https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/89/The-Hold-Steady-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=89 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=89&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/89/The-Hold-Steady-live-in-Dublin The Hold Steady (live in The Academy, Dublin) Review Snapshot: Playing to audience of 30 something men, The Hold Steady deliver a set much appreciated by the many converted in the audeience. A band however lacking the urgency and depth to ever become a major force in rock music. The Cluas Verdict? 6 out of 10 Full Review: The first thing that is noticeable upon entering The Academy tonight is the clientele. Without exaggeration, the crowd is made up of 90% men. The Hold Steady’s combination of classic and geek rock appealing, based on those in attendance tonight, more to the male 30 something demographic than any other, The band, who have forged a career by releasing consistently decent albums, struck up a genuine bond between band and audience from the off in The Academy. Even so, front man Craig Finn looked somewhat out of place. Reminiscent of a young Elvis Costello, his on-stage dancing borders on embarrassing-uncle-at-a-60th territory whilst sipping his can of Diet Coke. But it is this carefree spirit that seems to endear Finn to the reasonably sizeable crowd in attendance. His voice is an acquired taste, mixing Springsteen-esqe moments with the occasional spoken word. Finn sings about his home town of Minnesota; obviously holding a strong connection with the place of his upbringing, and there is an unquestionable autobiographical theme running through many of the songs tonight.   The band play songs from all of their studio albums and early gig standouts include the melodic ‘Ask for her Adderall’ and ‘Hurricane J’. The band do not rely on their singles to power their live performance and after ‘Sequestered in Memphis’, follows the highlight of the gig: a trio of heavier tunes (Stevie Nix, Smidge, Southtown) with dual guitars reminiscent of Thin Lizzy in their prime. The wonderful mid-section break in ‘Southtown’ ends too fast and shows another, groovier, dynamic of the band.   By this stage, the vast majority of the crowd are won over. The band return for a strong encore consisting of  ‘Stay Positive’ and ‘Slapped Actress’ (both from 2008’s ‘Stay Positive’ album) and a birthday wish to a fan’s girlfriend who had contacted the band directly by email – a testimony to the Hold Steady’s lack of pretentiousness and rock star ego.    The Hold Steady strike me as an ideal act to see on the main stage at a summer festival before the sun sets. For me, they are a little middle of the road’, lacking the urgency and depth to ever become a major force in rock music. This gig was one my parents would have enjoyed - rarely a healthy sign.    The Hold Steady might not be the most contemporary, or vital for that matter, band to visit Ireland in 2011, but they deserve their place in the industry. In many respects they represent a welcome juxtaposition to some other self-aware and media conscious acts of present. Colin White More ... Host Account Wed, 02 Mar 2011 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:89 https://www.cluas.com/indie-music/Home/ID/91/The-Pogues-live-in-Sheffield#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=91 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=91&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/91/The-Pogues-live-in-Sheffield The Pogues (live in The O2 Academy, Sheffield) Review Snapshot:  'They sang us songs from times long-gone / though we knew that we’d be seeing them again' – a fiddled lyrical quote from The Pogues romping rendition of Sally MacLennane. One that highlights the cloud of uncertainty over the authenticity of this year’s fantastic farewell performance by Shane MacGowan and his merry men. The Cluas Verdict? 9 out of 10 Full Review: Fabled festive farewell or not, this was a grand performance from The Pogues in a season which they dominate. The agonising wait until they take to the floor is warmed by choruses of Body of an American recited by the eager crowd.  When the doddery Shane MacGowan finally blunders onto stage he’s greeted with a hero’s reception and passionate chants of ‘Shano’ despite appearing as if he has been unceremoniously awoken or directed away from the backstage bar. Is that a sloshing pint of vodka or water accompanying his constantly lit cigarette? For most of this evening’s gig MacGowan mutters unintelligible snippets to the crowd which tin whistle player Spider Stacy on our right translates as song introductions.    First up is Streams of Whiskey, aptly appreciated by the average beer-fuelled, bald nut at the front, followed soon after by the jumpy 'If I Should Fall from Grace with God'. Thereafter the tempo of the set oscillates perfectly with the terrific two-paced 'The Sick Bed of Cúchulainn' inciting a riotous response while 'And the Band Played Waltzing Matilda' provides respite and swaying material.    The Anglo-Irish outfit also sandwich in the brass instrumental 'Metropolis', the beautiful accordion-led 'London Girl' and the much anticipated, energetic 'The Irish Rover'. Not even a minor wire-slip/blown amp sound explosion can dampen the celebratory carnival atmosphere created by the loyal gathering packed inside the often soulless Academy. This is further fuelled when MacGowan dons the band’s green and white scarf which is hurled onstage later on.    And so The Pogues return for their encore (Shano’s fifth) which culminates in a classic rendition of 'Fairytale of New York' which sees him grapple his female compatriot in an awkward arm-in-arm waltz under a sea of confetti. They finish with 'Fiesta' and the baking tray head-bashing antics of Spider Stacy which, although many are too-spent to sustain their bouncing for, has the balcony viewers swinging and leaves us with a special something to hum and whistle along to into the freezing Sheffield night.   This one will live long in the memory – or at least until another farewell concert  this time next year... Jamie Kendrick More ... Host Account Fri, 28 Jan 2011 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:91 https://www.cluas.com/indie-music/Home/ID/224/Tubelord-Our-First-American-Friends#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=224 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=224&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/224/Tubelord-Our-First-American-Friends A review of the album 'Our First American Friends' by Tubelord Review Snapshot: The debut album by Cockney math rockers Tubelord and is somewhat of a gem amongst a genre in which bands often find it difficult to stand out from the crowd. The Cluas Verdict? 8 out of 10 Full Review: Tubelord are already well known on the Irish alternative scene having gigged in a number of Irish cities. It's good to see they manage to capture the same energy on 'Our First American Friends, their debut album, as they do live. In the UK the band has also been gaining quite a reputation where their first single 'Feed Me A Box of Words' was very well received by critics. 'Our First American Friends'  was also well recieved in Rock Sound magazine, amongst others. Mixing a blend of cracking harmonies, upbeat melodies and seemingly endless time changes, the album keeps forever you on your toes. Often single songs include five or six completely different tracks sublimely stitched together, so much so that one could land oneself in an entirely different tune without even noticing.   my personal favorite on the album, starting slowly before building up to a climax of overdrive and screaming harmonies, is the track 'I Am Azerrad'. However while buried in the tune - the song itself a reference to the band's distaste of journalist Michael Azerrad - it's easy to lose track of the lyrics which inlcude lines such as 'Can you feel the back of my head please? / I think the screws are rattling loose'. .   One of the main reasons this album shines out amongst releases by other math rockers is the superb drumming of David Catmur. In songs that change beat regularly at the drop of a hat; it's Catmur's touch that allows these seamless transitions, as well as being able to change tempo without fuss, both in the studio and live.   'Cows to the East, Cities to the West', which follows 'I Am Azerrad', changes the tone completely, playing more like a lullaby then an indie track.    The album starts and ends with the line 'Sleep, it's over' which ironically is the last thing one would want to do when the CD comes out of the disc tray. Kevin Galvin   More ... Host Account Fri, 28 Jan 2011 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:224 https://www.cluas.com/indie-music/Home/ID/229/Les-Shelleys-Les-Shelleys#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=229 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=229&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/229/Les-Shelleys-Les-Shelleys A review of the debut album from Les Shelleys Review Snapshot: This is the debut album from the duo of Tom Brosseau and Angela Correa otherwise known as Les Shelleys. What you get here is a simple stripped down and very raw album full of impressive harmonies and some very high points. It does seem to lose its way towards the end but its still well worth a listen and I'm sure the live act would be very interesting to see. The Cluas Verdict? 6 out of 10 Full Review: The album starts with the simplistic minimalist "The world is waiting for sunrise" (listen to the track below) which not only sets the tone for the rest of the album but is one of the strongest tracks here. The core of Les Shelleys sound is how the voices of Brosseau and Correa compliment each other. The is no chance of any over production here; the album was recorded on a mini-disk player on a kitchen table in a Los Angeles home with a battery powered microphone. "Green Door" is another gem that takes the simplicity to another level entirely.  At times Brosseau sounds like Ray Davies ('Cocktails for Two') but in fairness, he does do a good job at it! The cover of The Andrew Sisters' "Rum and Coca Cola" is probably the strongest song here: it's catchy and the harmonies work perfectly. Listen to it couple of times and it will stay stuck in your head: Drinkin' Rum and Coca Cola,  Go down point Koommahnah, Both mother and daughter, Workin' for the yankee dollar. From here on, things start to go downhill, the Dylan cover of "The Lonesome Death Of Hattie Caroll" is largely disappointing. I can understand that they didn't want to do a cover that was exactly the same as the original but their take on this classic is way too far away from the original. Removing the chorus was not a great move either.  The rest of the album remains generally consistent, by now the listener knows what to expect. But that's not necessarily a bad thing. The harmonies are done well in "Pastures of Plenty" by Woody Guthrie, another key track.  Overall, an enjoyable album, something different to what I'd normally be used to. A breath of fresh air.  Some of these tracks sound like they came straight from a Jason Reitman film and, who knows, some day they might be. Éanna Canavan Les Shelleys - The World Is Waiting For The Sunrise by FatCat Records More ... Host Account Thu, 09 Dec 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:229 https://www.cluas.com/indie-music/Home/ID/40/CODES#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=40 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=40&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/40/CODES With blood pouring from her face, a girl stumbles into the surging crowd at a Christmas light’s fundraiser in a dingy pub in Ireland. Yes, that’s right. A fundraiser for Christmas lights. Surrounded by hundreds in fancy dress, neither the band on stage or the sweaty crowd took a second glance at the screaming girl. But she wasn’t reenacting the final scene from Carrie like the band thought, she had slipped, glassed herself and blended in with the rest of Freddy Krueger’s victims. “Nobody knew if she was for real or fake”, laughs singer Daragh. Fast forward two years, and CODES have graduated from playing to the meager and slightly bloody crowds of the dilapidated pubs of Meath, to the 11,000 strong crowds of The O2 in the capital. The four-piece, who formed in 2007 have had a pretty quick rise in popularity. Within the space of a few months, the indie-electronic group had two singles in The Irish Top 40, played a set at Oxegen and were asked to support Keane on the Irish leg of their “Perfect Symmetry” tour. Recalling their first experience of performing in front of thousands of people, piano-player Ray says they, “took to it like a fish to water.” Presuming he meant to say duck to water, bassist Eoin was quick to correct him. “Eh no, I’m on about those aquatic lake fish,” Ray retorts. And so, we swiftly move on.The guys who comprise CODES are as follows: Daragh – the songwriting lead who’s faux-falsetto chords are reminiscent of Matt Bellamy; Eoin – the baby-faced funny-man in charge of the bass; Paul – the straight-faced drummer who is either the silent brooding type, or just severely hungover on the day I met him; and Ray – the Hanson-loving pianist with a slight obsession with The Saturdays.“We met them once. We met their entourage keeping us away.” Smooth. With Ray hailing from the barren lands of Sligo and Eoin and Daragh from South Dublin, they are the self-proclaimed Indie Westlife, “they’ve got ones from Dublin and ones from Sligo.” After signing a record deal with E.M.I Records in May 2009 which the lads just about remember - “I don’t recall getting home that night”, laughed Ray - they were desperate not to let their new bosses see that when it came to a spot of drinking, they were Irish through and through. “We didn’t want them to see us really drunk on the first day, although we wanted to set a benchmark. Unfortunately, they failed miserably. “At least we’re told we went out that night!”, says Daragh. Their debut album, Trees Dream in Algebra is a winter-inspired collection of tracks recorded with Manic Street Preacher’s producer Greg Haver. Perched on the top of a snow-covered mountain, their album cover ties in with the minimalist music created by the quartet. Was it taken in Scandinavia? No. Greenland? No. Antarctica? No. “It’s in the Wicklow Mountains actually.” Well, that’s not very rock-star-like. “The budget wouldn’t allow. We’re not 30 Seconds To Mars,” laughs Daragh. Getting stuck in a lift with Vinnie Jones, eating breakfast with their idols The Yeah Yeah Yeah’s and insulting the bloke with the sunglasses from The Ting Tings, are only a few of the band’s Oxegen tales. “It was the guy from The Ting Tings who said he always wore his sunglasses because of a dodgy eye. I was talking about them and they were sitting right behind me,” says a red-faced Eoin. Insults aside, this year will be the third time the band will play at Ireland’s largest music festival as well as fourteen other festivals – and that’s just the Irish ones. “It’s a busy Summer for us. It’s good to be busy though. That’s what we always wanted to do, we just wanted to play every festival there is because we were all festival goers when we were younger.” Surrounded by huge artists at Oxegen, the lads are sure to get a tad star struck. Or maybe not. “I don’t think we’re the kind of people that get star struck,” ponders Ray. “I think if I met Thom Yorke I’d be a little overwhelmed, but I don’t know. I don’t think we’re the type of people to go up to someone and say, ‘Aw I know you!’, except Tom Dunne!”, laughs Daragh. Asking them why they’d get star struck after meeting an Irish news broadcaster is not even worth it. Admitting that Kelly Clarkson, Hanson, Paolo Nutini and wait for it, the whole Doctor Who soundtrack are on repeat on their ipods, these black-loving, skinny-jean wearing rockers are not as hard-core as they’d like us to think. “They’re good pop songs!”, Eoin replies when the topic of Girls Aloud arises. Before they completely destroy their reputations, the boys mention Metric, a band in the US they’ve been listening to flat-out lately and Northern Irish band, And So I Watch You From Afar. “There’s lots of classical stuff too, like Steve Reich and Philip Glass who we’re going to see in concert in a couple of weeks,” says Ray. “I really love that BBC Orchestra stuff. It’s minimalist and dark sci-fi music with crazy pianos and marching sounds.” Drawing comparisons to Muse, Coldplay and Keane, the foursome are happy to be compared to such established bands. “We just did what felt natural to us and what came along at the time and because of that, any comparison is flattering to us, especially when people say Keane. Keane are like a huge stadium rock band and we’re just a band from Ireland who haven’t done much stuff outside our own country. To be compared instantly to them is complimentary!”, enthuses Daragh. “It’s much better to be compared to someone like that than someone rubbish,” Ray butts in. And who may they be talking about, you ask? A Flock of Seagulls, a-ha and The National are just a few of the “really weird ones”. “I remember someone saying we sounded like The National. That’s like taking chalk and cheese and saying these two things are similar,” says Ray. With a name like CODES, it would be a bit disappointing if there was a lack of mystery amongst the band. But have no fear. If you happen to be a fan on Facebook or one of their many followers on Twitter, you will be familiar with their cryptic status updates and their impossible riddles. “It’s just a way of keeping people interested and having a laugh with people. I think all of our favourite bands have that sort of aspect where there’s a lot more underneath the surface than just the things you take for granted,” says Eoin. “So instead of us writing up, ‘today we had chips..’ , we’ll do it in a way that’s fun and people might be a little more into it.” If the lads weren’t sky-rocketing ahead in the music business, Ray sees himself doing a Ross Gellar and becoming a paleontologist. Unbeknown to the rest of the band, he insists that digging up dinosaurs is his fall-back plan. “I’m working on the beard. All I need is the checkered shirt.” “I’d like to think I’d be a sculptor or something mental,” Daragh coos. Perhaps he’s watched Ghost a few too many times. Thankfully, the guys might be able to forget about those plan-B careers after the flawless album they’ve produced. With theatrical, orchestral tunes like “Our Mysteries”, it’s easy to see where the Muse comparisons are coming from. “Telos”, a stunning instrumental worthy of Sigur Ross, the crowd sing-a-longs “Starry Eyed” and “You Are Here” and the opener “Malfunctions”, are just a few of the many tracks that prove Trees Dream In Algebra is an epic record that is scarily near-perfect for a debut album. They may be set for international success, but don’t expect any sympathy from CODES if you glass yourself at their next gig. They won’t believe you. Kerrie Donnelly More ... Host Account Fri, 28 May 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:40 https://www.cluas.com/indie-music/Home/ID/100/Pilotlight-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=100 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=100&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/100/Pilotlight-live-in-Dublin Pilotlight (Live in the Button Factory, Dublin) Review Snapshot: Pilotlight have a unique sound. Understated and expressive on the record, they are powerful and overstated live. The Cluas Verdict? 8 out of 10 Full Review: Pilotlight, a band from Dublin, launched their debut album entitled “The Post-War Musical” in The Button Factory on Feb 13th last. The four piece band has been based in London since 2008. They were in a jovial and excited mood. Not surprising as they’ve worked on this record for nine years, finally managing to put it together in a studio in France, under the guidance of producer Karl Odlum. The band began their set at nine-ish, belting out opener “All Purpose Underneath” and first single “Pulling on Doors that say Push”, which was the most radio friendly song I heard all night, containing some wonderful vocal harmonies and lead guitar work. This gig represented a first chance to showcase the album live to family, friends and fans alike. And the group seemed to relish the occasion. Beautifully heavy songs like “They had names” and “Bite your nails” passionately played and gratefully appreciated by the sizeable, though sometimes strangely lethargic crowd. The album has received widespread praise, but I did feel that some of its more measured tones in songs like “Health and Safety” and “Afraid of Heights” were lost in crossing over to such an exuberant and enthusiastic live performance.   Not to worry. During the entire set, a projected video of a decaying Dublin provided an interesting, thought provoking backdrop and added to the music’s ethereal feel. Album highlight, a dynamic tune called “South” was wonderfully performed, before the show was brought to a close with an inspiring number, “The Shortest Route to Happiness is a Straight Line”.   Overall, the album launch lived up to expectations. Pilotlight have a unique sound.   Donal Armstrong More ... Host Account Wed, 31 Mar 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:100 https://www.cluas.com/indie-music/Home/ID/271/Yeah-Yeah-Yeahs-Its-Blitz#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=271 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=271&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/271/Yeah-Yeah-Yeahs-Its-Blitz A review of the album 'It's Blitz!' by the Yeah Yeah Yeahs Review Snapshot: Have Karen O’s NY art-rock knuckleheads sold their guitars and bought turntables? The Cluas Verdict? 7.5 out of 10 Full Review: “It’s Sh*t!” It’s not quite actually. It might have been a title worth a (mild) chortle if that were the case. However if you’re already a fan it could be your initial reaction. Those familiar with their brash and rattling sound, roughly cut between the dusty granite canyons of New York and inspired by the “avant-punk” of sultry lead singer Karen O’s Ohio, may feel this lightning bolt of an album singe their senses and offend their rock sensibilities.   It is an alien discomfort, the reverse to seeing your beloved nerdy bestest-friend you used to play war-games with come home from college recast as a woman-melting Don Juan. In "It’s Blitz!" the band pump voltage into their previous experimentation with studio sorcery.   TV On The Radio magi Dave Sitek is tossed into the blender as producer. As for Nick Zinner, to some the “best guitarist in rock’n’roll right now”, out goes his ogrish six-string (almost). Instead he wields a dizzying array of bleeps, blips and synth sound waves, unrecognisable to Zinner’s early frustrated guitar licks: all fuzz, dirt and restrained sexual energy.   This continues a recent neon-streaked trend. Jumping the packed bandwagon that recently rolled out of an 80s wormhole with La Roux et al, Karen O unveils her love of the Giorgio Moroder-mastered disco of Donna Summer. Funky opener Zero, an essensual (eh, is that clever? How otherwise does a language evolve) new party tune, and Dragon Queen ecstatically demonstrate her penchant for dance and orgasmic screeching.   Just as the buzz-cut commentary of Dull Life and Shame and Fortune hint at recidivism and a return to guitar, the album zaps back into a mix of I Was A Cubscout-esque soft electronic balladry that the YYY’s hinted to in the past with the likes of Dudley.   The band continue their creative ascension with closer Little Shadow. Although it’s not the immediately accessible, sand-blasted diamond of their earlier garage racket, the band ask you to “follow” Karen and co as they climb that “ladder to the sun”, exploring the bionically-boosted vestigial reaches of their talent.   Lead single Zero could prove a catchy call-to-arms for a new generation of electro-punks to get their disco-rock “leather on” and the striking album cover is sure to go down as an important still in the great TV wall of noughties’ images. The painted-nail fist crushing the egg is powerful and ludicrous, perhaps symbolic of the band’s sound: shopping feminine strength to male brutality and creating a luscious over-kill of noise.   Ciarán McCollum More ... Host Account Tue, 09 Mar 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:271 https://www.cluas.com/indie-music/Home/ID/272/Bat-for-Lashes-Two-Suns#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=272 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=272&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/272/Bat-for-Lashes-Two-Suns A review of the album 'Two Suns' by Bat for Lashes Review Snapshot: ‘Two Suns’, released by Bat for Lashes in April 2009, was recently nominated for a Brit award. From the first song a haunting sound, almost hymnal at times, is created. It's not an initial jaw dropper of an album however it will grow on you. Soon enough you’ll find yourself wandering around humming the songs off this album unknowingly. Lyrically beautiful and musically underrated, it is deserving of much more praise than it has received. An album that rightly propels this songstress into the limelight.  The Cluas Verdict? 8 out of 10 Full Review: Bat for Lashes is a one woman show; Natasha Khan is the singer/ songwriter and multi instrumentalist behind the name and she recently received a much deserved nomination for Best British Female Solo Act at the 2010 Brit awards. ‘Two Suns’ - her second album - was released back in April 2009 and slowly, but surely, has been rising in popularity. I’ve grown to love it over the last nine months and the recent Brit nomination is my excuse to review it now.   Inspired by her travels and composed across the globe - from the Joshua Tree desert in California to the hills of the Welsh Country side to the hustle and bustle of New York and London - ‘Two Suns’ invites us to join the protagonist on her travels from a cityscape to a countryscape which is particularly evident from ‘Two Planets’ and ‘Travelling Woman’. The album begins softly with ‘Glass’ as she immediately draws us into the haunting atmosphere that envelops it and doesn’t stray far from this temperament throughout. Voice is Khan's primary instrument, it inviting us into her world from the get-go with a soft vulnerability that enthrals the listener. The opener begins acapella, draws us in hook line and sinker (“I will rise now / And go about the city”).   ‘Daniel’ is relatively up tempo in comparison to the rest of the album. My favourite song, I even found myself singing the chorus over and over again not just to myself but to strangers with that name. The first single release, it is about her childhood crush, Daniel LaRusso from the Karate Kid.     She talks a lot throughout of Pearl, her alter ego. She distances herself from this character while at the same time acknowledging that Pearl is one side of her personality. Again this mirrors her city/ country scape juxtaposition. ‘Siren Song’ and ‘Pearl’s Dream’ - both of which have Pearl as their protagonist - are lyrically beautiful, portraying the sense of loneliness, longing and bewilderment that oftentimes accompanies one on their travels.     The final song on the album, ‘The Big Sleep’, features Scott Walker and the only instrument is a piano. It has a hymnal quality to it (as does much of the album) and leaves the listener back to where they started.   I thoroughly enjoyed this album however it’s a grower. Upon first listen it is quite forgettable but once it has been through the CD player a few times it will be very difficult to take out.  The haunting sound of Natasha Khan's voice, consistent throughout the album, has what it takes to give the willing listener a healthy bit of escapism.    With the recent Brit nomination received by Bat for Lashes it seems that Khan's efforts as a composer, vocalist and instrumentalist haven’t gone unnoticed. With any luck she will gather some attention and praise, much deserved. Teresa Loftus More ... Host Account Tue, 16 Feb 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:272 https://www.cluas.com/indie-music/Home/ID/106/Peter-Doherty-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=106 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=106&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/106/Peter-Doherty-live-in-Dublin Pete Doherty (live in The Academy, Dublin) Review Snapshot: I didn’t expect him to show up. Nor indeed did I expect him to show up with two ballerinas in tow. But show up he did. He was on form too. The Cluas Verdict? 9/10 Full Review: Pete Doherty packed The Academy last night, along with fellow Babyshambles member Adam Ficek, otherwise known as Roses Kings Castles, who was supporting. After an enjoyable albeit low key warm-up courtesy of Mr. Ficek, the Reverend Doherty kicked off around nine-ish. The crowd religiously belted out the opening numbers, which included ‘The ha ha wall’, ‘Kilamangiro’ & ‘Don’t look back into the sun’. Next was ‘Arcadia’, a popular tune from Doherty’s latest solo effort ‘Grace/Wastelands’, released last March. Those bizarre ballerinas I mentioned drifted in and out of the entire set. But I don’t think anyone paid any attention to them. I didn’t. Most of the audience were transfixed and delighted with Doherty’s fluid, energetic performance. ‘Beg, steal or borrow’, ‘New love grows on trees’ and ‘Time for Heroes’ where next up. The energy level amongst the crowd did not drop for a moment. Pete occasionally sat on his stool, flanked by two amps, wiping off sweat with a scarf discarded by some adoring fan. He ploughed on happily, by playing ‘In love with a feeling’ and Libertines’ crowd pleaser ‘Can’t stand me now’, strutting around the stage, occasionally pausing to stalk the front row. Then the house lights went up. A hush went through the venue as the music stopped. Pete walked up to the mic; ‘Just stepping out for a fag’ he quipped, ‘back in a mo’. Roars and roars of ecstatic appreciation immediately followed. The Academy was way beyond what can be described as hot last night. He returned to round off his show playing ‘F*ck forever’, that one throwing the crowd over the cliff edge with excitement, ‘Delivery’ and a slightly altered version of ‘Down in Albion’. The English cities mentioned in that song were replaced with Irish ones. That drew the set too a close. All in all a very entertaining gig. I had hoped too include some criticism, but the performance was faultless. It's good too see that when Pete can keep himself out of the red-tops for a few months and busy himself with music, things come back together quickly. He isn’t a spent force. In fact, if he keeps playing like he is now, he’s in real danger of getting even better. Donal Armstrong Note from Editor: Corrections made to some song titles after some errors were pointed out in the comments below. More ... Host Account Thu, 21 Jan 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:106 https://www.cluas.com/indie-music/Home/ID/279/Various-Artists-Twilight-Saga-New-Moon-Music#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=279 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=279&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/279/Various-Artists-Twilight-Saga-New-Moon-Music A review of the 'Twilight Saga: New Moon Music' soundtrack Review Snapshot: An album that would most likely be passed over by many because of the film it comes from, this soundtrack is an extremely pleasant surprise. With tracks from Death Cab for Cutie, Thom Yorke, Black Rebel Motorcycle Club and Grizzly Bear (to name a few), this soundtrack is for fans of music, not just fans of the Twilight extravaganza. The Cluas Verdict? 7 out of 10 Full Review: This album is a complete surprise for many of us with preconceived notions about the Twilight franchise. The mentions of "sparkling" vampires and teen love are the subject of many a jeer from those above such nonsense, so when someone says: "the soundtrack for New Moon is actually quite good", it's fair enough to be a more than a little disbelieving. The opening track, and theme tune to the movie, is "Meet me on the Equinox" by Death Cab for Cutie. The song, having been written for a vampire romance, is a tale of love - "Let me lay beside you darling / Let me be your man" - but also warns ominously that "everything ends". The album continues to impress with second track "Friends" by Band of Skulls, a somewhat more upbeat track, and "Hearing Damage" by Thom Yorke. Thom Yorke on a Twilight soundtrack? Yes, it is quite remarkable, and this previously unreleased song is somewhat different from his usual, possibly in the hopes to appeal to a wider audience. Perhaps the many teenage girls that will buy this soundtrack? Abandoning irregular time signatures and strange effects, Yorke opts instead for a more subtle approach and the result is a haunting, low pitched piece with the ability to resonate with any listener. Then, we arrive at track four: Lykke Li's "Possibility". There's a possibility that this is my personal favourite song on the album (cheesy pun definitely intended). The repeated crashing of piano chords, and her echoing vocals tell the tale of love's end, a similar story to the opening track. An extremely emotional song, "Possibility" could leave you with shivers - assuming you have a heart. The album continues with a song from The Killers, which is much like the rest of their work, and will be liked by fans of the band. "Satellite Heart" by Anya Marina is a beautifully simple acoustic, and definitely worth more than one listen. The entire album is extremely well done, particularly when you consider the film it comes from. However, the first half definitely overshadows the second, and after Muse's "I Belong To You" (which, quite frankly, left me a little cold), the album seems to drift away. It is saved by the fact that Bon Iver and Black Rebel Motorcycle Club both contribute a song, and there is of course "No Sound But The Wind" by Editors, which is wonderfully epic. Unfortunately, they simply had to throw in a bit of an instrumental piece at the end, to remind us that this did, in fact, come from a film about teenage vampires. On the subject of "The Meadow", well, if you have the CD, don't bother listening to this bit of orchestral nonsense. If you download the album? Delete it. Aoife KielyMore ... Host Account Sat, 02 Jan 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:279 https://www.cluas.com/indie-music/Home/ID/286/Idlewild-Post-Electric-Blues#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=286 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=286&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/286/Idlewild-Post-Electric-Blues A review of the album 'Post Electric Blues' by Idlewild Review Snapshot: One could be forgiven for thinking that this latest offering portrays Idlewild growing old gracefully, but realistically this is the sound of a band who are trying to reinvent themselves. It doesn’t come close to the indie rock genius of the “The Remote Part” and the happy-go-lucky “Make Another World”, or the intrigue of the confused “Warnings/Promises”, but rather depends on several different influences to produce a fresh sound. Does it work? Yes, but only just.  The Cluas Verdict? 6 out of 10 Full Review: As the album opens with “Younger Than America”, you instantly notice this is truly & recognisably Idlewild, a vicariously riffed tune, and one that will once again accuse them of being, albeit in a good way, influenced by REM circa the Document era. Add to that, an effective backing vocal by our own Heidi Talbot (who aided and abetted Roddy Woomble’s 2006 solo country-ish effort “Secret Of My Silence” to magnificent effect, more on that later).  More of the same on “City Hall”, classic Idlewild. Baring in mind this is their 6th album, it still works in so far as the song exudes their undying zest for what they do. “Dreams of Nothing” echoes sentiments of “Century After Century” from the “The Remote Part”, picking on what made them underground greats while avoiding overdependence on it. Nevertheless, the album is not without its pitfalls, “Readers & Writers” is chart-popped up to an ultimately ineffective extent with oversold bombast on its chorus; it’s only the album’s second track and in early listens, you worry that Idlewild may be trying to become commercial - which just isn’t them. The same could be said of the late-on “All Over the Town”. It would sound great live but forces little effect elsewhere. Another poppy effect on “Circles in Stars” features a distorted doubled up vocal that asks "why, why, why?" Woomble’s vocals have always been charismatic enough without having to resort to this sort of thing. Perhaps the most disconcerting aspect of this album is the alt-country influences evident from Woomble’s solo effort that are breaking & entering their way through here – it doesn’t work on “(The Night Will) Bring You Back to Life”; it’s lyrically weak and the music doesn't sounds like anything like the Idlewild we’ve come to know and love. It improves on the album’s outro though as “Take Me Back in Time” features jangly guitar and a hum-drum backing vocal that possibly betrays the album as a whole but nonetheless remains a pleasing ending. While the album’s blessing is that “Take Me Back To The Islands” is undoubtedly one of the best tracks on offer, the fact that it sounds like it was hand-picked from “Secret Of My Silence” is also a distant curse - you can’t help but wonder if these contrasting influences are pulling the sound of this band and its lead singer in opposite directions. All in all, there’s enough here to satisfy dedicated fans and a lot of experimentation and credit to them for that; after all, bands who don’t reinvent themselves inevitably fade into the background or fade away altogether (just ask any Strokes or Garbage fan). Definitely Idlewild’s weakest offering since the Remote Part, but a satisfying listen at the end of the day. Jimmy MurphyMore ... Host Account Thu, 22 Oct 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:286 https://www.cluas.com/indie-music/Home/ID/112/Joshua-Radin-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=112 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=112&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/112/Joshua-Radin-live-in-Dublin Joshua Radin (live in The Academy, Dublin) Review Snapshot: It was always going to be interesting to see if Radin’s quiet yet absorbing melodies along with his whispery vocals could translate well to the stage. Unexpectedly but brilliantly, it transcended into an appreciated and intimate gig as you could hope to see, in a criminally underrated venue.  The Cluas Verdict? 9 out of 10 Full Review: Like many others, I discovered Joshua Radin’s music playing in the background of the more touching scenes in the TV show Scrubs. (Hey, good music can be found anywhere, right?) And good music is exactly what I found; some say the answer to Elliott Smith’s sad departure in 2003. But Radin is a breath of fresh air on his own with an addictive folk ethic on debut album “We Were Here” which is now improved by a pop-rock element on his more recent release “Simple Times”. It was quite a happy coincidence recently getting hooked on his music to discover only a couple of weeks later he’s playing in the Academy.   As “Simple Times” demonstrated a surge in Radin’s confidence, it’s fitting that he looks thrilled to be here, playing with vigor and opening with “One of Those Days”, the opening track to his latest offering. That’s soon followed by new material not due for release till next year, (unfortunately). Obvious highlights include “Closer” and “Winter” along with “Brand New Day”.  As so many of his songs would suggest but never quite confirm, Radin is a storyteller and every song is preceded by a story, the crowd charmed no doubt by his tale of playing in Doyle’s pub on Fleet Street some years ago. Quite often, Radin’s whispered, wistful vocals so commonplace on his records remain just that playing live but he has an audience to appreciate it, some being told to shut up while he’s playing when all they were doing was ordering a drink! To prove the point, he compared the audience to a New York audience, who are never quiet during a performance, but he enjoyed the attention so much, he had his band unplug all the instruments and descend into the middle of the crowd for a song. No electrics, no mics, and the crowd never missed a beat. Radin’s influence by Dylan also plays a part as the show goes on as new material and “Free of Me” are played with a more upbeat tempo and acoustic ring before finishing off with the entire band semi-circling 2 microphones, jamming and loving it.  Those of you don’t know should get to know Radin’s music, its delicious melodies, catchy finger-picking and unassuming lyrics are enough to capture the imagination of any serious music lover. To witness this performance in front of such an appreciative audience (not to mention the staggeringly cheap ticket price of €17) in such an intimate setting was nothing short of a thrill.   An immersive, intimate and above all else, essential gig.  Jimmy Murphy More ... Host Account Sat, 17 Oct 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:112 https://www.cluas.com/indie-music/Home/ID/113/The-Frank-and-Walters-An-Brog-Cork#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=113 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=113&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/113/The-Frank-and-Walters-An-Brog-Cork Review Snapshot: Cork's finest take to the stage in their home city and quite literally blow the pants off the punters and the roof off the venue...not sure if that's legal, but it's mighty craic! Full Review: Well, what a night! Murphy’s! Magic! The Mrank and Malters! Everything began with an M! Remember M for Michael later on! In a hothouse sauna renamed The Brog for the night, the Murphy’s Nice ‘n Nasty season continued with “Cork’s favourite sons” (© The Frank and Walters) allowing us to enter their world. Indeed, even in their 20th year, the Franks have never seemed as relevant to the masses who are force-fed Lady Gaga, Peter Andre and the Continuity Wolfe Tones (or whoever they are this week)! Take a string quartet, 2 original Franks, a new Frank and part-time Frank, lashings of free Murphy’s and music, sweat Fred West would have worked up. Mix it all together with a touch of madness. Ta-da! A night to remember, that’s for sure! Divided into two parts, "Nice" and then "Nasty showcased the Franks at their best – Engaging! Edgy! Entertaining! Extravagant! Excellent! The 4 lassies that made up the Murphy’s Quarter (string quartet) provided superb support to the reworking of seven of the Franks' most appropriate songs for the night. For those who attended last year’s Speigel tent celebration of the Grand Parade album, this was second helpings with Landslide, Little Dolls, Russian Ship and How Can I Exist all being reproduced to a staggering high quality. The evening kicked off with Miles and Miles and it was great to see the lead single from A Renewed Interest In Happiness being well received. Throw in the obligatory After All, the reaction of the crowd (and look on the Quartet’s faces) was classic as the anthemic choruses raised the roof! The Nice element ended with This Is Not A Song and as I queued at the bar, it was clear the crowd was in good fettle for the next half of the performance. Again, the punters went in full voice here and took the interval to have a healthy cigarette and kebab at the 4* Istanbul restaurant. The "Nasty" session kicked off to the sound of THE best version of Fast Anthony the reviewer has heard – bar one. The one fault with the prior "Nice" set was the sound on the left of the stage was poor; methinks down to trying to keep 15 microphones in check. The second half sound never waved as Cian Corbett gave a rasta/indie keyboard effect to the speeded up Tony Cochrane. Fashion Crisis and Country Boy followed, both book ending the 20 great Franks year so far. With Darren Mullin standing in for Kevin P who was attending a wedding (calm down girls, not his own) in Italy, we knew Fight would be on the set list – and so it was! A rip-snorting animal which couldn’t be tamed was unleaded and the explosiveness of Mullin’s geetar playing mean we tripped over nicely into Colours and Indian Ocean, further proof of the greatness of the Grand Parade album. A special song then made its way onto the list and the sound of Underground completed Flood’s engineering from all those years ago – who remembers the video for this one???!!! The last song could only be Time To Say Goodnight. There is only one song to end with Len Cremin remarked – and I agree. Again with pounding sticks-works from Drum Keating and Paul giving it all, we knew the evening was nearly at a close. The shout went up "we are... we are... we are the Frank and Walters..." as the band returned for a well deserved encore. What could it be? Remember at the start? Yep, it was Michael and with the man whom this song was written about being in the audience, I can assure you that Paul, Ash, Cian and Darren brought down the house with a fantastic version of the classic!! We Care!! So, the DJ came on and we all carried on. A great night. Lots of regular Franks with folk coming from as far away as Manchester, London and Limerick for the concert. One fan dressed head to toe in Franks gear summed it up, "it’s before payday, I borrowed a tenner from my ma, I am going to have 10 free pints of Murphy’s this evening, I am here with 400 friends and tonight I got to see my favourite band free! Where else would you get that?" I don’t know either but it would have to be special … so f**king special! After note: Geelong beat St Kilda to win the Australian Football League Final, and Michael and I made our ways into the sunlight sometime on Saturday morning! We care Michael, we care! Dan Foley More ... Host Account Tue, 29 Sep 2009 00:32:00 GMT f1397696-738c-4295-afcd-943feb885714:113 https://www.cluas.com/indie-music/Home/ID/313/They-Might-Be-Giants-Here-Come-the-123s#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=313 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=313&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/313/They-Might-Be-Giants-Here-Come-the-123s A review of the album 'Here Come the 123s' by They Might Be Giants Review Snapshot: Grammy-winning quirky, melodic fun from 90s indie icons. Not just for kids! The Cluas Verdict? 8 out of 10 Full Review: They Might Be Giants had a succession of indie hits back in the late 80s/early 90s. Their best-known album was "Flood", released in 1990, on which you'll find the indie disco staple "Little birdhouse in your soul". People took music pretty seriously back then (when rock music fans were the goodies and rave music fans were the baddies) and they suffered a little bit in the eyes of the Serious Music Fan on account of being too much, well, FUN compared to the other bands that were hip at the time, but I guess it didn't phase them much as they've released 10 studio albums since, with the most recent albums featuring music for kids that adults too could love. Their music had a kind of kiddishness to it even early on - there was a song on "Flood" called "Particle Man" that described battles between Particle Man, Triangle Man and Person Man and was made into a Tiny Toons video. It wasn't until 2002 though that they released their first full album for kids called "No!", which they followed with "Here come the ABCs" (2005) and then this album. Like their grown-up music output, the basic template is American alternative rock, but very quirky, very melodic, and fun fun fun! Most of the songs have some kind of number-related theme - from "Zeros mean so much" to "813 mile car trip" - but this isn't an educational record in that it doesn't make any attempt to teach, rather it just uses numbers as jumping-off points for goofy (and somtimes amazing) lyrical ideas, like "9 bowls of soup" in which an ichthyosaur uses bowls of soup to construct a Very Large Array with a view to communicating with aliens (and inviting them for lunch). Stylistically it's pretty eclectic - "There's only one Everything" is danceable indie pop, "The number two" is reminiscent of 70s Elton John, "High five" is faintly disco-y, "Days of the week" is a march - but it's all distinctively They Might Be Giants, and every single song has a hummable tune. So hummable, in fact, that it's damn hard to get some of them out of your head - in my house you can regularly hear "One dozen monkeys" being sung as you pass the shower door. Don't let the fact that this is aimed at children put you off, though if you have kids/nephews/nieces/younger siblings this would make a brilliant present (and they'll love the accompanying DVD, complete with the band as woollen puppets). Obviously it's neither earth-shattering nor profound, but it's entertaining in the best sense of the word, and it'll put a big grin on your face. Cormac Parle Cormac is in Stoat and recently launched kids-tunes.com which sells CDs for kids (such as 'Here Come the 123s' by They Might Be Giants).  More ... Host Account Wed, 15 Jul 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:313 https://www.cluas.com/indie-music/Home/ID/130/Neil-Young-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=130 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=130&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/130/Neil-Young-live-in-Dublin Neil Young (live in The O2, Dublin) Review Snapshot: Neil Young and Co. pulled no punches during their June 21 show at Dublin’s O2. Now 63 years old, Neil Young still puts on an exciting and visceral show. Ripping through crushing riff laden classics such as Cinnamon Girl and Hey Hey, My My, Young made no effort whatsoever to show his age. Even in the quieter moments of the show, Young was still all blood and guts, singing every line like he still means it.  Once upon a time, Young sang that “rock ‘n’ roll can never die”. It certainly won’t as long as he’s around. The Cluas Verdict? 9.5 out of 10 Full Review: The opening act on the night was Villagers, who set up in the cramped space between stage front and Neil Young's mammoth set-up of amps, pianos, organs and various other noise making devices. They seemed comfortable in front of such a massive crowd, Conor O'Brien howling and crooning with a passion that was soon to be echoed by Ol' Shakey himself.  The crowd themselves were appreciative, which only fed the band’s enthusiasm. Young and his band pulled no punches, opening up with the crushing Hey Hey, My My. Rock 'n' roll will never die indeed. I envied those who were standing up front getting the full force of Neil's sonic maelstrom, especially from the gigantic Baldwin Exterminator amp (an 8 foot tall monstrosity, surely a Health and Safety nightmare).  The band showed themselves to be multi-talented, with all but the drummer and bass player shifting around to various instruments and vocal duties.  The two hour set consisted mostly of older material, with just one nod to his more recent work. Neil is clearly in his element on stage, stomping around firing off screeching, rumbling guitar solos with a ferocity you rarely see in bands forty years younger than him. Age is clearly not an issue for Young.  When he wasn’t beating the living hell out of his trusty electric guitar, Ol’ Black, he gave tender and fragile renditions of his acoustic material. The classic Harvest Moon was particularly beautiful, with Young’s band capturing all the sweetness of the original.  The highlights of the show were Rockin' In The Free World (he must have played it for about 20 minutes), the beautiful and slightly bizarre Neil and organ solo Mother Earth and his raucous cover of The Beatles' A Day In The Life, which ended in him tearing the strings off his guitar and making the most unholy noises you've ever heard in your life.  A Day In The Life seemed to me to be a realisation of John Lennon’s original idea, totally bombastic without being ridiculous. Young’s guitar more than made up for the lack of the orchestra in The Beatles' cut.  Having been to Bob Dylan in The O2 earlier in the year, I was a little apprehensive about the gig, but Neil was as passionate and fiery as he has ever been. Think about THAT Bob! Nick Appleby More ... Host Account Sat, 27 Jun 2009 23:21:00 GMT f1397696-738c-4295-afcd-943feb885714:130 https://www.cluas.com/indie-music/Home/ID/146/The-Gaslight-Anthem-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=146 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=146&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/146/The-Gaslight-Anthem-live-in-Dublin The Gaslight Anthem (live in The Academy, Dublin) Review Snapshot: Pop instincts wrapped in a ragged cloak. The Gaslight Anthem played their first Irish Gig in the Academy, March 4th, supported by Frank Turner. High energy and enthusiasm was the essence of the night. Live renditions of tracks from the critically acclaimed The '59 Sound were certainly done justice. Expressing tales of family, love, life, loss and youth reeling in the audience all driven by this four piece's taut muscular rock n' roll rhythms. The Gaslight Anthem are as tight as any band I've seen this, or even last year. The Cluas Verdict? 8 out of 10 Full Review: "The songs, the best of them, are adventures in the dark, incidents of wasted fury. Tales of kids born to run who lose anyway.…taut rock songs about people crushed by family, by lust, by living in this world every day…The promise and the threat of the night; the lure of the road; the quest for a chance worth taking and the lust to pay its price; girls glimpsed once at 80 miles an hour and never forgotten; the city streets as the last, permanent American frontier. We know the story: one thousand and one American nights, one long night of fear and love…there are no idle thoughts about how nice true love might be." Rolling Stone magazine, various Springsteen reviews 1972-1981 So now that we’ve the mandatory Springsteen references out of the way, let’s get on with reviewing The Gaslight Anthems gig in The Academy. I first stumbled upon The Gaslight Anthem with the release of their album “The ‘59 Sound” and was surprised to learn that this was not a new band with a debut album. In fact, they had already been around for 2 and a half years with their debut album Sink or Swim under their belt. The success of this band is not unexpected. Combining old school clean-cut rock n' roll spiced with definite elements of hardcore, pop-punk, rockabilly & classic soul certainly gives them commercial appeal which is catching up with the (justly deserved) critical acclaim of The '59 Sound. The night began with supporting musician Frank Turner, armed solely with his guitar and microphone. Do not be fooled by the sheared down, no-frills approach Turner takes to his music. His presence immediately impregnated the venue and he engaged the audience with his punk melodic laments telling of life's hardships. The Gaslight Anthem kicked off their set with Great Expectations from The ‘59 Sound. Their simple songs of small-town, blue-collar America immediately brought to life with high energy and enthusiasm. Their own brand of crisp anthemic pop cloaked in precise yet fuzzy, ragged sound, primed to stomp through the venue, driven by hardcore punk and melodies. In particular leading man Brian Fallon, whose neck with veins like ropes plunging out in all directions, urgently delivers a tale of hopes and dreams. It is blatant that this band are passionate about their music. Every song off album The ‘59 Sound was featured in their set with a few choice tracks of Sink or Swim and their recent EP Senor and the Queen. Being the first Irish gig The Gaslight Anthem have performed, they certainly were well received on this sell out night by their youthful adoring crowd, although some of the crowd seemed to only more than vaguely familiar with the singles. However this didn’t seem to deter the band, least of all Brian Fallon who spent much of the nights show with an incredulous smile on his face. Those who cannot hear farther than the lazy "Springsteen-clone" comparisons would have been surprised to witness them begin Senor and the Queen with their rendition of  'This Is A Man’s World', just one of tonight's ventures into classic American soul. Towards the end of their set, Fallon pondered out loud about his working class New Jersey upbringing speaking of his hardworking Irish Father and Polish Mother with unmistakable pride before launching into Backseat where enthusiastic clapping engulfed the audience. An encore ensued featuring a song each from both albums and their EP, with the band further reveling in the American songbook through the brief charming snippet of  Stand By Me which prefixed I’da Called You Woody, Joe. The highlights of this gig included Boomboxes and Dictionaries, The '59 Sound, The Old White Lincoln, Even Cowgirls get the Blues and The Backseat, all fantastic live performances. A dip in the tempo came with The Navesink Bank which certainly didn’t falter the audience. A question of whether this band can in fact step out of the Springsteen shadow that has been cast over them to become a band in their own right is debatable. Their music perhaps lacks some particularly unique element. However, if you can stop yourself from staring at this band through Springsteen shaped glasses they are certainly one of the brightest around at the moment, and definitely worth a see. Clare Shanahan More ... Host Account Thu, 12 Mar 2009 14:07:00 GMT f1397696-738c-4295-afcd-943feb885714:146 https://www.cluas.com/indie-music/Home/ID/153/Aimee-Mann-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=153 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=153&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/153/Aimee-Mann-live-in-Dublin Aimee Mann (live in Tripod, Dublin) Review Snapshot: An occasionally shambolic but enjoyable night, culminating with a great set from one of the best American songwriters in the world today. The Cluas Verdict? 8 out of 10 Full Review: The evening started off with Los Angeles husband and wife team The Submarines, who I knew nothing about before tonight but proved to be a pleasant discovery. It wasn’t hard to see why Aimee Mann picked them to support her on her current tour, as their music is precisely the same kind of catchy melodic rock that the likes of Crowded House, Squeeze and Aimee Mann do so well. The couple, with a drummer filling out their sound, powered through a hook-laden set that impressed me enough to pick up one of their albums at the merchandise box afterwards. Next up was Sharon Shannon’s Big Band, who lived up to their name with ten of them cramming on to Tripod’s stage. Not being a great fan of Irish trad I had planned on skipping her set, but the sheer love of music that came through from ten first rate musicians vibing off each other was impossible to resist. At one point they dragged one of their roadies on to sing a cover of the Thin Lizzy classic Dancing in the Moonlight. This probably sounded like a great old laugh backstage before the gig but was considerably less fun for the audience as the guy hadn’t a note in his head. Inevitably, this part of the night ended with Mundy being dragged on for a spot of shameless crowd pleasing with, surprise surprise, Galway Girl. I got the impression that Mundy is already tired of this particular millstone around his neck and even the audience didn’t seem to be singing along with the type of gusto one might have expected. And so to the headliner. I’ve long been a huge fan of Aimee Mann and her live shows are always a joy. In a similar fashion to Crowded House, she always makes a point of bantering with the audience, taking requests and peppering the set with the stories behind her songs. Tonight’s show started with a batch of songs from Smilers, her most recent album, including the single Freeway which got the first big cheer of the set. This was followed by songs from the Magnolia soundtrack, one of her most successful releases and included one of my favourite songs, Save Me. If you had to pick one song to represent Aimee Mann’s lyrical worldview, this would probably be the one, with it’s chorus of “Well, can you save me / from the ranks of the freaks / who suspect they could never love anyone?” It was at this point that people started shouting requests and Aimee duly responded, granting some and joking with the audience about not being able to remember her own songs. This part of the show can be great fun for the most part but can occasionally lead to some idiot who loves the sound of his own voice deciding to yell constantly at the band. There was one such yahoo in the audience tonight but thankfully Aimee managed to keep the show on the road diplomatically without having to tell him to shut up (the idiot in question wanted to hear It’s Not, the final song on the Lost in Space album, and got it).  A mix of old and new songs completed this part of the show, finishing with a brilliant performance of 'How am I Different'. For the encore  we had one of the funnier moments of the night when a few people requested 'I Should Have Known', the very wonderful opening song on her debut solo album, Whatever. After a quick consultation with the rest of the band, she decided to give it a shot. All went well until the bridge, when Aimee forgot the chords. There followed several shambolic attempts to work it out until eventually they managed to finish the song. For the finale we were treated to Pavlov’s Bell, also from the Lost in Space album, and a wonderful extended version of Deathly, one of the key songs from the Magnolia soundtrack, with Aimee’s two keyboard players performing a great jam which brought the show to a satisfying close. All told, a great night that’ll make my list when the inevitable “Best Gigs of 2008” lists are compiled. Paul Brosnan More ... Host Account Fri, 14 Nov 2008 21:56:00 GMT f1397696-738c-4295-afcd-943feb885714:153 https://www.cluas.com/indie-music/Home/ID/343/Mercury-Rev-Snowflake-Midnight#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=343 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=343&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/343/Mercury-Rev-Snowflake-Midnight A review of the album 'Snowflake Midnight' by Mercury Rev Review Snapshot: One-time experimental mavericks from upstate New York return with a departure in sound, but find themselves stuck on repeat, peddling their same optimistic and wide-eyed view of the world. Dressed up in a shiny new electronic suit it may be, it’s merely ‘The Secret Migration’ with beats. Where has the magic gone? The Cluas Verdict? 2 out of 10 Full Review: This is not Mercury Rev. That much we know since the overwrought pomposity of a least half of 2001’s ‘All Is Dream’ gave way to the epic folly of 2005’s ‘The Secret Migration’ - the sound of a band convinced they were pushing sonic boundaries whilst, in reality, they were merely elbowing The Verve aside from their pedestal of overblown epic rock. It is impossible to reconcile the band who made ‘Snowflake Midnight’ with the band who unleashed ‘Yerself Is Steam’ to such a cathartic effect on an unsuspecting audience still knee deep in Madchester and shoegazing way back in 1991. If for many ‘Deserter’s Songs’ is their touchstone record , for me it’s ‘Yerself Is Steam’ – an obscene mélange of bad drugs, indecipherable lyrical content and a wacked-out flautist thrown on top of a rabble of musicians collectively intent on musical deviance. It’s a remarkable, malevolent masterpiece. Sonically, ‘Snowflake Midnight’ most closely resembles 1995’s ‘lost’ album ‘See You On The Other Side’, which was sound of a band content with the fact that the world had largely forgotten them after the excesses of ‘Boces’ (which happened to be the, er, unbalanced - and much missed - David Baker’s last record with the band before Jonathon Donahue took complete control of their vision). Yet the euphoric psychedelia of that record stands in stark contrast to the relentlessly mawkish sentimentality of ‘Snowflake Midnight’. I’ve never quite understood bands who, in search of a change of direction, invariably decide upon augmenting their sound with ill-suited faux-electronica – this, it seems, is the default approach for bands in transition. ‘Snowflake Midnight’ repeatedly showcases this change in the band’s sound and it’s one which is as ill-fitting as it is unnecessary - ‘Butterfly’s Wing’ is backed by inane computer generated beats and bleeps, and accompanied by Donahue’s, by now, customary optimistic whine. Some four minutes long, the song is an exercise in futility and showcases the dilution of Mercury Rev both musically and lyrically. ‘Senses On Fire’ - the album’s one stand-out track - with its electro-doodle intro builds into a glimpse of what 2008’s Mercury Rev could have been: the title repeated throughout and Donahue’s vocoded voice menacingly intoning ‘Ready or not, here I come’. Wonderful stuff, yet thoroughly out of place with the dross surrounding it. Otherwise, only ‘Faraway From Cars’ merits a positive mention, if only for the fact that it could well have been lifted from ‘See You On The Other Side’. Lyrically, Donahue still resides in a dream world invariably populated by mysterious female figures; “In the green grass a young girl dreams she’s a flower in the field, But in my dream, you are real”. He’s not saying anything new – hell, he doesn’t have to – but it would be nice if he’d say it all in a different way. Where once the band thrilled with the incandescent menace of ‘Chasing A Bee’ or beguiled with the simple beauty of ‘Holes’ or ‘Tonite It Shows’, today the band evoke nothing but half-arsed mysticism and a nauseating fixation with the natural world populated by ethereal figures of Jonathon Donahue’s imagination. With song titles such ‘Snowflake in a Hot World’, ‘Runaway Raindrop’ and ‘A Squirrel and I Holding On (And Then Letting Go)’, they have, alas, become Barney on acid. This then is the sad sound of a band running on empty. Dear God, this is Mercury Rev. ConfuciousMore ... Host Account Tue, 07 Oct 2008 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:343 https://www.cluas.com/indie-music/Home/ID/353/Sigur-Ros-Med-sud-i-eyrum-vid-spilum-endalaust#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=353 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=353&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/353/Sigur-Ros-Med-sud-i-eyrum-vid-spilum-endalaust A review of the latest Sigur Ros album Review Snapshot: Sigur Ros do branch out somewhat but in my eyes it's not in a bad way. I've seen some indifferent reviews but I challenge anyone to listen to Ára bátur and not be moved. Get the album, on CD not mp3, stick it on in a darkened room and enjoy. The Cluas Verdict? 8 out of 10 Full Review: Sigur Ros, a favourite band of mine for quite some time, captivated me with Ágætis byrjun, lost me somewhat on () and hooked me right back in with Takk... (despite Match Of The Day trying to hijack it!) Með suð í eyrum við spilum endalaust is their 5th studio album and, before it even get's played, it has a lot to live up to. Takk... was such a massive album for the band, any subsequent work will find it hard to live up to those expectations. So to hear that the band had enlisted the help of Flood, English producer so named for his tea making prowess, suggests that they might indeed be steering away from the the 8 minute opuses and more towards 4 minute rock songs. Gobbledigook, track number 1, seems to reinforce that theory. With chants and stomping percussion that wouldn't go amiss on most contemporary British indie albums these days you'd be forgiven for thinking you bought the wrong album, except for the Icelandic lyrics of course. In saying that, it is a cracking tune and a perfect foil for those 8 minute wonders. Inní mér syngur vitleysingur, Track 2, takes the same road. This jaunt into accessibility may indeed upset some of their more hardcore fans but, frankly, I'm loving it and by the time you get to Góðan daginn you're in classic Sigur Ros territory. A beautiful song with lush sounds. The album on the whole is filled with typically beautiful Sigur Ros songs and punctuated by those songs bordering on indie rock. Festival and Ára bátur are two of those 8 minute + wonders that take you on a journey through wonderful soundscapes. Indeed Ára bátur finishes with an immense orchestral and choral crescendo that had yours truly reaching for the Kleenex (to wipe the tears of joy that is). Part of the charm of Sigur Ros, for me at least, is the incomprehensibility of the lyrics. I'm not a lyrics man, more of a mood man. That is to say when I listen to a song the voice is just another instrument that should sit with the song as a whole to create that mood. So I was a bit taken aback by the final song, All Alright, which is sung in English. As of writing I'm undecided if I like it or not. That indecision is brought about, I think, by the fact that I can understand what Jónsi Birgisson is saying, barely mind you, but I feel that some things in life should remain a mystery. If I understood Icelandic this album could mean something completely different. Last track aside, I like this album. Sigur Ros do branch out somewhat but not in a bad way. There have been some indifferent reviews but I challenge anyone to listen to Ára bátur and not be moved. Get the album, on CD not mp3, stick it on in a darkened room and enjoy. That's what music is supposed to be about. Andy KnightleyMore ... Host Account Tue, 05 Aug 2008 23:58:12 GMT f1397696-738c-4295-afcd-943feb885714:353 https://www.cluas.com/indie-music/Home/ID/355/Jape-Ritual#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=355 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=355&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/355/Jape-Ritual A review of the album Ritual by Jape Review Snapshot: Things could have gotten very quiet for Jape in the last few years, but Ritual will be banishing any barren times for Richie Egan. Not a perfect album, but a magnificent one nonetheless. If music was food, Ritual would satisfy more tastes than most. The Cluas Verdict? 8.5 out of 10 Full Review: It’s been four years since Richie ‘Jape’ Egan cemented his place amongst Ireland’s new breed of gifted songwriters with second album, The Monkeys In The Zoo Have More Fun Than Me. In the meantime, with his third album nearing completion, he signed to V2, and promptly saw his new home go belly-up. The Monkeys…, meanwhile, bore fruit to ‘Floating’ covered by The Raconteurs, itself leading to more questioning of just where Egan would go next. Irish music might not have undergone any seismic changes in the last four years, but it’s certainly taken enough detours where old dogs need to learn new tricks. Put simply: if an album could have been custom-made to bridge this gap between notability and glory, Ritual wouldn’t be very far off it, opening with a voice loop on Christopher And Anthony that wouldn’t sound out of place on a Mylo album, before settling into a light, insightful and relaxed yet upbeat path. I Was A Man, the album’s lead single, opens with a memorable hook that could well have kicked off a chart-botherer but for the slightly obtuse instrumental later in the track. If it won’t be bothering the charts you’ll probably hear it soundtracking another short-lived sports series on RTE in the not-too-distant future. Replays, its sequel, a slightly grimy faux-future opus with a few too many repetitive High E synth taps pushing it too close to the boundaries of bearable. The album then takes a turn into a slow-burning but gorgeous interlude duo. On Graveyard, Egan shows that while the previous songs are built on melody, his lyricism is worth an exposure too. “It’s just a short, short distance from the nipple to the soil”, he sings, over a lush, deep, layered euphony of minor synthesis. This lyrical strength then hits astonishing new high gears on Phil Lynott. In a truly seanachaí mode, Egan tells an initially acoustic story of a night at a gig under a lunar eclipse, as the rockers around him say “look / at / the / fuckin’ / moon” in a staccato so perfect you can’t help but be smug even listening to it. The mortality of the occasion hits him to the point where he realises, “One day I’ll be a dead man / who plays the bass from Crumlin / like Phil Lynott” in an interlude of honest-to-God beauty. It says much about Jape’s output that it’s only on the word “Crumlin” that you’re aware you’re listening to domestic produce; you’d easily think you were listening to something that had been well-respected enough on the other side of the Atlantic to make the leap to these shores. Streetwise is the spiritual start of Side B, with triadic vocals underpinning a electronic masterpiece of booming chords. The Hibernian references are kept up with tributes to Jackie’s Army among others, before At The Heart Of All This Strangeness appears as a musical aberration; a sole acoustic guitar atoneing a beautiful, fragile melody augmented by silences placed to pinpoint perfection, as Egan is overwhelmed by how “there is nothing but hate in every dictionary” with gripping pathos. The closing triplet almost echo the openers: Apple In An Orchard gets back into the form of the earlier tracks, with Egan borrowing from the Morrissey school of sing-as-you-think storytelling; Strike Me Down opens with another repetitive – but upspeed – synth hook leading into syncopated semiquavers in both vocals and score that sounds like a GameBoy on LSD; while Nothing Lasts Forever ends the album with a virtual scan of the radio channels before settling on a sibling track to Radiohead’s All I Need. That the album produces similar opuses as In Rainbows is a tribute of which not much higher order could be paid. In short – after a four year break where things could have gotten very quiet for Jape, Ritual will be making sure that the next couple of years will be busier for Richie Egan. A masterpiece, not quite; a potential Album Of The Year, very much so. Gav ReillyMore ... Host Account Wed, 30 Jul 2008 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:355 https://www.cluas.com/indie-music/Home/ID/357/Rubies-Explode-from-the-Center#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=357 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=357&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/357/Rubies-Explode-from-the-Center A review of the album Explode From The Center by Rubies Review Snapshot: Swedish (we think) five-piece debut with a sound collection of works that - regretfully - seem too comfortable in their own skin to reach out and engage the listener in an anotherwise worthwhile listen. The Cluas Verdict? 5.5 out of 10 Full Review: Rubies are a five-piece built around the longstanding pair of Simone Rubi and Terri Loewenthal, and while all of their promotional material manages to avoid details of their geographical heritage, Rubies are as Swedish as Ikea – you know they’re Swedish, but don’t know exactly how you can distinguish it that way, it’s just something you know. ‘Explode from the Center’ is a very solid and distinguished album, and doesn’t at all sound like a debut. Whether this is a good thing or not is another matter – the album seems to lack the distinct, urgent freshness that classifies a great debut. Perhaps Rubies just aren’t that kind of band. Despite the synthesis, the album has a consistent sense of timelessness, ably sitting comfortably in mental images from late 80’s warehouse raves to third millennium wine bars. The opening half of the nine-track opus is a promise of more energy to come; the latter, however, mostly disappoints, save for ‘Diamonds on Fire’, which hits stride with repetitive smacked guitar and muttered vocal riffs. Lyrically the strongest song of the album. “I could make it / so much easier on you / but it’s hard, it’s so hard”, sing the band, before growing into lush counterpoint with comforting warmth. Opening with light funk guitar, ‘Room Without A Key’ settling into a light Sia Furler-esque groove before hitting an 80’s chord in the chorus, yet embellished with distinctly modernist vocal tweets, and smacks of a 4am red wine crash in a city centre shoebox, being followed by the lush acoustic and intimate synthesis of ‘Too Bright’. 'Signs of Love'’s Wurlitzer opening is reminiscent of Semisonic, and offers the first chance for Simone Rubi to really push her melodic chorales. “Lovin’ each other ‘til the end of Summer / into the Fall under we find another way / to stay inside our hearts” sings Rubi, with the kind of elegance that Morcheeba made an easy career from. With a synth opening that Duran Duran could have relaunched with, lead single ‘I Feel Electric’ is made for a nightclub scene from an edgy independent drama (think Juno or the Sugar Rush TV series). A multiminded song, it ebbs, flows and glides its way through four and a half disco-tinged minutes with alarming invention and creativity, although sounding like a Casio keyboard’s workout demo song once it settles in the middle eight. Second single ‘Stand In A Line’ opens sounding like it was tailor-made for an Orange ad with summery streetscapes and gently syncopated beats, and then flirting with funky hip-hop before detouring into the slap bass identikit R&B you’d hear in a mental image of a Topshop. “Did you notice your mind’s on fire?” asks Rubi during the hip-hop phase of this awkwardly adolescent opus – awkward in the sense that the song seems to take on phases just as arbitrarily as your average teen. Elsewhere, 'Turquoise' opens with groggy plucking and settles into a sunburnt bop suspiciously like Bell x1’s ‘The Money’ before discovering gospel at the end with blaring saxophone and searing vocal backup, while the closing couple of Silver Mornings (conjuring images of tamely driving down a straight country road with nothing to amuse on either side and only one tape for the stereo. “This is what it’s like when it’s lonesome at night”, eh? Too right) and The Truth and the Lies bring the album to a muted close.  On the latter in particular, coming after eight songs desperate for a strum, when it comes it’s misspent on lazy, Feist-y (sic) oozing without direction. If you were to play the album coming in at 4am, this one would lead to a steady slumber. ‘Explode from the Center’ is a work of real promise but is ultimately crippled by its comfort in its own skin and the absence of a desire to reach out and engage. A good album in that it’s open for engagement, but not a great one without offering it in return. Gav Reilly  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here.More ... Host Account Thu, 26 Jun 2008 15:23:26 GMT f1397696-738c-4295-afcd-943feb885714:357 https://www.cluas.com/indie-music/Home/ID/210/Battles-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=210 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=210&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/210/Battles-live-in-Dublin Battles (live in the Tripod, Dublin) Review Snapshot: New York avant-garde tech-metallers Battles touch down in Ireland for the second time this year. Dublin rock-venue/sauna Tripod is jammed with Battles devotees. I'm yet to be convinced. The Cluas Verdict? 6 out of 10 Full Review: Is it possible to be overawed at the musical skills of a band while still remaining curiously unmoved? It's an odd conundrum I grapple with throughout Battles' math-rock experimentalism in an oven-hot Tripod. About half of the time, I simply marvel at the musical dexterity on display from the New York quartet. Former Helmet drummer John Stanier's frighteningly precise drumming is something to behold. He looks as if he is doing a particularly strenuous workout session rather than keeping time on his kit. A strange looking kit, it must be noted- a no-frills, minimalist set-up- and only Stanier knows why he has a single, standalone cymbal standing about four feet above him. Multi-instrumentalist and quasi-frontman Tyondai Braxton provides those odd pixie-like vocals and voice samples, while switching adroitly between keyboards, guitar and the obligatory MacBook Pro. When he plays guitar it is not to elicit some recognisable hook, a hint of a tune maybe, but to unleash more of that industrial riffing, another layer to the way-out sound of Battles. And yet, for the rest of the time, mainly in the latter half of the gig, the repetitive nature of the music induces something I didn't expect: boredom. It is only when the marvellously robotic 'Atlas' arrives, with its pounding, ascending beat and clever appropriation of techno, that you get the 'idea'. More of this and I would be an instant convert to the ideology of Battles, but it's a fleeting moment in a set that gets more and more samey as the gig progresses. Each song bleeds relentlessly into the next, with little real emotion or light and shade to distinguish them. So while it affects you in a cerebral manner, the heart remains unstirred. Yes, they are marvellous musicians and are to be greatly applauded for creating this new futuristic music in an era when the retrograde tripe of The Enemy (spit!) are feted as the next big thing. The problem with Battles, however, is that, with the exception of 'Atlas', they rarely provide that big emotional pay-off, the surging moment that makes the hair on the back of your neck stand-up. You wait and wait and, infuriatingly, it never comes and I start to think that maybe that is their intention. Perhaps the band is worried that this would make them sound too conventional. By taking such an idiosyncratic route ,however, Battles have ended up being a band far easier to admire than to love.  Ken Fallon More ... Host Account Thu, 11 Oct 2007 14:55:00 GMT f1397696-738c-4295-afcd-943feb885714:210