Tuesday, December 24, 2013
Friday, December 20, 2013
Sunday, December 1, 2013
Tuesday, October 15, 2013
Friday, September 27, 2013
Thursday, July 4, 2013
Friday, May 31, 2013
Thursday, May 23, 2013
Dogs Trust Ireland: Chocolate free Easter treats for your pooches!
Dogs Trust Ireland: Chocolate free Easter treats for your pooches!: Apart from the risks of obesity and the obvious dangers of eating the foil wrapping, the biggest risk of eating human chocolate is poisoni...
Saturday, March 30, 2013
Wednesday, March 6, 2013
Tuesday, February 12, 2013
Science and Love Sixteen Layers
Sixteen Layers
Science & Love
Angela Macari O’Looney
Sixteen Layers are Niall Donnelly, John Colbert, Tim McGrath and Esa Tamponen. I love their sound, which combines superb guitars in every song, with passionate vocals surrounded by harmony throughout.
Together since 2006, they have performed their own shows in venues such as The Mezz, Radio City and The Button Factory and also toured with Paddy Casey.
This new four track CD is the latest in their repertoire and is as thrilling as its predecessors!
It begins with Science, which is an upbeat number, with a choppy start. Staccato guitars take you into the verse, with a gradual build up of dynamic. I love the seductive bass riff in the verse. Backing vocals provide a vibrant curtain of volume. The chorus is blasted out and a total contrast to the first section of this song. Niall Donnelly goes from clear, cool vocals, to open up into a dramatic change for his crazy rock singer’s voice. This guy is a master at this style changing! A short but sweet lead solo features and an amazing middle eight, with distortion laden guitar and lots of space aged synth injected too. At the end of the track there’s an unexpected finale performed by a Brass section, bringing the song to its conclusion.
Sing with your eyes shut A typical example of Donnelly’s ability to go from Jekyll to Hyde, this number begins as a soft ballad with a trickling guitar intro, exploding into a dramatic and powerful, yet slow rock song. Harmony is excellent filtered in at poignant moments. A riveting lead guitar solo features here, with some superbly magical riffs performed during the song. Wonderful guitar goes on throughout the number, altering from the soulful trickle to the elaborate and mind boggling lead solo, a treat that most of the band’s songs promise. The mood is dour in the lyrics and this is transferred to the melody, which is charged with a sense of bitter frustration.
(This Skin) Laminate An absolutely unforgettable experience, this song is fast moving, with a memorable chorus, delivered with Niall Donnelly’s unique and appealing style. Beginning with a delicious guitar riff, things build up from the verse to a crescendo of sound for the chorus. Close harmony in the chorus adds to the overall impact of this number. I particularly love Niall’s middle eight, where he totally roars out LAMINATE at a deafening level. Wow!
Run with me (Black Ties) The best till last, this track begins with a wowser of a guitar riff, which continues to pop in here and there during the song. Note bending, all guitars coming together in sync, and a sexy use of distortion, along with an outstanding chorus complete with harmony, it’s probably one of their best songs yet!
Blasts of chords are played as Niall sings the cheeky verse, to build up to the catchy and addictive chorus Run with me. He also sings the mid eight, which is a tendency in Sixteen Layers numbers. This is the special ingredient as far as I’m concerned and in this case, you find yourself singing it with Niall Stop telling me lies, quit hiding behind black ties and black lies, stop telling me lies. It’s exciting and it’s an adrenaline rush that comes to a dramatic stop. Amazing stuff!
Sixteen Layers, described by some as an unstoppable juggernaut of sound, are one band that have kept their own signature and always guarantee polish, top class musical content and arrangements. They can provide the quality of a live experience, even if you are just sitting in traffic with their latest CD playing on the stereo.
Angela Macari O’Looney
Sixteen Layers are Niall Donnelly, John Colbert, Tim McGrath and Esa Tamponen. I love their sound, which combines superb guitars in every song, with passionate vocals surrounded by harmony throughout.
Together since 2006, they have performed their own shows in venues such as The Mezz, Radio City and The Button Factory and also toured with Paddy Casey.
This new four track CD is the latest in their repertoire and is as thrilling as its predecessors!
It begins with Science, which is an upbeat number, with a choppy start. Staccato guitars take you into the verse, with a gradual build up of dynamic. I love the seductive bass riff in the verse. Backing vocals provide a vibrant curtain of volume. The chorus is blasted out and a total contrast to the first section of this song. Niall Donnelly goes from clear, cool vocals, to open up into a dramatic change for his crazy rock singer’s voice. This guy is a master at this style changing! A short but sweet lead solo features and an amazing middle eight, with distortion laden guitar and lots of space aged synth injected too. At the end of the track there’s an unexpected finale performed by a Brass section, bringing the song to its conclusion.
Sing with your eyes shut A typical example of Donnelly’s ability to go from Jekyll to Hyde, this number begins as a soft ballad with a trickling guitar intro, exploding into a dramatic and powerful, yet slow rock song. Harmony is excellent filtered in at poignant moments. A riveting lead guitar solo features here, with some superbly magical riffs performed during the song. Wonderful guitar goes on throughout the number, altering from the soulful trickle to the elaborate and mind boggling lead solo, a treat that most of the band’s songs promise. The mood is dour in the lyrics and this is transferred to the melody, which is charged with a sense of bitter frustration.
(This Skin) Laminate An absolutely unforgettable experience, this song is fast moving, with a memorable chorus, delivered with Niall Donnelly’s unique and appealing style. Beginning with a delicious guitar riff, things build up from the verse to a crescendo of sound for the chorus. Close harmony in the chorus adds to the overall impact of this number. I particularly love Niall’s middle eight, where he totally roars out LAMINATE at a deafening level. Wow!
Run with me (Black Ties) The best till last, this track begins with a wowser of a guitar riff, which continues to pop in here and there during the song. Note bending, all guitars coming together in sync, and a sexy use of distortion, along with an outstanding chorus complete with harmony, it’s probably one of their best songs yet!
Blasts of chords are played as Niall sings the cheeky verse, to build up to the catchy and addictive chorus Run with me. He also sings the mid eight, which is a tendency in Sixteen Layers numbers. This is the special ingredient as far as I’m concerned and in this case, you find yourself singing it with Niall Stop telling me lies, quit hiding behind black ties and black lies, stop telling me lies. It’s exciting and it’s an adrenaline rush that comes to a dramatic stop. Amazing stuff!
Sixteen Layers, described by some as an unstoppable juggernaut of sound, are one band that have kept their own signature and always guarantee polish, top class musical content and arrangements. They can provide the quality of a live experience, even if you are just sitting in traffic with their latest CD playing on the stereo.
Wednesday, January 30, 2013
My Voice
My Voice
Donna Marie
Angela Macari O’Looney
Donna Marie has been performing since she was eleven years of age, when she did her first gig on bass after a four hour lesson from her mother. Having a distinctive vocal style, she has been involved in music since schooldays.
Her star continued to rise, when she worked with legendary band Breeze Junkie/ Breeze 52. Donna appeared as a solo artist on R.T.E.’s ‘All Ireland talent show’ in 2009, reaching fifth place in the final.
She composed a song especially for Madeline McCann, who went missing and has never been found. Little Angel raised enormous funds and addressed the issue of child abduction, which was a huge step for the cause.
From Enniscorthy, Co. Wexford, Donna Marie has a unique voice, which leaves you tapping your feet for the upbeat songs, or listening with reverence for the slower, emotional numbers. Either way, this lovely collection is a treasure worth having. Described as Alt/ Country/ Pop, her music is all of the above and more!
Alanis is the first track and has a choppy beat, with trickling electric guitar riffs in the verse and a seductive feel to it. Subtle key changes add to its charm and the chorus is really catchy, with backing vocals filling it up brilliantly. A sax solo comes in for the middle eight.
Little Angel This song would break a heart with its lyrics, sweet harmony and Donna’s delivery of the touching story about a little girl (Madeline) who is out there somewhere, while the world searches for her. Mummy’s angel spread your wings and fly back home.
An electric guitar intro takes us into Problem for you. This is a great number with a cheerful pop beat. The chorus is memorable and instrumentals are excellent, with great input on guitar and keyboards. Kieran Wilde performs brass later in the track.
A fast rock n roll song, Confidence Man is fab, where the sexier side of Donna’s vocals feature. Some wonderful distortion laden guitar riffs lend attitude, with flanger used in parts also.
Simple song This is a fun number, where Donna plays acoustic guitar. I hear a banjo,a punchy bass line and in general the whole song has humour, a truly catchy melody line and definitely one to dance around with. For the last chorus I hear a delicious input on liquorice stick (Clarinet). Probably one of the best songs on this album!
Hush has a big intro, with electric guitar, brass and piano. With wonderful melody line it is a truly appealing love song! It could also be sung by a doting parent to his/her little girl. Donna’s delivery is magical here. Roberta Howett performs harmony which is sweet and excellently placed.
My Voice
The title track from the album, this has a foot tapping beat, with a dramatic and catchy chorus. Guitar riffs throughout add atmosphere. Backing vocals join in for the chorus later in the song, with choppy flange laden guitar chords enhancing the mood.
Piece of My Heart
Donna performs this cover with panache. It’s a challenging but fabulous song, written by Jerry Ragovoy and Bert Berns and was performed by Emma Franklin, Janis Joplin, Faith Hill and Melissa Etheridge. Harmony is delightful on this track.
Bringing the beat up a little, I can see it is a gutsy number. The chorus is delicious, with fab input from the band. Guitars are superb.
Chrissie Hynde’s Brass in Pocket is a lovely choice for Donna’s distinctive and seductive vocals. Fiachra Trench performs on Piano and Hammond for this track.
The final song on My Voice is the popular Etta James standard At Last. The soulful number involves Hammond organ, Acoustic piano, trickling guitar and gentle percussion. Donna’s delivery here is original and extremely charming.
Musicians on this excellent collection include Aongus Ralston – Bass, Johnny Boyle – Drums, Gavin Ralston – Hammond and Piano, Roberta Howett – Backing Vocals and additional instrumentation is performed by Kieran Wilde- Brass, James Delaney – Wurlitzer/ Hammond, Sean Ralston – Acoustic Guitar, Gavin Ralston – Banjo/ Mandolin, Fiachra Trench-Piano/ Hammond Organ.
Angela Macari O’Looney
Donna Marie has been performing since she was eleven years of age, when she did her first gig on bass after a four hour lesson from her mother. Having a distinctive vocal style, she has been involved in music since schooldays.
Her star continued to rise, when she worked with legendary band Breeze Junkie/ Breeze 52. Donna appeared as a solo artist on R.T.E.’s ‘All Ireland talent show’ in 2009, reaching fifth place in the final.
She composed a song especially for Madeline McCann, who went missing and has never been found. Little Angel raised enormous funds and addressed the issue of child abduction, which was a huge step for the cause.
From Enniscorthy, Co. Wexford, Donna Marie has a unique voice, which leaves you tapping your feet for the upbeat songs, or listening with reverence for the slower, emotional numbers. Either way, this lovely collection is a treasure worth having. Described as Alt/ Country/ Pop, her music is all of the above and more!
Alanis is the first track and has a choppy beat, with trickling electric guitar riffs in the verse and a seductive feel to it. Subtle key changes add to its charm and the chorus is really catchy, with backing vocals filling it up brilliantly. A sax solo comes in for the middle eight.
Little Angel This song would break a heart with its lyrics, sweet harmony and Donna’s delivery of the touching story about a little girl (Madeline) who is out there somewhere, while the world searches for her. Mummy’s angel spread your wings and fly back home.
An electric guitar intro takes us into Problem for you. This is a great number with a cheerful pop beat. The chorus is memorable and instrumentals are excellent, with great input on guitar and keyboards. Kieran Wilde performs brass later in the track.
A fast rock n roll song, Confidence Man is fab, where the sexier side of Donna’s vocals feature. Some wonderful distortion laden guitar riffs lend attitude, with flanger used in parts also.
Simple song This is a fun number, where Donna plays acoustic guitar. I hear a banjo,a punchy bass line and in general the whole song has humour, a truly catchy melody line and definitely one to dance around with. For the last chorus I hear a delicious input on liquorice stick (Clarinet). Probably one of the best songs on this album!
Hush has a big intro, with electric guitar, brass and piano. With wonderful melody line it is a truly appealing love song! It could also be sung by a doting parent to his/her little girl. Donna’s delivery is magical here. Roberta Howett performs harmony which is sweet and excellently placed.
My Voice
The title track from the album, this has a foot tapping beat, with a dramatic and catchy chorus. Guitar riffs throughout add atmosphere. Backing vocals join in for the chorus later in the song, with choppy flange laden guitar chords enhancing the mood.
Piece of My Heart
Donna performs this cover with panache. It’s a challenging but fabulous song, written by Jerry Ragovoy and Bert Berns and was performed by Emma Franklin, Janis Joplin, Faith Hill and Melissa Etheridge. Harmony is delightful on this track.
Bringing the beat up a little, I can see it is a gutsy number. The chorus is delicious, with fab input from the band. Guitars are superb.
Chrissie Hynde’s Brass in Pocket is a lovely choice for Donna’s distinctive and seductive vocals. Fiachra Trench performs on Piano and Hammond for this track.
The final song on My Voice is the popular Etta James standard At Last. The soulful number involves Hammond organ, Acoustic piano, trickling guitar and gentle percussion. Donna’s delivery here is original and extremely charming.
Musicians on this excellent collection include Aongus Ralston – Bass, Johnny Boyle – Drums, Gavin Ralston – Hammond and Piano, Roberta Howett – Backing Vocals and additional instrumentation is performed by Kieran Wilde- Brass, James Delaney – Wurlitzer/ Hammond, Sean Ralston – Acoustic Guitar, Gavin Ralston – Banjo/ Mandolin, Fiachra Trench-Piano/ Hammond Organ.
Friday, January 18, 2013
Cfit Triage review
Cfit
Triage
Angela Macari O’Looney
Melodic and thoroughly enjoyable, this album involves intricate and exciting arrangements. Vocals are soothing and electronic instrumentals, mixed with acoustic are the perfect backdrop. Noel Duplaa, Grainne Dunne, Shane DeLier, Grainne McFeely, John Singleton and Phil Staunton are CFit. Additional vocals on this album are performed by David Cantan and Jennifer Roche.
You get a good variety throughout the entire CD, with some fantastic experimental numbers involved. Influences include such bands as Arcade Fire, Radiohead, The Frames. Lead vocals are extremely reminiscent of Neil Hannon’s moody depth in my opinion, or Thom York’s laid back appeal. The lighter female vocal alongside Noel’s style, creates a lovely contrast.
The opening song Great Pressure has a catchy chorus starting with the use of synthesized Vocals creating great volume, building up to a sudden explosion of sound. Dynamics continue to change throughout, going from softer acoustic verse, to explosive chorus. I like the way the band keep you guessing here!
Don’t Sweat the small shit is sung by Noel and Jennifer. I love the riff on Glockenspiel combined with sweet three part harmony that runs throughout this number. The melody is relaxing and reflects the sentiment in the lyrics. The entire piece is uplifting.
The Static is a lively, loud number opening up with busy bass guitar and weird verses that lend a Bowie atmosphere at times. The refrain in the background of the chorus is haunting and there’s a lot going on throughout the song. Lyrics were written by Noel Duplaa and David Cantan. Harmonics are incredible.
Surprisingly, a banjo intro takes us into Sideways. I get the feeling it’s meant to inspire a scene of someone a little intoxicated. At least that’s what the slinky pace and weary violin make me think of. Although there is quite an unexpected build up in dynamic, just before the close of the piece. I love this wonderful Pandora’s Box of surprises that are constant on this CD.
Base Isolation –There’s a soothing plucked acoustic guitar intro here and a relaxed beat, eventually developing into a more powerful chorus. A beautiful female refrain are you asking me for shelter, lends contrast to the lead male vocal. Noel’s delivery of the dramatic song, composed by himself and David Cantan, is really effective it breaks my heart, it breaks my heart.
Chemical memory is extremely short and is an instrumental done on synth. It’s very appealing and has a choppy, cheerful beat.
Dig up - This track, by Noel Duplaa and Gary Donald has a lot going on in it. It starts off slow and soulful, with backing vocals singing a catchy refrain. A change of pace occurs. Instrumentals are wonderful, with a brilliant bass line coming in later in the song, when it reaches crescendo.
Throw the babies to the Wolves a ballad, involves acoustic piano for the introductory verse. Cello joins in, when things build up. Guitar, Synth and drums also join, to create a distinctive reminder that there’s a kick to this song!
Beginning with beautiful Cello, Plausible Deniability is probably my favorite number. Involving trickling notation throughout and a memorable chorus, it builds up and backing vocals lend volume. Bass is wonderful. The huge plethora of instruments leaves you dizzy with wonder. Eventually you get an enormous explosion of sound, turning back to quiet sleepiness for the last few bars. Magical!
Don’t Sweat the smaller shit begins with acoustic piano as opposed to the earlier version, which began with electric. A trickling keyboard riff joins in. A wonderfully appealing melody is played on synth. Orchestral sounds follow this, and as in most of their songs, Cfit develop things upwards, to bring it all back down for the verse, where you go back to just vocals with piano.
Triage is hopefully the first of many. The band, which began as a trio, has gradually increased in number. They are currently working on their next album, which should prove easily as impressive as Triage.
Triage
Angela Macari O’Looney
Melodic and thoroughly enjoyable, this album involves intricate and exciting arrangements. Vocals are soothing and electronic instrumentals, mixed with acoustic are the perfect backdrop. Noel Duplaa, Grainne Dunne, Shane DeLier, Grainne McFeely, John Singleton and Phil Staunton are CFit. Additional vocals on this album are performed by David Cantan and Jennifer Roche.
You get a good variety throughout the entire CD, with some fantastic experimental numbers involved. Influences include such bands as Arcade Fire, Radiohead, The Frames. Lead vocals are extremely reminiscent of Neil Hannon’s moody depth in my opinion, or Thom York’s laid back appeal. The lighter female vocal alongside Noel’s style, creates a lovely contrast.
The opening song Great Pressure has a catchy chorus starting with the use of synthesized Vocals creating great volume, building up to a sudden explosion of sound. Dynamics continue to change throughout, going from softer acoustic verse, to explosive chorus. I like the way the band keep you guessing here!
Don’t Sweat the small shit is sung by Noel and Jennifer. I love the riff on Glockenspiel combined with sweet three part harmony that runs throughout this number. The melody is relaxing and reflects the sentiment in the lyrics. The entire piece is uplifting.
The Static is a lively, loud number opening up with busy bass guitar and weird verses that lend a Bowie atmosphere at times. The refrain in the background of the chorus is haunting and there’s a lot going on throughout the song. Lyrics were written by Noel Duplaa and David Cantan. Harmonics are incredible.
Surprisingly, a banjo intro takes us into Sideways. I get the feeling it’s meant to inspire a scene of someone a little intoxicated. At least that’s what the slinky pace and weary violin make me think of. Although there is quite an unexpected build up in dynamic, just before the close of the piece. I love this wonderful Pandora’s Box of surprises that are constant on this CD.
Base Isolation –There’s a soothing plucked acoustic guitar intro here and a relaxed beat, eventually developing into a more powerful chorus. A beautiful female refrain are you asking me for shelter, lends contrast to the lead male vocal. Noel’s delivery of the dramatic song, composed by himself and David Cantan, is really effective it breaks my heart, it breaks my heart.
Chemical memory is extremely short and is an instrumental done on synth. It’s very appealing and has a choppy, cheerful beat.
Dig up - This track, by Noel Duplaa and Gary Donald has a lot going on in it. It starts off slow and soulful, with backing vocals singing a catchy refrain. A change of pace occurs. Instrumentals are wonderful, with a brilliant bass line coming in later in the song, when it reaches crescendo.
Throw the babies to the Wolves a ballad, involves acoustic piano for the introductory verse. Cello joins in, when things build up. Guitar, Synth and drums also join, to create a distinctive reminder that there’s a kick to this song!
Beginning with beautiful Cello, Plausible Deniability is probably my favorite number. Involving trickling notation throughout and a memorable chorus, it builds up and backing vocals lend volume. Bass is wonderful. The huge plethora of instruments leaves you dizzy with wonder. Eventually you get an enormous explosion of sound, turning back to quiet sleepiness for the last few bars. Magical!
Don’t Sweat the smaller shit begins with acoustic piano as opposed to the earlier version, which began with electric. A trickling keyboard riff joins in. A wonderfully appealing melody is played on synth. Orchestral sounds follow this, and as in most of their songs, Cfit develop things upwards, to bring it all back down for the verse, where you go back to just vocals with piano.
Triage is hopefully the first of many. The band, which began as a trio, has gradually increased in number. They are currently working on their next album, which should prove easily as impressive as Triage.
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