Review for http://www.meg.ie/
Monday, February 28, 2011
Friday, February 25, 2011
Tuesday, February 22, 2011
Thursday, February 17, 2011
Concert Review: Mogwai – Olympia, Dublin, 15th February 2011
What better to do on a dark February evening than go see one of Scotland’s finest bands play a packed-out Olympia. Mogwai attract a loyal following, and the venue filled early.
RM Hubbert was the support, and was an unexpected delight with his pleasantly aimless Spanish-inflected instrumental folk, and equally pleasantly aimless rambling stories between songs. His acoustic pyrotechnics were something to behold, his guitar doubling up as percussion instrument, with touches of Rodrigo y Gabriela and Mark Kozelek. Unfortunately his music seemed like it was interrupting the conversations within the crowd.
Mogwai have been going for the best part of 15 years, and by the time they came on stage there was swaying room only. Kicking off with 2 tracks from new album Hardcore Will Never Die… But You Will, the gentle White Noise and Rano Pano, it became clear that this is a band whose stagecraft is at an all-time low. Most of the band bar Stuart Braithwaite remained rigid throughout the show. However what’s also clear is that they are at the top of their game musically.
Friend of the Night was an early highlight, the keyboard motif well accompanied by powerful guitars. Less a gig and more of a religious experience, Mogwai Fear Satan had the crowd in raptures and terror in equal measures, as ominous silence was replaced by deafening noise.
The newer tracks fitted well with old favourites, San Pedro thrilled with its breakneck pace and powerhouse guitars, while How To Be A Werewolf and Helicon 1 provided hallucinatory bliss. You’re Lionel Richie and Batcat upped the ante to almost metal levels, a bit like the musical equivalent of King Kong as the audience feasted on heavy riffs.
Mogwai did well to maintain the intensity levels throughout, and if anything the encore was even louder. Interestingly they were brave enough to finish with one of their least representative songs, the electro-pulsing Mexican Grand Prix.
Powerful, overwhelming stuff. Any doubts I might have had were beaten into submission by the onslaught. Earplugs remained in pocket… just about. The feeling was akin to having had a really good scare at a horror movie. Heart almost in mouth, giddy, and seriously impressed. Killian fears Mogwai?!
Thursday, February 10, 2011
Wednesday, February 9, 2011
Album Review: Bob Mould – Workbook
Never got into Husker Du, but I greatly enjoyed Bob Mould’s Copper Blue album recorded with Sugar, so decided to check out his solo work. His first solo album, released in 1989, is fairly removed from Husker Du or Sugar, with a lot more acoustic-based tracks. That’s not to say Bob Mould is sitting back, there is plenty of intensity throughout this album.
It kicks off with a Durutti Column style instrumental, Sunspots, featuring plenty of intricate guitar work. Wishing Well is an hard rocking acoustic track, full of angst and vitriol. What sets it apart however is great use of cello, and a blistering electric guitar. A ringing, elegiac electric guitar motif opens Heartbreak A Stranger, which goes right through the track, without making it repetitive. It’s like the moodier side of grunge, before grunge went mainstream. It makes some impression, when you listen to this one a few times, you’ll feel like it’s been part of your life for years.
See A Little Light is a deceptively simple sounding melody, reminding me of those Lemonheads anthemic chord progressions that are so satisfying to play. Poison Years on the other hand is a darker, brooding track with lyrical nuggets such as “the more I think, the less I’ve got to say” which builds into some fiery guitar work before the track’s conclusion.
Sinners and their Repentances pleads like nothing else this side of Mark Eitzel. Later in the album, Lonely Afternoon is a very palatable acoustic rocker and Dreaming, I Am showcases pure passion from Bob Mould over almost Johnny Marr-like guitars. He totally loses it in Whichever Way The Wind Blows, screaming blue murder over a monumental wall of powerful, distorted guitars.
Wish I’d come across this one years ago as these songs sound absolutely timeless. I’m officially claiming this as a great lost classic.
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