Having formed in 2014, Irish folk-pop duo Gemma Doherty and Mortan MacIntyre AKA Saint Sister have covered considerable ground recently. With their very well-received debut EP Madrid recorded in a short, “intense” session with Alex Ryan of Hozier, the release’s title track has been granted a sublime visual accompaniment courtesy of Bob Gallagher featuring lead Orla MacIntyre and some wonderfully rugged Irish countryside. Saint Sister play the following UK date in May. May 16: Gaslight Club, Leeds May 17: The Louisiana, Bristol May 18: The Islington, London May 20: The Green Door Store, The Great Escape Festival, Brighton (8pm) May 21: The…
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How many ‘Campfire R&B’ artists can you think of off the top of your head? It’s a curious sonic genus, after all, and one that appears to be exclusive to Italian avant-pop explorer StopTheWheel AKA Francesco Candura. Taken from the (we hope and pray) Danny-Glover-in-Lethal Weapon-referencing Too Old For This Shit – an EP which be released via Dublin’s Little Gem Records on Friday, May 20 – ‘ShakeUp’ is his latest single. Accompanied by a video by Gustav Willeit, it’s all a bit tUnE-yArDs meets Royal Trux, Candura’s pitched vocals, 4-track production and measured acoustic patterns merging to create something that can only be described as borderline dangerously catchy.
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A self-described multilingual experimental, progressive psych rock/shoegaze band”, Donegal’s Tuath (or tribe in Gaelic) have quickly established themselves as one of the country’s most singular propositions. With a heavy-metal influenced rhythm section and hints of jazz fusion woven throughout their sound, they are far from in the business of seeking slick categorisation – a fact impressively confirmed on their forthcoming second EP. Set for digital release on June 15, the lead/title from Existence is Futile is a downtempo gem that sits somewhere between a lamenting Madlib instrumental and a trip-hop inspired Praxis jam. Directed by Raymond McBride, the track’s accompanying video proves a suitable hallucinatory backdrop here. Check out our…
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In recent years, there is a marked shift in the ideal of pop-punk. What was once a, pretty justifiably, derided sub-genre, now has an odd cult-like following surrounding it. Swing over to Tumblr and see a devotion that seems so alien for a musical classification who shining stars are Blink 182, Sum 41 and Green Day. Fun bands in their own right but they’re not the kind who’d inspire Rush levels of dedication. Within that too there is an idea that this category is under some kind of threat that it needs to be “defended”. But what’s so odd is…
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Having formed back in hazy mists of time (2009), there’s something particularly gratifying seeing Dublin instrumental six-piece Overhead, The Albatross all but swamped with acclaim following the release their long-awaited debut album, Learning To Growl. Recorded at Clique Recordings and mixed by Phillip Magee, its nine tracks burst forth in masterful triumph, touchably impassioned and perfectly restless from opener ‘Indie Rose’ right up to ‘Big River Man’, a finale that serves as an emphatic full stop. Whilst many releases of this ilk is by its very nature necessarily “cathartic” (and not always with a degree of sophistication to warrant its nascency) OTA have bypassed formulaic rubric to forge their own brand of quite vital instrumentalism that demands your attention from the off.…
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With an opening theme sounding Metronomy jamming Daniel Johnston’s ‘Some Things Last A Long Time’ after one too many hours drifting on a carousel, ‘Drinking at the Doldrums’ is quintessential No Monster Club. Doubling up “the official No Monster Club video game – the world’s first ‘choose your own adventure’ moment in which you are given no options whatsoever” features NMC himself Bobby Aherne foraging and possibly getting a little lost in a forest. As for the track itself? You’ll be humming it for years. Probably.
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Having spent the last few months holed up in their Kreuzberg studio, Berlin-based Irish-Australian duo EVVOL have unveiled what they have described as a “very personal” five-track EP, Physical L.U.V. The follow up to last year’s Eternalism – a masterful debut album brimming with dramatic nocturnalism – the new release builds on that momentum with brooding panache, majestic hooks and wonderfully wonky darkwave textures, documenting what the pair have called “the physical and emotional comforts and constraints of love”.
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If the stage-diving garage rockers The Orwells seem determined to re-live the late 60s anarchy of the MC5 and The Sonics, their fellow Chicagoans Twin Peaks seem happy to champion the more genteel sounds of that era. Guitarist Clay Frankel has spoken of the how a trilogy of 1968 records, The Beatles’ White Album, The Stones’ Beggar’s Banquet and The Kinks’ Village Green Preservation Society were key influences in the recording of new album Down In Heaven, and the folkier pastures of the British bands’ work has seemed to guide Twin Peaks to deliver a fine set of bittersweet, summery guitar pop just in time for…
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There’s something uncannily accurate about Dublin’s Land Lovers calling themselves “Undulating Pop”. With a craft that equally weaves and lulls with gaze-y, wave-like motion, their new album The Rooks Have Returned is a full-length earworm sweetly balanced between throwback jangle and dream-pop. Tipping its lyrical hat to everything from 1916, mortal restlessness and nostalgic reminiscence, it wears the band’s key influences of Elvis Costello, New Order and David Bowie on its proverbial sleeve, bursting forth with a level of hook-heavy songwriting that we’ve come to expect from the Irish five-piece. The Rooks Have Returned is out via the mighty Popical Island on Monday…
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For her first release since disbanding Antony and the Johnsons, Anohni has changed not just her name, but her sound as well. Gone are the doleful torch ballads of Antony and the Johnsons (1998) and I am a Bird Now (2005), and the intricate chamber arrangements of The Crying Light (2009) and Swanlights (2010). In their place are electronic soundscapes rooted in the sensibilities of the record’s two producers – the harder edges of Hudson Mohawke marrying surprisingly easily with the more amorphous textures of Oneohtrix Point Never. The change of sound is drastic, but arguably necessary, Antony and the Johnsons having proceeded to a logical…