Sunday, January 16, 2011
Thursday, January 13, 2011
Scuba Dice CD Review (also see irishunsigned.com)
Scuba Dice
The Lost Art of Romance
Angela Macari O’Looney
Pop/ Punk/Rock band Scuba Dice are Joe-Vocals, Scanner- Guitar, Liam- Bass, Shane-Drums.
With lively and memorable arrangements, plus Joe’s clear and confident delivery of each number, which is packed with revved up guitars, this act are always upbeat and ooze good vibes. They have survived the rough and the smooth, and thankfully have recovered from break-ups and bumps without any trace of injury. Members hail from Kilkenny, Wexford and Kildare and influences include Blink 182, Fallout Boy and Greenday.
This CD isn’t the first of their many achievements along the way since their formation in 2004. The line up has changed. But the dynamic sound never alters with Scuba Dice. They have played support to prominent bands such as Paramore and Scouting for Girls and they joined UK bands My Passion and Canterbury on tour around Ireland. They also clocked up performances in Germany and America and have shows penned in for summer 2011 in Austria, U.K. and Germany.
The band made their first T.V. debut on R.T.E’s You’re a Star from which they used the experience to hone the sharp, eclectic sound that results from each of the lads bringing his own style and influences into the mix. Their song Made was included in a compilation CD; The mob Rules in ’08 and they also took part in L.A. or Busk, winning 3rd prize.
Their first singles were Let Go and Made. They seem to have been gigging and working non-stop and have built up a faithful following.
This new collection of songs is upbeat and comprises five dancey, energy packed numbers.
Bursting into life with the opening line Come on, come on, the first track Not that I care is vibrant, with backing vocals in the chorus adding to the full sound. Harmony is also close throughout the verse and guitars are distortion packed, with drums bashing away to put the finishing touches to an already explosive number.
Katie, this song is for you
The chorus of this number is catchy, with Joe belting out the lyrics; K-K-K- Katie,c- c-c-crazy, you never let me down. This song is for you so do what you do, get your feet off the ground. Scanner performs a short but excellent solo, backing vocals are superb and with lots of Wo oh in the verse, it has all the hallmarks of Scuba Dice’s knack for fun, singable songs.
The title track The lost art of Romance starts with a twin guitar riff and has a delightful verse and a fast punky beat. It’s a love song performed with youthful spark and passion. Liam’s baseline is pretty special here, with those harmonies throughout the entire number making all the difference.
She puts u down
I like the way the beat alternates a little in this number. It’s my favourite of the E.P. The chorus involves a lot of No oh oh, but it’s the cheeky word play that gives it and most of these numbers extra charm. Guitars as always are spectacular, the riffs and chord combinations all totally brilliant.
Things quieten down for the middle eight, building back up again for one last blasting chorus.
Last but not least is a melodic, fast moving song Nothings Free. A catchy refrain, exciting beat and quite elaborate lead behind the verse are key features. You get the feeling the boys totally let go for this number, with splashes of guitar spontaneously filtered through and the chorus loaded with energy. Joe is a frontman that always sounds extremely hyper, but that’s why Scuba Dice never fail to put their audience on a high!
The Lost Art of Romance
Angela Macari O’Looney
Pop/ Punk/Rock band Scuba Dice are Joe-Vocals, Scanner- Guitar, Liam- Bass, Shane-Drums.
With lively and memorable arrangements, plus Joe’s clear and confident delivery of each number, which is packed with revved up guitars, this act are always upbeat and ooze good vibes. They have survived the rough and the smooth, and thankfully have recovered from break-ups and bumps without any trace of injury. Members hail from Kilkenny, Wexford and Kildare and influences include Blink 182, Fallout Boy and Greenday.
This CD isn’t the first of their many achievements along the way since their formation in 2004. The line up has changed. But the dynamic sound never alters with Scuba Dice. They have played support to prominent bands such as Paramore and Scouting for Girls and they joined UK bands My Passion and Canterbury on tour around Ireland. They also clocked up performances in Germany and America and have shows penned in for summer 2011 in Austria, U.K. and Germany.
The band made their first T.V. debut on R.T.E’s You’re a Star from which they used the experience to hone the sharp, eclectic sound that results from each of the lads bringing his own style and influences into the mix. Their song Made was included in a compilation CD; The mob Rules in ’08 and they also took part in L.A. or Busk, winning 3rd prize.
Their first singles were Let Go and Made. They seem to have been gigging and working non-stop and have built up a faithful following.
This new collection of songs is upbeat and comprises five dancey, energy packed numbers.
Bursting into life with the opening line Come on, come on, the first track Not that I care is vibrant, with backing vocals in the chorus adding to the full sound. Harmony is also close throughout the verse and guitars are distortion packed, with drums bashing away to put the finishing touches to an already explosive number.
Katie, this song is for you
The chorus of this number is catchy, with Joe belting out the lyrics; K-K-K- Katie,c- c-c-crazy, you never let me down. This song is for you so do what you do, get your feet off the ground. Scanner performs a short but excellent solo, backing vocals are superb and with lots of Wo oh in the verse, it has all the hallmarks of Scuba Dice’s knack for fun, singable songs.
The title track The lost art of Romance starts with a twin guitar riff and has a delightful verse and a fast punky beat. It’s a love song performed with youthful spark and passion. Liam’s baseline is pretty special here, with those harmonies throughout the entire number making all the difference.
She puts u down
I like the way the beat alternates a little in this number. It’s my favourite of the E.P. The chorus involves a lot of No oh oh, but it’s the cheeky word play that gives it and most of these numbers extra charm. Guitars as always are spectacular, the riffs and chord combinations all totally brilliant.
Things quieten down for the middle eight, building back up again for one last blasting chorus.
Last but not least is a melodic, fast moving song Nothings Free. A catchy refrain, exciting beat and quite elaborate lead behind the verse are key features. You get the feeling the boys totally let go for this number, with splashes of guitar spontaneously filtered through and the chorus loaded with energy. Joe is a frontman that always sounds extremely hyper, but that’s why Scuba Dice never fail to put their audience on a high!
Wednesday, January 12, 2011
King Modo Album review
King Modo
Angela Macari O’Looney
King Modo are a duo from Newbridge, Co. Kildare. Their Alt/Experimental/Jam style music is laid back, with funky undertones and complex jazz chords. Paul Keogh and Lenny Cahill have a knack for exciting arrangements, which is demonstrated here and are involved in this album at every level, from production down to the album art.
Influences include Led Zeppelin, Steely Dan, Yes, Pink Floyd, Crosby Stills and Nash and Dave Matthews band.
This self titled debut album involves wonderful melody lines, rhythms, chords, discords and fab harmony throughout. Drums/Bass/Electric guitar/Keyboards/Piano/ Organs/Backing vocals are provided by Lenny and Lead Vocals/Acoustic guitars/Backing vocals and electric guitar on Die and Dance are played by Paul Keogh.
All you may say
Choppy jazz chords create a full sound, piano notation is elaborate and dynamic, and Vocals are punchy, backing vocals making a big discord that is superb. The lyrics in this number are profound, addressing the mystery of life and death and offer hope to the mourner.
Die and dance
A dramatic phrase opens up this number, done with electric guitar and organ, ending in two big sustained chords. Drums are explosive in this interesting and artistic piece. It has an unusual time sequence, with a bassy riff framing the entire picture. More of a rhapsody, this number encapsulates unexpected changes of direction with the pace alternating and fantastically complex vocals.
Paul manages to slide his voice up to falsetto notes, demonstrating his range. He has a very charismatic style and reminds me a little of Sir Paul McCartney, with his clear and confidant delivery. The slow down leading into the chorus unfolds a new beginning is very powerful, almost as if the guys are taking a breath before the mind blowing blast of sound ahead.
Reclaim
This trickling slow number has wonderful keyboards and guitars throughout. The tone of the lyrics is an urging to people not to be drawn in by the media and TV propaganda that can become an addiction, feeding you information that ends up controlling you.
I like the line in the chorus ; this is why we sing out from within, the truth is king/ It’s simple, we’re people not sheeple.
The melody line is soothing, but abstract, with vocals excellent and harmony when it comes in for the chorus making complex chords. Drums are soft, with the trickling instrumentals giving a lovely sense of movement.
Up In Arms
I like the chorus in this song, also the jazzy guitars. Like yet another elaborate vocal concerto, it’s a profusion of strange notation and amazing instrumentals from start to finish. There’s a line I find a little funny in all the philosophic, deep thinking lyrics; Do you want to kill the referee, or set him free.
Piano is superb in the memorable chorus, with awe inspiring explosions of harmony adding to the magnetic sound.
A refreshing escape from the complexities of contemporary jazz type numbers, track five We has a rock beat and expresses the band’s need to avoid fitting into specific categories.
It begins with a twin riff done on bass and electric guitars, with a fast explosive drumbeat. Then suddenly you hear things soften as piano comes in and vocals become sweet and harmonic. Going from the blast of electric, distortion packed rock to this harmonic chorus is such a contrast of styles all put into one song!
I like how the schizophrenic mood of the song reflects the intense lyrics;So thank you for listening/ In cages we just don’t fit/ This makes us feel like we are misfits/Stuck in the clutches of conformity/Always wondering what we’re missing/
Of the remaining numbers on this album, Sentimental Nigel would be a favourite for its chorus and in particular the refrain at the end. At the beginning and throughout a startling, but really beautiful instrumental is played, while the verse is spoken.
The lyrics are philosophical as in each song, with astounding vocal harmonics a constant. A delicious contemporary jazz waltz is played just before the refrain; You don’t want to be like Sentimental Nigel.
The entire CD is quite a lot of deep thinking, strange notation and jarring chords and although amazing, very hard to pin down or describe. There’s no denying the fantastic power of each song, but it is a journey involving a lot of bumps and turns, blasting grunge moments, followed by unexpectedly sweet close harmony where it begins to make sense.
Layered vocals are the key feature in the chorus of Only love. I like the acoustic guitar chords in this number and slightly more cheerful sentiment in the lyrics. Piano, guitar and the choral style Ah are bright, like a sunburst, with rays of hope to uplift.
The last song on the album Take it in begins with an acoustic guitar intro, accompanied by electric keyboards. Descriptive lyrics are delightful, piano chords are big and beautiful, with sensational close harmony yet again blasted out for the chorus.
The Artwork and photography like the music, are quite abstract. Created by Lenny Cahill, except for one or two images, each colourful picture in the booklet is interesting. A lot of work has gone into the making of this collection and the musicianship of both Cahill and Keogh is evident throughout the entire album.
I would be keen to hear these weird and wonderful masterpieces live, if King Modo are gigging around the Capital!
Angela Macari O’Looney
King Modo are a duo from Newbridge, Co. Kildare. Their Alt/Experimental/Jam style music is laid back, with funky undertones and complex jazz chords. Paul Keogh and Lenny Cahill have a knack for exciting arrangements, which is demonstrated here and are involved in this album at every level, from production down to the album art.
Influences include Led Zeppelin, Steely Dan, Yes, Pink Floyd, Crosby Stills and Nash and Dave Matthews band.
This self titled debut album involves wonderful melody lines, rhythms, chords, discords and fab harmony throughout. Drums/Bass/Electric guitar/Keyboards/Piano/ Organs/Backing vocals are provided by Lenny and Lead Vocals/Acoustic guitars/Backing vocals and electric guitar on Die and Dance are played by Paul Keogh.
All you may say
Choppy jazz chords create a full sound, piano notation is elaborate and dynamic, and Vocals are punchy, backing vocals making a big discord that is superb. The lyrics in this number are profound, addressing the mystery of life and death and offer hope to the mourner.
Die and dance
A dramatic phrase opens up this number, done with electric guitar and organ, ending in two big sustained chords. Drums are explosive in this interesting and artistic piece. It has an unusual time sequence, with a bassy riff framing the entire picture. More of a rhapsody, this number encapsulates unexpected changes of direction with the pace alternating and fantastically complex vocals.
Paul manages to slide his voice up to falsetto notes, demonstrating his range. He has a very charismatic style and reminds me a little of Sir Paul McCartney, with his clear and confidant delivery. The slow down leading into the chorus unfolds a new beginning is very powerful, almost as if the guys are taking a breath before the mind blowing blast of sound ahead.
Reclaim
This trickling slow number has wonderful keyboards and guitars throughout. The tone of the lyrics is an urging to people not to be drawn in by the media and TV propaganda that can become an addiction, feeding you information that ends up controlling you.
I like the line in the chorus ; this is why we sing out from within, the truth is king/ It’s simple, we’re people not sheeple.
The melody line is soothing, but abstract, with vocals excellent and harmony when it comes in for the chorus making complex chords. Drums are soft, with the trickling instrumentals giving a lovely sense of movement.
Up In Arms
I like the chorus in this song, also the jazzy guitars. Like yet another elaborate vocal concerto, it’s a profusion of strange notation and amazing instrumentals from start to finish. There’s a line I find a little funny in all the philosophic, deep thinking lyrics; Do you want to kill the referee, or set him free.
Piano is superb in the memorable chorus, with awe inspiring explosions of harmony adding to the magnetic sound.
A refreshing escape from the complexities of contemporary jazz type numbers, track five We has a rock beat and expresses the band’s need to avoid fitting into specific categories.
It begins with a twin riff done on bass and electric guitars, with a fast explosive drumbeat. Then suddenly you hear things soften as piano comes in and vocals become sweet and harmonic. Going from the blast of electric, distortion packed rock to this harmonic chorus is such a contrast of styles all put into one song!
I like how the schizophrenic mood of the song reflects the intense lyrics;So thank you for listening/ In cages we just don’t fit/ This makes us feel like we are misfits/Stuck in the clutches of conformity/Always wondering what we’re missing/
Of the remaining numbers on this album, Sentimental Nigel would be a favourite for its chorus and in particular the refrain at the end. At the beginning and throughout a startling, but really beautiful instrumental is played, while the verse is spoken.
The lyrics are philosophical as in each song, with astounding vocal harmonics a constant. A delicious contemporary jazz waltz is played just before the refrain; You don’t want to be like Sentimental Nigel.
The entire CD is quite a lot of deep thinking, strange notation and jarring chords and although amazing, very hard to pin down or describe. There’s no denying the fantastic power of each song, but it is a journey involving a lot of bumps and turns, blasting grunge moments, followed by unexpectedly sweet close harmony where it begins to make sense.
Layered vocals are the key feature in the chorus of Only love. I like the acoustic guitar chords in this number and slightly more cheerful sentiment in the lyrics. Piano, guitar and the choral style Ah are bright, like a sunburst, with rays of hope to uplift.
The last song on the album Take it in begins with an acoustic guitar intro, accompanied by electric keyboards. Descriptive lyrics are delightful, piano chords are big and beautiful, with sensational close harmony yet again blasted out for the chorus.
The Artwork and photography like the music, are quite abstract. Created by Lenny Cahill, except for one or two images, each colourful picture in the booklet is interesting. A lot of work has gone into the making of this collection and the musicianship of both Cahill and Keogh is evident throughout the entire album.
I would be keen to hear these weird and wonderful masterpieces live, if King Modo are gigging around the Capital!
Tuesday, January 4, 2011
Killer
Killer
Killian (Killer) Feehan
Angela Macari O’Looney
Named after its creator, this ten track debut album is entertaining from start to finish. Acoustic/Punk/Rock singer Killer has an abundance of imagination, is a multi musician and writes upbeat songs well suited to his own vocals.
Hailing from North County Dublin, Killer has had a colourful musical career to date, beginning at the tender age of sixteen. Originally a member of a band called Ubiquitous, who later became Guiltrip, he played lots of Dublin bars and venues.
Killer eventually decided to go it alone and concentrate on writing and gigging as a solo musician/songwriter. His first CD was a self titled six track demo, which proved a huge success. Guest appearances with Lisa Quinn on Near FM and Mike Hogan’s open Mic Show on FM104 followed. He also played support to The Coronas and has travelled around the Globe with his music, using his experiences to enrich and enhance his style and stage presence.
This collection of songs begins with a fast moving, upbeat number.
Planets (You’re the reason)
Opening up with a thumping punk beat and a touch of harmonica, this number is charged with NRG and spark. The melody line is catchy; guitars are distortion packed. The key change for the chorus lifts it up another notch. A bit of harmony filters through for the second chorus and that harmonica riff is a perfectly placed feature throughout.
Before I reach my Prime
Explosive intro, superb guitars and loads going on in it, this is one of my favourites. Lead guitar is brilliant, with a wonderful riff intro that’s repeated throughout. Baseline is vibrant and very effective. You hear this astounding wall of sound, amazing twin guitar bits in a song that is heavy rock at its best. And the most impressive thing about this full sound is that all of the instruments are played by one man apart from beats and programming.
Opening with a seductive baseline, followed by a lead guitar riff that’s spectacular, the third song on the album is The Magic Door. It has a fab rock n roll beat, a superb guitar solo and the chorus is one you’ll be singing along with!
Wishing Well
Acoustic, with a three four tempo, this is a pretty number and is laid back but has a cheerful melody line and lyrics are poignant. Hey won’t you tell me what I want to hear/ Let me know when you finish your beer/Cause you know every saint has his sins/Lights are on but there’s nobody in.
Backing vocals are splendid in this song which has a divine lead solo taking it to a close.
With a trickling guitar intro and choppy percussion, the next number Slow Right Down is a song that would bring to mind for me one of the most inspirational singer/songwriters of our time; Kat Stevens.
Acoustic guitar notes and chords throughout are totally hypnotic, as Killer pours out the beautiful but sad lyrics. Conveyer belts of people lift/ As the tides they rise and shift/ Children sing Row Row your boat/Cause down here we don’t walk, we float. It seems to be about a flood and how water can be so powerful and devastating. And in the disaster, the way he describes children’s reactions is brilliant;
A little girl stands on a stairs/ And asks why God ignored her prayers/ Screams at the water to stop it’s theft, for the town and people with nothing left. Guitar creates a wonderful sense of movement, trickling like water and finally finishes with a big jazzy chord!
I Am Music
Killer reminds us here of his ability to divert from the easy going acoustic numbers back to Rock music, with sexy baselines and distortion packed electric guitar chords. Lead riffs are scorching, as he personifies music in lyrics. Infused with subtle key changes, the melody line is seductive in this song and chord combinations are excellent.
Upbeat and slinky, Brand New is a love song with elaborate guitar riffs and an appealing moodiness about it. Chords combinations are catchy and Killer uses flanger for his solo, which is superb.
Smith O’Brien’s Cottage
This number is slow with lovely guitar throughout. Melody is gorgeous and soulful. It’s a sad story about Smith O’Brien, a political prisoner, who eventually was granted a pardon. Descriptions are very sad, harmonica lending to the atmosphere of the song. The cottage first stood as a lonely stable/ Wasn’t aloud visitors but he was still able, to feed the free pigeons and attend to his garden/ But he vowed to escape so wasn’t given a pardon.
With an acoustic intro, the next number Grey Street is moody with lots of minor chords and amazing guitar throughout. Fast moving, it has a sense of drama about it. Killer’s delivery is excellent in this song about the tragedy of prostitution in Melbourne and a hopeless girl, who sold her soul to satisfy her material needs.
Last but not least, The longest Day is dedicated to the memory of Stephen J. Byrne 1953-2005. Acoustic guitar notes are beautiful; Killer sings this lovely ballad with conviction and soul. It’s fascinating how his vocals can be soft and meaningful one minute and belt out blasting Punk/Rock numbers the next. The words reflect what goes on in the minds of people who mourn and that helpless feeling that those left behind are left with permanently, when a loved one is gone.
The cover art of Killer’s album depicts scenes from his songs and things which inspired them. Smith O’Brien’s cottage, the sign post for Grey Street, a door that’s illuminated; the magic door and on the back of the cover, the instruments used in the recording.
This fascinating guy performed all of the parts of each number, apart from the drum programming and Loops provided by Mark Reddy. Harmonica, bass, Acoustic and electric guitars, lap slaps and drumbeats, percussion are all done by the man himself. A key note mentioned on the back cover is that this album was made without using pitch correction software. So no artificial correction is used. What you hear is the real deal!
Killer is a one man band with a difference indeed and he proves it with this memorable CD. It took him seven days of recording over a period of months to arrive at his destination. But it was worth it and although singer/songwriters are ten a penny these days, occasionally a Goldmine of talent like this comes along.
Killian (Killer) Feehan
Angela Macari O’Looney
Named after its creator, this ten track debut album is entertaining from start to finish. Acoustic/Punk/Rock singer Killer has an abundance of imagination, is a multi musician and writes upbeat songs well suited to his own vocals.
Hailing from North County Dublin, Killer has had a colourful musical career to date, beginning at the tender age of sixteen. Originally a member of a band called Ubiquitous, who later became Guiltrip, he played lots of Dublin bars and venues.
Killer eventually decided to go it alone and concentrate on writing and gigging as a solo musician/songwriter. His first CD was a self titled six track demo, which proved a huge success. Guest appearances with Lisa Quinn on Near FM and Mike Hogan’s open Mic Show on FM104 followed. He also played support to The Coronas and has travelled around the Globe with his music, using his experiences to enrich and enhance his style and stage presence.
This collection of songs begins with a fast moving, upbeat number.
Planets (You’re the reason)
Opening up with a thumping punk beat and a touch of harmonica, this number is charged with NRG and spark. The melody line is catchy; guitars are distortion packed. The key change for the chorus lifts it up another notch. A bit of harmony filters through for the second chorus and that harmonica riff is a perfectly placed feature throughout.
Before I reach my Prime
Explosive intro, superb guitars and loads going on in it, this is one of my favourites. Lead guitar is brilliant, with a wonderful riff intro that’s repeated throughout. Baseline is vibrant and very effective. You hear this astounding wall of sound, amazing twin guitar bits in a song that is heavy rock at its best. And the most impressive thing about this full sound is that all of the instruments are played by one man apart from beats and programming.
Opening with a seductive baseline, followed by a lead guitar riff that’s spectacular, the third song on the album is The Magic Door. It has a fab rock n roll beat, a superb guitar solo and the chorus is one you’ll be singing along with!
Wishing Well
Acoustic, with a three four tempo, this is a pretty number and is laid back but has a cheerful melody line and lyrics are poignant. Hey won’t you tell me what I want to hear/ Let me know when you finish your beer/Cause you know every saint has his sins/Lights are on but there’s nobody in.
Backing vocals are splendid in this song which has a divine lead solo taking it to a close.
With a trickling guitar intro and choppy percussion, the next number Slow Right Down is a song that would bring to mind for me one of the most inspirational singer/songwriters of our time; Kat Stevens.
Acoustic guitar notes and chords throughout are totally hypnotic, as Killer pours out the beautiful but sad lyrics. Conveyer belts of people lift/ As the tides they rise and shift/ Children sing Row Row your boat/Cause down here we don’t walk, we float. It seems to be about a flood and how water can be so powerful and devastating. And in the disaster, the way he describes children’s reactions is brilliant;
A little girl stands on a stairs/ And asks why God ignored her prayers/ Screams at the water to stop it’s theft, for the town and people with nothing left. Guitar creates a wonderful sense of movement, trickling like water and finally finishes with a big jazzy chord!
I Am Music
Killer reminds us here of his ability to divert from the easy going acoustic numbers back to Rock music, with sexy baselines and distortion packed electric guitar chords. Lead riffs are scorching, as he personifies music in lyrics. Infused with subtle key changes, the melody line is seductive in this song and chord combinations are excellent.
Upbeat and slinky, Brand New is a love song with elaborate guitar riffs and an appealing moodiness about it. Chords combinations are catchy and Killer uses flanger for his solo, which is superb.
Smith O’Brien’s Cottage
This number is slow with lovely guitar throughout. Melody is gorgeous and soulful. It’s a sad story about Smith O’Brien, a political prisoner, who eventually was granted a pardon. Descriptions are very sad, harmonica lending to the atmosphere of the song. The cottage first stood as a lonely stable/ Wasn’t aloud visitors but he was still able, to feed the free pigeons and attend to his garden/ But he vowed to escape so wasn’t given a pardon.
With an acoustic intro, the next number Grey Street is moody with lots of minor chords and amazing guitar throughout. Fast moving, it has a sense of drama about it. Killer’s delivery is excellent in this song about the tragedy of prostitution in Melbourne and a hopeless girl, who sold her soul to satisfy her material needs.
Last but not least, The longest Day is dedicated to the memory of Stephen J. Byrne 1953-2005. Acoustic guitar notes are beautiful; Killer sings this lovely ballad with conviction and soul. It’s fascinating how his vocals can be soft and meaningful one minute and belt out blasting Punk/Rock numbers the next. The words reflect what goes on in the minds of people who mourn and that helpless feeling that those left behind are left with permanently, when a loved one is gone.
The cover art of Killer’s album depicts scenes from his songs and things which inspired them. Smith O’Brien’s cottage, the sign post for Grey Street, a door that’s illuminated; the magic door and on the back of the cover, the instruments used in the recording.
This fascinating guy performed all of the parts of each number, apart from the drum programming and Loops provided by Mark Reddy. Harmonica, bass, Acoustic and electric guitars, lap slaps and drumbeats, percussion are all done by the man himself. A key note mentioned on the back cover is that this album was made without using pitch correction software. So no artificial correction is used. What you hear is the real deal!
Killer is a one man band with a difference indeed and he proves it with this memorable CD. It took him seven days of recording over a period of months to arrive at his destination. But it was worth it and although singer/songwriters are ten a penny these days, occasionally a Goldmine of talent like this comes along.
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