A review of the debut album by The Gorgeous Colours

Review Snapshot: The debut from the Dublin-based four-piece is a solid, likeable indie-rock artifact. There’s nothing that’ll frighten the horses and it’ll sound satisfactory from a summer stage.

The Cluas Verdict? 6.5 out of 10

Full Review:
Many Irish indie fans first came across The Gorgeous Colours as the support act at shows by The Immediate, now-defunct next-big-things of season 2006-07. The two Dublin bands shared an alt-rock sound that will be classic for some, unoriginal for others. One can imagine how inconsolable Immediate fans, clutching their tear-stained ‘In Towers And Clouds’, will find much solace in The Gorgeous Colours’ debut.

In general, this record is a throwback to two familiar indie strands. You have the jaunty jangling of ‘Holey Moley’ and weak opening track ‘Means To An End’, where the band don’t quite pull off the breezy, cheeky-chappy attitude they seem to be aiming for.

By contrast, there’s a serious, emotive alt-rock side that’s emphasized by the mid-Atlantic twang to Geoffrey McArdle’s singing voice. The Gorgeous Colours sound surer of themselves on this ground – which is not to say that they’re always convincing; ‘I Don’t Know What To Do’ may mean well but it comes across as a exercise in writing something poignant (“All I know about hope/It don’t hang from no rope”) in minor chords.

Still, it’s no great leap of the imagination to figure that The Gorgeous Colours could build a strong live following on the back of this material. Neil Smyth’s guitar hooks on the likes of ‘Miss You’ and ‘Hunting Something’ have the ring of what would sound good at a summer festival or outdoor show. And the rhythm section – Tim Groenland on bass and Glenn L’Heveder on drums – is as sound as you’d demand from a decent live band.

However, this album’s recurrent dad-indie-rockness makes it sound a bit jaded in parts. The rolling country-rock of ‘The Rails’, for instance, will please fortysomething punters who reminisce about seeing The Fat Lady Sings in The Baggot Inn back in the day. Like a lot of this record, it’s pleasant and well-made but never catches fire. (This reviewer has the quaint notion that records should have catchy bits you sing in the shower and whistle on the way to work. We found none of that here.)

Ultimately, this is a solid debut but we reckon it may be a better experience live than on record. The Gorgeous Colours: the new Something Happens?

Aidan Curran

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Chequerboard, Alphamono and Fiach live at HWCH

Review Snapshot: The Becks Vier flowed, hairy check-shirted types floated around the side-streets of Temple Bar and the type of music was as varied as a pick'n'mix bag. Though an enjoyable evening, there was something a little disjointed about HWCH 2008.

The Cluas Verdict? 6 out of 10

Full Review:
This year's Hard Working Class Heroes was my first. With no previous experiences to compare it to (the disenchanted "last-year's-Picnic-was-so-much-better" syndrome), my untainted, innocent eyes were ready to be initiated into the world of the Irish up-and-coming. The first act on my list was Alphamono, who played in the cosy wooden attic of 4 Dame Lane. Alphamono's biog reveals that he hails 'from a small mining village on Neptune' and is currently embarking on an intergalactic journey through the universe. If a biog could ever perfectly encapsulate a sound, Alphamono's would be it. 'Laynod' began with a brief piano intro giving way to full wavy kaleidoscopic sounds, industrial space tones and vocoder vocals. Shadowy silhouettes on the curtains behind the stage looked almost alien-like, shrouded by the green lights that bathed the stage. The most well-developed and polished track was 'Arise,' something that sounded like an alternative soundtrack to Twin Peaks.
 
After the unique Alphamono set, I was left puzzled at the choice to put 26-year-old singer-songwriter Fiach onstage next. The one-man-and-his-guitar genre has been so saturated over the years that I found it difficult to give Fiach a chance. Trying to open my mind a little, I listened, but felt nothing – regardless of how passionately he played and the energy he put into singing, it just didn't stir me. It's clear that Fiach's voice has taken on the tones of Paddy Casey, perhaps without him realizing it. The Damien Dempsey brigade is exhausted. Instead of being upset and singing about said depression, I'd recommend a trip to the south of France for any aspiring singer-songwriter.

The highlight of the evening was certainly one man with a guitar, but what he did with it was astounding. Visual artist and guitarist Chequerboard shone under a single light at the corner of an empty stage in Andrew's Lane Theatre. An odd location for such a gig (Dame Lane may have better echoed the atmosphere of the tracks), the audience clearly understood that standing and nodding heads wasn't the way to go. Everyone sat down on the floor at ALT and listened. Though the bar remained noisy, the intricate harmonics, complex loops and almost effortless playing hushed most of us up.

Bringing the tempo back up again at Meeting House Square was Super Extra Bonus Party, superlative by name and by nature. It's great to see bands performing with high energy, sweating it out, throwing themselves down on the floor to really entertain. Super Extra and Fighting With Wire gave the audience loads to work with, but sadly the sound in the square was not up to scratch. Despite a thin crowd, the festival atmosphere was the best in the square– weeing in a dark portaloo, the smell of dodgy kebab-in-a-baguette combos, and tap after tap of Becks Vier. Friday night's line-up was a promising, if disconnected, beginning to the weekend.

Niamh Madden

In addition to Steven O'Rourke's Festival Diary for Day 1, Day 2 and Day 3 of HWCH 2008, check out the following CLUAS reviews of bands who played the festival:

• One Day International, Mackerel the Cat and Others at HWCH (Sunday)So Cow, New Amusement and more at HWCH (night 3) Autamata, Sounds Of System Breakdown and Robotnik live at HWCH Day 3 Foxface, Bats and others at HWCH (Saturday) Frightened Rabbit, The Vinny Club and Bats at HWCH (night 2) Crayonsmith, The Parks and A Lazarus Soul at HWCH Nakatomi Plaza, Half Cousin and Lines Drawing Circles live at HWCH Super Extra Bonus Party, Groom and The Dublin Duck Dispensery live at HWCH
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Nakatomi Plaza, Half Cousin, Lines Drawing Circles (live at HWCH Day 1)

Review Snapshot:

The first night of Hard Working Class Heroes 2008 seemed a little quiet, whether because of the poor timing of the festival the increased price of tickets, or just because of the intermittent rain. Reports so far have been mixed, but this reviewer found Day 1 to be a brilliant night.

The Cluas Verdict? 7 out of 10

Full Review:

Most of the talk surrounding this year’s HWCH event has centred on the change of venues after last year’s concentration around the POD complex. While this brought its fair share of difficulties for the festival, I did not encounter quite so many organisational problems as another Cluas reviewer; in fact, Day 1 proved to be a great night out, where running from venue to venue added to a (probably misplaced) sense of adventure and discovery and where Meeting House Square hosted one of the most entertaining, if not necessarily best, acts of the night.

Running a little late and not wanting to face the epic journey across the river to the Academy, I opted to catch a disappointing Heartbreak Cartel at Andrew’s Lane Theatre. Playing to a mere thirty-odd people, their almost-famed stage antics – replete with in-jokes, wigs and cheap costumes – seemed nothing more than a cover-up for an as-yet underdeveloped live performance. While respect for their attempts to provide that extra entertainment factor must be given, it is obvious that it may be a while yet before their show will really involve their audience, until that germ of an idea will develop into something worth catching. Unfortunately, peel away the showmanship and you’re left with nothing memorable: each song washes past you leaving you with no definite recollections of it, only a sense of something rhythmic and bouncy and vaguely Modest Mouse-ish.

Next to Meeting House Square and Fred: a Cork quintet who had never before played in Dublin and who proved to be the biggest surprise of the night. After a few minutes of slightly awkward chatter with that slightly quirky Cork humour the band launched headlong into a set that rocked and bounced and jerked its way along, with a sound that was so remarkably tight and together it came as a shock. Suffering from few of the sound problems which apparently afflicted other acts at the Square (and having unfortunately to contend with an alarm going off throughout their set) Fred were entertaining, funny, extroverted and talented and are without a doubt a band to watch for the future. If nothing else they prove that the Irish Times occasionally get things wrong: “like Sly & The Family Stone in a swordfight with the Flaming Lips, refereed by Brian Wilson” is in fact almost entirely inaccurate, and any review which fails to mention the influence U2 have had over singer Joseph is an inaccurate one.

Lines Drawing Circles, also in Meeting House Square, proved to be one of the biggest disappointments. Every track appeared to have a similar structure and sound, as if they had one idea and stuck to it, but were unable to develop it properly. But what was most disappointing was that on listening to the tracks of the debut EP release in March this year, Lines Drawing Circles songs are in fact really, really good. Unfortunately their multi-layered sound seems only to suit records and possibly smaller, louder and more intimate venues.

Half Cousin, in Dame Lane, came as another surprise. Part of the Scottish invasion, Kevin Cormack has two albums and a number of EPs/singles to his name: releases which this reviewer has already ordered since seeing his awkward fumbling set. After a long soundcheck, Half Cousin began as if he didn’t want anybody to notice, and looked throughout as if he was frustrated and confused that he was unable to control his drum machine and synth, play guitar and sing at the same time. While most songs appeared to have little or no structure apart from the underlying glitchy homemade beats so that it was sometimes difficult to tell when one track ended and another began, each contained enough ingenuity and originality for an album by a lesser artist. A set in the Sugar Club can only be hoped for.

Last was Nakatomi Plaza at the Button Factory. Anthony, an ex-66e, who together with Le Galaxie (playing the same venue on Day 2) is looking to get over the giant name of that lost band…although this doesn’t stop them mentioning 66e in all their descriptions and press releases. The force behind 66e’s characteristic guitar/electronic sound, Nakatomi Plaza has turned to the heavy beats of house, but with all the dense layerings expected of an ex-66e: this set had the feel of a club, but one where you stand still and try to sift through the ear-bleedingly loud and crowded sounds. Manning a single synth and laptop, and with Predator projected onto the back of the stage behind him, Anthony’s constant smile made Nakatomi Plaza a slightly off-kilter show.

Anna Murray

In addition to Steven O'Rourke's Festival Diary for Day 1, Day 2 and Day 3 of HWCH 2008, check out the following CLUAS reviews of bands who played the festival:

• One Day International, Mackerel the Cat and Others at HWCH (Sunday)So Cow, New Amusement and more at HWCH (night 3) Autamata, Sounds Of System Breakdown and Robotnik live at HWCH Day 3 Foxface, Bats and others at HWCH (Saturday) Frightened Rabbit, The Vinny Club and Bats at HWCH (night 2) Crayonsmith, The Parks and A Lazarus Soul at HWCH Chequerboard, Alphamono and Fiach live at HWCH Super Extra Bonus Party, Groom and The Dublin Duck Dispensery live at HWCH
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As you'll see over the next few days, CLUAS is well represented at this year's Hard Working Class Heroes and our team of writers; Niamh Madden, Anna Murray and Ian Wright, will bring you extensive coverage of Ireland's only music festival dedicated to Irish bands. As such, Key Notes will aim to give you a slightly alternative view of HWCH.

Yesterday evening began with a quick writers meet up to talk football, travelling but more importantly HWCH and who we were going to see. Colour printers and highlighters were well represented and decisions such as going to see Dublin Duck Dispensary or Chequerboard were mulled over. Eventually, we went our separate ways and the hard work of enjoying the music began.

The first thing to note about HWCH 2008 is how surprisingly empty the majority of venues were. In previous years venues such as the Music Centre (Button Factory) have been so packed that a trip to the bar could result in missing an entire set. Last night, however, there seemed to be more bands and gentlemen (and women) of the press than paying punters. Is this recession 2.0 with HWCH's target market (college students and twenty-somethings like most CLUAS readers) baulking at the increased cost of attending the festival?

Musically, Niamh, Anna & Ian will provide you with greater details but, with a couple of exceptions, Key Notes found last night boring. Not bad, just a lot of bands who sounded like a lot of other bands. Chequerboard was excellent, as were Lines Drawing Circles (despite the atrocious weather for their set). However, it was the Fighting With Wire set that left Key Notes most disappointed. The sound in Meeting House Square was so bad that it was very difficult to distinguish one instrument from another and impossible to understand Chair O'Doherty's fearsome lyrics.

All that being said; HWCH is very much about catching up with old friends and making new ones and last night was no exception. Hopefully tonight, featuring performances from the likes of Pilotlight, Ollie Cole, A Lazarus Soul (artists Key Notes is a big fan of) and Fight Like Apes (a band Key Notes is willing to give another chance to after their explosive Oxegen performance), will see more paying punters around Temple Bar. There's also the first of numerous seminars this afternoon, focusing on changes in the record industry and growing your fan base outside of Ireland.

Here's Fighting With Wire as they can sound:

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That Petrol Emotion (live in Spirit Store, Dundalk)

Review Snapshot:  After a fourteen year break, the temporarily reformed That Petrol Emotion, in front of a capacity audience of one hundred and ten, show that they can still suck diesel.

The Cluas Verdict? 8 out of 10

Full Review:
I've been feeling old and I don't really like it. First off, about a month ago, the nice man on Phantom FM played The Smiths' "William It Was Really Nothing" and then, in a cheery voice that lacked even the merest hint of the necessary gravitas, announced that it first saw the light of day twenty four years ago that very week. I nearly crashed the blummin' car into the wife's planters. Twenty four years!? Are you sure it wasn't only yesterday? And Heaven Knows I'm Miserable Now.

Then came the news that, after a fourteen year break, the marvellous That Petrol Emotion were to reform. I remember them first time round too. Those sweaty nights in The New Inn and The Tivoli and The Olympic Ballroom, jumping around like a loon, a selection of my mammy's jumpers tied around my waist, sweating buckets and not a care in the world. Despite the fact that my jumping around like a loon days ended on or about the day that I realised that I could no longer touch my knees, this was one reunion that was not to be missed.

As soon as the band emerge from the Spirit Store's broom cupboard of a dressing room, it's immediately clear that singer Steve Mack has entered into some kind of Faustian pact which promises old Lucifer god knows what, blowjobs and scratchcards probably, if my crumbling body can be persuaded to do all the aging on his behalf. Not for him the middle aged frustrations of finding clothes that look great on the hanger but won't go over your stomach - Mack is as lean as he appears in the images I can just about dredge up from my sepia tinged memory banks. He needs to be, given the ferocity of what follows.

A frequently cited reason for The Petrols' failure to achieve a chart position higher than about a hundred and twelve is that old chestnut – "They were ahead of their time". I never paid much heed to that one back in the day but listening to them now, as the drums shake the room and guitars shred wallpaper and worry the rogue Christmas decorations that still hang from the ceiling in August, I have to concede that there may be something in that. These songs sound as fresh and as vital as they did on the day they were conceived.

And so, with former member and current Undertone John O'Neill looking proudly on, little brother Damien and Co hit the stage running, with a blistering, excoriating version of Chemicrazy's "Blue 2 Black". Ciaran McLaughlin's drums are almost loud enough to signal the start of the one hundred metres Olympic final on the other side of the world, while the guitars square up to one another in a rowdy embrace, like they've been placed in a barrel and pushed off a cliff. Then it's "Gnaw Mark", from the same album, which chugs along on a riffboat of guitars, with an insistent and urgent groove that injects dance potion into the asses of all present.

An early highlight is Manic Pop Thrills' "It's A Good Thing" and indeed it is, while "Big Decision", immediately afterward, has the older and wiser me, who now knows what Health and Safety means, worrying that the bouncing crowd are all going to end up in the laps of the drinkers in the pub downstairs. A few songs later, "Sensitize" reminds me of just how old I am when I turn to my mobile to play it to my wife, whose favourite Petrols' song it is, and discover, with a mixture of amusement and despair, that apart from "Home", the only other entries in my phonebook for that letter are "Health Board" and "Hernia Doc". I nearly give myself another rupture dancing to it. The tiny venue is now a sauna, especially when the closing trio of "Hey Venus", "Abandon" and "Scumsurfin'" have scorched the room, and there are more mile wide smiles than at The Rose of Tralee.

A triumph, then. And you can put in your own references to setting fire to things, flammability and how bright their flame burns here.

Michael O'Hara

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A very special edition of Key Note Speaker sees your blogger in conversation with Brian Carroll, organiser and indeed founder of Hard Working Class Heroes.  The 2008 event takes place this coming weekend (September 12-14) and some tickets are still available from here.

Favourite Albums from the Past Year?
One of my favourite albums from the past year has been Cut Copy's In Ghost Colours (and I actually have the pleasure of tour managing these guys). Dan Whitford’s song writing is so masterful especially on this record, and it translates so well live - I should know i've seen them about 100 times!! Another record from this year I love is MGMT's Oracular Spectacular. I know I will love this record for the rest of my life!

Favourite Albums Ever?
Wow, I’m always stumped when it coomes to these types of questions. I could list 50 records ranging from Iron Maiden to Fleetwood Mac to The Strokes to ELO but if pressed for an answer I would have to say Fleetwood Mac’s Rumours and possibly Alice in Chains’ Dirt album or Unplugged would be very pleasing to listen to for eternity.

Favourite Albums by Hard Working Class Heroes 08 Bands?
It's awesome to be asked that question as when HWCH first started out most of the bands didn't have records or the means to make them! Thankfully times have changed!  My favourite albums would be SEBP, the very eagerly awaited debut from Fight Like Apes along with albums by Crayonsmith, We Are The Physics, The Vinny Club and, obviously, the excellent Sons & Daughters!

Favourite New Bands/Artists?
God there's so much new music available it's hard to find the really great stuff, but since I tour a lot I do get to see so many bands. As I've already said MGMT rock me big time and Cut Copy are new enough for me.  Others i'm loving right now are Vampire Weekend, Japanther Of Montreal (new for me!), but 3 words you will definitely hear in 2009 would be my dear friends "Matt & Kim". You have been told!

Favourite Bands/Artists Ever?
The Strokes/Fleetwood Mac/Alice In Chains/Abba/CCR/The Band/Iron Maiden/The King/Motley Crue/Bon Jovi/Men Without Hats/The Boss/The Fat Man/Van/Queen/The Jam/Thin Lizzy...

Favourite HWCH 08 Bands?
HWCH 2008 is the most interesting line up yet. I'm really happy with how it's turned out and I really think the line up is killer! Bands you should not miss are: Frightened Rabbit, Kill Krinkle Club, Nakatomi Plaza, Pocket Promise, Angel Pier, Little X's For Eyes, More Tiny Giants, The Spook & The 13th Lock, Bats... You see there's so much I just had to mention!! It's all awesome!

Favourite Gig So Far This Year?
Sex Pistols at Electric Picnic. Having been a huge pistols fan when I was younger in the hopes of pissing my parents off, it was great to finally be able to say I've been to a Pistols show but it's just novelty really.

Favourite Gig Ever?
Fats Domino, the National Stadium somewhere in the 80's, I can barely remember it. What a complete living legend. Plus my dad got to meet him after the gig which, to him, was probably more exciting for him than my own birth!

Favourite HWCH Performance Ever?
Well Peaches in 2006 was pretty awesome but over the years HWCH has hosted many bands who don't exist anymore. One of these was The Subtonics (fronted by The Mighty Stef) in the first year (2003). They blew my mind though sadly they had broken up by the following year.

Favourite Venue?
In Ireland, Meeting House Square. Elsewhere, Revolver in Melbourne, Australia is the best sounding room I've ever heard.

Favourite HWCH Venue Ever?
Well MHS (as above) is just so special and The Button Factory is probably the best spec'd venue in terms of production but you just can't beat a packed, sweaty Dorans when it's rockin!

Download/CD/Cassette/Vinyl?
Definitely download as I seem to move a lot, but vinyl is the most beautiful and special.

Most Listened to Radio Show?
I don't have a radio where I live plus they speak in Swedish (cos I live in Sweden) and I haven't a cluas [boom boom - Key Notes] what the hell they are saying.  However, when I'm in Dublin Phantom FM speaks to me.

Most Anticpated HWCH 2008 Performance?
I'm always working so I actually never get to fully see a bands set but I’m gonna try my best to check out Frightened Rabbit, Pocket Promise, The Spook & The 13th Lock, Fangs. I think i'm just kidding myself though, I'm gonna be so busy!! But fans should check out all the bands on www.hwch.net to have a preview.

What Will Make HWCH 2008 A Success for You?
If everybody has a great time and gets something out of it, whatever that may be. The fact that HWCH still exists year after year and Irish bands, in particular, still have a festival they can call their own that is enough for me.

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Cois Fharraige, Day 3 (Kilkee, Co. Clare)

Review Snapshot: The third and final day remained without highlight until Travis gave us what we wanted to hear - the hits!

The Cluas Verdict? 5 out of 10

Full Review:   After a promising opening night, and a slightly less solid second, I feared the final night would continue the downward trend. This was not helped by the admittedly poor line-up. But, it was the unlikely Scots, Travis, who saved the night from mediocrity.

Oscar and Simon from the dad-friendly Ocean Colour Scene performed their acoustic-driven set to an early crowd. Like a hotel-lobby band, they pleased the punters with their familiar sing-a-long anthems. Oscar and Simon, however, seemed surprised to be playing to such a small crowd, but I was surprised there was even a crowd at all.

I’ll admit I was highly skeptical of the reggae addition, Natty, to the line-up, not least because of all the typical Bob Marley comparisons. But, after opening with a catchy song and singing “this is just the intro…”, he proved just that, carrying on to play a pleasant and enjoyable show. The songs of revolution and oppression went down a storm with a merry Irish crowd, and he left me feeling a little more hopeful for the rest of the line-up.

Starsailor couldn’t seem to top this, though, playing a mildly diverting set of bottom-drawer Britpop. Strangely, they opened with their hit, “Alcoholic”, which was instantly recognisable but set a pace they could not keep. Though unmemorable, the set was not unpleasant to listen to. “Four to the Floor” was notable, giving brief respite from unimaginative album-fillers. The crowd seemed to enjoy them, as they did every single act, singing along to a cover of Oasis’ “Champagne Supernova” at the end. Not strong enough to be on so late in the evening, we were left looking forward to Travis.

After the ordeal that clearly was “playing the new stuff”, Travis slipped into a more comfortable mode and showed us doubters why they were headlining. They churned out all of the hits to what was regrettably the smallest crowd of the three days. No one could resist Fran Healy’s friendly chat and novel approaches to engaging the crowd. At one point, he encouraged everyone to goad on their Swedish keyboardist for his solo by shouting his name – “Claes! Claes!”. For their inevitable encore, the band huddled around one microphone performing “Flowers in the Window”. After taking up their instruments once more, they closed with “Why Does It Always Rain On Me?”, sending the crowd into a singing frenzy and ending the festival on a high note.

Barring the likes of The Futureheads and Supergrass, the Cois Fharraige festival had very few acts to draw music fans. And, at three days, the thin line-up seemed a little strained. It has a long way to go to compete with the likes of Electric Picnic, but if you’re looking for a weekend on the lash, this is the festival for you!

Christine Cooke

• Check out the CLUAS reviews of Day 1 and Day 2 of Cois Fharraige 2008.

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A review of the album 'The Hare's Corner' by Colm Mac Con Iomaire

Review Snapshot: The solo project of trad-meets-world from the Frames violinist is well-played and thoughtfully crafted throughout. But you yearn for a spark of electricity to liven up the unrelenting politeness of the whole affair. By no means a bad record – just uneventful and ultimately featureless. Let this hare sit.

The Cluas Verdict? 6 out of 10

Full Review:
The first cinemas put a piano-player at the foot of the screen and he would plink-plonk along to the action in the film, enhancing the onscreen sentiment and prompting us how to react. Today, we almost invariably describe instrumental music as ‘cinematic’. It doesn’t exist independently, but serves to soundtrack something. We expect it to evoke epic landscapes and hyperdramatic situations.

Regardless of this, Glen Hansard’s nixer, as uncinematic as cinema music can get, has earned him an Oscar. Now here’s his Frames colleague Colm Mac Con Iomaire with his own solo project, eleven instrumental tracks that will no doubt have listeners judging it against the movies in their heads.

The titles and sleevenotes to ‘The Hare’s Corner’ are bilingual, half Irish and half English. The record itself follows similar lines, mixing traditional Irish influences with a fashionably cosmopolitan range of classical and world sounds. As you’d expect from the Frames fiddler, violin is prominent in the arrangements.

However, the VU/Bad Seeds avant garde screeching of his band work is replaced by tastefully melodic lines. As a result, this record is unfailingly polite to the point of near blandness. There’s little in the way of personality or character on show here. Most of the airs are slow to mid-tempo, with only the jaunty ‘Thou Shalt Not Carry Timber/Ná hIompar Adhmad’ jarring things up a bit. Trad arrs like ‘The Cuckoo Of Glen Nephin/Cuachín Ghleann Néifin’ and ‘The Court Of New Town/Cúirt Bhaile Nua’ are played with safe hands.

Back to our opening proposition: instrumental music always being reduced to soundtrack work. In this light, ‘The Hare’s Corner’ can be called incidental music. Not in the sense that it’s packed with incident, but that it stands unassumingly in the background while something more interesting grabs your attention.

Aidan Curran

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