Toby Kaar and Moths @ The Pavillion, Cork

As Hurricane Katia bore down upon our small island nation last Sunday night, some of our island’s best up and coming electronic artists took to the stage of Cork’s Pavilion for an evening of smashing tunes to help brush off the weather. In the small, green-tinted bar, a respectable crowd rushed in out of the rain and gathered to watch the rising stars of Moths and Toby Kaar shine.

Fresh off a show at the Electric Picnic the weekend before last, Moths a.k.a. Jack Colleran, opened proceedings with what some deign to call ‘chill wave’. Relying on subtle background synths, and effected lead lines, his sound seemed to fill the whole venue, seeping into every corner, getting under peoples skin. Known for his remixes of artists like Interpol and the Passion Pit, as well as his own laid back electro, he had the whole venue grooving.

Returning to the stage after DJing for most of the afternoon, headliner Toby Kaar sought to round off the evening. Having come to prominence over the last six months, after lighting a spark with his remix of Nouvueanoise’s track Cinnte, this was a sort of a homecoming for Toby. He’d played in Cork a number of times in the past few months, playing support to Gold Panda, and taking a slot on the FMC Tour, but this was his first headliner since his breakthrough and the home crowd were out in force.

There’s a serious groove to Toby’s music, which is a lot more immediate than some of Moths material, leading to a nice contrast in sound on the night. But even more so, there’s a groove to Toby himself. Hunched over his laptop and controllers, he sways back and forth, shakes, shudders and jumps along with the crowd as he kicks out the jams. His set consisted of a lot of his more well known tunes, and a few newer pieces that will be sure to appear on his debut album which, we all hope, will be out soon.

The quality of music on show in the Pav on Sunday was superb. The now, not-so-underground, electronic artists of Ireland can hold themselves up with the best of them. A bright future awaits Irish electronica and all of its shining stars.

Check out Moths and Toby Kaar on their respective sites here, and here. Catch Moths at Dublin’s Absolut Fringe Club with RSAG on Sept 22^nd, and see Toby in the Roisín Dubh on the same night.

Published on Drop-D.ie - September 14th, 2011

Music Video: Dave Hope and the Henchmen - Hell or High Water

One of Cork’s up and coming directors, Shaun O’ Connor, has been very recently. In the past few months he’s shot videos for many other up and comers in the Cork music scene such as Toy Soldeir, Exit:Pursued by a Bear, and Echogram, and here he’s pulled out a beautiful video for local folk band, Dave Hope and the Henchmen and their track ‘Hell or High Water’.

Plugging into the rustic folk style of Dave Hope, the video is slowly and wistfully arranged. Being shot in an antique vehicle yard in Halfway Co. Cork, the aesthetic of the ruined vehicles lends a rustic, run-down feel to the video, and it suits the Henchmen’s sound perfectly.

The track itself is a straight up piece of folk. Produced by Declan Sinnott, the song rests on its lyricism, its nature and its guitar melodies. It doesn’t blow you away with its ingenuity, but it’s such a nicely composed and pleasant song, that it very easily wins you over. Looking forward to hearing and seeing more from these guys in the future.

Watch the video here.

Download ‘Hell or High Water’ now on iTunes and check out more of Shaun O’ Connor’s work at his website here.

Published on Drop-D.ie - September 15th 2011

Tenonsaw - Beginnings

Tenonsaw are an electronic-folk duo made up of Tom Luke and Salt Erikson, based in the badlands of North Cork. This past week they’ve released a sixteen-track CD entitled ‘Beginnings’ compiling their time together over the last number of years. Rather than being a vie for massive national recognition, or an attempted leap at stardom, Tenonsaw have released this record as a pure piece of art, a snapshot of their time together as a group and a hint of things to come.

The song styles are all a variation on a theme. Programmed drum tracks and keys form a base upon which the pair lay a mix of electric and acoustic guitars, synths and Salt’s beautifully distinctive vocals. The tracks, being self-recorded, tend to range in quality but the majority give glimpses, allusions to the potential of the band. Due to the sheer amount of tracks on the CD it would be difficult to look at each one individually, so we’ll just look at a couple of highlights. The opener ‘Pact’ slinks into existence with a beautiful picked guitar with spikes of a supporting electric guitar stabbing behind it. The track swell at the middle and gives way to a bit crushed drum beat combined with arpeggio-esque guitar flourishes. Despite all that’s going on in the track, it still remains remarkably subtle and eventually recedes back into the acoustic guitar as the track fades.

‘Disappear’ is another marvellously subtle track, but its genesis is in electronica rather than folk. An almost hip-hop electronic piano accompanies the verses of the track as a number of effected drum hits patter beneath the piano and the vocals. The song stays on the downbeat side of things as it never really takes off, but that’s the case for Tenonsaw’s sound as a whole and it suits them. This for me is the stand out track on the album. The track ‘Neon´ is another favourite. The DIY style of production really comes through on this track, but because of that you can see the potential of the band’s sound. Parts of it echo Talking Heads, parts Massive Attack, parts Tool. There’s a dark aura here, mainly due to the deep bass line that runs through the track. Yet despite this there is a somewhat uplifting quality to the chorus with its mix of synths and pianos.

For this reviewer, ‘Beginnings’ exists in two worlds. One is a world where this album can be seen as a piece of art, an exposition of the talent and creativity of the duo and nothing else. The other world is the place where this CD should be seen as a sign of things to come. If the production quality goes up, if the vocals become more prominent, then they could be serious contenders. Tenonsaw walk the line between these two worlds. It’s up to them which one they choose to live in.

Drop-D Rating: 8/10

Published on Drop-D.ie - September 15th 2011

Music Video: Toy Soldier - Summertime

Another in a recent run of music videos from Cork director Shaun O’ Connor, electro pop band Toy Soldier have just released the video for their new single Summertime. A slow paced ballad, the track showcases the subtlety of performance that’s creeping into the band’s music. Every note, every effected beat and every lyric is placed perfectly.

Having been brought into the band’s lineup just about a year ago, singer Ciara Budds takes the lead vocal here, with the group’s other vocalist Cian Walsh taking a very much supporting role. It’s indicative of the work that Ciara has been clearly putting into Toy Soldier that she’s taking the lead here and it shows just how well Cian and Ciara work together vocally.

The video echoes the slow movement of the song, and Ciara’s prominence on it, as the focus is pulled between her and the ever changing background. The track is all about subtlety and the video is the same. Another great piece from a great director and band. We here at the D look forward to seeing their next outing together!

Published on Drop-D.ie - 8th September 2011

East Cork Showcase w/ Goldifsh Syndrome, MAKO, Time Is A Thief, Toy Soldier

East Cork seems to have had a knack of turning out some great acts in recent times, and last night at Midleton’s McDaids some of its best bands took to the stage for a full-on showcase. With four amazing acts, four diverse styles and some genuine legends on the bill, the show promised much and delivered even more.

First up were Electro-pop group Toy Soldier. With one third of the three-piece suffering from a stomach bug, you would expect at least a minor falter in the show, but none could be seen. The band breezed through their set that included their recent single Sunset Girl and the band’s future classics, Summertime and So Far Away.

Their live setup is in a bit of a transitional phase, as they move from a rock sound to a more electronic sound. The stripped back sound takes out the majority of the live kit, leaving behind a kick drum and a variety of cymbals, and combines them with a multitude of triggers and pads. This setup seems to be still in its early stages, so there are a couple of hiccups here and there, but once they crack that sound, it’s going to be massive. (8/10)

Next up were hard-rock four-piece, and Drop-D favourites, Time Is A Thief. Conducting their set with their trademark tightness, efficiency and energy, TIAT blew the crowd away with their short set.

Following the recent release of their single Our Game, the band have been playing incessantly. In fact, they’ve been playing incessantly even when they didn’t have a single to promote. They are quite possibly one of the most hard working unsigned bands in the country when it comes to gigging and it shows. Their stage presence, crowd interaction and tightness are all at an extremely high level, and that’s experience that only coming from touring. Great things lie ahead for this band. (8/10)

Third on the bill were MAKO and in all truth, they were the band this reviewer was most excited to see, having heard a lot about this band over the last couple of years. Spearheaded by Declan O’ Shea and Christian Montagne, two members of the legendary group CYCLEFLY, the band is the artistic and creative outlet for the two, and a very possible return to the limelight. Declan and Christian were joined onstage by Rulers of the Planet guitarist and drummer, Ian O’ Connell and Kieran O’ Neill, and by CYCLEFLY guitarist, producer, and brother to Declan, Ciarán O’ Shea.

With such a line-up, they were sure to give one hell of a show, and they did. Playing for just about fourty-five minutes, MAKO made their way through a set of songs that they performed with an such proficiency, such style, and such class that showcased their combined experience and skill. There really isn’t much more to say about them. They are almost beyond description. They are simply one of the best bands this reviewer has seen in a long, long time. (10/10)

Closing the show were straight up alt-rock aficionados Goldfish Syndrome. A set of nicely pinned rock songs, with a tinge of Oasis and early Radiohead, they performed as skilfully as any of the other acts on the night. Unfortunately for them, MAKO seemed to be a tough act to follow, and by the time they took to the stage, the once receptive crowd had morphed into a loud and drunken one, so they weren’t received as well as they could have been. Still, they’re a meticulously crafted band have some greats songs, and play them expertly. (9/10)

It was a night that showcased the talent of some of the up-and-comers, some of the staples, and some of the legends of East Cork music. But taking it a bit further, this was a showcase of great Irish music. The future is bright.

Published on Drop-D.ie - August 29th, 2011

FRED @ Glebe Gardens, Baltimore

As the tour for their critically acclaimed fourth album, ‘Leaving My Empire’, begins to wind down, Cork favourites FRED brought their semi-acoustic show to the idyllic setting of Baltimore’s Glebe Gardens last Saturday night, August 13th. Support came from Dublin native Rhob Cunningham, and as the crowds made their way down the slopes to Glebe’s natural amphitheatre, Rhob soothed the masses with his Dylan/Bright Eyes tinged acoustic folk. Rhob’s personal demeanour and sweet songs helped settle in the audience nicely amidst the trees and threatening rain.

With dusk rapidly approaching, FRED themselves took to the stage. They slinked carefully into their set with Leaving My Empire centrepiece As You See. Bass in hand, singer Joe O’ Leary serenaded the crowd with his trademark mix of humour, grace and giddy dancing. Their set hung somewhere between a folk session and the band’s full-on pop sound making them sound a bit on edge but FRED’s ever present charm papered over the set’s uncertainty.

Similarly, the weather hung somewhere between a pleasant summer’s evening and a dreary autumn one, before eventually giving way to the latter. As this reviewer (having not brought a raincoat) made his way to the tree line to avoid the showers, more light-hearted revellers stuck it out to enjoy the show, despite Mother Nature’s wishes. Gig organisers were on hand to kit out the stage with umbrellas, and FRED soldiered valiantly on.

All of FRED’s recent hits were on show in the Glebe’s intimate setting. Songs that you could almost call classics like Skyscrapers and Good One stood up next to the new favourites of Somewhere Else and Trial By Fire. The intimacy of the gig, fear of rain and the bar the didn’t stop the crowd enjoying the set and while a die-hard group of ladies bopped along to Fears and Remedies one particular girl had a minor altercation with a lighting rig making the show that little bit darker. But FRED, always the showmen, merely shrugged it off, finishing their set with the combination of the hit Running and a kumbaya-esque version of Prince’s I Could Never Take The Place of Your Man.

It was definitely one of those special evenings and the band themselves knew it. As they approached the end of their set, front man Joe attempted to make the inevitable plug of the band’s most recent CD. But as he laughed, he admitted that it was “not that type of gig”. No, it definitely was not.

Published on Drop-D.ie - 22nd August, 2011

The Eulogys - Ambergris and Tigerblood

I’m sorry to say that this CD has been sitting in the ‘To Do’ pile for a long time, and it’s a shame that the D hasn’t mentioned something about locals The Eulogys sooner. However, this reviewer will now rectify their absence with a look at their recently released EP, Ambergris and Tigerblood.

Hailing from Cork and, like many other talented home-grown musicians, now based in Dublin, The Eulogys is the new project masterminded by Mr. Kenny Hyland. A talented singer and pianist, Hyland possess some very strong pop sensibilities and this is showcased here on his self-recorded and produced EP.

The CD opens with Bouquets which, like a lot of The Eulogys music, is very much piano driven. It’s almost like a ‘just about’ restrained orchestral piece. Hyland’s Matt Bellamy-esque vocal taking the place of the strings, brass and percussion, as he sings of the complications and uncertainties of a failing relationship is the real hook of this song. So let’s just put it out there, Hyland seems very much pre-occupied with love and ladies and the second track, Trees in the Painting does nothing to disprove this theory. The high register vocals are present here again, along with the piano but the real drive is the off kilter percussion.

Closer De Profundis takes the sound in a slightly different direction to the other two tracks by dropping the piano and picking up the guitar, and in this reviewers opinion, the track is the strongest on the EP. All the bravado that went along with the piano is shrugged off here and it makes the track more immediate, personal and much sweeter.

Overall, the EP showcases a raw talent. There are moments of beauty on the CD, and moments where, when the production quality slightly falters, the veneer of beauty is slightly dullened. That said, and as I just mentioned, this EP shows off Kenny’s talent in both song writing and composition. One to check out and definitely one to watch.

Drop-D Rating: 7/10

You can download Ambergris and Tigerblood for free from The Eulogys Bandcamp page here.

Published on Drop-D.ie - 15th August, 2011