The CLUAS Archive: 1998 - 2011

24

Blogging will be light from me until early September. In meantime here's a few links that caught my eye recently:

  • It turns out that YouTube's Terms & Conditions state that it can license any content uploaded to its servers as it sees fit. CNET have the details. Any independent bands uploading, for example, DIY videos of their music to Youtube should sit up and take note. A similar broo-ha hit the interweb last year for MySpace but a campaign - spearheaded by Billy Bragg - got them to dilute down their terms. Will YouTube, like MySpace before them, soon do the decent thing?
  • Major US ISP throttle Bit Torrent: if such policies become more widespread among ISPs could it reduce the usefullness and efficiencies of the Bit Torrent protocol? Maybe the time if ripe for the long awaited version of BitTorrent that that is capable of using a secure protocol...
  • Is interest in hip hop collapsing? So asks Time magazine. Sales are down, big time. And not just because of this interweb thing putting downward pressure on CD sales...

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23

When writing about Limerick it’s all too easy to make cheap jokes at the expense of some of the counties, shall we say, less attractive elements. Now, Key Notes is not the kind of blog that likes to stick the knife in so it won’t. Instead it’ll have a stab at discussing Limerick’s role in the Irish music scene (okay, it's stops now, promise).

Limerick, home to Ireland’s fourth largest city, is at the very centre of the countries south western tourist region with the Shannon Estuary and Shannon airport playing important roles in attracting visitors to the region (though not from Heathrow). Musically, Limerick has provided the rest of the country an eclectic mix of talented and influential musicians and composers; Dolores O’Riordan, Bill Whelan, Richard D. James and Johnny Fean to name but a few.

While Dolores is still plugging away, her ex-Cranberries band mate Noel Hogan is working with Vesta Varro on a follow up to their debut album Exit Here. Despite being named on NME’s Hotlist for 2007, Vesta Varro are actually quite good. Wearing the influence of Matt Bellamy & Co.’s penchant for spine shatteringly explosive rock proudly on their collective sleeves, Vesta Varro are a band with masses of potential and in lead singer Damien Drea have a vocalist with the ability to make you forget what you were supposed to be doing, as happened me the first time I heard Coming Back.

 

On a totally different planet, never mind note, are Giveamanakick. The only way to truly experience what this band has to offer is in a live setting. I can still remember my first Giveamanakick gig, how could you forget seeing someone shouting into a gas mask! However, both Is it Ok to be loud, Jesus? and We are the way forward disappointed. This blog hopes that, having spent the past three years honing their skills with support slots to the likes of Deftones, Dinosaur Jr. and The Presidents of the United States of America, Giveamanakick’s third studio offering can finally live up to the verve and vivacity of their live shows. 

One of the great things about writing this blog is discovering something new and not being ashamed to admit to not hearing it before. This is the case with Headgear, a Limerick band (though not by birth) discovered by chance while this blog was conducting "research" in an establishment that may or may not have been a public house. However Key Notes heard about Headgear it's glad it did. Flight Cases, the sophomore release from the band contains my new favourite song, Harry Truman. An amalgamation of sounds that the band itself describes as ‘mongrel music’ there’s something about this band that suggests they have a lot to offer the Irish music scene and beyond. Below is the video for Singin' in the drain

As this blog continues its quest to find the best bands from outside Dublin it would appreciate your help. Who has this blog missed in Limerick? Also, this blog’s next stop will be Meath; any suggestions of bands to be featured can be mailed to keynotes@cluas.com

 


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23

The Killers (live at the Sziget Festival, Budapest)

The KillersReview Snapshot:
The Killers close Budapest's 15th Sziget festival with a Sam's Town-heavy set and a Joy Division cover.

The CLUAS Verdict? 7.5 out of 10

Full review:
If there’s such a thing as being too good, The Killers are it. Called into action early on the last night of Sziget 2007 after Chris Cornell failed to show, the band never put a foot wrong in a 90 minute set. Brandon Flowers, in a Victorian looking black-white outfit that looked right he’d been out shopping, went right into 'Sam’s Town'.

It didn’t help dapper Flowers and co that the only other English-language act to measure up to the whole evening on the main stage – after Cornell pulled out - was Juliette Lewis and her Licks, and that’s setting a low bar. Hanoi Rocks down on the HammerWorld stage deserved a slot more than Lewis and co, inexplicably still securing main stages on Europe’s festival circuit with their been-done dive bar rock.

On a stage done up in fairy lights and a steer skull over the keyboards, the boys from Las Vegas haven’t a bad song in their back catalogue. Each Killers song sounded as good as it did on the album. But you’re waiting for some kind of unpredictability, some thing that says they’re humans, not gods.
 
The Killers don’t need hand-me downs but the nearest thing we got to something off-the-perfect-path all evening was a Joy Division  cover, 'Shadow Play'. “Unfortunately this isn’t one of our songs,” said lead singer Flowers before he went into a synthesizer-heavy rendering of this Cohen jewel. The fan beneath a Russian flag behind me screamed for “Meesther Briitside” and he duly got it. The Russian flag was ominously blotted out by a sea of Union Jacks however. Proof perhaps that Brits love this Brit-loving band and even tonight's version of 'Shadow Play' is old news in the UK, having been performed by the Killers at this year's NME awards.

'This River Is Wide' was introduced by Flowers as one of the band favourite songs and delivered like he meant that. The set burned brightest towards the end, on 'Reasons Unknown', before the band came on a third time and briefly for the lovely 'Exitlude'. 90 minutes of perfect rock n roll. But come on Brandon, you’re allowed to make mistakes.

Mark Godfrey


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23

Razorlight (live at the Sziget Festival, Budapest)

RazorlightReview Snapshot:
A full bodied performance by Borrell and company who led the Brit contingent at the US-dominated rock segment of this year's Sziget in Budapest.

The CLUAS Verdict? 8 out of 10

Full review:
British bands and fans are colonizing many of Europe’s best festivals – note Spain’s Benicassim becoming an Alicante of its former colourful, multinational self. Thankfully Sziget has a massive pool of local talent to balance things out, and big US names. But the Rakes and Razorlight were well chosen Brit presence on the main stage on Saturday and Sunday respectively.

A slice of what sounded like Edith Piaf wafted over the dry ice and the band appeared and then segued into the opening chords of 'In the Morning'. Appearing like a hairy, postmodern angel in a kitschy Darkness-like white leopard suit with a split front, Borrell had the goods and delivered them with some panache. A full bodied In the Morning had the plentiful supply of beautiful women dancing in their designer wellies. Wellington boots in pink and flower patterns moved as Borrell sang “all they know is how to put you down” on 'Golden Touch'. None of these ladies in wellies are used to being put down, we hope.

Shirt off, guitar on for 'Tonight in LA', Borrell closed an hour-long show with Miracle to make way for Sinead O'Connor. The sun was still shining but Razorlight packed up with Vice, confirmation of the band’s worth to a headline slot. Seeking to ingratiate himself with the audience perhaps, Borrell dedicated the song to his "favorite filmmaker," the recently deceased László Kovács, a hometown hero here.

Budget concerns at Sziget (the government subsidized the concert till this year) has meant higher ticket prices and more foreigners at Sziget 2007. The local fear is that the bill will be designed so that wealthier western European fans travel. There’s already a sizeable roster of French acts to satisfy an ever larger contingent traveling from France. If they must attract foreign talent we hope the organisers at least choose some as good as Razorlight.

Mark Godfrey


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23

A Chinese pop star’s ambition to be the world’s first musician to sell one billion downloads is the reason behind an unlikely collaboration between a pop star’s dreams and a nascent Irish dotcom company’s ambition. Dubbed China’s Whitney Houston, Wei Wei is aiming to set a world record by selling more than one billion downloads to mobiles from her http://weiwei.mobi site, designed by a Dublin-based Internet firm, by the end of 2008.
 
Beautiful and well connected (she’s reportedly on first name terms of several of China’s politburo), label-less Wei Wei released her latest album, Wei Wei 20 X 20 Celebration Collection (it marks her 20 years in showbiz), exclusively on her website, designed specially to be mobile-phone friendly.
 
The 34 year old singer decision to shun traditional CDs and download stores like iTunes (the album was later made available at iTunes) for her latest release was helped by her being chosen to sing at the opening ceremonies of next summer’s Olympic Games in Beijing. “This will be one of the world's biggest-ever media events.”
 
“Accessing the internet from mobile phones is the future of the internet and allows me to reach my older fans as well as the younger generation who use mobile phones much more than PCs for accessing the Internet,” said Wei Wei in an email.
 
Designed by Dublin-based dotcom firm dotMobi, the .mobi domain makes websites more suited to mobile phone using music fans, says Vance Hedderel, director of communications at mTLD Top Level Domain Limited, dotMobi’s parent company. “Sites built using the .mobi domain can be accessed from most internet-enabled mobile phone, no matter which operator the user is subscribed to.”
 
“That means an artist like Wei Wei can ensure her material is available to the widest possible global audience without restrictions. End users don't have to be tied to an operator's portal to get the music they want -- assuming that the music they want is available on an operator's portal -- and they can be sure that the money is going directly to the artist, who can use those profits to make more material available.”
 
Press material surrounding the Wei Wei release described Wei Wei as “China's biggest music star” will surely be refuted by more recent arrivistes like Liu Yifei, winner of last year’s hugely popular Supergirl reality TV pop show. She's no longer top of China's pop scene yet Wei Wei’s prices are premium: songs like the Red Flower and Welcome to Beijing cost US$4 per download. Mobile phone ring tones adapted from tunes like See You 2008 cost US$3. Songs on itunes typically cost US$0.99 to download.
 
“Yes, they’re expensive,” conceded Wei Wei manager Bjorn Bertoft. “But Wei Wei is a hugely popular star.” Shooting to public prominence after winning the Young Singers contest on national TV in 1986, Wei Wei has been China’s favourite face at large sporting events, singing at the opening of 1991 Asia Games in Beijing and performing a duet with famously randy Spanish pop star Julio Iglesias in at the East Asia Games in Shanghai two years later. In her 20-year career, Hohot-born Wei Wei has sold more than 200 million tapes and CDs and has recorded hundreds of songs, both in English and Mandarin.
 
Famous for her interpretations of Chinese songs like Telling to the Spring and Sparkling Sky (she also covered Andrew Lloyd Webber’s Love Changes Everything), Wei Wei has ambitions beyond China, a market with its own copyright and piracy pitfalls for musicians. The woman who claims Swedish group ABBA was her inspiration to learn English, moved to Stockholm in 1999  to begin an assault on the English language market. The move was described by the artist at the time as a way “to capitalise on the growing global influence of Chinese popular culture.”
 
Wei Wei flies to Beijing at least once a month for concert and TV appearances - she also sang at the start of the Beijing marathon and the closing of the Nanjing Crawfish festival last year - but records in Sweden. Her 20X20 album was polished by fabled production team Johan Åberg and Robban Habolin, writers/producers for Cher and Christina Aguilera. The Inner Mongolia native spent an hour signing autographs at the dotMobi booth during the international telecommunications conference, 3GSM World Congress, in Barcelona in February. Based in Stockholm since 1999 with four sons from her estranged marriage to a Swedish-American husband,
 
Selling direct-to-consumer downloads rather than CDs helps curb music piracy, says Wei Wei. “This is a major problem in my home country… This is an important shift in music history. In China, the market for CDs was over a long time ago. I am going to concentrate solely on digital technology,” says Wei Wei.
 
Her other claim is even more intriguing. “It's also an environmentally friendly way of distributing my music.” So no more plastic CDs then? Certainly, the global music industry has been struggling to adjust itself to a post-CD world. Large music companies at first tried to suppress online music sharing sites like Napster before eventually selling content on licensed on line traders like iTunes and Realplayer.
 
dotMobi is the informal name for mTLD Top Level Domain, Ltd, a joint venture company based in Dublin, Ireland with offices in Washington, DC and Beijing. Sites and Internet services operating around .mobi are optimized for use by mobile devices. The company is hoping that it can create critical mass by tapping into China’s 400-million strong mobile user base, the largest in the world. The standard has the backing of leading mobile operators and network equipment makers as well as Internet content providers, including Ericsson, Microsoft, Nokia and Samsung.
 
Working with Wei Wei opens doors in China, one of dotMobi's five largest markets. In the early part of 2008 the company’s Beijing office plans to unveil content directory to make it easy to find mobile content that works on mobile phones, and a device database to make developing mobile applications easier and less expensive.
 
Other musicians are following Wei Wei’s lead. Independent artists Tila Tequila and Jennie Walker have recently also built .mobi sites. “Having weiwei.mobi has been a very good demonstration of what is possible,” says Hedderel.
 
Wei Wei and FC Barcelona soccer heroes Messi, Deco, Márquez and Puyol give a gentlemen's salute to female soccer players with "Go-Girl-Go (Fly With Me)", a theme song and a music video for the Women’s World Cup which China’s hosts in September. “Wei Wei is a national icon in China, familiar to more than a billion people,” claimed an early dotMobi press release. Hardly. But familiar to enough of people to carry the company into the Chinese market.

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23

Fanfare Ciocarlia (live at the Sziget Festival, Budapest)

Fanfare CiocarliaReview Snapshot:
Romania-based brass specialists Fanfare Ciocarlia invited some of Europe's best gypsy performers to join them in making make deleriously danceable music for a giant crowd at the Sziget main world music stage. 

The CLUAS Verdict? 8 out of 10

Full review:
Few festivals have the kind of luck that Sziget has, to be in the midst of such genius. From Romania, Fanfare Ciocarlia continues a tradition going back to the Ottoman Empire when gypsy bands picked up gigs and instruments from Ottoman armies retreating from Europe.

Tonight Fanfare Ciocarlia's show opens with a trio of Flamenco-looking gypsy guitarists in cool, neat-fitting black sit in chairs by the front of the stage and cut their guitars into a flamenco tune, the lyrics in Catalan.

It all looked far too clean and polished for Fanfare Ciocalia, known for their lack of self consciouness and pretension. And then the pot bellied men appeared, through the dry ice and onto the back of the stage. Their shirts are unmatching shirts, tubas and horns resting on big guts.

The cocky trumpeter who speaks for the group all evening takes the front of the stage and the “Spaniards” – French-based gypsies Kaloome, we learn - depart. Fanfare Ciocarlia's first tune opens with a trademark shrill horns and a trumpet shuffle before the tubas kick in.

A couple of tunes later the band shifted tempo to fit popped up versions of Balkan gypsy tunes by singer Esma Redzepova from Macedonia, who alternated stage and tempo with Bulgarian traditionalist Jony Iliev and modernist Florentina Sandu from Romania.

The singers all appear on Fanfare Ciocarlia's latest album, Queens & Kings, which took this year's BBC World Music award for its remeshing of Balkan gypsy brass with the flamenco guitars and the speedy violins of other tribes. Hemmed in for decades by the Iron Curtain, Roma musicians are connecting again with cousins in other European lands with whom they previously shared tunes and influences.

From Zeve Prajeni, a tiny ethnic Moldovan hamlet in Romania, Fanfare Ciocalia were spotted and signed by Berlin based Asphalt Tango label in 1998 and haven’t stopped picking up awards and compliments since. Fanfare Ciocarlia's brass specialisms (rather than the strings of their contemporaries Taraf de Haidouks which played the Galway Arts Festival this year).

With the dry ice and the smartly choreographed introductions of various gypsy traditions the stage version of Queens & Kings shows the band have obviously learned plenty of stage tricks on their frequent global tour - which pulls into the Festival of World Cultures in Dun Laoghaire on August 25.

The Irish date suggests there's two kinds of Roma gypsies. Fanfare Ciocarlia's fellow Romanian Roma were earlier this summer kicked off the Ballymun roundabout in Dublin and repatriated. Despised in many parts of Europe for their lifestyle, the Roma have nonetheless produced music and musicians prized by the rest of the world. At Sziget bronzed, blonde young festival goers dance with abandon to Fanfare Ciocarlia and in the nearby Roma music tent, generously arranged by world music label Putumayo. In music alone, it seems, Roma is cool.

Mark Godfrey

Check out CLUAS.com's review of Fanfare Ciocarlia's album 'Iag Bari'.


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23

Duke Special live in Portlaoise, Ireland

Duke SpecialReview Snapshot:
The Duke returns to the town of a previous nightmare gig, but this time wins the audience over, not once, but twice, with successive concerts within hours of each other, and proves that he's the perfect gentleman, both on and off stage.

The CLUAS Verdict? 8 out of 10

Full review:
My six-year old daughter is one of Duke's youngest fans, so we brought her to see him live, and not only did she witness a great performance, she got to meet him, got the autograph and photo, and the T-Shirt literally.

As part of The World Fleadh, Duke Special was back in Portlaoise to perform twice in one night, beginning with an intimate gig at the Dunamaise Theatre. He opened the show with 'Some Things Make Your Soul Free' and 'Closer To The Start' before telling the crowd how happy he was to be here as part of the World Fleadh.

After the uptempo 'Brixton Leaves', some of the crowd wanted to know where the missing members were. According to Duke "one of them was washing his hair, his chest hair. I've said too much already, but I will introduce those who are here if that's okay" he joked, before mentioning Rea Curren on vocals and accordion, and Chip Bailey on percussions.

The show continued with 'Everybody Wants A Little Something', then a song about a failed Bank robbery ('Don't Breath') and 'The Ballad of A Broken Man'. A cover-version that he's currently recording 'Catfish' was next, and it went down very well as he duetted with Rae while explaining that it's from a musical that was never finished. "I'd love to bring this out on wobbly vinyl" he added.

During 'I Let You Down' Chip went berserk on the drums, running up the stairs of the Theatre between drumbeats, which had the audience hysterical. He then treated us to his new single 'Our Love Goes Deeper Than That'. It was so new in fact that Rae needed the lyrics written down for him.

'You Don't Slow Me Down' was introduced as a song he imagined in a film featuring two French lovers. He goes on to recall a previous gig in this town supporting either Bell X1 or Juliet Turner explaining he has a tough time of winning the crowd over. "Now it's great to play Portlaoise" he emphasised.

Next up were 'Salvation Tambourine' and the brilliant 'Freewheel' before finishing with a couple of songs including 'Lastight I Nearly Died' which got the audience singing along to, for perhaps the only time of the evening.

The encore consisted of 'Drink To Me Only' and finishing up with 'The Slip of a Girl', a song he says is synonymous with Portlaoise. During this his Scottish sound guy added some reverb to Duke's vocals, provoking him so say, "What the hell was that".

There's no denying this was a relaxed, but yet, polished performance. I'm just privileged we got to witness it in such an intimate surrounding, because the bigger venues are just around the corner for this special talent.

Mick Lynch


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23

Sinead O'Connor live at the Sziget festival (Budapest)

Sinead OReview Snapshot:
Solid renditions of her staple songs, but the wrong venue for Sinead O'Connor, who played after a jubilant Razorlight to a crowd more up for rock n 'roll than an artist

The CLUAS Verdict? 5 out of 10

Full review:
Sziget’s sound system, cranky earlier in the festival, wasn't helped by a strong breeze that seemed to carry patches of opening song Emperor's New Clothes to the nether regions of the venue. Sound quality aside, it was obvious from the start however that a large section of the crowd was undecided between O'Connor or burgers.

Sinead O’Connor’s inclusion on the Sziget 2007 bill seemed ill judged, particularly since she was put on the main stage after Razorlight and before Faithless, neither of whom share fanbases with her. It didn’t help that she kept us waiting about half an hour over the announced start time.

O'Connor engaged the waverers by playing 'This Is to Mother You' early, getting lots of help from a talented touring band and in particular her two female backing singers.

Hair shaved back down like the old days but looking a bit dowdier now, she wore the jeans and t-shirt of her younger days but kept on stage banter to a polite minimum.

'Thief of Your Heart' steadied the ship just as this risked becoming the freak show of the evening. The girl who tore up the picture of the pope, explained older audience members. “She used to be a priest.” O’Connor's past is the kind of confrontation with authority that goes down well in Hungary, still reasserting itself after years under the Soviet yoke.

The whole stage place was won over briefly for 'Nothing Compares to You'. There were lots of instrumental tangents and vocal shadings which  were at times lost to the sound system and the carnival size of the venue.

The pain of the performance was obvious though in O’Connor’s facial expressions during 'Thank You For Healing Me', jerking her head back from the mike with a distracting regularity that had audience members worrying loudly.

Kept till last, 'This Is the Last Day of Our Acquaintance' reminded everyone what Sinead O’Connor is, a great artist. But the main stage of a muddy, sprawling, beer-and-burgers rock festival wasn’t the right place to showcase such a talent.

Mark Godfrey


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22
It’s strange for us non-natives to find that the Communist party in France is not only active but thriving, with several French towns run by Communist mayors – including Gennevilliers, the Paris satellite town next to ours where the BBC usually go when they want to depict France’s immigrant community and urban tension. We have an image of Communism inextricably linked to totalitarian repression and walls tumbling in 1989 – or else with improbably-romanticised iconography; Dubliners who eat at Mao and drink at Pravda would be outraged at the thought of a restaurant called Adolf or a club called Mein Kampf.
 
But in France the Nazi occupation is still (just about) within living memory; many streets around where your blogger lives are called after fallen Resistance fighters with names like Gabriel Péri, Guy Môquet and Pierre Brossolette, and the Communists stood up and fought against the occupying forces, at least in the public perception.
 
And the original communes were in Revolution-era Paris (manned and womanned by the communards who inspired both Karl Marx and Jimmy Sommerville) and the word still denotes an area of urban government in France. That’s part of the heritage of today’s French Communists, and the far-left bloc still reaps 5-10% of the national vote – more than the French Greens but less than the far-right.
 
Anyway, the French Communist party and extreme-left community have a daily newspaper called L’Humanité, and each September the paper organises a large outdoor music and arts festival in the Paris area. Fête de l’Humanité is traditionally the last big bash of the Paris summer season.
 
This year’s Fête de l’Huma, as it’s commonly called, takes place over the weekend of 14-16 September at La Corneuve (just north of Paris, between the Stade de France and Charles de Gaulle Airport), and features a mix of French and international stars. Top of the visiting delegation must be Iggy and the Stooges on the Saturday, with Razorlight going on just before them that evening, while Friday features Aussie rockers the John Butler Trio and South African folk singer Johnny Clegg. Of those, only Clegg strikes us as being any way political in even the loosest sense of the word (although that noted trans-Atlantic commentator Johnny Borrell says there’s trouble and panic in America; hope our US friends are okay).
 
Of the home-grown heroes, the stand-out names on the Friday are Clarika and Olivia Ruiz, two female singers who infuse the skiffly sounds of chanson française with a more robust pop swagger. Ruiz, a former TV talent show finalist with a childlike squeaky singing style, is now a big star in France thanks to the success of her most recent album, ‘La Femme Chocolat’. Local indie heroes Luke are on Saturday’s main-stage bill, while Sunday’s headliner is ageing protest-rocker Renaud.
 
There will be other cultural happenings at the festival – including a rugby event to coincide with the World Cup, taking over France in September.
 
As the festival is organised by socialists and intended to be within the means of the modestly-paid proletariat (unlike the Rugby World Cup, sadly for us), weekend tickets cost only €15 and are available online from FNAC. On-site camping costs €7. Caution - due to the World Cup, cheap flights may be hard to come by.
 
More info (in English or French) is available on the festival’s website. Here’s headliner Olivia Ruiz in the video for her charming single ‘La Femme Chocolat’:
 

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22
World Fleadh Festival 2007 (Portlaoise)
The Proclaimers, Katie Melua & others live The CLUAS Verdict? 8 out of 10 Full review: A 1:00pm start on Sunday was always going to be tough on he opening act, and Nizlopi drew the shor...

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Nuggets from our archive

1999 - 'The eMusic Market', written by Gordon McConnell it focuses on how the internet could change the music industry. Boy was he on the money, years before any of us had heard of an iPod or of Napster.