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.
Thursday, December 23, 2010
Inner City Dogs
Niall O’Shea
Inner City Dogs
Angela Macari O’Looney
Niall O’Shea’s debut album Inner City Dogs, launched in September 2010 is a varied collection of songs, written from his experiences travelling around the world. Ten enjoyable tracks combine an interesting cross section of genres and influences. Niall’s amazing guitar technique whether on electric or acoustic is evidence of his love for the greats such as Jimi Hendrix, Led Zeppelin, U2 and many more. It’s a memorable combination of Classic rock and Bluesy type numbers that take you on a sweet journey, with Niall and his band.
Dogs
Fast moving, with a catchy guitar riff intro and thumping drumbeat, this song involves lots of chops and changes, with some exceptional guitar throughout and an excellent baseline. Niall reaches falsetto notes, his vocals quite interesting and his range impressive.
Chrissy
This is a favourite of mine. It always reminds me of 80s bands like The Jam, the chorus really cheerful, with a sing-along quality and chord combinations delightful. Trumpet lifts the mood right up. Guitar is simply perfect here too, particularly the lead into the chorus which totally makes the number in my opinion. I also love the chord riff just before the slow down for the middle eight. Harmony is delicious too in this upbeat melodic song, which ends on a wonderful jazz chord!
You get so many surprises with each number on this album. An elaborate acoustic guitar intro takes you into Red Horizon, with bass and percussion dramatic and a captivating melody line. Trumpet features big time here, played by Stefano Muscovic. Those riffs blasted out between each line add a wonderful explosion of sound, with both trumpet and Niall’s guitar blending beautifully. What a fabulous song and an outstanding arrangement!
Van Morrison comes to mind when I hear the intro to Too Long with its happy tempo, sweet chord combinations and folksy feel. Fiddle adds a touch of bohemian gypsy fun and is played by Cian Loughnane. A song for dancing around to, the melody in the chorus here is extremely memorable.
On Better Days which is one of the slower tracks, Niall has a little help from Jennie Place Ryan who sings harmony in the chorus. This begins as an acoustic song, electric guitar gradually coming in later on. Soulful and easy going, it’s another top quality number from Niall, who seems to have endless talent as an instrumentalist. Even the slower songs are very intricate, with loads going on throughout.
Lead solos on electric guitar and also riveting trumpet are key features in No Water Flows. This fast rolling number has a contemporary feel to it which I really like. It sounds like musicians having a really good time blending their instruments and putting yet another embellishment onto the song as it develops, speeding up then slowing down again. This makes the track an exhilarating experience. Niall’s slightly gritty vocals lean towards Cold Play’s Chris Martin’s tone, but he has this superb way of creating variation with his voice as if it’s an instrument in itself.
If creating an impact on his listener is Niall’s motive, he definitely achieves this in this great debut album. Of the remaining songs it’s hard to pick one favourite. Each is very special.
Violin is spectacular on Alleyways, which is a delightful piece, with lots of lovely harmony filtered into the chorus.
Warm Under the Sun is an unexpected injection of heavy rock, with grunged up guitars and lots of distortion involved. It has a Wow effect, with a chorus that has a harmonic refrain, a scorching lead solo, thumping drums and a busy baseline. This is Old Grey Whistle test type stuff, which would be a trip down memory lane for aged rock connoisseurs.
A love song All I have is a three four ballad, with descriptive lyrics, piercingly sweet violin and acoustic chords that would melt any heart. Your smile as sweet as a tangerine/ the taste of your warm soft lips brings me to my knees.This is only one example of the poetic lyrics in this song.
Sun Bleached Cans has an exotic rhythm, trickling guitar riffs and imaginative hooks throughout. Melody line is delicious too and Niall sounds like he thoroughly enjoys doing this number. Drums and percussion create a Latino beat, with the trumpet doing a Mexican riff that’s utterly beautiful. I picture a couple doing a seductive dance on a beach in the moonlight. A great escape from the winter blues, it’s a great choice for the finale to an entertaining show!
Other performers on Inner City Dogs include Nicole Hudson-Strings, Johnny Boyle Jnr.-Drums/Percussion, Q (Colm Quearney)-Bass/Harmonium/Organ/Piano/Handclaps.
The album was written over a period of years, with help on the production end of things coming from Q.
The cover art is in Black and White and depicts the man himself sitting on a tiled sidewalk outside a high rise block of flats, with a standard lamp and a plant strategically placed to give the impression that this may as well be his sitting room. Quirky! Like a hint at what you can expect inside this CD, with its unexpected twists and turns.
Inner City Dogs
Angela Macari O’Looney
Niall O’Shea’s debut album Inner City Dogs, launched in September 2010 is a varied collection of songs, written from his experiences travelling around the world. Ten enjoyable tracks combine an interesting cross section of genres and influences. Niall’s amazing guitar technique whether on electric or acoustic is evidence of his love for the greats such as Jimi Hendrix, Led Zeppelin, U2 and many more. It’s a memorable combination of Classic rock and Bluesy type numbers that take you on a sweet journey, with Niall and his band.
Dogs
Fast moving, with a catchy guitar riff intro and thumping drumbeat, this song involves lots of chops and changes, with some exceptional guitar throughout and an excellent baseline. Niall reaches falsetto notes, his vocals quite interesting and his range impressive.
Chrissy
This is a favourite of mine. It always reminds me of 80s bands like The Jam, the chorus really cheerful, with a sing-along quality and chord combinations delightful. Trumpet lifts the mood right up. Guitar is simply perfect here too, particularly the lead into the chorus which totally makes the number in my opinion. I also love the chord riff just before the slow down for the middle eight. Harmony is delicious too in this upbeat melodic song, which ends on a wonderful jazz chord!
You get so many surprises with each number on this album. An elaborate acoustic guitar intro takes you into Red Horizon, with bass and percussion dramatic and a captivating melody line. Trumpet features big time here, played by Stefano Muscovic. Those riffs blasted out between each line add a wonderful explosion of sound, with both trumpet and Niall’s guitar blending beautifully. What a fabulous song and an outstanding arrangement!
Van Morrison comes to mind when I hear the intro to Too Long with its happy tempo, sweet chord combinations and folksy feel. Fiddle adds a touch of bohemian gypsy fun and is played by Cian Loughnane. A song for dancing around to, the melody in the chorus here is extremely memorable.
On Better Days which is one of the slower tracks, Niall has a little help from Jennie Place Ryan who sings harmony in the chorus. This begins as an acoustic song, electric guitar gradually coming in later on. Soulful and easy going, it’s another top quality number from Niall, who seems to have endless talent as an instrumentalist. Even the slower songs are very intricate, with loads going on throughout.
Lead solos on electric guitar and also riveting trumpet are key features in No Water Flows. This fast rolling number has a contemporary feel to it which I really like. It sounds like musicians having a really good time blending their instruments and putting yet another embellishment onto the song as it develops, speeding up then slowing down again. This makes the track an exhilarating experience. Niall’s slightly gritty vocals lean towards Cold Play’s Chris Martin’s tone, but he has this superb way of creating variation with his voice as if it’s an instrument in itself.
If creating an impact on his listener is Niall’s motive, he definitely achieves this in this great debut album. Of the remaining songs it’s hard to pick one favourite. Each is very special.
Violin is spectacular on Alleyways, which is a delightful piece, with lots of lovely harmony filtered into the chorus.
Warm Under the Sun is an unexpected injection of heavy rock, with grunged up guitars and lots of distortion involved. It has a Wow effect, with a chorus that has a harmonic refrain, a scorching lead solo, thumping drums and a busy baseline. This is Old Grey Whistle test type stuff, which would be a trip down memory lane for aged rock connoisseurs.
A love song All I have is a three four ballad, with descriptive lyrics, piercingly sweet violin and acoustic chords that would melt any heart. Your smile as sweet as a tangerine/ the taste of your warm soft lips brings me to my knees.This is only one example of the poetic lyrics in this song.
Sun Bleached Cans has an exotic rhythm, trickling guitar riffs and imaginative hooks throughout. Melody line is delicious too and Niall sounds like he thoroughly enjoys doing this number. Drums and percussion create a Latino beat, with the trumpet doing a Mexican riff that’s utterly beautiful. I picture a couple doing a seductive dance on a beach in the moonlight. A great escape from the winter blues, it’s a great choice for the finale to an entertaining show!
Other performers on Inner City Dogs include Nicole Hudson-Strings, Johnny Boyle Jnr.-Drums/Percussion, Q (Colm Quearney)-Bass/Harmonium/Organ/Piano/Handclaps.
The album was written over a period of years, with help on the production end of things coming from Q.
The cover art is in Black and White and depicts the man himself sitting on a tiled sidewalk outside a high rise block of flats, with a standard lamp and a plant strategically placed to give the impression that this may as well be his sitting room. Quirky! Like a hint at what you can expect inside this CD, with its unexpected twists and turns.
Saturday, December 11, 2010
Sleeptheives CD review
Sleep Thieves
It was only a Satellite E.P. and City Lights single
Angela Macari O’Looney
Indie/Electro/Pop band Seep Thieves comprises Sorcha Brennan-Vocals/keys/Synth/Glock/Guitar, Wayne Fahy- Bass/Synth/Vocals/Programming and Derek Murphy-Guitars/Synth/Keys/Programming. They got together in 2008, from the ashes of other bands and blend well, seeming to really enjoy creating new sounds. This band is particularly entertaining to watch live, when they alternate between instruments for different numbers.
With Sorcha’s light vocals combined with catchy melody lines and electronic arrangements that are appealing, Sleep Thieves have begun to develop their music further, exploring newer ingredients to enhance each interesting song.
It was only a Satellite is their debut E.P. with four excellent tracks.
Winter
An electronic keyboard intro takes you into this number, with rhythm joining in. Wayne performs the verse and Sorcha the chorus, which is sweet and has a cheerful pop beat. The lyrics are happy and uplifting. Harmony is delicious and both singers combine their vocals well, with Wayne doing a refrain with the last chorus, where a glockenspiel riff creates a magical atmosphere.
Osumi
An electronic riff throughout this upbeat song is the key feature for me. Lots of weird and wonderful sound effects and percussion make it exciting. A strange disjointed guitar solo is unexpected, but adds to the space aged mood. Sorcha’s vocals are haunting.
Make your move
The baseline in this number is a big feature. Lots of trickling electronica throughout is quite appealing in this mainly instrumental piece. Sorcha sings a short chorus and things are laid back, with a dancey beat.
This is not an Exit
Promo lyrics, experimental style keyboards and a fast moving beat give this number life. Sorcha shouts out the words in a commanding voice, while complex instrumentals surround her and although quite short in length, there’s a whole lot going on throughout the piece. Like the E.P. itself, you get a compact and very enjoyable trip as you journey with this band and their various hi tech sounds.
City Lights
This fast moving song has a pretty simple melody line, with a catchy synth riff featuring. Sorcha paints a picture with her lyrics that’s quite romantic and the descriptions are great; In the morning we went out walking, we walked all day/ And we let the wind and the sea air blow all our worries away.
Bands from the 80s such as O.M.D. come into my head when I hear this plethora of electronica teamed with a musical vocal. There’s a nice combination of sweetness in Sorcha’s voice plus rhythmic, systematic beats and notation all very intricate, but really memorable. This new single is an enjoyable escape.
Sleep Thieves are a gentler version of electro act, with a female fronting it. Think of Fight Like Apes, Ham Sandwich, or Grand Pocket Orchestra, with less aggression and easily remembered, defining melody lines and it describes this young trio. They have played support to Fight Like Apes, Cranes and Dark Room Notes and also performed in the IMRO Showcase and Fringe festivals. Their debut album has a picture of a satellite in the night sky on it and perhaps a shooting star in the night sky would be a nice thought for their next CD, reflecting new age music, ambition and hope!
It was only a Satellite E.P. and City Lights single
Angela Macari O’Looney
Indie/Electro/Pop band Seep Thieves comprises Sorcha Brennan-Vocals/keys/Synth/Glock/Guitar, Wayne Fahy- Bass/Synth/Vocals/Programming and Derek Murphy-Guitars/Synth/Keys/Programming. They got together in 2008, from the ashes of other bands and blend well, seeming to really enjoy creating new sounds. This band is particularly entertaining to watch live, when they alternate between instruments for different numbers.
With Sorcha’s light vocals combined with catchy melody lines and electronic arrangements that are appealing, Sleep Thieves have begun to develop their music further, exploring newer ingredients to enhance each interesting song.
It was only a Satellite is their debut E.P. with four excellent tracks.
Winter
An electronic keyboard intro takes you into this number, with rhythm joining in. Wayne performs the verse and Sorcha the chorus, which is sweet and has a cheerful pop beat. The lyrics are happy and uplifting. Harmony is delicious and both singers combine their vocals well, with Wayne doing a refrain with the last chorus, where a glockenspiel riff creates a magical atmosphere.
Osumi
An electronic riff throughout this upbeat song is the key feature for me. Lots of weird and wonderful sound effects and percussion make it exciting. A strange disjointed guitar solo is unexpected, but adds to the space aged mood. Sorcha’s vocals are haunting.
Make your move
The baseline in this number is a big feature. Lots of trickling electronica throughout is quite appealing in this mainly instrumental piece. Sorcha sings a short chorus and things are laid back, with a dancey beat.
This is not an Exit
Promo lyrics, experimental style keyboards and a fast moving beat give this number life. Sorcha shouts out the words in a commanding voice, while complex instrumentals surround her and although quite short in length, there’s a whole lot going on throughout the piece. Like the E.P. itself, you get a compact and very enjoyable trip as you journey with this band and their various hi tech sounds.
City Lights
This fast moving song has a pretty simple melody line, with a catchy synth riff featuring. Sorcha paints a picture with her lyrics that’s quite romantic and the descriptions are great; In the morning we went out walking, we walked all day/ And we let the wind and the sea air blow all our worries away.
Bands from the 80s such as O.M.D. come into my head when I hear this plethora of electronica teamed with a musical vocal. There’s a nice combination of sweetness in Sorcha’s voice plus rhythmic, systematic beats and notation all very intricate, but really memorable. This new single is an enjoyable escape.
Sleep Thieves are a gentler version of electro act, with a female fronting it. Think of Fight Like Apes, Ham Sandwich, or Grand Pocket Orchestra, with less aggression and easily remembered, defining melody lines and it describes this young trio. They have played support to Fight Like Apes, Cranes and Dark Room Notes and also performed in the IMRO Showcase and Fringe festivals. Their debut album has a picture of a satellite in the night sky on it and perhaps a shooting star in the night sky would be a nice thought for their next CD, reflecting new age music, ambition and hope!
Friday, December 3, 2010
Jaded Sun CD review
Jaded Sun
Whiskey Drinker
Angela Macari O’Looney
The long awaited follow up to Jaded Sun’s Gypsy Trip, one of the most exhilarating rock albums of the decade from an Irish band, is finally finished and bears the band’s unique trademark of gritty rock vocals, elaborate guitar solos, upbeat numbers that are foot stomping and soulful rock ballads where you hang on to each word, riffs flowing like thick black treacle through the wonderful melody lines.
Formed in 2002, this highly successful five piece band have gone from strength to strength and continue to build up a large and faithful fan base. Their debut E.P. Raw was released in 2004 and went on to become the most downloaded song on Ireland’s download charts. This was followed by Falling on the Fears in 2005, which was co produced by top producers Chris O’Brien who worked with names such as Aslan, Adam Clayton and Hothouse Flowers, and Rock music producer Graham Murphy.
After a U.K. tour which included sold out shows in London and several festivals, the band appeared playing support to top bands Nickelback and Bon Jovi in Croke Park; a brilliant achievement indeed.
Gypsy Trip, recorded in Los Angeles and mastered in Ireland, was their debut album released in 2008 through Sian Records. Whiskey Drinker launched in October 2010, is like the perfect chaser after three delicious pints. And it hits the spot!
The title track Whiskey drinker is upbeat, with amazing fast rolling lead guitar, a busy baseline a la Damien Kelly and John Maher’s vocals commanding as he sings out the smart ass lyrics with passion. It’s a great introduction track with so much going on in it. Honky tonk style piano notes, distortion packed chords with enough chops and changes for middle eight, and then you are treated to one totally ball breaking lead solo. With two of Ireland’s Gods of guitar, Eorann Stafford and Sean Gosker giving it there all, in a track that whets your apatite for the ride, Jaded Sun leave no stone unturned.
Sweet Mary opens up with guitars doing echoic style lead, building up to a big distortion laden riff that has that special Jaded stamp on it. Thumping drums, paradiddles and rolls come from the new and gorgeous drummer of the troupe Aaron Madden. The no nonsense twin guitar riff between verses is for me a key feature, as is the wonderful key changing climb for the chorus. This is dramatic and very effective, as John seduces the listener with delicious lyrics; Took her home to my place I dimmed the lights and I played the blues. Soon as I got the chance then I relieved her of her clothes. Chords are sublime, lead throughout is superb, but in particular the shared guitar break which is short and sweet gets me. Backing vocals in splashes lend atmosphere too.
The next number Fire begins with a resounding intro that’s done with some really powerful feedback from the guitars.
Then surprisingly John comes in with a softly sung acoustic verse. Lyrics are brilliantly descriptive and things gradually build up to an anthemic style throbbing rock chorus. Melody line is really memorable, guitars let loose with Sean playing a scorching solo using flanger. Riffs and hooks are outstanding in this compelling piece that simply has it all!
With a delicious intro Breakdown Easy is for me one of Jaded Sun’s best ever songs!
The use of piano and acoustic guitar on this track helps the mood and lends emotion. John’s performance is spectacular and he totally captivates with vulnerability so unexpected, as he pours out the beautiful lyrics.
Harmony is lovely in the chorus, with a key change for the sung middle eight adding interest. Also the ascending chord combination is wonderfully appealing.
Lead solo is elaborate and heartbreakingly sweet, going up to screaming high notes from delicious bass notes. Magical instrumentals seem to flow freely throughout this first class song, which finishes with piano notes creating a crying effect.
A remixed version of a favourite slower Jaded Sun song Crave, takes this perfect journey to its conclusion. It begins with just John and a Gospel choir taking you to the first chorus, when guitars and rhythm gradually join in.
With a winning melody line, it’s a love song that is definitely a classic from this band. The addition of piano makes a difference for sure, along with the backing singers who perform gospel style harmony throughout. Big bashing chords for the middle eight lead you up to a gorgeous lead solo. If it’s possible to improve on a Jaded Sun number, there are a few nice tweaks and twists included here.
John’s vocal range is also demonstrated to great advantage as he carries you with him through each romantic line.
The album art is appropriately a bartop with a half drunk glass of golden whiskey and beside it another one lined up. Inside the cover, the lads thank all of the people who made their new E.P. happen.
It takes a lot of staying power for bands to survive at a time like this and I’m not at all surprised that this collection of songs raises the bar (excuse the pun), proving that Jaded Sun can continue composing and performing such powerful music and not only this, but improving and enhancing it to keep it alive and kicking.
Whiskey Drinker
Angela Macari O’Looney
The long awaited follow up to Jaded Sun’s Gypsy Trip, one of the most exhilarating rock albums of the decade from an Irish band, is finally finished and bears the band’s unique trademark of gritty rock vocals, elaborate guitar solos, upbeat numbers that are foot stomping and soulful rock ballads where you hang on to each word, riffs flowing like thick black treacle through the wonderful melody lines.
Formed in 2002, this highly successful five piece band have gone from strength to strength and continue to build up a large and faithful fan base. Their debut E.P. Raw was released in 2004 and went on to become the most downloaded song on Ireland’s download charts. This was followed by Falling on the Fears in 2005, which was co produced by top producers Chris O’Brien who worked with names such as Aslan, Adam Clayton and Hothouse Flowers, and Rock music producer Graham Murphy.
After a U.K. tour which included sold out shows in London and several festivals, the band appeared playing support to top bands Nickelback and Bon Jovi in Croke Park; a brilliant achievement indeed.
Gypsy Trip, recorded in Los Angeles and mastered in Ireland, was their debut album released in 2008 through Sian Records. Whiskey Drinker launched in October 2010, is like the perfect chaser after three delicious pints. And it hits the spot!
The title track Whiskey drinker is upbeat, with amazing fast rolling lead guitar, a busy baseline a la Damien Kelly and John Maher’s vocals commanding as he sings out the smart ass lyrics with passion. It’s a great introduction track with so much going on in it. Honky tonk style piano notes, distortion packed chords with enough chops and changes for middle eight, and then you are treated to one totally ball breaking lead solo. With two of Ireland’s Gods of guitar, Eorann Stafford and Sean Gosker giving it there all, in a track that whets your apatite for the ride, Jaded Sun leave no stone unturned.
Sweet Mary opens up with guitars doing echoic style lead, building up to a big distortion laden riff that has that special Jaded stamp on it. Thumping drums, paradiddles and rolls come from the new and gorgeous drummer of the troupe Aaron Madden. The no nonsense twin guitar riff between verses is for me a key feature, as is the wonderful key changing climb for the chorus. This is dramatic and very effective, as John seduces the listener with delicious lyrics; Took her home to my place I dimmed the lights and I played the blues. Soon as I got the chance then I relieved her of her clothes. Chords are sublime, lead throughout is superb, but in particular the shared guitar break which is short and sweet gets me. Backing vocals in splashes lend atmosphere too.
The next number Fire begins with a resounding intro that’s done with some really powerful feedback from the guitars.
Then surprisingly John comes in with a softly sung acoustic verse. Lyrics are brilliantly descriptive and things gradually build up to an anthemic style throbbing rock chorus. Melody line is really memorable, guitars let loose with Sean playing a scorching solo using flanger. Riffs and hooks are outstanding in this compelling piece that simply has it all!
With a delicious intro Breakdown Easy is for me one of Jaded Sun’s best ever songs!
The use of piano and acoustic guitar on this track helps the mood and lends emotion. John’s performance is spectacular and he totally captivates with vulnerability so unexpected, as he pours out the beautiful lyrics.
Harmony is lovely in the chorus, with a key change for the sung middle eight adding interest. Also the ascending chord combination is wonderfully appealing.
Lead solo is elaborate and heartbreakingly sweet, going up to screaming high notes from delicious bass notes. Magical instrumentals seem to flow freely throughout this first class song, which finishes with piano notes creating a crying effect.
A remixed version of a favourite slower Jaded Sun song Crave, takes this perfect journey to its conclusion. It begins with just John and a Gospel choir taking you to the first chorus, when guitars and rhythm gradually join in.
With a winning melody line, it’s a love song that is definitely a classic from this band. The addition of piano makes a difference for sure, along with the backing singers who perform gospel style harmony throughout. Big bashing chords for the middle eight lead you up to a gorgeous lead solo. If it’s possible to improve on a Jaded Sun number, there are a few nice tweaks and twists included here.
John’s vocal range is also demonstrated to great advantage as he carries you with him through each romantic line.
The album art is appropriately a bartop with a half drunk glass of golden whiskey and beside it another one lined up. Inside the cover, the lads thank all of the people who made their new E.P. happen.
It takes a lot of staying power for bands to survive at a time like this and I’m not at all surprised that this collection of songs raises the bar (excuse the pun), proving that Jaded Sun can continue composing and performing such powerful music and not only this, but improving and enhancing it to keep it alive and kicking.
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