It's the small venue with the big heart - and the lavish backstage perks. Anna Legge takes us on a tour of Leitrim's Glens Centre, a space beloved of Damien Dempsey among others.
He quit busy Dublin for blissful rural Sligo and recorded what many consider to be one of the outstanding electro records of the year. CHEQUERBOARD's John Lambert talks about finding his muse in the north west.
Bringing a multi-national flavour to the West's music scene are Emmet Scanlan and What the Good Thought- a cosmopolitan group who infuse cello, classical guitar and drums with "chaotic" glee.
While the line-up may not be as strong as it has in previous years, the fact that the schedule isn’t crammed with must-sees means we have more capacity to take in everything else on offer.
Despite parting ways with their long-serving guitarist Evil Harrisons are going from strength to strength. In fact, they're positively gagging to go back into the studio.
They started out as a bunch of punk rock misfits called the Sex Maggots but had their biggest hit with an acoustic ballad on a Meg Ryan movie soundtrack.
The hype parade doesn't interest Carlow's finest, 79 Cortinaz. Whether it's cold-calling record stores or hand delivering CDs, they'd rather take a grassroots journey to the top.
Cute enough to be mainstream, indie enough to be cool, different enough to stand out but normal enough to be accessible... and sufficiently talented to pull it all off.
From the goodtime vibes of Hot Chip to the full-on sonic assault of Primal Scream, this year's Electric Picnic achieved the impossible by being even more fab than its predecessors.
He may have been nominated for a Mercury, but don’t expect Wicklow’s Fionn Regan to go changing his spots. Hannah Hamilton meets a musician who’s weathering the media storm, but sticking steadfastly to his own trusted path.
The concrete jungle of London’s downtrodden and multi-racial East End is home to some of the most terrifying statistics BBC news has to report, as well as some of the hardest, filthiest hip hop and drum ‘n’ bass beats in the UK. The area’s many big mouthed, bigging-up MCs frequently play with the term urban poet, but rarely is it so aptly claimed than in the case of this young acoustic guitar-playing, Bukowski-reading, Radiohead-loving rapper.
As the masses prepare to descend on Punchestown, we dispatch Hannah Hamilton to assess the festival fitness of one of this year's Oxegen buzz bands, Franz Ferdinand.
Dream line-ups are occasions to be celebrated, so when news came through that some of the brightest lights emerging from the UK music scene were to converge on Fabric this Easter Bank Holiday weekend for what can only be described as one of the most exciting gigs so far this year, Hot Press felt it was only right to grab our trusty notebook and a hip flask of whiskey and get the hell down there.
Their groove-laden mix of sleaze and glamour captures the spirit of Britain’s scuzziest ‘burbs. But this morning, all Hard Fi want to talk about is colonic irrigation.
“The world is either in your hand or at your throat” sings Julian Casablancas on ‘Razorblade’, as he casually assaults the microphone on the first night of The Strokes’ UK tour. This from a band who have seen plenty of both extremes. Tonight, half way through their 24 song set, they’ve caught the crowd in their mighty palm and locked their fists tight.
It’s not often that people start queuing outside London’s Koko at 5pm – the last time was for Madonna, and that was Madonna. Tonight though, the Doherty-ites are making sure Babyshambles’ UK tour kicks off in style.
it’s clear that System Of A Down haven’t mellowed with age – opener ‘Attack’ is an uncompromising burst of System at their most brutal, repeating the lyrics “We will attack/We will attack”. They clearly mean it.
When the whisperings of a union between core members of two of rock’s greatest bands first set wires buzzing, fans were torn between horror (“Rage? And Soundgarden? Together?! No! Don’t ruin the memories...”) and good old fashioned cat-slaughtering curiosity: what as-yet-unheard epics could such a cross pollenation bring forth? And could they ever top the likes of ‘Killing In The Name’ or ‘Pretty Noose’?
Tom Vek's eponymous debut album was an electro-rock gem with echoes of Beck and Talking Heads, partly recorded in a flat on Exchequer St. He returns to the scene of the crime for the upcoming BudRising festival.
They may profess disdain for the CD:UK world of glamour and hype, but with a recent appearance on the show and a support slot with The Darkness to their credit, it looks like nine-piece rock sensation Do Me Bad Things are going to have to get used to being in the limelight.
Uber-hip electro-rock merchants The Bravery are brewing up a storm on the UK indie scene thanks to their blindingly inventive records and raw and energetic live shows. Interview by Hannah Hamilton.
Purveyors of some of the fattest riffs on planet rock, The Datsuns, on working with Led Zepplin’s John Paul Jones, dangerous video making and how to frighten the horses.
The dark, romantic Raining Down Arrows is the latest milestone in the creative
liberation of Mundy, a man whose thoughts on love, friendship and connecting with the audience are at the core of his music.
Kraven are a Limerick four-piece who specialise in adrenalin-fuelled rock ‘n roll. Having served their stint playing covers to pub audiences, the band decided it was time to pour their efforts into original songwriting in 2002.
For the most part, the May Day protests – timed to coincide with Europe’s Day of Welcomes – were peaceful. But outside Farmleigh House, where the European Union’s 25 Prime
Ministers were meeting, the shit finally hit the fan.
The Rasmus are a Finnish quartet who, following several years of success in their homeland and a rake of indigenous accolades, are looking to make an impact world wide. I figure they’ll be waiting a while.
Why they really should have been called Super Feathery Birds, the pleasant job of signing breasts, how Don Henley bought their tank and the worst welsh swear words ever. Hannah Hamilton pops the readers’ questions...
Why they really should have been called Super Feathery Birds, the pleasant job of signing breasts, how Don Henley bought their tank and the worst welsh swear words ever. Hannah Hamilton pops the readers’ questions...
On the eve of the release of the group’s new album Winning Days, The Vines’ bassist Patrick Mathews gives hannah Hamilton the inside story on the tensions that threatened to split the band, hanging with Steve-o and the Jackass crew, and the group’s heretofore undeclared love of the Clancy Brothers.
Jet indulge their softer side on ‘Look What You’ve Done’ by ditching their distortion pedals and getting all melancholy with a soppy, gag-inducing, piano-soaked ballad.
While Pharrell and Chad’s knob-twiddling skills have sprinkled gold dust onto the current crop of urban pop acts’ offerings, NERD’s latest release leaves a lot to be desired.
Compared to the raucous rock storm of their debut single ‘Feed Your Addiction’, young upstarts Eastern Lane’s second release ‘Saffron’ is a bit of a let down
What’s this? An anthem for the great unwashed? A jingle for household cleaning products? A song bemoaning bath scum? Far from it, dear reader: it is in fact an analogy for all things lurve.
Now that Andre 3000 has shaken the world’s booty with the genius that is ‘Hey Ya’, it’s up to partner-in-beats Big Boi to – if you’ll pardon the expression – bring up the rear.
Not to be confused with UK indie hopefuls The Stands, this New York-based, Dublin-born quartet have garnered themselves a significant Stateside following thanks to their talents in the area of well crafted AOR.
Recorded in the French Black Box studios by Kittser/Mic Christopher production impresario Karl Odlum, Ann Scott’s ‘Madness’ is a warm, shimmering, uplifting number that offers an alternative take on the female singer songwriter vibe.
New Favourite Band Alert. Dublin group The Chalets are a mightily refreshing blast of fiesty rock and quirky pop, whose double A sided debut dons a pair of six inch stilettos and runs rings around the rest of this fortnight’s singles.
“You can tell by the lines in my smile that I’ve been around for a while”, croons Incubus frontman Brandon Boyd on A Crow Left Of The Murder. He’s not lying either. Despite the fact that most of the band are still a few years off 30, this is their sixth studio album since their 1991 inception, and, incidentally, their most bitter to date.
Republic Of Loose vocalist Mick Pyro is standing at the front of the stage in Whelan’s, leaning precariously to the left. Sporting a ‘Suck me suck me eat me raw’ T Shirt and a barnet that hasn’t been washed or cut since 1996, he clutches the mic like it possesses some great gravitational power before declaring, “I knew I shouldn’t have drank before this gig”.
One of the world's hardest-gigging bands and buddies of Bob Dylan to boot - Hannah Hamilton catches up with The Waifs.
Music Review | Live
2 Feb 2004
Hannah Hamilton
It’s certain that vocalist/guitarist Johnny Bramwell’s busking background has gone some way towards fuelling I Am Kloot’s neon-glowing live reputation.
If anyone had told me a year ago that I’d be flinging my knickers at a bloke in a catsuit and another who used to be in a boy band I’d have told them to fuck right off. But, they wore me down and I eventually succumbed to the cock rockin’ charms of The Darkness (albeit with the help of a persistent Stuart Clark). And as for old Trousersnake, well, frankly, who wouldn’t?
This is intriguing. There are two ominous, chords rhythmically delivered; a beautifully, meandering female vocal; an occasional smattering of cymbals; a dark, hypnotic tone; Meg-style drumming; stark octave vocal harmonies; canons, and a gentle, slow fade out. Incredible.
Essentially an Andre 3000 solo track, ‘Hey Ya!’ sees hip hop’s most anti-bling rule breaker embark on a deliriously uptempo mish mash of soul, gospel, funk and pop.
The Hiss slide into fifth gear and prepare to show ’em the back numberplate on ‘Back On The Radio’, a simple-yet-perfectly formed rock assault, complete with frenzied guitars, rabid rhythms and in yer face vocals to rival Dolf De Datsun. Play it loud.
Freebird Records owner Brian Foley explains why over the past 25 years his store has become a firm favourite with such luminaries as Sonic Youth, Elvis Costello and U2.
Hannah Hamilton reports on the recent Nokia Totally Board event in Seville – a heavy three-day carnival of extreme sports and down’n’dirty hard rock action
Hailed as the new Courtney Love, Distillers vocalist Brody Dalle has surely been taking tips from the ex-Hole star on how to keep herself in the headlines.
An altogether darker affair than its predecessor, Thirteenth Step sees Keenan and co drifting through the album’s twists and turns on a bass heavy raft.
With a Rolling Stones support under their collective belts, it seems that nothing can stop The Cooper Temple Clause. Except perhaps their fondness for the gargle.
Nada Surf frontman Matthew Caws is not your archetypal rock star. Instead of pouring his pennies into a shiny red cock-on-wheels with a black leather interior, this sensibly-minded young buck claims the best way to travel is, in fact, the humble bicycle.
Music In Mouth is a more unified, distinctive and cohesive record that showcases the band’s multiple directions, adding further conviction to the depths of epic balladeering on ‘Eve, The Apple Of My Eye’, the quirky pop of ‘Next To You’ or the manic rock of ‘White Water Song
Daemon Codell – aka Joe Daly – is an illusionist with a difference, who likes nothing better than the sight of blood on the stage. It’s only when it’s his own blood that he gets worried.
In addition to being an internationally renowned centre of artistic activity, Ireland is also famed for its party-friendly atmosphere. So, what better way to spend the summer than combining both equally noble pursuits – below is a comprehensive guide to the arts events on offer throughout the country over the next few months, and the sheer level of diversity on show offers further proof of our enduring love affair with the festival experience.
With heady guitars and gentle vibratos contrasting with up-tempo rhythms, syncopated cymbal work and powerful vocals, comparisons can be made to a rough-around-the-edges Jeff Buckley
Yawn. Billy Corgan and co succeed in boring the socks off this Hot Presser with a been there, done that, bought the novelty plectrum standard pop rock effort. Not that ‘Lyric’ makes for particularly offensive listening, but the fact that it goes nowhere, says nothing and charges you for the pleasure leaves me wishing I hadn’t bothered in the first place.
Whoever told Madonna that this song was actually any good must’ve been more concerned with their payroll than her actual music, for I fail to recall the last time I heard a record quite so utterly abysmal. Everything about it screams cock up: from the piss poor beats to the total lack of melody, from the humiliating “rap” to the cringeworthy lyrics. This song is exactly what it says on the tin: a forty-something woman with modest vocal talent attempting to be down with the kids. Tragic.
Having gotten the dancefloor filler and the big ballad out of the way, Justin proceeds on his course for world domination with the mid-paced sultry number – all tight harmonies, breathy vocals and funky rhythms. You can just tell he’ll look amazing in the video. As Homer-ella would say, Ghaaah… Justin.
Having snubbed his You’re A Star prize of a deal with Universal in exchange for same with rival label Sony, Mickey Harte has made it clear that singing other people’s half-botched pop rejects was only ever part of the plan. Still, you’ve got to give the guy props for even agreeing to this particular number at all: it sounds like three different songs glued together, badly at that, with cheese-o-rama production adding distinctly to the foul noise in my ears. Avoid where possible.
The self styled antithesis to “cock rock”, The Donnas are to power chords, cheeky lyrics and nail varnish what Blink 182 are to white socks, N Sync piss takes and toilet humour. ‘Take It Off’, the band’s attitude-laden mightily catchy power pop screamer was penned by the girls themselves (which is a bit of a shock), and their on-record musicianship is not compromised to make way for more boob shots in the video. This is the band Kelly Osbourne should’ve been in – it might be shallow, frivolous and sugary, but by golly it’s fun. Grrrrl rock at its finest.
Robbie has finally taken his shrink’s advice and vented all that self-pitying frustration. “I am scum, I am scum, I am scum” he repeats, mantra-like, while the music chugs through all the appropriate trickery from Robbie’s three co-songwriters (think middle eights, modulations and crescendoes) in a vague attempt to create the illusion of melody. However, as is the case with many Robbie tracks lately, it’s still rubbish.
Homegrown guitar-pop outfit Sundrive wield a strong melodic sensibility, sunny guitars and mid paced tempos on ‘Storybook Girl’. However, despite their holier-than-thou sound, a distinct lack of bite sees them wavering into MOR territory on occasion. Not bad, but it’s just a bit too much like Picturehouse for my taste.
Despite a somewhat understated stage presence, they quickly find their feet with slice after slice of infinitely catchy pop, complete with five part harmonies, lazy, moseying rhythms and shimmering, sunny melodics.
Early speed metal incarnations, arguably the most technically demanding of all walks of rock, have done good things for this proggier-than-thou Boston quartet.
Having already played high-profile support slots with the likes of Joe Strummer and John Squire, Omagh folk-rockers The Basement are aiming to go overground in 2003.
The Road Relish singles club has played a central role in the growth of the local independent scene. the main players explain their philosophy to Hannah Hamilton
On the downside, they’ve kept the hair and leather, along with a selection of best forgotten Dad rock staples: cringeworthy moments of cheese-o-riff guitaristry and an epic arena Rock Voice.
Indigo Fury won the Hot Press band of the year competition in 2002. The fruits of that success are now becoming apparent, with the release of their debut single.
It’s the battle of the unsigned. Five winners from individual Ignition gigs are tonight going for gold on the TBMC stage in an attempt to blag the €2,000 recording time that’ll be awarded to the winner.
Even aside from the abundance of quality tracks, the boo boos have a tongue in cheek “I know I’m making a fool of myself but I don’t care” twang to them
The new quartet’s chemistry is null and void, resulting in a dated and, at times, painful collection, of stuff that wouldn’t have made it onto a Soundgarden B side in a million years
The solid base of well-crafted songs complete with aching melodies, meandering vocals and evocative guitar lines set them far apart from the plethora of JJ72 covers bands currently choking the Dublin circuit.
Flanked by a motley crew of beatnik instrumentalists the singer stands, centre stage, appearing almost weighed-down by the acoustic guitar cradled in her arms
Here’s a bloke playing vinyl and taking dirty soul and blues vocals, ’80s key synths, country riffs and laying them over a structure of electric urban rhythm
Blatant plagiarism aside, The Datsuns prove themselves to be more than competent, delivering a steady stream of toe tappers and, by the end, have me convinced that their live show would be utterly unmissable
Although slotting into the pop/rock category without too much of a fuss, the emphasis on melody, harmony and acoustic guitar makes sure that their sound is not overbearing
Contrary to popular belief we’re not familiar with every venue in the country, but below – with the aid of our Hotpress student reps – we provide a guide to some of our favourite student hang-outs
Heavier, rawer, growlier and more rampant than ever, this is Fear Factory exploding with teenage angst and fury, and taking it all out on the kick drum
The songs, while barely structured at all, host a sublime pop sensibility – fleshed out with harmonies and such, then sawed through with piercingly overdriven, trebly guitar solos
Clann Zu have taken their blend of rock, trad and classical strings halfway around the world from their native Australia to settle in Dublin. Why? Because "Ireland is very open to different styles" insists token mick, Declan de Barra
Songs for the Deaf takes a slightly less trodden direction than it’s predecessor Rated R: still as cacophonous, rampantly bass-heavy and gut wrenching as you’d expect, but without the polish.
Their trademark sweeping metallic sounds and airbrushed vocals are present and correct, and set the band apart from the clasps of nu-metal and emo, giving them an epic quality that's quite distinctive
Peering through a letter box, fielding flying knickers and knocking out a strong contender for album of the year - it's all happening for Cooper Temple Clause
With song after song full of aching melodies, luscious harmonies, chorus, chime and riffs that'll have you quaking in your boots, it isn't hard to see what all the fuss is about
It seems as if the two major elements of Hem's music are mismatched - both the instruments and the vocals are submissive, leaving us ultimately unfocussed and lacking direction
Haven're not completely hideous or anything. In fact, they're pretty good at what they do; the hindrance being that everybody else in indie-land is already doing it better
Accompanied by a wealth of digital gadgetry and a decidedly vast collection of rotational singers - I counted five in total - they shattered the silence with a decidedly lo-fi indie trip - not the vain, egotistical sort; more of a provocative and progressive one, heavy on the harmonies and the soul.
You’d want to be extremely hard of heart to remain uncharmed by The Revs. True, they don’t do anything startlingly original, but they’ve got attitude and commitment.
A far from scattered shower, DAEMIEN FROST are among the more interesting of dublin’s current indie crop, complex, original and conscious of the importance of video in gaining access to a wider audience.
HANNAH HAMILTON presses play and record
It’s rather tough to even consider putting lyrics over this. The wall of sound that this troubadour of instrumentalists create is so vibrant, powerful and (every hack’s favorite adjective) evocative, that the music really does speak for itself.
Margaret Healy is a member of the folkist revolution. Not too dissimilar from the laid back tones of Beth Orton, if a little less dense, she encompasses the more digital end of the singer songwriter spectrum.
In an industry of tightly guarded live space and hefty promotional fees, an open stage for unsigned bands at a high profile venue is quite a rare commodity.
For student and Hot Press contributor HANNAH HAMILTON the moment of truth finally came two weeks ago. Writing from the eye of the Leaving Cert storm she reveals that not even a blast of crass can relieve the stress
LEAVING CERT STUDENT AND HOTPRESS CONTRIBUTOR HANNAH HAMILTON ON THE INCREASING ANGER AND ANXIETY BEING FELT BY STUDENTS BECAUSE OF THE TEACHERS’ DISPUTE
Doom, gloom and painfully slow distorted guitar-y dirges may not seem particularly relevant to the contemporary metal scene, nor particularly necessary.
This is the eighth album from Paradise Lost, since they formed in 1989. Musically, they work from the basic rock/metal template, incorporating wonky intro sounds with plenty of dynamics and soaring guitarry solos into a tight structure.
US metallers Creed are the latest in a long line of Stateside wavemakers to hit our shores. As a guitar driven hard rock four-piece caught somewhere between Soundgarden, Pearl Jam and Stone Temple Pilots, they've notched up a rather impressive 9 x platinum sales figure on this, their second release, Human Clay.
So… Blair Witch 2 has hit the big screen and Mr Manson has assumed charge of all things original sound track. Quite fitting really. The musical emulation of hype, eyeliner and distortion pedals meets the cinematic emulation of forests, shaky cameras crews and things that go bump in the night.
Everlast, ex head jumper-type with House of Pain, has taken his lo-fi funk-rock fusion to disc number two, the admittedly difficult second album entitled ‘Eat at Whitey’s’.
They walk the walk, they talk the talk, and, by golly, do they wear the make-up. Yup, Mudvayne, the latest US export to grace our metallic palette, fit snugly into the Top 40's most recent definition of nu-skool metal.
LD-50 is a bit heavily produced to be considered raw and although well endowed with plenty of guitarry distortion and chunky bassy riffs, the whole venture seems a little too polished.
With the long awaited release of their second album, it would appear that US metallers, Cold, have gathered their gear and climbed a notch on the ladder to musical magic. Yes, 13 Ways To Bleed On Stage is a collection of 13 (suprisingly enough) highly fuelled, diverse tracks, orbiting around the grunge/metal genre.
Ozric Tentacles, a UK-based quintet, hail from the musical realm of Fusionland, combining a steady base of electronic trance with the ethereal wizardry of tantric guitar solos and Eastern ambience. The Hidden Step is the band’s 16th studio album.
Before Aerosmith and Run DMC joined forces for the classic ‘Walk This Way’, it was thought unthinkable. Metal? and Rap?? Together???! But in this, the decade of fusion, the boundaries have been well and truly broken by Korn, Limp Bizkit and others. It was only a matter of time before some clever soul squeezed the concoction of pseudo rap/metal on to compilation disc.
Over the past year or two, the minty fresh blast of guitary poppy punk in the charts has induced delight among the jilted generation. Green Day, Offspring, Blink 182 et al have all knocked a few teeny bands out of the top ten.
If you put the American Dream to music, this is what it would sound like. College bands from the US are abundant and in the light of such successes as Matchbox 20 and Semisonic there were always going to be those who would try to follow.
Bristol duo Apache Dropout's self-titled debut offering, although encompassing some rather diverse influences (drum'n'bass to jazz blues), is a rather meek, acoustic guitar-dominated collection.
