Paul Chaney has recently released his new instrumental track ‘Momentum’. Chaney is a Singer / Multi-Instrumentalist/ Film-maker from Dublin. Paul released his debut single ‘Projection’ in Spring 2021. Since then he has released 10 singles and is slowly but surely gaining traction with his particular brand of immersive music & visual. His lyrics explore themes of disconnection, escapism, dark love & the importance of authenticity and meaning in a chaotic modern ‘connected’ world.
‘Momentum’ is a spectacular piece of music that boasts brooding electronics, twinkling synths and meticulously placed instrumentation to create a wholly satisfying listening experience. With pulsing beats wrapped in eerie indie soundscapes, the track becomes more psychedelic and intense as it progresses. The song has a wonderful cinematic atmosphere to it which complements the soft key elements beautifully. Well-crafted and filled with 80’s sci-fi elements throughout ‘Momentum’ is an utterly thrilling new piece of music from Paul Chaney.
Gabrielle Aplin is set to release her new album ‘Phosphorescent’ on January 6th via Never Fade Records. Recently previewed by the new single ‘Call Me’, her fourth studio album to date marks a fresh back-to-basics approach as she continues a career which has already seen her amass over a billion streams. I caught up with the singer-songwriter to discuss creating the album, her upcoming tour and what inspired the title.
“I wrote most of the songs on my own in lockdown, but I really didn’t want it to be a lockdown album. But there was this kind of isolated natural feeling, I guess around the time I was writing everything. I watched The Blue Planet episode with the salt brines. I may have told you this before when we spoke last, but they went down into the Mariana Trench and I just could not believe how deep and dark it was and they were talking about how they previously didn’t think that there was life down there. Then they found all these phosphorescent creatures and there was life down there and not just phosphorescent creatures, but I was drawn to the ones that glowed and it really reminded me at the time what was going on and that there’s human resilience and so much light in the darkness. It made me think about how I wanted the songs to sound as well because they were so isolated and reflective in the composition. So when I went to record them I wanted it to be very human, for there to be very physical space which felt like a coming together to counteract the loneliness of the writing and how reflective it was. Then as well I felt very connected with nature during the time as well. I made it [ the album] on my friend’s farm, but I’d also at the time moved to Somerset. So I wanted there to be a natural element to everything. The recording studio has renewable energy, and I thought that was really cool. I thought, so if the songs are made from that, what if the artwork and the photos are made from kind of a renewable source as well? So we printed like cyanotypes in the sun, and everything was connected to a natural source in some way. It just felt amazing because I could really engulf myself in a project that had themes and its own kind of morals and these pillars for us to kind of go through that everything had these threads.”
There is a very chilled vibe about the album but Aplin expertly and carefully allows the music behind each song to blossom gently at its own pace, making for a truly magical listening experience. The opening track ‘Skylight’ is a beautiful example of this as the ethereal music highlights Aplin’s soulful vocals and compelling range. I wondered if she found it difficult to decide what track would begin the journey into ‘Phosphorescent’.
“Yeah, in some ways. I kind of get them all on a playlist and muddle them around, but actually what I really thought and loved about ‘Skylight’ being the opening was that I wanted it to feel like the morning and I want it to feel like waking up on a sunny hazy morning and then ‘Don’t Say’, the last track, I wanted it to feel like the night-time, you know, and like a celebration. So the start and the end were easy. It was the in-between bits and the journey that they go on that I probably found the most difficult.”
Aplin writes very catchy, relatable songs and this album seems to have these elements at its heart. Songs such as ‘I Wish I Didn’t Press Send’ are extremely relatable and it is gloriously presented with light instrumentation and a soulful tone.
“I wrote it with my friend Nick. It was, middle of the third kind of big lockdown that we all had and it was the winter one so it was so bleak and I was thinking about all the times that I had or hadn’t done something, taken an opportunity. It was just a kind of very reflective time and I had this idea about all the things I wish I didn’t say and wish I could take back but obviously in the age of a pandemic it was, you know, everything was virtual. It was like, we were texting. That was literally what I was doing, I didn’t do any zoom quizzes. It was just about kind of missing opportunities and regretting that and then we made it into the story about drunk texting.”
Previously Aplin said the album is not a lockdown album, but it is the product of the solitude and strangeness that she experienced throughout that time. We discussed if she thought her sound would have evolved into the musical treasure that is ‘Phosphorescent’, had she not experienced that time during lockdown or experienced that solitude.
“I don’t think it would have. I think as well it was unlike my other albums. I wasn’t told oh you’re due an album lets go make one, and I was like, okay. I was just writing for fun again, which was really.. it was like, I was so bored. I’d made every banana bread I could possibly make. I’d cleaned every part of the house. I’d been making sure I’m keeping well and everyone around me are well. Made sure I fed and walk the dogs at that point. I was like, What do I do now? What did we do? We just kind of have to wait and at that point, I was like, I suppose I’ll write some songs. It was writing just because it was something I do not because I had to or because I had a job to do and it meant that the songs were just so natural and so real.”
I also wondered if this organic songwriting is something she would like to hold on to for future releases.
” Absolutely. I think what’s amazing is, for me now anyway, my previous album was written all over the place. I wrote with different producers in different countries and we just pieced the songs together and made them a thing. But with this album, I wrote them all in the exact same two square meters. I wrote them just on a piano or on a guitar. So I was able to just play my songs. I could perform my whole album before I even recorded it because it was singer-songwriter in the truest sense. Maybe with my previous album even though I wrote the lyrics and I wrote the songs I was working with producers. So I’d write a song and then have to go and teach myself how to go and play it on my own and that was you know, a fun thing to do. But it didn’t feel natural to me in a way that this feels really natural that I write songs and I’ve already got it regardless of the recording, it is me and an instrument. I feel like it reminded me that that’s a really strong thread in who I am as an artist.”
‘Phosphorescent’ is an album to be listened to as a whole piece of work. Each song has its own identity and is a journey, yet flows beautifully into the next with ease. It’s a lush and ethereal album filled with cinematic vibes, passion and wonderful highs and emotionally tender moments.
Aplin explained to me how important it was for her to create an album where each song tells a part of a story that the listener can immerse themselves in.
“I agree I think like obviously depends on the artist but for me personally, I hope we never loose albums because I love to get lost in a project. I spent a year and a half on this album, from starting it to finishing it and then even working on the artwork up until very recently. I like to engulf myself in the project. I do feel there’s a lot of pressure with artists maybe having to put a song out every month, just do more and more for less and less. I just hope I don’t ever have to do that because I don’t think I’d be very good at it because I will go through patches where I write loads and loads and loads and loads and then I won’t write anything for a really long time and I’ll just collect ideas for the next batch, you know. I really love albums and I’m really glad that you picked up on it as like a piece where everything flows because I really wanted to make it do that and wanted it to be listened to as a whole. As much as I really loved the individual songs it was important to me that the whole thing was a piece and a journey from start to finish”
Aplin has some shows early next year to promote the album. With many selling out fast we discussed her excitement to tour.
“I felt like Beyonce when they text me .They were like Kingston sold out already and it literally had gone on sale about 10 seconds ago and I was like that must be a glitch. I was like surely, did they put up on sale beforehand? Like it actually happened. Then we did another one it sold out and then another one. It’s great. That was amazing and I’m excited to play the songs. You know, songs and people who want to listen to them they’re my two favourite things.”
Gabrielle Aplin is a master of her craft. Her powerful vocal delivery and ability to create thrilling, emotive arrangements is a joy to experience and ‘Phosphorescent’ is a fine example of this. The album is a wholesome and refined body of work that showcases Aplin’s immeasurable songwriting talent and is a must-listen.
‘Phosphorescent’ is set for release on January 6th. Until then stream her recent single ‘Call Me’ below
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.
Post-hardcore four-piece Red Sun Alert have released the second single ‘Literally’ off their upcoming EP, titled ‘Assume Power’. The Cork-based group recorded at the studio in Munster Technological University, Cork School of Music, where the four members have just graduated. It was recorded and mixed by Eoin Hayes of Rebel Recordings and Drew Linehan of Hausu.
‘Literally’ deftly displays the intricate and enigmatic musicianship of Red Sun Alert. The band place ethereal vocals over a dark backdrop of choppy drum progression and turbulent bass lines while sharp guitars create waves of acute, blustery alternative rock throughout. Well crafted and laced in intricate instrumentation the track is a wholly immersive listening experience. ‘Literally’ is a fantastic new tune from Red Sun Alert.
Irish singer-songwriter Moncrieff has released his heartfelt new single ‘Perfect’. Moncrieff has already performed with Adele and impressed greats like Elton John and Avicii with his songwriting, yet he is only getting started. His single ‘Warm’ released earlier this year was an instant hit at Irish and German radio and was performed live with The RTÉ Concert Orchestra & Dublin Gospel Choir on The Tommy Tiernan Show. A self-produced six-track EP also titled ‘Warm’ followed in September, which served as an introduction to Moncrieff’s poignant, vulnerable and deeply personal songwriting and clocked in 6 million streams in just two weeks.
‘Perfect’ floods with intense emotional lyrics as Moncrieff displays his striking ability to create moving and memorable songs. The passion in his soulful vocal delivery is goosebump-inducing and is enhanced by the track’s cinematic soundscape. Accompanied by warm piano and soft strings the song glows with uplifting tones between melancholic melodies. It’s a wholesome, honest and captivating tune that beckons repeat plays.
Speaking about the single, Moncrieff says: “Perfect is a very personal song for me about all those small moments in a relationship that make you realise that something isn’t as perfect as it once felt. It can be so hard to admit that something just isn’t right in a relationship and, despite your loyalty and care towards each other, sometimes good things come to an end.”
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.
Tyler Keel has released his debut single, ‘I Say’. Originally a game developer, Tyler Keel is a fresh face to the music industry, and yet he is already such a promising talent. The artist picked up game development at just 13-years-old, but it was the songwriting that allowed him to be even more creative and find an outlet for his thoughts/emotions. Now fully emerged as a performing artist, Keel describes his process as very much music first, finding a beat that he resonates with before he starts to let the lyrics flow.
Surging with emotion and pop-punk bravado ‘I Say’ is a dynamic debut from Tyler Keel. The track sits on a bed of gritty guitars, pummeling drums and elastic bass lines that fill out the energetic foundation while Keel’s gritty vocals express the evocative lyrics. “so I have to know if my heart is in purgatory… put me in a spiral of grief I don’t know how to get you off my mind”. Laced with shredding riffs and oodles of energy ‘I say’ is a compelling and impressive new tune.
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.
Stream ‘Architecture’ below
Author: Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
