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It’s hard not to write this with some sort of flow measured to mirror the linguistic complexity that Team Fresh bring to the table in terms of this, their first ever single. That would be almost cruel. A show of blunt force stupidity in fact, as to try and parody what is essentially the Irish accent rapping – on paper, a packaged sitcom in itself in my book – would be beyond wrong here. As ‘Rhythm Tradition‘ itself calls out ‘…don’t judge a book by its cover…‘, I’d be hypocritical to place my dislike of the derivative ‘fake-rap-hopple-pop-bullshit’ that’s pumped out commercially on the shoulders of these locals, who are very much so coming from a different attitude base entirely.

…for me that in itself says it all, that all their anger and passion is squarely held in the right place. It’s praiseworthy, though a common enough occurrence in this corner of the world, thankfully.

Built up over the years, known for their engaging live performances and holding considerable stage presence (but having been a band almost solely confined to their most accessible setting) the main concern here is making that all come across through a set of home speakers. So with the introduction to the world of ‘Rhythm Tradition‘ on record it shouldn’t need said it marks an awakening; and also a recognition of their loyal audience that they’ve finally taken to producing something akin to the detail and technique of their collective persona to take with you from their gigs.

…very clearly though, and unfortunately – not all of it is here, but then they’ve a lot of liquid tonic to try and fit into just the one bottle, as future releases will hopefully prove.

Edged along the surface with driving riffs the layered music on tap is beautiful fuel for the soul, pushing and pulling at your limbs with the massive lyrical hooks traded between Browne, Donaghy and Dunbar accompanied by instantly recognisable guitars and mixes for those already faithful to their cause. The same stage games come through loud and clear, yet just drop short of that added visual element provided by seeing them performing right in your face. That said, it’s only when you have a snoop properly under the hood of ‘Tradition‘, and the equally clever b-sides ‘Causeway Rebel‘ and ‘Recipe For Disaster‘ that you realise the sheer intensity and power that is still in the process of being organised into the sonic army talked about so much inside the songs themselves.

The road yet to be walked you might say…

Amongst all the rocking out, when giving it that ‘closer inspection’ Team Fresh offer up some major insights into the less said spent days of youth rollicking around the North coast of Northern Ireland on skateboards with an entire population in transition around them. Talk of everyday life living in Ireland’s ‘culture lock’ and social commentary on our rebellious youths’ activities has never sounded so strikingly blunt; and ultimately they are proudly pressuring audiences with personal statements and vivid memories via the melting pot structure of their Rage Against The Machine like compositions.

Team Fresh summed up here are the roaring sound of a generation moving away from the clichés surrounding our country, tired with the previous one’s fucked up useless antics and more than ready to soldier on. Perhaps the first and last band to truly do that before it too becomes just another worn thin element of the ever increasing Northern counter-culture.

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It has been just over a year since Kasper Rosa erupted onto the local music circuit, and if a ticklish portmanteau would be suffice in summing up their progress to date it would surely be something as full of life as the four purveyors at the helm.

You know, something that really zips like “Awesalicious!” or “Sonic-beast-o-philes!”.

Both of which sound great, if you’re a marketing consultant – in which case, stop reading this.

A band who wear their youth happily on their sleeves, Kasper Rosa have once more dropped an album which shows up their exhausting talent for throwing everything into the mix on a dare. Once billed as yet another band from the And So I Watch You From Afar camp – point in hand, it is incredibly easy to compare this release to the boiling pot of The Letters EPRosa have since proven themselves no mere tribute act.

In fact, they’ve taken to crafting as unique a sound as possible very seriously, carving out audioscapes with massive drums and varied guitar riffs that are instantly memorable, and distinctly Kasper – equal parts epic, melodic, and Transformers soundtrack.

Broken down there’s a little something for almost everyone in here, and at times due to the pacing of each piece you would be forgiven for thinking that your shuffle is switched on – the most prominent example being This Version Of The Facts’s overarching and heavy timing changes that fold smoothly into the piano driven There Is No Such Joy In The Tavern (As Upon The Road There To).

Whilst my knowledge of music production is laughable, a special mention must go forwards in the direction of Clark Phillips whose work on this is truly quite stunning, even to my untrained ear. It all sounds like it shouldn’t mix together, yet the confidence and maturity that it is all carried off with keeps you believing every note is played out with absolute heart. Not to mention it is genuinely inspiring to hear a band having so much fun with their sound.

I think the most interesting thing that could be said having witnessed the build-up and parts of the recording process – is that Butler, Bruce, McCormick and Shannon might be having such a carefree time dabbling and concocting all this music that they are oblivious as to just how good it actually sounds.

Now, I’ve seen the shout outs and excited updates, but the sense of innocent enthusiasm I feel listening to the likes of Pollen Grains And Magic Bullets (which floats off the speakers like Led Zeppelin Jnr.) is unmistakable.

Ignorance is bliss they say.

That said, there is definite room to push. However this shows off what sort of layered input the band are willing to step up with, so if instrumental rock is your thing then EP2 should offer a slice of something a little more dynamic than most.

Despite being at the sharp end of the knife, it may take a similar scale up of very impressive inventiveness on EP number three before the masses are truly converted towards this post rock quartet.

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Go (Jónsi)

Sigur Rós’s distinctive vocalist Jónsi Birgisson has always had a talent for delivering emotion via his ethereal, heartbreaking voice – and whilst many would perhaps wonder at his (let us hope, brief) departure from Sigur for something that’s not altogether removed from them, his solo project simply proves that his trodden path is a content one.

…and I’m all keen for him to continue walking it.

Go is an album that I could simply throw descriptive sound bites at, such as ‘childlike’, ‘whimsical’ and ‘full of wonder’; and to be honest those three statements probably sum it up quite well. Bouncing out of the speakers with effortless positivity, it is sharply constructed and filled with strokes of energy that feel light on the ear. In fact it has probably been some time since an album has been quite so easy to listen to. Hidden amongst all of this though are moments with enough body to knock you silent where you sit, par the course with Birgisson – and it will I imagine make for excellent walking music. Reflecting both the chaos and frenetic nature of the bustling crowd. Should you find one.

Strikingly the most interesting thing is just how far away from Sigur Rós this album actually is in terms of its emotional content. Whereas the Icelandic band’s songs build from a much darker, almost twilight born spectrum of feeling (imagine a practice room, high in the secluded mountains of their homeland, the Aurora Borealis shifting above them in the night); Go feels much brighter and more full of (dare I say) life. It feels like the younger brother, more innocent and playful than its older more worldly sibling.

Perhaps if Sigur can be considered as an Aurora itself – splashes and waves of colour against the night sky – then Jónsi’s début solo work should be considered as its daytime counterpart. The album cover itself mirrors this idea of colour against a lighter canvas.

Singing this time out in a mix of English, Icelandic and a touch of his usual flair, tracks like Boy Lilikoi and Sinking Friendships are unmistakably filled with plenty of joy – backed by an airy symphony of horns, pianos, xylophones and any number of other choice instruments that hum, tinkle and sparkle.

Whilst I do think that emotionally this music is coming from a different part of Jónsi’s heart he hasn’t altogether left behind the ways of old. The album may start off utterly outside the realm of Takk… or Von, but it does come back full circle towards the end with less outwardly positive songs (dipped with a stick of positive cynicism you might say) such as Grow Till Tall and Hengilás.

…Hengilás in particular wouldn’t go amiss at the end of a war movie with its layered vocals tugging at the heartstrings of a numbed and exhausted audience; and judging by just how often his work has been syndicated in the past, that notion may well see the light of day.

So it looks like there are still a depth of riches to explore in Jónsi Birgisson’s music whether he returns to the fold or this is it and his solo path is set. Both emotional wells of course have their merit, but it just might be that with a wider range to this album that it will stand out stronger as his crowning achievement. Fans of Sigur and newcomers will adore this, and I certainly do – unquestionably.

Just add sunshine.

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This is not a review from an Indie lover, nor is it the grand carousel of thoughts from a casual listener – but, admittedly all three of the lads who make up General Fiasco do live ten minutes down the road from me (when they aren’t out winning the hearts, minds and legs of young music fans on tour that is), and so I may be geographically biased towards saying (and pre-emptively killing my own review at merely the start of the process) that yes, this is a rather fucking good album.

…and I say that not with surprise at the quality, but at just how much I enjoy it.

Despite avoiding the majority of similarly stranded music for the vacuous pile of shit that it (usually) is, over the last year I have been no less drawn into the Fiasco camp – by catchy choruses in songs that riff on the everyday lives of who else but us young folk – than the teenagers of the female persuasion who would happily tear their mothers in two for a go at one of Leaky’s drumsticks.

Helmed by the distinctive and polished vocals of Owen Strathern and brother Enda’s dirty great big guitar, each track is perhaps so clean as to be too perfectly composed – if that is not too much of a contradiction on the mind. To level just one thought at the trio, it is that the album does come across as a little flat (albeit a high marked plateau) with no real peak, where I was expecting at least one – in the shape of ‘Rebel Get By’. However the flow between each song (and the efficiently sharp length) make it more of a release worth the full listen, rather than a record with only one or two individual dishes worth feasting your ears on. Perfect for when you want to just sit back and chill out with some good music ebbing into the room.

When listening to the album through for the first time I was genuinely surprised by how much of it I already knew by ear, not really being the biggest follower of their discography – and the album definitely is a carefully packaged round-up of their work to date. Previously released as singles, and considered the quintessential Fiasco songs; ‘Ever So Shy’, ‘Rebel Get By’ and ‘Something Sometime’ are simply blended into the mix against more diverse tracks such as ‘Sinking Ships’, with its effortlessly upbeat vocals and stripped down structure. No bad thing – admirable in fact that their strongest tracks don’t tower down over lesser known material which isn’t being paraded around as mere filler.

The real stand-out track of course is ‘Buildings’ – a song of grander tone than the rest of the album combined, and perhaps sounding out of place because of it – framed as it is by coffee shots of pop that are so intense that whilst they may blast by and be gone before you can blink, are truly infectious (see, that was clever wasn’t it, sigh).

…actually, ‘Buildings’ isn’t out of place at all. It just sounds like I’ve accidentally added a track from their next album into the playlist by mistake. Which is food for thought.

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