Monday, March 29, 2010
Wednesday, March 17, 2010
The Gandhis
The Gandhis
You Are My Friend
Angela Macari O’Looney
Hailing from Lucan, Co. Dublin, members of this charming outfit are Niall Cullen - Bass/Vocals, Conor Deasy - Lead Guitar/Vocals, Aidan McKelvey - Guitars/Vocals and Bazz O’Reilly – Drums.
Described as Pop/Rock/Alternative, their music really has a little of every genre and style thrown into it. However it comes out pretty catchy and is performed with enthusiasm that is quite magnetic. They seem to have a penchant for choppy beats, harmonies as precise as the most well rehearsed Barber shop quartet and snazzy riffs and hooks featuring throughout each song!
This debut album showcases each band member’s musical ability to great advantage, especially Conor, who can flex his vocals to be sweet for the more romantic songs, or gritty for the rockier numbers. Also you can feel the enjoyment the lads themselves are getting as they perform and this to me would be the reason that every song has uniqueness and there’s no fear of predictability.
You have a lovely combination of Beatles, The View and 80s bands such as The Clash, all blended into these memorable songs.
Opening the album a song, which is to be released as a single this year, You are my friend has a choppy guitar intro, followed by an arpeggio style vocal. Chords are sweet, as is the baseline. Harmony in splashes is effective and further into the song, brass joining in to create a big sound. Written by Aidan (Mac), this was inspired by three of his friends and has cheerful lyrics ;You are my friend and you can rest your hand on mine, I won’t let you down this time.
A cross between 80’s Ska music and sixties Rock’n’Roll, Don’t you want to be loved by Me? has a choppy reggae beat. Simple, but catchy is the chorus with divine harmony. A short sweet guitar solo features in this number. It’s a love song and has a real sing-along quality.
Motown Lowdown is a complete contrast to the previous number. It begins with a beat tapped out on stix, building up to a funky, flanger packed verse. This has a sexy tempo reflecting its name. With female backing vocals coming in for the chorus and soulful ‘oohs’ you are surrounded by a crescendo of instruments. Guitars are fantastic here, with some memorable riffs and bass lending to the cool, seductive melody line.
Written as a kind of homage to The Specials and The Clash and with an intro styled like ‘Mr. Sandman’, The Rudy Show involves a reggae beat, brass and gorgeous harmony. It changes pace, with delightful hooks on Sax adding to its charm.
Mr. Data
Choppy and fun, this number describes the boring, predictable programmes on T.V. Mr. Data from the Star trek series is the hero. Electric guitar chords are divine. Backing ‘oohs’ are sweet. The chorus is sung in unison by the entire band. Conor has a powerful voice and can go from gravelly rock, to crystal clear and in this number he adapts from one to the other seamlessly!
A solemn but extremely sweet number, Goodbye Cruel Appendix is a slow trickling song, with close harmony, bass featuring big and a beautiful chorus. Lyrics are poignant and seem to be about residents in a home ;number thirteen he just stares into space, he keeps his old head fixed in the same place all day. Don’t know how long he’s been lying in bed, he gets up just to shave and to brush his hair. Although sad, the melody, vocals and guitars in this song are rich.
Elephant Man
This is a crazy, energetic ditty involving a fusion of Ska/Punk with a fast pace, scat type vocals and a tricky melody line which involves a key change and fun riffs on keyboards. It’s hard to get the gist of the lyrics since it’s so fast, but it sounds like an enjoyable song to perform. Lead vocals are cheeky and sharp, haunting ‘oohs’ lending a bit of drama where necessary. Feel good party music at its best!
Twenty 2 has a three four time arrangement at the beginning with piano, guitars and a pretty clarinet adding to the mood. Then there’s a tempo change. Harmony is excellent, chords lovely when it speeds up and a short guitar solo features too. The chorus is catchy but this wouldn’t be my favourite track on the album.
Primrose Lane
For me this number is The Gandhi’s piece de resistance and my absolute favourite track on the album.
It has a totally perfect chorus, a jazzy beat and with just the acoustic guitar accompanying, it involves harmony that is candy sweet, excellent scat and has funny/nostalgic lyrics about lost youth and old friends smoking spliffs in the sun at the bottom of Primrose Lane. As in all their songs, I get the feeling the lads are having a ball singing this song. Chords and arrangement are outstanding and I love the line I miss you so much when I’m drunk and want to talk sh*te!
Zaza was the band’s first single and has wonderful jazzy discords in the harmony for the chorus, which is delectable. Guitar chords and the fast beat give this number an exotic feel. The lads do this lovely harmonic Choochoo that I adore. It’s yet another brilliant creation, with vocals being the outstanding feature.
Guy like me is a very Beatle style number, with a key change for the chorus and a cute banjo adding to its charm. Conor does scat and the lads sing a catchy refrain with a harmonic La la. Bass and drums frame things beautifully. This song was released as a single in ’09 and following its release, the band were guests on R.T.E.’s ‘Saturday Night with Miriam’.
The album art is interesting, with the band kitted out in army uniforms. It has a dramatic scene where three of them are trying to rescue the fourth in a Battlefield. But when you look closely, he’s giving them a rude hand gesture. It reflects the Gandhis music; Upbeat, but with a touch of sadness and sarcasm always present.
The Gandhis were founded by Aidan (Mac) and Niall (Cullo) who previously played in bands Hoochie Mama and The Emperors of Funk. They were later joined by Conor and Baz.
They take Jazz, Funk, Reggae and blues and add a twist of Ska and punk for mischief. It’s a cocktail that’s working!
Having played support to such acts as Republic of Loose and Fight like Apes, the lads are building up quite a following and if they continue creating melodies and harmonies of this calibre, they can’t go wrong!
You Are My Friend
Angela Macari O’Looney
Hailing from Lucan, Co. Dublin, members of this charming outfit are Niall Cullen - Bass/Vocals, Conor Deasy - Lead Guitar/Vocals, Aidan McKelvey - Guitars/Vocals and Bazz O’Reilly – Drums.
Described as Pop/Rock/Alternative, their music really has a little of every genre and style thrown into it. However it comes out pretty catchy and is performed with enthusiasm that is quite magnetic. They seem to have a penchant for choppy beats, harmonies as precise as the most well rehearsed Barber shop quartet and snazzy riffs and hooks featuring throughout each song!
This debut album showcases each band member’s musical ability to great advantage, especially Conor, who can flex his vocals to be sweet for the more romantic songs, or gritty for the rockier numbers. Also you can feel the enjoyment the lads themselves are getting as they perform and this to me would be the reason that every song has uniqueness and there’s no fear of predictability.
You have a lovely combination of Beatles, The View and 80s bands such as The Clash, all blended into these memorable songs.
Opening the album a song, which is to be released as a single this year, You are my friend has a choppy guitar intro, followed by an arpeggio style vocal. Chords are sweet, as is the baseline. Harmony in splashes is effective and further into the song, brass joining in to create a big sound. Written by Aidan (Mac), this was inspired by three of his friends and has cheerful lyrics ;You are my friend and you can rest your hand on mine, I won’t let you down this time.
A cross between 80’s Ska music and sixties Rock’n’Roll, Don’t you want to be loved by Me? has a choppy reggae beat. Simple, but catchy is the chorus with divine harmony. A short sweet guitar solo features in this number. It’s a love song and has a real sing-along quality.
Motown Lowdown is a complete contrast to the previous number. It begins with a beat tapped out on stix, building up to a funky, flanger packed verse. This has a sexy tempo reflecting its name. With female backing vocals coming in for the chorus and soulful ‘oohs’ you are surrounded by a crescendo of instruments. Guitars are fantastic here, with some memorable riffs and bass lending to the cool, seductive melody line.
Written as a kind of homage to The Specials and The Clash and with an intro styled like ‘Mr. Sandman’, The Rudy Show involves a reggae beat, brass and gorgeous harmony. It changes pace, with delightful hooks on Sax adding to its charm.
Mr. Data
Choppy and fun, this number describes the boring, predictable programmes on T.V. Mr. Data from the Star trek series is the hero. Electric guitar chords are divine. Backing ‘oohs’ are sweet. The chorus is sung in unison by the entire band. Conor has a powerful voice and can go from gravelly rock, to crystal clear and in this number he adapts from one to the other seamlessly!
A solemn but extremely sweet number, Goodbye Cruel Appendix is a slow trickling song, with close harmony, bass featuring big and a beautiful chorus. Lyrics are poignant and seem to be about residents in a home ;number thirteen he just stares into space, he keeps his old head fixed in the same place all day. Don’t know how long he’s been lying in bed, he gets up just to shave and to brush his hair. Although sad, the melody, vocals and guitars in this song are rich.
Elephant Man
This is a crazy, energetic ditty involving a fusion of Ska/Punk with a fast pace, scat type vocals and a tricky melody line which involves a key change and fun riffs on keyboards. It’s hard to get the gist of the lyrics since it’s so fast, but it sounds like an enjoyable song to perform. Lead vocals are cheeky and sharp, haunting ‘oohs’ lending a bit of drama where necessary. Feel good party music at its best!
Twenty 2 has a three four time arrangement at the beginning with piano, guitars and a pretty clarinet adding to the mood. Then there’s a tempo change. Harmony is excellent, chords lovely when it speeds up and a short guitar solo features too. The chorus is catchy but this wouldn’t be my favourite track on the album.
Primrose Lane
For me this number is The Gandhi’s piece de resistance and my absolute favourite track on the album.
It has a totally perfect chorus, a jazzy beat and with just the acoustic guitar accompanying, it involves harmony that is candy sweet, excellent scat and has funny/nostalgic lyrics about lost youth and old friends smoking spliffs in the sun at the bottom of Primrose Lane. As in all their songs, I get the feeling the lads are having a ball singing this song. Chords and arrangement are outstanding and I love the line I miss you so much when I’m drunk and want to talk sh*te!
Zaza was the band’s first single and has wonderful jazzy discords in the harmony for the chorus, which is delectable. Guitar chords and the fast beat give this number an exotic feel. The lads do this lovely harmonic Choochoo that I adore. It’s yet another brilliant creation, with vocals being the outstanding feature.
Guy like me is a very Beatle style number, with a key change for the chorus and a cute banjo adding to its charm. Conor does scat and the lads sing a catchy refrain with a harmonic La la. Bass and drums frame things beautifully. This song was released as a single in ’09 and following its release, the band were guests on R.T.E.’s ‘Saturday Night with Miriam’.
The album art is interesting, with the band kitted out in army uniforms. It has a dramatic scene where three of them are trying to rescue the fourth in a Battlefield. But when you look closely, he’s giving them a rude hand gesture. It reflects the Gandhis music; Upbeat, but with a touch of sadness and sarcasm always present.
The Gandhis were founded by Aidan (Mac) and Niall (Cullo) who previously played in bands Hoochie Mama and The Emperors of Funk. They were later joined by Conor and Baz.
They take Jazz, Funk, Reggae and blues and add a twist of Ska and punk for mischief. It’s a cocktail that’s working!
Having played support to such acts as Republic of Loose and Fight like Apes, the lads are building up quite a following and if they continue creating melodies and harmonies of this calibre, they can’t go wrong!
Wednesday, March 10, 2010
Simon Fagan 'Damn Honey' launch gig
Simon Fagan
‘Damn Honey’ single launch
Bewley’s Theatre
05/03/10
Angela Macari O’Looney
Simon Fagan’s magical music has taken him to heady heights that most artists only dream of. In far flung places such as Egypt, his gorgeous memorable songs have won high acclaim. Addictive melodies, seductive brass arrangements and his charismatic vocal style have been such a hit, it seems that this young guy’s feet never touch the ground and you have to be following him closely, if you hope to catch a live performance.
I for one have fallen head over heels in love with those jazzy trumpet riffs, slinky piano, plus feel good beats that are simply mesmerizing. Thus I felt privileged to be sitting with the small but friendly group of people assembled at Bewley’s, to celebrate the launch of Simon’s new single ‘Damn Honey’.
A late kick-off and no support band meant a long wait before things got started. A lady opened the window beside my seat and I got some entertainment from a busker I could hear down in Grafton St., as I awaited the maestro.
When the star of the show finally arrived onstage, he said a few words of apology for the delay. He’d been at H.M.V. promoting the CD and fell victim to the clampers. After his little chat with the audience, a video of his new song was shown. I recognised some members of the audience in it. The song is a nice breakaway from what I’ve heard him do before, which I liked to see. Re-inventing and new ideas are after all, what gives an act spice!
Something I don’t know
This started off with rhythmic clapping. The line-up involved Simon with his own acoustic guitar, a lead guitarist, plus a drummer using a Cajon Drum and a pianist, who performed harmony. A choppy middle eight in this song added interest. The guitarist did a superb solo and for the chorus they did three part harmony. This was thoroughly enjoyable!
The drummer played a lovely beat on real drums for Memphis. Pianist played a riff and Simon went up into falsetto, for the sweet middle eight. Melody was really delicious here and harmonies close.
Only a Man
Simon interacted with the audience a little before this song. The trickling acoustic guitar intro and subtle piano were appealing here. It has an exotic tempo, with lots of riffs on guitar to add to the seductive atmosphere. Harmony also lends to the lush melody line in the chorus.
There’s a slowdown, where Simon does haunting ‘oohs’ and it gradually winds the song down to its conclusion.
Tired of Trying
Simon introduced the other members of the band. Drums – Gary Netheway, Piano – Ben Shorten and Peter Maguire – Guitar. All do harmony along with each of Simon’s songs.
This number involved a delicious intro, with a bosa nova beat. Close harmony absolutely seamless here, chords exceptionally sweet. I enjoyed the jazzy style of this song.
I shall be released (Bob Dylan cover)
Ben’s piano was beautiful here, as was the harmony. This number has a soul feel to it. Peter did an unbelievable guitar solo. You could feel that the lads enjoyed performing this number and were as relaxed as if they were just having an informal jam!
With only the four acoustic instruments, I found they produced a full sound. I liked how the drums fall back for the last chorus.
On My Mind
This is a sad song, lyrics sung with emotion by Simon. Piano excellent, harmony perfect!
Whatever Etc. (Ryan Adams cover)
Simon remarked that this song was one he did during his recent U.K. tour and it proved popular. It has a really catchy chorus and involves a sing along styled ‘la la la’ refrain, slowing down to pick up tempo again. I loved it and am not a bit surprised it was such a favourite over the pond!
Damn Honey
Simon told an anecdote about his performance in H.M.V. and a comment he made when his g-string snapped midway through his song. He got a laugh there and also in Bewley’s, when he told us he’d innocently said ‘Everyone has to have a G-string’!
I like this song!
The chorus is brilliant and splashes of harmony flawless. I love the sweet refrain; You gotta keep on movin’, stop your talking, you don’t know what its like. Simon’s vocals are showcased extremely well here.
I particularly enjoyed the last chorus, when all onstage sung acapella and had the audience in the palm of their hands.
Outside looking in
The title song from Simon’s forthcoming debut album, this song is slow and soulful, involving a lush melody line and delightful guitar riffs throughout. Pete uses his electric guitar for this and chord combinations are catchy. Simon thanked Andrew Wilkinson his manager, for the encouragement he gave him during the writing process of this particular song. He was having second thoughts about putting it on his album. Well, I’m very glad he changed his mind!
Absolute Child
With a beautiful intro, this number involved wonderful jazz chords. Simon’s vocals were also jazzy and his trumpet riffs smooth as velvet. I enjoyed the way the tempo slowed down, and then picked up again. He did an impressive solo on trumpet and the beat became a little funkier towards the end.
He thanked the audience for coming and remarked on how nice it was to be playing such an intimate gig for a change. It did feel nice to be in a small venue and see such a fab artist relaxed and enjoying himself.
Plastic Compass
Laid back tempo, lovely intro and a simple but catchy chorus. This number would be a little on the style of The Eagles songs in my opinion. The refrain Driving tonight, show me the way to go. is repeated and then Simon does an ad lib bit, while the backing vocals continue.
Waters Edge
An acapella style intro is sung by all four of the lads for this. A count in then takes you into the delicious verse. It’s a gorgeous melody, with an uplifting quality to it and a good choice for a last number. They returned to the acapella style chorus for the last bit, which got a brilliant response from the punters.
Simon Fagan’s style is described as acoustic Jazz/Soul/Rock and he’s a classically trained composer and trumpet player. His influences include Jeff Buckley, The Doors, Kings of Leon, Credence, Van Morrison, Miles Davis and Stevie Wonder. He has had a sparkling career to date and with his album due for release on May 14th, things can only get better.
I know I could listen to his trumpet forever and his ensemble is a tight and polished outfit, who contribute actively in the vocals, in addition to the instrumentals in every number. This along with Simon’s own ability to produce upbeat songs will keep his fans coming back for more!
‘Damn Honey’ single launch
Bewley’s Theatre
05/03/10
Angela Macari O’Looney
Simon Fagan’s magical music has taken him to heady heights that most artists only dream of. In far flung places such as Egypt, his gorgeous memorable songs have won high acclaim. Addictive melodies, seductive brass arrangements and his charismatic vocal style have been such a hit, it seems that this young guy’s feet never touch the ground and you have to be following him closely, if you hope to catch a live performance.
I for one have fallen head over heels in love with those jazzy trumpet riffs, slinky piano, plus feel good beats that are simply mesmerizing. Thus I felt privileged to be sitting with the small but friendly group of people assembled at Bewley’s, to celebrate the launch of Simon’s new single ‘Damn Honey’.
A late kick-off and no support band meant a long wait before things got started. A lady opened the window beside my seat and I got some entertainment from a busker I could hear down in Grafton St., as I awaited the maestro.
When the star of the show finally arrived onstage, he said a few words of apology for the delay. He’d been at H.M.V. promoting the CD and fell victim to the clampers. After his little chat with the audience, a video of his new song was shown. I recognised some members of the audience in it. The song is a nice breakaway from what I’ve heard him do before, which I liked to see. Re-inventing and new ideas are after all, what gives an act spice!
Something I don’t know
This started off with rhythmic clapping. The line-up involved Simon with his own acoustic guitar, a lead guitarist, plus a drummer using a Cajon Drum and a pianist, who performed harmony. A choppy middle eight in this song added interest. The guitarist did a superb solo and for the chorus they did three part harmony. This was thoroughly enjoyable!
The drummer played a lovely beat on real drums for Memphis. Pianist played a riff and Simon went up into falsetto, for the sweet middle eight. Melody was really delicious here and harmonies close.
Only a Man
Simon interacted with the audience a little before this song. The trickling acoustic guitar intro and subtle piano were appealing here. It has an exotic tempo, with lots of riffs on guitar to add to the seductive atmosphere. Harmony also lends to the lush melody line in the chorus.
There’s a slowdown, where Simon does haunting ‘oohs’ and it gradually winds the song down to its conclusion.
Tired of Trying
Simon introduced the other members of the band. Drums – Gary Netheway, Piano – Ben Shorten and Peter Maguire – Guitar. All do harmony along with each of Simon’s songs.
This number involved a delicious intro, with a bosa nova beat. Close harmony absolutely seamless here, chords exceptionally sweet. I enjoyed the jazzy style of this song.
I shall be released (Bob Dylan cover)
Ben’s piano was beautiful here, as was the harmony. This number has a soul feel to it. Peter did an unbelievable guitar solo. You could feel that the lads enjoyed performing this number and were as relaxed as if they were just having an informal jam!
With only the four acoustic instruments, I found they produced a full sound. I liked how the drums fall back for the last chorus.
On My Mind
This is a sad song, lyrics sung with emotion by Simon. Piano excellent, harmony perfect!
Whatever Etc. (Ryan Adams cover)
Simon remarked that this song was one he did during his recent U.K. tour and it proved popular. It has a really catchy chorus and involves a sing along styled ‘la la la’ refrain, slowing down to pick up tempo again. I loved it and am not a bit surprised it was such a favourite over the pond!
Damn Honey
Simon told an anecdote about his performance in H.M.V. and a comment he made when his g-string snapped midway through his song. He got a laugh there and also in Bewley’s, when he told us he’d innocently said ‘Everyone has to have a G-string’!
I like this song!
The chorus is brilliant and splashes of harmony flawless. I love the sweet refrain; You gotta keep on movin’, stop your talking, you don’t know what its like. Simon’s vocals are showcased extremely well here.
I particularly enjoyed the last chorus, when all onstage sung acapella and had the audience in the palm of their hands.
Outside looking in
The title song from Simon’s forthcoming debut album, this song is slow and soulful, involving a lush melody line and delightful guitar riffs throughout. Pete uses his electric guitar for this and chord combinations are catchy. Simon thanked Andrew Wilkinson his manager, for the encouragement he gave him during the writing process of this particular song. He was having second thoughts about putting it on his album. Well, I’m very glad he changed his mind!
Absolute Child
With a beautiful intro, this number involved wonderful jazz chords. Simon’s vocals were also jazzy and his trumpet riffs smooth as velvet. I enjoyed the way the tempo slowed down, and then picked up again. He did an impressive solo on trumpet and the beat became a little funkier towards the end.
He thanked the audience for coming and remarked on how nice it was to be playing such an intimate gig for a change. It did feel nice to be in a small venue and see such a fab artist relaxed and enjoying himself.
Plastic Compass
Laid back tempo, lovely intro and a simple but catchy chorus. This number would be a little on the style of The Eagles songs in my opinion. The refrain Driving tonight, show me the way to go. is repeated and then Simon does an ad lib bit, while the backing vocals continue.
Waters Edge
An acapella style intro is sung by all four of the lads for this. A count in then takes you into the delicious verse. It’s a gorgeous melody, with an uplifting quality to it and a good choice for a last number. They returned to the acapella style chorus for the last bit, which got a brilliant response from the punters.
Simon Fagan’s style is described as acoustic Jazz/Soul/Rock and he’s a classically trained composer and trumpet player. His influences include Jeff Buckley, The Doors, Kings of Leon, Credence, Van Morrison, Miles Davis and Stevie Wonder. He has had a sparkling career to date and with his album due for release on May 14th, things can only get better.
I know I could listen to his trumpet forever and his ensemble is a tight and polished outfit, who contribute actively in the vocals, in addition to the instrumentals in every number. This along with Simon’s own ability to produce upbeat songs will keep his fans coming back for more!
Saturday, March 6, 2010
Sixteen Layers at The Sugar Club
Sixteen Layers
The Big Canadian Fundraiser
The Sugar Club
27/02/10
Angela Macari O’Looney
I became familiar with Sixteen Layers music in ’09, when I was asked to review their CD I Am No One. From the get go they captured my imagination, with their wonderful songs and their heavy, but very musical rock sound.
My first experience of them live, was in November ’09 in The Think Tank, Temple Bar. Even more impressive live, they left me vowing I’d be following their star. So, when manager Emer McGrath told me about this gig, which would help finance a trip to Canada for the band’s appearance at Canadian Music Fest 2010 and a big tour, I was delighted to get another chance to hear their lovely set once again.
It was my first visit to this venue and I liked the graduated seating, which gave each member of the audience a great view of the stage.
Identity Parade
With a talented front man in Kevin Homan, this sharp Indie Rock band played a fabulous set. The other four ID Parade members are Conor Nolan – Lead Guitar, Paul Gilligan – Bass, John Kennedy – Keys/Organ and Daniel O’Sullivan – Drums. Shortlisted in the Hotpress 2010 ‘London Calling’, this upbeat five piece act have already built up quite a large faithful following.
Harmonies are well placed in each of this bands enjoyable set and instrumentals impressive. Keyboards are particularly good and melodies very catchy. They performed Ooh Ooh, which has an exciting intro, a great baseline and a thumping beat. Kevin’s vocals are confident. I like the seductive vocal style he uses for the chorus. The catchy intro is repeated throughout this fast number.
They continued with Prying Eyes, Always Right, Feel Alright, Standing in the Sun, Collette Collar, Vampires, Plagued, Six Shades of Blue and When You Go. Each number was memorable, with guitars first class. But I picked out my own personal favourites.
Collette Collar – There’s a choppy verse in this and a key change, which lifts the dynamic right up. Explosive chorus!
Lead solo outstanding and harmony seamless.
Vampires – I found Conor’s lead excellent here; particularly a gorgeous trickling riff and I enjoyed how it starts off laid back, building up. Backing vocals added to the chorus and Conor performed a sweet lead solo towards the end.
A big bashing song, Plagued involves a sweet riff throughout the chorus. This went down well with the audience. Guitars are brilliant here and this whole number has a dramatic feel to it.
When you go
Their new single was their last number. It has a slow intro with electronica very space aged. It stops. It then bursts into life, with a catchy riff framing each line and yet another delicious key change, I really enjoyed the fast pace of this song and I know I’ll be going to see this band again soon. Top class stuff!
Sixteen Layers
A video of the bands song Into the Sun was shown before they took to the stage. I happened to be seated beside the starring actor, Declan and enjoyed meeting him. Accompanying him was singer Lisa Shane and we chatted before the stars of the show arrived. Like the song itself, the video is brilliant.
Monkey Knife Fight
The first song of the set was their new song. Slow, anthemic and with a big rock beat, this involves lots of distortion in the guitars. Lead solo by Dom Muldoon is intoxicating; flanger is used, plus some screeching sound effects. Niall Donnelly, vocalist and rhythm guitar is loaded with NRG.
Members of Sixteen Layers are Niall Donelly- Lead vocals/Rhythm guitar, Dom Muldoon – Lead guitar, John Colbert – Bass/ Backing Vox and Tim McGrath – Drums.
Influences include Queens of the Stoneage, Pearl Jam, The Beatles, Nine Inch Nails and many more. This band have definitely touched a nerve with me and I was delighted to see such a great turnout for them, this being the same night that Ireland won in the Rugby and there were a lot of things happening in Dublin City.
The fab intro to one of my favourites ;No Strings rang out across the Sugar Club. It involves a sliding guitar riff which is for me a key feature of this soulful, but rhythmic number. Twin guitars do a short lead break and there’s a dramatic alternation of beat for the middle eight. Harmony is quite special and Niall’s vocals here show stopping!
The theme song from their album I Am No One was next and in this bigger venue, it sounded a million times more powerful. The lads were in full flow and the audience were totally lapping it up, every word of the chorus sung out with the band.
This is a choppy song, with percussion sweet and distortion packed guitars delicious. Screaming riffs and the key change for the harmonic chorus made the hairs stand up on the back of my neck. The lead solo was electric, with big dramatic drum rolls and bashing beats adding to the atmosphere.
Simple as a Kiss – This new song involves lots of bass. Harmony is close and the melody line in the chorus catchy. Dom Muldoon lets loose, with mind blowing lead guitar hi jinx.
Torch – With a big explosive intro, this number is amazing. I sung this with Niall since it’s one of my many favourites from their album and I love the chorus. Dom’s guitar solo is outstanding here, Niall’s vocal range particularly impressive too. Love the sexy chord combos and distortion charged middle eight in this number. Riveting stuff!
Exile – Slow and moody, this number is beautiful. Lead guitar shines as does Niall’s performance. Lyrics are poignant; I don’t need oxygen to breathe, no I have everything that I need. Thanks but no thanks, I will swim in my own stream.
Dom’s fluent solo and surrounding guitar bits are totally divine and Niall sings the last bit with just his own acoustic guitar. The crowd sung with him here and the atmosphere was amazing.
Hurt was next, where harmony is sweet and there’s an interesting use of stop start breaks. Very effective!
The crowd were literally screaming out the dramatic refrain You hurt me with Niall who really lets rip!
Sirens – Chorus is lovely here, rhythm too. Drum rolls are fantastic and Niall and Dom do a fab twin guitar break.
For Over to you there’s a bassy intro. This number was quite new to me but I liked it. Niall introduced it as a real f… off rock song and he wasn’t wrong. Bashing drums, distortion all over the place with a breathtaking lead solo that Dom performs as if he and his guitar are one, all contributed to yet another memorable moment of this spectacular gig!
Sing with your eyes shut involves a resounding guitar intro and a slow verse. A scorching lead solo features in this, Niall giving his all as he pours out the delectable chorus.
Trouble spot with its divine baseline was next and Dom took the limelight once again with a moment of pure lead guitar genius taking place. This number is heavy rock at its best, with each member of the band getting a chance to shine. That crazy alternating beat and the fire in Niall’s belly as he belts out the punchy vocals, make this a number that’s not for the faint hearted!
I could listen to this band forever and they did a huge set, making sure their devoted fans went home with a smile on their faces. After Setting Fires, Niall introduced each member of the band. He also mentioned that the members of the Bray Gospel Choir would be coming up for a couple of songs.
The intro to Former you began, with its elaborate guitars and a thundering baseline. Dramatic, melodic and totally explosive, this number came alive with the choir doing their heavenly refrain; Struck by you. Harmony is just to die for in this song. Every single person sang along and it was a brilliant way to take the show to a close.
It wasn’t the end though, cause after a lot of screams for an encore the band returned to the stage, to treat us to two more numbers, Niall sporting a green rugby jersey.
Big cheers went up and an elaborate guitar intro opened up Lets just sit a while.
Lighters were lit, the audience swaying and the guitar trickled away behind the soulful verse and chorus, with Niall going way up into falsetto. A wonderful key change features in this song.
Into the Sun from the earlier video was the last song of the evening.
The Big Canadian Fundraiser
The Sugar Club
27/02/10
Angela Macari O’Looney
I became familiar with Sixteen Layers music in ’09, when I was asked to review their CD I Am No One. From the get go they captured my imagination, with their wonderful songs and their heavy, but very musical rock sound.
My first experience of them live, was in November ’09 in The Think Tank, Temple Bar. Even more impressive live, they left me vowing I’d be following their star. So, when manager Emer McGrath told me about this gig, which would help finance a trip to Canada for the band’s appearance at Canadian Music Fest 2010 and a big tour, I was delighted to get another chance to hear their lovely set once again.
It was my first visit to this venue and I liked the graduated seating, which gave each member of the audience a great view of the stage.
Identity Parade
With a talented front man in Kevin Homan, this sharp Indie Rock band played a fabulous set. The other four ID Parade members are Conor Nolan – Lead Guitar, Paul Gilligan – Bass, John Kennedy – Keys/Organ and Daniel O’Sullivan – Drums. Shortlisted in the Hotpress 2010 ‘London Calling’, this upbeat five piece act have already built up quite a large faithful following.
Harmonies are well placed in each of this bands enjoyable set and instrumentals impressive. Keyboards are particularly good and melodies very catchy. They performed Ooh Ooh, which has an exciting intro, a great baseline and a thumping beat. Kevin’s vocals are confident. I like the seductive vocal style he uses for the chorus. The catchy intro is repeated throughout this fast number.
They continued with Prying Eyes, Always Right, Feel Alright, Standing in the Sun, Collette Collar, Vampires, Plagued, Six Shades of Blue and When You Go. Each number was memorable, with guitars first class. But I picked out my own personal favourites.
Collette Collar – There’s a choppy verse in this and a key change, which lifts the dynamic right up. Explosive chorus!
Lead solo outstanding and harmony seamless.
Vampires – I found Conor’s lead excellent here; particularly a gorgeous trickling riff and I enjoyed how it starts off laid back, building up. Backing vocals added to the chorus and Conor performed a sweet lead solo towards the end.
A big bashing song, Plagued involves a sweet riff throughout the chorus. This went down well with the audience. Guitars are brilliant here and this whole number has a dramatic feel to it.
When you go
Their new single was their last number. It has a slow intro with electronica very space aged. It stops. It then bursts into life, with a catchy riff framing each line and yet another delicious key change, I really enjoyed the fast pace of this song and I know I’ll be going to see this band again soon. Top class stuff!
Sixteen Layers
A video of the bands song Into the Sun was shown before they took to the stage. I happened to be seated beside the starring actor, Declan and enjoyed meeting him. Accompanying him was singer Lisa Shane and we chatted before the stars of the show arrived. Like the song itself, the video is brilliant.
Monkey Knife Fight
The first song of the set was their new song. Slow, anthemic and with a big rock beat, this involves lots of distortion in the guitars. Lead solo by Dom Muldoon is intoxicating; flanger is used, plus some screeching sound effects. Niall Donnelly, vocalist and rhythm guitar is loaded with NRG.
Members of Sixteen Layers are Niall Donelly- Lead vocals/Rhythm guitar, Dom Muldoon – Lead guitar, John Colbert – Bass/ Backing Vox and Tim McGrath – Drums.
Influences include Queens of the Stoneage, Pearl Jam, The Beatles, Nine Inch Nails and many more. This band have definitely touched a nerve with me and I was delighted to see such a great turnout for them, this being the same night that Ireland won in the Rugby and there were a lot of things happening in Dublin City.
The fab intro to one of my favourites ;No Strings rang out across the Sugar Club. It involves a sliding guitar riff which is for me a key feature of this soulful, but rhythmic number. Twin guitars do a short lead break and there’s a dramatic alternation of beat for the middle eight. Harmony is quite special and Niall’s vocals here show stopping!
The theme song from their album I Am No One was next and in this bigger venue, it sounded a million times more powerful. The lads were in full flow and the audience were totally lapping it up, every word of the chorus sung out with the band.
This is a choppy song, with percussion sweet and distortion packed guitars delicious. Screaming riffs and the key change for the harmonic chorus made the hairs stand up on the back of my neck. The lead solo was electric, with big dramatic drum rolls and bashing beats adding to the atmosphere.
Simple as a Kiss – This new song involves lots of bass. Harmony is close and the melody line in the chorus catchy. Dom Muldoon lets loose, with mind blowing lead guitar hi jinx.
Torch – With a big explosive intro, this number is amazing. I sung this with Niall since it’s one of my many favourites from their album and I love the chorus. Dom’s guitar solo is outstanding here, Niall’s vocal range particularly impressive too. Love the sexy chord combos and distortion charged middle eight in this number. Riveting stuff!
Exile – Slow and moody, this number is beautiful. Lead guitar shines as does Niall’s performance. Lyrics are poignant; I don’t need oxygen to breathe, no I have everything that I need. Thanks but no thanks, I will swim in my own stream.
Dom’s fluent solo and surrounding guitar bits are totally divine and Niall sings the last bit with just his own acoustic guitar. The crowd sung with him here and the atmosphere was amazing.
Hurt was next, where harmony is sweet and there’s an interesting use of stop start breaks. Very effective!
The crowd were literally screaming out the dramatic refrain You hurt me with Niall who really lets rip!
Sirens – Chorus is lovely here, rhythm too. Drum rolls are fantastic and Niall and Dom do a fab twin guitar break.
For Over to you there’s a bassy intro. This number was quite new to me but I liked it. Niall introduced it as a real f… off rock song and he wasn’t wrong. Bashing drums, distortion all over the place with a breathtaking lead solo that Dom performs as if he and his guitar are one, all contributed to yet another memorable moment of this spectacular gig!
Sing with your eyes shut involves a resounding guitar intro and a slow verse. A scorching lead solo features in this, Niall giving his all as he pours out the delectable chorus.
Trouble spot with its divine baseline was next and Dom took the limelight once again with a moment of pure lead guitar genius taking place. This number is heavy rock at its best, with each member of the band getting a chance to shine. That crazy alternating beat and the fire in Niall’s belly as he belts out the punchy vocals, make this a number that’s not for the faint hearted!
I could listen to this band forever and they did a huge set, making sure their devoted fans went home with a smile on their faces. After Setting Fires, Niall introduced each member of the band. He also mentioned that the members of the Bray Gospel Choir would be coming up for a couple of songs.
The intro to Former you began, with its elaborate guitars and a thundering baseline. Dramatic, melodic and totally explosive, this number came alive with the choir doing their heavenly refrain; Struck by you. Harmony is just to die for in this song. Every single person sang along and it was a brilliant way to take the show to a close.
It wasn’t the end though, cause after a lot of screams for an encore the band returned to the stage, to treat us to two more numbers, Niall sporting a green rugby jersey.
Big cheers went up and an elaborate guitar intro opened up Lets just sit a while.
Lighters were lit, the audience swaying and the guitar trickled away behind the soulful verse and chorus, with Niall going way up into falsetto. A wonderful key change features in this song.
Into the Sun from the earlier video was the last song of the evening.
Monday, March 1, 2010
Choice music awards finalists
Codes
Trees Dream In Algebra
Angela Macari O’Looney
Haunting melody lines, velvet lead vocals and throbbing keyboards, electronica, percussion and drums seem to be the order of the day with this innovative band. On my first listen I immediately recognised This is Goodbye, which is by far the most exciting number. Definitely easy listening yet upbeat music, the thirteen tracks of this collection require the right atmosphere; Glass of wine, subdued light and the listener to really allow each wonderful track to be absorbed completely. Powerful choruses and a big sound reign throughout this debut album, from beginning to end.
Having an impressive CV, this band consists of Daragh Anderson - Vocals/Guitars/Piano/Programming, Paul Reilly – Drums/ Backing vocals/Glockenspiel/Programming, Raymond Hogge – Piano/Backing Vocals/ Guitars/Synth/Programming and Eoin Stephens – Bass/Backing Vocals/ Synth.
There’s a bashing anthemic thing going on in most of the Codes material, but they are doing something else that’s not easy to describe. However, they have taken the world by storm with their unique style.
Forming in ’07, the lads had two successful singles within months of forming; Edith and This is Goodbye. They went from performing at smaller venues around Dublin, to performing in the coveted Oxygen festival in ’08, IMRO showcase tour ’08 and played support to U.K. band Keane at Belfast’s Odyssey Arena and the ’02 Dublin. Their star is rising faster than the speed of light and it isn’t surprising!
Malfunctions
Cosmic sound effects, the sound of voices on radio waves and a sense of U.F.O. take you into this opening track. Then with thundering drum rolls, a harmonic chorus is sung. This delicious melody is repeated and the lyrics are dramatic.
This is Goodbye
Daragh’s vocals are unbelievable in this number, his ability to hit falsetto proving an astounding range. The verse reminds me a little of a Mike Oldfield number; Moonlight Shadow. It explodes into a crescendo chorus, instruments and vocals echoing out the haunting notes in unison. A song that should be used as a soundtrack for a film, it is their finest work in my opinion!
Guided by Ghosts
Released last year as a single, this has an intriguing melody line, trickling piano thrown into contrast by an array of synthesizers and a fast moving beat. The chorus is memorable and I like the lyrics which are profound; Love, lead me back let me never forget/ we are guided by the ghosts we used to know.
Our Mysteries (Missed Histories)
My second favourite number, this has a totally amazing chorus. There’s a spectacular key change in the middle when Daragh sings the line; Underneath your broken parasol, yeah there is an open doorway leads us miles away, away. It has a slow pace and I like the way it builds up from the solemn verse, gradually developing into the gorgeous and haunting melody of the chorus. Glockenspiel features alongside Daragh’s vocals and once again I’m reminded of the composer and musician Mike Oldfield!
A song I believe wouldn’t be out of place at a big open air gig, In Algebra is based on the Theme of the album. The verse is subdued, with just vocals and piano. The chorus however involves pulsating rhythm, Choral ‘Ahs’ sung in unison and sophisticated programming which creates a futuristic sound. I like the use of echo style backing vocals, which lift the dynamics right up. The lyrics are so imaginative; Trees, they dream in Algebra, of brighter days I never saw. Come closer, the breaking dawn will always be a part of you and I. The melody in this track is beautiful!
Daragh’s intonation and phrasing are the essential ingredients that put a stamp of originality on each of these anthems. Memorial is an example of this. The Piano and Glock perform in unison with him as he sings. Chorus is dreamy, with an extremely complex but sweet melody line. That such a young band can compose lyrics and instrumental arrangements to this standard is impressive.
One of my favourite lines in this song is in the first verse; Farther than any map reveals Elya, run the long way home. From this high rise we reach out for satellites Climbing Chandeliers into the atmosphere.
Percussion in the intro of Starry Eyes is like a fast beating heart. Guitars feature in the quiet verse, building up to a big orchestral sound in the chorus. Strings in this track and throughout the album, are performed by Joanna Parkhurst (1st Violin), Andrew Walters (2nd Violin) and Nathan Stone (Cello). Close harmony and a simple but catchy synth riff also contribute greatly to this track.
Daragh’s voice is like an instrument in itself, as he demonstrates outstanding breath control, passionately pouring out each song with fluidity.
Telos is an instrumental performed with strings and synth. It’s an elaborate piece, involving an awe inspiring musical arrangement. The trickling notes on Keyboards, combined with the heavenly strings are calming.
Truer Words is a sad, but lovely song. The chorus is quite simple compared to other songs. Yet it imprints itself in your mind. I like the way that Daragh sings the phrase Louder Now between verse and chorus and as he does, the sound seems to build up.
A military-style drum plays in the background for the second chorus, which sounds like the words of a soldier, who remains steadfast in his promise to fight to the end.
We won’t stop ‘til we right the wrongs of this world.
Cities
Intro here comprises a riff on Keys that becomes a haunting refrain. Cora Venus Lunny features singing backing vocals. I remember this young lady from many moons ago on the Late Late Toy show and she showed great promise even then. Her angelic ‘Ah’s’ frame Daragh’s powerful vocals perfectly on this track.
Programming and electronica create space aged sound effects. In the verse a quiet rhythmic baseline is heard behind the lead vocals, to be joined by guitar.
It then explodes into a fast moving, exciting beat with a full sound for the chorus.
Magnetic North is a laid back love ballad. Notation is exquisite. Catrin Southall performs the backing vocals. This entire number has a heavenly quality, with a resounding beat and rhythmic notes on Synthesizers provide the backdrop.
The gradual introduction of instruments and the build up to a crescendo, with harmony also being gradually added all add depth to this piece.
You are here
I could listen to the chorus of this song forever, it’s so uplifting. The intro is eerie, but catchy. Glockenspiel and piano feature in the opening verse, with a drumbeat chopping away. Lyrics are melancholic. I love the fact that the guitars get to shine, with a fab baseline constantly present, lead playing a lovely riff with a bashing drumbeat and some dramatic rolls. This song reminds me a little of a band who have had enormous success with their anthemic music; Suddyn.
In the second verse percussion comes in and Catrin Southall does backing vocals once again. The harmony is spectacular and I particularly like the way the drumbeat alternates. The whole thing seems to come to a big stop after the second chorus and then just bursts into life again. Very dramatic stuff!
The eerie Synth riff from the intro and a harmonic refrain provide the finishing touches. I’m not crazy about the alien sound effects on Synth at the very end.
4 Winters
This is quite a long number, but it has superbly descriptive lyrics and exhilarating close harmony. It’s a good choice to take the album to a close, with its vibey intro, a pretty melody line, a verse that is poetic and sparklingly light.
As in all of their songs, there’s a build up to the chorus, which has a most unusual key change. Harmonic ‘Ah’s’ lead into this and backing vocals echo each line as Daragh sings it.
A four part harmony is sung choral style. The accompaniment drops out to leave the four voices singing acapella.
The booklet inside the CD is very colourful, with inspiring photography alongside the lyrics of each number. A picture of the band standing in the snow beside a modern sculpture is on the front. Four coats of arms are on the actual CD cover which is simply black and white.
This impressive collection is the first of many, I hope. Music arrangements are first class, the deep metaphorical lyrics are well thought out and it is quite a work of genius.
However, I would like to see Codes vary their style a bit more and alter their formula. Superior as their music is, there is a slight risk of it becoming too predictable. Despite this, I enjoyed each stop on this wonderful journey.
Trees Dream In Algebra
Angela Macari O’Looney
Haunting melody lines, velvet lead vocals and throbbing keyboards, electronica, percussion and drums seem to be the order of the day with this innovative band. On my first listen I immediately recognised This is Goodbye, which is by far the most exciting number. Definitely easy listening yet upbeat music, the thirteen tracks of this collection require the right atmosphere; Glass of wine, subdued light and the listener to really allow each wonderful track to be absorbed completely. Powerful choruses and a big sound reign throughout this debut album, from beginning to end.
Having an impressive CV, this band consists of Daragh Anderson - Vocals/Guitars/Piano/Programming, Paul Reilly – Drums/ Backing vocals/Glockenspiel/Programming, Raymond Hogge – Piano/Backing Vocals/ Guitars/Synth/Programming and Eoin Stephens – Bass/Backing Vocals/ Synth.
There’s a bashing anthemic thing going on in most of the Codes material, but they are doing something else that’s not easy to describe. However, they have taken the world by storm with their unique style.
Forming in ’07, the lads had two successful singles within months of forming; Edith and This is Goodbye. They went from performing at smaller venues around Dublin, to performing in the coveted Oxygen festival in ’08, IMRO showcase tour ’08 and played support to U.K. band Keane at Belfast’s Odyssey Arena and the ’02 Dublin. Their star is rising faster than the speed of light and it isn’t surprising!
Malfunctions
Cosmic sound effects, the sound of voices on radio waves and a sense of U.F.O. take you into this opening track. Then with thundering drum rolls, a harmonic chorus is sung. This delicious melody is repeated and the lyrics are dramatic.
This is Goodbye
Daragh’s vocals are unbelievable in this number, his ability to hit falsetto proving an astounding range. The verse reminds me a little of a Mike Oldfield number; Moonlight Shadow. It explodes into a crescendo chorus, instruments and vocals echoing out the haunting notes in unison. A song that should be used as a soundtrack for a film, it is their finest work in my opinion!
Guided by Ghosts
Released last year as a single, this has an intriguing melody line, trickling piano thrown into contrast by an array of synthesizers and a fast moving beat. The chorus is memorable and I like the lyrics which are profound; Love, lead me back let me never forget/ we are guided by the ghosts we used to know.
Our Mysteries (Missed Histories)
My second favourite number, this has a totally amazing chorus. There’s a spectacular key change in the middle when Daragh sings the line; Underneath your broken parasol, yeah there is an open doorway leads us miles away, away. It has a slow pace and I like the way it builds up from the solemn verse, gradually developing into the gorgeous and haunting melody of the chorus. Glockenspiel features alongside Daragh’s vocals and once again I’m reminded of the composer and musician Mike Oldfield!
A song I believe wouldn’t be out of place at a big open air gig, In Algebra is based on the Theme of the album. The verse is subdued, with just vocals and piano. The chorus however involves pulsating rhythm, Choral ‘Ahs’ sung in unison and sophisticated programming which creates a futuristic sound. I like the use of echo style backing vocals, which lift the dynamics right up. The lyrics are so imaginative; Trees, they dream in Algebra, of brighter days I never saw. Come closer, the breaking dawn will always be a part of you and I. The melody in this track is beautiful!
Daragh’s intonation and phrasing are the essential ingredients that put a stamp of originality on each of these anthems. Memorial is an example of this. The Piano and Glock perform in unison with him as he sings. Chorus is dreamy, with an extremely complex but sweet melody line. That such a young band can compose lyrics and instrumental arrangements to this standard is impressive.
One of my favourite lines in this song is in the first verse; Farther than any map reveals Elya, run the long way home. From this high rise we reach out for satellites Climbing Chandeliers into the atmosphere.
Percussion in the intro of Starry Eyes is like a fast beating heart. Guitars feature in the quiet verse, building up to a big orchestral sound in the chorus. Strings in this track and throughout the album, are performed by Joanna Parkhurst (1st Violin), Andrew Walters (2nd Violin) and Nathan Stone (Cello). Close harmony and a simple but catchy synth riff also contribute greatly to this track.
Daragh’s voice is like an instrument in itself, as he demonstrates outstanding breath control, passionately pouring out each song with fluidity.
Telos is an instrumental performed with strings and synth. It’s an elaborate piece, involving an awe inspiring musical arrangement. The trickling notes on Keyboards, combined with the heavenly strings are calming.
Truer Words is a sad, but lovely song. The chorus is quite simple compared to other songs. Yet it imprints itself in your mind. I like the way that Daragh sings the phrase Louder Now between verse and chorus and as he does, the sound seems to build up.
A military-style drum plays in the background for the second chorus, which sounds like the words of a soldier, who remains steadfast in his promise to fight to the end.
We won’t stop ‘til we right the wrongs of this world.
Cities
Intro here comprises a riff on Keys that becomes a haunting refrain. Cora Venus Lunny features singing backing vocals. I remember this young lady from many moons ago on the Late Late Toy show and she showed great promise even then. Her angelic ‘Ah’s’ frame Daragh’s powerful vocals perfectly on this track.
Programming and electronica create space aged sound effects. In the verse a quiet rhythmic baseline is heard behind the lead vocals, to be joined by guitar.
It then explodes into a fast moving, exciting beat with a full sound for the chorus.
Magnetic North is a laid back love ballad. Notation is exquisite. Catrin Southall performs the backing vocals. This entire number has a heavenly quality, with a resounding beat and rhythmic notes on Synthesizers provide the backdrop.
The gradual introduction of instruments and the build up to a crescendo, with harmony also being gradually added all add depth to this piece.
You are here
I could listen to the chorus of this song forever, it’s so uplifting. The intro is eerie, but catchy. Glockenspiel and piano feature in the opening verse, with a drumbeat chopping away. Lyrics are melancholic. I love the fact that the guitars get to shine, with a fab baseline constantly present, lead playing a lovely riff with a bashing drumbeat and some dramatic rolls. This song reminds me a little of a band who have had enormous success with their anthemic music; Suddyn.
In the second verse percussion comes in and Catrin Southall does backing vocals once again. The harmony is spectacular and I particularly like the way the drumbeat alternates. The whole thing seems to come to a big stop after the second chorus and then just bursts into life again. Very dramatic stuff!
The eerie Synth riff from the intro and a harmonic refrain provide the finishing touches. I’m not crazy about the alien sound effects on Synth at the very end.
4 Winters
This is quite a long number, but it has superbly descriptive lyrics and exhilarating close harmony. It’s a good choice to take the album to a close, with its vibey intro, a pretty melody line, a verse that is poetic and sparklingly light.
As in all of their songs, there’s a build up to the chorus, which has a most unusual key change. Harmonic ‘Ah’s’ lead into this and backing vocals echo each line as Daragh sings it.
A four part harmony is sung choral style. The accompaniment drops out to leave the four voices singing acapella.
The booklet inside the CD is very colourful, with inspiring photography alongside the lyrics of each number. A picture of the band standing in the snow beside a modern sculpture is on the front. Four coats of arms are on the actual CD cover which is simply black and white.
This impressive collection is the first of many, I hope. Music arrangements are first class, the deep metaphorical lyrics are well thought out and it is quite a work of genius.
However, I would like to see Codes vary their style a bit more and alter their formula. Superior as their music is, there is a slight risk of it becoming too predictable. Despite this, I enjoyed each stop on this wonderful journey.
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