Posts Tagged ‘Ireland’

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Hailing from Dublin, Ireland, Pillow Queens have spent the past year releasing a clutch of scuzzy, guitar-based rock songs that emulate the likes of Weezer and the Yeah Yeah Yeahs. They’re sharp and funny: the single “Gay Girls” is a joyous anthem for a generation of young women and LGBT people in Ireland slowly feeling the shackles of oppression come loose. Their first ever gig was at a fundraiser for dogs two years ago – we’re convinced they’ll be playing more prestigious venues in 2019. Their DIY, garage-rock-inspired sound is an exhilarating force of positivity, seemingly embracing all manner of alternative aesthetics while maintaining a distinctively Irish sensibility. Colloquial witticisms are sung with a wink in Irish accents, resulting in songs with such charming familiarity that it’s impossible not to become hooked instantly.’

Thanks so much to our amazing director Kate Dolan for making this happen and everyone who worked on it! We’re so lucky to have gotten such talented young actors to be in it and we’re really excited to share it with you all.

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Chiming guitar pop trio from Limerick, Ireland, whose latest EP Given Up dropped in November. The band consist of Aoife Power (vocals/ bass), Niall Burns (guitar), Andrew Flood (drums). First meeting as teenagers, sneaking into the only indie bar of their city in Ireland, they bonded over cheap vodka and The Velvet Underground. Soon after, Niall moved to London, with Andrew and Aoife quickly following, and here they began writing songs together.

They have released singles such as Heaven On Earth and a cover of the Cranberries classic Dreams, and supported The Vaccines and Blossoms acroos the year. They kick off 2019 with a UK tour and you can hear the track Given Up below.

Band Members
Aoife Power
Niall Burns
Andrew Flood

Pillow Queens wallpaper

It;s been a triumphant year for the Irish-quartet Pillow Queens ending recently with a sold-out homecoming show at Dublin’s musical-institution, Whelan’s. It was just rewards for what has been an incredible year for the band. It was a year that began rather wonderfully back in March, with the release of their second EP, State Of The State, a record that offers the perfect soundtrack to a lazy summer. The poppy riffs and delightfully intertwined vocal harmonies conjure images of those sunny days spent out in countryside retreats. However, dig a little deeper and there is an undertone of pain, anxiety and paranoia.

Following up the delightfully infectious debut ‘Calm Girls’ EP, This Irish all-girl indie collective Pillow Queens continue to tackle the most difficult of subjects with a wry, knowing smile. ‘State of The State’ delves into the frustrations of modern life and trying to battle against the system that has left us that little bit poorer. Those frustrations are bore out through this 4-track EP. On opener ‘Puppets’ vocalist Sarah Corcoran confronts the stress induced through striving to be a success. Working long hours just to make the slightest change to daily life but the constant knockbacks that ultimately chip away at a person’s mental state (“dead on my feet and down on my luck”).

Through the guise of these upbeat melodies and sunny harmonies it allows Pillow Queens to confront these issues in an altogether different manner. ‘Cuckoo’ takes the role of a rowing couple who are struggling to find an answer for “is this worth it anymore?” as Corcoran serenades a chorus to her figurative beau in the eye-rolling “I’m no better than you and I’m a cuckoo”.

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Lead single ‘Favourite’ tries to make sense of managing those unmistakable highs while closer ‘Ragin’ offers an ode to simply letting things go and allowing grudges melt away. ‘State of The State’ is a beautifully crafted EP that offers heartfelt realism in every beat. State Of The State is a record of wonderful contrasts, the perfect harmonies and glistening production juxtaposing with the darkness of their lyrical content, as they tackle themes of mental health, sexuality and the ups and downs that life throws at us all. The state of the state was something crossing many people’s minds on both sides of the Irish sea this year, and few people documented their anger better than Pillow Queens.

After a five-year break between albums that involved lineup changes and half the band moving from Ireland to Toronto and back again, the Irish quartet Dott returned with a second album that mostly follows the girl group/noise pop template they laid out on their charming debut album, Swoon. Like Swoon, the band’s focus on Heart Swell is on the powerful, heartbreakingly clear vocals of Anna McCarthy. She could sing just about anything and make it sound like an urgent message from the angels, and when the songs are a match — like they often were on the debut — the music lifts off and takes flight. There are plenty of moments on Heart Swell that do exactly that. There are songs that have bright-as-a-new-light-bulb melodies (“Not Sorry”), gently swaying ballads that are as warm as a lingering cuddle (“18”), sweet summer pop songs with handclaps and swooning vocal harmonies (“Swim”), and at least one song that comes across like a lost chart-topping single from 1993 (the mighty “Bleached Blonde”).

These moments would have all fit nicely on Swoon and been highlights. Unfortunately, while 90 percent of the album is a fine follow-up, when they expand the formula a little bit, things get a little dicey. The singsongy “Like a Girl” sounds like it would fit on the soundtrack of a cheesy Josie & the Pussycats knockoff movie; there are overly beefy songs, like “Floating Arrow” and “Do Ya,” that conjure up memories of bands like Eve’s Plum that were regulars in the cut-out bins of the early ’90s; and one of the ballads, “Wedding Song,” gets a little too close to cloying middle-of-the-road territory. Subtract those few missteps and what’s left is fizzing guitar pop with just the right balance of snappy melody and biting guitar, with a brilliant voice driving the melodies home like a trusted cabbie. Sadly, they are stuck in the track list like ugly blue splotches on a freshly painted wall, hard to overlook and coming perilously close to ruining the whole thing. Easy enough to skip, though, because the rest of the album is a keeper.

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Released June 8th, 2018

All songs by Dott.
Produced and recorded and mixed by Les Keye at Arad Studios Dublin.

Anna – guitar/vocals
Laura – bass
Evan – guitar
Donal – drums

Track 2 features Sadie Dupuis

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On their new single, “Dunkirk,” Dublin art-punks Silverbacks combat marital strife and boredom via tense, methodical beats and prickly guitar riffs. “My soul was hurt on a private beach in Dunkirk,” intones frontman Daniel O’Kelly, imagining a post-apocalyptic society made up of “frustrated commuters,” “sunken castles and Advil.” According to the band, the track’s hero “struggles to find a unique way to rebel.”

“The song is about a character who is questioning the life they have been dealt,” Silverbacks explain. “They find themself in a near dystopian future where Dunkirk, despite its history, has become a built-up holiday destination for young families.”

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All most folk duo Saint Sister made their first NY appearance on their US tour at Brooklyn’s National Sawdust as a part of The Spring Revolution Festival. Named “The Best New Band in Ireland” by The Irish Times with praise from Stereogum to BBC Radio 6,

“It’s easy to get lost in the beautifully arranged soundscapes” of Saint Sister, Band Members Gemma Doherty & Morgan MacIntyre Named “the best new band in Ireland,” the electro-folk duo comes to the US for a rare concert after a 2017 year filled with sold-out performances in Europe. Their newest single, Causing Trouble, ruminates on the transition from Belfast to Dublin, and was nominated for “Song of the Year” by Ireland’s annual Choice Music Prize.

Starring Meabh Parr & Emma White

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True to the title, ‘Winter’ from Donegal singer-songwriter Rosie Carney who paints an picture through gentle folk atmospherixs. Carney’s vocals are hauntingly beautiful and she says of the song:

Winter is a confessional song written about knowing when something is over. It’s inspired by the brutally honest truth experienced when realising something is coming to an end regardless of whether or not that’s what you want. It captures the true cold essence of winter which can be felt when letting go.. It was, of course, written in the winter.. The instrumentation and production were very much inspired by the cold and bare landscapes around me. Everything is raw and minimal.”

Rosie Carney brings a worldly confidence and maturity well beyond the stereotype of her years.

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If you’re a fan of Noah Hawley’s TV shows, odds are you’re familiar with Irish indie-folk singer-songwriter Lisa Hannigan, even if you’re not quite aware of it.

Most recently like, literally a couple of days ago her version of David Bowie’s “Oh! You Pretty Things” scored the closing credits of the sixth episode of FX’s acclaimed X-Men drama Legion, while in 2015 she covered traditional classic Danny Boy for and episode in Fargo’s second season.

https://www.youtube.com/watch?v=JGgpQIDUnIA

She also appeared on the soundtrack for Gravity, the 2013 film starring Sandra Bullock and George Clooney, among other films — including Closer (2004) and, uh, Shrek The Third (2007), both of which included songs she contributed with one-time band-mate and well-known solo artist Damien Rice.

Having got her start as one of Rice’s band members, Hannigan struck out on her own with her 2008 debut Sea Sew and immediately established herself as an artist worth watching, picking up nominations for the Choice Music Prize, Meteor Music Awards and the Mercury Prize. She returned in 2011 with sophomore effort Passenger and most recently released third album At Swim in August last year.

Directed by Alden Volney. Taken from the new album ‘At Swim’ out now.

After a four year gap since their last album, Irish alternative genre experimentalists quintet Windings return with an album full of technically proficient tracks full of off kilter rhythms, time signatures and harmonies. What’s particularly impressive is the group’s knack of combining sonic experimentation with genuinely catchy hooks and melodies. Never laboured or contrived, all the messing about always services the songs. Which is just how it should be

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