Chequerboard: Keepsake
John Lambert, a fine example of patience and dedication, has taken more than a decade to manifest his fourth album. Much like a skilful artist consumed in a long-drawn project, he pays meticulous attention to his subtle “miniature” music, enough to startle a Zen guru. Lambert’s music revolves around agile acoustic guitar and amalgamates elements of post-rock (evocative of the serene parts of Sigur Rós), minimalism (Brian Eno and Max Richter come to mind) and post-classical influences (ranging from Jóhann Jóhannsson to Stephan Moccio). Select cuts such as A Story of a Decorative Plate, The Art of Friendship, Imperial Finery, Red Admiral, and Vermilion — all co-produced, mixed, engineered, and perfected by Stephen Shannon, Lambert’s counterpart from Dublin, an electronic musician — help position Chequerboard as a paramount figure in Irish ambient music. Lambert also proves himself to be commercially adroit, holding more than 22 million Spotify streams to his name, notwithstanding the fact that you will likely not recognise him in public.
Driven Snow: A Sort of Dream
Steeped in the age of Covid, Kieran McGuinness (formerly of Delorentos) and Emily Aylmer (once part of Republic of Loose), both personal and professional companions, formed Driven Snow amidst the chaos of their three children. Hence, the songs carry a certain level of raw authenticity, only possible when you understand your lyricist deeply. On Tonight, They’ll Find Me Lost, Aylmer reveals “I know every crack on the old main road, but tonight you’d find me lost… so lost I need some help from you, not from anyone else…” Conversely, in Trying, McGuinness confesses, “My dreams get dark at 3am, and I’m not so zippy like I pretend, but I’m trying…” However, it’s worth not lingering too long on the introspective (not always autobiographical) lyrics of insecurity and unease. A veil of stunning acoustic-folk melodies encompasses them, some of the finest you’ll experience this year.
Kneecap: Exquisite Art
Introducing Kneecap, the edgy trio from Belfast composed of Mo Chara, Móglaí Bap, and DJ Próvaí. Residing in a community pub named the Rutz, the group occupies a place where religious beliefs matter little, people communicate in two languages fluidly, and traditional music lingers in the air. The group’s album, polished with the angular sound by producer Toddla T (Thomas Bell, spouse of Dublin-native, radio host, DJ, and author Annie Macmanus), explores their journey through hard-hitting numbers like I’m Flush, Ibh Fiacha Linne, Better Way to Live (with vocals from Grian Chatten of Fontaines DC), Parful and Rhino Ket. The first track, 3CAG, showcases the vocals of Radie Peat from Lankum, providing a gentler sound, preparing listeners for the sonic journey to come.
NewDad, a band from Galway, presents their first album, Madra. Contrary to drummer Fiachra Parslow’s assertion, it holds no discernible traces of “barefooted, hurdy-gurdy-playing buskers”, but echoes of the finest shoegaze music, reminiscent of an iron-fist-velvet-glove beats, brought to the fore by bands like Curve, Slowdive, Ride, Mazzy Star, and My Bloody Valentine in the ’90s. NewDad might take its artistry from this genre, but Madra’s charm lies in the presentation, which is both unique and captivating. The band’s vocalist and primary songwriter, Julie Dawson, effortlessly balances charisma and unease in noteworthy songs such as Nosebleed, In My Head, White Ribbons, Nightmares, Where I Go, and Dream of Me. The band complements her entrancing vocal range with meticulously crafted riffs and unforgettable melodies.
New Jackson delivers with their release, Oops…! Pop.”
David Kitt’s innovative persona, New Jackson, that’s been tailing him since 2011, isn’t just a diversion. This energy resonates with his mentality, inspiring an album that feels both refreshing like newly bloomed flowers and as recognizable as one’s own reflection. As you listen, reminiscent undertones of big-name bands like Pet Shop Boys, Wham!, and Kraftwerk interject, while a synth-treated reinvention of Stone Roses’ I Wanna Be Adored leaves the listener bemused but beguiled within an energetic five-minute span. This album is a splendid piece of work without a pinch of subpar content, and it rounds off with an enthralling final track (With the Night at Our Feet) that seamlessly reverberates through your ears – endlessly pulsating.
Niamh Regan – Come As You Are
Niamh Regan’s debut in 2020, Hemet, slipped into the scene amidst the pandemic, discreetly manifesting a voice that felt intimate and soothing, yet restless. Regan’s songwriting is elusive, interlacing her lyrics with glimpses of her life without revealing too much. But Come As You Are presents an unexpected sentiment—there are candid songs set to melodies that balance passion and audacity. Tracks like Blame and Belly stand out as clear-cut indie rock-pop, whereas smoother orchestrations such as Long Haul, Waves, Paint a Picture, and Mortgage evidently portray the demanding equilibrium between desires and obligations in both creative and personal realms.
Oisín Leech: Cold Sea
Oisín Leech’s first solo album, with a span of barely 27 minutes, might be perceived as fleeting before one immerses into its true essence. However, ‘Cold Sea’, contrary to expectations, possesses more profoundness than initially envisioned. Temporarily parting ways with his role as a singer-songwriter from Lost Brothers, the Americana-inspired band, Leech offers nine unique tracks that excellently demonstrate his inherent talent for uniting solitary thoughts with an inviting warmth. The album consists of three immersive instrumental tracks and features the dynamic artistry of American guitarist Steve Gunn, who also acts as the record’s producer. ‘Maritime Radio’, one of the instrumental tracks, is reminiscent of Daniel Lanois’ dreamlike compositions, while the titular track ‘Cold Sea’ provides an uninterrupted, soothing wave of synthesised sound from top to base. The songs present a distinct blend – subdued, quirky, appealing, mysteriously distant yet radiating an ideal balance of brightness and subtlety.
As for the band Pillow Queens, their third album furthers their reputation for crafting catchy, gimmick-free pop-punk songs. Each track holds a powerful impact, however, certain standout pieces, such as ‘Like a Lesson’ (worthy of the earworm-of-the-year title), ‘Blew Up the World’ (guitar solo of the year contender) and ‘Notes on Worth’ (containing lyric of the year: “I could feel my body beating, hated it all my life … but I think I’m worth the time”) race to the finish line exhibiting control, introspection and style.
Then we have ‘Letter to Self’ by Sprints, also worth a note.
Released six months ago, ‘Sprints’ debut album continues to resonate powerfully. Hailed as ‘leaving no stone untouched’ with its potent, raw authenticity, the Dublin-based band’s music is richly layered with soul-stirring, rhythmic guitars, melody that rings true and Karla Chubb’s deeply resonant voice. Not limited to merely being the heart of the vocal power, Chubb is also the core lyricist of the band. Her open exploration of themes like paranoia, doubt and anxiety in tracks like ‘Up and Comer’, ‘Literary Mind’, ‘Heavy’, ‘Adore Adore Adore’ and the title track create a cathartic listening experience rather than an oppressive one.
In contrast, ‘Villagers’ latest album ‘That Golden Time’, a follow up to their 2021 album ‘Fever Dreams’ is a departure from the band’s traditional full sound. Though it might tad disappoint fans, the album does not compromise on its ambition. The debut track ‘Truly Alone’ brings to mind a slower, more considered pace. It doesn’t, however, insinuate a languid progression. Songs such as ‘You Lucky One’, ‘Brother Hen’, ‘No Drama’, ‘Behind the Curtain’ and ‘I Want What I Don’t Need’ never lose their energy but evolve with a laid-back tempo.
Subtle instrumental cues in the album hint towards influencers like Pink Floyd, Sigur Rós, Radiohead, and Bob Dylan. But the unique power and strength of the album is undeniably attributable to Conor O’Brien’s folk-pop prowess.