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Interview: Áine Duffy

imageMaybe it’s the slightly Spanish twang of her guitar track on the intro to ‘Won’t Go’. Maybe it’s that harrowing video drama (below). Most likely it’s just the voice… Whatever hooked me, it took about one track.

There’s something fantastically refreshing about west Cork native Áine Duffy and her brand of…erm… flamenco dance-pop? Whatever this is, it’s sassy, dramatic and poignant, and you should listen to it. I caught up with Áine to ask about her album ‘With Bells On’ and find out what she’s all about… 

Hi Áine. Let’s start with the obvious. You have a seriously unique voice. What’s your background, vocally?

I have always just sang with my own voice. Maybe not knowing who Eddie Vedder was when I was younger helped! I feel it gives you more scope to be honest and hit more notes. Putting on any accent restricts you. Singing is an art form, a form of expression, so I love to hear the original accent of a person, it should be the only way.

I sang anywhere I could, especially in the car! I went to a convent too for 14 years, but they were not encouraging to me at all. They had lots of musicals and I wanted to be on stage. Still, I loved AC/DC and played gigs of all kinds of cover songs when I was 15, all the way throughout college. I made my own versions of things, and had to learn whatever songs were shouted at me from the audience. I was like a little juke box.

Do you find its more of a challenge breaking into the Irish music industry when you come from a relatively rural corner of the country? Are we too ‘Dublin-centric’?

Well sure, we are a little Dublin centric, I’d be lying if I said other, seeing as of all the controversy there is. I understand though, it’s the capital!

I love Dublin and driving up and down and staying sometimes, but the reality is, I write my own stuff and can make a lot of noise as a neighbour.

If someone said I had to stop playing the guitar at ten o’clock at night, I would be a little disappointed to say the least.
So the countryside is better for me. I’m sure there is plenty bands in Dublin who would love to have a beach and peace and quiet, but need to be in the big smoke because of the opportunities, and sometimes one would not even be considered for a project because they do not live in the city, but hey, its only a trip in the van and a small country after all!

Music Alliance Pact: April 2014.

music alliance pact

The April 2014 edition of the Music Alliance Pact sees my head turned by the ever-wonderful Neil Adams, whose latest endeavour ‘Extra Fox’ sounds like his other band The Cast Of Cheers strolling through a neon cityscape as part of a Sonic the Hedgehog cut scene. In other words, gorgeous. See the below ‘Come Together’ for a taster, or you can grab an entire album for a price of your choosing via his Bandcamp page. If you came for Neil, stay for the latest 27-track compilation which includes Peruvian rock legends ‘Bondage’ and a stunning Italian effort from the equally dubiously titled ‘Flying Vaginas’. All for free, as usual. Why wouldn’t you…

Click the play button icon to listen to individual songs, right-click on the song title to download an mp3, or grab a zip file of the full 27-track compilation through Ge.tt here.

IRELAND: Hendicott Writing
Extra FoxCome Together
Neil Adams’ Extra Fox is one of several current side-projects from Dublin scene heroes The Cast Of Cheers, a smartly bristling bedroom electronica aside. Taking elements of his math-rock mainstay’s choppy style, Adams’ charmingly skittish beats and soulful melodies nod towards the neon lights of urban Japan. The man himself credits Com Truise and “that feeling like you’re inside an 80s video game” with inspiring a new thought process. The album is available on a pay-what-you-want basis on Bandcamp.

ARGENTINA: Zonaindie
The PlasticosMarfil
This band from La Plata usually cites British rock acts such as The Kinks, Blur and The Stone Roses as their main influences. However, this track from The Plasticos’ new album, Kilómetros, is one of our favorites because of its grungy sound that reminds us of the new Argentine rock movement from the late 90s. You can listen to the album on Bandcamp.

AUSTRALIA: Who The Bloody Hell Are They?
DianasDix
There are moments when all you want to do is kiss the guy who invented the internet. Such is the case when one Bandcamp tag after the other, we stumbled upon Dianas, a trio from the distant city of Perth. Dix is a dreamy drone-pop tune with all those floral notes typical of Scottish indie; kind of like what Camera Obscura might have sounded like on a hot summer’s night in Western Australia.

BRAZIL: Meio Desligado
IsaarTudo Em Volta De Mim Vira Um Vão
Sort of a sad waltz, Tudo Em Volta De Mim Vira Um Vão is taken from Isaar’s new album, Todo Calor (roughly translated as “All The Heat”). Originally from Recife, one of Brazil’s most prolific cities, Isaar shows her strong influences of local culture such as frevo, maracatu and manguebeat, but also flirts with pop music and other contemporary artists like Siba and Orquestra Contemporânea De Olinda.

Crime Or Punishment? – The Moral Dilemmas Of Park Chan Wook

Park Chan Wook Oldboy

How South Korea’s greatest filmmaker has twisted the nation’s black-and-white approach to the law by depicting moral violence with enthralling shades of grey.

When Korean director Park Chan-wook finally made his international feature-release debut last year with the startling, brittle melodrama Stoker, he opened its trailer with the line, “Personally, I can’t wait for life to tear you apart”. It’s a line that sums up a theme that’s not just at Stoker’s heart, but runs through the very best of Park’s past work, an oeuvre that features a collection of hugely acclaimed Korean-language movies, not least the legendary Oldboy. Whether it’s the distinctly un-Twilight-like vampires of Thirst or the infamous Vengeance trilogy, Park’s movies are dark and challengingly abrasive in character. His inspirations seem to lie in his university education in philosophy and in an apparent total lack of fear when it comes to pushing movies across the normal boundaries of what’s acceptable. Equally, though, Park’s breathtaking worldview stems from Korean society itself.

I lived in South Korea for two years, and it took me half of that time to come to grips with just how some of the complexities of Korean society work. In terms of development, Korea isn’t all that far behind Japan; Seoul is a megatropolis of overblown technology and almost embarrassing levels of luxury. As recently as the sixties, however, the country wasn’t only poor, but economically dismal – being closely comparable to Ethiopia – and Samsung weren’t much more than the noodle company they started out as. It’s often forgotten that, in the decade following the Korean War, even the ever-controversial oligarchy just north of the border was actually more successful. The result is an entire nation of nouveau riche.

It won’t come as a surprise to anyone that those riches come with some social consequences that sit far from the European norm. Heady modern consumerism, which peaks with an almost Milanese love of the overpriced and labelled, makes image everything. A heavy tax on imported cars has made even the modest Mini (which would cost over €100,000 in Seoul) a sure sign of a life of success. While the most modern of comforts take root, though, traditions still stand tall.

A woman should be married by 30 or considered a failure. One of the highest average alcohol consumptions on the planet is offset by a draconian stance on even the lightest of recreational drugs. No business meeting is complete without a tediously extended procession of bowing at kickoff, and pride dictates that the abundance of American military bases that allowed the construction of such a stable and prosperous nation be superfluously guarded by their Korean counterparts. Failure… well 16-18 hours of schooling per weekday for your average early teen will give you an idea of how well it’s tolerated. Korean culture is a cuttingly harsh one to live amongst if you’re unsuccessful. Park’s genius often lies in deconstructing or playing off these taboos.

Music Alliance Pact – March 2014.

music alliance pact

I’ve been eyeing Music Alliance Pact enviously from afar – and picking up plenty of great tracks from around the world – for some time now, and learnt about some great new artists from the three dozen or so bloggers who represent their countries each month. It brings me a huge amount of pleasure, then, to take over the organization of the Irish part of MAP, previously run by my esteemed colleagues Nialler 9 and Harmless Noise.

For this first month, The Rusty Fixtures have been kind enough to offer up a track that you can’t get anywhere else, scheduling for a yet-to-be-planned future record. It’s a cracking little folk song with some clever genre fusion along the way, and there’s so, so much more here to explore. Without further ado…

Click the play button icon to listen to individual songs, right-click on the song title to download an mp3, or grab a zip file of the full 27-track compilation through Ge.tt here.

IRELAND: Hendicott Writing
The Rusty FixturesWhen Ya Left Me
Strung together on beer-money budgets in the finest of Irish folk traditions, The Rusty Fixtures nevertheless throw a glance or two in the direction of reggae and blues in When Ya Left Me. The break-up track – an unreleased MAP exclusive set for their second EP – sees the progression of a bittersweet tinge that’s been ever-present since the rural rising stars saw their kit stolen, burnt and then replaced by the local community back in 2011. Now edging towards Dublin and starting to make an impact, the five-piece are paying it forward, offset harmonies, mellow buzz, cajons and all.

ARGENTINA: Zonaindie
PleinMadera & Fuego
Plein started almost seven years ago as an excuse for a group of friends to gather and play their favorite songs. After several years of playing live and participating in different compilation albums, this indie-rock band from Buenos Aires released their first record in 2012, with songs recorded using a method of pre-established rules inspired by Lars von Trier’s film The Five Obstructions. Madera & Fuego is taken from their 2014 EP Número Uno.

AUSTRALIA: Who The Bloody Hell Are They?
Yon YonsonCulver City
Childhood friends Andrew Kuo and Nathan Saad are Yon Yonson, an experimental pop duo from Sydney. Their sound is ambitious and unpredictable – listen no further than their latest release Hypomantra to understand. As the band designed the record to be played as a continuous set, each track on the record is incredibly malleable, both in sound and score. Culver City, with its origami beat samples, is a glimpse of Yon Yonson’s standout oddities which show that this talented duo’s output is just as diverse as their intention.

CANADA: Quick Before It Melts
The This Many Boyfriends ClubOnly Trying
“We are a mercurial bunch,” says Casimir Frederic Coquette Kaplan, guitarist and vocalist for The This Many Boyfriends Club, since by the time you hear Only Trying, vocalist Veronica Danger Winslow-Danger will have sung her last lo-fi “dandy punk” show with the band. A new single will also be up for the offering, signalling yet another shift for this ever-evolving Montreal band. I’ll follow this club wherever they want to lead me. You will too.

Dropkick Murphys – Blood Brothers.

As the only surviving original member of a 17 year old iconic Bostonian act, Dropkick Murphys snarling vocalist Ken Casey has done a whole lot of things you might not expect. There’s millions of dollars in charitable funding for a start, raised through activities like tomato launching karaoke, or possibly the least offensive VIP packages in music. Then there’s the stereotypical Irish pub business in Boston, unintended riot incitement in Mexico, Christmas songs on a January album, and a determination to carry on until Dropkick Murphys become what they’ve always been inspired by: a form of trad. Three kids, a hectic tour schedule and an heartfelt hatred of neighbour Steven Tyler don’t seem to have slowed the the ex-laborer down one ounce.

Latest effort ‘Signed & Sealed in Blood’, in fact, is a less than typical Dropkicks album. Aside from that iffy Christmas song, it takes off in all kinds of assorted directions, through straight up rock and balladry as well as Celtic-inspired punk. For Casey, it’s simply an expression of interests: “Country and rap are probably the only two directions we won’t go. We’ve always had a bit of a 50s rock and roll thing, an Americana folk influence… we’re lucky to be able to spread ourselves creatively. We can write anything from an acoustic ballad to a straight ahead hardcore song. We have a lot of space to wander, as long as we don’t go so far that the fans throw us right back. I grew up listening to a lot of trad. Nowadays I tend to wander towards mellower music, sing-songwriter stuff, but not like coffee shop stuff but punk guys. One of my favorites at the moment is a kid from Boston called Brian McPherson, who plays just with an acoustic guitar, but there’s so much power and passion behind it. It’s pretty moving, it’s always impressive to me when someone can create that kind of passion and power with just an acoustic guitar. It’s something I could never do. Being one of seven you’ve got six other guys to share the success or take the fall with you.”

There’s a lot of history in those seven guys and their heavily-emphasized Irish roots, dating back to Casey’s childhood in Milton, not far from Boston. Recalling his upbringing, Casey finds his own Irish background flooding through his early days: “When I was growing up, the census bureau told us that Milton was the town with the most Irish ancestry in America. Growing up, it’s just what everyone was, you didn’t really even think about it. Boston is one of the few places in America where a lot of family patriarchs are of Irish heritage, so you still find a lot of Irish culture. It’s a ripple effect, my parents and grandparents were from Ireland. There’s a lot of pubs. I actually own a couple of pubs. I guess it’s a business we tend to go into.”

Interview: Sleep Thieves

Having formed from the remnants of a number of defunct local bands, Sleep Thieves first caught State’s attention supporting Midori Hirano in early 2009, a gig the band had the initiative to set up themselves by reaching out to Hirano’s management. It was a move typical of the Dubliners, who have been working their way up through the ranks ever since, promoting their subtle brand of electro through a combination of hard graft and well-earned local knowledge.

The ‘Thieves have been working so hard, in fact, that when State took the chance to catch up with them, we found the three-piece glued to their instruments in their Temple Bar practice room on St Patrick’s day, ignoring the mayhem unfolding all around them and preparing for their biggest date so far. Sleep Thieves headline slot at Whelan’s this coming Wednesday will be something of a breakthrough for the band, marking their arrival amongst the upper echelon of local acts. Singer Sorcha jokes ‘we might play to an empty room’, a concern that seems only half tongue-in-cheek. Given the series of stunning performance the trio have reeled out upstairs in the same venue, though, there’s little doubt they’ll perform. Much as they did in interview, taking each question and running with it until we had an entire lengthy story on the band themselves, the Dublin music scene and making it on your own to recount to you. Here are the (heavily edited) highlights:

According to your MySpace page, you all met through a newspaper ad. Did you not know each other at all before that?

No, we didn’t. Obviously we romanticized that, at least the bit about the tea. It was an ad on the Thumped music message board, when Butterfly Explosion had just broken up. They’ll be copies of the original ads on the bootleg series (laughs). It just worked, we had lots of songs straight away. Things had never worked like that before, where a full song just clicked straight away and we thought it could be something. The first songs that we wrote are the ones that we put on the EP. There was no pain or blood in it. We didn’t have rehearsal rooms so we just took turns going to each other’s houses. It was weird, because we didn’t know each other, yet that helped. Lyrically, it made us comfortable that we didn’t have any judgment, we didn’t know anything about each other’s lives. We could just try anything and see what happened. We were able to be both supportive and honest. We became friends really quickly and we actually had a lot of fun. We had this mad set up with keyboards just on the couch and stuff. That’s where a lot of the swapping instruments came from.

Was being in your old bands and important part of your progress?

In terms of contacts and knowhow, definitely. It’s a lot about knowing how to conduct yourself, and what needs to be done when. Contacting people, booking gigs, knowing how to put out an EP or a single… it’s almost easier when you first form a band, as you can say ‘this is my new band’ and people check you out, and know who you are from before. But we’re finding it harder now to do the press stuff. You don’t want to have to spend hours on the Internet every night emailing people, you just want them to hear your music. We really believe in this band, and we really want people to hear it, but actually getting out there is really hard. We don’t like approaching our friends and saying ‘can you do this for us’, either. When it was just a contact name on the end of an email it was a lot easier, but it has to be done. You have to be a musician and a businessman. The days of playing gig after gig and hoping Mr. big from Sony’s in the crowd and will come by afterwards and offer you a contract are gone. There are a million roads, and fitting it all in to actually being creative is difficult, making things like the video, and a regular stream of new tracks…

Was that video shot at two in the morning or something? There are amazingly few people in it…

Actually that’s about one o’ clock on a Saturday night. Derek couldn’t make it to the second shoot, as he got stuck working at the rugby, and there were supposed to be all these people helping out, but they didn’t turn up either. So it ended up being Wayne’s girlfriend doing the makeup, and Killian the director. But we didn’t want one of those story-based videos, as after you’ve seen them once you know what happens, and you just don’t go back to them. As a first video, it’s a good introduction to what we are. There are a lot of outtakes that are quite funny.

It’s been quite a while since the EP ‘It Was Only A Satellite’ was released. What’s changed since then?

The EP was quite lo-fi. We didn’t think it was at the time, but if we were making an album it would be much more in your face. We’ve got louder and a little bit dancier. We don’t really allow ourselves to stop writing in a certain vein, so if it’s going to be rocky or going to be dancey, we just go along with that. But maybe we’ve got a little bit more confident in our vocals. A lot of the time people will write a whole new song of music and the vocals will just be sat on top of it. We’re trying to get the vocals a bit more intricate. We did that more at the beginning. With songs like ‘Exit’, we messed around with a lot of vocoder, that’s something we’re trying to get back into. Another thing with the new stuff is it’s a little bit barer, there aren’t so many different layers, it’s just the instruments you see on stage. If anything it’s a little more energetic for that.

Is it easier to play live?

It is easier to play live. But the thing with a young band is if someone sees you today and sees you again in a month’s time and you play all the same songs… you can get away with that if you’re a big band playing the hits, but as a new band you have to keep adding to the set. We’re trying to think more about the live show. Having keyboards is like a barrier. We’re not one of those bands that can move freely, and to make it feel live and exciting we have to think about improving the lighting and visuals. It doesn’t work for Whelan’s, but we’re trying to be a bit more focused on how it will feel live. We might have a bit more of a party vibe to the lighting. We want to be a pop band, in the sense that the music’s upbeat and dancey. It’s not going to be throwaway, but enjoyable. There are a lot of bands that are all about creating one big atmosphere. We’re more about having songs that you can go away and listen to separately and still enjoy.

What do you think of the Dublin music scene right now?

Well obviously we don’t want to criticize anyone because they’re our contemporaries, but we genuinely think it’s great. There’s so much choice. Ten years ago you were a singer songwriter or you were nothing. That was it. Now we have all these young promoters – club AC30, Clockwork Apple, Yours Truly, Hefty Horse – there’s a lot of space for different types of bands. Even five or six years ago it was really hard to get a gig. It’s really positive. Take Cast Of Cheers. They just came out of nowhere. They’re a great example of what the Richter Collective do for Irish music. We’d love to be working with other Irish bands. We have loads of connections in a way, but we’d love to do something experimental and electronic. We’re at a small loss as to how that actually works. But people are so supportive of each other these days, we had so much help from total strangers when we launched the EP.

What does the future hold for you guys, in terms of albums etc?

Well, you have to constantly put new things out to keep people interested. It’s a scary thing when you’re looking to make an album, to have the confidence to go away and know that when people come back they’ll want to hear it. You have to get the balance between writing an album that people want to hear and keeping people’s attention in the meantime. It’s a weird time for electronic bands, too. We started in 2008 and in about January last year all these electronic bands turned up with women fronting them. It’s great, but especially the English press is already getting sick of them. If you’re good enough, though, it doesn’t matter. Like Cast Of Cheers. This interview might turn into the Cast Of Cheers fanpage…

Are you tempted to follow their ‘free download’ model?

There are a lot of advantages. Our first EP wasn’t free, but within two weeks it was on every file-sharing site. For Cast Of Cheers, people went to see them play live and then came back and typed them into Google and found they could download an entire album for free. Downloading is stealing, but it’s also promotional, and you have to look at it that way. The MySpace thing is a bit false, though. If you have an office job, you can just let your songs play all day every day, keep refreshing, and you can have 100,000 plays in a year, and you create an illusion that you’re massive. Last.fm’s good as a barometer. It shows particular people listening to the tracks, and we have no idea where they hear of us from. We really would consider putting the album up for free, but maybe sell it too, with amazing artwork or some extras or something, to persuade people to still buy it. It seems a shame to focus too much on digital. My dad gave me his record collection, I don’t want to be handing down my external hard drive!

Were you tempted to go to SXSW?

Our drummer was invited at the last minute, and Sorcha went with Butterfly Explosion a few years ago. If we had an album to promote, we’d love to go. Our drummer didn’t get to either; remember to renew your passport if you might get to play a gig in Texas!

Is the Whelan’s gig something of a landmark for Sleep Thieves?

Yeah it kind of is. We originally booked upstairs, but we decided to step it up. There’s a sense of security upstairs, we’ve done loads of gigs up there and it’s great. If you have thirty people up there dancing, that’s a great gig. But stepping onto Whelan’s stage to headline, if you look down and there’s tumbleweed blowing across, that is horrible. We’re hoping that people will turn up, every so often even great bands play to very few people in there. We’re just hoping it’s not one of those nights. Even if it is like that, the people who come deserve a good show. We’ll be going for it regardless.

Sleep Thieves play their first ever Whelan’s main room headline show on the 24th of March 2010.

As published in State Magazine, March 2010. Click here to view original.