Stewart Kenny Two Lives CD Launch

Academy 2 16/12/11

Angela Macari O’Looney

It was freezing, with Christmas one week away. In this pocket sized venue, a small audience gathered for what promised to be a relaxing and entertaining evening, to celebrate the launch of Stewart Kenny’s new CD.

Opening up the night, Stewart’s wife Anne Marie Papin performed a short, but intriguing set of instrumentals on harp.

She began with Edith Piaf’s La vien Rose, dedicating it to a member of the small gathering.

Her next number was La Source, by Alphonse Hasselmans. This classical piece was beautiful too, with complex notes.

She did a lovely rendition of the wonderfully melancholic theme from The Godfather, Speak Softly Love, by Nino Rota. With trickling notation and that sweet flow of magic that only comes from the harp, I found it refreshing.

Duke, a jazzy piece by Bernard Andres involved strummed chords and the use of percussion applied to the wood of the instrument. This was an excellent choice for a change of pace.

Anne Marie performed a number she wrote for her husband; Keep Smiling. It’s a catchy, short piece of music, and to me was proof that this lady is a talented composer.

Her final number was an excerpt from Clair De Lune, by Debussy. With her pleasant way of introducing each piece, plus a touch of dry humour that only added to her French charm, Anne Marie cheered up a cold December night and warmed up Stewart’s fans very successfully!

Stewart Kenny

From I’ve fallen so far, his debut album, Stewart began with All boats will rise. This number is laid back, with a choppy beat and a sweet melody line. I love the chorus, with it’s lovely ooh, all boats will rise refrain.

A short guitar solo added greatly to this opening song.

Come back home was next. This number involved a delicious piano solo. Stewart’s vocal range is demonstrated to great advantage in the beautiful chorus, which is a refrain Come home.

With a choppy intro, We gotta go was next. This has a classy bass line, fab piano riffs and the melody line is simple yet memorable. Lead guitar does a riff here toward the finish that is brilliant.

Changing my ways- This upbeat number is dedicated to Anne Marie and is beautiful. But the highlight for me was the piano and guitar breaks throughout.

Baby’s Smile- From his recently recorded album A Destination Unknown, this number was written by Stewart’s brother Alan. It’s slow, with trickling notation on piano and guitar. Lyrics sad, it has a touching refrain and melody line.

Tribute to J is a nicely put together piece, with cleverly written lyrics. It’s based around John Lennon songs and I particularly enjoyed Linda’s input on piano.

A Destination unknown is soulful and poignant. With only a whisper of percussion and Synth, it’s very laid back. Trickling guitar lends to the sense of melancholy reflected in the lyrics.

Lately involves superb instrumentals, particularly the amazing guitar throughout. As in each song, Stewart’s delivery was just right and it was lovely watching songs from his CD’s brought to life onstage with a full band.

Two Lives has a brilliantly catchy riff throughout and a fast beat. There are two versions, the second more alternative. It is the title track from the new CD and is an interesting song about love and its struggles.

Tremble, written by Stewart’s Dad Tommy was next. I adore this jazzy song. Chords are delicious and elaborate. Lead guitar adds to this cool song, which is one of my favourites from Stewart’s material and is a real showcase for each member of his ensemble!

To continue the jazz section of the night, he did number called Movin’ along, which has a swing style tempo. On a beautiful semi solid guitar, the guitarist Richie performed some awe inspiring riffs and hooks.

Take me as I am is laid back, but has yet more exciting instrumentals from both guitar and Keyboards.

Next, Stewart performed an interesting song which is a tribute to the late Michael Jackson called Maybe he’s better off dead. It has a choppy beat and dramatic melody line. Live, this like all his songs has a big impact!

That’s just Fine is an upbeat number with a stomping beat and it oozes attitude. This was yet another gear shift in styles for Stewart. But it went down very well with the audience.

His last number was a Prince cover Gold. The guitarist shone here with a fab solo as did Stu with his unbelievable vocal range.

After some persuasion, Stewart did one last song. Proving his astounding ability to hit falsetto, he performed a great version of Kiss. This popular Prince cover was a great choice.

Stewart’s band are Richie Adams-Guitar, Linda Adams- Keys, Eoin Melinn-Bass and Abel Benito- Drums.

Gram Parsons tribute

Lynda Lucas Gram Parsons Tribute DCC Club Camden Row 04/11/’11

It was the eve of his 65th Birthday and in this cosy venue, a small group of fans and musicians gathered to raise a glass to him, sing a song, or share in the ongoing campaign to put his name into the Country Music Hall of fame. Gram Parsons has inspired so many of Country music’s best, and with the growing interest in this once not so popular genre, here in Dublin there are some amazing artists who share a huge respect for Gram, whose songs and music are precious archives, where the seeds of other more up to the minute genres were sown.

Miss Paula Flynn

Paula performed the first set of the evening, along with her guitarist Greg McAteer. Beginning with Do you know how it feels to be lonesome, she demonstrated a clear and extremely appealing vocal style. Light, and a little reminiscent of Cathy Davey, Paula is soothing to listen to, as she sings the catchy chorus.

I like the Christian Life; With a three four tempo, this has a laid back mood and a candy sweet melody line.

She followed this with Sing me back home before I die. It’s a beautiful cover and she really does this style of song justice.

Paula and Greg continued with a brilliant version of The last thing on my mind. She’s a lady I plan to hear again. Other songs in her set included Peace in the Valley; A vintage country song that was resurrected by Gram and has been covered by many well known singers, Beautiful Palace of Gold which is Paula’s own work. She finished with Hank Williams cover My bucket’s got a hole in it.

Minnie and the Illy Whackers

Made up from members of The sick and indigent song club, Angie (Minnie) McLaughlin formed this interesting and very entertaining band. It includes Gerry Fitzpatrick-Dobro/Guitar, Shane McGrath-Mandolin/Guitar, Christian Volkman-Bass/Harmonica, Sheila Sullivan-Fiddle/Backing vox and trumpet player Carl O’Brien. Their music contains vaudeville influences and has a ‘ukulele swing’ sound.

Angie has a seductive vocal style and with Sheila’s fiddle included in the sound, each number is lifted to great effect. They performed Close up the Honky tonk. Mandolin and double bass added charm to this foot stomping song.

Sheila and Angie shared vocals for Straight back home to you. The harmonies here were really beautiful and memorable.

I can dance was cheerful, upbeat, with witty lyrics and Sheila performed a wonderful solo on fiddle.

She came from a land of Cotton is a sweet ballad with delightful chords in it. The audience seemed very engaged with this band and I have to admit, they are quite addictive. The pace picks up in this number, and then it winds back down again. It was one of the most popular numbers covered by Gram and this was a very enjoyable version.

Ed McGinley Neill Toner and Leslie Kiel

Opening up with a delicious number called Hot Burrito, this trio performed a great set. Each is a superb musician in his own right, but they blended well as they played and sang a truly enjoyable set. Their second song was plucky, with a sweet melody line and was sung with feeling. They also performed a number with a three four tempo called You don’t miss your water. Punters sang along and the atmosphere was laid back.

Streets of Baltymore involved excellent guitar and all three lads contributed to each riff and solo, harmonizing to lift the entire sound.

Lynda Lucas And the National Born Heathens

Just before Lynda and her entourage began their set, it was announced that midnight had struck and so it was now officially Gram’s sixty fifth Birthday. This added a slice of drama to the moment. On guitar and backing vocals was Brendan Priestly, Vinnie O’Connor-Keys, Joe Ryan-Pedal Steel, Fran Byrne-Dums and Ciaron Patten-Bass. They began with This ol’ town and created a full sound with Piano, Harp, Rhythm, Lead guitar and Lynda singing vocals and playing her guitar.

This was followed by Long Lost soul which is faster and livelier, with an alternating beat.

She performed Do you know how it feels to be lonesome. This song proved popular and Lynda’s version was very sweet.

The atmosphere was fab in the venue as she performed One Hundred Years, which Gram would have performed along with The Byrds. It has poignant lyrics and a lovely melody line.

That’s all it took was another beautiful song, where Brendan Priestly performs close harmony with Lynda’s chorus.

Hickory Wind was laid back. Other wonderful songs in the set were No one treats me like you do, Brass buttons, Green silks and silver shoes, Cry one more time, Sweep out the ashes, Summer Lady and Six days on the Road.

Neill Toner came up to join in for one or two numbers and the final song of the evening was Wild horses couldn’t keep me away. This was a very appropriate title! I’m glad I had the pleasure of being a part of this great tribute night.

Although I don’t consider myself a huge fan of country music, I thoroughly enjoyed this wonderful evening and can truthfully say when it’s performed by experts; American country music can be quite addictive.

Oisin Rocks it!

 

The Lonely Schizo's last gig

The Lonely Schizophrenic’s Last Gig

Bleeker Street Café bar

01/10/11

Angela Macari O’Looney

In this conveniently situated venue, I enjoyed one of the most memorable gigs I’ve ever experienced. It was the last gig to be headlined by this popular quintet. Among the members of the audience were many familiar faces from the small but friendly world of Irish signed and unsigned musicians, singers and gig goers; Faces who have been regulars in Bruxelles Zodiac Sessions, or other such interesting venues around Dublin.

Starting off the evening, Ciara Ashmore performed the first set. Ciara has a vocal style reminiscent of Cranberries lead vocalist, Delores O’Riordan. At times her material would also bring to mind KT Tunstall, with lots of plucky guitar riffs and funky alt/folk chord combinations.

Ciara began her set with a slow trickling intro which took us into Wait. I love her descriptions and how she captures that special moment when two people connect and although in a crowd, they only see each other! Her range is amazing as she caresses each phrase and note with her voice.

Her second number was Magic. This was another very soothing piece, with imaginative guitar throughout and a three four tempo. It’s a love song with sweet lyrics; I’d marry you tomorrow and it would be magic.

After Ciara’s set, Keith O’Brien and the Floppy Disc drives took to the stage. They performed a combination of originals and covers. From Glasnevin, Dublin, Keith studied at Ballyfermot school of Rock. He has built up quite a following, has had airplay on 2FM and FM104, and has gigged in top venues around the City.

His debut album was released last year and his influences include Mundy, Bob Dylan, Declan O’Rourke and Damien Rice.

David Doyle’s Cello lent tremendous atmosphere to each number. Also Liam O’Reilly- bass and Aidan Smyth- lead accompanied Keith as he played acoustic guitar.

Keith has an appealing vocal style a little like David Gray or Paddy Casey. However I feel he has his own distinctive sound. He performed wasn’t that okay, Tick tock, Wasted time, open your eyes, and Summer nights.

Open your eyes is a love song with a slow three four beat. It’s laid back and the chorus is particularly sweet.

Wasted time is a soulful song where Cello creates a fab backdrop to Keith’s softly sung, romantic lyrics.

Summer nights is also romantic and the picture of long warm Summer evenings was cheering on a windy October night.

He performed an encore and chose With or without you (U2) . This number suits Keith’s vocals and it went down well with the growing audience!

Grace Wilde

Next onstage was a very exciting act. Audrey Fay has a truly powerful voice and excellent guitar playing style. She’s joined by guitarist Enda Duffy, and captures the audience’s attention with her passion and power.

Black ‘n’ blue was their first number, with choppy sensual chords. The bewitching hour involved a wonderful lead solo and the use of slider, which added seductiveness. This act evolved from Dublin Band Cream Carousel. Fay and Duffy made the decision to change direction with their style of music. This involved adapting to a more acoustic based sound instead of electric. The raw, authentic edge that this change of direction has given them is very evident in each number. I found their set very captivating!

Bring me to my knees involved further amazing lead performed by Enda Duffy, with Fay’s own guitar talent proving her undeniable show stopping charisma.

Next was an MJ cover and a very popular choice with the punters; Billy Jean.

This was a jazzed up version, but somehow Fay nailed it so well that I was riveted to the spot. They did two more numbers; Breathing and Grace. Grace is a wonderful fast moving rock song, with a delicious melody line. Chord combinations are catchy too, so it made a fab finale for this unforgettable duo!

The Guilty Folks

This act comprises Aidan Comerford and Sarah Williams. They perform comedy/parody style songs, with Aidan playing acoustic guitar. I found their material really musical and quite appealing, despite the blue content! They started with a song about the difficulties related to sex during pregnancy; Can’t get you in trouble again. The lyrics were hilarious. I found that Sarah’s harmonies were so precise, that I was more entertained by the musical side of what they had to say.

Hate Sex was their second number. Very melodious yet again, this had the punters falling about the place laughing. Harmony was close and the melody line candy sweet!

Just don’t ask was probably my own personal favourite from their set. This was a song that inspired singing along with the chorus. They had the audience firmly in their grip and they went on with Penelope, which had a very funny line; She’s like a walking industrial accident!

They performed a number called Love locked where Aidan plays Ukulele and they share a mike. OTT is the only description I have for this one. Their preoccupation with sexually explicit lyrics gets a teensy bit tedious, but it doesn’t stop them from being a thoroughly enjoyable act! They finished their set with a tribute to the audience; AWLF(An audience we’d like to f…k).

The Shallow waters

Two pretty girls performed a tribute song especially for The Lonely Schizo’s last gig. It was Goodbye my Lover(James Blunt cover).

Sinead Smyth

This young lady is a superb vocalist and musician and I remember her from The Zodiac Sessions. Her set was short and sweet, but I could listen to her forever!

The Lonely Schizophrenic

After a short interval, the main feature of the night made a perfect entrance!

Each member of the band took his place onstage except for the lead vocalist Anto Kane. Then, down the stairs he made his dramatic descent attired in full Star Wars Storm Trooper regalia. This was brilliance and had the desired element of surprise for the audience.

Anto in true Lonely Schizo style began with I miss me Da from the band’s debut EP. Everyone sang the chorus with him Rent a daddy dot com, rent a daddy do, rent a daddy dot com/ He will love you.

Andy Delamere-Lead guitar donned a hawk-like mask.Another member of the band wore a gas mask. And the party continued with another hilarious acoustic number called Crab People. The rap part of this song is done in true Schizo style and the chorus requires audience participation. I love Anto’s crab like dance for this.

Panda Porn

Next was another of the band’s fun songs about a documentary that was on TV about promoting mating between Pandas. A seductive beat accompanies Anto, who raps out the lyrics with style. The audience sang out the chorus and on went the party! The Maid of Cabra West, Aggrevated Affection andLivin’ in a Box(about a popular RTE puppet called Bosco) followed. Although the lyrics in their songs are comic, the chords and melody lines in the choruses are all really catchy and each member of the band is an excellent musician in his own right.

They did Itchy, which is yet another shockingly explicit number and finally they finished with my own favourite Schizo song Rest in Pieces, which is the story about a cat that got run over on the road.

There was a call for an encore of course, so we were treated to an alternative version of Rent a daddy /(I miss me Da). This was a great choice and it gave everyone at this brilliant gig a last chance to sing along with the adorable Anto Kane in his crazy get up. It was a great finish to a fantastically entertaining evening and I know that it’s not the last we’ll see of Anto, Andy, Vladmir Pavlov-Bass, Rama Block –Percussion and Aidan Smyth-Lead guitar!

Uncle Tom's Arthur's Day gig

The Cabin Sessions

Arthur’s Day 22/ 09/ 11

Angela Macari O’Looney

Lynda Lucas is a Country/Roots/Soul singer whose music took my attention a few years ago. Originally lead singer of The Cherry Pickers, she went solo when they split up, and has since recorded an E.P. and an album. Travelling to Nashville on many occasions, she featured in two TV shows which proved a huge success.

She gigs around Dublin regularly and in ’09, featured with the Lisa Janes on Balcony TV singing Wayfaring Stranger. Her guitarist Brendan Priestly compliments Lynda’s vocals with close harmony and both guitars blend very well.

I was delighted to be at Uncle Tom’s Cabin for Arthur’s Day, where Lynda and Brendan were performing, along with many other fab artists.

MC Gerry Fitzpatrick (The Sick & Indigent Song club) introduced the evening, explaining that this particular sessions gig requests for the punters to keep a hush for each artist and give them some support. I find this really impressive and prefer it to the kind of gig where punters drown out what’s happening onstage.

The McGrane Family

The first act was a family who each play instruments and are very enjoyable singers, yet each has a distinctive vocal style. Their album Fair and tender Ladies is available at gigs. Noreen performed the first number, which was made famous by The Carter Family; Bury me under the Weeping Willow Tree. I found her autoharp added atmosphere. Other musicians were invited to add a riff or a note at will, and this laid back mood was quite contagious, with the gradual addition of Gerry Fitzpatrick on Dobro, three acoustic guitars, Con Butler on bass and Cathy McEvoy on fiddle. A younger member of the McGranes, Ellen performed a wonderful number that had divine guitar chords and a delightful melody line. Other songs in their set included Miss Ohio, Craw Daddy, I would rather go blind. Cannonball; An up-tempo song about a train, this lifted the mood a little and went down well with the growing audience.

Ellen performed a great version of Baby, now that I found you, which is a popular song made famous by The Foundations. People sang along with the chorus and it was probably the most enjoyable of the set. Noreen sang a folk/Spiritual number called The Tempest. The last number was led by Brian and Harry McGrane. This was a Bob Dylan cover and a great choice to finish their set with.

The Mellowchords

This fantastic barber shop septet began their set with a show stopping version of Hello Mary Lou. They also did Under the boardwalk, Bye Bye Love, and after shouts for an encore they finished up with an oldie that’s perfect for close harmony. Hello! Ma baby and dates back as far as 1899; Not quite as old as the home of the black stuff!

Pat McGonnigle & Dylan McCauley

Pat and Dylan performed an excellent set which included a fab cover of No woman, No cry, which featured Dylan performing lead vocals, Pat singing harmony. With one on acoustic and the other on Steel Guitar, they created a full sound. Pat performed The Walkin’ blues and his guitar riffs were impressive here, with lots of bluesy bits using slider included in this slinky piece. This number has been covered by many famous people including a particularly amazing version performed by Rory Gallagher. The lads were able to bring this song to life in their own unique fashion!

Lynda Lucas

Next up were Lynda and Brendan, who started their set with a number that was written by The Cherry Pickers. Evangeline involves Brendan Priestly performing the verse, with Lynda joining him for the choruses. He performed a sweet guitar solo and this three four number involved a wonderful melody line and delicious harmonies.

My Morphine was performed by Lynda, with Brendan doing backing vocals. This sad song is about addiction and the lyrics are the words of a man who is reflecting on happier times, before his lady was changed by addiction. Chords are plucked and Lynda’s clear and emotion-filled portrayal of the story was moving.

They finished with Sin City (Gram Parsons). This version involved excellently performed harmony, with Lynda singing lead vocals.

Kevin Davenport

The last act of this fascinating show was Dublin Blues/Country/Swing singer Kevin Davenport. This young man has an amazing way with a guitar and even dresses the part, as his costume would make you believe you were stepping out of a time tunnel into a 1940s bar room.

Kevin began his set with an Emmet Miller number Sweet Mama. Also among his influences are names such as Robert Johnson, The Cheap suit entertainers and Al Jolson. You hear all of these music styles coming through in his performance.

He continued with a Rory Gallagher cover, Seven Days. A slinky intro was played using his impressive guitar expertise, with the use of a slider adding to the seductive feel of the number. Kevin’s riffs are so effective between each line and then he finishes the song with a flamboyant flourish of flamenco type strumming.

Sugar Moon, which is a cover from Bob Wills and his Texas Playboys, was Kevin’s last song. It reminds me of My Blue Heaven, with the pace choppy and cheerful. He has a great way of charming his audience and I found his act unique and memorable.

Finale

All of the performers joined in for a last number to end the evening. They chose Blue Moon of Kentucky, which went down a treat, especially with the slow start and then the pace picking up. The merging of instruments and voices took the atmosphere up a notch and Cathy’s fiddle, the auto harp and the various interesting guitars all mingled to enrich the huge crescendo.

With everything ahead of us

With Everything Ahead of Us

Stewart Kenny

Angela Macari O’Looney

Stewart Kenny’s second album, this inspiring collection of songs is due for release in the near future. His debut I’ve fallen so far was launched in 2009 in Crawdaddy and is a favourite in my own CD collection.

Stewart has been composing since he was fourteen, and he possesses a fantastic vocal range. His guitar playing skills are also quite impressive. He produces, arranges, mixes and masters his own music.

His influences include greats such as Michael Jackson, Bob Dylan, Ray Lamontagne and the list goes on.

Play the Game

This number starts off with a dramatic space aged intro, picking up to a faster tempo for the verse. It’s an upbeat song, with a catchy melody line and close harmony adds sparkle. The lyrics are sarcastic; you like the last laugh, you need the last word/ you need to twist the knife, when all you got’s a spoon.The busy drumbeat, synth and programming lend to the cheerful mood. I particularly enjoy the key change where Stewart goes up to falsetto.

Plucked acoustic guitar notes and a trickling quality are the key features in the second track. Empty promises is laid back and has a soothing quality. Chord combinations are sweet and the refrain Everything, everything has an ethereal feel to it.

Maybe he’s better off dead

Choppy, with tragic notation, this number is quite sad. The lyrics conjure up a picture of a person who suffers from media persecution. Stewart’s delivery is excellent here, as he goes through a list of possible reasons for someone to end up hating fame and success! Why was he a victim, cause he was in the public eye? I suspect it relates to the unexpected and sad demise of the King of Pop.

With everything ahead of us

With his acoustic guitar for the beginning and gradual introduction of synth, this number is laid back and very appealing. In it, he’s asking his sweetheart to be optimistic and not to look back, but forward. His light vocals and the harmony for the chorus give it a hopeful feel. I like the percussion throughout and how it falls back here and there, then returns.

In We can make it there the na na refrain is the most appealing feature. I like his descriptions about a summer’s day and swimming in the sea. The picture is painted in his lyrics and you can taste the salt breeze and almost feel the heat of the sun!

Little Darling involves heavenly keyboard and is a love song. Guitar comes in later and adds to the romantic, easy mood. Stewart’s vocals are passionate and harmony filters through here and there.

Stewart demonstrates his astounding guitar skills in Hand in hand, where he performs a solo that has a jazz/flamenco style and is definitely my own favourite bit. At the beginning he creates a big orchestral sound, where programming and electronic keyboard notation is quite complex and imaginative. He composed this number with his wife, Anne Marie Papin.

A destination unknown is a sensitively told story of someone’s life. It’s mournful, but notation is delicious. Guitar is divine as it trickles along, with chord changes simple and very appropriate for this soulful piece that would be great for a film soundtrack.

Fast and choppy, with a cool ah ooh refrain for the chorus, Won’t you take my hand is a number with a dance feel to it. Acoustic guitar lends a contemporary atmosphere to things and I love the busy bass line. Synth and electronic keyboard also filter in here and there. A subtle key change keeps things interesting and Stewart’s arranging ability is evident throughout.

Of the remaining tracks on this fifteen track album, I have some favourites.

The chord progression and the magical sound of Glockenspiel give a dreamy charm to Take it to infinity.

Little mysteries untold has some awe inspiring acoustic guitar solos throughout.

My absolute favourite number on this entire album, Boo hoo you was co-written with his Dad Tommy Kenny. This song is jazzy and involves a tenor sax, close harmony and superb piano and guitar. The sweet melody line, cheerful mood and jazzy riffs are simply beautiful!

The last number on the album, Baby’s smile is a sad piece about the loss of a child and the unfathomable justice that life throws at us. Consoling is impossible in a case like this and that tragedy is captured so well in the lyrics. A trickling guitar and wonderful piano accompany him. Stewart and his brother Alan composed this song.

Stewart’s capacity to create such a variety of lovely tracks is quite amazing. His subtle key changes and delicious instrumentals never fail to inspire and intrigue me!

Friends in High places, Struck

Struck Friends in High Places

This new single from a young and extremely talented Punk/Pop trio from Castlebar, is due for release at the end of September.

Band members are Sean Walsh – Vocals/Guitar, Dylan Chambers – Vocals/Bass and Ger Duffy – Drums/Backing vocals. They launched their debut E.P. Three Cheers for lying back in April 2010, and have shared stages with top acts such as Scuba Dice, The Shower Scene, Zulu and The Coronas.

Opening up with explosive drums and distortion laden guitars, the lads command your attention with shouts of Hey!

Upbeat, with plenty of stop start type riffs and Sean’s young, clear vocal style; it has poignant lyrics about quitting the delinquent life that his piers seem to have embraced and escaping pressure to waste his time on boozing and hanging out: My watch is broken, but time ain’t freezing.

I particularly enjoy the chorus. The melody and beat pack a great punch!

Chord combinations, fab backing vocals and exciting drum rolls keep things lively throughout. Plucky guitar notes take you into a first class guitar solo with elaborate notation and a powerful bass line framing it.

Things wind down with a pullback of instruments and Sean singing the last lines from the chorus. Struck have youthful optimism that I find inspiring. Their enthusiasm and treasure trove of talent have taken them quite far in a very short space.

With the energy and feel good factor that their songs to date involve, they will undoubtedly prove a great success!

Angie's views and News: Emilio's Beetles

Angie's views and News: Emilio's Beetles

When we were young, Take that.

This video is excellent. Done in black and white and kinda makes you reflect. You remember moments when you would have loved to freeze time. But you treasure the memories even more when you have grown up and watch your own kids running around like there is no tomorrow and just letting life throw it all at them!

What a Weekend!

On Friday, September 16th my little boy turned 7 and it's been a roller coaster weekend since. The Irish Rugby team beat the Wallabies and go onto the next phase of the World cup and today, Sunday September 18th, The Dubs beat Kerry in the all Ireland Football final. Three cheers for the Dubs and the Sam Maguire and also for Oisin, who was crowned King of the Castle on his Birthday. Hip Hip Hooray, hip hip hooray, hip hip hooray!

Nothing Lasts forever

Suddyn




Nothing Lasts Forever



Angela Macari O’Looney



Suddyn are Alan Steil-Vocals/Piano/Synths, Jarrett Steil-Guitar/Vocals/Bass and Brendan Conolly-Drums/Backing Vocals.



Hailing from Dublin, Clonmel and Montauk, this band honed their sound while touring Ireland in 06/07. Originating in New York, brothers Alan and Jarrett developed their Piano driven Electro-Rock sound, writing and performing fabulous anthems that haunt, or throbbing rock songs that blow you away!



Alan at the helm, with his distinctive voice and boyish features, is the heart and soul of the band, while Jarrett is a first class guitarist with an amazing imagination for riffs and mind blowing solos.

Brendan has the job of holding things together, with those passionate bashing anthemic drumbeats. The result is a perfect blend of enthusiastic, memorable music and it has a pied piper effect on Suddyn’s ever growing fan base.



This number is fast moving, with the intro choppy. Chords are dramatic and like Alan’s vocals have a sense of urgency One of these days I’ll wash up on your shore. One of these nights I’ll stumble through your door.. The opening verse has a mysterious quality and then things build up to the explosive chorus, with superb guitar riffs, plucky rhythmic notes and piano galore. Bass line throughout is busy and pulsating.



Backing vocals are excellent, filtering through in spates until the middle eight, when the pace slows down and harmony is sung close in the refrainI never would fall, I never would say that you want more. The beat alternates quite a few times, adding interest to this song.

Alan’s wonderful input on keys is also a constant in this track, with big chords and well placed notation.



This thoroughly enjoyable song joins the anthology of delicious music these lads have produced to date. These include their first big hit Gravity and others such as Letting Go, Brightest Star, Holding up the Backdrop.



It’s said that there are elements of every style of Rock prevalent in Suddyn’s music, from U2 to Radiohead. However, the last few years have seen the band prove extremely successful across the U.S. Their gain is our loss!



There’s never a shortage of their video or audio material available online. And I recommend watching the video of this song if you need a laugh!

It’s a bit of Jack Sparrow (Pirates of the Caribbean), a slice of The Mummy and a helping of Al Capone thrown in for pure ‘divilment’. But this doesn’t distract from the song itself, which has the Hallmark of one of the best Rock bands around!

More Tiny Giants King HeSheMe

From Wicklow, this exciting band has been around for five years or thereabouts. Their Alt/Prog/Punk sound is an acquired taste which has tantalized enough music lovers’ palates, to inspire Paul Finan and Co. to continue their reign around the live gig circuit. More Tiny Giants retain a faithful following and this new album is proof that they have kept their original charm, with a little bit of maturity and style added to the mix we hear in these ten interesting tracks! Launched in July, it involves some of the band’s older material updated, plus lots of new songs.

Hocus Pocus

With a resounding ear splitting guitar chord, followed by a thumping beat and blasted out riff, this number has that special MTG hallmark written all over it. I love the creepy guitar riffs throughout the chorus, which is performed by Monsieur Finan with his unique vocal style and undeniable aplomb! Lead notes are weird and wonderful and a cunningly placed key change increases the sense of drama within the song. The punky beat, crazy mood and especially the last roaring notes remind you that you are listening to something not to be tampered with unless you have read the warning!

Our boys waste no time taking their fans back to one of their finest creations.

Wolves at the Door

A fabulous number and always will be my own personal favourite song from their repertoire. The Theme song from their debut E.P., it begins with a stomping, choppy rhythm pounded out by drums and bass. If you like the hairs on the back of your neck standing on end, this unsettling song will do it! Guitars are excellent throughout, with riffs framing verse and chorus to perfection and in this updated version some extra sound effects and backing vocals lend to the threatening atmosphere of the lyrics and melody line. Paul, with his amazing vocal range belts out the first chorus and as the song progresses, dynamic builds up. By the time you get to the later choruses and middle eight, things become utterly explosive!

Insanity

This piece involves a brilliant three four type tempo, like a funky jazz waltz. Electric guitars create a delicious in sync backdrop to Paul’s powerful delivery of the lyrics. The chorus is particularly catchy and electronic keyboard adds to the voluminous crescendo. Harmony filters through here and there, with backing vocals also doing a refrain in the chorus. I like how it builds up from the three four guitar riff, to a big plethora of instruments bashing out a haunting riff and ultimately a loud, colourful ending. War on my back

This rhapsody is an amazing example of what MTG can do! It begins with a softly sung verse, with gorgeous piano and barely there drums accompanying. The rhythm has an unusual pattern, but chords are fab and the melody is sweet as pie. But it’s a smokescreen for what’s ahead, because suddenly things become loud and aggressive, including the lyrics which express frustration; This anger can’t be contained any more. Then it gives way to a melodic refrain that offers hope; So I’m gonna get us some quality time and we’re gonna get along fine. But it’s not long before the sound builds up again and the passionate, anger lit chorus comes back with matching rage coming from the guitars and drums. I love those huge, resounding chords, the changes of pace and mood and the unpredictability of this entire track.

Mr. Universe

Taming things down, this song sounds like a story of anger over a lost relationship and hatred for the new guy in his ex lover’s life. I love the descriptions; I’ll take my chances with these savages/ fend them off with doses of love/I’ll pierce their hearts with a javelin/ and then I’ll hold them up to the sun. Acoustic guitars and harmonies add to the sound, and Finan’s delivery is charged with conviction in a number that although it’s moody has a very appealing melody in the chorus.

The Pop Song

Banjo and a fun beat, delightful chord combinations and a truly catchy refrain, combine to make up a wonderfully entertaining number. Harmonies are close and Paul Finan shows us yet another side to his personality, as he sings this upbeat and melodic song. The lyrics are absolutely great and involve cynicism, but with a healthy dose of cheer to give you a laugh. The guitars and banjo, along with the fast pace and busy bass line are all thoroughly enjoyable too!

Send him Down

Not for the fainthearted, this is a rage filled number with lots of bashing chords, screaming guitar notes and lyrics spat out with vengeance. It leans towards heavy rock, with some major lead breaks and distortion packed chords crammed in and Paul shouts out like a soul possessed!

The Bumble Bee

Despite the nature of this song and it’s sarcastic lyrics, the melody line is jazzy/Blues and the chorus is delectable. Guitars are sweet beyond words, as one plays seductive chords and the other does some tricky notation. It’s a lovely and unexpected twist to this album!

Burn us all

A grey and grim number, this song has a bluesy style, with guitar riffs dramatic and yet quite magical. Vocals are superb, full of passion and extremely haunting. Instrumentally it’s a fabulous piece too.

King HeSheMe

Everything is thrown into the cauldron in this track, with Brass, Acoustic piano, guitars and lots of backing vocals to add to the dynamics. Interesting changes of key and a memorable refrain You know what you’ve done are the best moments. But you get a variety of moods and styles coming through and there’s never a dull moment from start to finish. Members of the new line up of More Tiny Giants are; Paul Finan- Lead vocals/Guitars/Piano/Trombone/Mandolin, Stephen Byrne-Guitar, Chris Connyngham-Drums, Rian Trench-Guitar/Piano and Ben Kavanagh-Bass.

It’s really encouraging to see this fab act keep the flag flying, when so many bands are gone from the gig scene.

Barry Hawk CD Review

Barry ‘Wonderland’ Hawk




21st Century Bluez



Angela Macari O’Looney



Barry Hawk’s collection on this album has combined old and new sounds. He has a great imagination for melody lines and also a fantastic vocal range. This is demonstrated in each upbeat and memorable number!



Having spent a lot of time abroad in New York, Barcelona and Denmark, Hawk has led various line ups of his band Wonderland. Collaborating with his band mate Keith Moss, here he has achieved a very original music style that pretty much crosses genres.



This music would attract a wide cross section of age groups and music lovers. I immediately felt myself being brought back in time to Bowie, T Rex and good old fashioned Glam Rock at it’s finest, whether this was intended or not!

Barry has managed to infuse some numbers with a mainly acoustic flow, plus a couple of songs with hip hop influences. Variety is the spice of life! And there’s plenty on 21st Century Bluez.



Mentioned in his influences are artists such as Prince, Jeff Beck, The Stones, CSNY and Michael McDonald. His repertoire definitely has the same musical punch as these fab names.



DJ



This number has a funk beat and involves Barry doing rap for the verse. He introduces the instruments as they come in. Guitar chords are choppy, with some superb riffs here and there. Chorus is catchy and an excellent lead solo features. Sean Englishby performs drums on this track and Rob Gallagher plays bass. The bass line is particularly lively and Sean’s beats are essential to the dancey feeling this song inspires.



Do it again



Guitars are wonderful in this number. It has a delicious chorus with sweet harmonies sung by Keith Moss on guitar and also Martina Leonard. I particularly like the trickling electric guitar riffs throughout, especially behind the chorus.

A change of pace for the subdued middle eight is well placed for the build up to the last blasted out chorus. It’s an upbeat love song filled with enthusiasm We’re gonna do it again, even better than the last time.





Feel me 1 more time



A Rock number with a fast tempo and a fun chorus, this has some cool chord riffs, plus a short but sweet lead guitar solo a la Barry. It’s a song you have to shake your head and play your air guitar for!



Wanna Luv U



Choppy beat, catchy hooks and flanger laden chords give this song a lightness that is uplifting. Barry sings in falsetto and a disco bass line adds a happy atmosphere too. Michael Smyth performs drums here and also in most tracks. It would remind me of Mikka with the sweet chorus and high pitched vocals.



21st Century Bluez



The chorus is the best feature in this song. It leans towards rock, with downbeat lyrics, exceptional lead guitar and backing oohs lifting the sound. Distortion packed riffs and a superb solo performed by Keith are also highlights.



Draggin’(Cork)



I love the guitar intro in this song. It’s a slow pop ballad where lyrics describe favourite places Patrick’s Street was bittersweet. I was born and raised I know these streets like the back of my hand. Harmony is close and really sweet here and chord combinations beautiful. In the middle eight there’s a lovely key change, to return back to the original key for the final chorus. Sean McLeod bass, Keith Moss Electric guitar and Martina Leonard backing vocals, all perform this number with Barry.



Grand Parade



This would probably be my own favourite number on this album. It’s slow, but explosive, with a big orchestral sound. Felimid performs Violin and Viola, Turlough Gunawardhana – Cello, Keith Moss- guitar and Harmonies. I hear superb piano in there also. The huge crescendo of music and melody uplifts and lyrics in the verse are delightful Cause its funny how that 7 always takes too long. Well I’d be quicker on my feet. And that jeweller’s clock by the capitol, don’t you see? On Grand Parade, its another Saturday, all the people out to play on Grand Parade. Riffs and hooks are divine and the chorus really memorable and sweet. Barry sings the fabulous middle eight, which is followed by a subdued bit with guitars trickling. He builds up to the last chorus, with the guitars and other instruments and then bam! By that last BIG chorus, you’re singing with him.



Download me



Suddenly you find yourself hearing heavy metal guitars in the intro here. This amazing number addresses the download age we live in. Lead guitar is totally mind blowing, Bass busy and the chorus is powerful, with a fast bashing drumbeat. Barry lists every conceivable social website, pc accessory and a load of computer jargon in the verse. Demonstrating a Rockier side to his music, this is a crazy, but really enjoyable number.

FunkPopFolkSoulRoc



This fun rap has a big impact! It involves three powerful voices belting out the chant Funk pop folk soul rock, with a tambourine bashing out a beat and lots of percussion creating a dance rhythm. I love the last bit where Barry adds and don’t forget hip hop!



Opening up with a sexy guitar riff, Funk Roc City involves some astounding instrumentals throughout and the chorus is catchy, with superb backing vocals. At the last chorus, there’s a refrain that uses the rap from the previous song. I like this!



Sleepin’ in the Moonlite



Acoustic guitars and the la la la hook add charm to this track. It’s a real sing along song.

Harmonic, with a wonderful melody line, this number is a great choice for the finale of a really enjoyable show!



Guests on the album are; Turlough Gunawardhana-Cello, Felimid-Violin, Ruth Kennington-Harmony vox, Denver Thomas-Harmony Vox, Martina Leonard-Harmony vox, Sean Englishby-Drums, Rob Gallagher- Bass, Michael Smyth-Drums, Keith Moss-Electric guitars/Harmony vox and Sean McLeod-Bass.

Album art is monochromatic black/white, with a sketch of the man himself, surrounded by a variety of items that are probably the things that are most important to him. His headset, Guitars, Computer, Mobile, A teapot, turntable, alarm clock and a well deserved pint of Guinness. On the back cover is a photo of Barry, with his guitar.

Trocaire gig at The Grand Social Dublin

Tig Linn/ Juan Jose Menzano/Storyfold/ Discovery Gospel drummers/The Hot Sprockets/Codes/ Pagode Fora
De Casa
Thanks, from Trocaire

23/06/11

The Grand Social

Angela Macari O’Looney

This wonderful event was organized by Trocaire as a thank you message to all who have supported them in the past, especially those who helped during the recent Honduras crisis.
It consisted of an entire evening of acts, performing both upstairs and downstairs. I went upstairs as soon as I arrived, got a pint and pulled up a pew.

I got a sample of the amazing music in store for the evening, as sound checking was just finishing. This included the exciting Flamenco style notes of classical guitarist Juan Jose Menzano. His music reflected the Pinadas that were placed strategically around for the party. I noticed a huge poster on a wall near the bar. On it was the caption Digna is in Danger/ You can keep her safe. A young girl looked out with sad eyes from the picture, reminding us why we were there!

Tig Linn

After a few words of introduction from MCs Keiron Campbell Black and Ruth Scott, Tig Linn, a band consisting of twelve or more people took their places onstage. Among them were three ladies from the Discovery Gospel Choir, who were there to perform vocals.
Drums, both regular and African, guitars, a bodhran, Low Whistle, Irish wooden Flute and Uilleann Pipes all combined to create a huge sound. The mix of traditional Irish and African Gospel was spellbinding and it worked.
They began with a variety of reels played on the Flute and Pipes, with drums and bodhran gradually joining in, until eventually there was an explosive wall of sound. It was a great kick off to the night!

Next there was a lone whistle intro, as they performed Sean O’Riarda’s version of the Ar nAthair (Our Father). This featured Esosa Ighadaro singing lead, as a plethora of wonderful rhythms and sound surrounded her.
I could feel a bit of the Kila vibe throughout this set and wasn’t surprised to hear that members of the band were present.
Also part of this collective were members of De Jimbe, including Brian Fleming, who played Bodhran, Gwenn Frin, who performs Wooden flute for all songs and actually crafts the instrument, Hugh O’Byrne – Drums, plus Brian O’Toole on Bass.
This amazing piece was taken to a finale with the three girls singing acapella. Harmony was heavenly.
Tig Linn was formed when members of all three well known acts discovered they had a common idea. The result is a fantastic and very stimulating treat for celebrating and inspiring hope.
They continued with a song, written as a tribute to the hope generated by President Obama, when he came to office. This includes his inaugural speech. It’s called Tig Linn-Yes, we can!.
Main vocals here are performed by Soloman Ijigade, with the three girls Nono Madolo, Esosa Ighadaro and Justine Nantale doing backing vocals. Together they created a powerful chorus.

They finished with Get up, Stand up (Bob Marley). Solomon leads here, with a guy playing bongo. This was a brilliant rendition of the popular number, and got a great reaction from the growing crowd.

Juan Jose Menzano

A reverent hush descended, as this virtuoso guitarist performed mind boggling classical guitar. Sitting on a low table away from the stage, he created an informal picture. And with a spotlight on him against a darkened room, he strummed and plucked with fingers like lightening across the guitar frets.
He changed pace and went from a seductive moody tempo to a faster one. If you closed your eyes, Juan’s guitar transported you to hot summer nights, Flamenco dancers and Palm Trees.

His second number was choppy, with lots of percussion in it, as he tapped his hand against the guitar’s body. The audience tapped their feet and I found his chords delectable.


Storyfold

Formed in 2010, this band is Dublin based and currently promoting their debut album Rocket Science.
Members are Paddy McKenna- Lead Vocals, Lindsay Hogan – Piano/Vocals, Sean Mc Donnell- Drums, Michael Fortune – Lead Guitar and Jim McGourty – Bass.
Beginning with Her Majesty, they had a big sound. With a catchy riff and a delightful melody line, this number was upbeat and involved a scorching lead solo. Harmony, sung by Lyndsay also added to the overall sound.

The second song Trick of Light was fast, with Lindsay and Paddy sharing vocals. This is cheerful, with a fab chorus. It’s a clean pop sound and puts you in a good mood!

Sweetest Silence features Lindsay singing lead. Then she and Paddy share vocals for the chorus. They blend well.

Has Been is a duet done with an echo style verse, guitars playing out of their skins and the beat bashing.

Behind Closed Doors was next. This begins with a chorus from ‘House of the Rising Sun’. The crowd sang with the band and Lindsay sang close harmony, which was lovely. Then they went into their own number, which I found a clever idea!

Paddy told the audience about a project he was involved with out in Mozambique and how it affected him. He explains how vital gigs like this are, for keeping awareness of the huge poverty and injustice in the world.

Run Kid begins quiet, exploding into life for the chorus. Lead riffs are distortion packed, beat alternating, which is very effective.

The Battle involves a lovely piano solo, followed by complex lead guitar.

The final song was Delphine. Fast moving and lively, this harmonic number was a great choice to finish their set. Piano was superb, Paddy’s vocals excellent and like all their songs, the melody was thoroughly enjoyable.


Discovery Gospel Drummers

Two members of Discovery Gospel came up to the front of the room, each with a bongo drum. They performed an amazing in sync set and had the audience clapping to the beat. You could feel the sheer physical effort going into the fast, runaway train rhythms. Watching them was really exhilarating, each drum complimenting the other in turn.

On the second stage at the back of the venue, The Hot Sprockets were setting up. It wasn’t long before the foot stomping five got going!

The Hot Sprockets

Tim-Guitar/Vocals, Wayne-Guitar/Vocals, Joe-Bass/Vocals, Franky-Harp/Vocals and Adrian-Drums are the members of this popular act. Influences include MC5, The Kinks, Chuck Berry, Robert Johnson and Little Richard. Having seen them perform live before, I knew it would be good!

The first number Swampy had a strut-style tempo, with lots of harmonica lending to their sound, which is described as Country Dirt/Rockabilly/Blues.

They did Midnight Train next. This involves busy bass, with fab riffs throughout. Guitars were brilliant and the crowd were lapping it up. This band are without doubt one of the most exciting live acts around at the moment.

Chant begins with just vocals and a beat is stomped out. Things explode into life when the guitars come in and this catchy song is performed with their unique style.

I’m Leavin’- Mandolin features in this, with all the lads sharing vocals for the chorus. Guitar solo is superb here and with four voices, four sets of strings and that Cowboy drawl they use, they charmed the audience.

I loved the riffs in Cruizin’. This featured a fab bass line, a foot stomping beat and it has a Bob Dylan mood to it, as harmonica lends atmosphere. I love the Howl at the moon oohs in the refrain and that fab beat!

Other songs in this fun, but lengthy set were Bad Jim, Boogie Woogie Blues, Heavy on my mind, Solid Gold which is sleazy and slow, Sonny boy blues(with a bouncy, fun beat, super harmonica and fab slider used on guitar), and Honey skippin’, a good old fashioned blues rock song with a delicious bass intro and a dance beat. This number is the theme song from the band’s debut album.


They also included my favourite number Sleep Shake. With a plucked acoustic guitar intro and the whine of the harmonica, it begins haunting and then bursts into a fast rhythm and has a great chorus. For me it’s their best by far. They got an extra fifteen minutes and made good use of it, effortlessly keeping the party going and the crowd entertained.

CODES

This wonderful Indie/Electronic band won me over when I reviewed their album in the run up to the finals of the Choice Music Awards in 2010. So I was quite excited about getting a chance to see them in a more informal venue than Vicar Street.

Space aged sound effects, sound samples and dramatic drumbeats take you into the impressive Malfunctions from their debut album Trees dream in Algebra.
This awe inspiring arrangement is a lead up to a magnificent number called This is Goodbye, which is probably the song most synonymous with CODES. Daragh’s velvet smooth lead vocals and backing vocals are the key features here. Haunting and downright mind blowing, the chorus was sung out by audience members along with the band. A really beautiful middle eight lifts the dynamic right up and it just doesn’t get any better than this!

Band members are Daragh Anderson(vocals/guitar/samples), Eoin Stephens(Bass/Vocals/Synth), Paul Reilly(Drums/vocals/samples) and Ray Hogge(Guitar/Vocals/Piano/Synth). CODES have been together since 2007. Unique, but really superb, they have played support to acts as big as Keane and have also played at Oxegen and Imro showcase tour.

Starry Eyed – This slower anthemic piece has a very addictive chorus, where lead singer Daragh’s vocals are showcased to great advantage. There’s a particularly mesmerising synth riff in this number, and each band member contributes enormously in each and every bar.

In Algebra – From the debut album, this is my personal favourite CODES song. Thus I sang it at the top of my lungs with the band!
Melodic and dramatic, it has ebb and flow that captures the imagination. From the opening BIG vocal riff, it goes softer for the verse, Daragh going right up to falsetto for higher notes. There’s an echoic backing vocal here, magical Glockenspiel and piano is totally outstanding as notes are played along with Daragh’s chorus, emphasising the powerhouse that this young man is!

They did Bleed Blue and You are here, which is a throbbing love song, choc full of memorable riffs, fantastic close harmony and instrumentals that just hit you like a thunderbolt. I loved how they got the crowd to sing the delicious refrain with them.


The lads finished up with Four Winters. If I could choose a second personal favourite number, this is it!
Keys are fab, melody is sweet and I love the build up to the chorus, where the lads do this dreamy line Only love will, break the rites of Summer. There’s a enchanted feeling when I hear this part. The last bit is a vocal chorus done in superb close harmony and it had to be the pinnacle of the entire gig for me!
Darragh jumped off the stage, guitar in hand for the final few bars and disappeared out of the room, behind him a voice echoed Darragh has left the building.Brilliant!
Pagode Fora de Casa performed some wonderful Brazilian style music and many of the audience enjoyed shaking their booty to the salsa beats. I took my booty to the last Luas home!

Trocaire has always been for me a focal point during Lent. I never would have imagined that this charity would draw me to a gig that will probably stay in my memory for some time. If the idea is to nudge more support, or promotion, I think this show was inspired and congratulate each act that contributed their time and efforts.

Regan’s Affectations

The Volcanic Hallucination of

Night

Angela Macari O’Looney

This four track CD is just a sample from Shane Regan’s collection of songs. More of a lyricist than a singer, Shane tells a story in each piece, while he’s accompanied by beautiful musical arrangements.

Guitar and Vocals are performed by Shane, Lead Guitar-Paddy Lyons, Bass Guitar-Ken Murphy and Drums-Dennis Cassidy.

Also mentioned on the cover are collaborators Ray Beggan, Enda Reilly, Finghin MacCarthaigh and Noelle O’Sullivan.

Each song or piece is spoken, as opposed to being sung. This wouldn’t usually be something I’d enjoy. However, those excellent instrumentals throughout the entire CD make up for his non-singing, reciting style.

The first composition is the title track The Volcanic Hallucination of Night. A big drum roll and seductive intro on lead involving screaming notes take you into this rhapsody. Enter a beautiful trickling guitar riff and Shane who begins his crazy trip with reflections of some insoluble conundrum.
It changes tempo to a jazzy beat as he does a chorus. In between verse and chorus is a dramatic ascending phrase of notes that creates a sense of tumbling in a downward spiral. I love this.

Mother (I’m home) is done in a waltz or three four tempo. On an acoustic guitar some heavenly riffs and hooks add to the lovely melody line. It’s on the style of a love ballad and is quite romantic. Lyrics are enjoyable, as Shane tells his sad tale with interesting descriptions.

Bourg Madame begins with an elaborate Rock/Trad style intro involving superb guitar.
Throughout this composition are acoustic and electric guitar, performing what I would describe as a Celtic concerto, where one matches the other’s complex riffs with equally mind blowing fretwork.

Come on Ridiculous is a cynical narration, where Shane philosophises with some senseless rhyming that I can’t quite understand, but find amusing just the same. His backing vocalists add a little to his deep and critical jesting about life in general. The instrumentals are jazzy, bluesy and extremely moody.

On the front of the CD is a photograph of Shane, which reminds me of a young Joyce or Wilde. He’s reading a newspaper, which is on fire. Everything in the picture is black and white apart from the fire, which he doesn’t appear to notice as he reads. The other images on the cover art are just as non sensical and in a lot of ways reflect the slightly overcomplicated and quirky content.

I absolutely adore Shane and Paddy’s guitar playing on this short album. Dennis’s use of brushes on the sweeter Mother I’m home song are extremely effective. The musical input in general is wonderful and lift each piece, keeping them colourful and interesting.

The Devil in Music

Fox Jaw Bounty Hunters

The Devil in Music

Angela Macari O’Looney

I’ve had the pleasure of reviewing Fox Jaw Bounty Hunters playing live, but also had fun reviewing their EP Congress of Oddities, plus some of the singles released in the run up to this brilliant album. These were samples from the thoroughly captivating repertoire here on this CD. It somehow totally defines this band and you really get into their mood.

FJBH are unique, and their music encapsulates seductive riffs, sleazy melody lines, inspiring thoughts of smoke filled bar rooms, upright pianos, liquor soaked confessions and confidences under sepia lighting. Bluesy Rock beats and heady lead solos, added to Ronan Mitchell’s depth and flair as a vocalist, are evident throughout this fascinating collection of songs.

FJBH members are Ronan Mitchell (Vocals/Guitar/Piano/Melodica/Glockenspiel/Bass),
Morgan Nolan (Guitar/Vocals/Bass), Shane Serrano (Drums/Vocals/Clarinet/Sax/Percussion/Wooden Flute).

Little Black Marble opens up with haunting flute sounds, building up to a blasted out intro on bass, with guitars joining in and a powerful drumbeat creating the backdrop. Ronan sings the descriptive verse with his Limerick lilt, while Shane and Morgan add backing vocals. Complex guitar throughout, with superb in-sync riffs using bending notes and also wonderful trickling bits here and there, all lend atmosphere. I particularly like the high pitched ooh for the chorus in this song. There’s a huge crescendo of sound towards the end, eventually winding down.

Choppy chords take you into Strip the City, that tempo remaining throughout. It has a mysterious melody line, fab intricate guitar and a great chorus. Ronan entices with his deep vocals as he sings Come on over, come with me. Harmony is filtered in and is close. Chord combinations are delicious and the lead solo is twang laden and oozes exciting twists. My favourite feature is the elaborate riff for the chorus.

A wonderful piano intro for Wasteland Overture makes a refreshing change of pace. Moody minor notes and a bleak melody line are features of this number. The La da da refrain in the chorus has sing-along charm, and that acoustic piano is downright irresistible.

That Old Chestnut involves plucked guitar for the verse which is a particularly enjoyable feature. The use of minor chords and the greyish nature that’s the main style of FJBH is here. However, in the chorus they give way to some major chords and things lighten up a little. Harmony is effective and dynamic builds up as this song develops.

Throwing Shapes is a fast moving, choppy number where Ronan goes from a bassy lower octave right up and lets loose. Chorus is harmonic and chords are superb throughout. Drums are particularly energetic for this, with some amazing trickling lead guitar notes that have a strange disjointed quality. Added to this is the ever present busy bass line. Delicious!

Finger clicking and with lively bass throughout, Fight the Grey is a cool number with a strut style beat. Catchy harmonic oohs lend atmosphere, with a crazy solo on lead guitar featuring. Sax comes in later on, lifting things up to a cheerful crescendo.

With a laid back beat and some truly lovely guitar, Interlude is exactly what is says on the tin. A delicious melody is whistled and it’s a feel good, short piece, that wouldn’t be out of place in an advert. I’d like to hear more instrumentals like this from the lads.

Rock beat, distortion packed guitars, weird chords and a memorable chorus are the highlights of Hatch Sixteen. The bending notes done on lead are also excellent. It’s among the band’s best songs for certain and defines their sound.

Harmony is brilliant in Milkanoid and lead guitar superb. Energy packed rhythm throughout, an eerie slowdown that breaks it up, and more delectable lead guitar are the key features of this quirky number.

Keychain has a funky beat and creepy chord combinations that remind me of the theme from an Adams Family movie. Ronan’s slightly cynical style of telling the story in each song is captivating. He describes how he feels he’s being taken for granted by his girl; Lately, I’m a doll you drag through the ground, a plaything on your key chain weighing you down.. Chords and general mood are gloomy and make the hairs stand up on the back of my neck!
Guitars are outstanding throughout, with imaginative riffs that match the lyrics to perfection. There’s a complete stop, a kind of mock finish before the final blasting chorus.

Thread the Needle
You hear some wonderful guitar at the beginning of this number and it becomes yet another blues song, involving sliding guitar notes and awe inspiring lead. It’s tempo is laid back but rhythmic, with the harmonica adding to the scene which inspires grabbing your brandy bottle and taking a swig!

The in-sync chord intro to Running on fumes is full of life and lifts you up after the previous number. The tempo has a three four quality, with interesting alternations here and there. It’s a pleasant change melody wise. Ronan mentions bleary eyes, which we might have after the flagon of liquor and the few pints in the last song. Lead solo, along with the bass line are first class and those sliding chord combos are sweet!

The finale of this album is the soulful and hypnotic Darker Shade of Blue. Haunting, with trickling guitar notes throughout, this number showcases Ronan’s voice brilliantly. The melody line is complex, dreary, spine tingling and seems to wrap itself around you like a cool, slippery snake.
It suddenly explodes into life for the last chorus, to drop back and finish with plucked acoustic guitar notes.

All three members in FJBH participate in vocals and this lends to the overall sound greatly. And although they tend to stick to a certain lazy style of blues/rock, they are really creative. It’s not at all surprising that they have won the hearts of most critics and have attracted a large fan base across the land.

The album art for The Devil in Music is similar to the previous CDs. The cover depicts naked dancing ladies on a background floral brown and gold. I’m guessing it could be from the inlay of an upright piano. Inside the cover, you see the three lads, in an ancient bar room, enjoying a well earned pint!

Taking a break

I can never actually say I'm taking a break. I never do!
However, certain things in my life simply have to take priority over all else. One such thing would be my son and his affairs i.e Health, Education, Hobbies and Sports activities.
When you have a six year old, they need their Ma to be at most of the important moments. It might be his/her football match/Dancing competition, or perhaps a tooth cavity that requires attention. Whatever the case, we Mums are the only company that will do!
Over the past few weeks, I seem to have been unbelievably pre-occupied with Football, dentists, doctors and my son's little extra bits and pieces. Also, I decided to give extra time to any seriously outstanding housework, decorating and whatnot.
Another important distraction from my usual activities, was the Pitch and Putt weekend that has become an annual favorite of mine. It involves my job P & P Club.
For about fifteen years or so, I have partaken in this wonderful and satisfying game. I've met some great characters, played some amazing P & P games and tried a variety of courses.
I somehow believed that the health benefits and fun were all that I needed to feel that my committment to the sport was paying off.
It wasn't until I won my first twenty five euro, that I realised it could be a bit more attractive.
Well, this year on my club outing to Killarney, I found out that the rainy moments, rotten score cards, narky opposition and personal struggles with getting it right could actually pay off big time!
Without understanding exactly what it was I was doing right, I took home the most superior trophy available in my club. We went to Killarney for three days, two nights and it involved three different games.
I have lots of memories of weekends there, all happy. But I will never forget the warm, wonderful feeling that receiving the BIG one gave me.
It's a silver cup, with names of previous club winners engraved on it.
It's quite tall, almost two foot high.
I can honestly say, I don't believe myself to be a brilliant golfer. I do, however know, that patience pays off. I held the highest handicap my club gives in all the years I've played, because I am not very competitive.

I love fresh air, excercise, a chat and a cold drink to celebrate a good match. Winning? If it comes my way, it's nice.
What went right for me that day was that I played against a superior player, who had a hangover and just requested silence throughout the game. Anyone who knows me knows I can't stop talking. But in this case, I held my tongue, pitched my ball with gusto and marvelled in my surroundings. Killarney's mountain views and the beautiful Gleneagles grounds, including the P&P course are splendid.
My companion shook my hand at the end of the match and even though the rest of the club were comparing their scores light heartedly, he whispered that I had the best score by far.
It wasn't till I sat at home, regarding this lovely relic of our club, when it sunk in. I was the winner, for one of the very first times in my life.
I'm sure I won things before. Plaques for ballroom dancing, medals for Irish dancing, even tallent competitions. But this was a precious and unforgettable experience.
So this has been one of my pre occupations in the last couple of weeks, along with some other necessary committments. Not excuses!
Life and it's variations can sometimes take over and tell you, "Time for a break baby"!

Niall O'Shea and The Inner City Dogs gig

Niall O’Shea and the Inner City Dogs

The Twisted Pepper

20/05/11

Angela Macari O’Looney

I first heard Niall O’Shea’s music at a gig in 2010, when he was supporting Rock band Sixteen Layers. From the get go, I found his songwriting style appealing, his live performance intriguing and his guitar playing impressive.

A closer listen to his repertoire through reviewing his debut album Inner City Dogs left me in no doubt, that Niall has a certain quality which is captivating and very enjoyable.

A native of Dublin, Niall performed in a variety of bands before deciding to go solo. His musical style is described as Indie/Gospel, but he is very versatile and can wow with his guitar solos.
Therefore I was looking forward to seeing him headlining.

Shortly after my arrival in The Twisted Pepper, singer/songwriter Luke Duffy began the first set.

Luke Duffy
Luke’s first song was called Drimnagh. His chords were beautiful and the melody line of this number was pretty special too.

Devious was faster. This was a song about the break up of a love affair. Luke achieved a big sound with just his acoustic guitar.

He did one more song with a bluesy feel to it called I belong. His vocals were excellent and his set short and sweet.

The Skeptical Pets

Three great musicians took to the stage and performed the second set. This was upbeat from start to finish and the frontman from Scotland was a bit of a comedian, interacting well with the audience.

Rainbows

The guitarist played an electric mandolin styled instrument and his riffs were delightful. A harmonic sung break lifted the dynamic and the lads each contributed to the vocals greatly. They have a charm all their own and with a bit of tambourine thrown in, this folk/Country styled song had a nice ring to it.
They continued with Pearls on a String. The crowd seemed to love these lads and this laid back number was cool, with a catchy chorus.

I like Birds was next. This involves tongue in cheek lyrics and is performed by the guitarist. It’s a cheerful, choppy number. As in all their songs, harmony was close and effective.

Ordinary Man
This number was inspired by the movies. I like the chorus and charming riffs throughout.

They finished with a fast song called You can make him like you, which was by far their best number. With blasting acoustic guitars and a particularly memorable chorus where the lads sing one line in sync, this Jam type song was a great choice to take their set to a close.

Niall O’Shea

The fast moving opening track from Niall’s album, Dogs was instantly recognisable from the wonderful guitar intro. Lead filtering in here and there is appealing and bassline is busy. Backing vocals for the middle eight and the choppy alternating rhythm all add to this fab number.

Onstage with Niall were members of Inner City Dogs; Alan Behan- Lead guitar, Drums-Sean Geraghty and Bass-Stephen Ryan.
Niall’s influences include greats such as Zeppelin, Jimi Hendrix, The Beatles, The Doors, Bob Marley.

Land of Talk – The chorus in this is delectable, with explosive guitars, an outstanding lead solo and an exciting bassline.

Better Days- I love the chorus in this song. The crowd sang along with Niall. It involves a fabulous lead guitar solo with lots of note bending and a lovely harmonious refrain. Trickling guitar throughout also adds to this melodic number.

Chrissy- Jason Douglas was invited up onstage for this popular song from Niall’s album. A powerful riff intro takes you into this number which is upbeat, with a great melody line and a seriously catchy chorus, where the sax takes the entire sound right up to full blast.
There’s a soothing bit where instruments pull back, then they do a few choruses that include amazing harmony too. I’m particularly impressed with that final jazzy crescendo chord!

From Niall’s band days with Columbia, Red Horizon featured Jay on Sax again. His tenor adds to the mood. Guitars throughout are outstanding, especially a tricky lead riff that continues from the intro. Niall’s voice is so well suited to this kind of number and there are moments where splashes of harmony come in. Niall’s own guitar ability is astounding.

No Water Flows was next. Niall performs some unique chords on his acoustic for this. Melody line is wonderful, but quite complex. The sense of movement is brilliant, with lots of cymbal used. Things alternate from a choppier pace to slow down for a bit, and then lead comes in with an elaborate break that is magical. Gradually the dynamic builds up again, taking this vibrant song to a close.

Heavy Hooley Minestrone - This new number comes from the rockier side of Niall’s material. It starts off with a strut style beat, becoming more powerful and features Niall performing some awesome lead guitar. This song has lots of chops and changes in it. Chord combinations are fab and they lifted the roof with it!

Wild One (Thin Lizzy cover)

Guitars are amazing in this and also harmony. Niall totally shines on lead guitar, fingers flying across the frets. He plays left handed, but is gob smacking to watch, as his guitar comes to life. In synch riffs throughout are brilliant. Both he and Alan blow the roof off the place with their twin lead bits. His vocal ability is also proven, as he makes this great number his own.

Warm under the Sun

This number is a tad more grunge than previous ones. Guitars use distortion and the melody is really catchy, with a harmonic chorus that is brilliant. Lead guitar is fantastic, Niall doing some exciting stuff twinned with Alan’s guitar complimenting each riff with equally stunning bits. The place is up to ninety.

Crossroads was next, where Jason Douglas returned onstage. This classic style rock number is wonderful, with a busy bassline and elaborate lead throughout.
Sax lets loose with a gorgeous solo, followed by more lead, Niall playing rhythm. It all winds down to a big rolling finish.

The lads were called back for an encore and they obliged with two memorable songs. Too Long is a folky number, with acoustic chords and a cheerful chorus and has a Van Morrison ring to it.
Ever fallen in love (Buzzcocks cover)
This was a popular choice for one last blast from the lads. Niall seemed to really enjoy performing the fun number, once a favourite in the nightclubs and discos way back when!
He did a crazy solo and all guitars seemed to just go wild before the final chorus.

In this generous sized venue, Niall managed to get a full house and it turned out to be one unforgettable evening.

Hatch Sixteen

Fox Jaw Bounty Hunters

Hatch Sixteen (Single)

Angela Macari O’Looney

Fox Jaw Bounty Hunters are a band with a unique, yet appealing style. From Limerick, this Blues/ Rock outfit had great success with their last single Thread the Needle. They also drew a lot of critical acclaim with their E.P. Congress of Oddities, so their debut album The Devil in Music, due for release this month looks like it will also be an enjoyable experience.

Band members are Ronan Mitchell-Vocals/Guitar/Keys, Morgan Nolan-Guitar/Vocals/Keys, Shane Serrano-Drums, Clarinet, Vocals and Sean O’Mahony-Bass/Vocals.

Influences include David Bowie, Ojos Rojos, Beastie Boys, The Strokes, Boss Volenti and many more. They have shared stages with names such as Ham Sandwich, Giveamanakick, Hayseed Dixie, Steriogram, Director, and Against Me! .

Hatch Sixteen

Opening up with a fast lively intro, this number involves catchy chord combinations and a memorable refrain you’ve gotta love this town. Ronan’s vocal style is perfect for this type of song, with his drawl and that hint of grit that adds to his charm.

Guitars create a big sound with rhythmic riffs here and there and Morgan’s lead particularly exciting, where he plays some wonderful bending notes.

There’s a slow down for the middle eight, where the lads sing Ahs, guitars trickle and give a sense of suspense, but then things burst back into life again with the last energy charged chorus. Guitars a-blazing, drums a-thumping, this has the sing along quality you find in most of FJBH’s music.
It’s another sample from the new album that I find refreshing, fun and really enjoyable,
A little taster before the main course, which I’m sure is going to be riveting.

A poem

Queenie I o


Angela Macari O’Looney

Queenie I o, she came to town. The roads and motorways all shut down.

Marksmen on rooftops, barricades galore,
Dubliners and tourists were in an uproar!

Shores were all sealed, no audience allowed.
Woe betide any maddening crowd.
Our reputation as a nation was tested
And a few got short shrift, when they protested.

There were pros and cons voiced on TV.
The media had fun and so had we.
As we watched with mixed feelings the pageantry and flair,
Her Majesty and our Mary laid wreaths here and there.

Day three she was touring the County Kildare,
Our horses to visit
At the National stud there.
Then off to a concert she and Prince Philip went.
Fashion and music, it was an event.

Day four all was calm, the Royals went to Cork.
Police still about, but roads back to work.
There seemed to be prevalent a sigh of relief.
Visit successful, even if quite brief!

Who would have imagined it, a visit from Royals?
Three cheers for her Majesty on our Emerald Isle.
We next have Obama, whose coming to tea.
Our Island is popular
As all can see.

The Queen and Prince Philip, Obama, The Pope.
In a time of recession,
It inspires us with hope.
I Quote one hi profile American(Homer Simpson); Woo hoo!

Sixteen Layers new single

Sixteen Layers

Transition (Single)

Sixteen Layers, together since 2006 have developed their sound and built up quite a following since their formation. They self produced their first album I am no one in 2009, which was a huge success. They spend a lot of their time travelling between Ireland and Canada, where they also have a big fanbase.

The band are currently working on their next album and if their first is anything to go on, it should prove a magical listening experience. I got a sample from the upcoming CD and there are two versions of it.

Transition (Alt Mix)

Opening up with a lead riff, that’s echoed by the second and third guitars, this fast number brings out the grunge side of Sixteen Layer’s personality. However, Niall’s powerful and passionate delivery is as brilliant as ever and the sound is musical, despite the mind blowing distortion throughout.
Closely sung harmonies and the haunting lead riff used again for the chorus, are key features that make this song so irresistible.
It’s impossible to stop yourself belting out the chorus at the top of your lungs with Niall and the lads while playing your air guitar. The use of reverb on the lead vocals creates an echoic effect that’s very distinctive.
For the second verse, the lead guitarist performs sliding notes and some exciting, hair raising stuff that has an alarming impact.
A delicious in sync break is done by all guitars, with the lead hitting some screaming notes, drums thumping away and then Niall is back with the chorus, which is blasted out with gusto.
The slower version of Transition, which is included in the Single, involves the same echoic quality in the vocals, with instruments creating a more haunting sound as opposed to the fast, grunge rock style of the first recording. Both versions are enjoyable, but this is leaning towards anthemic and doesn’t have quite the same bite!
Guitars in it are equally impressive as in the rockier version. Both leave an indelible stamp on your memory.
Superb guitars, an amazing melody line and that fab cross between classic and grunge rock, are ingredients that this band have in abundance and it’s what makes them hard to define. It’s a soupcon of Queens of the Stone Age, a slice of Thin Lizzy, Radiohead on the slower numbers, with Soundgarden and U2 thrown into the cauldron.

Members are Niall Donnelly, John Colbert, Dom Muldoon and Tim McGrath. They have played support to Paddy Casey, headlined in many gig spots around Dublin, won the Dublin leg of Bo dog Battle of the Bands in September ’07, reached number 1 on Phantom FM’s playlist with Setting Fires, had their song Torch released on the Independent’s Day ’08 album and the story just goes on.

They have an ability to keep creating and surprising that is probably why they never fail to excite their audiences. This is also why their popularity with rock lovers keeps growing, having a pied piper effect.
Transition is only a sample of what should prove to be a truly brilliant album.

Angela Macari O’Looney

No Roller launch gig

No Roller

‘Heading for a War’ Launch gig

Crawdaddy

06/05/11

Angela Macari O’Looney

No Roller are a Dublin based Acoustic/Indie/Rock outfit consisting of five members. They started out on the live gig scene in 2008 and recorded their debut album in 2009. I had the pleasure of reviewing High Places by Narrow Roads and have particular favourites from it.
I find their general sound unique, but with a diverse combination of influences filtering through. This comes from the fact that each member puts his own style into their songs and the result is extremely effective and enjoyable!

Cocophone

Two piece act Cocophone performed the first set. With a folk/ Acoustic style, they play laid back numbers. Both sing and have excellent voices, Freya performing harmony to Fin’s vocals and then vice versa.

They started with a choppy number called Love the label. Fin sung lead vocals here, with Freya doing backing vocals. Then they continued with Glory shoes. Slow, with Freya performing lead vocals, this involves trickling acoustic guitar. It’s a very soothing song, with a soulful mood.

Hollow Tree is about the sad decline of Dublin’s Fairview Park and how it has become too dangerous to go there for a breath of fresh air, or any other innocent activity. This song is harmonic, sweet and both blend their voices beautifully for it.

After this they did Broken Radio, about Fin’s radio which was in need of repair and left on the long finger, became abandoned. It has a lively rhythm, a catchy chorus and goes down well with the punters.

Yellow Flower is moody, with a three four tempo, that builds up from trickling and sweet, to a more dynamic feel. Harmony as in all their stuff is very effective and although the lyrics are droopy and sorrowful, I enjoyed this.

Somewhere – Freya plays a tiny keyboard for this and her riffs are simply delicious. She is extremely entertaining and her style is really soothing. For a two piece, they have a very captivating sound!
On Sad Planes was the last of their set, with poignant lyrics, a sweet melody line, and harmony filtering in here and there. This was a wise choice to finish on. They got a great applause and thanked No Roller for inviting them.

No Roller

Members of No Roller are David Clarke-Vocals, Warren Solan-Lead guitar, Aaron Laidlaw-Rhythm guitar, Tom Dunne-Bass and Damien Farrell-Drums. Influences include Beatles, Dylan, Stones, Oasis, and Nirvana.
Opening up with Why You from the new album,this number involves distortion packed in sync guitars playing a choppy rhythmic riff. Warren performs splashes of lead here and there, with guitars and drums creating a solid backdrop of sound. This number is vibrant and Dave’s gritty vocals belt out the lively chorus with style.

In Provide Aaron performs a big intro, with lots of distortion. Warren adds some elaborate lead, with lots of screaming and bending notes included. There’s a powerful ascending riff in the chorus and this is performed by all three guitars. The lead solo is short and sweet. Dave’s vocals are cool and suit this song to a tee. There’s an echo effect when he sings the line And I’ll eat the poison you provide. Warren comes in again with some wonderful lead throughout the final verse. That superb ascending riff comes in again for the chorus.

Rented Room is a strut style song, with a slinky riff intro that leads you into the verse, continuing throughout most of the number. Bassline is impressive here, as are drums with lots of seductive cymbal and snare creating an enticing, sexy mood. Warren lets loose on lead guitar and woos the audience with amazing slides and rippling notes.

Ocean, which was released as a single was next. I love this song and it proved to be popular with other members of the audience. Dave totally draws you in with this slow number, which has a romantic quality. Guitars are trickling, with a delightful riff that continues throughout.
Dave hits higher notes, going up to a falsetto despite his husky, gritty voice. The melody is beautiful and I like the middle eight where Dave sings Skimming on the Ocean, with no emotion. You’re skimming on the Ocean, give me devotion. This is then performed as a refrain sung by Aaron and Tom, while he sings the chorus again.

Tom announces that Dave is celebrating the birth of his son and he gets a big applause. A fast and lively song begins called The Heavens open. Aaron plays acoustic for this, Warren giving it loads on lead. Chord combos and riffs are fab here and there’s a great sense of movement throughout. Bassline is busy, Tom making sure to remind us he’s around.

Therapy is next and involves superb guitars and a beautifully placed key change. It’s a rhythmic number that’s choppy and cheerful. There’s a slow down for the middle eight and then it picks up again. Dave oozes style and has a distinctive delivery that’s a cross between The Boss and Dylan. However, he is definitely a key feature in the overall No Roller sound!

Heading for a War

The title track from their new album, this interesting song involves poignant lyrics and a dramatic pullback of sound for the few bars after Dave sings We could be heading for a war.
It has a lot going on in it and the melody line gives a sense of despair. Warren’s lead solo is really special.

Apple Tree, a slow love song was next. Warren features doing a superb solo. The melody line is sweet and Dave’s vocals delectable. There’s an interesting change of tempo midway through that I enjoy.

Have you ever seen the Rain (Creedence Cover)

This was a great choice for a cover and when it’s done well, is fun to sing along to. No Roller definitely did it justice!

Blood of the Sun was next, with each member of the band letting loose. The beat alternates, and bass is amazing. Aaron is back on his electric for this fast, powerful song. Lead is show stopping, with Warren playing as if his life depended on it. For the chorus it becomes a dramatic rock anthem, but soon they return to the faster pace. Distortion is used to great affect and I get the impression each of the lads gets to blow off a lot of steam for this one!

Tom Dunne the bass player performed Grow your own, while Dave played guitar. It’s an upbeat number with cool oohs sung in refrain.

End of the Road has a wonderful riff intro that is repeated during the song. It’s slow and soulful, but really memorable.

They finished up with You and Me, where Dave’s vocal range really shone. This fast moving number from the band’s first album was a great finale. Everyone sang the oohs with Dave in the chorus. Warren’s riffs were fab. I like when everything pulls back and you just hear the bass for a bit. Then Dave comes in with I can’t fall asleep to the sound of your drum, gradually building the dynamic until he’s almost screaming it out. Aaron’s rhythm guitar features big time in this last number.

It was a long, but brilliant set. They got an encore and unfortunately time had run out for them. It did have the advantage of leaving the fans wanting more and will make us come to another gig!

Sweeney Mongrel's Dimestore gig, King Modo, 29th April

King Modo

Sweeney Mongrel’s

29/04/11

Angela Macari O’Looney

This unique band asked me to review their self named album earlier this year and I found it fascinating and thoroughly enjoyable. So on hearing they were performing a set during a gig organised by Dimestore records down in Sweeney’s, I ventured in.

Their sound is Jam/Experimental/Alternative and involves exciting harmonies. Influences include Zeppelin, Steely Dan, Dave Mathews band, Crosby Stills and Nash. Band Members are Paul Keogh (Vox/Guitar), Karl Murphy (Keys/Vox), Mark Dempsey (Bass), Jon Barrett (Lead guitar) and Lenny Cahill (Drums).

I arrived at midnight and there was an enormous crowd there and the party was in full swing for certain. The upstairs venue fills up pretty quickly and I found it a little uncomfortable in that the stage is right beside the staircase, where folk are entering or exiting. It caused a bit of distraction during the band’s performance. So that would put me off the venue itself. However, I was here for King Modo and wasn’t at all disappointed with the huge sound they provided and loved hearing their songs live, which in my opinion was an even better experience than on CD!

Their first number We had a vibrant chorus, where harmony is amazing. Twin riffs on bass and lead are impressive and Lenny does lots of exciting drum rolls to lift the dynamic.

I recognised Up in Arms from its weird discords, funky intro and unusual tempo. This song totally captures the imagination,Paul performing the superb lead vocals with his clear vocal style. All guitars get a chance to shine here, with Jon doing delicious lead and also in sync stuff with Paul and Mark. Even the close harmonies make up strange, but addictive chords. The acoustic guitar which Paul performs creates wonderful rhythm and along with Karl’s elaborate riffs and notation on Keys, it’s a plethora of explosive, yet heady music!

Those jazzy chords and the choppy rhythm for All You May Say stirred up adrenaline in me. It touches a nerve listening to Paul’s voice lilt and twist as he sings this. The piano is totally awe inspiring throughout this whole piece. The chorus involves very effective harmony, delicious chords and memorable riffs throughout. The entire experience is a delight to the senses.

Sentimental Nigel happens to be a favourite of mine. So I was over the moon when I heard Paul introduce it. He introduced each member of the now larger band that King Modo has become. I love the complex intro. It has this astounding notation that’s played on Keyboards, surrounded by riveting guitars and a subtle key change in the actual intro. I especially found the bass line exciting here. Mark’s white bass has a gorgeous tone and sounds as show stopping as it looks!
There’s a refrain in this that I love; You don’t want to be like Sentimental Nigel.
Paul is accompanied by lots of dramatic Ahs for this number, which has a great impact on the audience with its enormous crescendo at the end.

Paul explained how this was the lads’ first appearance as a five piece and how special this gig was to them.
They continued with Die and Dance, starting off with an in sync riff done by all instruments that’s continued throughout the verse. This number has some interesting changes of tempo, where Paul sings the words Unfolds a new beginning and you suddenly hear the change to a staccato chorus with stark, dramatic notes in it. Equally guitars, percussion and rhythm take on this startling feeling. Very inspiring stuff!

The Big Man was next and has a crazy intro where there’s a pause in the proceedings, and then Paul launches into the verse. Poignant chords match the lyrics here in this slower number. I like the sentiment in the line Everybody’s screaming, but nobody’s listening. Chords and harmonies are once again magical!

We

Jon’s opening lead in this is superb. It’s such a delicious song; it was welcomed for the second time in one night with the same sense of anticipation and wonder. Bass is also fabulous, with lots of distortion and a rock mood in the intro. But then things suddenly burst into a tuneful and harmonious chorus. I love this number for it’s soothing beat, unforgettable melody and that refrain that is sung like a heavenly choir We are, we are not alone. We are, we are one.
It has a blasted out, explosive finish with all guitars giving it loads. What a great finale!

It was a brilliant set and I was glad to finally get a taste of this extremely talented bunch of guys, with their rare and hypnotic sound. I look forward to their next project and will be watching and listening closely!