Category Archives: Theatrical

Cloakroom Q. ‘Nowhere To Spit’

Cloakroom Q have released their new single ‘Nowhere To Spit’ off their upcoming album ‘Yes Again’. Liberated by an LCD Soundsystem gig in 2016, Cloakroom Q became upstarts with synths, loops and dynamic tension. They mess with the idea of stage performance, with primary colours, smudges of make-up and even mock fights on stage. From the Mournes area of South Down and now based in Belfast, they have experimented with spoken word and confessional themes. 

‘Nowhere To Spit’ is a theatrical display from Cloakroom Q. as they use their unique storytelling and quirky melodic hooks to create a refreshing alternative art rock track. With a lush variety of instruments from horns and bells to organs; the band flesh out their sound superbly. The track kicks into motion with a delicate guitar jingle while ominous vocals haunt in the background. ‘Nowhere To Spit’ displays a sublime contrast between soft sweet twinkling moments and mysterious sinister progressions with elements of theatrical bursts throughout. Glittering keys provides a light innocence to the track while strident guitars and punchy drums create glimmers of rock which unfolds with elements of stage performance theatrics. ‘Nowhere To Spit’ is quite an intriguing blend of music which works well within the band’s unique and powerful soundscape. 

Stream ‘Nowhere To Spit’ below


Author : Danu

Otherkin ‘All That Remains Won’t Be the Same’

Following on from their recent, critically-acclaimed comeback single ‘Tombstone’, Irish four-piece Otherkin have released their new single ‘All That Remains Won’t Be the Same’.  The single (as with Tombstone’) comes from the same sessions in Brighton with Chemical Brothers producer Steve Dub, and Jolyon Thomas (Royal Blood, Slaves) on mix duties

‘All That Remains Won’t Be the Same’ brings a crunching cinematic feel to Otherkin’s sound. The track is tightly wound as intense anthemic synths add a determined edge and 80’s sheen.This track gallops in on hefty drum thuds while the lone ranger guitars whine over the feisty backdrop. With its dark theatrical approach, triumphant synths, and all out epic tone  ‘All That Remains Won’t Be the Same’ is a shift in the four pieces’ sound that makes Otherkin an important band to keep an eye on. These guys pack a lot of emotion and character through the guitars as they glimmer, pine and shrill through the ominous hued soundscapes. The track injects a hefty dose of mosh ready aggro and instrumental battering however the band cleverly weave this through their refined and compelling lyrical content. Another impressive and invigorating track from Otherkin.

Speaking on the track, frontman Luke Reilly states: “The lyrics were written at the end of 2017 as the horror stories emerged of everyday abuse and sexism perpetrated by men of power in all walks of life. The song is a rejection of anyone who feels they can behave that way and the title itself is a declaration for change, a statement that these vile actions have no place in society today.”

Stream ‘All That Remains Won’t Be the Same’ below


Worth A listen

Our Worth A Listen Track This Week Comes From Black Honey

Black Honey have released their new single ‘Dig’. Mixing dreamy hazy vibes with sharp dazzling stings and dark dangerous tones it’s the multi-dimensional banger we expect from the four piece. Sultry vocals brood over delusion inducing spaghetti Western- esque guitars and a sticky slap beat. With a wispy vaporous soundscape and breezy crisp instrumentation, it’s the cinematic spine-chiller we hoped for and more. Smooth and croony the track sways and glides in with an eerie undertone and haunting backing vocals smothered in a daydream daze. The track becomes a little heavier as it progresses with gritty guitar lines and punchy drums creating a chilling sharp sense of danger. It’s a mysterious steamy creation from Black Honey. These guys are unstoppable.

Watch the video for ‘Dig’ below


Harpeth Rising ‘Against All Tides’ Album

Harpeth Rising have released their new album ‘Against All Tides’. The classically trained trio of Jordana Greenberg, Maria Di Meglio and Michelle Younger recorded between May 2016 and February 2017 in the eye of the political storm that was taking hold of America. Against All Tides is therefore unsurprisingly heavily influenced by the atmosphere of social unrest that surrounded them. Many of the songs are protests and direct indictments of the political system while others take inspiration from personal suffering and hardships. Two of the songs The Highwayman and I Did Not Make the World were written by David Greenberg, Jordana’s father. David’s songs have appeared on each of Harpeth Risings albums and Jordana – the primary songwriter for the band – states how her father “continues to be a source of inspiration” to her and her music. Over the past 5 years Harpeth Rising have recorded 5 albums, toured 9 different countries on 3 continents and performed more than 600 gigs.

‘Against All Tides’ is an intricate tightly weaved 11 track album filled with organic pure blends of baroque and folk. From the first track ‘Love Child’ the trio slap straight into their meticulously weaved sound. The twanging banjo bounces and playfully hops between an eerie dark soundscape of crawly strides on violin and building depth of urgency on cello. The three-part vocal harmonies give a warmth yet striking hair-raising effect to the track. The tracks that follow maintain this darkened mysterious tone emphasised by the trio’s organic stunning use of instrumentation. ‘Drink of Reddest Wine’ brings a melancholic tone with winding hazy strings dragging back and forth while a sombre vocal melody pines and sobs the mournful lyrics. It’s tender and emotional with a hidden mystical tone. ‘3. 535 (Are You Even Alive?)’ throws a bouncy and theatrically spooky tone into the mix. Tracks like ‘The Highwayman’ display the trios braided weaving instrumentation perfectly. Strings sway, glide and pierce through the track adding soft swoons and dire urgency while the woeful cello builds with chilling depths. The light banjo adds a rush of panic while the vocals narrate through this frantic instrumentation. It’s quite heart stopping. ‘Prison Trilogy’ showcases their knack for story telling and heart wrenching emotion through melody. The accompaniment is simple for this track which leaves the attention all on the beautiful melody and passionate vocal delivery. That sweet string feature is just sublime and delicate lulling you into a beautiful soft stupor. ‘Lucid Dreaming Sheep’ closes the album with a unique sound for the trio. It’s richly rhythmic and boppy with a shimmy and shake like swagger and attitude. This track ends the album showing there’s a little more to their sound than perhaps you would think at first.

‘Against All Tides’ is a well-balanced album filled with hair raising stunning tracks to evoke all your senses. With dance ready beats magnificent storytelling and dazzling richly intertwined instrumentation it’s the perfect organic blend.

Stream ‘Against All Tides’ below

 


Nicola Hardman ‘Just Human’ and ‘Little Fish’

After the successful release of her debut album ‘Full Beans’ back in December 2015, alternative singer-songwriter Nicola Hardman has announced details of her latest double single release comprising of tracks ‘Just Human’ and ‘Little Fish’. Throughout 2016, Nicola Hardman performed across the UK, appearing on radio shows and achieving number 2 in the top 20 chart of Round Sound Radio for her single ‘Little Fish’. She then went on to appear on Made in Liverpool TV and perform at the Liverpool Philharmonic Hall alongside the likes of Ian Prowse ,Tom Hingley (Inspiral Carpets) and John Bramwell (I Am Kloot). Later in 2017, Hardman  was noted for her “kooky avant-garde-ness … her assured voice recalling Regina Spektor or Amanda Palmer at time” by Get Into This for her performance in Liverpool’s Threshold Festival. Based in Liverpool, Hardman is notorious for her theatrical vocals and catchy piano hooks. Not only does the musical content of her material draw people in, but the lyrical content of each song is captivating – discussing both personal and political issues in a way that speaks to many.

‘Just Human’ flurries in with a rushing menacing defined piano feature. It’s an intense swirl of emotion, the instrumentation whirls around a strong chord progression while Hardman continues to fascinate with her enduring vocals that wrap the listener up in a velvet soothing blanket. At times her vocals become sharp and ominous lying in the background with an almost harrowing screaming growl. The music remains fairly light and floaty with dark churning undertones creating a wholly chilling experience.

‘Little Fish’ is a theatrical bouncy swirly eerie track. With animated keys playfully hopping with an elastic mischievous rebound. The track wriggles and hauntingly sways like a spirited ghostly waltz attended by wicked creatures on Halloween, yet it holds an air of solitary loneliness. Evoking images of grandeur and fine dresses swishing in time with the free slowing swing and strong spin of the chords on keys. Hardman’s vocals exude emotion and drama with operatic high-pitched ornamentation lifting each note at the end of certain lines adding a vibrant spring and boost to the track. It’s enticing and tempting with both a spine chilling and joyous vibe. It’s absolutely thrilling. Love it.

Drawing from an eclectic range of influences, including the likes of System Of A Down, Bjork and Incubus, Nicola Hardman presents tracks that are both distinctive and charming. The double header single is set to be released on all digital platforms on 14th October 2017 after her single launch gig held at Studio 2, Parr Street, Liverpool on 13th October. More information about Nicola and any of her upcoming live shows can be found on her social media channels here https://www.facebook.com/nicolahardmanmusic

You can catch Nicola Hardman live at:

Fri 13th Oct – Liverpool – Studio 2 Parr Street

Sat 21st Oct – Northwich – House of Quirk

Friday 1st December – Liverpool – The Epstein Theatre

Sat 2nd Dec – London – Maddens East Finchlay

Stream ‘Just Human’ and ‘Little Fish’ below


Worth A Listen

Our Worth A Listen Track This Week Comes From The Screens

The Screens are Neil and Colin. They are unique in that they collaborate on all writing and producing yet are rarely in the same room when they do so. Everything is done online. The Screens have a musical history in film and TV music through composing, arranging and/or producing music. Their credits include Kill Bill 2, The Soprano’s, The Simpsons, Superman Returns, West Wing, Lost, 24, Mr & Mrs Smith.Their production credits also include working with artists such as Tom Jones, Paul Weller, Ruby Turner, Will Smith, A Tribe Called Quest and Tony Hadley. They have now released their new single ‘Avalanche’.
‘Avalanche’ is a lavish swoony track theatrically romantic and dramatic with sing along chorus. The sway like simplicity of this sixties-like  dreamy track features elegant string and lush backing vocals, its a fanciful feather light emotional burst. Gracefully the track glides with dainty grandeur and class. This emotionally creamy silky song tells a romantic story in a cinematic way that exudes beauty and splendour. Its incredibly lavish and rich with soft delicate textures ironically contrasting the lyrical depiction of the bloody heartache and turmoil of love. ‘Avalanche’ tips its hat to the classic British gangster stories of the sixties and seventies but lavishes in an opulence of strings and theatre. It has a sound far removed from what most artists are trying to create in order to conform to the industries current requirements.
Watch the video for ‘Avalanche’ below


Calista Kazuko ‘Daddy Issues’

London based singer-songwriter and multi instrumentalist, Calista Kazuko is set to release the second single from her eagerly awaited ‘Project: Love Me’ EP on iChi Ni Records. Following the success of her recent single ‘Poison’, Calista will unveil ‘Daddy Issues’ together with a beautiful accompanying music video directed by Philip Reinking on the 31st of March. The ‘Project: Love Me’ EP was recorded in London at The Smokehouse in Tower Bridge with award winning film composer Guy Dagul and features five brilliant new tracks. A cinematic soundscape filled with intensity and drama, the music is dark, twisted yet strangely uplifting.
‘Daddy Issues’ is a dark smokey eerie number, theatrically dramatic and haunting yet devilishly thrilling. Feathery light gentle piano twinkles with a spooky elegance while haunting chilling strings add a creepy sway- like floaty feel. With cinematic menacing instrumentation this track creeps with spine tingling eeriness while maintaining a seductive alarming quality. With strong dominant vocals and soft ghostly backing vocals this track hovers over brewing bratty peril and desire. ‘Daddy Issues’ is chilling and thrilling cant wait for the EP.
You can follow Calista Kazuko and have a sneak peek at the ‘Daddy Issues’ video on
Facebook here https://www.facebook.com/CalistaKazuko/
Twitter here https://twitter.com/CalistaKazuko

We-Are-Z ‘Goldigaz’ Video Premiere

We-Are-Z are a four-part French, one-part Anglo-Italian avant-garde rock group. Oozing with instrumental flair, they are the dream musical collaboration. Gabby, the vocal wizard behind the lyrical magic tells unconventional tales of modern day intrigue. The man with the hands – the bassist and keys master – Archie, is a seasoned session musician and producer, and has collaborated with, amongst others, Beyonce and Pharrell Williams. With Max on the strings, Guillaume on the drums and Clement on the keys to finish off this multi-cultural, multi-talented facet to the punk funk face of the music industry.  With several tours of Europe already under their belt, We-Are-Z are not afraid to rock the boat and cause an irresistible stir. The four piece are currently at work on their debut album, provisionally titled ‘Z Is Not X’, We-Are-Z are about to release their new single, ‘Goldigaz’, a song about the corrupting influence of money. Aided by the visual allure of their energetic video, we are drawn down another storyline of contemporary reflection with all the added quirks and frills of this exquisite combination.
‘Goldigaz’ is a catchy quirky entertaining track that sounds like it could be from a vaudeville stage show. The theatrical expressive vocals adds a wacky fun flair to the track while instrumentally this track is tight and well composed with its bounce effect and fantastic snappy percussion. The track drives forward energetically in a charming humorous and lively manner. It is snappy and witty and luring as it entices you into a swirling journey of manifesting ecstatic dizzy joy with darkened eerie and mysterious undertones.
The video to ‘Goldigaz’ portrays the song perfectly with its concoction of wild and wacky events as We-Are-Z stroll about the street in extravagant costumes with feather boas and fangs. Long yellow nails while singing on the toilet teamed with monkey masks and colourful wigs, its creepy and silly yet fantastic. The band are partying hard as they smoke and throw money around and of course what wonk funk video would be complete without a creepy dolls head thrown into the mix. It definitely got me into the Halloween mood. Check it out for yourselves below.

We-Are-Z will be hosting a showcase in London this September and will be on tour in the UK and Europe from November supporting Electric Six.
Tour Dates :
Goldigaz (Single Launch) 30th September 2016 Cargo Shoreditch, London
25 dates supporting Electric Six 6th November – 5th December 2016
Find out more from We-Are-Z here

Facebook  https://www.facebook.com/WeAreZmusic

Twitter :https://twitter.com/WeAreZmusic

Webstiehttp://www.we-are-z.com/

Worth A Listen

Our Worth A Listen Track This Week Comes In The Form Of Áine Cahill’s ‘Black Dahlia’

Cavan singer-songwriter Áine Cahill has received fantastic exposure recently for having taken part in the 2fm/Oxfam ‘Play The Picnic’ competition. She managed to reach the top 10 for the national contest, which secured her a slot on the Oxjam Stage at this year’s Electric Picnic. Cahill has already released a 5-track EP called ‘Paper Crown,’ which came out shortly before Christmas 2014 and was named the #1 unsigned Irish EP of 2014 by Unsigned and Independent Magazine. She’s also hugely influenced by the jazz of the ’40s and ’50s, and has only recently started working with a band, made up of four musicians, Louise Johnston (piano), Paul McCann (double bass), Sam Geraghty (guitar) and Paul ‘Foxy’ Cox (drums).
‘Black Dahlia’ is the start of a new project Cahill is currently working on with producer Martin Quinn from Jam Studios. The song tells the tragic true story of an unsolved murder in 1940s Hollywood. Cahill portrays this theme to us perfectly, she creates an eerie mysterious atmosphere that calls you as a witness to  a tragic scene. With touching imagery conveyed through the lyrics teamed with crisp melancholy vocals that add to this nostalgic haunting tone. The track is narrated to us in a sway -like theatrical manner that touches your soul and pulls you in to this painful grievous tale. The light instrumentation to start adds a delicate quality to the track with the soft beats and gentle piano conveying the soft, innocent and hopeful young star. While the guitar seems to lament the death of this young woman the strings add a sense of danger lurking in the back ready to pounce. The backing vocals lull the listener as if trying to ease their mind of the harrowing scene and give comfort to a distressed soul.
A fantastic track from Áine Cahill look forward to hearing more.
You can catch Áine Cahill live at The Grand Social – Friday September 9th
Stream ‘Black Dahlia’ below

https://soundcloud.com/ainecahill/aine-cahill-black-dahlia-original

A Chat With : Fable Cry

We caught up with Zach Ferrin from Fable Cry after our feature on their fantastic track ‘Dead or Alive (For Now) and the release of their album  ‘We’ll Show You Where The Monsters Are’ to get to know Fable Cry a bit better and have a glimpse into their amazing theatrical world.
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How Did Fable Cry come about?

I wanted to do something that would be an outlet for all things that I enjoy – music, writing, performance, theatre, film, fun.  So far, we’ve definitely been able to incorporate all of this and more into this little rock band.

Your style is very theatrical and cabaret- like why did you decide on that style?
I’ve always loved musicals and theatre.  “Cabaret” is one of my favourite musicals, so it’s no surprise you catch some of that in what we do!  It really wasn’t a decision to play or write a specific style, though.  I wanted to start a band, and this is the type of music and songs that I like to play and write most.
You create very picturesque music and tell a story so well through your music is that something that comes naturally to you?
Oh, well thank you!  It’s how I like to write and feel the most natural.  I’m ever trying to grow, so I appreciate the compliment!
Your songs have spooky videos to match them, when you are writing the songs does the idea for the video play out in your head while you are writing the lyrics?
100% yes!
The songs are so intricate with different interludes etc. does it take a long time to plan all of that out before the finished product is ready?
Typically, yes.  Some of the songs come together perfectly and practically write themselves. But mostly, there is a lot of cutting and pasting and experimenting with what sounds best.  Until a song is recorded, it’s always going through small changes in the arrangement.
For the videos the sets and costumes are so detailed was it fun planning it all and filming it?
Oh absolutely!  I’m an extremely visual and tactile person, so any time I can create something new and get my hands dirty, I’m having a blast.  It’s also extremely enjoyable finding costumes that I, being a scarecrow of a man, normally couldn’t wear but that fit the other members of the band.
Can you tell us how you decided on the cover art for ‘ We’ll Show You Where The Monsters Are’ album?
The repeating theme throughout the album all circles around the dichotomy of the self.  That we’re all made up of multiple parts, and ultimately we have to accept that.  The image of us in the front, with our own monsters just lurking in the shadows behind us, represents that.  Master your fears.  Master your monsters!
 From the video and songs each member of the band seem to have a strong character as if each of you are some elemental or larger than life character from a book, is this just a persona you put on for Fable Cry or is it a reflection of your real selves?
Every song and video is different, but usually we can’t help but put a bit (or a lot) of ourselves into the mix.  For instance, Jo Cleary (Violin, Vocals), is terribly afraid of spiders.  So in “Dead or Alive (For Now)” it was only natural that that would be what her character would be running from!
What is your Favourite song to perform live and why?
Ugh, making me choose my favourite baby!  The first and last songs in the set are often my favourites.  The first is where you break the ice and either reunite with previous fans, and/or introduce yourself to new ones.  You’re putting yourself out there saying “look at me – whattaya think??” By the last song, hopefully everyone is dancing and well acquainted, so it is often the most bombastic.
 What’s the most bizarre thing to happen while you were on stage?
We were playing a show in Johnson City, TN and I was in mid-monologue between songs when this giant of a man came thundering in through the door.  He looked extremely angry, and the whole room sort of turned, and I paused.  Like a flip of a coin his face changed from anger to pure joy, as he exclaimed “who wants a hug??”  I promptly set down my guitar and invited him on stage, acquiring the closest thing to a real life bear hug that I’ll ever experience.
Which of your songs are you most proud of and why?
Making me pick favies again!  Lyrically, probably “The Good Doctor”.  It draws the parallels between being an artist and being Victor Frankenstein.  You dig up these “parts” of yourself from memories, experiences, and relationships, and you slap them all together to create something and, until you’ve released it into the world, you don’t really know how the world is going to react to it.  I love that Mary Shelley was essentially drawing those parallels the whole time when she wrote the story.  The song says a lot about what we deal with as musicians and artists, and was somewhat therapeutic for me to write.
Whats the best advise you have been given?
“If you want to hide the evidence, always make sure you have an even amount of socks when laundry day comes.” -big brother
Any Plans to come to Ireland in the future?
We have never been, but always wanted to.  I’m taking this as an invitation – so yes please!
What advice do you have for people who want to form their own band?
Be confident, but realistic.  Enjoy what you do, and find people who you enjoy being around.  I think the biggest flaw I’ve seen in others’ mentality is having a “once we’re big” outlook.  Understand that the second you name your band and decide to put your work out there, you’ve begun.  It doesn’t start when you’ve reached a certain abstract goal like “making it.”  Work NOW like it’s your job, enjoy every second of it, and enjoy the results as they come in.  Hope for the best, but don’t expect unrealistic results to happen immediately, because you will most likely be disappointed.  Be creative.  Take risks.  And don’t ever forget that you love music.
 What is next for Fable Cry?
We have some really great local/regional shows throughout the Summer/Fall, while we dabble in creating some new material… Hopefully some of that will be surfacing in the Fall/Winter… Stay tuned!
Great ill put the kettle on! see you guys soon!
You can follow Fable Cry on