Irish indie rock outfit The Academic continue to whet appetites for their forthcoming major label debut ‘Sitting Pretty’ with their new single ‘Homesick’. ‘Sitting Pretty’ will be released on the 10th of February via EMI. ‘Homesick’ has been added to the RTÉ Radio 1 Recommends list and received airplay from RTÉ 2fm and others. The Academic are setting off on four UK headline dates in February 2023, including the Roundhouse in London for their biggest headline show outside Ireland.
‘Homesick’ is a fine display of the earnest and infectious sound of The Academic. These guys are exquisite musicians. The track showcases rich instrumental bursts and refined musicianship from the band. They blend glittering guitars with a wistful melody and sweet vocals to create a soft texture to cushion the listener from the melancholy within the lyrics “Looks like you’re on your own again, How could it be?”. Filled with uplifting soundscapes and buoyant basslines; ‘Homesick’ is an emotive gem that beckons repeat plays.
A night of irresistible tunes and bellowed choruses resounded through Whelan’s last Thursday night all thanks to headliners, indie band N.O.A.H. Nothing, not even a bust snare drum could stop these guys from putting on a memorable show full of stadium-worthy energy and indie rock bravado.
But first, ready to warm up the crowd with their lush harmonies and sweet melodies was sister duo Zeztra. With charming personalities and tunes dripping in R&B tones, alternative pop and sincere lyrics, the duo were a joy to listen to. They set the mood beautifully from the very first song with their warm guitar, rich rhythms and balmy soundscapes while the sweet blend of their voices moved between captivating tones as they poured themselves into the songs. An enjoyable start to the night.
Limerick-based folk band Kingfisher followed. Taking a very casual approach to their set the band produced a wholesome rich sound that oozed infectious tones. With a hearty banjo adding a dash of traditional charm to the band’s tracks; Kingfisher had the crowd in the palm of their hands. They powered through their set encouraging the audience to sing along to their hooks and even had a couple waltzing to one of their tracks. Filled with warm basslines, some pretty slick guitar work and catchy melodies Kingfisher put on a fun set from start to finish.
The crowd erupted into a mass of dancing and singing as ‘Darkest Hour’ triumphantly introduced N.O.A.H. to the stage. This band are mesmerizing on stage and their sound is wonderful to experience in the live setting. Their set was filled with thrilling rhythms, soaring guitar and roaring bass grooves. N.O.A.H’s sound is impressive and the three-piece wasted no time in delighting the crowd’s ears. Ryan Hill is a charismatic frontman, he reached out to the crowd while singing, paraded up and down the stage and kept the fans enamoured by his radiant stage presence. The audience sang every word to the band’s tracks and danced as if their lives depended on it and, lucky for them N.O.A.H. had plenty of danceable genre-bending tunes to delight the audience’s ears with. The band’s set was a relentless onslaught of banging tunes with Ronan Hynes at the helm on drums pounding out slick and resounding grooves that perfectly complemented Adam Rooney’s superb laid-back bass.
These guys are professional. A small snare drum mishap sees them halt the show for a quick repair and a bit of fill-in banter before the band continued their energetic set. With the disco shimmer of ‘Stay Here’ and the heart-pounding anthem, ‘Shine’, the band proceeds to attack the show with as much enthusiasm as possible.
N.O.A.H’s performance was absolutely brilliant and a whole lot of fun. The crowd lapped up the performance, singing every song, embracing their friends and dancing without a care in the world. N.O.A.H are a band that showcase a diverse sound, limitless talent and ambition. The trio display a deep understanding of their craft that many artists would be envious of and their live performance is a wonderful explosion of their talent and charm.
Binmen have released their second single ‘Death by the River.’ The Wicklow outfit have been steadily building a loyal fanbase following a string of gigs across the country and the release of their debut single ‘Backhammer and Tongs. Binmen were born for sweatbox venues and musical escapism. Their debut single ‘Backhammer and Tongs’ was released in August 2022 to support a relentless gig schedule. Having played shows all across Dublin, Cork, Wexford and London over the past few months, alongside the likes of Big Sleep and Last Apollo, finding time to record has been a challenge. Nevertheless, Binmen are expecting to release their debut EP in early 2023.
‘Death by the River’ creeps in on haunting soundscapes, poetic lyrical content and compelling music. The track is a joy to listen to with a dark narrative that is enhanced by sprawling guitars and steady rhythms that create a sense of loneliness between harsh bursts of alternative rock while deep vocals croon expressive lyrics “Waits the wife and the lovely child / By the river, they light no fire / May they rest, may they rest in time.” ‘Death by the River’ is a well-crafted tune that marks Binmen as a band to keep an eye on.
Dublin indie rock four-piece Inhaler kicked off their 36-date world tour, with two shows in Dublin’s historic 3Olympia Theatre last week. I headed down to the second date which proved to be a momentous affair. Right from the get-go, I got a sense of the “Beatlemania” effect this band has on their fans. A member of the audience collapsed almost halfway through the first song prompting vocalist and guitarist Elijah Hewson to stop the performance until he was sure the fan was looked after and ok. Perhaps that’s one of the facets of this band’s appeal; their love and care for the safety of their fans …but mostly it’s the wonderful musical earworms these guys create, their youthful adrenaline- fuelled sound and relatable lyrics that discuss the trials and tribulations of life as a 20-something.
Inhaler continued their set with a myriad of fan favourites that immediately went down a treat with the crowd as they bellowed back the lyrics as if their lives depended on it. ‘When It Breaks’ had the pit in a bustle of bouncing bodies and flailing limbs, even fans in the seated section of the 3Olympia were up on their feet dancing. This band have natural charisma and an irresistible charm about them. They don’t need flamboyant stage antics. Their chilled, suave stance and magnetic tunes speak for themselves and draw the crowd in effortlessly. Keen to get as many songs into their set list as possible the band whacked out catchy banger after banger and it became instantly apparent these guys are competent and talented musicians with a checklist of stadium rock-worthy crowd-pleasing tunes.
As performers and artists, the four-piece have grown rapidly. They ooze more confidence since the last I saw them and it is clear they are more comfortable on stage as well. A fine example of their musical growth on the night was their performance of ‘A Night On The Floor’. Much to the delight of the crowd, Josh Jenkinson fleshed out his intricate guitar manoeuvres between Elijah Hewson’s silken croons, Robert Keating’s malleable basslines and Ryan McMahon’s rhythmic drumming. There were many memorable moments throughout the performance and as the night progressed the venue became a bubbling pot of euphoria, fans bounced and sang along to the entire setlist without fail and it is easy to why. These guys create fun, dance-able tunes that blend indie rock, pop and funk embellishments with ease creating an atmosphere for fans to let everything go and enjoy themselves. As Inhaler belted their way through ‘Love Will Get You There’ and ‘It Won’t Always Be Like This’, the mania of the crowd only intensified. There are not many bands around that can whip a crowd into a frenzy the way Inhaler do and it was a wonderful sight to experience and be a part of.
Inhaler are a joy to experience live. The band possess a professional manner and enviable musical talent well beyond their years. They have had to master their craft fast with a lot of eyes on them and last Thursday night was a triumphant middle finger to anyone who doubted them.
Fresh from the release of his latest single ‘Lonely Street’, Blood Donor (the solo project of ex-Otherkin frontman Luke Reilly) returns with his new single ‘Man, What Have You Done?’.Blood Donor’s debut album is due to be announced very soon and is slated for release in the Summer of 2023. His releases to date have drawn press acclaim and enjoyed considerable airtime on radio stations in both Ireland and the UK, having been named a ‘Future Artist’ by BBC Radio One’s Jack Saunders and having received healthy rotation on RTÉ 2FM, Today FM and FM104. Known for his magnetism and presence as a frontman during his Otherkin years, he is now touring with a 5-piece band featuring some of Ireland’s finest live musicians. You can catch them live at Other Voices on the 2nd-4th of December.
‘Man, What Have You Done?’ is an irresistible musical delight that displays Blood Donor’s deft ability to create truly compelling music. With warm jazz-speckled keys fluttering between edgy guitars, psychedelic moments and pounding drums; the track moves with ease between light mellow tones and sunkissed indie rock bravado. Reilly slips into his sweet falsetto for the bright chorus that is relaxed, and peppy with a hint of indie grit while the airy melody is so sweet you can’t help but crave to hear more. Lyrically Reilly takes a deep dive into his musings on friendships that come and go and wonderfully expresses these thoughts through illustrious instrumentation, lush harmonies and upbeat soundscapes. ‘Man, What Have You Done?’ is a radiant bop that is a joy to listen to and beckons repeat plays.
Post-funk and alt-punk band Def Nettle have released their new single ‘Architecture’. I caught up with frontman Glen Brady to chat about the band’s sound, their support slot for Scattered Ashes and how he crafted the new track.
‘Architecture’ is a fantastic tune that showcases diverse musical treats within its soundscape. From intricate rhythms to beautiful guitar refrains and wonderfully rich textures the track is a joy to listen to.
“I started a lot of the music myself before bringing in other musicians. That’s usually how it’s been so far with this project. Over the last few years I’ve been working as a producer, engineer and writer for a long time and so on this one I actually had some bass sounds, a basic rhythm and I had written the main guitar it’s, I guess you’d call it the lead line that comes in over some beats, and [ I ] wrote the lyrics and the vocals based off of that. Then a guitarist named Joe Donegan, who I worked with came in, and he added a lot of the riffs that go throughout the track, then the higher, more melodic parts, another artist named ABoyInCords, he does some solo stuff, Graeme [Slattery] he came in at the last minute and added a few of those lighter touches but most of the guitar was played by Joe Donegan, even though I had done the main line myself at first”
” So, yeah, the track was one of the slower ones to come together in a way because sometimes they really come together quickly in a day or two. That one the vocal line, and the rhythm section came together first, and that main guitar lead, and the rest of it came together over a series of months. Jay Oglesby, a friend of mine added the live drums and then a guy who’s in our live band now, Ely Siegel added the baseline right at the end, because we’d been using a synth bass for most of the time. I just started working with Ely. In fact, that was the first thing we did together and that came together just before I finished the track so it was a nice way to end it and to start my working relationship with him.“
“The vocals are very similar to the first day I wrote them. However, the song had been a little more electronic in the beginning and when Joe came in, he’s a brilliant guitarist, and he really had his own vision for the sound. Sometimes I’m reluctant to trust other musicians and I had been working with Joe on a live basis for a while. I really trusted him actually, which is unlike me, but I really trusted him with it and you know what, I was really glad I did.”
“We almost struggled to get it right for a while. I live in Wexford. He lives in Dublin. So he had to come down a few times and thankfully he did…and I decided to just trust him because he’s so good and trust the process. So I definitely, allowed his place in the track but the track itself and the general vibe is very much led by the vocal and that first lead guitar line, which was in the more electronic version. So although it’s definitely more rocky than I would have done it in the beginning I’m super glad that he came in.”
” Also Graeme, he does ABoyInCords he really added some beautiful guitar touches right at the end that gave it a really nice retro feel along with that rock and roll feeling. I think his guitar really worked with the dark retro feel of the vocal and gave the track an almost light feeling on top of that.”
The melody in ‘Architecture’ is irresistible. This is something Brady has a knack for and the frantic pace of the vocal melody in his previous release ‘The Pills’ gives a teaser to the style of the vocal in ‘Architecture’.
“I’ve been making music for a long time under lots of different names and with lots of different people but ‘The Pills’ was maybe the first or second track where I was like, Oh, this could be an act. You know, this might turn into a band. I might want to front a band with this sound and they’re definitely related. The sound of the band is very much influenced by the songs of my teenage years and punk, post-punk and kind of gothy and the early indie alternative stuff. So they’re definitely all related.”
” I think ‘The Pills’ was more influenced by a lot of skate rock and a little bit of hip hop in a sense like you said, the frantic flow. So there was a little bit more hip-hop influence on the vocal, and like I said, it was one of the first songs with this act. So as I’ve gone deeper into this act, I’ve got maybe a little more confidence in the vocal and I’ve been able to explore a bit more of where I’m going with it. I did a number of cover songs, in the beginning, to explore the vocal sound. I covered a Tom Waits song, PJ Harvey song, a Billy Bragg song, and by doing that I found where I wanted to go with the vocal. So ‘The Pills’ was in a very early version of that. So it’s definitely an evolution from there but still influenced by that important period in my life.”
Def Nettle is Brady’s first project as lead vocalist. I wondered if he was nervous about taking on the vocalist role.
“I definitely wasn’t confident and I’m still not. But, I have to say that the first thing I ever did musically in my late teens or early 20s was a very similar band to this before I ever became a DJ and a producer and had a career. Before I did that, one of the first things I ever did was something that touched on something I’m doing now, and then I never really did it again. I did some vocals about maybe 10/15 years ago, on a few songs, but I’ve always been in the background. So somewhere in my mind, I definitely always knew that I was gonna come back to it. I just didn’t know when and there was all sorts of other stuff going on. I was working with people who are more established, as vocalists and I learned a lot from them along the way. I learned a lot about myself and what I wanted to express.”
” So when I made ‘The Pills’, I liked the idea of maybe one day doing it, but I didn’t see myself doing it live and now it’s happening and it’s part of my life. So I’ve almost had to just bury the nerves or the lack of confidence and, I think a lot of that is related a little bit to I gave up alcohol a few years ago, and I think doing this act I have to be sober, you know, and that’s why I’m not as nervous because the stories are real. There’s honesty there. I’m not trying to cover anything up. I’m not trying to get pissed and, perform and use that to cover my fear. If I did that people would see through it in a live element and it would look fake and I think because I’m sober, what I’m doing is me and so I don’t have anything to fear because I’ve come through that if that makes sense.”
” I definitely feel I owe it to myself, to the people that are hiring me to do gigs and to the material to do it in my right mind and through doing that, that’s how I fight the nerves and that’s what makes me more confident and less nervous about it. I’m not doubting myself because it’s actually me. It’s not a version of me that’s covering it by being drunk or something, you know.”
The lyrics within ‘Architecture’ are stark and honest with vivid imagery. Brady sings ”When It rains in Dublin. You can hug the buildings. Go where you want. Like when we were children” over ominous bass lines and eerie soundscapes.
“That one definitely came in a burst. I think I wrote the whole thing in an hour or so here at my studio. All the songs are usually about one person when they start and then I add a load of other people that might have something in common with them and I make it seem like it’s all about one person and maybe ‘Architecture’ is a little different because it’s very personal. I’m definitely thinking about a certain period in my life, a post-adolescent kind of period, where I’m unsure of myself. You know, there’s definitely a feeling of being lost or heartbroken, that early 20s not being quite so sure of where your life is at, being broke especially, it’s based in Dublin in the 90s. It’s very grey and autumnal and there’s definitely that image of myself in my late teens in the city, looking for friends or somewhere to go and being lost in the rain that kind of idea and the lyrics talked about the main theme of architecture you know, using the buildings in the city and the structures to shield myself from the weather and from that forlorn feeling.”
The single is accompanied by an atmospheric video that portrays Dublin in bleak rainy weather and dull filters. Brady explained to me how he created the video.
“I started by going on YouTube and looking for the actual streets where I had these experiences as a young version of myself and I found myself looking at tour guide videos of Dublin. Then I found tour guide videos of Dublin in the rain and I thought, Oh, that’s really interesting. I contacted the people, the tour guides, who made those videos, and I said, Hey, I’m in a band, can I use some of your footage? And I made the video myself. I tried to then effect the video. There’s a lot of emotional turmoil and difficult past and difficult history and some levels of insanity and very, very dark and abusive relationships that I had had before that or grew up in. I wanted to show them and I think the black and white in the reverse was a really nice way of showing the insanity of that time. Then I set up the camera myself at home I did the entire thing myself.”
Brady has worked at the top of his field in every aspect of music production, performance, and DJing for almost three decades, making music with the likes of R.E.M., Dominique Keegan (The Glass, Plant Records ), the California State Symphony and has toured as a member of DARK with Andy Rourke ( The Smiths) and, the late Dolores O’Riordan as well as having mixed their album, Science Agrees. We discussed how all these experiences shaped the sound of Def Nettle.
“Well, you know, people who have been successful that I’ve worked with, some of them have been very awe-inspiring in terms of their performances that I might have witnessed, so I don’t really feel on the level of some of the artists that I’ve worked with. I feel like technically I’ve learned a lot by being very dedicated to learning music. I learned music late. I didn’t learn music as a child. I came to music in my late teens and early 20s. So I always felt like I had to make up ground. So I’ve been very studious in my life and in terms of learning music I’ve been pretty obsessive. I think musically that came from a more personal place.”
I asked Brady from his experience within the music industry what advice he would give to an aspiring musician.
“Never stop at all. We all have to pay our dues and some people get what they need right away or within a couple of years and some people, it takes 30 years, so it really doesn’t matter. The process is what’s important and being able to express yourself. I think if I had to give some advice to myself, back then it would be practice instruments and don’t drink so much.
It took me this long to come to the point where I’m happy with what I’m doing and perhaps that’s why I’m able to do it now because of all of those experiences. I surely write a lot about the people and places and trials and tribulations that occurred during all that so there’s definitely a lot to write about because of mistakes I’ve made and lifestyles I’ve led in the past.”
Def Nettle had a show supporting Scattered Ashes at The Workman’s Club on 18th November. Brady told me about the band’s upcoming plans and how fans can catch them again live.
“This is our third single and the Scattered Ashes show is our first show with the full band. We did a Fanning at Whelans. It’s going to be on Virgin Media one in a couple of weeks. We did another thing for RTÉ 2XM Sessions from Oblivion, that’s going to be on in January or February. So you know, we’re really just getting out there. So I don’t have any plans as of now. I’d like to, but I don’t think we’ve developed our business that well, not enough people know us yet, I feel. I’m hoping that this one is going to help with that and I’m sure doing the Fanning Live at Whelan’s should help.
We’re also doing a show in Fibbers [Fibber Magees] in February, supporting one of our favourite punk bands, The Nilz, that we’re really looking forward to. So yeah, I’m really hoping there’s gonna be a lot more shows, especially in 2023. We’re ready to do that. Definitely.”
Def Nettle creates a tight and utterly compelling sound with earnest lyrical content at the core of each song. Showcasing refined production, thought-provoking lyrics and first-rate musicianship, Def Nettle are making their mark as a band to keep an eye on.
The Exact Same Kid has released his new EP ‘Amateur Hour’. The Exact Same Kid is the moniker of Dublin-born songwriter Alex Conroy. Initially trying his hand as a folk musician, Alex has performed alongside acts such as The Ghandis, Clara Byrne, Apella, The Blizzards, I Have A Tribe, Cathy Davey and Neil Hannon. Ultimately growing uncomfortable with the stillness and isolation that comes from being a solo artist, the desire for a bigger sound and more collaboration led to some years of experimentation. The Exact Same Kid is the result of this, a heavier indie rock sound that still retained the lyrical focus of folk music. Recorded in the summer of 2021 with producer and sound engineer Aidan Cunningam, ‘Amateur Hour’ is about confronting your own emotions, finding out who you are and finding the strength in that knowledge.
Riding on a dense wave of sprightly indie rock with country and jazz flirtations, ‘Amateur Hour’ is a fresh and well-crafted three-track EP. With lush almost doo-wop melodies gliding above jaunty guitars and steady beats, ‘Don’t Cry’ announces the EP in a blaze of bittersweet nostalgia while ‘Butano’ blends bright indie elements with frenzied guitar embellishments and horn adornment. The songs are fun, honest and lyrically witty. Conroy manages to blend a diverse range of instruments and genres to create an EP that is satisfying and brimming with energy. Throughout each song we see Conroy flexing his musical muscles to create a sound that is refreshing and satisfying right up to the final track, ‘Blue China’. The track’s dark atmosphere exudes hypnotic qualities that brood beneath pounding drums and resounding stings on guitar while Conroy’s deep vocals croon the smooth melody. With bright tones on guitar interspersed between soft synths and jogging percussion, the song is superbly crafted.
‘Amateur Hour’ is a sublime EP laced in tight and refined musicianship. It’s a joy to the ears and boasts Conroy’s fine musical prowess.
About the EP Conroy said: “I don’t think I’m alone in having turned to music for answers at some stage in my life. Amateur Hour is definitely not for that. It’s about saying I might not have the answers, but I have the same questions as you do so you’re not alone. I think there’s comfort there, in being united in our confusion.”
Last night three up-and-coming indie bands SweetCake, Reserved for Rehab and Sean Looney electrified Fred Zeppelins in Cork.
Sean Looney kicked the night off. His tunes exuded good old-fashioned danceability with funk hues blended between indie and jazz tones. With his musically tight band behind him, the room bounced with vigour as Looney crooned over slick key refrains and smooth melodic flows. These guys are naturals on stage and their organic knack for sweet-toned riffs, rhythmic drums and catchy melodies left no doubt they are a talented band with a lot of potential.
Reserved for Rehab followed. A heavier band in sound, they knocked our socks off with lush grunge tones, dense riffage and pummeling drums that reverberated through the venue. These guys have something, an exciting Je ne sais quoi that I can’t put my finger on. Perhaps its the expressive sinister tone of their unreleased tune ‘Ivory’ ( though unreleased, the song had the crowd singing as if it was a fan favourite of a well-known indie band) or the well-paced track list that showcased very sleek instrumentation and musical prowess but there is a sense that with a bit more time this band could move on to bigger things. Consider me intrigued.
Just as the name suggests, SweetCake brought the night to a close with some very sweet and lush tunes. These guys are impressive in the live setting. The band exuded charisma with a hint of suave nonchalance onstage however the set list was fun, funky and kept the crowd lively and dancing throughout. Musically their sound is very expressive: guitars effortlessly glide from catchy heavy riffs to debonair licks with ease while grooving basslines stylishly complement rhythmic drums and warm vocals. Unfortunately, I had to rush off before their set finished but keep an eye on these guys.
It’s always refreshing to see the immense talent of upcoming bands displaying their raw talent without fluff or rehearsed bravado and just performing off the natural buzz on stage and feeding off the crowd. It’s a difficult thing to do but SweetCake, Reserved for Rehab and Sean Looney put on a fantastic show.
Brighton-based alt-indie band, Thrillhouse return with their latest single ‘Fatal Flaw’. A love letter to those that stick with you through the tough times. With their debut album being mixed ‘Fatal Flaw’ will be their last single before beginning the release of the album in early 2023.
Thrillhouse have a knack for creating wonderful textures and nuances within their music. ‘Fatal Flaw’ is a fantastic example of this. The band’s taste for mixing and matching synth elements with chugging bass lines and buoyant beats keeps the tune bright and catchy while the melodies exude sentimental nostalgia throughout. Every track from Thrillhouse is a joy to the ears and with warm vocals, and chiming guitars that ooze charm from every note, ‘Fatal Flaw’ continues this band’s record of heart-racing irresistible gems.
Drop The Shadow has released his new single, ‘Cross to Bear’. Drop The Shadow is the alternative music project of Irish songwriter and musician Mike Walsh. Joined both in the studio and live by his brother Eric (drums), Sean Carey (bass) and other musician friends. The track was originally recorded in HellFire studios, Dublin and later produced/ mixed by Darkin in Black Mountain Studios. It also features additional backing vocals by Cliodhna Gahan and keys by Killian Browne.
‘Cross to Bear’ presents Drop The Shadow’s passionate indie rock through a cinematic soundscape and brooding atmosphere. Filled with pulsing beats, chiming guitars and ethereal tones the song is tastefully crafted and showcases complementing elements throughout. ’Cross to Bear’ is a tight and impressive musical display that highlights the wholesome and powerfully evocative sound of Drop The Shadow.
Stream ’Cross to Bear’ below
Author: Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
