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SOUNDS GOOD Joe Joyce Andrew Lambert Finghín Litt
le Kynsy Something To Do With Love [Self-Release] Patrick Stefan Wayfare [Pajmusic] Following the breakout success of 2021’s Things That Don’t Exist EP, Kynsy returns with an extra sheen of polish on follow-up EP, Something To Do With Love. She credits St Vincent as her greatest influence, yet the crunchy pop punk of Kynsy’s debut outing was more in-line with Hayley Williams-like grungy guitars and sticky choruses. Her latest material leans into the emo-pop stylings of contemporaries Billie Eilish and girl in red, to mixed results. There’s a certain sacrifice made with this clear push toward a more mainstream sound. Kynsy’s natural character is muted by wallpaper jazz funk (Love Of Your Life), or Simple Life’s indifferent chart landfill. The “pleasure, joy and confusion” which the EP concerns itself with (according to Kynsy) is best expressed on New Year, which packs a punch thanks to its combined vocal hook and playful punky vibes. Point Of You, with a spiky industrial guitar line that leads into an understated chorus, is the closest Kynsy comes to emulating Annie Clark with this collection. The abrasive sounding Thumb Wars is the biggest anomaly. It hints at a direction not taken on this sequel with intriguingly harsh textures that escape the remainder of the tracklist. Its offbeat synths leave open the possibility for a darker path outside the Top 40 for Kynsy to take in future. Ultimately, Something To Do With Love may not amount to a major creative progression for the Dubliner, but there’s sure to be a big audience for Kynsy as she continues to find her true voice ahead of unveiling a debut album. AL Although it wasn’t meant to be for the Clare hurlers this year, The Banner County is experiencing a purple patch when it comes to new music in 2022. April saw the release of the stunning Infinite Space by Ennis songwriter Síomha, and now we have Wayfare, the debut from Clare-born songwriter and producer Patrick Stefan. Opener Head Voices instantly draws you in. Stefan’s synthy acapella vocals bounce over West African melodies and Brazilian rhythms. Drinking Alone in the Moonlight is a paean to the joys of the titular activity, inspired by an 8th century Chinese poet. “Electropop cover of a W.B. Yeats poem” might sound risky on paper, but Stefan pulls it off with Sally Gardens; breathing new life into the old words with his vocoder and piano. Wayfare is one of those wonderful albums you can enjoy simply because of how great it sounds. It lends itself to repeat listens to uncover the wealth of references and ideas that the music and lyrics are wrapped around. In a recent interview, Stefan spoke about some of his influences. Of Nick Drake, he said he loves how Drake “...disarms you with a natural metaphor that softens the edges of anything heavy you’re carrying.” Stefan’s songs do something very similar. Favourable comparisons have already been made between Drake and Stefan, and they’re richly deserved. However, praise for Wayfare is also warranted on its own terms; it’s a gorgeous debut from a hugely talented musical mind. JJ Daithí I’m Here Now [Strange Brew] The hands-in-the-air Sunset opens Daithí’s I’m Here Now with a classic disco sample and arena-ready energy lifted straight from the Caribou playbook. Yet, the tone it sets is misleading as a much darker and seductive mood dominates the album past this point, carried by deep chords and dusky production. The immediately addictive Polypoly is rhythmically challenging, but its organic soundscape and tough bassline paired with a distant vocal performance by Tandem Felix’s David A. Tapley creates a ‘math pop’ vibe à la Radiohead. The former, along with Like the Water, where a clubby stutter meshes with a ravey lead and diaphanous vocal from ULY, wouldn’t feel amiss on a Djrum LP. It sets a refined and shadowy tone and continues into the following tracks. The Bicep-esque Familial is a rare bird, an understated anthem with a Panorama Bar vibe: I only wish it would go on for longer. Daithí plays with trends and tropes from across dance music, from trance to electro to UK bass, but each is reinterpreted and made to fit alongside the sound Daithí has built for himself over his previous records. Lightweight but atmospheric strings and an adept sense for compelling rhythms tie I’m Here Now together, along with his overall spacious and skillful production. That being said, not all the tracks hit the same. While the deeper cuts stir sinister and well-crafted tension, I can’t help but feel that the more carefree tracks bookending the LP are out of place, and lack the gloomy spark of the midsection. FL CLICK IT OUT… 46 We know it and so should you food, fashion, photography, film, books, magazines, music, design, drink and a curated section of events for you to consider www.totallydublin.ie