The Goo 1
Singles Reviews ADHAMH O’CAOIMH / JACK MCBAIN / D
AVID CARR / SHAR DULLAGHAN / DIANA STOKES / ETHAN GOLDING / PAUL FITZPATRICK Overhead, The Albatross - ‘Your Last Breath’ After some sublime live shows and ‘L’Appel Du Vide’ to whet the appetite, the near interminable wait for a new Overhead, The Albatross record is almost at an end. The band’s poignant marriage of electronica, rock and epic, classically influenced song structures recalls post rock countrymen God Is An Astronaut at their best, yet still finds a distinctive voice. A beautiful poem inspired by life events over the five year hiatus the band undertook, and the births, deaths and marriages inbetween, closes out the piece in a suitably poignant and epic fashion. These guys, as always, excel at writing music for the inspirational scenes in a Chrtistopher Nolan film that hasn’t been made yet. There’s a sunrise and tears, a monologue and a sad, lingering last look. You know the ones. AOC Burning Realm - ‘From Beyond’ The first single from this new act from legendary Puget Sound alumni, fingerstyle virtuoso Owensie and Ror Conaty of No Spill Blood, blasts out of the gate with a storm of harmonics, mountain levelling riffology and a battery of impossible rhythms from… well, the best drummer PAGE 10 in Ireland. Tob Swift of Mongolia/Realistic Train infamy completes the trio that comprises this psychedelic heft parade, slinging soupy riffs and volcanic guitar tones that flirt with High on Fire and Thin Lizzy in equal measure. Ahead of the incredible, incredible Face the Fire EP, coming 13th of April, this is a mandatory listen if you want to decimate a whistle you thought you might wet in the wait. I’ve heard it. Can’t wait for you to. It slays. AOC Last Time - ‘Curtisy’ Tallaght’s own Curtisy is back with his third single off upcoming album What was the Question? titled ‘Last Time’ which is a laid back emotional cut with excellent production from D*MP. The song is definitely the rappers most vulnerable work to this day with an atmospheric beat that reminded me of legendary producer Clams Casino. Curtisy shows no sign of slowing down on this single run prior to the album and his lyrics, rapping style and production keep getting better. JMcB A.n.e.n.o.m.e - ‘Fascinate Me’ A thick, drawling bassline crawls up from the depths as dry, severe strings weave disorienting webs in the darkness, and echo perhaps of Warren Ellis’ sterling soundtrack work with Nick Cave. As an avid fan of ‘Dregs’, and warmly anticipating the forthcoming Human Remains EP, this new offering from the LIFTS duo feverishly stokes that fire. A dark, unsettling and deeply emotive journey, recalling the dire drama of SWANS and the heartbroken keening of Emma Ruth Rundle, especially her more experimental work, and often in the same moment. AOC. En Attendant Ana - ‘Magical Lies’ En Attendant Ana continue to capture me in their spell. This single marks the one year anniversary of the glorious Principia album release. The wonderful juxtaposition of the title is revealed as a child abuse story retold. Margeaux Bouchaudon sweetly sings “Remember the pain, when the bruise is gone” drawing you in like a siren song to ultimate devastation. The music is every bit as enchanting with a brilliantly intricate bass guitar. ‘Teeny Tiny Tyche’ provides a worthy flip side. DC M(h)aol - ‘Pursuit’ The regenesis of M(h)aol following Róisin’s departure continues unabated. ‘Pursuit’ deals with the grim reality of the perilous journey many women have to make, simply returning home late at night. “Keys clutched in my hand… If I run really fast will I make it to my bed.” The pacey beats echo the quickening of the footsteps and the racing of the heart. The distorted bassline makes the experience more intense and claustrophobic as the vocals increase in angst. A traumatic but brilliant listen. DC Fight Like Apes - ‘Black Boys on Mopeds’ This is a song written by Sinead O’Connor that is spine-tinglingly emotive in its crystal-clear depiction of human oppression and pain. Protest songs don’t come any better than this. The stark imagery of police brutality, poverty and suffering places us in the shoes of the man in England who loses his life at the hands of the police and the woman in Smithfield trying to keep herself and her three babies alive on a freezing cold morning in the city. A song of such weight and impact demands a voice that meets the sensitivity of the life-or-death subject matter and conveys it with strength. Sinead O’Connor did it and now MayKay shoulders these powerful words and honours this emotionally explosive song with intuition and grace. Her voice is a waterfall of tone and rises with power at the