be the critics darling, Martha has been slowly building up a cult following of her own.
Much to the dismay of his accountant, Damien Rice follows up last year's non-profit single, ‘Lonely Soldier’ with another charity release. This time, the Kildare man is supporting the Free Aung Suu Kyi 60th birthday campaign, a global initiative aimed at freeing the Burmese Nobel peace price recipient who continues to remain under house arrest in military ruled Burma.
Currently on the comeback trail following 2002’s much under rated I To Sky LP, Mark Greaney and co have gone on a New Order kick. Pushed along by synthesizers and with a thumping bassline from new member Sarah Fox, ‘She’s Gone’ is vaguely reminiscent of the Mancunians' 2001 hit ‘Crystal’, particularly in its conclusion.
When Zane Lowe of MTV and BBC1 described The Checks' current single as “the hottest track in the world” we didn’t hold our breath. But he’s got it right. From frontman Ed Knowles' opening wail, you know you’re in for something special. One funky bluesy as fuck riff later and you can’t help your body moving.
Ireland’s most unappreciated performer, delivers the goods yet again. Beautiful hooks and melodies fly out of his guitar as if sent from the back of beyond in deepest Cork. His latest album, Hey Dreamer, is a stunner, ‘I’m Moving On’ being one of its many highlights.
Leya are blessed with bags of ambition. Sparse for the most part, ‘All On The Black’ is powered almost solely by Ciaran Gribbin’s soaring vocals and lyrics of departing love. Of course the crash of drums and guitar half way through comes, as expected, but nonetheless there’s a scope to the track that sets the Belfast rockers apart from most of their peers.
A student at Cork’s rock school, Coláiste Stiofáin Naofa, 20-year-old Jennifer Clarke has been enjoying considerable success in the city of culture. Her growing profile in Cork brought her to the attention of Declan Sinnot, who has produced this debut single, an careful debut that should go down well on regional radio.
The second single to be lifted from his Twenty Twenty Fiction album, ‘Jennifer’ isn’t a match for its predecessor, the excellent ‘Amerikan Folk Song.’ Though the Portlaoise man’s fragile and shivering vocal remains endearing, this lacks that extra spark. The thump and vitality, that the opening drum beat promises, never arrives.
“The new Coldplay” screams the British music press, as they salivate over Reading based outfit, Morning Runner. If writing a piano tune like ‘Hold Your Breath’ draws comparisons with one of Britain’s premier acts, then there’s hope for us all. Drawing Shapes is hugely derivative.
Marking the start of a nationwide tour, and kicking off the first night of a weekly residency at Voodoo Lounge, the Faction records inaugural bash lived up to the promise of the label's first release, Faction 001.
It seemed like it would never happen. 11 years after the release of their excellent debut album, Weezer finally made it to Dublin. Pre-gig, the anticipation was immense. Vicar St. had sold out in less than two minutes, and consequently, tickets for the show were like gold dust. At half past nine, Weezer’s trade mark ‘=w=’ symbol was projected onscreen and mass hysteria erupted.
Hard to believe it's been ten years since David Grohl first emerged from the ashes of Nirvana, raised his hand, and asked to be selected as the man to drive forward American rock music.
Even the most optimistic listener couldn’t have predicted the former drummer’s batch of demos would contain such anthems as ‘This Is A Call’, or that he’d be able to follow up Nirvana with another hugely successful outfit.
Yet despite all their accomplishments, the Foo Fighters still have great deal to prove. For all their platinum discs, anthemic singles and sold out tours, they’ve yet to release an album of any real consistence. Grohl could have been speaking about any of the Foo’s previous LPs when he recently said of 2002’s One By One that “Four of the songs were good, and the other seven I never played again in my life.”
With 25,000 albums released in Ireland every year, keeping tabs on new music has become an increasingly expensive hobby.
Staying abreast of what has become a fast moving, ever changing domestic scene is especially challenging. A handful of specialist shows aside, one rarely encounters bands such as The Amazing Pilots or Dry County on radio. Often checking out emerging groups means trial and error purchasing.
Thank God, then, for HMV’s Irish Playlist CD. Given away free with selected titles, the HMV Playlist has established itself as a gem of a compilation album. June’s Irish Playlist is exceptional throughout.
KT Tunstall doesn’t hang around. Following the release of her debut album earlier this year, her rise through the ranks has been swift and startling. Tonight the Olympia is packed full of loyal screaming fans. Through every break in the set they call her a legend. “You can’t say that!” replies Tunstall. “You can’t call me a lesbian!”
Having sold 7.5 million copies of their debut album, and collaborated with Sting, Justin Timberlake and James Brown on their new record Monkey Business, the Black Eyed Peas are among the premier pop acts of the moment. And they're still only getting started, as they tell Steve Cummins
This was a one night stand if ever there was one. Tomorrow there would be another city and another audience. The same lines would be used, IR-E-LA-ND replaced by GER-MA-NY or ENG-ER-LAND. The Irish t-shirts, sported by Fergie, Tabbo, apl.de.ap and Will.i.am, would also be discarded. An assistant would be dispatched to get the necessary silly hats and tourist gear for the next city. Black Eyed Peas would show them the love and then move on out.
It was always going to be a bit messy. Students being students you couldn’t but have expected the odd scuffle, girls vomiting on their expensive ball gowns, lads pissing wherever there was a wall and thousands of well dressed revellers drunkenly stumbling around the courtyards of Trinity College. What was unexpected though, certainly for a first timer, was just how good a night the Trinity Ball is. This was an event streets ahead of most outdoor events. Everything was well organised, queues for loos and bars were minimal, and security didn’t make themselves felt. It meant that all were allowed to just get on with the night at hand and enjoy Europe’s largest private party.
The voice of Deacon Blue, Ricky Ross has returned with this, his fourth solo album. Again it’s filled with terribly mawkish lyrics and sterile music. It’s a painful listen, like that scene in Wayne’s World where Gareth pictures his worst nightmare as being at a Kenny Rogers concert while undergoing dental surgery. I'm not one to advocate violence, but it's got to be said that anybody who buys this record should be shot. Sorry Ricky.
A bit like The Henry Sisters in that there’s actually a guy included amongst the girls. It’s there, some will say, where the comparisons end. Full of twitchy guitar lines, swaggering beats and call and response vocals, this mini-album attracted rave reviews upon its release across the Atlantic last year, and deservedly so.
New York, London, Paris, Munich, everybody’s talking about Mylo’s music. The 25-year-old dancefloor maestro here sounds off to Steve Cummins about touring the globe, the challenges of following up his acclaimed debut album, and why maruading chavs won’t be enough to dissuade him from moving to Essex.
It’s time for the singer-songwriter fraternity to move over and make room for the new generation of Irish guitar bands. Director, Marshal Stars and The Blizzards are just three of the acts who feature on the debut compilation from Faction Records, the new label which aims to promote and nuture the brightest stars of the Irish underground.
Remarkably prolific (this is their ninth album in as many years), The Mountain Goats are essentially John Darnielle. A musician who has recorded over 400 songs, Darnielle has rarely written material which has drawn from his own experiences. That changed with last year's wonderful We Shall All Be Healed documenting his past life in poverty and seedy apartments.
If you know who to call, it's as easy to buy a gun in Dublin as a microwave. No wonder there are more firearms in the streets – and more gangland murders – than ever before.
Following on from 2000’s experimental EP, I Can’t Believe It’s Not Rock, Silverchair frontman Daniel Johns and renowned electronica artist Paul Mac have once again reconvened to forge angst grunge rock with wistful melodic electronica.
The fifth album from Clem Snide resides somewhere between Lambchop and The Lemonheads. There’s lots of nice shifts and little surprises on the opener and title track, but from there on in things are pretty formulaic. ‘Fill Me With Your Light’ has a nice bouncy chorus to it, and that’s about it. Others, like ‘Jews For Jesus Blues’ and ‘Tiny European Cars’, promise a lot with wonderful titles but deliver little.
“Forget what you know about Kelly Osbourne,” screams the accompanying press release. “Get ready for a surprise.” Certainly the '80s dance club vibe which proliferates throughout is an unexpected shift in direction for the young Osbourne.
Tasmanian native Matt Lunson has overcome the challenges of establishing himself in a new country (not to mention his past in an Australian punk band called Hasselhoff!) to become one of the Irish music scene’s most accomplished solo artists.
Nas arrived in Dublin immersed in the sort of controversy for which rappers are renowned. At a London gig earlier in the week, three bullets were fired during his set at the Brixton Academy, bringing an abrupt halt to the concert while a worried Nas scurried off the stage. Once again hip-hop grabbed the headlines for all the wrong reasons.
Norwegian pop sensation Annie on her new-found celebrity status in Scandinavia, the music scene in her increasingly hip hometown Bergen, and why her future output is likely to follow in the same upbeat vein as her acclaimed debut, Anniemal. interview Steve Cummins
When he landed in Dublin for the first time, three years ago, he thought he was in the United States. But for Olukunle Elukanlo, Ireland is now home. Following the extraordinary events surrounding his deportation and return, he is enormously grateful to be back – where he belongs.
The deportation and subsequent return of Olukunle Elunkanlo has once again thrown the spotlight on Ireland's approach to the asylum issue. While Olukunle was fortunate enough to be able to return to his adopted home, as Steve Cummins reports, many of his compatriots have been left stranded in dangerous circumstances in their native country. Photography: Mick Quinn
Having been shot five times and survived a coma in his previous life as an LA gang member, hip hop sensation The Game has been offered a reprieve courtesy of Dr Dre's patronage and a deal with Interscope Records. But is the 25-year-old star already succumbing to his own hype?
They must be sick of the Pogues comparisons by this stage, but listening to Blood Or Whiskey’s third studio album it’s impossible not to think of Spider Stacey bouncing his head off a beer crate and an early Shane MacGowan screeching into the microphone with two fingers aloft as the squaddies chucked their chips at him. Blood Or Whiskey evoke those sort of memories. The Rum, Sodomy And The Lash era when The Pogues stuck to their punk and traditional origins.
Stunning is only the start of it. To come back from a showcase having seen one great new band is an achievement. To see three is staggering. From the off it seemed destined to be a special night.
Donegal rockers The Revs have been ensconced in Malmo’s prestigious Yellow Studios for the last three months working on the eagerly anticipated follow-up to Suck. Steve Cummins joins the group in Malmo for an exclusive listen to what many expect to be their breakthrough album.
As a debut, Everything, Something, Anything is for the most part a passable listen. However, like many first albums, there’s a feeling of unfulfilled potential about it.
Flying winger Denis Hickie is one of Ireland and Leinster's leading stars. But when he takes off his boots, it's music he turns to for inspiration – from Nick Drake, through Mark Lanegan and Hem to Athlete (but of course!). Interview by Steve Cummins. Photography by Cathal Dawson
Steve Cummins undergoes a poker masterclass courtesy of two of the game's most renowned tutors, Al Alvarez and Roy Houghton. Photography by Cathal Dawson.
With the recently released Some Cities completing a trio of gorgeously layered masterpieces, Doves are the band many take for granted. Brilliance is expected, and we have become accustomed to excellence from the Manchester trio. If there was anything unexpected about their set at a sold out Olympia, it was that we may have forgotten beforehand just how special they really are.
Steve Cummins meets Philip King, the man behind Other Voices: Songs From A Room, the acclaimed music show which has provided an invaluable platform for Irish musicians – and which has now expanded its remit to include international artists as well.
Steve Cummins meets Philip King, the man behind Other Voices: Songs From A Room, the acclaimed music show which has provided an invaluable platform for Irish musicians – and which has now expanded its remit to include international artists as well.
If there was anything unexpected about Doves set at a sold out Olympia, it was that we may have forgotten beforehand just how special they really are. It didn’t take long for one's memory to kick into gear.
Music Review | Live
9 Mar 2005
Steve Cummins
Those in attendance are leaving for home grinning from ear to ear. Some can hardly speak. Those who can are uttering the words "fuckin’" and "amazin’".
Moby’s last album, 18, bore the marks of a record weighed down by expectation and record company pressures. Up until that tiresome 2002 release, he had made a succession of wonderfully diverse records. From the full on techno of 1991’s Go through to the ambient chill-out of Play, each had been a progression from the previous. Thankfully his latest, Hotel, sees a return to that sort of eclectic creativity.
Tonight feels more like a freshers’ ball or pissed up student bar gig than anything else. When Valentine speaks between songs he is largely ignored. The kids in the first ten rows seem more intent on pushing into each other than listening to the music. Valentine could drop his pants and nobody would notice. It’s one of those nights, though it is surprising, given that tonight’s show has been sold out for weeks in advance.
When the NME referred to him as “One of the greatest songwriters anyone has ever heard”, Stephen Fretwell could have been forgiven for thinking his career had been given the kiss of death. Thankfully, Fretwell falls amongst the 10% that the UK rag has been right about.
Let’s Bottle Bohemia was an unimaginative and deeply uninteresting follow up to The Thrills’ summery debut. This, the second single to be lifted from the album, is terrible, though still one of the finer moments on the record. Deasy’s vocals continue to verge on the irritable and the excellent title has little to do with the record.
Erlend Øye, one half of the Kings, solo artist, and some time Royskopp collaborator, shows no signs of his creative well drying up. Lifted from their excellent Riot On An Empty Street album, this is another slice of warm soulful acoustic pop from the Norwegian duo.
Mark Geary had a decent 2004. His second album Ghosts was well received by fans and critics and a successful Irish tour saw him established as one of our most promising songwriters. 2005 should be just as busy.
Tagged as the next big thing to emerge from Ireland, Mainline have been gathering much acclaim from the likes of Q magazine and London’s XFM. Listening to their debut single, it’s easy to justify the hype. With a big dirty guitar riff pushing it on, ‘Black Honey’ wouldn’t sound out of place on a Black Rebel Motorcycle Club or Jesus and Mary Chain album. It sounds like nothing that has come out of an Irish band in years.
Formerly of The Fat Lady Sings, this is the first single to be lifted from Nick Kelly’s excellent second album Running Dog. Produced by Joe Chester and remixed by Steve Osborne, ‘You’re Gonna Fall’ is one of the album’s early highlights. It finds Kelly at his poppiest as it moves along nicely with chiming guitars and a catchy as hell chorus.
Sometimes you’ve got to make your own luck. By approaching him at his hotel, unknown Mayo singer songwriter Brian Flanagan convinced legendary gospel and blues artist Eric Bibb to record a duet of Bibb’s ‘Where the Green Grass Grows’ with him.
Following a memorable performance on Later with Jools Holland, Scottish singer songwriter Tunstall has been the talk of the industry. Her beautifully ballsy vocal powers a song that never outstays its welcome.
Yet another Dublin act tipped for great things in the UK. The Immediate sound like a hybrid of The Strokes and Cast. That’s not to say that they bear any musical comparison to John Power’s terrible Britpop outfit.
The return of one of the country’s finest songwriters, ‘Smile’ is the first single to be lifted from Brady’s forthcoming Say What You Feel album. On first listen it sounds like something that Van Morrison might write. As Brady songs go, it’s not far removed from his most recent output. There’s nothing uniquely special about it and it’s certainly not one of his best.
Keep On Your Mean Side was one of the most exciting debuts of recent memory and judging by ‘The Good Ones’, the forthcoming No Wow shouldn’t disappoint.
Darlings of the music press during the early ‘90s, The House of Love produced at least one stunning LP before fading away. They never did amass much of a following so a reunion was perhaps unlikely. But reunite they did and this is the first single to be lifted from their often excellent forthcoming album, Days Run Away. ‘Love You Too Much’ isn’t one of the album’s better tracks and lacks punch. Hardly one of their finest moments.
Comfortably ensconsed in his favourite Indian buffet restaurant, Electric 6 frontman Dick Valentine chats to Steve Cummins about the band’s new opus Señor Smoke, time travel, OJ Simpson and Michael Jackson’s impending trial.
Taking their name from a Greek brand of cigarettes, The Karelia are best known as the former band of Franz Ferdinand frontman Alex Kapranos, (then known as Alex Huntley). Releasing one album in 1997, they were all about ballroom swing, jazz and free form rock.
Taking two years to write and record, A Murder of Crows has been a labour of love for Chester. The positivity stemming from that love flows in abundance throughout the album. It’s the perfect pop record. Negative feelings, like love lost and relationship break-ups are twisted and shaped into something altogether more encouraging.
Despite the reputation reunion tours have, you couldn’t really say that The House of Love were cashing in by reforming. Once darlings of the music industry, Guy Chadwick and Terry Bickers have long been the forgotten men of British music, never amassing the kind of following that might make a reunion financially attractive.
Yes, it’s another Irish singer-songwriter. Running Dog is Nick Kelly’s second album, following on from his acclaimed solo debut Between Trapezes, which saw him pip the likes of Van Morrison and Paul Brady to the coveted ‘Best Solo Artist’ gong at the 1998/1999 hotpress Irish Music Critics awards.
The speakers in Whelan’s may need replacement. So loud were the 22-20’s, their rock and blues infused numbers were still ringing in my ears two days after they’d left the stage. At times the Wexford street venue must have shook with the noise.
Following a collapse in the numbers of students taking up the J1 Visa in 2004, the US Ambassador, James C.Kenny, has gone on the campaign trail in Ireland.
Señor Smoke is more of the same from Dick Valentine and crew. Like its predecessor it’s packed with raw energy and pure fun. Valentine can be laugh out funny at times.
Having made the headlines recently with their attention-grabbing impromptu gig at the You’re A Star auditions in Portlaoise, Longford rockers The Rubens are now out to put the life and soul back into Irish pop.
2004 was an extraordinary and chaotic year in the life of Pete Doherty. Having made the running as front man with The Libertines, he was sacked from the band. His heroin addiction public, he careened into all manner of potentially damaging conflicts. When he re-emerged recently with Babyshambles, the hope was that he might have begun to clean up his act. But when hotpress finally caught up with him in Dublin, on the final date of the band's tour of the UK and Ireland, we were witness to some truly bizarre and troubling scenes. [Frontline report: Steve Cummins]
Plus: Amid rumour and counter rumour concerning the future of the band, Libertines drummer Gary Powell offers a no holds barred view of the damage inflicted by Pete Doherty's heroin addiction on the career of a band that had the world at its feet. [Interview: Paul Nolan]
Sometimes I wish Glen Hansard’s guitar would explode, or that half way through a terrible rendition of ‘Pavement Tune’ the band would lose their way and let the song fall apart. A mistake of some sort would be nice, if only to prove that The Frames are mortal when it comes to playing live.
With their fifth album Push The Button, the Chemical Brothers have replaced big beats and star names with subtlety and even the odd anti-war protest tune.
As Velvet Revolver prepare to play Dublin on January 12, Duff McKagan talks to Steve Cummins about the band's chart-topping success and his pancreas-exploding days of yore with Guns N' Roses.
As Velvet Revolver prepare to play Dublin on January 12, Duff McKagan talks to Steve Cummins about the band's chart-topping success and his pancreas-exploding days of yore with Guns N' Roses.
Will South’s haunting vocal is moody and edgy and fits perfectly alongside some often eerie backing. You can hear it forcing itself out to fill stadiums across the globe.
As gigs in Whelan’s go, this was a strange one. Brian McFadden was re-inventing himself. Unshaven and dressed in ripped jeans and a t-shirt, he clearly had the scruffy indie kid down.
Stephen Cummins discusses the FAI’s recent troubles, the passing of Emlyn Hughes and Ireland’s chances of World Cup qualification with Match Of The Day pundit Mark Lawrenson.
Unique to his country, Luke Kelly was a special talent, and this was a special night marked not only by great music, but by anecdotes, memories and poetry from people such as Liam Clancy.
He’s been The Jam Man, The Cappuccino Kid and The Modfather. Now the proud father of a 17-year-old goth daughter, Paul Weller has taken a break from compositional chores to recharge his batteries with a new covers album, Studio 150.
Not the greatest of songs, but Baxter’s warm honey tinged vocal mesmerises, sucking the listener in. A bit cringe-worthy at times, there’s still enough here to warrant further investigation.
Shatner “acts out” Cocker’s depiction of a slumming rich kid, devaluing the song in the process. It’s similar to the way American versions of British sitcoms drain the lifeblood out of the original. Horrible stuff.
Their much anticipated album Tyrannosaurus Hives may have been a major disappointment but this single, at less than two minutes long, is never in danger of outstaying its welcome.
After the initial five minute sequence of bass notes, gradually building in volume, Wobble gave a nod to his drummer and the percussion kicked in. Feet that had tapped began to dance as bodies swayed to the rhythm.
Starsailor’s success is beginning to dwindle. While previous trips to Ireland brought them to the Point depot, the Olympia and high up on festival bills, tonight they are reduced to performing in front of a half full Ambassador.
Adulation from teenage girls, encounters with Jack Osbourne and hi-jinks with coked-up prostitutes – Donegal rockers The Revs are starting to make a name for themselves in Britain and beyond.
Their third album In A Happy Place is rooted in the radio friendly genre, and it’s on the back of this, coupled with a successful tour of the US College circuit, that Stand returned to Dublin.
As he left the stage to rapturous applause and chants of ‘Paddy, Paddy’ it seemed somewhat odd that Paddy Casey would later reflect on this, his first London gig since the release of Living, as the worst of his current tour.
