Now Playing Tracks

  • Track Name

    Hulluu

  • Album

    Habitat

  • Artist

    Austra

Austra - Hulluu (Audio)

So Austra posted via social media that the video for their new single ‘Habitat’ will be ready for posting next week.

Luckily the four song Habitat EP is already out in Ireland so I thought I would share. If you haven’t heard the title track yet (below) it is a typical Austra i.e. a brilliant piece of left-field electropop smothered in Katie Stelmanis amazing quasi-operatic vocals. They do things a bit differently on the other 3 tracks: ‘Doepfer’ (named after Doepfer Musikelektronik, a German manufacturer of analog synthesizers etc.) & ‘Bass Drum Dance’ are instrumental tracks which wouldn’t sound out of place on an album of contemporary electronica. 'Bass Drum Dance' in particular has a catchy psudeo-string riff, oh and some wordless vocals. The final track 'Hulluu' (which is a cool Estonian word for “delusions of grandeur” - Katie is of Estonian stock) is a fun track with a giddy beat and riff with the vocal refrain of “I took your microphone, it’s in the river” menacingly whispered over the top. Stunning stuff as usual from Austra with some interesting avenues opened up for exploration on future releases.

>

From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info
From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info
From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info
From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info
From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info
From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info
From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014
With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.
After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!
For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.
They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.
Zoom Info

From Little Acorns - Wye Oak live in The Sugar Club, Dublin - Saturday 14th June 2014

With all the football (& hurling) on the TV yesterday it was hard to drag my lazy arse off the sofa but drag it I did into semi-salubrious environs of The Sugar Club, always a rather odd venue for gigs with its tiered lounge seating. When I arrived support act Bachelorette was always well into her set. I had checked out New Zealander Annabel Alper’s music before and had not been convinced but live she was certainly an interesting prospect: on stage alone with 2 laptops, 2 microphones, a keyboard and some other assorted gadgets she mixed beats, synths, vocals & loops with interesting and engaging results.

After a short change-over and soundcheck the Wye Oak duo of Andy Stack and Jenn Wasner hit the stage. I must admit to have not been entirely convinced of the new electronic heavy direction of recent album ‘Shriek’ but I kept an open mind. They started the show with a trio of songs from ‘Shriek’ including single ‘The Tower’ with its overdriven bass solo and the title track on which Jenn played keyboards instead of bass. One of the most intriguing elements of their performance was the fact the Andy played keyboards with his left hand while playing drums with his right - Rick Allen eat your heart out!

For ‘Holy Holy’ from 2011’s album ‘Civilian’ Jenn switch to guitar and brought the rock. After a some more guitar driven tracks it was ‘Glory’ and ‘Sick Talk’ from ‘Shriek’ with plenty of plunky bass, synth arps and pounding drums. For the track ‘Spiral' (from the 2012 Adult Swim’s Singles Program) Andy abandoned drums in favour of guitar and with a drum machine backing they worked their way through a delay-infused riffs to an improv-heavy ending. It all got a bit mid-paced and noddley at this point with some of the weaker songs on 'Shriek' not really holding their own live. Things livened up when Jenn switch to guitar, such as on the frenetic 'For Prayer' but the vibe was certainly dragging by the time she took the microphone in hand for set closer 'Logic of Color'.

They returned for the encore with a cover Kate Bush’s ‘Running Up That Hill' we they recently performed as part of A.V. Undercover. Given the original is such a great song I found their version a little plodding and unremarkable. However they finished the night on a high note with ‘Civilian' which started all droney & countrified before the upped gears and drove it home with lashings of guitar noise.

Barbed Wire Kisses: The Jesus and Mary Chain Story by Zoë Howe

I am sucker for musical biographies and all the better when they are about an artist I used to listen to a lot but maybe haven’t in a while - thus requiring a good trawl through the back catalogue to accompany your reading.

Such is the case with the recently published biography of the Jesus and Mary Chain by Zoë Howe. Although I am a little too young to recall their Psychocandy / Darklands heyday first hand those two albums were a staple of my musical diet once I came of age. If you have never heard either of them you are truly missing out. Their 1985 debut ‘Pyschocandy’ is near perfect, effortlessly melding squalling feedback with classic pop melodies. All fourteen songs on it are worth your attention so if I were to single out ‘Just Like Honey’ or ‘My Little Underground’ I feel like I would be doing the other twelve a disservice.

'Darklands' followed in 1987 and is a different beast. The fuzzboxes & feedback are turned down or off, and the melodies and songwriting is pushed to the fore. Nowhere is this better illustrated than on the opening title track which counterpoints beautiful guitar lines and melodies against some rather bleak lyrics. Elsewhere singles 'April Skies' and 'Happy When In Rains' where genuine pop hits, with 'April Skies' going top 10 and the band ending up on the front of pop magazines like Smah Hits.

And therein lies one of the problems with the JAMC story: they peaked artistically and commercially in 1987 but kept at it for a further 10 years before the fraternal relationship between Jim & William Reid disintegrated beyond repair fueled by the usual rock’n’roll catalysts of drink and drugs. That is not to say the rest of their output is without merit. For instance 1989’s ‘Automatic' has lots of great songs ('Coast to Coas't, 'Blues from a Gun', 'Head On' etc.) but the production, and particularly the use of a very 80s sounding drum machine, make the whole sound a lot more dated than its predecessors. There is also a good bit of filler and it really drags toward the end on 'Drop' & 'Sunray'.

A lot of the same things can be said about 1992’s ‘Honey’s Dead' which from the off, on 'Reverence', features particularly dated sounding percussion; whether through the use of loops, drum machines or just de jour drumming styles. I remember even thinking when I bought the album at the time so. ‘Reverence’ also highlights another problem with the later JAMC output: the lyrics had started to become almost of parody of themselves. “I wanna die just like Jesus Christ / I wanna die on a bed of spikes.. I wanna die just like JFK / I wanna die on a sunny day." You could nearly come up with a dozen key words / themes and make your own JAMC song out of them: Jesus, Cherry, Candy, Die, Kill, Honey, Rain, Hit, Knife, Gun, Sky etc.  Again there are lots of great songs on it with soaring catchy melodies. Look no further than ‘Rollercoaster’ or ‘Far Gone And Out.’

By the time the brothers made their aptly titled fifth LP 1994’s ‘Stoned and Dethroned' they were borderline alcoholics / druggies and were certainly not in tune with the post-grunge / pre-britpop zeitgeist. That being said the change to an acoustic driven Americana type sound really suited their songs. This is particularly apparent on the Lee Hazlewood aping 'Sometimes Always' which features William's paramour at the type, Hope Sandoval, dueting with Jim. However at seventeen tracks the album does overstay its welcome.

If only they had stopped there. But there was one more album to come in 1998 ‘Munki.’ Dropped by their label and barely communicating, the brother went to the noise and lyrical-cliche well one more time. It really wasn’t worth the effort and their are some real howlers on there like ‘Moe Tucker’ sung by their sister Linda and ‘Commercial’ which features the unforgivable lyrics “Burger King is hip / McDonald’s is shit / Please don’t spit / Please don’t tip." It was probably fitting that the band finally fell apart on the promotional tour, with William walking out in LA and the band having to finish the final dates without him to avoid being sued.

Of course there is a happy ending with them getting back together in 2007 for a wad of money and plenty of plaudits that they felt they never got at the time. Although there has  been no new music since the reunion they are still continuing to play live between their new lives in LA & Devon.

All the main players in the story, apart from William, were interviewed for the book but other debunking a few of the myths around the band I didn’t feel like the book had a lot new to tell. Indeed the impression that was left for me was that the Reid brothers were (are?) insular, socially awkward and truculent, and couldn’t function at any level without a liquid or chemical crutch. We don’t really learn anything about their creative process or what was at the core of the brotherly bickering that ultimately tore them apart.

Misty Miller - Taxi Cab (Video)

I think Vaness Paradis was 14 when she had a worldwide hit with ‘Joe Le Taxi' but south London songstress is Misty Miller is 19 and while her new single ‘Taxi Cab’, on  Sony imprint Relentless Records, is pretty fine I doubt if it will end up with her marrying Johnny Depp.

From what I can gather ‘Taxi Cab’ b/w ‘Rabbits' seems to be her third single / EP release on Relentless Record over the last year or so with 'Next To You' and 'Girlfriend' dropping last year. Her sound is classic slightly-left-of-centre guitar led rock music. The nearest contemporary comparison might be someone like Anna Calvi but she lists her influences as being  “Patti Smith, Iggy Pop and The Stooges, The Velvet Underground, Lou Reed, Blondie, Irma Thomas, The Sonics, the 90’s, The Gories" which you can’t really fault.

The little interesting back-story is that she actually wrote and recorded an album with her brother when she was 15. From the couple of songs I listened to on YouTube is was pretty twee acoustic pop but as she says on her Facebook page “naturally, my musical taste and style has grown and evolved into what it is now…" Indeed. I am glad there is not public digital record of my 15 year old self, probably playing air-sax along with Joe Le Taxi.

Slint - Good Morning, Captain (lyric video)

Last summer Dave Pajo played Dublin as an auxiliary member of the Yeah Yeah Yeahs. He returns to Dublin this year with the legendary and now reformed Slint, who play the Button Factory on on 19th August. If you have never heard of Slint then quickly get yourself a copy of 1991’s Spiderland, on which Pajo along with  Brian McMahan & Britt Walford from Louisville, Kentucky pretty much defined the a couple of sub-genres of alt rock  (post rock, math rock, etc. etc.).

Having split up in the early 90s with only 2 albums (Tweez & Spiderland) & 1 EP to their name the band got back together a number of times in the late noughties. A more permanent reunion is now in place with ‘Spiderland’ having been remastered and re-released along with a documentary ‘Breadcrumb Trail’ that I haven’t seen yet. Tickets for their Dublin show went on sale this morning and are bound to see out quickly so don’t hang around;  I didn’t.

The Pheromoans - Hearts of Gold (album stream)

Back in October 2012 we wrote a short piece on the band The Pheromoans and the album ‘Does this Guys Stack Up?' that they had just released on Upset The Rhythm. Well this “six-piece experimental rock band from the South East of England" are back with a new album entitled ‘Hearts of Gold' also on the Upset The Rhythm label.

The music bares no resemblance to the similarly named Neil Young album. Instead it is a melange of idiosyncratic guitars, drums and keys which make for edgy but rewarding listening and call to mind certain eras of The Fall or even a less sophisticated Magic Band. When reviewing their previous album I noted singer Russel Walker’s vocals were “anemically weak and borderline out-of-tune”. This hasn’t changed in anyway but they still fitting and fantastic, delivering nuggets of modern life ennui. I have only had a couple of listens to the album so I am not in a position to give it a full review but I would certainly recommend you check it out if you like something a little more left of field.

Sleep Thieves - You Want The Night (audio)

So one of our favourite Irish band Sleep Thieves are just about to release the second album ‘You Want The Night’ after teasing us with a few tracks like ‘City of Hearts' & 'French Kiss' over the last few months. The album will be released on US Label  Minty Fresh and is certainly going to deservedly raise their profile outside the narrow confines on our little island.  In saying that they are launching the album with a gig Upstairs in Whelans on mid-summers day, 21st June, where they will be supported by two other Irish electronic-heavy bands Cove & Nanu Nanu.  Sleep Thieves are also hosting one of the nights of this weekend’s Youbloom festival - Saturday night upstairs in Sweeney’s on Dame Street.

I am about halfway through my first listen to the album and it terrific stuff: dramatic synth heavy numbers layered with Sorcha Brennan’s amazing vocals. I feel the album stands strongly on its own merits but if you want to imagine a bit of Austra or Fever Ray you won’t be too far off the mark. The album is streaming over on Prefix website but I have cheekily embeded it below it you want to listen.

Santigold - Kicking Down Doors (audio) & some other World Cup songs

Of course if you don’t live under a stone you will know the World Cup starts in Brazil tomorrow. Now music and football haven’t always been the most comfortable of bedfellows but that doesn’t seem to stop people trying to marry them every four years or so. This time there are plenty of efforts to choose from but I thought I would just highlight three:

First up is Lions Share favourite Santigold who has teamed up with producer Yogi for the overly slick and overloaded three & half minutes of modern pop that is ‘Kicking Down Doors.’ Not sure what to make of it. Reminds me a bit of M.I.A. at her lowest ebb. It comes from a soft drinks inspired compilation entitled ‘Pepsi Beats of the Beautiful Game' which I haven't delved into further.

Next up is the track ‘Kick That Soccer Ball’ from USA Soccer Guy, who if you don’t know is a parody type Twitter account that rubs people up the wrong way by tweeting inaccurately about mostly British football in an enthusiastic American style. The song is a rousing jangly country  effort with an incongruous rap in the middle dropping lots of Soccer Guy malapropisms into the rhymes. Thanks Buddy.

Finally we Shuttleworth's  'England's Heartbeat (Brazilian Ambush)'. I might have overlooked this altogether if it didn't feature the unique vocals talents of Mr. Mark E Smith of the The Fall. The track was originally recorded for 2010 World Cup in South Africa but has been updated for this time around. Instantly forgettable probably much as England’s World Cup campaign will be!

So there have been no Lions Share posts for the last week or so as I have been on holidays in the south of France. It was very Nice but there has never been that much in France that tickled my musical fancy much, not even Johnny fucking Hallyday. I also find that when I go on holidays I don’t really get that much of a chance to listen to music but I do always get plenty of time to read. My choice of reading for this holidays was mostly Bob Stanley's epic 'Yeah Yeah Yeah: The Story of Modern Pop’.

As the name suggest the book tells the story of Pop Music from the beginning of the charts and the 7” single in the 50s, all the way up to the modern digital era. It is a hugely ambitious undertaking but one Stanley (one-third of St. Etienne) manages with alacrity, showing an amazing breath and depth of knowledge. I can think of no major popular music genre or scene that he doesn’t cover or touch on. Plus he is not an indie or “real music” snob and gives the Bay City Rollers as much thought as the Beach Boys. Given the breath of the subject matter you are bound to disagree with him on certain bands but isn’t that half the fun? Recommend to anyone with even a passing interest is the history of pop music.

P.S. After finishing the book I decided to read some reviews on Amazon. They were all fairly positive except for this one from one Mrs. NA REDMAN of England.

I did not find this book as interesting as I though and will be sending it to my 52 year old son who lives in Sicily and will be more interested in it than I will be.”

Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info
Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.
Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.
Zoom Info

Was deleting all the photos off my camera and realised I had loads more photos from the Dum Dum Girls & Crocodiles gig a few weeks back than I posted with our review. So here they are.

Of course as well as continung to tour Europe Dee Dee had also just released an album ‘Initiation’ with husband Brandon under their Haunted Hearts alias. It is well well worth checking out.

Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info
Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014
And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & MØ and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.
So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.
By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.
Zoom Info

Arpeggiate Wildly - Soft Metals live Upstairs in Whelans, Dublin - Thursday 29th May 2014

And so my planned May-hem month of gigs came to an end on Thursday night Upstairs in Whelans with gig number 8 of the month rather than the 11 I had tickets for (2 cancelled / postponed: Eyedress & and 1 missed by me: Speedy Ortiz).  As well as bringing LA-based duo Soft Metals to Dublin for the first time promoters Skinny Wolves had lined up some quality local support in the form of Night Trap & Diamond Dagger. Unfortunately I arrived a bit late and missed the former but Diamond Dagger produced some very impressive knob-twiddling in the corner of the room, melding a retro arp sound with nice modern beats. Definitely going to give his stuff a good listen.

So after winding their why across Europe since the middle of April, Soft Metals finally made it Ireland for some shows in Dublin, Cork & Limerick. Having loved last years ‘Lenses' album I was intrigued to see if they could deliver their synth-heavy sound live. As soon as they struck into low key opener 'When I Look Into Your Eyes' I knew everything was going to be fine, despite a little bit of mic feedback. After some minor stage rearrangement they ploughed on with 'Always' & 'The Cold World Melts' from their debut album, with the latter inspiring plenty of dancing from front woman Patricia Hall and large parts of the swelling crowd. The older songs continued with the uptempo beats of ‘Voices’ which featured plenty of echo, echo, echo on the vocals.

By this stage Ian Hicks’s beats and unrelenting arpeggios, coupled with Patricia’s moody melodies had the crowd well and truly won over.  They drove the point home with a succession of stronger and stronger songs: the 3 chord riff on ‘No Turning Back’, the cheap drum machine beats of ‘Psychic Driving’, the techno throb of ‘Lenses’ and two of my favourites ‘Tell Me’ and ‘In The Air’ to finish up. With no real backstage area Upstairs in Whelans the pair just drifted off for a minute or two before a compelling cover of Throbbing Gristle’s ‘Hot On The Heels Of Love' which gave Patricia plenty of opportunity for yelping and improvising.

Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info
Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014
“I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.
Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.
She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.
After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.
*with apologies to Halfset
Zoom Info

Laptop Dancer* - Glasser live in The Button Factory, Dublin - Tuesday 27th May 2014

I am Glasser. We are Glasser. We all are Glasser" This is Cameron Mesirow greeted Dublin last night at the start of her summer tour. When I say Glasser previously in Crawdaddy back in 2011 she had a band with her. Tonight it is just her, a laptop musician and a big empty stage, save for a small screen for projections. Unfortunately the crowd is pretty sparse too with barely a hundred people present.

Not to be deterred in any way they kick the night off with ‘Shape’ the opening track from last years ‘Interiors' album. Cameron is in fine form filling the air with her impeccable vocals and the stage with her dance moves, especially when the harder beats of 'Forge' kick in. She busts out some coquettish moves during 'Exposure' and shows her full vocal range with some operatic wailing. At times her dancing borders on interpretive parody but that doesn't matter when she has songs as powerful as the brooding & moody 'Landscape'.

She introduces ‘Dissect’ by telling us it is about becoming invisible, and with a soundtrack filled with oriental and animal sounds she breaks into a big dance solo with arms & legs flung every which way. The beat for ‘Keam Theme’ is almost four to the floor, and when they finally delve back into debut album ‘Ring' there are tribal beats and yelps aplenty. 'New Year' has plenty of brass flourishes to keep us interest and on 'Mirrorage' she skipped across the stage miming lassoing or something similar.

After explaining it was good to be playing live again after many months of a hiatus, Cameron thanked us for coming and finished the night off with Interiors closing track  ‘Divide’ which mixed a pounding bass drum, oriental riffs and aching violin to great effect. Although there a lot of acts out there melding electronic beats with impressive vocals, few are as unique and impressive Glasser. Despite this, and perhaps because she veers towards left field, she doesn’t quite get the audience she deserves. However as long as she keeps making music I’ll keep listening.

*with apologies to Halfset

Live through a Lens- Camera Obscura live in The Button Factory, Dublin - Monday 26th May 2014
It was an ominous sign when the venue for Camera Obscura's Dublin return last night was downgraded from Vicar Street to The Button Factory, but even though the balcony was closed, downstairs the thronged by the time Traceyanne Campbell and her six-strong cohort hit the stage. Opening with the sweet pop of 'Break It To You' the band treated us to more mellifluous melodies than is probably good for you in one sitting.
The kept kept the mood upbeat for the next couple of songs: ‘New Years Resolution’ with its gently over-driven guitar lead and the delight that is ‘Let’s Get out of This Country.’ After thanking us for choosing their gig over Michael Bolton in the Olympia, Traceyanne switched to acoustic guitar and the band dropped the pace for ‘Forest and Sands’ which had plenty of pedal steel flourishes from auxiliary member Tim at the back of the stage. ‘Desire Lines’ with its gentle organ thrills seemed particularly apt with its refrain of ‘I’ll Vote For You’ & Traceyanne even joked about whether to let the SNP use it for their campaign.
They lifted the pace again with ‘Honey In The Sun’ which delivered a brass-fueled serotonin rush on every repeat of the chorus. After some headphone issues Traceyanne broke out the tambourine for the Motown-style stomp of  ‘French Navy’. ‘This Love Feels Alright’ followed with some triangle and “fake saxophone” and after ‘Cri Du Coeur’ they delivered ‘Country Mile’ at a funeral place with beautiful slide guitar. ‘Every Weekday’ came over all gentle-jangle with plenty of off-mic backing vocals while ‘Do It Again’s giddy pop brought them as near to rocking out as Camera Obscura get.
'If Looks Could Kill' started with a tom-tom rumble before the bass, brass and band all joined in. They finished the main set with the title track of 2009's my maudlin career but thankfully they all returned for a triple encore. First up was 'Come Back Margaret' with its glitter stomp, hand-clap breakdown and false ending. Traceyanne delivered 'Books Written For Girls' with minimal backing: just plucked guitar and piano chords with a haunting pedal steel solo thrown in for good measure. They finished the night with 'Razzle Dazzle Rosie' which built from its long brass-buoyed intro to an epic strummed ending. For some reason my expectations for the gig weren't that high but I couldn't have been more impressed with every note an ebullient delight.
Zoom Info
Live through a Lens- Camera Obscura live in The Button Factory, Dublin - Monday 26th May 2014
It was an ominous sign when the venue for Camera Obscura's Dublin return last night was downgraded from Vicar Street to The Button Factory, but even though the balcony was closed, downstairs the thronged by the time Traceyanne Campbell and her six-strong cohort hit the stage. Opening with the sweet pop of 'Break It To You' the band treated us to more mellifluous melodies than is probably good for you in one sitting.
The kept kept the mood upbeat for the next couple of songs: ‘New Years Resolution’ with its gently over-driven guitar lead and the delight that is ‘Let’s Get out of This Country.’ After thanking us for choosing their gig over Michael Bolton in the Olympia, Traceyanne switched to acoustic guitar and the band dropped the pace for ‘Forest and Sands’ which had plenty of pedal steel flourishes from auxiliary member Tim at the back of the stage. ‘Desire Lines’ with its gentle organ thrills seemed particularly apt with its refrain of ‘I’ll Vote For You’ & Traceyanne even joked about whether to let the SNP use it for their campaign.
They lifted the pace again with ‘Honey In The Sun’ which delivered a brass-fueled serotonin rush on every repeat of the chorus. After some headphone issues Traceyanne broke out the tambourine for the Motown-style stomp of  ‘French Navy’. ‘This Love Feels Alright’ followed with some triangle and “fake saxophone” and after ‘Cri Du Coeur’ they delivered ‘Country Mile’ at a funeral place with beautiful slide guitar. ‘Every Weekday’ came over all gentle-jangle with plenty of off-mic backing vocals while ‘Do It Again’s giddy pop brought them as near to rocking out as Camera Obscura get.
'If Looks Could Kill' started with a tom-tom rumble before the bass, brass and band all joined in. They finished the main set with the title track of 2009's my maudlin career but thankfully they all returned for a triple encore. First up was 'Come Back Margaret' with its glitter stomp, hand-clap breakdown and false ending. Traceyanne delivered 'Books Written For Girls' with minimal backing: just plucked guitar and piano chords with a haunting pedal steel solo thrown in for good measure. They finished the night with 'Razzle Dazzle Rosie' which built from its long brass-buoyed intro to an epic strummed ending. For some reason my expectations for the gig weren't that high but I couldn't have been more impressed with every note an ebullient delight.
Zoom Info
Live through a Lens- Camera Obscura live in The Button Factory, Dublin - Monday 26th May 2014
It was an ominous sign when the venue for Camera Obscura's Dublin return last night was downgraded from Vicar Street to The Button Factory, but even though the balcony was closed, downstairs the thronged by the time Traceyanne Campbell and her six-strong cohort hit the stage. Opening with the sweet pop of 'Break It To You' the band treated us to more mellifluous melodies than is probably good for you in one sitting.
The kept kept the mood upbeat for the next couple of songs: ‘New Years Resolution’ with its gently over-driven guitar lead and the delight that is ‘Let’s Get out of This Country.’ After thanking us for choosing their gig over Michael Bolton in the Olympia, Traceyanne switched to acoustic guitar and the band dropped the pace for ‘Forest and Sands’ which had plenty of pedal steel flourishes from auxiliary member Tim at the back of the stage. ‘Desire Lines’ with its gentle organ thrills seemed particularly apt with its refrain of ‘I’ll Vote For You’ & Traceyanne even joked about whether to let the SNP use it for their campaign.
They lifted the pace again with ‘Honey In The Sun’ which delivered a brass-fueled serotonin rush on every repeat of the chorus. After some headphone issues Traceyanne broke out the tambourine for the Motown-style stomp of  ‘French Navy’. ‘This Love Feels Alright’ followed with some triangle and “fake saxophone” and after ‘Cri Du Coeur’ they delivered ‘Country Mile’ at a funeral place with beautiful slide guitar. ‘Every Weekday’ came over all gentle-jangle with plenty of off-mic backing vocals while ‘Do It Again’s giddy pop brought them as near to rocking out as Camera Obscura get.
'If Looks Could Kill' started with a tom-tom rumble before the bass, brass and band all joined in. They finished the main set with the title track of 2009's my maudlin career but thankfully they all returned for a triple encore. First up was 'Come Back Margaret' with its glitter stomp, hand-clap breakdown and false ending. Traceyanne delivered 'Books Written For Girls' with minimal backing: just plucked guitar and piano chords with a haunting pedal steel solo thrown in for good measure. They finished the night with 'Razzle Dazzle Rosie' which built from its long brass-buoyed intro to an epic strummed ending. For some reason my expectations for the gig weren't that high but I couldn't have been more impressed with every note an ebullient delight.
Zoom Info
Live through a Lens- Camera Obscura live in The Button Factory, Dublin - Monday 26th May 2014
It was an ominous sign when the venue for Camera Obscura's Dublin return last night was downgraded from Vicar Street to The Button Factory, but even though the balcony was closed, downstairs the thronged by the time Traceyanne Campbell and her six-strong cohort hit the stage. Opening with the sweet pop of 'Break It To You' the band treated us to more mellifluous melodies than is probably good for you in one sitting.
The kept kept the mood upbeat for the next couple of songs: ‘New Years Resolution’ with its gently over-driven guitar lead and the delight that is ‘Let’s Get out of This Country.’ After thanking us for choosing their gig over Michael Bolton in the Olympia, Traceyanne switched to acoustic guitar and the band dropped the pace for ‘Forest and Sands’ which had plenty of pedal steel flourishes from auxiliary member Tim at the back of the stage. ‘Desire Lines’ with its gentle organ thrills seemed particularly apt with its refrain of ‘I’ll Vote For You’ & Traceyanne even joked about whether to let the SNP use it for their campaign.
They lifted the pace again with ‘Honey In The Sun’ which delivered a brass-fueled serotonin rush on every repeat of the chorus. After some headphone issues Traceyanne broke out the tambourine for the Motown-style stomp of  ‘French Navy’. ‘This Love Feels Alright’ followed with some triangle and “fake saxophone” and after ‘Cri Du Coeur’ they delivered ‘Country Mile’ at a funeral place with beautiful slide guitar. ‘Every Weekday’ came over all gentle-jangle with plenty of off-mic backing vocals while ‘Do It Again’s giddy pop brought them as near to rocking out as Camera Obscura get.
'If Looks Could Kill' started with a tom-tom rumble before the bass, brass and band all joined in. They finished the main set with the title track of 2009's my maudlin career but thankfully they all returned for a triple encore. First up was 'Come Back Margaret' with its glitter stomp, hand-clap breakdown and false ending. Traceyanne delivered 'Books Written For Girls' with minimal backing: just plucked guitar and piano chords with a haunting pedal steel solo thrown in for good measure. They finished the night with 'Razzle Dazzle Rosie' which built from its long brass-buoyed intro to an epic strummed ending. For some reason my expectations for the gig weren't that high but I couldn't have been more impressed with every note an ebullient delight.
Zoom Info
Live through a Lens- Camera Obscura live in The Button Factory, Dublin - Monday 26th May 2014
It was an ominous sign when the venue for Camera Obscura's Dublin return last night was downgraded from Vicar Street to The Button Factory, but even though the balcony was closed, downstairs the thronged by the time Traceyanne Campbell and her six-strong cohort hit the stage. Opening with the sweet pop of 'Break It To You' the band treated us to more mellifluous melodies than is probably good for you in one sitting.
The kept kept the mood upbeat for the next couple of songs: ‘New Years Resolution’ with its gently over-driven guitar lead and the delight that is ‘Let’s Get out of This Country.’ After thanking us for choosing their gig over Michael Bolton in the Olympia, Traceyanne switched to acoustic guitar and the band dropped the pace for ‘Forest and Sands’ which had plenty of pedal steel flourishes from auxiliary member Tim at the back of the stage. ‘Desire Lines’ with its gentle organ thrills seemed particularly apt with its refrain of ‘I’ll Vote For You’ & Traceyanne even joked about whether to let the SNP use it for their campaign.
They lifted the pace again with ‘Honey In The Sun’ which delivered a brass-fueled serotonin rush on every repeat of the chorus. After some headphone issues Traceyanne broke out the tambourine for the Motown-style stomp of  ‘French Navy’. ‘This Love Feels Alright’ followed with some triangle and “fake saxophone” and after ‘Cri Du Coeur’ they delivered ‘Country Mile’ at a funeral place with beautiful slide guitar. ‘Every Weekday’ came over all gentle-jangle with plenty of off-mic backing vocals while ‘Do It Again’s giddy pop brought them as near to rocking out as Camera Obscura get.
'If Looks Could Kill' started with a tom-tom rumble before the bass, brass and band all joined in. They finished the main set with the title track of 2009's my maudlin career but thankfully they all returned for a triple encore. First up was 'Come Back Margaret' with its glitter stomp, hand-clap breakdown and false ending. Traceyanne delivered 'Books Written For Girls' with minimal backing: just plucked guitar and piano chords with a haunting pedal steel solo thrown in for good measure. They finished the night with 'Razzle Dazzle Rosie' which built from its long brass-buoyed intro to an epic strummed ending. For some reason my expectations for the gig weren't that high but I couldn't have been more impressed with every note an ebullient delight.
Zoom Info

Live through a Lens- Camera Obscura live in The Button Factory, Dublin - Monday 26th May 2014

It was an ominous sign when the venue for Camera Obscura's Dublin return last night was downgraded from Vicar Street to The Button Factory, but even though the balcony was closed, downstairs the thronged by the time Traceyanne Campbell and her six-strong cohort hit the stage. Opening with the sweet pop of 'Break It To You' the band treated us to more mellifluous melodies than is probably good for you in one sitting.

The kept kept the mood upbeat for the next couple of songs: ‘New Years Resolution’ with its gently over-driven guitar lead and the delight that is ‘Let’s Get out of This Country.’ After thanking us for choosing their gig over Michael Bolton in the Olympia, Traceyanne switched to acoustic guitar and the band dropped the pace for ‘Forest and Sands’ which had plenty of pedal steel flourishes from auxiliary member Tim at the back of the stage. ‘Desire Lines’ with its gentle organ thrills seemed particularly apt with its refrain of ‘I’ll Vote For You’ & Traceyanne even joked about whether to let the SNP use it for their campaign.

They lifted the pace again with ‘Honey In The Sun’ which delivered a brass-fueled serotonin rush on every repeat of the chorus. After some headphone issues Traceyanne broke out the tambourine for the Motown-style stomp of  ‘French Navy’. ‘This Love Feels Alright’ followed with some triangle and “fake saxophone” and after ‘Cri Du Coeur’ they delivered ‘Country Mile’ at a funeral place with beautiful slide guitar. ‘Every Weekday’ came over all gentle-jangle with plenty of off-mic backing vocals while ‘Do It Again’s giddy pop brought them as near to rocking out as Camera Obscura get.

'If Looks Could Kill' started with a tom-tom rumble before the bass, brass and band all joined in. They finished the main set with the title track of 2009's my maudlin career but thankfully they all returned for a triple encore. First up was 'Come Back Margaret' with its glitter stomp, hand-clap breakdown and false ending. Traceyanne delivered 'Books Written For Girls' with minimal backing: just plucked guitar and piano chords with a haunting pedal steel solo thrown in for good measure. They finished the night with 'Razzle Dazzle Rosie' which built from its long brass-buoyed intro to an epic strummed ending. For some reason my expectations for the gig weren't that high but I couldn't have been more impressed with every note an ebullient delight.

Josh Haden - Dana (audio)

I have raved about the band Spain on The Lions Share a couple of times, most recently back in March when they released their excellent current album ‘Sargents Place’. For some reason that I am not aware of, and only know about due to Spain’s Facebook feed, their front man Josh Haden has just released a solo track called ‘Dana’. It is just him and an acoustic and a lot of reverb. Magical. And he is pronouncing Dana with the first “a” as a “aye” rather than the Irish “ah” way. So not an ode to our first Eurovision winner who turned in a holy-joe right-wing c*nt.

Sinead Harnett - No Other Way (Audio)

Just under a year ago we featured the debut solo single from Disclosure and Rudimental collaborator Sinead Hartnett. Well this young London lady is back with another slab of sweet electro-pop R&B in the form of new single ‘No Other Way’. This time the production comes from Snakehips and the word is the track is from her debut EP ‘N.O.W.’  on 15 June via 333 Records.

If you want to hear more Sinead check out the Ryan Hemsworth track ‘Small + Lost’  which she featured on last year.

We make Tumblr themes