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Otherkin: The Great Rock ‘n Roll Gamble

Half the band left behind medical qualifications to hit the rock scene, so what makes Otherkin fit to succeed?

Otherkin Official photo – credit Jake Hazeldine

THE COVER of Otherkin’s debut album – much like the band’s borderline maniacal live performances – is one big, bold statement. Ahead of the release of ‘Ok’ this month, two members of the band got the album title tattooed on the inside of their wrists.

It fits in with the band’s heady, in-your-face rock vibe (they call themselves ‘grunge-pop’), one that’s made David Anthony, Luke Reilly, Rob Summons and Conor Andrew Wynne famous (in certain quarters) for roughly-hewn pop-rock ditties, but also for crowd surfing and brash, buzzing gigs. The cover, and new symbol of the band, feels symbolic: it’s simply that tattooed arm reaching for the sky.

Their story of the album begins with a shot in the dark, and a certain amount of characteristic mayhem. “We decided to take a gamble on an expensive video for our first single,” vocalist Reilly tells us of the loveable fury of ‘Ay Ay’, “and insist that if a label wanted to sign us, they take the video as part of the deal. It worked out well [the video now has in excess of 100,000 views in its various YouTube guises].”

When it came to recording ‘Ok’, it was important to keep a similarly raw vibe. Recording music, typically, requires click tracks, steady hands and carefully constructed ‘perfect’ versions of songs, often layered from individual instrumental setups. Looking to maintain that live buzz, however, Otherkin’s recording sessions saw Reilly “charging about the place with a bottle of wine in his hand. We built our reputation as a live band, and it was important to capture that on the record,” Summons tells us.

“I think it does that,” he continues. “We used to get this wonderful backhanded compliment a lot, ‘you guys are way better live’. We’re hoping people will hear this album and feel we’ve grabbed hold of what they liked about that.”

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Blood or Whiskey: Celtic Punk on a Wing and a Prayer

The long-running Irish punk act fuse The Dubliners and The Clash in a memorable, brash, political barrage.

Earlier this year, trad-punks Blood or Whiskey spent a month touring the US. Playing 26 shows as a support act for Dropkick Murphys in just 30 days, they added to a growing reputation in American punk circles. Then they came back to Ireland to resume their day jobs.

It’s a strange aspect of the Celtic punk scene – which typically fuses trad tropes, tin whistles, Irish folk and harmonica – that the two biggest acts in the genre have only loose, emigrant links with Ireland. On our shores, it’s seen as very much a musical niche.

Dropkick Murphys are Boston Irish, while Flogging Molly – an act Blood Or Whiskey supported in the Olympia Theatre just two weeks ago – are led by Dave King, born in a pre-gentrification Dublin 4 tenement, but very much based out of L.A. In terms of home-brewed Celtic punk stylings, Blood Or Whiskey are as big as they come, and regularly tour with both the rowdy American acts.

They might be heading on their first punk rock cruise this summer, but getting by hasn’t proved so easy back home, as frontman Dugs Mulhooly explains: “we definitely get more offers from the US and central Europe. People don’t see it as a thing here, because it is us [as a nation], it is what we do.”

“We’ve seen Japanese bands play music with an Irish crossover, though, but in general, Irish music is saturated here. People know these songs. We remember when Flogging Molly and Dropkick Murphys weren’t filling big venues here. They’d be playing 4,000, 5,000 when we went out with them elsewhere, but grinding it out here. That has changed now, but it hasn’t always been like that.”

For Blood Or Whiskey, though, the punk DIY ethos – building it yourself – is important. “To record an even half decent album costs eight or nine thousand quid,” drummer Chris O’Meara, the other remaining original member of a band that formed in 1994, explains.

“it’s a costly adventure. If you have a record label backing you that’s one thing, but we do it ourselves all the time. We don’t believe in Fundit, in going to the fans. You shouldn’t be begging people to make you a rock star. We all go to work, and do jobs with our hands as well. The thought of asking someone to give me money to release an album… I don’t believe in fleecing your punters to bring out albums. You do it yourself.”

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Paranoid Visions: Dublin’s original punks power on…

The fusion of Paranoid Visions with Steve Ignorant of their heroes Crass has the Dubliners fired up.

Paranoid Visions were punks almost before the concept even existing in Ireland. Breaking through in the early 80s, their early gigs were chaotic in nature; often descending into riots at stage front, with the band spat, demonised and in many cases banned from appearing in venues.

“We ended up playing ‘Battle of the Bands’ gigs just for somewhere to play,” guitarist Peter Jones recalls. “We’d be on between these acoustic guitar acts, and there’d be 80 punks there waiting for us to come on stage. All hell would break loose for the four songs we got to play, and then all our fans, who would be most of the audience, would just leave. Usually we’d come second, as they had to admit we’d had a lot of impact, but didn’t want to give the prize to us after we’d unleashed that kind of chaos.”

“I vividly remember a complaint going in at one of those competitions saying that we only rehearsed once a week, and shouldn’t be allowed to win. The man who said that is still involved in the Dublin music scene. He was right about the rehearsing to be honest.”

There’s plenty of water under the bridge since those days: Paranoid Visions broke up for a decade, reformed, went through an extended campaign of Bono-criticism (including the release of punk parody ‘I Will Wallow’), courted controversy by promoting an album with an image of Brian Cowen’s head aligned in gun sites, and wrote an entire album slamming what they saw as a parochial, Catholic church-led rot in the country.

They are, in short, not afraid to go hard against the political status quo in true punk fashion, with vocalist Declan Dachau famed for both the bluntness of his vocals, and harsh quips in which he espouses staunchly anti-nationalist, inclusive principles.

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The Ultimate Electric Picnic ‘Checklist’

Electric Picnic crowd shot by Ruth Medjber (2016)

Ireland’s biggest festival is just around the corner… here’s our quick tick list of the weekend’s essentials, from a few musical tips, to the little extras that make it special

Let’s start by saying It’s not all about the lineup. The big announcements are just the backdrop to what really makes up Electric Picnic: an atmospheric weekend that’s always guaranteed to be one of the best parties on offer any given year. 2017 will be no different: here, we explore a few of those things you just have to do in a stroll around Stradbally’s temporary heart in early September…

  • Grab a hot tub The perfect Body and Soul Sunday morning hangover cure. Yeah, we hope they have good water filters, too.
  • Dance at the Salty Dog at 3 am Because (a) they let you bring cans and (b) it’s a pirate ship in a forest, and that can’t be wrong.
  • Get yourself some political hip-hop Bernie bros Run The Jewels are just wonderful. And then there’s A Tribe Called Quest to get your teeth into.
  • Hit the Body and Soul fire late at night Flames flicker, the bars are closing and you’re listening to four stages at once, but it’s still the best banter on site.
  • Join the Duran Duran sing-along Her name is Rio, and she’s probably settled down and had a few kids by now…
  • Have an S Club Party 5ive are playing, too. Cos there ain’t no party like a 90s nostalgia party.
  • Go mad for Madness Because mid-afternoon bouncing ska pop could hardly be more fun.
  • Explore the Other Voices stage Sure to have a couple of top-class special guests over the course of the weekend, Other Voices’ trip out of Dingle is invariably excellent.
  • Ride the bumper cars at 2 am We vocally condemn drink driving. We very much condone drunk bumper-car driving.
  • Check in on Olaf’s interviews Hot Press’ rogue interviewer is sure to drag someone from the main stage and interrogate them on something they’d planned to keep quiet.
  • Get a five-minute massage They’ll only cost you a charity donation, and after a day standing in front of a stage…
  • Check out eco credentials at Global Green Or just learn to carve something out of driftwood, or weave a plant basket. Perfect for the inevitable lineup lull.
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First Three, No Flash: The Specialist World of Music Photography

Kieran Frost in the photo pit as The Script play Croke Park

I talk to specialist snapper Kieran Frost about the niche world of music photography

At almost every sizeable gig you’re ever likely to attend, they’ll be a small exodus of camera-clutchers from the very front just three songs after things get going. Popular musicians, you see, typically believe they look their best at the start of a show, and they want to show their good side. Photographers are there, by design, for the sweat free, visually perfect early moments.

Some artists are so tight on their imagery, in fact, they specify the side of the stage photos are to be taken from, or manipulate the lighting early in a show to ensure photographers get a specific type of image.

And then, usually three songs in, photographers are often escorted from the front barrier and out of the premises. They hold a camera full of photos, but are forbidden from watching the remains of the show to prevent sneaky [less perfect] shots from being grabbed by the professional from the back. Quite the irony, in today’s camera-phone heavy concerts.

Kieran Frost, a freelance music photographer who works with photo agencies like Getty, and features regularly in the likes of the Irish Times, Q Magazine and on musicians billboards, gave us an insight into the world he occupies night after night.

“Normally there would be e-mails between me, my editor and the publicist a few days before a show to arrange access,” he begins, explaining the set up. “The day of the show, I’d listen to some of the act’s music, and possibly research what other photographers have gotten from previous dates on the tour, to give some idea of what lighting profile the band are using, and what kind of restrictions photographers may face.”

“In the evening, I turn up, get my access pass, and head into the venue. If it’s a larger venue, I say hello to security and I sort out my gear. If it’s a smaller venue, I have to hope the front row are going to let me squeeze past them for a song.”

“The usual rule is we get the first three songs, then we have to pack our gear, and get out of the way. I’d usually stick around for a bit of the gig, if I’m allowed, then head home, edit 20 to 30 images, and caption and file them that night.”

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Why Rubberbandits Matter…

It’s high time the comedy hip-hop stars were given credit for their insight and intelligence.

YOU MOST LIKELY KNOW Rubberbandits for something daft. It might be that ‘Horse Outside’ video, their numerous appearances on RTE’s ‘Republic of Telly’, or an episode of ‘Rubberbandits’ Guide To…’. You might even remember their channel 4 outing with the ‘Almost Impossible Gameshow’. In the latter, they had contestants complete ludicrous mini-games like ‘groin croissant’, in which the frustrated participants had a few seconds to shake free a plastic pastry attached to a certain part of the outside of their jumpsuit with velcro.

They are, in short, quite exceptionally silly. But their satire also has a tendency to shine a light on Irish society. Put aside the croissant shaking, or songs about ‘Spastic Hawks’, and some corners of their professional output is subtly but brilliantly political.

They take a satirical look at race relations on ‘Black Man’. ‘Spoiling Ivan’ documents the friendship between a grown man and a child, playing off the inbuilt societal assumption that labels such a friendship as somehow wrong. There’s even an ode to holding off on sex, and its relationship benefits.

Far beyond the music, their use of social media, and public comments on sensitive issues have stretched in scope and become ever-more assured. It’s a trend that seemed to really kick off when Blindboy Boatclub called into Joe Duffy to debate the drug references in ‘Horse Outside’. In doing so, he absolutely shredded an irate caller, confidently explaining the duo’s thinking in the process.

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King Kong Company: Meet Ireland’s Wild Festival Heroes

One album, their own beer and performing in a cardboard box: twenty years of King Kong Company

A SELF-PROCLAIMED COLLEGE BAND reformed to a heyday later in life that far exceeds their 90s peak, King Kong Company are fast becoming Ireland’s go-to festival act, and with good reason.

The Waterford based act are a high energy, upbeat dance six-piece with plenty of stage moves. One member performs in a cardboard box with crudely cut eye holes, while recent outings include a trip to iconic UK festival Glastonbury, a tea party at Michael D Higgins house, and even the launch of their own unlikely beer infused with Buckfast, with King Kong Company plastered across the front.

Colin Hoye, the group’s trumpeter, is the one member currently based in Dublin, and met the Gazette to describe what’s been a strange journey and a wildly busy summer to date. Amazingly, their self-titled debut of 2016 is the band’s only formal release to date, despite performing together from 1996 to 2000, and then from 2011 to today.

“The technology wasn’t really there to do what we wanted to do back then,” Hoye recalls. “We had this massive eight track and you couldn’t even get the drums alone onto it. We have so many channels now. We had a manual drum machine that we started and stopped for every track back then. We did the best we can, but trying to actually make an album would have been too hard, or too expensive at the time.”

“Second time around [following the band’s reformation in 2011], I think we were looking for a mid-life crisis and found one. We had no misconceptions about what we were going to get out of it this time. But we’re surprised at how well it’s gone for us.”

“When we decided to get back together, we used the power of social media to help us along the way. We decided to do twelve tracks in twelve months, and our friend John Loftus basically said that he’d do the videos for us. Those videos sparked a lot of the characters we have now, and those characters came into the live shows. It’s almost more of a product at this stage.”

When it came to the album, Hoye recalls the live set up being very much a key factor. “We had to do everything we could to bring the live sound into the album,” he explained. “It would have been very easy to just do it very electronically, but you want to move the music around to have that live effect to it. We are very much a live band, and we wanted to show people what we sound like live with the album. In a way we were kind of dreading the album as we knew it would be so much work. We used to be more like acid jazz, so it’s a bit of a change of direction from what we sounded like in the late 90s. But nobody sound like that anymore.”

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Hothouse Flowers talk life in the slow lane

The Dublin act Rolling Stone magazine once called ‘The best unsigned band in Europe”’ reveal how they’ve been spending recent years, and the quiet, steady progress of their first album in a decade.

TO THE UNINITIATED, it seems like Hothouse Flowers have been on the wind-down for quite sometime. Despite regular shows, there hasn’t been an album released formally in well over a decade. The band that emerged from Colaiste Eoin in Booterstown so powerfully that they never had to get real jobs after school might appear to have gone a little quiet. Not for long.

“What’s going on with us is a bit like those people who starting tiling a bathroom in 2002 and still haven’t finished,” Fiachna O’Braonain explains. “There hasn’t been an album in ten years, yet it feels like we haven’t stopped gigging. We all have very different lives outside the band. I have three children under five. It’s hard to get out of the house.”

“I’ve been doing different projects with different people,” Liam O’Maonlai adds. “I think it was about three years ago we got invited to play in Windmill Lane for Culture Night. In payment for that we got eight days studio time. We didn’t actually avail of it until a year ago. Those eight days really facilitated us. Often you can get these gigs where you have to put a lot of money in to set things up, but they wanted us to make a record there. And we did, we made a record. We narrowed it down to eleven pieces of music. Maybe towards the end of the summer, maybe earlier, it’ll be here. There’s just a couple of little things to address.”

“There is already an album called ‘Let’s Do This Thing’. It’s on the website but nowhere else. I had a listen to it and decided it didn’t sound quite as good as the rough mixes, so we’ll be putting it out again. Everyone who already bought it will get it a second time for free, but they’ll be another version, another part of the project.”

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