Bon Iver (live in Tripod, Dublin)

Review Snapshot: Bon Iver played a short, but sublime set in Tripod. They took the record 'For Emma, Forever Ago', to another level, adding layers and new sounds to it, whilst retaining the beauty that has made it the great album it is.

The Cluas Verdict? 8.5 out of 10

Full Review:
Over the winter of 2006-7 Justin Vernon retreated to a remote cabin in Wisconsin. It was in this isolated sanctuary that he recorded nearly all of what was to become ‘For Emma, Forever Ago’. The record is a quiet masterpiece and there was a massive air of anticipation before this gig.

This Sound Track gig was due to take place next door at Crawdaddy, but it was moved to Tripod at the last minute for a seated gig. Support came from James McMorrow and Get Well Soon. McMorrow is a local lad. His performance was decent, if a bit too influenced by Ray Lamontagne. Get Well Soon is a 7 piece with members from Germany and Ireland. With a horn section and a girl bashing cymbals they try to be quirky and original. Instead they are boring and repetitive.

Live, Bon Iver is a three piece. Justin Vernon is joined by Sean Carey on drums and his former music student, Mike Noyce, on baritone guitar. There had been an announcement before the gig to keep noise to a minimum due to the quiet nature of Bon Iver’s music. For the most part though, this request was needless. They are so much louder live. They use the extra guitar and drums to build beautiful walls of sound to elevate songs such as ‘Flume’ and ‘For Emma’

While the massive fantastic codas they played were great, the highlights of the gig were in the quieter moments. ‘Skinny Love’ is my favourite song off the album, and possibly my favourite song of the year so far. Live, the drums were louder and more urgent, making the song more forceful. At one stage I just closed my eyes, and let the music take me over, not allowing anything distract me from it. Wonderful. After a solo rendition of ‘Re: Stacks’, they ended on ‘For Emma’. It was perfect.

Apologising for the brevity of the show, Vernon admitted that they simply did not know any other songs. A shout from the crowd suggested that he should just play them again. After a thoughtful pause, he replied that it would probably be too weird. Perhaps it would have been “weird”, but I’m sure that no-one would have objected. Support act, James McMorrow, put it excellently when he said that the music of Bon Iver was “beauty for the sake of beauty… for the sake of art.”

Garret Cleland

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Times New Viking (live in Andrew's Lane Theatre, Dublin)

Review Snapshot: Times New Viking played to small crowd on a Monday night. They gave it everything though. They were trashy, noisy and superb.

The Cluas Verdict? 8 out of 10

Full Review:

Times New Viking released their third album 'Rip It Off' to much fanfare in blogs and, most importantly, Pitchfork. Being signed to Matador had not caused them to change their sound away from their lofi home-recording beginnings on the Stillbreeze label. Instead 'Rip It Off' is like early Pavement going punkier. It's so noisy that it almost gives you a headache. Importantly though, it sounds great.

So, on Monday night they brought their noise to Ireland. It was my first time in the new Andrew's Lane Theatre. It is a decent well designed venue, even if the artwork on the wall makes the place seem as though it's screaming out to be accepted by the Dublin 'scene'.

The gig started with little ceremony. The 'roadies' just picked up their instruments, tuned up, and started playing. I had wondered how well they could translate the sound they create on record to their live performance. Would they have to employ an incompetent soundman? Whatever they did, they captured the sound of the album brilliantly. The vocals were drowned out and the music was fuzzy. It sounded great.

With each track clocking in around the 1-2 minute mark, they fitted 20 songs into their short set. Highlights were 'Teen Drama' and '(My Head)', but many were so indistinguishable behind the raucous noise that it was hard to tell which track they were playing! Regardless of that, it was fast and it was fun.

After just 40 minutes, it was over. Drummer Adam Elliott headed outside for a smoke with the fans, while Beth sat on the stage talking to the fans. The guitarist just stood on stage and finished off the bottle of Jameson that the 3 of them had made impressive progress on during the gig.

There was no pomp about this band. There was no showmanship.There were no frills. They came on stage, made wonderful noise and left. And that's what Times New Viking are all about.

Garret Cleland

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Jens Lekman (live in The Village, Dublin)

Review Snapshot: Jens Lekman returned to Ireland to play the last date on his tour. An excellent gig from one of indie pop’s greatest performers.

The Cluas Verdict? 8 out of 10

Full Review:
Last December, Jens Lekman played to an adoring crowd in Whelan’s. It was just him and his percussionist, with a cameo from Owen Pallett (better known as Final Fantasy). That gig stands out for me as the best live experience of 2007. It finished with Lekman and Pallett playing a final 5 songs in the alley way beside Whelan’s.

On Sunday night, he returned. This time he played next door at The Village. The place was crowded and there was an air of expectancy. Obviously, word had spread even further due to both his last performance, and his spectacular latest album, ‘Night Falls Over Kortedala’. As promised, he brought a full band this time.

He opened with “I’m Leaving You Because I Don’t Love You”. Thanks to his accompaniment on bass, cello, violin and drums this time, the sound was much fuller and slick than his last visit. His voice was in fine form once again. The control he has over his voice can only really be appreciated live. It is flawless. The setlist consisted of nearly all of ‘Night Falls Over Kortedala’ interspersed with a few of his older tracks.

Lekman began ‘Black Cab’ by telling the story of a Turkish fan who approached him after a show disappointed that Jens had not played the song that goes: 'dooooo dooo’. Like the majority of the gig, ‘Black Cab’ was a splendid celebration of joyous pop. His performance of ‘Friday Night At The Drive-In Bingo’ was possibly the happiest song I’ve ever seen played live. The horn section used on the record was replaced with a violin, which added another dimension to the song. Lekman commented that he felt it brought out the innocence of the song.

Jens Lekman is probably the funniest musician I’ve ever seen. I don’t think I’ve laughed so much at a gig before. His wit shows in both his lyrics and his on-stage banter. For the past couple of years he’s opened ‘A Postcard To Nina’ with the tale of how he visited his lesbian friend in Berlin, who had told her father that she was engaged to Jens, in order to hide her secret from him, before launching into song.

After just over an hour, he finished with a beautiful solo rendition of ‘Sirin’. It was a superb gig and Jens is a fantastic performer. However, it did not live up to the standards of his Whelan’s performance. It probably never could have. There was a bit more intimacy at that gig. The crowd were adoring that time where as they seemed colder in The Village, rarely joining in to sing. Only ‘Sweet Summer’s Night On Hammer Hill’ could get them to come out of their shell a bit. Sunday just was not special in the way that night in December was.

Garret Cleland

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A review of the album 'Any Port In A Storm' by New Amusement

Review Snapshot: This is the debut release from local Dublin act New Amusement. Up until now there has been little said about this band, but this mini-album should put them on the map as far as the local scene goes. It’s simple indie pop rock but it’s a pleasure to listen to. They may start making waves yet.

The Cluas Verdict? 7 out of 10

Full Review:
Last month I popped into the Student Bar in UCD to see a Fight Like Apes gig. It was a Champion’s League night but fortunately they had televisions screening the Man Utd Roma game during the support band’s set. However it was not long into their performance that my neck craned away from the TV set to see what band were producing these quality indie rock sounds. Alas it was New Amusement, a name unknown at the time to both myself and the good company I was keeping. For the next half hour they distracted me from Rooney and co with a solidly excellent set.

Imagine my surprise when their mini-album, ‘Any Port In A Storm’, found its way into my post box for review last week. I eagerly popped it into the CD tray and pressed play. Instantly I can tell that in the studio they are quite different to their performance at the Student Bar. The distortion present at the gig was not intended by the band, just a feature of the venue it seems. So it’s different to what I expected, but it’s good.

In a similar vein to Delorentos, New Amusement write catchy indie pop songs, but with a tinge of melancholy. This twist is shown best in the standout track on the album, ‘Gone To Sea’. It’s fast paced and light but with a down beat tone to it. “Like a sailor gone to sea, who’s to blame for this farewell/Walked the beach and the sand was hot, now the tide has blown away”, sings Brian Molloy.

‘Are We Winners’ shows the band’s confident self-assured side. It has a real sense of urgency, and as far as indie pop rock goes, it is a cut above The Pigeon Detectives et al. In parts, this album may sound a bit formulaic, but as debut releases go, this shows real promise. New Amusement, another good addition to the local scene.

Garret Cleland

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Concerto For Constantine (live in Whelan's, Dublin)

Review Snapshot: Concerto For Constantine rocked out a packed Whelan's. Their live show was brilliant, both musically and visually.

The Cluas Verdict? 8.5 out of 10

Full Review:
Concerto For Constantine consists of JJ72’s Mark Greaney, Idlewild’s Gavin Fox and Binzer of The Frames and Bell X1 fame. JJ72 remain one of my favourite Irish bands of all time and regard ‘I To Sky’ as one of the finest Irish records this decade. Their protracted demise frustrated and disappointed me, but I was full of excitement when I heard about Greaney’s latest project. They have been gigging since November but tonight, Binzer’s birthday, was my first experience of them.

The stage is set. Dressed in a uniform of black overcoats, jeans and boots, Gavin Fox and Mark Greaney take to the stage illuminated by flashing strobe lights. They burst straight into an electrifying set. They play straight-up self-indulgent rock, and it’s brilliant. At times it's almost a return to 90s grunge. On stage, Mark and Gavin have such a connection that one cannot help but think that these two men were born to play together. One song in and I’m thinking, “thank Christ JJ72 broke up”.

Concerto For Constantine played for just over and hour, not once lapsing into songs from their previous acts. Their visceral performance was filled with passion as Mark screamed down the microphone to a backdrop of throbbing basslines and thumping drums. The influence of The Smashing Pumpkins has always been evident throughout Mark Greaney’s career, but no more so than with Concerto For Constantine..

They ended on an instrumental number with Gavin Fox picking up an acoustic guitar. As they played, thousands of scraps of black crepe paper rained down from the ceiling. It was a bizarre and stunning visual experience. Then, they burst into one final rip roaring track. Based on tonight, this band may be one of Dublin’s brightest talents.

 Garret Cleland

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A review of the album 'A Cork Wake Tale' by Chris Bathgate

Review Snapshot: The latest offering from Michigan folk artist Chris Bathgate, ‘A Cork Wake Tale’ is a decent and rewarding listen. Similarities to Sufjan Stevens can be seen, but unfortunately his talent is not as great as his contemporary.

The Cluas Verdict? 7 out of 10

Full Review: Chris Bathgate’s talent is certainly not going unnoticed in his homestate of Michigan where he won ‘Best Solo Artist’ by the Detroit Free Press. This album is his first UK release, and he has become the latest folk artist to be put on heavy rotation by BBC Radio 2.

The album opens with ‘Serpentine’. This sublime track turns out to be the highlight of the record. It’s a beautifully simple piano led ballad. Its cyclical melody sucks you in and absorbs you. While ‘Serpentine’ may be the highlight of the album, the rest does not disappoint. It is an eclectic mix of songs for a folk album.

‘Restless’ and ‘Smile Like a Fist’ see our troubadour let out his rockier side, while he is at his downbeat and melancholic best on ‘Madison House’. The use of a reverb-laden outro on ‘Last Parade on Ann St.’ and his use of horns throughout show Bathgate’s diversity. Despite the mix of sounds, this album does not lose focus.

‘A Cork Wake Tale’ is a fine album, well worth a listen. The fact that it never lives up to the brilliance showed on its opening track might detract from the album, but do not let that deter you. It is an absorbing listen that intrigues the ear on first listen, and rewards thereafter.

Garret Cleland

 To buy a new or (very reasonably priced) 2nd hand copy of this album on Amazon just click here.

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A review of the album 'I'll Tear My Own Walls Down' by 'Bill Coleman'

Review Snapshot: I’m not going to blame my lengthy absence from this site on this album. That would be slightly harsh. It most certainly did not fill me full of inspiration and enthusiasm for writing though. An insipid debut effort.

The Cluas Verdict? 3 out of 10

Full Review:
Bill Coleman is an Irish singer-songwriter. Yes, another one. This, his debut, is a typically unoriginal effort. Coleman’s voice appears sweet but by the third track will simply irritate the listener. His lyrics are that of a bored 14 year old who thinks he can be the next great poet. The songs limp by. I despair.

‘Say It Like You Mean It’ starts off with simple and such catchy pop riffs that one could mistake it for being Rilo Kiley for a moment. However, Coleman’s voice combined with lyrics such as “I want you to want me, and I want to want to want you back” ruin any chances I thought I had of finding a gem on this album.

‘The Pull Of The Pint’ is the standout track on this album. It’s a simple track in which Coleman ditches the annoying whine from his voice. But it’s not enough to redeem this album.

I don’t know what it is about singer-songwriters that annoys me so much. I hate trash metal for example, but those bands don’t annoy me nearly as much. These guys go through a break-up and decide that the only way to get over her is to pick up a guitar. They exorcise their demons by exposing the public to their uninventive playing and awful lyrics. Their existence simply riles me. 

It’s not necessarily a bad record, just utterly mediocre and forgetful, like so, so many.

Garret Cleland

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Review Snapshot:
Funeral For A Friend return with a rock album that shows them trying to be taken serious, but it's hard to when the songs are just not there.

The CLUAS Verdict? 4.5 out of 10

Full Review:
On Tales Don’t Tell Themselves Welsh band Funeral For A Friend move away from their emo beginnings and become an all out rock band. As part of this transformation and they have also attempted to create a concept album. This, their third full length, is a story about a fisherman, named David, who is lost at sea. Excited?

The album starts well with the epic opener ‘Into Oblivion (Reunion)’ raising my hopes for this album. Both ‘The Great Wide Open’ and ‘The Diary’ are also highlights on this album making the first third of this album actually pretty solid as Funeral For A Friend rawk out. After that however, it all goes down hill. ‘The wheels fell off’, as some might say. The album just seems to blend into a mesh of repetitive riffs and annoying whiney vocals. It is a record that musically reminds me of local ‘battle of the bands’ competitions - technically proficient, but lacking any song-writing inventiveness.

The whole nautical theme really grates after a while. It may have seemed like a good idea, but the ‘concept’ is a boring one. My mind just shuts off listening to him sing about raising sails and the open water. It’s about as engaging as the dialogue scenes from Castaway.

They may no longer be emo, or post-hardcore (on that note, what is it with music journalists and putting the word ‘post’ before a genre to make a new one?), but in changing direction, they are now a boring, mainstream rock band. Consequently it may lose them a lot of fans who adored their debut effort, ‘Casually Dressed & Deep In Conversation’, and, honestly, I can’t see them finding new legions of devotees as a result of this album.

Garret Cleland

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CLUAS Verdict: 6.5 out of 10

An inconsistent, genre-hopping debut, from the band that gave us one of the finest singles in recent years.

Johnny Boy, a Liverpudlian duo, open their eponymous debut with ‘You Are The Generation That Bought More Shoes And You Get What You Deserve’. This mouthful is a slice of pop perfection and was released as a single in 2004 to critical acclaim but sadly passed the general public by.

The album that we had to wait this long for is a frustrating listen as JB jump between genres with varying success. At times the listener is rewarded with gems which, other than ‘Generation’, include the electro-infused indie of ‘15 minutes’, the punk rock of ‘Formaldehyde’ and the Spector-esque splendidness of closing track, and debut single, ‘Johnny Boy Theme’. However the gaps between these songs are filled with tiresome choruses, strained vocals and over-the-top rants about modern day consumerism and other such socio-political hot topics.

If they are not careful, Johnny Boy might just fall into the dreaded trap of becoming a ‘singles band’, and an obscure one at that.

Garret Cleland

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