• Watch: EHCO – Éiclips (Live)

    Back at the start of the year, we tipped Kilcoole’s EHCO as one of our ones to watch for 2018. Headed by ex-Enemies member Eoin Whitfield, the project has hit the ground running via a handful of shows and a brace of slick singles. The most recent of those – and, by our reckoning, the band’s strongest single effort to date – ‘Éiclips‘ now comes accompanied by a new live video. Filmed on location at the Mermaid Theatre in Bray, it was created by Rosie Barrett, with audio recorded and mixed by Eóin Murphy and lighting from Conor Biddle. Catch EHCO at the Ballroom…

  • The 8 Best Sets at KnockanStockan 2018

    KnockanStockan has long established itself as one of of Ireland’s biggest small festivals and with a line up of amazing homegrown Irish talent from all genres and movements, it appears to have exceeded expectations. While the line-up is stellar and the festival is endlessly appealing in terms of appearance and size, Knockanstockan 2018 struggles with one major stumbling block: disorganisation. With many stages running towards hours late, a lack of security around ensuring safety in campsites and production room, problems with clear signage indicating who is playing where and when and issues around officially booked transport to and from the…

  • Album Stream: Kevin Nolan – Absent At the Moment When He Took Up the Most Space (Selected Recordings 1997 – 2005)

    A selection of recordings that he made between 1997 and 2005, Absent At The Moment When He Took Up The Most Space captures the genesis and creative metamorphosis of Dublin singer, composer and author Kevin Nolan. Comprising thirty-eight tracks, taken from an archive of over 150 recordings during this period, it’s palette-spanning, at times wonderfully inspired collection of music. With many songs clocking in at such over one minute in length – often more than enough time for Nolan to strike earworming gold – Nolan approaches Robert Pollard-like levels of fecundity, all while shapeshifting between downbeat folk musings, a cappella diversions, rock-pop gems…

  • Premiere: Yawning Chasm – Awful Blue

    The solo moniker of Galway musician and one-half of Mirakil Whip, Aaron Coyne, Yawning Chasm has drip-fed the world some wonderfully ruminative, psych-tinged dream-folk over the last few years. His new album, Songs from Blue House  follows suit, and mines twelve cloistered and candid tales by way of baritone ukulele, four-string electric mandolin, keyboard and voice. Out now on Rusted Rail, the album was mostly self-recorded during a rainstorm in a shed. The album’s lead track, ‘Awful Blue’ is a brisk, major-keyed antidote to a minor-key preoccupation. Have a first peek at its suitably low-key visuals below. Stream/buy Songs From Blue House here.

  • Goodbye Mandela @ Mandela Hall, Belfast

    So, the last gig at Mandella Hall. Probably a pretty great venue when you sit and list off all the great gigs you saw there. But nostalgia is for later. WASPS are a pleasantly rambunctious start to the evening, playing in Bar Sub they strike excitable silhouettes adrift in a haze of dry ice and some slick, stark lighting. They find their groove somewhere between desert surf and mathy punk and mine it to death, littering it with nice interplay and clever fills, throwing in some swampy rock riffs every now and then, too. They give an energetic and warm…

  • Ross From Friends – Family Portrait

    What is it about the past that fascinates us? What is it that allows us to romanticise and dream of places that we can’t ever return to? Is it because they are out of our reach that so too is the disappointment that often arises from getting what we desire? Nostalgia is a fickle thing, and in its use we often become completely submerged in our own warped perception of the past, ignorant to all but the glamorous detail. When we incorporate this almost artificial warmth into the lucid and veritable memories of our families, the intoxication becomes all the…

  • The Ophelias – Almost

    Very occasionally you hear an album that neatly demonstrates its full mission statement within seconds of starting. The opening number is normally a musician’s calling card, but generally this takes a few minutes to let the audience in on what’s being attempted. There’s a real delight in encountering music that is so self-assured and confident that it’s willing to show all of its cards as soon as the chips are drawn. To The Ophelias credit, they give you a nice ten-second window in which to decide if this is going to be for you. If you think that a high…