https://www.cluas.com/indie-music RSS feeds for CLUAS Irish Indie Music 60 https://www.cluas.com/indie-music/Home/ID/558/Marc-Carroll-In-Silence#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=558 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=558&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/558/Marc-Carroll-In-Silence Review Snapshot: Carroll’s rhythmic arrangements and calming husky tones will accommodate most tastes as the album gently works through a plethora of genres, but it both requires and deserves your full attention. Best enjoyed on a long quiet car journey.  The Cluas Verdict:  7 out of 10 Full Review: It’s a joy finding something new­­­­­ to mull over, although in this case ‘it’ is hardly new as singer/songwriter Marc Carroll has been carving out his musical career for over 20 years, albeit with modest commercial success. ‘In Silence’, a collection of his work to date,  both requires and deserves greater attention. The collection begins with ‘The Boy Who Dreamed’, an instrumental of gentle inoffensive folk melodies before elevating into ‘Love Over Gold’ the second track and my first opportunity to sample Carroll’s striking vocals and confident delivery - its rousing, almost ethnic, sound discusses loss and faith, It’s heartfelt with lyrics that prompt repeated listening. The reverb, courtesy of the wah pedal effect, build the song well while blending comfortably with the acoustics. ‘In Silence’ is a grown-up album. Carroll is evidently well-seasoned on the life torments of love and loss and can articulate his experiences in a reflective, not bitter, way. Melodies on ‘No Time at All’ and ‘Against My Will’ are modest in their construction. This isn’t an album of intricate chords and complicated note arrangements.  Carroll’s guitar execution is not fuelled, but rather a delicate extension of himself to chaperone his vivid and enchanting storytelling. His stories are descriptive and animated “When I turned to the West, I felt instantly alone, kicked the mud off my boots and slept for days..” Carroll comes across as a life observer rather than player. In ‘What’s Left of My Heart’, he is dejected yet refrains from anger: “She can ease my pain..And sadly I all I can do is stand beside, and bless the day I found her” His despondent but accepting attitude is refreshing.  “Its clear to see even natures singing in the minor key .. and will forever”  The acceptance of his environment is mature and real, and with a surprisingly upbeat melody and pace for such a melancholic track this is one of my favourites on the album. ‘No Time At All’ has a one minute instrumental introduction which sets the pace nicely on this soporific take on the passing of time. Uncomplicated chords again accompany Carroll’s dulcet tones and the harmonies simmer along nicely with lyrics that perfectly illustrate the singers tolerant attitude “Gotta keep movin ..don’t look back don’t hesitate”. ‘A Dark and Lucky Night’ combines electric and acoustic and lends itself to the power pop genre before building to an uplifting harmony buoyed by an undeniable gospel influence.  ‘A Way Back Out of Here’ meanwhile sounds like a Randy Travis tribute before progressing to combine string and percussion to layer and give a soundtrack quality.  It’s thin for the most part however and one of the weaker tracks for me. Along with ‘Love Over Gold’, ‘Always’ is one of the most melodious songs on ‘In Silence’ .  Unlike ‘Love Over Gold’ however there are no distortions to bait you in. Its poppy harmonies achieve enough of a hook and go a long way to disguise some of the darker lyrics “Its not a beautiful world, its a cold..sad and lonely world” In ‘Press On’ Carroll does little to deny a Dylan influence, while the stirring ‘Against My Will’ vocals fail to hide his Irish roots. An album of contradictions some might say, with the assimilation of so many varying impressions, but something tells me Carroll is keen to not be pigeon-holed, and has in fact a very international sound. ‘In Silence’ works through every genre from pop to Irish folk. Much is made of the Bob Dylan and Brian Wilson influences, and their subsequent championing of his cause has been well documented.  A gravel voice and an acoustic guitar, however, will eternally draw parallels with other songwriters.  There are a multitude of impressions in Carroll’s work, but with his candid approach to each performance, none of these influences could be construed as intentional or contrived.  Instead, let the depictive nature of his storytelling along with the simplicity of themes like love, loss and the less glamorous endurance, be the real testament to the maturity and substance in this talented song-writers music.  Yvonne Moore Yvonne Moore Thu, 21 Jul 2011 17:35:00 GMT f1397696-738c-4295-afcd-943feb885714:558 https://www.cluas.com/indie-music/Home/ID/237/Jamiroquai-Rock-Dust-Light-Star#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=237 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=237&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/237/Jamiroquai-Rock-Dust-Light-Star A review of the album 'Rock Dust Light Star' by Jamiroquai Review Snapshot: The seventh album from this popular electro-funk band.  Brimming with jazz, funk, and catchy disco floorfillers,  Jay Kay has a long way to go before hanging up his oversized hat. Cluas Verdict: 7 out of 10 Full Review: It's easy to forget how long Jamiroquai have been going.  ‘Rock Dust Light Star’ is the seventh album from a band that have been knocking out the albums since the early 90s.  Despite the 6 albums already under their belt, a plethora of MTV awards and let's not forget a Grammy, the band clearly have no plans to slow down & are keen to showcase that with this latest offering.  So were the recent tirades against X Factor judges genuine concerns over the way some might deem the music industry to be headed, or just  well orgnised hype to promote a mediocre album? With its subdued melody and uninspiring lyrics, the opening track ‘Rock Dust Light Star’ was a surprisingly passive choice to open a comeback album for a band of a predominately funk nature.  Thankfully, it quickly becomes apparent with the second track ‘White Knuckle Ride’ that despite the five year absence the band have no intention of turning their back on their popular disco influenced electro-funk sound. From the first beat the track has the energy and likeability of ‘Little L’, an instant floor filler and easily the best single on the album.  The album progresses well.  With its high-pitched lead and backing vocals ‘Smoke and Mirrors’ is fantastically retro.  ‘All Good in the Hood’ starts with a thumping beat which when comined with some pleasing bass guitar chords goes on to mingle brilliantly with the R&B falsetto Jay Kay brings to the track.   “Did I forget to mention a little bit of tension makes the world alright..” ‘Hurtin’ is a little rock gem hidden away between poppier tracks.  Jay Kay’s raspy vocals are perfect for the wounded sound he is clearly aiming for.  Personally I loved the disilusioned backing refrain of “How the hell did i loose ya”,  a far more plausible approach to a lost love than what’s normally heard from pop bands. ‘She’s a fast persuader’ sounds, at first, like a bizzare Shaft meets Bee Gee’s collaboration. But it works and is funky with a capital F. The kinky lyrics make no attempt to disguise Jay Kay’s well documented love of the opposite sex.  “I love it when you get on it and hurt me babe, on your knees once again..” Racy lyrics and a rousing saxaphone combine to produce what is undoubtedly the funkiest track on the album. The Caribbean beats in ‘Goodbye To My Dancer’, give the track a Reggae vibe which works brilliantly with Jay Kay's catchy ska-style vocals and make it difficult not to nod along to.  Downsides of the album include ‘Blue Skies’ which sounds bizarrely like a Take That tribute. The lyrics are incredibly boring: (“I'm not gonna give up on all the day’s I’ve won, there’s nothing but Blue Sky” ) and are even sung in a fashion that makes Jay Kay sound eerily similiar to Mark Owen. ‘Lifeline’, although more uptempo, still sounds more like it was written for Robbie Williams (or with the big band sound dare I say even Michael Bublé). It's not the strongest track on the album and  the sentimental lyrics are served up with lashings of cheese: ‘’I’ll never feel alone now cos i’m back on the road with you”  “My baby’s saving me, she got  a lifeline of love, she got it all thrown out to me....running through the sunset just me and you together”. On the plus side the unexpected key changes mess with the typical song structure and keep you interested until the very last note. Overall ‘Rock Dust Light Star’ the album showcases Jay Kay’s ability to think outside the box, not just comply with the funk/pop/jazz genre but expand into rock, ska, reggae and dance. Depsite the 5 year absence however they’ve had the good judgement to stick to what's assured their success to date and have kept a considerable piece of this pie disco-friendly.  Yvonne Moore More ... Yvonne Moore Tue, 09 Nov 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:237 https://www.cluas.com/indie-music/Home/ID/247/3OH3-Streets-of-Gold#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=247 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=247&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/247/3OH3-Streets-of-Gold A review of the album 'Streets of Gold' by 3OH!3 Review Snapshot: With a confident blend of so many new music styles its fair to say 3OH!3 are distinctly different from other chart contenders.  However the sophomoric attitude and appalling lyrics are so bad you’ll quickly wonder if it’s all part a great commercial con. The Cluas Verdict: 3/10 Full Review: It’s not easy to be critical about a band that constantly defends their product as fun.  Fun however sells albums and rakes in the cash for the record companies. (Chart topping twins anyone?) so at the risk of being a party pooper I had an in-depth listen to 30H!3 to see if I could decipher the glitter from the gold. Sean Foreman and Nathaniel Motte of 3OH!3 recently released ‘Streets of Gold’.  Named after their postal code in Colorado, the boys claim to not take themselves or the industry seriously.  True to form, the album, which is jammed with popular electro hop and crunk, is a perfect snapshot of youthful exuberance and the macho swagger that often accompanies it.  You don’t need to delve far into Streets of Gold however before understanding why the music requires constant defending.‘House party’s needlessly illustrative chants are downright annoying. “I’m gonna have a house party in my house, I’m gonna pour booze down my mouth”.  While ‘Ican do Anything’ is nothing more than an incessant teenage brattish rant of . “I aint gonna take no shit from no one..I can do anything I want”.   Kevin the teenager has nothing on these boys. Musically 3OH!3 are an electro hop band, nothing new in that, The pop-charts are saturated with this style favored by the Black Eyed Peas, David Guetta, and Flo Rida to mention a few,  but by mashing this with rock and punk-crunk there’s no denying a specific sound.   It’s this sound that’s been their fortune to date securing the success of their last album ‘Want’. Like it or not, the crunk influenced barking lyrics on playing the field and brash electro beats are attractive to a teen ear; “We could do it viral..Spread it like an STD you got back in high school” With an uncategorisable sound its impossible to compare 3OH!3 to their industry peers. A clever marketing ploy perhaps to counteract the dire lyrics, infantile subject matter and over-treated vocals.  Rap is prominent throughout but with so much else happening these two physics graduates get away with having zero street-cred in a way that heavyweight rappers simply don’t.  The frenzied non-sensical lyrics come in great gushes and track-titles are endlessly repeated.  Foreman & Motte admit to retreating to a snowy log cabin and writing as much as two songs every day for 14 days; “it was like a mental vomit of all the stuff we had been thinking”.   ‘Touchin on my …’includes a censors beep. Hopelessly unoriginal considering the Pussycat Doll’s interpretation 5 years ago.‘My First Kiss’ and ‘Starstrukk receive lots of airplay, but only due to collaborations with current chart angels Ke$ha and Katy Perry. At a push ‘I Know How To Say’ gets my best of a bad bunch vote.  Unlike the other sloth-like efforts at melody making, it’s catchy. 70’s riff’s mashed with a throbbing bassline and a confident refrain that sounds uncannily Blizzards-like. 3OH!3 clearly take their commitment not to be serious, very seriously indeed. Tracks on partying hardly require a Pulitzer winning approach, yet the lyrics are unforgivably cringeworthy and sound phony. Its possible 3OH!3 are masquerading as ‘too cool for school’ purely to make a quick buck.   No one could stand over lyrics like “Everyone say fuck the DJ’s cause they ain’t playin my shit..At my house I’ll be playin my shit” and feel it was the best they could have brought to the table. If your American Pie box-set still holds pride of place in the living room then you’ll probably get a kick out of this, but anyone hoping for a bit more substance will quickly sense this isn’t the genuine article.  Yvonne Moore More ... Yvonne Moore Tue, 10 Aug 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:247 https://www.cluas.com/indie-music/Home/ID/254/The-Courtyard-Hounds-debut-album#Comments 0 https://www.cluas.com/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/RssComments.aspx?TabID=36&ModuleID=728&ArticleID=254 https://www.cluas.com:443/indie-music/DesktopModules/DnnForge%20-%20NewsArticles/Tracking/Trackback.aspx?ArticleID=254&PortalID=0&TabID=36 https://www.cluas.com/indie-music/Home/ID/254/The-Courtyard-Hounds-debut-album A review of the The Courtyard Hounds debut album Review Snapshot: Emily Robison and Martie Maguire – formerly of the Dixie Chicks are now recording new music under the moniker ‘Courtyard Hounds’. A few nuggets of brilliance here in this new album but overall it's watered down Chicks so expect to be a tad disappointed if you’ve been a loyal fan all these years. The Cluas Verdict? 4 out of 10 Full Review: If it were not for the effeminate portraits on the album sleeve you mightwonder what a female group called ‘Hounds’ were doing in the Country/Pop section of your local music outlet. Emily Robison and Martie Maguire, long recognized as the supporting duo behind powerful lead vocalist Natalie Maines in the Dixie Chicks, have embarked on their own separate grouping: The Courtyard Hounds. Robison’s marriage breakup from singer/songwriter Charlie Robison heavily influences the album. Divorce metaphors are abound in ‘The Coast’, where "its time for some sunny weather”. ‘Delight’ celebrates new beginnings and ‘See you in the Spring’ is a somber collaboration with Jakob Dylan about two long-distance lovers. The lyrics depict harsh conditions “Cold Chicago nights, chains on tyres.” but their delivery lacks enough concentration of emotion to make me care anything about this geographically-challenged couple.   Almost everything in this album is timid in its approach and bland in itsrecital. Serious issues are tackled but the majority simply lack any sort ofpunch that would engage a variety of fans in the way the Dixie Chicks did.   Relationship breakup again forms the core of a very despondent ‘April’sLove’: “You didn’t take a stand, you didn’t hold my hand”, while ‘I Miss You’ has that sunny day lying on grass melody we’re familiar to hearing on an upbeat episode of Gray’s Anatomy. The melody is cute and I do like the song but the infantile repetitive lyrics of “I miss you, I can’t wait to kiss you” leave me feeling a tad silly singing it in the car. The cute element definitely becomes nauseating after a while. As a self confessed ‘girlie girl’ that’s a worry for me as surely there’s a whole Dixie Chick audience out there being alienated.   With their contentious anti-Bush comments the Chicks were never afraid tospeak their mind, while musically they incorporated traditional instruments when aspiring to bridge the gap between country and rock. With two thirds of the chicks now hounds it's disappointing to see much of this fervor being tamed.   On the upside there are two memorable tracks on the album. The bluegrass tones and harmonies at the beginning of the brilliantly catchy ‘Aint No Son’ are the first reminiscence of the country rock we were hoping for. Perhaps years of harmonizing has left Robison inhibited, as singing in the third person is the only time we hear any real conviction in her voice. Her disdain for a small-town homophobic father in ‘Aint No Son’ is obvious in the lyrics and the fired up melody that accompanies them; “You aint no son to me, 8 pound baby boy I bounced on my knee “. ‘Then Again’, is also memorable due to its similarly catchy melody and self-deprecating lyrics.   ‘Aint no Son’ and ‘Then Again’ are the two saving graces on the album. But they’re simply too buried amongst all the other melancholy for me to encourage anyone to run out and buy this. The cynicism in both these tracks highlight Robison’s obvious ability to liberate her emotions and accompany them with a truly likable melody. Evidently, the talent is there, which suggests that with a little more self-belief, this could have been a really impressive debut album. These are two vocally strong musicians, gifted on two of music’s most rousing and emotive instruments; the banjo and fiddle, yet neither is exploited. With such a blatant album cover might I suggest it cheating the fans a little to utilize their former glory in their self-promotion, but ignore it in the production, performance and quality of their songs.   Yvonne Moore More ... Yvonne Moore Thu, 08 Jul 2010 02:00:00 GMT f1397696-738c-4295-afcd-943feb885714:254