New Video: Tara Masterson Hally - 'Lingering'

When I introduced Tara Masterson Hally back in April, I was captivated by the contrast between her standout voice and the spacious, minimal arrangement. Since then anything she has put out has only heightened such admiration. The latest example is a basement shot video by the creative types over at Havagawk which captures the barren beauty of the original track perfectly. The video was directed and edited by Finn Keenan.

Find Tara Masterson Hally on Facebook and listen/download her music on Soundcloud.

New Release: Jape return with Ocean Of Frequency on September 30th

It's hard to believe that it's 3 years since Jape's third album Ritual first leapt into my consciousness. It's also a testament to its invention and quality that it still sounds as vibrant and fresh to this very day, and it remains one of the best Irish releases in recent history. Since then, Richie Egan and his Jape ensemble have crafted and perfected a dozen songs for the eagerly-awaited follow up - Ocean Of Frequency. The album, Jape's fourth studio release, is out on September 30th through music/is/for/losers. 

I've heard just over half of the songs through live appearances and they make for an interesting listen, with Richie pushing the sound in some bold new directions, while still showcasing his penchant for a killer hook. I'm particularly excited about 'The Oldest Mind'; an entrancing ode to embracing your youth and the soothing acoustic number that is 'It's Shadow Won't Make Noise'. When you can afford to leave tracks like 'Hands Of Fire' and 'Lying On My Deathbed' off your new record you know it's going to be something special.

The first single, 'You Make The Love', is released on the same day.

In Richie's own words:

“I had thought that the follow up to Ritual was finished about three times so far, but I kept getting drawn back to writing more and more songs, trying to push my songwriting
as hard as I could and see how many different styles and moods I could try out, to feel
out the album. Eventually, I realised that you could just keep on doing that forever so I
decided it was time to start letting these songs go for a walk around the place 

The idea for the title, Ocean of Frequency came from an interview I saw with Michael
Talbot. He was an American author who wrote some books linking science with
mysticism. I feel the answer to religion lies somewhere in science and I like to think that
we all float about in an ocean of frequency that we can't understand. People always go
on about the difference between science and religion, in my opinion there is an unending
spiritual beauty in the order of science.”

            Tracklist             

1. An Hallucination
2. Please Don’t Turn The Record Off
3. The Oldest Mind
4. Too Many People
5. One Of Those Days That Just Feels So Long
6. Borrowed Time With Peace
7. Scorpio
8. You Make The Love
9. Internal Machine
10. Its Shadow Won’t Make Noise
11. Na Niotancullah
12. Ocean Of Frequency

Here's a rough demo of 'Its Shadow Won’t Make Noise':

  Its Shadow Won't Make Noise by Jape

Listen: Brand new Villagers track - 'Beatitudes'

Villagers' Conor O'Brien popped into 98FM's Totally Irish session earlier tonight and took the time to debut a brand new track called 'Beatitudes'. A tender and delicate creation, O'Brien's heart is firmly on his sleeve throughout this earnest little number, tenderly crooning his way through several doe-eyed couplets. "I weep like a baby when I think of you / But I sleep like a baby when I dream of you" - that, Mr O'Brien, is worthy of the finest Valentine's Day Card. Lovely stuff.

Villagers play Marley Park with Beach House on July 23. Tickets on sale now.

Bipolar Empire - 'Why So Sad?' [Red Radar Video]

Fresh from delivering an excellent debut album in the form of Feel That You Own It, Bipolar Empire popped into Red Radar and delivered a lovely acoustic rendition of 'Why So Sad?'

As with the album version this is uplifting, vocally outstanding and harmonious to nth degree.

Delorentos - 'Bullet In A Gun'

A sweet little acoustic video of a new Delorentos song called 'Bullet In A Gun'. Shot on the streets of Madrid during their recent Spanish tour, the song is likely to appear on album number three which the band begin pre-production on next week, with Rob Kirwan of U2, Editors and PJ Harvey fame taking the helm this time. Via elDEANTEMANO.

New Video: Wild Beasts - Acoustic Session

Much props to Daniel over at Electric Whipcrack for this gem. As part of 'La Garage Session' you can watch Wild Beasts perform a stripped down acoustic take on three numbers from their new album Smother - 'Reach A Bit Further', 'Bed Of Nails' and 'Deeper'.

Smother has been worming its way into my bones over the past few days and it just gets better and better with every listen. After the 'dancing cocks', wanton lust and general debauchery of Two Dancers, this new record is a soothing antidote; the calm after the storm. Perfectly measured and impeccably produced it's a stirring, emotive and accomplished piece of work from a band now showing incredible depth and promise far beyond that of their initial brave and bulging debut.

Smother is released on Friday and is currently streaming over at Domino.



Wild Beasts, la garage session from Télérama on Vimeo.

Interview: Declan O'Rourke

Earnest troubadour Declan O'Rourke is back with another album intriguingly named Mag Pai Zai. I caught up with him for a few quick words with the Metro last week and though I haven't heard much of the new album, he'll always have my respect for songs like 'Sarah' and 'Galileo'. 

What exactly does ‘Mag Pai Zai’ mean?

It’s a play on words. One of the songs is about these two brothers in New York who hoard everything and there’s a line that says 'He saw the whole wide world through the magpie’s eye' and I thought it sounded nice…and oriental.

How does this album differ from the previous two?

I think it’s a little bit more mature. I’ve always produced my own stuff so I know what I’m doing a bit more in the production side of things. It’s warm and sounds a bit more uniform - I had a lot of fun making it and it was quite an easy process.

You suffered from writers block in the time preceding the album’s creation - that must have been a challenge? 

I had to take it for what it was. I was probably trying to refine my approach a bit too much so I had to stop stressing over why it wasn’t working or what was wrong. It was a great learning curve about how I can motivate myself to do these things and an insight into the key that turns the lock; I learned a lot and it won’t be happening again too quickly that’s for sure.

How did you snap out of it?

It’s very hard to describe, I couldn’t understand why I wasn’t writing and it was about discovering what inside me was stopping me. You need a part of yourself looking back on the process and figuring out how your brain works. It was an interesting time - it wasn’t a lot of fun, it was quite scary actually, but it was all the more sweet when the release came and it was like ‘Yeah I know how to do this!’

Do you have a distinct method of song writing now?

You try to tell yourself all of these rules on how to do it but you just have to let yourself be free. You have to let your brain have some fun, let your imagination run wild and not be so critical of yourself - I had to act unlearn a lot of stuff.

You left a major label to form your own – why?

It just didn’t get me any where that I didn’t think I could get on my own. I have no control over the other records, so I do now and there’s also the propensity to make more money.

Do these big labels deserve the criticism they get?

They have a lot to answer for. They serve a purpose to a point, especially money wise but if it’s a case of them being just a bank then you’d get a far better rate on a loan from the bank. If you get a loan from the record company they own the records and you get a small percentage of the money made, so it’s kind of ridiculous. Functionally, they do have an infrastructure in place for getting it promoted but in the age of independent music, unless you’re in the top tier they’re not going to spend that much or take risk on you anyway. They also kind of kill individuality which is a huge drawback.

What’s the biggest challenge of doing things on your own?

Money. It was tough and it took longer than expected as we had to stop at certain hurdles and wait until we had the cash to jump over it but we got there and hopefully this one will pay for the next one!

So was this latest album produced on a shoe-string budget?

It was intended to be but we didn’t scrimp and we ended up paying whatever we needed to make it sound right.

You’re soon setting off for your first full-band tour in three years; do you prefer these to the solo shows?

I really enjoy playing on my own but I like to chop and change it. It makes it exciting for those going to the gigs and it’s also nice to present the songs in different ways. I’m really excited about playing on this band as the guys that played on it are really great musicians that I clicked with and they added something really special.

 Was one of these musicians Paddy Casey? I heard rumours of collaboration?

Not quite, I just recorded one of the instrumental parts in his house but we’re great friends. We bounce ideas of each other and there was a couple of time where he came in and helped push me in the right direction, and I think we do that for each other. It’s good to have a musical head who can come in with a fresh pair of ears and suggest something.

And who would be your dream person to collaborate with then?

Cheryl  Cole. I’d like to produce her doing some nice songs as opposed to her usual pop crap.

Introducing: Christina Perri

I was lucky enough to amble along to see Christina Perri, a new American pop hotshot, for Hot Press recently and if she's to becomes a smash hit sensation in Europe I want  you to be able to say you heard it here first! So here we are, good acoustic pop tunes backed by a seriously strong voice that could see her make it big - enjoy. 

You may not know her yet but with 12 million Youtube hits already to her name this pint-sized poplet has been making huge waves state-side and she soon showed why; sweeping away a select few lucky attendees with an intimate lunchtime showcase in the Clarence Hotel’s Octagon bar.

Opening number 'Bang Bang Bang' is a passionate upbeat jaunt which Perri describes midway through as a "song about revenge". For a girl of just 24 she certainly has enough personal experience to draw from, with a whirlwind marriage and its subsequent divorce already behind her. Indeed, this theme of loss and separation is evident throughout, particularly on the aptly named 'Tragedy'; a sombre lament in which she moved from acoustic guitar to keyboard with notable ease.

Perri described next tracks 'Arms' as an "upbeat little tale of letting love win" but it's her ever-excellent voice which triumphs, shifting to even greater heights on a track which bears more than a touch of similarity with fellow songstress Laura Marling. To close, the Philadelphia native delivered 'Jar Of Hearts', a song which she admits changed her life completely. Speaking to her after the show she reminisced of how a friend had sent her demo to another friend wherein it ended up on hit US show 'So you Think You Can Dance' and a rake of sales and record contract offers followed. Brimming with emotion and anguish throughout, it's no surprise the piano-led anthem struck a chord with many and it seems custom-made for the finalists of next year's X-factor.

In what was her first live performance outside of the US, Perri showed she has a clear penchant for writing emotive, love-lorn tracks and this coupled with her outstanding voice marks her out as a definite one to watch for 2011.

New Music: The Return of Fleet Foxes

Fleet Foxes return with a new 12-track album on May 3, entitled Helplessness Blues. In typically modern fashion a couple of cuts from the album have already appeared online with 'Battery Kinzie' and the title track promisingly sounding like upbeat bristling folk anthems, with comparisons veering from Simon & Garfunkel to Belle & Sebastian. With the sun in the sky and summer fast approaching, now's the perfect chance to get re-acquainted with your favourite band from 2008. 

Fleet Foxes - Battery Kinzie by One Thirty BPM Courtesy of One Thirty BPM.

Fleet Foxes - Helplessness Blues by subpop

Profiler - Rory Grubb

I mentioned Rory Grubb in my Top 60 songs of the year but having given his latest album, Sketches From The Big Sleep, a proper listen I feel this Dublin singer-songwriter is worthy of a proper analysis.

As I alluded to in the above post, there's nothing particularly revelatory about what Grubb does, and if prolonged exposure has left you allergic to the traditional formula of 'one man and his guitar', then look away now. 
Despite this, and even though Grubb ticks all the conventional boxes, he also infuses them with a lovely atmospheric dash, which makes for an interesting listen and serves to prevent him from falling under the tag of dreary dross.

Throughout Sketches...it's clear that Grubb is in no rush and the title of the album is certainly apt, with a dream-like quality apparent throughout. 


Indeed, at times it feels like the bare bones of the songs have been gently marinated in a mix of hazy reflection and concentrated atmospherics, for quite some time. It won't be to everyone's taste admittedly and if immediacy is what you're after then stick on that new Daft Punk soundtrack or something, as what's on offer here makes for a gentle, woozy form of enjoyment. If you're looking for intrictae instrumentation, wry, reflective lyrics and the perfect Sunday hangover music then proceed right this way: MySpace // Breaking Tunes

On a side note, I saw Rory perform at the Young Hearts Run Free bash in the Co-Op a few months back (where his live set up was puzzlingly complex and involved a long-process of pre-recording each element), and on the way out, his albums were on the table at the door...I presumed they were there to be taken and proceeded to do so but if not and if you're reading this Rory - apologies and I owe you a tenner!

Below are old videos for two tracks off the new album:  Ambulance and Fall Out, Start Again:

Album Review: Phil Selway - Familial

A review I did a while back of Philip 'the drummer from Radiohead' Selway's lovely debut. 
It's all part of a general restructuring process...apologies for the inconvenience but don't worry, full ergo minimal service will be resumed shortly...

So, this is what it sounds like when the drummer of one of the biggest bands in the world leaves down his sticks and goes it alone. While Thom Yorke's The Eraser furthered the more eclectic streak of Radiohead's work, Selway's endeavour is surprisingly hushed and lands firmly under the title of 'acoustic singer song-writer'; a penchant which tends to yield nothing more than a stifled yawn these days such is the plethora of guitar-clad troubadours emerging.

With vocals bordering on a whisper and a general air of restraint present, Familial does little to break such pigeon-holing on first impressions. Yet, as the gentle croon and delicate licks fall into place it becomes clear that Selway has crafted a complete record; one to be absorbed in it's entirety and one which only shows it's true beauty upon repeated exploration. For a man who spent his years battering pig skin, Selway certainly has a canny ear for melody with the hushed opening ode to depression, By Some Miracle, and the sprightly The Ties That Bind Us holding particular harmonious virtue.

Those expecting In Rainbows Part II need not apply, instead Familial arrives as it's own entity entirely. This is a record of reflection and poignancy, characterised by a series of wonderfully gentle hooks to usher in and complement the approaching Winter months perfectly. 

Having apparently held off on such solo ambitions due to doubts over how to approach it, Selway should be applauded for choosing a tone which could so easily have been derided as stale and unimaginative, but instead possesses a lingering warmth in it's sparsity. One suspects however, that the strength of such songs will likely bring him the due plaudits regardless.

Video: Bandwidth Sessions - The National

The last video I posted just there showed Kittser on the streets of Belfast courtesy of The Bandwidth Sessions and low and behold they've also worked with none other than The National. Way back in 2008, Bandwidth got Matt Berninger and co in for a stripped down version of a few tracks and the result is truly special with Berninger's distinctive baritone suiting the acoustics perfectly.

They stole the (slow) show at Electric Picnic last weekend and I honestly cannot wait to see them in the Olympia this coming December. Tickets, priced at around €30 go on sale tomorrow (10th September) and will be gone in minutes in all likelihood such is the continually growing stature of the Ohio natives.


The National - Apartment Story (Part 1 of 3) from Bandwidth on Vimeo.



The National - Slow Show (Part 2 of 3) from Bandwidth on Vimeo.



The National - You've Done It Again Virginia (Part 3 of 3) from Bandwidth on Vimeo.

Video: David Kitt - Deadly Sound Underground

This is a brilliant version of David Kitt's 'Say No More', which was originally on his 2006 LP Not Fade Away. Slightly spruced up, yet ultimately toned down, the video shows Kittser strolling through the streets of Belfast with only his acoustic guitar (and camera man) for company. There's something quite endearing about these types of videos; with the minimal, almost naked approach allowing for a level of empathy and appreciation not usually found in your average promo-vid. And it sure helps that it's a great track also. Here's hoping for a new album from him sometime soon.



BANDWIDTH / David Kitt / "Say No More" from Bandwidth on Vimeo.

Introducing - Mountain Man

I literally just discovered this and it has made my night. A little bit of research informs me that Mountain Man are composed of three girls from Vermont, but that's not really important - what is important is the sound they make and this is a tremendously soothing and melodious slice of accapela folk. As with the best things in life this is simple and beautiful, and if you will excuse the lazy comparison, sounds close to an all female Fleet Foxes - which is never a bad thing.

Apparently, they play Crawdaddy tonight (July 2nd) also, well worth a look.

Album Review: Villagers - Becoming A Jackal

Today I took my first steps into the wondrous maze that is music journalism and devised a review for the truly phenomenal Villagers debut Becoming A Jackal, on behalf of pop culture site Culch.ie. With no previous experience other than the ramblings on these bare pages it wasn't the easiest of tasks but with an album of this quality, it was more a case of keeping the superlatives in check as opposed to struggling to find things to say - le review is as follows...

ARISE Sir Conor O’Brien, the prodigal son and the newly anointed saviour of the Irish music scene. This may seem like worthless hyperbole but such is the level of praise that O’Brien’s solo endeavour AKA Villagers has attracted in recent months that such a statement is in fact closer to truth than fiction. When the ashes of O’Brien’s previous band, The Immediate, had settled in 2007 many lamented that we had seen the death of potentially one of the greatest bands to have emerged from these shores in quite some time. The Immediate were indeed a band brimming with talent from every pore; on stage they each swapped instruments with awe inducing ease and before their untimely split they succeeded in producing one of the greatest Irish albums of the decade in the form of In Towers and Clouds. However, as the old proverb goes ‘every end is a new beginning’ and from the ruins of The Immediate O’Brien has dusted himself off, picked up his guitar and while supported by a cast of travelling backing musicians (who often came and went throughout the process, hence the name Villagers) O’Brien has rebounded spectacularly to craft a work of pure and sublime beauty. Word of mouth has built slowly for Villagers, as intimate live dates eventually led to a rousing performance at Oxegen 2009, before appearances at the SXSW festival and Jools Holland brought the hype to another level entirely. Having signed to the prestigious Domino Records and following universal rave reviews from every corner, this album has become one of the most anticipated Irish releases in years, a rare feat especially for a debut. It is with a thankful heart that I can announce that O’Brien has not disappointed, rather he has managed to deliver on the heavy weight of expectations which have been placed on his shoulders and has even surpassed them.

The mournful piano-led opening of I Saw The Dead is the perfect precursor to an album teeming with beautiful sorrow and it flows perfectly into lead single Becoming A Jackal, the buoyant chorus of which has been dominating airwaves in recent weeks. Inspiring and captivating, this is truly a fascinating album and each song feels like a carefully crafted chapter of an engaging book, which grips the listener, and proceeds to pull at one’s heart strings with every soothing note and souring crescendo. Most notably, The Meaning of the Ritual is as inspiring on record as it has been live; a humbling tale fuelled by self deprecation (‘My love is selfish/How it separates the earth/It takes every shining stone but leaves the dirt‘), it embodies a wonderful maturity that is evident across the entire album and leaves the listener breathing cold air on a hot Summer’s day. Home, meanwhile is an intensely beguiling and equally absorbing tale while The Pact (‘I’ll Be Your Fever’) is a charming serenade to an inspiration and it’s upbeat nature provides a nice contrast to an album that is predominantly characterized by a more soothing and reflective nature.  

One of the major accomplishments with this album is O’Brien’s ability to combine the grandiose with the unimposing, the epic with the mundane and while Pieces is an incredible piece of work with a stirring finale strong enough to raise the dead, the simplistic meanderings of Twenty Seven Strangers, a tale of an unfortunate bus journey home, is equally enthralling and highlights O’Brien’s possession of that enviable knack among the greatest song writers; the ability to draw beauty from the everyday. Much of the beauty lies with O’Brien’s lyrics which hold a poetic majesty far beyond the traditional confines of the ‘I-miss-my-girl’ style of song writing and this is augmented by a unique emphasis on enunciation and assonance which raises the vocal delivery to outstanding heights. It is almost clichéd to state that this is an album of highlights but for once it is entirely true. With each listen each of the songs become more accomplished, growing and developing until the vocal patterns become etched into one’s synapses, while the often macabre imagery comes to dominate one’s mental landscape until you come to feel you know these songs on an incredibly personal level. 

There are some slight criticisms however, one must wonder how room was not found for On A Sunlit Stage, an incredible, spine-tingling track which was a live favourite and would be the centre stage of most albums but was excluded here, while the abrupt ending of The Meaning of the Ritual is unfortunate given the incredible reception it’s fascinating finale has received live. However, these are but minor quibbles, akin to small cracks in the Great Wall of China; noticeable on closer inspection but not grand enough to detract from the wonder and majesty of the overall offering. With The Immediate O’Brien was only one element in a supremely talented quartet and it is easy to understand how his talent may have remained underutilised in such a setting but now, having been ‘released from the shackles’, O’Brien is free to flourish on his own and he has done so with incredible aplomb. This is an incredible album, brimming with joy and sorrow in equal measure and so refreshingly earnest is its delivery and execution that it serves to announce O’Brien’s arrival as one of our most treasured and promising song-writers.

Introducing - The Middle East

Songs of esteemed beauty from The Middle East, an Australian band who, with any luck, will follow the example set last year by Fleet Foxes and their meteoric rise from the blogosphere to commercial acclaim.

Like their American counter-parts, The Middle East produce a soothing, symphonic sound of delicate guitar licks and cascading vocals, yet the songs are dressed with enough joy to avoid the potential 'heard-it-all-before' scenario. Simultaneously uplifting and heart-wrenching, The Middle East are a band to fall in love with, holding more emotional and reflective potency in one song than the majority of bands produce in their life time. These two tracks are on their 2007 EP which can be streamed via their // Official site //

With the band currently plugging away at the infamous SXSW festival, their seemingly inevitable rise may be set to materialize very soon.