New Irish Songs To Hear This Week

Daniel Cohen, 'Let's Be Free'

The Irish pop artist Daniel Cohen's new single 'Let's Be Free' is a feel-good summer anthem about being true to yourself and finding happiness on your own terms.

Cohen is known for doing it all himself, writing, performing, and producing his own material. For this release, he stepped outside that approach for the first time, travelling to the UK to record with Pete Day.

The producer worked for years with Stock Aitken Waterman. The result of working with Cohen is a polished and ambitious track.

Laurie Purkiss, 'Neon'

The single 'Neon' is about floating. It describes an accumulation of feelings, colours, textures and thoughts. It's a successful attempt to paint the experience of passing moments in broad brushstrokes.

Cork-born and Lisbon-based independent singer-songwriter Laurie Purkiss' music blends electronic production with acoustic instrumentation, with strong melodies, rich vocal harmonies and a nostalgic feel.

Driven Snow, ‘I Wasn’t Looking For You’

Driven Snow have given us another glimpse into their upcoming album Mother of Christ. ‘I Wasn’t Looking’ reflects on the events in life that are beyond your control, the unexpected moments. The track builds gradually, beginning with Emili’s voice and piano before expanding into something much larger, as restrained drums slowly add momentum and drive the song forward.

Megan Burke, 'Make Me'

'Make Me' is an empowering track on healing and self-worth from Megan Burke.

"I was writing songs that were so thematically dark for ages, and I needed a little break from all that," said Burke on her EP Not All Men, Apparently.

"Just because I have no interest in settling down doesn't mean I have to miss out on all the craic that goes with it."

It recognises the bad choices you can make in love and relationships, how easy it is to slip into bad habits, and how important it is to break out of them. Burke has a classic "femme fatale" voice that's sultry and commanding without overpowering the smooth piano on the track.

 

Shamrock Showband, ‘Fascist Boogie’

Hailing from Shamrock Showband’s second album Shankill Road Mission, out now, ‘Fascist Boogie’ is a deliciously hard-hitting, tongue-in-cheek tune deliciously catchy with its Americana flavours while delivering a fierce, unflinching anti-fascist message.

Inspired by “Belfast, Ulster, The Border, and the towns we come from” the new record takes its roots in “the Showband Era,” said the band on Instagram, “a sexier era than it gets credit for. An era that was cut short by the Brits and their war on Ireland because of its ability to bring people from different communities together.”

Clare Sands, ‘Anam Cara’

The second single from Clare Sands’ upcoming album They Tried to Bury Us, ‘Anam Cara’ was written in response to the riots that have recently taken place in Belfast. Opening with softly plucked guitar and vocals sung in both Irish and English, the song intertwines bilingual lyrics with the warm meditative tones and the beautiful blend of harmonies.

“I got the term ‘Anam Cara’ from John O’ Donohue’s poetry” says Clare, “This song came from my deep love of Irish folklore and mythology. I remember learning about the land of Tír na nÓg, our Celtic Gods and Goddesses and the Tuatha Dé Dannan when I was a child and falling completely in love with these scealtaí. How do these stories relate to us today? We dream of faraway places ‘the grass is always greener on the other side’ and we can forget to put time and effort into the world and the people around us, in the here and now. This song is a call to protect and embrace what is around us, and a plea for ‘sorrow to come no more, for son and daughter’ regardless of creed, colour, or culture.”

Scruffy Munnelly, ‘Father Scruffy’

Tallaght rapper Scruffy Munnelly releases the new single ‘Father Scruffy’ introducing the bad-priest alter ego for an absurdly hilarious track, blending parody and craft in a tune which offers comedy without sacrificing raw talent. Mixing Catholic iconography with references to Tallaght, the tune is built on deft bars and incredibly catching production for a deeply unique and compelling effort.

Antoni O’Breskey, ‘Buenos Aires’

Taken from Antoni O’Breskey’s upcoming three-volume career retrospective, Antoni O’Breskey: 50 Years of Music, ‘Buenos Aires’ s a composition dedicated to O’Breskey’s first daughter, Raffaella Carla. After having been tragically separated in 1979 in the U.S. – when Carla was just five years old, the circumstances that brought them to reunition in 1997–seventeen years later–unfolded like a fairytale.

O’Breskey recalls: “In 1993, I was commissioned by Paul McGuinness and Principle Management to develop an international musical project with producer Dónal Lunny. With the U.S. launch in mind, I composed a piece called ‘Song for Carla’, in the hope that my daughter might hear it over there and we would be reunited.”

Warren, ‘Call On’

Warren has delivered another contender for this year’s summer hit. The Dublin-based producer proves it once again with ‘Call On’, an electronic track defined by soft, delicate vocals layered over a strong, nostalgic beat.

Micko Roche, ‘Ketch Ah Sunset Dub’

It’s not easy to open a track with such a rich mix of instrumentation and immediately pull the listener in, but Micko Roche manages exactly that with ‘Ketch Ah Sunset Dub’. It’s a track best experienced on headphones that reveal every subtle detail in the mix.

Beginning with percussion and guitars, the song gradually builds as a strong bassline enters, followed by Roche’s vocals, which drift in and out throughout the track. The arrangement is later blessed with brass and additional layers that add texture.

The result is a track that captures a hint of Jamaican flair while blending in modern production.

 

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Shimmer Boy, ‘Hideaway’

Shimmer Boy has released the final preview of his upcoming album In The Aftermath, We Bloom. ‘Hideaway’ is a strong indie track, driven by powerful guitars and drums. His vocals, delivering lyrics about self-confidence, fit the song perfectly and add to its uplifting energy.

"Hideaway is about trusting yourself, being yourself, and not hiding away from life anymore," says Shimmer Boy.

Animal Animal, ‘Aphrodisiac’

For anyone who didn’t know, an aphrodisiac is any substance believed to increase desire and lust, a term from the name of the Greek goddess Aphrodite. It’s a fitting title for Animal Animal’s latest track, which channels that sense of passion and intensity through a mix of raw heavy metal and atmosphere. Lead singer Robert Ryan’s vocals are powerful, while the guitar riffs are nothing short of excellent.

“Aphrodisiac, for me, is my favourite song on this record. It’s atmospheric and somber and the lyrics feel really honest,” says Animal Animal. “It’s like this character was stranded or left behind and all of his pent-up anger is spilled into the lyrics. The verses feel like a conversation and the bridge at the end is the conclusion of those conversations. In a way, it’s like our break-up song.”

Charcoal Greys, ‘Blisters’

Tipperary-based Charcoal Greys have once again delivered a strong slice of 2000s-inspired pop punk. Lead singer Emily’s vocals are fresh and endearing, perfectly complementing the song’s energy. The guitar hook feels both nostalgic and refreshing, while the drumming is excellent throughout, providing a strong backbone to the track.

“'Blisters' explores the bittersweet emotional turmoil of a toxic relationship; When you know someone is not good for you but you choose to stay anyway.”, says the band. “The fragile line between hope and delusion is mirrored in the contrast between the bright, catchy hooks that drive the song and its melancholy lyrics.'”

Whozyerman?, ‘Long Stretch’

Oh, how an interesting opening can draw you in. Whozyerman does exactly that with ‘Long Stretch’. The vibrant textures of electronics, synths, piano and more make for a thoroughly enjoyable listen, while his voice only strengthens the song’s appeal. In a notable decision, the singer has chosen not to release the track on Spotify as part of a boycott motivated by ethical concerns.

Dave Lofts, ‘Holy (Acoustic)’

Waterford’s Dave Lofts has carved out a name for himself through a brand of soulful authenticity that feels raw and genuine. The newly shared acoustic rendition of ‘Holy’ offers a fresh perspective, stripping the song back to its core elements. The sparse, acoustic arrangement allows Loft's lyricism to take center stage. The result is a performance defined by heightened emotion and a captivating sense of grit.

Patrick Stefan, ‘Peggy, My Dear’

Patrick Stefan has unveiled ‘Peggy, My Dear,’ a poignant tribute to his great-aunt. Drawing from recordings captured a year prior to her passing, the track evokes the intimate experience of listening to her shared histories. The traditional concertina melody drifts through the song like a fading memory, blending a delicate trad sensibility with a haunting indie-folk atmosphere reminiscent of Sufjan Stevens.

"Peggy was the sharpest minded 89 year old you could find, at the time of recording her accounts of electricity coming to her town, the first banana she ever saw, and other gems like stories of people being protective of their butter," says Stefan. "I wanted to write a simple and honest song that reflected Peggy’s wisdom, love of nature and of Irish culture."

HAVVK, ‘You Always’

HAVVK have unveiled their thunderous fourth studio outing, Time Will Kill, full of frantic and powerful alternative ballads . The track ‘You Always’ embodies this rebellious spirit, inhaling the raw energy of riot grrrl and grunge with a sound similar to the likes of Bratmobile or Destroy Boys. The mix of thrashing emo guitar and belting make this a headbanging worthy song.

Opentide, ‘Older’

Comprised of Thom O'Keeffe and Denny Dunworth, Opentide's latest offering, 'Older,' crafts a rich, cinematic atmosphere anchored by live instrumentation. Gentle and harmonic, the track opens with delicate violin before transitioning into resonant, booming guitar work. This soundtrack-style music while minamalist, subtly leads the listener on emotional rollercoaster.

Conor Furlong, ‘Killer’

Ahead of his upcoming album Descent, Conor Furlong has unleashed his latest single, ‘Killer.’ A fierce collision of rock and indie inspiration, the track channels the adrenaline of a high-speed car chase. It’s a relentless, high-octane song that feels wonderfully chaotic.

Rattling Ark, 'I’ll Buy Boots for Maggie'

Pulled from Rattling Ark's new album Top of a Mountain, ‘I’ll Buy Boots for Maggie' is a thrilling, contemporary blend of string instruments that include Cello, Violyra (a rare custom-built instrument that blends elements of a viola and lyra), nyckelharpa and unorthodox percussive elements.

The track begins with cadenced and flowing orchestration, as the arrangement unites in melody but free from strict rhythm.

Then, the violyra, pulsing on a single note, provides an anchor for the other instruments to swell into what feels like a full scale instrumental score.

The dense arrangement is gently stripped back in the closing sequence, giving the track a natural emotional comedown from the elation of the uplifting swell.

Basht, 'Keira Knightley'

Named after actress Keira Knightley, who starred in Bend It Like Beckham, Love Actually and The Pirates of the Caribbean films, Basht have released another single to drum up anticipation for their debut album, Poor Advice, set for release on October 9.

The song opens with a steady kickdrum, restrained guitars and a pattering bass line. The arrangement embodies the lyrics, that depict a the excitement of a souring relationship:

“I’ll call you daily hold you tightly ring your bell like Keira Knightley”

The tension built up throughout the chorus is released in one fell swoop with a driving, melody-led bassline, and reverb-drenched guitars with a hollering chorus.

This excitement devolves into insecurity, paranoia and jealousy in the second verse. Sporadic, swooping guitar shift slides underline this feeling of uncertainty.

“This conversation is overwhelming, I'm going to need to sit down.”

In the final verse the mood goes from jealously, to all out dissociation. The track slows down dramatically, indicating that the narrator is perhaps struggling to come to terms with reality or the passing of time, before the track unleashes once again with another all-out, high energy chorus.

Jazzy, ‘Invisible’ feat. Chris Lorenzo

The Dublin based singer-songwriter and DJ is one of a number of acts drumming up anticipation for a debut album with the release of a single this week.

Joined by fellow DJ Chris Lorenzo, the track exemplifies Jazzy’s excellent ability to easily create danceable tunes.

The track is layered with bouncy growls, synths and pitched up harmonies. Glistening over the arrangement are Jazzy’s buttery smooth vocals that are now a hallmark of festivals and nightclubs around the country.

Ahead of the closing sequence, the heavier elements, like the bass and 808s, filter out as a thin, echoing melody is left behind. The introduction of a rising synthesizer perfectly tees up a swooping beat drop.

The closing sequences are much like the first, with the full force of a pounding bass, higher-pitched electronic elements and Jazzy’s vocals.

Applecart, ‘Vinegar Trap’

‘Vinegar Trap’ is the debut single of Beauty Pageant guitarist Dale Geraghty, whose solo project is titled Applecart.

The track’s orchestration shows apparent influences from The Velvet Underground as visceral, fuzzy and shimmering electric guitar.

The combination of bass and guitar are complemented by drums from Oisín Walsh of local rockers Spearside. The percussion is laid back and supports the vocals and melody without overpowering them

Applecart’s vocals seem to be manually double-tracked and resemble Elliot Smith and the ghostly-choir effect that was a hallmark of his music. The light variations between the two takes create a shimmering, ethereal texture.

The Prongs, ‘Stanley Milgram Says’

Post punk duo The Prongs return with the creatively premised single Stanley Milgram Says’. The track is driven by coarse, spoken word lyrics with the orchestration similar to other post-punk bands like Joy Division or The Clash.

The song is based on the 1960’s social psychologist, Stanley Milgram, who conducted controversial experiments on obedience in the 1960s during his professorship at Yale.

The band refer to Milgram as a “voltage pilgrim" in reference to his experiments that administered high-voltage electric shocks to the experiment subjects

McGrath, ‘Burn Daylight’

Rising Donegal singer-songwriter, Mick Russell, aka McGrath has released is second single following the release of ‘Rotha’ back in April.

Looking inward, ‘Burn Daylight marks a distinct shift from his debut track. The song addresses loneliness and longing that comes with separation from someone you love.

Beginning with a stripped back guitar and double-tracked vocals, the orchestration explodes into a high-energy pop-melody chorus as McGrath’s vocals show resemblance to Dermot Kennedy,.

“This is for anyone who has had to endure being away from their significant other. Whether that be for professional reasons or otherwise said McGrath speaking about the track.

“Loneliness creeps in and sometimes you just want the sun to burn away the day so you’re that bit closer to returning to the one you love. I wanted a dream/trance-like sound to convey the out-of-body feeling that this can evoke.”

Lemonade Shoelace, 'Got This Feelin'

Lemonade Shoelace aims to load up the senses with colour, rich melodies and textures of sound that embrace the last 50 years of pop music. 'Got This Feelin' was written, recorded and produced entirely in a small home studio by one person, and is delivered in a classic yet futuristic style.

New EP, Magnetised explores themes of escapism, love, self-acceptance and introspection while creating a sound that both feels familiar and otherworldly.

Listen to our playlist: