The CLUAS Archive: 1998 - 2011

Entries for August 2007

30

There are, of course, a multitude of various publications and online sources all vying for your attention when it comes to reviewing the latest album releases. Obviously, CLUAS is your first port of call, not least for the exceptional standards of critiquing on display. If, however, you happen to seek a second opinion, you can expect some of the following. Oh, and all while all the names below are figments of Key Note’s imagination, it unreservedly apologises for any offence caused if you happen to share that persons/bands name.

Singer Songwriter Positive Review

‘While Paddy Casey’….I mean ‘While Padraic Kirwin eschews the spirit of Nick Drake and others of his ilk, one can’t help but get the impression, especially on album opener Mojo Pinball, that the ghost of Jeff Buckley rests heavily on his shoulders.’ If the singer songwriter happens to be Irish, you can expect something along the lines of ‘Kirwin’s falsetto vocals and sparse guitar, particularly on the rarely covered Leonard Cohen classic, Hallelujah, reminds the reviewer of the passionate subtleties of a pre 9 Damien Rice.’

Singer Songwriter Negative Review

‘Another in the long line of singer songwriters to emerge with a guitar and a broken heart is Brian Merlehan. A pale impression of Jeff Buckley, Merlehan has the singer songwriters full repertoire of teen-angst, lost love and woe is me three chord tricks.’ If the troubadour is Irish, the reviewer will tend to throw in: ‘Damien Rice and the gazillion selling O have a lot to answer for.’

Band

If a reviewer likes a band, and that band happens to have a keyboard, then an absolute must in music critiquing is to compare them to Joy Division/New Order. If you don’t like the band, and they happen to have a keyboard, then it is equally acceptable to compare them to New Order/Joy Division.

Likewise, if your band has a piano you’re the new Coldplay/Chris Martin, this again can be both a positive and negative comparison. Irish bands tend to be compared with Whipping Boy (for successfully being accepted by both the indie crowd and the music press), Snow Patrol (for making dull, pretentious stadium rock) and U2 (for having a really short front man).

Finally, if you’re from Liverpool then you were obviously influenced by The Beatles, even if you are a 76 piece A Capella Punk collective.

So, that is Key Notes observations on the Irish music journalists take on The Album Review. Have you noticed any recurring themes the reviews you have read? 

 

 

 


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29
 
Once named one of the 25 most influential Americans by Time magazine, Trent Reznor is back in favour and form. Following an album release earlier this year by his band Nine Inch Nails (NIN) a summer on the European festivals circuit is being bookended with a headline slot at the Beijing Pop Festival on September 8 and 9.

 Reznor, whose brand of industrial pop-rock minted millions in big-label revenue since 1989's bleak debut Pretty Hate Machine, is a personal hero for Jason Magnus, president of Rock For China Ltd, which organises the Beijing Pop Festival. A real estate developer who realized a dream by running the first edition of the pop festival in 2005, Magnus admires the band’s anti-establishment views and the anti-Bush sentiments of the band’s latest album, Year Zero.

“NIN always stayed relevant,” saysMagnus, who gushes with admiration for the public relations campaign behind the band’s new recording. “They are still filling stadiums and still challenging their listeners. Their live show and production values have always been fresh and different.”
 
It was always clear that the band had fans in China: NIN albums like Downward Spiral, a staple of most mid – 1990s college dorms is reliably present in small-town CD shops from Shanghai to Urumqi. Few logos are as ubiquitoius as the blocky NIN on the cheap black t-shirts of rock fans on a weekend night in any of Beijing’s rock bars.
 
The band always wanted to play China, says Magnus. “They’ve been very keen, it was always a logistics question.” The US band is tacking China onto an Asia leg that also takes in Korea, Hong Kong before the band flies to Australia. A large crew (30, compared to an entourage of 17 which comprised the entire entourage of last year’s headline act, Placebo) and freight load will break records in China, says Magnus. “They’re bringing 15 tonnes of equipment, Placebo brought four.”
 
Aside from landing NIN Rock For China has been clever with the line up: whatever happens there will be a big turn out for what’s being claimed as the first outdoor show in almost 20 years by socially inspired local bard Cui Jian. The “godfather of Chinese rock” as he’s labeled would surely show up himself to see the other big American name at the festival, Public Enemy, tapes of whom he’s credited with inspiring segues into social-conscience rapping later on in his career. 
 
Chinese rock fans have a historical bent, says Magnus. Other Americans on the main stage include anti-establishment icons the New York Dolls and Marky Ramone from defunct punk legends the Ramones. “I really wanted legends from different genres. I’m not bringing acts out for expatriates but for the Chinese fans and contemporary artists don’t have followings here,” says Magnus, who points to the rousing reception given to hard rock journeyman Sebastian Bach at last year’s festival as proof that local fans like old gold rather than current hot tickets like the Killers and the Strokes. “…I’ve noticed a lot of kids wearing New York Dolls and Romones t-shirts, so we bought them.”
 
Paying for big names like NIN is difficult in China, where rock remains a niche taste in a music market already sapped by CD piracy. NIN are charging “more than 100 percent” more than last year’s headline act, Placebo, charged. The pop festival pays its acts largely from sponsorship.
 
Unlikely corporate sponsors include credit card company Mastercard and US-based office technology provider R & R Donnelly. Both companies sponsored the festival last year too. New sponsors this year as Hennessy VSOP and perfume brand Dior. “We prefer to stick with the tried and tested brands who were involved last year. We are aware of the limited potential of the market here. Festivals don’t have a long history in China.”
 
Troubled TV maker TCL sponsored the 2005 festival but this year the only Chinese sponsor is the local edition of Sports Illustrated magazine. “Companies have different internal reasons for sponsoring,” says Magnus. He won’t comment on whether sponsorship fees have risen on last year’s figures.
 
Ticket prices have risen from RMB150 per day in 2006 to RMB200 this year but remain “ridiculously good value” for the 15,000 people a day - “near enough capacity” - expected by Magnus. China remains price sensitive. “In general people in China buy one day tickets.” Ticket sales, handled by state owned Piaowu Tong ticket company split 50/50 between one day and weekend.
 
Copious paperwork and permits needed to get the groups in necessitated the abbreviation of the group’s name to PE. Bureaucracy is a way of life for festival organizers in China, who regularly dispenses batches of free tickets to smooth over permit processes. Over 2,000 people brought tents last year. “I really liked that, it adds to the vibe.” Campers are not allowed to stay overnight in the park however, and must be out with the rest of the crowd within an hour of the last song of the night.
 
Magnus has been wrangling with security about shortening the barrier between crowd and performers. Uniformed security guards, required by local law, last year stood to attention facing the crowd. “We want them to change their uniforms,” says Magnus. “It would be really important to the vibe of the festival.”
 
From London, the main stage’s sole Brit attraction, Brett Anderson will be on a second visit to China. A February 2003 showing with his then group, Suede, was poorly attended. “It was holiday time so a lot of people missed it,” says Magnus, who predicts a big turn-out this time round for the former Suede front man, currently in the midst of a coolly received solo career. “We’ve been getting phone calls all year from fans asking if we could bring Suede. As pioneers of Brit pop they’ve got a big following...”

Lesser known foreign bands include Britain’s the Crimea, who play with locals Joyside and Muma on the Hit Fm stage, sponsored by a local radio station.

 


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27

Those of you who've been with CLUAS for a while may remember that I was an Adams evangeliser. I reviewed his first two solo records for these hallowed pages - Heartbreaker and Gold. These records, alongside the final Whiskeytown album Pneumonia, represented Adams at his most vibrant and vital. Acclaim was immediate and fulsome. Over time, Gold has tarnished but the other two represent an early 21st Centuty zenith in singer songwriting. The stage seemed set for Adams to achieve superstardom. 

Except things have not gone quite according to plan. Adams has dated famous actresses, developed a proper drug habit, fallen off stage. All the while, he’s been churning out album after album. Five official album releases later (13 unofficial releases streamed from his website) and Adams’ latest, the rather excellent Easy Tiger, has been met with a collective shoulder shrug from most music critics. Another Adams record stuffed with plaintive melodies, country-rock leanings, sad songs about sad girls…

Yet Adams has remained a big live draw. Playing two Enmore Theatre shows in a row has demonstrated his marketability here in Sydney. Having seen him play three times before, each one being a dramatic and memorable night, I was excited. The band trotted onstage in almost darkness and played in the blue hue of a few Chinese lanterns over the centre of the stage. Calls of "Turn the lights up!" started almost immediately. The crowd murmured as Adams kicked into Goodnight Rose, the lovely opener from Easy Tiger. I could not pick where Adams was standing onstage. The gloom was distracting but the band’s sound was clear, chunky and strong. Adams was in fine voice. Over the years, his voice has definitely improved. Dear John was an obvious early highlight as was Wild Flower from Gold. Intricate melodies delicately played and sung.

It’s hard to pinpoint where it all went horribly wrong. I could point at the band which seemed to play at the same intensity all evening. That’s not to say that weren’t competent. Just that without light or a focal point on stage, the music was found lacking. And there were too many samey guitar licks. It could have been that Adams let Neal Casal, his lead guitarist, interact with the audience. Adams’ only outburst was to admonish us for "not knowing how to act" as the band took an early intermission. That legendary stroppiness was there in spades. Maybe it was because he played lots of new or obscure songs and the lack of familiarity grated on those of us who know that he has many classics in his back catalogue.

Maybe the effort that Adams clearly demands of his audience is not repaid with interest by him and his band. It was obvious that the calls from the crowd resulted in a set change – did we deserve to be punished? Does this sound familiar?

Even faced with what was clearly a below par gig, the Adams apologists were immediately out en masse. Under the byline ‘Seems Like the Greater They Are, the More You Have to Like It or Lump It’, the Sydney Morning Herald’s chief music critic Bernard Zuel reckoned the show had been Dylanesque in its wilful awkwardness but that it had moments of brilliance. Whilst the article is mostly piffle, does he have the nugget of a good point there?

 

The debate on this Adams Blog sheds further light on what was an infuriating night. Is an artist being disrespectful to the paying public by being difficult and awkward? Can these recent awful Adams and Rice gigs be attributed to Dylan’s behaviour on his Never Ending tour?

 


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27
Posted in: Blogs, Sound Waves
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24

Blogging will be light from me until early September. In meantime here's a few links that caught my eye recently:

  • It turns out that YouTube's Terms & Conditions state that it can license any content uploaded to its servers as it sees fit. CNET have the details. Any independent bands uploading, for example, DIY videos of their music to Youtube should sit up and take note. A similar broo-ha hit the interweb last year for MySpace but a campaign - spearheaded by Billy Bragg - got them to dilute down their terms. Will YouTube, like MySpace before them, soon do the decent thing?
  • Major US ISP throttle Bit Torrent: if such policies become more widespread among ISPs could it reduce the usefullness and efficiencies of the Bit Torrent protocol? Maybe the time if ripe for the long awaited version of BitTorrent that that is capable of using a secure protocol...
  • Is interest in hip hop collapsing? So asks Time magazine. Sales are down, big time. And not just because of this interweb thing putting downward pressure on CD sales...

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23

When writing about Limerick it’s all too easy to make cheap jokes at the expense of some of the counties, shall we say, less attractive elements. Now, Key Notes is not the kind of blog that likes to stick the knife in so it won’t. Instead it’ll have a stab at discussing Limerick’s role in the Irish music scene (okay, it's stops now, promise).

Limerick, home to Ireland’s fourth largest city, is at the very centre of the countries south western tourist region with the Shannon Estuary and Shannon airport playing important roles in attracting visitors to the region (though not from Heathrow). Musically, Limerick has provided the rest of the country an eclectic mix of talented and influential musicians and composers; Dolores O’Riordan, Bill Whelan, Richard D. James and Johnny Fean to name but a few.

While Dolores is still plugging away, her ex-Cranberries band mate Noel Hogan is working with Vesta Varro on a follow up to their debut album Exit Here. Despite being named on NME’s Hotlist for 2007, Vesta Varro are actually quite good. Wearing the influence of Matt Bellamy & Co.’s penchant for spine shatteringly explosive rock proudly on their collective sleeves, Vesta Varro are a band with masses of potential and in lead singer Damien Drea have a vocalist with the ability to make you forget what you were supposed to be doing, as happened me the first time I heard Coming Back.

 

On a totally different planet, never mind note, are Giveamanakick. The only way to truly experience what this band has to offer is in a live setting. I can still remember my first Giveamanakick gig, how could you forget seeing someone shouting into a gas mask! However, both Is it Ok to be loud, Jesus? and We are the way forward disappointed. This blog hopes that, having spent the past three years honing their skills with support slots to the likes of Deftones, Dinosaur Jr. and The Presidents of the United States of America, Giveamanakick’s third studio offering can finally live up to the verve and vivacity of their live shows. 

One of the great things about writing this blog is discovering something new and not being ashamed to admit to not hearing it before. This is the case with Headgear, a Limerick band (though not by birth) discovered by chance while this blog was conducting "research" in an establishment that may or may not have been a public house. However Key Notes heard about Headgear it's glad it did. Flight Cases, the sophomore release from the band contains my new favourite song, Harry Truman. An amalgamation of sounds that the band itself describes as ‘mongrel music’ there’s something about this band that suggests they have a lot to offer the Irish music scene and beyond. Below is the video for Singin' in the drain

As this blog continues its quest to find the best bands from outside Dublin it would appreciate your help. Who has this blog missed in Limerick? Also, this blog’s next stop will be Meath; any suggestions of bands to be featured can be mailed to keynotes@cluas.com

 


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23

The Killers (live at the Sziget Festival, Budapest)

The KillersReview Snapshot:
The Killers close Budapest's 15th Sziget festival with a Sam's Town-heavy set and a Joy Division cover.

The CLUAS Verdict? 7.5 out of 10

Full review:
If there’s such a thing as being too good, The Killers are it. Called into action early on the last night of Sziget 2007 after Chris Cornell failed to show, the band never put a foot wrong in a 90 minute set. Brandon Flowers, in a Victorian looking black-white outfit that looked right he’d been out shopping, went right into 'Sam’s Town'.

It didn’t help dapper Flowers and co that the only other English-language act to measure up to the whole evening on the main stage – after Cornell pulled out - was Juliette Lewis and her Licks, and that’s setting a low bar. Hanoi Rocks down on the HammerWorld stage deserved a slot more than Lewis and co, inexplicably still securing main stages on Europe’s festival circuit with their been-done dive bar rock.

On a stage done up in fairy lights and a steer skull over the keyboards, the boys from Las Vegas haven’t a bad song in their back catalogue. Each Killers song sounded as good as it did on the album. But you’re waiting for some kind of unpredictability, some thing that says they’re humans, not gods.
 
The Killers don’t need hand-me downs but the nearest thing we got to something off-the-perfect-path all evening was a Joy Division  cover, 'Shadow Play'. “Unfortunately this isn’t one of our songs,” said lead singer Flowers before he went into a synthesizer-heavy rendering of this Cohen jewel. The fan beneath a Russian flag behind me screamed for “Meesther Briitside” and he duly got it. The Russian flag was ominously blotted out by a sea of Union Jacks however. Proof perhaps that Brits love this Brit-loving band and even tonight's version of 'Shadow Play' is old news in the UK, having been performed by the Killers at this year's NME awards.

'This River Is Wide' was introduced by Flowers as one of the band favourite songs and delivered like he meant that. The set burned brightest towards the end, on 'Reasons Unknown', before the band came on a third time and briefly for the lovely 'Exitlude'. 90 minutes of perfect rock n roll. But come on Brandon, you’re allowed to make mistakes.

Mark Godfrey


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23

Razorlight (live at the Sziget Festival, Budapest)

RazorlightReview Snapshot:
A full bodied performance by Borrell and company who led the Brit contingent at the US-dominated rock segment of this year's Sziget in Budapest.

The CLUAS Verdict? 8 out of 10

Full review:
British bands and fans are colonizing many of Europe’s best festivals – note Spain’s Benicassim becoming an Alicante of its former colourful, multinational self. Thankfully Sziget has a massive pool of local talent to balance things out, and big US names. But the Rakes and Razorlight were well chosen Brit presence on the main stage on Saturday and Sunday respectively.

A slice of what sounded like Edith Piaf wafted over the dry ice and the band appeared and then segued into the opening chords of 'In the Morning'. Appearing like a hairy, postmodern angel in a kitschy Darkness-like white leopard suit with a split front, Borrell had the goods and delivered them with some panache. A full bodied In the Morning had the plentiful supply of beautiful women dancing in their designer wellies. Wellington boots in pink and flower patterns moved as Borrell sang “all they know is how to put you down” on 'Golden Touch'. None of these ladies in wellies are used to being put down, we hope.

Shirt off, guitar on for 'Tonight in LA', Borrell closed an hour-long show with Miracle to make way for Sinead O'Connor. The sun was still shining but Razorlight packed up with Vice, confirmation of the band’s worth to a headline slot. Seeking to ingratiate himself with the audience perhaps, Borrell dedicated the song to his "favorite filmmaker," the recently deceased László Kovács, a hometown hero here.

Budget concerns at Sziget (the government subsidized the concert till this year) has meant higher ticket prices and more foreigners at Sziget 2007. The local fear is that the bill will be designed so that wealthier western European fans travel. There’s already a sizeable roster of French acts to satisfy an ever larger contingent traveling from France. If they must attract foreign talent we hope the organisers at least choose some as good as Razorlight.

Mark Godfrey


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23

A Chinese pop star’s ambition to be the world’s first musician to sell one billion downloads is the reason behind an unlikely collaboration between a pop star’s dreams and a nascent Irish dotcom company’s ambition. Dubbed China’s Whitney Houston, Wei Wei is aiming to set a world record by selling more than one billion downloads to mobiles from her http://weiwei.mobi site, designed by a Dublin-based Internet firm, by the end of 2008.
 
Beautiful and well connected (she’s reportedly on first name terms of several of China’s politburo), label-less Wei Wei released her latest album, Wei Wei 20 X 20 Celebration Collection (it marks her 20 years in showbiz), exclusively on her website, designed specially to be mobile-phone friendly.
 
The 34 year old singer decision to shun traditional CDs and download stores like iTunes (the album was later made available at iTunes) for her latest release was helped by her being chosen to sing at the opening ceremonies of next summer’s Olympic Games in Beijing. “This will be one of the world's biggest-ever media events.”
 
“Accessing the internet from mobile phones is the future of the internet and allows me to reach my older fans as well as the younger generation who use mobile phones much more than PCs for accessing the Internet,” said Wei Wei in an email.
 
Designed by Dublin-based dotcom firm dotMobi, the .mobi domain makes websites more suited to mobile phone using music fans, says Vance Hedderel, director of communications at mTLD Top Level Domain Limited, dotMobi’s parent company. “Sites built using the .mobi domain can be accessed from most internet-enabled mobile phone, no matter which operator the user is subscribed to.”
 
“That means an artist like Wei Wei can ensure her material is available to the widest possible global audience without restrictions. End users don't have to be tied to an operator's portal to get the music they want -- assuming that the music they want is available on an operator's portal -- and they can be sure that the money is going directly to the artist, who can use those profits to make more material available.”
 
Press material surrounding the Wei Wei release described Wei Wei as “China's biggest music star” will surely be refuted by more recent arrivistes like Liu Yifei, winner of last year’s hugely popular Supergirl reality TV pop show. She's no longer top of China's pop scene yet Wei Wei’s prices are premium: songs like the Red Flower and Welcome to Beijing cost US$4 per download. Mobile phone ring tones adapted from tunes like See You 2008 cost US$3. Songs on itunes typically cost US$0.99 to download.
 
“Yes, they’re expensive,” conceded Wei Wei manager Bjorn Bertoft. “But Wei Wei is a hugely popular star.” Shooting to public prominence after winning the Young Singers contest on national TV in 1986, Wei Wei has been China’s favourite face at large sporting events, singing at the opening of 1991 Asia Games in Beijing and performing a duet with famously randy Spanish pop star Julio Iglesias in at the East Asia Games in Shanghai two years later. In her 20-year career, Hohot-born Wei Wei has sold more than 200 million tapes and CDs and has recorded hundreds of songs, both in English and Mandarin.
 
Famous for her interpretations of Chinese songs like Telling to the Spring and Sparkling Sky (she also covered Andrew Lloyd Webber’s Love Changes Everything), Wei Wei has ambitions beyond China, a market with its own copyright and piracy pitfalls for musicians. The woman who claims Swedish group ABBA was her inspiration to learn English, moved to Stockholm in 1999  to begin an assault on the English language market. The move was described by the artist at the time as a way “to capitalise on the growing global influence of Chinese popular culture.”
 
Wei Wei flies to Beijing at least once a month for concert and TV appearances - she also sang at the start of the Beijing marathon and the closing of the Nanjing Crawfish festival last year - but records in Sweden. Her 20X20 album was polished by fabled production team Johan Åberg and Robban Habolin, writers/producers for Cher and Christina Aguilera. The Inner Mongolia native spent an hour signing autographs at the dotMobi booth during the international telecommunications conference, 3GSM World Congress, in Barcelona in February. Based in Stockholm since 1999 with four sons from her estranged marriage to a Swedish-American husband,
 
Selling direct-to-consumer downloads rather than CDs helps curb music piracy, says Wei Wei. “This is a major problem in my home country… This is an important shift in music history. In China, the market for CDs was over a long time ago. I am going to concentrate solely on digital technology,” says Wei Wei.
 
Her other claim is even more intriguing. “It's also an environmentally friendly way of distributing my music.” So no more plastic CDs then? Certainly, the global music industry has been struggling to adjust itself to a post-CD world. Large music companies at first tried to suppress online music sharing sites like Napster before eventually selling content on licensed on line traders like iTunes and Realplayer.
 
dotMobi is the informal name for mTLD Top Level Domain, Ltd, a joint venture company based in Dublin, Ireland with offices in Washington, DC and Beijing. Sites and Internet services operating around .mobi are optimized for use by mobile devices. The company is hoping that it can create critical mass by tapping into China’s 400-million strong mobile user base, the largest in the world. The standard has the backing of leading mobile operators and network equipment makers as well as Internet content providers, including Ericsson, Microsoft, Nokia and Samsung.
 
Working with Wei Wei opens doors in China, one of dotMobi's five largest markets. In the early part of 2008 the company’s Beijing office plans to unveil content directory to make it easy to find mobile content that works on mobile phones, and a device database to make developing mobile applications easier and less expensive.
 
Other musicians are following Wei Wei’s lead. Independent artists Tila Tequila and Jennie Walker have recently also built .mobi sites. “Having weiwei.mobi has been a very good demonstration of what is possible,” says Hedderel.
 
Wei Wei and FC Barcelona soccer heroes Messi, Deco, Márquez and Puyol give a gentlemen's salute to female soccer players with "Go-Girl-Go (Fly With Me)", a theme song and a music video for the Women’s World Cup which China’s hosts in September. “Wei Wei is a national icon in China, familiar to more than a billion people,” claimed an early dotMobi press release. Hardly. But familiar to enough of people to carry the company into the Chinese market.

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23

Fanfare Ciocarlia (live at the Sziget Festival, Budapest)

Fanfare CiocarliaReview Snapshot:
Romania-based brass specialists Fanfare Ciocarlia invited some of Europe's best gypsy performers to join them in making make deleriously danceable music for a giant crowd at the Sziget main world music stage. 

The CLUAS Verdict? 8 out of 10

Full review:
Few festivals have the kind of luck that Sziget has, to be in the midst of such genius. From Romania, Fanfare Ciocarlia continues a tradition going back to the Ottoman Empire when gypsy bands picked up gigs and instruments from Ottoman armies retreating from Europe.

Tonight Fanfare Ciocarlia's show opens with a trio of Flamenco-looking gypsy guitarists in cool, neat-fitting black sit in chairs by the front of the stage and cut their guitars into a flamenco tune, the lyrics in Catalan.

It all looked far too clean and polished for Fanfare Ciocalia, known for their lack of self consciouness and pretension. And then the pot bellied men appeared, through the dry ice and onto the back of the stage. Their shirts are unmatching shirts, tubas and horns resting on big guts.

The cocky trumpeter who speaks for the group all evening takes the front of the stage and the “Spaniards” – French-based gypsies Kaloome, we learn - depart. Fanfare Ciocarlia's first tune opens with a trademark shrill horns and a trumpet shuffle before the tubas kick in.

A couple of tunes later the band shifted tempo to fit popped up versions of Balkan gypsy tunes by singer Esma Redzepova from Macedonia, who alternated stage and tempo with Bulgarian traditionalist Jony Iliev and modernist Florentina Sandu from Romania.

The singers all appear on Fanfare Ciocarlia's latest album, Queens & Kings, which took this year's BBC World Music award for its remeshing of Balkan gypsy brass with the flamenco guitars and the speedy violins of other tribes. Hemmed in for decades by the Iron Curtain, Roma musicians are connecting again with cousins in other European lands with whom they previously shared tunes and influences.

From Zeve Prajeni, a tiny ethnic Moldovan hamlet in Romania, Fanfare Ciocalia were spotted and signed by Berlin based Asphalt Tango label in 1998 and haven’t stopped picking up awards and compliments since. Fanfare Ciocarlia's brass specialisms (rather than the strings of their contemporaries Taraf de Haidouks which played the Galway Arts Festival this year).

With the dry ice and the smartly choreographed introductions of various gypsy traditions the stage version of Queens & Kings shows the band have obviously learned plenty of stage tricks on their frequent global tour - which pulls into the Festival of World Cultures in Dun Laoghaire on August 25.

The Irish date suggests there's two kinds of Roma gypsies. Fanfare Ciocarlia's fellow Romanian Roma were earlier this summer kicked off the Ballymun roundabout in Dublin and repatriated. Despised in many parts of Europe for their lifestyle, the Roma have nonetheless produced music and musicians prized by the rest of the world. At Sziget bronzed, blonde young festival goers dance with abandon to Fanfare Ciocarlia and in the nearby Roma music tent, generously arranged by world music label Putumayo. In music alone, it seems, Roma is cool.

Mark Godfrey

Check out CLUAS.com's review of Fanfare Ciocarlia's album 'Iag Bari'.


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Nuggets from our archive

2004 - The CLUAS Reviews of Erin McKeown's album 'Grand'. There was the positive review of the album (by Cormac Looney) and the entertainingly negative review (by Jules Jackson). These two reviews being the finest manifestations of what became affectionately known, around these parts at least, as the 'McKeown wars'.