I fucking think it is fucking brilliant what the band have achieved without any label behind them and how it has now changed the landscape of music. RAYE is also releasing her debut album, “21st Century Blues”, next week after leaving her label, which gave her nothing but grief, and releasing it independently after just over a decade of waiting. Funnily enough, the band’s motto is “No backing, no label, all Reytons”. Of course, off the back of the success of the record, through social media postings and gigging, they are now signed.
I vaguely knew who the band from Yorkshire was before I found out they were heading for the top of the chart. I am switched on to Indie UK and Irish twitter. I have discovered artists/bands like Fontaines DC, the Lathums, the Great Leslie, Forgotten Door, Skylights, Citylightz, Rianne Downey, and the Reytons. I must confess that I had yet to listen to any of the band’s tracks before discovering their album on their YouTube account. What struck me almost immediately was how much frontman Jonny Yerrell sounds like a young Alex Turner. Their wall of sound reminded me of the Arctic Monkeys in their early days. A very raw and in-your-face sound. Nothing polished, clean or sounding like the last two records by the Arctics.
I remember watching a documentary asking, “is Guitar Music Dead?” featuring Noel Gallagher, among others. Noel said it was, as well as Paul Weller, but Jehnny Beth from the Savages strongly disagreed. The music that has hit the top of the album chart since 2020 proves that guitar music is still alive. When you think about it, many genres use the guitar in their production, so it will never fade out, far less die.
The Reytons are proving again with their second album and bringing back the type of indie which made you jump around and belt out songs like a soul possessed. I found out, upon research, that their name is the Yorkshire dialect for “right ones”. As I mentioned earlier, Jonny sounds like a young Alex Turner and even had the sarcasm to boot. The rest of the band played at 100 miles an hour, which, apart from the Arctics, could be compared to the Libertines in their prime. You will certainly enjoy yourself at their gigs, which will be explosive and over before you get a chance to catch your breath. The choruses are from another world, too. Catchy and full of energy, which will see a crowd surge towards the front barrier.
I can honestly say I fucking loved this album. The energy, the swagger, the conscious lyrics, the grandiose choruses, and just like their gigs, it is an explosive record that is over before you have realised. A fucking superb record. Truly outstanding.
Song recommendations: ‘Avalanche’, ‘Little Bastards’, ‘Cash in Hand & Fake IDs’
Paolo Nutini is like buses. Two come along at once. What do I mean by this? Since 2019, Celtic Twitter has enquired about where he was (Lewis Capaldi revealed late last year that they were in the studio working on Paolo's new album, which I am currently reviewing). Then, three years later, "Last Night in the Bittersweet" announcements were revealed, and a tour was announced. I wondered where he was, but I surmised he was busy recording new material. Hence, he is like buses.
I have been a fan of Paolo's since his debut album, "These Streets". He was offering something different at the turn of the 2000s. No one appeared to make music like that, and it was only as we entered the 2010s that someone had a similar vocal style in Maverick Sabre. His debut was followed by "Sunny Side up" in 2009, where his fan base snowballed, which spawned the hits, 'Candy', 'Pencil Full of Lead' (Adopted by fellow Celtic fan and snooker player John Higgins up until 2020 as his walk-on song.), 'Coming up Easy', and the reggae-inspired '10/10'. My fondness for his music grew stronger after an appearance on Jools Holland's Hootenanny, where he performed '10/10' (among others.), and his falsetto vocals echoed those of the late Bob Marley.
Funnily enough, I thought it was a cover of a reggae song, but to my amazement, it was written by Paolo. However, it sounds like a typical timeless reggae track.
He followed up the highly successful "Sunny Side up" with 'Caustic Love' in 2014. Despite hitting the top spot, the album had mixed reviews and spawned fewer hits or accolades than its predecessor.
Amazingly, "Caustic Love" is the predecessor to "Last Night in the Bittersweet". He was still touring until 2018, but that is some gap to wait for the fans to hear new material. That's a gap of eight years. You can understand why his fellow Celtic fans were asking where he was. This record also makes that eight-year wait worthwhile. Paolo is back with the drum banging loudly. It shows his versatility in turning his hand to anything from ska, reggae, country, indie, RnB and soul. His vocals vary across the sixteen tracks, so you get more than just that deep falsetto.
For example, 'Through the Echoes' sounds like something you would have heard on his previous album, but 'Lose it' is a cross between Fontaines DC and the late Lou Reed. On quite a fair chunk of the album, many Lou Reed-esque songs are complete with spoken word, which Lou was known for.
I first heard Paolo's new song in the recent series of Later…with Jools Holland, but I, unfortunately, cannot remember when writing what songs they were. However, they sounded different from what I had heard him do—Lou Reed-esque and with plenty of attitude. Seeing him with an electric guitar over his shoulder was also refreshing.
The same goes for 'Acid Eyes', another song wedded to rock, sitting nicely with Paolo's vocals over bombastic drums. I look forward to seeing some rockier songs added to his setlist on the current tour.
I told many of my peers to listen when I heard the album because it isn't your typical Paolo record. This album has attitude, punk spirit and rock n roll lashings. Even fleeting moments resemble the sounds of the Stone Roses, so Paolo returned to his musical influences as a teenager.
It doesn't get much recognition because of his vocals, songwriting and mellow acoustic playing. Still, he is a good guitarist with the electric guitar and can match any lead guitarists who play to an excellent level (We are excluding the late Jimi Hendrix here), which is no more evident than on this record.
It has been worthwhile waiting for Paolo to release the successor to "Caustic Love". Sometimes, such a long wait leads to an anti-climax, but he has returned, and don't you know it? The songwriting, guitar solos, spoken word, vocals, topics, and instrumentation are fabulous. It is going to be extremely exciting to hear these songs performed live. I doff my cap to you, Paolo. It is an outstanding record, and if you produce the next one like this, you can release that in eight years, too.
Song recommendations: 'Lose it', 'Through the Echoes', 'Heart Filled up'
As you might recall, I wrote a review of their second album, “A Hero’s Death”, by accident. As you know, I write a review for the number one album each week or whenever a new one is on the top spot. Well, this particular week back in 2020, the Irish band were on course for the top spot, but the previous number one held them off. However, I wrote a review on “A Hero’s Death” because it was more or less certain on the back of this information. I listened to the record, wrote my review a day later, and uploaded it the following day. It’s nice to know I will not need to do a bit of background to introduce you to the lads from Dublin. I will, though, do something I have yet to do so far.
As you know, I have done track-by-track reviews, summary track-by-track reviews, and plain old, elongated reviews. I will do essential track reviews on the tracks I enjoyed this time. The album consists of ten tracks. I will write a review, long or short, on the highlights of “Skinty Fia”:
In ár gCroíthe go deo:
This track opens the album and translates as “In Our Hearts Forever”. It’s nice to see some Gaeilge used by a band, particularly from Ireland. It has been a while since I’ve seen Gaeilge used by Irish bands, unless it is Clannad or the like. This song is steeped in Irish history—the song protests against the English who invaded Ireland 800 or more years ago. The band’s instrumentalists provide backing vocals, repeating the track title repeatedly as Grian enters over a glum and sinister bassline. The song is based on the event of Maggie Keane, who wanted a Celtic cross with the track name inscribed on the headstone. However, the occupying British Army brought the Church of England over, which denied Maggie’s request. Their reason is that the message was written in the native language, which would lead to political connotations. Despite this, the Irish courts ruled in favour of Maggie’s family. The band felt the song epitomises how the natives still need to fight for their identity. From the outset, the band have decided to go political. If that makes some of you uncomfortable because they want to talk about the occupation of Ireland, then stop reading this review and give the album a miss.
Big Shot:
As you may well know, the Dubliners have moved across the sea to London, and this song reflects that. Whereas Dublin still has opportunities to expand, the band’s move to London has opened up more avenues than were on offer back in their native Dublin. The band can pursue their dream of being the best by moving across the sea. For example, look at some of these lyrics: “I travelled to Space”, found the moon too small, and home is a pin, rusting through a map, I go there to pray, do my resting at mass”. What Grian is saying, from what I can decipher, is that they have travelled around Ireland, but it isn’t enough to achieve their dream. Despite being a big city, Dublin is nothing compared to the other cities they have played in worldwide. They only return to Dublin when there is a break during touring (Or the tour has ended.) and attend mass. The last line, I believe to be they only have time to reflect and relax away from music when they go to mass (I am also Catholic like the lads, and you feel far from relaxed at mass. It feels like you are in the dock listening to a judge telling you how guilty you are.)
Jackie Down the Line:
Another political track. I will explain why briefly, but this song is the opposite of ‘Big Shot’. The band talks about why they are proud to be from Dublin (In the title sense, at least.). The song has an Indie 90s feel to it. “Jackie” is a variation of “Jackeen”. This is a derogatory term used by people outwith of Dublin. A Jackeen is someone who has become an “Irish Brit”. They have embraced the British culture and have become flag-wavers of the Union Jack. I first heard this track on the Late Late Show with Jimmy Fallon. It featured a steady drumbeat, acoustic guitar, and a reverb effect on Conor Curley’s electric guitar—a method used by his counterpart Edge from U2. The song talks about a woman named Sally, a toxic male killed. I haven’t looked into the case, but it highlights that there is still this problem of men attacking women in Ireland. Indeed, Grian’s vocals are melancholic. You can hear his soul slide away during the verses as he foretells the fable.
I Love You:
So far, I haven’t heard anything like the punk-infused songs I had heard on their previous albums, and this track was no different. This time, the band took influences from Joy Division, New Order, and the Cure. It reminded me of a darker version of ‘Blue Monday’. Why? It wasn’t quite a dance track but had that Peter Hook bassline. I am sure I have seen Deego sporting a t-shirt of all the bands before now. So, it is no surprise he has added Peter Hook and Simon Gallup basslines. The subject revolves around the Irish youth, how they are shackled by capitalism and religion, how the lockdown has affected their well-being and the sinking feeling of what the future holds. At the same time, while trapped in this current situation. Grian’s delivery is spot-on for the subject. He delivers the vocals with ferocious anger as he addresses the issues and describes how he felt growing up in that situation.
Bloomsday:
It leads off from ‘I Love You’ because it, too, is dark. This time, however, it goes even more profound and sinister. Again, over this gloomy instrumentation, Grian’s delivery is perfect. His lyrics sound like a man talking with a soft and melancholic tone. Again, Grian highlights the lack of hope for the youth in Ireland, particularly in his native Dublin.
Skinty Fia:
As you can tell by the name, this is the title track. Does it move away from the previous two songs about Dublin? The answer is no. The song can be described as darkwave over a low bassline as Grian talks about Dublin’s shortcomings.
Roman Holiday:
Unlike, let’s call it the Doomed Dublin trilogy, this song is more upbeat and has a message of hope. Once again, the guitar effect Edge uses is utilised by Curley over a stark bassline and fragmented percussion. The song is quite apt with the current war in Eastern Europe. It is about a couple moving to Dublin who can be welcomed and make it their home, which Ukrainian refugees have been doing in Dublin and all over Europe. Even though you are not from Ireland, you can still embrace it and have an Irish heart. I first heard this at Alexandra Palace on the current tour.
the Couple Across the Way:
In one of the quieter moments on the record, Grian sings alone, accompanied by an accordion and piano. Grian tells the story of looking out of his window and narrating a typical day in the life of his neighbours adjacent. He has never spoken to them to find out their names or interests. He observes them argue, make up, and repeat the cycle daily. He opts to assume the role of one half of the couple as the song nears the end and the story becomes more straightforward.
Nabokov:
The album closer has a Verve air about it. Like the Verve, the track is melancholic, but Fontaines DC adds a fast tempo, whereas the Verve would opt for a plodding one. For those of you who are learned readers, you would have probably detected the song title is by a novelist, and just like in one of Nabokov’s books, the character in the track depicts that of Lolita—a lady who no longer feels optimistic and is fed up with being downtrodden. The only way out of the situation to end the pain is to take her own life. That sentiment is expressed in the lyrics “I did you a favour, I bled myself dry, ” as Grian delivers it, seemingly depicting the character screaming angrily. Some might say it is a dark and sinister way to close out, but the band have never been one to abide by the laws. They have always gone against the grain and diced with danger, which has worked since they started playing. Unlike “Dogrel” and “A Hero’s Death”, “Skinty Fia” has been sobering to listen to, and the subjects on offer invoke all the emotions we feel. The record also goes deep into our imaginations.
Song recommendations: ‘Jackie Down the Line’, ‘the Couple Across the Way’, ‘Roman Holiday’
Yes, I know it is yet another cliché moment. I DID discover Wet Leg while watching Later…with Jools Holland in November last year.
They performed their famous hit ‘Chaise Longue’, which I found extremely funny for its lyrical content, but I also loved its raw, punky sound, and the ladies singing had those typical punk vocals.
The duo hails from the Isle of Wight and consists of Rhian Teasdale and Hester Chambers. Of course, other members feature on the album, but they are regarded as session musicians and touring members.
Going back to ‘Chaise Longue’, it was refreshing to hear a track that wasn’t by some fucking idiot who has no business in music just because their song went viral on TikTok because of some shit dance craze. ‘Chaise Longue’ is known for its bassline and guitar riffs instrumental-wise, but the lyrics are delivered with deadpan by leading vocalist and guitarist Rhian taking quotes from the film Mean Girls. Like I said earlier, I found some of the lyrics quite funny, especially the one about going to school and not learning anything but having sex (Listen to the song. You know what I mean.). The chorus wasn’t that great, with “On the Chaise Longue” repeated throughout, but somehow, it becomes a catchy hook that adds to the track.
I then listened to the band via live performances on YouTube during the earlier part of this year, and I was highly impressed by what I heard. The songs are short, but whereas some might describe them as Indie, they have more of the punk spirit. Funnily enough, I felt like I was listening to Amyl and the Sniffers sans the Australian accents.
I saw a tweet from the duo saying their self-titled debut was about to go to number one, and I was delighted to hear what the album sounded like. Unfortunately, I didn’t have to listen much because I had already heard the songs featured on their promotional tour. However, I checked out the streaming figures on Spotify and was amazed that they had amassed 13 million streams! I could not believe just how widespread this duo was when most of the videos on YouTube were them playing in dinghy bars and pubs. Although they have yet to do any significant events or play at big venues, they have done the Late night chat shows in America and were voted runners-up in the BBC Sounds of 2022 poll. Because of ‘Chaise Longue’, many will say that Wet Leg might not be more than just a fleeting moment. However, I disagree with them. The duo have other songs in their arsenal. Okay, they might be on the same level sonically and lyrically, but it is more than just one hit.
Okay, I may have gone overboard saying they are punk. They are like a soft version of punk. You can’t even say they are pop-punk because they sound nothing like bands like Green Day. They remind me of Lush, who were around in the 90s (If you can’t remember, there are videos of their performance of ‘Lady Killers’ on the short-lived Channel 4 show, the White Room. They have that same element of punk. I wouldn’t call them energetic rebellion as I have done for IDLES or shame. Staying with punk, their producer for the debut happens to be Dan Carey, who has produced for Fontaines DC, no less. You’re always onto a winner when Dan is involved. I recommend it if you have yet to hear Fontaines DC’s first two albums. The only difference between Wet Leg and Lush, I will even throw in Shampoo (Remember ‘Trouble’?) into the mix, is that the lyrical content is more based on 21st-century themes.
For example, ‘Being in Love’ over punky guitars turns to delicate strumming as the song changes the subject mood. So, the music goes from, I imagine, Rhian/Hester or both being infatuated to them suffering from anxiety about the possibility of being hurt. The second example is ‘Too Late Now’, which, funnily enough, closes the album, whereas ‘Being in Love’ started it. This time, however, the girls feel alone and fret about missing out on opportunities. There is even a breakdown in the track where Rhian says, “I’m not sure if this is a song/I don’t even know what I’m saying/I’m not sure if this is the kind of life that I saw myself living” Now, I am not sure if she is talking about that music wasn’t the planned destination of her career, but it is powerful nonetheless.
You then have the psychedelic element on ‘Don’t Wanna Go Out’, like David Bowie’s ‘Hallo Spaceboy’.Although, Rhian talks about being in their late 20s and still living it up. ‘Angelica’ is about a girl at a party who thoroughly hates the idea of being there, and ‘Oh No’ seems to be about an individual trying to control a panic attack.
There are, of course, the punk tracks, which I mentioned earlier (Not the tracks. The element.) ‘Supermarket’ made me laugh because who hasn’t been stoned while shopping in one? Especially when you got the munchies. Then there is ‘Wet Dream’. That one doesn’t need a genius to work out the theme. Songs like these are more sinister than ‘Chaise Longue’, but their wit remains. One line that made me laugh on ‘Loving You’ was “I hope you choke on your girlfriend”.
I also have to big up ‘Ur Mum’ just for the title alone, but the song is hilarious and reminds me of when I was young and using it as a light-hearted insult. That was my favourite, and it has been my favourite since I watched them perform a whole set via YouTube.
I loved their debut. Okay, I didn’t have to listen to much of it because I had heard most of the songs performed live before its release. But it is an enjoyable, witty, sarcastic, punky record. The only qualm for me is that it needed to be longer.
Song recommendations: ‘Ur Mum’, ‘Supermarket’, ‘Loving You’
I first heard about Frank when he followed me on Twitter. I must confess I had yet to learn who he was or what kind of music he did until after that follow, in 2010. Despite watching his journey unfold since the 2010s, I learned this is his NINTH Album! The record initials stand for ‘Frank Turner Hardcore’, and I remember when Liam Gallagher described his debut album “As You Were” was going to be “Rock out with your chin out”…well, Frank’s undoubtedly is that. It is so far removed from “No Man’s Land” and “Be More Kind”.I cannot recall many acoustic and soft moments.
Following the previous paragraph, Frank hurls himself into the moshpit with the ‘Non Serviam’ opening track. It blows your ears off from the first note, and you hear Frank’s punk vocals. That caught me off guard when I knew Frank’s music to be more reflective and soft. It was a surprise, but a fucking nice one. He then launches himself into ‘the Gathering’ like he has jumped on a Kawasaki Ninja, weaving in and out of lanes and overtaking other vehicles on the M1 North and South when it is the dead of light, and you have the freedom to tank it. Once again, it doesn’t fit in with Frank’s back catalogue, butyou can hear he has been fucking pissed off with having his livelihood taken away from him for over two years. He isreturning with punk fuel inside him. You can hear the aggression in his vocals and the frustration pouring out of him in every bar and expletive.
I look forward to hearing the first two tracks and the energy he will bring when I see him perform. The softest track I could find on the record was ‘Haven’t been Doing So Well’, but don’t let that fool you. Frankis still bringing that punk, energetic rebellion sound.
However, Frank’s work is slightly milder than generic punk and rock. Of course, it is much punkier than his usual work, but that’s where it ends. Not that I am complaining whatsoever. Listening to Frank let rip and put the acoustic away was nice. Why do I say it isn’t like generic punk? The guitars are not as raw as you would expect from generic punk. There is no IDLES, Ireland’s Fontaines DC, or even Amyl and the Sniffers who bring that punk energy to their songs. You could add shame to that mix.
Another thing I noticed is that the vocals seem to overpower the production, which takes away that live element that Frank was trying to bring across. Indeed, sometimes I struggled to hear those screaming guitars, thumping drums, and crashing cymbals. Frank was in a band called Million Dead from 2000 to 2005, and it is a slight return to those days with the production and the vocals full of angst and yelling. Only a little bit more constrained.
At the start of this paragraph, I will mention what makes this “Hardcore”, as Frank puts it in the album title. Well, it’s not really for the sound but more for his vocals and the lyrics. Yes, I am aware that Frank is usually quite melancholic with his lyrics, but he has taken it further this time. Frank appears to be conversing with his past. Especially when talking about his transgender father in the following three songs; ‘Fatherless’, ‘My Bad’, and ‘Miranda’. Let’s begin a summary of the trilogy (If you will.) with ‘Fatherless’. In this song, he talks about being alone due to the absence of his then-father. In ‘My Bad’, he expresses guilt of having theresponsibility of carrying the flag for the transgender movement put on him by his father. Finally, in ‘Miranda’, he addresses the fact his father is now transgender. Instead of feeling angry and alienated, he shows solidarity with his father’s decision and says that his father is a proud transgender woman, and his resentment has gradually faded away. He even says the line ‘Miranda, it’s lovely to meet you’ to show he has accepted what has happened. These songs exemplify Frank visiting the past and learning to live with it in the present.
You might say that Frank’s latest record is a bit “deep”. Yes, that may be true, but you will laugh at hiswitty lyrics, which somewhat take the edge off the subject matter. I enjoyed listening to “FTHC”; my concentration didn’t waver like on some of my reviews because I got bored. The lyrical content, vocal delivery, and production had my full attention. Frank has smashed it with this album, and I look forward to hearing these tracks while the moshers go fucking mental during live performances.
Song recommendations: ‘the Gathering’, ‘Non Serviam’, ‘Miranda’
This band from Scotland (West Lothian, to be precise)was first brought to my attention by several of my followers talking about them, but only since 2017, even though the band formed two years before that. The more I kept hearing about them and seeing them appear in regular new talent polls on Twitter, the more I got curious. I eventually gave them a listen and was highly impressed with their rock sound.
Social media can be a potent tool in the music world these days. The Snuts were getting talked about ages before this debut album was in the offing. They were getting a reputation for their gigs and the demos they released. Bizarrely, thanks to that reputation, they were already playing out at significant festivals like TRNSMT, Reading and Leeds, and SXSW. They have also supported the Libertines,among others. Last year, they released their EP “the Matador”, which gained them a top 20 spot in the album charts—already encouraging signs from the Lads from Whitburn to fare well when the record finally did drop.
The producer used on “W.L.” has a good reputation working with the likes of the legendary Beck and the French band Phoenix(Do you remember ‘1901’? Well, you should because it was played to death at every student union bar or Indie night).
Tony Hoffertravelled to the Firepit in London to work with the band and refurbished their back catalogue to give those songs a moreprofessional finish. There’s no disputing they were not good before, but they could turn those songs into something else with Tony on board. Jack Cochrane’s vocals are wonderfully showcased over the acoustic ‘Top Deck’, which opens the album. The band’s versatility is displayed as we go from indie to blues to hip-hop. Not forgetting rock n roll and punk.
‘No Place I’d Rather Go’ is a track with a swift change in direction from an acoustic ballad; it then turns into an uptempo track that sounds like the Beatles if they had the chance to use modern equipment. Because it was my introduction to the band, my personal favourite is ‘All Your Friends’. I love the punk attitude and Jack’s venomous vocals, which sound like Alex Turner and John Power combined. Indeed, the track itself is something Arctic Monkeys and Cast would do. It’s also magnificent when performed live.
I was very impressed with Tony’s reworking of ‘Glasgow’; it sounds a lot beefier than the original while not overpowering Jack’s emotional vocals. Tony still respects the original by not going overboard on the production. Boardwalk’ was another highlight for me on the record because I loved the songwriting with the melody flourishing into all-out rock. Of course, the album’s standard edition closes with their now-iconic encore closer, ‘Sing for Your Supper’. Again, I love the energy in this song, and I always have, but maybe because I’ve heard it countless times, I have become immune to it and don’t get all that excited when I listen toit now. However, I like a good story in my songs, and this one is no exception.
Not only is this album full of several genres inspired by who the band members listen to, but it’s like an audio version of anautobiography depicting life growing up as working-class kids in West Lothian(Forgive me, my Scottish friends, but I don’t know whether West Lothian is working class. I have read bits and pieces, but it’s all somewhatblurred)and having hopes and dreams of making it big withtheir music. It’s a fucking brilliant debut album, and with their arsenal of songs already in their possession, the second record will hopefully live up to expectations.
It is great to see that all this stuff about guitar music is dead(Including you, Mr Weller)is a load of bollocks. The Snuts have proved that it still kicks like a drum and that the working-class lads and ladettes can still find their way through. Indeed, I can give you many examples of that. Fontaines DC, the Lathums, Riviera, Citylightz, the Crooks, Tom Smith, and Rianne Downey. I predict they will do an Oasis and have as much success with their second album. Trust me, the working class is fighting back, not just through grime or drill, as Weller said. Kids with guitars, indie rock, and punk persuasion are banging the doors down.
Song recommendations: “All Your Friends”, “Boardwalk”, “Glasgow”
I remember hearing about the buzz of this band from Dublin a few years back from some folks I follow from Scotland on Twitter, so I first assumed they were an up-and-coming band from Glasgow or Edinburgh. Imagine my surprise when I finally listened to one of the many videos shared on that platform via YouTube. The track, funnily enough, was also the title of their debut album “Dogrel”. I have to say, I loved the energy, but the lyrics were…beyond basic. Their lead vocalist, unfortunately, didn’t impress me much, and I wondered what was the point of having Grian Chatten in the first place. His vocals sounded like a drunk punter slurring through a song on the karaoke machine. Despite that, his flat vocals work pretty well in the punk genre. Let’s face it: Johnny Rotten was hardly blessed with amazing vocal ability. I can’t think of many punk vocalists who can sing. Billie Joe Armstrong, maybe? After hearing the title track, I gave their debut album a full listen and was impressed with the picture they painted of their beloved Dublin City. I found the album had more structure lyrically than just that one song. Even if you’ve never been to Dublin or Mother Ireland, you have a good idea of what life is like from “Dogrel”. As much as I have never found the lyrical content impressive, I appreciate the energy the music provides; it is a bit like IDLES. There are minimal lyrics but fantastic energy in the instrumentation.
That’s enough brief history on the band and their debut; let’s review their second and latest album, funnily enough, also named after the track “A Hero’s Death”. They didn’t bother relying on the success of “Dogrel”; as you can imagine, they decided to intentionally head into another direction with the whole instrumentation and lyrical content. After all, writing about living in Dublin becomes quite challenging when you last visited before being on the road to promote your previous work. Grian has said that the band would have felt like they were frauds talking about life in Dublin again, as they haven’t been there much to experience it the past year, and therefore, it wouldn’t be fair on the listener to buy an album, which didn’t represent anything
authentic, thus making the listener lose interest in the band.
Instead, the band has talked about the places they have been on the road and what they have experienced and seen. As you can imagine, life on the road isn’t always sweet when you’re constantly sharing space on a tour bus, and this album certainly shows that as it discusses their excessive drinking, loneliness, depression, and fighting with each other because you are sick of the sight of each other during a long and arduous tour. I recommend a good documentary on life on the road and how this is depicted perfectly. It’s about Keane, so go and look online or buy their DVD. This album is more downbeat and lacks the energy of “Dogrel”, but I suppose that would always be the premise to replicate their mood on tour. For example, “Living in America” is very slow and melancholic. Then the tempo is switched up on “A Televised Mind.” the latter is not great lyrically, but you can feel the energy from the rhythmic pulsing of the guitar and the thumping bass of the drum. Once again, the title track is minimal with its lyrics (I believe, from what I remember hearing, it just repeats “Life isn’t always empty” for the duration?), but the instrumentation does it justice.
The band does not apologise for their change in direction and even know they may lose fans by not keeping in line with the debut. They even acknowledge that some people will be disappointed with the second record, but unfortunately, life has changed, and this is who they now are, so they cannot write songs about living in Dublin anymore. In fact, “A Televised Mind” is a dig at those who want to be appeased. “A Televised Mind” seems to be about people stuck in their ways and refusing to accept change. It is like some Oasis fans who can’t take that Noel does the music he wants to do.
Dan Carey’s services proved very successful on “Dogrel”, so the band chose him again. This time, as mentioned in this review, the sound would be very different in line with the band’s fresh outlook. The first record was very compact, but Dan gives more of the spotlight on the music this time, so you can fully appreciate Carlos O’Connell and Conor Curley on the guitars and Tom Coll on the drums. There is also room for ballads like “Sunny” with a gothic-like sound.
It is also worth noting to get the sound they wanted, and they were listening to quite a lot of the Beach Boys while they were touring stateside. The band wanted to make a record that wasn’t straight down the line, and that the Beach Boys heavily inspired “A Hero’s Death”.
As much as I liked the record, I am once again left unimpressed with the elementary lyrics that anyone could make up on the spot and the flatness of Grian’s vocals. Now, he is quite passionate about his profession, but it doesn’t come through in his studio performances and onstage performances. It’s quite sad. The music has the energy, albeit at times on this record brings it down, but Grian remains at the same tempo throughout. It is good that the band is willing to experiment so early in their career, but they are in danger of losing their identity, which accrued them fans. They must maintain sight of what made them unique, or they will fall into the generic bands they are frequently associated with.
Song recommendations: “Sunny”, “No”, “A Televised Mind”.
Honest Opinions 