Bio: Teen Roscommon rock and roll band The Flies will release a self-produced new single ‘Split in Two’ on all platforms on Friday 25th March. A new video will be released to coincide with the release. The song was produced and engineered by Flies bassist JJ Doherty and mastered by Luke Devaney at The Blue Room, Sligo. The Flies have released two EPs since the COVID 19 pandemic began in March 2020. The ‘Looser’ and ‘Back in the Garage’ EPs attracted significant critical praise and the lead tracks from both have gained significant national radio play. In the period before the pandemic, The Flies were a busy live act. Some of their last gigs before things shut down in March 2020 were support slots with Jinx Lennon and The Stunning. They are looking forward to taking things up on the live front where they left off.
Track: Split in Two
Why We Like It: It’s a catchy slice of indie rock that showcases The Flies’ knack for infectious melodies and energetic musicianship. With radiant guitar jangling through a tight drum foundation and irresistible bass groove, it’s a tune sure to have listeners singing along in no time. Oozing confidence and charm ‘Split in Two’ is a lively ditty that marks The Flies as a band to keep an eye on.
Bio: Irish trio Rowan have released their second single, ‘Honesty’, from the band’s upcoming debut album, Does It Make You Happy? due out May 6th via Beverly Martel. ‘Honesty’ is the follow-up track from the band’s previous singles ‘Irish To My Bones’ and ‘Youth & Youthhood’ which have received support from the likes of Steve Lamacq and Lauren Laverne at 6 Music.
Track: Honesty
Why We Like It: Filled with sunkissed melodies and shredding guitar moments, ‘Honesty’ is a glorious new single from Rowan. The band weave garage rock elements over dreamy shoegaze tones to create a thoroughly enjoyable listening experience. Rowan’s exquisite sound is blossoming wonderfully. Looking forward to the debut album from this talented trio.
Bio: Ryan Egan has announced the release of his long-anticipated debut album ‘Soft Power’, set for release on April 8th, 2022. The album’s fourth single ‘We Do It On Purpose’ has been released alongside the announcement. The album was produced by Kevin Basko (Foxygen, The Lemon Twigs).
Track: We Do It On Purpose
Why We Like It: It’s a dreamy slow jam, filled with nostalgic melodies, mellow guitar and soft beats. This tune is a fine display of indie-pop and Egan’s lush musicianship as he croons over a supple melody while elegant keys and a soothing choir fill out the song’s ethereal soundscapes. ‘We Do It On Purpose’ is well crafted and beckons repeat plays.
Bio: Birmingham anti-pop quartet Y!KES have released their new single ‘Iron Deficiency’. Produced by Jim Pinder (BMTH / WSS) at Treehouse Studio, the single is accompanied by a classic music video shot inside Birmingham’s botanical gardens.
Track: Iron Deficiency
Why We Like It: It’s a mighty alternative rock mammoth that boasts the mesmerising sound of Y!KES. The band blast a blitz of crashing guitars over a pounding drum assault while eerie bass lines create a chilling tone throughout. The song is smothered in distortion and ominous soundscapes to create a thrilling listening experience for listeners to immerse themselves in. Filled with fiery alternative rock angst, ‘Iron Deficiency’ is a fantastic new single from Y!KES. Enjoy.
Award-winning composer, songwriter and multi-instrumentalist Daniel Fitzpatrick, aka Badhands, is set to release his second album ‘Far Away’ on Friday, 1st April 2022. I caught up with Fitzpatrick to talk about the album, writing during the pandemic and plans for his upcoming full-band album launch in Whelan’s main room on Saturday, 9th April 2022.
“It’s not really a concept album, most of the songs were written a few years ago. So I guess if there’s any consistent themes, it’s just from the nature of whatever was going on at the time, but no there’s definitely no real kind of overarching concepts to it.”
‘Far Away’ is a sublime easy listening experience as Fitzpatrick ventures between classic rock and indie with some pop sensibilities. ‘Quiet and Still’ is a fine example of this. Oozing elements of classic rock, country and an irresistible melody, the track pivots around an ominous beat while twinkling guitar flickers throughout.
“That song, it’s so long since I’ve written it. I wrote that about four or five years ago. This is the thing with this album, I was supposed to have it done and out really before covid hit. Then it was a nightmare trying to finish it off during covid. So, there was a couple of songs that I rewrote, like ‘Wasted’ which I would have written the lyrics for during Covid. So there’s, a couple like that, that I kind of feel [ are ] a little more current to me. Funny, a couple of songs on it now, I wrote them so long ago I can barely remember much about them, which is very strange. It’s a very strange thing to just be releasing it now, you know”
“When I was trying to finish off the album early in covid I got quite disillusioned with it. I was listening to it and I [ was ] just like these songs don’t really mean anything to me now. It was such a strange time I was like, what’s the point of any of this? I just took a break from it. I ended up doing a different project, a concept piece about the oceans, which was a five-track EP and I got really into that then, recorded and released it after about a year. Then when I came back to the album, it did have more of a freshness and I was into it again, and I finished it. It was around this time last year, [ I ] probably finished it and it did seem a bit more fresh to me again. Then we did a gig last year and playing the song live with the band again, you know, gave it a new lease a life. So thankfully, I did fall back in love with it after a period of really just being disinterested, kind of disinterested in anything I was working on at the time, it was a strange spell.”
“It was weird, funnily enough at the start of it, I was really productive. I was writing a lot. I was working on stuff and I really thought it was having quite a positive effect on my work and productivity so for a while that seemed like a benefit. Then there was spells, like this time last year, January, February, March last year, I just found it impossible to work. I couldn’t do any of those I was just absolutely lethargic and drained so it was just a real funny up and down experience. unlike anything, I’ve ever experienced. Well, unlike anything any of us have experienced before, I guess.”
The album was recorded chiefly at Ailfionn Studios, with musicians Chris Barry, Tom Cosgrave, Aoife Ruth, Ken Mooney, and David Tapley. We discussed how these talented musicians bolstered Fitzpatrick and helped him with any difficulties he went through.
“I’ve been really lucky, it’s pretty much that core band now, Chris, Tom, Aoife and Ken and then there is also David Tapley from the band Tandem Phoenixso he’s been pretty much full time in playing as well. They’re all just amazing musicians and they bring their own unique elements to the party. I’ll go in with a song and then – take that song ‘Quiet and Still’, for example, really just hinges around this delayed bass thing, you know, which Tom came up with so as soon as we went in, he just started doing that and then suddenly the song was just built around that because it’s like a heartbeat, you know, it just suited it perfectly and that was just something he came up with in the rehearsal room. I love that, it’s great when somebody else adds something and suddenly it changes you know. The song is suddenly a completely different beast when that happens”
Each song exudes warm melodies that are soothing to the ears. But there is a dark, ominous undertone that broods throughout the album.
“I think, especially with lyrics, I find a lot of the lyrics I write seem to come from maybe a place of anxiety or something like that. I think when people write often, for whatever reason, different aspects of their personality come out. So a lot of the time whatever you’re writing doesn’t necessarily define youor sum you up as a person. I guess the darkness in the song probably has something to do with, being anxious or self-conscious about things. So even something that I’m writing that might be a love song or something, always seems to have an undercurrent of just tension or anxiety in it. I guess that’s where that comes from. I tried to balance that with the music because say a song like, ‘Wasted’ would be one where the lyrics are extremely downbeat, but the music contrasts with it. It’s pretty upbeat. So, yeah, it’s always trying to blend that so it’s not just depressing or just miserable. I’m generally a fairly cheery person, but I think if you listen to the lyrics on my music, you probably wouldn’t think that”
The piano is a prominent instrument on the album and Fitzpatrick manages to convey many emotions and textures with just the piano alone. Fitzpatrick explained how he wrote some of the songs on piano.
“I used to write mainly on guitar. I think, for the most part, I tend to write everything on piano. Well, it’s a mix. I might start writing something on the piano and then I’m sitting down with a guitar and coming up with bits on that. But yeah, I think now for the most part it’s usually on piano and especially now we are just close to finishing a third album. We went in with the band in January. It was actually just after I’d watched the, The Beatles Get Back and I loved it so much. I got onto the band and they’d all just watched it as well and everybody was just really keen to get in and do something. So I just booked thestudio even though I hadn’t fully finished the songs and really knuckled down and tried to get the thing finished. Then we went in and I did this one really piano-based. I was playing just a grand piano and we did it all live in the room and it was great. So the new album is especially piano-led on a lot of the songs”.
There are plenty of memorable moments on the album filled with passionate, evocative musicianship and poignant songwriting. However, the dark and theatrical elements are intriguing aspects in Fitzpatrick’s songs and a theme we continued to return to when talking about the album. ‘Atlas’ is a perfect example of this. It has a Tom Waits ‘Little Drop Of Poison mixed with Nick Cave Red Right Hand Vibe’. Fitzpatrick expresses this wonderfully through ominous piano and intoxicating soundscapes.
“ Yeah, I’m a big Tom Waits fan. Actually, ‘Atlas’ was one that I did right at the start. In fact, I have quite a vivid memory of writing that. It was, I’d say maybe a week into the covid hitting and lockdown. So I can really remember that specifically, I was just in my room all the time with the piano. I remember writing that song at that stage. So I guess it was a bit of an ominous time. It was a mix of things going on that probably inspired that one”
Lyrically the tracks are deep, well thought out and profoundly expressive. Fitzpatrick explained to me he strives to express genuine deep thoughts through his music.
“Yeah, I never really set out to write any particular lyrics. A lot of the time I wish I could write about certain things or certain types of songs but anytime I tried to do that …it just never works. I think you can hear that in music when you hear a song from an artist or something. You can just tell maybe it doesn’t seem totally from the heart or genuine and that’s what I’ve felt anytime I’ve set out to write a specific type of song. So I just stuck with whatever comes really and that’s why that I feel sometimes you know the lyrics I’m writing, I find sometimes this is a bit repetitive or this is a bit depressing or something but it’s just…I find with the lyrics, anything that I write, that hasn’t come natural tends to be pretty, pretty bad for the most part.”
‘So Alive’ is quite different to the other tracks on the album. It’s more experimental and psychedelic and the track sits snugly between ‘Atlas’ and ‘They Know You Better’. On hearing the album each song holds its own and warrants its place while blending superbly into the album’s aesthetic. Fitzpatrick explained how he struggled to decide on the tracklist order.
“It was in some respects. Yeah, there was a couple of tracks I found hard to place like ‘So Alive’, ‘Quiet and Still’ the last song [Take Me Far Away] which were I guess just a little bit more understated well not so understated its got strings on it. It felt more understated than some of the other tracks and I tend to find them harder to place, I guess than the ones that have a lot of you know, gusto or something in them. But I always had it in mind for ‘Atlas’ to flow into it. So in that respect, I at least knew that those two songs would go one after the other. So that was at least some help. For a couple of the guys in the band that would have been one of their favourites. That would have been one I wrote on guitar just with that picky riff or whatever. Initially, it was quite a stripped-down piece, which I had toyed with but then you know, as is often the case, less is more but then you just keep adding more. Then suddenly it’s like, throw a lot of strings on there and you’ve got this big, psychedelic orchestral thing but I was happy with how it turned out”
Fitzpatrick has a launch for ‘Far Away’ with a full band show in Whelan’s main room on Saturday, 9th of April and he told me what fans can expect from the show.
“Well, probably a lot off the upcoming album for sure. I’d say that will be the dominant one. I think we will try and do one or two off the one [album] that we just recorded and then a couple of hits off the first album. Now we are playing with the six-piece band for the bigger gigs, it’s great. Aoife who plays in the band she does keys and violin and she’s really great. When she switches over to violin she has a lot of weird effects and stuff. She’s a bit like Warren Ellis, [Nick Cave and] The Bad Seeds. So that’s always a nice aspect. But yeah, I’m really looking forward to it. I look forward to actually arranging some rehearsals and getting everyone in because it’d be rare that the six of us all play together. That would be a thing for, you know, a show like this or whatever. But you know, for the most part of doing other gigs it’d be a four or five-piece set up so it’s great. It’s great to get to play with a full complement, but it’s rare enough.”
‘Far Away’ is a musically rich and deeply immersive album. Each track is a joy to listen to and highlights the expressive sound, refined musicianship and eloquent songwriting of Badhands.
Nathan Mac has released his new single ‘Broken & Beautiful’. In 2012, Nathan injured his back during a Circus performance. This led him on a journey away from his dreams of performing as an acrobat, & towards his passion for songwriting. 10 years later, he reflects on the influence of that injury: “We are more beautiful for the breaks we suffer along the way. They add to our depth. They prove that we’ve gone out there & risked something.” ‘Broken & Beautiful’ is the 6th addition to Nathan’s debut album: Start of Something Blue. The song also features in his upcoming Circus-Musical film: Learning Curve where he returns as an actor and aerial acrobat! Both the album and film are set for release later this Summer.
Filled with lush melodies and evocative lyrics ‘Broken & Beautiful’ is a cinematic alternative pop gem from Nathan Mac. Mac croons tender lyrics “Broken and Beautiful, treat yourself carefully. Stitches and gold, use your pain to relate to me. The stories I’ve told, they decorate my body. And I wanna show you, every scar suits us perfectly” over a building backdrop of bubbling beats and ethereal synths while subtle instrumental undertones ( alongside elegant piano ) blend between electronic and string elements. ‘Broken & Beautiful’ is well crafted and highlights the expressive musicianship of Nathan Mac in all its Glory.
Dublin band Forty Foot have released their new single ‘IDNA’. Forty Foot is a three-piece band from Dublin, composed of Mark Dillon (Guitar) and cousins Sam Coffey (Guitar/Vocals) and Ezra Mullen (Drums). The band was formed in 2019 following the sudden death of a friend and previous collaborator, with much of their initial work written and inspired by the bands’ loss. Their debut release ‘Drugs’ was recorded during the early months of the COVID-19 pandemic at Yellow Door studios. This was followed by their sophomore release “Zeros” which received radio play across Ireland, the UK, and also America.
Forty Foot returns with ‘IDNA’ – a thrilling and blustery grunge rock assault. The track pulsates on a resounding bassline while sharp frenzied guitars pierce throughout. The tune is richly layered in expressive swirling soundscapes that briskly turn into a dizzying trip of distortion as the song reaches its dynamic crescendo. With rasp-filled vocals haunting over an infectious melody, Forty Foot quenches our thirst for raw grunge rock with this exciting, ravaging new tune. Press play and enjoy.
Speaking about the single ‘IDNA’ Guitarist and Vocalist Sam Coffey said: “The lyrics only came together really when we hit the studio. I don’t think I had the chorus written at all actually. For me, it’s a call to arms. Ireland’s been through a tough time with COVID and with an unaccountable government that is just ticking boxes. It’s been rough for many. Despite this there is an inherent pride and togetherness we all share, it is in our DNA. All the mothers, fathers, sons, daughters, brothers, sisters, friends, lovers, had to keep each other going. I think I was just tapping into that feeling, it was certainly how I felt and how I still feel.”
AJ Wander has released his new single ‘When You Say I Love You’. The song is one of several tracks recorded in London and Barcelona with producer Brad Mair (Dean Lewis, Jamie Cullum, Kygo) which will culminate in AJ Wander’s first EP due in late 2022. AJ Wander’s debut single, ‘Time Out’, was written soon after an explosive breakup and represents the moment that he realised he had to let his first love go. This single has garnered over 4M streams in just over one year.
Whipping up stirring emotion through elegant piano and a fist-clenching chorus, ‘When You Say I Love You’ is an emotive new ballad from AJ Wander. The track exudes hair raising tension throughout as it broods at first before kinetic electronics push the soundscape to cinematic heights. Oozing conflicting emotion, Wander’s warm passionate vocals sing earnest lyrics amidst gripping instrumental builds and a lush, catchy melody. ‘When You Say I Love You’ is beautifully arranged and highlights Wander’s compelling musicianship and expressive songwriting.
Speaking of the single AJ Wander said: “When You Say I Love You is about someone falling for you too fast and that desire to go along with it just because you don’t want them to experience rejection. Eventually, you arrive at a realisation that pretending to be in love is not healthy, so you choose to be honest, but telling them that you need to slow things down is an emotional minefield.”
FYA FOX has released her new single, ‘Hit Me Where It Hurts’.FYA has gained major support across Irish national & regional radio stations along with plays on BBC Radio 1, ‘Track of The Week’ features on RTE 2FM, Spin South West and Today FM just to mention a few. Support from HotPress tipping FYA as “2022 Ones to Watch” along with support from Record of the Day. FYA collaborated with Richy McCourt over a zoom call during lockdown, from there the track was produced by Matt Weir & Si Fransis.
‘Hit Me Where It Hurts’ is a masterful display of alternative pop from FYA FOX. The song blends dark undertones with chiming keys while bubbling beats surround the song in danceable grooves. Venturing between lush pop sensibilities and R&B tones the track is a fine example of FYA’s diverse, compelling sound and expressive musicianship. Enhanced by rich percussion and spacious soundscapes, FYA’s immaculate vocals ooze emotion and tenderness as she coos vulnerable lyrics “take me for granted, my kindness for weakness.. you hit me where it hurts“. ‘Hit Me Where It Hurts’ is a joy to listen to again and again. The track highlights the artist’s mesmerising vocals and talent for creating emotive earworm melodies – simply stunning.
About the track, FYA FOX said: “This song came from my experience of people expressing their opinions and doubts of me as an artist in the music industry”.
Dublin artist Skinner has released his new single ‘The Slump’.It’s Skinner’s first release on Ireland’s Faction Records (James Vincent McMorrow, All Tvvins, Sorcha Richardson), released ahead of an upcoming headline show in Dublin on March 24th, Silverbacks tour supports and festivals like Beyond The Pale, and All Together Now. Skinner is a 24-year-old DIY slouch rock musician based in Dublin, Ireland, who writes, records and produces songs about growing up and overcoming a dirt-flecked 21st-century existence.
‘The Slump’ is a fine example of Skinner’s intricate musicianship. Lushly arranged and richly textured the tune reveals new, riveting undertones with each subsequent listen. Filled with jittery percussion, irresistible bass hooks and sleek guitar atop a catchy melody ( while a jubilant sax solo shakes up the song’s aesthetic), Skinner displays his edgy refined sound in all its glory. ‘The Slump’ is an exciting new track from Skinner and gives a glimpse of great things to come from this talented artist. Turn up the volume, press play and enjoy.
Aaron Corcoran, Skinner says of the song:“The song channels a feeling of nothingness and attempts to see the humour in it. Everyone goes through periods where every day feels like a slap in the face so I wrote this weird disco song to distract myself from the monotony of it all. I was trying to escape everything and make something fun, something you could dance to.”
London duo Niall The Urchin have released their debut single ‘Temping Bowling’. Consisting of Niall and his mysterious bandmate MTB, the duo formed after Niall spotted a bass guitar in the window of his local Cash Converters and starting making loops to accompany his spiky and street-smart poetry. The fantastically titled ‘Temping Bowling’ is their debut single proper, after they announced their existence to the world last month with the brutal ‘Bleak Street’. Recorded by the band and mixed by Señor Al Funklinos (King Krule, Baba Ali, Ghostpoet), the single is an angry sideswipe at the pettiness, mundanity and ultimate futility of work under the twin shadows of Covid and Brexit.
‘Temping Bowling’ sees Niall The Urchin travel down a hypnotic rabbit hole of eclectic rock. The song pivots around a deep bass groove that relentlessly drives the track forward while snappy drums fill out the buoyant backdrop. Sharp guitars add a retro 60’s vibe to the track’s vibrant soundscape enhanced by nonchalant vocals that ooze an angsty punk-esque undertone. The track is a joy to listen to and is an exciting debut from the duo.
Boasting a catchy melody and witty songwriting, ‘Temping Bowling’ is a thrilling new single from Niall The Urchin that is ready for repeat listens. Enjoy.
About the track, Niall said: “‘Temping Bowling’ was written about the monotony of a previous job. I think a lot of the time people think hard work and rewards go hand in hand, but quite often that’s not the case. I was playing in bands, working from nine to six and had a pretty dismal boss. I started as a temp and, before I knew it, I’d been there for over a year. Ultimately most employers look at their staff as expendable and that was evident to me when Covid hit. I wrote this song to poke fun at the hierarchical systems people try to exist within. In a job full of daft training sessions, false promises and countless egos it’s hard not to go full Bukowski, ‘Post Office’-style.”
Columbia Mills have released their new single ‘Heart of a Nation’. ‘Heart of a Nation’ is the title track and first single from the band’s third album scheduled for release in September this year. Described by John Kennedy (Radio X) as Ireland’s answer to The National, Columbia Mills are regulars at festivals such as Indiependence, Longitude, and Electric Picnic and have supported world-class acts like Ride, Public Service Broadcasting, and Palace. On top of this, they have also toured Ireland & the UK with a string of headline shows at venues such as Whelans, King Tuts, and Sebright Arms.
‘Heart of a Nation’ is a thrilling new song from Columbia Mills. Dealing with dark themes, in particular Ireland’s housing crisis the band highlight failures in our society. Fiachra Treacy’s vocals croon moving lyrics and drive home the songs stark lyrical content “A mother in a hotel raising her kids she’s not on holiday how did it end up this way …….sleeping in a Garda station, living in the heart of a first world nation”.
‘Heart of a Nation’ is a wonderfully expressive piece of music. The band create a soundscape filled with lush instrumentation, dark undertones and dazzling moments of evocative musicianship through the use of chiming guitars, bass rumbles and beautiful key arrangements that deftly convey coiling emotion, innocence, and anger.
The enthralling sound of Columbia Mills is one to be admired. Each of the band’s releases are a joy to listen to again and again. ‘Heart of a Nation’ is an excellent display of Columbia Mills’ masterful use of instrumentation, sonic finesse and eloquent songwriting.
Speaking about ‘Heart of a Nation’ lead singer Fiachra Treacy said: “Heart of a Nation” documents the housing crisis in Ireland, with each verse tackling a different aspect of the problem. From a mother sleeping with her children in a Garda station to the crooked businessmen and politicians that have caused the housing crisis in Ireland. Heart of a Nation peels back the political rhetoric and looks at the real people affected when the ruling class looks out for themselves.”
Thumper – Photography by Ruth Medjber @ruthlessimagery
Irish noise-pop / alt-rock sextet THUMPER’s hotly-anticipated debut LP ‘Delusions of Grandeur’ is set for release on the 18th March. Over the last two years, the Dublin six-piece have been developing their sound and building an increasingly passionate fanbase. With a lineup of two drummers and three guitarists, THUMPER’s maximalist wall of sound has long since set them apart in the booming Dublin music scene.
I caught up with Oisín Leahy Furlong to talk about the band’s debut album, expectations placed on the band as well as touring and getting comfortable with his voice.
“Well, I suppose that’s how we listen to music by LPs, and THUMPER sort of started and stopped and started and stopped. We had lineup changes, changes in direction and the normal teething problems that bands have. Once we solidified the lineup and the intent it was the next logical step to record that album for now and make our stamp”
THUMPER are perfecting their craft, dropping alternative rock gems with each release. Each member of the band is very talented and the album is a confident display of their musical prowess. I wondered if there were any moments of anxiety and doubt while creating the album.
“It’s hard to say really, because originally we recorded the album we had been on tour in 2019. We were going to the studio just to record a single and a B side and because we’ve been so busy touring, we went in and we recorded like eight or nine songs back to back just because we knew them all back to front because 2020 was gonna be so busy for us. It was just kind of warts and all, band in a room, like an artefact of what we sounded like at that time and that was more born out of our schedule. We didn’t have time to labour over something, but then obviously 2020 came along and all of our plans were null and void at that point. So, we’re on tour when Covid really hit and we flew back to Ireland, and Alan [Dooley] went straight into the studio and started working on re- looking at what we had recorded and what state it was all in. I didn’t see him for like two or three months but I knew he was working on the record. I didn’t know what he was doing. When I finally got to see him, a couple of months had passed and he’d grown a huge beard like he was in Castaway or whatever. He had sort of retcon the whole album from being this live in a room, to something way more. So, when we decided that was the direction we want to take it we were pretty confident with it because those are the album’s that we like you know. But we spent so long on it, 2020 felt like it was about three years long because of everything that was going on and we were in the studio non-stop working on the record. You have to just trust your instinct that what you’re doing is the right thing for the music. So I’m not sure that I would say we were confident it was just sort of willful ignorance that we were doing the right thing.”
The instrumentation within the album is masterful. Each song is a glorious display of great musicianship that boasts sleek guitar moments, sweet melodies and abrasive outbursts. The album takes wild unpredictable twists throughout its blustery journey as it shifts from frenetic soundscapes to stripped back instrumental breaks before leaping into dynamic crescendos. Tracks such as ‘Overbite’ and ‘Topher Grace’ are fine examples of this. ‘Strychnine’ is also a riveting display of musicianship from the sextet. Arguably the tour de force within the album the track is mostly Oisín and an acoustic guitar with soft percussion accompaniment and electronic guitar embellishments.
“That song is, in some ways outside of our comfort zone in the way it’s structured and the way we attacked it. I actually had that in my voice memos. I was going through like I have about 500 voice memos on my phone. It breaks every two seconds. But I had that saved on my phone from like 2018 as THUMPER mid-LP song. Then I was like, yeah, that’s what that will be and then that’s just what we did. Really, again, it’s like you make the decision, you’re confident about it. Then when you have to actualize it that’s when you have to be confident or employ a sort of a weird, over the top sense of self-belief. But we’re really happy with it. It’s one of my favourite tunes on the record now.”
The instrumental track ‘The Ghost’ is an exquisite piece of music. Featuring hypnotic guitar strikes, a sweet guitar refrain and abrasive undertones the track is a mosh pit friendly frenzy that is filled with mind-melting distortion and psychedelic elements.
“Well, when I settled on the idea of calling the album Delusions of Grandeur, that was referencing lyrical themes throughout it, but also in reference to the fact that when THUMPER started, it was a solo project. It was just me bringing out tapes and making like 100 of them and giving them around Dublin, really low stakes. low fi badly recorded, just sort of not throw away but the scope of it was much smaller. When we fixed on this Delusions of Grandeur idea, I thought it’d be funny to have a three-part 20 minute long song, finish the album so obviously, ‘The Ghost’ is like the second in that whole three-part suite at the end. The tune ‘Overbite’ which comes before it was the first time that Alan had basically written all the music or the guts of it to that song and I wrote the lyrics and then I was like, Okay, what this needs is, and I sort of sang out this section that didn’t exist yet. It needs to start off with one guitar and slowly build up into this thing. Then he just randomly flicked through his other demos that he had and just clicked on one and it was exactly what I just said. He had already preempted me wanting that to happen. So that became a blueprint then for that piece of music. Again, it wasn’t some huge decision to this instrumental piece that was gonna make the whole album but it was just going with your gut. Yeah, serving the songs as best you can.”
‘Down in Heaven’ brings the album to an end. It’s a heartbreaking finale. Oisín’s earnest vocals croon very raw lyrics “I did it to myself cos I deserved it” while drums trudge through a sweet melody and piercing sting on guitars. The track is both vibrant and mournful all at once as the band’s expressive use of instrumentation and melody creates gripping heart-wrenching turmoil for listeners to experience. This moving tune is a striking end to a magnificent album and provides a moment of reflection on the album as a whole, making the listener want to experience the rollercoaster ride that is ‘Delusions of Grandeur’ again.
“Yeah, It’s funny, it’s our first album, but there’s a couple of moments on it where I really wasn’t sure. It was a creative risk, because it is quite different to what we’ve done before and the worry would be that tune would be perceived as being melodramatic, even though I was kind of aiming for something a little bit more insular. I’m glad you like it. I don’t know what to say about it. That’s probably the one song that I’m most intrigued to hear people’s reaction to because it is quite raw and it’s us trying our hardest to push past what people expect of us.”
‘Down in Heaven’ alludes to a different THUMPER. It’s a cinematic, cliffhanger moment that suggests something exciting could happen with the next release.
“I think so, I think you’re right. This album is a good few years in the making. We started making some of these songs when I was in my early to mid-20s and now I’m early 30s. So, you change as a person, your tastes change and what you find interesting and what you find uninteresting changes. So yeah, I think the last thing we’ll ever want to do is retread old ground just for the sake of it. So hopefully it is a sign that we can expand our palette beyond what people want and, really treat it like more than just something that’s set in stone.”
Throughout the album, Oisín’s vocals anchor the listener within the soundscape of the tracks while at the same time evoking images of live crowds chanting back the lyrics. Oisín has the ability to spark these live sing-alongs when the band perform. He conveys immense emotion and angst through his vocals.
“The vocals, that’s probably the thing that I’ve struggled the most with. I made no bones in the early days about the fact that I wasn’t, totally comfortable on stage that’s why the band is so big. Within that you’d say, well, why are you doing it to begin with? I don’t really know the answer to that question. But, the vocal yeah, it’s the element that I have the least control over but it’s the part that I worked the hardest on. I think part of the reason our songs are so melodic is so that I can kind of learn them like a nursery rhyme. I don’t know something happens in the process of translating that nursery rhyme where it ends with me rolling around and yelping. But yeah, I love singing because it’s a tender transition between writing something in your room and seeing how it ends up on stage and especially hearing people singing back is very strange”
“ I think the tension though of where you’re trying to work with your body to make this thing and you’re not quite sure whether it’s going to happen, I don’t know it’s kind of alluring. Maybe I’m a glutton for punishment or something, but I like not being sure that I’m gonna be able to pull it off”
THUMPER are a one of a kind must-see live act. The band have London and Dublin launch shows this week to coincide with the album release and we discussed the shows and the possibility of a tour.
“Oh, yeah, I’m supposed to be in Europe right now. It got postponed because of Covid, hopefully for the last time.We’ll be doing these shows. We wanted to purposefully keep it really small, so it was like returning to how we started off upstairs in Whelan’s, we probably played there 20 times. So, cramming 100 people in there seemed like a really, fitting way to kick start this next chapter. Then yeah, we’ll be announcing a full Big Boy tour later in the year. We’ll be doing all the festivals and all that stuff as well. “
THUMPER have created a phenomenal album with ‘Delusions of Grandeur’. Musically the band treat our ears to a plethora of shoegaze, psychedelia and alternative rock with speckles of pop embellished throughout while earnest lyrics venture into dark territory and explore the struggle of self-image, internal and external. It’s a wonderful album that provides an exciting glimpse into the many facets of THUMPER.
‘Delusionsof Grandeur’ is set for release on Friday the 18th of March.
Until then you can watch the video for THUMPER’s latest single ‘Fear of Art’ below
Author:Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
