Discover Ireland – Irish Music Under The Microscope

Talos – Photo : Olga Kuzmenko

At a time when worldwide music sales continue to decline notwithstanding the ‘great’ vinyl revival and continuous rise of more online music platforms than behoves the industry, the resounding success of the current wave of artists making up the Irish scene is quite the quirk in the global musical landscape.  It’s almost as if many of our current crop of artists are creating music both in and for a parallel universe, such is the remarkable quality, unorthodox nature, and uncharted ingenuity of their idiosyncratic outputs.

But just who makes up this ever-growing Celtic tribe whose unquenchable creativity knows no populist constraints? Who are the Irish artists currently gifting us with a wealth of musical treasure; unpolished, untarnished, glistening in its rawness?

In the first of a new ‘Discover Ireland’ series we look at some of the Irish artists who are not just sealing their credentials on the local landscape, but whose sound is in such stark contrast to that of the current flock of vanilla chart-toppers that they are making international industry veterans sit up and take notice.

Photo of Catherine Mc Grath Uncredited

In part one of the Discover Ireland series, we put ten artists with varying degrees of success under the microscope, finishing off the piece with a tailored Spotify playlist which you can follow or from which you can select a pick n mix to add to your own homespun choices.

Who? HUDSON TAYLOR, Unsigned folk duo from Dublin made up of brothers Harry and Alfie HT. Already have a huge online following as well as a couple of releases under their belt.  Around since 2011, they’ve been steadily building a solid fanbase for their ‘bro-brand’ of acoustic folk, although pegging them into the ‘folk’ hole makes them sound more twee than their pop sensibilities would allow.  Currently gigging whilst working on material for their sophomore album.  2017 should see them considerably up their musical game including stints at several of the big Summer festivals including Wilderness.

Who? THE ELATION, A Cork four-piece who share a love of “Music, Travelling, Writing, Recording, Performing” in any order you care to throw at them.  While they name-check both Kodaline and Hozier in addition to forerunners of the ’80s alternative zeitgeist Talking Heads, it is probably Brit Award Winners The 1975, also referenced, to whom their sound bears the most resemblance.

Debut release ‘Xo‘ is like a mashup between the Mancunians (think 2016 hit ‘The Sound’) and a combo of Haircut 100 and Aztec Camera flying the ’80s funk meets new wave flag. All funky foundations and groove bass floodlit by iridescent synths and fuelled by a healthy dose of blood pumpin’ beats.  They’re only at the start of their voyage and already the future looks XoX.

Who? TALOS, Experimental music project of another Cork native, Eoin French. Like the trademark slow builds in his songs, French has been gathering followers along the winding, visionary roads of his continuous musical travels since Talos’ inception back in 2013. And, like the fantastical zeniths of some of his more audacious compositions, 2017 looks set to bring its own dramatic highs when the multi-instrumentalist releases his debut album, ‘Wild Alee’, through Feel Good Lost on 21st April, the same day as his upcoming Irish tour kicks off in Dublin’s Button Factory. Full details on his FB page. Check out the official video for his current single ‘Odyssey’ here,

Who? CATHERINE MC GRATH, Co. Down born London based 19 year old hailed as the new Taylor Swift. There’s plenty of Taytay pastoral-pop ‘fluences going on but Catherine’s sound isn’t without a touch of LeAnn Rimes and Trisha Yearwood.  Leaning towards Nashville for its stylistic direction Mc Grath’s vibe isn’t without its pop sensibilities.  Plenty of finger-picking to keep the double denimers happy yet enough soft-pop to steer her into the mainstream flow.  New single ‘Starting From Now’ was released on 10th March and judging by the Spotify count (66k+ in its first week) is gonna seal her fate as one of the Taylor-type stars of the not so distant future.

Who? BURNT OUT, punk cum rap cum ‘wherever the sound needs to be apropos the moodscape’ kinda band from North Dublin.  Two songs in and already the media big cheeses are drooling.  Their latest, ‘Joyrider‘ is full on Roddy Doyle without the laughs.  Don’t be put off by the heavy-set Dublin vocals, this is more ‘mission statement’ than song.  Tackling Dublin ‘street’ culture with its inherent notion that violence, intimidation and general ‘gittery’ define current day inner-city masculinity, the song seeks to highlight the destructive influences this lads mentality has had and continues to have on young Irish males.  Social commentary doesn’t get more unequivocal than this.

Who? TOOFOOLS, “the brainchild of multi-instrumentalists Steven McCann & Lorcán O’Dwyer”. These Dublin based BIMM alumni are the cog around which many collaborative projections are formed.  While the pair are the project’s masterminds and its only permanent members, they onboard a cohort of fellow musicians to flesh out their live performances.  There’s a lot going on here and like many of their peers, TooFools aren’t foolish enough to box themselves off by sticking to a readily labelled style or sound.

There are some similarities with Norway’s chillwave, feelgood pop scene (yes, it is a thing) where the likes of Lovespeake reign supreme and like their Norwegian counterparts, TooFools muddle gold standard ingredients – funk, retro soul and Tropical pop accessorised with an infectious falsetto – to create a year round Summer sound full of rhythm and sway.  The only single released thus far, ‘Touch’ is a bloody good example of golden sounds with an expert touch on production. TooFools have hopefully, started as they mean to go on. Top Notch.

TooFools @Button Factory Photo: Claudia Verdecchia

Who? SOULÉ, Balbriggan native whose urban with a touch of class sounds are fast gaining her industry-wide recognition. Astonishingly, this part time musician cum student had her first single, ‘Love No More’, nominated for a Choice Music Prize. Soulé is one of a growing number of artists utilising the Dublin based collaborative hub Diffusion Lab and when not studying, can be found there working on new compositions, songwriting being a way of life since her childhood days.

This upcoming talent cites a plethora of influences from Macy Grey to Nineka but one can’t help recalling greats like Aaliyah, Caron Wheeler and Paris Grey as you listen to the Dubliner’s latest single, ‘Good Life‘ (even the title is redolent of what many consider to be the Inner City frontwoman’s finest hour). Creating sounds that cross over from classic soul and R&B to beat driven electronic pop,  Soulé has nailed a fresh take on tried and tested formulae.  Possibly one of the most exciting talents on the scene, get to know her before she goes global.

Who? EDEN aka Jonathan Lei Ming or the next Hozier.  The 20 year old Dublin multi-instrumentalist and vocalist extraordinaire has repeated the impossible already achieved by the Bray man by going from zero to hero without even breaking into a sweat.  In a minute period of time, he has garnered 135k followers on Spotify alone.  How the hell? Whelans bedamned, this genius of EDM dance-pop sold out prime venues from NYC to LA to Berlin and more taking in 43-dates last year alone, and as if that wasn’t wow enough, has signed up to team SB – Scooter Braun – manager to Bieber, Usher, Ariana Grande & various other elite members of the gilded world of music US stylee.

Suffice it say, we can safely assume that Eden has ‘arrived’.  His seven track mini-album, I Think You Think Too Much Of Me’ from which ‘Sex‘ is the opening track, received nothing but five star reviews for its lo-fi perfect blend of wilful electronica and smooth R&B. Move over Andrew, the new kid on the block is moving into your star-filled stratosphere.

Who? BONZAI, another 20 something about to set the world on fire.  Originally hails from Wicklow now living in London, this newbie cut her teeth with Guernsey born electronic producer Mura Masa, something which not only stood her in good stead but got her name very much in the frame.

Another crossover artist who seems to have allowed a myriad influences seep under her musical skin without the prerequiste labels, Bonzai’s style incorporates everything from grime through Brit-soul to sophisti-pop. There are, for example, some interesting nuances of Simply Red (Fairground) on the intro to the track ‘Stepping‘ from her ‘Sleep Hungry‘ EP.  Gigs and festival slots are stacking up nicely including a stint at Dublin’s District 8 weekend 25th March as well as sets at Parklife and Blissfields.

Snatched up by Colombia records, this Irish innovator is yet another firework set to explode onto the international scene.

Bonzai Uncredited

Who? LYRA Last but by no means least, this London based Cork native (yes, another one!) recently scored perfect tens all round when she delivered a blistering, high-octane performance on the Irish version of Dancing With the Stars – watch it below. Whilst comparisons with Enya and Marina Lambrini Diamandis (of The Diamonds fame) are not unfounded, for me there is more of an affinity with the wilful instrumental theatrics and free spirit Baroque pop of Florence Welch.

Her four-track debut EP, ‘W.I.L.D’, released in 2016, includes current single, ‘Emerald‘. The song, which is about remaining true to oneself, is a compelling fusion of intangible other-worldliness and widescreen warrior style instrumentals that could have led the charge of Queen Medb into Ulster, in which Lyra’s demi-operatic vocal delivery in the mould of Kate Bush, is an octave sweeping triumph. Currently riding high in the iTunes Top 10, Lyra is currently notching up some super cool dates for her Summer calendar including the biggest UK emerging artist showcase, TGE – The Great Escape.  Doubtless great things await for this unique and exceptionally talented songstress.

From melodramatic High Queens to the stark black and white realism of on point social commentary, crossing hip hop, soul, EDM and folk, this is Irish music in Ireland 2017.  Check out the first cut of my Discover Ireland playlist here … follow if you like.  You’ll find me on Facebook and Twitter @DervSwerve.  While you’re listening to the playlist you might check out Ireland.ie, the new Creative Ireland cultural website and portal to Ireland.

The Discover Ireland series will continue showcasing Irish music fortnightly.

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Pom Poko – Unleash New Single Ahead of Trondheim Calling & Cruise Into Urort Final!

Pom Poko Urortfinalen 2017
Pom Poko Urortfinalen 2017

Norwegian modernist collective Pom Poko have just released their third single ‘It’s a Trap’ accompanied by an impressive avant-garde ‘toon visual, the work of Olav Fangel Jamtveit, brother of the band’s vocalist, Ragnhild FJ.

A song about release and arrival, letting go to achieve self-awareness, ‘It’s a Trap’ is a quirky, punchy little sherbet that fizzes with pops of 90’s post-punk with more than a hint of glam psych.  Without doubt the track benefits from the experimental nous and masterly hand of Highasakite‘s Kristoffer Lo, a man who knows his way around more than a few instruments.  Adding his trademark guitar, brass and a.n.other sounds to the mix, Lo has taken Pom Poko’s sound in a more experimental and diverse direction, giving the original live jam the same depth and texture he brings to all his collaborations.

While the instrumental backdrop has some sharp edges, it is chasmed by sufficient wide spaces to counter-balance the intensity. As usual, vocal duties of the infinitely starlit variety are carried off with effortless ease by Ragnhild Fangel Jamtveit and if her previous live vocal performances are the benchmark to go by, Pom Poko’s two gigs at Trondheim Calling should be something else and then some more!  During TC the band will also perform a live sesh for P3’s Ruben.  Unfortunately for me it’s happening on the Wednesday, ahead of my arrival ‘on scene’.

In addition to their saffron shot nocturnal cartoon visual accompaniment, Pom Poko have adorned their single with the cutest, candy-coloured artwork by Norwegian illustrator Erlend Peder which you can see here!  The floral bedecked character is as yet to be identified!

Illustration Erlend Peder
Illustration Erlend Peder

In other news, Pom Poko have made it to the Urort Final 2017 (a Norwegian national award for promising emerging artists); if you like what you hear, you can vote for Pom Poko to win this prestigious award, here. #doit

It is a testament to their punky quirkiness that Pom Poko give their facebook page “unofficial status” – hook up with it here to touch base with the band and keep up to speed with their lives at Trondheim Calling and their Urort escapades!

The future is definitely as bright as the characters in their ‘It’s a Trap’ video for this effervescent four-piece – I hope you’ll join me in wishing them all the luck in the world – for Trondheim Calling, for Urort and we-ell, for the future.

‘It’s a Trap’ is available now via Phonofile – http://phonofile.link/its-a-trap  .  Watch the captivating fam-made visual here.

A Dozen Diamonds That Gave A Shine To An Otherwise Murky 2016

Julia Holter

Julia Holter

Well here we are, on the cusp of yet another new year.  Who’d have guessed that as we stumbled unsteadily in a post-Christmas toxic daze towards 2016 that it would prove to be one of the murkiest, most unsettling and quite frankly disturbing of years.  One can only hope, and there is always hope, that this coming year will bring gladder tidings and a lot more joy than its predecessor.

Musically, 2016 had many, many highs.  It also shared several heartbreaking lows not least amongst which were the untimely deaths of Prince, George Michael and David Bowie – three of the rather large cohort of celebrities and legends who passed away in this year of darkness.  While those legends who died were predominantly male, much of this year’s sparkle mainly came from the female stars of the music world.  Lady GaGa, Beyonce, Marissa Nadler, Taylor Swift, Julia Holter … just some of the big female names that featured in the 2016 musical calendar.

Not surprisingly, some of them feature in my Dozen Diamonds of 2016 – a playlist of songs by international artists, with a select contribution from our part-time contributor, Eddie Sweetman.  Interestingly, the two artists selected for inclusion by Sweets are both male, while mine are predominantly female. Those choices themselves would probably make for an interesting case-study!

So which songs, by which artists made it into our top twelve, and why?

12. Margaret Glaspy – Pins and Needles (USA)

Strong, feisty country tinged indie with an edge.  There’s a waft of punk attitude blowing through the gritty melody, and more than a hint of steely determination in the ballsy lyrics.  The right side of rock for my tastes; tastes which I seem to share with most of BBC Introducing, BBC6 Music and BBC 1 … not a bad benchmark. Classy, savvy, strong, energised sounds from a lady who’s going places.

11. Birdy – Wild Horses (UK)

Twilit voiced, inspired poet and musical prodigy, Jasmine Lucilla Elizabeth Jennifer van den Bogaerde aka Birdy, has seen her star rise, and rise, and explode.  World class productions are now the order of the day but Birdy still holds on to the spiritual and emotional qualities so inherent in her earlier more gauche works.  With a vocal range that can scale mountainous heights and scrummage fireplace ashes, this super-talented musician could craft a song from the nothingness of a silken spiderweb and make it a masterclass in songwriting and performance.

Her 2016 album, ‘Beautiful Lies’ was a gift to the world – a finer, more emotive, and splendid talent you will struggle to find, and with even greater things sure to come, the future is “global” for this little songbird.

10. The Last Shadow Puppets – Les Cactus (UK)

Like them or loathe them TLSP are nothing if not entertaining. Seeing them live in Oslo was akin to watching a human firework display crossed with the energiser bunny thrice spliced with Poitin.  A pair of musicians who have most certainly put the roll back into rock, Turner & Kane may take the music seriously, but the live performances are treated more like a fun ride on the amusements. Never ones to shy away from taking the piss out of themselves, the video for their cover of ‘Les Cactus’, is a classic example of TLSP ‘on form’. As a cover, it pales in comparison to the Jacques Dutronc original, but as a piece of entertainment, it doesn’t fall short.

9.  Ed Harcourt – Occupational Hazard (UK)

Intense, moody, brooding, cavernous, blazing, ferocious – just some of the words I would use to describe Ed Harcout’s 2016 scorcher of an album, ‘Furnaces’, every pun intended.  One of the standouts LP releases of the year, ‘Furnaces’ reached out to and drew into its fold, a broader, more diverse audience than any of the Englishman’s albums had hitherto succeeded in doing.  I was drawn hook, line and sinker to this track because of the wolverine intensity of the guitar sequences and brutal rawness of the lyrics, the combination of which is addictive.  Brutal ingenuity at its bloody finest.

8. Radiohead – Burn the Witch (UK)

The first of two entries from the worlds greatest band EVER, ‘Burn the Witch’ was one of a pair of picks by sometime contributor Eddie Sweetman.  In his words, “incisive, relevant an astonishing comeback and the highlight in my opinion of the album.”  Need we say more?

7.  Amber Arcades – Fading Lines (NL)

What can I say.  I fell in love with this song on first play.  Like a 21st century incarnation of The Cardigans,  Annelotte de Graaf has all the dreamy deliciousness of that Nina Persson vocal, along with plenty of her antecedents uber Nordic cool!  Sexy, edgy, inviting indie-pop with a swirl of darkness running across its shiny exterior.

6. David Bowie – I Can’t Give Everything Away (UK)

The second of Mr Sweets’ picks, and a poignant one at that.  ‘Blackstar’ was a huge favourite amongst the bloggerati and a fitting finale from a gifted man, musician, artist, performer & more, who was truly one of a kind.  On his selection of this particular track Eddie explains: “This was the last track Bowie ever released. Poignant and delicate. Even more so now that we know he was aware he was dying.”  A fitting tribute I think you’ll agree.

5. Marissa Nadler – The Best You Ever Had (USA)

Sadly sickness struck (again) when Marissa Nadler came to town … “out damn ‘germ’ out I say” said I, alas to no avail.  Laid low, my chance to see this bewitching enchantress weave her goth clothed spells was gone in the blink of 24 hours (the length of time it takes me to go from apparently healthy to woefully ill).  I had sped towards Nadler like a bee to honey on the recommendation of my ‘pen as sword’ icon, tQ scrivener John Doran, who had bade me not to miss her more than magical live performance.  Instead, I’ve had to make do with looping replays of her album, ‘Bury Your Name’ from which this is my stand out track. Delish!

4. Julia Jacklin – Coming of Age (Aus)

The new age Little Miss Firecracker of country-grunge hits Dublin at the end of February 2017 and nothing, I mean NOTHING will stop, hinder or hamper my path to Whelans! Elbows at the ready, that space up the front is mine. Part of that new wave of punky twang that includes fellow upcoming songstrel Margaret Glaspy, Julia Jacklin takes smartly honed real-life lyrics and sandwiches them between slices of heaving melodies chock full of punchy guitars layered over a tightly woven R/S.  The result is impossible to resist infectious country stained down and dirty pop. Only a fool would miss the chance to see this raw and rousing talent shine live!

3. Radiohead – Identikit (UK)

2016 saw the arrival of what was possibly the most awaited album for years.  ‘A Moon Shaped Pool’ didn’t disappoint.  This piece of classic Radiohead was sheer musical perfection packed with all the innovative ingredients that have made this quintet the consummate musical giants that they are.  And while most blogs will have opted for either of the two singles, this off-kilter piece of jazz infused experimental alt transports me back to the halcyon days of ‘Kid A’.  With its lyrical nods to Murakami’s 1Q84 (there was a similar intertwine between ‘Kid A’ and Kafka on the Shore), haunting interludes from vocal ghosts, and natty, spacious percussion Identikit is the understated star in this a stellar compilation.

2. Julia Holter – Lucette Stranded on the Island (USA)

Yeah, yeah I know.  The album was released in 2015.  But for me 2016 was all about Julia Holter.  Having failed to make her Dublin concert earlier in the year, one of the main catalysts for my travelling to Oya in Oslo, was the chance to make up for that lost experience.  While thirty minutes was far too short to soak up the musical enchantment magicked by an artist of Holter’s calibre, as luck would have it, Julia returned to Dublin in November and gave, what was for me and the several hundred other spellbound concert-goers in Vicar Street, the live performance of the year.  Compelling, captivating, magical, powerful, innovative – Julia Holter ranks as one of the most outstanding of contemporary female artists. This ingenious track just goes to prove it.

1. Weyes Blood – Generation Why (USA)

Not since hearing Dusty Springfield sing ‘The Look of Love’ have I come across another female vocal that radiates such warmth and richness, with a darkness edged with light. A voice with a true and unfaltering power cloaked in a sheath of softness like an iron fist in a velvet glove.  Not until that is, I heard the voice of Natalie Mering, the enigmatic talent behind music project, Weyes Blood. ‘Generation Why’, from the album ‘Front Row Seat To Earth’, is lyrically inspired and musically fresh, and while it contains many of the default elements of a classic pop song, it is the shades of daring alien electronica and the edgy undertones to words sung with angelic clarity that take this song to altogether another level.

The inclusion of so many American artists reflects the shifting sands of my musical tastes during 2016.  For me personally, this has been quite a remarkable year in terms of the quality and diversity of the music that’s been released.  And while the likes of Bieber, Rihanna and A-Z of Hip Hop may dominate the charts, the greater wealth lies in those treasures which remain beloved of those worthier barometers of musical greatness – The Guardian Culture, DiS and my personal fave, The Quietus.

I’ll leave you with a Spotify list of the 12 tracks featured in this sparkling retrospective … and hope you enjoy them as much as both Eddie and I have done.  May 2017 bring more shimmering gems to brighten up our sometimes more than mundane lives!

Samü Release ’60s Dipped Debut Single ‘How It Works’

samu

If you teleported Aurora back to the soulful days of the late 60s, threw a gauze of colour-pop psych over some Broen type wonk, and then fused the two, you might arrive at something vaguely in the realm of ‘How it Works’, the debut single from Oslo based Samū.

With only one other song up on their socials, the ludicrously good ‘In My Head‘, a song that could easily have been crafted by that erstwhile queen of ’50s jazz and ’60s trippy folk cum blue-eyed soul, Amie ‘Warwick Avenue‘ Duffy, Samū’s sound is still pretty much uncharted territory.

A five-piece comprising Trine Samuelsen Hansen, Sander Eriksen Nordahl, Ruben Gilje, Martin Morland and Knærten Simonsen they recently signed to Trondheim based ‘NO FOREVERS‘ a label whose star is very much in the musical ascendancy.

That they draw the bulk, if not all, of their influences from the 20th century is pretty clear, with samples spanning a 40 year spectrum from the ’60s folk of Simon & Garfunkel through sugar coated synth-pop to ’90s slacker pop, all washed down with that easy-evening, ‘Waterloo Sunset’, laid-back chill of The Kinks.

And it is that low-key, serene feeling, that lies at the very heart and neo-soul of their single ‘How it Works’, a song set in a timeless world, in which everything moves in a slow-mo waltz, against a backdrop of hazy days harmonies and easy, peaceful sounds.

Echoey ’60s piano riffs and retro keyboard sounds take centre stage, while nice n’easy  guitar and percussion take a more subtle, gentler approach.

Trine Hansen’s vocal, more golden delicious than the Nordic cool of so many of her peers, skips and dances playfully through the songs instrumental spaces, giving them a delicious sweet filling. The song itself is underpinned by a lumbering bass, which in an almost bluegrass outro, tracks its elephantine plod through a garden bed of spiralised wonk.

Having cut their live teeth playing several gigs in Norway, Samū laid down their first single in Øra studios with Karl Klaseie (Kari Harneshaug, Antler, Østfrost).  The band are now working on their first album, details of which will be announced later in the year. ‘How it Works’ goes on release today, and  you can hear it right here, right now.

https://soundcloud.com/no-forevers/samu-how-it-works-2496

Follow Samū on Facebook and Soundcloud for more updates regarding live dates and new music.  ‘How it Works’ is available now on Spotify.

Milburn Score A Cool Double A After Decade Long Sabbatical

Uncredited Photo Milburn FB Page
Uncredited Photo Milburn FB Page

To be honest when the PR for the new Milburn video landed in my inbox I stared blankly at it, my facial expression taking on that quizzical ‘who?’ look!  I’d never heard of Milburn – had no prior knowledge of them, or their music.

So it was, with a slight headache, a touch of a cold and the daunting task of packing for a holiday making up my Mardi-soir, I decided to venture forth and have a deco at this ‘unknown entity’.

Good guitar intro, bit of impending doom bass, and wham.  It’s Alex Turner!

No seriously, I’m not that up on singers from Sheffield, natural habitat of Milburn.  In fact, the only singer I know from Sheffield IS Turner and for the record, Joe Carnall does kinda sound like him. With an added dash of Tom Ogden, thrice removed relation of Hilda and frontman with “tears of gold, my Charlemagne” Blossoms.  I’ll put the resemblance down to geography and indigenous Northern accented vocals.

So … ‘Midnight Control’.  Bit rock, bit indie, bit pop, it reminds me of some of the sounds that used to populate the chart toppers of my ‘disco days’ – back when music was pure, its intention was clear, and it had stalwart, dedicated fans who went out each week and didn’t just pay for it, nooo, they queued up to pay for it!

Retro rock guitar vibes and a soulful vocal take centre stage ahead of some funky blues-bass and piano, all held in check by well tempoed, understated drumming.  This is good stuff, more than good, pretty top notch in fact.  It’s a song with an easy rhythm, that’s both well arranged and skilfully produced, just without the prerequisite overcoat of oil slick that so many similar bands opt for these days.

I have no idea why Milburn’s sound means nothing to me, but I’ll be making a point of deep diving into their back catalogue.

Cue words about the video!  Young page-boyed chick (I can use the term, I’m female) dressed in ’70s tribute outfit of wallpaper coloured stripey top, and high-waisted, bell-bottomed, “no elastane in these babies” jeans, high kicks the night away in Sheffield City Hall.

With more stretch on her hamstrings than Ibrahimović, she Can-Cans and Night Fevers across a rubix cube disco floor – the kind that used to be found in Club “Anytime Anyplace Anywhere” back in the day!  I’m told her dance routine is ‘Northern Soul’, something about which I must confess total ignorance!  But it’s a neat video that goes with the retro disco-hall vibe of the song.

‘Midnight Control’ is part of a Double A along with track ‘Forming of a Fate’, available now via iTunes and usual digital outlets. Milburn have just kicked off a UK tour and I’d post the dates ‘cept they’re all sold out BAR – Sep 27 – Carlisle The Old Fire Station, GET ON IT CARLISLE!!

You can follow the band on Twitter and Facebook to keep up with their antics, hijinks and further music releases.

Step Aside Whigfield, Saturday Night Belongs To Sløtface – ‘Take Me Dancing’

Photo Fabian Framdal Fjeldvik
Photo Fabian Framdal Fjeldvik

The past year has seen young Norwegian band Sløtface grow into their musical skin as it were, and having heard their latest single ‘Take Me Dancing’, I think it’s pretty fair to say that this four-piece have finally found a sound clearly identifiable as theirs.  Sitting somewhere on the musical midpoint, ‘Take Me Dancing’ is a canny blend of sassy Blondie style power-pop and melodic noize.  With shades of the punked up Summer of ’79 and the shine of ‘alternative night’ at Studio 54, the track finely balances its mild-mannered pop sensibilities with an edgier neo-punk alter ego.

“But now I’m much older than I’ve ever been, Now I’m getting cold I need to knit myself a prince”

Pumelling percussion, a tight-knit guitar jam with archetypal intent and then some, and Shea’s signature vocals are the core ingredients for this potent pop recipe.  Shea’s voice is warm and strong; a youthful confident command with a curious idiosyncrasy of ending lines with a questioning uptick.  The lyrics are as always, a little sweet on the outside with a slightly acidic counter on the bite.

What marks this song out, what sets it apart from its predecessors, is the pervading sense of musical maturity and, the uber-excellent production, and oh boy, is this one well produced song!  Musically speaking, the strength and symmetry of the instrumentation on this track, is a clear indicator of how far this band has progressed and matured over the course of the past twelve months.

Take Me Dancing CoverArt
Take Me Dancing CoverArt

 “Please get me a little drunk, I won’t ask why!”

If you like your riot with a bit of poppy pep in its step and happen to find yourself in & around Oslo on Tuesday 9th August, hoppit over to Parkteatret for 7pm where you’ll be one of the super-lucky vØyagers to see this quartet of attitudinal effervescence perform this and several more hits live… and when I say, live, I mean ‘LIVE’.  Full, energiser bunny animation.  Their set is part of the fabster Klubbdagen Night that marks the annual kick off of the Norwegian Glasto, Øyafestivalen. Details of the Parkteatret event, here.

Sløtface is: Haley Shea (Vocals),  Lasse Lokøy (Bass Halvard),  Skeie Wienck (Drums), and  Tor-Arne Vikingstad (Guitar).

Follow Sløtface on Facebook, Twitter and the rest of the usual social paraphernalia. Check out ‘Take Me Dancing’ here … see you in Parkteatret on 9th!

PS. For the record, the Blondie song that keeps coming to mind is this … https://www.youtube.com/watch?v=0xueCCyZ5V8