Music
Review: Fred Again.. releases Actual Life 3.
Following the release of hugely successful albums Actual Life and Actual Life 2, Fred Again.. completes the triad with the release of Actual Life 3. Within his newest collection of songs, Fred Again.. continues to strengthen his craft of cyber-induced electronic dance music.
Within the music of Fred Again.. he incorporates sounds from various sources including voice messages he has received or other people’s content on social media. In doing this, he creates a really nuanced vision of contemporary music - one that involves a sort of cyber-scape as a means of constructing a highly resonant melody. This is a highly unique way of approaching music production, as it recognises the growing significance of technology and digital media within contemporary existence. The mediation between digital media and music is so entwined with the sound Fred Again.., and this album is no different.
The merging of cyber-scape and melody is reinforced throughout Actual Life 3, resulting in an album that flows in great synchrony. This aspect makes this album so enjoyable to listen to as it successfully maintains this flow throughout, making it feel highly curated. Such a flow is even preserved within the song titles, where all of the titles feature a single phrase accompanied by a short sentence in brackets. This is yet another unique and idiosyncratic feature of the music Fred Again.. composes. Each song he fabricates coalesces together perfectly and it seems as though each song is a microcosm of his overall conceptual body of work. The discography of Fred Again.. reflect similar concepts and themes, but each song offers something highly unique for its listeners.
Undoubtedly, each song on this album offers listeners with an insight into the tremendous talent of Fred Again.. as an artist. This album illuminates the abundance of talent he possesses and his unyielding ability to construct music that is so resonant with the youth generation. Actual Life 3 encapsulates what it means to exist as a young person within our modern world, meditating on themes of social media to connection in a post-Covid world. Fred Again.. achieves this through his ability as an artist to fuse digital soundscapes with meaningful lyrics and memorable melodies. In particular, songs such as ‘Danielle (smile on my face)’ and ‘Delilah (pull me out of this)’ reflect this talent.
Overall, Actual Life 3 is possibly Fred Again..’s most accomplished album yet. It undoubtedly solidifies Fred Again.. as a purveyor of idiosyncratic and distinctive sounds, sounds of which are invoking a new phase of electronic dance music. The distinctive nature which underpins his music makes this album both higky memorable and equally as enjoyable to listen to.
Review: Alex G performs at The Liquid Room, Edinburgh.
Accompanied by the elated buzz around Edinburgh due to the annual Fringe Festival, Alex G performed a set nestled in a small venue within the quaint city. However small the venue was, the gig itself was one that was bustling with energy, vivacity and an all around good buzz.
Alex G has been one of my favourite musicians since I was about seventeen. I remember listening to many of his unreleased songs on SoundCloud or YouTube and feeling immediately enamoured with the uniqueness of his sound. The first song I heard of his was ‘Pretend’ and it has remained one of my favourite songs ever since. Over the years, the music Alex G has produced has really resonated with me because of both the uniqueness of the instrumentation but also the lyricism littered throughout. The music he has created showcase an audaciousness towards creating idiosyncratic, distinctive music. I really do believe he is one of the most exciting musicians within the contemporary music scene.
As such, I was extremely excited to see him perform in Edinburgh. As soon as the first song begun, I knew that it was going to be an unforgettable gig. He immediately brought a sort of energy to the stage that beguiled the surrounding audience. What made the gig so impressive was his ability to fuse new sounds into already-existing songs. In particular, he altered his rendition of ‘Change’ into something so nuanced that it created such a special atmosphere within the tiny venue.
Finally, one of the greatest aspects of the gig was Alex’s personality as a musician that seemed to really resonate with the people that came to watch. He even took numerous song suggestions from the audience, showcasing his ability to masterfully perform whatever song was requested. It was this that really topped off the gig as one of the best I have attended. It exposed how much he cared not only about performing a memorable concert, but also how much he cared about the audience’s enjoyment.
Overall, Alex G’s performance at Edinburgh’s Liquid Room was one of the most impressive and remarkable concerts I have ever attended. It has me eagerly awaiting the release of his upcoming album ‘God Save the Animals.’ I would highly urge you to go see him perform as he is so highly gifted and talented as a musician.
Kojaque’s debut album ‘Town’s Dead’ curates the cultural anxieties of the Irish Youth Scene.
This year, emerging rapper Kojaque released his debut album ‘Towns Dead’, which was immediately met with praise from much of Dublin’s youth scene. Throughout this album, Kojaque unapologetically confronts many of the contemporary concerns which have plagued the youths of Dublin, and Ireland on a larger scale. In particular, the titular song ‘Towns Dead’ encapsulates the current disillusionment between the state and the young people of Ireland.
Currently within Ireland, the Irish government have continuously refused to acknowledge the influence of emerging Irish artists through its inability to provide a sufficient roadmap in relation to the reopening of arts amidst the Covid-19 pandemic. In addition to this, there is currently a housing crisis within Dublin and Ireland, which makes the prospect of affordable living within the capital a distant memory. As a result, many emerging artists emigrate from Ireland in favour of greater career prospects elsewhere. What is left as a result is a capital that has so much potential and talent, yet the state cannot provide the means for these artists to thrive. Kojaque skillfully captures these modern concerns by balancing his poetic lyrics alongside an upbeat tempo: “You could try the house share, try rentin’, bit of money for the landlord’s pension.” What is so resonant within this song is the inherent ‘Dublinism’s’ that exist within the lyrics. Kojaque implores a thick Dublin accent to reiterate that not all is lost within the culture of Dublin: “Towns not dead it's just dormant.”
Overall, Kojaque’s titular song embodies cultural concerns regarding the neglect of the Irish youth scene, yet provides a hopeful and optimistic tone for the reclamation of Irish culture and arts. Kojaque’s excellent lyricism provides a voice to the young people of Ireland and a means in which to articulate such issues within society. Ultimately, ‘Towns Dead’ is a form of catharsis for many of Dublin’s youth who are concerned for their future.
Women in Music - Female-Oriented Artists For Your Next Playlist
Angel Olsen
Angel Olsen’s highly distinctive and unparalleled voice provides every listener with songs for the soul. Her artistry is highly innovative, yet still have a really nostalgic energy to them.
For Your Playlist:
“Never Be Mine”, MY WOMAN.
“The Waiting”, Half Way Home.
“Shut Up, Kiss Me”, MY WOMAN.
Pillow Queens
One of the most exciting bands to emerge from contemporary Ireland. Pillow Queens affirm that indie rock is not just for male participation or enjoyment. Their albums are expertly crafted and every song is an enjoyable listen.
For Your Playlist:
“Donaghmede”, In Waiting.
“Brothers”, In Waiting
“Liffey”, In Waiting
“Hearts & Minds”, Leave The Light On.
“Try, Try, Try” Leave The Light On.
Joy Crookes
Joy Crookes’s excellence is incomparable. Her unique and soulful voice compliments every song she has released. She provides contemporary music fans with a very distinctive voice that is reflective of soulful singers of times gone by.
For Your Playlist:
“I Don’t Mind”, Skin.
“Trouble”, Skin.
“When You Were Mine”, Skin.
“Feet Don’t Fail Me Now”, Skin.
“Kingdom”, Skin.
Review: shames new Christmas Song ‘Baldur’s Gate’
Unconventional and idiosyncratic, shames new Christmas song challenges the idealized festive tune, in favour of something increasingly authentic and thought- provoking.
From its first lyrics, we are immediately introduced to the unique nature of shame’s greater collection of music. The lyricism of this particular song shy's away from the idealized visions of romance and festivity, which have become inherent features within many popular Christmas songs. Instead, what is present here is a sort of melancholy and lamentation which makes the song so resounding and haunting. This is achieved through both the highly personal lyrics accompanied by the melancholic, perhaps even despondent backdrop of instrumentation. What is left as a result is one of the most raw and honest Christmas songs to emerge in recent times. It neglects these idealized, hyper-romanticized visions of the festive season, instead forging a piece of music that reflects an increasingly realistic and confessional approach to the Christmas period.
Yet again, shame have solidified their place as one of the most innovative and striking bands of the year, finishing off 2021 on a high-note for musical creation.
The Underrated Nature of the Car Stereo - and the Person Who Controls It.
Throughout much of my adolescence, one of the things I looked forward to most was the Sunday car journey with my dad. The weekly excursion around the foothills of the Dublin mountains or the avenues of the city centre. What made these car journeys so special was the music that underpinned them.
Recently, myself and my dad were driving home from the inner city. It was near midnight, but the heat of late July trickled into the car. The soundtrack for the evening was an amalgam of The Snuts, T. Rex and The Kooks. Driving down the never-ending motorway, I looked over at my dad and how he sang to himself while we had the music on full volume. I thought about how he was the person responsible for encouraging me to love music. It prompted me to think back to the numerous car journeys throughout my adolescence and teenage years, of which all were complimented by music. At a young age, my dad introduced me to music from The Pretenders, David Bowie, The Doors, Roxy Music and my beloved Talking Heads. These artists were the soundtrack to my adolescence. My dad provided me with some of the greatest artists from his generation, with the aid of his car stereo. Exposure to such musicians really solidified my love and dependence on music from such a young age.
In particular, I remember a car journey from Dublin to Belfast alongside my older brother and my dad. The two hour long trip was perfectly complimented with songs from Lou Reed, New Order and The Cure. To end the trip, our dad brought us to a record store where we bought our very first record player. We were allowed pick a vinyl each to put our new record player to use. My brother picked a very cool first vinyl, Neutral Milk Hotel’s In the Aeroplane Over the Sea. The first vinyl I chose at fourteen years old was Hatful of Hollow by The Smiths - I had heard cool people listened to The Smiths.
And I don’t think my dad realises how much that memory means to me. I don’t think he realises that I think about that moment a lot and credit it as the solidification of my adoration for all things music. This particular memory means so much to me because I realised that myself and my dad constructed a deep bond over music. I learnt from my dad to enjoy and appreciate music on a whole new level. He invoked a love for music that has spanned the entirety of my adolescence and guided me into my adulthood. And I really don’t think he realises. I don’t think he realises how much I am indebted to him for eliciting a shared love for music.
And so, I look forward to every time we get to go on a car trip together, even if it is just to the dry cleaners. I relish the moment the volume on the stereo is at maximum. There’s nothing I love more than driving aimlessly through the meandering streets of Ireland blaring Jim Morrison, The Rolling Stones or The Clash. And looking across to the seat beside me, seeing my dad singing along - that makes everything in life seem good.