The Goo 1
Reviews contd.. a song. It painted a scene of an
old piano and a bar after hours, lamplit faces peering from the surrounding dark as cigarette smoke and shadows frame the players in the corner. The songs here are living things, unfolding and unfurling from crumbs to majestic, sweeping statements, heartrendingly beautiful and melancholy in equal measure. Simply brilliant compositional decisions like the tribal percussion of ‘Love Henry’ and its staccato chants are clever, creative and like the rest of the album, seamed with fission inducing vocal performances, heartbreaking harmonies and primal rhythms in a swell of tidally cavernous drone. Percolator, Lankum and Katie Kim have each carved a fiercely original niche to inhabit in the spectrum of modern music. That the four came together to create something so cohesive out of such distinctive and authentic voices is testament to the musicianship of the individuals. The record has that rarest of hallmarks of truly great music. It was not written. It has always been there. And these brave voyagers have had the skills to pluck it from that timeless space and render it for all of us lucky muds to share. AOC Racheal Lavelle - Big Dreams HEARTRENDERINGLY BEAUTIFUL AND MELANCHOLY IN EQUAL MEASURE PAGE 18 Having been hipped to her work during an interview with the luminaries of ØXN, and subsequently catching her standout set during Ireland Music Week, I jumped at the chance to write some words about Rachael Lavellles debut album and her unique avantpop. Introducing itself by way of remarkable unaccompanied soprano, soon joined by odd intervals of vocal harmony, ‘Travel Size’ sets a slightly unnerving tone for the remarkable record to follow. A minimalist, considered and detached aesthetic to music that sounds like it comes from the eighties, albeit the eighties of the strange, sterile, dystopian future we march toward. Lavelle’s voice is beautiful, by turns harrowing and heartbreaking. A slightly Nordic inflection laces her incredible control with a unique and arresting timbre, and her admirable range is perhaps showcased best in ‘Let Me Unlock Your Full Potential’ and its triumphant, life affirming chorus. The music is thoughtfully composed, often quite minimal yet incredibly effective, varied yet consistent, from the insistent pulse of ‘Eat Clean’ and its unconventional structure to the dark and brooding ‘Perpetual Party’, a ghostly threnody that echoes Scott Walkers ‘The Drift’. Subtle instrumentation from ubiquitous collaborator Ryan Hargadon of Moondiver, with engineering and co production duties from Alex Borwick (Inni-K, Niamh Regan), the otherwise self produced record sounds clear, lush and crisp, with contributions from the Doireann Ní Bhriain likening the listening experience to a lon, glorious train journey. A sterling debut from an intriguing artist who is dreaming big. AOC Glen Hansard - All That Was East Is West Of Me Now Glen Hansard. Accomplished musician. Acclaimed film-maker. The Frames frontman. Outspan, even. Whatever way you think of him, Hansard has certainly earned his music legend chops. On the scene for more than 30 years now, All That Was East Is West Of Me Now is his fifth solo album. New single 'The Feast Of St John' leads us in nicely, a soaring start to ATWEIWOMN. It’s an epic track with Hansard’s well worn groove really taking hold, and bringing us right into the heart of where he is now. Hansard’s in his prime. ‘Down On Our Knees’ comes in on a melancholic strum, quickly becoming a gorgeous jangle with Glen Hansard’s voice layered over, low & slow. The message is direct, Manics style, but as it goes on, you realise that it’s just a deadly song. Simple as that. Follow-up ‘No Mountain’ is a different animal, a roll in the country hay that rolls along, Hansard’s voice handsome as the other iconic Glen. It’s sublime. It’s all Nick Cave tones on the haunting ‘Sure As Rain’ with a Gainsbourg twist, Hansard the charming chanteur. This album is full of surprises. Hansard spoke about the process, whereby he took a corner of his local pub & just felt his way through the material. ATWEIWOMN is organic. And original. ‘Between Us There Is Music’… “perhaps there is a song” is a love letter with angelic overlapping voices chiming in with Hansard’s gravelly growl. ‘Ghost’ is a lush lullaby, gossamer guitars & high notes swirling together to make a cauldron of spooky sounds (nice timing). In the thick of ATWEIWOMN, it’s obvious that Glen Hansard has made something special here. His sound is very much his own; this is a guy who hasn’t stood still, but keeps on breaking through. With ‘Bearing Witness’ we’re plunged into a guitar-driven solid gold rock song. Savage words & sharp instrumentals, it’s super- tight. ‘Short Life’ brings back that growl & plenty of “la, la, la”s. Nine tasty tracks, ‘Reprise’ sees us out on a tenuous note, wrapping things up. ATWEIWOMN is a record that you’re putting the needle straight back to the start of, every time. LB ORGANIC AND ORIGINAL