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SOUNDS GOOD SOUNDS GOODSOUNDS GOODSOUNDS GOOD Sha
r Dullaghan Zara Hedderman Danny Wilson Andrew Lambert Danny Wilson Zara Hedderman Joe Joyce Andrew Lambert Finghín Little Danny Wilson Zara Hedderman Joe Joyce Mark Conroy Sophia McDonald Zara Hedderman Sophia McDonald Danny Wilson Mark Conroy Finghín Little Danny Wilson Zara Hedderman Sophia McDonald Andrew Lambert Lankum False Lankum [Rough Trade Records] M. Stevens & The Ghasts Birds [Self-released] Lankum’s steady ascent to a position more akin to cherished cultural institution than simply another mortifyingly parochial “one of our own!” song and dance successes is a fittingly grassroots one. Fittingly grassroots, of course, due to the twin poles of both Lankum’s sound and origins rooted in DIY punk and squat culture considered in concert with long storied, in some instances nigh forgotten, examples of traditional sound and song endemic to the island. With False Lankum the quartet are eagerly testing the parameters of their established sound as further electronic tones are intermingled with their at this stage trademark brand of absorptive acoustic drones. Clearly tailored to be considered as one holistic experience buttressed with a trio of expertly engineered instrumental “Fugues”. This integrated approach to the shaping of the LP is all the more rewarding considering the specificity in approach apparent in each track. Clear Away in the Morning, for example, possesses a rare warmth that stands apart from the chest beating marches or the stark, granite walls of emotion we have come to expect from the troupe. It’s as rich and deeply felt as anything Lankum have done before while also enveloping the listener in something more akin to an aural tweed throw rather than a sheet of freezing fog. Very few bands will remind you of The Kinks and Swans over the course of one LP and that treat is all the more notable when some of the songs being showcased pre-date combustion engines. Another triumph from a genuinely vital group. DW Birds marks something of a new era for DIY indiepop stalwart Mike Stevens. He’s dropped the “-ike”, kept the Stevens and got himself an & The Ghasts to boot. The new project finds him indulging in a more folk inflected, cleaner, dad rocking impulse compared to the more ragged, sometimes hyperactive that characterises some of the other work for which he is best known, the mighty Skelocrats or Groom to name but two. In the Garden illustrates in microcosm perhaps Arca KICK ii [XL] Skelocrats Boy Bitten by Lizard [Popical Island] Jape 9K HI, VOL. 1 [Faction Records] Melts Maelstrom [Mother’s Sky] Wilco Cruel Country [dPbm] Big Thief Dragon New Warm Mountain I Believe In You [4AD] Grave Goods Tuesday. Nothing Exists. [TULLE] Stevens’ greatest strength as he pairs a bright, charming, eminently approachable, pop rock number to a lyric that oscillates between kitchen-sink sci-fi absurdity and the directness of the simple refrain, “are you my friend?” As that refrain carries you through to the track’s barreling crescendo, it’s easy to forget that this is the same song that rhymed “Flesh eating R2-D2” with “Round up of lady Cleaning Crews” but such is Steven’s skill for marrying poppier presentation with a curious specificity in perspective and pronouncement. The Ghasts only serve to elevate Steven’s knack for balancing his bifurcated songwriting impulses – let’s call them the bockety and the poppy (to crib the slogan of the great Popical Island he cofounded). The coterie of seasoned fellow travellers making up the troupe keep proceedings fresh as they afford Stevens access to a range of new and diverse sonic milieu to subtly, sweetly subvert with a pleasingly wonky lyrical flourish. Strings, flutes, mandolins and music hall piano are all employed to build deftly appointed musical worlds for Stevens to populate with drunk gods, alien ejaculate and UV lit teeth. DW Closer Die sees the band really turn it up a Like This? Try These... Oil of Every Pearl’s Un-Insides - SOPHIE How I’m Feeling Now - Charlie XCX Another Life - Amnesia Scanner career-best tracks released this past January, from Little Things/ Sparrow in August to Simulation Swarm, then you’ll already know it was a pretty safe bet to back Dragon New Warm Mountain being the most magical treasure of the Brooklyn quartet’s career to date, and the final 80 minute result doesn’t disappoint for even one second of its behemoth running time. Recorded across four locations in five months, the inspiring production process of Dragon was conceived by drummer James Krivchenia. It saw the band travelling mountains, canyons, woods and deserts around the US while tapping into the primal musical instincts and raw craftsmanship that’s informed their bewitching indie folk since day one. As such, Dragon offers up the most pure and from the precise layered production. What Arca does is open the door to her universe and tempts you in by offering a unique listening experience. Hypnotic synths and sensuous drums on Prada make it a track to be reckoned with. Luna Llena on KICK ii softly emerges as an emotional reprieve from any hard hitting industrial tracks. Releasing multiple albums, and presenting them as a collection, after becoming one of the most creative producers in modern music shows that Arca is not to be messed with. The collection is overwhelmingly impressive and the collaboration with Sia on Born Yesterday speaks to the flexibility of Arca’s sound. After suffering the loss of musical pioneer SOPHIE, the KICK albums feel reassuring in their direction and how expansive they are in the world of experimental electronics. SMcD Formed from the pieces of PINS, Girls Names and September Girls, GRAVE GOODS have taken inspiration from the ennui of Jean Paul Sartre’s view of the world. Philosophically breaking down our reality, the trio report back to state that there’s no point to it all on their debut, Tuesday. Nothing Exists. Lois MacDonald uses a monotonous vocal on None to capture the drag feeling of nothingness. The track breaks into percussive guitar and harried drums, pushing further into a chaotic sound. Story possesses an anger that could fit right in with an IDLES record. Marching drums lead to a chaotic guitar riff that climbs into an energetic crescendo. A good example of how a more paced track can capture the true feeling of grasping for meaning. The killer drums steal the show on Grave Goods debut; Source, in particular, is a feast for the ears as every piece of the kit is used to its fullest capacity. beautiful expression of Big Thief’s career to date. They lay down deeper cuts throughout this epic work that are as equally majestic and compelling as instant fan favourites from last year such as ‘Certainty’, ‘Spud Infinity’ and ‘Change’. Sprawling and spectacular, yet always as intimate and intricate as the very best of Big Thief, Dragon is a career-defining accomplishment and a supremely early, yet no doubt worthy, frontrunner for the indierock record of 2022. AL they’re sinking their teeth into their own vision of avant-rock. Wet Leg with more existentialism and less cheekiness, Grave Goods are rubbing your face in nihilism, dirtying your ears with unconventionality. SMcD Yo Tang God is a deceptively modern if not clubby piece that could easily find itself in a Ross From Friends set. Its deep, night-time atmosphere is furnished with clever swells of energy and buffeted by a percussive hook. In closer Record and Pause, Jape leaves us with a dubby, psyched-out jazz ballad, cushioned with sleazy guitar strummed with lounge music panache. The only track Egan has chosen to obviously overdub with non-Casio instrumentation, this one leads us kindly out of the 8-bit cave. FL likeness to Ian Curtis and Ian McCulloch. He’s a consistently captivating presence across the LP. Notably on Outlier, where he looms atop a more sinisterly intoned arrangement, punctuated with spooky drone-like inflections before a darker synth drenched instrumentation descends. Elsewhere, it’s impossible to not immediately gravitate towards the gorgeously spacious Spectral, an undeniable highlight. With this masterful debut, Melts have announced themselves with an assured artistry that will no doubt take their audiences on plenty of fun excursions with each return. ZH The Whole Love (2011). Not to cast a disparaging shadow on their recent releases; it merely felt like the minimalism of Tweedy’s solo material transferred into the band’s melodic approach. Here, all six members got together and recorded the songs live, adding overdubs later. There’s a looseness to the playing. You can feel their enjoyment, throughout. The immediately captivating ‘The Empty Condor’, ‘Bird Without a Tail / Base of My Skull’, ‘Many Worlds’ and ‘Mystery Binds’ herald their sprawling and texturally dense material. The latter two, especially, summon their Yankee Hotel Foxtrot sensibilities. Lyrically, too, there’s a lot to enjoy. From Bob Dylan-like absurdist humour on Ambulance (“They pronounced me dead at half past / And that priest he pissed his pants / When he heard me start to say hello”) to poignant introspection. “I’ve been through hell,” Tweedy reflects, “I only fought with myself so I’d have a story to tell.” The stories on Cruel Country are masterfully told, bringing an exciting new chapter for Wilco. ZH notch. Bowing to a more punk rock sound, facing death begins to sound a little more fun. The variance between tracks shows what Grave Goods are capable of. They avoid any aspect of shouty man syndrome and being a female fronted band shows that they’re joining the ranks of Mannequin Pussy and YNES. Being part of the ever growing label TULLE, Perfume Genius Ugly Season [Matador] The recognisable vocals of Damon Albarn have Sci-fi horror projections from the 1950s about what the year 2000 could look like were filled with flying cars and robot servants. Nothing could have prepared them for the soundtrack of the next roaring ‘20s. Arca achieves something beyond futuristic on the KICK records, pushing out past pure electronic and club. Combining Latin beats with filtered vocals, KICK ii is thick with heavy bass and mechanical echoing sounds. To label the album as chaotic would take away The curious thing about Big Thief’s fifth album was just how much exposure we had to it in advance of its release this past month, with almost an entire LPs worth of singles dropped over the past half year as part of the rollout for the band’s first double record. If you’ve been following the dazzling array of Returning from something of an unofficial hiatus, Dublin’s premier bockety-pop supergroup is back in business. Following the departure of oddball crooner extraordinaire, Paddy Hanna, this who’s who of domestic indie stalwarts have further bolstered their ranks with the addition of No Monster Club’s (Sir) Bobby (Jukebox) Aherne and Ruan Van Vliet of Squarehead. Whether it can be chalked up to the new blood or otherwise, the quintet sound nothing if not energised on this, their most immediately arresting and deftly constructed collection to date. The shambling, grab-bag, energy that defined their first two records has always been one of the great pleasures of Skelocrats as an endeavour, so, to praise Boy Bitten by Lizard for its focus can’t help feel a little off. Yet, this newfound clarity in vision and sharpness in presentation never reads as compromise, or worse, the sanding down of rough edges at the expense of character. In essence, despite the presence of titles like We Drink Our Own Piss, the chaos has been dialled down in favour of a sweeter shade of sophistication. This twist is pointedly evidenced in closer Sweet Talk; itself an unassumingly anthemic wonder reminiscent of Pulp at their most potent, or in the taut to the point of spring loaded, pure pop pleasures of the tracks that front and centre the belted vocals of Bronwyn Murphy White. DW Jape, the recording alias of Sweden-based Irish producer Richard Egan, adds 9k Hi, Vol. 1 to a diverse and off-kilter discography. Here, Jape eschews his singing voice and dedicates twenty-five minutes to experiments with the then-precocious Casio FZ-1 sampler-synthesiser. If the soundscape Egan conjures here recalls the mellow side of wonky nineties acts LFO and Aphex Twin, it’s because of their shared love of the lo-fi FZ-1, which very much defines this record’s sound. It works, whether in Förskolan Kör, which could be a demo (on floppy disk) of Tame Impala’s more ethereal brother, or Firehouse Skank on Pills, a rather overt homage to the Twin via an acid house sketch with warbled, open mouthed baby’s-firstwords sounds. Eugh is perhaps where the tape-distorted aesthetic sits best. A slightly manic, dancey piece with a driving introduction dissipating into frenetic acid-funk as its camp, video-gamey namesake sound effect rises in pitch. There’s something special in the last two tracks. As the saying goes, “slow and steady wins the race,” and this may well be the mantra to Dublinbased quintet Melts. Having formed in late 2017, the band have used the last five years to develop their engrossing sound which uses psych and krautrock motifs as a solid foundation for their kaleidoscopic arrangements. Maelstrom, their long-awaited debut record, is a brilliantly immersive listening experience from start to finish, and well worth the wait. With only three of the eight multi-faceted songs on the record coming in at under five minutes, the consideration given to each composition is evident across the partnership between the band and producer, Daniel Fox. From the offset, an infectious frenetic energy emanates from Melts’ extraordinary musicianship; a perfect vehicle for frontman Eoin Kenny, throughout. Furthermore, within these expansive works no motif is superfluous. Every element maintains momentum and effectively creates a celestial atmosphere that’s both intriguing and inviting. The depth of Kenny’s cadence bears a striking It was never going to be easy for Mike Hadreas to match the magic of Set My Heart On Fire Immediately. Released in 2020, it further positioned Perfume Genius as one of the most exciting artists pushing boundaries in art-pop. Instead of trying to recreate the mood of that LP, Hadreas fearlessly dismantled his musical sensibilities, piecing them back together to make a much broader and vivid body of work with Ugly Season. Working once again with producer Blake Mills – with whom he has had an extremely fruitful collaborative relationship stemming back to 2017’s excellent No Shape – and his partner Alan Wyffels, Ugly Season amplifies the unbridled energy and experimentation of form that elevates Perfume Genius’ output above his contemporaries. These ten songs were originally written to accompany a dance piece entitled The Sun Still Burns Here choreographed by Kate Wallich. These unabashedly abstract arrangements heard outside of its original context may be jarring or even a little intimidating. Not knowing what to expect, however, makes for an extremely exhilarating listening experience. From the moment Ugly Season descends on fresh ears, its immediacy cannot be denied. Just a Room and Herem carry through Hadreas’ unrushed approach to world building which is excellently achieved across the record. And while Ugly Season takes Hadreas’ Perfume Genius further into the avant-garde corners of pop, there are plenty of accessible compositions here to savour. With his sixth LP, Perfume Genius has delivered yet another mesmerising artistic turn. ZH “I love my country, stupid and cruel,” Jeff Tweedy intones on Cruel Country, the titular track of Wilco’s twelfth studio album. On their second double album, the Chicago alt-rockers finally embrace country music; a label they’ve worn uncomfortably since 1994. This slumberous arrangement is one of many moments where they playfully lean into country motifs. A click-clacking beat imitates a horse coming into town, Tweedy in the saddle grappling with the complexities of what it is to be American. Cruel Country is Wilco’s finest offering since whenyoung Paragon Songs [Antifragile Music] Pretty Happy Echo Boy [Foggy Notions] The dream-pop duo whenyoung have returned to the airwaves with their sophomore album Paragon Songs, steeped in themes of self-improvement, nostalgia and criticism they have delivered their most potent collection of work yet. Opening with Shame Train, it creates a sense of When Pretty Happy opened for Pavement in Dublin last November, they fit perfectly on that Vicar Street stage. The art-punk trio probably weren’t too overawed anyway, considering they also toured with Kim Gordon this year. Illustrious names like that offer an indication of their alt-rock bonafides; those credentials are all but solidified on Echo Boy. While only four-tracks, it realises much of the promise shown by early singles like Salami. Connections with Gordon and Malkmus are oddly appropriate, as the songs marry the throbbing riffs of Sonic Youth with the witty absurdism of Pavement’s lyrics. Pretty Happy, of course, still emerge fully formed with a wholly unique identity by Echo Boy’s end. Their mellifluous Munster brogues and Rebel Beverly Glenn Copeland/ Various Artists Keyboard Fantasies Reimagined [Transgressive] Destroyer Labyrinthitis [Bella Union] Oh Boland! Cheap Things [Self Released] Gareth Quinn Redmond and Conor Campbell Umcheol (Cú Chulainn agus Ferdiad) [WRWTFWW Records Anna Mullarkey Falling [Strange Brew] Yawning Chasm The Golden Hour [Self Released] James Vincent McMorrow The Less I Knew [Faction Records] urgency as the track unfolds. Vocalist Aoife Power confronts her own self-destructive nature alongside pulses of electronic indie-pop influences. Paragon Songs is an album of growth, and starts its journey here, in the depths of emotional turmoil. Power’s candid songwriting is intentional, there are no preconceptions here, only brutal honesty in the face of her own emotional dismay. Yet we still see the desire to grow, to be better, as the album continues. Little Pieces Of Heaven perfectly encapsulates the album’s U-turn away from self-criticism to warm nostalgia and hope. The light and airy track recalls influences of indie sleaze pop past, emulating MGMT in its instrumentation. The closing track Gan Ainm (which translates to “without a name”) is the catalyst of the album; ethereal and shimmering the track unfurls. Power’s sentimentality swallows us whole, reminiscing on times gone while praising the freedom from the constraints of her past self. Gan Ainm builds, emulating the increasing pace of the passing of time before breaking halfway, a hearty gasp for air in spiralling strings and layered monologue, before plunging back into the track, asking us “how do the days go by so fast?”. Paragon Songs has substantiated the direction Aeon Station Observatory [Sub Pop] AC/DC Power Up [Columbia Records] of whenyoung and we eagerly await their Ascension. SD County colloquialisms set them apart from the pack. On the barnstormer Boots, in which our singer appears to be having a discomfiting smoking area encounter with a man “as big as a tree”, the ferocious screech of the guitar unnerves us along with the narrator. Husband bursts out the gate as if to reanimate The Dead Kennedys before morphing into ominous, grungier territory which complements the story of a wife in denial about her partner and the life he gave her. It’s here where the vocal contortions of already-accomplished bassist Arran becomes sounds to behold. His sister Abbey shines on closer and tonal shift, Conn Boxing. With the aid of her raw, unrestrained delivery, the track eviscerates rape culture as it takes aim at how tight-knit communities will champion local sporting prowess at the expense of marginalised victims. Pretty Happy aren’t just ones to watch for the future, they’re ones to hear and see live right now. MC Bruce Lee once said, “I fear not the man who has practiced 10,000 kicks once, but I fear the man who has practiced one kick 10,000 times.” That being the case, he probably wouldn’t have fancied meeting AC/DC in a brawl. On their seventeenth studio album, the Australian hard rockers give us 12 entertaining variations on the musical kick that they’ve been working on for decades. You might forget some of the riffs as soon as you’re finished listening, but Brian Johnson’s demonic vocals can still thrill. JJ Almost paradoxically jammier and poppier than their rightly cherished first transmission, it’s a struggle to pull out particularities for praise for fear of appearing to degenerate any given number’s neighbours on the tracklist. Ultimately, it might just be the consistency on display here that is the most dazzling – we’re talking a Singles Going Steady level of bang you over the head brilliance from tune to tune. For those of us that have been waiting – and trust me, there are dozens of us! – we finally have a worthy document of Oh Boland’s majesty as a live proposition and mastery over the domestic punk (“post” or otherwise) landscape. DW Aeon Station is the new project from Kevin Whelan, formerly of feud-prone indie rockers The Wrens, and half the songs on Observatory were originally intended for a Wrens album that never materialised. The songs are a familiar rock mixture of quiet reflection and triumphant euphoria; Springsteen comparisons are inevitable, and to be fair to Whelan he mostly pulls it off. Might be a bit overwrought for listeners unfamiliar with the turbulent history of The Wrens, but for fans this is sure to be a jubilant and cathartic release. JJ Anna Mullarkey’s ethereal Falling sees two sides of her musical personality melded together. Banjo, tin whistle and accordion make appearances on her album showing how the natural and the modern can be blended together. There’s a beautiful synchronicity to the electronic synths and the Irish trad instruments. Face to face, Mullarkey finds a middle ground to express her heartbreak as well as her hopeful side across the LP. Spreading her wings musically, opener Call It lends a sense of mystery. Overlaid with backward spoken whispers, she uses this tactic again on The Upside Down to invoke a Celtic mysticism which seems to overflow from her. The influence of Irish traditional music is incredibly strong throughout the record. The highlight of Falling is Please, where the Galway native pushes to be authentic in the face of negativity. ‘Please don’t pretend to be nice,’ is a heart wrenching lyric as the repeated chorus emphasises the struggle of being yourself. A perfect mix of strings and electronic, the gentle choral synths feel like you’re floating. Her vocals, harmonising whilst poignant cello and violin play, are reminiscent of modern contemporaries Saint Sister and Wallis Bird. Going into the second half of the record, you begin to see Mullarkey’s goal for Falling. She achieves a great balance between the most natural and inherent sounds to her and the modern instruments at her disposal. Irish language tracks Ar Bhuile and Uisce are uplifting and instill a sense of pride in the record. SMcD The Golden Hour marks the seventh outing of Galwegian Aaron Coyne under the Yawning Chasm moniker and the easy charm that characterises this open, lived-in and welcoming collection of homespun, experimental indie-folk belies his wealth of experience. When he’s at the mic, Coyne’s melodyforward masterpieces in miniature vibrate at the same agreeably off kilter frequency as some of the masters of the mode; Liam the Younger, Simon Joyner and even Dublin’s own oft-overlooked Elverum acolyte, the mighty Porn on Vinyl. Elsewhere, where Coyne affords himself the space to indulge in some vocal-less, instrumental explorations, he arrives at some equally satisfying places. These wiggier moments furnish The Golden Hour with a certain pleasantly fried quality as the record burrows out a warm space between blissed out folkier jamming, grainier approximations of the shimmering synthetic sounds of new-age and some soupier, shoegaze-informed impulses (Sandalgaze?). Even for the record’s willingness to stretch out and enjoy its own digressions, the economy of elements and clarity of vision at play is a particular strength of The Golden Hour. Coyne’s melodic understanding is such that there is deftly understated quality to his work even when these songs are at their most invitingly poppy. Deeply considered and expertly shaped without sounding too fussed over - Coyne’s latest is a special little record indeed. DW The world that James Vincent McMorrow lets us see on The Less I Knew revolves around reflection and failure. The urge to leave, the rainy streets of New York and blossoming love are included by the Irish musician who has become a staple on the scene over the last decade. McMorrow attempts to find more of himself again after two years of global inaction. On his new record, there are moments where he hits gold but there are others where he’s still searching. Filled with unstoppable nostalgia, memories come thick and fast on the opening half of The Less I Knew. The trumpets add a visceral depth that transforms acoustic softness to thundering excitement, especially on Hurricane. This opening track sets a precedent for the rest of the album. Moving between fondness and slight antipathy, McMorrow lets the past wash over him. Lighten Up does have a tinge of early ‘00s cringe that can be forgiven when the track breaks down with his airy vocals and synths. The soulful A Lot to Take wonderfully emulates the lack of security in the future. McMorrow attempts to ground himself in his memories whilst facing into an unsure present. Part of a two-part release, The Less I Knew shows the binary of McMorrow’s sound. Being one half of a whole, there’s hope for more extremity and less subtlety. He teeters on the edge of grandiosity on the more upbeat tracks, something he should push for. He gives us a taste of his vulnerability which leaves you wanting more. SMcD The number thirteen is routinely regarded as unlucky, but not for Dan Bejar. On his thirteenth release under the Destroyer moniker, a career which began in 1996, the Canadian songwriter navigates new sonic terrain with distinctive tones from his discography, notably Have We Met, Ken and the acoustic sensibilities of City of Daughters providing a sturdy foundation for experimentation. As ever, Destroyer’s arrangements across Labyrinthitis (an inflammation of the inner ear) are expansive, enveloping and unpredictable. The only certainty one can expect from Destroyer’s output is Bejar’s extraordinary lyricism, one that hears irreverent wit entangled with touching sentiments. “I piss on the floor, the band sets up on the floor. I piss on the floorboards the whole world’s a stage,” he wryly intones on the wildly infectious Eat The Wine, Drink The Bread. Whereas the opening track, It’s In Your Heart Now, while sparing in its words, effortlessly conveys great sincerity at its core. Tonally, these are his most dynamic compositions to exist under one roof. It Takes A Thief and June are sprinkled with funky flourishes, ‘80s guitar tones abound on All My Pretty Dresses, while the album’s titular track steers towards hauntology and hip-hop in how it beautifully blends a melody of frosty keys and trip-hop beats with field recordings of a gleeful child and gravel crunching. Working again with John Collins, Labyrinthitis is another tremendous feat of musical invention. With some songs clocking in at almost seven minutes, nothing feels indulgent or bloated. Every texture, riff and lyric is essential and rewarding. ZH When musician and producer Gareth Quinn Redmond’s latest grand collaboration with visual artist Conor Campbell began to take shape – that is to say this remarkable meeting of Irish traditional myth and music with the glistening, warm tones of ambient soundscapes – the pair arrived at the curious realisation that there was no widely accepted term for precisely the kind of work they were creating. So, they arrived at Umcheol. To paraphrase from the immaculately presented and illuminating liner notes that appear in tandem with Campbell’s arresting art depicting the tragic clash between friends Cú Chulainn and Ferdiad; Umcheol is a compound of “Um” - which has no English equivalent, but in Irish can be understood as “around, throughout” and “Ceol” which of course means music. And thus, the remarkable collection was conceived as, in Redmond and Campbell’s terms, music that is both around but also throughout the listener. Fitting, considering the deeply immersive quality of the synthesiser mastery Redmond brings to duo of pieces that make up Umcheol. Over two sides Redmond and his collaborators summon a calm, comfortingly aural plain that almost undulates in anticipation of the frenzied clash between beloved friends damned to fight to the death. At the record’s close, with Ferdiad dying in Cú Chulainn’s arms, the record too arrives at a sort of resolution, new themes and tones reflecting a landscape irrevocably changed. Umcheol feels almost miraculous in the singularity of what is achieved, never before has the ancient sang so harmoniously with the cool futurism of synthetic sound. DW Oh Boland!’s latest, Cheap Things, has long existed as little more than a rumour. The Tuam trio have, over nearly a decade at this stage, established themselves as one of the finest if-you-knowyou-know live acts in the country. A power trio of rare potency; mastermind, songwriter and unfuckwithable shredder, Niall Murphy, is plainly besotted with the psychedelic, shambling garage rock of New Zealand’s unimpeachable indie stable Flying Nun Records. That is to say, the man knows well that the most bracing brand of power-pop is invariably produced by a band that, amongst other things, sounds like they are falling down the stairs. On this long gestating, once thought entirely scrapped, collection - Murphy and co. sound like they are tumbling down the steps of a vertigo inducing belltower, picking up speed as they clatter down each consecutive, spiralling, seemingly endless flight – such is the freewheeling, unfettered intensity on display over the course of these ten irresistibly fun slabs of maximum rock n’ roll. Aesop Rock Spirit World Field Guide [Rhymesayers Entertainment] Surely for many, merely listing the collaborators featured on this full length revisiting of Beverly Gleen Copeland’s seismically influential early electronic masterpiece would be enticement enough. And rightly so, Arca, Ana Roxanna, Devonte Hynes to almost arbitrarily name but a few – it speaks to Copeland’s remarkable legacy that talent on display here is made up of artists intent on making the musical landscape that bit more interesting, more unexpected. This rare gem of a collection is a masterwork of curation and a further, ever timely reminder of Copeland’s brilliance. Effusively recommended. DW While travel isn’t an option for most of us right now, you could do a lot worse than a metaphysical journey with rapper Aesop Rock on Spirit World Field Guide. Rock’s eighth studio album is a woozy confluence of his lyrical proficiency and skill behind the mixing desk. There are vast synths, crisp drums and creepy 8-bit hooks. These unearthly soundscapes are scattered with mind-bending lyrics; this spirit world is full of bats exploding out a mountain cave and crystal skulls. It’s a hell of a ride. JJ Natalia Beylis & Eimear Reidy She Came Through the Window to Stand By the Door [Nyaah Records] The Murder Capital Gigi’s Recovery [Human Season Records] On their second album together, cellist Eimear Reidy and experimental musician Natalia Beylis continue to complement one another’s distinct musical sensibilities with a wonderfully menacing and serene sound. She Came Through the Window to Stand By The Door evokes a time outside of the one in which it was created, thus inviting its audience to step out of reality in this beautiful escape. Perhaps, this sense of otherworldliness comes from the history ingrained in the recordings. Accompanying Reidy’s cello pieces is the anchoring hum of a William Telford Organ built in 1846, considered to be the second oldest organ in Ireland. The contrasting timbres of organ and cello for the album’s duration are tremendously dexterous. Together, they engage the listener, keep them intrigued and, most impressively, have the ability to unnerve you. Opening with Pour Upon The Sky, the first of two mentation of their debut in favour of an array of new styles and sounds, The Murder Capital open themselves up to atmospheric drum and bass beats (A Thousand Lives), surreal samples (Crying) and euphoric keys and synths (Ethel) across twelve tracks that reveal an unmistakable evolution in their creators. As a result, Gigi’s Recovery concerns itself more with narrative and mood while its varied instrumentation shifts and sways between songs, but the overarching theme here is a sense of greater cohesion and clarity as The Murder Capital show a marked sense of development on this technicolour sequel. AL passersby ALWAYS [Self Released] Lambchop Trip [Merge Records] extended compositions – both just under 18 minutes in length – the duo guide the listener through its beautifully tempered performance with a great sensitivity. The arrangement gradually layers the distinct tones of both cello and organ whilst also drawing out different textures of the former, in particular, to populate the song with motifs that breathe life into this vast world waiting to be explored and subsequently enveloped by. There are moments where Reidy’s cello squawks, conjuring the menacing image of seagulls soaring overhead. She Came Through… is an immediately enthralling body of work. It’s yet another masterclass from Reidy and Beylis in both igniting the listener’s imagination and demonstrating how one can convey so much emotion across instrumental compositions. ZH Perhaps the most curious thing about The Murder Capital’s rapid ascension with their breakout 2019 debut was not only the sudden nature of their arrival on the scene, but also the astonishing lack of familiarity which the band shared with each other. At the time of When I Have Fears’ release three years ago, the band were just nine months old – this newborn chemistry no doubt informed the adrenaline fuelled blast of Factory indebted ‘80s post-punk that soundtracked the group’s sociopolitical addresses on a fiery first outing, so where do The Murder Capital go from here? The answer is ‘deeper’. Gigi’s Recovery, written and recorded consistently over what feels a purposely elongated two-year period, finds the Dublin based quintet exploring the depths of their musicality on a moody, existential concept work which demonstrates exactly what the band have learned about each other since in the interval between their arrival and this spirited sophomore LP. Shedding the relatively simplistic rock instruCursed Murphy Versus The Resistance Republic Of The Weird [Self-Release] Niamh Regan In the Meantime [Self-Release] Katie Kim Hour Of The Ox [Self-Release] Síomha Infinite Space [Infinite Records] Fickle Friends Are We Gonna Be Alright [Cooking Vinyl] The Shaker Hymn The Last Concorde [Heavy Noids Records] The Cribs Night Network [Sonic Blew] Lullahush A City Made of Water and Small Love [Self-Release] On Fickle Friends’ second record, Are We Gonna Be Alright, the Brighton-based quartet pack in as much as possible across twelve rather lacklustre tracks. Many components to the songs feel overproduced and overfamiliar in their configurations. Whether it’s the ‘90s rock inflection lending a grittier veneer to the instrumentation on Love You To Death or a tempered bumbling bass riff permeating the ‘80s pop-rock number Glow, there isn’t a lot on offer here which distinguishes much innovation from the band. ZH In a year where landfill indie made headlines, a new record from the brothers Jarman should be no surprise. The Cribs eighth studio album, their first entirely self-produced effort since forming twenty years ago, is coloured with a nostalgic palette that spans from Dusty Springfield-tinged melodies to generous helpings of indie-infused Britpop. Opening with the lilting Goodbye, sprinkled with Spector-like magic, the trio radiates an alluring warmth. For those whose coming of age was soundtracked by The Cribs, this release feels as though their sound has matured with their audience. ZH Galwegian singer-songwriter Niamh Regan released her critically-acclaimed debut Hemet in 2020, earning Album of the Year nominations from both the RTE Folk Awards and the Choice Music Prize. Regan returns with the promise of a new album in the works and, for now, the aptly-titled EP In the Meantime. Opener Late Nights feels like a chilled-out companion piece to Hemet’s Ode to Youth. Regan’s idiosyncratic vocal style shines over a slightly more uptempo beat and the orchestration of the track is gorgeous, with an understated horn hook that gently takes up residence in your ear. This flows smoothly into Love You Senseless, a fine example of the ‘happy sad song’, where Alex Borwick’s sparkling production contrasts nicely with Regan’s intimate lyrics detailing the frustration of loving someone who’s struggling with demons you can’t help them fight. Happy Again takes us back to more familiar folk territory, with plaintive guitar plucking building to an anthemic chorus which almost sounds triumphant, until you realise that Regan is asking someone, “Oh how did you go / Days upon weeks without talking to me?” Things wrap up with Winter in Eden, a shimmering duet with Ciaran Lavery that’s weird in all the right ways; the melody never goes exactly where you think it will, and Borwick strikes again with some flickering flute sounds and plucked strings that elevate the more traditionally folky elements of the track. In the Meantime is captivating, both as a standalone work and a preview of Regan’s next fulllength release. JJ groove that gently blows open the possibilities for what an Irish-language song can sound like; there’s something uniquely thrilling about hearing the language deployed in such a contemporary and just plain funky context. The shifts into more electronic territory work just as well, like How To Change Your Mind, a cosmic burst of a tune that shows Síomha’s exceptional voice is as engaging within a big soundscape as it is on the record’s more intimate moments. Throughout the record, Síomha and her band Following their well-received eponymous 2020 debut, Cursed Murphy Versus The Resistance return in a somewhat more pensive state on Republic Of The Weird. While the eight piece ensemble once channelled their anxieties and fears into the charged punk rock ethos of their self-titled record, two years later the band feel content to take a more nuanced and insightful approach on this follow-up. The intense instrumentals and raging vocals of earlier tracks like Burn Hibernia Burn and Bells Of Hell are replaced here with a contemplative brand of post-punk (Hold That Line) and krautrock (Republic Of The Weird) which is well suited to Peter Murphy’s existential sermons as the frontman explores issues both personal and societal over ten spirited tracks. Thematically, Republic Of The Weird addresses the increasingly bizarre sensation of living through modern times, with dystopian themes that reference real life events and experiences over the past decade. Drawing on a range of styles and influences from sci-fi cinema to gothic literature, the octet paint a murky portrait of current society as they examine war, politics and the collective angst of the post-pandemic era. Although the spoken word performances and ambient instrumentals of its second half don’t land as effectively as a stronger, rock-oriented front section, overall Republic Of The Weird is progressive in its dialled back nature and depth of perspective, as Cursed Murphy flesh out their ideas both instrumentally and lyrically on an intriguing sequel. AL Diarmuid O’Connor, formerly of Dublin indie fourpiece Angular Hank, has struck out on his own as passerby and released his debut tape ALWAYS. O’Connor says he was “never really able to sit on the couch and bang out a classic ballad on the guitar,” but he shouldn’t be worried about that. The seven tracks here are beautifully impressionistic sketches; the lyrics are intimate but the music is adventurous, melding traditional indie sounds with some more progressive and electronic stylistic flourishes. Don’t let this one pass you by. JJ When working in genres that demand a high-level of technical skill, musicians have to strike a balance. An excess of virtuosic musicianship can leave a song feeling a bit too slick and lacking humanity. But when the contrast between musical chops and emotional impact is just right, there’s nothing better. On her debut album Infinite Space, Clare native Síomha has achieved just that, combining world-class musicianship with soulful and personal songwriting. Spéir Rua is a standout. It’s a warm and energetic It has been a long six-year wait since Katie Kim released the spectral and supreme Salt, a Choicenominated contender for Irish album of the year. It’s perhaps trite to say we live in a very different (post-Brexit, Trump, and pandemic) world since that 2016 release, but that also doesn’t make it any less true. The Waterford native has thankfully picked up where she left off, albeit with a few new tools added to her musical belt. Her latest, Hour Of The Ox, is yet another stirTaking direct inspiration from Pink Floyd, The Shaker Hymn wanted to create something that was cosmically pleasant. On The Last Concorde, there is a wonderful nostalgia that is evoked from the mix of acoustic guitar melodies and warped electric riffs. At first listen, you could mistake the Irish band as a forgotten psychedelic rock group from the 1960s. Playing with the much loved elements of art rock, their third album transports you to another planet. The celebratory drums and trumpets on From the Wilderness burst with energy. The highlight of the album, the track blends psychedelia with alternative. Caoilain Sherlock’s vocals blend fantastically with the piano melody and warbling guitar riffs. Not everything from The Shaker Hymn is Space Ever the restless auteur, Kurt Wagner’s latest pivot sees him encourage each bandmate to choose a track to cover. This diffusion of creative control largely forgoes the electronic dabbling of recent releases in favour of a return to some understated country soul for grown-ups. The selections are characteristically left-field, while Wagner’s laconic baritone sedately unfurls across a six-track collection stretched to album length by its sparse slow burn. It should be a throwaway concept, but under the covers you’ll find a cohesive summation of an enterprising band quite content to fly below the radar. KB ring record dripping with atmosphere but this time there’s a haunting, deft maximalism present; something she may have gleaned from her time with The Waterboys and Lankum. At its best, Hour Of The Ox mines euphoric release out of expansive folk and intense, grimy electronics. Forceful dirge Feeding On The Metals finds Sullivan channelling Billie Eilish in something that sounds like it shouldn’t work but absolutely does. The gorgeous Golden Circle initially recalls the unnerving film score work of Mica Levi, before morphing an unsettling (possible) cortina-sound into a looping, luscious serenade powered by Sullivan’s commanding vocals. Not everything lands with the same impact. Gentle Bird is perhaps too apt a description of a pleasant song that doesn’t quite justify its seven-minute runtime. All is forgiven, however, by the standout conclusion Really Far. Prefacing the album, Katie Sullivan revealed it will be her last under the Katie Kim moniker. It’s a bittersweet announcement for an artist who maybe never got the due she deserved as a solo musician. At least we got this fitting, sumptuous, swansong. MC Oddity. Although We are the Cosmos could be a tribute to Electronic Light Orchestra, harmonies are cleverly used on Our Youth is a Parachute to inject some indie rock. Tender closer So it Goes watches as the sun goes down and a new day begins. Twinkling triangle and ghostly synths keep the track light like a lost Fleet Foxes b-side. One thing that stands out from this compact Lullahush’s debut album A City Made of Water and Small Love delivers themes of longing and wistful elegy honestly and with an appealing sweetness. Daniel McIntyre’s tracks slip lithely between bleepy, beatless meditations, clubby and stuttering anthems, and glitchy IDM, with a captivating and stripped-back approach to songwriting. The optimistic introduction You Look Like You’ve Been Up All Night sees pretty and carefree melodies clash with futuristic and bass-influenced production, and sets an agile, lightweight tone. Chaotic crescendos feature on the shorter, more linear pieces, which still manage to cover plenty of sonic terrain. But the most geniality is on display in more complex songs like Love Is a Place Where You Go To Swim, where Lullahush and vocalist Maria Kelly reach a sultry tone carrying notes of romantic loss to a gritty apex. This knack for dynamism brings the album to its standout moment in When I’m Not Awake I’m Dreaming Of You, which returns deftly to that sensuality, offset by a confident lightness in its quieter moments. The longest track, it still lends the album its catchiest hook by far. When that hook falters, though, a broken rhythm, organic bells, and soft vocals are enough to make a lasting impression. A City is threaded together with a surreal but record is the pure joy in every track. The Shaker Hymn have been through the mill after their drummer Shane Murphy was hospitalised followed by the distressing pandemic. The Last Concorde was originally supposed to be a foray into analogue recording but turned into a reflective album, one that stands out as grateful for the present instead of trying to recreate the past. SMcD deadpan lyrical sensibility; its detachment makes it hard to tell whether McIntyre is yearning for the past or just processing an emotional snapshot of a moment. Yet that same narrative adeptness is what renders it a flowing, satisfying listen. FL take things that are seemingly opposed and make them sound like they were always meant to be together, like unexpected jazz chords that resolve beautifully, to the conceptual level where genres mix to form something new. It’s exciting in a way that can only be achieved when you know that the music you’re hearing was made by a group of people collaborating in a room together, doing what they each do best. Infinite Space is one of the most original albums of the year so far. JJ Now Open 29 South Anne St, Dublin 2 Tel. 01 531 4491 464644 55 4644 44 44 44