Mysterious and moving, ‘Ivory Black’ is the compassionate call to arms from Sage Morei. Inspired by a documentary about the illegal ivory trade and the devastating impact this is having on elephant populations, Sage Morei channels his rage into this thoughtful and powerful track that clearly comes straight from the soul.
‘Ivory Black’ is a dark coiling number as Sage Morei uses smoky electronics and alternative rock to create a striking new song. The sharp guitar distortion smothers in thick asphyxiating synths, creating a tar-like muggy soundscape while Morei’s powerful rock-infused vocals express the songs grittier elements and emotional theme. Elements of Marilyn Manson provide the song with chilling and ominous tones which brood through the rich percussive wall of sound while haunting backing vocals and mysterious instrumental backdrop make this song one heck of a thrilling listening experience.
Filmed on location in Thailand, the video features stunning locations, ranging from the urban environment of Bangkok City to Thailand’s Khao Sok National Park. Sage Morei and cinematographer Dorian Kissama Merciai spent many days with the majestic elephants themselves, wanting to highlight the real reason behind the video in a truthful and authentic way that avoided exploiting the animals. Working with a top team that includes Lee Avant (FKA twigs), and second cinematographer Nina Hawkins, the entire project has taken years to perfect. Sage Morei has also set up a webshop with an entire collection revolving around the release, all profits from which will go to elephant and rhino conservation charities that work to protect these animals from poaching. This is especially significant now as they have seen a rise in poaching numbers during Covid-19.
Brass Phantoms have released their eagerly awaited debut album ‘Holding Out For Horrors’. With a growing fanbase and a reputation for energetic and frenzied live shows, the Dublin five-piece landed themselves support slots with Dublin favourites Delorentos and Manchester darlings The Slow Readers Club. Having toured throughout Ireland and the UK, they are tipped as one of the top acts to see at New York’s Global Music Festival and Conference Mondo NYC.
‘Holding Out For Horrors’ is a magnificent genre-splicing album as Brass Phantoms take their refined musicianship, expressive songwriting and dynamic energy and pour it into an impressive body of work. The album features the band’s singles ‘Hurricane’, ‘City Of Wolves’, ‘Waiting Up’, ‘Indigo’ and recent release ‘What We Leave Behind Us’ which have all been landmarks in the quintets musical growth. Displaying slinky ethereal guitar lines, chiming key progressions, epic melodies and choruses the band present a big lofty sound with weighty lyrics and biting soundscapes. Each track is meticulously layered and deftly crafted to create a thrilling listening experience. With the singles paving the way the band could have slipped in a few weaker and light listens to fill out the track list but that’s not the kind of band Brass Phantoms are. The rest of the album is chock-a-block with big songs of depth and quality.
The Killers – esque ‘Legal Fiction’ thrives on intoxicating guitar lines and atmospheric synths that skillfully blend synth-pop with dark gritty rock; it is a magnificent display of compositional prowess. Ryan Cashell’s vocals have become cinematic, deeper and more distinct than ever as he owns his unique vocal range and expressive emotive scope. He can haunt and chill through a song or mysteriously cast a sinister tone that turns the more instrumentally uplifting tracks ( such as ‘Wood Words’ ) into quite an ominous darker tune. To contrast Cashell’s vocals the band showcase a new facet of Brass Phantoms which we haven’t seen before, a duet with the one and only Colleen Heavey. Her sweet innocent coo’s contrast, blend and add a refreshing light to ‘What We Leave Behind Us’. This kinetic and refined track is a pinnacle moment on the album, showcasing the band’s mature musicianship. They create a richly textured sonic wall of sound exuding tantalising bass grooves which drizzle a funk tone onto the dark synth pop backdrop. A punchy drum foundation and woodblock feature entices the listener while sharp guitar lines weave and tease oozing tension and suspense – an utterly thrilling listening experience.The frantic swirl of ‘Disciples’ reminds us just how dazzling and synth heavy Brass Phantoms can be as they press disco shimmering synths over ominous melodies, and shredding guitar riffs that lament, soar and slice through Adam McCabe’s fluctuant, dead-summoning drums.
Brass Phantoms prove they are quite the dream team, not only does the band have a unique, powerful and charismatic frontman (Ryan Cashell). They also have guitar and bass virtuoso’s in Greg Whelan and James Geraghty and voice of an angel and synth wizard in Colleen Heavey. All this talent is nurtured by McCabe’s hefty dynamic drums which allows each instrument ( guitars, synths, and vocals ) to flourish and shine in prismatic glory. McCabes drums also create the elastic flirtations and ballsy backbone which levitates each song to its epic climax
The sustained dark ecstasy of each song expands as the album progresses. The sultry ‘Something Automatic’ and the blustery elation of ‘Indigo’ are brimming with luscious indie pop melodies consumed in a whirlpool of rich ethereal soundscapes, reinforcing the kinetic adrenaline this band have crafted so meticulously. Even the beautiful and short interlude of ‘Max’s Reprise (We Leave Behind)’ and slow burner ‘Reflection’ which exudes lush harmonies, heartfelt melody and passionate instrumentation, winds the album down without loosing the majestic and impactful punch of its predecessors.
‘Holding Out For Horrors’ is a marvelous, epic collection of synth-rock gems and energetic anthems. For their debut album Brass Phantoms take us on a journey through their own personal experiences while also showcasing their musical growth. Within the album there is enough familiarity and boundary pushing to keep the listener engaged while the darker, thrilling moments keep you hanging on the edge of your seat. Showcasing wonderful blends of synth pop, indie and alternative, ‘Holding Out For Horrors’ is an album to fully indulge in and enjoy over and over again.
Dublin band N.O.A.H have released their debut single ‘Shine’ today. N.O.A.H is comprised of three lifelong friends, Ryan Hill: Lead Vocalists/Guitarist, Adam Rooney: Bass Guitarist and Ronan Hynes: Drummer. Immersing themselves in Music – all members have been formally educated through third level in several music related degrees, some of which include BIMM Dublin, the band was formed in January 2020, after the band decided to reform a previous musical endeavour. They have taken inspiration in its naming, from the biblical story of ‘Noah and the Ark’ , which is centralised around the theme of new beginnings.This idea is fundamental to the band’s vision and core values.
‘Shine’ is a powerful and heart-palpitating anthem as N.O.A.H surge oodles of adrenaline inducing indie rock into one dynamic tune. With biting guitars soaring over punchy drums and suspenseful tones the band use gripping chimes and swirling soundscapes to create a passionate track that is catchy as hell. The song travels from high to high providing an uplifting rush of energy enhanced by powerful vocals, driving rhythms and galloping percussive elements. With a cinematic build to the mighty crescendo teamed with a stadium-bellowing chorus N.O.A.H have created a fantastic new tune to soothe the soul and ignite passion in us all. It’s a compelling piece of music.
James Lonergan is set to release his debut single ‘Brendan Valeʼ tomorrow September 25th. James began playing guitar and writing music aged 9 when, amidst a recently admitted period of “unexplained, unwarrented childhood depression”, his father brought him home a battered old classical guitar. This awoke James into the current stream of conciousness he now exists in. Inspired by his father, who worked as a gigging musician in pubs around the county, James immediately began writing music – joining his first band aged 10. Throughout the years James has fronted a range of bands, as a vocalist, guitarist & keyboardist, most notably being the vocalist, guitarist & principal songwriter of the recently disbanded progressive band, Synk. Now self-producing his debut solo album, James is seen to be furthering the development of his own breed of contemporary alternative/ folk/electronic music.
‘Brendan Valeʼ is an immersive track which exudes ambient electronic soundscapes and the spellbinding songwriting of James Lonergan. Lonergan’s ability to weave wonderfully rich textures and tones through haunting sombre melodies and intricate progressive guitar flurries is mesmerising. The track seems to carry the listener into an otherworldly utopia of melancholy as Lonergan effortlessly draws the listener further into the songs rippling depths. With wispy electronics hovering over the soothing guitar and cushioning beat, Lonergan creates an eerie contrast to the song’s tranquilizing outer shell. A trotting rhythm embellishes the backdrop in a country hue while Lonergan’s vocals soothe and coo with tender and soft tones, however there is a tense and slightly asphyxiating undercurrent to the track which is displayed through the electronic pulses and brooding alternative rock elements. ‘Brendan Valeʼ is a richly crafted number with varied emotions presented through psychedelic flourishments, thought provoking lyrics and bubbling rhythms. Lonergan’s ability to create such emotive and expressive music is what makes him such a treasured talent.
Black Violets are set to release their second single ‘Rebel’ on the 25th September. The band released their debut single ‘Falling on the Radio’ to much acclaim, peaking at No.2 in the iTunes Alternative charts in Ireland. The song received airplay across on 2fm, Classic Hits 4fm, Corks 96fm, KCLRFM and Red Fm as well as in the UK (Newcastle) and US (San Diego 91X).
Swirling through a vivacious soundscape of fizzing guitars, punchy drums and dizzying electronics, ‘Rebel’ continues Black Violets’ onslaught of exhilarating alternative rock. With razor-sharp guitars soaring through the dark bass rumble and pounding drum foundation the band create a biting and thrilling wall of sound reminiscent of Kasabian while maintaining their own unique edge. The track travels at a relentless brisk speed as the delusional swarm on guitars warp and ricochet off the galloping rhythm with relentless stamina while the power rock vocals bounce off this kinetic backdrop, thriving within the musical chaos. The acid soaked synths give the track an 80’s vibe as the band blend alternate rock with an effervescent shot of electronic pop before slapping some punk attitude on top. Black Violets have created an energetic raw new anthem that is sure to revolve in your head for days.
Thom Southern, a Belfast based singer, songwriter and producer, has released his debut single ‘Shivers’. Recorded in Southern’s Belfast based home studio, ‘Shivers’ has been co-produced by iconic producer and 2 time Grammy Award winner Adrian Bushby (Muse, Foo Fighters, Feeder). Thom Southern started his musical career busking in Belfast aged 16. After winning a national competition he was awarded a trip to Nashville and some recording time in a studio. The resulting material saw him awarded ‘Songwriter of the Year’ by Belfast City Council. He teamed up with his sister Lucy to form the band Southern. In 2012 they signed to Marathon Artists.Within 18 months they had toured with the likes of Jake Bugg, Bastille, Hudson Taylor, Catfish & The Bottlemen and The Kooks, saw their work used in international campaigns by ESPN, Netflix and Channel 4 and performed events around the world for brands such as for Yves Saint Laurent and Burberry. In 2016 the duo took some time off to launch another project – a self recorded psych-rock project called MMODE – before Thom made the decision to move back towards recording his own work.
Encased in a 90’s haze of sun kissed alternative grunge and the beautiful songwriting of Thom Southern, ‘Shivers’ is a captivating debut. With dizzying distortion on guitars swirling around ethereal sonic flourishes the track maintains a buzz of heightened emotion. Southern’s velvety vocals coo with reverb whispers over the dreamy melody while the steady drums and psychedelic embellishments create a colourful prismatic wall of sound. The song rushes with intensity as the blazing backdrop and impenetrable guitar onslaught provides a raw, alternative grunge edge to this gem. The pulsing bass gently protrudes though the hazy melody as Southern displays his flair for melodious, breezy, memorable compositions. ‘Shivers’ is a solid debut from Thom Southern.
About the track Thom Southern said : “Shivers is the concept of love feeling like a drug, a sensation of being outside one’s own body, floating and observing oneself from a different perspective. I wanted to embody this meaning within a dense sounding track, to mainly focus on one swollen guitar sound which never stops throughout and accompany that with repetitive beatnotic drums”
Dublin five-piece, indie rock band Brass Phantoms have released their new single ‘What We Leave Behind Us’, taken from their upcoming album ‘Holding Out For Horrors’. So far, the band have released their well-received single ‘Waiting Up’, which garnered national airplay. Their guitar driven, drum fuelled track ‘City Of Wolves’ was used to promote Irish television coverage of the UEFA Champions League this year, as well as being added to Spotify’s editorial Hot New Bands playlist.Their music featured on the likes of BBC Radio 6 with Steve Lamacq, RTÉ, Today FM, 98FM, Radio Nova, Amazing Radio and more. No strangers to the live scene, Brass Phantoms have toured throughout Ireland, the UK and the United States, having been listed as one of the top acts to see at MONDO NYC Festival. They have a host of major festival appearances under their belts plus support tours for the likes of Delorentos and The Slow Readers Club.
‘What We Leave Behind Us’ is a prime example of how Brass Phantoms’ sonic flourishes have gradually grown more nuanced and refined with each release. These guys are on fire, each track they produce provides an exciting glimpse into a band pushing and merging the sonic boundaries of indie rock to create something truly mesmerising. Strident stings on guitar soar above a building swarm on synths creating a frenetic ethereal atmosphere while a fantastic bass groove lures the listeners mind into the tracks swirling abyss. As the track progresses the kinetic soundscape becomes a tangible force of nature of epic and cinematic proportion supported by a buoyant drum foundation.
The funky flex of the track provides swagger and a strut element however this gives way to the chorus which shimmers with a celestial melody and delicate vocals provided by Colleen Heavey. Ryan Cashell’s deep sinister vocals exude a haunting, theatrical and dark tone which contrasts the sweet innocence of Heavey’s vocal coo’s. She is a breath of fresh air within the tracks spiraling soundscape.
‘What We Leave Behind Us’ sees Brass Phantoms lean into their rich sound more boldly than ever before adding a duet style dialog and cinematic aspect to their songwriting. With chiming keys and resounding percussion the track is laced in rich layers and textures while maintaining that indie rock bite we have come to love from Brass Phantoms.
Belfast band Cloakroom Q have released their new album ‘Yes Again’. ‘Yes Again’ is a piece of wonderfully unique and at times obscure art which showcases a band unafraid to express their darker innermost thoughts through music. Laced in dark theatrics, frantic instrumentation and quirky lyrical outbursts Cloakroom Q’s album is not for the faint-hearted. With crashing guitars, ground shaking bass grooves and manic drums ‘Leave Me At Lusk’ and ‘Zhia’ start the album with brain melting distortion and gritty alternative rock.The band meld The Prodigy – esque sounds into their continuous onslaught to provide a crazed and barbed wall of sound. ‘Yes Again’ travels full throttle until the listener reaches ‘Here Everything Is Still Floating’. With delicate twinkling guitar radiating through an ethereal atmosphere the track provides a brief release from the heavy sound of previous tracks. However the band still manages to seep psychedelic undertones into the song through the punchy drums and melancholic melody.
The vocals throughout the album are filled with angst and despair as the lyrics are spit, exclaimed and shouted with such intensity it’s almost like a glorious performance of dramatic poetry. Placing their unique vocal delivery against a prismatic, image-evoking and dramatic backdrop is what Cloakroom Q do masterfully. Their ability to create ominous, chilling and explosive soundscapes which exudes raw vigor is mesmerising.
With tracks like ‘Capra Takes Off! (Hand Me My Jetpack I)’ and ‘Capra Comes Down (Hand Me My Jetpack II)’ the band take the listener on an intimate trip into gnarly alternative rock one minute and floaty hippy-esque pop another and lets not forget a cheeky little stop off at indie rock lane with ‘Nowhere To Spit’ which chimes with warm jingles on guitar and soft twinkles on keys. The band also venture into jazz, art rock and beyond with this album, using genre as a springboard for their expressive songwriting rather than adhering to its confinements. With elements of Talking Heads peeping up here and there and a faint REM residue, Cloakroom Q create their own unique sound filled with jaunty riffs and quirky melodic hooks which is best portrayed in the crazed ‘KFHC’ and emotive ‘Barely A Shadow’.
Cloakroom Q have created a refreshing alternative art rock album filled with a lush variety of instruments which include horns, bells, organs as well as your usual guitar band set up, however through all the madness there are some surprises within the album. As in all good albums there lies a hidden gem to discover, the sweet doo wop ditty ‘The Door’. A 50’s-esque honeyed melody drifts upon a slow shuffle tempo, seductive bass groove and light guitar while soft vocals coo ( that’s right I said coo, not screams or wails…well until the end) over the dreamy soundscape. It’s a charming little number which shows the band at their most pop.The song ventures into a meatier funky crescendo and it does go a little obscure and dark but not enough to change the sweetness of this brilliant track.
‘Yes Again’ is a story and journey and it plays through like one. The entanglements and frustrations the band express at the beginning seem to work themselves out as the album eases into the more mellowed end. Cloakroom Q have an impressive knack with dramatics and their talent is just as apparent in both the manic, expressive alternative tracks as it is in the more melodic tunes. The lyrics are honest, sometimes paranoid and aggressive and the band mirror this with intense instrumentation.
‘Yes Again’ is a unique and intriguing journey into Cloakroom Q’s unconscious. Their use of vivid witty songwriting and the bands unmistakable musical prowess has created an album like no other.
Dublin four piece Bullet Girl have released their new single ‘Concrete Bed’.Bullet Girl are guitarist Dylan Keenan, singer Aaron Doyle, bassist Tony Keyes and drummer Noel Dempsey. Their recent shows, including a standout set at TiLT in the Button Factory for 98fm’s Totally Irish, have elevated their standing in the Dublin live scene and earned them an invitation from Aiken Promotions to support hotly tipped The Mystrines of Liverpool for their performance at Eastbound Dublin.
‘Concrete Bed’ is a thrilling taste of the raw post punk Bullet Girl do so well. With scraping sharp guitars shrilling over an abrasive bass the band create an intoxicating wall of sound which accelerates from ominous tension to frantic chaos. This fantastic build and progression is why Bullet Girl’s musical prowess is mesmerising. They mix coarse piercing soundscapes with lighter guitar shrills and ferment this concoction until it’s simmering with unadulterated red hot fury. The pounding drums bash the tracks foundation with bloodthirsty mania while the frantic vocals scream and shout over the explosive anarchy. It’s anger, aggression and disdain all set to exhilarating musicianship, to create a mosh worthy onslaught for the listener to indulge in. Lyrically the track paints a vivid image of drug culture, homelessness and modern despair in Dublin City and the band reinforce this with dizzying soundscapes and the honest, bruising yet beautiful sound that is Bullet Girl.
About the track the band says: “Musically we wanted to create a spiralling soundscape to emphasise this endless cycle. We purposely wanted to write a song that went out of its way to strip away the romanticism of Dublin. As a city, Dublin and Dubliners have a lot to celebrate but while sleeping bags lay parked outside government buildings, it’s hard for us not to feel anger for the current state of our city. We don’t pretend to offer the solution to these issues, we only want to shine a light on it by presenting it in the most unfiltered manner possible.”
Rising Dublin quartet TV People have released their third single of 2020, ‘Nothing More’ and its accompanying video directed by Robert Clarke. Mixed and recorded at Darklands Audio with Dan Doherty (Fontaines D.C., Vulpynes) and mastered at Abbey Road Studios by Christian Wright (Radiohead, Blur, LCD Soundsystem), ‘Nothing More’ sees the band come to terms with identity and the struggle of finding a purpose in life.Hailing from the heart of Ireland’s capital, TV People are a Dublin four-piece who lace their indie/garage rock sound with punk-infused undertones.
Doused in moody tones of garage rock ‘Nothing More’ sees TV People take a more delicate approach to their sound. Structured and driven by a rooted bass rumble, the tracks underbelly is dark and sinister as the deep almost nonchalant vocals mirror the immersive melancholy of the bass. However the sweet lament on guitar is the light in the darkness – radiating a pure ray of hope as it chimes and twinkles through the depressive soundscape.The band’s attention to detail has always been a compelling aspect of their sound and again they do not disappoint; TV People’s slow paced and deliberate approach to this track stops time. The steady beat ties all the airy, raw and emotive components together within a loose veneer of indie rock allowing the bass and guitar to flourish underneath as the track builds gradually becoming more dramatic and intense before settling on a beautiful guitar refrain for the outro. Displaying lyrical depth, maturity and deft musicianship ‘Nothing More’ marks a significant moment in TV People’s sound and strong musical growth.
Speaking about the single, the band explain: “It reflects on the superficial challenges of finding yourself that you face in adolescence and early adulthood, and contrasts these with a deeper existential anxiety that emerges in their place as you begin to overcome them.The song documents the experience of trying to make peace with the realisation that life may be inherently meaningless and deal with the burden of being responsible for your own life’s purpose. It was written remotely during the lockdown period by sending each other music and mixing a home demo which was a new way of writing for us.”
Watch the video for ‘Nothing More’ below
Author : Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
