Niall O’Shea
Inner City Dogs
Angela Macari O’Looney
Niall O’Shea’s debut album Inner City Dogs, launched in September 2010 is a varied collection of songs, written from his experiences travelling around the world. Ten enjoyable tracks combine an interesting cross section of genres and influences. Niall’s amazing guitar technique whether on electric or acoustic is evidence of his love for the greats such as Jimi Hendrix, Led Zeppelin, U2 and many more. It’s a memorable combination of Classic rock and Bluesy type numbers that take you on a sweet journey, with Niall and his band.
Dogs
Fast moving, with a catchy guitar riff intro and thumping drumbeat, this song involves lots of chops and changes, with some exceptional guitar throughout and an excellent baseline. Niall reaches falsetto notes, his vocals quite interesting and his range impressive.
Chrissy
This is a favourite of mine. It always reminds me of 80s bands like The Jam, the chorus really cheerful, with a sing-along quality and chord combinations delightful. Trumpet lifts the mood right up. Guitar is simply perfect here too, particularly the lead into the chorus which totally makes the number in my opinion. I also love the chord riff just before the slow down for the middle eight. Harmony is delicious too in this upbeat melodic song, which ends on a wonderful jazz chord!
You get so many surprises with each number on this album. An elaborate acoustic guitar intro takes you into Red Horizon, with bass and percussion dramatic and a captivating melody line. Trumpet features big time here, played by Stefano Muscovic. Those riffs blasted out between each line add a wonderful explosion of sound, with both trumpet and Niall’s guitar blending beautifully. What a fabulous song and an outstanding arrangement!
Van Morrison comes to mind when I hear the intro to Too Long with its happy tempo, sweet chord combinations and folksy feel. Fiddle adds a touch of bohemian gypsy fun and is played by Cian Loughnane. A song for dancing around to, the melody in the chorus here is extremely memorable.
On Better Days which is one of the slower tracks, Niall has a little help from Jennie Place Ryan who sings harmony in the chorus. This begins as an acoustic song, electric guitar gradually coming in later on. Soulful and easy going, it’s another top quality number from Niall, who seems to have endless talent as an instrumentalist. Even the slower songs are very intricate, with loads going on throughout.
Lead solos on electric guitar and also riveting trumpet are key features in No Water Flows. This fast rolling number has a contemporary feel to it which I really like. It sounds like musicians having a really good time blending their instruments and putting yet another embellishment onto the song as it develops, speeding up then slowing down again. This makes the track an exhilarating experience. Niall’s slightly gritty vocals lean towards Cold Play’s Chris Martin’s tone, but he has this superb way of creating variation with his voice as if it’s an instrument in itself.
If creating an impact on his listener is Niall’s motive, he definitely achieves this in this great debut album. Of the remaining songs it’s hard to pick one favourite. Each is very special.
Violin is spectacular on Alleyways, which is a delightful piece, with lots of lovely harmony filtered into the chorus.
Warm Under the Sun is an unexpected injection of heavy rock, with grunged up guitars and lots of distortion involved. It has a Wow effect, with a chorus that has a harmonic refrain, a scorching lead solo, thumping drums and a busy baseline. This is Old Grey Whistle test type stuff, which would be a trip down memory lane for aged rock connoisseurs.
A love song All I have is a three four ballad, with descriptive lyrics, piercingly sweet violin and acoustic chords that would melt any heart. Your smile as sweet as a tangerine/ the taste of your warm soft lips brings me to my knees.This is only one example of the poetic lyrics in this song.
Sun Bleached Cans has an exotic rhythm, trickling guitar riffs and imaginative hooks throughout. Melody line is delicious too and Niall sounds like he thoroughly enjoys doing this number. Drums and percussion create a Latino beat, with the trumpet doing a Mexican riff that’s utterly beautiful. I picture a couple doing a seductive dance on a beach in the moonlight. A great escape from the winter blues, it’s a great choice for the finale to an entertaining show!
Other performers on Inner City Dogs include Nicole Hudson-Strings, Johnny Boyle Jnr.-Drums/Percussion, Q (Colm Quearney)-Bass/Harmonium/Organ/Piano/Handclaps.
The album was written over a period of years, with help on the production end of things coming from Q.
The cover art is in Black and White and depicts the man himself sitting on a tiled sidewalk outside a high rise block of flats, with a standard lamp and a plant strategically placed to give the impression that this may as well be his sitting room. Quirky! Like a hint at what you can expect inside this CD, with its unexpected twists and turns.
Thursday, December 23, 2010
Saturday, December 11, 2010
Sleeptheives CD review
Sleep Thieves
It was only a Satellite E.P. and City Lights single
Angela Macari O’Looney
Indie/Electro/Pop band Seep Thieves comprises Sorcha Brennan-Vocals/keys/Synth/Glock/Guitar, Wayne Fahy- Bass/Synth/Vocals/Programming and Derek Murphy-Guitars/Synth/Keys/Programming. They got together in 2008, from the ashes of other bands and blend well, seeming to really enjoy creating new sounds. This band is particularly entertaining to watch live, when they alternate between instruments for different numbers.
With Sorcha’s light vocals combined with catchy melody lines and electronic arrangements that are appealing, Sleep Thieves have begun to develop their music further, exploring newer ingredients to enhance each interesting song.
It was only a Satellite is their debut E.P. with four excellent tracks.
Winter
An electronic keyboard intro takes you into this number, with rhythm joining in. Wayne performs the verse and Sorcha the chorus, which is sweet and has a cheerful pop beat. The lyrics are happy and uplifting. Harmony is delicious and both singers combine their vocals well, with Wayne doing a refrain with the last chorus, where a glockenspiel riff creates a magical atmosphere.
Osumi
An electronic riff throughout this upbeat song is the key feature for me. Lots of weird and wonderful sound effects and percussion make it exciting. A strange disjointed guitar solo is unexpected, but adds to the space aged mood. Sorcha’s vocals are haunting.
Make your move
The baseline in this number is a big feature. Lots of trickling electronica throughout is quite appealing in this mainly instrumental piece. Sorcha sings a short chorus and things are laid back, with a dancey beat.
This is not an Exit
Promo lyrics, experimental style keyboards and a fast moving beat give this number life. Sorcha shouts out the words in a commanding voice, while complex instrumentals surround her and although quite short in length, there’s a whole lot going on throughout the piece. Like the E.P. itself, you get a compact and very enjoyable trip as you journey with this band and their various hi tech sounds.
City Lights
This fast moving song has a pretty simple melody line, with a catchy synth riff featuring. Sorcha paints a picture with her lyrics that’s quite romantic and the descriptions are great; In the morning we went out walking, we walked all day/ And we let the wind and the sea air blow all our worries away.
Bands from the 80s such as O.M.D. come into my head when I hear this plethora of electronica teamed with a musical vocal. There’s a nice combination of sweetness in Sorcha’s voice plus rhythmic, systematic beats and notation all very intricate, but really memorable. This new single is an enjoyable escape.
Sleep Thieves are a gentler version of electro act, with a female fronting it. Think of Fight Like Apes, Ham Sandwich, or Grand Pocket Orchestra, with less aggression and easily remembered, defining melody lines and it describes this young trio. They have played support to Fight Like Apes, Cranes and Dark Room Notes and also performed in the IMRO Showcase and Fringe festivals. Their debut album has a picture of a satellite in the night sky on it and perhaps a shooting star in the night sky would be a nice thought for their next CD, reflecting new age music, ambition and hope!
It was only a Satellite E.P. and City Lights single
Angela Macari O’Looney
Indie/Electro/Pop band Seep Thieves comprises Sorcha Brennan-Vocals/keys/Synth/Glock/Guitar, Wayne Fahy- Bass/Synth/Vocals/Programming and Derek Murphy-Guitars/Synth/Keys/Programming. They got together in 2008, from the ashes of other bands and blend well, seeming to really enjoy creating new sounds. This band is particularly entertaining to watch live, when they alternate between instruments for different numbers.
With Sorcha’s light vocals combined with catchy melody lines and electronic arrangements that are appealing, Sleep Thieves have begun to develop their music further, exploring newer ingredients to enhance each interesting song.
It was only a Satellite is their debut E.P. with four excellent tracks.
Winter
An electronic keyboard intro takes you into this number, with rhythm joining in. Wayne performs the verse and Sorcha the chorus, which is sweet and has a cheerful pop beat. The lyrics are happy and uplifting. Harmony is delicious and both singers combine their vocals well, with Wayne doing a refrain with the last chorus, where a glockenspiel riff creates a magical atmosphere.
Osumi
An electronic riff throughout this upbeat song is the key feature for me. Lots of weird and wonderful sound effects and percussion make it exciting. A strange disjointed guitar solo is unexpected, but adds to the space aged mood. Sorcha’s vocals are haunting.
Make your move
The baseline in this number is a big feature. Lots of trickling electronica throughout is quite appealing in this mainly instrumental piece. Sorcha sings a short chorus and things are laid back, with a dancey beat.
This is not an Exit
Promo lyrics, experimental style keyboards and a fast moving beat give this number life. Sorcha shouts out the words in a commanding voice, while complex instrumentals surround her and although quite short in length, there’s a whole lot going on throughout the piece. Like the E.P. itself, you get a compact and very enjoyable trip as you journey with this band and their various hi tech sounds.
City Lights
This fast moving song has a pretty simple melody line, with a catchy synth riff featuring. Sorcha paints a picture with her lyrics that’s quite romantic and the descriptions are great; In the morning we went out walking, we walked all day/ And we let the wind and the sea air blow all our worries away.
Bands from the 80s such as O.M.D. come into my head when I hear this plethora of electronica teamed with a musical vocal. There’s a nice combination of sweetness in Sorcha’s voice plus rhythmic, systematic beats and notation all very intricate, but really memorable. This new single is an enjoyable escape.
Sleep Thieves are a gentler version of electro act, with a female fronting it. Think of Fight Like Apes, Ham Sandwich, or Grand Pocket Orchestra, with less aggression and easily remembered, defining melody lines and it describes this young trio. They have played support to Fight Like Apes, Cranes and Dark Room Notes and also performed in the IMRO Showcase and Fringe festivals. Their debut album has a picture of a satellite in the night sky on it and perhaps a shooting star in the night sky would be a nice thought for their next CD, reflecting new age music, ambition and hope!
Friday, December 3, 2010
Jaded Sun CD review
Jaded Sun
Whiskey Drinker
Angela Macari O’Looney
The long awaited follow up to Jaded Sun’s Gypsy Trip, one of the most exhilarating rock albums of the decade from an Irish band, is finally finished and bears the band’s unique trademark of gritty rock vocals, elaborate guitar solos, upbeat numbers that are foot stomping and soulful rock ballads where you hang on to each word, riffs flowing like thick black treacle through the wonderful melody lines.
Formed in 2002, this highly successful five piece band have gone from strength to strength and continue to build up a large and faithful fan base. Their debut E.P. Raw was released in 2004 and went on to become the most downloaded song on Ireland’s download charts. This was followed by Falling on the Fears in 2005, which was co produced by top producers Chris O’Brien who worked with names such as Aslan, Adam Clayton and Hothouse Flowers, and Rock music producer Graham Murphy.
After a U.K. tour which included sold out shows in London and several festivals, the band appeared playing support to top bands Nickelback and Bon Jovi in Croke Park; a brilliant achievement indeed.
Gypsy Trip, recorded in Los Angeles and mastered in Ireland, was their debut album released in 2008 through Sian Records. Whiskey Drinker launched in October 2010, is like the perfect chaser after three delicious pints. And it hits the spot!
The title track Whiskey drinker is upbeat, with amazing fast rolling lead guitar, a busy baseline a la Damien Kelly and John Maher’s vocals commanding as he sings out the smart ass lyrics with passion. It’s a great introduction track with so much going on in it. Honky tonk style piano notes, distortion packed chords with enough chops and changes for middle eight, and then you are treated to one totally ball breaking lead solo. With two of Ireland’s Gods of guitar, Eorann Stafford and Sean Gosker giving it there all, in a track that whets your apatite for the ride, Jaded Sun leave no stone unturned.
Sweet Mary opens up with guitars doing echoic style lead, building up to a big distortion laden riff that has that special Jaded stamp on it. Thumping drums, paradiddles and rolls come from the new and gorgeous drummer of the troupe Aaron Madden. The no nonsense twin guitar riff between verses is for me a key feature, as is the wonderful key changing climb for the chorus. This is dramatic and very effective, as John seduces the listener with delicious lyrics; Took her home to my place I dimmed the lights and I played the blues. Soon as I got the chance then I relieved her of her clothes. Chords are sublime, lead throughout is superb, but in particular the shared guitar break which is short and sweet gets me. Backing vocals in splashes lend atmosphere too.
The next number Fire begins with a resounding intro that’s done with some really powerful feedback from the guitars.
Then surprisingly John comes in with a softly sung acoustic verse. Lyrics are brilliantly descriptive and things gradually build up to an anthemic style throbbing rock chorus. Melody line is really memorable, guitars let loose with Sean playing a scorching solo using flanger. Riffs and hooks are outstanding in this compelling piece that simply has it all!
With a delicious intro Breakdown Easy is for me one of Jaded Sun’s best ever songs!
The use of piano and acoustic guitar on this track helps the mood and lends emotion. John’s performance is spectacular and he totally captivates with vulnerability so unexpected, as he pours out the beautiful lyrics.
Harmony is lovely in the chorus, with a key change for the sung middle eight adding interest. Also the ascending chord combination is wonderfully appealing.
Lead solo is elaborate and heartbreakingly sweet, going up to screaming high notes from delicious bass notes. Magical instrumentals seem to flow freely throughout this first class song, which finishes with piano notes creating a crying effect.
A remixed version of a favourite slower Jaded Sun song Crave, takes this perfect journey to its conclusion. It begins with just John and a Gospel choir taking you to the first chorus, when guitars and rhythm gradually join in.
With a winning melody line, it’s a love song that is definitely a classic from this band. The addition of piano makes a difference for sure, along with the backing singers who perform gospel style harmony throughout. Big bashing chords for the middle eight lead you up to a gorgeous lead solo. If it’s possible to improve on a Jaded Sun number, there are a few nice tweaks and twists included here.
John’s vocal range is also demonstrated to great advantage as he carries you with him through each romantic line.
The album art is appropriately a bartop with a half drunk glass of golden whiskey and beside it another one lined up. Inside the cover, the lads thank all of the people who made their new E.P. happen.
It takes a lot of staying power for bands to survive at a time like this and I’m not at all surprised that this collection of songs raises the bar (excuse the pun), proving that Jaded Sun can continue composing and performing such powerful music and not only this, but improving and enhancing it to keep it alive and kicking.
Whiskey Drinker
Angela Macari O’Looney
The long awaited follow up to Jaded Sun’s Gypsy Trip, one of the most exhilarating rock albums of the decade from an Irish band, is finally finished and bears the band’s unique trademark of gritty rock vocals, elaborate guitar solos, upbeat numbers that are foot stomping and soulful rock ballads where you hang on to each word, riffs flowing like thick black treacle through the wonderful melody lines.
Formed in 2002, this highly successful five piece band have gone from strength to strength and continue to build up a large and faithful fan base. Their debut E.P. Raw was released in 2004 and went on to become the most downloaded song on Ireland’s download charts. This was followed by Falling on the Fears in 2005, which was co produced by top producers Chris O’Brien who worked with names such as Aslan, Adam Clayton and Hothouse Flowers, and Rock music producer Graham Murphy.
After a U.K. tour which included sold out shows in London and several festivals, the band appeared playing support to top bands Nickelback and Bon Jovi in Croke Park; a brilliant achievement indeed.
Gypsy Trip, recorded in Los Angeles and mastered in Ireland, was their debut album released in 2008 through Sian Records. Whiskey Drinker launched in October 2010, is like the perfect chaser after three delicious pints. And it hits the spot!
The title track Whiskey drinker is upbeat, with amazing fast rolling lead guitar, a busy baseline a la Damien Kelly and John Maher’s vocals commanding as he sings out the smart ass lyrics with passion. It’s a great introduction track with so much going on in it. Honky tonk style piano notes, distortion packed chords with enough chops and changes for middle eight, and then you are treated to one totally ball breaking lead solo. With two of Ireland’s Gods of guitar, Eorann Stafford and Sean Gosker giving it there all, in a track that whets your apatite for the ride, Jaded Sun leave no stone unturned.
Sweet Mary opens up with guitars doing echoic style lead, building up to a big distortion laden riff that has that special Jaded stamp on it. Thumping drums, paradiddles and rolls come from the new and gorgeous drummer of the troupe Aaron Madden. The no nonsense twin guitar riff between verses is for me a key feature, as is the wonderful key changing climb for the chorus. This is dramatic and very effective, as John seduces the listener with delicious lyrics; Took her home to my place I dimmed the lights and I played the blues. Soon as I got the chance then I relieved her of her clothes. Chords are sublime, lead throughout is superb, but in particular the shared guitar break which is short and sweet gets me. Backing vocals in splashes lend atmosphere too.
The next number Fire begins with a resounding intro that’s done with some really powerful feedback from the guitars.
Then surprisingly John comes in with a softly sung acoustic verse. Lyrics are brilliantly descriptive and things gradually build up to an anthemic style throbbing rock chorus. Melody line is really memorable, guitars let loose with Sean playing a scorching solo using flanger. Riffs and hooks are outstanding in this compelling piece that simply has it all!
With a delicious intro Breakdown Easy is for me one of Jaded Sun’s best ever songs!
The use of piano and acoustic guitar on this track helps the mood and lends emotion. John’s performance is spectacular and he totally captivates with vulnerability so unexpected, as he pours out the beautiful lyrics.
Harmony is lovely in the chorus, with a key change for the sung middle eight adding interest. Also the ascending chord combination is wonderfully appealing.
Lead solo is elaborate and heartbreakingly sweet, going up to screaming high notes from delicious bass notes. Magical instrumentals seem to flow freely throughout this first class song, which finishes with piano notes creating a crying effect.
A remixed version of a favourite slower Jaded Sun song Crave, takes this perfect journey to its conclusion. It begins with just John and a Gospel choir taking you to the first chorus, when guitars and rhythm gradually join in.
With a winning melody line, it’s a love song that is definitely a classic from this band. The addition of piano makes a difference for sure, along with the backing singers who perform gospel style harmony throughout. Big bashing chords for the middle eight lead you up to a gorgeous lead solo. If it’s possible to improve on a Jaded Sun number, there are a few nice tweaks and twists included here.
John’s vocal range is also demonstrated to great advantage as he carries you with him through each romantic line.
The album art is appropriately a bartop with a half drunk glass of golden whiskey and beside it another one lined up. Inside the cover, the lads thank all of the people who made their new E.P. happen.
It takes a lot of staying power for bands to survive at a time like this and I’m not at all surprised that this collection of songs raises the bar (excuse the pun), proving that Jaded Sun can continue composing and performing such powerful music and not only this, but improving and enhancing it to keep it alive and kicking.
Lynda Lucas CD Review
Lynda Lucas
Ode to Someone
Angela Macari O’Looney
Lynda Lucas is a singer/songwriter from Dublin, who has been performing onstage from a very young age. In 1994 she began gigging as a solo artist, later joining Dublin Bluegrass band The Cherry Pickers in 2000.
She has played many major venues including Vicar St. and has an impressive repertoire which includes her own songs, plus material from Hank Williams, Emy Lou Harris and The Carter Family.
With velvety vocals that glide effortlessly from vulnerable to powerful, she has a penchant for Bluesy/ Country style melody lines, and is an accomplished guitarist. Lynda achieved her lifelong ambition to perform and record in Nashville and has used her experience to put together this beautiful debut album.
The first track is the title of the album Ode to Someone and is a sweet trickling number, with sad lyrics, devoted to Lynda’s mother Alice, who died tragically in 1983 aged 40. It tells a story about broken dreams, a life cut short and the loved ones who are left to mourn. The melody line is delicious and Lynda tells the story with emotion.
Walk Away is my favourite number. With gorgeous chords it was written for Lynda by Jane Stradwick. I adore the melody line of this number, the chorus in particular. The lyrics are about a strained relationship that appears perfect to the outside world. Everyone is looking at us tonight and saying we look just right/ Oh what a lie/ Hand in hand and both gritting our teeth and hiding what’s underneath and I don’t know why. Lynda’s voice seems to caress each delicious note with unbelievable conviction.
Rusty Rings is yet another sorrowful song. Sad lyrics are poured out; with candy sweet chord changes from majors to minors are all key features here.
Time passing you by is a really bluesy song, with guitar notes being for me the highlight. I like the short guitar solo mid way through, with Lynda proving she has one of the most appealing country voices around and a fantastic range!
Place to be has a lovely rhythm and is a pleasant change from the previous slower songs. It has a happier vein running through it too, which is refreshing.
Unconditional Love is the last song on this six track CD and is upbeat, with lovely lyrics, but the melody line is a little bit bland after some of the previous songs, which are so memorable.
I enjoyed listening to this moody collection of songs and even though I wouldn’t consider myself a lover of Bluegrass/Country music, I find it soothing and laid back. On the CD she is accompanied by Guitarist/Singer Brendan Priestly. The album art depicts a black and white photo of the lady herself, as lovely and seductive as her voice, as she stands with her acoustic guitar by her side under a tree.
Ode to Someone
Angela Macari O’Looney
Lynda Lucas is a singer/songwriter from Dublin, who has been performing onstage from a very young age. In 1994 she began gigging as a solo artist, later joining Dublin Bluegrass band The Cherry Pickers in 2000.
She has played many major venues including Vicar St. and has an impressive repertoire which includes her own songs, plus material from Hank Williams, Emy Lou Harris and The Carter Family.
With velvety vocals that glide effortlessly from vulnerable to powerful, she has a penchant for Bluesy/ Country style melody lines, and is an accomplished guitarist. Lynda achieved her lifelong ambition to perform and record in Nashville and has used her experience to put together this beautiful debut album.
The first track is the title of the album Ode to Someone and is a sweet trickling number, with sad lyrics, devoted to Lynda’s mother Alice, who died tragically in 1983 aged 40. It tells a story about broken dreams, a life cut short and the loved ones who are left to mourn. The melody line is delicious and Lynda tells the story with emotion.
Walk Away is my favourite number. With gorgeous chords it was written for Lynda by Jane Stradwick. I adore the melody line of this number, the chorus in particular. The lyrics are about a strained relationship that appears perfect to the outside world. Everyone is looking at us tonight and saying we look just right/ Oh what a lie/ Hand in hand and both gritting our teeth and hiding what’s underneath and I don’t know why. Lynda’s voice seems to caress each delicious note with unbelievable conviction.
Rusty Rings is yet another sorrowful song. Sad lyrics are poured out; with candy sweet chord changes from majors to minors are all key features here.
Time passing you by is a really bluesy song, with guitar notes being for me the highlight. I like the short guitar solo mid way through, with Lynda proving she has one of the most appealing country voices around and a fantastic range!
Place to be has a lovely rhythm and is a pleasant change from the previous slower songs. It has a happier vein running through it too, which is refreshing.
Unconditional Love is the last song on this six track CD and is upbeat, with lovely lyrics, but the melody line is a little bit bland after some of the previous songs, which are so memorable.
I enjoyed listening to this moody collection of songs and even though I wouldn’t consider myself a lover of Bluegrass/Country music, I find it soothing and laid back. On the CD she is accompanied by Guitarist/Singer Brendan Priestly. The album art depicts a black and white photo of the lady herself, as lovely and seductive as her voice, as she stands with her acoustic guitar by her side under a tree.
Bill Coleman CD review
Bill Coleman
You Can’t buy back your life
Angela Macari O’Looney
Bill Coleman is an extremely talented musician/songwriter from Co. Cork. I discovered his music at the Arthur Guinness Day Celebrations in Bruxelles during September, when he performed a set, which included songs from his debut album. His style can be described as Rock/Pop/Folk and among his influences are Bob Dylan, Elvis Costello, The Cohen Brothers, Jape, Damien Rice and Neil Young.
From the get go his melody lines entice with their catchy quality. He has a clear and pleasant voice, with a good range and electronic riffs involved in most of his songs are delightful. Each has a powerful rhythm, some spectacular guitars, plus Piano to create the perfect backdrop behind Bill’s passionate delivery.
I want you to know
A thumping beat and the sung refrain Oh eh open this upbeat number. It has a choppy verse, with a vibrant baseline and delicious synth too. Lively guitars are an important feature, as are harmonic vocals throughout and in particular I love the sung middle eight. Here, Bill belts out a melodic line that’s repeated and is really effective; if you’ve got something on your mind, you’d better take the time to come and talk about it.
Welcome to the breakdown
Beginning with a pulsating beat and baseline, this number involves some superb electronic notation. Acoustic guitar features too, achieving a lovely blend with the addictive keyboard riffs throughout. The chorus is excellent, percussion adding spark!
Trickling acoustic guitar notes and the verse sung softly create an illusion in False North. This number builds up and eventually becomes a throbbing anthem, with piano featuring for the chorus.
Bill has such a dynamic and commanding voice in this particular track and the whole thing seems to develop, becoming a big crescendo of sound, until it comes to a sudden stark stop.
She Knows
A riff played in octave chords on piano gives the intro to this number definition. The wonderful electronica join in further on and the merging of complex notes and big piano chords together behind Bill’s vocals, lend a unique but memorable beauty. His descriptions are quite imaginative ;She knows she knows I’m all shook up and that is why my cup is drunk, my cup is drunk, cause my heart is parched but I know she’s not the end or start.
Crossfire
Bass is delicious in this track, with yet another magnetic refrain ;Ba da ba da ba ba sung while beautiful notation surrounds it. Throughout the entire song a wonderful electronic riff continues and is truly uplifting.
Your hands were made for working
A slow, soulful ballad, this is a pretty number with a gorgeous melody line. Acoustic guitar notes, harmony in splashes and Bill’s soulful pouring out of the beautiful lyrics are what make it a soothing, enjoyable piece.
Am I still your number one?
A catchy riff behind the vocals for the verse of this song is for me the nicest feature. I love the melody line, the piano which is dramatic and powerful, the beat which is a little different than the previous upbeat songs and the trickling notation, as things build up for the chorus. All of Bill’s songs are equally memorable and each arrangement has lots of interesting chops and changes to delight the senses. I found his live performance outstanding and it’s lovely to experience the songs again on the CD.
The story of how the artwork on the cover of the album came about is really interesting and involves stencils, spray paint in 12 different colours and a lot of personal effort on Bill’s part. That special stamp he puts on his work reflects the unique, but truly appealing nature of his music.
He has been gigging extensively and has a large fanbase, which isn’t at all surprising. Released on October 15th, it has had lots of airplay on prominent radio stations countrywide, and should prove to be a great addition to any music collection.
You Can’t buy back your life
Angela Macari O’Looney
Bill Coleman is an extremely talented musician/songwriter from Co. Cork. I discovered his music at the Arthur Guinness Day Celebrations in Bruxelles during September, when he performed a set, which included songs from his debut album. His style can be described as Rock/Pop/Folk and among his influences are Bob Dylan, Elvis Costello, The Cohen Brothers, Jape, Damien Rice and Neil Young.
From the get go his melody lines entice with their catchy quality. He has a clear and pleasant voice, with a good range and electronic riffs involved in most of his songs are delightful. Each has a powerful rhythm, some spectacular guitars, plus Piano to create the perfect backdrop behind Bill’s passionate delivery.
I want you to know
A thumping beat and the sung refrain Oh eh open this upbeat number. It has a choppy verse, with a vibrant baseline and delicious synth too. Lively guitars are an important feature, as are harmonic vocals throughout and in particular I love the sung middle eight. Here, Bill belts out a melodic line that’s repeated and is really effective; if you’ve got something on your mind, you’d better take the time to come and talk about it.
Welcome to the breakdown
Beginning with a pulsating beat and baseline, this number involves some superb electronic notation. Acoustic guitar features too, achieving a lovely blend with the addictive keyboard riffs throughout. The chorus is excellent, percussion adding spark!
Trickling acoustic guitar notes and the verse sung softly create an illusion in False North. This number builds up and eventually becomes a throbbing anthem, with piano featuring for the chorus.
Bill has such a dynamic and commanding voice in this particular track and the whole thing seems to develop, becoming a big crescendo of sound, until it comes to a sudden stark stop.
She Knows
A riff played in octave chords on piano gives the intro to this number definition. The wonderful electronica join in further on and the merging of complex notes and big piano chords together behind Bill’s vocals, lend a unique but memorable beauty. His descriptions are quite imaginative ;She knows she knows I’m all shook up and that is why my cup is drunk, my cup is drunk, cause my heart is parched but I know she’s not the end or start.
Crossfire
Bass is delicious in this track, with yet another magnetic refrain ;Ba da ba da ba ba sung while beautiful notation surrounds it. Throughout the entire song a wonderful electronic riff continues and is truly uplifting.
Your hands were made for working
A slow, soulful ballad, this is a pretty number with a gorgeous melody line. Acoustic guitar notes, harmony in splashes and Bill’s soulful pouring out of the beautiful lyrics are what make it a soothing, enjoyable piece.
Am I still your number one?
A catchy riff behind the vocals for the verse of this song is for me the nicest feature. I love the melody line, the piano which is dramatic and powerful, the beat which is a little different than the previous upbeat songs and the trickling notation, as things build up for the chorus. All of Bill’s songs are equally memorable and each arrangement has lots of interesting chops and changes to delight the senses. I found his live performance outstanding and it’s lovely to experience the songs again on the CD.
The story of how the artwork on the cover of the album came about is really interesting and involves stencils, spray paint in 12 different colours and a lot of personal effort on Bill’s part. That special stamp he puts on his work reflects the unique, but truly appealing nature of his music.
He has been gigging extensively and has a large fanbase, which isn’t at all surprising. Released on October 15th, it has had lots of airplay on prominent radio stations countrywide, and should prove to be a great addition to any music collection.
Sixteen Layers at The Mercantile
Sixteen Layers/ Six Foot Small/ Niall O’Shea
The Mercantile
12/11/’10
Angela Macari O’Looney
I first became acquainted with Alt/Rock band Sixteen Layers back in ’09, when I was asked to review their debut album I am no one. I instantly loved their sound and the heady feeling I got from their melody lines, lead solos and Niall Donnelly’s extraordinary vocal range. Thumping anthemic songs, softly sung ballads and the right balance between grunge and pure rock define the ingredients that this great band posess.
Since then, I’ve been to a few of their gigs. They spend quite a lot of their time recording and touring in Canada, where they have found refuge to write, gig and explore their talent further. However, they have built up quite a following right here in their own back garden. This gig was long overdue and I made sure to get up the front, because I knew a good crowd would show.
The Mercantile has two venues, this part being the largest and as the night progressed it filled up.
Six Foot Small
This young Alt/Indie/Rock outfit hail from Dublin. Formed in 2009, they have gigged quite a bit and create original melody lines, great beats and are thoroughly enjoyable to watch.
Members are Craig Mulvagh-Vocals/Rhythm guitar, Barry Mangan-Lead guitar/Vocals, Luke Byrne-Drums, Mark Mulvagh-Bass and Katie Dunford-Violin.
They began with a slinky number called Here it comes, continuing with a faster song called Nowhere to Hide. This has a memorable chorus, involving excellent harmony and guitar riffs were grunged up a little.
Passing time has a rhythm guitar intro, a three four rock tempo and fab lead too.
Dancing shoes with a choppy beat has a sweet melody line, with Barry performing backing vocals and Mark doing a short, but lovely bass solo. Luke also shone with some nifty percussion. They seemed to really enjoy this song, as did the audience.
Distortion in the intro of Coming on Strong gave it a heavier rock feel. An excellent guitar riff, plus more exciting drums and percussion lifted the atmosphere for Daytime Enemy.
They did one particular number which I liked the best called Blue Eyes. This is bouncy, upbeat and totally gorgeous, with fantastic harmony and a really catchy chorus.
Niall O’Shea
Niall O’Shea and his band were on next. This music is easy going, with a nice contrast of Blues/ Indie/Gospel coming through. From Dublin, Niall has been involved with various different music projects and recently toured around Europe, increasing his knowledge and experience, which he has put into the creation of a debut album entitled Inner City Dogs.
The first song Dogs was fast moving, with a nice chorus where backing vocals fill out the sound superbly. Chords are appealing, bass quite noticeable too.
Land of Talk was another fab number. I loved the guitars in this and as in his entire set; it comprised some excellent riffs and hooks.
Chrissy was lively, had an 80s feel to it and a delicious melody line. I loved the harmony here and chord combinations were wonderful. Guitar riffs throughout were just right!
With interesting chord combinations, No Water Flows was pretty special, with a divine lead solo. It involves a slow down, building back up again to a big crescendo of sound.
Warm under the Sun was Niall’s last song and has distortion laden lead, a choppy rock beat and baseline is brilliant throughout. Lead solo for this song is complex, involving two guitars. Niall’s a good front man and he has a very distinctive voice.
Sixteen Layers
Niall Donnelly-Vocals/Rhythm guitar, John Colbert-Backing vocals/Bass, Dom Muldoon-Lead guitar and Tim McGrath-Drums are the members of Sixteen Layers. The wait was finally over and the lads began with Sing with your eyes shut.
Anthemic, with bashing drums and a quiet verse, this number built up to an explosive chorus. John Colbert performs backing vocals here, which lifts the dynamic of this already amazing song. Dom Muldoon did a complex lead solo and Niall totally threw himself into the set right away, his powerful lead vocals giving the first song life.
He interacted with the crowd and thanked everybody for their continued support of the band. He expressed how great it was to be back on home turf. It was great to be there among the regular Sixteen Layer admirers, watching the lads again and hearing some of their new stuff for the very first time live.
No Strings
This is one amazing song, where John performs harmony with Niall’s verse. The intro is trickling and builds up to a fantastic riff which is repeated throughout. From the debut album, it has a chorus that is delectable. A twin lead solo to die for is followed by a change of pace for the middle eight. But then the throbbing chorus comes back. Love it!
Torch
Distortion laden guitars, energy charged, with a totally beautiful melody for the chorus, this number was performed better than ever. Dom and John do this superb riff that spikes the cocktail of melody and rhythm with exhilarating force!
A number I haven’t heard before called Transition was next. Brilliant, fast, with heavy rock chords, it was very impressive.
Call me has this wonderful bassy intro, followed by echoic style lead and a delicious chorus. Upbeat and involving intricate lead guitar, this song is explosive and has a kind of false finish.
Then you get a full on, bashing last chorus to wake you up again. Tim McGrath does some amazing drum bits, with paradiddles and rolls galore taking it to a commanding close.
Exile is soulful and was a nice restful break from the faster stuff. Trickling acoustic guitar is sweet in this song. It starts off pretty quiet, but becomes more vibrant as it develops. Niall got the audience to sing the chorus with him. This was a really special moment, as each line was sung back to him proving how devoted the band’s fans are.
Dom does a really elaborate lead solo, going from deep delicious notes, right up the frets of the guitar for the higher, sweeter notes and John sings the chorus along with Niall, but in a lower octave.
A fast, vibrant number called Laminate was next. This has a crazy rock charged chorus. Niall’s voice can go from clear and smooth for the softer songs, to gritty and forceful for heavier songs like this one.
Sirens has wonderful harmony, a fab drum break and a superb lead guitar solo in it.
Into the Sun as brilliant as ever and Hurt me were belted out and Niall got help from the audience for the choruses of each.
They did an older number called Over to you. Niall told his newer fans it was from a time when the band went under the name Alligator. In this all three guitars do a break together, which is absolutely show-stopping. With lots of chops and changes in it, I was blown away. I’m glad they’ve resurrected this memorable number.
Former you
This is a memorable piece, with trickling lead in the intro, building up to distortion packed guitars, with baseline vibrant. Harmony sweet, plus amazing guitar notation throughout the chorus makes this by far the band’s most magical song. The sung middle eight is very special indeed and Niall had no problems for a backing choir, since everybody in the place sang Struck by you alongside his pouring out the words of the chorus.
After some persuasion from the punters, the band performed an encore. Setting Fires was an excellent choice for this. John Colbert’s harmony behind Niall’s vocals was superb in this number, which went down a treat. Guitars were delicious too in this fab song.
I was delighted to see this band still alive and kicking and including at least a few of their older songs in their set. I also hope that they keep returning from their travels and don’t forget their Dublin fans as their star continues to rise.
The Mercantile
12/11/’10
Angela Macari O’Looney
I first became acquainted with Alt/Rock band Sixteen Layers back in ’09, when I was asked to review their debut album I am no one. I instantly loved their sound and the heady feeling I got from their melody lines, lead solos and Niall Donnelly’s extraordinary vocal range. Thumping anthemic songs, softly sung ballads and the right balance between grunge and pure rock define the ingredients that this great band posess.
Since then, I’ve been to a few of their gigs. They spend quite a lot of their time recording and touring in Canada, where they have found refuge to write, gig and explore their talent further. However, they have built up quite a following right here in their own back garden. This gig was long overdue and I made sure to get up the front, because I knew a good crowd would show.
The Mercantile has two venues, this part being the largest and as the night progressed it filled up.
Six Foot Small
This young Alt/Indie/Rock outfit hail from Dublin. Formed in 2009, they have gigged quite a bit and create original melody lines, great beats and are thoroughly enjoyable to watch.
Members are Craig Mulvagh-Vocals/Rhythm guitar, Barry Mangan-Lead guitar/Vocals, Luke Byrne-Drums, Mark Mulvagh-Bass and Katie Dunford-Violin.
They began with a slinky number called Here it comes, continuing with a faster song called Nowhere to Hide. This has a memorable chorus, involving excellent harmony and guitar riffs were grunged up a little.
Passing time has a rhythm guitar intro, a three four rock tempo and fab lead too.
Dancing shoes with a choppy beat has a sweet melody line, with Barry performing backing vocals and Mark doing a short, but lovely bass solo. Luke also shone with some nifty percussion. They seemed to really enjoy this song, as did the audience.
Distortion in the intro of Coming on Strong gave it a heavier rock feel. An excellent guitar riff, plus more exciting drums and percussion lifted the atmosphere for Daytime Enemy.
They did one particular number which I liked the best called Blue Eyes. This is bouncy, upbeat and totally gorgeous, with fantastic harmony and a really catchy chorus.
Niall O’Shea
Niall O’Shea and his band were on next. This music is easy going, with a nice contrast of Blues/ Indie/Gospel coming through. From Dublin, Niall has been involved with various different music projects and recently toured around Europe, increasing his knowledge and experience, which he has put into the creation of a debut album entitled Inner City Dogs.
The first song Dogs was fast moving, with a nice chorus where backing vocals fill out the sound superbly. Chords are appealing, bass quite noticeable too.
Land of Talk was another fab number. I loved the guitars in this and as in his entire set; it comprised some excellent riffs and hooks.
Chrissy was lively, had an 80s feel to it and a delicious melody line. I loved the harmony here and chord combinations were wonderful. Guitar riffs throughout were just right!
With interesting chord combinations, No Water Flows was pretty special, with a divine lead solo. It involves a slow down, building back up again to a big crescendo of sound.
Warm under the Sun was Niall’s last song and has distortion laden lead, a choppy rock beat and baseline is brilliant throughout. Lead solo for this song is complex, involving two guitars. Niall’s a good front man and he has a very distinctive voice.
Sixteen Layers
Niall Donnelly-Vocals/Rhythm guitar, John Colbert-Backing vocals/Bass, Dom Muldoon-Lead guitar and Tim McGrath-Drums are the members of Sixteen Layers. The wait was finally over and the lads began with Sing with your eyes shut.
Anthemic, with bashing drums and a quiet verse, this number built up to an explosive chorus. John Colbert performs backing vocals here, which lifts the dynamic of this already amazing song. Dom Muldoon did a complex lead solo and Niall totally threw himself into the set right away, his powerful lead vocals giving the first song life.
He interacted with the crowd and thanked everybody for their continued support of the band. He expressed how great it was to be back on home turf. It was great to be there among the regular Sixteen Layer admirers, watching the lads again and hearing some of their new stuff for the very first time live.
No Strings
This is one amazing song, where John performs harmony with Niall’s verse. The intro is trickling and builds up to a fantastic riff which is repeated throughout. From the debut album, it has a chorus that is delectable. A twin lead solo to die for is followed by a change of pace for the middle eight. But then the throbbing chorus comes back. Love it!
Torch
Distortion laden guitars, energy charged, with a totally beautiful melody for the chorus, this number was performed better than ever. Dom and John do this superb riff that spikes the cocktail of melody and rhythm with exhilarating force!
A number I haven’t heard before called Transition was next. Brilliant, fast, with heavy rock chords, it was very impressive.
Call me has this wonderful bassy intro, followed by echoic style lead and a delicious chorus. Upbeat and involving intricate lead guitar, this song is explosive and has a kind of false finish.
Then you get a full on, bashing last chorus to wake you up again. Tim McGrath does some amazing drum bits, with paradiddles and rolls galore taking it to a commanding close.
Exile is soulful and was a nice restful break from the faster stuff. Trickling acoustic guitar is sweet in this song. It starts off pretty quiet, but becomes more vibrant as it develops. Niall got the audience to sing the chorus with him. This was a really special moment, as each line was sung back to him proving how devoted the band’s fans are.
Dom does a really elaborate lead solo, going from deep delicious notes, right up the frets of the guitar for the higher, sweeter notes and John sings the chorus along with Niall, but in a lower octave.
A fast, vibrant number called Laminate was next. This has a crazy rock charged chorus. Niall’s voice can go from clear and smooth for the softer songs, to gritty and forceful for heavier songs like this one.
Sirens has wonderful harmony, a fab drum break and a superb lead guitar solo in it.
Into the Sun as brilliant as ever and Hurt me were belted out and Niall got help from the audience for the choruses of each.
They did an older number called Over to you. Niall told his newer fans it was from a time when the band went under the name Alligator. In this all three guitars do a break together, which is absolutely show-stopping. With lots of chops and changes in it, I was blown away. I’m glad they’ve resurrected this memorable number.
Former you
This is a memorable piece, with trickling lead in the intro, building up to distortion packed guitars, with baseline vibrant. Harmony sweet, plus amazing guitar notation throughout the chorus makes this by far the band’s most magical song. The sung middle eight is very special indeed and Niall had no problems for a backing choir, since everybody in the place sang Struck by you alongside his pouring out the words of the chorus.
After some persuasion from the punters, the band performed an encore. Setting Fires was an excellent choice for this. John Colbert’s harmony behind Niall’s vocals was superb in this number, which went down a treat. Guitars were delicious too in this fab song.
I was delighted to see this band still alive and kicking and including at least a few of their older songs in their set. I also hope that they keep returning from their travels and don’t forget their Dublin fans as their star continues to rise.
Saturday, November 13, 2010
Jaded Sun, Danger Is and El Hombre jokes gig review
Jaded Sun
Whiskey Drinker E.P. Launch gig
The Workman’s Club
28/10/10
Angela Macari O’Looney
Jaded Sun were performing their only 2010 Dublin gig, to celebrate the launch of their newest E.P. Whiskey Drinker. Having had enormous success with their debut album Gypsy Trip, this band who are possibly the most popular classic rock act around, have built up a large fan base and seem to have a pied piper effect on a cross section of age groups. Jaded could be described as a mixture of Aerosmith, Creedence Clearwater revival, rolled in with AC/DC.
Along with the rest of the band’s devotees I arrived at one of Dublin’s new rock venues, to hear their latest songs and a few of my old favourites too.
Formed back in 2003, the lads have had an exciting journey to date, with their first E.P. Raw released in 04, Falling on the Fears in 05 and Gypsy Trip in 07. They have also played a plethora of gigs, including performing support to Bon Jovi and Nickelback in Croke Park.
Jaded Sun’s members include Ireland’s finest rock voice John Maher, Eorrann Stafford and Sean Gosker, both superior guitarists. Bass is played by Damien Kelly, who adds that special Je ne sais quoi to each number and relatively new to the band is a drummer who is young and oh so charming; Aaron Madden.
The Danger Is
Niamh from this band performed the first set on her own, with just her guitar for accompaniment. Opening up with Behind your walls, she created a big sound and her vocals reminded me of KT Tunstall, with a touch of Cathy Davy’s jazziness and Imelda May’s seductiveness.
Her guitar chords were sublime throughout this vibrant and interesting set. She performed another song called All for Gold, which has a catchy melody line. Niamh also performed a fast rolling number called We stand Parallel.
Thanking Jaded Sun, Niamh apologised for the absence of the rest of her band. Under difficult circumstances, she did a wonderful job.
El Hombre Jokes
The next band were unusual, with mainly instrumentals in their set. Their sound has funk/ Rock/ jazz leanings, with superb chord combinations and exciting lead guitar throughout each number.
Members are Paul-Vocals/Guitar/Bass, Ian-Bass/Guitar/Vocals and Paul-Drums/Percussion/Guitar.
Throughout 2010 they have been busy touring the country with their upbeat music, releasing singles and enjoying their success. 2011 looks set to be exciting for them, with their debut album due for release.
D Funk was their first number and an exciting instrumental. A vibrant bass solo features in this, with appealing chord combinations complimenting each riff.
Lita Believes was a foot stomping number, with elaborate guitar riffs and busy baseline. One twin riff in particular took my attention and made this song for me.
Paul thanked Jaded Sun, explaining that he and the lads were big fans and felt proud to be here sharing the stage with them.
In Just don’t get along there was some unbelievable virtuoso standard lead, but the bassist also totally shone with his performance. Paul on drums sang backing vocals and I really enjoyed the big sound that resulted.
Vitamin C involved two guitars sharing the limelight. Explosive and really entertaining, this piece was like a complex concerto, with both instruments doing differing notes and combining them.
Suicide Bomber has a catchy chorus and was refreshingly different to the previous heavier stuff. The harmony is excellent here, with a show stopping baseline throughout the whole song. Paul on drums performed a fab solo too, and some wonderful breaks here and there and guitar riffs were delicious.
For the next song Brothers and Sisters, Paul asked the audience to participate. This has a slap style bass intro, with a bluegrass feel to it. It has an interesting beat which alternates and a couple of jazzy discords that I loved. With an exquisite key change and an outstanding guitar solo, this went down very well with the audience, who sang out with the chorus as instructed.
Wake up which was released as a single and is on their forthcoming album, has amazing riffs throughout and is a more Pop/Rock song. Both guitarists sang here and the twin riff they did was magical.
Jaded Sun
Finally the suspense was over as John, Sean, Eorrann and Aaron took their places on stage. The audience moved closer and the atmosphere instantly changed, when the intro to Fire resounded across The Workman’s club!
This song from the new album is powerful, with lots of distortion on the guitars, sliders to add a touch of blues and harmony for the chorus delectable. Damien and Eorann did backing vocals here, with Sean performing a superb guitar solo to add to this incredibly dramatic number.
Higher from the album Gypsy trip was next, with it’s screaming riffs and hooks and elaborate lead. This new improved version was more powerful than ever, with Eorann doing a scorching lead solo. Sean followed with yet another solo, stealing the show with his expert fretwork that is the defining Jaded Sun stamp for me and of course Damien’s baseline framing the picture perfectly.
John Maher as always set the place on fire with his energy and charm, as he belted out this exhilarating song with full force!
Sweet Mary – This is slow and seductive, with a memorable chorus complete with key change. It involves a twin guitar intro and Gosker did a totally fab solo, with Stafford matching his efforts with flange packed riffs throughout to add definition. I love the melody of this number, which has splashes of harmony and finishes with distortion laden twin guitar notes.
I then heard the intro of my absolute favourite Jaded Sun song. Fab Rock chords heralded the slinky verse for Can’t stop and then things sped up for the wonderful chorus with it’s outstanding and memorable guitar riffs and hooks, that are played in synch by all three guitars making a big sound. The lead solo is so excellent. It slows down for the middle eight to pick up again for the last chorus. I sang out with John for this and so did everyone in the place.
I met a wonderful couple from Northern Ireland just before the gig began and enjoyed listening to stories about their devotion for Jaded Sun. They had travelled all the way from White Head in Belfast. Janet has been to every one of their gigs here and even saw them on several occasions abroad. She was beside me for the entire gig and it was brilliant knowing I wasn’t the only slightly older rocker that enjoyed this top class band.
They continued with Left in a hurry which is a soulful number, with a good old fashioned Rock’n’Roll beat. Then they did the new version of Crave.John gives it all in this, as he pours out each line with passion. Both Sean and Eorann injected sweet riffs throughout.
Sean performed the heart wrenching solo, while big bashing drama soaked chords and harmony gave this gorgeous song new life!
Breakdown Easy – This is from the new E.P. and involves beautiful ascending chords in the chorus as John sings the line I breakdown easy and a truly exceptional melody line. John can seem kind of vulnerable as he performs these slow numbers, where his vocals adapt to the thoughtful mood. This is definitely their nicest slow song for me. There’s a surprising key change for the sung middle eight and some divine harmony is performed by Damien and Eorann. Lead solo is astounding. Aaron fits in like a hand in a glove and Jaded Sun are better than ever tonight!
Running down a dream(cover) – Damien performs the chorus with John in this fast moving upbeat song. John oozes energy as he dances about barefoot and his adrenaline communicates itself to everyone in the place. Eorann does a scorching solo, letting loose and reminding the audience that Jaded Sun have three equally brilliant guitarists.
The dirty, sleazy intro to Hey You began, with its elaborate guitar riff. Bass is very noticeable in this number, as are the funky blues-charged chords. Sean’s guitar speaks volumes, John belting out the seductive vocals. Eorann performed harmonica and a big dramatic drum roll took things to a close.
When the Sun Shines from the album that’s due for release next year was next. An intro involving flanger takes you into this deliriously sweet song, with Sean’s slider creating delicious riffs as it slides across the frets. It has a simple rock beat and is definitely a classic in the making!
They did this fantastic number that’s a cross between Punk and Rock’n’Roll, with a really fast beat and upbeat lyrics such as Stay home if you can’t take the pace. This is the general message in 24 Hour party people sing.
With a thumping beat and Cajun style riff She’s got Class was the 'supposed' last song of the evening. Eorann plays the slinky intro, with both he and Sean sharing the rest of the sexy guitar bits. Aaron thumps out a foot stomping rhythm, Bass of course is brilliant, with Damo sharing some of the riffs with the other two and he also does a few fancy riffs himself. Those distortion packed guitars just seem to come alive!
This number has that seductive aura about it, as John sings out those gorgeous words that make the hairs stand up on my neck; Gimme some of that sweet wine, I promise you we’ll have a good time. A little loving and a new high!
After the lads left the stage, the crowd screamed out for an encore. I hoped they’d do Positive if they came back.
Positive
I was delighted when I heard the explosive chord intro for this brilliant number from Gypsy Trip. An air guitarists dream, this song has a fast rock beat with bass featuring big time, guitar riffs and hooks amazing and of course the hair raising solo. The two guitars do the middle eight, which involves sustained notes and then they seem to build up to a big distortion packed crescendo for the final chorus. Sean totally rocks it up with his lead guitar solo and you just feel the positive vibes come from the stage, only short of smoke coming out of each guitar!
Whiskey Drinker
The title track from the new E.P., this song is fun, with guitars playing in synch for the catchy chorus. The verse is done in a foot stomping tempo and lead is elaborate and trickling. It’s a perfect number to finish a gig with, as the guitars are cheeky and lead is great with Sean’s fingers flying across his guitar frets. John belts each line out as if his life depended on it and there’s a stop start finish that’s absolutely perfect.
I like the way that Jaded Sun seem to save all their energy to provide the Dublin punters with a full on, no holds barred rave up each year. You are always guaranteed to go home with a big smile on your face and an adrenaline rush that lasts a week. I said goodbye to Janet and James and hope to meet up with them again next year for the album launch. If this is only a taste of what’s to come, it should be one excellent gig!
Whiskey Drinker E.P. Launch gig
The Workman’s Club
28/10/10
Angela Macari O’Looney
Jaded Sun were performing their only 2010 Dublin gig, to celebrate the launch of their newest E.P. Whiskey Drinker. Having had enormous success with their debut album Gypsy Trip, this band who are possibly the most popular classic rock act around, have built up a large fan base and seem to have a pied piper effect on a cross section of age groups. Jaded could be described as a mixture of Aerosmith, Creedence Clearwater revival, rolled in with AC/DC.
Along with the rest of the band’s devotees I arrived at one of Dublin’s new rock venues, to hear their latest songs and a few of my old favourites too.
Formed back in 2003, the lads have had an exciting journey to date, with their first E.P. Raw released in 04, Falling on the Fears in 05 and Gypsy Trip in 07. They have also played a plethora of gigs, including performing support to Bon Jovi and Nickelback in Croke Park.
Jaded Sun’s members include Ireland’s finest rock voice John Maher, Eorrann Stafford and Sean Gosker, both superior guitarists. Bass is played by Damien Kelly, who adds that special Je ne sais quoi to each number and relatively new to the band is a drummer who is young and oh so charming; Aaron Madden.
The Danger Is
Niamh from this band performed the first set on her own, with just her guitar for accompaniment. Opening up with Behind your walls, she created a big sound and her vocals reminded me of KT Tunstall, with a touch of Cathy Davy’s jazziness and Imelda May’s seductiveness.
Her guitar chords were sublime throughout this vibrant and interesting set. She performed another song called All for Gold, which has a catchy melody line. Niamh also performed a fast rolling number called We stand Parallel.
Thanking Jaded Sun, Niamh apologised for the absence of the rest of her band. Under difficult circumstances, she did a wonderful job.
El Hombre Jokes
The next band were unusual, with mainly instrumentals in their set. Their sound has funk/ Rock/ jazz leanings, with superb chord combinations and exciting lead guitar throughout each number.
Members are Paul-Vocals/Guitar/Bass, Ian-Bass/Guitar/Vocals and Paul-Drums/Percussion/Guitar.
Throughout 2010 they have been busy touring the country with their upbeat music, releasing singles and enjoying their success. 2011 looks set to be exciting for them, with their debut album due for release.
D Funk was their first number and an exciting instrumental. A vibrant bass solo features in this, with appealing chord combinations complimenting each riff.
Lita Believes was a foot stomping number, with elaborate guitar riffs and busy baseline. One twin riff in particular took my attention and made this song for me.
Paul thanked Jaded Sun, explaining that he and the lads were big fans and felt proud to be here sharing the stage with them.
In Just don’t get along there was some unbelievable virtuoso standard lead, but the bassist also totally shone with his performance. Paul on drums sang backing vocals and I really enjoyed the big sound that resulted.
Vitamin C involved two guitars sharing the limelight. Explosive and really entertaining, this piece was like a complex concerto, with both instruments doing differing notes and combining them.
Suicide Bomber has a catchy chorus and was refreshingly different to the previous heavier stuff. The harmony is excellent here, with a show stopping baseline throughout the whole song. Paul on drums performed a fab solo too, and some wonderful breaks here and there and guitar riffs were delicious.
For the next song Brothers and Sisters, Paul asked the audience to participate. This has a slap style bass intro, with a bluegrass feel to it. It has an interesting beat which alternates and a couple of jazzy discords that I loved. With an exquisite key change and an outstanding guitar solo, this went down very well with the audience, who sang out with the chorus as instructed.
Wake up which was released as a single and is on their forthcoming album, has amazing riffs throughout and is a more Pop/Rock song. Both guitarists sang here and the twin riff they did was magical.
Jaded Sun
Finally the suspense was over as John, Sean, Eorrann and Aaron took their places on stage. The audience moved closer and the atmosphere instantly changed, when the intro to Fire resounded across The Workman’s club!
This song from the new album is powerful, with lots of distortion on the guitars, sliders to add a touch of blues and harmony for the chorus delectable. Damien and Eorann did backing vocals here, with Sean performing a superb guitar solo to add to this incredibly dramatic number.
Higher from the album Gypsy trip was next, with it’s screaming riffs and hooks and elaborate lead. This new improved version was more powerful than ever, with Eorann doing a scorching lead solo. Sean followed with yet another solo, stealing the show with his expert fretwork that is the defining Jaded Sun stamp for me and of course Damien’s baseline framing the picture perfectly.
John Maher as always set the place on fire with his energy and charm, as he belted out this exhilarating song with full force!
Sweet Mary – This is slow and seductive, with a memorable chorus complete with key change. It involves a twin guitar intro and Gosker did a totally fab solo, with Stafford matching his efforts with flange packed riffs throughout to add definition. I love the melody of this number, which has splashes of harmony and finishes with distortion laden twin guitar notes.
I then heard the intro of my absolute favourite Jaded Sun song. Fab Rock chords heralded the slinky verse for Can’t stop and then things sped up for the wonderful chorus with it’s outstanding and memorable guitar riffs and hooks, that are played in synch by all three guitars making a big sound. The lead solo is so excellent. It slows down for the middle eight to pick up again for the last chorus. I sang out with John for this and so did everyone in the place.
I met a wonderful couple from Northern Ireland just before the gig began and enjoyed listening to stories about their devotion for Jaded Sun. They had travelled all the way from White Head in Belfast. Janet has been to every one of their gigs here and even saw them on several occasions abroad. She was beside me for the entire gig and it was brilliant knowing I wasn’t the only slightly older rocker that enjoyed this top class band.
They continued with Left in a hurry which is a soulful number, with a good old fashioned Rock’n’Roll beat. Then they did the new version of Crave.John gives it all in this, as he pours out each line with passion. Both Sean and Eorann injected sweet riffs throughout.
Sean performed the heart wrenching solo, while big bashing drama soaked chords and harmony gave this gorgeous song new life!
Breakdown Easy – This is from the new E.P. and involves beautiful ascending chords in the chorus as John sings the line I breakdown easy and a truly exceptional melody line. John can seem kind of vulnerable as he performs these slow numbers, where his vocals adapt to the thoughtful mood. This is definitely their nicest slow song for me. There’s a surprising key change for the sung middle eight and some divine harmony is performed by Damien and Eorann. Lead solo is astounding. Aaron fits in like a hand in a glove and Jaded Sun are better than ever tonight!
Running down a dream(cover) – Damien performs the chorus with John in this fast moving upbeat song. John oozes energy as he dances about barefoot and his adrenaline communicates itself to everyone in the place. Eorann does a scorching solo, letting loose and reminding the audience that Jaded Sun have three equally brilliant guitarists.
The dirty, sleazy intro to Hey You began, with its elaborate guitar riff. Bass is very noticeable in this number, as are the funky blues-charged chords. Sean’s guitar speaks volumes, John belting out the seductive vocals. Eorann performed harmonica and a big dramatic drum roll took things to a close.
When the Sun Shines from the album that’s due for release next year was next. An intro involving flanger takes you into this deliriously sweet song, with Sean’s slider creating delicious riffs as it slides across the frets. It has a simple rock beat and is definitely a classic in the making!
They did this fantastic number that’s a cross between Punk and Rock’n’Roll, with a really fast beat and upbeat lyrics such as Stay home if you can’t take the pace. This is the general message in 24 Hour party people sing.
With a thumping beat and Cajun style riff She’s got Class was the 'supposed' last song of the evening. Eorann plays the slinky intro, with both he and Sean sharing the rest of the sexy guitar bits. Aaron thumps out a foot stomping rhythm, Bass of course is brilliant, with Damo sharing some of the riffs with the other two and he also does a few fancy riffs himself. Those distortion packed guitars just seem to come alive!
This number has that seductive aura about it, as John sings out those gorgeous words that make the hairs stand up on my neck; Gimme some of that sweet wine, I promise you we’ll have a good time. A little loving and a new high!
After the lads left the stage, the crowd screamed out for an encore. I hoped they’d do Positive if they came back.
Positive
I was delighted when I heard the explosive chord intro for this brilliant number from Gypsy Trip. An air guitarists dream, this song has a fast rock beat with bass featuring big time, guitar riffs and hooks amazing and of course the hair raising solo. The two guitars do the middle eight, which involves sustained notes and then they seem to build up to a big distortion packed crescendo for the final chorus. Sean totally rocks it up with his lead guitar solo and you just feel the positive vibes come from the stage, only short of smoke coming out of each guitar!
Whiskey Drinker
The title track from the new E.P., this song is fun, with guitars playing in synch for the catchy chorus. The verse is done in a foot stomping tempo and lead is elaborate and trickling. It’s a perfect number to finish a gig with, as the guitars are cheeky and lead is great with Sean’s fingers flying across his guitar frets. John belts each line out as if his life depended on it and there’s a stop start finish that’s absolutely perfect.
I like the way that Jaded Sun seem to save all their energy to provide the Dublin punters with a full on, no holds barred rave up each year. You are always guaranteed to go home with a big smile on your face and an adrenaline rush that lasts a week. I said goodbye to Janet and James and hope to meet up with them again next year for the album launch. If this is only a taste of what’s to come, it should be one excellent gig!
Sunday, November 7, 2010
Sharon Reid and The Attic Knights
Sharon Reid
The Odessa Club
22/10/10
Angela Macari O’Looney
I recently reviewed Sharon Reid’s album Make your own Runway and was blown away by her abundant talent and charm. A musician and inspiring song writer, she and her band The Attic Knights create a sound that’s a lovely escape from the current genres that struggle to sound original.
Instead, Sharon effortlessly composes truly beautiful arrangements, matching them with poignant lyrics.
On a cold October evening I headed down to this cosy venue in the heart of Dublin, to see Sharon bring her songs to life. I was the first person to arrive, so I had a chance to have a sneak preview while they were sound checking. I chose a delicious overstuffed couch and relaxed.
The place began to fill up and because it’s so small it wasn’t long before most of the comfortable sitting room style seats were occupied. The candlelit atmosphere was just perfect for beautiful music.
Sharon began her set with Wake up from her album. This is a laid back number with trickling piano notation and dramatic guitar. The sound builds up for the chorus, where Lena Clarke performs backing vocals. Sharon’s vocals are angelic here and she demonstrates her astounding range, going right up to a higher octave.
Saved, with a divine key change within the chorus was next, followed by Socrates, which has a message in it about how we overthink about life and its meaning. Each song from the album was brought to life and sounded even more magical!
Speeding things up a bit, Sharon did one of the faster songs from her album Meet you on the way back down. This involves some powerful bass and this evening Aderson Arruda from Brazil was standing in for their usual bassist Marian Isabella. Both guitars do some exciting stuff. Lead guitar is performed by Shane Reid and drums were performed by Carlo Mateo Porpatti Angel from brazil who was standing in for Liam Bradley.
Sunflowers is a new upbeat song and in this Lena performs answering vocals and harmony. This was yet another refreshing song, with lots of delightful riffs and changes throughout.
Next was my own favourite number from Sharon’s collection to date; All kinds of worry. This has a gorgeous keyboard riff at the beginning, a beautiful melody line and it has a really special message in the lyrics; We got all kinds of people, they’ve got all kinds of worry so just chill child. Some things ain’t meant to be.
If there was a day from which the title of Sharon’s album is taken, was next. This is a soft number, with splashes of harmony here and there. Piano and guitar are pretty special too.
Lionman (Mumford & Son cover) – They did a fab version of this fast moving number. Rhythm guitar is great in this really enjoyable song, Sharon’s piano also excellent.
Ralphie – This is a new number where Sharon plays tambourine, coming up to the front to perform it. She has a very flexible voice, where she can be sweet for slower songs or powerful and bold for the more upbeat ones like this. She was enjoying the evening, as were her audience and I for one felt privileged to be a part of it.
Bob Dylan’s You ain’t going nowhere was performed next by Shane. He also performed a catchy number which he composed called Speeding car. I particularly like the baseline here. Sharon and Lena performed backing vocals for this song.
Mary Ellen is a song from the album and Sharon told the audience the interesting story of how the lyrics came about. This song was so much more enjoyable live than on CD. It has a kind of three four tempo and a country feel to it. Harmony is sweet in this sad love song.
Electric is the night/Waiting for perfection/ Calling it in and Looking for clearance were all performed. Sharon’s energy seems boundless.
Calling it in is a fast number which expresses concern about how in these times art is mass produced and given away for free. It addresses how music and other art forms get churned out, threatening how future generations will see this and how the preciousness of creativity should always be preserved and cherished by all and treated like a legacy. Musically, it’s a catchy piece with a superb baseline, a great beat and the harmony is lovely.
Sharon was called up for an encore and we were treated to Friend, which is a memorable piece from her album. This she performed alone, with only piano for accompaniment. It has a candy sweet melody line and lyrics that express how she feels about a best friend. The chorus is delectable, with a cheerful beat, appealing chords and heart warming lyrics.
I especially like the line You don’t even know it, so know this. With the two of us, there are no tricks. And I think we can stick it to the bitter end. It’s a great description for that special pal some of us are lucky enough to have.
At the end of the gig, Sharon happily chatted to members of her audience who came up to express how they enjoyed it. I will definitely revisit this cosy venue again and I wish Sharon and the Attic Knights lots of luck with their album and future endeavours.
The Odessa Club
22/10/10
Angela Macari O’Looney
I recently reviewed Sharon Reid’s album Make your own Runway and was blown away by her abundant talent and charm. A musician and inspiring song writer, she and her band The Attic Knights create a sound that’s a lovely escape from the current genres that struggle to sound original.
Instead, Sharon effortlessly composes truly beautiful arrangements, matching them with poignant lyrics.
On a cold October evening I headed down to this cosy venue in the heart of Dublin, to see Sharon bring her songs to life. I was the first person to arrive, so I had a chance to have a sneak preview while they were sound checking. I chose a delicious overstuffed couch and relaxed.
The place began to fill up and because it’s so small it wasn’t long before most of the comfortable sitting room style seats were occupied. The candlelit atmosphere was just perfect for beautiful music.
Sharon began her set with Wake up from her album. This is a laid back number with trickling piano notation and dramatic guitar. The sound builds up for the chorus, where Lena Clarke performs backing vocals. Sharon’s vocals are angelic here and she demonstrates her astounding range, going right up to a higher octave.
Saved, with a divine key change within the chorus was next, followed by Socrates, which has a message in it about how we overthink about life and its meaning. Each song from the album was brought to life and sounded even more magical!
Speeding things up a bit, Sharon did one of the faster songs from her album Meet you on the way back down. This involves some powerful bass and this evening Aderson Arruda from Brazil was standing in for their usual bassist Marian Isabella. Both guitars do some exciting stuff. Lead guitar is performed by Shane Reid and drums were performed by Carlo Mateo Porpatti Angel from brazil who was standing in for Liam Bradley.
Sunflowers is a new upbeat song and in this Lena performs answering vocals and harmony. This was yet another refreshing song, with lots of delightful riffs and changes throughout.
Next was my own favourite number from Sharon’s collection to date; All kinds of worry. This has a gorgeous keyboard riff at the beginning, a beautiful melody line and it has a really special message in the lyrics; We got all kinds of people, they’ve got all kinds of worry so just chill child. Some things ain’t meant to be.
If there was a day from which the title of Sharon’s album is taken, was next. This is a soft number, with splashes of harmony here and there. Piano and guitar are pretty special too.
Lionman (Mumford & Son cover) – They did a fab version of this fast moving number. Rhythm guitar is great in this really enjoyable song, Sharon’s piano also excellent.
Ralphie – This is a new number where Sharon plays tambourine, coming up to the front to perform it. She has a very flexible voice, where she can be sweet for slower songs or powerful and bold for the more upbeat ones like this. She was enjoying the evening, as were her audience and I for one felt privileged to be a part of it.
Bob Dylan’s You ain’t going nowhere was performed next by Shane. He also performed a catchy number which he composed called Speeding car. I particularly like the baseline here. Sharon and Lena performed backing vocals for this song.
Mary Ellen is a song from the album and Sharon told the audience the interesting story of how the lyrics came about. This song was so much more enjoyable live than on CD. It has a kind of three four tempo and a country feel to it. Harmony is sweet in this sad love song.
Electric is the night/Waiting for perfection/ Calling it in and Looking for clearance were all performed. Sharon’s energy seems boundless.
Calling it in is a fast number which expresses concern about how in these times art is mass produced and given away for free. It addresses how music and other art forms get churned out, threatening how future generations will see this and how the preciousness of creativity should always be preserved and cherished by all and treated like a legacy. Musically, it’s a catchy piece with a superb baseline, a great beat and the harmony is lovely.
Sharon was called up for an encore and we were treated to Friend, which is a memorable piece from her album. This she performed alone, with only piano for accompaniment. It has a candy sweet melody line and lyrics that express how she feels about a best friend. The chorus is delectable, with a cheerful beat, appealing chords and heart warming lyrics.
I especially like the line You don’t even know it, so know this. With the two of us, there are no tricks. And I think we can stick it to the bitter end. It’s a great description for that special pal some of us are lucky enough to have.
At the end of the gig, Sharon happily chatted to members of her audience who came up to express how they enjoyed it. I will definitely revisit this cosy venue again and I wish Sharon and the Attic Knights lots of luck with their album and future endeavours.
Wednesday, November 3, 2010
Hard working class heroes festival
The Q/ The Dirty 9s/ Fox Jaw Bounty Hunters/Sleepthieves/ Halves/ Heathers
The Workman’s Club
07/10/10
Angela Macari O’Looney
The Hard working class heroes festival, which takes place in Dublin City Centre every autumn, has become a favourite for any lover of unsigned bands. Hosted by a group of young enthusiasts, in conjunction with The Arts Council, 2XM, Culture Ireland, Pump Audio, IMRO and many other major organizations, this fun weekend involves three hectic nights jam packed with the best acts in the country.
I went to the Thursday night gig at The Workman’s club, where The Q were already into their lively set. From Northern Ireland, this Punk/ Post Punk/ Rock band are fab and totally exude attitude. They are Pablo (Paul) Connolly-Vocals/Guitar, Barry Fahy-Bass, Tom Nichol-Guitar and Daniel Given-Drums.
Trap Door was their first song, with a thumping rock intro, riveting guitar riffs and a superb baseline featuring. This song is more Rock than Punk, but the guitars are unforgettable. Pablo has a great voice and is a confident frontman.
Magpie is a really upbeat punk number, with crazy lead, a fast beat and shouts of Hey to give it boldness. Smart ass lyrics and a fun melody line make this song my favourite of their set. I like the singability of the chorus and the refrain no such thing as a credit crunch, she says no such thing as a credit crunch.
Other songs in their set included The Alarm, Orson Welles, James and Bay of Pigs. They have a range of influences coming through in their style such as Jet, The Strokes, Queens of the Stoneage. They recently released their new E.P. Big Fubb. Oozing bad boy charm and raw energy, they were great fun and came across very polished and cheerful.
The Dirty 9s
I instantly recognised the lead singer of this band as they were setting up. I’ve been at quite a few of their gigs and was delighted they were in this line up. Beginning with Angel in the Shadows, they performed a lengthy, but truly entertaining set. Influences include Arcade Fire, Echo and the Bunnymen, U2, Interpol and many more. They have a big following and have come on in leaps and bounds as a band since forming in ’05.
Fergal Maloney-Vocals/Rhythm guitar, Cian McCarthy-Lead Guitar, Stephen Dunne- Bass Guitar, Paul Rice- Drums and Keith Brett-Keys/Backing Vocals/Glockenspiel/Violin create a powerful and memorable sound. They performed songs from their debut album Stop Screaming, start dreaming.
Car Crash features a superb baseline throughout.
Corridors has a delicious melody line and a defining riff that Keith does at the beginning. In this number Fergal always reminds me of REM frontman Michael Stipe. Having said this, The Dirty 9s have a certain magic all their own, with each of their songs being so catchy and performed with a consistent vitality that spreads to the audience.
Fergal mentioned while chatting with the punters, that this was the band’s third gig of the day, which proves how magnetic their music is. He changed guitar for Weeknight lovers, which was wonderful and involved a show stopping solo by Cian McCarthy, who came up to the front of the stage.
Trouble is one of their slower songs. For this Keith picked up a violin. This number has a military style beat for the verse, becoming subdued as Fergal sings the sad refrainThe trouble with me you see, it wasn’t meant to be all in my head. The trouble with me you see I should have let you go in the end. Keith’s violin added to the sweetness of this number and the audience were totally riveted at this point. Cian also did a spectacular solo.
They did Look to the left with a fast beat, a vibrant chorus and lots of exciting chops and changes in it.
Fergal got two girls from the audience to play tambourine for one song Wake Me Up. This began with a slow verse, bursting into a lively punk beat.
Their last song was Lucy Opus, one of my own favourites. It has poignant lyrics and some beautiful changes of pace, from the haunting verse to the explosive chorus. This set was a real treat for me. They’re a band I could listen to forever.
Fox Jaw Bounty Hunters
Arriving onstage next was a band whose intriguing debut six track E.P. I recently reviewed. Headed by Ronan Mitchell whose vocals are a cross between Pogues frontman Shane McGowan and a drunken cowboy, FJBH are original and are ten times more entertaining live than on CD.
They started their set with You Gotta love this town, which involves a big bashing sound and excellent harmony. Inspiring chord riffs are framed by a solid baseline by Morgan Nolan and matched with superb drums by Shane Serrano.
Their second song Milkanoid had distortion packed chord combinations, a bashing beat and Ronan performed a brilliant lead solo. It also features an interesting slowdown before it finishes and it’s these unexpected alternating rhythms that make this band’s music so outstanding.
In Thread the needle there are unusual discords and haunting minors. A choppy tempo combined with an interesting melody line feature here.
Strip the City is yet another song that is full of surprises. It begins with a laid back intro, building up to a rock beat. A delicious riff is repeated throughout and as in each number; Ronan performs the song with his deep, but fascinating bluesy vocal style.
Next wasThrowing Shapes with a trickling intro, fast beat and bass joining in with grungy fervour. Ronan’s vocals are powerful and soul searching, as he pours out each line, performing elaborate lead guitar and weird chords. The overall sound is certainly out on its own and extremely original.
Gloomy, but beautifully harmonic, That Old Chestnut was my favourite of this set. They are an acquired taste, but quite addictive in a blues/Punk/Grunge way. Their charm is in the cool way they belt out each distortion packed, discord laden, and haunting number.
Finally they did their debut single Homeward Bound and gagged, which also features on their CD Congress of Oddities. They create blood curdling harmonies, Ronan performing the unique lead solo. It’s a slinky number, with a trickling banjo and guitar going on throughout. It’s probably their most popular song to date and towards the end the beat alternates, stopping then starting almost like a broken record. Wonderfully weird!
FJBH have played with well known bands such as Ham Sandwich, Ojos Rojos, Givamanakick and Dave Gerraghty. They are a promising and captivating act that I know I’ll be following, along with many others who feel that strange music reach down into their souls!
Sleepthieves
From Dublin, this act are described as the Indie/Electro/Pop sound of the minute and have played support to names such as Dark Room Notes, Fight like Apes and Cranes. Also they have performed at the IMRO showcase and Fringe Festivals.
Members are Sorcha-Vocals/Synths/Keys/Glock/Guitar, Wayne Fahy- Bass/Synth/Vocals/Programming and Derek Murphy-Guitars/Keys/Synth/Programming.
Their set is exciting and for me was a combination of Fight Like Apes, Ham Sandwich and Grand Pocket Orchestra with less aggression.
I particularly enjoyed how they swap positions onstage to play each key instrument such as Korg, Moog, Roland. Watching these young geniuses take their craft to a whole new level is inspiring and the result? Wonderful music, framed by a sweet baseline or guitar! Sorcha has a soothing voice and each arrangement is masterfully produced.
It was only a Satellite is their debut E.P. which showcases the gentler and dancier end of their sonic spectrum and tracks from this album have been played on 2fm, 2xm, Phantom and many other radio stations.
Sleepthieves performed Please call back, Disappear Here, Hope is Dead, Magnetic Heart, Impersonator, 5a.m. and You me and Everyone.. All fantastic samples from their upcoming album, my favourite of these was 5 a.m. Very uplifting and catchy!
Sparkling notation throughout each number, Sorcha’s vocals light and feminine, with each chorus involving a captivating hook, the songs seemed to get more enjoyable as the set progressed. Wayne’s baselines are magical and along with the upbeat melody lines coming from the electronica, it’s feel good music at its best.
Halves
Dublin based band Halves describe their style as Ambient/Rock/Live Electronics and members are Brian Cash, Elis and Tim Czerniak, Frankie Pollard and Paul McGuire. Instruments range from Electric and Bass guitars/ Drums/ Piano/ Glockenspiel/Electric violin/Viola/Synth/Vocader/Reed Organ/Sleigh bells and pretty much anything they can get their hands on!
Watching them set up was interesting and made me curious as to how all of the parts would sound together. However, I was truly impressed as soon as they began their set.
Together since 2006, the lads released two E.Ps Halves and Haunt me when I’m drowsy and also a single Blood Branches.
Experimental style melody lines, soothing vocals, transcendental notation and beautifully blended arrangements pull you into the world of Halves as they each inject their part to a number. This is relaxation music and totally removed from anything else I’ve heard. However, when I hear them I find myself reflecting on Halfset, who are another wonderful electronic powered Irish band.
Blood Branches is complex, with a fast drumbeat coming into the equation halfway through the piece.
May your enemies never find happiness has wonderfully descriptive lyrics, a repeated guitar riff that’s delectable and trickling notation throughout that leads up to a sudden burst of sound involving all instruments. This dies down again. Vocals are subdued.
Harmonies are divine in Darling you’ll meet your maker, percussion really strange and a plethora of discords, with the dynamic addition of strings demand attention. Vocals are soft and very haunting.
Medals has a hypnotic phrase which is repeated throughout. Once again vocals are laid back, with Brian going right up into falsetto at points. Piano is particularly special and also violin. As in each piece, you are treated to a kind of concerto with many different facets to stimulate.
Other pieces included in this lengthy but mesmerising anthology of songs were Land/Sea/People, the little octoberist, Only safe landings, Haunt me when I’m drowsy, The Well wisher, Growing & Glow, I raise bears, Mountain Bell, Take exact revenge.
A dynamic crescendo of sound massages your ears in each and every song from this act, but they definitely would be an acquired taste. I like this kind of music to wind down, with lighted candles and a glass of my favourite wine.
Heathers
Acoustic/Alt/Pop act Heathers from Dublin were last to perform at this Thursday HWCH gig. Louise-Guitar/Vocals and Ellie-Vocals released their debut album Here, not there in 2008.
From there they have gone from strength to strength creating their own record label Aunthill records. I like their upbeat, bustling music and the fact that they thoroughly enjoy playing to a packed venue, as they bash out cynical but harmonic songs with charm.
My favourite of their songs is Fire Ants. It has a two part chorus that’s catchy and their sound reminds me of acts like Alanis Morrisette, Cranberries and Fight Like Apes singer May Kay. Vibrant and entertaining, they lyricise passionately, bitching about a given subject in each song!
This type of gig is difficult to encapsulate into a few words, but it is a great way to showcase the crème de la crème of Irish acts both signed and unsigned. Long may it continue!
The Workman’s Club
07/10/10
Angela Macari O’Looney
The Hard working class heroes festival, which takes place in Dublin City Centre every autumn, has become a favourite for any lover of unsigned bands. Hosted by a group of young enthusiasts, in conjunction with The Arts Council, 2XM, Culture Ireland, Pump Audio, IMRO and many other major organizations, this fun weekend involves three hectic nights jam packed with the best acts in the country.
I went to the Thursday night gig at The Workman’s club, where The Q were already into their lively set. From Northern Ireland, this Punk/ Post Punk/ Rock band are fab and totally exude attitude. They are Pablo (Paul) Connolly-Vocals/Guitar, Barry Fahy-Bass, Tom Nichol-Guitar and Daniel Given-Drums.
Trap Door was their first song, with a thumping rock intro, riveting guitar riffs and a superb baseline featuring. This song is more Rock than Punk, but the guitars are unforgettable. Pablo has a great voice and is a confident frontman.
Magpie is a really upbeat punk number, with crazy lead, a fast beat and shouts of Hey to give it boldness. Smart ass lyrics and a fun melody line make this song my favourite of their set. I like the singability of the chorus and the refrain no such thing as a credit crunch, she says no such thing as a credit crunch.
Other songs in their set included The Alarm, Orson Welles, James and Bay of Pigs. They have a range of influences coming through in their style such as Jet, The Strokes, Queens of the Stoneage. They recently released their new E.P. Big Fubb. Oozing bad boy charm and raw energy, they were great fun and came across very polished and cheerful.
The Dirty 9s
I instantly recognised the lead singer of this band as they were setting up. I’ve been at quite a few of their gigs and was delighted they were in this line up. Beginning with Angel in the Shadows, they performed a lengthy, but truly entertaining set. Influences include Arcade Fire, Echo and the Bunnymen, U2, Interpol and many more. They have a big following and have come on in leaps and bounds as a band since forming in ’05.
Fergal Maloney-Vocals/Rhythm guitar, Cian McCarthy-Lead Guitar, Stephen Dunne- Bass Guitar, Paul Rice- Drums and Keith Brett-Keys/Backing Vocals/Glockenspiel/Violin create a powerful and memorable sound. They performed songs from their debut album Stop Screaming, start dreaming.
Car Crash features a superb baseline throughout.
Corridors has a delicious melody line and a defining riff that Keith does at the beginning. In this number Fergal always reminds me of REM frontman Michael Stipe. Having said this, The Dirty 9s have a certain magic all their own, with each of their songs being so catchy and performed with a consistent vitality that spreads to the audience.
Fergal mentioned while chatting with the punters, that this was the band’s third gig of the day, which proves how magnetic their music is. He changed guitar for Weeknight lovers, which was wonderful and involved a show stopping solo by Cian McCarthy, who came up to the front of the stage.
Trouble is one of their slower songs. For this Keith picked up a violin. This number has a military style beat for the verse, becoming subdued as Fergal sings the sad refrainThe trouble with me you see, it wasn’t meant to be all in my head. The trouble with me you see I should have let you go in the end. Keith’s violin added to the sweetness of this number and the audience were totally riveted at this point. Cian also did a spectacular solo.
They did Look to the left with a fast beat, a vibrant chorus and lots of exciting chops and changes in it.
Fergal got two girls from the audience to play tambourine for one song Wake Me Up. This began with a slow verse, bursting into a lively punk beat.
Their last song was Lucy Opus, one of my own favourites. It has poignant lyrics and some beautiful changes of pace, from the haunting verse to the explosive chorus. This set was a real treat for me. They’re a band I could listen to forever.
Fox Jaw Bounty Hunters
Arriving onstage next was a band whose intriguing debut six track E.P. I recently reviewed. Headed by Ronan Mitchell whose vocals are a cross between Pogues frontman Shane McGowan and a drunken cowboy, FJBH are original and are ten times more entertaining live than on CD.
They started their set with You Gotta love this town, which involves a big bashing sound and excellent harmony. Inspiring chord riffs are framed by a solid baseline by Morgan Nolan and matched with superb drums by Shane Serrano.
Their second song Milkanoid had distortion packed chord combinations, a bashing beat and Ronan performed a brilliant lead solo. It also features an interesting slowdown before it finishes and it’s these unexpected alternating rhythms that make this band’s music so outstanding.
In Thread the needle there are unusual discords and haunting minors. A choppy tempo combined with an interesting melody line feature here.
Strip the City is yet another song that is full of surprises. It begins with a laid back intro, building up to a rock beat. A delicious riff is repeated throughout and as in each number; Ronan performs the song with his deep, but fascinating bluesy vocal style.
Next wasThrowing Shapes with a trickling intro, fast beat and bass joining in with grungy fervour. Ronan’s vocals are powerful and soul searching, as he pours out each line, performing elaborate lead guitar and weird chords. The overall sound is certainly out on its own and extremely original.
Gloomy, but beautifully harmonic, That Old Chestnut was my favourite of this set. They are an acquired taste, but quite addictive in a blues/Punk/Grunge way. Their charm is in the cool way they belt out each distortion packed, discord laden, and haunting number.
Finally they did their debut single Homeward Bound and gagged, which also features on their CD Congress of Oddities. They create blood curdling harmonies, Ronan performing the unique lead solo. It’s a slinky number, with a trickling banjo and guitar going on throughout. It’s probably their most popular song to date and towards the end the beat alternates, stopping then starting almost like a broken record. Wonderfully weird!
FJBH have played with well known bands such as Ham Sandwich, Ojos Rojos, Givamanakick and Dave Gerraghty. They are a promising and captivating act that I know I’ll be following, along with many others who feel that strange music reach down into their souls!
Sleepthieves
From Dublin, this act are described as the Indie/Electro/Pop sound of the minute and have played support to names such as Dark Room Notes, Fight like Apes and Cranes. Also they have performed at the IMRO showcase and Fringe Festivals.
Members are Sorcha-Vocals/Synths/Keys/Glock/Guitar, Wayne Fahy- Bass/Synth/Vocals/Programming and Derek Murphy-Guitars/Keys/Synth/Programming.
Their set is exciting and for me was a combination of Fight Like Apes, Ham Sandwich and Grand Pocket Orchestra with less aggression.
I particularly enjoyed how they swap positions onstage to play each key instrument such as Korg, Moog, Roland. Watching these young geniuses take their craft to a whole new level is inspiring and the result? Wonderful music, framed by a sweet baseline or guitar! Sorcha has a soothing voice and each arrangement is masterfully produced.
It was only a Satellite is their debut E.P. which showcases the gentler and dancier end of their sonic spectrum and tracks from this album have been played on 2fm, 2xm, Phantom and many other radio stations.
Sleepthieves performed Please call back, Disappear Here, Hope is Dead, Magnetic Heart, Impersonator, 5a.m. and You me and Everyone.. All fantastic samples from their upcoming album, my favourite of these was 5 a.m. Very uplifting and catchy!
Sparkling notation throughout each number, Sorcha’s vocals light and feminine, with each chorus involving a captivating hook, the songs seemed to get more enjoyable as the set progressed. Wayne’s baselines are magical and along with the upbeat melody lines coming from the electronica, it’s feel good music at its best.
Halves
Dublin based band Halves describe their style as Ambient/Rock/Live Electronics and members are Brian Cash, Elis and Tim Czerniak, Frankie Pollard and Paul McGuire. Instruments range from Electric and Bass guitars/ Drums/ Piano/ Glockenspiel/Electric violin/Viola/Synth/Vocader/Reed Organ/Sleigh bells and pretty much anything they can get their hands on!
Watching them set up was interesting and made me curious as to how all of the parts would sound together. However, I was truly impressed as soon as they began their set.
Together since 2006, the lads released two E.Ps Halves and Haunt me when I’m drowsy and also a single Blood Branches.
Experimental style melody lines, soothing vocals, transcendental notation and beautifully blended arrangements pull you into the world of Halves as they each inject their part to a number. This is relaxation music and totally removed from anything else I’ve heard. However, when I hear them I find myself reflecting on Halfset, who are another wonderful electronic powered Irish band.
Blood Branches is complex, with a fast drumbeat coming into the equation halfway through the piece.
May your enemies never find happiness has wonderfully descriptive lyrics, a repeated guitar riff that’s delectable and trickling notation throughout that leads up to a sudden burst of sound involving all instruments. This dies down again. Vocals are subdued.
Harmonies are divine in Darling you’ll meet your maker, percussion really strange and a plethora of discords, with the dynamic addition of strings demand attention. Vocals are soft and very haunting.
Medals has a hypnotic phrase which is repeated throughout. Once again vocals are laid back, with Brian going right up into falsetto at points. Piano is particularly special and also violin. As in each piece, you are treated to a kind of concerto with many different facets to stimulate.
Other pieces included in this lengthy but mesmerising anthology of songs were Land/Sea/People, the little octoberist, Only safe landings, Haunt me when I’m drowsy, The Well wisher, Growing & Glow, I raise bears, Mountain Bell, Take exact revenge.
A dynamic crescendo of sound massages your ears in each and every song from this act, but they definitely would be an acquired taste. I like this kind of music to wind down, with lighted candles and a glass of my favourite wine.
Heathers
Acoustic/Alt/Pop act Heathers from Dublin were last to perform at this Thursday HWCH gig. Louise-Guitar/Vocals and Ellie-Vocals released their debut album Here, not there in 2008.
From there they have gone from strength to strength creating their own record label Aunthill records. I like their upbeat, bustling music and the fact that they thoroughly enjoy playing to a packed venue, as they bash out cynical but harmonic songs with charm.
My favourite of their songs is Fire Ants. It has a two part chorus that’s catchy and their sound reminds me of acts like Alanis Morrisette, Cranberries and Fight Like Apes singer May Kay. Vibrant and entertaining, they lyricise passionately, bitching about a given subject in each song!
This type of gig is difficult to encapsulate into a few words, but it is a great way to showcase the crème de la crème of Irish acts both signed and unsigned. Long may it continue!
Friday, October 29, 2010
Tuesday, September 28, 2010
The Riptide Movement
The Riptide Movement
Hot Tramp
Angela Macari O’Looney
Dublin band The Riptide Movement or T.R.M. are a Rock/Folk/Roots music act, who have had a succession of hit singles in the Official Irish charts since forming in 2006.
With a good old fashioned Rock’n’Roll sound, they have been described as Dublin’s answer to The Rolling Stones. Their debut album What about the Tip Jars proved a huge success selling over 8,000 copies and with T.V appearances and airplay on top radio stations throughout the land, their star continues to rise!
Members of T.R.M. are Mal Touhy- Vocals/Guitar, Gar Byrne-(The Thump)Drums/ Percussion, J.P.R. Dalton-Lead guitar and Ger McGarry-Bass. Influences include Rory Gallagher, The Stones, Pink Floyd, Canned Heat and Creedence Clearwater revival, to name but a few.
This newest song will be the title track of their upcoming album, which is due for release in 2011.
Hot Tramp
This number begins with a bass intro, things building up with a foot stomping beat, followed by a commanding lead guitar riff. Elaborate lead with two guitars involved, thumping drums and Mal’s gritty vocals all lend to this exciting song.
The chorus is addictive, with all the lads belting it out She’s a hot tramp I mean, God damn! Take it all baby, take it all.
J.P performs an unbelievable lead solo, with Mal’s riff going on at the same time, which creates a busy effect. All three guitars are superb!
A wailing harmonica joins Mal as he sings the steamy middle eight, while the two guitars blast out show stopping riffs and complex lead bits that force you to shake your head and play your air guitar.
Ger McGarry’s throbbing baseline also features throughout this seductive and memorable rock number.
If it’s only a sample of what the new album promises, I can’t wait to hear the rest!
Hot Tramp
Angela Macari O’Looney
Dublin band The Riptide Movement or T.R.M. are a Rock/Folk/Roots music act, who have had a succession of hit singles in the Official Irish charts since forming in 2006.
With a good old fashioned Rock’n’Roll sound, they have been described as Dublin’s answer to The Rolling Stones. Their debut album What about the Tip Jars proved a huge success selling over 8,000 copies and with T.V appearances and airplay on top radio stations throughout the land, their star continues to rise!
Members of T.R.M. are Mal Touhy- Vocals/Guitar, Gar Byrne-(The Thump)Drums/ Percussion, J.P.R. Dalton-Lead guitar and Ger McGarry-Bass. Influences include Rory Gallagher, The Stones, Pink Floyd, Canned Heat and Creedence Clearwater revival, to name but a few.
This newest song will be the title track of their upcoming album, which is due for release in 2011.
Hot Tramp
This number begins with a bass intro, things building up with a foot stomping beat, followed by a commanding lead guitar riff. Elaborate lead with two guitars involved, thumping drums and Mal’s gritty vocals all lend to this exciting song.
The chorus is addictive, with all the lads belting it out She’s a hot tramp I mean, God damn! Take it all baby, take it all.
J.P performs an unbelievable lead solo, with Mal’s riff going on at the same time, which creates a busy effect. All three guitars are superb!
A wailing harmonica joins Mal as he sings the steamy middle eight, while the two guitars blast out show stopping riffs and complex lead bits that force you to shake your head and play your air guitar.
Ger McGarry’s throbbing baseline also features throughout this seductive and memorable rock number.
If it’s only a sample of what the new album promises, I can’t wait to hear the rest!
STRUCK E.P. REVIEW
Struck
Three cheers for lying
Angela Macari O’Looney
Struck are a young Pop/Punk trio who hail from Castlebar, Co. Mayo. Members are Sean Walsh-Vocals/Guitar, Dylan Chambers-Vocals/Bass and Ger Duffy-Drums/Backing vocals.
The lads have had a busy summer with the release of their debut E.P back in April. Three cheers for lying. They have shared stages with bands such as The Coronas, The Shower Scene, Zulu, Scuba Dice and Home Star Runner.
A distortion laden chord combination and a fast beat take you into All I wanted. This is an explosive number with a catchy chorus, a beat to wake you up and exciting guitar throughout.
Lots of changes in tempo and a dramatic chord riff add spice to this song. Sean’s delivery is packed with charisma.
Owe you One
This song involves a long instrumental intro, with the sound building up gradually. Guitars come in, bursting with energy. Dramatic beats and stop- start bits throughout add interest to this lively number. A superb lead riff is the highlight for me. Backing vocals are very effective behind Sean as he blasts out the chorus of this memorable track. There’s a slow down for the middle eight, which is sung by all three lads and then the delicious lead guitar riff returns, taking you back to the chorus.
Vibrant and upbeat, Struck definitely strike a chord for me. This is feel good music that never gets boring and would appeal to anyone who likes cheerful melody lines, excellent guitars and bashing beats.
I’ll be watching out for the three lads when they’re gigging in Dublin.
Three cheers for lying
Angela Macari O’Looney
Struck are a young Pop/Punk trio who hail from Castlebar, Co. Mayo. Members are Sean Walsh-Vocals/Guitar, Dylan Chambers-Vocals/Bass and Ger Duffy-Drums/Backing vocals.
The lads have had a busy summer with the release of their debut E.P back in April. Three cheers for lying. They have shared stages with bands such as The Coronas, The Shower Scene, Zulu, Scuba Dice and Home Star Runner.
A distortion laden chord combination and a fast beat take you into All I wanted. This is an explosive number with a catchy chorus, a beat to wake you up and exciting guitar throughout.
Lots of changes in tempo and a dramatic chord riff add spice to this song. Sean’s delivery is packed with charisma.
Owe you One
This song involves a long instrumental intro, with the sound building up gradually. Guitars come in, bursting with energy. Dramatic beats and stop- start bits throughout add interest to this lively number. A superb lead riff is the highlight for me. Backing vocals are very effective behind Sean as he blasts out the chorus of this memorable track. There’s a slow down for the middle eight, which is sung by all three lads and then the delicious lead guitar riff returns, taking you back to the chorus.
Vibrant and upbeat, Struck definitely strike a chord for me. This is feel good music that never gets boring and would appeal to anyone who likes cheerful melody lines, excellent guitars and bashing beats.
I’ll be watching out for the three lads when they’re gigging in Dublin.
Monday, September 27, 2010
Michael Buble concert
Michael Buble
A night to remember
Angela Macari O’Looney
The apprehension was over and at last, the long awaited concert had arrived. Months ago, I had been considering buying my tickets to see Michael Buble, whom I had seen in concert back in 2006 in the Point Depot with my Mum. After a lot of organisation and searching for the right person to invite along with me, the big day was here!
On a chilly but dry Saturday evening, Sandra my sister and I headed to the New Aviva Stadium, wrapped in warm jackets and scarves. We got a taxi some of the way and had a glass of wine in a nearby pub before going in, where we were shown to our seats in the West stand. The place is humungous, so I felt a pang of regret when I realised how far from the actual stage we were. However, I had taken Binoculars, so I could zoom in and watch a little closer if I chose. I shared them with Sandra throughout the show and it really helped us enjoy it better.
The warm up act was a band called Naturally 7 that performed soul/ hip-hop songs using close harmony. They were excellent, although when they talked between songs we couldn’t hear what they were saying. Our taxi driver had mentioned this was a problem he experienced at the show the previous night.
The place didn’t fill up until the warm up band were finished, but at around eight, there were very few seats left unoccupied. We noticed that the seating went right up to the roof and thanked our lucky stars we hadn’t ended up there. At eight forty five, the curtain went up, the blasting intro of Cry me a river heralded and out came Mr. Buble himself to a raucous reception. Cool as a cucumber, he sang as if he was among a few friends. Every word of his songs was being sung back at him by the crowd and it was a tremendously emotional thing to be among them, enjoying the splendour of the fabulous band, the amazing lighting, under a velvet blue Dublin sky!
He did all the favourite songs, such as All of me, Crazy love, Heartache tonight, You’re Nobody till somebody loves you, Some kind of wonderful.
I loved the stuff from his last album, but they are mostly covers. So I hoped he’d do a few of his original songs and earlier album numbers such as Home and I wasn’t disappointed. Like the true professional he is, Buble introduced his band individually. This took quite a while and unfortunately most of the wise cracks were totally lost on us poor souls down the back. But I got the gist of most of his words and I noticed how he gave his pianist a big thank you for his involvement in co-writing all Michael’s own songs. My dad who was a musician/band leader always said he judged a true artist from the way they treated their band and in this case, each guy deserved a standing ovation. What a sound!
At one point, the guy on trumpet did a solo and it was virtuoso stuff!
Also they did an instrumental, which would only be appreciated by jazz connoisseurs. Having grown up in a jazz orientated household, I understood what was going on and felt very privileged to be there, listening to the best of the best American musicianship.
I thought it was interesting to see a lot of men enjoying the concert, considering the huge female following Buble has. Beside me, a guy with his girlfriend was singing every line throughout the show and on the other side of my sister, there were mostly couples and the lads were enjoying it as much as their girls. However, being the charmer he is, Michael payed his female adorers lots of compliments and expressed his surprise at the amount of young people in the audience. He asked why they were coming to see him rather than Justin Biber, or the teenage heart- throbs who are currently in the charts.
He did a little tribute to the late Michael Jackson, performing an enjoyable version of Billy Jean and even did a moonwalk up the ramp onstage and some fancy twirls and postures that were Whacko’s signature moves. This got a tumultuous applause.
Lots of enormous screens surrounded the venue. Two each side of the stage, one at the back of it and another on a floating platform halfway up the arena. This was good for those at the back, like me. Despite this, there was remoteness about being seated far away from the heart of the show.
But somebody involved in the production end of things, had made allowances for this and thoughtfully arranged for Michael to walk through the crowd and up onto a podium atop the screen at the centre of the stadium, which was opposite our seats. This was spectacular and Sandra and I were delighted now. The guys who performed support did harmony to two numbers, which Michael did on this platform. I took a couple of photos, but my camera has a lousy zoom, so I used the Binocculars and made the best of the moment.
After a set of about an hour and a half, he finally sang Haven’t met you yet. The whole audience stood up and swayed and sang along with this really popular song. It has such a cheery riff, as do all of his uptempo numbers. Fireworks burst out and lit up the night and not long after this, he finished on a slow number;Hold on. This surprised me. He came back after a few minutes and did three more numbers, ending his last song by taking his mike off and singing out to the vast arena, proving the dynamic power of his vocals. I’m sure there will be some who don’t consider this concert to have been what they’d hoped for. But I had a blast and was just glad that I have the memory, for those cold mornings after I’ve left my little boy to school and am having my me hour with my tea and toast and Crazy Love belting out from my windows media player.
A night to remember
Angela Macari O’Looney
The apprehension was over and at last, the long awaited concert had arrived. Months ago, I had been considering buying my tickets to see Michael Buble, whom I had seen in concert back in 2006 in the Point Depot with my Mum. After a lot of organisation and searching for the right person to invite along with me, the big day was here!
On a chilly but dry Saturday evening, Sandra my sister and I headed to the New Aviva Stadium, wrapped in warm jackets and scarves. We got a taxi some of the way and had a glass of wine in a nearby pub before going in, where we were shown to our seats in the West stand. The place is humungous, so I felt a pang of regret when I realised how far from the actual stage we were. However, I had taken Binoculars, so I could zoom in and watch a little closer if I chose. I shared them with Sandra throughout the show and it really helped us enjoy it better.
The warm up act was a band called Naturally 7 that performed soul/ hip-hop songs using close harmony. They were excellent, although when they talked between songs we couldn’t hear what they were saying. Our taxi driver had mentioned this was a problem he experienced at the show the previous night.
The place didn’t fill up until the warm up band were finished, but at around eight, there were very few seats left unoccupied. We noticed that the seating went right up to the roof and thanked our lucky stars we hadn’t ended up there. At eight forty five, the curtain went up, the blasting intro of Cry me a river heralded and out came Mr. Buble himself to a raucous reception. Cool as a cucumber, he sang as if he was among a few friends. Every word of his songs was being sung back at him by the crowd and it was a tremendously emotional thing to be among them, enjoying the splendour of the fabulous band, the amazing lighting, under a velvet blue Dublin sky!
He did all the favourite songs, such as All of me, Crazy love, Heartache tonight, You’re Nobody till somebody loves you, Some kind of wonderful.
I loved the stuff from his last album, but they are mostly covers. So I hoped he’d do a few of his original songs and earlier album numbers such as Home and I wasn’t disappointed. Like the true professional he is, Buble introduced his band individually. This took quite a while and unfortunately most of the wise cracks were totally lost on us poor souls down the back. But I got the gist of most of his words and I noticed how he gave his pianist a big thank you for his involvement in co-writing all Michael’s own songs. My dad who was a musician/band leader always said he judged a true artist from the way they treated their band and in this case, each guy deserved a standing ovation. What a sound!
At one point, the guy on trumpet did a solo and it was virtuoso stuff!
Also they did an instrumental, which would only be appreciated by jazz connoisseurs. Having grown up in a jazz orientated household, I understood what was going on and felt very privileged to be there, listening to the best of the best American musicianship.
I thought it was interesting to see a lot of men enjoying the concert, considering the huge female following Buble has. Beside me, a guy with his girlfriend was singing every line throughout the show and on the other side of my sister, there were mostly couples and the lads were enjoying it as much as their girls. However, being the charmer he is, Michael payed his female adorers lots of compliments and expressed his surprise at the amount of young people in the audience. He asked why they were coming to see him rather than Justin Biber, or the teenage heart- throbs who are currently in the charts.
He did a little tribute to the late Michael Jackson, performing an enjoyable version of Billy Jean and even did a moonwalk up the ramp onstage and some fancy twirls and postures that were Whacko’s signature moves. This got a tumultuous applause.
Lots of enormous screens surrounded the venue. Two each side of the stage, one at the back of it and another on a floating platform halfway up the arena. This was good for those at the back, like me. Despite this, there was remoteness about being seated far away from the heart of the show.
But somebody involved in the production end of things, had made allowances for this and thoughtfully arranged for Michael to walk through the crowd and up onto a podium atop the screen at the centre of the stadium, which was opposite our seats. This was spectacular and Sandra and I were delighted now. The guys who performed support did harmony to two numbers, which Michael did on this platform. I took a couple of photos, but my camera has a lousy zoom, so I used the Binocculars and made the best of the moment.
After a set of about an hour and a half, he finally sang Haven’t met you yet. The whole audience stood up and swayed and sang along with this really popular song. It has such a cheery riff, as do all of his uptempo numbers. Fireworks burst out and lit up the night and not long after this, he finished on a slow number;Hold on. This surprised me. He came back after a few minutes and did three more numbers, ending his last song by taking his mike off and singing out to the vast arena, proving the dynamic power of his vocals. I’m sure there will be some who don’t consider this concert to have been what they’d hoped for. But I had a blast and was just glad that I have the memory, for those cold mornings after I’ve left my little boy to school and am having my me hour with my tea and toast and Crazy Love belting out from my windows media player.
Saturday, September 11, 2010
Cause and Effect E.P. Review
I-Pheonix
Cause and Effect
Angela Macari O’Looney
I Pheonix are a band I’ve admired since I first saw them perform support at a gig in ’09. From the get go they appeared confident and professional. They had an explosive and unforgettable sound and their demo remains a firm favourite among my collection.
Hailing from Dublin, their music is a combination of Alternative/ Rock and Pop, with influences such as Biffy Clyro, Joy Division, and New Order coming through.
Cause and Effect, released in May ’10 at Temple Lane Studios by John Henry, is their debut E.P.
Conor Wilkins – Vocals/ Guitars, Donal Fleming – Drums/ Percussion and Kevin Brew – Bass are a talented trio of individuals and seem to improve every time I see them perform live, with each contributing to the overall sound. Haunting melody lines, scorching lead solos, throbbing baselines and pulsating electronic loops to enhance Donal’s lively beats, are all the ingredients that give each track life. The end result is a truly enjoyable CD of quality numbers.
Night Sparks
A brilliant choice of song to begin with, this is my absolute favourite I Pheonix number. The intro consists of a fast explosive beat, with a synth baseline that’s out of this world.
Then the lead riff comes in that for me defines I Pheonix and is really captivating. Conor’s haunting vocals are sung almost reverently. The resurrection of sounds from the late 70s touches a nerve for me here. The blend of post punk music with present day sophistication lends astounding dynamic that is irresistible!
Arcadia
This rhythmic number has a catchy riff intro that is used throughout. Guitars are spectacular, with fab lead followed by an explosive, distortion- charged phrase, where the pace alternates. Vocals are excellent, with a speck of close harmony added for the chorus.
Fade and Erase
Chord combinations are sweet in this number, which has a fairly fast beat despite it being more laid back than the other songs. The guitar riff is superb, the melody line is simple and memorable and there are lots of chops and changes in the beat, which keeps it interesting. Twin guitars do a delicious break before the last chorus and I particularly like the unexpected finish, where everything just stops!
Friction is a killer
Definitely leaning more towards a rock number, this involves lots of powerful chords, with distortion used all over the place and drum rolls and paradiddles galore. The beat changes completely in at least three places. Guitars are spectacular, with riveting riffs at every turn. Conor belts out the dramatic chorus, with backing vocals supplying additional volume.
I love the finale-style ending, where guitars do a hammering military type riff and you hear a sound a little like a plug fusing!
The three boys have progressed from being a support act, to being one of Dublin’s top bands, with regular headliners and regular airplay on the best radio stations in the land. The lads were chosen out of hundreds of hopefuls by Hot Press and got the opportunity to make their first video. Night Sparks was the number chosen, which doesn’t surprise me since it is a sensational song.
I Pheonix have had a wonderful journey since they formed in 2008. They were selected to perform at the Sugar club for the IMRO Showcase and also gigged with choice music award winner Jape in April ’09. It looks like they’re on a roll and I for one hope it continues.
Cause and Effect
Angela Macari O’Looney
I Pheonix are a band I’ve admired since I first saw them perform support at a gig in ’09. From the get go they appeared confident and professional. They had an explosive and unforgettable sound and their demo remains a firm favourite among my collection.
Hailing from Dublin, their music is a combination of Alternative/ Rock and Pop, with influences such as Biffy Clyro, Joy Division, and New Order coming through.
Cause and Effect, released in May ’10 at Temple Lane Studios by John Henry, is their debut E.P.
Conor Wilkins – Vocals/ Guitars, Donal Fleming – Drums/ Percussion and Kevin Brew – Bass are a talented trio of individuals and seem to improve every time I see them perform live, with each contributing to the overall sound. Haunting melody lines, scorching lead solos, throbbing baselines and pulsating electronic loops to enhance Donal’s lively beats, are all the ingredients that give each track life. The end result is a truly enjoyable CD of quality numbers.
Night Sparks
A brilliant choice of song to begin with, this is my absolute favourite I Pheonix number. The intro consists of a fast explosive beat, with a synth baseline that’s out of this world.
Then the lead riff comes in that for me defines I Pheonix and is really captivating. Conor’s haunting vocals are sung almost reverently. The resurrection of sounds from the late 70s touches a nerve for me here. The blend of post punk music with present day sophistication lends astounding dynamic that is irresistible!
Arcadia
This rhythmic number has a catchy riff intro that is used throughout. Guitars are spectacular, with fab lead followed by an explosive, distortion- charged phrase, where the pace alternates. Vocals are excellent, with a speck of close harmony added for the chorus.
Fade and Erase
Chord combinations are sweet in this number, which has a fairly fast beat despite it being more laid back than the other songs. The guitar riff is superb, the melody line is simple and memorable and there are lots of chops and changes in the beat, which keeps it interesting. Twin guitars do a delicious break before the last chorus and I particularly like the unexpected finish, where everything just stops!
Friction is a killer
Definitely leaning more towards a rock number, this involves lots of powerful chords, with distortion used all over the place and drum rolls and paradiddles galore. The beat changes completely in at least three places. Guitars are spectacular, with riveting riffs at every turn. Conor belts out the dramatic chorus, with backing vocals supplying additional volume.
I love the finale-style ending, where guitars do a hammering military type riff and you hear a sound a little like a plug fusing!
The three boys have progressed from being a support act, to being one of Dublin’s top bands, with regular headliners and regular airplay on the best radio stations in the land. The lads were chosen out of hundreds of hopefuls by Hot Press and got the opportunity to make their first video. Night Sparks was the number chosen, which doesn’t surprise me since it is a sensational song.
I Pheonix have had a wonderful journey since they formed in 2008. They were selected to perform at the Sugar club for the IMRO Showcase and also gigged with choice music award winner Jape in April ’09. It looks like they’re on a roll and I for one hope it continues.
Fox jaw bounty hunters
Fox Jaw Bounty Hunters
Congress of Oddities
Angela Macari O’Looney
From Limerick City, this uniquely entertaining band have emerged, capturing the attention of music critics and gathering a large fan base throughout Ireland.
With their strange but fabulous Rock/Punk/Blues sound, they have caused quite a stir and this E.P. is dark, ghoulish and hair raising. However, there’s no denying the musicianship and awe inspiring talent, that is hidden in the depths of each memorable dirge and after a couple of listens, you begin to really enjoy the six tracks.
Members of FJBH are Ronan Mitchell-Vocals/Piano/Guitar/Banjo, Morgan Nolan-Vocals/Guitar/Bass and Shane Serrano- Drums/Vocals/Clarinet.
Congress of Oddities is the band’s second E.P., released in ’09. Their debut self-titled E.P. received momentous critical acclaim and they have gigged extensively across Ireland, Germany and America since their formation in 2006.
A piano intro in choppy style opens up the first track; Walking with the dead. Discords are used to give it creepiness and it explodes into a grunge soaked blast of guitars. Spine- chilling, distortion-packed chords and an Adams family- style riff throughout add to the morbid melody line.
Ronan’s vocals take on a Zombie tone, as he sings the lyrics in a deep bass. A key change before each chorus lends dynamic and a riveting drum break also gives socks to this masterful composition.
The guitar solo is elaborate, sounding like the wailing of a banshee at times and the way the pace alternates just before the final chorus, is yet another change that adds to the charm of this imaginative number. Not for the faintheared!
Homeward bound and gagged is a bluegrass type song. The beat alternates, with a stop start effect that is catchy. This track involves a trickling banjo and the lads all seem to be singing on it, with quite effective harmony coming through.
Cornelius T. Ampersand
A wonderful carnival-style intro and excellent chord combinations and lead guitar are for me the highlight of this song. From a sweet three four tempo, with the vocals deep, it suddenly turns into a bashing crescendo of drums, glaring defunct guitars and ear splitting vocals. But it returns to the lovely trickling guitar again. The complex notation, disconcerting changes and strange happenings make this number more of a rhapsody than just a song.
Firefly
A three four tempo accompanies Ronan’s mournful verse for this song. Backing vocals lend depth to the chorus. This track is short and very memorable, with minor chords used throughout. This seems to be a key ingredient in FJBH’s songs. My only criticism is that they put this track next to Cornelius T. Ampersand. The two three four tempos so close together make them sound very samey. However, this is only a minor glitch. I like both tracks immensely!
Care to play?
This song begins with a weird, out of tune piano intro. I adore the way it then bursts into life, with revving, heavy guitar chords. Harmony is brilliant, with a sense of drama in the melody line. Vocals are dreary, but delicious. A quiet guitar break comes along, with haunting ahs contradicting the earlier grunginess.
Suddenly, in comes an explosive, distortion-packed chorus, with a surprising array of minor to major chord combinations and a sense of hope in it, the choral style vocals amazing.
It returns to the morose minors, bending guitar notes and dramatic mood from earlier, winding down this way.
Darker Shade of Blue
Ronan performs the verse of this bonus track with passion. With a trickling guitar accompaniment, it’s a mournful number with delicious harmony in the chorus. His vocal ability is demonstrated, when he goes from bass notes right up to a falsetto. The sound gradually builds up, till soon you hear bashing drums and guitars, filled with drama and vitality.
It returns to the laid back mood for a while. But after the sorrowful chorus it becomes crazy again, with a powerful blast of drums and guitars. This is an excellent finish to the E.P. , where all the stops are pulled out.
I find this band impressive and extremely entertaining, but I would like to hear them doing an occasional upbeat song, to break the dowdy atmosphere that’s constant in each song. A clown smiles out from the cover of the CD, but he seems to be the only cheerful thing about it.
The three lads are planning their debut album for 2011, which is sure to be as successful as this and their debut E.P. and hopefully they’ll include one or two songs with a happier mood in them. Fox Jaw Bounty Hunters have had regular airplay on top radio stations and seem like an unstoppable force and I look forward to seeing them live, when they are in Dublin.
Congress of Oddities
Angela Macari O’Looney
From Limerick City, this uniquely entertaining band have emerged, capturing the attention of music critics and gathering a large fan base throughout Ireland.
With their strange but fabulous Rock/Punk/Blues sound, they have caused quite a stir and this E.P. is dark, ghoulish and hair raising. However, there’s no denying the musicianship and awe inspiring talent, that is hidden in the depths of each memorable dirge and after a couple of listens, you begin to really enjoy the six tracks.
Members of FJBH are Ronan Mitchell-Vocals/Piano/Guitar/Banjo, Morgan Nolan-Vocals/Guitar/Bass and Shane Serrano- Drums/Vocals/Clarinet.
Congress of Oddities is the band’s second E.P., released in ’09. Their debut self-titled E.P. received momentous critical acclaim and they have gigged extensively across Ireland, Germany and America since their formation in 2006.
A piano intro in choppy style opens up the first track; Walking with the dead. Discords are used to give it creepiness and it explodes into a grunge soaked blast of guitars. Spine- chilling, distortion-packed chords and an Adams family- style riff throughout add to the morbid melody line.
Ronan’s vocals take on a Zombie tone, as he sings the lyrics in a deep bass. A key change before each chorus lends dynamic and a riveting drum break also gives socks to this masterful composition.
The guitar solo is elaborate, sounding like the wailing of a banshee at times and the way the pace alternates just before the final chorus, is yet another change that adds to the charm of this imaginative number. Not for the faintheared!
Homeward bound and gagged is a bluegrass type song. The beat alternates, with a stop start effect that is catchy. This track involves a trickling banjo and the lads all seem to be singing on it, with quite effective harmony coming through.
Cornelius T. Ampersand
A wonderful carnival-style intro and excellent chord combinations and lead guitar are for me the highlight of this song. From a sweet three four tempo, with the vocals deep, it suddenly turns into a bashing crescendo of drums, glaring defunct guitars and ear splitting vocals. But it returns to the lovely trickling guitar again. The complex notation, disconcerting changes and strange happenings make this number more of a rhapsody than just a song.
Firefly
A three four tempo accompanies Ronan’s mournful verse for this song. Backing vocals lend depth to the chorus. This track is short and very memorable, with minor chords used throughout. This seems to be a key ingredient in FJBH’s songs. My only criticism is that they put this track next to Cornelius T. Ampersand. The two three four tempos so close together make them sound very samey. However, this is only a minor glitch. I like both tracks immensely!
Care to play?
This song begins with a weird, out of tune piano intro. I adore the way it then bursts into life, with revving, heavy guitar chords. Harmony is brilliant, with a sense of drama in the melody line. Vocals are dreary, but delicious. A quiet guitar break comes along, with haunting ahs contradicting the earlier grunginess.
Suddenly, in comes an explosive, distortion-packed chorus, with a surprising array of minor to major chord combinations and a sense of hope in it, the choral style vocals amazing.
It returns to the morose minors, bending guitar notes and dramatic mood from earlier, winding down this way.
Darker Shade of Blue
Ronan performs the verse of this bonus track with passion. With a trickling guitar accompaniment, it’s a mournful number with delicious harmony in the chorus. His vocal ability is demonstrated, when he goes from bass notes right up to a falsetto. The sound gradually builds up, till soon you hear bashing drums and guitars, filled with drama and vitality.
It returns to the laid back mood for a while. But after the sorrowful chorus it becomes crazy again, with a powerful blast of drums and guitars. This is an excellent finish to the E.P. , where all the stops are pulled out.
I find this band impressive and extremely entertaining, but I would like to hear them doing an occasional upbeat song, to break the dowdy atmosphere that’s constant in each song. A clown smiles out from the cover of the CD, but he seems to be the only cheerful thing about it.
The three lads are planning their debut album for 2011, which is sure to be as successful as this and their debut E.P. and hopefully they’ll include one or two songs with a happier mood in them. Fox Jaw Bounty Hunters have had regular airplay on top radio stations and seem like an unstoppable force and I look forward to seeing them live, when they are in Dublin.
Thursday, September 2, 2010
Roy Shiels
The Teenage Storm
Angela Macari O’Looney
Multi musician Roy Shiels has taken the singer/songwriter label to a whole new level. From Dublin, he is extremely creative and uses his experience from playing guitar/ Bass in cover bands and blends this with a penchant for keyboards, rhythm and sound production.
Along with appealing vocal ability, memorable melody lines and emotion-charged lyrics, Roy composed and arranged the lovely collection of songs on this debut E.P. This is the beginning of what should prove an incredible journey!
Unique and quite laid back, each number involves imaginative riffs and enjoyable guitar solos. Choruses are simple enough, but his style is original. And having your own sound is a must in an ever growing, competitive singer/songwriter scene!
Vessel
The first track has a catchy riff intro, harmonic ahs, with the tempo fast and cheerful. Roy’s vocals are crisp and clear, as he sings the lyrics which have a sense of regret from a broken relationship; But nothing made me shiver more than losing you. Than losing out to everything I’d loved.
Surprisingly, the mood of the song is quite upbeat. A lead guitar solo followed by a slowdown for the sung middle eight, captures the listener and then things stop.
Soon the beat picks up again for the last verse. I like these chops and changes. Drums, bass and each facet of Roy’s creation, come together beautifully here.
To Feel it
Powerful, fast and rhythmic, this number begins with a catchy guitar riff. Twin guitars add drama with pulsating notes throughout. This is a rock song where drums are vibrant, as is the baseline. A delicious echoic guitar solo in the middle breaks things up a little. Both lyrics and melody line are magical. Roy’s delivery is masterful and like a work of art, this song is one you just have to hear again and again, with each listen a new experience!
State of mind
Seductive melody, a thumping beat, this is probably my favourite track on the E.P. The lyrics are a little bit cryptic, but there’s a sense of strength in the sentiment ;And in the morning when I drown, I feel like crying but I hold my ground. Strength in numbers, the weak ones tear, held by the hands of a hundred stares.
Before the sung middle eight, there’s a sweet build up with a catchy do do do thing going on.
The lead solo is the piece de resistance and also the wonderful close harmony in the chorus. Definitely a song I’d want to play my air guitar to!
The Girl
A trickling intro takes you into the haunting verse here. Distortion-packed guitars create a dynamic rock rhythm for the chorus, lifting the mood of this entire track. It involves beautifully descriptive lyrics and I particularly enjoy the change from soft love song, to vibrant rock number. Harmony lends depth, as Roy performs the moody vocals with conviction.
In this as in each arrangement, there’s a lot of attention to detail including some sensational chords and riffs, making it an unforgettable piece.
It’s Love
Anthemic style intro, with big chords and Roy belting out the first verse, this last track on Teenage storm is short, but sweet.
The lyrics seem to be contradictive in the second verse; Lost but still awake, sad still having fun/ Tired but still awake, loose but not undone.
There’s a complexity about each song and this is no exception. The arrival at the simple chorus It’s love, oh it’s love is almost soothing.
Melody line is lovely; Harmony in the verse and the short guitar break that takes you to the finish perfectly placed.
Roy’s work is easy to listen to, with memorable melody lines and unexpected changes here and there. His courage to explore all his potential and push it to the limits is evident. This has paid off for him, with a successful stint on the London circuit, extensive gigging around Ireland and airplay on top radio stations.
I find his lyrics a little too deep at times, but despite this, he has accomplished his own sound and if this is a sample of his songwriting and musical genius, I’ll be looking forward to hearing more.
The Teenage Storm
Angela Macari O’Looney
Multi musician Roy Shiels has taken the singer/songwriter label to a whole new level. From Dublin, he is extremely creative and uses his experience from playing guitar/ Bass in cover bands and blends this with a penchant for keyboards, rhythm and sound production.
Along with appealing vocal ability, memorable melody lines and emotion-charged lyrics, Roy composed and arranged the lovely collection of songs on this debut E.P. This is the beginning of what should prove an incredible journey!
Unique and quite laid back, each number involves imaginative riffs and enjoyable guitar solos. Choruses are simple enough, but his style is original. And having your own sound is a must in an ever growing, competitive singer/songwriter scene!
Vessel
The first track has a catchy riff intro, harmonic ahs, with the tempo fast and cheerful. Roy’s vocals are crisp and clear, as he sings the lyrics which have a sense of regret from a broken relationship; But nothing made me shiver more than losing you. Than losing out to everything I’d loved.
Surprisingly, the mood of the song is quite upbeat. A lead guitar solo followed by a slowdown for the sung middle eight, captures the listener and then things stop.
Soon the beat picks up again for the last verse. I like these chops and changes. Drums, bass and each facet of Roy’s creation, come together beautifully here.
To Feel it
Powerful, fast and rhythmic, this number begins with a catchy guitar riff. Twin guitars add drama with pulsating notes throughout. This is a rock song where drums are vibrant, as is the baseline. A delicious echoic guitar solo in the middle breaks things up a little. Both lyrics and melody line are magical. Roy’s delivery is masterful and like a work of art, this song is one you just have to hear again and again, with each listen a new experience!
State of mind
Seductive melody, a thumping beat, this is probably my favourite track on the E.P. The lyrics are a little bit cryptic, but there’s a sense of strength in the sentiment ;And in the morning when I drown, I feel like crying but I hold my ground. Strength in numbers, the weak ones tear, held by the hands of a hundred stares.
Before the sung middle eight, there’s a sweet build up with a catchy do do do thing going on.
The lead solo is the piece de resistance and also the wonderful close harmony in the chorus. Definitely a song I’d want to play my air guitar to!
The Girl
A trickling intro takes you into the haunting verse here. Distortion-packed guitars create a dynamic rock rhythm for the chorus, lifting the mood of this entire track. It involves beautifully descriptive lyrics and I particularly enjoy the change from soft love song, to vibrant rock number. Harmony lends depth, as Roy performs the moody vocals with conviction.
In this as in each arrangement, there’s a lot of attention to detail including some sensational chords and riffs, making it an unforgettable piece.
It’s Love
Anthemic style intro, with big chords and Roy belting out the first verse, this last track on Teenage storm is short, but sweet.
The lyrics seem to be contradictive in the second verse; Lost but still awake, sad still having fun/ Tired but still awake, loose but not undone.
There’s a complexity about each song and this is no exception. The arrival at the simple chorus It’s love, oh it’s love is almost soothing.
Melody line is lovely; Harmony in the verse and the short guitar break that takes you to the finish perfectly placed.
Roy’s work is easy to listen to, with memorable melody lines and unexpected changes here and there. His courage to explore all his potential and push it to the limits is evident. This has paid off for him, with a successful stint on the London circuit, extensive gigging around Ireland and airplay on top radio stations.
I find his lyrics a little too deep at times, but despite this, he has accomplished his own sound and if this is a sample of his songwriting and musical genius, I’ll be looking forward to hearing more.
Monday, August 23, 2010
Sunday, July 25, 2010
Saturday, July 10, 2010
A gig with a difference!
Critic/ I Pheonix
4th of July Party,
Whelan’s
Angela Macari O’Looney
Progressive Rock band Critic have been hibernating for a time, while preparing their new repertoire. After a break up, they have reformed from the ashes of Anatomy and are now bigger and better than ever, with the addition of a new drummer The Stig.
A weird but wonderful concoction of grunge, distortion laden guitars and thumping drums behind lead singer Gary’s unique portrayal of each number, is what awaits the listener. If you like sounds such as Katatonia, Isis, Pink Floyd and Tool, you’ll love this band!
On hearing they were putting on a 4th of July party with I Pheonix, another of my favourite bands also on the bill, I decided to pop down and take a peek at their live gig.
When I got there, the party was in full swing, with I Pheonix performing songs from their recently released album Cause and Effect.
I Pheonix
Conor Wilkins- Vocals/ Guitars, Kevin Brew- Bass and Donal Fleming- Drums are the members of I Pheonix. I first heard them in this very venue almost two years ago, when they were just starting out. They seem to have come a long way since then.
Imaginative melody lines, memorable lead guitar throughout each number and Conor’s distinctive vocals give this band an edge that I like. Influences include Interpol, Smashing Pumpkins, Biffy Clyro, Muse, Deftones and Future Kings of Spain.
They performed Amnesia, Lights, Arcadia, Fade and erase, Polaris, Static, Night Sparks and Friction is a killer.
My favourite of these songs is Night Sparks because of the catchy lead riff that continues throughout it. There’s a lovely combination of old meets new in their style, with haunting choruses accompanied by explosive drums.
Newer numbers such as Fade and erase and Friction is a Killer have a similar impact to that of their older material. Exciting chord riffs and programming, plus that knack of well placed key changes are the extras that make I Pheonix stand out for me. It was an added bonus that they were playing support to Critic on this celebratory night.
Critic
Before the stars of the show came on, a guy dressed up as Uncle Sam made a speech and then suddenly threw his stars and stripes top hat up in the air, gradually throwing off the remainder of his costume. He was clothed, so not too much of a shock there!
However, when a makeshift black curtain was removed from the stage, Critic appeared with lead singer Gary Ward standing at a pulpit, dressed from head to toe literally in Black. Black face and hands and all!
It was a statement to do with oil, combined with a joke at politicians thrown in. If drama and impact is what he was going for, it worked!
Members of Critic are Gary Ward – Vocals, Al-Guitars, Vinnie O’Connell- Bass and The Stig- Drums/Percussion.
With the use of recordings of newscasts surrounding U.S. politics and controversy and a few bars of the American national anthem, the band opened the show with loads of throbbing distortion before taking it into a fantastic number called Cold Crime.
A riveting baseline and slow but choppy beat define the intro of this song, continuing this seductive riff throughout.
Machine gun style chords break it up and with the perfect backdrop provided by the drummer, things build up very gradually.
Gary’s voice goes from cool and soulful to raging grunge grittiness within seconds. An occasional cat squeal type sound effect is achieved during the last chorus, causing a startling sense of alarm. A slowdown, where the guitar is just trickling away gives you a moment of respite between the blasts of thundering drum and metal. But not for long!
Next up was one of my favourites from Critic; Unfamiliar. Sabbathesque guitars, a sly key change for the chorus that lends to the melody and Gary’s total conviction in every single line, make this an amazing number to witness live.
This interesting band take alternative rock to a totally new level and The Stig really gets to shine in the latter half of this lengthy but intriguing song.
Rein begins slowly, with an interesting beat that changes as the song progresses.
Gary is such a contrast to the conservative black suit, shirt and tie once he opens his mouth to sing and I found him a real showman. Al uses a strange kind of distortion effect during this number, with the melody line styled to give the impression of desperation through stark minor chords and bashing drums. The last verse is sung with just a guitar and vocals in a hymn like way. The Stig uses his magical percussive powers to add to the poignant finish.
With a haunting melody in the verse and a vibrant chorus, Cogito ergo Sum was next. Involving superb bass and chord combinations, this is a fab arrangement. You have the rhythmic calm before the hair raising onslaught of chorus, as in most of this act’s stuff, but it’s so ingeniously performed that you find you can’t move from the spot even to get a drink.
An excellent lead intro takes you into Another Racing Loss. A rhythmic baseline joins in and the dynamics build up. Gary’s vocals are laid back for the verse. Bass and lead are melodic and appealing and I like the momentary escape from grunge.
The Chorus is much more exciting though, as each line becomes more fired up. I love the solid beat in this number too.
Dyswaria has a hammering tempo, a memorable intro and a big chord riff taking you into the chorus. Guitars and drums pull out all the stops here, Gary maintaining his cool as he pours out lyrics. But it’s not long before he lets loose again, screaming out the raging chorus with a fire in his belly!
They did this lovely prelude before their second last song Five.
Staccato notes on guitar and a moody, staccato verse sung in Gary’s haunting mode, make this number stark and spine tingling. Lead guitar is superb, particularly the riff in the chorus. I love it!
Drum rolls, choppy alternating beats and paradiddles define The Stig as the heartbeat of Critic, as is the case for all songs. Both guitar and bass perform fantastic in sync riffs and hooks throughout. Creepy chords are charged with distortion and are magical, lead guitar bits astounding!
The last but not the least of Critic’s set was The Last Intent.
With an elaborate lead intro, this song builds up gradually, drums and bass joining just before Gary’s verse. Not for the fainthearted, it involved impressive vocals and more distortion packed guitar. When it came to the final big resounding chord, Al placed his guitar beside his amp, allowing the big explosion of feedback to do its work on the eardrums of his audience. What a fearsome foursome!
Blazing a trail for the true lovers of alternative rock at it’s finest, never losing sight of their need to blast out gut busting lead riffs and explosive vocals, Critic are back!
4th of July Party,
Whelan’s
Angela Macari O’Looney
Progressive Rock band Critic have been hibernating for a time, while preparing their new repertoire. After a break up, they have reformed from the ashes of Anatomy and are now bigger and better than ever, with the addition of a new drummer The Stig.
A weird but wonderful concoction of grunge, distortion laden guitars and thumping drums behind lead singer Gary’s unique portrayal of each number, is what awaits the listener. If you like sounds such as Katatonia, Isis, Pink Floyd and Tool, you’ll love this band!
On hearing they were putting on a 4th of July party with I Pheonix, another of my favourite bands also on the bill, I decided to pop down and take a peek at their live gig.
When I got there, the party was in full swing, with I Pheonix performing songs from their recently released album Cause and Effect.
I Pheonix
Conor Wilkins- Vocals/ Guitars, Kevin Brew- Bass and Donal Fleming- Drums are the members of I Pheonix. I first heard them in this very venue almost two years ago, when they were just starting out. They seem to have come a long way since then.
Imaginative melody lines, memorable lead guitar throughout each number and Conor’s distinctive vocals give this band an edge that I like. Influences include Interpol, Smashing Pumpkins, Biffy Clyro, Muse, Deftones and Future Kings of Spain.
They performed Amnesia, Lights, Arcadia, Fade and erase, Polaris, Static, Night Sparks and Friction is a killer.
My favourite of these songs is Night Sparks because of the catchy lead riff that continues throughout it. There’s a lovely combination of old meets new in their style, with haunting choruses accompanied by explosive drums.
Newer numbers such as Fade and erase and Friction is a Killer have a similar impact to that of their older material. Exciting chord riffs and programming, plus that knack of well placed key changes are the extras that make I Pheonix stand out for me. It was an added bonus that they were playing support to Critic on this celebratory night.
Critic
Before the stars of the show came on, a guy dressed up as Uncle Sam made a speech and then suddenly threw his stars and stripes top hat up in the air, gradually throwing off the remainder of his costume. He was clothed, so not too much of a shock there!
However, when a makeshift black curtain was removed from the stage, Critic appeared with lead singer Gary Ward standing at a pulpit, dressed from head to toe literally in Black. Black face and hands and all!
It was a statement to do with oil, combined with a joke at politicians thrown in. If drama and impact is what he was going for, it worked!
Members of Critic are Gary Ward – Vocals, Al-Guitars, Vinnie O’Connell- Bass and The Stig- Drums/Percussion.
With the use of recordings of newscasts surrounding U.S. politics and controversy and a few bars of the American national anthem, the band opened the show with loads of throbbing distortion before taking it into a fantastic number called Cold Crime.
A riveting baseline and slow but choppy beat define the intro of this song, continuing this seductive riff throughout.
Machine gun style chords break it up and with the perfect backdrop provided by the drummer, things build up very gradually.
Gary’s voice goes from cool and soulful to raging grunge grittiness within seconds. An occasional cat squeal type sound effect is achieved during the last chorus, causing a startling sense of alarm. A slowdown, where the guitar is just trickling away gives you a moment of respite between the blasts of thundering drum and metal. But not for long!
Next up was one of my favourites from Critic; Unfamiliar. Sabbathesque guitars, a sly key change for the chorus that lends to the melody and Gary’s total conviction in every single line, make this an amazing number to witness live.
This interesting band take alternative rock to a totally new level and The Stig really gets to shine in the latter half of this lengthy but intriguing song.
Rein begins slowly, with an interesting beat that changes as the song progresses.
Gary is such a contrast to the conservative black suit, shirt and tie once he opens his mouth to sing and I found him a real showman. Al uses a strange kind of distortion effect during this number, with the melody line styled to give the impression of desperation through stark minor chords and bashing drums. The last verse is sung with just a guitar and vocals in a hymn like way. The Stig uses his magical percussive powers to add to the poignant finish.
With a haunting melody in the verse and a vibrant chorus, Cogito ergo Sum was next. Involving superb bass and chord combinations, this is a fab arrangement. You have the rhythmic calm before the hair raising onslaught of chorus, as in most of this act’s stuff, but it’s so ingeniously performed that you find you can’t move from the spot even to get a drink.
An excellent lead intro takes you into Another Racing Loss. A rhythmic baseline joins in and the dynamics build up. Gary’s vocals are laid back for the verse. Bass and lead are melodic and appealing and I like the momentary escape from grunge.
The Chorus is much more exciting though, as each line becomes more fired up. I love the solid beat in this number too.
Dyswaria has a hammering tempo, a memorable intro and a big chord riff taking you into the chorus. Guitars and drums pull out all the stops here, Gary maintaining his cool as he pours out lyrics. But it’s not long before he lets loose again, screaming out the raging chorus with a fire in his belly!
They did this lovely prelude before their second last song Five.
Staccato notes on guitar and a moody, staccato verse sung in Gary’s haunting mode, make this number stark and spine tingling. Lead guitar is superb, particularly the riff in the chorus. I love it!
Drum rolls, choppy alternating beats and paradiddles define The Stig as the heartbeat of Critic, as is the case for all songs. Both guitar and bass perform fantastic in sync riffs and hooks throughout. Creepy chords are charged with distortion and are magical, lead guitar bits astounding!
The last but not the least of Critic’s set was The Last Intent.
With an elaborate lead intro, this song builds up gradually, drums and bass joining just before Gary’s verse. Not for the fainthearted, it involved impressive vocals and more distortion packed guitar. When it came to the final big resounding chord, Al placed his guitar beside his amp, allowing the big explosion of feedback to do its work on the eardrums of his audience. What a fearsome foursome!
Blazing a trail for the true lovers of alternative rock at it’s finest, never losing sight of their need to blast out gut busting lead riffs and explosive vocals, Critic are back!
Saturday, June 19, 2010
Ocean by No Roller
No Roller
Ocean
Angela Macari O’Looney
No Roller have had great success to date and built up a nice following since they formed back in 2008. The band have done quite a lot of gigging around Dublin and 2009 saw the release of their debut album High Places by Narrow Roads.
Following this, they reached the final of Emergenza Battle of the bands this year. Agreat achievement indeed!
Members are Aaron Laidlaw-Guitars, Damien Farrell-Drums, David Clarke-Vocals, Tom Dunne- Bass, and Warren Solan-Guitars.
Influences include The Beatles, The Rolling Stones, Neil Young, Nirvana to name but a few. Their sound is described as Rock/ acoustic/ Indie and combines gutsy Rock’n’Roll with Celtic Passion and imaginative melody lines.
Ocean
This new single is laid back at first, involving a trickling guitar, then bursts into distortion packed chords with a slow drumbeat and baseline. David comes in with the soulful verse, his vocals gritty but reaching falsetto notes at times, which demonstrates his impressive vocal range. The melody is haunting and the lyrics deep.
Things build up gradually, with backing vocals performing a refrain behind David as he sings the sweet chorus. This arrangement is really appealing and still the trickling guitar riff continues, keeping the listener focused.
In the two years they have been together, they have worked on their sound and developed it, maintaining their unique eclectic style and just seem to go from strength to strength.
This love song is really special and is soon to be followed by their second album, which will hopefully have as much success, or more than their first.
Ocean
Angela Macari O’Looney
No Roller have had great success to date and built up a nice following since they formed back in 2008. The band have done quite a lot of gigging around Dublin and 2009 saw the release of their debut album High Places by Narrow Roads.
Following this, they reached the final of Emergenza Battle of the bands this year. Agreat achievement indeed!
Members are Aaron Laidlaw-Guitars, Damien Farrell-Drums, David Clarke-Vocals, Tom Dunne- Bass, and Warren Solan-Guitars.
Influences include The Beatles, The Rolling Stones, Neil Young, Nirvana to name but a few. Their sound is described as Rock/ acoustic/ Indie and combines gutsy Rock’n’Roll with Celtic Passion and imaginative melody lines.
Ocean
This new single is laid back at first, involving a trickling guitar, then bursts into distortion packed chords with a slow drumbeat and baseline. David comes in with the soulful verse, his vocals gritty but reaching falsetto notes at times, which demonstrates his impressive vocal range. The melody is haunting and the lyrics deep.
Things build up gradually, with backing vocals performing a refrain behind David as he sings the sweet chorus. This arrangement is really appealing and still the trickling guitar riff continues, keeping the listener focused.
In the two years they have been together, they have worked on their sound and developed it, maintaining their unique eclectic style and just seem to go from strength to strength.
This love song is really special and is soon to be followed by their second album, which will hopefully have as much success, or more than their first.
Friday, June 4, 2010
Julie Feeney and the Pages Orchestra
At
The National Concert Hall
29/05/10
Angela Macari O’Looney
Julie Feeney, whose album 13 Songs won the Choice Music award in 2006, has an abundance of musical talent and also possesses the skill to compose, produce and even conduct an orchestra. Her album Pages drew the attention of Choice Music Award judges for a second time earlier this year, where she performed at the final in Vicar Street.
Like many of her admirers from every age group, I headed to see Julie perform at the National Concert Hall. Her orchestra, led by Louis Roden arrived onstage and soon after this, our star made her entrance attired in a dress sculpted and hand stitched from the pages of Julie’s orchestral score, by Sharon Costello Desmond.
Tapping a pair of drumsticks, she beat a tattoo and sung a jazzy piece, involving tricky vocal percussion and complex notation.
With a delightful intro on Cello, Monster was next. From the Pages album, this has beautiful harmony. She had two backing vocalists who did some amazing close harmony throughout the whole show.
Her third song featured her female drummer/percussionist and demonstrated Julie’s remarkable vocal range.
Grace is soulful, involving trickling notation on harp and is an outstanding arrangement. I thought it very touching hearing some of the audience sing the chorus with her here.
The orchestra then played a beautiful instrumental, featuring strings, piano and Cello. Julie returned to the stage now dressed in yet another exciting costume, consisting of a cheeky ultra modern Basque style skirt, worn over black leggings and top and upon her head, a miniature version of the colourful playhouse from the cover art of Pages.
Quirky costumes, eccentric ideas and very original music seem to be Julie’s signature. Yet beneath the colourful, childish fantasy lies a true genius with a fascinating imagination!
She continued her wonderful set with lots of songs from both of her albums. I particularly enjoyed the two part harmony for Knock Knock, performed by her male and female backing singers. This is a gorgeous song and the way it starts with just vocals, gradually building up is awe inspiring.
Wind out of my Sails was spectacular and she then did the amusing Myth, which involves whispers, chattering and Julie coming down into the audience whispering, while her singers sing the chorus. The plucky violins in this piece create drama with stops and starts throughout, while each time she freezes with the bright spotlight behind her, there’s a delightful air of suspended wonder.
The theatrics and interaction with her audience adds to the atmosphere greatly. Piano and Flute performed a sweet instrumental, while Julie went off to change into her next costume.
This time she returned wearing a kind of Cloud costume, all white tulle, with a cocky white bowler hat and glittering red shoes. She was a vision indeed!
Julie mentioned her tiny accordion, explaining that it is the self same one from her schooldays and still has her name and address written in her mother’s handwriting. Her many anecdotes and chats with the audience lent a touch of intimacy to the occasion.
A beautiful piece by Philip Lask received a big response. Also a number called Fictitious Richard, which is a tongue in cheek story with a pretty melody and I enjoyed the use of lighting here. The shape of this auditorium is perfect for Julie’s songs and lends to the general atmosphere. She made sure to thank everyone involved in her success and also her fantastic orchestra and singers.
Mr. Roving eye guy, Life’s Nudge, One More tune, Valentines Song, You Broke the Magic and others from Julie’s treasury riveted each listener to their seat. She got two encores and for her first she performed Hallelujah. I’m not usually a fan of this song; however Julie can perform any piece and make it sound special.
I wondered were other people waiting for the same thing as me. Continuous applause brought our sparkling lady back onstage, to perform two final songs. The first was the chirpy Love is a tricky thing, which was a thousand times more brilliant live than on CD.
I somehow knew what her choice for the very last song would be and I wasn’t wrong!
She had kept her trump card for long enough now and when the familiar intro for Impossibly Beautiful rang out, there was a collective sense of joy amid her adoring fans.
Heartbreakingly beautiful, this song is haunting and delicious. As people were leaving the auditorium, you could here them still humming the chorus.
You get a feeling that despite her boundless ability to compose and perform and her enormous success in the music business to date, Julie never loses her connection with her followers, who each seem to know her personally and vice versa.
In the foyer she shook hands, had photographs taken, chatting away warmly with everyone. This and the memory of a wonderful show left me smiling as I headed out into the drizzly Dublin night.
At
The National Concert Hall
29/05/10
Angela Macari O’Looney
Julie Feeney, whose album 13 Songs won the Choice Music award in 2006, has an abundance of musical talent and also possesses the skill to compose, produce and even conduct an orchestra. Her album Pages drew the attention of Choice Music Award judges for a second time earlier this year, where she performed at the final in Vicar Street.
Like many of her admirers from every age group, I headed to see Julie perform at the National Concert Hall. Her orchestra, led by Louis Roden arrived onstage and soon after this, our star made her entrance attired in a dress sculpted and hand stitched from the pages of Julie’s orchestral score, by Sharon Costello Desmond.
Tapping a pair of drumsticks, she beat a tattoo and sung a jazzy piece, involving tricky vocal percussion and complex notation.
With a delightful intro on Cello, Monster was next. From the Pages album, this has beautiful harmony. She had two backing vocalists who did some amazing close harmony throughout the whole show.
Her third song featured her female drummer/percussionist and demonstrated Julie’s remarkable vocal range.
Grace is soulful, involving trickling notation on harp and is an outstanding arrangement. I thought it very touching hearing some of the audience sing the chorus with her here.
The orchestra then played a beautiful instrumental, featuring strings, piano and Cello. Julie returned to the stage now dressed in yet another exciting costume, consisting of a cheeky ultra modern Basque style skirt, worn over black leggings and top and upon her head, a miniature version of the colourful playhouse from the cover art of Pages.
Quirky costumes, eccentric ideas and very original music seem to be Julie’s signature. Yet beneath the colourful, childish fantasy lies a true genius with a fascinating imagination!
She continued her wonderful set with lots of songs from both of her albums. I particularly enjoyed the two part harmony for Knock Knock, performed by her male and female backing singers. This is a gorgeous song and the way it starts with just vocals, gradually building up is awe inspiring.
Wind out of my Sails was spectacular and she then did the amusing Myth, which involves whispers, chattering and Julie coming down into the audience whispering, while her singers sing the chorus. The plucky violins in this piece create drama with stops and starts throughout, while each time she freezes with the bright spotlight behind her, there’s a delightful air of suspended wonder.
The theatrics and interaction with her audience adds to the atmosphere greatly. Piano and Flute performed a sweet instrumental, while Julie went off to change into her next costume.
This time she returned wearing a kind of Cloud costume, all white tulle, with a cocky white bowler hat and glittering red shoes. She was a vision indeed!
Julie mentioned her tiny accordion, explaining that it is the self same one from her schooldays and still has her name and address written in her mother’s handwriting. Her many anecdotes and chats with the audience lent a touch of intimacy to the occasion.
A beautiful piece by Philip Lask received a big response. Also a number called Fictitious Richard, which is a tongue in cheek story with a pretty melody and I enjoyed the use of lighting here. The shape of this auditorium is perfect for Julie’s songs and lends to the general atmosphere. She made sure to thank everyone involved in her success and also her fantastic orchestra and singers.
Mr. Roving eye guy, Life’s Nudge, One More tune, Valentines Song, You Broke the Magic and others from Julie’s treasury riveted each listener to their seat. She got two encores and for her first she performed Hallelujah. I’m not usually a fan of this song; however Julie can perform any piece and make it sound special.
I wondered were other people waiting for the same thing as me. Continuous applause brought our sparkling lady back onstage, to perform two final songs. The first was the chirpy Love is a tricky thing, which was a thousand times more brilliant live than on CD.
I somehow knew what her choice for the very last song would be and I wasn’t wrong!
She had kept her trump card for long enough now and when the familiar intro for Impossibly Beautiful rang out, there was a collective sense of joy amid her adoring fans.
Heartbreakingly beautiful, this song is haunting and delicious. As people were leaving the auditorium, you could here them still humming the chorus.
You get a feeling that despite her boundless ability to compose and perform and her enormous success in the music business to date, Julie never loses her connection with her followers, who each seem to know her personally and vice versa.
In the foyer she shook hands, had photographs taken, chatting away warmly with everyone. This and the memory of a wonderful show left me smiling as I headed out into the drizzly Dublin night.
The Cannoneers of the New Command
Cannoneers of the New Command
7inch Vinyl
Sadie was a Girl/ Shake the Law
Angela Macari O’Looney
Californian Indie/Rock band Cannoneers of the New Command are Tim Galvin-Drums/ Percussion, Joe Taylor- Guitars, Robert Pierret- Bass and last but not least Mike Monasky- Vocals/Guitars.
Together since 2009, the boys have been previously involved in other projects such as The Beautiful and Damned, The Pacific and Ellie Sky.
This year sees the release of their debut 7inch Vinyl, which was launched at The Spaceland Club in Silverlake, Los Angeles, with Spectrum(AKA Sonic Boom from Spacemen 3).
Asked to have a listen to their songs, I instantly felt the urge to jump up and dance around on my first listen.
Sadie was a girl opens up with a Rock’n’Roll guitar riff and a thumping drumbeat. The melody line is catchy, with harmonies sprinkled into the chorus and middle eight. Mike’s cheeky but appealing vocals, along with Joe’s guitar riffs and hooks throughout are key features. I love when the instrumentals fall back and Mike does a chorus, with only the drums accompanying him and then Robert comes in with a sexy baseline, taking it back to a full stomping chorus. I get the feeling they have a cross section of influences. I’d be thinking of Rolling Stones, Beatles here mixed in with more up to the minute styles.
Chord combinations are interesting, with a nifty key change sneaking in to give it that extra spice!
Shake the Law is a choppy number with guitars doing an in sync riff, baseline excellent and the explosive chorus involving catchy ‘Ahs’. A typical sing along Rock style song, it’s upbeat and arrogant. Backing vocals sing the melody line in a lower octave to Mike, giving a slinky, seductive feel to things. Guitars repeat the riff and a distortion packed break adds interest. I like this cool strut, which would make me think of Bowie’s ‘Jean Genie’!
Going home, Coming down
This is an acoustic love song with a rhythmic guitar in it, three four tempo and Mike’s vocals are low and moody in the verse. I like the chorus, where his voice lifts and becomes more vibrant and emotional. In this slower number, he sounds a little like Richard Ashcroft from The Verve, with his soulful pouring out of each line.
This fun foursome don’t take themselves too seriously and seem to enjoy performing together immensely. They’ve built up quite a following and I hope we’ll see them visit our shores some day.
7inch Vinyl
Sadie was a Girl/ Shake the Law
Angela Macari O’Looney
Californian Indie/Rock band Cannoneers of the New Command are Tim Galvin-Drums/ Percussion, Joe Taylor- Guitars, Robert Pierret- Bass and last but not least Mike Monasky- Vocals/Guitars.
Together since 2009, the boys have been previously involved in other projects such as The Beautiful and Damned, The Pacific and Ellie Sky.
This year sees the release of their debut 7inch Vinyl, which was launched at The Spaceland Club in Silverlake, Los Angeles, with Spectrum(AKA Sonic Boom from Spacemen 3).
Asked to have a listen to their songs, I instantly felt the urge to jump up and dance around on my first listen.
Sadie was a girl opens up with a Rock’n’Roll guitar riff and a thumping drumbeat. The melody line is catchy, with harmonies sprinkled into the chorus and middle eight. Mike’s cheeky but appealing vocals, along with Joe’s guitar riffs and hooks throughout are key features. I love when the instrumentals fall back and Mike does a chorus, with only the drums accompanying him and then Robert comes in with a sexy baseline, taking it back to a full stomping chorus. I get the feeling they have a cross section of influences. I’d be thinking of Rolling Stones, Beatles here mixed in with more up to the minute styles.
Chord combinations are interesting, with a nifty key change sneaking in to give it that extra spice!
Shake the Law is a choppy number with guitars doing an in sync riff, baseline excellent and the explosive chorus involving catchy ‘Ahs’. A typical sing along Rock style song, it’s upbeat and arrogant. Backing vocals sing the melody line in a lower octave to Mike, giving a slinky, seductive feel to things. Guitars repeat the riff and a distortion packed break adds interest. I like this cool strut, which would make me think of Bowie’s ‘Jean Genie’!
Going home, Coming down
This is an acoustic love song with a rhythmic guitar in it, three four tempo and Mike’s vocals are low and moody in the verse. I like the chorus, where his voice lifts and becomes more vibrant and emotional. In this slower number, he sounds a little like Richard Ashcroft from The Verve, with his soulful pouring out of each line.
This fun foursome don’t take themselves too seriously and seem to enjoy performing together immensely. They’ve built up quite a following and I hope we’ll see them visit our shores some day.
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