JANUARY 2014

The Little Christmas Edition

U&I MUSIC MAGAZINE

CONTENTS

RocherThe Midnight Union BandThe Daily HowlSinead WhiteCarusoCrafty FuzzRed Kid

56-789101112

DAME DISTRICT CHRISTMAS MARKET

ALI INGLE’S DO ROBOTS DREAM OF CHRISTMAS? YarboAli Ingle

1415

THE RUBY SESSIONS (10/12/12)THE RUBY SESSIONS (17/12/12)

16-17

18-19

SAUCY SUNDAYS CHRISTMAS PARTY 20-22

U&I MUSIC MAGAZINE BEST OF 2013 23-28

JANUARY 2014 4x4 29

EDITORIAL

Welcome to the 2013 “Little Christmas” issue of U&I Music Magazine.

After we launched our very first issue in December 2012, we followed up with our very first special edition called “The 10 Bands Of Christmas”. This very simple idea focussed on live reviews of ten acts that played at The Dame District Christmas Market that year and it was well received.

This time around we have expanded on the idea. Due to the inclement weather last month we didn’t catch ten acts due to cancellations. However we did expand upon the idea of the acts we would feature and reviewed two acts we caught live in Liverpool on December 21st.That reflects the direction our magazine is going in as much as the extent of our grass roots music networks. We also used it as an opportunity to begin expanding our magazine into the city in 2014.

Also included in this special edition are live reviews of both Ruby Sessions Christmas shows and the Christmas party for Saucy Sundays. They were three other excellent nights of live music which showcased how alive the local music scene is in the city.

In this issue we have included is our very first compilation list making up a “Best Of” for 2013 from artists that we featured throughout the year in our magazine. This is a selection of editor’s picks that include a top 10 across six different categories. The categories are –

Best Irish AlbumBest Irish EPBest International AlbumBest International EPBest Single Best Video

To everyone who supported us throughout 2013 we want to say a big and heartfelt Thank You! We look forward to doing it all again this year and beyond.

Phillip Ó’ BaoighealláinEditor-In-Chief

The ethos at the core of U&I Music Magazine is our continued commitment to supporting music at a grassroots level. Part of that is reflected by the high calibre of music that we include in each issue. But of equally importance is the emphasis we place upon delivering live reviews on a continued basis. That is because documenting the current state of the local live music scene is the best way for informing people about what is going on.

“The 10 Bands Of Christmas” was an idea we ran with last year. The premise was very simple and effective – we chose to review acts at random who were playing live at The Dame District Christmas Market Festival. We then compiled those live reviews into our first special edition and uploaded it online. The idea was well received by the artists featured so we decided to run it again.

This year we braved the elements and mixed up the idea. However due to the inclement weather which caused some cancellations we didn’t get to catch ten live acts on account of this fact. However we did manage to catch seven acts that did play and those reviews can be found on the following pages.

There is a hard turn that comes off everything that is matched from the way that the weight comes into play. This is what gives it a shake, and in doing so the Latin context of the song is coaxed efficiently from it all. “Before I Go” is let out in a steady and embracing way. This finely felt in the kick that comes through in the rhythm. The spring in the step here settles everything. From the catchy side of things there is a clean showing to how the lyrics impart upon it that brings a pleasance to it all. Two covers then followed suit. The first was an efficient rendition of “Here Comes The Sun” which caught everything just right. While “Fairytale Of New York” by THE POGUES was thrown in for good measure.

Off the back of that came “Nations Of The World”. This contains the name of every

country in the world. It is quite enigmatic and the audience appreciated it for its novel value. But there is more to it than that. The Mariachi way the rhythm gathers on it sits well with how novel and innovative it is. On “The Open Book” the Parisian overture denotes a rich vein of form. The broad delivery generates a steady sway which serves it well in the running. That parlance is quite distinct and picks up in a way which adds poise alongside the merry way it skips along. How the grandiose aspects of this are exacted add a good deal to the mix.

To close out was “Seven Hours”. There is a tidy way to how it is kept in check that shows in a good way. With its catchy tempo there is a formidability about this that is well layered. The gusto shown alongside how it all wiles away is quite appealing indeed.

T

he 2013 King Kong Club saw 172 bands battle it out for the first prize. Obviously it was a competition that a lot of upcoming bands took seriously. How does it feel to have won?

It's an incredible feeling. We always knew there was a small chance of winning but it was such a long time between the semi-final and final itself. We'd almost forgotten about it and it

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he first act we selected was ROCHER. He is an artist whom we have seen perform on the Dublin circuit this year and his set was of his usual high standard. Opening with “Be Free” there is a tidy and resolute flow in the guitar that keeps it all on course. In terms of style, it is laid on in an apparent way which comes through from the catchy riffs. There is a light rock-a-billy sensibility about it here and it bestows upon it a

seamless grace that is quite resolute when considered with the how it is displayed in his performance here.

With “Girl Next Door” he places a Spanish overture square in the centre of it to great effect. The pace is very solid and meets well with the sheltered running.

ROCHER

THE MIDNIGHT UNION BAND We have seen a good deal of this band throughout 2013 and we have been always been impressed when we have seen them play live. They got down to things with “The Burning” and this opens everything up for their set. There is a sure footing to how it is displayed which is evenly displayed. The commanding feel that comes off it here really shows and it has a measured approach that holds well. After that came “Behind The Truth” and how it is layered comes to define it. An excellence is felt from the clear manner that it steps out under. It also brings an ease which is all commanded by the consistency in the rhythm.

A more concerted feel is noted on “Demons In Your Mind”, but it builds to something resilient which steers it through. The way it is composed here is what keeps everything in check. The texture that seeps through steadies it with an added touch of distinction, while the

bluster from the harmonica adds the proverbial cherry. On “People Like You” there is a gracious conviction to everything from the off. The tidy feel of everything is found in the rhythm which is underlined by the smart way that the lyrics line out and seal the deal. The running picks up in a very complementary way, whole the raw quality of the vocals leaves a lot of things very much realised here.

“I Miss You” is keyed in freely and this comes to settle upon it all in a way of note that is all relative. There is something solid to be foundin the way that it all hangs back, which becomes more relevant as it all takes flight. The delivery overall is very sweet and it is maintained in a way which reflects the playing ability that they collectively have as a band. They pack in a great deal on their version of DYLAN’s “You Ain’t Going Nowhere” which commands the necessary presence immediately

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from how it opens. Everything is measured on this one and delivered with an esteemed feel.

Following that was “Raise It Up”. This is one of those songs that really grab you from the opening. Here the volume of everything is laid out by the hard roll that everything has. That shines a light on the band for all the right reasons and it bides well. What also galvanises everything is the majesty to be found as the delivery storms through on the bridge.

They then show a more expansive side, and give a good account of themselves in the process, on “The People” that is noted. This is a big number and it shows in the delivery. The lead guitar is factored in to this in a telling way. How it is all beckoned through is an exemplary act in itself. The substance to it is to be found in a truly telling way that allows it to march on. Two covers then followed. The first was “Helpless” by NEIL YOUNG which saw the band own it while still allowing it to come across as it was originally played. The second was a cover of “From Small Things (Big Things One Day Come)”. Here the leaner side of things was caught and the urgency was felt from the rhythm because of it.

Their fine set was closed out by “Howlin’ At The Moon”. This again shows purpose from the excellent way that it is all tracked which is leveraged in a clean cut way in the delivery. The blues influence that comes out on it is boxes clever in a very abject way. The leaner style here brings a reverence which contrasts in a significant way to the gnarled way that the gritty vocals stir the mix. This adds to the determined showing of it and it all lines up well here.

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We have only managed to see three songs from this band every time we have seen them play and that is because we have only caught them live at The King Kong Club. To see them finally play a full set tonight was something we have waited a long time for. They got it all underway with “To Be A Man”. This is a lively number that is accommodated for in the fine way that the rhythm picks up. There is also something very confident and assured about the manner in how the delivery is ushered in which exacts upon it in a very contemporary way.

After came the maudlin rich “Haulin’ All The Way Home”. This is particularly true of the vocals on this one. There is also a commendable bluster to be found in the rhythm which rises distinctly on it all here. The changes in the direction of play add a more fanciful fell to that also brings a resolve from the fine bass hook worked in.

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clicks into gear. Everything becomes marked out in a firm way. This becomes a derivative in the timely way it is all carried away. There is also a lot that is laid on when it comes to the bridge, while the guitar licks on show are firm and bring it on in a telling way.

“I Will Let You Down” shows a good partition that is seen through from the collective running. The result is a more showy effort from the band. A charged feel is present in the tempo yet it is also reined in which brings something pleasing to the handling on show. The definitive way that it all tumbles along brings a lot out. The bountiful skip in the rhythm is threaded through in a noted way.

They closed out with the catchy and heartfelt “Hang It On A Hook”. This brings the right amount of sentiment and composure to proceedings. That is picked up on from the delivery here while the catchy side is reliantly played in. As a result the gloss and sheen to it drive it on in a fashionable way.

The referential feel of “Endlessly” shows from how it is all put down. There is a consistency in the tempo that is also keenly felt. It bellows out with a conviction that shows the credentials they have as a live band by finely proving their mettle. While their next song “Maggie” comfortably pounds away and works the crowd. This is a choice number with an abundance found in the delivery that is quite appealing. The weight behind the playing adds something extra which helps to carry it all the way through.

That was then followed up by “Going Home”. Here the dalliance takes hold in a celebratory way that brings it to life. The play changes direction too. A laid back style is eased into which is quite refreshing and displays some solid blues influencing things before picking back up in a way that packs it all in.

A rich Rock’n’Roll feel comes off “Motorway Blues”. There is a little bit of novelty about it, but looking beyond that shows a lot as it all

THE DAILY HOWL

heaped upon her by her peers is very much justified. “Flat Battery” was the first song in her set and everything about it underlines why she is held in such high regard. The emblazoned feel of her voice collects and courses through in a sublime way that is quite riveting to hear. As a result there is an added purity about her performance which imbues everything with a much more concerted feel that is concentrated and tracked in a very distinguished way. It is also finely versed which is another point on it here that is a big draw.

There is a sturdy feel acquired on “Lies” that is immediately evident from how well placed the guitar is. The angst that is pushed out from her vocal delivery also catches something rather imaginative. That then collects upon her performance in a pristine way that is encouraging and engaging in equal measure from how well it all weighs in. Her next number “Mouth Trumpet” is quite a dainty little effort. That is apparent from the off on this one. There is such a parlance in her delivery that everything hangs on it all in a rather opportune way. A graceful comfort seems to be drawn from it and the improvised trumpet is a good effect on it. This is one of those songs that can turn on a sixpence on account of how imaginative it is.

We then come to “Poor Little Rich Boy” and the sultry way that all of the playing is angled in quite telling. It is a mesmerising effort on account of how strong a number it is as everything comes across on it. The tempo has a smooth coating which shows that everything is on the money here. The substance of the song remains intact and is evenly balanced by a steely determination that is prised from the live showing. It all circulates in a way that shows how well gauged it is as it drags across. To close out a very fine set was “Closing Doors”. With the way the rhythm collects the stature of the song is built. From this the abundant qualities begin to show. From the off this is a solid effort and the consistency in the delivery is another draw on it. How the play lingers is quite formidable and the open showing about it here is what draws you to it. The makings of the song are all skilfully applied here and mark her out as an artist to watch out for in 2014.

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Having recently played a short tour of Canada, SINÉAD WHITE is our next artist to be included in our “10 Acts Of Christmas” feature. She is an artist we have seen a fair deal of on the live circuit throughout 2013 and all of the praise that is being

SINÉAD WHITE

A light version of “Raglan Road” eased him into his set and from there the rest of his set was cleanly built and set in its way. The next song to follow was “Who Came First” and it is lead in neatly. The flow here rounds it all out and the fluid motion comes to settle on it here in a way that spans the delivery, Everything becomes handsomely held here and the virtues a slowly stoked through in a noted way. After that came “Round The Hard Way”. It is a song that is able to call upon a fine level of maturity in the delivery. It calls upon it in a way that brings the finesse through. As a result it comes of age in a gradual way that is able to catch things in the live delivery in a very efficient way. The taut sincerity of his vocals matches the lean side in a very agreeable way.

Joined by ROB MALONE for “Freak”, there is a more noted pace present. That picks up in a stern way. What occurs in the transition is asserted upon everything in a noted way here. “All The Kings Horses” gathers the sensibility of it all which is apparent in every aspect on show. The neatness of it all resides in the right places and is served with a smart lyrical content to boot. This imbues it with

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delivery. The stoic quality of “Mermaid” steadies the motion on show with the acoustic guitar. The gradual way it all moves beckons the process on as a whole. The convincing progression here is also noted because of how well it is invested in the performance. “Ná Ní Buartha” and the as gaeilge lyrics nicely edge their way through from how they are angled. That sees the sweet and fanciful feel about this come through. With the skip in the guitar the appeal is further fortified.

The ukulele underlines everything about “Hey Little Sister” that is impressive. It gathers in the play in a way that sweetly gets underneath it all. That then ushers in everything sweetly and shows from how select it all comes to feel. “Star” is one of those tunes that are able to gather in a big way. The presence is duly noted and this completes the running here. Everything that is called out on it is controlled. This results in a more urgent keel coming through in the rhythm as it all bellows out, raising his game in turn. A good account is given to the fluid running on “It’s Up To You” which runs along in a way that carves into the play. It is a very shapely effort indeed and the bass hook proceeds along on it here. It is sweetly constructed and the opportune elements to it are doled out in a way that reflects this. There is a more pronounced feel coming off “Jenny”. It is leaner than the rest of the set so far but also has a degree of certainty showing for it. How things are taken stock of on this one displays a calculation at work. The strong resolve shows in how glorious it is all brought through. He then produced the goods on “Satellite” in a way that draws you in. This has a very smart showing that collects in a gradual way. The fine way that the tune is all worked in here is displayed from this. It then serves it all well as it moves into things in an embracing way while also coming across compact. On the way it pulls back, next song “Try” develops a more token feel. This in turn gives it all a more realised feel that is quite distinctive. There is also something that transposes in the live delivery here that is quite requisite. It in turn feeds into in a way that is very rewarding for the listener.

The harmonica is a much acknowledged feature on “Line Of Fire”. The light feel that the song has adorns the delivery while it hangs back and is amicably played in. There is a poignant cut about it that shows a depth in the lyrical portrayal. The stiller aspects of it connect quite well and bring the forthright qualities of it through in a more complete way. It leads nicely into a version of the festive classic “Last Christmas” which was delivered in a way that makes the most of the WHAM number to leave “All Your Features Disappear” as the number to close out on. Here there is a dalliance that hangs on it all in a specific way which is guided in by a harder shunt in the tempo. This is played throughout and is given an added boost by how consistent it proves to be. It is an expansive effort that closes out strongly.

a nice touch of class. The intricate way it is all laid out is put together in a way that matches what is intended for it.

How the bass is applied on “Monster” is what brings it through. A hark in his vocals echoes out on it in a way that seals in a lot of the right qualities which steer the delivery in a very concise way. In how it all comes across it adds flavour to things in a considerable way. His next song was a new one. There something of note in the way “Read Between The Lines” steps out. The accompanying instrumental work filters through on the arrangement and travels in a noteworthy way. A string saunter then develops which firmly holds alongside the expansive movements on show.

The guitar wielded on “The Fires” is quite choice. A reserved feel comes over and takes hold. In doing so the requited feel becomes more noteworthy and seems to fire it all up. That leads it to a more determined showing yet there is also a cautious sensibility about it that relates to how it is fronted. Another new song then followed called “For The Boys”. On this one a piano drives it and catches the intimacy in a way that suits the surroundings. There is also a degree of merriment to be found in how it opens. The terms of the song are quite endearing and add a subtle hint of charm to the

CARUSO @ The Odessa Club (18-12-2013)

In its configuration the gritty side of things rock out with real authority. The vocal performance here wins you over because of how much bite is added to it al. While the rhythm also collects on it in a very desirable way that makes for quite the number in terms of how it is leaned into. That rich volume they can create in their sound repeats itself on “Save Your Own Skin”. It hits in an apparent way that gets it all going from the intro. There is something specific to how it collects and it stands alongside the composure of the band as it is played out. The hold they have on it is a sturdy one which breaks down impressively in the live showing.

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The locked and loaded feel of “The Game” immediately grabs you. The impression it leaves is a lasting one and for the right reasons here. The surge from the rhythm is exacted in a way that denotes a solid amount of playing ability. The fluctuations in the arc are cleanly tracked and are clearly felt from how they are angled in. The hard and fast formula repeats itself on “Time Bomb”. Played in at a rate of 2:10 it gets straight down to things and hits the ground running. The snappy appeal in the drumming is also on show here and it lights it all up. Yet in how it is maintained the air is electrified by the performance. The temperament to last song “One Day” lends it all a good footing. Here things feel deeper and more ambient in nature. That is down to the tone and also the manner that the rhythm breaks down to reflect this. The overtone here is dragged through in a way that complements the sharp derivative and holds onto it tightly.

How the catchy rhythm of “Struggle Struggle” climbs imbues the beat with a clear vitality. There is a bounce to it here as it all surges along. In doing so the charged feel to it is well tracked and it easily clicks into gear from the off. Yet it is maintained in a very pronounced way. The gracious whip from the guitar and bass bends the tension on “Gone Now”. There are also the animated traits in the performance that stand out. But what grabs you here is the manner that the blues influences are traced out. They are laid on generously and the vocals also come into it to leave their mark as much as the play does. The bridge is also outstanding on this one. There is a rich texture and volume to their style which “Bad Charm” makes the most of. The tempo displays the merits of the band in an exceptional way. This has a drive to it that is steered correctly and, as a result, gives it a thorough feel that is completed by the way it is all carried through.

AA smart and rather exquisite version of “Santa Baby” got things started for the band. From there it was business as usual and they got down to it with “Once In A Blue Moon”.

CRAFTY FUZZ

A showy affair got things started from them in the form of “Monsters Of Positive Rays”. Bolstered by a serious kick in the rhythm, everything about it is cleanly brought through in a way that is felt and noted. There is also something gracious turned in from the vocal delivery on it that stands it good stead. The dalliance and charm push through on “Tangerine”. It is done in a way that puts everything bang to rights on this one. The colourful bursts in the rhythm pick up formidably. While there is a lot to be said about the chorus and the way it evokes a lot of the right aspects on everything. That highly effective beat then gives way to the rather quaint workings of “Soup”. This is locked down in the performance and gives the rhythm something sturdy in the process that concentrates all the dynamics of their live showing. This is factored into the mix fancifully. It is what gives the song the platform to launch from.

Riding into everything head on is “The Way”. The guitar lifts off on it in a way that more than carries it through. This is a charged up affair.

w e reviewed their album “Rocket Ship” in our December issue and gave it a rating of 10/10. The performance here was also deserving of the same mark.

RED KID

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course through. Considerable weight is lent to it from the muscle in the playing. While the chorus also wraps around it in a very comfortable way that is a big draw on it all. Loaded from the off, “Pretty Bird” is a song that gets going in a very big way. The movement of it all is finely worked here and this gives it drive. The lead guitar is very much responsible for this and it clocks in smartly on this one. The overall play is a combination of the right things which show in the smart operation on show. The WHO inspired sense that you get about the band is underlined on their final track “Rocket Ship”. The vocals and the playing are a perfect marriage here. The blistering resonance in the guitar fills out on this in a truly defined way. How it all rolls goes a long way here and it powers along keeping you fixated for all the right reasons. Sheer brilliance.

The vibrancy of it makes you sit up and take notice of this band because of how easily they take to it. It is all applied in a way that lights up to give them a huge stage presence. The feverish feel of the play shows on “Orion”. The ratty like aspects have the vocals to match. As a result it all comes across in an enigmatic way in terms of how it is all processed. All the right things lead into one another in an encouraging way which is commanded finely from how it all builds. What runs through on next song “Fine” ignites the song as a whole. The hold it takes is noted, while the even keel maintained is consistent and solid. That shows the substance to the material aspects which shines the right light on the finesse of it all.

The taut feel in the rhythm to “Any More” immediately shapes the outline of the song. It does it in a way that allows the conviction to

In 2014 we are planning to expand U&I Music Magazine into the UK market. We have begun to put the ground work down in Liverpool as our �rst port of call. To get things rolling we were over there on December 21st to catch an artist who has been on our radar for some time named Ali Ingle. Playing support to him on the night was Yarbo.

It is not every day you see a ten foot robot on stage in front of you with glowing red eyes either. Overall both acts were excellent on the night and they underlined just how alive the grass roots music scene in Liverpool is at present. We are looking forward to establishing ourselves over there.

Released as his first single, What Is Now” creates a singularity in the tempo that is a big plus. Everything about this falls into place in a timely way that is brought through emphatically. The broadness from the piano here is keenly felt, making the ambient texture of things seem more expansive as it is all pressed through. There is a distinction in the way it is all built that draws you in. After that came “Lost”. The lusher qualities of the play are finely directed here. The progression becomes more urgent and makes for a bigger pull on everything. The harder run here is very convincing and the lighter moments hanging off the vocals display purity, but it is the clarity in the running that is the more impressive aspect.

The face value of “Mechanical” is there to be found in the delivery. This is another content which duly runs as intended. The keel to this one is very open. It gives the perused feel to the vocals a nice touch but at the same time it also completes everything on it in a very complete way. It is hard to come to Liverpool and not acknowledge the legacy that THE BEATLES have had on the city’s musical culture. “Across The Universe” then made an appearance on the night. This was a very decent showing and it captured the essence of the song. It drifted through in a way that showed a very fine cut to it all.

His set was then closed out with “Sleep Forever”. Things are teemed in. From the concise way everything is factored in the song it becomes a more fanciful offering. The violin coursing through here is chased down in a very full way that holds in the closeness. It also brings it all through in a big way, as does the rest of the song as it all closes out.

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YARBO@ East Village Arts Centre, Seel St, Liverpool (21-12-2013)This year’s “10 Acts Of Christmas” feature has expanded on what we did last year to see us take in some live reviews of acts in Liverpool. That is because we intend to launch U&I Music Magazine in the city in 2014. The first of two acts we saw live was YARBO. Having come to our notice recently, he was an artist that has been on our radar that we have been very keen to see live.

Things got underway with “The Blind And The Brave”. There is something contained in the derivative of his performance that gives it all a more conclusive feel which is expertly reflected in the vocals here. The whole delivery is insightful and quite tangible. In how this is all managed the virtuous side of things is brought through. The darling feel of his sound is again found again in the sentiment that courses through “Phantasmagora”. It is also channelled in a notable way. The beholden aspects coast through and give it real presence. The overall way it is all presented leads the delectable tone of it all in with a large degree of splendour.

We have featured ALI INGLE in our magazine over the last twelve months a good bit and to finally get to see him live was something that was worth the wait. The hype surrounding him and all the platitudes that have followed are most certainly deserved. “I Got You” opened things and there is a very clever feel that comes through in the way it opens. What is angled in behind the playing generates a neat sway that is passively pressed ahead. From this you sense that are more top drawer tunes to follow. He then played new song “Sit This One Out”. The ukulele gives it all a loose running that is well contained. How it projects this is matched with a determination in the playing ability. The arrangement is excellent is here and the slight way that things lean towards a calypso element gives the foundation a prowess to match how fluid it all runs. Slowing things down and drawing the audience in was “Empty House”. Beautifully tracing everything in the outline, the ornate feel brings out the best in the intimate aspects of the song. The creative side of things is also to be found in the forlorn appeal here which impresses by how well measured the longing sentiment is expressed.

The poise of “Ribcage” is very central to proceedings. It has a dandy skip that is brought to full tilt in the delivery which adds to the showing. This is well played and the depth of the song is found in the way that the vocals hang on it all. The angst portrayed is enticing and how it pairs up with the lyrical content seals in the wonderment here. His next song is a very determined effort which shows how mature he is as a songwriter. “Jeckyll & Hyde” has a wonderment about it all that very much puts the spotlight on him for all the right reasons. The vocals and lyrics here are imparted in a way that is almost perfection. But they also show the ambition and scope of him as an artist in a good way. Things are cautiously brought through on next number “Belly Of A Beast” and there is something neatly formed from how the play is guided through. How it is processed is duly noted. The exonerated feel to this one is maintained and gives it all a steady flow. That shows in how it is realised as much as from what is on show.

“The Locker” is another figurative effort that shows in its presentation. That gives the running a clear direction which releases the arrangement to allow everything hang back in a very appealing way. The composure and yearning aspects are well felt as a result. That is also underlined by the fine showing on the bridge. Coming to be defined from how it opens is “Medicine” and it builds from there in a noted way. The tone is something very settled and moves through showing finesse at work. This is high on the wow factor when it progresses to a bigger number, but it is comfortably built and holds in an assured way.

A two song encore then followed. The first of these was written as a side note or novelty for tonight. “Do Robots Dream Of Christmas?” fastens things down in the lyrics and it is actually a song that has substance. As a Thank You note it has a certain amount of reverence to it. The beat that pounds away on “Tornado” is very graceful. It rises alongside the piano here in a watchful way. How the tempo garners applies the correct amount of weight which gathers in the delivery. It is also very catchy and high on appeal as a result. The right things are chased down in the song and it remains true to this by remaining thorough on many fronts. The rotund style on show here also sees it right.

ALI INGLE @ East Village Arts Centre, Seel St, Liverpool (21-12-2013)

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...............................................................................................................................NICOLE MURRAY

THE RUBY SESSIONS Doyle’s Pub (10-12-2013)This Derry artist took the stage and the fine way that she carries herself off as a performer showed on “Run”. A fluid motion in the playing gives imbues it all with a bucolic sensibility that becomes all the more refined as things take flight. Her voice adds something that suffices here. The beholden feel to it all has fullness in the way it courteously comes to be played in. The solemn tone of “Withering” is a fine contrast to her previous effort. The chords from the guitar dangle on it in a way that gives it all a more drawn out feel that makes the running of it feel all the more open. It grows in stature as it progresses and the following maturity conveyed makes for a more direct song as it closes.

Her third song has a neat pick up in the pace that shuffles along superbly. Her voice is thrown into it with a precision which circulates on this in a sturdy way. The commanding way it is all brought through shows the growing confidence she was finding in her performance. Her last song was “Currents”. This has a dandy feel from the guitar that plucks away to add volume to the rhythm. This accentuates in a very telling way. What seeps through gets under the playing in a very direct way. From the lyrical content a lot of the right things are also displayed which give the song the temperament it has.

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There was a lot to admire from this mesmerising set. “A Pirate’s Life” got things going and there is a lot to the tone which opens it up. The richness it has imparts it all with a very abject feel. From this things are floated through in a course and fluid motion. How it unfurls also displays a precision that steadily evens out from how it is spaced. Everything is quite referential in this regard and you sense they are aware of that from how it comes across. Their next song “Maybe In The Future” was receiving its first live playing anywhere. There is a certain majesty built that spills out on everything in a very courteous way. The acoustic guitar gathers on it in an acquired way. From this opportune setting the overlap that plays in gives clarity to the running that is deftly applied.

An electronic aspect is motioned from the sound which allows the guitar to evenly hang back on “Yet”. A good grasp of everything is shown. The ornate way to how it is all pushed out gives it a good calling when it progresses towards a more urgent sentiment. This proves the merits of the band in a big way. “Wallflowers” is another fine offering that sees things in on a wave of class. It finds itself on a very sure footing here that the dainty and reflective stylings bring to a conclusion in a very fine way. There is comfort to be found from this that gives it an elegant turn that everything fixes upon and gradually builds.

A sense of the formative years comes through from the lyrical content of “Dumb Blonde”. The internalised sate of being connects well in the lyrics and gives everything a very justified appeal. The settle feel moves it all in a very specific way. The guitar again hangs back and the lingering hold in the rhythm gives things a comfortable composure that is very touching. That was then followed up by “Y.K.K.” and it has a balance in the tempo that matches well with the vocals. A telling presence forms in the delivery that is expressed in a way which conveys the finesse that they have in abundance and also gives everything a suitable calmness as it washes through. Their last song on the night was “The Leopard” and the fleeting feel of it has a gravitas that immediately grabs you in a very determined way. This grants it all a more prosperous appeal. Everything that approximates on this makes it a very compelling effort that does have a high wow factor going for it.WE CUT CORNERS

- 17 -

We have seen this band perform here before on a number of occasions and The Ruby Sessions is place they consider to be something of a second home for them. They relaxed into things with “In Case The World Forgets Me”. The drumming beats in on it on the opening in a way that makes for a very good calling. This deliberates on it all in a telling way. The perused vocals rise and hold firmly on it. Everything is traced out in a very marked way in the overall delivery that shows a consummate song in the works here. There is a mighty presence about their next song “Early Influence” that concentrates everything as it all takes flight. It all connects and there is a serious kick in the rhythm that offers something very enticing about it all. The bridge is inspired and suits the fluid movement in a big way.

“She” exudes a great deal of character and is a solid effort on many fronts. A competence is picked up from the lyrics that finely display the depth of everything that is going on. The vocals again command the presence the band has and finely leads everything in. After that came “Fear” which is another song with a lot going for it. Everything is brought through and gives it a much finer showing. The reserve to it is very kind and how it then picks up is finely capitalised on. It imbues it with formidability in how it gathers. The robust nature to it remedies in a rather succinct way.

The acoustic guitar is very lean on “At Ease”. A spry feel comes off the taut running which then breaks out cleanly on the overall transition. That tight feel to it is played through in an equally tidy way that speaks a lot about how good the band is. The first acoustic playing of “For Want Of A Better Word” was keyed in very sensibly. The calibre on show here was of a very high standard and things pick up with a very urgent feel. The clean lick on the acoustic guitar takes in the warmth of the song. This is felt all the more in how things break into a very commanding stride that is quite telling. “A Message To My Friends” gauges everything quite well in terms of how it is all laid out. Honing the neatness in the play gives it volume. This is a sturdy showing that lifts off in a glorious fashion that steers it all through. A placid styling in the vocals is also present that closes things out in a very encouraging way.

LEADERS OF MEN

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ORLA GARTLAND

THE RUBY SESSIONS Doyle’s Pub (17-12-2013)

The first artist who performed tonight is one who has definitely seen her star rise in the past 12 months. From the way her opening track “Devil On My Shoulder” is motioned in it is easy to see why. There is something stylish about the way that the lyrics pull on it here. As a result they come across in a contented sort of way that is then steered in a way which displays a fine maturity in the handling. That adds to the wonderment of it all. Her next song has a catchier feel. From the hooks placed, “Clueless” has a leaner showing. As the paly builds a bounce seems to form in the step that is quite noticeable. Things feel rather clever and the arrangement captures this in a fine way.

“Empty Man” is another effort from her that is idealised and homely. These are patient qualities that toil away on it and it drifts in on the back of this. Her voice is also let out on this in a very engaging way. It is able to hang back in a very comfortable way which shapes everything. Yet it holds on it in a strong way that has something dignified going for it. A cover of “Wannabe” by THE SPICE GIRLS caught everyone off guard and it went down a treat. Then to see her set out was “Roots”. How it all falls into place is easy to admire because it has a lot going for it in the process. The spacing here displays something pragmatic in the process. To add to this there is also a lot to admire about how it busies itself on the rhythm because it steadies everything and adds a bustle to the playing. As it picks up on the beat it breaks out in a way that shows a more robust side.

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Formerly known as THE GUGGENHEIM GROTTO, the next act had also played at The Ruby Sessions before. This was also the last Irish show for them and with “Afloat” there is a hard turn on the running which gives it a ragged appeal as much as it does lift. Then it levels out into something more refined. That consistency in the trajectory enhances the warm sentiment on the delivery. Again they rely on the forlorn when it comes to “Electric Life”. However they are not over reliant on this. The running here is exemplary. The rhythm gets underneath the tempo in a very confident manner. How it comes to be something of reckoning on the overall arrangement is apparent from how measured it shows.

Some very smart improvisation shows on “Coming Home”. On this version, and because of it being an acoustic set, whistling replaces the synth of the original. That adds a charm that necessitates here alongside the guitar in a truly telling way. The entire intro shows that it has all been cut from a very fine cloth. That allows everything to come through brilliantly on the delivery. Yet in how it is all embraced the live showing is brought out more commendably. “Cherry Road” again embraces a whistle on the delivery. The resulting charm is a fine positive here. With the ukulele being factored into the playing it them lends it all a more timely feel that permeates in a classy way. That ukulele again proves its worth as they delivered their rendition of the WIZZARD classic “I Wish It Could Be Christmas Everyday” which worked the room in a dignified way. It was quite soothing to hear in the surroundings truth be told. STORYMAN

............................................................................................................................On “The Factory” everything is taken stock of in fine way that opens to draw you in. The ornate feel to this draws you in unconditionally. The harmonies add to it and give it a slight BEACH BOYS feel as it plays out. That equates alongside the acoustic set in a fine way on account of how well laid out it all is. Their next song “Harper Lee” is also very easy to admire. Here the passive attributes to it bring something considerate to it all. On the vocal side of things the delivery is excellent and this is a quality that permeates through it all. There is a magnetism stirred in a very expressive way that brings a true reckoning to everything that is on show from them here.

“The Kitchen Floor” takes off in a very choice way. Off the back of this everything seems to build in an admirable way with a precision to back it all up. This is duly realised in the considerate way that it is all collected. The acoustic guitar produces a timely element that travels through in a relative way. The lingering moments in the performance add something more to the ambience projected. The next song “My Lover Took Me Down To The River” evokes a true ethereal beauty on all the aspects in the play. The barren and lonesome merits of the lyrics find their placing here. The delivery is formidable in how fluid it is in its stripped down state here. There is nothing lost in the application and this brings a goodness about it all that warrants appreciation. Their final song was “The John Wayne” and it rides in (no pun intended) with a composed backing that brings a more resounding sense from the way it is all steadily released. A fine rise also connects on the vocals. How it is all brought around here shows in the way that the rhythm picks up. It brings out the best in the band in the process and holds in a resilient way. A courteous feel from how the tempo finds form allows the romance of the song to be found in the performance in a way that is believable.

Another artist who has been on the rise in 2013 was GAVIN JAMES and he is set to follow the past year with a very promising twelve months next year. The delicate poise on show with “Nervous” coming through on the guitar is excellent. The resulting exalted feel in the delivery lands on it all here in a commanded way. The referen-tial turning in terms of emotion is applied in a truly believable way. He then followed that up with another graceful effort with “Coming Home”. The intricate styling of it all fares well as it is applied. It shows a consideration behind the measured aspects of his performance here. That gives his stage presence something more pronounced in the vulnerable way he appears on stage, yet the confidence and stature grows in a way of note also. He then played “Have Yourself A Merry Christmas”. Here he gets everything right in the JUDY GARLAND classic and it feels like a song that belongs to him. That is how comfortable he is in the playing here.

He was then joined on the stage by ORLA GARTLAND for a duet called “Same Mistake”. This is a very beautiful effort that stirs all the heartfelt aspects finely. It draws it all out in an eventual way. The way it all holds allows the fond derivative to be angled in a way that is not overdone. It consummates the song in a dignified way which shows the finer points on it all. With a brief foray into “Wonderful World”, complete with a little gravelly vocal, he then pulled the rug out from under the audience and played “Hello”. The delivery here is very much secured off the back of how finely arranged it all is. The composure that he has as an artist is very apparent here. Yet the substance of the song possesses a magnitude which is quite defining.

He then closed out his set with “Two Hearts”. This is a contented number that has become one of his signature tracks. It is easy to see why. The texture here has a lot of the right things going for it, while the appeal found from how it is all carried through is helped further more by his live delivery. In this song it is easy to see what all the hype is about, but in how he commands the stage you can see what he is about as an artist. GAVIN JAMES

- 19 -LITTLE GREEN CARS

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SAUCY SUNDAYS Christmas Party The Grand Social (22-12-2013)

THE CRAVINGZ

From all the times we have seen this band play on and off throughout 2013 we have always held them in high regard, so it was nice to finally get the chance to see them play an entire live set for once. Things were whipped into shape on their opening effort “Bound”. The lean style it produce is very shapely and it comes around like so. There is also a delightful kick in the way the guitar charms out the rhythm which presses ahead firmly. The saunter that is present in “The Confidence Man” takes hold of things in an affirmative way. It gives off a slight JOHNNY CASH vibe from the high way it all rolls and this brings a charge through it all that is quite prominent. This in turn is channelled in a way that is eventful and smartly shows off what they can do.

A cover of “Long Tall Sally” then set up “Move Like This”. Here the charm makes its way through and gives everything a loaded presence. The song comes through off the back of this. What is on show produces a dazzling array which feed the play with a novel feel. The Charleston influence that stows away on it gives it a more formidable rush as it comes through. The delirious run to “No Escape” is very attractive. It is solid in terms of how and where it is all placed upon proceedings. That consistency more than sees things hold their own. Their penultimate song on the night was “12 Hours A Day” and it sails in on a wave of fortitude. The loaded feel from the pace is turned on in an endearing way which catches the trajectory finely. Things are traced out on this one to accommodate some Teddy Boy aspects in the sound. Following that was a version of “Sedated” by THE RAMONES. Here the swagger and raw intensity fell into place to set it all up only for them to close out their set. Not a bad trick to pull off at all.

- 20 -

BETTY SWING MACHINE

We have been seeing a lot of this band this month and they are definitely an attractive prospect on the current live circuit in Dublin. There is something inherently novel about their music that very much defines them and sets them apart from the pack. “Alexander’s Rag Time Band” is keyed in with such aplomb. The harmonies usher everything in and the sweetness that unfurls is what hurries it along. The timely bustle about it all is very pragmatic and shows a consideration about everything that is a very good call. After that came “Elmo’s Tune”. Again the co-ordination is what is key here. The shimmy of the way it all runs is one thing, but the way that they carry themselves in the song displays a fine level of pedigree and professionalism.

“Biymir Bousatouchen” is a still and hearty effort that plays within a fine derivative. Everything is built upon this in a defined way, The charm that it all has keeps the audience firmly in the palm of their hand. There is also a hipness to it that further underlines this. The nice set and the way it all feels is underlined by “In The Mood” which gets fully into the swing of the GLENN MILLER classic. The parlance in the movement is lovingly turned on to great effect. A graceful Latino flair makes itself known on “Tico Tico”. The chic feel it all has is reminiscent of a bygone time and it stylishly adds a touch of class. The seductive traits are smart and sensible on it. But there is also a sassy side that fancifully pulls through on it as well.

Another sweet tune followed in “Java”. How it motors along is finely commanded here and brings a sense of wonderment to how it is all relayed. The whole arrangement permeates in a way that is very true and seems to easily find comfort in the candid skip that develops. Highly appealing and it sets up some neat covers from them. Two festive number s firstly, “Santa Claus Is Coming To Town” and “Rockin’ Around The Christmas Tree” called the right shots, while “Mr. Sandman” seemed to have a neat ‘S.W.A.L.K.” appeal going for it. They then played a version of “Bad” by MICHAEL JACKSON. For the majority it holds very well, but in some places it falls short. However you do get the impression it is something that they are still working on because it unfurls in a very showy way. They closed out with “Betty Swing Machine”. The neat essence about it all shows from how it all plays in tandem. What is exacted here threads through in a competent way that shows texture and a very admirable pick up when it gets going. They are very much a band to look out for in 2014.

...............................................................................................................................Kilkenny band THE COLD DRAW have been something of a constant on the Dublin circuit over the last twelve months and they got going with “Railway”. The settled stirring to it comes through from the piano. This adorns it all and wills the soulful traits of it through in a way that is furnished further from the way that the vocals fall into place. It finds its way in a truly diligent way. There is a scope displayed on their second tune “Follow Your Own”. A dalliance that is present evokes a lot of the right things. The lyrical content to it all turns on this and the opulent way that everything forms here is followed through with a precision that sees the band go for it. With “Start Again” things are turned in with a watchful about them. That is bolstered by the expansive stylings in the arrangement. The sparse qualities in the tune also hold rather selectively.

The voice of frontman THOMAS DONOGHUE wraps around “Elegants” in a way that adds delicate poise to it all. That balances in the song in a way that provides it with a platform to get going. The deeper touches here are applied in a way that feels right from the clarity on show. The canter of it is soulfully stirred in the way things are expressed. With “Quicksand” the ambient style comes to define it. It imbues it with a lavish feel that goes a long way from how it hangs back. It adds something textured to the performance that commands a lot from the docile way it runs through. They closed out with “Along The Levee”. Things are managed in a referential way here that develops the volume and fluidity of everything in a mindful way. There is a brevity displayed here that fires things up and locates what is needed in the running to bring out the best to it all.

THE GROUND WILL SHAKE

“City Burns” got things underway for them. There is a fine rhythm on show here that is attentive and highly productive. The sharp cut in the guitar riffs doesn’t go unnoticed either. A cover of LIGWAY’s “Ain’t That Love” has a nice draw to it. That was then followed up by “Lonely Boy”. This has a shimmy to it that matches the bountiful feel in the rhythm. It all clicks into gear very easily. An affluent style builds on it cleanly and this filters through on the delivery as a whole.

A stoic dalliance gathers and fills out on “Melmoth The Wanderer”. As a result everything is able to co-ordinate in a very good way. The calling to it all is very efficiently done. The tranquil way that it moves is very enigmatic and shows that it is all there by design as it comes to take flight. Another original followed called “Please Please Please”. This has a hop and skip to it that stays the course on the back of how well formed the beat is. A good hold is kept on proceedings to call everything out in a calculated way. The old school sensibilities hold true on their version of “I Can’t Complain”. Here everything is able to remain true to the JD MCPHERSON classic in a staunch way.

A more grounded fell comes through on “Red Eye”. The curt way it all steps out takes to it all pretty well. It is fanciful in a determined way. This then fills out and determines the terms to how it is all arranged. Their version of LARRY WILLIAMS’ song “Slow Down” sees them get straight down to it. Loaded like a gun it shoots first and asks questions later. The energised way it flows gives it a more gilded feel that considers the urgency in a token way. The catchy bass hook on “The Flood” gives it all a lean showing that is exacted in a way that has a lot going for it. The bold strokes in the layout are there to be taken seriously. That then whips everything on the running into shape and this is truly felt in the way that the rhythm kicks in. The resonance in the lead guitar finds its way through on their closing number “Mrs. Serene”. This is another loaded tune. But they produce on the delivery as a whole. That is motioned and carried through from the sharp rhythm that builds. Everything is gauged well and played with a certainty as a result.

THE COLD DRAW

- 21 -

The adage of saving the best until last could be applied to the final act on the night. JOHNNY RAYGE took to the stage and owned it from the second that the very first chord was struck. Blessed with a good get up and go was his first number “Not Without You”. It shows a highly imaginative effort at work that is fired up in the delivery, yet defined by how it is all reeled in. It is given a tight showing from this which it adheres to in a big way. A slightly askew feel comes through from the little country/bluegrass style that kicks off “Hold”. Things then change direction and there is a courageous feel from the vocals. They reside on it here and cradle the patient process in a faithful way. A good account is given to it all here that shows from start to finish and helps it go the distance. The opening line on “Do What You Can” lays out everything for the tune. It is a steady number that comes off the back of this in a sweet way. How it holds back displays a splendour which allows it to be quite open. This in turns sees the feeling of the song conveyed in a way that is a big plus.

The safe feel of “Need” matches the way that the content of the lyrics forms. It is done in a very refined way that brings an elation that is expressed neatly in the overall delivery. The release in the rhythm when it all picks up is another strong showing. The acoustic guitar is very telling on “Parisian Skies” and takes over things in a very tidy way. That transparency in the play pours out and feeds the emotion of it all in a settled way. It all collects in the delivery and how it does so makes it a bigger number that is duly noted. In the style of a waltz, “One More For The Road” walks through everything in a delightful way. Those characteristics that are present translate very well in the delivery. The essential way it is all worked through lovingly holds central to it all.

The next effort here is very much a content and fulfilled tune. It is called “Hey Sweet (Do You Wanna Go Dancing?)” and this has a stylish tilt to everything in the running. Things are nursed through on it all in a way that has a determined showing that goes a long way. Showing a clean pair of heels, it is a catchy tune that shows some very sweet dynamics at work on it all the way here. “Prostitute Yourself” is quite formulaic but there is a touch of DAVID BYRNE going for it. It is let off the leash here and hits the ground running. That allows it all to be greatly felt when it gets going. The prominence is well tracked and gets behind it in a noted way. It is motioned through in every even and steadfast way. To close out was a cover of “Miss You” by THE ROLLING STONES. This was the proverbial cherry on top of a top drawer performance. This was a version that very much put its own stamp upon it. The intensity and conviction in the delivery was very much on show throughout.

- 22 -

JOHNNY RAYGE

All photography by Mark O’Connor@mocphotography

- 23 -

U&I MUSIC MAGAZINE BEST OF 2013

IRISH ALBUMS1) Swords

“Lions And Gold”

3) The Crayon Set “The Crayon Set”

5) The David Nelligan Thing “Dark Matters”

7) Nanu Nanu “Unit 1”

9) Red Kid “Rocket Ship”

2) Empire Circus “Empire Circus”

4) Von Shakes “Bohemia”

6) Sounds Of System Breakdown “Nomad”

8) Verona Riots “Live For The Moment”

10) Bouts “Nothing Good Gets Away”

U&I MUSIC MAGAZINE BEST OF 2013

IRISH EPs

2) Candice Gordon “Before The Sunset Ends”

4) Anna Jordan “Dust”

6) Paul Tully “Lyrics For The Lost”

8) Kid Karate “Lights Out”

10) Otherkin “Broken English”

- 24 -

1) The Whereabouts “TwentyThirtyThree”

3) Vann Music “Electro Shock Dreams”

5) Dani “It Speaks For Itself”

7) The Notas “Creature Of The Night”

9) The Vincents “Valley Of The Sun”

- 25 -

U&I MUSIC MAGAZINE BEST OF 2013

INTERNATIONAL ALBUMS1) Tessa Rise Jackson

“(Songs From) The Sandbox”

3) Go!Zilla “Grabbing A Crocodile”

5) Eliza Jaye “The Seed”

7) Emily Kopp“Serendipity Find Me”

9) The Underground Youth “The Perfect Enemy”

2) Capitals “A National Service For God”

4) The Box Tiger “Set Fire”

6) Lindi Ortega “Tin Star”

8)The Temperance Movement “The Temperance Movement”

10) Little Scout “You Are Life”

U&I MUSIC MAGAZINE BEST OF 2013

INTERNATIONAL EPs

2) Madness And The Film “Scrapbook”

4) Wildflowers “Wild Among The Flowers”

6) Cara Pearce “Blush”

8) Southern Sunrise “Brighton”

10) The Franklys “The Franklys”

- 26 -

1) The Beaches“The Beaches”

3) White Summer “What I’ve Been Waiting For”

5) Puppet Rebellion “Chemical Friendsf”

7) Land Of The Giants “No Pressure”

9) The Deltahorse “The Deltahorse”

U&I MUSIC MAGAZINE BEST OF 2013

1) Baby Strange“Friend”

3) Saint Yorda “Disco”

5) Steel Empires “Seduction”

7) The Death Of Pop“Sun In My Eyes”

9) The Shadow Theatre “Ghosts”

2) Ed Zealous “Medicines”

4) Sisteray “Take It Away”

6) The Balcony Stars “She’s Going Down”

8)The Open Feel “Pushing Back”

10) The Thespians“Adored”

- 27 -

SINGLES

U&I MUSIC MAGAZINE BEST OF 2013

VIDEOS

2) The Capsules “Time Will Only Tell”

4) The Carnival Brothers “The Sun Is Gonna Shine”

6) Ummagma “Rotation”

8) Turnpike Glow “Her Flaming Lips”

10) Riot Tapes “The Key”

- 28 -

1) Mad Robot“Astronaut”

3) The Hot Sprockets “Soul Brother”

5) Alice And The Glass Lake “Higher”

7) Idealipsticks “Very Very”

9) Big Scary “Twin Rivers”

The U & I 4x4 is the editor’s pick of four videos selected from our various music networks.These recommendations are then featured as a dedicated playlist on our official YouTube channel.

The January 2014 4x4 consists of the following artists:(with the respective music network indicated in brackets)

Shugo Tokamuru "Katachi"(Japan)

Swords "Buildings"(Dublin)

The Slow Reader’s Club "Feet On Fire" (Manchester)

Ramson Badbonez "Desperation" (London)

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Being involved with U&I Music Magazine represents an opportunity to have a valued input in what you are working on. It is also an excellent working environment that would give anyone interested excellent experience as well as a reference.

These positions are on an intern basis but could lead to a position of further responsibility. Interested parties can e-mail: contributors@uandimusicagency.com

Experience preferred but not essential

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- Ummagma

- Silent Noise Parade

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- Album Reviews

- EP Reviews

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- February 4x4

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Editor-In-Chief:Phillip Ó’ Baoighealláin

Deputy Editor:Greg Clifford

Reviews:Wynona GrantJamie KellyCaitríona McKenna

U&I Gigs Photographers:Eric CooperMark O’ ConnorDom Marceleno

Manchester Music Scene:David Beech