Irish indie rock band N.O.A.H have released their new single, ‘The Wrong Side Of Town’. N.O.A.H comprises three lifelong friends Ryan Hill, Adam Rooney, and Ronan Hynes. The band formed in January 2020. After spending months writing, recording and developing as a band, N.O.A.H finally released their debut single ‘Shine’ in September 2020. The track picked up a lot of press, N.O.A.H even recorded an exclusive acoustic rendition of ‘Shine’ for radio presenter Laura Whitmore on BBC5 Live in the UK. Further interest was shown from stations such as RTE2 FM, Spin 1038 and Corks Red Fm achieving play-listings and earning various spots as ‘Track of The Week’. With word spreading fast and the ever-growing press, N.O.A.H signed with Natasha Bents’s newly founded Mother Artists Live Agency (Foster The People, Idles, CMAT). The band even made their first TV appearance on RTÉ Six One News to talk about their good news story and journey to date.
‘The Wrong Side of Town’ is a passionate indie rock track. N.O.A.H take a dazzling array of sonic textures and perfectly blends them with intricate, dynamic instrumentation to create a euphoric sound for listeners to immerse themselves in. There is much beauty to appreciate in N.O.A.H’s musicianship and ‘The Wrong Side of Town’ is a fine example of this; the band capture a sense of urgency through the use of driving basslines and dynamic synths while throughout the track smooth emotive vocals croon moving lyrics atop heart-stopping instrumentation. N.O.A.H’s instrumental prowess is becoming more refined and exciting with each release. These guys are ones to keep an eye on, each track they release is unforgettable and a wonderful hair-raising listening experience.
Dublin band KLDD have released their new single,‘Tastes Like Tragedy’.KLDD wrote the song during the lockdown of 2021, born from a spontaneous jam session and recorded at Bluebird Studios in January 2022, the track was produced and engineered by frequent collaborator Declan Lonergan. KLDD will play their debut headline show on July 10th at The Grand Social Dublin, alongside Cork band The Drive on support duties.
‘Tastes Like Tragedy’ displays KLDD’s mature and tight sound through an impressive blend of spacious musicianship and a taut vocal delivery. The song pivots around this laid-back and at times nonchalant vocal delivery however, it’s the sweet meanderings on guitar that ignite passion and emotion within the song. The guitar boasts expressive soaring melodies between rumbling bass embellishments creating a soft tone and a sense of innocence throughout. ‘Tastes Like Tragedy’ is a joy to listen to. KLDD’s ability to slowly unleash their indie-rock vigour without overpowering the track’s airy vibe is impressive and showcases the talent of this band. Throughout the song the listener is treated to wonderful textures, emotive undertones and deft musicianship – the result is a sound that is both exhilarating and timeless.
22-year-old Irish artist-songwriter, Bradley Marshall has released his new single ‘Better Left Unsaid’.Having worked with big industry hitters; Danny O’Donoghue (The Script), Ryan Hennessy and Jimmy Rainsford (Picture This), Jimbo Barry and David Lucius King on the song; Bradley Marshall said “to work with writers & artists of their calibre so early in my career is something I could have only dreamt of a year ago. It’s an amazing opportunity as an independent artist starting out.”
‘Better Left Unsaid’ surges with gripping melodies and cinematic power as Marshall pours his heart and soul into this compelling tune. The song builds from its humble piano beginnings into a soaring anthem with pulsing drums, ethereal soundscapes and lush harmonies. Marshall’s warm vocals croon, “few more years of being broken trying to right my wrongs and when I find a brand new person I’ll still write you breakup songs” over an ethereal suspenseful backdrop before the song juggernauts to an exciting, dynamic crescendo. Well-crafted and melodically lush ‘Better Left Unsaid’ is a moving new tune from Bradley Marshall.
Speaking of the single, Bradley Marshall said: “Better Left Unsaid” is about admitting fault and ultimately, coming to terms with the fact that some relationships are just not meant to be. It’s a real anthemic song that I hope will resonate with people”
Singer-songwriter Gabrielle Aplin has returned with the release of her new single ‘Call Me’.Throughout her career so far Aplin achieved a UK #1 smash hit with her cover of ‘The Power of Love’ which launched her career, as well as a further four international #1 singles, a Gold-certified debut album ‘English Rain’ plus her most recent album, 2020’s ‘Dear Happy’, has now exceeded 200 million streams on Spotify alone. I spoke to Aplin about her new single ‘Call Me’, releasing music on her own label, touring and if ‘Call Me’ is a taster of a new collection of songs to come.
‘Call Me’ is an exciting glimpse into Gabrielle Aplin’s approach to writing and recording new material. Having moved back to Somerset late in 2020, she began to write alone at home and ‘Call Me’ is the mesmerising result of this writing process. It’s a wonderfully cinematic tune, however, at the heart of this beautifully vibrant track is a delicate piano melody.
“I’m so glad you said it was cinematic. That’s exactly what I was going for. I actually wrote just on piano on my own in lockdown at the start of last year, and it was really loose, and quite old-sounding in a way. We just put the whole band in the studio and we all played it and recorded it and that was it, you know. But I didn’t really want to make a retro-sounding album. I wanted it to be inspired by all the things I love and some of those things happen to be, retro, but I still wanted to make a modern record. I came in one day and Mike [Spencer] the producer had told me to sit down he was like the song’s not on rails. There’s nothing railing it everything’s just floating all over the place. So he put in the sawtooth synth part and then it suddenly made sense and I was like, oh my god this is it. So yeah, it kind of came about from Mike.”
How to introduce a song is a tricky decision because it’s those few seconds at the beginning of a song that captures the listener’s imagination. Aplin creates a unique and refreshing intro to ‘Call Me’ through the use of droning synths that chop and drag before the softer elements of the song are introduced.
“ I did imagine it as this pretty piano intro and Mike just came up with that. It sounded so gnarly when I first heard it because the rest of it was just piano and strings and whatever. When that happened, it suddenly made more sense. But yeah, it kind of scared me because the song was so delicate before that synth came in. I respect that feeling when I get it because it’s usually a good one you know?”
Aplin has proven herself as a diverse artist who isn’t defined by a genre and ‘Call Me’ showcases this superbly. Within the track, cinematic pop elements blend with warm country tones on guitar, indie embellishments, synths and almost gospel choir vibes in the backing vocals. The track is simply a musical delight to listener’s ears.
“ I didn’t want to adhere to a trend that was happening now because I wanted it to feel timeless. So we had our pillars and one of them was that it had to be very human and have loads of real musicians. Everything had to have a space so any kind of non-acoustic instrument, any of the synths and whatever all had to have a space so we weren’t plugging them into the computer. My producer Mike had a Fairchild machine built so everything can pass through all these valves and pass through air and the same with the synth on ‘Call Me’, he went and found some man on eBay who had a certain speaker that we could run it through in a hall. It was just so important that everything had space, was human and true [and] organic. We didn’t really listen to anything trying to steer us any way. We genuinely made it as if we were artists not trying to make anything for anything other than to create something good.”
It’s an honest track with clear and emotional lyrics and Aplin explained to me how the lyrics developed.
“Most of it was like a stream of consciousness and then I flesh it out. The idea was there you know, I don’t really know what I’m writing about. I just, like you say stream of consciousness, kind of blurting stuff out and record it. Any that stand out to me, I’ll finish them and with that one [Call Me] it just felt like I had to do that one. But it’s like filling in the gaps when I work out what the song is, then I can finish it, you know? And for me, it was that feeling that I had where I was quite isolated in the second lockdown and was just writing because I had nothing else to do. That’s where I was like, Oh God, now that I’m sitting here and I can’t go out and I literally can’t do anything and I can’t see anyone I wish I didn’t bail on all those times I could have had human interaction. It was a longing for human connection, I guess.”
“I think most of my favourite songs come from little streams of consciousness. I just sit there and start singing any random stuff, sometimes a chord pattern or you know, something I’m playing might spark a melody and I might just do a little scatter of something. Then that scatter, I might listen to it back and it might sound like a certain word. So then I start with that word and you know, it will stem from there. I literally am just going somewhere meditative when I’m doing it and, I pick out the bits that stand out to me.”
‘Call Me’ marks a new era in Aplin’s career, one which has seen her hit a massive landmark of one billion streams.
“Yeah, I feel so lucky and as an independent artist, it’s just really nice to know that people care. Yeah, it’s mad.”
“It’s nice to know that artists can own their work and still have a career and not feel they have to sign their masters away. Apart from that, for me, it was also really important to work with a team who really cared and were really enthusiastic about what I wanted to create and what I wanted to achieve. So keeping it close to me, and just having people come into our team that want to work on it is really nice. It also means we’re not tied to anything”
Aplin’s last release ‘Dear Happy’ was released independently on her own label, Fade Records, in January 2020 and ‘Call Me’ follows in its footsteps. We discussed how the freedom of releasing music on her own label gave the singer-songwriter more confidence in her work to do what felt right for her.
“Absolutely. This is the most confident I’ve actually ever felt as an artist. I’ve been left to just become who I am and make what I make where I’m at now. No one wanted to hear it until it was finished and when it is done, you know, I will go into people in the label and I will tell them all my ideas and they don’t want to start working on anything until they’ve got my ideas because they want it to be based on everything that I’m creating. Everything has to be real, and they really care about making sure that artists are looked after and treated like artists. It’s really nice to be working with a really supportive group of people. It definitely helps to be left [to] yourself to make something because that’s what your job is essentially. I’m here to create something, just leave me to it and I’ll come back [with] something. I think it does show when artists are nurtured in that way they create really good work.”
A striking and instantly recognisable aspect of Aplin as an artist is her effortless vocals and sweet emotive vocal tone. Within ‘Call Me’ we see Aplin command an eloquent vocal delivery that exudes passion and charm over a bittersweet melody.
“Even now, I get really nervous performing. I find it quite daunting, but in a studio, I’m much more confident maybe it’s because I feel a bit more free and more private. I haven’t always been confident. I really have to gear myself up, especially when I’m performing in front of people. I have to really get pumped up. I find it really scary. I do enjoy it though, once I get going.”
In March Aplin finally got to finish her ‘Dear Happy’ tour that initially started in March 2020. Aplin told me how surreal it was to sing the songs from the album as they were no longer new to her.
“It was so bizarre. But it was amazing though. So much time [has] passed since. I had different people on the road with me and that was weird, but then also at the same time we just stepped back into it like there was no time at all gone. It was bizarre, but it was amazing to finish it. It’s just mad though because when I started that tour, that setlist you know, those songs were brand new and when I finished the tour, I’d made a whole new body of work and I was playing ‘Call Me’ at the shows. I did that to honour who I am now because I felt, [people] myself included, are not the same people they were a few years ago. It’s been a mad few years so I really wanted to honour those things with those shows but yeah, it’s amazing to have it done.”
‘Call Me’ is a teaser for a new collection of work to come. I wondered how soon fans could experience the artist’s music in a live setting. Aplin explained the pandemic gave her time to re-evaluate the tiring manner in which gigging used to be approached by artists.
“Definitely yeah, I’ve made a body of work. I made a load of songs and they were all part of one project. I think it’s really exciting how there are so many ways in which artists can release music now. So I really like the idea of coming up with a cool way of releasing it but I don’t know if it’s an album or not. But there’s a collection of songs that will come out together at some point. I just don’t know in what format”
“ I’m really excited to play new songs but I haven’t got any festivals planned this year. I’m looking forward to going to shows as well and I’m going to a few festivals and stuff.”
“With touring I always found this is not normal…a lot of stuff was just not sustainable. For me, I’m much happier when I have a very solid routine. Everything’s planned well in advance, having nice people around you and looking after yourself. My whole band and crew you know, want to be comfortable and happy and not you know, ruin themselves over something that should be fun and should bring joy to people. We shouldn’t be feeling awful about ourselves after doing something like that. So, yeah, it’s more important for us to take care of ourselves and not overdo it now.”
Before we ended the interview Aplin bestowed some solid advice for any budding artist looking to start a career in music
“I would advise [you] to just do whatever [you] want and make the most of all the resources that are available to you to get your music out there. There are so many, try them all and use the one that sticks or what works for you. Also, I think it’s really important to read up on music law, rights, ownerships, and publishing royalties, and make yourself really familiar with all of those things so you don’t get messed over.”
Gabrielle Aplin is a passionate and dedicated songwriter who clearly pours all she has into her art and the result is compelling, emotive music that is a delight to listen to. Her dedication to creating sincere first-rate quality songs makes her a timeless songwriter and a musical treasure to cherish. ‘Call Me’ is a glorious addition to her sparkling repertoire.
Kodaline are set to release a new stripped-down 17 track live album on October 14th 2022 called ‘Our Roots Run Deep’. Pre-Order available HERE.
When Kodaline stepped on stage at Dublin’s cozy, sold-out Olympia Theatre in early March 2022, vocalist/multi-instrumentalist, Steve Garrigan; bassist/vocalist, Jason Boland; guitarist/vocalist, Mark Prendergast; and drummer/vocalist Vinny May felt a deep sense of renewal, of their friendship, their brotherhood, and their musical community.
The beloved Irish quartet also felt a sense of release. Two years of pandemic-related separation, from each other, and the audience they had meticulously built since 2011, had underscored how essential that symbiotic relationship really is.
It’s that sense of release that permeates Our Roots Run Deep, Kodaline’s brand-new, stripped-down, 17-track live album and Fantasy Records debut, due October 14th, 2022. Pre-Order available HERE.
Produced with pristine clarity by fellow Irish cohort, Phillip Magee, Our Roots Run Deep features a cross-section of the group’s most treasured tunes and three illuminating covers in over 80-minutes of music.
“This album is something we’ve wanted to do for a very long-time, it’s also something entirely new to us,” explain the band. “It’s a stripped-down acoustic show with no click, which basically means, it’s very raw and unfiltered. We wanted to try and capture the energy and atmosphere of the night as best we could. It was an intimate show recorded in one of our favourite venues in the world, in Dublin City at home in Ireland. We hope you enjoy it as much as we enjoyed playing it.”
Known for the soaring, sing-along pop-rock anthems and lush, yearning ballads that have topped radio and streaming charts around the globe, for these special intimate performances Kodaline utilized largely acoustic instruments including cellist, David Doyle and keyboardist/vocalist, David Prendergast who help give the warm, living room sound added layers of texture and depth.
The quieter musical beds pushed the band’s emotionally driven lyrics and intricately woven harmonies to the forefront, deepening their poignant resonance even further. It also left room for the voices of their ecstatic fans, who filled the open spaces every chance they could!
While too plentiful to list in full, the set’s highlights include the highly apropos opener ‘Wherever You Are,’ the lead track from their latest LP, 2020’s One Day At A Time, ‘High Hopes,’ the lead single from the band’s debut album, 2013’s In A Perfect World and ‘Brother,’ a moving cut from the group’s third studio album, Politics of Living, which is now being released as the first track from Our Roots Run Deep.
The band include three interesting and revealing covers here as well: a brooding, dramatic turn on Michael Jackson’s ‘Billie Jean,’ a mostly a cappella performance of Sam Cooke’s soul classic ‘Bring It On Home To Me,’ and a taste of ‘Dirty Old Town,’ the near Irish standard popularized by The Dubliners and The Pogues.
Our Roots Run Deep will be released digitally and in an array of physical formats including CD / Standard Cream LP / Limited Indie & HMV Maroon LP / Irish Exclusive Green LP as well as special fan bundles available at kodaline.com including limited signed prints & exclusive double cassette.
Kodaline have announced an extensive ‘Our Roots Run Deep’ European headline tour running through October and November 2022. Full dates are listed below, and tickets are on sale now at https://kodaline.com/
JUNE 2022 SHOWS
30 Lancashire – Lytham Festival
OUR ROOTS RUN DEEP TOUR DATES 2022
October
05 Strasbourg – La Laiterie
06 Brussels – Ancienne Belgique
07 Tilburg – 013
08 Cologne – Carlswerk Victoria
10 Hamburg – Fabrik
12 Stockholm – Slaktkyrkan
13 Oslo – Rockefeller
14 Copenhagen – Vega Main Hall
15 Berlin – Astra
17 Poznan – Tama
18 Warsaw – Stodola
19 Vienna – Gasometer
20 Krakow – Studio
22 Budapest – Akvarium Klub
24 Prague – Forum
25 Munich – Tonhalle
26 Frankfurt – Batschkapp
November
11 Madrid – Riviera
13 Milan – Fabrique
14 Bologna – Estragon
15 Rome – Orion
17 Lyon – Le Transbordeur
18 Stuttgart – Longhorn
19 Luxembourg – Den Atelier
20 Zurich – X-Tra
22 Paris – Bataclan
23 Amsterdam – Paradiso
Watch the live performance video of ‘Brother’ Below
Midlands-based band, Black Cats and Magpies are back with their new single ‘I’ve Got Nothing to Live For’. Written in 2019 and recorded in 2020, the track speaks of coming to terms with unexpected changes and trying to become a better person as a result of them.
‘I’ve Got Nothing to Live For’ is an ethereal indie tune that displays the charming sound of Black Cats and Magpies. The band create a subtle and riveting push-pull effect through the use of buoyant guitar which adds an airy tone while punchy drums and driving basslines ground the track. The song is a cohesive and passionate display of musicianship and boasts emotive vocals, a bittersweet melody and exquisite moments of movement throughout. Filled with upbeat vibes and a wonderfully bright indie aesthetic ‘I’ve Got Nothing to Live For’ is an easy-on-the-ears gem from Black Cats and Magpies.
SamSeb Kierkegaard has released his new EP ‘Luna: Fantasy Named Happiness’ which tells a whirlwind story of a boy from the city of Reality, Luna Moonlight the heroine, and Uncertainty the Monster. South Korean Alt-Rock artist SamSeb Kierkegaard is an exceptionally exciting creator, who explores the polarities of life through his incredibly intricate songwriting talents.
‘Luna: Fantasy Named Happiness‘ is a passionate collection of alternative rock tunes that boasts the atmospheric and mighty sound of SamSeb Kierkegaard. The EP ventures between exhilarating anthems like ‘Luna: The Invisible Irony’ to darker tracks such as ‘Luna: Luna Moonlight’ which is reminiscent of 90’s rock with metal flirtations. The EP is well crafted and cohesive as Kierkegaard takes the listener on a rollercoaster journey of emotions through expressive musicianship. His sound is theatrical and explosive with shredding guitar lines that move between warm chimes and soaring refrains while pounding drums and ethereal melodies keep the listener hooked on every note. With moments of jaunty rhythms flickering between eerie tones in ‘Luna Dependent Personality Disorder’ and light shoegaze psychedelia in ‘Luna: The Myth of Sisyphus,’ this genre-blending anthemic EP is a satisfying listen and a glimpse into the thrilling sound of SamSeb Kierkegaard.
Ham Sandwich have released their new single ‘Le Soleil’. The song is the second single to be taken from the band’s new album due for release at the end of the summer. The song also features a brand new animated video by long-time collaborator Marc Corrigan.
Pulling in elements of pop alongside irresistible tropical undertones, ‘Le Soleil’ is a charming musical delight from Ham Sandwich. Intricate rhythms bubble beneath biting guitars, spiralling synth embellishments and warm acoustic strums to create a hypnotic soundscape that is simply joy to the ears. The band layer the song wonderfully creating moments of psychedelia through subtle rock and indie-pop melodies while a cheery clap-along feature keeps the song in an upbeat tone. Ham Sandwich are constantly evolving their sound and creating new tantalizing tunes for listeners to indulge in and ‘Le Soleil’ is a fine example of this. It’s a well-crafted little ditty filled to the brim with clever musicianship and sublime melodies. Looking forward to the new album.
Brian Corbett has released his new single ‘Wonder’. I spoke to Corbett about the new single, his return to Ireland after moving to Toronto five years ago and working with Pa Sheehy on a new collection of songs.
‘Wonder’ discusses Corbett’s teenage years as he reminisces on lacking the bravery to tell a close friend that he wanted to be more. Corbett uses beautiful lyrics to take the listener on this nostalgic journey.
“So a couple of months ago I went to Dingle in Kerry. I met up with Pa Sheehy and I was nervous going down because he’s a well-known artist. We talked and he’s like, what would you like to write about? So I told him about the story, about my friend, how I felt. Four hours later we came up with the song. I think it was the adrenaline from meeting him and being nervous it helped me for some strange reason with the writing. Yeah, four hours later, ‘Wonder’ was born.”
“I was like, should I say it? Should I not? [ to Pa Sheehy] Is it too soon?, but then you know what something beautiful could be made here so why hold back and just be honest and put everything on the plate.”
There is a warm twinkling guitar melody that exudes a folk tone and reinforces the nostalgic theme within the song.
“Pa had a guitar riff that he actually made while we were on our way down there. Just an acoustic, he just looped it and I just fell in love with it straightaway. That’s when the inspiration just straight away clicked. It was just so easy to play off it.”
The song is sonically impressive and boasts deft production and dreamy tones with an intricate pulsing rhythm anchoring the listener in the track’s ethereal soundscapes.
“ We had the guitar sound and we wrote alongside the guitar sound. Then eventually, we left it simmer for a while for a few weeks and then Pa started messing around with these beautiful dreamy sounds that just came into it perfectly and just fitted with the song. I think that’s the feedback we’re getting off the song too. It’s a summer vibe song, it’s a sad song but a happy song at the same time.”
Brian Corbett’s music oozes wonderful folk elements with a contemporary twist. We spoke about how he crafted his style and sound.
“ I think it’s just the way I sing. From a very young age, I was surrounded by folk music, especially Irish folk music, and I was reared in the countryside. So I had that country twang, more or less and I just brought it into my music and gradually developed it over a few years. It goes pretty well with the music that we are making at the moment.”
Corbett moved across the Atlantic five years ago to live in Toronto and found himself in a music scene he had never experienced before. Through rubbing shoulders with a variety of artists and writers Corbett gained a new insight into his music and writing.
“To be honest, I started taking it seriously. I didn’t really believe. I knew I could sing. I knew I could play the guitar. I started going to open mics and stuff like that, just to go to them to listen and have a beer or whatever and then I started making friends and rubbing shoulders with some really amazing musicians. That’s when I started to write and develop my writing. I wasn’t great at the start, but it’s like turning on the tap and getting the dirty water out first, eventually the clean water comes through. So it really helped me, the city life, and just being surrounded by different musicians and different cultures and stuff. It really had a golden plus for me.”
After five years away from home Corbett grew tired of city life and moved home to Connemara and is living in a remote cabin with artistic friends writing music. I wondered if the nostalgia of being back in Ireland is giving Corbett material to write.
“It has yeah, it’s like past situations you’ve been in and moments of sadness, moments of happiness, but it really helped me. It’s really nice to be back. It’s like writing a book, you need to sit down and your like, Alright, what do I write about? How do I feel and when did that happen? When did this happen? So it’s good to be home, it’s good to be on the Irish soil again. But, hopefully, this music takes me out there again.”
“I live in a little house in Connemara. Some of my friends are musicians and I bring them down for the day or two. I have a little studio here in the house and we just chill, we eat, we talk, we make music, we eat more and then we make more music and then it just develops from there. It’s a really nice humbling situation.”
“I live in Clifden in Connemara, it’s just magic. It’s surrounded by water, surrounded by greenery and surrounded by mountains and it’s just inspirational. So being in Toronto in the busy city for nearly five years, six years it was nice to come home. Once I came home I was like this is so nice to be just able to think again and just like relax.”
Corbett has some exciting plans for the rest of the year with new releases and an upcoming EP.
“It’s the first song off the EP, that me and Pa are putting together at the moment. So we have a few more songs down. It’s hard to just put a full stop on it. I was like should we not make another one. It’s easy to make it into an album. But I want to make an EP first and then we can talk about albums. In the next few months, we’ll have another song that we’re ready to put in the oven.”
Brian Corbett is a compelling artist who has the ability to create passionate songs filled with rich instrumentation. He is developing his sound beautifully and displaying a talent for creating cinematic musicianship and emotive lyrics – ‘Wonder’ is a sublime example of this.
Ailbhe Reddy returns with her new single ‘A Mess’ via MNRK. The single follows April’s ‘Inhaling’, which marked a comeback for Ailbhe, who’s 2020 debut album ‘Personal History’ was shortlisted for the Choice Music Prize album of the year award. Since then, she has moved to London and signed a record deal with major indie label, MNRK. The single is accompanied by a video made by renowned Irish production company, CLTV, who have been responsible for videos by the likes of Fontaines D.C., Denise Chaila, Pillow Queens, Inhaler and more. Ailbhe Reddy has just played The Great Escape, the UK’s renowned music industry showcase festival. In July, she plays Visions Festival and Latitude, with more festival announcements due over the coming weeks.
‘A Mess’ is an exciting pop-drizzled indie rock track. The song is skillfully produced and superbly layered as Ailbhe Reddy fills an expressive soundscape with rampant bass lines, biting guitars and a sweet pop melody. Reddy is a very talented musician. The artist’s tracks ooze emotive lyrics and evocative musical arrangements that leave much to be admired. ‘A Mess’ is no exception – within the track, thrilling grunge elements and shoegaze flirtations reverb beneath smooth vocals that create dreamy tones throughout the song’s dynamic soundscape. This wonderful combination of elements is eargasmic and beckons repeat plays from the listener. Reddy sets the bar high with this fantastic tune. The track is a joy to listen to and is an enticing display of musicianship from Ailbhe Reddy.
About the track, Ailbhe Reddy says: “‘A Mess’ is about not feeling good enough in a relationship and examining old patterns and habits. It’s about feeling fed up of going around in circles, while focusing on a throw away comment that ‘no wonder it was such a mess’.”
Watch the video for ‘A Mess’ below
Author: Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
