Saturday, February 28, 2009

Get Excited

New promo shots for the play 'Killed By Curriculum' have surfaced and they're slightly brilliant. I was fortunate enough to catch the play when it was first performed as part of the IYT Festival before Christmas. It's been tweaked somewhat since then and has now been officially selected for a run at the 2009 Gay Theatre Festival.

The play offers a wonderful snapshot of 'youth culture', charting the misadventures of six Irish teenagers over the course of their Leaving Cert year. Drawing on material ranging from Plath to pop culture, 'Killed By Curriculum' offsets parodies of teenage stereotypes against moments of genuinely powerful drama.

That description probably doesn't do the script justice but the fact remains: you must go see this play.

[Image: Facebook]

Friday, February 27, 2009

Oh Karin, Karin Oh

Fever Ray is the new solo project by Karin Dreijer Andersson, vocalist with Swedish electro outfit The Knife.

The music is great, a little less 'industrial' than The Knife's sound but not really a huge departure. What's most impressive about the project are the videos that have accompanied the first two singles 'If I Had A Heart' and 'When I Grow Up' (rather disappointingly, not a cover version of the Pussycat Dolls' song of the same name). The creepy visuals look like something out of an indie horror flick and perfectly complement Dreijer Andersson's eerie soundscapes.




She Is Not A Robot

Marina and The Diamonds continues to impress. A new track 'I Am Not A Robot' has surfaced on her Myspace. A gorgeous slow-burner of a track, it builds brilliantly before tapering off to just a heartbeat. Be sure to check it out.

Also, I stumbled across this fantastic video of Marina performing 'Mowgli's Road' for BBC.


[Image: The Guardian]

Marina & The Diamonds - I Am Not A Robot Lyrics:

You’ve been acting awful tough lately
Smoking a lot of cigarettes lately
But inside, you’re just a little baby
It’s okay to say you’ve got a weak spot
You don’t always have to be on top
Better to be hated than love, love, loved for what you’re not

You’re vulnerable, you’re vulnerable
You are not a robot
You’re loveable, so loveable
But you’re just troubled

Guess what? I’m not a robot, a robot
Guess what? I’m not a robot, a robot

You’ve been hanging with the unloved kids
Who you never really liked and you never trusted
But you are so magnetic, you pick up all the pins
Never committing to anything
You don’t pick up the phone when it ring, ring, rings
Don’t be so pathetic, just open up and sing

I’m vulnerable, I’m vulnerable
I am not a robot
You’re loveable, so loveable
But you’re just troubled

Guess what? I’m not a robot, a robot
Guess what? I’m not a robot, a robot

Can you teach me how to feel real?
Can you turn my power on?
Well, let the drum beat drop

Guess what? I’m not a robot
Guess what? I’m not a robot

Guess what? I’m not a robot, a robot
Guess what? I’m not a robot, a robot
Guess what? I’m not a robot, a robot
Guess what? I’m not a robot, a robot



Marina and the Diamonds - Seventeen Lyrics:

Used to be a major scale
But the melody went stale
Musical cacaphony let
Insy-winsy-spider free
You’re a rich little boy
Who’s had to work for his toys
You’ve got all the sensibilities
Of an upper class guy

No I’m not your little slave
No I don’t twist and turn that way
Only got bad things to say
You’re always asking what is up with me

Could never tell you what happened
The day I turned seventeen
The rise of a king and the fall of a queen
Seventeen, seventeen

Oh, you are embarrassed of me
‘Cos I use my tongue freely
Bet you wish I couldn’t speak
‘Cos when I do, you know
I tell you why I feel weak
You want a hassle free life
Go get your upper-class wife
Oh, she’s got all the personality
Of a lemon that has been
Truly sucked dry

You teach me how to behave
I felt you question the way
I was brought up as a baby
Well you don’t know fuck about my family

Could never tell you what happened
The day I turned seventeen
The rise of a king and the fall of a queen
Seventeen, seventeen

Never felt like a princess
I used to kid myself in distress
That it was just how things
Were meant to be
Oh, seventeen, seventeen.

Frankly, My Dear...

I've been an ardent supporter of Frankmusik ever since Popjustice brought the lovely Vincent Frank to my attention about eighteen months ago.

Since then, he's signed to a major record label, released a couple of EP's, and been shortlisted for the BBC 'Sound of 2009'. In recent months, he's worked with producer Stuart Price on tracks for his imminent album release. Price rarely delivers anything short of brilliant but I can't help but feel that many of the re-recordings of the Frankmusik tracks that have begun surfacing on his Myspace are a little over-cooked and inferior to the original demos.

After hearing the Frankmusik remix of Lady Gaga's 'Eh, Eh', which manages the difficult task of making a dud of a track even worse, I was beginning to suspect that Frankmusik had gone off the boil. Then I stumbled across this video for his next single 'Better Off as Two' today and it has allayed my doubts somewhat.

The track is relatively untouched from the original demo and the video is a lot less cringe-inducing than his last effort for 'Three Little Words'. (Frankmusik: Human. Definitely not dancer.)



If the team behind Frank have any sense at all, they'll follow this release with the Boys Noize remix of 'When You're Around'.

Part-Time Pioneers

I've decided to give up alcohol for the next six weeks (think of it as a slightly tardy lenten sacrifice). I'd been toying with the idea for a while but, after I did a rough calculation of how much drink I've consumed over Rag Week and how much money I've blown, I've decided to give it a proper go.

Paula has decided to try it as well. Sobriety ahoy.

[Image: Megan Wegan]

Arts and Minds

(published in The College View, February 2009)

It’s all over our newspapers, our televisions and our radio sets. Businesses are using it for all manner of promotional gimmicks. It’s the taxi-man’s topic of conversation du jour. And we’re blaming it for everything from job-losses to ingrown toenails. As Rolf Harris might say: “Can you tell what it is yet?”

The Recession really is inescapable. But as exasperating as it might be to hear people whinge and complain about it constantly, few would deny that the economic downturn has had very real implications for many facets of our society.

As prophesised by the doomsayers, unemployment has risen steadily, consumer spending has dropped and national debt continues to mount. Interest groups can protest all they want, but Brian Lenihan and his cohorts have decided that tightening governmental purse strings is the best approach to take to salvage our tattered economy and that’s unlikely to change.

With less tangible benefits than, say, public transport or healthcare, the cultural arts are perceived as more ‘dispensable’ and, as such, are a likely target for cutbacks. So, is Ireland’s relatively lively arts scene fated to wither and die or is there, perhaps, a silver lining to this big R-shaped cloud?

With less funding to share round, the volume of projects receiving Arts Council funding is inevitably going to drop. However, if creative types are forced to raise the standard of their work in order to secure grants and bursaries over rival applicants, it’s possible that we’ll benefit from an improved quality of output. Moreover, less investment in the arts will encourage greater levels of innovation and lateral thinking as artists are forced to improvise alternative, more cost-effective ways of ‘realising their visions’.

Editor of ‘Vanity Fair’, Graydon Carter, recently remarked that, during the Great Depression in the 1930’s, “creative talent flowered as in no other period of the last century” in the United States. Carter claimed that, in the period of economic turmoil following the Wall Street Collapse, American culture “stopped being all about money, and the country survived and ultimately flourished.”

Although it might be little consolation to those reluctantly joining the back of the dole queues, a perk of being unemployed is that it affords people a lot more free time. For some, this time might be invested in lying in for an extra couple of hours in the morning or catching up with ‘Oprah’, but others may use their decongested schedules as an opportunity to explore their own creativity. It’s only a matter of time before we see plumbers turned poets, receptionists turned rock-singers and school principals turned sculptors, as people get the chance to hone creative talents they’ve previously ignored in favour of a 9 to 5.

A whole generation of Irish people have grown up under the auspices of beloved Celtic Tiger, blissfully unaware of previous economic difficulties that blighted our dear nation. Undesirable as experiencing financial hardships might be, it’s bound to expand our horizons somewhat and maybe even inspire a little creativity. Will St. Leger’s ‘Free Art Friday’, held last month, is just one example of a number of recent cultural events inspired by the economic downturn.

Poverty was a major component of the Irish identity until relatively recently so perhaps the current economic gloom will foster a greater understanding of the art and culture that predated our prosperity. It’s unlikely that a revival of sean-nós story-telling and set-dancing will sweep the nation but some might be surprised to discover just how much fun can be had on a shoestring budget.

Perhaps the key to the question as to whether culture will flourish or flounder lies in the fact that, when times get tough, the arts tend to assume a greater significance.

When we tire of dreary news reports and ‘insufficient funds’ messages, the arts can offer a form of escapism, reassuring us that things have been better and reminding us that things could be worse. Perhaps more importantly, the arts provide us with necessary outlets to express our frustrations, our disappointments, our fears, and our hopes for a brighter, recessionless future.

[Image: Fine Art Blog]

Monday, February 23, 2009

Heavenly Bodies?

(published in Campus Magazine, February 2009)

The controversial BODIES exhibition began its residency in Dublin City's Ambassador Theatre last month. The exhibition, showcasing preserved human remains in various states of dissection, first opened in Florida in 2005 and toured extensively prior to its arrival on our dear O' Connell Street.

BODIES has been the subject of much debate since its conception. Even before its U.S. premiere, there was a campaign to prevent it opening because of doubt over the exact origins of the exhibits. It has been alleged that the bodies on display are those of executed Chinese prisoners and an ABC documentary about the exhibition prompted the resignation of the CEO Premier Exhibitions, who run the exhibition. Premier’s website currently displays a disclaimer, admitting that they cannot prove the exact origins of all exhibits.

Despite reservations about the morality of BODIES, my curiosity got the better of me and I decided to check it out. The exhibition is unique in that, rather than displaying the remains in jars of formaldehyde, the limbs, organs, bones, veins and arteries have been 'plastinated'. As the name suggests, this process involves substituting plastic for water and fatty acids to prevent the body’s decay.

Some specimens have been manipulated to appear as though they are playing volleyball or conducting an orchestra, revealing the effort required by muscles and bones to perform these tasks. Other exhibits show the impact of alcohol and tobacco on our internal organs (a box for depositing packs of cigarettes is thoughtfully placed next to lungs that have been ravaged by smoking-induced cancer.)

One section featuring several foetuses in various stages of development is preceded by a warning that suggests those exhibition-goers of a sensitive disposition might want to skip this part of the exhibition.

BODIES will no doubt prove as divisive here as it has elsewhere and, if you’re prepared to ignore the ethical question marks, it‘s worth paying a visit. The real problem with the Dublin exhibition, however, is the choice of the Ambassador Theatre as its host. The venue is simply not big enough and, with exhibition-goers cramped into such a small space, there are often too many living, breathing bodies between you and the exhibits.

Student tickets for BODIES… The Exhibition are €16 and available from
www.bodiesdublin.com

[Image: Day Life]

Saturday, February 21, 2009

We're Running Down The Street In Our Underwear

Kudos to Helen for the discovery of FM Belfast. Despite the Northern Irish connection suggested by their name, this zany quartet actually hail from Iceland.

Their electrofied version of Rage Against The Machine's 'Lotus' (AKA 'Killing in The Name Of') is genius but my favourite track is 'Synthia', mainly because the lyrics reminded me of this:

Jake Shears meets Royksopp? Decide for yourself:



[Angelica image: TV Acres]

Ellie Enchanted

I'm a big fan of The Guardian's 'New Band of the Day'. I love the wonderfully detailed disections of the featured artists and writer Paul Lester's biting critique.

This week, The Guardian featured singer-songwriter Ellie Goulding. Lester introduced her as "a cross between a singer-songwriter and a synth-pop starlet", which is a pretty accurate description.

Ellie's acoustic stuff is great but I think her electronica infused numbers, such as the Frankmusik collaboration 'Wish I'd Stayed' and her excellent cover of Sam Sparro's 'Black and Gold', are what truly set her apart from the crowd.



Goulding is currently unsigned but I can't imagine this will be the case for much longer. Right-click here for her track 'Guns and Horses', courtesy of Neon Gold Records. A necessary addition to your music collection, I think you'll find.

[Image: Myspace]

Thursday, February 19, 2009

Fauxtography

I'll readily admit I know little or nothing about photography (if you're after someone who does, I'd recommend checking out Aideen's lovely blog) but I love these snaps by Spanish photographer, Eugenio Recuenco:













Thanks to Louise for this discovery.

[Images: Eugenio Recuenco]

D'oh


e-mail to: mr. blogger
date: Mon, Feb 16, 2009 at 1:16 AM

Hey,

I discovered the wonderful 'The Aspirins for My Children' through your blog so thought you might be interested to hear their mix of Marina and the Diamonds' 'Obsessions'.

e-mail from: mr. blogger
date: Mon, Feb 16, 2009 at 3:41 AM

Hi,

Glad to hear you love the remix! I actually manage Aspirins now, but feel free to recommend more things in future though, you clearly have good taste!

Oops.

In any case, you really should get into 'The Aspirins For My Children'. Below is a peculiar video of lego figuirines modelling Jean-Charles de Castelbajac's Spring/Summer Collection that features their track 'Hollow Out'.


[Image: Myspace]

Wednesday, February 18, 2009

Villagers Interview: Director's Cut

(an extended version of an interview published in Campus magazine 2009)

A golden rule of interviewing is to remember the interviewee’s name. So, my interview with Conor O’ Brien gets off to a rocky start as I confuse his former band, The Immediate, with his new band, Villagers, and refer to his latest project as ‘The Villagers’.

Thankfully, he doesn’t unleash his inner J-Lo and just laughs it off, saying: “That definite article is going to haunt me, I think.” I wonder if he’d be so forgiving if I'd called them The Village People…

Back in 2007, The Immediate seemed to split just as you were making a name for yourselves. What happened?

There were a lot of reasons for the break-up. I didn’t really want to call it a day but there were two other guys that weren’t happy to be in the band anymore. I'd been writing with Dave since I was twelve but when we went to write the second album, the process felt kind of strained. It had never been like that before. It felt like the band had come to the end of its natural lifespan.

How long was it before you started making music again?

I wrote a song the next morning when I woke up. I left the song unfinished for a long time but Villagers are going to play it for the first time at a gig in Galway this week. I didn’t see any point in stopping making music after the band split. I was playing as Cathy Davey’s guitarist and writing my own music when I was free.

How did the Cathy Davey thing come about?

I've actually been playing with her since before The Immediate broke up. She came along to a gig or two of ours so I went to her Myspace and saw she had some of the demos up for 'Sing For Your Supper'. I sent her a message and she replied asking if I knew any guitarists so I ended up playing for the album. Then when The Immediate split, she asked me to come on tour with her.

Are you going to continue playing with her?

Yeah, I will. She’s recording her new album now so I’ll be heading into the studio with her in March. I’m going to try and balance playing with her and doing my own stuff for as long as I can.

How did the idea for Villagers come about?
Bold
One night I just decided to set up a Myspace and put some demos up. I left it then because I was touring with Cathy. I started getting messages from bloggers then, asking if they could post the demos so I thought: “I suppose I should get these properly recorded”. It was all very gradual and unplanned. That’s the way I want to keep it.

Did you ever consider giving up music and working a nine to five?

No. I wouldn't like to do that again. I worked in a bank before and swore to myself I'd never do that again. When we were in The Immediate and stuck for money, we used to just paint a few houses.

Have you been surprised by the positive reaction to your music so far?

I'm surprised by the quickness but it's made me get my act together. I'd written the songs over a long period of time, so it's a little weird for other people to hear them. I wasn't even sure if I'd finished them. We've only done about eight gigs so far as Villagers and we only had one rehearsal for each gig or else used the previous gig as our rehearsal.

Does being ‘tipped’ for success in 2009 by various bloggers and publications put pressure on Villagers to meet expectations?

I think that sort of thing is always going to happen. It’s not good to think about too often, especially when you’re writing. If you do, then the stuff you produce is usually awful.

Your EP is released this month. Can we expect a Villagers album this year?

I reckon there probably is going to be an album so it’s just a matter of how I’m going to do it. I have more than enough songs but, in another few months, I’ll have more songs and a greater selection to choose from.

Thank you, Conor O' Brien.


None For You, Gretchen Weiners

Neither Lyndsay nor I progressed to the shortlists for the Irish Blog Awards, which are taking place this weekend. I'm not surprised by my own omission but I'd hoped that Lyndsay might bag a spot among the finalists.

Those who did make the cut in the 'Popculture' category all seem pretty deserving. BifSniff's blog brought this lovely response to the new Pepsi logo to my attention. It's a source of comfort at this time as I continue to battle with my addiction to caffeinated drinks.

[Image: Blow At Life]

Tuesday, February 17, 2009

Another Dimension, Another Dimension

I got a last minute ticket, courtesy of my friend Liana, to the Irish premiere of 'Coraline 3D' on Sunday. The screening was one of the 'gala events' taking place as part of the JDIFF.

I've never seen a 3D film in the cinema before, partly because of the extortionate price of tickets for the screenings. However, having experienced the visual feast that was 'Coraline 3D', I'm well and truly convinced as to the merits of 3D cinema.

'Coraline' is a 3D stop-motion animation based on a novella by cult writer Neil Gaiman and directed by Henry Sellick (who, I was surprised to learn, directed 'A Nightmare Before Christmas' and not Tim Burton). It's a deliciously dark Alice in Wonderland-type fable about a young girl enticed into an alternate reality where everything seems too good to be true and features the vocal talent of Dakota Fanning, Dawn French, Jennifer Saunders and a surprisingly brilliant Teri Hatcher.

Coraline gets a full release here in May.

Go. See. It.

Her Morning Elegance

This video takes the concept of Adele's 'Chasing Pavements' into a new stratosphere. I probably wouldn't have given the song, 'Her Morning Elegance' by Berlin-based singer songwriter Oren Lavie, all that much attention if the video weren't so incredible but, after listening to it a couple of times, it's really grown on me.



Thanks Quigley!

Dublin of a Monday




Saturday, February 14, 2009

Disco Stickin' It To 'Em

The Lady Gaga backlash has begun. Most of the reviews I've read in the Irish press have slated her album 'The Fame' and many of the cool kids that championed her eight or nine months ago when ' Just Dance' first surfaced on the web have abandoned her now that she has been embraced by mere mortals.

If the bizarre choice of 'Nothing Else I Can Say' as a single and generic video that accompanies it tempted me to jump ship quicker than you can say: "The Ting Tings", the Love Game video that materialised yesterday has convinced me to go back below deck. 'The Fame' is definitely weighed down by some duff songs and Gaga's music is hardly cerebral but there are a handful of tracks in her arsenal, including this one, that border on pop perfection.

I'd recommend you click here to view the video in HQ ('Embedding Disabled By Request' strikes again) over watching this disastrously out-of sync version:



Cheers to Eimear for the tip.

Friday, February 13, 2009

Going for Gold

Neon Gold Records are my favourite record label of the moment (Island Records being my least favourite after their disastrous mismanagement of poor Annie's second album campaign)

First, they brought us Passion Pit, whose 'Sleepyhead' is one of my favourite tracks of the past few months. Then they gave us Marina and the Diamonds, who will be a superstar by the end of the year if there's any justice in the world at all, at all.

Now, Neon Gold are set to unleash Boston-based synth-rockers Giantess. Occupying a space in the musical spectrum somewhere between MGMT and Friendly Fires, Giantess's tunes are
illogically infectious.

Neon Gold have kindly posted their tracks 'You Were Young' and 'Tuff 'n' Stuff' on their blog, so right-click here and here to download the tracks.

Kudos to Illegal Tender for twigging this one first.

[Image: Myspace]

Charles Darwin Has Tagged You in a Note on Facebook...

I only recently became aware of the 'notes' function on Facebook and started using it to import my blog posts on to my Facebook profile.

A couple of weeks ago, I got a message from Facebook saything that I had been 'tagged' in a note written by sister Julie called '25 Random Things About Me'. The idea is that you divulge twenty-five interesting facts about yourself and tag the same number of people to do likewise. Julie's currently on a semester in Florida so I figured it must be some fad in American universities and didn't think too much of it.

It wasn't long before '25 Things' began cropping up all over the place though and I realised it was spreading across the social networking site like the clappers. I stumbled upon this article by Slate, charting the evolution of '25 Random Things About Me' courtesy of UnaRocks, which is interesting on a number of levels.

Expect '25 Random Things About The Bubble Boy' to surface any day now.

[Image: Science Blogs]

Mash Flob

Tonight, I'm taking part in a special Valentine's Night performance at Partie Monster in Ri-Ra. The details are top secret right now but hopefully it'll go down well.

I'm conscious of the fact that there's a million and one other things happening tonight but, if you've nothing else planned, come on down. The theme of the night is 'Unlucky... Unloved... Unhinged'! Entry is €10 and ridiculous dress is essential.

Super.

"This Real Nice, This..."

Tonight, I went to see Trinity College's DU Players' production of Enda Walsh's 'Disco Pigs' and found it a very humbling experience.

Last year, I directed a version of the same play in DCU and, although I was extremely proud of the production at the time, I'll willingly admit that Players staged a far more innovative and accomplished production.

The two actors were no more talented than the cast of the DCU production but Tara Robinson's direction was infinitely better than my own. Her use of lighting was genius and the slick choreography of the actors' movement really helped to make the performances authentic.

The venue for the Players' performance was much more suited to the production than where we staged ours but I'm not going to make excuses as to why this production was better. Players' 'Disco Pigs' is possibly the best piece of student theatre I've seen and, rather than begrudging their brilliance, I'm actually quite inspired by it. It makes me want to direct again, taking a more creative approach, and to learn how to use lighting properly.

If you can, try to catch this show. It's on tomorrow (Friday) and Saturday at 8pm in Players' Theatre, Trinity College Dublin. Tickets €5.

Thursday, February 12, 2009

Nitelol

Well, someone's certainly having a laugh.

I was out tonight at a fundraiser, organised by a friend of mine, in 4 Dame Lane. The set-up was great: good DJ's, nice crowd, funky visuals and an 'art swap'. Everyone was having a super time but at twenty five past eleven there was suddenly a mass exodus from the joint.

Cinderellas heading home for a twelve o' clock curfew? Think again. These people, myself included, were all heading for the last bus home, knowing that if we stayed out any longer, we'd have to pay an extortionate taxi fare to get home.

Dublin Bus's decision to scrap all Monday to Thursday Nitelink routes is farcical. I genuinely believe people will be less likely to venture out into town, meaning the pubs and clubs will suffer, establishments will close and people will lose jobs.

I try to avoid moaning about the recession but I really think the approach taken to public transport is ludicrous, particularly when you consider that there are to be more daytime bus-routes scrapped in coming weeks.

In the immortal words of Tommy Tiernan: The World is F*cked.

Please sign/set up a petition in your local area opposing less frequent bus-routes and sign here to call for the Nitelink's return.

[Image: Ronan Fitzgerald]

What Makes My Life So F*cking Fantastic

...is the fact that I've managed to obtain what is quite possibly the last Lily Allen/La Roux ticket in all the land.

How did I manage it? That's one secret I'll never tell.

Tuesday, February 10, 2009

Finntastic

Back in third year of DCU, I was obsessed with CSS and more or less played their self-titled debut album on loop. Their follow-up album 'Donkey', released last year, was a big disappointment though.

Finnish trio Le Corps Mince De Françoise's tunes are exactly what I hoped 'Donkey' would sound like. I'd recommend checking out their tracks 'Rayban Glasses' and 'Cool and Bored' but my favourite track is probably 'Bitch of the Bitches', which sounds like an update of CSS's 'Meeting Paris Hilton'.


[Image: Myspace]

Mystic Megs

Brooklyn-based trendies Telepathe have been stalking me for some time. No matter where I wander on the interweb, they're waiting for me.

As a result, I'm not sure if this track 'So Fine' is extremely brilliant or just very familiar. It's probably a little of both.



If Nialler 9 is to be believed, their whole album is great. Also, aren't those new titles on the Youtube videos kinda gaudy?

[Image: Jeremy Liebman]

Monday, February 09, 2009

Pony Club Interview

(Originally published in Campus Magazine, February 2009)

With a career stretching back to when Miley Cyrus was in nappies, Mark Cullen is a veteran of the music industry by today’s standards. Despite his extensive back-catalogue, Cullen’s band Pony Club’s latest album ‘Post Romantic’ is being hailed by many critics as the best work of his career.

When I ring him for the interview, he hangs up on me. Mildly insulted, I try again. “Sorry, I’m just driving at the moment,” he says. “But go ahead, I’m on a country road and there’s no gardaí around.” Conscious of the hazard I’ll be exposing Mark and the inhabitants of this rural area to if I hang on the line too long, I launch into my questions.

Your new album spent a couple of years in production. What was the reason for the wait?

My wife contracted a virus Guillane Barre Syndrome a couple of years ago and was paralysed for a few months. I had to look after her and our two children so I didn’t have time to be working on an album. It puts things into perspective when something like that happens.

When did you go back to working on the album?

It was all recorded in 2006, just not released. The record company we were with, Setanta, went into liquidation in the meantime but then Dave Purcell from Hum Records asked to hear it and wanted to put it out.

Some of the lyrics on the album suggest a sense of disappointment with life. Is it important to have songs that deviate from common themes like sex, drugs and rock’n’roll?

Things go wrong in life. Even if you have loads of success, it’s depressing to be getting old, fat and losing your hair. I think it’s really important to sing about what you know. When I heard the new U2 song, I just thought ‘For f*ck’s sake, why don’t you write about what it’s like to be millionaires?’

Did it annoy you when a band called 'New Young Pony Club' arrived on the music scene?

It annoyed me but we already had two name changes so we weren’t prepared to change again. Their music is awful but if one of their fans buys our album by mistake, that’s great. I like to think of us as ‘Old Decrepit Pony Club’.

Are there any Irish artists you’d tip for 2009?

I’ve heard good things about Imelda May but, honestly, Irish bands tend not to inspire me. It’s a pity so many try to sing in an American accent rather than being proud of where they’re from.

What’s next for Pony Club?

We’re going to be performing a Girls Aloud track on ‘Podge & Rodge’ in a few weeks and going on an Irish tour in April. We’ll be releasing new EP’s every couple of months too. We aim be as big as Bell X1 by the end of the year…

Pony Club play Whelan's this coming Friday, 13th of February.

[Image: Myspace]

Oh Me Of Little Faith

My suspicions that the Irish public wouldn't appreciate the considerable talents of Daithí O' Droney were completely unfounded, it would seem. Daithí claimed a landslide victory in the first live show of 'The All Ireland Talent Show' last night and now progresses to the final stage of the competition.

The pictures above are of Daithí celebrating his epic victory in the lift of his hotel with someone called Flann, described as his "musical partner in crime".

Last night's show can be viewed on the RTE website and, although there doesn't seem to be a youtube clip of Daithí's performance just yet, this video shows him recreating the experience.


[Image: Flickr]

Prahaha and a Bottle of Rum