Two Door Cinema Club win Choice Music Prize Album of the Year 2010



Two Door Cinema Club celebrate winning the Choice Music Prize Album of the Year 2010



Massive kudos to Two Door Cinema Club who were last night announced as the winner of the Choice Music Prize – Irish Album of the Year 2010 for the album Tourist History (Kitsune). 

There, I said it. Although quite shocked at the event in Vicar Street, I have had some time to reflect on the outcome, and would not bedrudge the lads their success one bit. And a great gesture by donating the 10,000 cash prize to charity. Impressive.

We saw Two Door play in Dolan's early last year, before Tourist History had ever been released or even included on an ad for a mobile phone company, and they were amazing. A crowd full of revved up teenagers brandishing glow-sticks danced their socks off through the electric set, and it seemed that the lads were definitely not destined for flash in the pan status.

Sure, the album is not as delicate as Villagers/McMorrow, as completely jaw dropping as Halves or as woozily rocky as O Emperor - but it is a complete package, a sugar-rush of effective tunes that have marked TDCC out from the start as ones to watch.

The usual naysaying has begun already after the event - and I feel for the likely runners-up Villagers and James Vincent McMorrow (by all accounts in the final three along with the Bangor electro-poppers), but then this award has NEVER been predictable, has always kept people guessing, and in recent years has already rewarded the ever-so-slightly left of centre of the Irish music scene (Adrian Crowley, Jape and Super Extra Bonus Party spring to mind). I think this award is likely to propell TDCC to bigger and better things, and their acoustic set last night was a joy to behold, showing the young trio to be real musicians.

That said, Conor J. O'Brien must be gutted. After missing out on the Mercury Music Prize (which insiders believed he had a great chance of winning), many felt (this writer included) that the Choice was a formality, a done deal. Not so. Conor is gracious enough and talented enough to take it on the chin, and is clearly destined for great things himself. If there was an award for best performance on the night, Villagers would have strolled out the door and down the street with it. Not to be, however.

Another great night at Vicar Street, with great performances all round, showing the current healthy state of the Irish music scene - if it was a little reliant on the Dublin music scene. Waterford's O Emperor very  nearly stole the show on the night, and the lads enjoyed themselves afterward, but were very gracious in defeat too.

Look forward to next year.





Choice Music Prize shortlist for Irish Album of 2010 announced

The shortlist for the Choice Music Prize for Irish Album of 2010 has just been announced, and here it is:

Adebesi Shank - This is the Second Album of a band called Adebisi Shank (Richter Collective)
The Cast of Cheers - Chariot
Cathy Davey - The Nameless (Hammer Toe Records)
Fight Like Apes - The Body of Christ & The Legs of Tina Turner (Model Citizen)
Halves - It Goes, It Goes (Forever & Ever) (Hate is The Enemy)
Imelda May – Mayhem (Universal)
James Vincent McMorrow – Early in The Morning (Universal)
O Emperor - Hither Thither (Universal)
Two Door Cinema Club - Tourist History (Kitsune)
Villagers - Becoming a Jackal (Domino)

No major shocks outside of the Cast of Cheers, whose album were are unfamiliar with, a situation we will be shortly rectifying. Hard to look beyond the Villagers album as a winner, but there are certainly some very deserving names on the list, including two of our favourite albums last year, O Emperor's Hither Thither and Halves' It Goes, It Goes (Forver and Ever). That said, all of the names on the list are deserving, but no shout for Limerick bands Windings and Brad Pitt Light Orchestra is a bit disappointing..

The event itself takes place in Vicar Street on Thursday, March 3 and the winning act will receive 10,000, a prize fund provided by IMRO and IRMA. We will be there as usual to cast out eye over the acts and await the winner with interest. Tickets are now available from Ticketmaster and more information is available here.

R.S.A.G. in Dolan's this Wednesday

ANYONE WHO has actually seen Rarely Seen Above Ground (R.S.A.G.) perform will tell you it is something akin to an illusory audio-visual experience, less gig than cinematic event.
R.S.A.G. is Kilkenny man Jeremy Hickey, but when he performs, festooned in the middle of a drum-kit, he sits in front of a screen, upon which a virtual band is projected.
Of course, every member of the virtual band is Hickey himself, the man clearly a talented multi-instrumentalist as well as evocative drummer.
But where the show might be considered something of a gimmick if Hickey didn’t have the musical abilities to back it up, this is not the case.

Hickey releases his third album as R.S.A.G. this week, the excellent Be It Right Or Wrong, straight-away a contender for Irish album of the year, we feel.
Where his double album debut, Organic Sampler, was a raw rush of frenetic, infectious energy with influences as varied as David Byrne to Eastern rhythms that saw Hickey acclaimed and Choice Music Prize nominated, the many facets of Be It Right Or Wrong are smoothed, unruffled and bursting with warmth and melody - the product, largely, of Hickey working with a producer for the first time, Leo Pearson, who has worked with U2 and Elvis Costello. For a man who recorded his first two albums at home in his bedroom, working with an outside influence was clearly a departure.

“I had never worked with a producer before, especially a guy who actually had his own studio, particularly one as nice and relaxed as Leo's,” explains Jeremy.
“I was thinking I needed to approach this album in a different way. I did a lot of stuff at home and brought the demos to Leo, but it was his thing to say, let's do everything again. When I heard the quality of his studio, it didn't take much to convince me.”

The result is warm and rich, the central core of songs the superb The Roamer, Movement and Bitter Swing, Hickey allowing more melody to come through than ever before, and particularly allowing his vocals to shine through in a much more pronounced fashion.
“The consistency of the drum and bass sounds are there and there are a lot more guitars on it because Leo has a nice collection of guitars, old style and new style, so I could pick up whatever guitar I thought would suit the sound in that way,” explains Jeremy.
“Between the both of us there was more of a knowledge of what kind of sound we were trying to get. It was very much, get the sound, record it, there was no real major treatment of the sound, the way it was recorded, and I was excited about that, because you have more of an idea of where the album is going, whereas on the first one it was a bit of a mish-mash.”

He continues:“I was into getting more of a melody, especially with the delivery of the vocal, rather than hiding behind an effect. When I met Leo, the first thing he wanted to do was to make sure the vocals were much more to the fore, and they are. That is the difference in working with someone who knows exactly what they are at.”
Hickey says the moniker was inspired by something a friend used to call him - although “he doesn’t remember it all,” he laughs - and the idea for the visual band came from seeing DJ Shadow live in concert. His brother encouraged him to use that idea of shadows on a screen, believing it to be a powerful image.

For the first time, on this tour, Hickey will have a live DJ with him, who he will perform a sort of soundsystem with after his own gigs. But he warns against reading too much into the fact that he has replaced a band with versions of himself.
“The whole idea is with music, visuals and having a good time - it is not supposed to be seen as a band or not a band, the whole idea is that we are going out to put on a show, so hopefully people will get it and continue to enjoy it,” he says.

R.S.A.G. plays in Upstairs in Dolan’s this Wednesday, June 16. Be It Right Or Wrong is in all good record stores.

Congrats to Choice winner Adrian Crowley

MUCHO congrats to Galway man Adrian Crowley for his very surprising and very deserved win in the Choice Music Prize the other night for his superb 'Season of the Sparks' album.. A nicer fella you would struggle to meet, and his genuine surprise at winning was rather touching in a rather cynical business. Kudos to those at Choice for recognising a very fine album.
I'm still getting my act together after my trip to the capital for the annual awards ceremony and should have more to post later.. Listening to the new Gorillaz album as well, very impressed so far - more later..

Choice Music Prize tonight, Oxegen line-up

Choice Music Prize takes place tonight in Vicar St, yours truly will be there to observe all the happenings and performances, intrigue and arguements.. The heavily fancied Valerie Francis (above) is the favourite, with us, those in the know, and Paddy Power - but you never know with the Choice award, now in its fifth year. Last year's winner, Jape, was a popular one, but recent years have been met with cries of derision - Super Extra Bonus Party etc - so who knows what way the voting will go?

The full shortlist is as follows: And So I Watch You From Afar, Codes, Adrian Crowley, Dark Room Notes, The Duckworth Lewis Method, Julie Feeney, Valerie Francis and The Swell Season - all of whom will perform this Wednesday - and Bell X1 and Laura Izibor, who are nominated but cannot perform due to touring commitments.

Doors open at 7pm sharp and the show begins at 7.30pm with Codes up first on stage. Paul McLoone will be broadcasting live from Vicar St, with the winner announced around 10.30pm approx.. Should be fun!

In other news (we are a bit behind on this) the line-up for Oxegen 2010 was announced last week and includes, among others, Eminem, Muse and Jay-Z..

Joining the above trio on the line-up are The Black Eyed Peas, Kasabian, The Prodigy, Florence and the Machine, Paolo Nutini, Faithless, Stereophonics, Vampire Weekend, Hot Chip, Calvin Harris, Temper Trap, Empire Of The Sun, Goldfrapp, La Roux and many, many more. Joining the line-up are hotly tipped Irish trio Two Door Cinema Club, who played in Dolan's last night, of which more anon, we promise..

On the local scene, a few tickets remain for the Baron of Techno Dave Clarke at Streetlife's gig in Dolan's on Friday, while the JD Set also takes place beforehand - and is free in..

Fionn Regan plays on Saturday, and we will post our delightful interview with the Bray troubadour in due time.

Also, we are excited at the news that Tweak! are host a party soon too, of which, again, more will be heard on these pages in the near future.

Choice Music Prize live acts announced

The acts set to play live at the Choice Music Prize live event, which takes place on Wednesday March 3 in Vicar Street, have been announced and are:

And So I Watch You From Afar
Codes
Adrian Crowley
Dark Room Notes
The Duckworth Lewis Method
Julie Feeney
Valerie Francis
The Swell Season (full band)

Due to prior live commitments in the United States, Bell X1 and Laura Izibor will be unable to attend.
The event will be broadcast live on Paul McLoone’s show on Today FM.

Tickets available here. For more see here.

The latest odds are available on Paddy Power. ASIWYFA and Valerie Francis are the current favourites - but you literally never know who it might be...

Choice Music Prize shortlist for Irish Album of 2009 announced

The Choice Music Prize shortlist for Irish Album of the Year 2009 has been released - few surprises, both inclusions and non-inclusions. Kind of surprised to see Laura Izibor and Swell Season, and not to see Holy Roman Army and David Kitt (in particular), but overall it is a good list, indicative of another strong year for Irish music. Let's hope 2010 is as good..

In alphabetical order, the list is:

And So I Watch You From Afar “And So I Watch You From Afar” (Small Town America)
Bell X1 “Blue Lights On The Runway” (BellyUp)
Codes “Trees Dream in Algebra” (EMI)
Adrian Crowley “Season of the Sparks” (Chemikal Underground)
Dark Room Notes “We Love You Dark Matter” (Gonzo)
The Duckworth Lewis Method “The Duckworth Lewis Method” (1969/Divine ComedyRecords)Julie Feeney “Pages” (Mittens)
Valerie Francis “Slow Dynamo” (VF)
Laura Izibor “Let The Truth Be Told” (Atlantic)
The Swell Season “Strict Joy” (Plateau)

Five of these albums appeared in On The Beat's ten best Irish albums of 2009, which you can read here.
Big fan of Mr Crowley and Ms Francis, but have a feeling that Duckworth Lewis/ASIWYFA will win.. Bell X1 would not be undeserving of the accolade either, given that Blue Lights is (we feel) their strongest offering to date.
The Choice Music Prize takes place in Vicar Street on Wednesday March 3 and tickets will be available on Ticketmaster from Monday, January 18. On The Beat will be there to bring you a report from the night, as we were last year.

The return of Messiah J and the Expert

Messiah J and the Expert return to Limerick this Saturday night, playing in Dolan's with Adebisi Shank (woo!). Fresh from appearing at the Choice Music Awards, this should be a good one - Upstairs in Dolan's - by rights the rooms will be groaning with people.

Stealing an idea from Ciaran (thanks!) and because I didn't get a chance to interview the boys before this gig - I have reprinted an interview I did with Messiah J last November, enjoy!

THINK about the genre of hip-hop and you can’t help but conjure up images of rappers, particularly of the American ‘bad-boy’ variety.

Think about Irish hip-hop and you might do well to stifle a dismissive cough and a laugh.

Well, think again.

Messiah J and the Expert are an Irish, two-man hip-hop crew based in Dublin that are doing their best to subvert the connotations surrounding the genre. Key to this is the fact that their latest album From The Word Go features a wonderfully eclectic mix of different types of music, swathed in Messiah J’s often biting lyrics, but not falling prey to the more typical, often misogynistic form of the genre.

Frankly, this is hip-hop, but not as you know it.

The album is driven forward by Messiah J’s lyrics, but is underpinned by the Expert’s impressive musicianship. Importantly, this album is suffused with influences as broad as The Clash to Marvin Gaye to Aphex Twin to Parliament. This is a fact not lost on the duo.

"We take our lead from hip-hop as much as any other kind of music," explains MC Messiah J, aka John Fitzgerald.

"Good songwriting is the bar all the way. We listen to indie, soul, jazz, reggae - whatever; good songwriting is what makes songs stand out no matter what the genre and I think we tried to learn from many sources and express it the way we do.

It is a very eclectic album, there is a lot going on. We are particularly happy with the fact that it all ties together well, it is cohesive."

It is certainly cohesive, not least given that there are some weighty subjects tackled in the duo’s lyrics. Whereas their Choice Music Prize-nominated second album 'Now This I Have To Hear' dealt with more personal issues, 'From The Word Go' attacks and questions the outside world and the realities we all live with.

Take the brash 'Year of the Genie' - "They wave, they smile, they clap, they pose - anything to boost the opinion polls" - which seems to denounce the political system.

"That was written from the perspective of standing at a bus stop looking up at all these election posters promising this and that, but history has proved that these are empty promises," explains Fitzgerald.

"It is a healthy scepticism that fuels the song, it is saying I’m not so sure if I believe you. Politically we are as confused as everybody else, we don’t have the answers but we won't let that confusion be swept under the carpet, we are going to ask questions."

Songs such as 'Panic Stations' or 'Keep The Noise Down' also deal with the issues around growing up and taking responsibility for your actions. As you would imagine, there is plenty of humour and lyrical witticism on these songs.

"Yes, politics is just one side of it, there is also a general fear of growing up," agrees John. "Those songs are concerned with how people change as they grow up, I am personally terrified of responsibility, I feel like a giant child, I'm not ready for the big bad world and never will be," he laughs.

While they demonstrate a willingness to tackle meatier issues in the subjects of their songs, there is also clearly a strengthening in the relationship between this duo, who have been performing together as Messiah J and the Expert since 2003. This will stand to them in a difficult industry; one made harder given that they are in a niche market that can be viewed with scepticism.

John however has a simple philosophy that should help them through and allow their undoubted talent to be exposed to the outside world.

"It can be difficult if people don't like the idea of what you do, but we have always believed that if we are good enough about what we do, it will set us apart. We know that even if people hate the music, at least we don't sound the same as everyone else.

It is difficult to shift records and you just have to gig and do your best and do what you can to make money, you have to be mad to be in the music industry, to be honest. It is a crazy industry, but somehow we all keep at it. And once people listen to us they will realise that there is a lot more to us than just a tag of Irish hip-hop."

Jape wins Choice Music Prize - On The Beat loses money

What a night! (Ow, my head)

Attended the Choice Music Awards last night in Vicar Street - and as has been well reported and discussed elsewhere, Jape (aka Richie Egan) was a hugely popular winner.

Interesting really, after the bregrudgery (replace with heated debate where necessary) about SEBP winning last year, but Richie is such a nice guy and his music is top class, so well done.

Interestingly - as my review of Ritual reveals below - when the album came out people were surprised at the direction Jape had gone, wayy more dancey etc, as The Monkey's In the Zoo.. was really a rather laid-back, lo-fi affair. There you have it.

Loads of the bands/pr/music industry/danny from the Script were at the after-show party but Richie's Da was the best craic - revealing to On the Beat that he had backed his son in the bookies to take home the prize! Nice if you can get it, I lost money on Halfset/Lisa Hannigan, thought I had it all sewn up!

The performances on the night were superb, notably Halfset (brilliant visuals), Mick Flannery (his second song, Wait Here, was jaw-droppingly good) and Fight Like Apes who basically went absolutely mental, particularly at the end of Battlestations, replete with cartwheels, epuipment damage and May Kay lobbing her Nord stand at Pockets. Fun.

Excellent, super-charged performance by Jeremy Hickey too (aka RSAG), Stick to your Line was super, although he went a bit mad at the end. Rescued it nicely though.

Messiah J put in a bit of a mixed performance, although Jean is Planning An Escape was top class.

All in all a great night, already looking forward to next year. See below for my review of Jape's Ritual, printed on its release in the Limerick Leader last year.

Ritual – Jape

I RECENTLY overheard two prominent Irish musicians having a conversation in a men’s toilet, both unaware I was eavesdropping. They were discussing Jape - aka Dubliner Richie Egan - with one having been to the Olympia the previous night to see him. The conversation went along the lines of "I’m not sure about his new stuff, it’s very dancey".

They were correct.

I have been a fan of Egan’s since I heard ‘Floating’, long before Jack White and the Raconteurs jumped on the bandwagon and started performing it at their shows. However, debut album The Monkeys In The Zoo Have More Fun Than Me, other than the pounding Floating, was simply too subdued after such a powerful opening.

This time around and following the interest generated by the Jape is Grape EP, Egan has taken a new and wonderful direction. I Was A Man, with its infectious guitar riff, is every bit as memorable as Floating, while Replays will have you in thrall at its falsetto harmonies and synth-heavy, catchy chorus.

Graveyard is a striking paean to sneaking a bit of fun in a graveyard with a former flame, while Streetwise is at the pinnacle of any electro-dance track released this year. Egan lays his soul bare on the beautiful and epic Nothing Lasts Forever - still refusing to let the tempo drop.

The only time that threatens to happen on the album is the quirky Phil Lynott - a sustained note in the verses seems like it will grate with the listener, but surprisingly does not. It is a moving dedication to the former Lizzy front man, clearly an influence on Egan who hails from the same area.

He recollects a half covered moon and a cover version of a Lizzy song, apparently this song wrote itself in ten minutes - "someday I’ll be a dead man who played the bass from Crumlin, like Phil Lynott".

A superb album. I for one am delighted Egan decided to go a bit more "dancey", despite the misgivings of others.

5/5

Mick Flannery in conversation with the Limerick Leader

Cracking chat with Cork musician and Choice nominated artist Mick Flannery last week, one of the most entertaining I've had in a long time. He gave some very honest answers to every question I asked him.

See below for an entertaining (I think so anyway) slice of our conversation. See Leader 2 this weekend for the full interview.

(From about five minutes into the conversation)

(Me) What do you think about talking about yourself - you weren't used to it at the start?

(Mick) Yeah, I'm starting to get used to it now and I don't know if I like that either. This is grand now because you didn't start the conversation with (adopts tone) 'Mick Flannery - your rise has been described as metoric, how does that make you feel?"

(Me) I'm buttering you up though! (he laughs)

I don't fucking talk, like. You've got me on a day when I'm not hungover as well. I'd be very quiet most of the time. I suppose it is easier for the two of us if I talk. (we both laugh)

(Me) Do you like doing this type of thing (phoners)?

I can't say I look forward to them, but I don't mind them. It's a strange thing, I don't know you like, and it's a one way conversation, I'm not asking you questions. I wouldn't know where to start, we'd have to be sitting over a few pints.

(Fast forward a few minutes)

(Me) Tell us a bit about making/recording the album (White Lies)?

The record company lads wanted me to use a producer. I had never looked into producers before, what they did or what their role was - they said it gets things moved along, gets things done quicker, it's good to have an extra pair of ears around. It turned out anyway that I didn't know who to pick - the only person I would pick was Rick Rubin, and they weren't getting me him. (laughs)

Anyway, they got me this lad and it didn't really work out - to my mind anyway, he was more pop oriented. We didn't really see eye to eye. It was uncomfortable and a big contrast to the previous time we recorded, because it was a family friend in Cork, who I used to go out to on weekends and eat dinner with his family. Up in Dublin was totally different. It felt like we were in a cave, starting at four in the evening and working till four at night - and there was often problems and tensions.

So eventually I said there's something going on here. That didn't work out that well so we had to go and re-record a couple of things with a different guy. I ended up getting a producer credit.

(Me - I see that, it says Mick Flannery on the album sleeve)

I didn't get on with that c*** at all. (laughs)

I had been fighting my corner with this other guy all the time, so it ended up with me trying to call all the shots anyway, because I wasn't a huge fan. Don't print too much of this bad shit!

Mick Flannery plays in Dolan's Warehouse this Friday night, February 21.

Choice Music Prize yo

The nominations for the fourth Choice Music Prize - sorta Ireland's answer to the Mercury Music Prize - were announced today, good list too from the 180 odd Irish albums released last year, except of course for the inclusion of The Script (you know how we feel about that album), who have immediately been installed as favourites by Paddy Power.

Here's the list:

Fight Like Apes “Fight Like Apes and the Mystery of the Golden Medallion” (Model Citizen) Mick Flannery “White Lies” (EMI)
Halfset “Another Way of Being There” (Casino Gravity Records)
Lisa Hannigan “Sea Sew” (Own label)
David Holmes “The Holy Pictures” (Canderblinks)
Jape “Ritual” (Co-Op)
Messiah J & The Expert “From The Word Go” (Inaudible)
Oppenheimer “Take The Whole Mid-Range And Boost It” (Fantastic Plastic)
R.S.A.G. “Organic Sampler” (Psychonavigation)
The Script “The Script” (Sony Music)

Not entirely unpredictable - the list includes four of my five Irish albums of the year, which you can see in a previous post here, no Autamata(?) - but that is not necessarily a bad thing. No mention for Colm Mac Con Iomaire's solo debut The Hare's Corner, pity too.

Lisa Hannigan a good bet at 9-2? Better Jape at 5-1, I likes that. Even better is MJEX at 12-1.

There was all sorts of controversy last year when Super Extra Bonus Party won and lots of moany f*ckers gave out about the competition/judges, which was frankly ridiculous as it is was one of the strongest entries on that list. Look forward to this, winner will be announced on March 4 in Vicar Street and most of the acts are expected to perform on the night. Tickets on sale next Monday from Ticketmaster, 29 bucks.