Scattered Ashes have released their new single ‘This New Will’. The track follows The ‘Parallel Lines EP’, released on blood red vinyl, selling out in its first week in Rough Trade stores throughout the UK. 2021 ended with sell-out Dublin and London shows, alongside support with Sprints and THUMPER. Scattered Ashes come straight out of the Dublin post-punk underground that birthed Murder Capital and Fontaines DC. The four-piece rapidly developed a name for themselves with their debut single ‘Love Is Not An Option’ receiving immediate support and airplay from Steve Lamacq (BBC Radio 6) and KEXP over in the states. The band are now set to embark on a series of Irish & UK shows in support of the single, including dates in Dublin, Galway, London, Manchester and Leeds.
With a glorious guitar refrain peering above a heavy rhythmic wall of sound, ‘This New Will’ is an exciting new single from Scattered Ashes. The song deals with the topic of disintegration and rebirth. Eloquent swirling instrumentation creates moments of innocence within the track’s overwhelming sense of melancholy while a lamenting melody and deep vocals express the song’s poetic lyrical depth, “there’s a price for pain, it’s so much different than before”. Showcasing majestic guitar work between outbursts of distortion and psychedelia, ‘This New Will’ is a compelling new tune from Scattered Ashes.
About the track, frontman Robert Dalton remarks that “A lifetime of self-denial leads to a dramatic overhaul of character: a new hope, a new urge, a new will. This is our most poignant song yet.”
Bullet Girl have released their new single ‘The Hunt’ ahead of their debut EP which is due for release in 2022. ‘The Hunt’ is the lead single from North Dublin post-punk outfit Bullet Girl. The band will embark on a nationwide tour of the UK from November 14 – 22 with dates in London, Glasgow, Sheffield and Manchester.
Driving on a dynamic sound that pivots around sharp guitars, pounding drums and a bloodthirsty bass, ‘The Hunt’ is an impressive display of Bullet Girl’s intense and exhilarating post-punk sound. The track has a hypnotic rhythm that is enhanced by acute guitar shrills, distressed vocal exclaims and yelps. Bullet Girl are known for their abrasive, raw sound that evokes a sense of controlled chaos, and ‘The Hunt’ is a glorious example of this. The band use the relentless bass to loosely rein in the track’s ferocity while Aaron Doyle spits out the lyrics ( which tackles the housing crisis in Ireland ) with fiery angst. The instrumental glitches, dissonant piano and unsettled texture of the song creates a frantic wall of sound that is a joy to listen to and is a wonderful assault on the senses. ‘The Hunt’ is an absolutely fantastic tune from Bullet Girl.
Following their anti-racism debut hit ‘The Birth of a Nation’ and performances at the well-established and highly regarded showcases, Ireland Music Week, Eurosonic and SXSW, Belfast mob Enola Gay make their highly anticipated return with the first track they wrote, ‘Sofa Surfing’.
Riding in on a rampant bassline ‘Sofa Surfing’ is a manic post-punk triumph and a fantastic example of Enola Gay’s exhilarating sound. The song curdles with angst as it ferments within a dark reverb-filled soundscape while sharp guitars lacerate through the deft drum assault. The striking vocals spit venomous lyrics that reveal a deeply personal insight into the fallout of a turbulent chapter in the band’s teens. They discuss how subsequent substance abuse followed an eviction from their home. The swarming instrumentation and abrasive guitar highlights the destruction within the band’s lives at that time as the tune spirals into a psychedelic crescendo of turmoil. Enola Gay are not a band to pull punches. Their first-rate musicianship is laced in raw emotion, passionate songwriting and remarkable musical prowess. ‘Sofa Surfing’ is a spectacular example of this bands blossoming and exciting sound.
Apella have released a limited edition vinyl and CD of their debut album ‘1963’, alongside the brand new single ‘Buried You’. Since the album was digitally released on January 29th, it has been going from strength to strength with a whopping 500,000 streams racked up to date. Pre-orders for the physical release launched in January via apellamusic.com with 100% of the proceeds from the sale of this album going directly to The Marie Keating Foundation specifically to help fund the outstanding support services they provide to women affected by Breast Cancer.
Bouncing between an effervescent pop chorus and earnest verses, ‘Buried You’ is a fizzing electronic-infused pop-punk/ indie banger from Apella. The band depicts heartbreak through this dynamic tune as brooding verses, that are smeared with dark undertones simmer into a bright pop chorus that is so catchy you will have to prise it from your head. The song displays the expressive songwriting and ever-shifting musicianship of Apella. Venturing into heavy electronics the track whirls and coils around dizzying synths and a hyper wall of sound. As a rampant bassline weaves between punchy drums and effervescent electronics the track spirals into the exhilarating chorus. Apella blend lush textures with rich soundscapes and shake them up to create a fizzing anthem while heart-stopping melodies and meaningful lyrics add weight and depth “I trembled at the thought of moving on, you surrendered all hope before hope was gone”. Dara Quilty’s vocals balance the tender lyrics and explosive soundscapes with ease. His coo’s ebb and flow with the instrumental turmoil providing emotion and anthemic power throughout. The track is such a joy to the senses and a fine display of musicianship from Apella.
‘Buried You’ is accompanied by a vigorously high energy, vivacious music video directed by Ray Keogh. Talking about the video Director Ray Keogh said: “I have been part of the Apella journey since inception and this music video captures everything they represent. Quilty and Nolan are two extraordinarily talented performers. We set it up and executed this video just like we were headlining a music festival! This is Apella. I am incredibly proud of this.”
Speaking of the album Dara Quilty said: “The response to the album on Spotify, Apple Music and YouTube has been overwhelming. I still enjoy opening up my phone and simply seeing it exist in the world. As I mentioned before, we’ll be donating 100% of all the physical sales proceeds directly to The Marie Keating Foundation. Up against COVID-19 and BREXIT, I am delighted that production is complete and we can finally release our beautiful Vinyl and CDs! I am eternally grateful to everyone who has pre-ordered and we’ll continue to donate sales after the release date!”
100% of the proceeds from this album bought on apellamusic.com will go directly to The Marie Keating Foundation’s Positive Living support group, Survive and Thrive programme, BRCA awareness and support programme and School’s Cancer Awareness Programme.
Pretty Happy have returned with their new single ‘Salami.’Pretty Happy are an Art-Punk three-piece from Cork with a growing reputation for their dynamic live performances and electric eccentricities. Made up of Abbey Blake (Guitar), Arann Blake (Vocals, Bass Guitar), and Andy Killian (Drums), the trio have established themselves as one of the most exciting acts on the Cork music scene. They use a combination of absurdist lyrics, demented emotions, and idiosyncratic melodies to create an all-consuming noise rock sound.
‘Salami’ is an abrasive whirlwind of post-punk as Pretty Happy spread raw instrumentation over psychedelic flashes to create one exhilarating frenzied smasher. Coarse jagged guitar lines gash through a rugged drum and bass foundation while exuding a hypnotic thumping tempo until the chorus announces itself with a roar of frenzy. Within the chorus crashing guitars, wailing vocals and barbed bloodthirsty bass slaps create the song’s instant spiral into chaos. However light shoegaze guitar breaks up the frenzy, as the band masterfully blends wild barbaric post-punk with dreamy moments to create a thrilling savage listening experience.
Pretty Happy have an intense and blustery sound. They know exactly how to craft their quirky madness to create a wonderfully expressive wall of sound. They meld and mangle haunting vocals, spoken quips, and screams between a harrowing onslaught of gnawing guitars and a rumbling rhythmic section to create unruly, and absolutely thrilling music.
Indie-punks TV People have released their new single ‘String’. Joining forces with Dan Doherty at Darklands Audio (Fontaines D.C., Vulpynes) and Christian Wright at Abbey Road Studios (Radiohead, Blur, LCD Soundsystem) the Dublin outfit are taking on 2020 with force; building a name for themselves as the latest in a wave of talent bursting out of Dublin. ‘String’ follows the release of singles ‘Nothing More’, ‘Kitchen Sinking’ and ‘Time Eats Up’ earlier in 2020, with ‘Nothing More’ collecting praise from Huw Stephens on BBC Radio 1, Steve Lamacq on BBC 6 Music and The Line of Best Fit to name but a few, ‘Kitchen Sinking’ earning a spot on Spotify’s ‘An Alternative Éire’ playlist, and ‘Time Eats Up’ receiving heavy promotion from the legendary Abbey Road Studios.
‘String’ is a perfect example of TV People’s personal and thought provoking musicianship. Exuding cold, sombre tones, the track pivots around precise drum beats and sharp chimes on guitar. Simmering dark undertones rumble under sweet guitar refrains and moody, lonely soundscapes as the song builds against a shadowy backdrop.
TV People craft their tracks beautifully. They expertly capture emotion through their instruments while also giving the guitars, bass and drums characters of their own within the song. It is as if the band allow the instruments to freely wander about the track engrossed within their own consciousness – a fantastic display of musical prowess. In true TV People manner the track builds becoming more harsh and expressive without losing the lonely casual pace. The drums and bass increase in intensity while the piercing on guitars embellish the track in bittersweet tones.
Penned in the cruel clarity of hindsight, the lyrics ruminate on addictions and self destructive behaviours. Evoking a sense of dissatisfaction, regret and at times anger; the lyrics give the listener a glimpse into the writers thoughts at the time ” .. as I become my own regret…”.The honest and poetic nature of the lyrics is complimented greatly in their delivery. Paul Donohoe’s vocals are nonchalant yet emotive. His deep mesmerising tones guide the listener through the track’s drifting soundscapes and brooding atmosphere.
There is something about this track that is intriguing; perhaps it is the poetic flair and artistic turn of phrase within the lyrics or perhaps it is the clever and expressive use of instruments within the songs brooding soundscape. One thing is for certain, ‘String’ highlights a moment of significant musical growth for TV People and showcases the bands lyrical depth and deft musicianship. They have honed in on their sound and established themselves as ones to watch.
Speaking about ‘String’, frontman Paul Donohoe details: “String’ is about my past experiences with addiction and using self destructive behaviour as a coping mechanism for life’s problems. In the culture we have surrounding drinking and sessioning, the line between having a good time and seriously damaging your mental health isn’t always clear. Self-destructive behaviour is normalised and even encouraged. I’ve seen a lot of people around me going through it. It’s hard to escape from even when you’re aware that it’s a problem because it’s so hidden and ingrained in the way that we socialise. The song is about the feelings of hopelessness, regret and frustration that I’ve felt in the past when I’ve been stuck in that situation and the damage that they do to your mind over time.”
The Clockworks have released their new single ‘Enough Is Never Enough’. Formed in Galway and drawn together by a mutual appreciation of all music, past and present, The Clockworks are a four-piece comprising James McGregor on Vocals/Guitar, Sean Connelly on Guitar, Damian Greaney on Drums and Tom Freeman on bass. The latest and last in a series for Alan McGee’s Creation 23 label sees the Galway four-piece take aim at the injustices and prejudices rife in our society with an assault of straight-up punk rock.
The Clockworks paint a vivid picture of our fractured society with new release ‘Enough Is Never Enough’; aconcise, energetic and hard hitting track which is sure to knock your socks off.
Clever and well placed lyrical content is where The Clockworks excel. With raw commentary and witty turns of phrase McGregor’s biting delivery wavers between emotional, disgust and nonchalant acceptance, “And everybody loves to bitch, Factions speak louder than herds”. The canvas for the track is a bristly energetic blend of harsh punk rock and moody grunge with a sweet peppering of indie to provide a buoyant light embellishment on top. A constant drum beat crashes between the rumble on bass while jaunty guitars meander between striking, acute exclaims and gentle laments accompanied by an infectious melody which coils underneath; the band use these contrasting elements to build diverse textures into the song which are a delight to listeners ears.
The Clockworks ability to wrap energetic soundscapes around an expressive lyrical delivery is impressive and makes the track entirely consuming. ’Enough Is Never Enough’ is a vigorous and catchy tune from a band that keep getting better with each release.
Speaking about the track James of The Clockworks says: “This was the last song we wrote in Ireland. I’d been working on the lyrics for ages. I like to write about the social or emotional by writing about a specific character or scene. I think focusing on the particular and the specific is the best way to get to the general and abstract… Musically, this song was all about getting the feeling right. We wanted it to be forceful and relentless but also for there to be enough space for melody and emotion.”
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.”
Our Worth A Listen Track This Week Comes From THUMPER
Dublin noise-pop sextet THUMPER have recently released their brand new single, ‘Topher Grace’. With a raw flaky rhythm battering through distorted guitars the track kicks off with abrasive sonics while THUMPER mangle acute post punk into a psychedelic rock mirage to create a confused and intense atmosphere. Oisín Leahy-Furlong spits a mostly spoken monologue which highlights themes of self-destruction. Sonically the track whirlwinds through the lyrics with manic tendencies while the rampant yet steady bass, drums and guitars hold a constant anchor of sanity throughout the chaos.
The scrupulous layering of this track displays THUMPERS adept ability to create controlled chaos while venturing out of their comfort zone. The usual bubble pop melodic flurries we are used to from THUMPER are absent as the band delve into lyricist territory replacing vocal melody with venom-filled words and yelps in between breathy exclaims. It is only when the song fades at the end that we get a glimmer of a gentle melody as Leahy-Furlong sings a bittersweet lament “I hide in bars. I drown in words. It seems absurd that I’m lonely. Make a safe bet – If I left, this party continues without me”.
What makes THUMPER great is their deep, intelligent grasp of style and genre. ‘Topher Grace’ is an erosive, acid soaked frenzy smushed into a thrilling six and a half minute track. It is a fantastic, bold and daring display of musicianship from the band.
When I spoke to Oisín Leahy-Furlong about the track he said : “It was written over the course of a couple of months which is sort of different for me, normally these things are written in bursts. I suppose the song makes several allusions to a culture which is fairly present, in Ireland anyway of airing your problems in public with a pint in your hand rather than in a friend’s sitting room. I guess it’s about the idea that maybe you are going through destruction or by unraveling yourself you will find some sort of ultimate truth or something. Which of course is bullshit but I suppose the deeper you are into that lifestyle the easier it is to convince yourself that it’s the way for you.”
Thumper – Photography by Ruth Medjber @ruthlessimagery www.ruthlessimagerry.com
I spoke to Oisín Leahy-Furlong frontman of Dublin noise pop band THUMPER last week. We talked about the band’s new single ‘Topher Grace’, their abrasive sound and how they approach their kinetic live shows. The guys are at the forefront of a thriving music scene alongside bands like Bitch Falcon, Fontaines DC, the Murder Capital and Pillow Queens and we discuss this along with the effects streaming has on artists at present.
THUMPER are set to release their new single ‘Topher Grace’ on the 26th June. It’s an intense and blistering track with the verses taking on a Blur feel. Oisín ruminates on unhealthy and quite destructive behaviour throughout the track
“It was written over the course of a couple of months which is sort of different for me, normally these things are written in bursts. I suppose the song makes several allusions to a culture which is fairly present, in Ireland anyway of airing your problems in public with a pint in your hand rather than in a friends sitting room. I guess its about the idea that maybe you are going through destruction or by unraveling yourself you will find some sort of ultimate truth or something. Which of course is bullshit but I suppose the deeper you are into that lifestyle the easier it is to convince yourself that its the way for you.”
With ‘Topher Grace’ Oisín decided to take a different song writing approach. Avoiding the usual way of writing such as structure and melody he replaced them with a more considered approach to lyric writing and performance. This resulted in a lengthy and interesting writing process. I wondered if this was a way of trying to hone in on his lyrical content and refine it, to become more of a lyricist perhaps. I also wondered was the view in the song a personal insight or was it Oisín watching this behaviour from afar.
“ I suppose I was and I wasn’t. In a way I was trying to strike a more conversational tone, even in the delivery its devoid of melody and things I would lean on and just normal pillars of song writing. But the reason its written that way is because I couldn’t play it on guitar and sing it at the same time. So I had to write it and then just talk it in my kitchen or whatever and it wasn’t until I was actually able to sit down and get a demo going that I was actually able to see how it all slotted together so all the pieces, all the lyrics, all the sections were sort of written in separate vacuums and at a later point were stitched together. So I guess that meant that because I wasn’t tied to melody and stuff like that there was a tendency to go back to it and as you say refine it and I suppose a lot of it would have been written in the thick of it, like in a smoking area of somewhere or in a strangers bathroom or whatever. So a lot of it did need to be refined because it didn’t make a lot of sense but I got there in the end.”
“It was definitely more of an insular thing. I don’t think the song is prescribing any kind of answers or anything like that. It’s more like just ruminating on how I was feeling in the moment or even the morning after the moment. As much as I did go back and refine it, it was definitely more of an instant reaction to how I was feeling. Little snapshots of different moments and how they all piece together to form a period in your life. I think it’s only in retrospect that you notice patterns in your behaviour. At the time you think you have full control over your own choices. But yeah it’s definitely a first person kind of view.”
‘Topher Grace’ was cut from just over 6 and a half minutes to a neat 4 minute cut for radio. Reading the full lyrics to the track I felt there was plenty of golden and witty lyrical content cut out for the radio version. Doing these cuts is not easy for an artist when they have put so much time into crafting the track
“ Absolutely yeah, I had to do it with one hand over an eye you know. It was like sending your kid to school without lunch or something.It’s pretty heartbreaking.But it’s the nature of the beast. I normally slave over these edits forever but I didn’t even think the song would get any radio play to begin with for so many reasons so I was able to lash that thing together and go ‘right there you go, there’s your castrated radio edit version’ “
THUMPER have a unique sound in the sense they pack in something for everyone within each tune. They have the abrasive post punk or rock instrumentation with rumbling elastic bass slaps and grooves behind the crashing majestic guitar-burns while the smooth vocals bounce along the sometimes bubblegum or pop melody.Oisín always knew that’s what he wanted to achieve with his music and with the band
“ Yeah, from the outset it was sort of a plan because it started off as more of a solo thing for me. I was putting out tapes under the name THUMPER for a couple of years. Real lo fi kind of gnarly sounding things and just the basic idea was to see how far in the direction of noise and abrasiveness I could push it whilst retaining that sort of pop sensibility. Then of course as the band developed and more people got involved, you know there is 6 of us in the band, so it’s sort of natural enough that everyone else’s tastes and individual styles go into the mix.We listen to lots of different types of music so it’s no wonder that there is different elements going on.”
I asked Oisín when he started with THUMPER was he always confident bringing his songs to the rest of the band or was there an initial ‘oh god what if they slate it’ especially if it’s about something personal?
“Yeah it’s like when you first meet someone you don’t tell them your life story.You sort of gradually get there over time. When you feel comfortable enough to share pieces of yourself until eventually they know the whole you. It’s not too different with songwriting.It’s definitely nerve-racking.Certainly with this song it was the first time I was nervous to bring something to the band in a long time because there is nothing really to hide behind. It’s almost entirely spoken word and it’s just got me screaming and yelping for 7 minutes. Also it’s the first song I’ve written where I haven’t been able to play it myself. I need the band behind me to do it and pull it off. Definitely the demos that I wrote sound so different to what the finished product is. So I guess this trust is inherent in that and you build it up over time and grow a, well not necessarily a thicker skin, it’s just there is a tenderness to it and people recognise that over time. Ultimately it was really rewarding and it’s not an easy place to tap into but it’s something I would like to return to and also I have an entire verse where I don’t have to play guitar. I’m only doing one thing at a time. There are definitely benefits to that.”
Like other bands of this generation THUMPER have the power and influence of streaming platforms which gives artists huge exposure however it doesn’t really make them money. It’s a paradox in the sense you can reach more people but don’t reap the benefits as much as you would with album sales and touring. I wondered does this play on Oisín’s mind or is it just part and parcel of the job
“In one sense it weeds out anyone who is doing it for the wrong reasons.That said I have absolutely no issue with some people who say if you are trying to make money in this you are in the wrong game or whatever. I would love to make a living doing this, I would love to be able to keep making music for people who want to hear it. You do worry that when you are doing it for so long and making so little cash that at a certain point life will catch up and you literally won’t be able to do it anymore even though there is a demand for it and that’s a real threat for a lot of bands. Especially now as you said I’m not paying my rent with my Spotify streams but I might have been off the months of festival touring that we would have been doing which is all cancelled now. I think the only thing you can do is look forward, work on the music as hard as you can and don’t be an imbecile but also don’t worry about too much because it’s supposed to be fun. You’re supposed to enjoy it.Times are bizarre and strange at the minute but I’m sure that enjoyment and happiness will come back again eventually.There is an amazing song called Everything Is Free which talks about this. Its a fucking depressing song because its so on the nose but it is true. You are expected to work for free. I know personally, friends in bands who are very successful and are living with their parents. It’s bizarre but the whole world is morphing and shifting before our very eyes these days so maybe now that people are faced with the reality of having no one to talk to except for records and movies for the last 13 weeks maybe a different importance will be put on that but I’m not holding my breath. “
The music scene in Ireland and Dublin particularly is very vibrant lately – there are so many amazing acts gigging and making a name for themselves from The Murder Cpaital and Fontains DC to Fangclub and Bitch Falcon. Oisín doesn’t see this as competition or that it’s an overload of bands fighting for the attention of listeners.
“I think it’s great, there has always been a healthy competition,whether there has been an eye on Dublin or not that has existed the whole time.I think the bands that you mentioned are all very different and all being influenced by each other. I think the broader the spectrum of creativity is, the more there is to be influenced by. No I don’t see it as a negative at all and definitely those bands are a big influence on us and I know them all and they have all gone through a million different iterations of what it is they do presumably because of the music that is being made around them and the attitudes and all that sort of stuff. I feel like all of us, we are making music anyway it’s just that now there’s I guess more attention although its difficult to see when your so deep in it.”
I saw THUMPER perform a few years ago supporting Fangclub and it was quite a wild performance. I would say there was no one left without whiplash after their set, my ears were ringing for sure. The guys manage to keep their live shows fresh and engaging but they don’t plan any of the antics
“No we don’t plan any of that. We never even talk about it. We just like playing the music and I don’t know its just a combination of different personalities in the band and that’s how we act at other peoples gigs as well to a certain extent.Its not for everyone, certainly when your touring and your doing it every single night there will be nights where you can barely stand because you are so exhausted but something happens when you step on that stage man. I think the bottom line is when we rehearse, we rehearse a lot and we get the songs as tight as we can possible make them.Which means that when we actually get on stage we don’t have to think about too much, we can tear around the place, smash stuff up and the idea being that we’re kind of such a tight unit it will be able to snap back into place when it needs to.I think maybe when you saw us we were more on the side of chaos than anything else maybe but certainly that’s the thinking now.It’s just rehearse the songs and write them and respect the craft and then by the time you get to the stage you have earned a bit of fun like I think the time you saw us was in Whelan’s “
At that show bassist Joey (who was performing his last show with the band) smashed his bass off the stage and the crowd took every piece.
“ yeah that was very funny. That was my bass! His name is Joey Gavin he is living in Berlin now. He is making his own music and bringing out singles this year. He is great. “
With touring on hold, THUMPER have spent their time in the studio writing and recording, as well as hosting live streams on social media for their fans and this week they are planning a live stream to promote their new single.
“ They are fairly nerve-racking to be honest. Much more so than getting on a stage because although on one side of it, the side other people see looks like a performance and all that, on my side I’m just a man screaming in my kitchen at the back wall. With no one to tell me whether I sound good or bad or if the connection is there or whatever.But it’s been nice to keep in contact with the fan base and play some tunes and wet people’s appetite that way. We are doing a proper full band, full production live stream the day after the single is release.So the 27th June on our Youtube and that will be pretty much our first and only gig of the whole summer. That should more closely resemble the old Thumper experience more than anything we have done before. So I’m looking forward to that. “
THUMPER have been touring and releasing music for a few years. From his experience of the Irish music scene and life in a band in general, Oisín has a few words of wisdom for budding new musicians?
“ Just worry about the songs first because there’s no point being an amazing band or getting amazing festival slots or whatever unless you have got good songs that you have take care of, nursed and all that sort of stuff.They don’t have to be your best songs you probably could be ripping someone else off at the beginning but that attention to the craft straight off the bat is just going to earn you fans, listeners and people who respect you. You’re not going to be great at the beginning and people are going to watch you even if you can’t play your instrument very well and you can’t really sing too well.Which is definitely what I was like and still am like to a certain extent. If you clearly have put passion and effort into the songwriting and the writing in general. Then that’s more than a decent jumping off point. “
Though it’s difficult to plan for the coming months THUMPER have some exciting plans ahead
“Good question! we are recording and writing a good bit. We have got more music coming out this year and believe it or not we do have one or two gigs lined up that we should hopefully be able to announce soon but we are just going to channel all the energy that we would have been putting into the road straight back into the studio. Yeah we have some big plans coming up and we are looking forward to sharing that with people. “
THUMPER are a band to keep an eye on. These guys slowly and delicately build their songs adding a new layer and dimension each time until their tunes are an all out mouth-frothing whack of psychedelic noise rock.Their ability to create a frenzied euphoria throughout their tracks while packing in some punch is what makes their sound so infectious.
The band are holding a live stream to support the release of ‘Topher Grace’ on the 27th of June check it out through this link
