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EDITORIALIt is March and as we come into the third month of the calendar year we are very much reminded that good things certainly do come in threes with the calibre of music featured in this months issue. We have interviews with exmagician ahead of the release of their debut album Scan The Blue on March 25th. They are featured as part of Our Friends In The North which also makes a welcome return this issue and will be a regular column for Sean Brennan.

Our other regular columns see Marky Edison catch up with The Slow Readers club ahead of their debut Dublin gig in The Workmans Club in April. He also caught up with Jonathon Savino to talk about all things Super Hyper Giant related. We Z&^,DdDd:>the impressive She Drew The Gun for The Scouse House.

Dublin band Brass Phantoms also talked with us and their tground with the local music scene further we talked to Johnny Rayge ahead of his upcoming gig on March 15th. To round out swho come to us via our London networkand they are all about the love for all things 80s, drum machines and retro synth based music.

dWand single reviews recommended to us through our interna-

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Deputy Editor:Greg Clifford

Writing Staff:Jamie KellySean BrennanMarky Edison

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One of the things that make our day here at U&I is when we are sent a recommendation from one of our music networks around the world that makes everyone in the office nod in unison. Throughout the years a number of artists have earned the distinction of becoming a U&I office favourite and Brighton band Corey Valentine joined that illustrious list. Not only are they a band with killer tracks but their output each time seems to improve and build upon what has gone beforethereby marking them out as a band that people should be getting into for all the right reasons. So we caught up with them to find out what makes them tick and here is what they had to say -

When we first heard your sound we were suitably impressed. It wasnt just the retro appeal of the synthesised elements in the sound bit it also possess this incredibly richness in the texture. When you listen to your music it has that abstract ability to take you back in time to the decade that fashion forgot. But the name is just as cool as the music, so where does it come from?

When we were first starting this project it was

really important for us to have a clear vision of what we were doing, so getting the name right was very important to us. We knew we were creating this world based on 1980s teen movies and culture and wanted to create a hero figure to set it all around. So Corey Valentine was our idea of the ultimate teen idol, and once we had the name set everything else just slotted in.

How did you guys initially get together as a band?

Weve actually been working together musically in one way or another for quite a few years now. Originally Max and Zal were part of another band that dealt in much more guitar based indie pop, and Benny did a remix for one of those songs. Once that band wound down Benny and Max worked for a while doing much more dance based music, but it wasnt until a while later we stumbled across the idea to approach this retro styled synth pop concept, and when it came time to put a band together it all just worked.

To talk about the music and overlook the retro appeal wouldnt feel right. But it goes beyond more than just a niche that you want to corner in your sound. If you look at

everything in your sound and styleright through to your logo and graphicsit is all about embracing that as a concept fully. Where did the love affair with all things retro really begin for the band?

On a personal level we all have a love for the late 80s and early 90s, as we grew up with the music and TV of that era during our very young years. So even though we were around for that time period, its all very mixed up with a general sense of childhood nostalgia. We use that to help convey a sense of half remembered memories in our music. As though the full reality of a situation may have faded from memory, but you still clearly remember the emotions linked to it.

Who would be the influences on your music?

Even though we obviously make many references to the 80s, were actually inspired by a lot of the electronic acts of today like CHVRCHES and M83. Weve also got a lot of inspiration from some of the mid noughties emo bands like Death Cab For Cutie and Jimmy Eat World, in that we often aim to create a very emotional, heart on your sleeve style of song. Of course we also love some of the old school acts like Prince or Tears For Fears and are

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always looking to them for ideas on getting that huge retro sound.

Your output has been equally as impressive. From last year onwards until now you have released The Glow as an EP as well as Rewrite Your Life and a video for Your Love. Yet everything also has a high value and quality about it all. Was all of this partially there before the band got together or has it all been a case of the dynamic of the band all coming together and this is all down to serendipity in the artistic sense?

We all have different qualities that we bring to the group, so the most valuable thing we can do is to make sure we make the most of them. Benny is a film maker and animator by day, so has a lot of experience to draw from in that area, and also knows a lot about music production. Max has a lot experience performing in large venues all over the world with well-known acts, and Zal has a background in graphic design. So we always make use of these skills to try and ensure everything we put out is of the quality we want it to be.

How do the dynamics work for you as a band when it comes to the artistic process?

Most songs begin with an idea that one of us brings in, and we generally develop an instrumental base before we start adding vocals. But so often we then end up taking those vocals and fitting them into a completely different idea we had previously, or bringing together bits from four different songs weve been working on to make a new one. Everything is in a constant state of evolution and most tracks go through about three completely different versions before were happy with them.

You are also equally comfortable in the studio. What equipment are you currently using?

We love making use of vintage synthesizers and gear. Its more than just getting the real sounds of classic equipment, its how you can feel so much more inspired sitting in front of a load of real knobs and dials than just hunched over a laptop screen. A few of our favourite synths were using at the moment are the Moog Sub Phatty, the Arturia Microbrute, the Korg Poly 800 and the Korg MS20. At one point we actually had a Minimoog previously owned by Keith Moon of The Who, and a Roland SH-101 used on tour with Soft Cell, but alas theyve left the studio now.

The sound is also one that embraces the use of a drum machine. Yet you go beyond utilising more than one type in your sound. There are the purists who say a drum machine is heresy but you would be inclined to ignore that assessment. So for your own dynamic how do you come to the conclusion in the artistic process where you go I know what will make that work and you mess around with a different drum machine to get the sound you are looking for?

We are incredibly fond of our drum machines, even if theyre not being used for a while they can just look so cool lined up on the shelves. When it comes to recording we tend to mix and match a lot of classic (and not so classic) drum machines together to create our own sound, often taking the analog sounds of something like a Boss Dr-110 and mixing it with a digital drum machine like the Korg DDD5, then laying some real hi-hats and percussion over the top to bring it all to life. If someone tells you drum machines have no soul, theyre wrong!

To return to the assumption that the band has a true love affair with the 1980s is that really the case? If so does it go beyond the music of the decade?

We do really love the 80s, but returning to what we said before its more by default that the 1980s are the earliest decade that we can really remember. As a result so many of our first experiences of seeing music videos and TV shows and movies come from that time. But of course we grew up through the 90s and 2000s as well, so we also have as much love for everything that came after that time. But the 80s is such a clearly defined era in terms of fashion and design that its an absolute goldmine of pop culture based inspiration, and you already see so many of the ideas of that time coming back into style now.

Take Simple Minds and The Breakfast Club for example as something that managed to retain a sense of indie credibility while still occupying the mainstream. If you could have done the soundtrack to any movie of the time which one would it have been and why?

The original soundtrack was already amazing, but it would have been awesome to do the music for Eternal Sunshine of the Spotless Mind. We like to weave a lot of sci-fi ideas into our music alongside themes of romance, nostalgia and regret. That movie brings those two worlds together in such a good way, as does Donnie Darko, but we could never compete with all the bands on that soundtrack.

Can you see yourselves moving into scoring soundtracks in the future?

We would love to move into soundtrack work, we already see much of our music as the soundtrack to a narrative and try to represent that in our artwork, but it would be cool to try scoring someone elses concept.

It is also arguably the decade of the music video, largely in part to the birth of MTV and how they gave music videos their glory day. In those days video was very much where it was at. Whereby now we are in the age where YouTube is king and the concept of video is used for so much more than music. But do you think that the future will largely be down to how the platform to access a music video is now so readily available? Or do you think the fact that it also imparts a large degree of empowerment into the hands of artists now that has also caused part of that tectonic shift?

With a few notable exceptions, the move from television to online means the age of the mega budget music video is behind us. But as with most things these days that change has made ideas and imagination much more valuable, especially for anyone starting out in either music or film. To get your video noticed you need to think creatively, unless you just happen to know a load of supermodels and pop stars wholl agree to be in your video for free.

Your Love saw you guys venture into the world of video. How did you find that experience?

Making that video was pretty fun, we produced the whole thing ourselves. We shot it in Maxs flat in one day, and then Benny and Zal worked on the editing and effects for a few weeks after that. Originally the idea was to do something which focussed less on us as a band and more on the lyrics, but it evolved into much more of a performance video.

Are there any plans for any more future videos?

We have big plans for videos, but youre unlikely to see us performing in them. Moving forwards were going to be developing much more filmic videos to expand the world weve created and shed some light on who the character of Corey Valentine really is.

But to move things neatly from the past to the modern, while doing our research we came across this very interesting quote from you guys: vinyl is so yesterday. Its all about cassette now. What were you implying with that quote and what was it about the statement that carried such bold conviction from you guys?

Anything we say seems to carry a sense of bold conviction, even if were not completely sure if we mean it! In that quote we were probably trying to embody the 80s sense of wanting to move everything on to the newest and latest technology as soon as possible, when in reality we know theres a lot to be gained by having a dabble with some of that old fashioned gear.

While you could be considered a band who look to the past from how your music sounds you are also all for the modern age as well. That is reflected in the strong use of modern media that you incorporate into your band behind the scenes. To some artists they view it as a hindrance, while others recognise it as a necessary evil.and others as one of the best free resources to avail of. In the modern day how do you see the importance of social media and technology for an artist?

We probably wouldnt have even gotten started without everything social media offers an artist these days. The most important thing for us was to use platforms like Instagram and YouTube as a way to extend the ideas and themes in our music rather than just promote the band. There are so many people online trying to get your attention that the best thing to do is just to create things you think people will actually enjoy.

The other side of the coin is the other people involved in the music business- the fans. The older model of selling music to fans is slowly diminishing, or steadying (depending on your viewpoint), and the traditional model of consumption has now been replaced by streaming. When you look at how music is consumed these days where do you think the future lies?

Weve never set out to make any money from selling music to people. These days, regardless of how you feel about it, people expect content to be free. So theres no point in locking your music away behind a pay-wall. People consume music in so many different ways now, and its so much easier for a kid who doesnt have the money to buy records to get into a band or artist. Hopefully the future will bring even more opportunities for independent artists to reach an audience in every corner of the world.

Your current EP The Answer has also been favourably picked up by everyone. Have you been taken back by the amount of people picking up on it and all the good press it has received so far?

Its been awesome all the great feedback weve gotten from blogs and press from our releases. We certainly didnt expect people to take to our music as quickly as they have, but it has just made us even more eager to get new stuff out and expand our horizons.

We are only in March nowso what lies ahead for you for the rest of the year? Do you have any plans for more releases or are you going to hit the festival circuit this summer?

This year is set to be a busy one, we are currently finessing our live show and hope to play a few festivals in the summer if not some gigs soon after, We also have our next release planed and on the way as well as some big video ambitions to fulfil. Whatever happens, we have no intention of slowing down yet.

When we were first starting this project it was really

important for us to have a clear vision of what we were doing, so getting the name right was very important to us. We knew we were creat-

ing this world based on *21)lm^^gfhob^lZg]culture and wanted to

create a hero figure to set it all around.

EXMAGICIAN sees the two of you reinvent yourselves after your preceding project, Cashier No.9. What has changed and what has remained the same for you throughout this transition?

Not much has changedsame songwriters/ new songs. If there had been another Cashier no.9 record it would probably have sounded similar to this.

The production of many of the exmagician material features a very lush, layered and sonically rich approach, especially in songs such as Job Done and Kiss that Wealth Goodbye. How did this come about?

Probably quite unintentionally. We recorded this LP with Rocky OReilly in Belfast and it was a two week break in the middle of sessions. During this James and I recorded a lot of vocal harmonies and keys. The sound probably spawned from an inability to stop recording. There's all sorts buried in the mix...swords/ buckets of water/ spoon playing and the odd seagull.

Youve mentioned that the song is king and that you feel that your writing has to be bulletproof before any recording plans are made. Just how exactly does this take form? Do you compose the framework of the song on acoustic guitar or piano and then add the remaining instrumentation (for example the trumpet solo in Place Your Bets) during the production/recording process, or is it somewhat different?

Sometimes I write with a guitar or piano to find basic chords and melodies but most of the writing happens on a computer, sequencing structures and sounds until we are happy with the results. Usually there are 3 or 4 versions of the song recorded at our home studios, so we have a very clear idea and feel for what we want to achieve when it finally comes to recording. A lot of the sounds are on the original demos. I think I had a few trumpet samples on Place Your Bets then Rocky suggested getting local horn player Lynley Hamilton to come in for a session...and he ended up on 4 or 5 songs.

In a similar vein, your music features quite an eclectic range of effects. Do you compose with these effects present or are your songs composed dry with effects only being added in the recording and production process?

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The start of a new idea will usually come from a sound Ive found on a keyboard/ synth/ effects pedal or a drum loop. Its always the jump off point, so effects are constantly changing and shaping the song as its being written.

As a listener, your music is reminiscent of French synth/electronic acts such as Air and Daft Punk, among many others. What have been your main influences, both from a compositional and produc-tion perspective?

We're big fans of Air. We opened for them as Cashier a few years ago. But there's always a wide range of evolving influences. We both enjoy a well -structured pop song and are always excited to hear new/old sounds. Currently we are listening to Khraungbin, Jean-Jacques Perrey and David Axelrod.

Being a two piece act, how do you replicate your sound live? Do you use additional musicians to recreate the full scope of your recorded instru-mentation or do you utilize tracks and pre-recorded material?

Both, we have an amazing rhythm section with Stephen Leacock and Johnny Black and we also use some tracks to generate sounds from the record we cant physically play.

You appear to be at the forefront of a synth/electronic revival scene developing out of Belfast at the moment. How do you think this has come to be, and have other acts/bands in the area influenced you in any way?

Belfast has always been a really creative place. It never feels like it has its own scene or sound. Being so small everyone is striving to have their own identity. There's some great music being made by the likes of Strength, Sea Pinks, Girls Names and Koichi.

Youve mentioned that you have both been friends since your teens. In what way has this influenced the creative process? How is the creative process divided between you? Is one of you the primary songwriter or do you both contribute equally to writing, arranging and producing?

Knowing each other for so long makes it easier to break the news to each other that a song/idea might be a bit shit. Mostly we write songs individually then contribute productions ideas and write instrumentation on each others songs.

Scan the Blue will be available from March 25th. What can we expect from the additional material that will complete the album in comparison to what has already been released?

Some slow, some fast, some loud and some quiet. Were looking forward to birthing the album and getting the next one started.

EXMAGICIAN

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I think Dublin permeates me as a person and so my work, Dublin is everywhere in my work, as is Ireland, a city and country I love. I travelled all over and settled back in Dublin and made it the heart of my creative and spiritual life.

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Vigil was your debut solo album - what brought about your transition from bands to a solo artist? Was it a natural part of your growth and development as a musician and writer?

Thats a good question and that transition was a long time coming because it was not so much a transition as a realisation that they were all just elements of my artistic psyche, and still are. Having played music since I was 13, and writing from that time, I suppose I have always been a solo artist. The fact is that that artist took on many guises, faces, forms, and creative shapes. A man desires working with his mates, to be in the band of brothers, to experience life together, share it, and that together-ness is what forms the communion of people into groups. Within that group the various people co-exist. A life is a shared thing in communities, and where people come together community exists. So I became the fulcrum for projects where I was lucky enough to pass some special and wonderful times with other musicians and creative people.

I have had a projects/bands called The Marrio-nettes, The Fauves, The Wild Beasts, ITO and now Johnny Rayge. All are identical in their commonal-ity, I stand in their centre singing and writing songs. So really all were solo creations and yet none are, if that makes sense?

To answer the question its all natural and all growth. I am not yet a solo artist, and always was.VIGIL was unique in that as a composer I was always struggling to create new sounds and music, inspired by, yet different to, music I had heard and grown up to. I searched my soul for that killer song, that genius album. The answer. My songs were structurally complex and involved single harmonic melody lines that together formed a cohesive whole, individually that could hardly be played. And so as an artist who plays about 300 gigs a year and has for decades, most of them alone on a stage, it basically sucked to not be able to whack out my favourite songs alone, with a single instrument, like I could with some of my favourite artists. So I wrote VIGIL, an album I can play in its entirely on a guitar or piano anywhere.

In terms of writing and performing, what has been the most significant difference you have experienced between band career and solo career?

To be honest the most significant is that in bands I felt a huge obligation to my band members, an enormous pressure to hammer away and succeed for them. They gave so much performing my songs that I just felt such gratitude and thanks that it was almost unbearable. How can you ever repay such a gift?

I also felt the songs suffered as I couldnt play them without the band for I felt it did not do the songs I had written for the bands justice when played alone. Now I feel so proud and delighted just playing my songs anywhere, with anyone who will do me the honour of participating and sharing in them. I feel a lot freer now. And artistically both less and more free. With the band I could write very special stuff as we were together. ITO was a machine; polished and glorious. For me, it was the best band Ireland ever had.

Was Vigil a completely fresh collection of songs that were written specifically for your solo career, or were there remnants of previous songs that had existed before you embarked in the solo direction?

They were all written. I am always writing. I genuinely have thousands of songs. I am lucky that God has gifted me with the ability to create. When inspired I enter a state of all consuming transient trance and write per second expressing my spiritual and deepest soul. The songs from VIGIL, which literally means a period of wakefulness when all others are asleep, from Light to Light, span a period of my life from 2000 to 2012. I have no idea how those 9 songs ended up on that album, how that journey is encapsulated and summarised, but they were the songs the Spirits chose. I just answered and delivered. Song 8 was to be one of my oldest I dont know where were all going but I ran out of time and budget, not to mention energy. The story of the making of VIGIL is truly epic but is too long to go into heresuffice to say without Anthony Gibney and Audiolands it would never have met the light of day. Huge thanks to John Henry at Sun and to Grouse Lodge. 3 songs came from a two day session with John, the other 6 came from 16 recorded in a week at Grouse but then shorn down and sanded to a mere 6 in Audiolands. The other thousands of songs sit in the ether and randomly in audio files all over the planet.

For me, listening to your music seems to evoke memories of Dublin, especially Not Without You and Cracks in the Wood. Has the city itself been an inspiration or an influence in your music?

I think Dublin permeates me as a person and so my work, Dublin is everywhere in my work, as is Ireland, a city and country I love. I travelled all over and settled back in Dublin and made it the heart of my creative and spiritual life, I work endlessly in the city and have played over 3000 shows here since 2004 alone. I have never even done a tour outside the city. It holds my heart in its own. Not Without You speaks of leaving it at the height of the crash. But it is more about escaping the horror of the materialist nightmare weve all entered.

The city in it evokes a metaphor of all cities, all hubs of humanities degradation, not so much Dublin per se, but I dream of a return to woodland, to nature, for a fresh start. I guess its a euphemism for escape and return. Cracks In The Wood is about the malmodernisation of the world. Modernity is incredible, and longed for, it is simply mismanaged. Alienation is not a prerequisite of modernisation. I ask the question, is all you know right? Or could it be different! Must we destroy the natural world to progress??Absolutely not! We can modernise without mother natures destruction. All buildings could have gardened roofs. All non-occupied land should be cordoned off and wildlife let live there, ancient forests to bloom, all fish should be let swim free. The world should not kill but animals should be let live. The idealistic dreams of the mind are not illusions but real. Our idea of paradise is always the closest image of nature we can imagine and communion with is beauty and perfection.. it is never a concrete road with a car on it. At this stage there should be no above ground roads. Only air tunnels underground where tubes shoot us effortlessly around using air pressure. There should be no more fossil fuels and the song points to the intellectual frustration at being born into a world inefficiently and poorly managed. Children it's your turn to swim it asks, but what if the water is too polluted to? That is the tragedy implicit!!!

As a writer and performer, who have your major influences been, and have your influences as a solo artist differed from those you had when part of a band?

My influences are all minds and artists that are purveyors of wisdom, knowledge and beauty. They start with the Buddha and Christ, Krishna and Ganesh and sail past Baudelaire, Kant, Schopenhauer, Dante, Cervantes, Galileo, Archimedes to John Lennon, Neil Young, James Joyce and Beckett, drifting hand in hand with Descartes, Pink Floyd, Mozart, Mozart, Beethoven, Paul Hewson, David Jones, Syd Barret, and Nick Drake. The list is as long as the list can be. I have always been an artist, poet and philosopher so my influences have never differed, and only expand and grow as I discovered them, yet they are already there humanist humans all men are genius. Some share it.

What was the main impetus behind the lyrical content on Vigil? Did it stem from past personal experiences or is there more of a metaphorical element to them?

The words hold to my understanding that music is not an intellectual pursuit for me, it is an experiential emotional experience. It enshrines and encrusts in form, frame, a melody accompa-nied or supported by lyric to try as desperately as possible to satisfy the emotional disconnec-tion, or connection, with the transcendental spiritual realm we have been exiled from. My poems hold firmer my emotional intellectual reflective. My lyrics do as lyrics only canthey float upon the melody and add firmer image to the soundscape whose roots they defy attach-ment to.

I think all songs speak on multiple levels, but primarily three, the literal, the idiomatic and the transcendental.

What the writer is writing about, what the writer thinks theyre writing about, and what theyre really writing about. Then there is the truest interpretation: The listener.

Since the release of Vigil, what have you been working on? Have you been touring the album and are you currently planning a release in the near future?

I have been working non-stop, I have a new EP in the mix for May, and have just finished my third video in a row for VIGIL, to give the audio a visual artistic interpretation. Parisian Skies has done fantastically well since its release on January 1st. On March 6th I shall release Do What You Can, produced and directed by myself but filmed and totally edited by the incredible Paul Heary through our production company Outrageous Records.

On March 15th in Whelans I shall play my only original live event this side of the year to release the LIVE VIGIL DVD, which will come with full digital album download. The DVD has been a tremendous amount of work taking one and a half years from Tris Dalton and Aidan McCarthy. I will be joined on stage that night by some incredible musicians so I recommend it as an event not to be missed, and great for a Tuesday in our glorious capital: Reo Odirile, Anthony Gibney, Jebediah Funkfield, Fiachra White, Katherine Wyers, Noemie Chivas Baron, Fionna, and Aisling Bridgeman, support by Kiruu. Hoping Ill see you guys at from the brilliant U&I there. Huge thanks to you for supporting Irish music and artists. Wed be nowhere without your tireless effort. Respect and thanks for having me. Hope my answers made some sense. Love and peace.

I think Dublin permeates me as a person and so my work, Dublin is everywhere in my work, as is Ireland, a city and country I love. I travelled all over and settled back in Dublin and made it the heart of my creative and spiritual life.

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Manchester based Slow Readers Club are brothers Aaron and Kurt Starkie, James Ryan and Neil Turvin. They have two albums to their name already, and their singles have gotten airplay from BBC 6 Music and XFM as well as being used by Sky Sports and ITV. They're described as indie-electro-doom-pop which is a bit of a mouthful but an accurate description of their music which is simultaneously bleak and euphoric. Last year's Cavalcade album received praise from all quarters. They regularly sell out venues in Manchester and they've been raising their profile outside their hometown with the help of indie label Scruff Of The Neck. They've a big tour coming up this spring. They told us about the past twelve months and look forward to 2016 for what could be their most exciting year yet.

You have a sound like a dark 80s pop band and the almost deadpan delivery with a dancey beat of Joy Division or Interpol. Are you happy with such comparisons?

Yeah, our music is dark but danceable indie electro. Weve had comparisons with New Order, Depeche Mode, Joy Division, Interpol and the Editors. We are cool with those comparisons but our music tells its own story. We have a growing army of fans singing lyrics back at gigs so I guess they see something unique enough in it.

You had a previous incarnation as Omerta. Its never an easy decision for a band to change their name and direction, particu-larly when they are established and critically acclaimed. Tell us a bit about that time and your decision to become Slow Readers Club.

Omerta had had a couple of singles and a bit of success on radio (Lamacq played us on Radio 1). We had some major label interest too but it never came to anything. Our drummer and guitarist left, but me and James decided to stick at it. We

brought in my brother Kurt on guitar and eventually David joined us on drums who had played with Kurt before and they were good mates. I think it felt natural to change the name because of the lineup change. The Slow Readers Club fits better with the lyrical tone of most of the songs anyway.

You have two albums out now. Last years Cavalcade was very well received and is doing well. Has it made a difference to your live shows?

Yeah last year was a big step up with lots of radio play here and in Italy. We sold out Manchester Gorilla at the end of last year which was amazing and we had a good proportion of the crowd singing words back at us. We took time to get properly involved with the lighting so it was more spectacular visually than shows in smaller venues. Our music suits big venues. Our plan now is to build up to that level in other cities around the UK. Our success last year has shown us how important it is to get out and tour. We will be doing more of that this year.

You have had support slots with Catfish & the Bottlemen, The Struts, Reverend and the Makers, and The Sunshine Under-ground. Who would you most like to share a stage with?

James would be good. We know Jim Glennie is a fan because he tweeted about us recently. Other than that Foals, LCD Sound System, The National, Arcade Fire, Echo and The Bunnymen and Jesus and Mary Chain spring to mind.

Tell us a bit about working with Scruff of the Neck.

Weve worked with Mark from Scruff of the Neck for a few years now, initially on Manchester shows but more recently on two tours. It feels like we have grown together. Its great to see them doing so well around the UK and they are attracting great bands to the label.

Youve been gigging extensively through-out England; have you any plans for playing internationally?

Yeah, we are playing a festival in Montpelier in April as part of our tour. We are looking into Ireland, Germany and Italy too as we have been played a lot on the radio over there.

Tell us a bit about the songwriting process for Slow Readers Club.

Songs usually start from jammingany one of us can kick it off. I will then ad lib the main vocal melody over the top. We very rarely bring ideas to practice to be honest so it has to happen there and then. We make a conscious effort to jam things out, change tempos and instrumentation to allow ideas to develop. On our last album we did a lot in the studio with our producer Phil Bulleyment. A lot of the tracks feel really fresh on the album as they had literally just been written.

Youve been playing together for over a decade now. What bands have excited you in that time?

The stand out bands for me over the last ten years have been Arctic Monkeys and Arcade Fire. Arctic Monkeys came and swept all before them. Alex Turners lyrics are clever and wittyhe has a great gift for storytelling. I think it was Kurt that introduced me to Arcade Fire. Their first album Funeral completely blew me away. Beautifully layered instrumentation, loads of drama. They got a little more mainstream on their subsequent albums though.

What does 2016 hold for the band?

More touring, festivals and hopefully new music toward the end of the year. Our next tour starts on 20th February and the Manchester and Sheffield dates have already sold out :) check out the dates at theslowreadersclub.co.uk

Review by Marky Edison

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The big issue when you are starting out is being afraid of sending your music off

to be reviewed or for radio playthese things seem quite intimidating. As you go on you kind of have to become fearless in

what you're doing.

Photo by Olga Kuzmenko

You were part of Amplify when it launched. In terms of what those kind of events give the music scene some people view them as a quick fix, maybe even so far as to call them a placebo because they dont give the music scene the exposure it truly merits. What would you see as the key aspects that the Dublin music scene is currently in need of?

I think the Dublin music scene needs a visible ladder system. For a lot of bands, you seem to bounce from music night to music night and then all of a sudden, for a few, you end up headlining upstairs Whelan's or going on tour with a band. There doesn't seem to be a structure. Something also needs to be done about making gigs interesting to go to because attendance is a pretty big issue for a lot of gigs unfortunately. I personally wouldn't know what to do about it. Maybe if more bands got together to create scenes, who knows.

Is there anything you think the music scene could do with a lot more of and a lot less of?

I think the Dublin music scene could do with a lot more venues for small and bigger bands and for music nights a lot less bands on bills, one of my favourite gig nights in Dublin is Abner Browns. When I went, there was two bands on and the night flew by! It was fantastic. It also gives the bands a lot more space for people to remember them and take interest in them.

We are now almost upon the summer. Will you guys be looking to play the festival circuit this year? Have you any confirmed slots lined up yet?

We have been in contact with festivals, there is nothing at the moment ready to announce but either way it should be a great summer for us!

You have also been playing outside Dublin in the last 12 months or so. A lot of bands tend to live and die by playing the local scene. As such, the fate that befalls them is one that has been the case of numerous acts. How important is it for you to play to an audience outside your home town?

I can't describe how important it is. The moment you start taking risks and start leaving your comfort zone of venues is when you become a working band. I know it can be nerve wrecking, it was for us, but once you do it you will be the better of it! My goal for the band is to always be moving forward, and constantly take new challenges as they come, if that be playing gigs outside Dublin.

What else lies ahead for the rest of 2016?

Well in the coming weeks we will be working on a music video for City of Wolves, then it is the release of EP. There are a lot of great gigs lined up that will be revealed soon! Who knows, we have also been discussing our first gig in the England so this could also be a reality this year. That would a great step forward for us.

How did you actually get together and who were the main musical influences on you all growing up?

Myself and James had been playing music together for a while in secondary school. He was starting a band with a few of his friends and asked me to join, I of course turned him down a couple of times until we went to a gig together and decided that night that we would do it. That band ended up ending and we were searching for a drummer and another guitarist for a long time until we came across Adam and Greg, both absolutely astonishing musicians. All four of us were inspired by indie music of the 90s and early noughties as were growing up. My auntie would have showed me Hot Fuzz by The Killers or Silent Alarm by Bloc Party when they were released when I was younger.

How have the band dynamics changed since you started out?

Strangely enough, since our first practice together, I think there has always been a click between the four of us musically. Like most bands there is always that song that you can never make work but I don't think there has ever been a faulty moment.

Are you planning to promote the EP with a tour of any kind?

That is something we have been looking into. We have been in contact with a lot of venues but right now there is nothing officially planned. Maybe over the summer.

You are all set to play Gigonometry. That is one of the local club nights we are actively involved in and it is definitely one of the jewels in the crown of the Dublin music scene. In light of losing two stalwart institutions in 2015 in the shape of both The Sunday Roast at the start of the year and Saucy Sundays towards the end of the year, how important do you view nights like this which give a platform to emerging music?

Well we were all deeply saddened at the loss of two fantastic nights. Music nights like those and Gigonometry are vital for bands starting off. Without them there would be no music scene. It's only through them that you make the important connections and find out what other types of music is happening in our city. It's a worrying thought the idea of losing the gig nights, especially the loss of the Twisted Pepper as a venue. I'm unsure if they are now back to doing gigs as Wigwam.

Are there any up and coming bands/artists that you are currently impressed with on the circuit?

Well our good friends New Mellow are just fantastic. Hopefully they will be releasing music soon because they have something very special going on between them.

BRASS PHANTOMS

It has now been three years since the band got together and you are all set to release your second EP with City Of Wolves. There also seems to be a more rounded sense of direction for how everything is going with this release that wasnt necessarily there when you released your self-titled debut EP two years ago. Now that you have been together for a respectable period of time do you feel you are now comfortably becoming the band you want to be now?

100 percent! As we write more material I feel as though the band is becoming far more in tuned towards a particular path. Every time new material comes onto the table we push ourselves that little bit extra; it's exciting to see what else we have in store.

When you are a band starting out almost 100% of everything you do is part of the learning curve. From the outside looking in there appears to be a case of a lot of the background aspects being put right this time around and building on what you learned from the experience of releasing your debut self-titled EP two years ago. What do you feel you have been able to put right behind the scenes with this release that you would probably have seen as rookie mistakes two years ago?

The big issue when you are starting out is being afraid of sending your music off to be reviewed or for radio playthese things seem quite intimidating. As you go on you kind of have to become fearless in what you're doing. This time around we all sat down and discussed every possible idea of release, deciding which is the best for us for where we are now. But as well there is always room for improvement and I hope that there is always going to be mistakes to learn from.

To put a coarse question across here in the interview, a two year period between releases is normally expected of a band in between albums. Yet in your case it is between two EPs. What has been the main reason for this being the case with City Of Wolves?

That's a great question. When we released our first EP it was mainly so we had something to send to promoters to get gigs and to somewhat elevate us a little. Since then we have been writing so much and trying to figure out what message we wanted to send, we have in many ways distanced ourselves from the first EP. I know personally for me I feel as though the new tracks coming out in March is the first stepping stone towards who we want to be and in many ways I like to think of it as our official first EP.

How and ever, there are a lot of things that seem to have been put right with everything this time around. One of the notable things is the artwork. In our opinion a lot of bands use the excuse of being broke as an easy cop out and neglect the importance of putting some effort into the artwork. It is one of the first things that will attract new fans to your music after the music itself. But with how you are

approaching this release you have gotten an outside perspective involved when it has come to the design this time around. Was that a deliberate intention you wanted to have this time around?

Definitely. I like to think of the EP cover as a rebirth and rebrand. The moment I saw it I loved it. It is fantastic work from Emma Brady. In hindsight looking at the first EP it felt like we did a lot wrong, even though I quite liked its cover, and this time round we are showing how serious we are about what we are doing.

The sleeve this time around is rather abstract, but it maintains a minimalist touch that is extremely effective. Did you have any input in the artistic process there or did you leave it fully in the hands of Emma Brady to let her work her magic? Was the end product the desired effect you initially hoped for?

Initially Emma had drawn up a few drafts, some were really cool and most likely will be used for future releases. The artwork was drawn in pencil, we then used a negative effect to make it what it is now. When it was changed over I think it was pretty obvious to all of us that that would be the cover.

With the period in between the two releases what have you felt was different this time around when you consider the recording process as a whole?

We recorded our first EP in Temple Lane's Apollo the first time round, it was fantastic with a balcony over Temple Bar and a rooftop with a panoramic view of the city. It was the first time we had worked with Graham Byrne, our producer, also. The first EP was recorded entirely through multi track over two days, staying overnight in the studio. It was crazy being in such a fantastic studio for the first time as we were still in our early stages of being a band. This time round we were in the phenomenal Westland Studios in August 2015 with Graham Byrne and having the brilliant Fergal Davis mastering our music. This time round we were ready for recording and were extremely tight going in. Everything on the EP was recorded live, including City of Wolves with the four of us in a room belting through it. What you hear on the new EP is single takes with slight over dubs placed in the tracks to enhance them.

As we mentioned you have now been together as a band for over three years. When you look at how tight you are now compared to when you started off what do you think has been the best moment for the band in that time?

Either our first time being played on the radio, especially since it was Dara Quilty on 98FM, or our first time playing a gig outside of Dublin. It was in Waterford where we headlined a gig in the Central Hall down there a brilliant night.

THE MANC TANK by Dave Ewing

Its like jelly; if you hold it too hard itll squirt out between your fingersyou need to cup your hands. I kind of squint at life till it goes blurry, then start to see the overall shape of things.

Your most recent album, Peach Got Bones, was released a couple of years ago, have you got any more releases coming up?

Yes, Ive written a pile of songs, Im just trying to line them all up with each other to make a coherent pattern. Hope to have it out this year while its still warm.

A big thing here are independent labels. What are your experiences of working with indies? And tell us a bit about your current label, Distilled Records.

Ive had deals with major labels it was nice swanning round posh offices, being the bees knees, but pretty soon you realise there are lots of other arseholes swanning round there too. Its easy to get lost on a big roster when the accountants looking at sales figures planning a cull. Youre more likely to be a real person with an independent, they probably wont have any money so you know they can only be in it for the music. Thats Distilled, two lovely blokes in it for the music.

Any parting words/thoughts?

Ive just been offered a gig at a bikers festival in May, do you have any patchouli I could borrow?

Mano McLaughlins album, Peach got Bones, is available from the Distilled Records website -www.distilledrecords.com

Its in the water, theres always fantastic music being made in Manchester, in the big venues and the small bars, you just have to go out looking and youll find it somewhere. Seems like there is a higher density of musicians here than most places, so you might have to do some planning before you find your gold.

Youve recently completed a mini-tour of Bordeaux, how did you find the response to your sound over there?

Bordeaux is a beautiful city full of beautiful French peoplewe felt a bit scruffy and knobbly. They have a totally different respect for music over there. The first night I was playing thinking I was bombing a bit, busy venue with only half an eye on the stage, but by the end of the night I had an encore. I think you just have to work a bit harder, prove your worth two eyes. Total contrast to playing out in the Baltics. In Lithuania, I came out to total hush, felt more respect than I deserved, I kind of missed that Manc heckler at the back, fuck off Im not playing Wonderwall.

Are there any venues that you love to play?

Its ace going out to somewhere new, always up for an adventure, but theres also something nice about walking round the corner to play a bar in Chorlton - I do like a gig I can walk to. Last year I decided I was going to say yes to everything as an experiment, I found some of the best nights were the ones I would have squirmed out of. It just goes to show how pointless plans are, they never turn out the way you want them to.

Your label mate, Steve Dowling, describes your songs as the finest being written in the English language today and Guy Garvey has referred to you as one of Britains best songwriters high praise indeed! Where do you get your inspiration?

High praise indeed from two of Britains best writers; I admire them both. Inspiration is a tricky one to pin down, and I dont think you should try.

Manchester is renowned for its ability to produce excellent songwriters. Whether it was Morrissey lamenting the loneliness of being an outsider, Shaun Ryder heralding the hedonism of the second summer of love or more recently Julie Campbell, better known as LoneLady, philosophising about psychogeography and the post-industrial landscape, there is clearly something in the water.

But we already know about those listed above and thats not why youre here, so heres a Mancunian songwriter who you probably have not heard of: Mano McLaughlin.

I first heard of Mano a couple of years ago when Guy Garvey, another fantastic Mancunian voice, played his single Peach Got Bones on his finest hour radio show. My ears instantly pricked up to the witty, warm and soulful sound of this man and his guitar and I yearned for more. An album surely followed that contained more of the sound Id gotten to love but then as soon as hed come hed gone again. That is until late last year when I noticed hed gone on a low-key tour of Bordeaux. I got in touch with Mano to find out more about him, what he makes of the current Mancunian scene and to see if theres any new music on its way soon.

First off, introduce yourself.

Hi Im Mano

Youve certainly been around the block, featuring in numerous bands over the years, whats made you go solo?

Ive been in all kinds of bands, and each band has been all kinds of things from an almost heavenly conjoining of souls to a frustrated mess pulling itself to bits in all directions. Good times though. Its fun to be on the road with your gang. Id just never been out there on my own before and I ended up in a place where it would be easy to walk out the door by myself. Distilled had invited me to make a record and I had lots of gig offers so I thought Id try it out. It was very different, lonely in places, especially when you end up somewhere no one speaks your language but I found people were more willing to come over and say hi if there wasnt a gang hanging out, so I met some good folk, had some adventures.

Youve been plying your craft for a while now, what do you make of the current music scene in Manchester?

P h o t o b y J o n a t h a n E c c l e sMANO- 12 -

- 13 -

From the banks of the Mersey spiral this fresh and vibrant new voice. She Drew The Gun. Their lyrics take my mind to a spiritual place. Their music, reminds one of Portugal. The Man, Fleetwood Mac, Portishead and Pixies. I could cry listening to such music. Not to divert but it must be said, this past week of my life has been a very chaotic and hectic one, and I truly cannot stress just how momentous it felt to listen to She Drew The Gun in the midst of it all. They are a brilliant melodic concoction of beauty, mystery, and sadness. I almost shed a tear at Since You're Not Mine. I do. I hope to God these get the recognition they deserve.

How did the band form? Youve been together quite a while now.

I started playing solo gigs around Liverpool busking and recording under the name She Drew The Gun in 2013. Sian was the first to get involved later that year on some recordings which got picked up by local radio, and eventually found its way to James Skelly, who weve been recording our debut album with. It's been a bit of an evolution and the line up has shape shifted along the way. Jack joined the fold in 2014 and came on an acoustic tour with me last year. Weve also done lots of gigs as a three piece, with Sian on Cajon and Bass. So theres been lots of different formations of She Drew The Gun but were really happy to complete the line up with Jen on keys for our new tour dates.

What is it that inspires you to write the music you do?

The first would be real life events. A lot of the songs are kind of autobiographical. You have to have the experience to be in a place to write the song and I think some of them I even needed to write to help me deal with things. Secondly there are the interesting things you find in things in the worldan interesting turn of phrase in a book or a film, an idea in a song, a poem, anything that sparks your own words and ideas really.

Why do you write songs and play music? What is it that drives you on?

I love everything about it, from writing to being in the studio to playing live. Its a really good feeling to write a song. The whole thing can be a bit of a puzzle you have to solve and it's a good feeling when you complete it, if you ever do. The possibility of not doing it, of giving up on it is always there, and the ride can be bumpy but I suppose it's the idea of what you can make, the possibilities that can come of it that drives you on.

Who are the bands biggest influences?

On the album, we were listening to a lot of stuff from Portishead to Hall and Oates, The Chordettes. A mix of stuff that we took ideas of sounds from. On a songwriting level, I think I can't deny I think I took a lot in from singing old country songs with my nan as a kid. Patsy Cline stands outher voice sounds like home. Falling in love with the Beatles as a slightly older kid was a big thing for me too. Apart from that Id say anyone who makes you think outside the usual boxes.

What has been the best thing She Drew The Gun have had to go through?

This is really tough, but Id have to say going on the road with Fink through Europe for a month was such a sustained high, playing stunning venues and crowds night after night in new cities was the stuff of dreams.

What has been the hardest thing She Drew The Gun have had to go through?

Probably the border crossing between Belarus and Poland!

Where are you aiming for the future?

Who knows, were going out on our first headline tour next month, so that is a big deal for us. We just want to get out and play these songs to as many people as we can right now. Then more writing for sure. Apart from that it's hard to say.

What do you seek to achieve?

To put out good work that people can connect to. I like what Kurt Vonnegut said that music is there to make people fonder of life than they would be without it, and I think that can be through escaping in music but it can just as easily be about escaping in words that make you think. Or feeling that somebody cares about the same things you do. You can't please everyone, so maybe it's about connecting with people who are open to it.

by Joe Loftus

SHE DREW THE GUN

MISUN

SHAED

CLONES OF CLONES

MITTENFIELDS

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A formidable band with a sound to match their unbridled approach to capturing a leftfield sense of style while also cornering an elevated sense of colourful inventiveness in the process. As such each track they develop possesses a gravitas in the multi-dimensional ^qiehkZmbhg]^ghm^]';^bmk^mkhihimakhn`amh/)lk^oblbhgblmbgieZ\^l%ma^k^blZgunmatched modernity in the sound each time.

K^gZf^]_khfPZedbg`Lmb\dl%ma^k^blZehmh_ikhfbl^Z[hnmmabl[Zg]ib\dlnipa^k^ma^re^_moff in their previous incarnation. Again the select precedent of their classy transitions seamlessly merges with the subdued temperament of the softer leanings. The emphatic appreciation each time also commands an opulent sense of presence and wonderfully completes their sound each time.

In the abstract sense of what music should sometimes be about this band prove themselves. The unadulterated innovation of their style processes an opulent sense of inspiration. From this approach they prominently prevail by investing themselves so effortlessly within the artistic process. As a live act they are also noted for their impressive stage presence.

;e^ll^]pbmaZ\hglblm^g\rbgma^ihlmpZo^ingdlmre^ma^raZo^\hf^mh\Zeema^bkhpg%mablband are also gaining a lot of attention from Australian and international media. The sound they have is one that is unapologetically cool and the deadened shoegazer touches that are processed favourably grow on anyone who appreciates fine music. This band is all about that.

SISTER GIRLFRIENDOne of those bands who are something of a hidden gem. With their back catalogue on Bandcamp to be discovered doing so will allow you to come across an electro pop act with a lot going for them. Processed in their sound is an elegant sense of the playful but it is backed by a fundamental showing of forward thinking that engages all things musical with knowing prominence.

At Unsigned And Independent we work with an international music network of 95 co-ops in 49 di!erent countries. SONAR- Spotlight On New ARtists- is a dedicated feature which focuses speci"cally on recommendations from one of our co-ops each month.

BE SURE TO CHECK OUT THE DEDICATED PLAYLIST OF ALL THE ARTISTS ON OUR WEBISTE

Washington

HONEST HALOWAY

VENN

BRUTALISM

- 15 -

Dictated by a pensive sense of defined structure sees their electronica inspirations loyalty adhered to. They are marked out for the intuitive application of minimalism in their style which is met by a prominent sense of expansive definition at the same time. Each track is carefully scored and refined by the notations of individuality that abounds there in.

A clever band who allow their approach carry through in the sullen temperament. They are a shoegaze band in every sense of the word. How and ever, this does not restrict them from `hbg`[^rhg]ln\aZeZ[^e'MkZ\dlebd^Lhf^hg^>el^f^k^erlahphg^_Z\^mh_ma^bklmre^and signature. They are equally comfortable embracing more alternative styles and coming up trumps in the musical sense.

Conversing a rich distinction of electronica and layering it with a mainstream appeal in the lyrics gives them a lot of credibility. They seem to clock in on each track with a considerable sense of smarts. This realisation is a formidable showing and one that is developed in terms of bringing both their influence and identity to the fore in equal measure. How comfortable they prove to be each time sees them deserving of inclusion on this list of Washington based artists to check out.

WIMPS AND MACHOS

COLOR PALETTE

This attentive band blend influences as diverse as The Velvet Underground to bands from the heyday h_ma^`k^rZg][e^ZdFZg\a^lm^kfnlb\l\^g^ln\aZlMa^Lfbmal'Ma^k^lnemblZgbfik^llbo^lahpbg`maZmikh\^llma^l^ZiikhZ\a^lZg]bg_en^g\^l'Ma^[Zg]lhpgb]^gmbmrbl_hng]bgma^absorbing way the resonance of the hazy projections are carried through to give their style a true charm offensive in the process.

This band are something of an office favourite for us here at U&I and this assessment is well deserved. A neat countenance between indie and pop credibility declares their intentions. Yet they harness this richness in tumultuous fashion and the execution on each track removes it from being a mere retro calling each time. Instead there is an emphatic precedent set down that builds a formi-dable anticipation as the band declare they have arrived with their music doing the talking for them.

When the Horslips were touring the ballrooms of Ireland in the seventies, one promoter was inspired to proclaim that Ireland now boasted three types of bands, country, pop, and 'mad pop'. Nowadays the line between pop and mad pop has become so blurred that it's hard to tell which is which. Jonathan Savino's Super Hyper Giant have just released an album that firmly nails their colours to the mad pop mast. Retro/ Futurist sounds homemade and high concept, personal and universal, analogue and digital. In short, retro and futuristic. It features former Smashing Pumpkin, Nicole Fiorentino on bass and backing vocals and the band launched the album in Whelan's on March 4th. Jonathan spoke to us about taking risks with his music, and his aversion to blandness.

This is your first album.

Its the first non-abandoned album. There are about five abandoned ones. It made it the whole way through. Normally I would have started something and then scrapped it. But thisthis Im very happy with.

There's a lot going on in the music. Whats your live setup?

It is very much a band. Weve got five vocalists but theyre all playing instruments. Two guitar players. Two synth players. We were going to bring a cello too but it would have been too messy at that stage. Because there's so much going on we simplified bits to make it doable. We wanted to do everything live. So everything is live. Weve adapted the songs. The songs are very much like they are on the album but theyve room to stretch out. They have their own identity.

I read your article in The Journal about the financial struggles of being an artist today.

A guy at The Journal is a fan. He rang me up. He is also in bands and was trying to do an article about bands having no money and how to make money. There really isnt an easy answer. Even 'big' bands I know are all broke. It is so hard to make anything. Its a thing you do for love over everything else.

I dont think anyone is getting into it to be a rock star anymore because the reality is that it's just not there.

No, it's not there. Record labels are too frightened of a failure. They dont take risks anymore. Whereas back in the 70s, 80s, even the 90s, they threw anything out. They gave anything a chance. They at least gave a single. Now youre wasting your time until you have a proven track record. I didnt even bother approaching labels when I was making this album. It was all self funded. Maybe for album two, if this one takes off, maybe we can look at labels. If we prove ourselves.

Chances are were still too risky because I virtually want to try everything. I'd like to do something heavy and try a hip hop dance thing too. I like being able to stretch myself without being boxed in. Record labels, and fans, want a band they can define. Were not that band. Thats a bad move on our behalf. Its a bad commercial decision to make, when you decide that you want to play everything. Id love to get orchestras in, get choirs in. Music is as big as the imagination can get.

I just dont want to be boxed in. That idea terrifies me. Im a big David Bowie and Kate Bush fan. I grew up in the 90s so a lot of the influences are from the 90s but growing up it was Kate Bush and David Bowie as a small kid. And they were crazy albums. They were operatic and then rocky. And then a dance song. But it would unfold and tell a story. That was where I was going with this.

I want to make pop music but I want to be experimen-tal and I also want to push people to places they didn't want to go. There's a bit in 'Always' where we intentionally mess the song up and go dark for the second verse. The idea was to get people in to this great pop melody and then throw something else at them but without taking them out of the song, to give them something to take home. Lyrically, musically, I wanted an interactive experience for the listener. I didnt want to have something in the background that could be ignored.

There are so many Irish bands now, I dont want to be offensive, but they make music to be ignored. We are all getting blander. Retro/ Futuristic is a reaction to that. I respect those bands, they are hard working guys but there is no one taking risks. Throughout the industry, no one is taking risks. Everybody is playing it safe. So I want to take risks and do what no one else does. It could blow up in my face big time but I wouldn't be happy to make that record that sounds the same as everybody else, didn't take someone on a journey. I want them to feel every emotion listening to that record. I want them to dance and to have something thoughtful. I want to give them everything. That was the intent. I dont know if Ive done it or not but that was the intent.

It warms my heart to hear someone talk about music with a passion like that.

I listen to bands now and I think to myself that song is not the reason why you got in to music. That is the song you're playing. That's the song you will be known for. It can be really successful but I do wonder when I hear bands play, are you really into that or are you just giving people what they want? I think its very sad. I think the role of the artist is to push the audience. They might not always like it but thats the intent.

SUPER HYPER GIANT

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Review by Marky Edison

- 17 -

Do you have a songwriting technique?

I write half songs. I dont finish my work. And I let it grow. I tend to finish the lyrics in one day so the meaning doesnt get confused. And I try to be as honest and forthright as I can be with the material without giving too much away either. All the songs on the album are written on guitar even though it doesnt sound like it. Start with the acoustic then get the Garageband out. Push the songs as far as I can. We might push them really far out and try to drag them back in again. I am willing to try anything.

Sometimes the music comes first, sometimes the words come first. Im not willing to limit it. With any idea, run with it, take it all the way down that road as far as you can. Im not as good as my ideas are. I just hang back and let the idea germinate.

Sally Seems off the album, that was started 14 years ago. I couldnt crack it. I finally cracked it there recently. And there it was. And its on the album. People kept asking about that song and I just couldnt finish it. I had a mental block. I just put things on a shelf if I cant finish them. I dont give up on any idea.

Theres a big mix of electronic and analogue instruments on the album.

Everything is real. All the instruments were real. The synths that we used, a microkorg with a real retro sound and put it through an amplifier. There was only me and Lance in the studio, just the two of us for most of the time. We would play drums and sample those drums and loop them, and put them through distortions. Theres a hip hop feel from the drums.

Everything is real. We got a cello player in. The guitars are all played through awesome amps. It had to feel real. I didnt want it to feel flat. It was important for me for it to feel analogue. And I know its a digital world and everything sounds flat now. I like it when things sound warm and fat.

How did you end up with a Smashing Pumpkin in there?

I was a big fan of the Pumpkins my whole life. Nicole left the Pumpkins and she was looking for something to work on between tours. I sent her some stuff and she got back to me. She liked the stuff and ended up on the record. We never actually met. It was all done through

email. Its a real privilege to have someone of that calibre on the record.

I'd say you couldnt believe it when she was emailing you.

No, after a lifetime of disappointment. You get used to never hearing back from people. Not even an email going thanks, but no. In a band you get used to never hearing back. I was very surprised when she did.

So 2016 will be the year of Super Hyper Giant.

I hope so. Were not going to play too much. I dont want to burn up my audience. I want to build it. I dont want to be a band that you can see every week. We will play around the country more than just in Dublin. Well do support slots, do festivals, and we might do another Whelans type show ion the autumn so as not to overextend ourselves. Ive been in bands before where we have done that with the fans. There are only so many times they can go and watch your band. When someone goes to see U2 they havent seen them in five or six years, so we dont want to burn people out.

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When Retro Futuristic landed on our desk here at U&I in November we immediately played it and from the first second of The Universe we were transfixed. Such was the effect of watching this gig last night that we were taken back as lightning struck twice. It contains this ethereal sense of composure that is realised in the arrangement. From the haze in the sound there is a glorious sense of texture which suits the enamoured appreciation of the vocals tellingly in the live setting here tonight. The urgency of Sometimes is made apparent from the off. It embraces a telling sense of distinction and it also showcases the importance of this as a track. This has a darker fervour that also comes through in the live showing in a responsive fashion. Jarring the sound as the band get behind it is Always and there is a profound sense of the explicit to the synth. This is a condensed foray but it connects well. The formidable presence brought to bear also feels relevant.

Committed in the showing is a fastidious keel in the drumming. After this the steadied saunter offers a collected sense of the spacious. But it is a tremendous derivative that carries Train Tracks through and the inspired sentiment caught in the approach holds together throughout. Song To Wake The Dead then follows. Here the sedate trapping suitably create mood and tone. This development is a careful showing and is cleanly felt in the movement that tellingly pulls it through. The prowess in the song writing is confirmed and the close is akin to Pink Floyd in the way it develops into an odyssey all of its own. Another tune that is very much on the money for how it is pulled of live is Sally Seems. There is life abounding in the New Wave distinction that cuts through. The opening line was delivered with a superb sense of traction. But where it truly found form was in the noted way the even pull of the distribution was so cleanly played through. A song of untold riches and blessed with paunch, Little Sparks is given gravitas by how the pace is applied. This teases the tantalising richness of the effort towards a leaner process in the exchanges. What carries the performance here is the determination as much as the nouveau disco chic. The poetry in motion that is Fantastic Voyage captivates from the wonderful sense of virtue in the lyrics. This locates the heart and carries across suitably. The noted poise present sets it up and, pun intended, delivers something ship shape in the process. Cornering a sunken Tex-Mex style is Lost Souls. Described as a track with atheist connotations it is an effort that is wonderfully accessible. This is confirmed by the vocals as they procure a lavish keel that enriches the texture on show in an equally telling fashion in the breakdown. Heaven Awaits then saw a loving sentiment committed in the rich waiver of his voice. The smart collection of the tune is there to be found in the careful application of the layering. This coveted showing is made all the more engaging for it and the backing vocals also trap a suitable fond derivative. Showing a deterred level of poise in the Fade Out by Radiohead sense of doing so is Carnival. This bears down in an inspired way. The attention in the higher expanse gives the detail a fundamental progression that is sharply felt on the bridge. Overall tonight was all about the music and it was an impressive set from start to finish.

SUPER HYPER GIANT

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SUPER HYPER GIANT @ Whelans

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WOLFF @ Whelans 13/2/16

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FANG CLUB @ Whelans 13/2/16

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FANG CLUB @ Whelans 13/2/16

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CORNER BOY

IN THE WILLOWS

Sounds of South East Feb 27th 16

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JOHN MURRY

Sounds of South East Feb 27th 16

enough in the showing to keep it all on course. Piquing your interest as it opens is Night Terrors. It is drawn out on the intro but the pace picks up astutely against the dropped down calling. The dynamics of Night Terrors are developed in a way that piques interest. A roadhouse style blends with a more progressive sense of movement. Here the hardened oeuvre that ensues yields a higher sense of the tactful from how the execution of vocals bears down and it comprehensively suits how it all sounds.

Louder reverts to the albums intense opening salvo but factors in a pensive touch. It is a banger of a tune. When it takes flight the loaded keel cutting through the swathes of play is fashionably direct. It cuts loose in a way that distinguishes the band as a cut above. Driven by the raw charac-ter is Feral. This is an urgent affair with bite (pardon the pun) but the sense of contention holds it together at every turn. Bringing with a hint of New Wave and Post-Punk is This City. Then the direction develops the hip gravitas of the leftfield attractiveness accordingly. It is a clean showing but one that captures a noted sense of innovation in the process that really calls the shots. The go the extra mile with Oh No! and it shows. The divergent latter progression carries the tune but it is a fully formed effort that cuts straight to the chase. While Dave is an outro it also closes the album out. It brings the crescendo of the albums signature styling through but the delivery brings a fitting anti-climax in the calculated way it is all touched upon.

KID KARATE Kid Karate

Surely this will be an album that features highly on every Best of 2016 list. The pitch of opening track Building is galvanised by the sharp turn of pace. In turn the resilience fuels the dynamic and this intent is backed up by the loaded kick brought to proceedings. This tenacity prevailing in the playing structures makes everything a top drawer affair indeed. The pedi-gree is confirmed as the diligence on show with Heart proves akin to capturing lightning in a bottle. The fundamentals of the arrange-ment are enveloped in a finite sense of appreciation but how it capitalised upon is really telling from how it is all brought to bear. They again hit the ground running with noted contention on Growing. While the approach gives it presence from the off, there is a sleight of hand that gives it an additional leftfield apparel in places. How this nouveau flair settles in amidst the retro flashes is an absolute joy to behold.

They keep her lit with Fortune. This is another high octane effort and the running adds up along-side the grittier feel ground out from the delivery. It is a full on affair with the blazing resonance of the guitar and drums tellingly calling the shots. Yet how hard it hits is all deliberately there by design. With how the opening riffs of Two Times drop in on the intro you are drawn in. Then the pace picks up to give the showing a solid basis that is mirrored by both the pockets of play and the vocals. Overall it comfortably comes full circle but retains

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REVIEWSALBUM

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ways impresses with the smarter conjecture concentrated in the playing details. There seems to be an evident Harry Nilsson vibe going on with I Wont Let You Down Again. Initially it is a weak track to begin with but the latter progression benefits from the musical appreciation. It correlates in a way that carries the momentum and the higher reach of the vocals is comfortably brought to bear. With the sleight of hand to One Fine Day it carries across with subtlety. The listless meander of the vocals seals in the appreciation and in the way it falls into place the considerations of the music for the sake of music also come across.

Immediately you feel as if you are listening to something from the glory days of The Eagles with how Sad And Lonely is brought together. The resilient kick in the pace also kindly accommodates a rugged appeal in the displaced vocals. But how they all combine truly kicks into gear accordingly to underline the comparison. As the tinkling of the ivory brings through the roadhouse conditioning, as a duet And When The Lights Are Low works extremely well. It gets down to the task at hand admirably. How it is remedied keeps the cleaner elements together, but it does lack a fuller sense of cohesion when considered as a whole. Things are pumped up when Heart And Soul opens but it doesnt maintain that momentum exclusively. The pace is turned on appropriately though. Doing so boxes clever and carries the momentum through in lieu of the deficiency of true substance overall. Same Thing Every Night closes us out and it is a country affair. It is a fairly good tune and it wears it well. The earnest pick-up turns on the style and it captures something momentary in the lyrics that are par for the course.

Overall the album works and fails in equal measure at times, and the failings are probably in part down to it not being the vision of one person/band. Which you have to expect.

JOHN JENKINS AND THAT SURE THING Honeymoon Hangover

What is interesting about the album as a concept is that all of the artists featured are there by invite only. It doesnt fall apart either as a collective collabora-tion and that is what really makes for an interesting listen. It is apparent with first track Another Time Another Place. There is something bridged here that is somewhat old-school form how the cabaret sound in it is styled. It is an intricate showing. This is closed around in the emotive reach of the vocals and how they are landed within the arrangement. Felt out with a more blues apparel is Louisiana Is Calling. It is a gratifying display with a rich virtue displayed on the side. From there it retains a steady sense of direction and this is imparted in the calling to carefully bring everything full circle with a marked sense of pedigree in the process. With the due weight behind the sullen ambience comes Cat And Mouse. From there it traps a lingering sense of brevity. This lends it an elegant saunter which accommodates the lay qualities that surface as the steadier approach is maintained.

With a telling sense of sophistication comes It Tears Me Apart. The emphasis on the details captured a soulful sentiment and it is highly endearing. In the saturation of the undulated warmth it finds a patience that comes on strongly without feeling over imposed. You note that in the token showing of instrumentalism at work, which is again a proven quality with Get Her Out Of My Mind. The running here is blessed with a lightness of touch that marries well with the urgency in the tempo. This gives everything a grounded conditioning and in the right

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MADAM WEST Madam West Loves You

The instant the gravitas of Couch sets in the tracking captures an impartial motion. How this elaborately builds sees this Brooklyn band retain an affluent balance of cool and ability, which is mirrored by imbuing the delivery with an undiluted sense of artistry as the tempo moves through. One of the signature qualities of this album is a sense of development, and by applying a reverbed synth to the equation Wade In The Water bridges modernity between a subtle jazz influence and an approach towards a broader scope. This keeps things fashionably hip. Even the timings are matched by a fantastic sense of delib-eration. As the sullen touches of the ambient calling come across on next track Mr. Rodgers it benefits from a richer context processed in the instrumental dynamics. This is enhanced furthermore by bridging the noir with the seductive vocals emphatically played through. What is processed in the aural artistry is keenly felt on every note.

The bands strengths lie in their undoubted ability, and this is brought to bear with Tiny Hammer. The quickened pace embraces expressive indulgence but at the expense of being over-pretentious. The artistry pushing the proverbial envelope takes you on an incredible music odyssey from start to finish. What they are about collectively again shows with the progres-sive feel of Anxiety Palace.

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Fixed in the proactive measurement is a texture that brings a committed sense of relativity as the running expertly gets behind the tempo. With the volume locked down it clicks into gear and the funky undertone commanded wonderfully takes flight and draws inspiration from the approach undertaken. A notable shift in ambition defines On Purpose. What is shown immerses the music in an outstanding display of utter brilliance as much as it is about crafts-manship and ability. You warm to the kneading of the vocals and they are incredibly effective alongside the lingered touches found.

In terms of how the artistry is defined gives Aurora an effortless showing. This is defined by the projected macabre foray which con-centrates the ambient elements in a forward manner. Also provided for in the leftfield showing is a noted presence which brings it full circle. Built upon finesse is Younger and it is ably processed at every turn. This sees the vocals given a platform which admirably cosies up to the broader sense of scope concentrated in the dynamics. As such the askew presence felt from the vocals has the desired effect and connects well with the sullen call finely tracked in the patient calling. From the off Darlin is given a shot in the arm. As such a gorgeous sentiment is carried through in the interweaving cascade of rhythm invigorating the track on every turn. A lot can be said for the closing track Epic Love Song No. 107. Flitting between an unbridled running and a traipsed expanse fans the flames of appreciation. Not only is the breakdown an incredibly elegant affair but it packs a punch in the compact which lands the confidence expertly when it hits.

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very much on the money. But what elaborately runs through this retains their signature style and is very giving to the overall end product it must be said. You are met with this wonderful sense of exuberance as Legend Tripping opens which underlines the excellence of the production values as much as it does the bands undeniable ability. It is a rather fetching effort. How the grandiose quality is considered elevates the tracks more affluent aversions but doesnt dissuade the listener in any way whatsoever.

Shifting the direction with the precedent set by the playing arcs captures the innovation of Drinking At The Doldrums dead on. The ambling distinction, along with the detail of the arrangement, proves conclusive. It does have a stark connection but the overt way it travels manifests this quality to produce the magic. Heavier with the drum and bass styling of the sound on the intro before progressing towards something with a more reliant leaning on a reggae influence is Sion. The fonder derivative cornered is projected in the movement and it also hints at an underlying carnival touch in the undertone that expertly adds a further degree of style.

The bold traipse of bedroom pop sensibility adds a lo-fi apparel to Billy Contorted The Trees. How it prevails adds an invigorated jive that gives everything a noted sense of near flawless distinction. Where the catchy side of things falls into place is very much by design but it also adds to the charm. After the sharp pinch in the snatched guitar comes Dodo. It is a smart affair indeed with the rhythm sternly calling the shots. It has this spry fondness to it that is rich and colourful in equal measure. The last track Cant Teach An Old Wizard New Tricks opens in secluded fashion. Things then collect and the pace steadily steps out. From there it builds in a calculated fashion to become an elaborate effort of marked distinction from start to finish. Which is true of the album as a whole.

NO MONSTER CLUB I Feel Love

The follow up to the brilliant People Are Weird? is an equally excellent leftfield affair that retains that same indie charm. Coveting a splendid sense of expertise is Cte d'Ivoire. It adds a synchronised intricacy that sits well with the lighter processes that defini-tively gives the track an identity. They then heighten that sense of modernity with how the calypso styling of Youre The Brains progresses further with how the harkened call of the vocals immerses within the approach. What is bridged from the approach progresses the track further and the tidy shuffle in the tempo marks the charmed approach out for all the right reasons. Commanding a sensible sentiment is Lemon-ade. They lay down a fine marker that is instantly recog-nised as the true worth of the dynamics becomes so freely expressed. The deliberation retains a sensitive urgency but by allowing themselves a degree of artistic licence in the ebb and flow they are handsomely rewarded.

Again the bolder sense of imagination at work is evident on Ancient History. This diligence is mirrored in the attractiveness that captures the spirited joie-de-vivre that effortlessly spills out. This is extremely catchy and the colourful attentiveness is hard to ignore. The utter brilliance of Charity Shop/Slaughterhouse probably doesnt have a suitable superlative to describe it. Suffice to say everything that you could want in a track in terms of an investment in something truly imaginative meets the artistry and musical ability with this one. It is one of those tunes you just cant get enough of. Run With The Night brings the hip. This draws you in like a moth to a flame. The quickened pace is

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RED EMPIRE Inhale

As the apparent maturity gets the alum underway, A Better Fluke becomes fully formed with the arrangement. The level of detail mirrored in the distinction accommodates the intent as the movement is met by the strength of the vocal performance. Again there is a keepsake virtue present on I Remember Nothing. The approach brings a grace with it and draws an undeniable com-parison with Simon And Garfunkel. Where it prevails is found in the marked depar-ture as it magnificently gath-ers presence and finesse in equal measure as the convic-tion comes through. Suitably titled, Hard Times is cleanly felt. It is seen through by the signal of intent in the convic-tion that you do take note of. This is effective and under-lined prominently by the lean combination of guitar and drumming.

How the patient stirring of Deliver Me brings it to life contains a broader sense of scope. This approach then carries the soulful aspects by giving a deserved platform to both the lyrics and vocals. You feel it is instinctive and this assessment does not go amiss for how it moves you. Carrying a sombre signature is Late Into The Early Hours, but it is the secondary development that styles