John Lambert has taken over a decade to release his fourth album, though his careful, meticulous approach to his miniature-style music is reminiscent of a skilled artisan working unhurriedly on a long-term project. His music, anchored on adroitly played acoustic guitar, comprises components of postrock, minimalism, and post-classical stylings, reminiscent of artists such as Sigur Rós, Brian Eno, Max Richter, Jóhann Jóhannsson, and Stephan Moccio. Notable tracks, co-produced, mixed, mastered, and engineered with Stephen Shannon, include A Story of a Decorative Plate, The Art of Friendship, Imperial Finery, Red Admiral, and Vermilion, positioning Chequerboard at the forefront of Ireland’s ambient music scene. Beyond his artistic success, Lambert can also boast commercial appeal with his music being streamed on Spotify over 22 million times.
In the midst of the Covid crisis, Kieran McGuinness (formerly of Delorentos) and Emily Aylmer (formerly of Republic of Loose) created Driven Snow. Their musical partnership, infused with the authenticity of shared personal experience, is evident in their songs. In Tonight, They’ll Find Me Lost, Aylmer croons about personal dependence, while in Trying, McGuinness confesses feelings of anxiety and self-doubt. Despite such introspective themes, these songs are beautifully framed within irresistible acoustic-folk melodies expected to charm listeners.
As for the band Kneecap, they present a fine art in their music.
Welcome to the spunky universe of Kneecap, a triumvirate from Belfast consisting of Mo Chara, Móglaí Bap and DJ Próvaí. They reside in a sociable watering-hole known as the Rutz, where faith doesn’t dictate interactions, the vivid exchanges are bilingual, and traditional music gently fills the air. Forged with a gritty edge by Toddla T (real name Thomas Bell, spouse of Irish radio host, DJ and author Annie Macmanus), the full length offers twelve songs (and six background inserts) that narrate their journey through punchy tunes like I’m Flush, Ibh Fiacha Linne, Better Way to Live (with vocals from Fontaines DC’s Grian Chatten), Parful, and Rhino Ket. Radie Peat from Lankum flavours the first song, 3CAG, a subdued tune that sets the stage powerfully for what follows.
NewDad: Madra
Contrary to the viewpoint of NewDad’s percussionist, Fiachra Parslow, the debut album of his Galway-founded group presents no influences of “hurdy-gurdy-wielding, shoeless buskers”. Instead, it showcases unmistakable echoes of superior shoegaze music – ballads crisply wrapped in a velvet glove, reminiscent of 1990s bands like Curve, Slowdive, Ride, Mazzy Star, and My Bloody Valentine. Although NewDad views their musical style as a reference point, what makes Madra successful isn’t recognition, but rather its unique delivery. The leading figure is Julie Dawson, the vocalist and chief songwriter, who dishes out charm and worry in style, via songs such as Nosebleed, In My Head, White Ribbons, Nightmares, Where I Go, and Dream of Me. The rest of the band complements this with razor-sharp riffs and catchy tunes.
New Jackson: Oops…! Pop
Uninterested in chasing the mainstream, David Kitt’s artistic alter-ego – New Jackson – has been a consistent presence since 2011, symbolising his nonchalant approach to creating original works. His recent album is a potpourri of evocative influences (think Pet Shops Boys, Wham!, Kraftwerk) juxtaposed with a reinvented Stone Roses’ cover ‘I Wanna Be Adored’, mystifying yet enticing over five energetic minutes. The album is expertly composed with no lackluster tracks and concludes with a mesmerising finale, ‘With the Night at Our Feet’, reverberating rhythmically.
Niamh Regan’s much-awaited 2020 debut, Hemet, was a subtle reveal amidst the pandemic. Her voice brought comfort yet stirring emotions. Famous for her veiled lyricism, Regan’s album ‘Come As You Are’ is her emotional outpouring to tunes as captivating as they are brash. ‘Blame and Belly’ are sharp indie rock-pop, while softer tracks like ‘Long Haul’, ‘Waves’, ‘Paint a Picture’, and ‘Mortgage’ express the complexities of navigating creative and personal aspirations.
Final artist mentioned is Oisín Leech and his piece, ‘Cold Sea’.
Oisín Leech’s first solo album may merely straddle the 27-minute mark, yet it unfurls a depth of charm and talent that grabs your attention. On temporary hiatus from the Lost Brothers, known for their Americana-inspired offerings, Leech presents nine unique pieces that strike a delightful balance between introspective emotion and permeating warmth. The album features three selections of ambient music with the standout one being Maritime Radio, reminiscent of Daniel Lanois’ work; the eponymous song smoothly flows from top to bottom with the help of calming synthesizer notes. The rest of the tracks predominantly consist of Steve Gunn’s intricate guitar work, who additionally took on the producer’s role. The songs are distinctively tranquil, peculiar, appealing and filled with an authentic sense of solitude. They are perfectly balanced between darkness and light.
A nod to Pillow Queens, pop-punk enthusiasts who continue to churn out catchy, gimmick-free tunes. Their third album is jam-packed with powerful numbers, notable mentions being Like a Lesson (a strong contender for “earworm of the year”), Blew Up the World (praiseworthy for its phenomenal electric guitar solo) and Notes on Worth (contending for ‘Best lyric’ with: “I could feel my body beating, hated it all my life … but I think I’m worth the time”). These tracks exhibit diligence, self-reflection, and a knack for flare.
Sprints: Letter to Self
In January, we praised Dublin band, Sprints, as they released their debut album, citing its unrelenting energy and passion. Half a year later, after an extensive runthrough, it’s clear that initially exaggerated impressions are indeed deeply rooted in truth. Those in the band, spearheaded by main lyricist Karla Chubb, straddle the line between intrigue and unexpected charm. Their tracks, embodied by a combination of dynamic guitars, a strong melodic sense and Chubb’s impactful vocals, make it challenging to dismiss their presence. In songs such as Up and Comer, Literary Mind, Heavy, Adore Adore Adore, and the title track, anxiety-based themes come up for exploration, but the result is more cathartic than suppressive.
On the other hand, Conor O’Brien’s previous album from 2021, Fever Dreams, is fittingly named for its psychedelic touch and distorted lounge tunes. Despite the album That Golden Time tracing back roots, it’s not fair to say that it lacks ambition. From the initial note in Truly Alone, it’s clear that the energy levels have been toned down, but that doesn’t render the rest of it lacklustre. The tracks such as You Lucky One, the title song, Brother Hen, No Drama, Behind the Curtain and I Want What I Don’t Need continue to enchant, not left to fade away. Underlying audio hints of Pink Floyd, Sigur Rós, Radiohead, and Bob Dylan are detected throughout however the real power of the music lies squarely upon O’Brien’s shoulders, showcasing his best folk-pop tendencies.