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.
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