Berlin Insider’s Guide · How to Prepare for the Studio · 2015 Festival PreviewPLUS:

HamsandwicH · The Vaccines · Booka Brass Band · The Eskies · Muse · Duke SpecialSkelokrats · The Mighty Stef · Colm Mac Con Iomaire · Not Squares · All Tvvins

FEATURING:

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VillagersTalking life, love and music witH

JUST ANNOUNCED... RUSANGANO FAMILY HOT COPS SHOOKRAH BATS

LAND OF THE GIANTS SINEAD WHITE KICKING BIRD BAGELS KING MODO SARAH RED GREEN MONKEY

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ROCSTRONG ROBOCOBRA QUARTET O EMPERORKINGSTON RED ENEMY TUCAN CONTOUR

NEW SECRET WEAPON BUNOSCIONN MAMA KASBAHREBECCA COLLINS VERNON JANE LEO DREZDEN BUNK MEGACONE INTERSKALACTIC POCKETS

HECTOR BIZERK THE WITCH TRIALS MONGOOSE

MORE ACTS TO BE ANNOUNCED SOON

2 DAYS 4 STAGES OVER 70 ACTSTickets €80 Ex booking fee

available march 6th at 9am from knockanstockan.ie

24th & 25th JULY, BLESSINGTON LAKES

Industry Guide: Hitting the StudioInterview: HamsandwicHInterview: Villagers Insider Guide: BerlinAlbum ReviewsLive ReviewsFeature: Let’s Talk About SexismInterview: The Vaccines Feature: Festival Preview

Welcome to issue two of GoldenPlec Magazine where you’ll find interviews with two heavyweights of Irish music, Conor

O’Brien from Villagers and HamsandwicH. Gavin Glass guides us through the recording studio and we talk sexism in the music industry. We also have an exclusive line-up announcement for KnockanStockan, in our four-page festival special.

GoldenPlec has entered into partnership with Ireland’s biggest website, Independent.ie and the Windmill Lane Sessions, enabling us to bring more great Irish music to a bigger audience than ever before. Visit GoldenPlec.com for exclusive content, music news, reviews and competitions.

We’ll be back in July with issue three of GoldenPlec Magazine. Hopefully we’ll be living in a more equal society by then.

Stephen Byrne,Magazine Editor

Magazine Editors James HendicottStephen Byrne

Art DirectorDavid Dooley

Editor-in-Chief Aidan Cuffe

Project Manager Ros Madigan

Sub-Editors Bernard O’Rourke

Ros Madigan

Contributors Ally DalyAnna Job

Bernard O’RourkeCatriona GrahamFionnuala Jones

Frank HughesGavin Glass

Gavin O’LearyGreg Synnott

James HendicottJustin McDaidOrla ConwayRos Madigan

Stephen Byrne

Photographers Aaron Corr

Sean ConroyTara ThomasColm Kelly

Michelle Geraghty

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Not Another Magazine!

As an artist, engineer and producer, Gavin Glass - owner of Orphan Recordings - knows more than most about recording.

So how do you get it right?

Words: Gavin Glass Photos: Aaron Corr

Beautiful

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W ith the development of music software

over the last decade, it has never been easier for musicians and songwriters to record and produce their own music. Professional sounding recordings can now be achieved with just a laptop, a good sound card and a decent microphone.

A professional recording studio, however, can offer many advantages that just can’t be achieved with a home studio. That’s not simply because of the experience and objectivity of the engineer/producer and of the possibilities offered by high-end equipment, it’s also down to the physical or emotive environment of the studio.

Here are a couple of tips that I would recommend any musician consider before entering the studio and embarking on making musical history.

Plan AheadShop around. Not every studio/engineer/producer will suit your needs. Visit the studio, talk to the engineers or the producer. Make sure you will be comfortable

locked in a room with them for ten-hours a day. Know your budget and what is available for it. Do your research on previous albums from the engineer, producer and studio.

Know what songs you’re recording and practice the absolute bejesus out of them. Then practice them again.

Song structure, musical parts, drum patterns, vocal lines and harmonies – figure out as much as possible in rehearsals. Then figure out an alternative, too.

Working with a Producer?Be sure you know your songs inside out, you are then somewhat prepared should a producer suggest a different approach. If you’re recording to a click track, practice to a click in rehearsals and figure out your tempo maps. Have a realistic goal of how many songs you are going to record. Young bands/songwriters consistently expect to record too many songs in too little time.

Self-Producing?Don’t expect the engineer to know what sound you are

looking for. He is not a mind reader! Have an idea of what guitar, drum and bass sounds you like. Reference tracks are a huge help to engineers. It’s always worth sitting down and playing some tracks you dig.

Get Everybody on the Same PageBands need to sit down together, outside of rehearsals and discuss where each member sees the sound and direction of the group going. There has to be some sort of simpatico within a band. Some directional struggle can be a great thing, but if one member of a band wants to make a big, wide, dry record while another member wants a small, lo-fi ambient record, chances are you are going to lock horns in the studio. Figure out the compromise beforehand, if possible.

Before the recording session, discuss potential overdubs. Set up a list of what parts, overdubs, instruments etc. are required and systematically tackle each part in a suitable order. This is great for time management and there is always a morale boost after striking a big dirty red “X” through a tricky (continued)

Issue 02 5

Industry Guide - Hitting the Studio

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guitar part or a vocal that you’ve been dreading.

Don’t Forget the VocalsDifferent singers like to sing at different times of the day; some like mornings, some prefer later. Figure this out in advance and be sure to leave ample time. 99.9% of the time the vocal is the most important instrument on a recording. Fantastic recordings can be ruined by not giving the vocalist the time they deserve.

Time is MoneyMost projects are on a tight budget as they are being self-financed. Be punctual!

While musicians may not be the best timekeepers, (no drummer jokes, please) arriving late to a session is disrespectful to the engineer/producer and implies you don’t give a shit about your art. Most studios charge an hourly or daily rate. Don’t eat into your budget by arriving late or holding up line/mic checking because you have to replace and tune all your drum skins. Be smart, do that the night before.

Have Your Instrument ReadyThere is nothing worse than recording an instrument that has an intonation or electronics problem. If you are going to drop money on a professional recording, make sure your own house is in order instrument/amp wise… or pick a studio that has a suitable backline.

Rest UpThis seems a little obvious, but make sure you are fully rested before hitting the studio – especially vocalists!

A day in the studio is an emotional and physically draining task. You don’t want to burn yourself out too quickly. If you are an independent band on a tight

budget, leave the Dutch Gold and weed at home. It may have been acceptable for the Rolling Stones, but until you have your own private jet and a fleet of buses on the road; leave acting the maggot out until after the recording is finished!

Enjoy It!Many bands put too much pressure on themselves and the producer/engineer going into the studio. Trust the people you have hired to help you with your music. Be patient. Many records don’t begin revealing themselves until late in the process.

Making music should always be a joyous experience. Good luck!

Issue 02 7

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Industry Guide - Hitting the Studio

S itting down with coffee that contains

more sugar than caffeine, Podge, Niamh and Ollie of HamsandwicH excitedly regale us with a story about telling a Garda that some shifty characters were hanging around the band’s van, which had all their gear in it. In the ensuing conversation, said Garda mistook musical instruments for Class A narcotics, creating

a scene that wouldn’t be out of place in a remake of ‘This Is Spinal Tap’.

Aside from almost accidently being arrested as drug dealers, the HamsandwicH posse have been kept busy with their third album ‘Stories From The Surface.’ “The recording process for this album was a bit different to previous times, where we would have written as a group. This time

we all came to the table with demos and completed them together,” Podge tells GoldenPlec.

Having reached a stage as band mates and friends where criticism is always taken as constructive, the creative process is infinitely easier. “We totally trust each other to make big decisions if some of us happen to be unreachable. Being on the same page is amazing,” Niamh explains.

HamsandwicH

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Interview - HamsandwicH

The aim was to write in the traditional ‘album arc’ style of old vinyl records. Recently, some musicians have said the album is dead. This type of talk saddens Podge. “That attitude is counterproductive. I love albums and how each song has some context to it. In some instances, if you take a song out of the safety of an album setting it can sound totally different and is rarely as effective.”

Being back in the studio again is met with mixed emotions. “There are good and bad days” is a line announced almost in unison with a fit of laughter and knowing glances. “You get to hang out with your friends and play music” Niamh says. But “on the flip side, it’s really stressful. Being productive on call isn’t easy. More than once, I have found myself close to tears with stress. Hearing the final edit (of the album) makes it somewhat worthwhile.”

Recording in a “dark and dimly lit cottage in the back arse of nowhere,” is far away from what most people imagine recording sessions entail. “Podge ate a chocolate bar that Brian had been saving all day,” Ollie laughs. “We all thought World War III was about to break out. A piece of chocolate was the straw that broke the camel’s back. It can be a tense time… I’m not sure if Brian is aware that it was Podge. This could cause some tension.”

For ‘Stories from the Surface’ the band had producer Karl Odlum on hand to act as babysitter, shrink and confidant. “The importance of a person like Karl cannot be described,” Podge tells us. “He knows exactly how far to push someone and how to get the best out of a song. We rewrote a few songs thanks to him and they are infinitely better because of it.”

Touring, equally, isn’t easy. Despite this, none of the band ever have the urge to find a nine-to-five job. “Once we learned how to pace ourselves we were okay,” Niamh says. “There was one particular gig

where we may have gone a bit overboard the night before. I’m pretty sure I threw up in my mouth onstage. After that gig we all swore to cop on.”

Playing Electric Picnic for the first time after years of enquiring was a turning point. “They put us on at 12 o’clock in the morning and I pretty much didn’t sleep the night before.” Podge says though a sheepish grin. “I was wearing a bunny costume and in the middle of the deepest fear of my existence. We waited four years for that moment and there I was in a fucking rabbit costume. Everyone in the band still gives me a slagging over that. We’ve started to take much better care of ourselves now though.”

Which leaves one final frontier: a desire to conquer the UK and US. “Taking that next step is so important to us. We have a few things in the pipeline so we are so excited for the future”, Podge tells us. You wouldn’t bet against them.

‘Stories From The Surface’ is

out April 17th

Words: Gavin O’Leary

Photo: Dara Munnis

“We waited four years for that moment and there I was in a fucking rabbit costume.”

Issue 02 9

Interview - HamsandwicH

Return of the JackalConor O’Brien – better known simply as Villagers – is widely regarded as one of the most skilful songwriters to emerge from our island in recent years. His poetic lyrics and heartfelt melodies have taken him around the world, seen him nominated for the prestigious Mercury Music Prize, and take home an Ivor Novello. His broad experiences have informed much of Conor’s more recent work. Love, life, music and equality are all on the singer’s mind when we meet him to talk third re lease ‘Darling Arithmetic’.

‘Darling Arithmetic’ was born in rustic home demos, and many of those early versions live on in the album you hear today. “As it progressed over the months I realised it was going to be much more of an intimate album and much more spacey, quiet and direct,” O’Brien explains. “Sometimes when you redo stuff you lose the initial spark. What I liked about these recordings is the vocal takes were done when I didn’t even realise I was going to be releasing this. They’re more unguarded.”

The unshielded approach turned ‘Darling Arithmetic’ into a polygon of emotions, quite different to previous albums. “With my older songs there’s much more symbolism in them, they’re flights of fancy. These are much more direct and about relationships”. As the record unravels, Villagers waltz between topics such as courage, love and serenity.

The new style is epitomized by Dawning On Me, one of the album’s standout tracks. It’s a delicate, hypnotizing love song, which magnificently depicts the early morning hours of slumber with a partner. “Particularly with that song,” O’Brien tells us, “I was just trying to write the simplest song about when you’re lying beside your partner thinking, ‘this is incredible and the sun’s coming through the window.’ I just wanted it to be this simple moment.”

Words: Anna Job Photos: Sean Conroy

10

Return of the JackalConor O’Brien – better known simply as Villagers – is widely regarded as one of the most skilful songwriters to emerge from our island in recent years. His poetic lyrics and heartfelt melodies have taken him around the world, seen him nominated for the prestigious Mercury Music Prize, and take home an Ivor Novello. His broad experiences have informed much of Conor’s more recent work. Love, life, music and equality are all on the singer’s mind when we meet him to talk third re lease ‘Darling Arithmetic’.

‘Darling Arithmetic’ was born in rustic home demos, and many of those early versions live on in the album you hear today. “As it progressed over the months I realised it was going to be much more of an intimate album and much more spacey, quiet and direct,” O’Brien explains. “Sometimes when you redo stuff you lose the initial spark. What I liked about these recordings is the vocal takes were done when I didn’t even realise I was going to be releasing this. They’re more unguarded.”

The unshielded approach turned ‘Darling Arithmetic’ into a polygon of emotions, quite different to previous albums. “With my older songs there’s much more symbolism in them, they’re flights of fancy. These are much more direct and about relationships”. As the record unravels, Villagers waltz between topics such as courage, love and serenity.

The new style is epitomized by Dawning On Me, one of the album’s standout tracks. It’s a delicate, hypnotizing love song, which magnificently depicts the early morning hours of slumber with a partner. “Particularly with that song,” O’Brien tells us, “I was just trying to write the simplest song about when you’re lying beside your partner thinking, ‘this is incredible and the sun’s coming through the window.’ I just wanted it to be this simple moment.”

Issue 02 11

Midway through the album we’re dealt a card with a memorable line. “Remember kissing on the cobblestones/in the heat of the night and all the pretty young homophobes/looking out for a fight”. There’s a striking juxtaposition as O’Brien manages to sweetly drop a word with such ugly connotations into this hazy, romanticised, Hot Scary Summer scene.

“That song is about a certain stage in a relationship… and kind of about homophobic experiences that I’ve had. I think as a writer, the best way of doing it is: you take the anger from the experiences and take the time to process it so when you put it back out, it’s full of love and openness. I wanted to put in a bit of humour. Kind of like saying: ‘Oh look at you, you’re cute.’”

O’Brien explains that he hasn’t really spoken publicly about love because it wasn’t a topic that featured prominently on his previous albums. Now that it’s a central theme in ‘Darling Arithmetic’, he’s open to discussion.

“It depends on the interviewer. If I’m writing songs about relationship experiences, I’m not going to go into specifics, but as long as I draw the line to a certain extent, I’m comfortable talking about it. Now that I’ve written an album about love, I know I’m going to spend the next year talking about it.”

The Marriage Equality Referendum will take place about a month after the release of Villagers new album, a fact O’Brien refers to as a “happy mistake.”

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Interview - Villagers

“I’m really happy about that actually. I mean, I don’t want it to be too tied into a political movement but anyone in their right mind can see equality is essential, and I can lend the voice a little bit.”

“There’s a certain energy – in Ireland anyway – you can feel it getting more and more open minded by the day. I grew up in the ‘90s and I think if I was a teenager growing up now I’d be happier. I’d feel far less repressed and less scared of just being myself.”

Just over a year ago, Villagers released the single ‘Occupy Your Mind’ with the following message: “In the advent of the 2014 Olympics in Sochi, please find attached a song written for you, your mother, your father and your gay brothers and sisters in Russia.”

“For me the idea of the protest song is a

dangerous idea. When I’m writing, I always try and write from an emotional perspective. While we were touring I was reading more and more about the situation in Russia and putting myself in their shoes. I remember we were going to release the single and I was thinking if I didn’t write about this, anything else would have been dishonest. It was just out of necessity.”

At a time when much of the mainstream music industry still struggles to navigate the blurred lines

between values, integrity and money; it is refreshing and important to speak to an artist who clearly understands the purity of music and the impact it can have without corporate infiltration or egocentricity.

Outside of his core activities, Conor often opts to take part in culturally significant events such as Other Voices and

Ceiliúradh. The latter, was a celebration of Anglo-Irish relations, hosted by President Michael D Higgins in the Albert Hall last year. “I remember singing My Lighthouse and the words just took on a new meaning literally while I was singing. I was just thinking ‘Oh fuck, this is amazing, I’m in the Albert Hall, this is really important’ and the words are quite open: ‘You are needing a friend/for to follow, for to fend’ could have been directed at two nations.”

That layered, poetic approach to song writing – positively crammed with diverse, personal meaning – is what keeps Villagers so vital. ‘Darling Arithmetic’ is a change of pace, a change of subject and an exploration of the loving soul of one man. It could still only be Conor O’Brien.

‘Darling Arithmetic’ is out on April 10th.

Villagers play the Olympia Theatre on May 20th & 21st.

“Anyone in their right mind can see equality is essential”

13Issue 02

Interview - Villagers

Berl

inBerlin is widely touted as the

clubbing capital of the world; once you’ve experienced this

buzzing city’s nightlife previous experiences can seem somewhat

pedestrian. Summertime is the city’s clubbing peak, with all-night parties,

world-class DJs and hedonism galore.

Once in Berlin, Resident Advisor should be your first port of call. All major events

are listed on this site in a day-by-day format.

Clubs are often located in peculiar venues: former noodle factories, warehouses and

swimming complexes. They resemble playgrounds for grown-ups, even boasting climbing frames, Ping-

pong tables and hammocks. Some venues, like About Blank’s Homopatik, host club nights that run over

a whole weekend.

As soon as the weather heats up, open air season begins with one-day mini festivals attracting top names in techno

and house. Last July, for example, Caribou played a free gig in Mauerpark. Keep an eye out for DIYNAMIC and Lichtpark

too.

Berlin is notorious for strict door policies, and it pays to prepare. Make sure you are coherent and know the name of the event and a

DJ that is playing when you arrive. Bouncers will often ask how many are in a group and prefer to let people in to the event in pairs or three

at a time. The philosophy behind this is to encourage people to mingle

Berlininsider guide

Our resident of Germany’s techno heartlands gives us the lowdown on Europe’s clubbing capital

“Widely touted as the clubbing capital of the world; once you’ve experienced this buzzing city’s nightlife

previous experiences can seem somewhat pedestrian.”

when they are inside as opposed to staying in large, anti-social packs. Many clubs do not open before 12AM and most people turn up around 2AM.

Looking for some pre-club drinks? Then Klunkerkranich is the place to start your evening. Located on top of the Neukölln Shopping Centre, it offers spectacular views of Berlin, especially around sunset.

After a beer or two in Klunkerkranich, there is a wealth of clubs to choose from. First up is Zur Wilden Renate in Friedrichshain. Once you make it through the door, you are Alice and Renate is Wonderland. It is theatrical, quirky and the DJs are exceptional. The venue sprawls across an old apartment building with three dance floors and various rooms to explore. The outdoor area has a hanging boat, mini bonfire and other bizarre knick-knacks. Every time you visit, you’ll find something new.

Berghain is one of the most famous clubs in the world. Renowned for an uber-strict door policy, monster sound system and of course the whispers of X-rated happenings. If you make it through the doors, you will find two

dance floors, Berghain and Panorama Bar, which reside amidst soaring concrete walls. Berghain’s resident DJs include the likes of Ben Klock and Marcel Dettman.

In a previous life, Griessmuhle was a noodle factory. Today it houses a large club with several dance floors and a spacious outdoor area containing old cars, containers and climbing frames. Perched on the banks of the

Neukölln canal, rumour has it some clubbers swim across to avoid the entry fee.

If you’re on the lookout for something completely different to anything in Ireland, we’d recommend checking out Stattbad Wedding, a 1907

swimming pool revamped as a club and cultural complex.

Other clubs of note are Suicide Circus, Ritter Butzke and Prince Charles. Despite the name, Suicide Circus can be a lot of fun – it’s a small venue with beach party vibes. Unlike many of the Berlin clubs, you won’t find graffiti in Prince Charles but you will catch the likes of John Talabot playing all night long. The possibilities are almost endless. Words: Anna Job

“Widely touted as the clubbing capital of the world; once you’ve experienced this buzzing city’s nightlife

previous experiences can seem somewhat pedestrian.”

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“Once you make it through the door, you are Alice and Renate is Wonderland. It’s theatrical, quirky and the

DJs are exceptional.”

Issue 02 15

Insider Guide - Berlin

The Eskies After The Sherry Went Round

‘A fter The Sherry Went Round’ is a time warp of sorts. The album is a whirlwind brass and string soundtrack

plucked from spaghetti westerns and bar mitzvahs, complimented by clean, modern percussion. Despite sounding like they belong in a century past, The Eskies are far from archaic. At the heart of the record is a vibrant thrill-seeking soul. ‘After The Sherry Went Round’ may not bleep and click with contemporary sounds but is no less adventurous and experimental in spirit. The Eskies are just chasing a different kind of bliss.

The vocal harmonies on Fever and Eloise are unshakeable, and push forth the theatrical qualities that the band’s live performances are renowned for. Chin Up Jack is a vivacious knees-up of brass and guitar. Current single Jesus Don’t Save Me crams everything from bluegrass to 1920s style woodwind into a blasphemous life-affirming cocktail that’s primed to become a live favourite this festival season.

It goes without saying that this sort of signature sound is not everyone’s, ahem, bottle of sherry. However, the record is not so obscure that it is inaccessible. True to form, the sound is rich, luscious and served to perfection. Drink up. Fionnuala Jones

Villagers Darling Arithmetic

Featuring minimal accompaniment –

guitar, piano, mellotron and brushes, all of which Conor O’Brien took on by himself – this highly personal album was recorded in the loft of a converted farmhouse in Malahide that is his studio. Immediately embracing intimacy, It deals with ‘desire, obsession, loneliness and confusion, and deeper into philosophical and existential territory.’ ‘Darling Arithmetic’ is an evocative album brought to you by a man who has no qualms with opening himself emotionally to his audience, and introducing them to his inner demons. Listening alone and absorbing is highly recommended, if not required. Greg Synnott

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Reviews - Albums

Album Reviews

The Mighty Stef Year Of The Horse

Wounded, wronged, riled-up, spaced-out;

‘The Year Of The Horse’ captures the swashbuckling spirit of The Mighty Stef live, in amber. The coarse wallop of Stefan Murphy’s authoritative voice gnashes and caresses with equal effect throughout.

Death and darkness pepper the rock ’n’ roll bombast of ‘60s revivalism on Everybody Needs a Grave, Murder and Ceremony. But, ‘The Year Of The Horse’ is definitely an album of two halves, they refuse sex on Blind Girl opting instead for an evening with Horse Tranquilisers ‘The Year Of The Horse’ is for rebel rousers with soul. Stephen Byrne

Colm Mac Con Iomaire And Now The Weather

A fter The Gloaming’s triumph at this

years’ Choice Music Prize, the limelight has been cast back upon modern traditional music. Colm Mac Con Iomaire’s latest is a great example; an instrumental album full of delicate, poignant, cinematic songs that feel at once contemporary and grounded in the past. It’s a musical journey that tugs at the spectrum of emotions, none more so than on the beautiful A Farewell to the Sea. String instruments are to the fore, with subtle touches of piano on The Finnish Line and guitar on A Study in Scarlet providing those memorable distinguishing moments. Frank Hughes

HamsandwicH Stories From The Surface

HamsandwicH have always been the

plodding, perfectionist types when it comes to releasing music, and it seems the super-slow gestation of ‘Stories From The Surface’ has incited a notable evolution in approach. The power shift from the delicate, almost lullaby-leaning intro of Square 3 to the power-pop choruses of Fandango – a ready-made soundtrack for American coming of age movies – is subtle yet mesmerizing. ‘Stories From The Surface’ is more consistently impressive than previous releases by HamsandwicH, and is enhanced by its own minimalism. It’s a mature, poignant release that’s worth the wait. James Hendicott

Reviews - Albums

Issue 02 17

THE ESKIESAfter The Sherry Went Round

ALBUM OUT 15TH MAY 2015Pre-order on iTunes from the 8th of May 2015

See www.theeskies.com for tour dates

Dimestore Recordings Presents

Album Launch – The Sugar Club, 22 May

Doors 7.30pmTickets €10 / €15 + album

At mongoosetunes.com

THE ESKIESAfter The Sherry Went Round

ALBUM OUT 15TH MAY 2015Pre-order on iTunes from the 8th of May 2015

See www.theeskies.com for tour dates

Not Squares Bolts

F rom the pulsating dawn of Can Opener, it’s clear

to see where Not Squares intend on bringing their long overdue follow-up to their 2010 debut ‘Yeah OK’. By the time lead single Oops Said Hi comes around, you already know this is an album that simply exists for the summer festival scene.

It’s equal parts disco, throbbing basslines, meticulous melody and hairy hooks. Simpler Vibe and Hey You emerge and highlight the faultless production and towering sound on the record. It’s Irish disco/dance music at its best; made for an international audience. Welcome back guys, it was worth the wait.Ros Madigan

Duke Special Look Out Machines!

L ike everything Duke Special does, ‘Look Out

Machines’ contains a degree of musical reinvention. Son of the Left Hand goes all but full Depeche Mode. It’s pulsating catchy chorus, sounding simultaneously anthemic and intimate. Likewise, Step To The Magical practically dances along to a delicious synth beat.

Fortunately this new, electro-pop driven sound isn’t overdone. Duke Special maintains the stripped-back piano flourishes he is famed for, Statues fades in and out with a silky ripple of delicate piano notes, while Tweed Coat consists of little more than a naked tinkling of keys and barely audible sampling of street sounds. Sublime. Bernard O’Rourke

Skelocrats Bella Bella

Homemade wistfulness from the Popical Island

collective here; ‘Bella Bella’ distils the best elements of its members’ various projects, from the lush lo-fi indie of Groom and Land Lovers through the more pastoral tones of Paddy Hanna to the ‘Fisher Price pop’ of Grand Pocket Orchestra. Over fourteen tracks, they rattle through a playful, eccentric, tempo-temperamental selection that’s variously plucked, strummed, thrashed and trashed. Big Bad surprises with its psychedelic detours, folky ballads sit amongst the more raucous cuts, and the personalities and musical leanings of each contributor shine through despite the gang-like cohesion ‘Bella Bella’ exudes. Justin McDaid

Album Reviews

Reviews - Albums

Issue 02 19

Booka Brass Band celebrated their second

birthday by headlining Vicar St. cementing a remarkable trajectory to prominence in the Irish music scene for the octet who have capitalised on the unforeseeable amount of goodwill towards them.

It’s one thing to pique interest at a festival with an instantly gratifying set of hip-hop classics. It’s another thing to maintain interest with your own compositions; thanks to their high-energy creations, they have done just that.

Booka Brass Band were joined by Jape’s Richie Egan and The Minutes Mark Austin, the latter giving the crowd more than they bargained for.

Egan’s Floating was perfectly suited for a brass makeover and an excellent version of Phil Lynott’s Old Town - complete with legendary piccolo trumpet solo - an early highlight. However, from the moment Mark Austin strutted onstage there was a sense that anything could happen.

What unfolded was a sleazy romp through Bill Withers’ Use Me. Austin, clearly living out his cock-rock fantasies, strutting across stage and mounting monitors in a per-formance equally captivating as it was worrying. All it was missing was the phrase ‘smell the glove’, but Withers’ would surely have approved of the vocal if not the approach.

Booka matched Austin’s energy tearing through Smooth Criminal, Cry Me A River and crowd favourites Apache (Jump On It) and Rapper’s Delight showcasing each member’s physical dexterity.

However, the highlight of the performance came when Egan and Austin returned for Arcade Fire’s Wake Up.

Booka Brass Band delivered on all fronts, bringing the crowd through spaghetti western and Film noir sound-scapes and hip-hop classics, all delivered with individual panache and collective fair. Booka Brass Band is a band you should see at least once. Stephen Byrne

Booka Brass Band

Vicar Street

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Reviews - Live

Live Reviews

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INTRODUCING

MORE HOPS.MORE TASTE.

MORE CHARACTER.

The GUINNESS word, HOP HOUSE 13 words, HARP device and associated logos are trade marks. ©Guinness & Co. 2015 HOP HOUSE 13®

All TvvinsWhelan’sDespite not having a particularly substantial body of work out there, the crowd that packed Whelan’s are testament to the love already surrounding All Tvvins. Current single Thank You receives the best response of the night, but other songs such as Know Go and Two Worlds also provoke a dangerous amount of grooving in front of the stage.

While retaining that innovative All Tvvins style, some of the newer songs boast Adebisi Shank-esque guitar riffs. It’s a potent combo: by the time All Tvvins get around to releasing an album, they’ll surely be in bigger venues than Whelan’s. Ally Daly

Sleater-KinneyVicar StreetAs Sleater-Kinney brought their set in Vicar St to a close with Jumpers, Corin Tucker ended the song on the familiar refrain of “Four seconds was the longest wait.” Those in attendance in Vicar St. had been waiting a lot longer for the return of Sleater-Kinney to Dublin.

Tonight, Corin Tucker and Carrie Brownstein were like alternating currents of crackling electricity, sparking off each other throughout. Brownstein provided the theatrics, a contorting flurry of fretwork, while Tucker’s commanding vocals demanded attention. Boisterous, abrupt and compelling: welcome back Sleater-Kinney, just don’t leave it so long next time. Frank Hughes

MuseUlster Hall, BelfastPlaying their first gig in almost a year, and in a venue the scale of which they rarely frequent these days, Muse surprise us by running through the classics.

Newbies Psycho and Reaper are stronger live than their recorded forms suggest, but a rare outing for Uno and old favourites Hysteria and Plug in Baby offer the scintillating highlights of a set notably short on fresh material. Chris Wolstenholme’s driving bass is as stand-out exceptional as ever, forming the pulsing backdrop to Bellamy’s vocal explorations.

The tracks flicker and blend into a whole greater than the career-spanning tracks, seeming to zoom in and out of focus. The Devon band has always been a quality live act, and tonight they string together link ups, riffs and swirling aesthetics as well as ever. A polished, lively blitz of a set that promises further stadium highs. James Hendicott P

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Issue 02 23

Reviews - Live

Live Reviews

Let’s Talk About Sexism

From Stevie Nicks to the Spice Girls, Elisabeth Jacquet de la Guerre to Florence + the Machine, we’ve seen our fair share of musical powerhouses changing the course of the international music scene that just so happen to be women. On our own shores, we’ve seen Enya and Sinead O’Connor, Imelda May and Lisa Hannigan rise to fame. So why are some people still talking about a gender imbalance in the music industry?

Words: Catriona Graham

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Feature - Let’s Talk About Sexism

We decided to look at the question, speaking

to women from a variety of musical backgrounds trying to make it in the Irish music scene today, to find out whether gender equality is something we’re working toward, or if the fight is done and dusted.

So, what came from the conversation? It varied. Responses included people who were happy except for the odd quip about taking longer to get ready, to a horrific story about being stripped by a conductor as a teenager and having all subsequent complaints ignored.

As a trombone player, I’ve been on the receiving end of an outrageous amount of ‘boner jokes’ (yes they’re still funny after 12 years) however, people being sincerely concerned for my safety as a girl playing such a big instrument is progressively less endearing.

Singers, according to our entirely unscientific study, are happiest with their lot. It seems that if you’re working in an area where women

are specifically sought after, you’re going to be welcomed with open arms. So while female choirs were considered the ‘devil’s chorus’ back in the AD318, it ain’t such a bad position to be in today.

Instrumentalists were a different matter. I’ve been interested in the role of women in the industry for years, ever since as a teenager I realised that apart from the one girl I started classes with, (rumours were by 14 she had fashioned a rather inventive bong out of her instrument), I’d never seen another female trombone player. We’re a rare breed. It can be weird, but hey, it’s usually good craic and I love a sneaky drink and laugh as much as the next lad. Talking to other instrumentalists it was clear that the norm was exclusion and isolation.

Some were kicked out of groups, with excuses like, “They couldn’t carry enough equipment”. Others had some pretty awful comments made about their appearance that you’d never hear about guys (at one concert a girl wearing a string top was a slut, but a guy going topless a legend),

or people openly assuming girls were trying to get by on looks not talent. One drummer said that she’d lost count of the amount of times she’d been in a pub, carrying equipment or setting up the kit, and been asked by a well-meaning sound engineer: “Where is your boyfriend?”

Another said pictures of her were “stolen from her website” and posted on a misogynistic drum fetish site.

It can be great and a lot of fun, but the resounding consensus was that there is still a huge imbalance between how women and men are treated, sometimes with awful consequences. Sure, if you’re the best you’ll get through, but, wouldn’t the fairest thing be that you get the same opportunities, even if you’re only as good? It’s time men and women talked about the problems, and better still; the solutions.

GoldenPlec’s ‘Sexism in

Music’ Forum was held

anonymously, to allow

participants to speak freely

without putting future

endeavours at risk.

Issue 02 25

Feature - Let’s Talk About Sexism

T he world is full of bizarre twists and turns,

and the continued success of The Vaccines – strange as they never really sought it – is one. A real-world example of how in art, having fun can sometimes be the best career move. The quick fire rockers started out simply aiming to provide a laugh-along outlet alongside a more serious folk project. Three albums in, they’re in demand, and taking themselves more than seriously enough. The third album, in fact, has them all aflutter.

“I think it’s our best one, personally. It’s our best album by a fair bit and I can’t wait!” Pete Robertson, the band’s drummer and vocalist tells GoldenPlec, buzzing on the release of ‘English Graffiti’.

“It’s been very different. We’ve never taken quite so long to write before. When we came off the road almost eighteen months ago, we made a conscious decision that we were going to take some time off. About six-months of not doing anything was the idea; I think we all started writing as individuals pretty much straight away.”

New single Handsome, with its robotic, electronic edginess does a decent job of highlighting The Vaccines’ new brand of fun, with the video depicting a kind of indie rock boot-camp that bought the Londoners to that sound. “We had this feeling of fearlessness”, Robertson says. “It might sound douche-y, but how we start off in the video, being down and putting ourselves through this rigorous training process and coming out the other end ready to

take on the world. That’s kind of what we felt the album process was.”

“At the end of the cycle last time we felt beaten down, like people were ready to dismiss us.” That makes it all the more important to bounce back strongly, and with tracks like Want You So Bad, The Vaccines have taken a dramatic left turn, throwing in hypnotic swirls to top off their blasts of lad-rock indie.

“There is a real cohesion between all the songs on the album. I think they sound like they come from the same place.” Robertson tells us, “But I feel like they also sound like they’ve been written over the period of a year or so. There’s definitely progression through them and they all delve into different areas of music that we like and all the stuff that we’ve been listening to over the

“We felt beaten down, like people were ready to dismiss us.”

The Vaccines

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Interview - The Vaccines

last year or so.” With Robertson himself now head of a young family – and frontman Justin’s transition from straight edge vegan to dirty-rock frontman well-touted – perhaps a continued penchant for change was inevitable.

The business side of music has taken its toll, too, but Robertson sees a certain amount of inspiration to be taken from the industry’s slow

demise. “I think it’s pretty tragic but it’s kind of the way things are currently. To be a musician, you need money. And no one has any money. It’s a really bleak time.”

The Vaccines believe that this financial adversity will not castrate creativity, instead injecting a bold new wave of freedom into contemporary music “What I think will happen is that this bleak time is going to transform itself into a new mode

of expression.” Robertson doesn’t believe that this injection will be limited to any one genre “For us, variety is really important,” he says, a statement which rings true throughout ‘English Graffiti’. This is an album which has seen The Vaccines overcome their own adversity by embracing it.

‘English Graffiti’ is out May 15th

Words: Orla Conway

Issue 02 27

Interview - The Vaccines

C ompact and quirky, on a good day KnockanStockan can seem like an obscure field at Glastonbury transported into rural

Wicklow. Now in its 9th edition, the festival claims to be run on ‘blood, sweat and volunteers’, and builds that stellar reputation on having what we’d argue is the best buzz on the summer scene. Think tent raves, an ear for great unknown acts, early morning yoga. The concept is built on giving exposure to local musicians, with the headliners usually drawn from past success stories returning to repay the favour. If you ‘go local’ with your music and prefer a corporation-free festival with a relaxed approach to enjoying yourself; this’ll be right up your street. Keep an eye out for GoldenPlec at KnockanStockan. We’ll be overseeing plenty of loud and lovely things worth getting excited about throughout the festival.

When?July 24th & 25th

Where?Beautiful Blessington Lakes, Co.

Wicklow.

What’s the Damage? €80 plus booking fee.

Who’s Playing?O Emperor, The Eskies, Red

Enemy, Syd Arthur, New Secret Weapon, Tucan, Bitch Falcon, Gascan Ruckus, Leo Drezden,

Twin Headed Wolf, Kicking Bird, Sinead White, Bats, Bunk,

Mongoose and much more.

Why Go?A classy, bargain festival with a great buzz and crammed with top local acts. KnockanStockan

offers you the chance to see the stars of tomorrow and Ireland’s

best-kept secrets.

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Feature - Festival Preview

S et up as a combination music/campervan festival, Vantastival’s boutique scale and loveable, family-friendly approach has

garnered the Co. Louth weekend more and more respect over the years. Playful stage-settings, late-night shenanigans and a happy habit of custom-painting and raffling off a van each year gives it an effortless charm, while the performances feature some of the best up and coming Irish talent out there. A great primer on the roots of Irish indie, it’s never short of a decent headliner, either. This year sees the arrival of a Welsh comedy headline act sure to entertain. This year also sees the arrival of the GoldenPlec Grotto to the festival. Set in a natural amphitheatre, the GoldenPlec Grotto provides the opportunity to see some of Ireland’s finest acts in a stunning festival venue.

When?May Bank Holiday, 1st - 3rd

Where?Rustic Bellurgan Park, near

Dundalk, Co. Louth.

What’s the Damage? €95 camping or day tickets from

€45.

Who’s Playing?Delorentos, Goldie Lookin’ Chain, R.S.A.G, The Flaws, Jinx Lennon, Temper-Mental MissElayneous, I’m Your Vinyl, Cult-Called Man, Bunk, Rackhouse Pilfer and an extensive glance at Ireland’s up

and comers.

Why Go?A bit of everything: it’s wide open to interpretation and

encourages attendees who like to do their own thing.

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Vantastival

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Feature - Festival Preview

Beautiful, blissful & bizarre, the Body and Soul festival celebrates the summer solstice in a modern way, aiming to feed more than just

your ears. This unique take on the music festival experience aims to remove every aspect of your being from the captivity of modern living and open up your mind to new perspectives, activities and experiences. This outlook is reflected in the line-up, which always contains artists who approach their work from alternative perspectives. This year is no different with the likes of Austra, Meltybrains? and King Kong Company on the bill.

When?June 19th - 21st

Where?Ballinlough Castle Estate,

Clonmellon, Meath.

What’s the Damage? Weekend €139.50 - €177.50

Who’s Playing?Flight Facilities, Savages, Ásgeir,

Austra, Goat, Nightmares on Wax, Rhye, Lamb, Matthew E

White, Dan Deacon, Talaboman, James Holden, Clark, SOHN,

Mmoths, Brandt Brauer Frick, Meltybrains? and loads more of

music’s loveable leftfield.

Why Go?Celebrate the summer solstice

by nurturing your body and soul.

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When?May 29th - 31st.

Where?Royal Hospital Grounds,

Kilmainham, Dublin.

What’s the Damage? Friday €49.50, Sat/Sun €59.50,

Weekend €119.

Who’s Playing?Fatboy Slim, Wu Tang Clan, Groove Armada DJ Set, Idris

Elba, Jamie XX, Mr Scruff, Joey Bada$$, Earl Sweatshirt, Mount Kimbie DJ Set, Bakermat, Kelela, Damian Lazarus and loads more,

including a top comedy tent.

Why Go?A chance to see some of the best hip hop and electronic acts in the world and dance

the night away in a welcoming atmosphere at a bargain price.

N ow in its fifth year, Forbidden Fruit has become one of the most popular festivals on the Irish circuit thanks to its central

Dublin location and small circumference, which leaves every stage less than five minutes’ walk away. Highlights over the years have included Wilco, The Flaming Lips, Little Green Cars and an unforgettable show from Chic. There shall be no sitting on the hill watching the sun go down this year though. The latest line-up sees the festival’s focus shift away from mainstream guitar bands to superstar DJs, hip hop royalty and electronic acts with an order of rock ‘n’ roll on the side.

Forbidden Fruit

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Feature - Festival Preview