A lot of Irish music comes Nialler9’s way and there’s little time to feature everything we think is worthy of a thumbs up or more ears. Every week, we collate the songs that pass our writers that deserve to be heard by you. For more extensive Irish coverage, follow our Spotify playlist or hit up the Irish section.
One of Ireland’s premier folk talents, David Keenan’s new Strip Me Bare Vol.2 EP is a lyrical masterclass. One which takes a keen interest in the idiosyncrasies of the nation and its culture. ‘James Dean’ is taken from that project. It’s not just the distinctly Irish phraseology of his lines, but the imagery they conjure up which showcases the extensive talents of the bard. Of course, James Dean is working for Irish Rail, passed out beside the slot machines. Such is the vivid imagination of David Keenan.
Meltybrains? have well and truly returned with a vengeance. 2018 has seen the group produce a flurry of immaculately composed experimental art songs. ‘Roger Federer’ is the latest amongst these releases. Overtly industrial, the track is built upon a foundation of fuzzy synth lines colliding against one another. The bombastic and unrelenting beat which propels these synths feels in part garage while keeping ties to the philosophy of noise outfits like Death Grips.
The band have also announced a gig in The Button Factory on February 26th, following their sold out show in the Abbey theatre for Dublin Fringe festival. Tickets at €16+ are on sale now here.
Boy From The Blue
Eve Belle continues to move from strength to strength. The Donegal singer-songwriter’s first proper release with Rubyworks Records arrived last week. Things I Once Believed is a captivating atmosfolk project. ‘Boy From The Blue’ is our favourite track from it. The opening lines of “life’s a bitch and she don’t fight fair” typifies the sort of emotional intensity the artist employs in her work. Couple that with Belle’s honey-sweet vocal delivery and a superb guitar riff and you’ve got the recipe for a very well put together folk tune.
District Recording’s golden boy FYNCH put out the first new material we’ve heard from the artist since his Mixvape mixtape earlier in the year. ‘Home’ is a markedly different sound for the Dublin MC, dropping much of the lo-fi aesthetic and instead opting for a much more upbeat funk inspired instrumental. FYNCH’s lyrical musings on the social issues plaguing the capital sound as fully realised and confident as they’ve ever been. A cutting lyricist with his finger on the pulse.
How Ya Doin’
Staying on the subject of hip-hop we have ‘How Ya Doin” from Dublin-based producer Strokes. Taken from his Meet Tape EP, this mellowed out instrumental showcases razor-sharp production quality. The producer’s obviously done his fair share of crate digging, with some supreme jazz samples serving as the track’s backbone. There’s an air of ambience about the track, an intended effect.
The artist describes the track and the EP as “social music”, saying ” The best thing people can do when listening to this tape is make some coffee and have a conversation with their friends. It’s not music that you are supposed to sit down and listen to. It’s literally there to accompany you throughout the day and set the vibe right”.
The first release from the newly formed Moot Records, an independent Irish label, the collaborative LP between Peter Lawlor and Neil Quigley is packed with delights for fans of all things ambient. ‘Ump’ is taken from that album. A sprawling 5 minutes of glitchy sound loops, detailed with tons of weird and wonderful sonic oddities. An impressive first outing from the new label.
Daniel Seán Kenny
A new singer-songwriter from Dublin, Daniel Seán Kennny’s first single ‘Heroes’ showcases an impressive blend of blues, rock and moody folk. Packed with spacey rhythm guitars and chilling lead lines, ‘Heroes’ will appeal to fans of acts like Hozier and Tash Sultana. We look forward to hearing what the artist produces in the times ahead.
Closing out this week’s list is the pop-punk of Skies Behind. Their new single ‘Fate’ caught our attention for its intricate guitar work and gritty production aesthetic. There’s something very satisfying about the crunchy guitar chords throughout the track’s verses. Good stuff.