https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/243/Bandjo-Bandjo#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=243 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=243&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/243/Bandjo-Bandjo A review of Bandjo's debut album Review Snapshot: This welcome slice of Swedish prog-rock oozes sophistication, its ominous gems like shining soundscapes. Synth, 70s, flute, oriental notes – is there anything the duo haven’t covered on this album? A mere seven tracks long, this first full-length album from Stockholm’s finest leaves you wanting more. The Cluas Verdict? 7.5 out of 10 Full Review: Bandjo. The name suggests a cowboy kicking back with his beaten up banjo, tinkling a few chords while chewing on straw. That’s certainly why I didn’t expect Bandjo to be a prog-rock Swedish band. The name may not fit the bill, but their name fades into meaninglessness when you focus instead on their unique blend of post- and prog-rock. The duo consists of Stockholm’s Jacob Haage and Fredrik Johansson. They debuted in 2008 on the B-side of label Force Majeure’s compilation: "Force Majeure; Force Vol.1: Tunguska". And now the band has released their first full-length record, with more variety than you could shake a stick at. In just seven tracks the band shows their strength and musical talent with blends of ambience, ominous drones and sleepy guitar. Having recently fallen in love with Swedes (including the beautiful tones of First Aid Kit), Bandjo was further evidence why Scandinavians have been coming out with more than impressive music. The album begins with a meandering introduction to sound. Instrumental, lonely, and powerful, Sensu II gradually enters our consciousness with oriental notes and one distant voice penetrating the darkness. Metropolis builds up with the sound of the pan-pipe and flute skipping across drums, synth dancing its way confidently through the melody. Unknown Island shines with a Celtic twang and shamanic drones, while the prominent bass-line in Space Weather is a reminder of French electronic duo Air. You and the Sun is their single that was released back in April. The track acts like a futuristic blend of synth-pop accompanying a shimmering, dark dream. Bandjo work well with contrasts, lending a lack of light to You and the Sun. Treat yourself to this album. Its elasticity fits every mood and action: from walking home in the rain, to cleaning the house, to falling asleep for a nap. Bandjo are musical masterminds that have created a gorgeous slice of Swedish rock. Niamh Madden More ... Niamh Madden Sun, 22 Aug 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:243 https://www.cluas.com/indie-music/Home/ID/252/Olof-Arnalds-Innundir-Skinni#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=252 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=252&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/252/Olof-Arnalds-Innundir-Skinni A review of the album 'Innundir Skinni' by Ólöf Arnalds Review Snapshot: Dreamy beauty graces this short but sweet album by Iceland’s Ólöf Arnalds. Her voice represents a fairy world with the accompanying artists and her own instrumentation providing a stunning backdrop to her kingdom. Heavenly. The Cluas Verdict? 9.5 out of 10 Full Review: It’s not often I spend my time imagining an elfin creature sitting on a toadstool, swinging its legs, guitar in hand. But Ólöf Arnalds is this little elf. Her latest album Innundir Skinni evokes images of another world, an emerald landscape shining in the midst of a kingdom of fairies. I know, I know. But it is the most beautiful world I’ve come across this year. One voice enters our consciousness with the opening track. A powerful a Capella Ólöf begins on Vinur Minn and is then joined by guitar, percussion, strings, and additional voices. This lilting ‘la, la, la, la’ melody paves the way for title track Innundir Skinni with its soft guitar picking and a pixie-like Ólöf. Previously having toured with Iceland’s múm, Ólöf’s strength is not just in her voice, but also in the multiple instruments that she plays: Violin, Stroh violin, guitar and charango. The charango is a South American instrument that sounds a little like a mandolin and looks like a ukulele. We can hear its prominence on the finishing track 'Allt I Guddi'. Folk piece 'Crazy Car' is sung in English as a duet with Ragnar Kjartansson. The harmonies feel wholesome and close. ‘Please, please think inside the box only for a moment’ is a line that sticks with me. [This track will be released on 6th September in advance of the album’s release on the 13th]. From the oriental chords on 'Vinkonour' to the ethereal 'Svif Birki', and the ‘toora loora loora loo’ Irish lilt on 'Jonathon', the album is full of surprises and variety from beginning to end. On ‘Surrender’ we hear the accompanying vocals of Björk. It seems the Icelandic folks support each other: the album itself is produced by Sigur Ros’ Kjartan Sveinsson and Davíð Þór Jónsson. Ólöf said of the album that it “ended up being in charge of me rather than me being in charge of it”. You can certainly feel the music flowing organically throughout this gem. My only wish is that it could have gone on longer. At just over 32 minutes I wanted more. Ólöf Arnalds will perform in Dublin on 24th September at the Fringe, a perfect chance to hear her magical new material. Niamh Madden Ólöf Arnalds - Innudir skinni by One Little Indian Records More ... Niamh Madden Wed, 28 Jul 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:252 https://www.cluas.com/indie-music/Home/ID/107/Somadrone-and-Twinkranes-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=107 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=107&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/107/Somadrone-and-Twinkranes-live-in-Dublin Somadrone and Twinkranes (live in Mill Street Studios, Dublin) Review Snapshot: Twinkranes fused frenetic drumming and looped bass, while Somadrone saturated the studios with a luminosity of noise, discord and ambient musings. A night I won't be forgetting any time soon. The Cluas Verdict? 8.5 out of 10 Full Review: I like beards. When I walked around Mill Street Studios last night, I noticed it held a bearded-population of roughly 62.5%. This was going to be a good night. And what a venue. Stooping in through a small stable door, we were greeted by a candle-lit walkway leading into the two rooms of the studios. This clandestine venue made me feel special – while everyone else was dancing to The Prodigy, I was sipping a can of Preszky and sitting in front of a white petal net. There were couches and fairy lights and a lamp that looked like it was made out of coconut and mushrooms. This was the perfect setting for experimental rockers Twinkranes, who began decisively with a blend of electronica and a strong math-rock feel. Their use of organ reminded me of the 60s, which made me think of Andy Warhol and it was then that I realised how the group would have been the perfect accompaniment for a Warhol party. This is a band that works hard. The drummer was frantic and his intense stare of concentration was spellbinding. What a machine. ‘The Charmer’ was the standout track that resonated throughout the studio. Modern, exhilarating, and laced with moments of pleasant disease. Somadrone took to the stage and at this stage the atmosphere in the studios had intensified. Expectations were fulfilled as Neil et al showered the venue with otherworldly sounds that ranged from controlled and tempered to explosive and chaotic. This musical project has been compared to Brian Eno and rightly so, but the association is only skin-deep. Somadrone draws from a wide range of influences, each giving it an energy that is incisive, varied and fervent. The only criticism I have of this wonderfully unique event is that sections of Somadrone’s set would have been better suited to a bit of a sit down, or even a lie down. Granted, at that stage the cans were taking effect. But when I listen to Fuzzing Away to a Whisper’s second CD, Let’s Depart, I am usually relaxing rather than head-nodding. Next time, I’ll look for the couch. I was once told, ‘A man with a beard has something to hide.’ Well maybe, just maybe, he is hiding the talents of Somadrone’s Neil O’Connor, who created a glowing atmosphere that evolved into a deafening climax. Fin. Niamh Madden More ... Niamh Madden Sat, 19 Dec 2009 20:47:00 GMT f1397696-738c-4295-afcd-943feb885714:107 https://www.cluas.com/indie-music/Home/ID/289/Pearl-Jam-Backspacer#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=289 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=289&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/289/Pearl-Jam-Backspacer A review of the album Backspacer by Pearl Jam Review Snapshot: If you want the smooth waves of the surf, some rocking little riffs and more fine songwriting from Eddie Vedder, then Backspacer is for you. Die-hard fans like myself ought not to be disappointed.  The Cluas Verdict? 9 out of 10 Full Review: What's not to like about Eddie Vedder? Surfer, writer, and a mysterious creature that puts forth his vision of the world with a voice that has only grown better with age. More importantly, Vedder is the iconic figure in Pearl Jam, the Seattle rock band that survived the 90s and have become enriched as the group continues to play to sold-out venues. Backspacer represents a mellowing of the group, with lyrics that reflect a more relaxed Vedder. As if to prove this, the album bursts forth not with the heady rushes of a track like 'Go' , but rather with a Johnny B. Goode style blues riff on 'Gonna See My Friend.' This slice of home-grown Americana rock continues with 'Got Some,' a frantic start to a track where Vedder grunts a little, his voice acting as the addict's devil-on-the-shoulder: 'I got some if you need it / Get it now, get enough before it's gone.' This is the song to really remember from the album and at the moment it is being played on air as their second commercial single. First single 'The Fixer' is a catchy pop number that merges opposites: 'When something's broke / I wanna put a bit of fixing on it.' Its breezy vocals and Vedder's sliding vocals indicate acceptance and a willingness to grow with relationships, to water them and let them flourish. As a whole the album is a more optimistic Pearl Jam with less to prove to the world. There is no direct political song that's the equivalent of 'Brain of J' from the album Yield or 'Bushleager' from Riot Act. Indeed there is little to dislike about Backspacer. The album might not have a bone-crunching 'Porch' or 'Leash' track on it, but the simpler, peaceful songs are a welcome antithesis. 'Just Breathe' is a Buddhist mantra: 'I'm a lucky man to count on both hands the ones I love / Some folks just have one, others they got none.' From surfing on 'Amongst the Waves' to the beautiful finger-picking in 'The End' the album symbolises gratitude, with Vedder the engaging prophet. Backspacer is a worthy follow-up to previous Pearl Jam offerings and die-hard fans will not be disappointed. Niamh Madden More ... Niamh Madden Sat, 17 Oct 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:289 https://www.cluas.com/indie-music/Home/ID/290/Fnessnej-Stay-Fresh-Ey#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=290 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=290&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/290/Fnessnej-Stay-Fresh-Ey A review of the album Stay Fresh, Ey by Fnessnej Review Snapshot: A compelling collage of sounds from a German five-piece whose name is almost impossible to pronounce. Part chip-tune, part post-rock, Stay Fresh, Ey is a playful album that offers new delights on each listen. The Cluas Verdict? 9 out of 10 Full Review: Some song titles aren't made for memory. '1360280' is a fine example of this. But then when the artist's name appears equally scrambled, it all starts to make sense. Whisking together seemingly incongruent flavours is a speciality of Fnessnej. The quintet's music is self-described on their website as 'instrumental postkutsche rocknroll elektroge frikkelballer post blahabblaha'. Quite the mouthful. Fnessnej are masters of blending bleeps and ticks, rock riffs, synth sounds and syncopated drumming on a rich palate of musical fervour. The album's first track 'Duplex Knaller' begins playfully, with four short clownlike notes and moves towards a mood reminiscent of Metronomy. There's bass, handclaps and a childlike melody on xylophone. What's not to love? We move into richer territory with the sweet tapestry that is 'Voll im Harras', which could have accompanied an early PC game like Pango or Frogger. There are deeper mute bass sections and the tune moves into more grown up territory in its second half. Succinct, organic, and without the awkward stages of adolescence, this is a track to be treasured. Further treats are in store with the dulcet acoustic nylon tones of 'Mann aus Frau' and the journey of 'Gewehrwolfgang,' which samples classical, post-rock and 1950s high school romance. And if you thought ping pong was just a bizarre sport or one of the first computer games, think again. In 'Diode' it becomes a genius melody that takes the game through bouncing and beeping heights. Fnessnej might not roll off the tongue in a recommendation to friends - but the tracks themselves are catchy, musically complex, and make offerings worthy to all genres. So far I have been recommended this album by one other - and I have yet to meet another who knows of this little treasure. German, random, and rich, this 2008 album has been a favourite of mine for the past few months. Niamh Madden More ... Niamh Madden Sat, 17 Oct 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:290 https://www.cluas.com/indie-music/Home/ID/134/MSTRKRFT-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=134 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=134&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/134/MSTRKRFT-live-in-Dublin MSTRKRFT (live in The Academy, Dublin) Review Snapshot: Toronto’s electro remixers blast out the tunes to an adoring, dancing, day-glo crowd. Subtext? Not for the over-25s.  The Cluas Verdict? 6 out of 10 Full Review: ‘Isn’t that just Mr. Scruff spelt wrong?’ I was asked when heading to see Toronto duo MSTRKRFT at the Academy. No, it’s Mastercraft (also spelt wrong). The moustachioed men have remixed all your favourites: Buck 65, Death From Above 1979, Bloc Party, Metric, Justice. Due to arrive on at 12.30, the masters were supported during the wait by LA Riots, a DJ who decidedly kept quite serious but popped out some tech-house tunes for the filling crowd to bop to. Somehow we garnered a spot in the VIP lounge, which was ironically equipped with opposites in excess - a large wooden Buddha and several bottles of Cristal. Looking down onto the crowd I noticed many neon T-shirts and indoor sunglasses and began to feel a bit removed from it all. Resembling a pair of cowboys (with a bottle of JD on the decks to back up that point), ALP and JFK aka MSTRKRFT bounced onto stage eventually at 1.15am. With alien sounding beats on their build-ups and inspiring a blonde guy to stage dive, they moved the crowd to a level of insanity not far off the emotional outbursts of hysteria at festivals. Strobe lights, purple lights, flashing lights; the venue did its best to raise the level of the show far above simply two guys on decks. It worked. Men posed at the barriers while MSTRKRFT knocked out heavy remixes of Spiller, Justice’s DVNO, Simian Mobile Disco, and more Daft Punk era floor-fillers. It was about this time that the crowd began to jump and the DJs did too. This inspired a vast number of crowd-surfs, another stage dive (see above) and people trying to get across the barriers while the bouncers quickly made little of them in their massive arms. Two years ago I would have been right there, until the very last tune, dancing without purpose or care. But I’ve started to believe that maybe nights like this are not designed for the over-25s. This one left me with a brain melt, as well as the vision of a hairy white bum that was exposed as one man tripped down the Academy staircase. Pint of Guinness in Doyle’s anyone? Niamh Madden More ... Niamh Madden Wed, 06 May 2009 19:26:00 GMT f1397696-738c-4295-afcd-943feb885714:134 https://www.cluas.com/indie-music/Home/ID/137/Ellen-Allien-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=137 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=137&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/137/Ellen-Allien-live-in-Dublin Ellen Allien (live in The Twisted Pepper, Dublin) Review Snapshot: Reductionist beats. Minimum melody. This is minimal techno. And this, is dull.    The Cluas Verdict? 5.5 out of 10 Full Review: 'You Are Here,' the barman's T-shirt helpfully offered. 'Here' was the Twisted Pepper, but with its faux fur lampshades, dicks drawn on tables and scabby carpets, 'Here' felt very much like a surreal 'There.' 'Why do I feel like I'm in the middle of a 90s Tarantino movie?' my gig partner quizzically spoke aloud. And I wondered the same thing. There was a tall man in an Indiana Jones hat walking around and a hyperactive guy in a pink top and a Pogo sign was stuck up with cable ties and a couple of couples sat, waiting. The odd smells didn't offer any more coherence: The bar smelt of chocolate and cinnamon candles, the toilet's odour resembled boiled spuds and, eventually, the venue filled up with the scent of sweat. Ellen, Ellen, Ellen. Are You Here? Ellen's set began late in the evening – at 12.30 she took to the stage with reductionist beats and a heavy bassline. This, I thought, will build up. This, I thought, will get better. Being used to the ambient electronica tones of Ellen's work with fellow German DJ Apparat, her minimal techno set surprised me. But then, I should have known better, seeing as her website bio explicitly states that 'techno and I have developed together.' And it seems that techno has regressed in its development: Ellen's solo work did not get better for me. Her stripped down beats attracted a huge crowd though, all of who were clearly there to dance to the German techno DJ's sounds. People were sweating, dancing on the benches at the side, getting into it. The splurgey audio samples and constellation visuals evoked an otherworldly Big Brother feel, where only minimum expression in art would be tolerated. Was I missing something? The crowd's participation, enjoyment and bopping made me feel I may not have understood the music. The climaxes were absent, the crescendos, the thuds and blips; instead one constant beat thundered and hammered its way into the next tune without letting up. But still, Ellen gave her all to the set and the crowd gave its all to Ellen. Perhaps I should have listened to Allien's solo work before attending the gig. Perhaps I should have been on what the crowd was. Or perhaps minimal techno is a brand for the melodically inept, those satisfied with anti-climaxes. Could this be the apathetic monotonous hum that reflects postmodern life? Or is it just lazy music-making? The evening left me baffled, tired and dry-mouthed. But the crowd's eagerness seemed to tell a different story. Any further insights? Niamh Madden More ... Niamh Madden Sun, 26 Apr 2009 22:17:00 GMT f1397696-738c-4295-afcd-943feb885714:137 https://www.cluas.com/indie-music/Home/ID/138/Funeral-Suits-Kill-Krinkle-Klub-Heathers-and-Angel-Pier-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=138 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=138&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/138/Funeral-Suits-Kill-Krinkle-Klub-Heathers-and-Angel-Pier-live-in-Dublin Funeral Suits, Angel Pier & Others (live in Andrew’s Lane Theatre) Review Snapshot: From post-punk posse to girl in a fur hat on synths, this IMRO gig proved that Dublin’s musicians are coming out with as much variety as a pick ‘n’ mix bag.  The Cluas Verdict? 7 out of 10 Full Review: Feedback and static. This was the splice of Funeral Suits that hit me when walking into Andrew’s Lane Theatre, where a thin crowd quietly sipped drinks at tables. The three-piece band began with a Bloc Party style track, and rolled into other influences with the ease and enthusiasm of youths covering their favourite bands: Stone Roses, Maximo Park, The Cure. With blurred pixilated visuals onscreen behind him, the drummer looked like he was wearing Philip K. Dicks’ scramble suit. The band’s full sound was impressive, but nothing that has not been done before. When the yellow and pink rays of light streamed onto us, there was a calm after Funeral Suits’ noisy set. This peace continued when Kill Krinkle Klub took to the stage, their intro a dramatic dusky piece of composure under blue lights. The synth and keyboard player wore a furry hat and a geisha mask while she looped vocal samples. The rest of the band knocked out complicated and constantly changing time signatures. Each track was different, unusual and unique: Pirate songs, traditional Irish melodies, delicate music. The lead singer’s voice grated on me at times with its faux-high notes, but otherwise the band showcased a new style that has potential. Heathers were up next. The crowd began to pack themselves into the front spaces of the venue to listen to the two girls onstage. Consisting simply of their rich and melodious harmonies and an acoustic guitar, Heathers talents lie not just in their tight singing. The girls also write songs that would appeal to a mass audience with catchy choruses and novel hooks (one song is half in English, half in Irish). These girls just need a backing band to capture a large international market. Partly though, I liked the raw acoustics and hoped that a backing band wouldn’t take away from their intimate stage presence. Finally on the IMRO list was Angel Pier, a Franz Ferdinand style outfit, whose polished sound gave them the feel of a band that has practised a lot to get this far. There are however several rock bands out there already who are producing their brand of music. NME touted them as ‘classic indie pop,’ which may certainly appeal to a young audience. The band will also play the ‘Best of’ gig taking place on 2nd May. Niamh Madden More ... Niamh Madden Sun, 26 Apr 2009 21:31:00 GMT f1397696-738c-4295-afcd-943feb885714:138 https://www.cluas.com/indie-music/Home/ID/140/Alias-Empire-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=140 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=140&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/140/Alias-Empire-live-in-Dublin Alias Empire  (live in Crawdaddy, Dublin) Review Snapshot: Happy, dizzy, sweaty: Alias Empire rocked a sell-out Antics night with enough synths to wake yer granddad.  The Cluas Verdict? 9 out of 10 Full Review: I like disproportion. And I like sensory stimulation. This might explain my love of tiny daffodils, miniature Heroes and giant Jenga. It would also account for my pleasant feelings on walking into Tripod Wednesday night to see a huge white Raffaello on the ceiling, a giant stretched thong-like decoration, young girls with small knees and a DJ with a tiny head and gigantic round headphones. Crawdaddy filled up nicely as Antics began to sell out. The time waiting for Alias Empire (formerly Dry County) to take the stage was spent posing in front of visuals that consisted of whales, fish and other little monsters swirling around in a sea of colour. The music began with Jape and Morrissey and ended up getting all tech-house-like which got the crowd excited. Before Alias Empire came on, I'd already inspected their equipment – MS 2000B synth (impressive-looking), numerous other synthesizers as well as a stage densely packed with wires. The four-piece Dublin band powerfully began with an introduction that was stimulating – lights under their microphones, visuals that included nuclear mushroom clouds and chattering teeth. Their new image's presence showed with AE Kraftwerk style T-shirts that were perhaps a little too imitative for my liking. When they played Attention about five people suddenly got up onstage, with one chubby guy jumping out and trying to crowd-surf across a too-thin audience. Alias Empire played like voracious electronic beasts with a synthesizer tour-de-force that showed off their older tracks and fluently introduced new material that the crowd enjoyed. A short power-cut at the start of the set was disappointing, but covered up easily when it suddenly surged back and the band were back on their feet. Lead singer Kevin gave as much energy as he does on the band's debut album, and he proved to be adept at multi-tasking both singing and synth-ing. The baseball capped lead guitarist was also a star, getting all Lager Lager onstage, giving himself naturally to the audience. The standout track was 'Stop – Proceed', which emitted lots of energy for dancing around to, and encouraging Kevin to note that the 'girl at the front knew the words'. (Me, of course). The final climax came when the band rolled from Pins to their own version of Harder, Better, Faster, Stronger. This got the crowd worked up and in the mood for going next door to dance after the gig. The band proved that their material works on many levels, with dancing, crowd-surfing and stage-invading all obvious elements of the evening. Niamh Madden More ... Niamh Madden Sat, 18 Apr 2009 23:52:00 GMT f1397696-738c-4295-afcd-943feb885714:140 https://www.cluas.com/indie-music/Home/ID/141/I-Phoenix-Harrows-House-of-Dolls-The-Revellions-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=141 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=141&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/141/I-Phoenix-Harrows-House-of-Dolls-The-Revellions-live-in-Dublin The IMRO Showcase Tour 2009 (The Sugar Club, Dublin) Review Snapshot: The IMRO gig at The Sugar Club showcased a number of talented new musicians who gained full audience appreciation with their varied sounds.  The Cluas Verdict? 7 out of 10 Full Review: There’s something about venues. With its tiered seating, shining disco ball, velvet curtain and candle-lit tables, The Sugar Club set up a serene and relaxed feeling the minute you took a seat. There was a real sense of 1950s nostalgia about the set-up. I almost felt like a member of the Back to the Future audience, awaiting Marty McFly’s inappropriate Johnny B. Goode guitar solo. The IMRO gig was full of band members, mates of mates, and mates of mates of mates, who showed up to give them support. Dublin alt-rockers I Phoenix were first up. Their solos were not as insane as Johnny B. Goodness, but with a powerful and intense sound they acted as a refreshing break from effects-heavy laptop bands. With gutsy climaxes and well-developed endings, the band appeared to be a tight and well-practiced group. The vocals were a little hard to hear, but technical details aside, they proved to be a talented little rock outfit. More characters streamed into the glow of the old theatre – the man with the handlebar mustache, the girl with massive glasses and wide belt, lots of Topman clothed boys. (Quick digression - Am I the only one who is a little bored with uber-trendiness at gigs? Or maybe I’m just jealous…) Strolling to the bar, I discovered my biggest disappointment of the evening – emptying Six Euro onto the countertop for a bottle of Tiger. After just seven months of living in the UK I seemed to have acquired an exaggerated culture shock when buying any form of drink back at home. The second biggest disappointment of the evening was also the second band, five-piece Harrows. Their early tracks showed them to be poppy, radio-friendly and almost too good to be true, with catchy riffs, a Kings of Leon soundalike as lead vocalist who rasped in all the right places. But as the tunes wore on, I realized there was far too much repetition in the lyrics and the sound. Having previously won the 2FM Battle of the Bands Dublin heats, I could see them being successful because they seem to fit into the young rock scene quite well, even if they weren’t to my taste. Third band House of Dolls were also quite fashionable – with Johnny Two Belts on guitar and banging on a single drum – but their music seemed a little more mature. With influences like Joy Division and My Bloody Valentine, their music had a moody 90s sound that rocked The Sugar Club. There was a little too much reverb on the vocals but the full sound of the band made up for that minor tick. The audience seemed to really enjoy the band, and there was a great atmosphere of appreciation for all of the bands during the evening. The Revellions, a band who looked and sounded like The Doors, were the final act to take the stage. Tight pants? Yep. Straight hair? Yep. A faraway gaze? Yep. The five-piece were immediately tagged for me as Monkees. With mic-swinging and leaping around, they gave an energetic performance and show promise for any fans of a heavy 1960s sound. This evening’s IMRO Showcase proved to be a classic night of talented regional bands that have the potential to become more widely known. Showcase acts from 2008 such as Robotnik, Codes, The Kinetiks and Halves have garnered more fans and a greater reputation with the launch pad that such a showcase gig can supply. Niamh Madden Niamh Madden Mon, 13 Apr 2009 19:04:00 GMT f1397696-738c-4295-afcd-943feb885714:141 https://www.cluas.com/indie-music/Home/ID/332/Grammatics-Grammatics#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=332 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=332&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/332/Grammatics-Grammatics A review of the album Grammatics by Grammatics Review Snapshot: Grammatics’ mishmash debut album can sometimes be embarrassing in its attempt to cover a lot of ground, leaving you thinking that too much of an influence is a bad thing. Anyone got a Solpadeine?  The Cluas Verdict? 5.5 out of 10 Full Review: ‘Bona fide genius.’ So said the NME of Grammatics’ debut album, entitled, er, Grammatics. Far from genius, this album is a muddle of sounds that never seemed to have been introduced to each other before the recording process. As a fan of experimentation, I thought this blend of violins, deep and dirty distortion, Foals-like harmonics and falsetto would leave me feeling full. Instead, the album gave a sense of never understanding its purpose, or truly feeling its sound. Lead singer Owen Brinley describes his participation in the band on MySpace as a ‘squeal,’ which I take to be an appropriate and not wholly ironic description of how Brinley sings. If you can make it to the end of the album in one go without gritting your teeth at his forced falsetto, I applaud your tolerance. The NME might be guilty of abusing language with exaggeration, but they were correct when they called the Leeds band ‘ambitious musical shape-shifters.’ Post rock? Post Pop? Art rock? Gimmick rock? It’s hard to know where Grammatics slot into the current musical scene, but then, perhaps it’s insulting to try and make them fit. In any case, Grammatics is an album that leaves you scratching your head and wondering what happened to the somber and promising beginnings of opening track Shadow Committee. We move from track to track in a jolting manner, with no release or sense of conclusion. Although technically quite musical, the tracks just don’t work. Second track D.I.L.E.M.M.A clearly spells gimmick, and sounds so much like Foals that I begin to wonder if the influences are too much for Grammatics to handle. There are little flashes of indie pop group Delays’ sound too with Murderer, a song vaguely reminding me of the early 90s big hair soaps that appeared on Sky One. Begrudgingly, there are highlights. Grammatics’ high comes in at the midpoint of the album with a track called ‘Relentless Fours’. This song reveals that Brinley’s voice can lose control and sounds quite good in the process. Emilia Ergin joins in with a sweet voice that is refreshing and gives the band a much clearer sound. One begins to wonder why Ergin’s vocal talents have not been exploited on other tracks. The a capella harmony might be a bit repetitive in its lyrics but it shows that sometimes Brinley can sing naturally. Signed to Dance to the Radio (Howling Bells, Sky Larkin, The Pigeon Detectives), and gearing up to support Bloc Party in the autumn, Grammatics might be trendy and loved by NME, but for me their sound is a try-hard attempt at being unique without making it. Niamh Madden More ... Niamh Madden Wed, 08 Apr 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:332 https://www.cluas.com/indie-music/Home/ID/75/Hooray-for-Humans#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=75 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=75&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/75/Hooray-for-Humans Hooray for Humans have been on the Irish scene for over two years and have just come back from playing a gig in Canada. Niamh Madden catches up with the four-piece and asks them about albums, Cork bands and New York. How did Hooray for Humans get together, and where did the name come from?   H4H started out about two and a half years ago. I was playing in a few other bands and wanted to do something different to what I'd been playing up until that point, so I just threw up a notice on a couple of forums like Thumped, MySpace and the like. It took a while but two friends of mine got in contact so we started jamming. Straight away we felt pretty good about what we were doing so we gave it a bit more time. They've since left the band (we're still friends though!) and there are now 4 people in H4H - myself, Jen, Lewis and Matt. The name comes from a song by a band called Q And Not U, who were one of my favourite bands and a huge influence on me and what I was listening to. I just thought it had a nice ring to it. You've covered Crayonsmith's song 'Anxious'. Are there any other Irish artists out there with a track you really admire and fancied covering?  Yeah, there are loads actually. When I've time I'd love to record covers of all our friends' bands. Specifically I'd love to have a go at a Giveamanakick song. I think it'd be fun to see how that turns out. You played CMJ in New York last year. What was the highlight?  The whole thing was amazing. I think in general the highlight was seeing so many amazing bands play... for free! We saw The Mae Shi and it was possibly the most fun I've ever had at a gig. As well as the gigs, I'd never been to New York before so just seeing it in real life was really amazing. Metro said that Hooray for Human's sound is like 'all your favourite bands playing at the same time.' What favourite bands of yours would you like to hear playing simultaneously?  Good question… I always think about fantasy bands in my head, where I take members of my favourite bands and imagine what it would sound like. There are a lot of musicians out there that I think, "If he worked with this guy, it would sound amazing." Ben from My Disco/Agents Of Abhorrence is an amazing guitarist, so he'd be in there. Dose One on vocals. On drums - maybe Brendan from Fugazi. And the guy from Zombi, making some nice bass/keys sounds. That potentially could be the weirdest band ever. How have you developed the second album? The album is all written and done. It wasn't really very exciting – I just sat in my bedroom and tinkered endlessly with synths and guitars and just wrote away there. It took probably eight or nine months to write the whole lot. I get kind of obsessive about these things. Once the songs were done I recorded demos at home to hear what worked. When can we expect to purchase a copy of the new album? The album is coming out in September or October this year. It's a long time between finishing writing it and actually getting it out there, but because writing it was kind of "intense" or whatever, I just left it sit for a while before coming back and listening to the demos again to see whether I still liked them. I generally leave things sit for months on end before having the confidence to let people hear them. What are you currently listening to?  Lots of things right now - The new Zombi album is great. I'm also really into the Loma Preita album; they're a hardcore band from America that are pretty amazing. The new Dalek album is absolutely incredible. It's the best thing they've done. I can't stop listening to it. The new Dan Deacon album too. Are there any new talented Cork-based bands CLUAS should keep an ear out for? To be honest, there tend to be very few bands from Cork that are my thing stylistically. I haven't seen a new band in a while so I'm not really an authority on the matter either. But I will say that Private Underground Residence are brilliant, even though they're not really new as such. Niamh Madden More ... Niamh Madden Tue, 24 Mar 2009 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:75 https://www.cluas.com/indie-music/Home/ID/86/Interview-with-New-Amusement#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=86 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=86&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/86/Interview-with-New-Amusement A quick Q&A session with Dublin band New Amusement Who or what has been the biggest influence on New Amusement's sound? Well when we started Brian and I were obsessed with At the Drive-in so there was a lot of shouting & noisy amelodic guitars but it was a bit ridiculous to be honest. I think that taught us not to let any one band have such a big influence on us & just let 'the sound' come naturally. Even though we still love those heavier bands (like ATDI, Les Savy Fav, Drive Like Jehu, Fugazi) we also love more melodic poppy stuff like The Killers, The Cardigans, and New Order - so it all comes together in a big messy melting pot I suppose. What has been your favourite venue to play in? The Spirit Store in Dundalk is a nice place - nice location, good atmosphere, a shack out the back to drink cans in. We played there with Fight Like Apes earlier in the year & when we arrived there was a cat sitting at the bar drinking a saucer of milk - what more can I say! What kind of tracks did you play while guest-DJing at Nodisko in Academy 2? We started with Patty Lee by Les Savy Fav but we were always conscious of not going too far up our own arse so we tried to fit in as many favourites as possible like The Rat by The Walkmen, Abel by The National, House of Jealous Lovers by The Rapture. We thought it would be hilarious to finish up with Formed a Band by Art Brut just cos the lyrics are so funny but I think we were the only ones singing along. What was it like supporting British Sea Power at the Academy? It was great, they're one of our favourite bands - we really wanted to support them in Whelan's in January but we didn't get that one so it was great to get the Academy gig.  We'd been recording all weekend & came straight to the gig from the studio. None of us had eaten a dinner in four days so energy levels were low but when we got to the venue we just got a few beers into us & plucked up the courage to go in & say hello & ask them to sign some albums for us - I felt incredibly geeky doing that but it had to be done. The show itself went really well for us & BSP were deadly of course! The ideal gig would be... Eh... a summer roof party - could be a bit dangerous actually…  Favourite Irish album of 2008? Ham Sandwich 'Carry the Meek' Interview by Niamh Madden Check out CLUAS.com's review of New Amusement's 'Any Port in a Storm' album Photo Credit: Naomi McArdle. More ... Niamh Madden Mon, 15 Dec 2008 16:44:00 GMT f1397696-738c-4295-afcd-943feb885714:86 https://www.cluas.com/indie-music/Home/ID/340/Rodrigo-y-Gabriela-Live-in-Japan#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=340 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=340&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/340/Rodrigo-y-Gabriela-Live-in-Japan A review of the album 'Live in Japan'  by Rodrigo y Gabriela Review Snapshot: The live CD may come across as canned, but watching the DVD really brings back some beautiful recollections of watching Rodrigo and Gabriela perform live. This is really worth buying if you're a budding Spanish-guitarist or want to look at just how passionate and measured Rod 'n' Gab still are about their music. Not groundbreaking as an album, but enjoyable as a memory.  The Cluas Verdict? 6.5 out of 10 Full Review: The smell of Nag Champa will forever remind me of my first Rod 'n' Gab gig in NUI Maynooth, in, as far as I can remember, 2002. It cost a mere €2 to get in, yet there were only about twenty-five unsuspecting students surrounding the make-shift stage in the centre of the Student's Union venue. Gabriela was gorgeous, Rodrigo's hair intrigued me, and every member of the audience who'd ever picked up a guitar felt intimidated by their amazing skills. From Maynooth to Japan is quite a feat for the two Spanish guitarists, and their story is the fairy-tale dream where you finally get a happy ending: yes, they are skilled, and yes, they did reap the rewards, with gigs across Europe and beyond. Their live album with CD and DVD, 'Live in Japan', shows just how far the pair have come since they performed to only a few, and busked cold days on Grafton Street. Reviewing a live album is never without difficulty. Sometimes, live versions of tracks are better than studio-produced songs, with the result that listening back to an album after a gig, you can never quite get the gist of that amazing performance you saw - Thom Yorke singing 'Idioteque' at the Big Top in Punchestown springs to mind. Other live albums and tracks include extended versions, track remixes and stories (like the notorious 'Deefer the Dog' story Glen Hansard tells on The Frames' live album Set List). The Rod 'n' Gab live album is unfortunately somewhat less relevant than other live albums have been. If you think back on the success of Rodrigo and Gabriela albums, one thing immediately stands out: the albums don't have much production, they are raw, and capture the live sound of Rod 'n' Gab's virtuosity and the back-and-forth dialogue between their guitar work. As a result, listening to the 'Live in Japan' album, the only thing that differed vastly between previous albums and this one is the inclusion of hand-clapping, a bit of banter (some of which Gabriela speaks in Japanese), and lots of 'woooo'-ing from the audience. At times this has a bizarre canned laughter effect that you just don't want to hear when listening to classical and Latin rhythms, when you are focussing on every crescendo and decrescendo that Rod 'n' Gab present so expertly. There are a few new tracks, along with old favourites such as 'Foc' and their version of Metallica's 'One'. The medley, which includes 'Seven Nation Army,' seems a bit dated though, and almost too sing-along and pantomime-esque for me. The DVD starts off with lighting that is a bit dark, but this gives way to a much clearer vision of the duo, and we get to see their handiwork in greater detail. For me, the DVD evoked far greater memories and reverence than the CD. The DVD is almost worth getting the 'Live in Japan' album for, because it does remind you of the passion and reverie that Rodrigo y Gabriela lose themselves in, and the fun the audience has by participating in that performance. That beauty can really only be captured of course by going to see them play, but the DVD has the added benefit in that it will also assist budding Spanish-guitar players learn how to imitate the skills of the pair. Niamh Madden   More ... Niamh Madden Mon, 10 Nov 2008 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:340 https://www.cluas.com/indie-music/Home/ID/161/One-Day-International-Mackerel-the-Cat-and-Others-at-HWCH-Sunday#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=161 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=161&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/161/One-Day-International-Mackerel-the-Cat-and-Others-at-HWCH-Sunday One Day International, Mackerel the Cat and Others at HWCH (Sunday) Review Snapshot: Despite dreary drizzle, HWCH made it through the night with stunning, passionate performances by both established acts and newcomers to the scene.  The Cluas Verdict? 8 out of 10 Full Review: It was not an evening to leave the house. Horror movie rain beat down in all its forms - spitty rain, drizzly rain, monsoon rain, torrential rain, showery rain, Dublin-here-I-come rain. But I braved it. Left the house. Hopped on a 38. Having originally planned to see geek rockers 'We Are the Physics' at Meeting House Square, I instead opted for the warmth of The Button Factory and the sounds of Mackerel the Cat. Love of the name (which is taken from a Haruki Marukami novel) was enough to sway me towards their breed of indie ambience. They had so much potential, incorporating a multitude of fancy-schmancy instruments like the glockenspiel and the double bass, and even a guitarist using a bow instead of a plec. Potential wasn't enough though. Both singers' voices were flat, the range of notes within tracks was too narrow, the bass was far too loud (thundering through my ribcage), and most songs never progressed musically. Wrong, off-key, and disappointing. One Day International were up next and blew me away. Their climactic performance was certainly the most polished and passionate of the entire festival. I've already put aside a couple of yo-yo's to buy their album, to be released in October. Each band member was immersed and focused, and seemed to be in the midst of what spiritual teacher Eckhart Tolle describes as 'flow', a higher level of consciousness. It's been a long time since I've seen such a tight set. The music itself falls somewhere between Keane and Broken Social Scene in terms of influence, seeping with explosive build-ups and beautiful cello notes. Track of the evening had to be 'Sleeping on Trains,' delivered with vivacity by the lead singer's expressive Thom Yorke style voice. I'm still a bit dubious about the band name, but their music lifted me out of Dublin for a half hour with its beauty. Hyper electro rocker, Sounds of System Breakdown, had a long-winded soundcheck at Eamonn Doran's, but it was worth it. Our other CLUAS reviewer didn't enjoy the performance but for me it was an electrotrip that gave me lots to smile about. Despite a few technical problems and false starts, our dude took it on the chin and jumped around, multitasking between laptop, guitar and singing. The audience loved it too and there was even a bit of mild dancing (the first I've seen at HWCH). At around the second song I developed a penchant for SOSB's main man who had plenty of stage charisma, especially when he sang a track that included the line 'Can I please take you home? It's dangerous out there for a girl on her own.' Yes, it's never professional to be attracted to a musician but it certainly makes the performance even more enjoyable. And SOSB's dirty bassy electro rock charmed me too, reminding me of Hot Chip, Metronomy and The Rapture. My final trek to Autamata was well worth it, if only for the track 'I Spy' (which bizarrely features on my Top 25 Most Played in iTunes). The music was a savage pop-feast and the performance had a high energy that unfortunately the audience didn't catch wind of. I'm so glad the temptations of a warm lit fire and hot whiskey at home didn't take hold, because the final night at HWCH was definitely the best. Niamh Madden In addition to Steven O'Rourke's Festival Diary for Day 1, Day 2 and Day 3 of HWCH 2008, check out the following CLUAS reviews of bands who played the festival: Autamata, Sounds Of System Breakdown and Robotnik live at HWCH (Day 3) Foxface, Bats and others at HWCH (Saturday) Frightened Rabbit, The Vinny Club and Bats at HWCH (night 2) Crayonsmith, The Parks and A Lazarus Soul at HWCH Chequerboard, Alphamono and Fiach live at HWCH Nakatomi Plaza, Half Cousin and Lines Drawing Circles live at HWCH Super Extra Bonus Party, Groom and The Dublin Duck Dispensery live at HWCH More ... Niamh Madden Mon, 15 Sep 2008 14:29:00 GMT f1397696-738c-4295-afcd-943feb885714:161 https://www.cluas.com/indie-music/Home/ID/163/Foxface-Bats-and-Others-at-HWCH-Saturday#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=163 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=163&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/163/Foxface-Bats-and-Others-at-HWCH-Saturday Foxface, Bats and Others at HWCH (Saturday) Review Snapshot: Saturday nights in Temple Bar? Difficult to navigate for small-shouldered girls. Last night’s tough weave through the drunken masses proved a task in getting to gigs on time, but the quality of the acts more than made up for logistical difficulties. The Cluas Verdict? 6.5 out of 10 Full Review: There’s nothing more enjoyable than watching grown men scream their heads off. That’s just one of the reasons why Bats were one of the most entertaining acts so far at HWCH. Meeting House Square wasn’t as packed as it ought to have been, but faithful Bats fans headbanging at the front more than made up for a relatively empty gig. Lead singer Rupert looks cuddly but sings like an angry grizzly, with every outburst last night echoed with epileptic lighting. Savage screeching, heavy distortion, post-rock guitar riffs and uber energy: Bats have all the elements of a modern, albeit unique, rock band. How could you not like a band who finish the night with a track called ‘Bats Spelled Backwards is Stab’? Elbowing our way to Andrew’s Lane Theatre, we arrived late and only caught about four tracks by Glasgow folksters Foxface.  Foxface masked individuals were scattered around the venue, as well as a couple of band members donning fox masks. Being an unabashed fan of cutesy novelty, that was enough to impress me for starters. The band’s tinkering blend of Celtic melodies with twee anti-folk lyrics really impressed the audience, a very responsive one at that. Reminiscent of Decemberists, Foxface manage to combine old folk tunes with a new sound and sweet likeable vocals. After the final lilt of Foxface, there was no point in trying to make The Academy or MHS, judging by the amount of time it took us to scurry through the crowds earlier. We prepared ourselves for a bit of a dance when Crayonsmith took to the stage. It never happened though. Having listened to the band on MySpace for a few weeks, and having heard the hype, I expected excess energy, jumping around and fiery charisma. The music was solid, but the performance was lacklustre. Some of the tracks were a little repetitive and the lead vocalist’s voice just sounded monotone. The audience loved it though and the band got a huge response. Frightened Rabbit wrapped up the gigs at ALT – an enjoyable enough set, but the band sounded far too much like a Biffy Clyro/Death Cab for Cutie lovechild. Being a fan of both bands, you’d imagine I’d be fully supportive of such a love child, but it didn’t do any more than mildly entertain me. If the festival had been more packed this evening, there might have been more of an atmosphere – which was lacking at times. However the bands were of very high quality this evening, and it was even difficult to choose who to see because of bands clashing with each other.  Niamh Madden In addition to Steven O'Rourke's Festival Diary for Day 1, Day 2 and Day 3 of HWCH 2008, check the following CLUAS reviews of bands who played: One Day International, Mackerel the Cat and Others at HWCH (Sunday)So Cow, New Amusement and more at HWCH (night 3) Autamata, Sounds Of System Breakdown and Robotnik live at HWCH Day 3 Frightened Rabbit, The Vinny Club and Bats at HWCH (night 2) Crayonsmith, The Parks and A Lazarus Soul at HWCH Chequerboard, Alphamono and Fiach live at HWCH Nakatomi Plaza, Half Cousin and Lines Drawing Circles live at HWCH Super Extra Bonus Party, Groom and The Dublin Duck Dispensery live at HWCH                 More ... Niamh Madden Sun, 14 Sep 2008 16:04:00 GMT f1397696-738c-4295-afcd-943feb885714:163 https://www.cluas.com/indie-music/Home/ID/166/Chequerboard-Alphamono-and-Fiach-live-at-HWCH#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=166 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=166&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/166/Chequerboard-Alphamono-and-Fiach-live-at-HWCH Chequerboard, Alphamono and Fiach live at HWCH Review Snapshot: The Becks Vier flowed, hairy check-shirted types floated around the side-streets of Temple Bar and the type of music was as varied as a pick'n'mix bag. Though an enjoyable evening, there was something a little disjointed about HWCH 2008. The Cluas Verdict? 6 out of 10 Full Review: This year's Hard Working Class Heroes was my first. With no previous experiences to compare it to (the disenchanted "last-year's-Picnic-was-so-much-better" syndrome), my untainted, innocent eyes were ready to be initiated into the world of the Irish up-and-coming. The first act on my list was Alphamono, who played in the cosy wooden attic of 4 Dame Lane. Alphamono's biog reveals that he hails 'from a small mining village on Neptune' and is currently embarking on an intergalactic journey through the universe. If a biog could ever perfectly encapsulate a sound, Alphamono's would be it. 'Laynod' began with a brief piano intro giving way to full wavy kaleidoscopic sounds, industrial space tones and vocoder vocals. Shadowy silhouettes on the curtains behind the stage looked almost alien-like, shrouded by the green lights that bathed the stage. The most well-developed and polished track was 'Arise,' something that sounded like an alternative soundtrack to Twin Peaks.   After the unique Alphamono set, I was left puzzled at the choice to put 26-year-old singer-songwriter Fiach onstage next. The one-man-and-his-guitar genre has been so saturated over the years that I found it difficult to give Fiach a chance. Trying to open my mind a little, I listened, but felt nothing – regardless of how passionately he played and the energy he put into singing, it just didn't stir me. It's clear that Fiach's voice has taken on the tones of Paddy Casey, perhaps without him realizing it. The Damien Dempsey brigade is exhausted. Instead of being upset and singing about said depression, I'd recommend a trip to the south of France for any aspiring singer-songwriter. The highlight of the evening was certainly one man with a guitar, but what he did with it was astounding. Visual artist and guitarist Chequerboard shone under a single light at the corner of an empty stage in Andrew's Lane Theatre. An odd location for such a gig (Dame Lane may have better echoed the atmosphere of the tracks), the audience clearly understood that standing and nodding heads wasn't the way to go. Everyone sat down on the floor at ALT and listened. Though the bar remained noisy, the intricate harmonics, complex loops and almost effortless playing hushed most of us up. Bringing the tempo back up again at Meeting House Square was Super Extra Bonus Party, superlative by name and by nature. It's great to see bands performing with high energy, sweating it out, throwing themselves down on the floor to really entertain. Super Extra and Fighting With Wire gave the audience loads to work with, but sadly the sound in the square was not up to scratch. Despite a thin crowd, the festival atmosphere was the best in the square– weeing in a dark portaloo, the smell of dodgy kebab-in-a-baguette combos, and tap after tap of Becks Vier. Friday night's line-up was a promising, if disconnected, beginning to the weekend. Niamh Madden In addition to Steven O'Rourke's Festival Diary for Day 1, Day 2 and Day 3 of HWCH 2008, check out the following CLUAS reviews of bands who played the festival: One Day International, Mackerel the Cat and Others at HWCH (Sunday)So Cow, New Amusement and more at HWCH (night 3) Autamata, Sounds Of System Breakdown and Robotnik live at HWCH Day 3 Foxface, Bats and others at HWCH (Saturday) Frightened Rabbit, The Vinny Club and Bats at HWCH (night 2) Crayonsmith, The Parks and A Lazarus Soul at HWCH Nakatomi Plaza, Half Cousin and Lines Drawing Circles live at HWCH Super Extra Bonus Party, Groom and The Dublin Duck Dispensery live at HWCH               More ... Niamh Madden Sat, 13 Sep 2008 15:39:00 GMT f1397696-738c-4295-afcd-943feb885714:166 https://www.cluas.com/indie-music/Home/ID/184/Metronomy-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=184 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=184&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/184/Metronomy-live-in-Dublin Metronomy (live in Andrew's Lane Theatre, Dublin) Review Snapshot: As it turns out, Sunday evening in town was dead. Due to a ghostly combination of rain, bleak wintery weather and possibly it just being Sunday, Metronomy attracted a small crowd. The result was disappointing. The Cluas Verdict? 5 out of 10 Full Review: Sunday evening in town was spookily quiet. When we arrived at Andrew's Lane Theatre punctually at 11pm, the lights were on and nobody was home. There were a couple of organisers standing around and when I mentioned I was on the guest-list they didn't even need to consult a list: 'Sure, yep, grand... but come back later, sound check is on now.' Eek. Funny vibes from the beginning. When we finally arrived back after 12pm, David Kitt's new project 'Spilly Walker' was bopping about onstage, playing to an almost empty venue. There were about twenty people sitting around. The act was somewhat akin to the new singer-songwriter type: basically an acoustic-based musician who has just discovered their laptop. This fad must end soon (I hope). There's something almost archaic about it: it feels that even though they're trying to go forward with technology it holds back real talent. I mean, how much can you clap for a one-man show with a machine? There might be someone out there who sees Spilly Walker as the next step for singer-songwriters, but to me it came across as stilted and dull. In fact, the most exciting part of that support slot was the group who were throwing around those multicoloured bouncing balls you used to get in 20p machines outside sweet shops. When Metronomy came on, the crowd swelled a little and in fairness they really danced like maniacs, despite there being so few people there. I just expected Joseph Mount to be onstage (the solo laptop affair again) but he was joined by musicians Gabriel Stebbing and Oscar Cash. The three of them performed Kraftwerk style dancing with their keyboards, and really got involved for 'Radio Ladio'. For me, it seemed more Kraftwank than Kraftwerk - it felt too much like a re-hash of something that's been done so many times before. If you have ever been in a Euro shop frantically purchasing cheapo products for festivals, you may have spotted round lights that look like Mentos mints. Metronomy hung these around their necks against black tee-shirts and flicked them on and off at various points during the tracks. The act was a bit too gimmicky for me - it may have been effective in a larger venue but because the venue was so small, the lighting didn't really cut it. However it was a bit of fun and the lit-up guitars were pretty funky too. Again if there had been a larger crowd or a larger venue the effect would have looked a lot more exciting onstage. Metronomy played a couple of their new tracks including 'Holiday', and the effects were quirky and upbeat. They also turned out some of the delightful circus-style music from 'Pip Paine.' The final track 'You Could Easily Have Me' was definitely the most energetic and bringing the electric guitars into the whole thing woke everyone up. As Metronomy is one of my favourite artists, I was shocked at the small turn-out and equally astonished that the gig was a disappointment. The small crowd really gave it all they could though and Joseph Mount ended the gig by calling it 'a perfect ending to a perfect day.' Awww. You can't get a sweeter ending than that. Niamh Madden More ... Niamh Madden Tue, 17 Jun 2008 18:40:00 GMT f1397696-738c-4295-afcd-943feb885714:184 https://www.cluas.com/indie-music/Home/ID/185/Dan-Deacon-and-Jape-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=185 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=185&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/185/Dan-Deacon-and-Jape-live-in-Dublin Dan Deacon and Jape (live in Vicar Street, Dublin) Review Snapshot: Anyone in Vicar Street for last Saturday's Future Days Festival was in for a treat: Deerhunter, Dan Deacon, White Williams and Jape were all outstanding. Jape was somewhat of an anti-climax after Dan Deacon (who should have headlined), but the love at the venue was massive and the buzz after Dan was sweaty, electric, otherworldly.  The Cluas Verdict? 9 out of 10 Full Review: It was strange being at Vicar Street so early. The venue was close to empty when Brooklyn duo High Places came onstage. The gig warmed up slowly with a couple of curious onlookers nodding their heads to the beats. Though High Places knocked out a couple of wickedly intense tribal percussion pieces, the pair just didn't have enough charisma to warrant looking at. Ping-pong ball noises, shaky and scratchy erratic beats led into a more ambient Buddhist lounge style; Mary Pearson's vocals however sounded flat and she held a faraway look throughout the performance, as if trying to determine whether or not she'd left the iron on. Remember those Mini Melodicas you had when you were growing up, before you realised that rockstars don't play instruments that are rainbow-coloured? Well it seems that at almost every gig I've been to lately, a band has played said instrument with renewed childhood gusto. White Williams did this, as well as mixing some funky electro indie with a more 90s sound and look (lumberjack shirts included). Some tunes had lots of alien synth effects while heavier, rockier tracks were purely for a crowd that the lead singer hoped were 'ready to mosh'. When Deerhunter came on they exceeded all expectations. The crowd began to pick up the pace. Head-nodding turned into springing, springing turned into light jumping and dancing. The band mashed loud distorted sounds with a fiery harmonica on the stand-out track. They played a kind of old-school tingly rock with moments of euphoria, frenetic drumming, and fragments of stillness. When they finished the crowd was happy, shiny, loved up, anticipating Mr. Deacon - who of course had been wandering around the crowd chatting with everyone, smiling and generally just looking contented. Everything about Dan Deacon is big. Big shorts, big glasses, big presence, big sound, big happy smile. And when the venue went pitch black for Dan, the crowd got bigger too. Everyone was close to bursting with excitement - you could almost feel everyone's hearts open. Dan Deacon doesn't do stages. He plays amongst the crowd, and has a light that he shines over the fans as he makes them do whatever he asks - at the beginning of the gig he told us all to 'Shut up! Shut up! You, shut up too!' Brilliant. We were then asked to raise our hands, form fists, point in the air and sink to our knees. The first track came on as we got up. Dan's trippy green skull was at the centre stage and flashed on and off as the crowd began moshing, hugging, crowd-surfing, going insane. It's been too long since gigs were like this; it makes you wonder where the whole nod-heading, thigh-tapping, style of gigs has come from. 'The Crystal Cat' made everyone go nuts. Dan made us form a huge circle around a wee spectacled boy in a Superman tee-shirt. 'Superman is gonna high-five everyone,' Dan told us. Every time you got a high five you had to run around in a circle high-fiving as many people as you could for them to join the circle. Just picture an entire crowd running around Vicar Street in a circle. For 'Snake Mistakes' we had to run through a line of people forming arches with their hands clasped together in the air. Everyone was smiling. Everyone joined in. When 'Wham City' came on people were completely at one with each other and the entire venue felt soaked with a kind of insane, sweaty, psychedelic love. The only negative thing about the performance was that Dan didn't play last. When Jape took to the stage, the energy level was still up, but not quite as crazy. Richie Egan did look as though he were slightly off his face, but he put in a powerful, fun performance and was like a bubble of energy onstage. The crowd-surfing continued. Some of the tracks from the new album didn't sound as polished as they could have, but the crowd didn't care at that point. The final track had everyone dancing, bouncing, exploding. After the gig there was a buzz in the crowd that I haven't felt for a long time, and a sense that everyone had experienced the craziness of Dan Deacon. There's also something curiously close about sweat that seems to bind folks together. Niamh Madden More ... Niamh Madden Tue, 17 Jun 2008 17:26:00 GMT f1397696-738c-4295-afcd-943feb885714:185 https://www.cluas.com/indie-music/Home/ID/186/Plaid-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=186 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=186&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/186/Plaid-live-in-Dublin Plaid (live in Crawdaddy, Dublin) Review Snapshot: More dubstep than Double Figure, Plaid knocked out a short and surprising set. There were two schools of thought: the Disappointed (discussing the performance in the smoking area) and the Dancers (who made up the electric crowd in the venue). As a disappointed dancer, the gig lay somewhere in between for me... The Cluas Verdict? 6 out of 10 Full Review: Support act Sunken Foal opened the night of electronica. Featuring one half of Ambulance (Duncan Murphy), the duo soaked the venue with eerie church bells and sustained apocalyptic sounds. Imagine the haunting, sweeping discords of the Radiohead's Morning Bell/Amnesiac infused with deep synths that sound like bullfrogs - and you've almost got Sunken Foal. They drifted from darkness to more euphoric moments of harmony, and brought the crowd on an emotional journey with them. As my companion said to me of their sound, 'Oh my God. It's like Kermit on crack.' And there were dancers. Funky, nutty, crunk-esque: watching them became more exciting than watching two guys twiddling knobs and clicking keyboards. There was the girl with twisty, staccato hip grooves; the red-bearded man doing the 6-step, and a smily Asian guy who swung his arms around like a schoolboy. Plaid took to the stage and continued with the bell-like sound of Sunken Foal. The initial noises reminded me of a horror movie, and when the bass kicked in, it kicked in HARD. When you can feel the bass throbbing in your throat and shooting up and down your spine, you know it's just that little bit too loud. At times I liked the pain; other times I felt middle-aged ('Lord. It's shockin' loud isn't it?') The real disappointment was that the Plaid gig lacked visuals. This wouldn't be a problem if the two performers performed, but there was no action onstage at all - in fact the stage felt shockingly empty and boring. There are other rooms in Tripod that cater for this - but seeing Plaid up onstage - serious, dull, looking not dissimilar to two IT guys trying to fix some ill-behaving Macs - made you wonder where to look. The sound was filling, penetrating, disturbing, but without visuals it didn't make as much of an impact as it could have. Unsurprisingly, the crowd consisted of the usual eighty-percent male electronica heads. This was grand for me and my female companion until we tried to move anywhere. We were frequently accosted by aforementioned men, which became an irritating distraction to the music. One man even tried to impress me by shouting spoken word lyrics in my ear while Plaid were dropping some serious breakcore. What I was expecting from the night were the ambient subtleties of Double Figure: what we got instead was industrial, dark and almost frightening with noise. I remember feeling at one point that the entire crowd may have all been descending into some deep apocalypse of sound; and being dragged down to that was almost like a slow and expected death. Which of course, some people liked. The crowd were incredibly responsive - going out for a breather was a different story. Lots of people in the smoking area seemed disappointed in the music choice. 'I mean, they went dubstep on my ass!' one girl exclaimed. Though I'm a fan of dubstep, it just didn't do it for me at this gig. I suppose the old maxim of having no expectations can be a good thing - at this gig I feel as though I came away with no sense of growth or enlightenment. My question is: Did anyone who enjoyed this gig more than me tap into something I didn't? Niamh Madden More ... Niamh Madden Mon, 09 Jun 2008 22:00:00 GMT f1397696-738c-4295-afcd-943feb885714:186 https://www.cluas.com/indie-music/Home/ID/191/Midnight-Juggernauts-live-in-Dublin#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=191 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=191&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/191/Midnight-Juggernauts-live-in-Dublin Midnight Juggernauts (live in Crawdaddy, Dublin) Review Snapshot: Midnight Juggernauts shocked the crowd's systems with overwhelming spacey sounds that were smothered with starry synth and disco beats. In short, amazing. But support group Late of The Pier upstaged them: their flamboyant, dramatic dancing set the night up for more than just yer usual gig... The Cluas Verdict? 9 out of 10 Full Review: When you wake up with a creak in your neck from dancing, you know that last night's gig was good. The evening began with a small boy at the foot of the stage, dressed in what can only be described as a batwinged jacket fashioned out of golden tinfoil. The boy (okay, he may have been about nineteen...) approached my friend LJ, announced 'I have a maraca', shook said maraca, and then jumped onto the stage like some kind of wonderboy athlete on stilts. It was then that I realised the boy (dare I say, young lad?) was part of the act - he started playing one of the four synths onstage and shook his entire body around like an electrified puppet. This four piece band, Late of the Pier, made my night. Yes, I judged them. Yes, they looked like they'd stepped straight off a Klaxons Costume Night. But, yes, they blew the crowd away and stole the show.   With a set that included tracks such as 'Focker', 'SPACE', 'Random' and 'Heartbeat', the titles can only begin to describe the energetic space tunes they knocked out. What was it? Rainbow music on red bull? Psychedelic merry-go-round tunes? It was indefinable, but the combination of a singer in ridiculously tight white jeans dedicating a track to the mythical 'black pig of Dublin'; a bass player with big lips alternating between synth, guitar-playing and amateur dramatics; and a tiny, crazy puppet who encouraged the crowd to 'hit the person next to you' seemed to really float my boat. The finale was the best - 'this is the part where we shake your hands' puppet boy said. And the band exited the stage from the front, shaking everyone's hands as they left the venue the way the punters came in. Brilliant! Energising! Exhausting! After all the dancing and jumping of the first act, by the time Midnight Juggernauts came on I was almost feeling the creak. Almost. The Juggernauts put on an excellent show, building up their starry sounds with distortion and synth. The drummer was the real star; he reminded me of Animal from Sesame Street with a fuzzy face and head that bobbed up and down continuously. For anyone who has never heard the Juggernauts, just think of Justice, Air and Daft Punk, and then mix in three lads performing the tracks live, and you've got a good idea of the kind of sounds they made. Unfortunately, lead vocalist Vincent didn't have his voice as up to scratch as in their recordings. For 'So Many Frequencies' a multicoloured xylophone emerged and the drummer tinkled away on it. However, the best tune had to have been 'Tombstone', where guitarist Andy took the synth and vocoder, and the drummer stood up on his kit - the band rocked the entire audience with the wall of sound. The crowd's favourite was 'Into the Galaxy' (the telling sign was getting pushed towards the stage), which had everyone throwing their hands up, dancing like crazy, and the band loved it. The drummer later poured a bottle of water over the crowd, who at this stage were sweating out unusual scents of ketchup (hope that wasn't me...). For the finale, '45 and Rising', the drummer took up his snare drum, hopped off the stage and placed it right in the middle of the crowd. He gave his sticks to a couple of guys, one of whom really played along professionally to the track. Before the end, the hard-working gothic roadie came back to reclaim the drum, and when it went back onstage the band finished off the night with climactic distortion and fuzzy amp noise. After the gig, the Bang Gang DJs kept the tunes going in Tripod until late into the night. Both bands were there too, dancing away, and chatting to fans. This was, by far, one of the most surprisingly brilliant gigs I have been to. I think the creaky neck was worth it. Niamh Madden More ... Niamh Madden Wed, 28 May 2008 14:10:00 GMT f1397696-738c-4295-afcd-943feb885714:191 https://www.cluas.com/indie-music/Home/ID/193/Broken-Social-Scene-live-in-Vicar-Street#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=193 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=193&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/193/Broken-Social-Scene-live-in-Vicar-Street Broken Social Scene (live in Vicar Street) Review Snapshot: Broken Social Scene played a long set at over two hours - the result was euphoric and full, but there was a bit of a lull for a couple of tracks. There was also the issue of the small man in front of me, whose Guinness farts threatened to ruin the overall sensory experience.  The Cluas Verdict? 7.5 out of 10 Full Review: I'm 5'4". At some venues I end up standing tiptoed to get a glimpse of a head-banging blurred face onstage. The result? Painful soles and a poor visual experience. At Vicar Street though, no matter where a 5'4" girl stands, she still manages to be able to see everyone on stage. The Broken Social Scene gig was my second at Vicar St. and the venue is proving to be kind on the ears and eyes - I had a perfect view of the full band. The night began with Charles Spearin’s Happiness Project - a quirky, fun introduction to Broken Social Scene. Charles played interviews that he had recorded with his neighbours, focussing first on the tones of the voices played back unaccompanied. After he played a section of an interview, the saxophone would mimic the notes of the voices - the idea then escalated into a guitar, voice and sax loop that became melodic and turned into something that really made me aware of the tones we use while speaking. Charles' experiment with sound was especially moving when he created a piece using the voice of a deaf woman who'd had a microchip inserted into her brain so that she could finally speak and hear through vibrations in her body: 'All of a sudden I felt my body moving the sound.' When Broken Social Scene came on (Charles included), Kevin Drew opened to a packed crowd, telling us we were 'such a lovely fuckin' audience!'  He kept up the positive audience affirmations all night, and said that Dublin was his favourite place to play. The gig kicked off on a chilled out, downtempo vibe. What I love about Broken Social Scene's live performance is the concentration involved in playing - there's not much jumping around onstage - they have the airs and graces of an orchestra, particularly the brass. The musicality of the group as a team comes across; instrument switching happens frequently, effortlessly and adds to the performance. One of the highlights of the gig was the second track, '7/4 (Shoreline).' You really got the full, all-encomapassing sound of the band, who played it with verve and high energy. Amy Millan's vocals were a bit quiet, but she shook her hair around and gave as much as the rest of them. For any fans of Broken Social Scene Presents...Kevin Drew, the group played several tracks from the 'Spirit If...' album, including the explosive, tingly 'Farewell to the Pressure Kids.' Kevin Drew also played a couple of new songs, like 'Churches under the Stairs' - you could tell he was in jovial form, and well up for getting the audience involved. We were encouraged to scream, clap and sing. The whole performance felt natural, yet you could tell that it was the result of lots of practise. Broken Social Scene prove that image doesn't mean much when it comes to real music and making an impact on an audience. One of the highlights was Kevin's solo version of 'Lover's Spit.' We were asked to hush while Kevin sang with just his keyboard as accompaniment. Towards the end, he laughed as his voice started to fade - and got nothing but praise from the audience. 'Anthems for a Seventeen Year Old Girl' with Amy's soft singing blew us away - it was at that stage unfortunately that the man in front of me began letting the unique smell of methane waft from his butt towards my face. Not pleasant of course, but I can hardly take points away from the band for that. The length of the set meant that at times there was a slight lull or lack; it's not something I can describe accurately, but the momentum seemed to fade at times. The finale picked up the pace again though with the striking brass on 'It's All Gonna Break' - a triumphant ending to a great night out with Kevin and the Scene. Niamh Madden More ... Niamh Madden Thu, 22 May 2008 13:39:00 GMT f1397696-738c-4295-afcd-943feb885714:193 https://www.cluas.com/indie-music/Home/ID/362/Seasick-Steve-Dog-House-Music#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=362 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=362&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/362/Seasick-Steve-Dog-House-Music A review of the album Dog House Music by Seasick Steve Review Snapshot: The roughly recorded Dog House Music is a refreshing change from contemporary studio production. Its raw sounds are soaked in mud, sweat and clothed in hobo lyrics that grip you tightly with their simplicity.  The Cluas Verdict? 8 out of 10 Full Review: There's something cuddly about Seasick Steve. Complete with fluffy white beard, baseball cap and worn dungarees, Seasick could easily be Santa disguised as a hobo. The lyrics on his first solo album, Dog House Music, betray Seasick's rough wandering lifestyle though - one spent living in over fifty houses worldwide as well as on the streets, beating out blues on his personalised guitar, the 'Three Stringed Tranz Wonder.' The stomping, rootsy simplicity of Seasick Steve has attracted attention across a variety of media. There has not been a more passionate blues act to recently be covered in magazines, most of them generally associated with rock or indie. Seasick won the MOJO Award for Best Breakthrough Artist, has been covered in Hot Press and NME, and also appeared on RTE's Other Voices. Dog House Music is a sliding, bustling blues affair with tracks that are raw, rough and caked in mud. Each song is ragged around the edges, from the howling and growling in 'Dog House Boogie' to the lazy drawling guitar on 'Shirley Lou.' The crude production on the album as well as its simple artwork reflect Seasick's hobo lifestyle. The best thing about the album is that it captures the kind of live, street setting you only get in summertime with a busker and his miniature amp. Seasick combines his singing with chatting, mumbling, jamming, tapping and strumming. The first track 'Yellow Dog' hits you with deep, penetrating riffs and lasts just sixty seconds long.  Just before the second track there's a short sniff and then we hear Seasick's amp being plugged in. The harsh rawness of the album, including coughs, laughs, cigarettes being lit, phone-calls and tributes, really brings you in tune with Seasick's life as a bluesman and a hobo. His lyrics are often autobiographical and run on from the spoken stories that are dotted throughout the album:  'All my life I been in the dog house... that's just the way the dice rolls' (Dog House Boogie). Though some of Seasick's tracks contain the self-pitying, sentimental element that is usually associated with blues, he manages to bring us closer to him with a touch of light humour and irony. The real stand-out track for me is 'Cut My Wings', played on a customised three string guitar that Seasick calls 'The Three Stringed Tranz Wonder.' Seasick got a positive response to his performance of this on the Jools Holland Show. Customised instruments are a quirk of his - on 'Save Me' he plays what he calls a 'One String Diddly Bo,' which sounds like a bell being bounced on a trampoline. This album made me wish I was sitting on a rocking chair, wrinkling my brow in the scorching heat, listening to some crickets singing and chewing on a long bit of straw. Seasick is an honest guitarist, storyteller and songwriter whose simple truths resonate from beginning to end in Dog House Music. Niamh Madden  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. More ... Niamh Madden Wed, 14 May 2008 10:03:00 GMT f1397696-738c-4295-afcd-943feb885714:362 https://www.cluas.com/indie-music/Home/ID/371/Foals-Antidotes#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=371 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=371&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/371/Foals-Antidotes A review of the album 'Antidotes' by Foals Review Snapshot: With sweeping orchestral sounds and muted harmonics reminiscent of Battles, Foals deploy sombre effects blistering into full blown melody meat feasts. What a shame they can't sing. The Cluas Verdict? 6.5 out of 10 Full Review: I am a victim of the hype machine. It just sucks me in. Like the TV programme Skins, with its false promise of entertainment, and its artificially crafted 'indie' image. Yet at times it grips me, despite how much I loathe Skins, the NME and the all-style-no-substance bands they promote. This time however both TV programme and magazine have tapped into a band that is both stylish and talented - Foals. Foals' debut album 'Antidotes' belts out climactic track after track of perky harmonic melodies combined with dark ruddy distortion; a sound that I'm guessing must be heard live to absorb the intensity of the crescendos. The Oxford indie band dubs its album 'psychedelic pop.' I disagree. The effect sounds more like the math rock of Mogwai or 65 Days of Static, speeded up and dipped into the syncopated harmonic sherbet of Battles. However their repetitive lyrics and schoolboyish shouting makes you wonder- what would the album be like if they didn't sing? Because really, they can't. Sing, that is. Then you realise that without lyrics the album would be a top post-rock dance affair filled to the gills with beautiful bell tones, sustained brassy notes, rough muted chords and nerdishly perfect effects. The album begins with its best track, 'The French Open'. Discordant harmonies and a brass intro that feels like a funeral backing track (without the bagpipes) leads into wayward smatterings of guitar riffs and builds up to a jittery, pulsing force against an orchestral cocktail of harmonies and confusion. The band's single 'Cassius' stands out on the album too, but the voices on this track are too much to the foreground - the music speaks for itself; it doesn't need lyrics to speak for it too. Danceable and loveable, 'Cassius' develops in places towards dark and haunting scratchy guitars and a build-up on the drums. It pretends to be all sweetness and light but then begins to evoke more of an ironic tone, petering out with an afterthought of improvised brass. Remember that haunting remix of Radiohead's 'Morning Bell'? Foals' next single for release, 'Red Socks Pugie', begins with similarly eerie computerised effects that filter into twisting terrifying noises, working their way into your ears, filling up your soul with sound. The echoing voices on 'Electric Bloom' sound too stilted and grit against the skull with a kind of football style chant until the words become too much and you find yourself wishing the track could just stand alone without the band's harsh voices booming over it. 'Heavy Water' drags out its drums against harmonic scales that mimic the pitter-patter of rain, descending into a stormy heavy tune that feels like a cold November evening. Another stand out track is 'Big Big Love,' whose percussion intro sounds suspiciously similar to 'Race:In' by Battles. The entire album filters smoothly from track to track, each one building upon the instruments that have gone before, but towards the end the echoey and shouting voices are just a bit too much to handle. Foals' influences are very obvious, with sprays of distortion and over-used harmonics but their nerd effects and soft hints of ska stamp some originality on the album. Foals have a while to go to develop their own true sound. And hopefully, on their next album, they'll learn to keep the vocals down. Niamh Madden  To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. More ... Niamh Madden Fri, 02 May 2008 13:32:00 GMT f1397696-738c-4295-afcd-943feb885714:371 https://www.cluas.com/indie-music/Home/ID/386/Im-From-Barcelona-Let-Me-Introduce-My-Friends#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=386 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=386&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/386/Im-From-Barcelona-Let-Me-Introduce-My-Friends A review of the album "Let Me Introduce My Friends" by I'm From Barcelona Review Snapshot: Let me introduce bubble indie-pop at its finest, complete with kazoos and treehouses. Though the lyrics of this album (originally released in 2006) may be quite cringeworthy at times, the Swedish happy vibes make this a vibrant album to dance around the bedroom to. The Cluas Verdict? 7 out of 10 Full Review: Remember the time when you would spend a full day eating tubes of Frosties, packets of Meanies, bags and bags of ten penny-sweets and Woppa Bars until your tongue turned red? Well, now imagine you had gathered up a group of your hyper sugar-happy mates and decided to make an album: the result would be very close to the colourful, huggy, snuggly, bubble-gum indiepop album "Let Me Introduce My Friends," by I'm From Barcelona. Don't be fooled – this band is not in the least bit Spanish (and would sound silly being Spanish anyway, with member names like Frida Öhnell and Cornelia Norgren). Instead, their name is an ode to Fawlty Towers' Manuel, who claimed to be from Barcelona. The 29-strong Swedish group mixes and mashes banjos with kazoos and trumpets lending an oomph to the general frolics provided by their debut album. It's not often that making an album with your friends works, but lead singer Emanuel Lundgren proves that a few happy-go-lucky songs about treehouses, chicken pox, and stamp-collecting can enthuse his Swedish mates so much that they go and do harmonies and fluffy 'oohs' and 'aahs.' Why would you not want to spend your day swinging your hips and jumping about on a bed of lollipops and whipped cream, singing lyrics like "Feeling like a tape recorder / stuck between rewind and forward"; "I have built a treehouse / Nobody can see us / it's a you and me house"; and "Damn! Oversleeping again / Damn! I can't believe I did it once again"? While the album can be too childish (aka Europop) at times, it does bring out wee fairy-like thoughts from within your regular serious Radio head, and brings you back to those sweets-filled days. Niamh Madden To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here. Check out the discussion about I am from Barecelona's 2007 gig in Dublin. More ... Niamh Madden Thu, 24 Jan 2008 07:51:00 GMT f1397696-738c-4295-afcd-943feb885714:386