The Cork music community is a bricolage of fascinating idiosyncrasy, but if there’s one through-line, it’s a hint of lysergic, and Limerick-born, Cork-based Elaine Malone‘s latest single is no exception. Where Malone has long been followed by the psych-folk tag, the psychedelia on her debut Land EP was implicit, bubbling under the surface in textural and compositional choices, as well as Sam Clague’s airy restraint on production. With Altered Hours’ Cathal MacGabhann engineering this time around, she’s accomplished her first bona fide electric wig-out in ‘My Baby’s Dead’ with spectacular finesse. We had a chat with Elaine about this hard left turn and how it came about.…
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Is it towering, climactic psychgaze you’re after? Dublin’s Sun Mahshene has you covered. Out today, ‘This Girl I Know’ is the third single from their forthcoming debut album Contradictions and Tales of Fiction, set for release later this summer through Reckless Records. Its three guitars forging an impenetrable wall of sound, the song oozes Ride-worthy euphoria and the midtempo-swagger of Oasis at their most clamorous – think ‘Columbia’ via Creation Records at the end of a Danny Boyle film – helped in no small part by its production at Darklands Audio, Dublin. You can catch Sun Mahshene play The Thomas House on June 21 with Galants, or at Electric…
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Dublin-based indie-noise outfit The Elephant Room are one of a select number of DIY artists in Ireland assimilating a broad range of influences from the 60s through to the present year with complete seamlessness. We’re pleased to be premiering their sprawling new single ‘Juniper & Pine’, complete with the band’s self-made video. The song itself is an almost ten minute marriage of experimental noisecraft and lo-fi pop that somehow never outstays its welcome as ekes out new levels of its conceptual framework. Easing in with a Laurel Canyon-indebted neo-psych groove, its lysergic-soaked corners quickly darken into a clamorous sonic ego-death parallel, before returning to consensus reality as something familiar, yet altered.…
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Despite their relatively young age, kitchen sink indie rock five piece Buí have been crafting some of the most earnestly well-crafted power-pop tunes around. Not ones to tread the beaten path, they debuted with a fully-fledged long-player in 2017’s Eugene, and have since been built their DIY profile from the ground up. The video for new single ‘Something Else To Talk About’ is an astounding feat – an 8-bit video game animation that not just acts as an apt visual companion to the song, but functions as its own winsome arcade fable. As if the band were collectively assimilated into a Scott Pilgrim fever dream – each…
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Ahead of only their third show to date, supporting Beak> this Saturday, May 18 at Whelan’s, tri-city post-punk trio Grave Goods have kindly given us a first recorded glimpse of their visceral power. ‘Source’ is the first release from a session filmed by experimental filmmaking platform IMPATV, which records & broadcasts the heavier side of DIY, experimental & underground culture. Featuring members of Pins, Girls Names and September Girls, ‘Source’ forgoes the brooding atmospheres & jangle of the aforementioned in favour of primal urgency. More than delivering on the promise of its constituent parts, Sarah Grimes & Phil Quinn’s Girl Band-recalling rhythmic syncopation lay claustrophobic, anxious loops between which Lois MacDonald’s buzzsaw guitar finds voids to…
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One of the finest cuts from last year’s A Litany of Failures Vol. II independent compilation was Shrug Life‘s ‘2009’, a misleadingly uptempo ditty that mined reprieve from the jowls of self-imposed doom. Matter-of-factly delivered, Danny Carroll addresses the effect of the too-often underexamined (by musicians) abuse of bad hash as a crutch in times of mental ill-health: “Days previous I felt like a genius; sleepless, but safe in my cure for cancer, awake for six nights, working on the answer.” Of the track, Carroll said: “‘2009′ is an awkwardly accurate description of where I found myself in my late adolescence – suffering from sleep-deprived psychosis, perpetually…
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Progressive folk meddlers Nix Moon are a more esoterically-inclined proposition than most of their peers. With new single ‘Ceremony’, that compositional ambition is present from the onset. Building from a foundation of exploratory, Eastern-tinged drone, they’ve managed sculpt a darkly layered, progressive piece that’s not tonally dissimilar to the Hail To The Thief or A Moon Shaped Pool-era Radiohead. Their trademark indigenous & mythological allegories point to that sense of otherworldly earthiness – think Jeff Buckley’s more heavy, ethereal work by way of experimental 70s psych pop masters The Pretty Things. This release bodes well for the forthcoming release of the band’s debut album later in the year, recorded in Grouse Lodge…
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Two of the island’s most unclassifiable and artistically uncompromising – not to mention finest live acts – are set to play a double-headliner at Belfast’s Black Box on Friday, May 17 in what looks to be a contender for Irish Gig Of The Year. Proudly co-presented by Moving On Music and yours truly, it’s the first hometown headline show of the year for Robocobra Quartet, and the first Northern show in years for experimental Meltybrains?. Perpetually a band of contradictions, we’ve long been one of Robocobra Quartet’s most ardent voices of praise. Their string of EPs and NI Music Prize-nominated pair of LPs – 2016 debut Music For All Occasions and Plays…
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Derry-based experimental pop auteur Neil Burns’ Comrade Hat‘s latest EP, Tuque, is set for release on May 10, but we’re pleased to say we have an exclusive premiere streaming a week in advance. Following a string of EPs – including his series of Winter EPs – production credits, and a high profile collaboration with Phil Kieran and the Ulster Orchestra at Celtronic 2018, Burns needed a change. In Autumn of 2018, he relocated to Toronto with some musician friends for a recharge that ultimately led to the creation of Tuque, a complete work that spans post-breakup what’s-it-all-about soul-searching to geopolitical observations in under 15 minutes, with cameos from cult musical figures of the area,…
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Indie-punk wunderkinder Fontaines DC drew the ire of many an Irish music fan lately with the neophile claim that until Girl Band’s emergence, “the only way to sound Irish was to be fuckin’ ‘diddly-diddly-aye’”. Perhaps that statement is more telling of the limitations in Ireland on exposure to genuinely forward-thinking music on a grassroots level as it is of the band’s attitude. On an island the size of our own, there does tend to be room only for that lucky few in the bylines of the Great Irish Narrative, but that overlooks the communities of troubadours, session players and ubiquitous…