Ruchie Sharma has released her debut album, ‘Xtraordinary’.This energetic collection of tracks is an exciting display of Sharma’s driving guitar-heavy rock and provides a satisfying and engaging experience for listeners to enjoy. The album exudes gritty riffs, pummeling drums and catchy melodies as Sharma refines her vibrant wall of sound with elements of pop-punk ( ‘Fallen In Love’) and grunge hues ( ‘Strong Girls’). Filled with shredding guitar, soaring bass grooves and oodles of heartfelt melodies ‘Xtraordinary’ is a tight and impressive debut. There are powerful anthems throughout the album, however, the emotive and bittersweet ‘Should’Ve Left You Behind’ with its catchy “nah nah nah” lyric is perhaps the pinnacle moment on the album and displays Sharma’s raw and emotive songwriting “should have known you were coming with a knife under those roses”. ‘Xtraordinary’ is a dynamic debut album that highlights the growing talent of Ruchie Sharma.
Award-winning composer, songwriter and multi-instrumentalist Daniel Fitzpatrick, aka Badhands, is set to release his second album ‘Far Away’ on Friday, 1st April 2022. I caught up with Fitzpatrick to talk about the album, writing during the pandemic and plans for his upcoming full-band album launch in Whelan’s main room on Saturday, 9th April 2022.
“It’s not really a concept album, most of the songs were written a few years ago. So I guess if there’s any consistent themes, it’s just from the nature of whatever was going on at the time, but no there’s definitely no real kind of overarching concepts to it.”
‘Far Away’ is a sublime easy listening experience as Fitzpatrick ventures between classic rock and indie with some pop sensibilities. ‘Quiet and Still’ is a fine example of this. Oozing elements of classic rock, country and an irresistible melody, the track pivots around an ominous beat while twinkling guitar flickers throughout.
“That song, it’s so long since I’ve written it. I wrote that about four or five years ago. This is the thing with this album, I was supposed to have it done and out really before covid hit. Then it was a nightmare trying to finish it off during covid. So, there was a couple of songs that I rewrote, like ‘Wasted’ which I would have written the lyrics for during Covid. So there’s, a couple like that, that I kind of feel [ are ] a little more current to me. Funny, a couple of songs on it now, I wrote them so long ago I can barely remember much about them, which is very strange. It’s a very strange thing to just be releasing it now, you know”
“When I was trying to finish off the album early in covid I got quite disillusioned with it. I was listening to it and I [ was ] just like these songs don’t really mean anything to me now. It was such a strange time I was like, what’s the point of any of this? I just took a break from it. I ended up doing a different project, a concept piece about the oceans, which was a five-track EP and I got really into that then, recorded and released it after about a year. Then when I came back to the album, it did have more of a freshness and I was into it again, and I finished it. It was around this time last year, [ I ] probably finished it and it did seem a bit more fresh to me again. Then we did a gig last year and playing the song live with the band again, you know, gave it a new lease a life. So thankfully, I did fall back in love with it after a period of really just being disinterested, kind of disinterested in anything I was working on at the time, it was a strange spell.”
“It was weird, funnily enough at the start of it, I was really productive. I was writing a lot. I was working on stuff and I really thought it was having quite a positive effect on my work and productivity so for a while that seemed like a benefit. Then there was spells, like this time last year, January, February, March last year, I just found it impossible to work. I couldn’t do any of those I was just absolutely lethargic and drained so it was just a real funny up and down experience. unlike anything, I’ve ever experienced. Well, unlike anything any of us have experienced before, I guess.”
The album was recorded chiefly at Ailfionn Studios, with musicians Chris Barry, Tom Cosgrave, Aoife Ruth, Ken Mooney, and David Tapley. We discussed how these talented musicians bolstered Fitzpatrick and helped him with any difficulties he went through.
“I’ve been really lucky, it’s pretty much that core band now, Chris, Tom, Aoife and Ken and then there is also David Tapley from the band Tandem Phoenixso he’s been pretty much full time in playing as well. They’re all just amazing musicians and they bring their own unique elements to the party. I’ll go in with a song and then – take that song ‘Quiet and Still’, for example, really just hinges around this delayed bass thing, you know, which Tom came up with so as soon as we went in, he just started doing that and then suddenly the song was just built around that because it’s like a heartbeat, you know, it just suited it perfectly and that was just something he came up with in the rehearsal room. I love that, it’s great when somebody else adds something and suddenly it changes you know. The song is suddenly a completely different beast when that happens”
Each song exudes warm melodies that are soothing to the ears. But there is a dark, ominous undertone that broods throughout the album.
“I think, especially with lyrics, I find a lot of the lyrics I write seem to come from maybe a place of anxiety or something like that. I think when people write often, for whatever reason, different aspects of their personality come out. So a lot of the time whatever you’re writing doesn’t necessarily define youor sum you up as a person. I guess the darkness in the song probably has something to do with, being anxious or self-conscious about things. So even something that I’m writing that might be a love song or something, always seems to have an undercurrent of just tension or anxiety in it. I guess that’s where that comes from. I tried to balance that with the music because say a song like, ‘Wasted’ would be one where the lyrics are extremely downbeat, but the music contrasts with it. It’s pretty upbeat. So, yeah, it’s always trying to blend that so it’s not just depressing or just miserable. I’m generally a fairly cheery person, but I think if you listen to the lyrics on my music, you probably wouldn’t think that”
The piano is a prominent instrument on the album and Fitzpatrick manages to convey many emotions and textures with just the piano alone. Fitzpatrick explained how he wrote some of the songs on piano.
“I used to write mainly on guitar. I think, for the most part, I tend to write everything on piano. Well, it’s a mix. I might start writing something on the piano and then I’m sitting down with a guitar and coming up with bits on that. But yeah, I think now for the most part it’s usually on piano and especially now we are just close to finishing a third album. We went in with the band in January. It was actually just after I’d watched the, The Beatles Get Back and I loved it so much. I got onto the band and they’d all just watched it as well and everybody was just really keen to get in and do something. So I just booked thestudio even though I hadn’t fully finished the songs and really knuckled down and tried to get the thing finished. Then we went in and I did this one really piano-based. I was playing just a grand piano and we did it all live in the room and it was great. So the new album is especially piano-led on a lot of the songs”.
There are plenty of memorable moments on the album filled with passionate, evocative musicianship and poignant songwriting. However, the dark and theatrical elements are intriguing aspects in Fitzpatrick’s songs and a theme we continued to return to when talking about the album. ‘Atlas’ is a perfect example of this. It has a Tom Waits ‘Little Drop Of Poison mixed with Nick Cave Red Right Hand Vibe’. Fitzpatrick expresses this wonderfully through ominous piano and intoxicating soundscapes.
“ Yeah, I’m a big Tom Waits fan. Actually, ‘Atlas’ was one that I did right at the start. In fact, I have quite a vivid memory of writing that. It was, I’d say maybe a week into the covid hitting and lockdown. So I can really remember that specifically, I was just in my room all the time with the piano. I remember writing that song at that stage. So I guess it was a bit of an ominous time. It was a mix of things going on that probably inspired that one”
Lyrically the tracks are deep, well thought out and profoundly expressive. Fitzpatrick explained to me he strives to express genuine deep thoughts through his music.
“Yeah, I never really set out to write any particular lyrics. A lot of the time I wish I could write about certain things or certain types of songs but anytime I tried to do that …it just never works. I think you can hear that in music when you hear a song from an artist or something. You can just tell maybe it doesn’t seem totally from the heart or genuine and that’s what I’ve felt anytime I’ve set out to write a specific type of song. So I just stuck with whatever comes really and that’s why that I feel sometimes you know the lyrics I’m writing, I find sometimes this is a bit repetitive or this is a bit depressing or something but it’s just…I find with the lyrics, anything that I write, that hasn’t come natural tends to be pretty, pretty bad for the most part.”
‘So Alive’ is quite different to the other tracks on the album. It’s more experimental and psychedelic and the track sits snugly between ‘Atlas’ and ‘They Know You Better’. On hearing the album each song holds its own and warrants its place while blending superbly into the album’s aesthetic. Fitzpatrick explained how he struggled to decide on the tracklist order.
“It was in some respects. Yeah, there was a couple of tracks I found hard to place like ‘So Alive’, ‘Quiet and Still’ the last song [Take Me Far Away] which were I guess just a little bit more understated well not so understated its got strings on it. It felt more understated than some of the other tracks and I tend to find them harder to place, I guess than the ones that have a lot of you know, gusto or something in them. But I always had it in mind for ‘Atlas’ to flow into it. So in that respect, I at least knew that those two songs would go one after the other. So that was at least some help. For a couple of the guys in the band that would have been one of their favourites. That would have been one I wrote on guitar just with that picky riff or whatever. Initially, it was quite a stripped-down piece, which I had toyed with but then you know, as is often the case, less is more but then you just keep adding more. Then suddenly it’s like, throw a lot of strings on there and you’ve got this big, psychedelic orchestral thing but I was happy with how it turned out”
Fitzpatrick has a launch for ‘Far Away’ with a full band show in Whelan’s main room on Saturday, 9th of April and he told me what fans can expect from the show.
“Well, probably a lot off the upcoming album for sure. I’d say that will be the dominant one. I think we will try and do one or two off the one [album] that we just recorded and then a couple of hits off the first album. Now we are playing with the six-piece band for the bigger gigs, it’s great. Aoife who plays in the band she does keys and violin and she’s really great. When she switches over to violin she has a lot of weird effects and stuff. She’s a bit like Warren Ellis, [Nick Cave and] The Bad Seeds. So that’s always a nice aspect. But yeah, I’m really looking forward to it. I look forward to actually arranging some rehearsals and getting everyone in because it’d be rare that the six of us all play together. That would be a thing for, you know, a show like this or whatever. But you know, for the most part of doing other gigs it’d be a four or five-piece set up so it’s great. It’s great to get to play with a full complement, but it’s rare enough.”
‘Far Away’ is a musically rich and deeply immersive album. Each track is a joy to listen to and highlights the expressive sound, refined musicianship and eloquent songwriting of Badhands.
Nathan Mac has released his new single ‘Broken & Beautiful’. In 2012, Nathan injured his back during a Circus performance. This led him on a journey away from his dreams of performing as an acrobat, & towards his passion for songwriting. 10 years later, he reflects on the influence of that injury: “We are more beautiful for the breaks we suffer along the way. They add to our depth. They prove that we’ve gone out there & risked something.” ‘Broken & Beautiful’ is the 6th addition to Nathan’s debut album: Start of Something Blue. The song also features in his upcoming Circus-Musical film: Learning Curve where he returns as an actor and aerial acrobat! Both the album and film are set for release later this Summer.
Filled with lush melodies and evocative lyrics ‘Broken & Beautiful’ is a cinematic alternative pop gem from Nathan Mac. Mac croons tender lyrics “Broken and Beautiful, treat yourself carefully. Stitches and gold, use your pain to relate to me. The stories I’ve told, they decorate my body. And I wanna show you, every scar suits us perfectly” over a building backdrop of bubbling beats and ethereal synths while subtle instrumental undertones ( alongside elegant piano ) blend between electronic and string elements. ‘Broken & Beautiful’ is well crafted and highlights the expressive musicianship of Nathan Mac in all its Glory.
Dublin band Forty Foot have released their new single ‘IDNA’. Forty Foot is a three-piece band from Dublin, composed of Mark Dillon (Guitar) and cousins Sam Coffey (Guitar/Vocals) and Ezra Mullen (Drums). The band was formed in 2019 following the sudden death of a friend and previous collaborator, with much of their initial work written and inspired by the bands’ loss. Their debut release ‘Drugs’ was recorded during the early months of the COVID-19 pandemic at Yellow Door studios. This was followed by their sophomore release “Zeros” which received radio play across Ireland, the UK, and also America.
Forty Foot returns with ‘IDNA’ – a thrilling and blustery grunge rock assault. The track pulsates on a resounding bassline while sharp frenzied guitars pierce throughout. The tune is richly layered in expressive swirling soundscapes that briskly turn into a dizzying trip of distortion as the song reaches its dynamic crescendo. With rasp-filled vocals haunting over an infectious melody, Forty Foot quenches our thirst for raw grunge rock with this exciting, ravaging new tune. Press play and enjoy.
Speaking about the single ‘IDNA’ Guitarist and Vocalist Sam Coffey said: “The lyrics only came together really when we hit the studio. I don’t think I had the chorus written at all actually. For me, it’s a call to arms. Ireland’s been through a tough time with COVID and with an unaccountable government that is just ticking boxes. It’s been rough for many. Despite this there is an inherent pride and togetherness we all share, it is in our DNA. All the mothers, fathers, sons, daughters, brothers, sisters, friends, lovers, had to keep each other going. I think I was just tapping into that feeling, it was certainly how I felt and how I still feel.”
AJ Wander has released his new single ‘When You Say I Love You’. The song is one of several tracks recorded in London and Barcelona with producer Brad Mair (Dean Lewis, Jamie Cullum, Kygo) which will culminate in AJ Wander’s first EP due in late 2022. AJ Wander’s debut single, ‘Time Out’, was written soon after an explosive breakup and represents the moment that he realised he had to let his first love go. This single has garnered over 4M streams in just over one year.
Whipping up stirring emotion through elegant piano and a fist-clenching chorus, ‘When You Say I Love You’ is an emotive new ballad from AJ Wander. The track exudes hair raising tension throughout as it broods at first before kinetic electronics push the soundscape to cinematic heights. Oozing conflicting emotion, Wander’s warm passionate vocals sing earnest lyrics amidst gripping instrumental builds and a lush, catchy melody. ‘When You Say I Love You’ is beautifully arranged and highlights Wander’s compelling musicianship and expressive songwriting.
Speaking of the single AJ Wander said: “When You Say I Love You is about someone falling for you too fast and that desire to go along with it just because you don’t want them to experience rejection. Eventually, you arrive at a realisation that pretending to be in love is not healthy, so you choose to be honest, but telling them that you need to slow things down is an emotional minefield.”
FYA FOX has released her new single, ‘Hit Me Where It Hurts’.FYA has gained major support across Irish national & regional radio stations along with plays on BBC Radio 1, ‘Track of The Week’ features on RTE 2FM, Spin South West and Today FM just to mention a few. Support from HotPress tipping FYA as “2022 Ones to Watch” along with support from Record of the Day. FYA collaborated with Richy McCourt over a zoom call during lockdown, from there the track was produced by Matt Weir & Si Fransis.
‘Hit Me Where It Hurts’ is a masterful display of alternative pop from FYA FOX. The song blends dark undertones with chiming keys while bubbling beats surround the song in danceable grooves. Venturing between lush pop sensibilities and R&B tones the track is a fine example of FYA’s diverse, compelling sound and expressive musicianship. Enhanced by rich percussion and spacious soundscapes, FYA’s immaculate vocals ooze emotion and tenderness as she coos vulnerable lyrics “take me for granted, my kindness for weakness.. you hit me where it hurts“. ‘Hit Me Where It Hurts’ is a joy to listen to again and again. The track highlights the artist’s mesmerising vocals and talent for creating emotive earworm melodies – simply stunning.
About the track, FYA FOX said: “This song came from my experience of people expressing their opinions and doubts of me as an artist in the music industry”.
Betty’s Nuklear have released their debut single ‘Bleeding the Summer’. Established in 2021, Betty’s Nuklear are a South African based band comprised of Chad Abnett (Lead Vocals), Dean Clarke (Lead Guitar), Shane Carew (Drums), Anthonie Botha (Bass Guitar).
Filled with hefty guitar riffs, pummeling drums and lusty bass lines, ‘Bleeding the Summer’ presents Betty’s Nuklear’s mighty sound in all its glory. It is quite the thrilling experience as the band blend moments of alternative rock with blues undertones alongside rasp-filled vocals and a catchy melody. The track beckons repeat plays and is one to blast loud through the speakers. Enjoy.
Dublin artist Skinner has released his new single ‘The Slump’.It’s Skinner’s first release on Ireland’s Faction Records (James Vincent McMorrow, All Tvvins, Sorcha Richardson), released ahead of an upcoming headline show in Dublin on March 24th, Silverbacks tour supports and festivals like Beyond The Pale, and All Together Now. Skinner is a 24-year-old DIY slouch rock musician based in Dublin, Ireland, who writes, records and produces songs about growing up and overcoming a dirt-flecked 21st-century existence.
‘The Slump’ is a fine example of Skinner’s intricate musicianship. Lushly arranged and richly textured the tune reveals new, riveting undertones with each subsequent listen. Filled with jittery percussion, irresistible bass hooks and sleek guitar atop a catchy melody ( while a jubilant sax solo shakes up the song’s aesthetic), Skinner displays his edgy refined sound in all its glory. ‘The Slump’ is an exciting new track from Skinner and gives a glimpse of great things to come from this talented artist. Turn up the volume, press play and enjoy.
Aaron Corcoran, Skinner says of the song:“The song channels a feeling of nothingness and attempts to see the humour in it. Everyone goes through periods where every day feels like a slap in the face so I wrote this weird disco song to distract myself from the monotony of it all. I was trying to escape everything and make something fun, something you could dance to.”
British band, The Len Price 3, have released their 7th studio album ‘Ip Dip Do’. The Len Price 3 are a high energy trio from Kent, UK. Formed 20 years ago, The Len Price 3 includes Glenn Page (guitar and vocals), Steve Huggins (bass) and Neil Fromow (Drums and BV’s). The trio started out playing in bars, from having to find an audience who enjoyed their ‘revved-up, no-nonsense sound’, to sharing stages with well-known artists such as The Lovely Eggs, all whilst writing and recording six albums. With the continued album releases, The Len Price 3 had the opportunity to support Sir Paul McCartney at Hyde Park, alongside touring Europe, the UK and playing in America at the “South by Southwest Music Conference”.
‘Ip Dip Do’ is a fast-paced album that surges with the energetic pop-punk sound of The Len Price 3. The band take lush pop melodies and coat them in a punchy backdrop of jaunty guitars, driving rhythms and swagger to create a dynamic listening experience. From the sharp strutting guitar of ‘Mr Spong’s Miraculous Leap’ and ‘Billy the Quid’ to the alternative angst of ‘Bag of Bones’ and intense rush of ‘She’s Making a Film’; the band create a light and kinetic atmosphere that is difficult to resist. The stings on guitar lacerate through the pounding drums and rampant bass grooves to create an edgy wall of sound that contrasts the smooth vocals and sunkissed melodies. With surprise harmonica adding blues tones to ‘Bad Vibe Machine’ and lush 60’s-esque melodies shimmying through ‘Strange TImes’, the album has something for everyone. ‘Ip Dip Do’ is a fun, spirited album that boasts the refined and cohesive sound of The Len Price 3.
Kicking off 2022 with a bang, the York-based four-piece rock band Vaquelin have just released their debut album, ‘Where Dreams Hurt’. The band have been gigging locally for a few months now but already have a global audience spanning multiple continents. The group are looking forward to getting back on stage and performing songs from their new record – along with some other unrecorded sneak peeks into the future. Over lockdown, the band hasn’t slowed down, with second and third records already in the works. They have been writing and recording demos while waiting for their mixes and masters.
‘Where Dreams Hurt’ is a diverse collection of tracks that boasts Vaquelin’s genre-blending sound and eloquent songwriting. Oozing dark undertones, shredding guitar solos and driving rhythms ‘Soliloquy,’ ‘The Garden’ and ‘Though the Heavens Fall’ all exude the refined and mature musicianship of the band as they lace heavy rock elements with ominous tones and eerie instrumental outbursts. Throughout the album, the band drench their songs in classic rock bravado however, there are lighter moments within the album as well. A fine example is ‘Iridescent Streetlights’ which is filled with bright guitar elements, buoyant rhythms and dreamy tones.
The album packs one heck of a punch as Vaquelin take their shadowy lyricism and couple it with a shredding alternative rock backdrop. ‘Hyperdepressant’ displays this superbly: with smooth eerie vocals crooning “angle living in a snow globe all smashed up on the kitchen counter oh no, how sad. Glass in your mouth does it hurt, now I feel bad” beneath volcanic guitar riffage and monstrous bass grooves, the band create a sleek tune that showcases the bands swagger and impressive musicianship.
‘Where Dreams Hurt’ is a polished and melodically lush album from Vaquelin that beckons repeat plays.
Stream ‘Where Dreams Hurt’ below
Author: Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
