And the ad-sync peren­nial that ef­fort­lessly stand the test of time. buz­


It’s far too easy to throw around phrases like “punk rock mas­ter­pieces”, but when it comes to this Bolton/Manch­ester band, that’s ex­actly what we’re talk­ing about. Th­ese three al­bums, orig­i­nally re­leased across 1978/’79 and reis­sued here with ex­haus­tive gub­bins (sin­gles, de­mos, live shows) show­cases not just the brevity of Buz­zcocks’ early ca­reer (1976-81), but how bril­liant they were at fus­ing the bul­let-train en­ergy of punk with em­i­nently tune­ful pop. Slow most of the songs down and you have in­her­ent melody; lubri­cate them with punk rock grease and you have a slew of tunes (in­clud­ing You Say You Don’t Love Me, Fast Cars, What Do I Get?, Fic­tion Ro­mance, Love You More Ever Fallen in Love) Down­load: Fast Cars, What Do I Get?, Love You More, Ever Fallen In Love

Is Mise Records The boun­teous riches of the 19th-cen­tury Good­man col­lec­tion are hon­oured here by a trio who un­veil se­lec­tions from this price­less tune store with the keen eye of a seam­stress and the ears of mu­si­cians in pur­suit of each melody’s essence. Piper Mick O’Brien, flute player Emer May­ock and fid­dler Aoife Ní Bhri­ain (Mick’s daugh­ter) pay am­ple at­ten­tion to their cho­sen task; the re­sult is an Aladdin’s cave of tunes, treated with a grace and ease that be­lies the three­some’s al­most sur­gi­cal at­ten­tion to de­tail. The fa­mil­iar rubs up along­side the newly dis­cov­ered, each tune in­fus­ing the other with an ur­gency and vi­brancy. The col­lec­tion in­vites end­less re­turn vis­its, each tune cel­e­brated in glo­ri­ous tech­ni­colour thanks to the jagged-edged beauty of the mu­si­cian­ship. claddaghrecords. com

Down­load: Fáinne Geal An Lae For his de­but al­bum, this New Yorker called on some heavy­weight friends (Josh Ritter, Mary Gau­thier, Tift Mer­ritt). But me­thinks the real in­spi­ra­tion be­hind Ed Romanoff’s thought­ful and at­mo­spheric col­lec­tion is the great Texas bard Guy Clark and, to a lesser ex­tent, Leonard Co­hen. Cer­tainly the open­ing track, St Vin­cent de Paul – which mov­ingly re­lates Romanoff’s search for his birth fa­ther – echoes Clark’s mas­tery of the pithy nar­ra­tive, in which time and cir­cum­stance take on lead­ing roles. Romanoff is an im­pres­sive per­former, a whis­pered bari­tone swathed in lay­ers of jan­gled rich­ness. His vivid songs of life’s vi­cis­si­tudes dis­play their bruises with a dig­ni­fied re­serve. That said, not all 11 tracks hit the spot with the same in­ten­sity or pur­pose – a grav­elly cover of I Fall to Pieces is es­pe­cially ill con­ceived – but there’s enough here to spark some in­ter­est. Down­load: St Vin­cent de Paul, Lady­luck

Self-re­leased Mata­dor Kurt Vile’s forth­com­ing record, due out in April, is a 70-minute dou­ble al­bum called Walkin on a Pretty Daze. Fully 10 min­utes of that gen­er­ous run­ning time will be oc­cu­pied by this (al­most epony­mously ti­tled) sin­gle. It’s a like­able slice of early 1990s slacker rock, avail­able as a free down­load on the band’s web­site ( The Ri­hanna copy­ist ap­pears to be giv­ing her­self a wedgie in the video for the fourth sin­gle from her Ora al­bum. Although in this con­text, I be­lieve the cor­rect term is an “atomic wedgie”. Repub­lic On pre­vi­ous sin­gles, Lon­don singer-song­writer James Blake per­pet­u­ally sounded as though he were trapped in a cup­board with a bunch of synths and movie smoke. Here he is hecked by a bunch of foot­ball ter­race foghorns, but the re­sult is no less cap­ti­vat­ing. A wel­come re­turn.

Roc Na­tion


Glass­note En­ter­tain­ment Pro­duced by Markus Dravs (Mum­ford & Sons, Ar­cade Fire, Cold­play), Harper Lee is the open­ing track from the Dublin five-piece’s de­but al­bum, Ab­so­lute Zero, which is due for re­lease in May. Lit­tle Green Cars play Dublin’s But­ton Fac­tory in Tem­ple Bar on March 8th.

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