A review of the album 'Understanding Electricity' by Official Secrets Act Review Snapshot: Reasonable debut from the London art-rockers - with synth-stylings of the New Romantic era allied...

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Our regular readers will be familiar with Underground Railroad (below right), the London-based Paris trio whose fine US-style alt-rock earned them a place in our Best French Music of 2008 list. (Fight Like Apes fans may also have heard of them, the Irish band having toured the UK with them earlier this year.)

Well, Underground Railroad have just released a new E.P., 'Pick The Ghost', to follow up on the favourable reaction to last year's 'Sticks And Stones' album. It continues the good work of their previous record and is well worth a listen. That is, once you get past the slightly irritating but mercifully brief opener, 'Breakfast' and onto the four other tracks of top-quality Sonic Youth/JMC-esque indieness.

Those four songs ('Homeless Town', 'Lots Of Cars', 'Monday Morning' and the title track) confirm a theory we have about this band: they're much better when resident blokes Raphael Mura and J.B. Ganivet leave the singing to guitarist Marion Andrau. At the risk of generalisation, female singers tend to use their vocal range more than males, who are often more conservative in their singing. Like on their smashing 2008 single '25', Marion's warm, melodic voice plays off the dark sonic squall behind her, to great effect.

In New York during April 2009, Underground Railroad will be playing with Cold War Kids in the U.K., Netherlands and France in May. No news of any Irish dates for the moment.

You can listen to tracks old and new on Underground Railroad's MySpace page. For want of a new video from them, here's last year's '25' - great song, terrible video:

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We told you a while back about the imminent closure of La Flèche d’Or, the much-loved alternative music venue in Paris. Served with legal injunctions by neighbours due to excessive noise, and faced with renovation works it couldn’t afford, the venue was due to close definitively tonight (30 April), the expiry date of the present lease on the site, a disused train station.

Well, La Flèche d’Or is still closing tonight… but it’ll re-open in August. French daily newspaper Liberation  reports that two established Paris live music promoters will take over the lease, spend the summer months carrying out the expensive and extensive works needed to placate the neighbours – and relaunch the Flèche in four months’ time.

The two promoters, Alias Production and Asterios Spectacles (in French ‘spectacles’ are live events, not eyewear) run two other successful Paris venues, La Maroquinerie and La Bataclan, and their new challenge is to make the Flèche reasonably profitable. Until last September the Flèche was free to enter and served up three or four live acts and a late night club. Even with the recent introduction of a compulsory €6 drink purchase, it was still a good deal for punters. Now, though, the new owners intend to supplement the €6 standard charge with occasional concerts by established names where entry will be €15, in line with the usual ticket price at the Maroquinerie.

Meanwhile, the Flèche d’Or’s current staff of 40 are still uncertain about their future.

The Flèche had a similar closing/re-opening drama in 2005, and bounced back with an increased reputation as Paris’s top indie-rock venue. This time, though, will the new Flèche still have the same atmosphere and spirit as the old one? Considering the gentrification of the surrounding area, not to mention the introduction of more frequent full-price shows, it looks unlikely. Still, as long as the current workers can keep their jobs and the new venue puts on decent live music, we won’t complain.

See you up at the Flèche in August, then.

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Is there less oestrogen then testosterone 'round these parts? Well, according to the Facebook stats for those who are fans of this site, more men than women dig CLUAS...

Since the CLUAS Facebook page was launched last week 104 people have so far become fans of the site, but only 42% of them are ladies and 58% are men. So much for the site's 21st century, progressive equal opportunities policy.

Maybe a dash of pink is required in the CLUAS logo? Or a super-smart javascript that, er, changes the site layout to nice pastel shades if it suspects the visitor is a member of fairer sex? 

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A review of the album 'Swoon' by Silversun Pickups Review Snapshot: Competent but slightly dull sophomore release from the California-based four-piece. Following on from the success of &ls...

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Oliver Cole, Alphastates & Others (live in Radio City, Dublin)

Review Snapshot: There's something different about Oliver Cole these days, and not just the use of his full forename.  A happier Cole headlined a Revolver night with a multiude of new songs and was ably supported by a number of old and new faces. 

The Cluas Verdict? 8.5 out of 10

Full Review:
This was a strange gig for me.  I'm normally the bloke that stands towards the back, arms crossed, doing my best to look non-plussed about the whole thing.  Not tonight, as I'm forced up the front by over anxious friends, one of whom is a work colleague of one of the acts (consider that my declaration of interest).  It did have it's benefits though, as you can see in Key Notes Set List Special.

Opening tonight was Gillian Verrachia.  She easily overcame an inauspicious start (the stool she was supposed to sit on was set way too high for someone of her height) to produce a set full of, if not exactly groundbreaking, melodic and catchy alt-folk songs.  She did, as did every act, have to face the challenge of being heard over a very noisy crowd, but is in possesion of a voice so powerful that it betrayed her diminutive frame.  It would be interesting to hear Verrachia with the backing of a full band but it was an enjoyable start to night nonetheless.

Unfortunately, the same cannot be said for Square Revolution.  Perhaps I'm looking for too much, but I like my songs to have some sort of structure or, at the very least, a hint of melody.  This Radiohead lite schtick does nothing for me and when a band has to resort to a t-shirt (albeit a very cool t-shirt) to get its biggest applause of the evening, you know you're in trouble.

Thankfully, things picked up quite quickly when The Gandhis took the stage and launched straight into an ode to Mr. Data (yes, him from Star Trek).  I hadn't seen this band before but their blend of rock funk (and I mean funk in the positive, Howard Moon, sense of the word) is so insanely catchy that I found myself singing along to songs I didn't really know the lyrics of.  I wasn't alone either as most of the audience seemed enraptured by this bands definite charms (think The Strokes merging with The Blizzards....but in a good way). Highlights of the set were new single Guy Like Me and Zaza.

Alphastates, complete with a visibly pregnant Catherine Dowling, were next on stage.  Now, I'm a big fan of Alphastates debut, Made from Sand, but, it's been so long since I've seen the band live, I was worried they might not be able to blend their old songs with their new sound.  I needn't have worried.  Opening with Top of the World and Indian Sky the band then moved seamlessly into a new track, You Talked.  As always, Alphastates are defined tonight by Dowling's distinctive vocals and the wall of sound created by the rest of the band.  It is an impressive aural experience and one that manages to drown out the inane chatter coming from the back of the room.  It might have been my imagination but it's quite possible that even Dowling's unborn child was rocking out.

The final act of the night is Oliver Cole, complete with full band.  Cole's in his usual talkative mode but there's something else tonight, something I haven't seen in the Kells native since the halcyon days of TURN; he seems happy to be on stage. That being said, Cole apologises early on for the fact that we might not know a great deal of the songs he will be playing tonight.  While that turns out to be true it is clear that Cole's long running muses of time (particularly an apparent loathing of wasting it) and love will dominate his forthcoming debut solo LP. 

The last time I saw Cole, it was just him and his guitar, but tonight he has a full band in tow and the songs benefit from it, particularly the gorgeous Moth's Wing.  The biggest cheer of the night comes when Cole and band launch into In Position and, for just a fleeting moment, the collective consciousness of the crowd recalls just how good a band TURN were and what a shame it is that they are no more.  However, in Oliver Cole's new project, we have a more mature, reflective offering and, based on tonight's evidence, that's far from a consolation prize.

Steve O'Rourke

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As mentioned in his review of Oliver Cole in Radio City on Saturday night, Key Notes found himself in the unusual, not to mention uncomfortable, position of being right in front of the stage.  The only benefit of this was that, at the end of the night, he was able to get his hands on 3 of the bands set list's.

These 3 set documents show that there are many different ways to write a set list, and some are, eh, more interesting than others.  First up, we have The Ghandis set this.  This is your typical 'back of a fag packet' set list and show's that a band can change their mind a number of times before deciding on their songs: 

Next we have the Alphastates set list.  This is handwritten on a sheet of A4 paper and seems perfectly normal until we get to the last song Milky Tits (which was actually an excellent rendition of Angel Kiss, dedicated to lead singer Catherine Dowling's unborn child): 

Finally, we come to Mr. Oliver Cole's list.  It was only because Cole mentioned during his set that he had given all their songs joke names that Key Notes even bothered to pick up any of the set lists.  This blog is not sure if there needs to be some sort of parental advisory with this particular entry but, here we go, Oliver Cole's 'sex list': 

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Ellen Allien (live in The Twisted Pepper, Dublin)

Review Snapshot: Reductionist beats. Minimum melody. This is minimal techno. And this, is dull.   

The Cluas Verdict? 5.5 out of 10

Full Review:
'You Are Here,' the barman's T-shirt helpfully offered. 'Here' was the Twisted Pepper, but with its faux fur lampshades, dicks drawn on tables and scabby carpets, 'Here' felt very much like a surreal 'There.'

'Why do I feel like I'm in the middle of a 90s Tarantino movie?' my gig partner quizzically spoke aloud. And I wondered the same thing. There was a tall man in an Indiana Jones hat walking around and a hyperactive guy in a pink top and a Pogo sign was stuck up with cable ties and a couple of couples sat, waiting.

The odd smells didn't offer any more coherence: The bar smelt of chocolate and cinnamon candles, the toilet's odour resembled boiled spuds and, eventually, the venue filled up with the scent of sweat.

Ellen, Ellen, Ellen. Are You Here? Ellen's set began late in the evening – at 12.30 she took to the stage with reductionist beats and a heavy bassline. This, I thought, will build up. This, I thought, will get better. Being used to the ambient electronica tones of Ellen's work with fellow German DJ Apparat, her minimal techno set surprised me. But then, I should have known better, seeing as her website bio explicitly states that 'techno and I have developed together.'

And it seems that techno has regressed in its development: Ellen's solo work did not get better for me. Her stripped down beats attracted a huge crowd though, all of who were clearly there to dance to the German techno DJ's sounds. People were sweating, dancing on the benches at the side, getting into it.

The splurgey audio samples and constellation visuals evoked an otherworldly Big Brother feel, where only minimum expression in art would be tolerated. Was I missing something? The crowd's participation, enjoyment and bopping made me feel I may not have understood the music. The climaxes were absent, the crescendos, the thuds and blips; instead one constant beat thundered and hammered its way into the next tune without letting up. But still, Ellen gave her all to the set and the crowd gave its all to Ellen.

Perhaps I should have listened to Allien's solo work before attending the gig. Perhaps I should have been on what the crowd was. Or perhaps minimal techno is a brand for the melodically inept, those satisfied with anti-climaxes. Could this be the apathetic monotonous hum that reflects postmodern life? Or is it just lazy music-making?

The evening left me baffled, tired and dry-mouthed. But the crowd's eagerness seemed to tell a different story. Any further insights?

Niamh Madden

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Funeral Suits, Angel Pier & Others (live in Andrew’s Lane Theatre)

Review Snapshot: From post-punk posse to girl in a fur hat on synths, this IMRO gig proved that Dublin’s musicians are coming out with as much variety as a pick ‘n’ mix bag. 

The Cluas Verdict? 7 out of 10

Full Review:
Feedback and static. This was the splice of Funeral Suits that hit me when walking into Andrew’s Lane Theatre, where a thin crowd quietly sipped drinks at tables. The three-piece band began with a Bloc Party style track, and rolled into other influences with the ease and enthusiasm of youths covering their favourite bands: Stone Roses, Maximo Park, The Cure. With blurred pixilated visuals onscreen behind him, the drummer looked like he was wearing Philip K. Dicks’ scramble suit. The band’s full sound was impressive, but nothing that has not been done before.

When the yellow and pink rays of light streamed onto us, there was a calm after Funeral Suits’ noisy set. This peace continued when Kill Krinkle Klub took to the stage, their intro a dramatic dusky piece of composure under blue lights. The synth and keyboard player wore a furry hat and a geisha mask while she looped vocal samples. The rest of the band knocked out complicated and constantly changing time signatures. Each track was different, unusual and unique: Pirate songs, traditional Irish melodies, delicate music. The lead singer’s voice grated on me at times with its faux-high notes, but otherwise the band showcased a new style that has potential.

Heathers were up next. The crowd began to pack themselves into the front spaces of the venue to listen to the two girls onstage. Consisting simply of their rich and melodious harmonies and an acoustic guitar, Heathers talents lie not just in their tight singing. The girls also write songs that would appeal to a mass audience with catchy choruses and novel hooks (one song is half in English, half in Irish). These girls just need a backing band to capture a large international market. Partly though, I liked the raw acoustics and hoped that a backing band wouldn’t take away from their intimate stage presence.

Finally on the IMRO list was Angel Pier, a Franz Ferdinand style outfit, whose polished sound gave them the feel of a band that has practised a lot to get this far. There are however several rock bands out there already who are producing their brand of music. NME touted them as ‘classic indie pop,’ which may certainly appeal to a young audience. The band will also play the ‘Best of’ gig taking place on 2nd May.

Niamh Madden

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Groom (live, Upstairs in Whelan's, Dublin)

Review Snapshot: Those who were downstairs waiting for Mundy to play one of his two songs, could have done far worse than make their way upstairs to see two examples of how one man and a guitar doesn't have to sound boring or formulaic.

The Cluas Verdict? 8 out of 10

Full Review:
Being a vegetarian means that sometimes, when you want more than just 'Pasta in a non-descript white sauce', you find yourself having to look around for somewhere to eat.  It was because of this that I only arrived in Whelan's half way through Neosupervital's support slot. This was my first time upstairs in Whelan's and it has a very peculiar shape for a venue and appears to be more suited from its previous purpose (as a smoking room) than as a gig venue.  That being said, its design forces people towards the stage and lends an intimacy that many venues lack. 

Tim 'Neosupervital' O'Donovan is leading a one man crusade to to bring synth pop to the masses.  Now that he's no longer on drumming duties for Bell X1, it appears O'Donovan is concentrating more on his music than his image.  Gone are the sharp suits and Knightrider sunglasses and in comes a sound that relies more on Neosupervital's craft and musicianship than drum machines and computers.  It's very early to say but, on this performance, one can't help but be very excited about O'Donovan's upcoming sophomore record.

Next on stage was Groom who proved to be more than just Mike Stevens and his whimsical way with words.  Opening with Death of a Songwriter, Stevens and his talented band lead the audience through a set that consists mostly of tracks from their new mini-album, At the Natural History Museum. 

While it was the upbeat tracks such as Mythical Creatures and Worst of Places, Worst of Times (a song about the 80's) that provoked the best reaction from the crowd, it was on At the Natural History Museum and Moving West that Groom proved their worth as accomplished musicians and performers.  Stevens himself seems, at times, a reluctant frontman (think E without the beard) and yet, walked amongst the audience shaking hands with everyone he could during one instrumental section.

Overall, tonight could well prove to be something of a watershed moment in Irish indie music.  While downstairs, Mundy was helping Whelan's celebrate their 20th birthday with his own brand of alt-folk, so loved by Irish music fans for the last 10 years, upstairs two of Ireland's most innovative and exciting acts were showcasing the future of indie music in this country. 

Steve O'Rourke

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