Posts Tagged ‘Ireland’

Image of Taste 'Transmissions 1968-69 CD

Taste (originally “The Taste”) was formed in Cork, Ireland, in August 1966 as a trio consisting of Rory Gallagher on guitar and vocals, Eric Kitteringham on bass, and Norman Damery on drums. In 1968 Taste began performing in the UK where the original line-up split up. The new line-up formed with Richard McCracken on bass and John Wilson on drums. The new line up of Taste moved permanently to London where they signed with the record label Polydor Records. In April 1969, Taste released the first of their two studio albums, the self-titled “Taste”, with “On the Boards” following in early 1970, the latter showing the band’s jazz influences with Gallagher playing saxophone on numerous tracks.

Taste recorded three sessions for John Peel’s Top Gear programme between 1968 and 1969. Nine songs from those sessions are featured on this disc. In addition, two live recordings broadcast on Dutch television on 22nd August 1969 are also included.

01. Blister on The Moon / 02. Dual Carriageway Pain / 03. Norman Invasion / 04. Sugar Mama / 05. Leaving Blues 06. Born on The Wrong Side of Time / 07. Wee Wee Baby / 08. Same Old Story / 09. I’m Moving On / 10. Blister on The Moon (live) / 11. Sugar Mama (live)

Here’s a small EP of old demos we’ve put together for your listening pleasure. The EP will be up for a limited time only.

All money received from “Woh Nelly Demo” purchases will go to The Irish Cancer Society, who had to make the difficult decision to cancel all Daffodil Day events for 2020 amid the coronavirus outbreak.
Bandcamp are doing a great thing in supporting independent artists and musicians and we’re big fans of everything they do. Please go support your local bands and artists in this difficult time for everyone.

released March 20th, 2020

All music written and recorded by Silverbacks.

Image may contain: 1 person, night, child and closeup

Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. The album is about “trusting if you lose yourself or your way — you can come back.”

Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

Ireland’s Brigid Mae Power (fka Brigid Power Ryce) released her first album under her current name and first for the esteemed Tompkins Square Label last month. Brigid’s a new-ish artist, but her music recalls the type of forgotten-then-rediscovered ’60s/’70s folk artists that Tompkins Square often reissues music by, like Bob Brown and Michael Chapman. Brigid played accordion, baritone ukulele, piano and harmonium on the album, and her talents are even more fleshed out by the production work of Peter Broderick (Efterklang, Horse Feathers). She’d played shows with Peter and also collaborated with him live, and eventually ended up in his studio in Oregon to record the new album.


All the arrangements give the album a gorgeous backdrop, but it’s Brigid’s voice that drives this thing home. She’s similar in approach to Jessica Pratt or earlier Angel Olsen, with a sound that really taps into what made that ’60s/’70s era so great without sounding retro. The album’s opening (and longest) song, “It’s Clearing Now,” nears eight minutes and never really drifts from its somber tone, and Brigid has enough command over it to keep it from ever getting boring

The debut album from The Murder Capital in a the rather nice looking rust marbles vinyl pressing. ‘When I Have Fears’ .There’s a whole raft of very decent bands heading over from Ireland at the moment who are, we hate to pun ‘gonna be big’. Dublin’s The Murder Capital are, at the moment in the same whisper as Fontaine’s DCJust MustardThumper and Inhaler.

But they’re by no means all the same in sound. We first saw The Murder Capital on a very cold night at The End Of The Road Festival in September, not knowing what the band were about. They instantly resonated, coming on to sirens blaring and the audience didn’t know what hit them. Live, their sound is big, it’s captivating and it stays with you. And we weren’t disappointed

We eagerly looked forward to their debut “When I Have Fears”. Even though we’d discovered them in January, by August there were still only a couple of songs on Spotify to listen to so an air of mystery remained.

The result has been just as huge as the hype surrounding Fontaine’s DC’s Dogrel. But this isn’t about all these Irish bands sounding the same.  The Murder Capital have made something much more dark, harrowing and passionate. More Is Less begins like Sonic Youth’s Tom Violence.Not a bad thing indeed.

A similarly distorted guitar, dripping with sadness and chilling. Pounding the lyrics ‘more more more, more is less’ give vibes like a protest song but with more amped up romance. Always the song that stood out in live shows, Green and Blue makes an apocalyptic sound of romantic devastation and destruction with Interpol style guitars bass and drums, but darker and more post-punk -if you can imagine that.

It’s as if everything is going on around us but somehow it’ll all be ok. The haunting ‘I failed you’ makes us imagine a camera drawing out of an unlit room as someone is left alone and devastated in the darkness. It all builds up to Slowdance I and Slowdance II. The meat of the album and a duo of songs to get completely lost in. In a live setting these two songs play as one single entity; one half with lyrics (Slowdance I) and one
half instrumental (Slowdance II).

Slowdance II is where it really kicks in. Dark and dreamy, this is the fulcrum where you immerse yourself in layers of sound. The most melancholic memory of romantic fuzz. It’s dramatic and hazy and seductive and epic and takes your breath away. You wonder how on earth they can top it.

Feeling Fades is a track that’s been available to listen to since we first discovered them. It ends with a dry shouted la la la la la la la la la and seems to poke fun at the song as it disintegrates, like light falling into a black star. Final track Love Love Love is already a personal favourite. Dark and moody, lurking and devastating, alarms sirens, cinematic and lush. ‘In the rain the romance lay, maybe in the rain, the romance will say goodbye’

When I Have Fears is such a raw record, both emotionally and sonically that we don’t want to be controversial or opinionated or seen as rooting for the underdog but it’s just knocked Dogrel from among our Album of the Year spot. It really is that good.

With When I Have Fears sees The Murder Capital have released an insane debut album which will only open doors for the band. The Dublin post punks are seriously a band to keep a close eye on, as with the release of their debut album it’s almost certain that 2020 is going to be massive for them.

Image may contain: one or more people and text

Image may contain: 7 people, people smiling, people sitting, child and indoor

Just Mustard have revealed a new single, with a visual accompaniment. ‘Seven’, out on their DIY label Pizza Pizza Records, was produced by the Dundalk band and Chris Ryan, whilst the video is a collaboration between vocalist Katie Ball and guitarist David Noonan alongside Graham Patterson. “Through the imagery we explored themes of perspective, perception and faith, taking inspiration from the lyrics,” says Ball on the video. “Most of the props in the video are things from my bedroom that we made into villains. We were interested in using mixed media in the storytelling so we included some paintings and made some stop motion animation too.”

Occupying the most blistering and jagged end of the sonic spectrum, Just Mustard have been treading the razor sharp cliff edge between light and dark sounds with their latest releases ‘Frank’ and ‘October’, but on ‘Seven’ this dichotomy comes into its own. Katie Ball’s transcendental vocal takes you to seventh heaven, while the rumbling bass and smoky grinding guitar haze anchors you in some kind of deeper underworld.

To let the light in, you must first confront the dark head on – there’s a sense of being pulled between the two, with her tone perfectly poised somewhere between sinister and saintly, with themes of religion, belief and perception threading throughout the lyrics.

Just Mustard have also just announced a UK headline tour, starting in Edinburgh on October


Originally teenage friends from Limerick in Ireland, the trio moved to London a few years ago to pursue their dreams of living life like The Velvet Underground. Now under the watchful guidance of Florence and The Machine’s former manager, with a string of striking and instant indie-pop belters under their name and a live show that’s as short and sharp as it is acutely addictive, whenyoung are ready to grow up.

“The Others” is the second single from whenyoung’s debut album ‘Reasons To Dream’, out Friday 24th May. The Others was written after the Grenfell Tower fire in London. At this time Aoife was working for a gardening company that served clients in this area, some of whom were influential politicians. The juxtaposition between the safe homes of these politicians and the burning towerblock streets away were startling and upsetting. Living in safety should not be a luxury.

Fresh off the back of a Europe wide tour in support of Soak, Dublin indie-punks Pillow Queens are on a lap of the Irish festival circuit. Blending punk leaning instrumentation and raw vocals with melodic pop chops, Pillow Queens’ catchy anthems are the perfect mosh-along festival fare and their always charismatic and engaging stage presence is a live treat.

With Irish bands having a serious moment, with acts like Soak and Fontaines DC making their mark on the global stage. Pillow Queens are a four piece band – made up of vocalist, guitarist and bassist Sarah Corcoran, from Dublin, fellow vocalist , guitarist and bassist Pamela Connolly, guitarist Cathy McGuinness and drummer Rachel Lyons have been together for two years, but in that short time, have rocketed to become one of the most exciting bands not only on the Irish scene, but the indie scene at large. Taking inspo from US DIY indie and punk, Pillow Queens have a lot of ways of describing themselves. Sarah told us ‘We’re a four-piece from Ireland, half of us from Dublin, half from the outside of Dublin. We make music that’s been described, rather delicately by Blindboy, as a mix between Sonic Youth and Dolores O’Riordan’, with Pamela adding in: ‘We’re serious musicians.’ ‘I was trying to fill out a grant proposal earlier on and I was trying to describe our music, and I wrote, people describe us as lo-fi.’

Gay Girls. Their breakthrough hit, an infectious indie track with a killer chorus, was accompanied by a video showing Irish schoolgirls running riot in their Communion dresses which brought the song to a whole new audience and gained critical acclaim.

, 10 Irish acts to see at this year’s All Together Now

Belfast’s Kitt Philippa has spent a career refining their craft before releasing this year’s “You” EP, a beautifully atmospheric and emotional collection of sleek but hauntingly intimate numbers. One of the more introspective acts on the line-up, Kitt Philippa’s live sets are hypnotising and feel like seeing someone on the cusp of something fantastic. The production is majestic and totally spellbinding. And then she starts to sing…wowzers.

‘𝐘𝐎𝐔’ EP is out now; I hope this music brings you joy, I gave my best to every beat, this is my first release with Paragon Records; it houses singles ‘Human’ and ‘Grace’ and also includes ‘Lion’ and the title track of the EP, ‘You’. ‘Human’ is like a dear friend to me now — the refrain of the plea remains. ‘Grace’ is close. ‘You’ imagines. ‘Lion’ questions. I have worked so hard on these tracks and feel privileged to let them now be known by you. I am so fortunate to have worked with additional musicians to give the music its sound: ‘You’ is scored for horns and ‘Lion’ is coloured in by a string quartet.

thank you to Matt Duke who drummed, co-produced and recorded these tracks with me; to Jon Moorehead for mastering; and to my manager Charlene Hegarty. thank you for supporting, it means so much to me. KP.

Northern Ireland multi-instrumentalist and songwriter Kitt Philippa knows how to bare a soul and strip down to the raw fears and emotions inside. Channeling this brutal but gripping strength in their latest EP, You, they create a sonic oasis for burdened feelings and spirits in need of polishing. The title track, “You” is an electrifying piano ballad, coupling themes of loss and space in a fiery declaration of love. The just released visuals for the track are hauntingly beautiful, capturing the most human emotion of them all- pain

The camera wistfully hones in on the protagonist through intimate scenes of emotional distress and suffering. Philippa’s moving lyrics provide all the context needed for these scenes, with a brief moment of introspective clarity during the hushed confession “And I can’t stop loving you”. A turning point in the song’s composition, the video mirrors its slow build-up into a cathartic emotional release through the protagonist’s desertion of their car, into the accepting arms of loved ones. “You” feels like it’s been holding its breath until then, exhaling with a rush of thundering drums and longing harmonies. When speaking about the themes reflected in the video, Philippa shares that “absence, through the process of grieving, can seem like it is living: it gives way to love and care from other humans and adds to a complex infrastructure.”

Philippa poignantly sings from the heart of every lost, confused, or simply searching person. Making the emotional connections we sometimes can’t bring ourselves to make, they provide the context to every heart-wrenching moment.

“sparse, graceful, elegantly pitched wonder. There’s a beautiful mimimal soulfulness to her.”
– Jim Carroll, THE IRISH TIMES –

“one of the most interesting new Irish voices we’ve heard in aeons.”
– Celina Murphy. HOTPRESS MAGAZINE. –

“acoustic musings treading a genuinely charming balance between melancholy and optimism…”
– Brian Coney. AU MAGAZINE journalist. –

“I’m not sure there’s a music analogue to this. Out of time, not conventional, entrancing.”

No photo description available.


Irish post-punk rockers God Is An Astronaut, Fronted by twins Niels and Torsten Kinsella, God Is An Astronaut’s sound is epic instrumental rock that puts in mind Tangerine Dream and maybe The Cure . There is stunning depth of emotion in their creations – some have been written in periods of immense grief after family losses – the result is a wall of sound that insists on breaking your heart.

God Is An Astronaut are a 3 piece band who hail from Glen of the Downs, Ireland.

The Band: Torsten Kinsella – Guitar, Piano/Synths, Niels Kinsella – Bass, Lloyd Hanney – Drums,
Robert Murphy – Guitar/Keys (touring) / Gazz Carr – Guitar/Keys (touring)

Tracklist: 01. Fragile 00:00 02. All is Violent, All is Bright 04:33 03. Forever Lost 08:44 04. Fireflies and Empty Skies 15:05 05. A Deafening Distance 19:07 06. Infinite Horizons 22:55 07. Suicide by Star 25:20 08. Remembrance Day 29:53 09. Dust and Echoes 34:07 10. When Everything Dies 38:20

Image may contain: 5 people, people standing, shoes and indoor

Just Mustard are a band based in Dundalk, Ireland. Debut album “Wednesday” releases 2/5/18. In the past several years, a new wave of intriguing guitar bands have emerged from Ireland groups that are honing in on a particular kind of rushing-but-brainy punk-inflected rock, or groups that dismantle and implode structures and genres to locate their own unique sound. The Dundalk five-piece Just Mustard belong in the latter category.

Their sound  noisy, electronic-indebted, and often playing like a heavy and foreboding iteration of shoegaze — has already won them acclaim in their homeland, where their debut album Wednesday was nominated for a Choice Music Prize last year. It’s easy to imagine Just Mustard are garnering more international attention in the near future, too.

On the heels of album Wednesday, Just Mustard’s have returned this year with a double single. “Frank,” and its companion, “October.” While “Frank” was a loopy, unnerving track, sounding like images bleeding out of focus, “October” is harsher, and darker. Onstage, their waves of distorted and mutated guitar began to sound like a bunch of chainsaws tossed around in a hurricane. “October” skews closer to that; while its guitars linger like haunting images creeping up in the back of your mind, you can already picture the band unleashing this song live, letting their instruments take over.

Throughout, vocalist Katie Ball sounds like a ghost, a memory. When those guitars first screech in, it’s as if hearing a person erased in front of you. As the track goes on, she returns, fighting against the static that surrounds her. It’s a quietly intense track, suggesting both the tensions and the eruptions Just Mustard have already proven themselves capable of in their young career.