alternativeirishmusicreview

Electric Picnic 2012 lineup

2012-03-01T17:11:00.000Z

The lineup for this years Electric Picnic has been released with acts such as The Cure, Sigur Ros, and Elbow standing out at first glance. Other standout acts include The Horrors, Grizzly Bear, Metronomy, and Baxter Dury. While it's great to see AIMR favourites and Irish dance stars Solar Bears, included in the lineup.

Tickets are €230 for a weekend pass, Family camping costs €230 per adult and two U12 kids are free, Sunday passes are €99.50 and Campervan tickets are €60. Tickets on sale Friday 2nd March.

Electric Picnic 2012 Lineup

The Cure, Orbital, Sigur Ros, Ed Sheeran, Grizzly Bear, The Roots, Hot Chip, The XX, Elbow, Bell X1, Christy Moore, Glen Hansard, Metronomy, The Horrors, Azealia Banks, Roots Manuva, Staff Benda Bilili, Milagres, Alabama Shakes, Cranes, Little Roy, Land Lovers, Baxter Dury, Jonathan Wilson, Solar Bears, Fatoumata Diawara, Willis Earl Beal, Lanterns on the Lake

Interview: Red Empire

2012-02-17T16:18:00.000Z

Red Empire launch their "Strange Philosophy" EP in The Village this Saturday (18th) We caught up with lead singer Craig Cahill and multi-instrumentalist Gar McCarthy as their début release is about to be unveiled to the world. We discover how they didn't let a little thing like the Liffey, get in the way of making music. How hometown dreams are about to become true and how they owe it all to the fans.

How do 5 guys from the 4 corners of Dublin come to form a band?

It was mostly through a mutual friendship. Myself and Gar had been playing together since we were 15 and similarly Richie, Dessie and Deco had been in a band together for a long time. About five years ago they went into the studio with Joe Jewell (Aslan) to start recording some demos. Those sessions went really well and they led to the lads wanting to add a singer and a keyboard player to the line-up. Luckily enough Joe knew gar and me from some previous recording sessions and at the time we were looking to move on to a new project. We already knew the lads and had met up for pints with them on a few occasions and appreciated each other's music so the scene was set. We started rehearsing together and it just clicked and here we are now as Red Empire.

How would you best describe your music?

First off, we'd say that it's full of heart. We appreciate good honest well-written songs and have never been afraid of melody - in a lot of music out there at the moment there seems to be a lack of new and honest melody. The fact that Gar and Richie are two very different songwriters from two very different backgrounds we feel we've got the best of both worlds. Richie is an instinctive ballsy songwriter whereas Gar's songwriting and study of music allows us to explore our music with greater depth.

Who are your influences?

Well, you spoke about the four corners of Dublin in your first question and because we all come from different backgrounds we're all into different music. There's a lovely cocktail of influences going on in the band from Radiohead to Orbital to Oasis to the Smiths.

Tell us about your new EP?

It's our first release as Red Empire and is therefore very special to all of us. It contains three tracks: Denial, Strange Philosophy and Hotel. We feel that it's a great introduction to the band and our sound. There's a song for breakfast, dinner and tea. It moves from a song about admitting when you've failed to one about not admitting when you've failed and finally to a song about sexuality. An unusual combo but there you go!

Tell us about the video for "Strange Philosophy" the lead track from the EP?

Well, Joe (our producer) came up with the original concept. Paul Andrews, who looks after the photography and day-to-day running of the band, was talking to his friend Daragh (Daz) Murphy who is a video Director and Editor and he came on board after speaking with us about the song and the concept behind the video. The idea behind the masks is that when people go to see a band playing live they experience being a part of the band. We felt that by giving people a random mask of any member of the band that this would increase that experience. The song itself is a movement from a cool funkiness to full-on rock. We felt that the suits represented the cool funkiness of the verses and the full-on rock is just us being us.

You are opening for Aslan in Tallaght Stadium later this year. It must be an exciting yet daunting prospect. Perhaps doubly so for the hometown boy in the band?

Yeah, we're really looking forward to it. It's going to be a great gig and we think it will be one of those legendary days out in Dublin that people will talk about for years. There's going to be a crowd of around 20,000 so it will be amazing. I grew up in the area so it will hold a special significance for me. I'm dying to play in my hometown i have to say.

How much of an influence have Aslan been both musically and personally on red empire?

Well, Joe has been a friend for many, many years. To be honest we have nothing but admiration for the way that they have worked over those years. When you look at it objectively – they’re bands who for thirty years have worked fairly continuously on the domestic market without any major label backing for the majority of that period. I don't care what level of the music industry you may be working at you have to stand back and admire that kind of drive, determination and longevity. They have created an amazing body of work of those years.

What current Irish music has had a positive influence on Red Empire?

As i was saying earlier we're all different people and we listen to different music, very different music in some cases. Some of the Irish music that's come up in conversation over the last while and that we all admire are artists like Villagers, Damien Dempsey, James Vincent McMorrow, Funeral Suits, Royseven and The Ambience Affair.

Who is the band's unsung hero?

There's quite a tight-knit group of fans that have followed us since the early days. They can point out to us when we've changed something in a song or tried something new. We would say that collectively they are the unsung heroes of the band. They give us the motivation to try new things and to improve the music all the time.

What's next for Red Empire?

First of all we hope that everyone enjoys the EP. We are constantly working on new material and allowing the songs to evolve. Since we formed we have written and recorded a large number of songs and we will be releasing another EP in early summer. We really like the idea of releasing multiple EP's with each EP having a different feel and a different atmosphere. We feel that this approach allows us to be more creative rather than being tied down by the rules of an album. We're living in the digital age and the musical landscape is changing all the time and we as a band want to exploit that. We're also thinking about writing a musical about the recession but we'll leave that 'til another day…only messin'!

Red Empire play The Village this Saturday (18th) doors 8pm Admission €5

Review: Bill Wells - Lemondale

2012-02-16T20:58:00.001Z

Bill Wells, latest album "Lemondale" is a fine collection of classic Parisian Jazz sounds, with an added Avant-Gard post rock sensibility. Lemondale was recorded in Tokyo in one day and features 14 musicians, including members of the local vibrant underground scene. Namely former Sonic Youth member/producer Jim O'Rourke on guitar.

The album flitters comfortably between sprightly Left Bank, cafe-culture, and dark lingering laments. While all the tracks have a soundtrack or film score element within them. "Toon City" evokes visions of a Film-Noir, Gumshoe, anti-hero, silhouetted in the shadows as the rain pours down on mean Parisian streets. The rather more contemporary European feel of post rock originates Sterolab, is audible on "Harvest Bag" and "Courtin' Love". "Invade The Pitch" is a beautiful lingering composition of weaving brass, ticking all the classic jazz boxes as it goes.

"Effective Demand" is perhaps the standout track on the album combining all the post-rock and jazz elements into one fun-filled package. Unfortunately the vocals on "Mitzu Tori" sound like a scratchy Japanese karaoke run through of a Shirley Bassey song.. Which is a pity because the music is quite good. The album's title track and closing number "Lemondale" is a bizarre reimagining of "A Whiter Shade of Pale" which adds nothing to the 1967 original by Procul Harum.

Despite these few minor blips Lemondale, is a fine collection of highly listenable and vivid compositions, expertly executed by a stellar cast of musicians. And offers a welcome distraction from the world of cardboard guitars and pointless copy and paste pop-stars.
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Review: The Lost Brothers - So Long John Fante

2012-02-13T17:26:00.001Z

It's rare to find a collection of songs with Johnny Cash and The Everly Brothers as the cornerstone of influence. Even rarer still to find it delivered with such purity and acumen, that you may mistake it to be their long-lost contemporary. So Long John Fante, by Irish American duo The Lost Brothers, is such an album. Eleven beautifully crafted songs, which would grace any artists cannon. Make no doubt about it, this is a folk masterpiece. Mark McCausland and Oisin Leech's beautiful harmony vocals are warm, nuanced, and breathtaking. Whilst the instrumentation is exquisite from the get go. This is unsurprising as The Lost Brothers, drafted in Richard Hawley's band to accompany them.

There's a picket fenced 50's innocence and joy of spirit on tracks like "The Goodbye Kid", and a Folsom feel to tracks such as "Oh Brother". Whilst "Bells They Won't Ring" is a vivid tale of what might have been. With a stirring orchestral backing mixed with haunting pedal steel. "Hollow Call" sees the album turn towards a more sombre Simon and Garfunkel, style of duetting, with intricate acoustic guitars providing musical accompaniment. The Lost Brothers, excel at this style of delivery, which continues on "Golden Dawn".

Released at the tail end of 2011 "So Long John Fante" missed the "best of" fanfare it truly deserved, as you will struggle to find many better albums released last year. Hopefully it will get the recognition it deserves as award season rolls around later this year.

The Lost Brothers, play The Odessa Club on February 23rd. and support The Felice Brothers in The Academy on March 15th.

Video: Deaf Joe - Repent

2012-02-13T16:59:00.000Z

The Delphi Label, have a serious eye for a tune, having brought us the wonderful Sacred Animals, and We Cut Corners, in the last 18 months. They are also about to unleash the excellent Hush Warcry's debut EP in the near future. However, it is now the turn of Deaf Joe, their in-house troubadour to reap the rewards of his substantial talents. His debut album "Burrowings" is released on Friday (17th) and should finally see him take center stage."Repent" is the first single to be taken from the album. Its a dark claustrophobic song with a suitably dark, atmospheric video. Directed by Neil O'Driscoll.

Deaf Joe: 'Repent' from Neil O'Driscoll on Vimeo.

Video: Ghost Estates - October

2012-02-12T14:17:00.000Z

Kildare 5 piece Ghost Estates have released a video for their forthcoming single "October". It's not a cover of the classic U2 track. It's a feisty, bouncy, euphoric, composition of their own. Ghost Estates launch "October" in The Grand Social this Friday (17th). Doors 8pm, Admission €10 with a free copy of the single.

Review: The Quicksand Band "Approaching Rain" album launch

2012-02-07T16:10:00.000Z

Album launches must be one of the most stressful experiences a band can go through. What with all the added pressure that goes on behind the scenes, with the guest list, merch, and promotion, suddenly taking on equal importance to the show itself. Far too often the gig suffers as a result. The bands who crumble under this pressure are usually not that good to begin with. The good bands step up and push themselves to the limit. The Quicksand Band delivered their personal best.

Support act Fear of Folk, delivered a fine set of mid tempo acoustic rock numbers, think Travis at their best, with added pedal steel and you wont go wrong. Several of their songs were of an extremely high standard. Which indicates that they are well ahead of the curve, for a relatively new band on the scene.

It was standing room only as The Quicksand Band, cemented their live reputation in front of a buoyant crowd, at the launch of their debut album Approaching Rain, upstairs in Whelans. Hailing from Tallaght, this alt country rock quartet, follow in the dusty footsteps of Neil Young, Tom Petty, and Wilco. Delivering a range of material from breezy, feel-good, 60′s folk tinged Cali-pop, to brooding grungy premonitions of death.

Lead singer Justin Corr, has a powerful emotive voice capable of belting out big luscious notes with ease. The Quicksand Band, are very much a vocal-harmony group and the interplay between Corr and lead guitarist Phil Clarke, is at times exquisite. Clarke’s guitar riffs in the main, are classic meaty country-style riffs. But he is not afraid to delve into Harrison-esque blues territory, on songs such as “Beaming Out”. While his solos have an alt rock guitar hero feel to them. The rhythm section of Shay “sex-face” Cosgrave (drums) and Bonezz (bass) is accomplished.

The murky, Neil Young style “Stars Appear” is an early highlight, built on a crunchy swamp riff. Forthcoming single “Learning” is a breezy radio friendly jaunt, set somewhere between early Fleetwood Mac and Nilsson, which extends into a long expansive guitar solo. Expect to hear this track on the radio next summer. Clarke, takes lead vocals on several songs “Bury My Bones” sees him deliver his finest vocal of the evening. This song, must certainly be in the mix for single status. Having a distinctive sound, with an old west gold-rush feel to it.

The album’s title track “Approaching Rain” is another highlight. It showcases Corr’s gentler side on another radio friendly number. Midway through the track Clarke enters with a highly hummable melody line, which sets the song up for a lighter in-the-air extended finale. Songs such as “All The Love” and “Time” further showcase the bands diverse sound. A cover of Van Morrison’s “Warm Love” caps of an excellent performance.

Approaching Rain, is available from Tower Records and Bandcamp now. With an itunes release to follow shortly.

Review: Air "Le Voyage dans le Lune" Soundtrack

2012-02-05T19:56:00.000Z

In 1902 Georges Méliès, pushed the boundaries of silent film, with groundbreaking special effects taking the viewer, beyond terra firma, in the first science fiction movie "Le Voyage dans le Lune". It is fitting that 110 years later, musicians at the forefront of French music were given the task of scoring this seminal piece of cinematic history, for its 2012 digital re-release. The themes of space, and the moon have never been far away from electronicist duo Air's music. But they were not only the obvious choice for the job. They were the appropriate choice for the job. Méliès, would surely approve of his work being entrusted to fellow stargazers with big imaginations backed by wit, intellect, and an inbuilt sensitivity to his original production.

Air have expanded their 16 minute score into a full blown album. From the opening notes of "Astronomic Club" it is clear that Air, have taken this task, extremely seriously. What follows is an intricate collection of songs and instrumentals. It becomes apparent as the album progresses that there has been a meticulous and purposeful juxtaposition of modern and classical instruments "Seven Seas" mixes old-world instruments with futuristic electronic bleeps. While the lyrics chart a suitably ephemeral trip to the moon. The live instrumentation, especially the drums and bass, give this track an industrial feel.

"Parade" is a swaggering post-rock mix of guitar licks and throaty keyboard riffs. While "Moon Fever" echoes the classic sound of Bowie and Eno's Berlin collaborations. One of the albums standout tracks "Sonic Armada" is jammed out around an intergalactic pixie melody. Once again the bass playing is exceptional as is the keyboard wizardry.

The deathly lullaby "Who Am I Now" featuring vocals by Au Revoiur Simone, is the least pleasing of the collection. "Cosmic Trip" sees Air creating more familiar sonic architecture, with driving basslines and hectic background bell melodies colluding, before a familiar voice emerges from the vibrant haze. Final track "Lava" is reminiscent of Pink Floyd in their magical heyday. Thus concluding a fitting musical tribute and companion piece to "Le Voyage dans le Lune".

Soundtrack albums are often hit and miss containing too many 30 sec tracks which are paramount to the movie, but ultimately destined to be skipped over by the listener. Thankfully Air, have avoided this pitfall and the album contains only two such tracks, which are beautiful. The quality of this collection suggests that Air shall be in top form for their next album proper.

Video: The Quicksand Band - Making The Album Part 2

2012-02-02T19:20:00.000Z

Several months back we brought you "part one" of Alt-Country quartet The Quicksand Band's "Making The Album" video, which accompanies their forthcoming debut album Approaching Rain. The band have released "part two" ahead of the albums launch, upstairs in Whelans, this Saturday (4th Feb), with support from Fear Of Folk. However, if you can't wait that long the band will be performing in Tower Records at 1pm tomorrow.

Approaching Rain was produced by acclaimed Irish Singer-Songwriter Gavin Glass and is currently streaming on the bands Bandcamp page. Check out Facebook for more info if you like what you hear.

Interview: The Jon Cohen Experimental

2012-01-19T22:35:00.001Z

Jon Cohen, first became a musician of international standing as part of Montreal’s The Dears. Once hailed by NME as “the best new band in the world”. A heavy moniker for any band to carry and though the flame burned bright for several years, it fizzled, just like the acclaim. Cohen, moved onto more critical acclaim with The Social Register, and several other bands. His latest undertaking The Jon Cohen Experimental, has spawned 2 albums 2007′s self titled debut and 2011′s Behold.

Jon Cohen, brings his one-man orchestra to The Grand Social this Friday (20th) in what promises to be an eye-opening evening. We caught up with him mid-transit, dreaming of a pint of “the black stuff”.

How the devil are you?

Damn good, feeling great, on top of my game. I’ve been putting this beast of a tour together. It’s called the passenger tour and it will see me on a two-month non-stop road trip across all of Europe, Uk and Scandinavia. I’m at the airport lounge now waiting for my late flight and finally breathing a sigh of relief that it’s actually underway. I cant believe it! This is gonna be sweet.

Your musical past and present is quite varied and there seems to be a simultaneous personal and musical development. How did the latest chapter evolve and how would you describe your current output?

My current output is at about 120 volts AC and 1700 Ma DC…ok just kidding, Well I’ve always considered the music I make to be an amalgamation of influences that are so jumbled together none of them want to show their true identity. That being said, I have always been a true believer in the power of tender love and care. The same way you would treat a gently child, or a flower or a beautiful woman, I would with a song. Especially when it is first being conceived. In the past I would write and write and write to my hearts content but I wasn’t developing anything I wrote. I was only into the instant pleasure of creation. Now I’m trying out a different set of gloves. With the songs on Behold, it was all about care, all about working and re-working them with the band. It was about letting the music grow and develop over time, like fine wine, letting it ferment and take its own shape as opposed to recording them right away. This has been the last chapter of my life, fatherhood but not of children, rather songs which are my children. I am now putting them through the growing pains of adulthood by transforming them into solo one-man band songs. I’m impressed with how well they turned out.

Having been in many bands over the years is it liberating to be the ringmaster at last?

Yeah, it’s more liberating to be touring and playing as a one man orchestra on top of writing and performing my own music. In many ways it has its own challenges. But I like meeting them and I love being involved and growing something, seeing it manifest, becoming something beautiful. Music has a special way of reminding us of our own humility. It’s so grandiose in itself, so deep and so powerful. When you are in that studio and its all coming together, it’s like you are no longer in control of it. You kick started the process but that’s all it took. after that it’s out of your hands if you are wise. Because then it takes on a life of its own. I was in the studio for the record all the time listening to the mixing thinking “did I really create this?” That’s why I say I didn’t record this album. Rather this record recorded me. In the same way, when I was playing in other projects, I wasn’t so much involved in the process but rather I was used as a tool to achieve it. It’s not a bad thing at all, it’s a wonderful thing to be a tool. You become the instrument, the scalpel, the drill with which the artist can create. I enjoyed that a great deal too and still do it (albeit I do it a lot less now than before) but I hope to be utilized again.

Will this be your debut Irish performance? If so what are your expectations? if not how did you find the previous experience?

I have no expectations; I chose to play in Ireland because I feel a certain Kinship to the Irish. Not many indie performers from Canada do Ireland when they do a UK tour for some reason, must be the straight (maybe they can’t swim as well as me!) I spent some time in Dublin about ten years ago and fell in love with the place, the people and the Guinness (still remember the taste of that original pint in the underground bar at the Guinness Brewery). That’s really why I’m coming back!!!

No but seriously I think it’s going to be a kickass show and I’ve heard great things about the Grand Social. Whatever happens in Dublin this Friday night, expect two hundred and fifty percent from me on that stage.

Are you aware that Dublin is currently a hotbed for experimental and post rock music, with highly passionate and well-versed fans? Whit that in mind, what can people expect from a Jon Cohen Experimental show, and why should they attend?

I am aware that an amazing scene is brewing in Dublin town. I did lots of research in preparing these shows and was really blown away by this. It reminded me a lot of Montreal in the heyday (2005-07) I’m glad I made the decision to come. Really, I wont try to sell myself too much except to say that this is a once in a longtime opportunity for the fine indie /experimental/folk/post rock/pre rock and during rock denizens to come together as a live, organic, feeling, breathing dancing, loving and living audience. You will be blown away not by my show but what our show will bring out in you and what we as a unit are gonna create together. This is an outspoken act of creation and you are called forth. How could you not answer that call?

“The Passenger Tour” is a gigantic undertaking. Is this a labor of love or a financial necessity?

Finances have nothing to do with it. I’ve already put more time, effort money and hours into this thing than I expect will come back to me. I see this more as an expense, a trip, like if you were going to Cuba, or Thailand, except less hot. No, people have wondered if I didn’t get a lobotomy to embark on such an expensive journey. Perhaps they’re right, but I have to say that even though I may be lacking some brain cells, it will be so so worth it in the end to have the honor to meet and play for all the beautiful faces of Ireland, the UK, Scandinavia and then Europe. I love these mega tours, they make me feel like its 1970 and I’m on a mega world tour with Iron Maiden or something. Ok maybe not Iron Maiden, maybe Rush.

What five songs from your career are you most proud of and why?

I like this question. Hmm let’s see, I’m particularly proud of the Song “Brain Pollution”, written in Laos after having a deep realization about myself. “Don’t be the Cloud” is great because it came together so spontaneously. “Behold” because Angela Desveaux sings on it, and she has the voice of an angel. From My first record, “I Won’t Mind” because it’s so epic yet still very pop friendly. Finally, “This Wind of Mine”, I wrote it on a balcony in Casablanca, on a beautiful sunny afternoon when the entire city was shut down because everyone naps at 3pm (I wish we could do that too). So it was so quiet except for the sound of a family of birds chirping and floating at high speed from rooftop to rooftop in complete synchronicity and unison. I was watching one brain, one mind at work. That was a beautiful moment for me…. birds, wind and the sound of one lone classical guitar on a sunny roof top balcony.

With record sales at a low ebb where do you see the future of the record industry?

I don’t know, it’s changing for sure, live music is the new album, and even bands now are playing their famous albums as a live show. The live context is the future of music. It’s almost like we’ve come full circle, like we are back in the days of the travelling troubadours, gypsies, playing music for the love of it, and for money and survival. But it’s no longer only in the hands of the antiquated model of corporate musician slavery. Now the playing field is more level and its up to the ingenuity and creativity of the musicians themselves to make things happen. Mostly though, their desire to get out of their bedroom studios and see the world, play for the world, not only think about money fame whatever all these things are just fodder for the ego. Its time we put our music where our mouth is. That’s why I decided to do these tours, why I give it all up. After a certain time of being stagnant and waiting for something to happen (which it didn’t) I’m putting my own dents in the world, my faith in my own hands now and not hoping and waiting for some fantasy manager to swoop down from major label heaven to do it for me.

How is the current Canadian/Montreal music scene holding up post Arcade Fire and Dears hysteria?

Great, always growing always changing, always evolving, Montreal is a very transient place due to the French and the cold weather, but people are drawn here because it has so much energy. Bands form here and go on to do great things. I’ve lived here my whole life, and can tell you life doesn’t end at Arcade Fire. It’s only the beginning, and anyway, I know the media is always keen to put the spotlight somewhere but it’s outside the spotlight that the action is. Music scenes are like clothes; no city can wear them forever. I got my money on Dublin for my next outfit.

What’s next on the agenda for The Jon Cohen Experimental, juggernaut?

Definitely not a juggernaut, nor do I want it to be. I want to find out what my place is in the musical sphere is. I want to see how I can use music for good, that means for not back massaging my own sense of self. I want to connect with people, to feel something real with them. I want to accomplish what I need to accomplish and see where the chips fall after that. I want to be an open book, a live wire a conductor for genuine truth and beauty in music. I’m not there yet by any stretch but it’s the getting there that’s all the fun. Let’s go there together this friday night shall we Dublin?

Video: Lisa Hannigan - What'll I Do

2012-01-18T20:28:00.002Z

The undisputed queen of Irish music returns with the second single from her second album Passenger. "What'll I Do" showcases her unique talent to create and deliver a melody. The video sees Hannigan enjoying a fairground ride, and its great to see her having so much fun.

Video: The Aftermath - In Loneliness Lives Love

2012-01-17T21:26:00.002Z

There's a distinct Van The Man/Motown vibe running through The Aftermath's new single "In Loneliness Lives Love". A host of Irish and international talent make guest appearances on the track, including Karl Odlum (The Frames), Tosh Flood (Pugwash), Steve Wickham (The Waterboys), and Helen Turner (Paul Weller). Mullingar's finest band release the track on the 20th of January. Untill then check out the video below.

Review: About Group - Start and Complete

2012-01-16T22:13:00.000Z

In 2008 Alexis Taylor of Hot Chip fame created muso super-group About Group and released debut album "Rubbed Out" to critical acclaim. The premise for the project was to capture the experimentalism of a group in its infancy. 2011's follow up "Start and Complete" maintains this trajectory. Taylor uses the same approach Bruce Springsteen used in the recording of "Darkness on the Edge of Town". The band are only given the chords to the songs in suitable time, for them not to now the material at the time of recording. Inevitably with such an approach there are some interesting notes scattered throughout the songs, as the band create their parts live in the studio.

The album, for the most part is a collection of rather slow burning alt-country numbers and repeated listening is required to get past the initial inertia. The songs were recorded in Abbey Road in one day with bass overdubs added later. The spectre of The Beatles, must have been in the studio because the album has their signature, latter day blues feel to it, on tracks such as "Lay Me Down" Even more so on the swirly Billy Preston- esque organ parts on songs such as "Rough And Smooth". However, many of the songs seem unfinished rather than experimental, with 46 second track "There Is A Way To End This Run Of Doubt" being a case in point.

The album is bookended by the downbeat noodle "Married To The Sea" parts (a) and (b) both tracks are unfortunately over before they ever had the chance to truly begin. "Don't Worry", the first song proper on the album, is a merry mid-tempo track which shows off Alexis Taylor's voice to a degree, rarely seen in Hot Chip material. Standout track "You're No Good" is a wonderful 11 minute bitter boogie, laden with George Harrison-esque blues riffs and swirling organ parts. It is the best example of capturing a band in the creative process on the album

Sadly, despite the standard of musicianship on the album being first rate, the compositions themselves, are far to hit and miss to achieve any long term listening pleasure.The fact that six of the songs are less than 3 minutes long does not help the band to draw the listener in. Tracks such as "Repair Man" and "Nothing But Words" however, are worthy of note. This album will appeal primarily to organ and keyboard enthusiasts and Hot Chip diehards.

Review: Young The Giant

2012-01-16T22:04:00.000Z

Orange County quintet Young The Giant have crafted a debut album of anthemic, potentially stadium filling, rock songs. It's hard not to fall in love with their polished brand of highly melodic and uplifting jangly guitar pop, on songs such as 'Apartment'. However results are mixed with several rather boring songs weighing the album down. The standard of musicianship is excellent throughout, and although the music has a very stadium rock feel to it, it is also intricate and nuanced.

"My body tells me no, but I won't quit, cause I want more", belts lead singer Sameer Ghandhi in the first of several hands in the air moments on 'My Body'. It's the kind of rock song that Kings of Leon built their success upon. 'I Got' is a radio friendly bass and drums led mid-tempo disco meets barbershop outing. Once again the guitar work by Jacob Tiley is accomplished and weighted perfectly for the track which also features some notable organ swirls. The controversial 'Cough Syrup' the bands biggest hit to date, is the least rewarding of the tracks so far, as an over familiar melody with echoes of Jimmy Eat World and several one hit wonders is hammered home. 'God Made Man' continues the sudden drop in quality with only the chorus worthwhile.

The KOL light stylings of '12 Fingers' puts the album back on firmer ground. 'Strings' see standards raised furthermore. However, 'Your Side' really sees the quintet back in their stride with another radio friendly pop rock song. Once again it is the three pronged attack of interweaving bass grooves, choppy disco riffs which make this track standout. Similarly, the same approach makes 'St. Walker' another disco rock highlight. If Young The Giant continue to produce material like this they may find themselves constantly compared to Maroon 5 and though elements of that sound are present, the playing is certainly superior.

'Islands' is perhaps the bravest track on the album. It sees Young The Giant cast away the safety of their Californian rock roots and create a silky middle-eastern inspired track which sees Sameer Ghandhi prove himself capable of being more Jeff Buckley -think 'Everybody Here Wants You'- than modern crooner.

Overall it’s an enjoyable listen and I dare say you can expect to hear many of the songs appearing in feature films over the next eighteen months or so. However, I can't guarantee this album will hold your attention long term. This one is very much a case of try before you buy.

Video: Therapy? - Living In The Shadow Of The Terrible Thing

2012-01-15T20:12:00.003Z

Therapy? return with their 14th studio album "A Brief Crack Of Light" on the 6th of February. An Amazing achievement by the Northern Irish outfit formed in 1989. "Living In The Shadow Of The Terrible Thing" is the first single to be taken from the album and is set for release on the 23rd of January.

Therapy? play Vicar St. on March 10th before heading out on a European tour. Be sure to bring your earplugs it's gonna be loud.

Review: Letting Up Despite Great Faults - Paper Crush EP

2011-12-19T18:19:00.000Z

Paper Crush EP is the third release by La shoe-gazer revivalists Letting Up Despite Great Faults. As you would expect there is an early 90's UK sound on display with obvious nods to the likes of Ride, Slowdive, and Ned's Atomic Dustbin and New Order; though these influences have probably for the most part been recycled through US based bands such as Postal Service, Washed Up and The Radio Dept. There is also an under current of electronica, perhaps even "8-Bit" running through this collection of songs

"Repeating Hearts" starts things off in an ephemeral haze of vibrant electro stabs and a wistful world weary vocal. Thus setting the tone for the entire EP. "Sophia In Gold" is the early standout track on the EP Michael Lee's vocal is beautifully delivered, set against two memorable interchanging keyboard hooks which combine beautifully with the fuzzy keybass beneath. "Teenage Tide" has an ephemeral JMC kick to it with single note lead guitar lines hovering over a chugging bassline. Lee's vocal delivery is of reminiscent of Wannadies singer Pär Wiksten's unmistakable timbre. "I Feel You Happen" is reminiscent of Ride's classic album openers. A whirlwind of swirling layered guitars, smacked against a melodic bassline, fighting to be heard against a wall of feedback and distorted drum loops. In other words its great. Things go all post-rock dance-floor on instrumental track "Aurora" a wonderfully catchy melodic track which will have you humming along in no time. "Helium" closes the EP in some style. This track has a more electro feel, with arcade bleeps weaving between the catchy guitar licks and programmed drums.

Paper Crush EP is a wonderful collection of songs it's no wonder the likes of Ben Gibbard (Death Cab For Cutie) extol about Letting Up Despite Great Faults, on such a regular basis. They should be huge.

Review: Milan Jay - To The Sinking Sun EP

2011-11-26T22:38:00.001Z

2011 has been a busy year for Galwegian genre hoppers Milan Jay. Having previously released two EP's this year, they have saved the best for last with "To The Sinking Sun" EP. It's one of the finest Irish releases of the year and features the best hip hop track AIMR, has come across by an Irish artist in 2011. Milan Jay are an eclectic group equally proficient at rock and hip hop and chilled instrumentals alike.

The EP opens with "Robot Revenge" which was released as a free download single back in September. The track is a feel good, fuck you, with elements of Weezer and Feeder on display. Milan Jay take a major change in approach with "Sleeping Under Saturn" a nine minute blissed out epic of looped guitars and drums, which decays into a beautiful lamenting piano break, before reaching for the stars once again.

"Youth Ain't No Excuse" transports us to a funky hip hop realm with a social conscience, where "Youth ain't an excuse, not to seek the truth". The nuggets of wisdom come thick and fast as they tell us, we'll never see change until we "put the politicians on the minimum wage" The whole track is reminiscent of The Beastie Boys "Check Your Head" heyday. It's a winner. The flavour changes to indie/electro for closing track "Sinking Sun" It's a pulsating mix of electro thuds and indie riffs, tailor-made for the indie dance floor.

To The Sinking Sun is available on limited edition CD + digital download package via bandcamp

Video: This Club - I Won't Worry

2011-11-23T09:57:00.001Z

This Club formerly Horsebox are playing in The Sugar Club this Friday (25th) with support from AIMR favourites Kid Karate. Below is the Video for This Club's single I Won't Worry, a sun kissed feel good song. The video was filmed in Temple Bar and is probably the best video to be made on those streets for many years.

Review: Taking Back Sunday - Taking Back Sunday

2011-11-14T18:04:00.001Z

The eponymous fifth studio album by Long Island quintet Taking Back Sunday, finds the band stuck in a creative quagmire. The reformation of the original lineup, has seen Taking Back Sunday, unsuccessfully attempt to rewind their body-clocks to their teenage years, and reignite the spark, they once possessed. Perhaps it would have been more prudent to start afresh and develop a new contemporary sound, rather than retracing their steps, as the resulting collection of songs are jaded and predictable. Even the most ardent fan would surely describe the album as patchy. Although the album is well produced, it lacks the creative focus of their finest album, 2002's "Tell Al Your Friends" and standout tracks are few and far between.

Opening track and first single "El Paso" is paint by numbers screamo. its only saving grace is a well executed highpitched backing vocal. "Faith (When I Let You Down)" is a considerably better effort, but feels like it belongs on a second rate frat-house movie soundtrack. When Adam Lazzara delivers the lyric "Have you lost your faith in music" it appears that he is delivering a subconscious message to himself, rather than addressing his audience. "Sad Saviour" contains one of the albums best guitar moments, but is hampered badly by the Depeche Mode-lite style lyrics.

It's five tracks in before Taking Back Sunday, find their stride with "Who Are You Anyway?" At last a cohesive song from start to finish is delivered with a melodic chorus "Money (Let It Go)" see the upward turn-musically at least-continue with some good riffs and musical interplay between instruments. However, the track deserved to be hung on a better lyrics. Second single "This Is All Now" has a smooth, well executed Incubus, feel throughout the verses, but unfortunately the choruses are paltry by comparison. "It Doesn't Feel A Thing Like Falling" sees the band raise their game considerably, delivering the second standout track on the album."Since You're Gone" however, continues the worrying trend of a decent musical composition, being marred by Adam Lazzara's, heartless playground lyrics. "Call Me In The Morning" ends the album on an unexpected acoustic high.

A thoroughly disappointing comeback from Taking Back Sunday. Which has seen them deliver their worst album to date.

Score 45/100

Review: The Sisters Of Mercy Live at The Olympia.

2011-11-13T16:12:00.001Z

The Olympia was jam-packed to the rafters for a band that most of us had either forgotten about, or are completely unaware of. Unsurprising, as lineup changes and comical record company wrangling and refusal, has meant that it is over twenty years since The Sisters Of Mercy have released an album. Back In the days of 1990′s Vision Thing album, you would have struggled to tell singerAndrew Eldritch apart from The Cult’s, Ian Astbury, in a police lineup. Nowadays Eldritch, looks rather more Judas Priest, than Gothic preternatural sex-God. Thankfully his commanding stage presence and his distinctive voice, remain the same.

A set list of greatest hits, diehard fan favourites and unreleased new material, is well received by a thronging expectant crowd. The new lineup is well-studied and proficient. The songs are delivered passionately, with fresh intent, that indicates the will to create the infamous “next album”, may actually exist. Doktor Avalanche, the only other constant in The Sisters of Mercy lineup, delivers pounding digital beats. Ensuring that the band are like German trains. Always on time. Eldritch’s scolding voice hasn’t lost any of its imperialistic gravitas. his lyrics (old and new) are dark, highly vivid and often scathing of US foreign policy.

The opening barrage of tracks including “First And Last And Always”, “Marian” & “Detonation Boulevard” showcased the bands ability to supply a killer chorus, based on a diverse range subjects, from geopolitical issues to love and death, in a lyrically witty and fun way.

The empire themed “Dominion/Mother Russia” saw the band kick things up a notch or two. Fan Favourite “Alice” was well received. But the band really came into their own on songs such as the epic “This Corrosion” and “More” which gave the audience plenty of opportunity to raise their hands in the air and sing along.

A second encore of “Lucretia My Reflection”, “Vision Thing” and “Temple of Love”. Was the icing on the cake of a tour de force performance, that proved that The Sisters Of Mercy, should not be forgotten or looked down upon. Rather they should be cherished, as one of the great alternative bands of the 80′s and held in the same regard as the likes of The Cure.

Review: The Man Whom - The Greatest Event

2011-11-09T20:45:00.001Z

The Greatest Event is the début album from Wexford singer/songwriter and producer Ian Doyle, under the moniker of The Man Whom. It’s a ten strong collection of modern folk music, lovingly constructed with immense attention to detail.

Mercury Rev and Villagers influences successfully blend together on opening track “Easier To Run”. A cracking folk song emerges from a hazy finger-picked intro, sprinkled with deft touches of piano and somber violin strains throughout. Ian Doyle’s warm storytellers voice and lyrics are instantly pleasing. An interesting oriental flavoured staccato middle eight, gives way to a beautiful extended coda of somber, yet reassuring harmony vocals mixed with a more prominent string section.

It’s hard to make banjo sound contemporary, but Doyle, does just that on “Sing till There’s No Songs Left”. There’s a hint of Belle and Sebastian in the air, as the horns flourish on this quirky number, which is reminiscent of The Statler Brothers “Flowers on the Wall”. An early highlight that shows Doyle, is an accomplished composer, proficient in many styles.

This proficiency in genre hoping continues through the impressive “I know Your Face” and the Mumford and Sons tinged blues of “Leavin This Town”. However, the brushed drum propelled country folk pop of “Over And Under”, stands out as a sun-kissed highlight. The interplay between the instruments is fluid and cohesive. While the impressive three-part harmony vocals give the track an authentic Cali-Country feel.

“Autopilot” builds slowly and surely on a bed of finger picked guitar, coloured with short rushes of mystic, whooshing cymbals. Before taking an unexpected diversion, through a fifteenth century French garden party. Doyle’s eclectic stylings continue through the albums final tracks “The Man Who Knew To Much” and “Till Its Gone”. The lather song, spans thirteen minutes in length and is split into two sections, with five minutes of electronic butterfly beeping separating them.

The Greatest Event is a noteworthy début and the future bodes well for Doyle and Co. Not every song delivers a killer hook, but there is certainly enough quality and dept within the material to warrant repeated listening and continued enjoyment.

Video: The Quicksand Band - Homesong

2011-11-07T19:22:00.000Z

Homesong is the first single to be taken from the forthcoming debut album Approaching Rain by The Quicksand Band. The Stop motion video was made by Bonezz (bass) and Phil Clarke (guitar vox) from the band. Approaching Rain is due for release early next year.

Review: Goodtime - The Colours of Darkness

2011-11-05T12:11:00.000Z

The Colours of Darkness is the first new material to be released by Goodtime singer/songwriter John Cowhie for several years.Those years have certainly not been wasted as Cowhie has developed his sound into a mix of the ephemeral soundscapes and wordplay of the late 60's. Think Notorious Byrd Brothers and Lindsey Buckingham. Mixed with elements of alternative 80's synth rock pop and Adam Green's serious side.

Opening track Behind The Sun starts of with a Ladyhawke feel, mainly due to Richie Egan's nifty bass riffs which are a focal point throughout the album. Cowhie's voice has a smooth laid back speak-sing delivery which exposes his vulnerable side and makes his lyrics instantly believable.

Like A River takes things up a notch with more prominent Cure-ish guitar lines emerging. While Mystery of Days sees some great uptempo interplay between Cowie's guitar and Egan's bass. The influence of Buckingham, is most apparent on the mid tempo swing of Can't Get Away. Title track The Colours of Darkness is tinged with Californian country dust. Dreamy and pulsating with touches of David Crosby and Jim Morrison. Perhaps the radio friendly One Shot will appeal most to Cowie's existing fan base. It's a fantastic life affirming folk song.

The Colours of Darkness will put Cowhie back in the upper echelons of the Irish music scene, and rightly so. It's a beautifully executed record

Review: The Ambience Affair at The Workman's Club Dublin

2011-11-02T16:12:00.000Z

The Ambience Affair bring their tour in support of their début album Burials to The Workingman’s Club in Dublin with support from two of Ireland’s best acts Katie Kim and Jennifer Evans.

Katie Kim delivers her first song kneeling on the floor hunched over a microphone, fiddling with a loop station Her coal hair covers her face completely. She resembles a performance art piece, laid out between the stage monitors, almost removing herself from the visual equation altogether – indeed it must have seemed like the stage was empty to those standing several rows back

And so begins what turns out to be an astounding performance perhaps the finest performance I’ve ever seen by a solo artist. Katie Kim’s voice is powerful subtle and emotive. Her simple one,two classical guitar style allows her to weave magical, elegant vocals, above the sombre funeral march below. Her lyrics are classy stimulating daggers of love/hate romance, regret and expectations. Her ability to build four-part harmonies with a loop station is astounding. Only great singers can utilise loop stations in this way. Perfect-pitch, is the true skill required in using these devices in this fashion. And Katie Kim has it in spades.

Songs from her forthcoming double album Cover and Flood have surpassed those of 2008′s critically acclaimed début album Twelve. We are really excited to hear the fully formed songs with the band. If tonight is anything to go by the album will be five-star.

The sublime simplicity of Katie Kim is followed by the countless chords of Jennifer Evans. Evans is an accomplished jazz and rock guitarist whose songs draw together eclectic influences tn the way the songs of Jeff Buckley once did. Evans is backed by an impressive rhythm section called The Ripe Intent. On stage she is restless like a fidgety tigress. When she sings syncopated Noir-ish refrains Ella, Amy, and Feist spring to mind. Yet strangely, between songs she is humble, with the shy speaking voice of a woman who doesn’t realise, how good she truly is. “Tomaseli Has a Friend” is the highlight of the material from 2010′s Salient Point EP.

Kicking straight into “Weeds” the opening track from their début album Burials The Ambience Affair make it instantly clear that they mean business this evening. Singer Jamie Clarke’s eyes appear as if they may explode in their sockets at any given moment, such is the physical intensity of his vocal delivery. Single “The Fallen” is an early highlight. It surpasses the recorded version due to Clarke’s added live intensity. The delivery of the lyric “I wanna fall for you” is both chilling and stalker-ish.

A feel good cover of “Feel it all Around” by US hipsters Washed Out offers a sugar-coated disco distraction from the darkness. While “Prophet” The Ambience Affair’s first post album material, offers us an exciting glimpse at the future. Indicating that the band have grown significantly since Yvonne Ryan joined on bass and keys.

Other highlights include “War Weary 2″ and semi instrumental “Tearing At The Seams”. However the intriguingly titled “(…)” ends the evening on a high. It’s a beautiful mournful ballad which displays a gentler side of The Ambience Affair and in particular a more sedate vocal from Jamie Clarke.

An excellent performance by one of Ireland’s most intriguing bands.

http://theambienceaffair.com/

Video: Jape - The Oldest Mind

2011-10-24T18:52:00.000+01:00

Jape delivers yet another fine video with his latest offering "The Oldest Mind" from his top class new album "Ocean Of Frequency".

Jape // The Oldest Mind from Feel Good Lost on Vimeo.

Video: We Cut Corners - Pirate's Life

2011-10-24T18:42:00.003+01:00

We Cut Corners latest video is just as noteworthy as its predecessor. 100% less controversial it may be, with no breasts to found. But It is a beautiful artistic endeavour, painstakingly crafted by hand. "Pirate's Life" is a beautiful video riveting from the first frame to the last. Enjoy.

We Cut Corners "Pirate's Life" from Kijek / Adamski on Vimeo.

Video: The Ambience Affair - The Fallen

2011-10-21T23:22:00.000+01:00

The Ambience Affair play The Workman's Club on Friday 28th of October, as part of their Irish tour in support of their debut album Burials. Support comes from Katie Kim and Jennifer Evans. With tickets priced at only €12, you'll be hard-pushed to find more bang for your buck in Dublin that night.

Below is the video for "The Fallen", the first single to be taken from the album.

Video: Shibuya Crossings - At Eight in a Spanish Bar

2011-10-18T16:56:00.005+01:00

Below is the video for Shibuya Crossings latest single "At Eight in a Spanish Bar", taken from their quality second album "Depend On Your Alter-Ego".
Download the track for free here.
http://www.shibuyacrossings.com/blog/2011/10/06/at-eight-in-a-spanish-bar-video/

Review: The Ambience Affair - Burials

2011-10-16T14:00:00.000+01:00

"Burials" is the début album from Irish rhythm and gloom trio The Ambience Affair. The band have previously released two EP's and won best video for "Devil in the Detail" at the inaugural Digital Socket Awards, earlier this year.

Burials is a highly rhythmic and atmospheric collection of songs that reaches into the darkest crevasses of despair with verve. The influence of Thom Yorke, Arcade Fire and Wild Beasts is apparent. As is an affinity for Robert Smith's darkest and most uncompromising offerings. Unsurprisingly Burials is not a trip down instant street. It requires repeated listening for the songs to fully soak into the listener.

A preamble of white noise leads us into opening track "Weeds" which is driven by panned oriental guitar stabs. The opening lyric "I left you in the the dirt. I carved my name in the earth" is a fitting introduction to the album as a whole. As earthy, is an adjective which best describes the album. Built on a hypnotic rhythm figure which is cleverly layered and embellished upon by the instruments that weave around it "War Weary" (1) is the early stand-out track on the album. The lyrics continue to map the dark primal instincts of humanity with aplomb. You can expect to here this at an indie disco near you soon.

"To Be Led" at 1:23, feels more like an extended intro into single "The Fallen", rather than a fully blown song in its own right. However, this does not take away from its quality. Beautiful sombre piano is joined by funeral procession brass as the single lyric of "I will follow you" leads us into "The Fallen" proper.

The influence of Arcade Fire on The Ambience Affair is never more apparent than it is on this song. "Neighbourhood #3 (Power Out)" in particular seems to be a major reference point for this composition. With up-tempo groovy bass juxtaposed against long sombre violin notes combining in a similar fashion. It also arguably contains the albums most radio friendly refrain "I want to fall for you" and was unsurprisingly chosen as the lead single to be taken from the album.

"Tides" is a serious contender for single status. It is a perfectly weighted combination of everything that makes The Ambience Affair worthwhile. A world weary refrain; smashed against a wall of atmospheric drums, melodic guitars and harmony vocals. With a pulsating groove gluing it all together. "Tearing at the Seems" is comprised of two sections. A stunning post-rock instrumental opening and a Mumford and Sons-esque mini song outro. It is a pity they have not been separated and expanded upon, as both are quality compositions in their own right.

The inclusion of the "War Weary" trilogy was a brave move by The Ambience Affair. It displays their ambitions and their creativity are at levels beyond many of their musical peers. To be truly appreciated as a trilogy, they must be played as a trilogy and not separated by other tracks. The Ambience Affair have elected to present the trilogy in a separated format, which delivers the material as a brace rather than a trilogy. A quick rejig in itunes allowed us to get further inside the songs, which in-turn allowed us to better appreciate them, as presented by the artist.

The intriguingly titled "(...)" closes the album in some style. It is a major departure from the albums other material. A coarsely recorded acoustic guitar is set against porcelain piano notes as Jamie Clarke, delivers a tender lovelorn vocal. Which bizarrely is his finest on the album.

Singer and guitarist Jamie Clarke's voice is powerful, intense and gruff. However, he relies heavily upon certain styles of vocal delivery. Which, whilst enthralling some listeners, will leave others with a "samey" feeling. (We are currently enthralled by Clarke) Percussionist Marc Gallagher, is the real star of Burials. His drumming and percussion is inventive throughout. He is responsible for the majority of the albums atmosphere. Thanks to a mixture of subtle and textured playing combined with bombastic sound-scape splitting beats.

Burials, is by no means an easy listen. But it is an album well worth persevering with. We are certainly glad we did.

Interview: Nabz Ali, of The Fallen Drakes.

2011-09-04T14:44:00.002+01:00

The Fallen Drakes are an Irish success story but their story is an international one. 2011 has seen the band burst onto the Irish music scene with sell out shows and coveted support slots for international superstars and a hit single to their names. We caught up with drummer Nabz Ali, and asked him about their amazing year. He tells us the Fallen Drakes story is a mix of luck, hard work, and tragedy.

How didthe Fallen Drakes form?

I wastravelling America in 2009 with my twin brother Hyder (Bassist) andwe met Brian (McGovern, Vocals & Gutar) in Memphis, we becamefriends straight away and over many drunken nights we made apact to start playing together once we got home. Hyder andI came back to Ireland and Brian continuedhis travels to South America. About 4 months later he cameback to Ireland and we stuck to the deal.

After afew jams we all felt that we were onto something good. We decided weneeded another guitar to complete the sound and we put out an ad fora Lead Guitarist. That ad was answered by Mickey Mac (Slovakiannative, Michal Bartolen) and the rest is history!

How didthe name come about?

Afterrehearsals one night, we were watching Talladega Nights, and in themovie Ricky Bobby and his team mate Cal do the 'Shake and bake' fistbump! Our Guitarist Mickey thought they were saying 'FallenDrake'.... yet again the rest is history… But also, we recentlyfound out that The Fallen Drakes directly translated into Slovakianis 'We love Alternative Irish Music Review"'.

Tell us abit about each member of the band?

Hyderdrinks Heineken and Captain Morgan/coke and is thoughtful andquiet

Briandrinks Heineken and Captain Morgan/coke and is humble and softspoken

Mickeydrinks Heineken and Jagermaister and likes cookery programs

And Idrink Heineken and Captain Morgan/Orange and I like long walkson the beach

What's themost rock n' roll thing a Fallen Drake has ever done?

We went2 minutes over time while supporting Bon Jovi in the RDSArena....yeah....we are mental cases.

All theladies want to know. Are you guys attached?

One ofus is attached and three of us are actively seeking love andaffection.

Who areyour influences?

We alllisten to the widest range of music, so it is very hard to narrow itdown. Bands that we would consider that we sound like would be TheKillers, Snow Patrol, U2 and just anything that has a big currentrock sound! We lookup to young, up and coming bands like Two Door Cinema Club andTemper Trap as they have achieved a lot in the last couple ofyears and they leave a good blue print for a band like uswho are still very much in its infancy.

You'vebeen likened to The Script. But how would you describe The FallenDrakes sound?

I thinkwe get likened to The Script because they are just so big right nowand in the public eye, it’s easy to compare a new Irishrock/pop band to them. We take it as a compliment! But they havea lot more R&B vibes in their music where we would have moreof a rock sound. I’d say that we have a current rocksound that is meant to be played in large venues!

Would youagree that The Fallen Drakes are - albeit unintentionally - a goodexample of successful social integration?

Haha.Great question! And yes of course! Brian is Irish born and bred!Hyder & I are half Irish and half Iraqi and Mickey Mac isSlovakian. We are like a multi-cultural experimental project! Itserves us well! We will have to do three homecoming gigs in Dublin,Bratislava and Baghdad!

Has theband experienced any racism?

Not atall! We get more press from the music that we play, rather than ourheritage.

What hasthe reaction been like in Slovakia?

Mickeyhas been in bands for years over there, so everyone that knows himare really proud that he has managed to set up shop in Ireland and ismaking a big name for himself! He’s the local hero!

Have theband any plans to tour in Slovakia?

Yes! Weactually had a mini tour set up straight after we releasedthe EP back in January, but then we got picked for the Today FMCompetition and started getting some serious attention here so thetiming didn't work out! But once we get our debut album released,Slovakia is going getting Draked out of it!

You guyshave a knack of winning competitions. Have you won everyone you'veentered?

If weenter a table quiz we will kick your ass! Ah no we wish! Quitethe opposite! The truth is we were completely shocked andhumbled that we won two huge National Unsigned BandCompetitions. We have been very lucky and we see it asa sign that we have to keep working hard and doing what wedo! Somehow we have built up a solid fan base and they supportand help us in everything we do so we owe them a lot!

Yourecently opened for The Commitments in the O2. Was it a surrealexperience?

It wasso surreal that the only way we remember it is to go to Youtube andlook at the videos people posted up. I think everybody dreams ofplaying in a venue the size of the O2 arena. Once you are up thereits like an out of body experience, its over so fast, you can’tdescribe the feeling! We have been to see so many of our favouritebands in there and like every other musician, we would stand andwatch and only dream of being on that stage! Our mammy's and daddy'swere proud!

Were youbig fans of the movie and did you get to hang out with the band, ifso what were they like?

We werehuge fans of the movie! We can quote it all! Also we are big fans ofThe Frames so it was a double treat for us to see Glen Hansard onstage! They couldn't have been nicer! When we were sound checking, wewere nervous, very nervous. We went from 200 people in the twistedpepper to 13,000 in one of Ireland's biggest venues! So the pressurewas on.

Glen Hansard and Andrew Strong came out as soon as we finished soundchecking, they shook our hands gave us a hug and a great preptalk! The rest of the commitments were all great and every one ofthem came over to us at some stage during the night to wish us allthe best!

How did itfeel walking out onto the stage at the RDS in front of thousands ofpeople?

SCARY!It’s hard to prepare for that feeling! Such an overwhelmingexperience. Luckily we had really warmed up before going on so wewere eager to get out there and try win over the crowd!

Are you ona first name basis with Bon Jovi now?

Bonny?Of course! Sure he was over in our gaff last week havingthe craic, swapping hair styling ideas with Hyder. Sound as a pound

Tell usabout the songwriting process is it a collective or individualendeavour?

We doit collectively, someone comes up with an idea, a riff, a melody,anything! Then we just work on it as a group until something remotelygood comes out! Then, Brian takes off in his car for a long drivewhile he writes the lyrics. We have a good thing going and it’sbeneficial having four minds instead of just one when it comes tosong writing.

Areyou/the band prolific songwriters and who if anybody is in charge ofquality control?

We allhave equal say and input into the songs, I think we need all four ofus to have equal say or else the songs just wouldn't come outthe way we want it. Weargue and fight over it all the time, but at the end of the day itstays in the rehearsal room and we know its a good thing toargue and fight as we want to write the best music we can. Wehaven’t even written an album yet, we are still learning, butwe are heading in the right direction! We all have our parts to play;it wouldn't be The Fallen Drakes if one of us was missing! TeamDrake!

Are thesongs based on your personal experiences, pure imagination or amixture of both?

Theyare pure imaginative experiences!

Is there agirl from New York and does she like making love with the lights on?

Haha!We thought all girls liked making love with the lights on? Yes? No? Thereactually is a Girl from New York and that song is about a true storythat happened to one of us! But some things you just need to keeppersonal!

Your debutEP "Death of an Actress" has been critically acclaimed tellus about recording it?

It’scrazy to think it was only 6 months ago when we released it! In anutshell, we wanted to put some songs online, it was our first fewsongs we had written! We wanted show people what we were doing,and we didn't think much of it! We werevery lucky to cross paths with Ger Mcdonnell (worked with the likesof U2, Kasabian & Manic Street Preachers) about a monthbefore we went in the studio!

To behonest we didn't really know what a producer did before that! Hehas wisdom beyond his years and meeting him definitely was a turningpoint in our career. He simply knows exactly what he’sdoing. He gaveus that bigger sound and he can hear things in songs only a man ofhis experience and talent can foresee. The recording process taughtus so much.

Oncereleased we were taken aback by how well it was received and we soldout our E.P. Launch in Dublin only a few weeks after releasing it! Sowe are proud of that little E.P.!

How didyou come up with the title?

Maybe 6months before Mickey moved to Ireland, his best friend’s girlfriendhad sadly passed away. He needed to leave Slovakia and start afresh and Mickey agreed to come over to Ireland with him. Beforeshe died she had intended to move to London to pursue anacting career after she had finished college. The first night we metMickey he had told us this story about why he came over andthe name death of an actress somehow came about. We said we eitherneeded to write a song about it or name our first release after her. So we did.

Which songare you most proud of?

It hasto be the first song on our debut E.P. 'Masquerade'. That song wasthe one that was chosen when we won both unsigned competitions! It has served us well and I think we owe it to everyone andourselves to re-master and release it as a single at some stage!

Why shouldsomeone part with their hard earned cash to attend a Fallen Drakesconcert?

Whowouldn't want to see four sweaty men giving it socks on stage?Well worth the fee. We give it everything, we are always gettingbetter and it’s an honest show with a tight set - we don't rely ongimmicks or anything to make it a great show.

Whats nextfor The Fallen Drakes?

DebutAlbum! We need it, we have done so much and achieved a crazy amountwith the strength of one E.P. and one Single so it’s time that wedo a full album! We arewriting for the album as we speak & gigging regularly aroundIreland as well… We always have things going on, be it video blogs,facebook competitions, shooting the breeze with bonny, you name it!Come join us on Facebook for all the latest news!

Girl fromNew York is available from iTunes:http://itunes.apple.com/ie/album/girl-from-new-york-single/id447106271

Death ofan Actress E.P. can be streamed from The Fallen Drakes Facebook pageand also from Bandcamp: http://www.thefallendrakes.bandcamp.com/

Review: Duncan Maitland at Stags Head Raw

2011-09-04T13:28:00.000+01:00

A new live music club night opened its doors for the very first time upstairs in The Stags Head on Sunday. "Raw" is a welcome addition to the Dublin music scene. The Venue is intimate. The sound is good and the atmosphere is laid back. Upcoming acts include indie favourites Ham Sandwich, The Shoos and Dermot Lambert of Dublin electro pop act Blink, And with many more quality acts being confirmed, it looks as if Raw could quickly become a staple of the Dublin circuit.

The night kicks off with with Niall Brennan. The former lead singer of cult late 90's alt country act The Prescriptions. The band received rave reviews for several EP's; before folding, following the recording of their unreleased debut album. Brennan's voice is distinctively broad and gravely. He delivers a composed performance including Prescriptions material and more recent compositions. The haunting balled "Alaska" and the jazz standard style "Flight of the Innocents" are among the highlights of the set, from this songwriter's songwriter.

Barry O'Brien from powerpop act Slumberjet delivers a solo acoustic set of uptempo melodic songs from Slumberjet's critically acclaimed 2010 self titled debut album. The influence of Elvis Costello, think "Watching The Detectives" and Jason Faulkner is audible from the off, especially on songs such as"The Letter". O'Brien's rhythm playing is so hard that it puts a mild natural distortion effect to his guitar in places. Giving it just the right amount of umph.

O'Brien's vocals are smooth with a great range leading into falsetto territory. At times they are reminiscent of Elvis Costello with a Beach Boys twist. On the basis of this performance we look forwards to seeing O'Brien in full Slumberjet mode in the future.

Duncan Maitland finished the night off with a high quality performance of songs from his critically acclaimed debut album "Lullabies for the 20th Century". Maitland is joined on stage by one of Ireland's premier bassmen Geoff Dorman. The addition of Dorman gives Maitland's performance more of a group feel.

An excellent rendition of David Bowie's "Kooks" dedicated to Maitland's new born son "Daniel" was an early singalong highlight. While "Horror Stories" and "Somebody Told Me About the Ending" highlighted Maitland's own considerable songwriting skills.

Having previously worked with acts such as XTC and Pugwash, Maitland is best known as the former principle songwriter in Irish band Picturehouse. He delivers a jaunty rendition of the hit single"Heavenly Day" which he penned whilst in the band.

Other highlights of the set include a segway from new song "Love Chain" into a mini version of Stevie Wonder's "Superstition". and the excellent genre hopping "Insect Under the Stone" which sees Maitland mix it up in Bobby Darin territory with a psychedelic twist. Overall a top class performance from one of Ireland's most criminally overlooked artists.

Album Review: Shibuya Crossings - DOYA

2011-08-21T21:20:00.000+01:00

Do you find zebra-crossings inspirational? Would you name your band after one? Probably not, but that's exactly what Northern Irish Singer-Songwriter Declan Harrington did when he christened his band Shibuya Crossings, after the worlds busiest zebra crossing in Tokyo. It symbolised Harrington's wish to escape the NI. fishbowl and expand his musical horizons. So much so that he pieced together a band featuring members from New Zealand and The Philippines.

Several years later Shibuya Crossings, are based in Islington and have just released their second album "Depend On Your Alter-Ego" or "DOYA" on Typically Magic Records.

The influence of Pavement is apparent as "DOYA" opens with the upbeat single "At Eight in a Spanish Bar". This is a real gem. Criminally overlooked by the Irish music press. The song features catchy chugging alt rock riffs and a sing along outro of "Everybody's watching us all time". The song instantly displays Harrington's vocal abilities as he jumps from speak/sing mode to harmony vox and back again with ease. Its one of the best Irish singles of the year so far.

"Take it Out on Me" continues the upbeat alt Americana feel. This track has a Weezer meets OK Go feel, with fuzzy guitars juxtaposed against high pitched harmony vox. It's slightly camp in places due to the octave bass, but good fun non the less. "You Know it Anyway" is reminiscent of "Proximity Effect" era Nada Surf in places especially on Harrington's vocal delivery in the verses.

"I'll Meet You at the Station" sees the BPM drop considerably for a top-notch country tinged ballad. The emotion is palpable as Harrington repeats "Where did you go". While "Gamla Stan" is a good punt to become the next single from the album; featuring more uptempo guitar riffs and several intertwining chorus sections, which combine to bring the song to a close.

The influence of brit-pop runs as an under current throughout the album but it comes to the fore on "If it isn't getting better" and "Everyday (secrets of your style)". The former taking its cues from more modern bands such as Kaiser Chiefs.

"DOYA" is a joyful collection of songs. Far more worthy of your time, than many of the over-hyped Irish albums currently taking up column inches, in the national press. Their single "At Eight in a Spanish Bar" is currently available on free download here

Album review: Tierannisaur!

2011-08-10T19:14:00.002+01:00

The debut album by Irish underground super group Tieranniesaur! is an eclectic collection of super fun fusion, of sweet like chocolate disco funk. Indeed it's ice cream for the ears in places.

Tieranniesaur! is a clever pun on lead singer Annie Tierney's name. The band itself contains members of Squarehead, Feed The Bears, and Yeh Deadlies. With the exception of Squarehead however, Tierannisaur!, have left their day-job bands trailing, in their new-wave funk dust.

Opening track "Rockblocker" is a sure fire indie-disco dance floor smash. "Sketch" mixes retro Jackson 5 style guitar phrases with b-girl goodness. The fiery key bass of "I Don't Stop" sees a major jump into more contemporary dance genres. While "Azure island" starts of well with some Gracelandesque bass groves. But fades badly when Bobby gets involved with some less than average 90's rapping

"In The Sargasso" is another highlight, built on yet more exquisite bass lines. The influence of Debbie Harry and Chic can especially be felt on this track and "Pretty Girl String Quartet"

"Here Be Monsters" is the last track of note on the album. Remaining tracks "I Tink Ur Strange" and the forgettable "Remember My Name" lack the clarity and direction of previous tracks.

It's unfortunate that the album stutters to a close in this way. As Tierannisaur!, is surely one of the most inventive Irish albums of the year. However, the album is certainly like Marmite. And just like Abba, you'll either love it or hate it. And you won't quite know why.

The album is availble on 3 formats. Including retro-red cassette and pre loaded Playbutton. You can also download the album on bandcamp

Video: Kowalski - Outdoors

2011-08-10T17:18:00.000+01:00

If you go down to the woods today, you'll find the video for Kowalski's latest single "Outdoors". The video directed by Babysweet Sessions sees the band deliver a performance in a magical woodland and pays homage to The White Strips in the process.

Kowalski: Outdoors from BABYSWEET SESSIONS on Vimeo.

Review: Percolator - Yellow Fire (Single)

2011-08-09T16:31:00.000+01:00

"Yellow Fire", is the first single to be taken from shoe-gazing specialists Percolator's forthcoming debut album, and the Waterford trio's first release since 2009's excellent "Flicker" EP. The track has a Sundays meets Slowdive vibe, with cantankerous guitar chords set against drummer Ellie's sweet half spoken vocals, "Yellow Fire" indicates that Percolator's album, could be an Irish debut of considerable quality.

Yellow Fire by Percolator.

"Yellow Fire" is available for free on Bandcamp

Review: The Difference Engine - Imperfect Lines

2011-08-07T12:51:00.000+01:00

The Difference Engine, is the name of the first computer envisioned by Charles Babbage in 1822. It is also the title of an alternative history novel by modern and contemporary thought genius William Gibson. It is also the moniker of a Dublin blue-pop quartet.

The Difference Engine's third single "Imperfect Lines" is due out at the end of August. The track is heavily influenced by the likes of Hard -Fi, Arctic Monkeys, and Milburn. With a dash of "Chim chiminey, Chim chiminey, Chim chim cher-oo!" thrown into the mix.

Brian Canavan's Vocals and Colin Stanley's Trumpets provide the standout moments.

The Difference Engine - Imperfect Lines 2 by RisingStars

The Difference Engine: up coming live dates

Love Music Hate Racism Friday 19th of August Sweeney's Mongrel

"Imperfect Lines" single launch on Thursday 25th of August in Shebeen Chic

Video: We Cut Corners - Go Easy

2011-08-02T17:14:00.000+01:00

The Delphi label's newest act We Cut Corners have released a video for their track "Go Easy" from their forthcoming debut album 'Today I Realised I Could Go Home Backwards". The video will now doubt cause controversy due to its "manage et toi" storyline. The video is beautifully shot in black and white. But does it enhance the song? We'll let you judge for yourself.

GO EASY from Nico Casavecchia on Vimeo.

Review: I Pheonix, Zombie Cops and Levity Breaks live at Crawdaddy

2011-08-01T15:51:00.000+01:00

We ran along to Crawdaddy to see I Phoenix, and the NME approved Zombie Cops, in what was potentially a night of big riffs and moshing. Bizarrely a genius mash up of Adele and Aloe Blacc, proved to be the highlight.

The Northern Irish music scene has been spewing out classy acts of all shapes and genre splitting sizes for some time now. So much so that the very prospect of seeing an unknown band from up-north is tantalising these days. However we were thoroughly disappointed with the bland discharge of Belfast quartet Levity Breaks. Despite Marty McLoughlin's, Vedder style vocals we could not stomach The Fray B-Side style of the songs. With the piano parts in particular unbearably cheesy.

It's been a while since we've seen Zombie Cops, live and they have obviously been hard at work on their sound. They have morphed into a much darker outfit. They seem to have worked hard on their vocal harmonies and the guitar sound in particular has become richer and thicker. However, the influence of Placebo, Incubus and QOTSA is still evident .

Singles "Win Some Loose Some" and "You Do" are the highlights of their compositions. While newer material indicates that, future releases are to be welcomed. One of the things that sets Zombie Cops apart from their contemporaries, is their ingenious choice of covers. Including Human League's "Don't You Want Me Baby". Tonight's cover is the highlight of the evening. A mash-up of Adele's "Rolling in the Deep" and Aloe Blacc's "I Need A Dollar".

I Phoenix took to the stage and delivered a high octane performance of modern alt-rock. Sonic Youth are an obvious influence especially noticeable in Conor Wilkins vocal delivery. While the guitar riffs are reminiscent Of QOTSA and Biffy Clyro and The Cure's darker moments. At times however, it was a struggle to hear Wilkins, vocals over the band. When he delivered the songs in a Thurston Moore style. This may not be a reflection on Wilkins, ability to project his voice though. As Crawdaddy is notorious for its bad sound quality.

Formed in 2008 Kildare quartet I Phoenix, have recently added new guitarist Ste Devine, to their ranks. And it's easy to see why they needed needed one. The riffs are quickfire and complicated with touches of math-rock and prog evident. Devine, has also become the visual focal point of the band, as he jumps around like a man possessed, living every note. And his high energy performance is matched by his proficiency as a guitarist.

Highlights of their set included "Fade and Erase", "Tremors" and "Night Sparks", which you can see the video for below. If you like it, I would highly recommend you check out I Phoenix live.

Video: Cashier No 9 - Goldstar

2011-07-26T19:22:00.000+01:00

We missed the boat on this one by a few weeks but here is the video for "Goldstar" by Cashier No.9 another great band from Belfast. The track was producer by fellow Northern Irishman David Holmes and has a wonderful 60's feel.

Cashier No.9 will be opening for Bellx1 in Marley Park on August 6th in a line up that also includes Editors.

Video: Le Galaxie - Orion

2011-07-26T18:52:00.002+01:00

Orion is the latest visual offering from Le Galaxie. Filmed live at the launch of Le Galaxie's debut album Laserdisk Nights 2 at the Workman's Club. It captures the essence of a magical night of glow sticks, face paint and sci-fi electronica. If you haven't seen Le Galaxie live and this video doesn't make you want to attend one of their shows, then we suggest you seek medical advice.

Soundblob, We Are Losers, Knockanstockan, Your weekend sorted

2011-07-20T17:05:00.000+01:00

There are some good gigs on in the next few days so if you're thinking of heading out or you've nothing to do there are a lot worse things you could then pop along to the following.

Tomorrow night I Phoenix, with support from Levity Breaks and AIMR favouriites Zombie Cops play Crawdaddy.

Also on Thursday the amazing Soundblob presents Nouveaunoise in The Bernard Shaw previewing some tunes from their forthcoming E.P. -"Sequence Consequence". The gig starts at 9:30 but get in early and get a pint and a pizza for a tenner.

On Friday the Excellent We Are Losers launch their debut single 'Sunset Song/Cheerleader' in Shebeen Chic with support from super friends No Monster Club and Rhino Magic! Entry is €7 with a copy of the single. We caught them at Whelan's recently and they are a must see.

Last but not least Ireland's best independent festival Knockanstockan continues to bring you the best underground alternative and punk it can muster from Friday to Sunday http://www.knockanstockan.ie/ for tickets and full line-up

The Fallen Drakes: Single Launch Whelan's 15/07/11

2011-07-18T17:44:00.000+01:00

The Fallen Drakes launched their new single "Girl From New York" to a sold out crowd in Whelan's on Friday; with the news that it had crashed into the number one spot, on the itunes rock chart and number 11 in the overall chart. It marks a phenomenal rise for the band who have recently supported The Commitments and Bon Jovi in the RDS, having won two separate public-vote competitions. The band are now officially "the next big thing" in Irish music..

The Fallen Drakes, have the mass appeal of the reinvigorated Take That, mixed with the stadium rock presence of U2 and Coldplay. Indeed the sound is unashamedly 80's stadium rock with elements of Inxs and Simple Minds also audible.

As the crowd chant "Fallen Drakes, Fallen Drakes" repeatedly the band walk on stage bathed in golden yellow light. Think Cashier Number 9's video for "Goldstar", and you get the idea.

They atart of the show with their new single "Girl From New York" The crowd merrily sing each word, which quickly becomes the norm for the rest of the show. Music aside, judging by the crowds reation The Fallen Drakes, may not be playing intimate venues for much longer.

You are unlikely to find a tighter the rhythm section in Ireland than the Ali brothers. Hyder Ali's slick bass groves are mirrored by twin brother Nabz on drums. Slovakian guitarist Michal Bartolen delivers effective, effect-laden lines on almost every track. While front man Brian McGovern posses "the brass neck" of Christy Dignam.

The bands performance is plagued with technical problems, which somehow adds to the occasion, giving the night even more of a stadium rock feel as stagehands dash to fix mic stands and guitar straps.

The anthemic radio friendly choruses come thick and fast. "Lights On" takes things up a notch, as McGovern delivers the ladies we are open for business chorus of "She likes making love with the lights on". Comparisons will undoubtedly be made with The Script, but would be better aimed at the likes of Jimmy Eat World or Kings Of Leon, as The Fallen Drakes are musically superior to The Script. Other highlights included "Don't Cry", "Love Again" and a rather tongue in cheek version of Bon Jovi's "Living On A Prayer".

"Masquerade" was the best song of the night. It's another singalong anthem with swashes of delayed guitar and big bass. It offers the biggest hint that their is a long-term future for the band. As McGovern tries to sing the final chorus the crowd take over singing duties completely. A spectacle for next summers festivals, no doubt.

The band return for a brief encore, finishing with a second helping of single "Girl From New York". Brian McGovern thanks the crowd. as the final notes fade. He catches a bra, "34B" he informs the crowd. But he can surely expect bigger and better things from now on.

Interview: Goatboy

2011-07-05T22:56:00.002+01:00

Not many artists record their debut EP via email with musicians in several countries. Not many unsigned artists make their debut live performance, supporting a multi-million selling solo artist at the pinnacle of their career. It is safe to say that the short history of Goatboy has been quite unusual and eventful. As work begins on his debut album we find Goatboy in good spirits.

What do you feed a Goatboy?

Strangely enough my favourite kinda cheese is goats cheese, does that make me a cannibal?

Has having hooves affected your guitar playing?

Hooves are great for power chords, not so good for the slow numbers...

How did the name come about?

I went through a big Bill Hicks phase years ago, he has an alter ego called Goatboy so i ended up calling my myspace page it and for good or bad it stuck ever since...

Has bill hicks been a big influence on your songwriting rather than your political views?

Na, not at all...I was asked by the directors of that Bill Hicks film released last year to play before it's premier, I felt it would be a bad move as my music doesn't have any kind of reflection on Bill Hicks other than the name...Anyway's, he was a big fan of Tool, I don't think he'd be too happy with some chap playing ballads before his film...

You first came to AIMR's attention representing Japan on the Fast Forward: The World Cup Goes Indie compilation.. Tell us about the song was it written specifically for the compilation. If so was it with Japan in mind?

I got an old keyboard off a mate as he was throwing it out, it was nothing special, just one of those Casio ones you get for your ninth birthday...The keys part you hear at the start is the first thing I played on it...Once I knew I had to write a song for Japan I kinda just worked the whole song around that part...I think I demoed it at home and then went to a mates house and cranked it up on his pro tools rig...

How did you end up on the compilation?

I think I just got an email from Kev who runs Indicator records...He said I could choose my own country, twas great fun, I hope he does it again for the European championships...

Why wasn't it on the debut EP?

It wouldn't of fitted and besides I think it was written after the EP was released...

We believe your debut performance as Goatboy came supporting KT Tunstall in the Olympia How did it go?

It was great, very blurry though, hopefully we'll play there again someday...

How does an unsigned act go about pulling off such a coup?

My mate Alan Marshall who was playing that night asked me to come on and play a few of my own tunes...We were briefly in a band together... I've just done some backing vocals for his debut album so I'm still returning the favour...

Tell us about the "Moon After Yule" EP?

Moon After Yule is my first EP. It's basically just a collection of glorified bedroom demos, listening back now I'm pissed off I didn't do the songs more justice and record them in a proper studio but you have to start somewhere I suppose...One or two of the songs might make it onto the album in a grander form..

How and where did you record it?

It was recorded in various bedrooms and basements in Dublin and Norway...I'd record bits here and then email tracks over to a friend in Norway who'd then layer some drums and bass... I got Ian Mc Nulty who done the new Ambience Affair record to mix a couple of them... In the end I got it mastered in Abbey road. It was a long process but it got done in the end

New Moon, is our favourite song off of the EP tell us about the song?

Glad you like, that's one of the songs I think deserves a better recording so I might resurrect it for the album. It started off as a quiet acoustic number but I got a bit carried away in the studio and went all Camera Obscura on it in the end...

You've been working on material for your first album proper .How is that progressing?

We properly started recording today actually... I've been writing and demoing for the last 3 years but I think I've around 30 songs there that will probably do the first and second album...It's not gonna be as folky as the ep, expect some big pop arrangements in the vain of Richard Hawley and The La's...

Has the recording process differed from the EP?

The gear is a bit better so were going to record a bit at home and hopefully some in the studio...What ever the songs deserve.

When can we expect to hear it?

2012 will be the year of the goat...

What do you think of the Irish music scene at the moment ?

It's great but a lot of great releases are not getting the backing they deserve which is sad...In saying that there is a lot of over hyped bands that I can't see what all the fuss is about...

Who floats your boat specifically?

It changes... I'm more a fan of great albums rather than great bands... At the moment I'm loving Yuck and Warpaint...

What can people expect from a Goatboy gig?

Just a band trying its damnedest to do their songs justice...

Whats next for Goatboy?

Recording the album and rehearsing for our gigs at the end of the month...We'll be trying out some new tunes acoustic in Whelan's on the 25th and The Academy on the 29th...

Go to http://soundcloud.com/goatboymusic to listen to seven Goatboy songs including demo's from the forthcoming album.

www.facebook.com/goatboyofficial

Review: Kowalski - "Outdoors"

2011-07-03T12:40:00.000+01:00

Our favourite band from Bangor Kowalski have released their new single "Outdoors" via their new record company Everybody Stalking.

"Outdoors" is a feelgood summer song laden with slinky guitar lines, soft keys and rolling bass. Louis Price's voice is as soft and sweet as ever.

The track was produced by the band and mixed by Justin Gerrish, whose other clients include Weezer, Vampire Weekend and Muse.

Kowalski - Outdoors by everybodysstalking

Interview: Avalanche Ammo

2011-07-03T00:03:00.000+01:00

We recently caught Avalanche Ammo deliver his debut performance in Whelan's. We were so impressed by his brand of instant guitar led math rock that we couldn't wait to get our hands on a copy of his debut EP "Animals" the next day and we recommend you do the same. We caught up with the man behind the mask for a quick chat earlier this week.

Who is Avalanche Ammo?

Avalanche Ammo is me Anthony Boland, and it's my solo music project.

We described you as "a gateway drug to math-rock" following your debut performance at Whelan's how did that make you feel?

Extremely flattered! I'm just trying to create fun songs that are energetic and catchy, and if that somehow opens people up to new genres they might not have considered before, well that's awesome.

How did you find your first gig as Avalanche Ammo?

Loved it, I was nervous as hell at first, so much I felt I had to mention it between songs to excuse my fuck ups. It's been awhile since I've played live so it was an amazing feeling to be up on a stage again playing the music I love for people.

Why have you chosen to wear a mask on stage?

Cause every good superhero needs a mask of course! Always be prepared; never know when an arch-nemesis could be out in the audience waiting to strike.

So is Avalanche Ammo your alter ego then, if so can you see yourself going down the Bowie route jumping from alter ego to alter ego, or is Avalanche Ammo your one and only split personality?

Avalanche Ammo is me, multiplied by 10. No more personalities in here that I know of, I'll have to check with my doctor though.

You used to be a member of Belljar some of whom went on to form We Are Losers. Was it nice to share your first gig with your old band mates or was it an added pressure?

No pressure at all, I've always dug the lads’ music on a personal level, whether they've been doing music as Sebp, Wolves, or We Are Losers. Sharing a stage with them again was an honour, they're my friends but they're also musicians/writers whom I really admire.

Tell us about your debut EP Animals. Did you play all the instruments yourself?

The Animals EP is the result of my time spent experimenting as a solo writer. I'd been writing demos for awhile and reached a point where I was comfortable with the sound I was getting by myself, so the EP just sort of happened naturally. There wasn’t really a conscious decision "I'm going to write my debut EP now". I played everything myself on the EP, it was easier that way when I had the urge to record in the middle of the night, plus it was just plain rewarding challenging myself.

Did you feel more pressure as a one man band to produce something good or were you only aiming to please yourself?

It definitely started out very selfish; I was writing demos just for myself with no intention of doing anything with the music, but friends heard the stuff and were constantly asking me why I wasn't releasing this stuff, eventually I had to ask myself the same thing. Obviously I hope people think it’s good, but really like most musicians I think I'm aiming to please/challenge myself and am truly grateful if there’s people out there that find pleasure in what I'm doing.

Where did you record the EP?

At home in a room with a computer, a bunch of music equipment, oh and a bed too, very important.

How long did it take to record?

The EP was written and recorded in about 4 weeks total over December and January. When there’s snow outside, record music inside and build the occasional snowman.

Did you use any unusual instruments on any of the songs?

Standard setup instrument wise, the weirdest sound on the songs is probably some of the guitar parts, and that was achieved with a bunch of looper/delay pedals in combination with sometimes running the guitar through a midi keyboard.

Was there a producer involved in the recording?

There wasn't, it was basically me in a room by myself for 4 weeks being my usual own worst critic. I'm a bit of a perfectionist so it was hard and slow going at times. I wouldn't rule out taking on a producer for the future, if they can put up with me when I record!

Was it lonely at times without a band around you?

Strangely no, I definitely enjoy the dynamic of playing with a bunch of guys and or girls in a room and rocking out, but I feel that's a separate thing to what AA is.

Do you have a favourite track on the EP?

Owl Speak is probably my fav, I was surprised when everyone latched onto that as the standout track, because I thought it's very noisy, too noisy. I thought something like Panda Capture would have been the standout as it's a bit more poppy guitar wise. It’s fun to hear what other people's favourite track is, it varies a lot from the people I've talked to.

Was it a difficult process putting the live show together?

The way I see live right now is as a playground, I don't want to lock into a method of doing something and say "this is the only way it can be done now", I'm only starting out so I want try out things and see what works, what people enjoy. When I was first thinking of a live setup there were huge hurdles for me but at a certain stage you just gotta stop thinking about and do it, see if it works, learn from it and move forward.

One review described your live show as being "more of a DJ set" than a live performance. We think that's poppycock! But would you like to respond (to the bastard)?

I'd say everyone's entitled to their opinion, and that's totally cool if some people don't enjoy what I'm going to try live. I knew expectations were very high for that gig, a load of people had conflicting ideas and expectations on how I should perform live, it was impossible to please them all, so I set out to have a good time on stage, and hope that came across at least.

Have you always wanted to create instrumental soundscapes rather than traditional songs?

Instrumental music has always just felt right to me as a guitarist, an instrumental song can say so many different things to different people, when you have lyrics it can create a very singular mood for the listener. For me vocals pull on my head strings, but the music behind them pulls on my heart strings.

What do you think of the Irish music scene at the moment?

Well varied. There’s loads of bands out there that have such different sounds that are attracting similar audiences, the overlap of audiences is great ‘cause it’s introducing people to new music, myself included, I’ve discovered awesome bands just from heading to a show and then having a support act that sounds nothing like the main act blow me away.

Why has post rock taken over the music landscape in Ireland?

I think people are becoming more open to the idea of post rock bands and purely instrumental acts. There are such talented Irish bands out there now putting their own spin on the genre making this kind of music more accessible and in turn making it more socially acceptable. These bands have created an audience for the music so I think it’s swinging the spotlight onto artists that might have been overlooked a few years back in Ireland.

What’s next for Avalanche Ammo?

More live shows lined up for the summer, I took a break from writing since the EP release but I’ve also been working on some new stuff over the past week, so that’s got me on a serious buzz, I don’t know what form my next release will take, but you can be sure they're be more avalanche for your ears soon.

http://avalancheammo.bandcamp.com/

Review: The Walls at The Grand Social 01/07/11

2011-07-02T23:31:00.000+01:00

The Walls brought their two man show to the Grand Social on Friday previewing songs from their forthcoming album "Stop the Lights" and turning back the years with hits from their previous albums and musical incarnations. The unique selling point of this tour is of course the virtual band. A real life Gorrillaz if you will, consisting of amongst others Bellx1 drummer Rory Doyle.

The virtual band is mixed with projections of wind turbines, natural landscapes and the four elements. But it is the virtual band that makes The Walls visuals standout from other bands backdrops. Cynics would say that this is just a ploy to distract the audience from the fact that backing tracks are being used or that it is an excuse to only pay the band once. And while their may be an element of truth in this, there is no doubting that this show has allowed The Walls to become modern day troubadours with a big sound. And of course it's the songs and Steve Wall's distinctive speak/sing vocals people pay to hear, not the mandolin solo.

The band kick things off with their biggest post Stunning hit "To the Bright and Shining Sun" presented fittingly, in a much grittier fashion than the AIB advertisement it originally accompanied. Steve Wall's voice is built for radio, instantly recognisable and yet somehow able to genre hop with ease. The guitar work (all live) is top notch with Joe Wall in particular delivering the knockout pop riffs. "Bone Deep" the highlight of their beat laden debut album "Hi/Low" is the best of the bands older material.

The Walls, new material appears to be heavily influenced by Bob Dylan and Tom Petty which may leave fans of Noah and The Whale ripe for the picking. The criminally overlooked radio friendly single "Carrying the Fire" is surely one of the best Irish songs of the year. While "Phantom Power" is much better live than on record, thanks to the guitar and Joe's vocals being more prevalent. Current single "Bird in a Cage" which gets two outings, is well received by the audience. Joe Wall gets his moment in the sun taking the lead vocal on an excellent version of Phill Lynott's "Old Town"

The brothers Wall finish up with their signature song "Brewing Up a Storm" which still packs a punch after all these years. On the whole a slick show.

Interview: John Barker from 98FM'sTotally Irish

2011-06-24T16:39:00.001+01:00

John Barker may not be a name you are familiar with, but he is one of the most important men in Irish music today. As the Presenter of 98FM's Totally Irish, Barker champions Irish music, often bringing it to the mainstream media for the very first time. Most recently debuting Zombie Cops new single "You Do" on the show. Barker has also championed AIMR favourites Sacred Animals and Squarehead.

We caught up with him to discuss his take, on the Irish music scene today. His "top tips" for the future and his plans to make Irish radio, totally Irish.

Did you always want to be a radio presenter?

Well I always wanted to be involved in the media in some form, but probably more as a journalist. Then in 2004 my friend Daragh O’ Tuama and I began presenting a show called Abú on Dublin City 103.2 FM once a week and the hook was quickly lodged...

How did you come to present Totally Irish?

I had been working on the radio show Splanc on Newstalk 106-108FM every Friday night for 3 years doing sports and entertainment when the opportunity came up in January 2010.

Music is obviously an important part of your life. Where you in bands growing up?

Hmm yes I was in a band for a year back in 2000. I was the lead-singer who constantly sang off key but didn’t know any better. We made an EP that cost us a lot of money and we gave it to everybody we knew. In hindsight we shouldn’t have, it really wasn’t very good...I still play guitar and record songs on a cassette dictaphone. I learnt my lesson though and keep all the tapes in a shoe-box.

Who are your favourite bands, be it Irish or international?

This answer could be pages long...Some of my favourite Irish bands at the moment are Funeral Suits, Fight Like Apes, Villagers, O Emperor and The Cast Of Cheers.

My favourite international bands are Beirut, The National, Sufjan Stevens, Ryan Adams and Interpol.

Have you always had it in your mind to champion Irish music?

Yes, as soon as I started in radio I had an idea of doing an Irish music show that would promote up and coming bands and create a platform for their music to be heard.

The show is very detailed in relation to where bands are playing next and release dates Do you compile all this information yourself or do you have a research team behind the scenes?

I do it myself as I like to know what I’m going to be talking about as much as possible. My colleague Shane Prunty also does a lot of work on the show every week.

Do you go to many gigs looking for new bands and new music or do you rely on bands sending you demo's and links etc?

It’s probably a mixture of both. I go to a lot of gigs and have discovered the likes of Planet Parade, O Emperor, Sweet Jane and Enemies from seeing them play live. However, through cds being sent in and reading music blogs etc, I’ve discovered artists such as Jennifer Evans, The Danger Is, Sacred Animals and Our Little Secrets.

What should bands do, or not do, to give themselves the best chance of getting their song on the radio?

I guess pretty obvious stuff like making sure the recording quality of the song is good and that the song is a little bit original and catches the attention of whoever is listening to it. I think there are some Irish bands who are reluctant to take risks with their music and instead play it safe, when it might be better for them to experiment with their sound...and, I know this is a cliche, but have faith in your music, because if the song is good enough chances are that somebody will pick up on it, whether it’s a radio station, a music blog or another band tweeting their recommendation.

You present the show in both English and Irish do you enjoy a "cupla focal" outside work?

Yes I have a degree in Irish from N.U.I. Maynooth and am also an Irish & English teacher in a secondary school in Dublin.

Do you believe that an Irish band can do a Super Fury Animals and bring the mother-tongue to the mainstream. If so who?

It is weird how Welsh is perceived as being a ‘cool’ language and Irish isn’t. I guess it would be seen as being too risky to release music in Irish and I’m not sure it would work in mainstream music anyway. It’s hard enough as it is for Irish bands to get radio play! However If any one can do it I’m sure Jedward can. I don’t know how that would go down with all the gaeilgeoirs though.

You are very careful (or so it seems) to ensure the show is not Dublin-centric. Where are the best music scenes outside of Dublin?

To be honest there’s an amazing music scene all over the country at the moment. I get cds and emails from bands from nearly every county in Ireland. Outside of Dublin there’s a really good music scene in Galway (Daithí O Dronaí, Go Panda Go, The Kanyu Tree, Milan Jay, Lost Chord etc) and there’s also some amazing bands from the North (Japanese Popstars, Cashier No 9, ASIWYFA, Yes Cadets, The Lowly Knights, Paul Shevlin etc).

What Irish bands get you going at the moment?

There are loads...I really like the new stuff from Funeral Suits. Joshua from Japanese Popstars is a great song. I saw James Vincent McMorrow in The Pepper Canister Church recently and have been listening to his stuff more and more. The Sounds Of System Breakdown have a new EP out called Colour which I like. Also a new one from Delorentos called Bullet in a Gun, check them out on YouTube playing it on the streets of Madrid, nice...

Who are your tips for success for the remainder of the year and beyond?

I think Spies are going to be really big. I bought their single Barricade in Tower Records a few weeks ago and saw them at Forbidden Fruit where they played an amazing set on the Lighthouse Stage...Another young band who I really rate for the future are The Kapitals. Am also really looking forward to albums this year from The Ambience Affair, Sacred Animals, Planet Parade, Jennifer Evans, The Danger Is, Cashier No. 9 and Squarehead.

Who do you believe is the most criminally overlooked Irish artist or band of all time?

When I was growing up I could never understand how Revelino weren’t more successful. Happiness Is My Mine is an all time classic. Myself and my friends used to go to every one of their gigs and we let them know it too!

In more recent times I’m not sure how last year’s album from The Rags A National Light didn’t lead to them becoming more successful??

Why are radio stations reluctant to promote new Irish music outside the confines of shows like yours. When the quality of music is so strong?

I really don’t understand it myself and it’s the biggest complaint I hear from anybody involved within Irish music. A lot of station’s playlists are like exclusive clubs. I do honestly think it will change though. If the Irish music scene continues to grow and develop amazing bands over the next few years then I really hope that radio stations will have no choice but to include Irish artists more. In saying that DJ’s such as Cathal Funge, Dan Hegarty and Donal Dineen already do a great job promoting Irish music.

Would you like Totally Irish, to expand beyond radio ie compilations, gig promotion or even television?

Yes , there are plans for hosting Totally Irish gigs in a venue in the city centre throughout the year and this will hopefully begin in September. We did look at creating a ‘super-group’ of Irish musicians for a Christmas single last year and might try to do it this year. Releasing a compilation album would also be very interesting to do. As for television, sure why not?

You can listen to Totally Irish with John Barker every Sunday, between 8-10pm on 98FM. For further information check out http://www.98fm.com/onair/shows/totally-irish/

Review: Le Galaxie album launch The Workman's Club.

2011-06-19T18:42:00.000+01:00

On Friday night electro scientists Le Galaxie conducted a large scale experiment on a throbbing fee paying, general public. The aim of this experiment? To release mankind's inner robot. In the early hours of Saturday morning independent observers pronounced this experiment, a resounding success. Test subjects were injected with Le Galaxie's newly patented serum Laserdisk Nights 2, which yielded instant results.

Le Galaxie used certain triggers including: Tron cube, glow sticks, fluorescent body paint, pulsating indie electro, and hands in the air moments of unity. As these triggers were introduced subjects could be seen to move uncontrollably. At first foot tapping and head nodding was recorded. Then as glow sticks were introduced, hands went in the air and euphoric smiles appeared on faces. Slowly but surely each subject released their inner robot. Independent observers recorded movements such as "big fish, little fish cardboard box". In some subjects the serum proved more potent and the moves "Swarm of flies" and "Wobbly cross" were also recorded.

Through the medium of electronica the Le Galaxie scientists pounded the stage in the Workman's Club, delivering thunderous beats and bleeps The guitars and drums in particular, more prevalent than on the record. The emphasis throughout the performance was placed on giving the audience a good time and the set reflected this. Only full-on tracks such as "Orion" and single "Midnight Midnight" would pass muster this evening.

A thoroughly spectacular performance by a band that is on the cusp of the big time. MCD take note this is a main-stage act with main-stage material. In fact you can send Beyonce back. This is where it's at.

Video: Kowalski new single Outdoors

2011-06-16T14:34:00.001+01:00

Kowalski previewed their forthcoming single Outdoors on All Gone Pop TV. The single is the first new material proper to be released since the release of their stunning debut EP "Take Care, Take Flight". Outdoors also sees Kowalski join forces with new UK based indie label Everybodystalking. In the video Kowalski perform as a trio, minus the comedy stylings of Tom O'Hara on bass (bring back Tom). As you would expect the track is sun kissed with just a dash of sadness.

Video: Ham Sandwich - Models

2011-06-15T11:52:00.000+01:00

Here is the video for Models the latest single from Ham Sandwich. It features footage of the band recorded live at The Academy in Dublin (always a good show) mixed with on the road footage. Undoubtedly its best moments feature the crowd being covered in ticker tape. As for the song, well that's not bad either.

Review: Red Brick House - EP

2011-06-14T20:04:00.000+01:00

Following a successful appearance at this years Temple House Festival. We thought it was about time we checked out Sligo quartet Red Brick House's self titled debut EP.

It's a four song collection of well crafted up-tempo indie tunes, with big guitars and big drums. While lead singer Patrick Leydon has a good voice, that moves from gravelly indie anger to pop with ease.

Opening track "In My Head" is full of choppy guitar riffs and a catchy chorus. Think Milburn. "Daydream" is a radio friendly song. Nada Surf via Sligo if you will. It is a strange yet potent combination The vocal delivery has a hint of Duke Special to it. Some very hummable backing vocals by Les Finan (guitar) keeps this song returning to your mind time after time.

A hail of drums, cowbell and muted guitar stabs leads us nicely into "Not The One". A funky bass led relationship P45. Once again the song is delivered with panache. With special mention for the rhythm section of Peter Murray and Danny Young, who are the stares of the show on this track. 3 songs in and Red Brick Houses are shaping up to be a very accomplished and versatile band.

Propelled by big drum beats and grime filled choruses closing track "Broke The Law" is the pick of the bunch. A throbbing blues tinged track with hints of modern shoegazing acts such as Black Rebel Motorcycle Club, combined with classic 80's rock guitar stylings. This track has single written all over it.

The EP is available for download free of charge from Bandcamp.
Check out http://redbrickhouse.ie/ for more info on the band.

Review: Satelite Generals live at Whelan's

2011-06-13T18:39:00.002+01:00

There is a spark about Satellite Generals. They subliminally project a musketeer vibe, an undefinable on stage togetherness that makes them a believable band.

They kick things off with a heavily accented Kings of Leon style drum beat on "Kings and Queen" which instantly displays the vocal prowess of lead singer Niall Rogers. It's unusual to see a band with 3 people playing drums at the same time. The bombastic fills of James Rogers are joined by synth player Eddy Edmondson on a mini percussion set-up. While bassist Jay Duff plays a floor-tom, adding texture to the song. Which is at its best in the chorus when Niall Rogers and Jay Duff combine lead vocals.

"Neck Ties" has a somber summer feel, with a guitar line you might expect to find on a Two Door or Kowalski song. "Matador" is led by some more nifty bass riffs and a catchy "wahow oh" chorus. It's a quality radio friendly pop song, with single stamped all over it.

Unfamiliar Roads is another radio friendly alt-pop song. Delivering elements of early Coldplay and White Lies. Rodgers vocals are reminiscent of lather day Jesse Lacey. Once again Satellite Generals have managed to weave the backing vocals in and out to great effect. They finish off their set with a cover of the Strokes "Someday".

Satellite Generals, truly display the makings of a quality band and we will certainly be back for a second look.

Review: Alarmist at Whelan's

2011-06-11T16:37:00.001+01:00

Alarmist are definitely not a gateway drug to math-rock. They are at the cold face of of the equation. This Dublin based instrumental quartet owe a lot to modern orchestral music as well as their math rock peers. It came then as no surprise to discover that they are players in the Trinity Orchestra. Who you may have seen at this years Forbidden Fruit festival.

Indeed many of their compositions would probably wow a musicology professor due to the unusual time signatures and instrument hopping melody lines. But does your average gig goer or math rock enthusiast want the same things as a music professor. Probably not. More than likely they want to dance or jump around

Luckily for Alarmist songs such as Vitamin Saturday, offer up the goods to both gig goer and music professor alike. A juxtaposition of metallic sounds against Sigur Ros style minimalism set against sweeping jittery guitars and synths.

The influence of Frank Zappa is audible on Giraffe Centre as the bass clarinet mixes with atmospheric synths and jittery guitar lines. All of this as with Zappa is held together by the bass. And while music professors will approve of the theory behind instrument hoping. The audience is visually stimulated with a will he, won't he, sense of suspense, at the execution of these melodies.

Alarmist are definitely for fans of the Richter Collective's stable of acts such as Enemies and Bats.

http://alarmist.bandcamp.com/

Review: Ash live at Whelan's 6-6-2011

2011-06-11T12:42:00.007+01:00

Ash popped their Whelan's cherry and the audiences ears, in a tour-de-force performance that showed they are still top dogs of Irish Rock N' Roll, 17 years after the release of their debut Trailor.

A sold out crowd were impressed by Northern Ireland grunge revivalist LaFaro's mix of "Moist Vagina" style Nirvana. Kyuss, Screaming Trees, and Mudhoney. It is easy to see why LaFaro are hailed as the next big thing to come out of Northern Ireland. As they deliver memorable riff after riff. LaFaro are let down on the night however, by the sound,with the vocals barely audible at times.

Ash were joined by LaFaro’s drummer Alan Lynn. filling in for drummer Rick McMurray, whose girlfriend is in labour. And maybe LaFaro and McMurray should be worried such is the quality of Lynn's performance on the night.

Ash lay down a statement of intent with frenetic opening track Loose Control. Tim Wheeler clearly means business. Putting his all into the, at times considerable guitar work. His voice is also in top form throughout the evening. While bassist Mark Hamilton puts his base into, what can only be described as Kama Sutra, style positions. Which get stranger and stranger as the night progresses.

Ewan McGregor movie theme tune A Life Less Ordinary proves that whilst Ash, may desire a second guitar player, they throughly don't need one. The song is better live than the recorded version. Those at the back may have wondered what Wheeler was laughing at, towards the end of the song. He dropped his plectrum while throwing a rockstar shape.

"We normally play this at the end, tonight's an experiment" says Wheeler, referring to Twilight of The Innocents. A mix of sampled and live drums combine well with synth backing tracks, as the song slowly builds to the repeated chorus of "I'm still breathing, my hearts still beating" the vocal highlight so far. The crowd sing along and moshing ensues during Girl From Mars and Goldfinger. While a full on pit, erupts during Petrol.

Tim Wheeler, lets the crowd takeover singing duties on Walking Barefoot and once again on Oh Yeah which was notable for two reasons. It featured a great solo by Wheeler and secondly it gave a masterclass, in how to execute a false/double ending in a song. A must have skill for any band.

Ash classic Kung Foo sends the crowd into overdrive and crowd surfing follows on The Dead Disciples. By this stage, even a love song like Shining Light sees legs flying over head. Return of The White Rabbit closes the first section of the show. Its is not only the highlight of the songs that feature samples. It is the highlight of the night as a whole. Underpinned by a dirty bass riff. A swirling mix of Kasabian and Nine Inch Nails influences, combine to create a disco metal classic, with an excellent chorus "Is this the end of the line my friend I don't wanna know I don't wanna to go"

Ash return for a four song encore of Arcadia, Jack Names The Planets and Angel Interceptor with Burn Baby Burn the highlight. By now the crowd has gone so wild, that the front row falls onto the stage, in a heap of limbs, as the final note sounds. Ash are quick to make sure the those on the stage are ok, and discomfort quickly turns into elation, as its hugs and handshakes between Ash and fans.

We don't normally do marks out of ten but in this case we would have to go with 12. Even though we experienced hearing loss for several days. Thanks Tim.

Live Photo by Kieran Frost.

Video: Zombie Cops "You Do"

2011-06-07T17:52:00.000+01:00

Dublin rockers Zombie Cops; one of Ireland's finest live acts, have released a promotional video for their forthcoming third single "You Do" A twisted lament with splashes of Placebo and Jimmy Eat World. The video was made by Eoin Heaney of Highly Stimulating Productions and continues the eerie feel of previous single "Taking Lives"

Zombie Cops - You Do from Zombie Cops on Vimeo.

Check out the link below for live dates and free music

zombiecopswilleatyourbabies.com

Review: We Are Losers at Whelan's

2011-06-05T15:44:00.000+01:00

We Are Losers are fuzzpop superstars in the making. Saturday night's high octane 7 song set in Whelan's was astounding. Such is the quality of the songwriting and the on-stage intensity of the Kildare/Dublin quartet. Elements of Sonic Youth and Buddy Holly combine to produce stylish, uptempo, 2min darts of harmonising happiness.

Gavin Elsted's quirky voice, light-speed guitar and head movements, are the visual focus. While Bronwyn Murphy-White (bass) and Steve Conlan (lead guitar) slingshot, sunshine harmonies and riffs towards the audience.

A 60's surf-pop song, fights to emerge from a curtain of fuzztone guitars on "The Narcissist" as We Are Losers kick things off in considerable style. "We Vampires" has an Indie-disco feel. With elements of Flaming Lips and Strokes. The song slowly builds until Gavin Elsted, delivers the excellent chorus of "We let the light in" with great harmonies provided by the rest of the band.

"She Dreams in Spectrals" from the forthcoming Popical Island compilation, is a great song. Continuing in the high-spirits of the previous material. It is slightly reminiscent of "Girl from Mars" era Ash, dripping with fuzzed up harmonies. The only thing that lets We Are Losers down, is the amount of time taken to tune guitars between songs, as this disturbs the momentum of their show.. However, this can be easily rectified.

Forthcoming single "Cheerleader" (July 11th) gets the best reaction from the crowd so far. Its catchy chorus of "let me cheer you on" drawing them in. We are Losers finish off their set with "Empty Head" a track from their 2010 self titled debut EP. It's a two and a half minute fuzzpop masterpiece, with a great chorus "I wanna live forever" and an "oh oh oh" verse.

It's great to discover yet another, top quality Irish band exists.

http://www.facebook.com/pages/We-Are-Losers/138470986214213

Review: Avalanche Ammo at Whelan's

2011-06-05T12:23:00.000+01:00

Anthony Boland took to the stage for a powerful debut performance of devastatingly instant melodic driven math-rock. So much so that Avalanche Ammo, could easily become a gateway drug, for a new generation of fans, into the post rock genre.

Avalanche Ammo utilises samples and live looping to great effect whilst playing guitar and singing live. Boland pushes himself physically to produce these sounds. Diving from one electronic device to the next, controlling the constantly changing beats and loops he is creating.

Avalanche Ammo avoids the weedier elements of the genre altogether by never letting the guitar deliver high-end guitar parts on its own. Instead he keeps the momentum constantly upbeat and throbbing with elements of At the Drive In and Deftones never far away from the rhythm figures. While the lead-lines are instant and poppy. Think Two Door Cinema Club and Franz Ferdinand. All these elements combine to create an explosive, if you will Deftones-disco sound.

Sparrow is the best example of this sound jumping from crunching metal riffs to Stereo Lab electronica and back again. While "Panda Capture" sucked the audience in instantly with its summery, instrumental indie sound. "Owl Speak" introduced metal elements mixed with Go Team sunshine. Closing track "Pony Up" was the highlight of the set however, delivering dance-floor metal at its finest.

Avalanche Amoo is an exciting new project and a welcome addition to Ireland's critically acclaimed Post-rock scene. His debut EP Animals is out now and available for free via bandcamp and we highly recommend you download it now.

http://avalancheammo.bandcamp.com/

Review: Lynchburg Mob at Whelan's

2011-06-04T19:59:00.000+01:00

Lynchburg Mob are a for piece Noir-rock band from Dublin, heavily influenced by Interpol and Echo and The Bunnymen. The lyrics are stark and jagged containing many Ian McCullochesque couplets Ian Plunkett's voice is robust with flickers of McCulloch, Paul Banks and Harry McVeigh audible. The "We were built to last" chorus of Coattails is probably Plunkett's finest moment.

Despite obvious talent and moments of brilliance Lynchburg Mob, seem hell bent on sabotaging themselves, through overkill. With songs containing far too many changes and in several cases a double outro, which hampers the song, by not letting it end on a high.

El Mar is a case in point. It starts off life as a beautiful atmospheric track, with menacing horror movie effects. However forty seconds in an amateurish Something Happens, style guitar link by Plunkett undoes all this good work, with 15 seconds of self-indulgence. Thankfully it returns to the slick atmosphere of the intro for the verse. Followed by a third bass heavy section which ads something to the composition.

Give any competent producers the multi-tracks and an hour in a studio and this song could easily fulfil its potential. Unfortunately for the Lynchburg Mob, this is a school boy error repeated time after time.

A cover version of Interpol's "Evil" a perfectly weighted modern classic. Precise in every way, Really hammered the previous point home. Lynchburg Mob delivered the song perfectly however, and it was the highlight of their performance. While "The Importance of Remaining Earnest" is the groups best song. A high tempo Cult style stomper built on chugging bass and some nifty riffs by Darragh Lynch.

Lynchburg Mob are potentially a great band. Plunkett, is a good front man, Lynch, an inventive guitar player. They just need to get the balance right.

http://lynchburgmob.bandcamp.com/

http://www.facebook.com/thelynchburgmob

Review: Ellie Goulding Live at The Olympia 31/5/11

2011-06-04T15:52:00.000+01:00

Not to be outdone by a little old band like Suede, royal wedding singer Ellie Goulding, embarked on her three night residency in the Olympia Theatre playing to a fervent capacity crowd, who she quickly and easily enthralled with songs such as "Under The Sheets", "Your Song" and "Starry Eyed".

The general public may view Goulding as a public-school folk singer. But nothing could be further from the truth, as she instrument hoped from drums to guitar and back again, several times over.

While her light-show is more akin to what you may expect to see at a Klaxons gig. Indeed the gig comprised a large amount of Indie-electro rather than mid tempo folk.

Goulding appeared from nowhere mounting a drum kit for a dub version of her break through single "Under the Sheets" breaking all expectations from the off she bound down to the front off the stage dressed in a leather jacket and short-shorts for "Under The Sheets" proper. Where she played floor-tom centre stage ala Bat For Lashes and Radiohead. Her voice is much stronger than her slight frame suggests with flashes of Bjork on emotion laden "This Love" one of the highlights of the evening.

The crowd react wildly singing in unison to "Human" especially so when Goulding belts out "I would give my life" through the choruses. While she brought on chills as she sang a section from ballad "Wish I Stayed" acapella, in three part harmony with her backing singers.

Goulding's current hit Elton John, cover "Your Song" is given a "Let It Be" style Beatles makeover to great effect, with the backing singers once again delivering a great performance. This would appear to be the highlight of the night for many, its a hands in the air unifying moment. Goulding however has one final trick up her sleeve. The excellent "Starry Eyed" closes the show to rapturous applause. Judging by the closing section of the show. Goulding is only a few short steps away, from becoming a truly credible artist.

Album Review: Le Galaxie Laserdisc Nights 2

2011-06-01T19:11:00.000+01:00

The truly long-awaited debut album from Le Galaxie "Laserdisc Nights 2" is an eleven track opus of air-punching dance magic.

Le Galaxie's sound is a mix of Zodiak Free Arts Centre era Berlin, Gary Numan, Kraftwerk, Bowie instrumentals and Devo. With more modern references to Daft Punk and Goose, combining to create a superb debut effort, by the electro-quartet.

The influence of science fiction films and literature (perhaps Phillip K. Dick) are also evident in the lyrics, but don't be fooled. This is anything but geek-rock, dance music. Its vivid and vital.

Single "Midnight Midnight" (video below) is top-notch synth-pop, dripping with Numanesque motifs and catchy refrains, set against wall shaking industrial sounds.

On "Powers Of Miami" soundbites and android vocals are intertwined with a riff, that's so good, It will have you reaching for your Air-synth (not an easy feat) While on "This is Reality, Diane" and "Blood Beach" Le Galaxie, wander the Germanic landscapes of Bowie's infamous "Side B" collaborations with Brian Eno, with some aplomb.

"Orion" one of the albums standout tracks, is reminiscent, to begin with, of the Sumner/Marr super-group Electronic. The live drums and bass are to the fore, delivering cool retro disco riffs. Juxtaposed against, contemporary throaty synth sounds. The track closes with an unexpected, but welcome sprinkling of math rock.

When award season rolls around Le Galaxie, can expect to be nominated for album of the year. Laserdisc Nights 2, is the high-tide mark in Irish electronica thus far, in 2011. It sees Le Galaxie, become "The Rolling Stones" to Not Squares, "Beatles" So let battle commence.

The Quicksand Band: Making The Album Video

2011-05-30T16:40:00.000+01:00

One of Dublin's finest alt-country/rock bands The Quicksand Band, have released a behind the scenes video-teaser of their forthcoming debut album "Approaching Rain" Produced by acclaimed Irish singer/songwriter Gavin Glass and set for release later this year..The album sounds very promising from the brief snatches of songs contained in the video. Keep an eye out for "Approaching Rain" it could be the surprise package of the year.

Review: Suede The Olympia Dublin 24-5-11

2011-05-26T21:19:00.000+01:00

Suede kicked of their 3 night residency of reunion gigs in Dublin's Olympia Theatre by performing their genre defining, seminal, 1993 self-titled debut album "Suede" in its entirety. Eighteen years later, the songs are still fresh and authentic. Although this is not the original line-up (with original guitarist turned super-producer Bernard Butler having refused the invitation to play. He instead opted to re-master tonight's material and follow up album Dog Man Star) their was a certain amount of romance, in the air as the band took to the stage

Dublin quartet Sweet Jane had the unenviable job of support act, on such an emotional occasion for Suede fans. But they steadily won the crowd over, with their dark ephemeral, wall of sound. Lydia Des Dolles voice is a cross between Hope Sandoval and Bilinda Butcher while guitarist Danda Paxton's voice adds a dark colour to the mist of grime Their musical influences include The Jesus and Marychain, Black Rebel Motorcycle Club, Iggy Pop and The Ramones.

The crowd sing lustfully along to a Sex Pistols track, as the lights dim and Suede swagger onto the stage, dressed head-to-toe in black. Led by drummer Simon Gilbert who appears to have been in cryostasis, all these years. In fact most of the band seem to have preserved themselves remarkably well. Brett Anderson strides onto the stage last, to thunderous applause. The years have been, especially kind to Anderson, who is just as thin as he was in 1993.

From the first note of "So Young" its obvious that this is no mere, money collecting exercise, by a band riding this years nostalgia wave. Suede, clearly have a point to prove, and prove it they do. Anderson's voice is impeccable through the entire show, as he prances and pogo's nonstop. Fan favourite "Animal Nitrate" is the first of many songs to benefit from the addition of Neil Codling on guitar. Though the highlight for many seemed to be, being given "the finger" by Anderson.

However, the man with the most to prove is Richard Oakes, having replaced the architect of Suede's sound, Bernard Butler. Oakes has often been the fan's whipping boy for Butler's departure, rather than the rest of the band. By the time the band play the rousing "Moving" Oakes, has dispelled these misgivings totally, with precise renditions of the guitar parts. He is clearly enjoying himself, especially on songs like "Sleeping Pills" and "Metal Mickey".

Anderson's voice goes Bowie on the outro of "Pantomime Horse" as he goes down on his knees and repeats "have you ever tried in that way..." Anderson bounds the stage, like a man possessed, on "The Drowners" going into the crowd at one point. The fan's are also treated to Anderson's signature claps, on this track.

"Metal Mickey" and "Animal Lover" whip the crowd into a frenzy, before the band depart, leaving Anderson and Codling to deliver the albums closing track "The Next Life" This sparse piano balled perfectly suits the intimate surroundings of the Olympia.

After a short break, Suede return to play some fan-favourite B-sides "My Insatiable One" and "For The Birds" Disappointingly, the band opt to ignore calls to play "Killing of a Flash Boy" Opting instead to give fan's a taster of whats to come, in their "Coming Op" gig. Firstly with "Thrash" The crowd go manic as Anderson, once again throws himself into the crowd. They finish the night with "Beautiful One's" where Anderson encourages the crowd to "Sing it!" repeatedly. Once again Anderson bounds into the pit for the final bars, before the band disappear into the night. Just like the characters from their songs.

Keep Shelly in Athens "Remix Compilation"

2011-05-18T17:11:00.000+01:00

Keep Shelly in Athens, have compiled a collection of their remixes to date. Including their fantastic re-imagining of tracks by two of Ireland's finest bands Solar Bears and Sacred Animals.

Our remixes by Keep Shelly in Athens

Review: The Rambleers "Roots"

2011-04-23T19:44:00.000+01:00

The Rambleers debut album "Roots" is foremost an album for lovers of classic blues-rock guitar licks. The influence of Rory Gallagher, Led Zeppelin and Lynyrd Skynyrd is palpable. By attempting to travel this well-worn road The Rambleers, have set themselves a virtuoso level of musicianship to aspire to and in the end, to be judged against.

The guitar, drums and bass in particular are lovingly delivered with some skill on songs like "Roots"and "Ebb and Flow" in particular. The vocals bizarrely have a touch of Madchester about them in places with a deep rooted swagger, whilst also touching the more obvious blues rock keystones. Slide guitar led, folk jamboree "New Years Day" is one of the albums softer highlights. While "Dirty Blue" pays homage to the call and response origins of the blues itself.

It would appear that The Rambleers have done the unthinkable and created a credible Irish blues record.

You can catch The Rambleers live every Sunday in The Mezz or check out http://breakingtunes.com/therambleers for live dates and further details.

Video: Squarehead "Midnight Enchilada"

2011-04-18T17:02:00.000+01:00

Richter Collective recently continued their impressive winning streak with the release of Squarehead's latest single "Midnight Enchilada" Its release party at Dublin's newly revamped Mercantile was one of the gigs of the year to date.

Check out the new video for the single below. But beware, the chorus may cause you to throw your plans for the evening out the window. Being the hummable summer wonder that it is.

We expect big things from Squarehead in the future. Definitely a band to watch out for in 2011 and beyond.

Squarehead 'Midnight Enchilada' from Rupert Morris on Vimeo.

Windings "Embury Greenway" video :)

2011-04-12T18:53:00.000+01:00

Windings are back with a fantastic new single "Embrury Greenway" check out the video below its top stuff.

Review : We Are Trees "Girlfriend" EP

2011-04-11T18:59:00.000+01:00

Bedroom-ephemeral specialists We Are Trees return with their second EP "Girlfriend" the companion piece to "Boyfriend" their critically acclaimed debut release.

The band believe that when combined, the two EP's create one whole album, a side A and Side B if you will. Having completely swooned over their first release, we were thoroughly excited at the arrival of the next instalment. And as the cover suggests it is a more sexual platter.

"Teenage Heartbreak" eases us into the EP with the familiar base elements of reverb laden vocals, acoustic guitars and the bombastic complicated-minimalism of Josiah Schlater's drumming. Lyrics of loss are never far away with We Are Trees "you never wanted to be with me ...I cried" The backing vocals step forward and the "oohs" invite us to hum along and drift away through the wordless choruses.

"Colorado" centres in a dark acoustic riff landscape with occasional synth stabs The vocals mimic the guitar melody and the guitar melody mimics the vocal melody as the song builds, into a layered atmospheric guitar solo. Once again James Nee conveys his emotions equally well in "oohs" and "ahs" as he does in words.

"Talk to me girl I never wanted to end this way with you" urges James Nee in his most Beatle like lyric to date on "Girlfriend" An excellent song which showcases James Nee's love of The Smiths and Belle and Sebastian. The shortest song on the EP "You" is a beautiful finger picked ballad wrapped in a bow of sadness.

"I Don't Believe in Love" is the stand out track on the EP it proves that We Are Trees can rock just as well as they can create ephemeral pop. Distorted vocals lead this Weezeresque stomp, out of the traps. The half familiar lead lines build into a dark discorded middle 8 section Think "Everlong" for this generation.

If as James Nee claims his songs are "all about imaginary girlfriends" god help us when his heart really gets broke, because the music he writes will be unbelievably good. "Girlfriend" is an excellent EP which shows We Are Trees have the potential to be a global phenomenon.

Review: Hamell On Trial, live at The Sugar Club, Dublin.

2011-04-11T18:01:00.000+01:00

Blessed with the spirit of Hunter S. Thompson, and the adamantium tongue of Bill Hicks, Hamell On Trial, delivered a relentless evening of thought provoking no-limits comedy content in The Sugar Club.

He took to the stage dressed like a ghetto Johnny Cash, in a black suit with added shades and beanie hat, armed with an ageing guitar, born in 1937 to be precise.

Hamell On Trial, creates a wall-shaking sound of an earthquake or an approaching avalanche. Part Pixies, part metal, part dropped D blues death-machine.

A lightning quick wrist is twinned with a lightning quick mind to create some truly jaw-dropping comedy gold. No subject is taboo from Michelle Obama's anal cavity to George W. Bush ejaculating on The Bible.

While more personal experience based comedy about post-divorce dating and meeting John Lennon as a teenager, brought tears to my eyes.

Hamell On Trial is a spectacular political satirist and a must see for loveres of "harsh-truth" comedy.

Interview: Not Squares, Keith Winter

2011-04-05T17:24:00.000+01:00

"Yeah OK" was one of 2010's best albums, full of primal disco loveliness. It saw the Not Squares arrive in considerable style. The band are currently causing tremors in the UK, having recently wowed Camden's prestigious KOKO. We caught up with Drummer/vocalist Keith Winter for a long overdue Q and A..

AIMR: What attracted you to the drums in the first place?

KW: I grew up in a charismatic Christian church where drums were played every Sunday in what was an old rollerdisco hall and everytime they were hit I would start laughing with excitement.

AIMR: How old where you when you first picked up the sticks?

KW: I was about 13 I think.

AIMR: Did it come naturally to you?

KW: Naturally enough yeah – drums are easy to get to a competent level on, to hold a beat.

AIMR: Who were your original influences?

KW: My original influences were Mitch Mitchell, Jimmy Chamberlain, Steven Adler, John Bonham.

AIMR: What was the first album/song you bought was it purely for the drumming?

KW: First album I ever bought was ‘The Ultimate Experience’ by Jimi Hendrix, the drumming was a major feature of the record for me.

AIMR: What was the first gig you attended?

KW: I think Ash in the Ulster Hall

AIMR: What was the name of your first band and were you any good?

KW: First band I was in was called Dimension 7, it was ok but just about ok.

AIMR: When and where did you play your first gig?

KW: First gig I can really remember was a battle of the bands in a church hall in Bangor in 1996.

AIMR: How many bands have you been in before Not Squares

KW: Ooof probably been in about 10 bands over the last 16 years.

AIMR: Are you a drum whore then?

KW: I’d like to be a drum whore.

AIMR: What did you learn from each of the experiences?

KW: Less is more.

AIMR: Do you drum in your sleep or have drumming dreams?

KW: Don’t know. Doubt it.

AIMR: What is your favourite drum beat and why?

KW: Straight 4/4 dance beat.

AIMR: Who is your favourite drummer and why?

KW: Favourite drummer is John McEntire from Tortoise etc. He is the ultimate in drumming etiquette, and live he has the stare of a maniac.

AIMR: Do you play and other instruments?

KW: I play (untrained) keyboards, type out drum patterns and midi basslines and sing into my macbook

AIMR: Are you a frustrated songwriter?

KW: No I try to get anything that lingers in my brain out into some form of recording. I use a voice recorder sometimes while I’m on the move to beatbox into so I don’t forget a beat or a bassline or vocal melody.

AIMR: Why is drumming dismissed by the mass media when it is one of most important components in popular music?

KW: I haven’t experienced its dismissal, if anything it seems youtube and other mass media sites are promoting drumming and its presence in pop music more than ever.

AIMR: Have you done much session work and are you available for session work?

KW: I have been asked to drum for other acts of whom I don’t know the people involved, both live and in the studio but didn’t take them up on it. I would definitely consider session work.

AIMR: Who would you like to work with then?

KW: I’d like to work with talented producers, working with David Holmes for a Not Squares remix was fun… there’s a chance he might ask me to play on future records of his. I like it when there’s a blank canvas and someone says ‘just drum’ to something they have written. That’s probably the most exciting part.

AIMR: What advice would you give any budding drummers?

KW: Separate your right hand from your right foot and then you’ll advance tenfold.

AIMR: What piece of kit can you not live without?

KW: Custom welded cowbell.

AIMR: Whats happening next for your band?

KW: We are playing a heap of festivals around the UK and Eire, plus we are in the process of getting album number 2 ready to be made.

Interview: Jamie Hughes from Zombie Cops

2011-03-22T17:01:00.000Z

Zombie Cops are one of the most exciting live bands on the circuit today. We caught up with one of the bands front-men Jamie Hughes, ahead of the release of their third single "You Do"

AIMR: Who are the Zombie Cops?

JH: We are a bunch of sinister yet lovable rascals.

AIMR: How did you form?

JH: Myself and Dylan met whilst being part of a failed bank heist crew back in 1992, we were both 6 so it's probably why it failed. Whilst on the lam we met Nelius an over friendly petrol attendant who gave us the keys to the station toilet without purchase... Kev was locked inside and we realized that it was the birth of something very special!

AIMR: Where did the name come from?

JH: Band names are a nightmare to come up with as a general rule... I'm pretty sure we had about 40 of them before we settle on this one. We were out together for a meal of food and Nelius said something like "They should just combine two cool movie genres together like Zombies and Cops... Zombie Cops" and we were like "Yes... that'll do nicely"

AIMR: How would you describe the Zombie Cops sound?

JH: I think we described it recently as "Dark blistering Pieces of Pop" which sums it up a treat but it's funnier to say like 'Enya being attacked by wolves while Lemmy fits Price with a pair of purple velvet trousers...'

AIMR: What were your first musical influences?

JH: East17

AIMR: Was there a specific moment that initially inspired you to create music?

JH: Seeing East17 in concert... and wanting to make sure it never happened again!

AIMR: You have two lead singers and lead guitar players an unusual combination in a band how did this come about?

JH: As two singer songwriters that came together it was important for both of us to both have our voices for it to work and it did! I think we're incredibly lucky to have both to be honest. It gives us an added dynamic and I like to think it keeps it interesting.

AIMR: You also have one of Ireland's most respected DJ's on drums How did you hook up with "Irate Soundsystem" and has it opened many doors for you having a ready-made cult figure in the band ?

JH: Dylan is awesome whilst DJing but he actually had to go through 8 different Crystal Maze type challenges in order to drum for us. He failed one of them but I vouched for him so he got to stay...

AIMR: So far you have released two free singles Taking Lives and Win Some Lose Some. Why did you take the decision to go down the give away alley and do you think it has been beneficial to the band to do so?

JH: I think that at this stage it's important for bands to understand how this all works at this stage... Realistically at the stage we're at we most certainly aren't in it for the money! What's important for all of us is the thought of someone out there listening to our music and enjoying it. On the occasion that someone you don't know comes along and says "I love Taking Lives" it's totally what it's all about. We have people in America getting in touch with us on Twitter saying they love the band and it's all down to having Music Videos and getting the Tracks out there for free. It's mad to think someone on the other side of the world has listened to our music and it has affected them in some way... It's awesome to be honest!

AIMR: Tell us about recording the singles. How did you find the process?

JH: We recorded up North in Manor Park Studios and it was great. With recording the tracks there's always a shit load of prep work and the actual recording seems to just pass you by. It's always an actual joy to do it and if I could I would gladly spend a month doing it. We are currently looking for a suitable producer as it has just been ourselves producing the tracks up to this point and we want new ears!

AIMR: Eoin Heaney who stared in the Ambiance Affair video that won best video at the recent Digital Socket Awards directed the video for both singles How did you find making the videos and how did you feel about entrusting your songs to an outside element?

Zombie Cops - Taking Lives from Highly Stimulating Productions on Vimeo.

JH: Eoin (Heaney) is a full blown genius when it comes to cinematography and that's what he has brought to the table with us... It's a lot of fun making the videos but the excitement of seeing it for the first time is where it's at. Eoin has given us short segments of Cinema to accompany our music and we gave him creative control over what he develops for us. I honestly can't speak a bad word about the whole set up and we will be working more with Highly Stimulating Productions going forward.

AIMR: You have built a reputation as being a great live band. What can people expect from a Zombie Cops live show?

JH: A serious amount of energy and some cracking rock music with dual melody and harmony. Also, occasionally Sean Connery shows up and reenacts Highlander with Nelius.

AIMR: Your Cover of Human League's "Don't You Want Me Baby" has become a mini legend. Can we expect to see an official release at some stage?
JH: Ha ha, it's unlikely. We are far too neurotic to keep one cover going. We love arriving in practice and going, "Oh we should do a version of..." some of them we act on, some we don't, most sound shite... we may play it again or we may hit the nail on the head with something else.

AIMR: What music is inspiring you these days?

JH: The thing about ourselves is that we all have fairly varying tastes but there's always common denominators. Dylan is mad into "The Heavy" at the moment but always brings elements of Disco and Electro to his drumming. Nelius loves his Americana and his 90's rock. Myself and Kev have similar tastes and were pulled together by Jimmy Eat World (Bleed American and Futures), Bloc Party and Queens Of The Stone Age. Deftones would also be a huge inspiration with the band overall.

AIMR: How do you rate the Irish music scene at the moment?

JH: It's really interesting. There is a real underground movement where Un-Pop is Pop. Adebisi Shank and ASIWYFA are real "musicians bands"and are two of the biggest Irish bands at the moment. It's showing that Irish people in general have a serious understanding and appreciation for intelligent music and it's exciting. On the other hand there is still only a handful of radio shows playing and representing Irish talent. The ones that do are great but I feel there is still a massive gap on the airwaves for it.

AIMR: Whats next for the Zombie Cops

JH: We have a shed load of gigs in the pipeline. Supporting the Coronas next Thursday in The Button Factory, playing The Mercantile the following Thursday @ The Townhouse Club and then there's a few surprises which we can't talk about just yet. (wink)

AIME: Where did you record the EP

JH: We recorded a few tracks in Manor Park and got to spend some time in Grouse Lodge ( Muse, REM, Bellx1)

AIMR: How did you find the big studio atmosphere compared to your previous recording sessions?

JH: Grouse Lodge is on another level... it's the height of luxury. Luxury which you don't get much spare time to enjoy but still... Playing Marco Polo in the swimming pool at 4 in the morning hammered on Polish beer while listening to 'Jump in the pool' by Friendly Fires was without a doubt one of the highlights of my year.

AIMR: Who produced the EP?

JH: Pretty much ourselves and the engineers we worked with. We really enjoy producing the tracks but we are scouting for someone who suits our style. We're completely open to new ideas in the band and we're all very vocal about when something sounds right or wrong so it would be even better to have a fifth set of ears on it.

AIMR: Can we expect a video to accompany the release of the EP?

JH: Zombie Cops are all about the Videos... we will be releasing the third free single 'You Do' in about a month and there's a video in the can for that bad boy and it's is very awesome if we do say so ourselves. We are also working with Highly Stimulating Productions for them to create cinematic releases to compliment what we do... OOOOH EXCITING!

Go to http://www.zombiecopswilleatyourbabies.com/ to download tracks for free.

Solar Bears "Cub" remix by Keep Shelly in Athens

2011-03-18T14:41:00.000Z

We might have slightly missed the boat with this one, but thats no reason not to spread our love for Keep Shelly in Athens remix of the Solar Bears track "Cub"

Solar Bears - Cub (Keep Shelly in Athens remix) by Keep Shelly in Athens

Interview with Fran King aka "Paul" from Get Back! The Story of The Beatles

2011-03-18T14:18:00.000Z

Following a sold out mini residency last August, Get Back! The Story of The Beatles returns to Dublin's Olympia Theatre, on Friday March 25th, for one night only. We caught up with Fran King aka "Paul McCartney" to find out what audiences can expect, and the level of dedication required to become, Sir. George Martin's favourite Beatles, tribute band.

AIMR How and why did Get Back! The Story of The Beatles, form?

FK. We (Myself, Scott and Rob) got together in September 1990. I’d been in “The Beatless” from 1989 and had tired of that set up. I wanted to get together a band that performed (exclusively) Beatles songs in their original keys. Scott and Rob used to busk on Grafton Street, as did I with the other band. I got to know Rob as he used to work in Musician Inc. On Drury Street. We struck up a conversation one day, and the band began there. As for why we formed that band. We are all Beatle fanatics, and relished the challenge of doing note perfect interpretations.

AIMR. How long did it take to get the four perfect people together?

FK. In the early days we didn’t “wig up” etc.. We were going for the sound-a-like more than the look-a-like angle. It wasn’t until 1999, having worked with Sir George Martin, that we decided to go the full hog, so to speak. Up ‘til then we shared the vocal duties, so we didn’t assign all the Paul songs to me etc... In fact I used to do “Strawberry fields forever” etc.. When we became “The Classic Beatles”, we had to re-haul the set, and assign each Beatle their individual songs. It was quite a task and challenge, But we had a genuine affection for the material, and the passion to do it all the correct way. I guess 1999 was a ground breaking year for us, it was also the year we got our definitive “Ringo” also, in Binzer.

AIMR. Did many people come and go before the line-up was settled?

FK. Let’s see, Our Original drummer (The Quarrymen years) was Dermot Kelly, he was with us from 1991 through 1993. Seamus Greene replaced him from ’93-94. “Guggenheim Grotto” drummer Shane Power was our “Ringo” from 1994 through 1999, when he was replaced by current & definitive “Ringo”, Paul “Binzer” Brennan. So quite the few sticks men.

AIMR. How much rehearsal initially went into learning the songs and perfecting the sound?

FK. In the early days we spent up to 5 days a week in rehearsals, as much time as we could physically allot really. We were (and are.) very passionate about getting the nuances, inflections and harmonies bang on. The mannerism mimicry was born out of us being big fans, and messing around to amuse each other to begin. It wasn’t ‘til years later that we decided to really make conscious efforts to get the “Johnisms and Paulisms” etc. But to answer your initial question, A hell of a lot of time, probably years!

AIMR. Was there a long set up period before the first gig?

FK. Having got our “John, Paul & George” in September 1990, we got our first “Ringo” in January of 1991, our first gig was in Feb’ 1991.

AIMR. Were there many hours spent in front of the mirror perfecting the moves and mannerisms?

FK. As I was saying, it was a gradual slow perfecting process, but without doubt, a fair amount of video watching and Mirror mimicry, until we got comfortable enough to be each Beatle with each other.

AIMR. Did you each have to learn how to sound like your individual Beatle? Who struggled the most?

FK. There was a fair amount of re-learning and perfecting involved after we’d decided to be the full Monty Beatle tribute. I had to get to grips with singing like Paul whilst playing the Bass, and with certain tracks that was a tall enough order. We all had our individual struggles, but having played the songs for so many years, it stood us in good ground for perfecting it. Some re-learning harmony parts as their individual Beatle etc. lets just say it’s not as easy as it may look or sound.

AIMR. Was it an expensive band to set up in terms of acquiring the vintage amps and guitars and clothes etc?

FK. We acquired the complete authentic instrument line up over a number of years (up ‘til then we used replica look-a-like and sound-a-like copies). My Hofner Bass is from 1966. The wigs are from the UK and we have mop top ones and longer ones for the later period. They were expensive. The velvet collared suits we use in the “Ed Sullivan” section were tailored from one of the originals. Those and the Shea Stadium and “Pepper” suits all came from the U.S. I guess if you priced it all out, yeah it’s quite an expensive band to kit out authentically.

AIMR. Did you initially focus on one era of the Beatles and expand your repertoire as you went along? If so why did you choose that era?

FK. No, we’ve always delved into the various periods from the get go. Perfecting it is another thing altogether. We’ve spent literally years developing / perfecting all the little details from each given period.

AIMR. Can you now play every Beatles song or is that an ongoing learning process?

FK. We’re certainly capable of each song, but for purely practical purposes we’ve perfected various eras and the pivotal songs therein. We’ve learnt through the years, which songs work better with a given audience. But with The Beatles back catalogue, it’s an on-going education.

AIMR. One of the things that sets the Classic Beatles apart from other tribute bands is the visuals and the set design How much research went into collecting the news clippings etc for the on stage visuals?

FK. We’re big fans of documentaries like “The Beatles Complete”, and the Anthology series, so we based our show on pivotal periods & settings from Beatle live shows & rare footage. So a lot of work has gone into getting it all as close as possible. The news clippings we’ve re-created featuring us instead of the real fabs, all of which we’ve totally fabricated from scratch.

AIMR. The recreating of interviews etc acted out by the band is another thing, which sets the band apart from other tribute acts in general. How did these recreations come about?

FK. Again that was down to singling out our favorite defining Beatle interviews, for example we re-created the Press conference at JFK, and the impromptu press conference at Bangor when the news broke of Brian’s death. Chris Nugent’s “Brian Epstein” segments turned out particularly well I think. Again we featured ourselves at all times as The Beatles to maintain continuity.

AIMR. Did you have to get permission for the Ed Sullivan parts?

FK. We didn’t use any original footage from the Sullivan shows; we went to great lengths to recreate it.

AIMR. Have you had any reaction from the Epstein family?

FK. We were very careful to paraphrase Brian’s famous interviews, in other words get the essence of what he was saying, but have Chris relating it in “Brian-isms” so to speak. With attention afforded to his inflections and mannerisms. I think Chris pulled it off with wonderful attention to detail, and genuine affection. We’ve had no contact with the Epstein estate.

AIMR. The attention to detail in your live shows is amazing. Is there a person in charge of continuity or is it a collective effort?

FK. It is generally a collective effort, although great praise and appreciation must be afforded to Ian Smith, our Co-Producer / VT supervisor. Ian has worked on many shows and keeps us all on the straight and narrow.

AIMR. You are George Martin's preferred Beatles tribute band, a great honor. How did that come about?

FK. We had the pleasure of working with Sir George Martin in 1999, and again in 2004. Both Scott and I were hugely honored to be asked by promoter Pat Egan, to perform some of the greatest songs ever composed, with the Man who Produced them, conducting live for three nights in Dublin’s National Concert Hall, with a 70 piece Orchestra. It doesn’t get much better than that. It was Sir George’s final few live shows before his retirement from live work. During the rehearsals and after the shows, he commended our attention to detail and our “Uncanny vocal resemblance”. He wrote to us individually after the shows, and again thanked us for our hands-on knowledge of the material. We played a set before his speech in UCD in 2004, when he was awarded the Joyce award, and it was wonderful to hang out with him once again after those initial shows. We worked extensively in London with his son Giles in 2001, a definite “chip off the ole block”.

AIMR. Have you any other famous fans?

FK. We’ve played intimate and private shows for: Queen Elizabeth II, Ryan Tubridy, Sharon Corr,
To name-drop only a tad.

AIMR. What are the biggest and best gigs the band have played?

FK. The aforementioned Sir George Martin shows were a personal high. We also played to in excess of 60,000 people in the Phoenix Park, when the Ireland Soccer team returned from the World Cup with Jack Charlton at the helm. Last year we played an open-air show in Kaunas, Lithuania, with a 60 piece National symphony Orchestra on National Television to over 12,000. We have enjoyed some sweaty intimate shows at various venues around Ireland, though Dublin’s Olympia Theatre is a favorite also.

AIMR. You get to do something the Beatles never got to do with many of their songs, play them to an audience. How do people react, to those later songs in particular? The songs played as they were written on the piano with out the massive string arrangements behind them?

FK. We take great pleasure in doing the later stuff in all the original keys etc. I’ve seen people become emotional during “All you need is love”, & even during songs like “Penny Lane”. When possible we use real live strings too, other than that we use Keyboard /sample sounds to recreate the intricate arrangements. Songs like “Hello Goodbye” and “Hey Jude” allow for great audience participation. It’s amazing how people react across the age spectrum.

AIMR. Are you all pursuing real life musical careers?

FK. Yes, we always have. Years ago all of us were members of “Beach”, from about 1997-’99. We all went solo in intervening years. My third solo Album “My Sweet Elixir” is currently on release on Renaissance Records, (all can be found on itunes, I’m demoing my fourth album later this Spring). Scott has two solo albums out, and is currently enjoying success with the band “The Shoos”. Binzer has played with many artists including Gemma Hayes, Mundy, The Waterboys, Ollie Cole, not to mention his time with The Frames. Rob left Beach in 1998 and pursues a successful career in web design.

AIMR. How has Beatles helped or hindered these careers?

FK. I don’t think it’s hindered me personally. I cut my musical teeth on the writing of Lennon-McCartney, and I don’t think there’s a more formidable musical bar to be raised. I’m happy to admit they’re a big influence on my own writing, but not an obsession. I think you have to be very careful there. I know writers who’d like to sound just like The Beatles, and that’s their business, However, I think there’s a fine line between influence and plagiarism. I’d be equally or perhaps even more influenced by Beatles influenced artists, post Beatle era. I think their catalogue has helped develop my appreciation of a good melody. I can’t speak for the other songwriters in the band; you’d have to ask them.

AIMR. What’s next for the Classic Beatles your Get Back show has been hailed as the best Beatles tribute show ever how can you improve it?

FK. Good question. I guess now we have to tour it comprehensively. We’ve only just scratched the surface. We need to take it abroad and expand our growing fan base. We’re really happy with the reaction thus far. Touring will improve the show, nothing like a live audience to refine things.

AIMR. What songs get the best crowd reaction?

FK. It honestly changes from show to show. The obvious ones are “Hey Jude”, “All you need is love”, “Strawberry fields forever”, “Yesterday”, “Get Back”, but you’d be surprised how enthusiastically people receive the likes of “Magical Mystery Tour”, “Sgt. Peppers” & “Here comes the sun”.

AIMR. Have you been surprised that some "smaller" songs get a bigger reaction than some of the more famous ones?

FK. I’m never surprised by the reaction to any of the Beatles catalogue. One man’s “All my loving” is another mans “Hey Jude”.

AIMR. Which songs is the most fun for the band to play?

FK. “A day in the life” is always a challenge, but equally rewarding to do. “Twist ‘n’ shout” & “Long Tall Sally” never fail to bring the house down, so you can’t help but have fun in those.

Check out www.ticketmaster.ie for more details

Review: Padraig McCauley and The P Affection free album download

2011-03-18T13:45:00.000Z

It’s hard not to get swept along by the infectious up tempo genre splitting groves of Padraig McCauley and The P Affection. They out thrill The Thrills, with banjo’s and summer harmonies on opening track “Worries of the World” A happy/sad lyric and stop start chords make this track an alt-country gem. “Almost in Greece” on the other hand is built on Pavement style distorted guitars riffs, while the brass section mimics the bass-line

Echoes of 2-Tone continue on“Trouble in Paradise” as infectious melodies are interwoven between brass, bass and guitar with seaside harmonies thrown in for good measure. The Phantom friendly “Lingo” is a top notch Cribs meets Weezer indie offering. “Freedom or boredom whats the difference, I see none” rages the chorus

The quality dips slightly with “Daisy” a Jack Johnson style acoustic led shuffle. Things are back on track however, for pure pleasure sing along “I’m Fuck-in Amazing” A tongue in cheek party song, for egoists the world over. Its one line chorus of “I’m fuck-in Amazing” burrows its way into your brain and refuses to leave. Expect to hear this song in a frat house movie near you soon.

“The Flood” is a downtrodden mid tempo alt country song with a somber fiddle line. It is one of the least impressive songs on the album. The verses glide by without grabbing your attention. The Chorus however is worth the wait offering a vision of a coming apocalypse ” The flood will take us all”

Things return to their uptempo best on “Rose Marie” where the band have given a witty re-imagining of cult classic movie Rosemary’s Baby. “Rose Marie” See’s a return to the albums earlier Weezer stylings. Only this time the influence of The Zutons is apparent, especially on the stop start verses. The pre-choruses “oh oh” vocals are top notch while the chorus of “Rose Marie it’s a baby it’s a baby” pays homage to the movie and Rivers Cuomo with its delivery.

“Beggars and Cannibals” closes the album with a trip to Acapulco . What starts out as an acapella song becomes a beach holiday, as vibes quickly join the vocals in a bizarre but wonderful move. The song slowly builds to a crescendo before returning to an acapella section on the outro.

Padraig McCauley and The P Affection is surely one of the best Irish music giveaways of all time. Download the album for free from http://www.thepaffection.com/music.php

Review Sacred Animals Workman's Club

2011-03-14T20:58:00.000Z

It is an exciting time for Sacred Animals, with Darragh Nolan’s recent solo performance on RTE’s Other Voices, bringing them firmly into the public eye. The band are gearing up for 12 shows in America, including appearances at the 25th anniversary of the infamous, SXSW festival.

The band have also been bedding in new member “Dek” on keyboards, ahead of their mission to America. Tonight is Dek’s first gig. A baptism of fire, in front of some of Ireland’s top music writers (and me) Dek needn’t worry though. He’s obviously a quick study, as his work on “Wired, Islands” and “Chosen Seed” showed.

The immense emotional quotient of Darragh Nolan’s voice, can make the hairs on the back of your neck, stand vigorously to attention. Especially when he delivers haunting refrains like “Are you scared of what you said. Well you’re not the only one” on Chosen Seed. While the pin-point delivery of Twin Shadow’s “Castles in the Snow” shows that Sacred Animals, are already surpassing their idols. As a band; still only in its infancy.

The trio only get stronger as the night progresses. The interplay between instruments seems more organic than on the recordings. Especially on “Still Removed” and “Welcome Home” This is even more apparent when Nolan, ditches the guitar to finish the night, doubling the beat on a stage centre snare drum, Johnny Greenwood style. No doubt Radiohead comparisons will pester Sacred Animals for some time to come. Creating as they do large cinematic, yet claustrophobic soundscapes mixed with otherworldly voicings. Perhaps they are Ireland’s answer to Radiohead, but that can hardly be a bad thing can it? Without a doubt the best gig I’ve been to this year.

Sacred animals new “Welcome Home remix EP” featuring Kowi, Holy Roman Empire, and the amazing remix of “Chosen Seed” by Keep Shelly in Athens, is available from http://www.delphilabel.com/the-artist/sacred-animals

Interview with Ray Nolan, from The Rambleers

2011-03-10T22:00:00.000Z

We caught up with former "Yokes" and "Blue-Sun" stick-man Ray Nolan, to talk about his new band The Rambleers, and his incessant need to hit things.

AIMR: What attracted you to the drums in the first place?

RN: They seemed like the most fun instrument to play and my older brother played them for a while too, I was fairly young when he had them but I do remember being given out to for playing with them.

AIMR: How old where you when you first picked up the sticks?

RN: I was 15 when I bought my first kit. I was working in a pub and I saved up the money for my first kit after a few months, it was around £300. The drums were good but it had these really shitty cymbals and they bent the first time I hit them.

AIMR: Did it come naturally to you?

RN: Yes I picked it up fairly quick. Although I did play them for at least 2-3 hours a day for the first 2 years. But I decided to get lessons, so I could learn quicker and learn as many different styles as I could, and to read music. In school we used to get an hour for lunch and I lived close to the school, so I would be home in 5 minutes. I would scoff my lunch and head straight out to the shed and play the drums and then end up being late back to school.

AIMR: Who were your original influences?

RN: Guns N Roses. I think "Coma" was the song that convinced me to play the drums.Then later after hearing Led Zeppelin II and seeing "The Song remains the Same" It was John Bonham. I was blown away by the way he played, from the "Moby Dick" solo to the delicate percussion on "Rain Song" No one comes close to him in my opinion. Other favourites would be Levon Helm (The Band) and Brian Downey (Thin Lizzy) They are both fantastic drummers with great feel.

AIMR: What was the first album/song you bought was it purely for the drumming?

RN: The first CD I bought with my own money was "The Man Who" by Travis, that kind of music was big a the time and I listened to a lot of indie music after that like Blur and The Verve. Then I moved on to Metal and heavy rock for a while. After hearing "Live and Dangerous" by Thin Lizzy. I bought it, just to learn the drumming for those songs. The drumming on "Massacre and Emerald" is brilliant and I think Brian Downey is a very under-rated drummer.

AIMR: What was the first gig you attended?

RN: It was a metal band called Raging Speedhorn in the Temple bar music centre when I was about 14. It was an over 18s gig. We had met the band in a cafe/bar before the gig and they got us in. Most of us did look over 18 at that stage anyway. It was the first time I had seen a proper mosh pit and I got beat around the place, but it was brilliant.

AIMR: What was the name of your first band and were you any good?

RN: First band was called the Yokes, we were together for about 3 years and then it just faded away. The music was described as "Psychedelic punk rock" It was a 3 piece band, and I loved playing with them, because there was no restrictions to what I could play. On some songs, we all played completely different things, but they came together great. We released one album called "Sound" It got album of the month in "Connected" (magazine). http://www.myspace.com/theyokesound/music

AIMR: When and where did you play your first gig?

RN: It was in the Voodoo Lounge in Dublin in 2003. I was 17 and a lot of my friends from school came to the gig and it was a great night. It was before the smoking ban came in so I tried to be cool like Slash or Keith Richards and play with a smoke in my mouth but I couldn't pull it off and just ended up nearly choking myself and blinding myself with smoke. It was still brilliant though and we were all hungover to-bits in school, the next day.

AIMR: Was there a eureka moment when you said this is what I want to do for a living?

RN: After the first gig, I knew I would play music for the rest of my life. I haven't made a living from it but that doesn't bother me. Its the buzz of playing live and the drunken antics that go on, when touring around the country.

AIMR: How many bands have you been in before and how many are you currently in?

RN: I have played in 4 bands in total. I currently play in a cover band Guns N Roses tribute band User Illusion and an original band The Rambleers. I am with User Illusion about 3 years now. G'N'R, would be my favourite band, and I just saw an ad for it one day and said, I 'd give it a shot. I am playing with the Rambleers, just over 6 months now and am loving it. They are amazing musicians and it is great to play with people with such skill and commitment, as they have.

AIMR: Are you a drum whore then?

RN: No I have never played in more than two bands at once, and the two I am in at the moment are both very different.

AIMR: What did you learn from each of the experiences?

RN: I've learned many different styles and timbres. How to adapt to other musicians styles, and feel for playing.

AIMR: Do you drum in your sleep or have drumming dreams?

RN: I don't know if I drum in my sleep, but I have had many dreams about drumming in a big stadium with Bon Jovi!, even though I don't particularly like Bon Jovi. But maybe it's just what I relate to. Stadium rock.

AIMR: What is your favourite drum beat and why?

RN: My favourite to play would be "Rocket Queen" by GNR. I love the funky groove between the bass and the drums. "Fool in the Rain" by Led Zeppelin would be another one, the carnival drum break in the middle is a bit cheesy, but I love it!

AIMR: Who is your favourite drummer and why?

RN: Obvious one but John Bonham because he played great grooves, beats, fills and didn't try to show off or have a huge kit, with loads of different drums. He could get more out of a basic 5 piece kit, then Keith moon or Neil Peart could, with their 20 -30 piece kits

AIMR: Do you play and other instruments?

RN: No. I did do violin lessons for a while, but never kept it up. I've never been fully committed to learning another instrument. I'm happy enough with the drums.

AIMR: Are you a frustrated songwriter?

RN: No not really. I know I would not be strong at writing lyrics, so I stay away from that. Obviously as a drummer, I am responsible for the pace and tempo of a song, so I make my mark on a song that way, and try to be involved in the arrangements, as much as I can.

AIMR: Will we ever see you do a Dave Grohl and front a band or solo project?

RN: No I have no desire to be a front man. I know my own limitations. I do help with backing vocals a lot, but my voice would not be strong enough to carry a band on its own.

AIMR: Why is drumming dismissed by the mass media when it is one of most important components in popular music?

RN: It can go unnoticed because you don't always see the drummer or the drums are not always high in a songs mix, but you can't dance without a solid drum beat. I think its a case of you don't know what you got till its gone.

AIMR: Have you done much session work and are you available for session work?

RN: Never done session work. I won't play music, that I don't like.

AIMR: Who would you like to work with then?

RN: Can't think of many who around today really. Maybe Slash or AC/DC. I'm sure that would be fun.

AIMR: What advice would you give any budding drummers?

RN: Keep practicing and practice with a metronome, because timing is the most important thing a drummer needs. You may be able to play fast and do great solos, but if your timing is bad. Then you're not a good drummer.

AIMR: What's next for your band?

RN: We have just set up a website www.therambleers.com and we are releasing our debut album in April called "Roots". The album launch is in the Grand Social (formally Pravda) on April 2nd and we are currently booking gigs for an Irish Tour for May, June and July. So we are very busy at the moment!

Review: Kowalski at The Grand Social

2011-03-06T12:35:00.000Z

Bangor’s finest Kowalski returned to Dublin to perform at the opening night of Communion (the UK’s fastest growing club night) at the Grand Social. Their début EP Take Care, Take Flight has received rave reviews, both here and in the US, where “Letters from the Height of Summer (Dear Bird)” recently featured in the MTV remake of Skins. Based on tonight’s performance it’s easy to see why network television is taking notice. Their songs are flush with memorable choruses and sweet and somber summer harmonies.

Although visibly sick singer Louis Price’s voice is impeccable on song’s like “Dear Bird” and the catchy disco synth pop of“Take Care, Take Flight”. Paddy Baird’s top class, snare and hi-hat combo’s propel the band while Tom O’Hara’s catchy bass groves and whig-out stage antics, offer visual and musical stimulus to the crowd.

A moment of disaster almost befell singer Louis Price halfway through the set, as he wobbled on the edge of the stage, almost falling off. Much to the amusement of the rest of the band.

With wobbly keys and disco beats, last song “Get Back” is the highlight of the set. Its chorus of “Get back to the place that you know” is instantly pleasing. Bigger and better venues surely await in 2011 as momentum, inevitably builds for Kowalski.

Interview with Liz Is Evil's Jay Bagnall

2011-03-01T23:10:00.000Z

Jay Bagnall is fast becoming one of the most respected drummers in Ireland. Best known for his part in Punk rockers Liz Is Evil, and for reclaiming the drum solo. We caught with him to talk about all things Evil and all things drum.

AIMR: What attracted you to the drums in the first place?

JB: "When I was younger, I was just attracted to the idea of hitting things, didn't matter what it was. Chairs, tables, trees....I just hit them. When I saw a drum kit for the first time, I was just astounded at how big they were, I didn't even know what each drum was called......I was just allowed to hit them. From then on, I knew I wanted to play drums."

AIMR: How old where you when you first picked up the sticks?

JB: "I was probably 6, or 7 when I got my first drum kit for Christmas. I remember before I had my first kit, being allowed into a friends' house to play drums after school every so often. It was great, I couldn't even reach the kick pedal at the time! I'm glad I got to start young, it helped immensely."

AIMR: Did it come naturally to you?

JB: "I remember being able to play the intro to "Paradise City" fairly good when I picked up sticks for the first time. As I said, I used to hit and tap things all the time, so rhythm came naturally to me. I used to dance alot when I was a kid too, so that probably helped my overall sense of timing, and rhythm in general. My Mam and Dad got me a bigger kit two weeks after they got me my first one, so I must have been doing something right!"

AIMR: Who were your original influences?

JB: "When I was younger, my Mam and Dad used to play all sorts of music in the house. From pop, to rock, to punk, to dance music. So musically, I had a mixed bag of influences to start off with. The first drummer I remember being truly inspired by was Animal from The Muppets. I remember watching an episode, and just being awestruck that a puppet could play drums! Seriously though, the first drummer that inspired me would probably have been Steven Adler from G'n'R. I loved the sound of the drums on Appetite, even as a kid who hadn't a clue about sound, or drumming in general. I remember just drumming along to anything I could when I was younger. I used to do a lot of air drumming too, which helped. Later influences when I got a little older would have been John Otto, Chad Smith, Dave Silveria and most of the rock and metal drummers of the 90's. Now that I'm a little older, I listen to all sorts of music, so drummers like Buddy Rich, Steve Smith, Tony Williams, and Neil Peart have really opened my eyes to a lot of things."

AIMR: What was the first album/song you bought was it purely for the drumming?

JB: "I remember buying Limp Bizkit's Chocolate Starfish album when I started getting pocket money....I was blown away by their drummer John Otto and what he could do. That was the first album I'd bought, and owned, when I was around 13 or 14. I didn't really need to buy a lot of music when I was younger, my folks had tonnes of music in the house for me to listen to. I'd just go through what they had, pop it on, and drum all day."

AIMR: What was the first gig you attended?

JB: "My Mam used to sing in a band when she was younger. I used to get to go to her gigs, which was great, because I was allowed to mess around on the drums when they weren't playing. But the first gig I attended, on my own, was Ozzfest back in '02. It was such an amazing experience, to see all of my favourite bands and drummers in one huge, big festival. That gig showed me how loud, and proud you could play drums."

AIMR: What was the name of your first band and were you any good?

JB: "Wow....The first band I formed was a band called Alloy'd when I was around 12. It was a metal band. It was me, and my friend Chris on guitar. We thought we were amazing, I remember having decent chops back then, but not enough to play really heavy metal, which is what I was beginning to get into at that age. We eventually let my brother Lee in to play. We got progressively better once we started jamming more frequently. I still play in that band to this day. We've come a long way since rehearsing in my bedroom all those years ago."

AIMR: When and where did you play your first gig?

JB: "I was asked by a friend of mine's older brother to join a band with him. They used to do cover songs, and a few originals. My first gig with them was when I was maybe.....13 or 14, in Eamonn Dorans. That was around 11 years ago now. I started gigging when I was younger, I was lucky to be asked to join bands that had musicians that were older than me. I remember doing a drum solo at one of my Mams gigs' when I was really young too. Can't remember how old I was though."

AIMR: Was there a eureka moment when you said this is what I want to do for a living?

JB: "When I used to rehearse in my bedroom as a kid, I used to play as loud as I could so everyone on the road could hear me. I used to hope that someone would hear me and think I was good enough to join a band, so there was never really a eureka moment. The desire has always been there, ever since I had my first kit. I wanted to be a drummer, making a living from it or not, I knew I just wanted to do it."

AIMR: How many bands have you been in before and how many are you currently in?

JB: "I honestly can't put a number on how many bands I've been in. I've been very lucky in that so many people have asked me to play in bands with them. I've always been juggling bands since I started gigging, I prefer it that way. If you're not busy, you're bored, as far as I'm concerned. Currently, I'm playing in 5 bands, Liz Is Evil, IAmACarCrash, Alloy'd, The Nom Nom Noms, and one unnamed covers band. Some rehearse and gig more than others, so it's not too bad juggling between them. I enjoy drumming, so any chance I get to play, I'm all over it."

AIMR: Are you a drum whore then?

JB: "That's something I've been called many, many times, among other things......"

AIMR: What did you learn from each of the experiences?

JB: "In each band I've been in, I've taken something from it. Whether it's how to play odd time signatures, how to hit harder (or softer....), or even the business side of the music industry, I've taken something away from each and every gig, rehearsal, and experience with a band. I'm like a sponge, I just soak up as much information as I possibly can when I'm drumming, or watching another drummer, or musician, play."

AIMR: Do you drum in your sleep or have drumming dreams?

JB: "People always tell me to stop drumming, or tapping when I'm not behind a kit....it's infectious. It's a serious problem that I have, I can't help it. I have had some weird drumming dreams, and woken up saying 'Damn......I need help!'. Drumming is such a huge part of my life, that I'd be a little worried if I didn't have dreams about it now and then."

AIMR: What is your favourite drum beat and why?

JB: "I absolutely love the simplicity of Come Together by The Beatles, but then again love the ferociousness and complexity of Danny Carey's drum solo in Forty Six and Two, by Tool. My favourite though, would have to be John Otto's drumming on Re-Arranged by Limp Bizkit. His feel, and pocket on that song are unparallelled in my opinion. He throws ghost notes all over the place, displaces the beat here and there. To this day I'm still awestruck by it. There are plenty of other beats that I love, but I would honestly be all day talking about them."

AIMR: Who is your favourite drummer and why?

JB: "John Otto, without a doubt. He's been a huge inspiration on me. I love other drummers like Gavin Harrison, Joey Jordison, Stewart Copeland......I listen to any drummer who can play well, and knows what they're doing, even if I don't particularly like the song."

AIMR: Do you play and other instruments?

JB: "I'm learning how to play guitar, and bass at the moment. I can play a tiny bit of keyboard too. I have a good understanding of chords, and scales, I just haven't been able to put them into practice yet. I do a little singing too."

AIMR: Are you a frustrated songwriter?

JB: "Absolutely. I have so many ideas in my head, but can't quite communicate them just yet. Someday, I'll be able to write, and perform my own song."

AIMR: Will we ever see you do a Dave Grohl and front a band or solo project?

JB: "That is something I'd be very interested in doing. I love Dave Grohl, and his approach to music, and drumming. He's fantastic. One of my biggest inspirations, also."

AIMR: Why is drumming dismissed by the mass media when it is one of most important components in popular music?

JB: "I think drummers get a bad wrap because in some regards we're still considered 'just the drummer'. I'm very lucky, in that I rarely get treated that way. If you think about it, songs like Sunday, Bloody Sunday, or Give It Away Now wouldn't be the songs they are without those memorable drum intro's. I think the drums in a song are just as important as the melody. You dance, and tap along to a song just as much as you would hum, or sing it. I hate the idea that good drumming doesn't get as much respect as a really catchy hook. I love catchy lyrics, and great melodies, but when people tell me that the drums in a song aren't nearly as important as everything else, it gets on my nerves. Drummers don't get treated as bad now though, I guess. There's plenty of drummers out there fronting bands now, I love knowing that the front man of a band is a drummer, or that the drummer is the focus of a band. That being said, I don't think drumming is the only part of music I love, I just don't like when people disregard it as something that can be done by a machine, or that anyone can play drums."

AIMR: Have you done much session work and are you available for session work?

JB: "I've done a few sessions here and there, and I most certainly am available for work. I get called on to do live gigs, or reherse with bands, and help with arrangements of songs. I'd love to do more recording work though."

AIMR: Who would you like to work with then?

JB: "Anyone who'll have me. That's the honest to God's truth."

AIMR: What advice would you give any budding drummers?

JB: "Stay fit is one priority I can't stress enough, especially if you're a rock drummer. If you don't have the stamina to play then you're leaving yourself short, because you can't devote your full energy into the music. Practice, practice, practice! The great thing about drumming is that you can literally practice anywhere, anytime. Don't listen when people tell you to stop tapping. Build your drumming repertoire by listening to as much music as you can, and bring it into your style. Just be yourself when you play, don't try and play like anyone else, because you aren't them, you're you. Don't get frustrated if you can't play a particular song, or beat, always know that you will eventually be able to do it, it just takes time. I could go on all day talking about this, but one thing that I'd say to anyone who wants to play drums - LISTEN to the musicians around you, and don't let your ego get in the way of the music. Oh, and look after your ears, believe me......"

AIMR: Whats happening next with Liz is Evil?

JB: "At the moment, we're promoting our album 'Failed Philosophy' which is available in stores, and on iTunes now. We have a few gigs lined up for March, and April. Check out our Facebook page for dates, and venues. Hope to see you there!"

http://breakingtunes.com/lizisevil for further details