The Irish Times - Friday - The Ticket - - THE TAKE | CRITICS’ CHOICE -


I re­mem­ber lis­ten­ing to Nev­er­mind when I was seven or eight-years-old on my fa­ther’s Cre­ative Zen MP3 Player and in­stantly want­ing to buy the al­bum.

It has stuck with me my whole life since and is the rea­son I started writ­ing mu­sic. I felt it was the sat­is­fac­tory blend of pop and rage that I was look­ing for.

Mu­si­cally, the way Kurt Cobain would some­how cre­ate dis­so­nant riffs along with pop vo­cals, while Dave Grohl would use drums in atyp­i­cal pat­terns has been the rea­son it res­onated most with me. kinds of pro­grammes that fea­tured in the 2016 fes­ti­val, Com­pos­ing the Is­land. The 2022 fo­cus is very vague, with the first pro­gramme hav­ing English com­poser Vaughan Wil­liams’s 1910 Fan­ta­sia on a theme of Tal­lis jostling with AJ Pot­ter’s 1968 Sin­fo­nia “de Pro­fundis”, which was first per­formed in 1969. The lat­est

Dis­so­nance, the push and pull, soft and loud dy­nam­ics, are some­thing I strive to utilise in my own of­fer­ing also seems to have been con­ceived with a very loose con­nec­tion to 2022. David Bro­phy con­ducts Stan­ford’s 1903 Ir­ish Rhap­sody No 2 (Lament for the Son of Os­sian), John Buck­ley’s 1992 Or­gan Con­certo with Fer­gal Caulfield as soloist, and Ina Boyle’s 1927 Sym­phony No 1 (Glen­cree). mu­sic. Lyri­cally the f*cked-up sub­ject mat­ter of songs like Polly and the sur­re­al­ism of songs like

Drain You just sucked me right in.

The al­bum taught me that pop mu­sic doesn’t nec­es­sar­ily have to be what’s in the charts at the mo­ment.

It can be anger, pas­sion, love and ev­ery­thing in be­tween with dis­tor­tion and all. This al­bum means ev­ery­thing to me.

When­ever I doubt my­self or if I feel my­self slip­ping in to the con­forms of nor­mal­ity this al­bum brings me back to be­ing my­self and helps me re­mem­ber to be me. NIALL BYRNE

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