Music on the mind, music on the body

There are times like this morning where, iPodless on the bus, listening to the foreigners chattering loudly, the texter in the seat opposite who has the button tones switched on loudly so every key reverberates around the bus, the skanger berating her fella over the phone and then ringing her ma to tell her what happened and then ringing him back and then... well, you get the idea ... that I really miss music.

I need it like a drug. To dissolve into, escape the world with and to switch the brain off with. The louder the better sometimes. The more noise it blocks out, the more focussed I can be on what I need to do.

These days I'm lucky enough to be going back to live music events more and more. There's something about that raw energy from committed musicians that brings the vitality of the melody alive, makes it that much more real. I've always, ironically, preferred live albums for that same reason.

If I could get music beamed directly into my brain, I would. I may not go as far as this video shows, but would relish the experience.



Earphones firmly in the ears today. Music is on loud.

Speech Bubbles - WHY?

Rain is millions of tiny speech bubbles unused
The collected breaths of mutes
And all our silent exhalations
Where we should've put words
Or words we had no one to tell
Emptied from clouds like clearing horns spit valves
Coming back to us now
To remind us what we meant to say
Or that we meant to say something

Coming down and dying
In one giant quiet
On the streets and cars
Huzzled like jewels in girls' hair
On the fake wool collar of my bomber jacket
And on my glasses and feet

Cut 'em deep and weep out loud
Just dust and just a hair in your mouth
You drink and think you're tonguin' something to shout
But it's just dust and just a hair in your mouth

And now these empty breaths reflect
The feedback of headlights
Push leaves and coffee cups
To lower altitudes and gutters
Rain is confession weather
And we become booths of prayer if we let us

Loving these lyrics from Californian band WHY? Thanks Naomi.

Jaydiohead free album

Radiohead and Jay-Z mashup album produced by Minty Fresh Beats. You know what? It's really rather good.

Track list:

1/10 - Wrong Prayer
2/10 - 99 Anthems
3/10 - No Karma
4/10 - Lucifer's Jigsaw
5/10 - Optimistic Moment
6/10 - Dirt Off Your Android
7/10 - Dreaming Up
8/10 - Change Order
9/10 - Fall In Step
10/10 - Ignorant Swan

Go get it.

One Day International: interview with Matt and Ross

Matt Lunson is reading Neil Gaiman's Stardust. It's a good way for us to start our conversation, me a Gaiman fan, him being recently introduced by a friend. "I'm really liking it" he says, something that doesn't surprise me, having read Matt's own writing for the past few weeks.

It's been a busy morning - the guys are in the middle of shooting interviews about blogging down one end of Le Cirk, I'm up at the other arranging tea for Matt and Ross who have come to tell me more about One Day International. Ross barely has time to sit down before I invite/send him to be part of the filming, leaving Matt and me to talk.



I've been constantly listening to their debut album, Blackbird, since I got it. There are eleven beautiful, carefully crafted songs here that have accompanied me for the past while. Heavy on piano, accompanied by cello, the lyrics drew me in conjuring images of torrid love affairs, sweet kisses and a girl I knew a long time ago. Powerful stuff. Indeed, as their website says

"A deep and passionate respect for language resonates through each and every track. Words are not wasted, each turn of phrase demands attention. The collected musicianship of the group affords the listener a hoard of minds-eye treasures to call upon."

I ask Matt as I about the band's emerging profile "We have been very fortunate so far. We've been careful about what we've done, with whom and when and even though it's not a route all bands take, it's worked out for us". Indeed, the five piece band, together since 2007, Matt on vocals, Ross (Turner) on drums, Cormac Curran on piano, Danny Snow on bass and Eimear O’Grady on cello have been building up a steady following and respect from fans and within the industry, something reviews of their album on RTE.ie and State bear testimony to.

"We've spent 18 months creating this album" says Matt. "Our first batch of songs were quite delicate. Fragile. We didn't want to expose them to a situation where they wouldn't be comfortable. We want to take care of the music we play. The only real thing of value a band has is the songs that it writes."

I found that strange to hear, but listening to lyrics from Closed Doors: "For the first time in your life you stopped tearing yourself apart and it was beautiful", Miss Your Mouth "I know you like that I am a mess that I'll do my best so you'll believe that my aim is good", Not Over You "Do you remember the way that we made the best of a bad situation always seem worse" and Black is the Bird "Black is the bird that can't sing and black is the bird that loses it's wing" that I began to understand how personal this album is not only to Matt, but to the band.

"It's the same reason why we're not out on the road seven days a week. We've been guarded about doing any gigs until there was an album we were happy with. We could have gone and played to 15 people in gigs, but that doesn't benefit anyone. It needs to benefit the music that I write rather than the band." says Matt. "This record has been quite carefully arranged and constructed over time. We've worked on it for a year and a half and it's the best that we could have done it. We're very proud of it."

Their gig in The Button Factory on Thursday promises to be a good one. "We're looking forward to it" Ross grins, having rejoined us. "We concentrated on making the record first - the live shows take care of themselves. However we work hard on creating an atmosphere for an hour or so where our songs can be played. It's almost making a grandeur out of vulnerability. We worked hard to strike the balance between too literal, too obvious and too obscure. If we can bring out the soulful and emotional aspects of our songs in our performance, we'll be happy" says Matt.


Photo by Dara Munnis

"The live show has superseded the record", he says, "it's more dramatic. The songs are written to be performed and the show allows us to flesh out the crescendos built into the music". "The structure and arrangements don't change that much", Ross adds, "but there's more power and energy in the live show".

"I find it better" interrupts Matt "to see what I can do with the music rather than just show what I can do. It can be dangerous territory - if you force a change in the music just for a show, it comes out contrived. For us it's about the balance".

They spent some time this year supporting Lisa Hannigan. "It was wonderful" says Matt, "We became really good friends with her and the band. She is just so beautiful and relaxed in her performances that playing with her was a pleasure." They've also toured with Cathy Davey and were widely regarded as one of the best acts of this year's Hard Working Class Heroes.



Matt, a respected singer/songwriter far from his native Tasmania, released his first album Miss Vaughan, named after his first music teacher in 2005 and has toured with many artists - Mundy, Mary Coughlan, The Walls, Ollie Cole, Tim Freedman (The Whitlams) and Liam O Maonlaí to name a few. The others are no less accomplished - Ross plays with Cathy Davey, Jape and David Kitt while Eimear plays sessions and orchestra with equal fervour.

"We had three songs when we started", says Matt, "songs that required a band to share them". In a recent State interview, Eimear had commented how they were "definitely learning the trick of the five of us being in a room and somebody bringing something in and being able to spark it off the next person."

"Our personal relationship is important" says Matt "Everyone likes each other, respects each other and contributes. We were good friends when we started this and that has continued. Everyone had their place. Ross, who duals as the band's main blogger, knows such an incredible amount of music that he's often our finder of new things."



The band have a huge respect for music bloggers and are one of the rare few that update their own blog when they have news, giving equal coverage to artists they like as well as their own news. "People consume so much Irish music now that isn't just from 2FM or Hot Press. They're seeking out the tunes, talking about the bands and reviewing the gigs. It's a good thing" says Matt "Intelligent criticism of their music will make the bands work harder, be better informed."



The album cover too is a thing of beauty. Designed by Sarah Brownlee, a designer and illustrator, its apparent simplicity, like the music, doesn't show the amount of work that's gone into it. "We love it" says Ross, "Sarah understood us, understood what we wanted and gave us something wonderful." The album itself is produced by Brian Crosby (BellX1 and The Cake Sale) with whom Matt has been friends for a long time.

The band is looking international next year. "It's about ambition", says Matt, "We're not just limiting ourselves to Ireland. Don't get me wrong, there's been a seismic shift in Irish music in the last two years - a huge shift in scope and eclepticism. Where before, to fit in, you were either a singer songwriter or a skinny angular guitar band, you now have events like HWCH and bands like The Vinny Club that show that musicians are prepared to take genuine risks. And out of that will come stuff that is genuinely great."

"We will however bring our songs and music on the road. We're going to South by South West (a legendary festival showcasing more than 1,800 musical acts of all genres from around the globe on over eighty stages in Austin, Texas) in March and have been invited to the Canadian Music week too. The album is due for release in the UK in April."



When I ask for their advice for anyone starting out in music, their advice was simple. "Really work at it and don't try to be anything you're not. There's no need to sound like someone else or try fit into a certain scene. Your music will drive your success. Play often and together as much as you can" advises Ross. "Unless you're die hard there's not much point" says Matt. "If the band is weak, if the performance is weak or the music is weak, the band will fall apart. You need to hone it constantly and really work at it."

When asked for favourite songs from the album, they both hesitate. "All of them" says Ross. Matt believes that Darken Your Door is perfectly sung and written, while Ross favours Black is the Bird as a song that has benefited from live performance and the vocal expression of it. Matt says he remembers a 1940s quote that reads "If you burn the midnight oil on revision, you'll often leave the smell of the lamp" - not something they want to do. "Buy our album, come to our gigs, find out for yourself" they invite you. You can see all that information and more on their Facebook page, their MySpace page here and their website and blog here.

I'm looking forward to Thursday's gig. "There'll be no Christmas songs" grins Matt, when I ask "though we were thinking of "The River" by Joni Mitchell." Whatever they play, it's bound to be a musical treat and a great experience. Here's their current single, Closed Doors.


A big thanks to Matt and Ross for the interview, to Emma for her help, to Le Cirk for the venue and the wonderful Mr Byrne for the photos. You can read his review of One Day International's Blackbird here and buy the album here.

The Brothers Movement - Blind

I'm looking forward to seeing The Brothers Movement live in Crawdaddy later on tonight. I like their new single, Blind, which is available on DownloadMusic.ie.

I'd say we can expect to hear more of this group in the months and years to come.

Amnesty International Small Places Tour: Duke Special vs Divine Comedy

Amnesty International is marking the 60th Anniversary of the Universal Declaration of Human Rights with the ‘Small Places Tour’. Inspired by Eleanor Roosevelt’s call for ‘concerted citizen action’ in her famous “small places” speech in 1958, musicians and fans will raise their voices in song and action in venues, cities, towns, communities, neighbourhoods and workplaces.



Through hundreds of concerts held around the world, Amnesty International will draw attention to urgent human rights concerns, recruit thousands of new human rights activists and, hopefully, raise much needed funds for Amnesty campaigns.

Take two fantastic musicians, their mutual appreciation for the finer things in life, two black grand pianos and one epic battle with plastic lightsabres and you have some idea of what the Small Places Tour in Dublin's Vicar Street was like last night.





From the opening act of pianist (Dave Couse), guitarist (Fergal Bunbury) and Rike Soeller, a young cellist who reminded me just how sexy an instrument in female hands can be, it was clear that this wasn't going to be a standard gig.

Vicar Street looked and sounded great. The stage setting of pianos, candelabras and dry ice provided a suitably moody background to the music to come. When Neil Hannon of The Divine Comedy and Peter Wilson, aka Duke Special came on stage in suitable duelling attire, the audience whooped and cheered their feigned duel, taking sides as naturally as our seating would allow.



It was somewhat appropriate that I end up sitting at Hannon's side of the stage, being far more familiar with both his music and style than I am of Duke Special. Despite meeting said gentleman at the Meteor Awards earlier this year, it was perhaps his appearance that suggested a style of music that wouldn't be to my taste. Well, I certainly learned not to judge a book (or indeed musician) by the cover.

Despite Darren's insistence on his genius, I somehow evaded his musical talent until last night and I'm, quite frankly, delighted I did since I can think of no better way to discover such talent. It was his song "I never thought this day would come (and now it won't go away)" that confirmed to me just how appropriate the pairing on stage was.



Suitably melodramatic, foppish, gentlemanly and witty, the dialogue and musical interaction between Hannon and Wilson, while entertaining was a second to the music. I hadn't expected the premise to be that they would each cover the other's songs, duetting on either neutral, well known songs or some of their classics. What becomes of the broken hearted was great:



Each made the songs they performed their own and when Duke Special jokingly commented they'd rerecord a certain track for their live album, there was a cheer from the audience at the thought that this pairing would make more music together.



I was teaching the ten year old daughter of a friend of mine the basics of piano on Sunday evening, amused at how something as simple as "thumb under, after e" could seem complicated to a beginner. Watching Hannon play last night I was reminded just how skilful a pianist can be and how much I love hearing the instrument played well. Even National Express, a song that relies heavily in the original version on accompanying instruments was a joy to listen to, to sing along to and to enjoy.


(image not from last night's gig, from here)

Equally impressive was Duke Special, who has a great knack for involving the audience. He did a simple Victorian drinking song ("Down at the old Bull and Bush"), just one verse and a chorus that had a packed Vicar Street singing along - the video is below.

He was in no way pretentious, never deferring to Hannon as a superior but not claiming to be better or more popular. He seemed to enjoy just being there, hearing his songs sung by Hannon and the audience. We certainly enjoyed listening to him. He's got a lovely, natural Belfast accent while singing that makes his sound quite distinctive. Try You're So Vain to see what I mean:



Ultimately the quality of a gig comes down to personal taste and experience. I certainly enjoyed it, surrounded by friends, listening to good music, musing on how a pretty awful day can be turned around by indulgence in something I love - quality live music, a good crowd, a great venue and an outstanding cause. Each box of same was ticked last night and it'll be a while before it's matched, I think.

It is to Amnesty's credit that they could get two such artists to perform for their causes, and it certainly established them firmly on my radar. I've been checking out their site this morning to see how to get involved. The simplest thing you - if you're on a Republic of Ireland phone network - can do is text 'join' to 51444. The Small Places Tour continues around the country, including, I'm delighted to see, the Tracy Chapman gig in the Olympia in December which the lovely Stel has arranged tickets for. Woo.

I look forward to listening to more of Duke Special. He's starting a tour in November that I'd love to see, and his new album I never thought this day would come is released on Friday. Definitely one for the collection! I'll certainly be keeping an ear out for any future collaborations between The Divine Comedy and him.

While I hope Amnesty, and all the people they help benefited from last night, I really think the ones who had the most fun were the audience. We were treated. We were privileged to be there and we enjoyed it. If that's not what a good gig should be, I guess I don't really know what is.

Duke Special with a Victorian drinking song, followed by a daring duel:



Update 21/10 - I've just published any of the videos I took on the night. More details here.

Tuesday Tune - the least sexy version ever

There are certain covers and remixes of songs that improve on the original. This is most definitely not one of them - it is rather funny though. "Enjoy"(?) Max Raabe's version of Sex Bomb performed with Das Palast orchestra.


(You'll need to let it (down)load)

Big thanks to Elly and George for an amazing meal on Sunday, but also introducing me to the La Musique de Paris Derniere collections. A very eclectic mix of covers and interpretations from different artists. I've had it on play since Sunday.

What do you reckon? Woeful or hysterical?

Thursday tune

(You'll need to let it (down)load)

I reckon it's my liking of covers like this one by the Scala Choir that will never see me playing at Soundcheck.

The original is here. Bizarrely great, isn't it?

Let's dance in the funky seomra to African drums

This Saturday evening, 20 September, Cultivate are opening up their great cathedral space in St Michaels and Johns, Temple Bar to become The Funky Seomra, a space "where you're free to dance anyway you like without limitations, to the lush beats of funky world music accompanied by live African drummers."

I don't have great photos but this may give you an idea of the size of the place:



Even better for a dancer with my raw talent two left feet they're promising that you can:

• Get energised, liberated and invigorated!
• Loosen tensions, release stress and move deeper within!
• Come to move and not care what others think!

The night, from 7.30 to midnight is organised by David Mooney, a guy who seems to know what he's talking about when he says that dance is good for you. Interestingly (and this is where I may lose you) the night is alcohol and drug free. There's also not much chance of a cramped, overcrowded dance floor or a Sunday morning hangover.

There's live African drumming on the night, with organic snacks and chocolate treats. There's a smoothie bar, a chai and specialist tea bar and a chill out zone for when the dancing gets too much.

It's open to everyone and is one of the four before the end of the year. Fun and funky and different - a nice alternative for a Saturday night.

Tickets are €15 or €10 for Cultivate members and the unemployed and you can find out more information here. Hope to see you there!

Sea Sew Sunday

"... you don't know if I can draw at all
or what records I am into
if I sleep like a spoon or rarely at all
or maybe you would do? maybe you would do..."

I spent the day today in the company of a splishy, splashy, twirly, mellow, gentle, plinky, plonky, plunky, lyrical album that I've become very partial to. I think it will become an integral part of my soundtrack for the rest of the year.



It would be nice to think that Lisa Hannigan may see the reviews of her first album, Sea Sew, some day. I'd like her to think of this particular blogger grooving in the kitchen today, elbows deep in sudsy water as I sing along to her words, swaying and sliding to the lyrics, lost in my own revelry, immersed in the melody of harmonium, the cello, the upright bass and guitar.

It provided an enchanting escape from the mundane tasks I was completing and sent the musical part of my brain into hyperdrive, while my feet moved along to their own pattern, part waltz, part glide, part just tapping along. I'm glad I was alone.

I also love the album sleeve itself. Printed on paper the little touches are personal and appropriate to the music, knitted as it was by her mother Frances, and stitched by Lisa herself.



Is it good? I think so. With 10 songs, nine written by herself, this provided a lovely soundtrack to a not-so-nice day. I recently saw her live and the album doesn't disappoint in capturing the unique sound of a group of musicians who, you can almost tell, have an intimate knowledge of their instruments and what would suit each song, as well as having fun doing so.

I don't know - the track I quote above - is my favourite so far, its upbeat percussion and violin and cello sounds working with the trumpet and glockenspiel (I think it is) to give something to at the very least click your fingers along to. The lyrics are just wonderful - among the happiest I've read or heard in quite a while.



There's also songs like Venn diagram, Teeth and Courting Blues that seem to be deeply personal, the lyrics emerging like waking memories - the type that surface in conversations with friends. Splishy Splashy, dedicated to Mic Christopher, is a lovely creation, and if its a tribute, you'd imagine he must be smiling.

It's the simplicity of the lyrics, secondary to the sound of her voice, a beautiful instrument in harmony with the others that makes each line special - something as simple as "a note, penned clumsily in this century's type-ruined hand, saying gone down to the shops for a walk" somehow seems like we're reading her diary, a sentimental insight into this young woman's life, and it's almost a privilege to be allowed do so.



When we were buying the album, the surprisingly helpful young man in HMV Blanchardstown said, unprompted, to us "It's really good actually. I've had it on here today. It's not like Rice at all. It's much happier." and he's right. In fact the comparison is unfair, despite the association - this album is pretty unique, and completely hers. Whereas Rice's lyrics seem pain racked, harsh and emotionally raw, this is more an album to feel good with.

I don't mean it's happy clappy music, I mean it's glass of red wine, book and possibly a candle music. It's slip away from the crowds and sit in the park on a sunny day listening to it music. It's ignore the crowds on the bus or the dart and just look out the window, probably moving in time to the beat and smiling despite yourself, blissfully unaware of the people around you who look on, envious you're lost in your own little world kind of music.



It's an album that will stay on my iPod for a long while. If you see me in town at some café, smiling despite the queue, the weather and the service, tapping along to whatever's playing in my earphones, it'll be a safe bet to guess what I'm listening to.

The album is out now and can be bought through her website on www.lisahannigan.ie. The full track listing is Ocean and a rock | Venn diagram | Sea song | Splishy splashy | I don't know | Keep it all | Courting blues | Pistachio | Teeth | Lille and the song lyrics to some are included in the album sleeve, or all available on her site.

Sea Sew would make a great gift but I think you'll want to keep it for yourself. If you get it, please do let us know what you think.

Tuesday Tune - Take a walk on the wild side

It may be dull and damp outside, but in here I have a coffee, convenient snacks and Lou Reed and Suzanne Vega with a marvellous saxophone sound on loud.


(You'll need to let it (down)load)

All together now - doo doo doo doo doo doo doo doo...

One of those days

I know what Lottie's getting at. This song has become an anthem for me today:



One of those days by The Centuries.