The Reverend Peyton’s Big Damn Band are a three-piece American country blues band, Roaring out of the southern Indiana foothills they play a brand of Americana and Blues that stands alone – Delta blues and hillbilly fervor combine with musical acuity sharp as razor wire
Their fifth album, “Between The Ditches” is out now. You can catch them in The Crane Lane Theatre tonight from 10.30. Tommorrow Night The Grand Social in Dublin
Home. What does the word mean to you? Warmth, security, comfort, God-awful Michael Buble Dirges? Whatever mental image it conjures up it’s an interesting title for an album that has its origins in transition. For Jo Carcone the lead singer/songwriter of the band, home is Dublin but the Parisian born frontman has drawn on his French heritage and lent a distinctly Gallic flavour to this record with French musician/producer Alain Man on production duties. Has the Franco-Irish alliance yielded results? Thankfully yes.
‘Home’ is The New Transmission’s follow up to their well received 2007 debut ‘By Your Side’. In five years a lot can change for a band. Carcone reckons they’ve developed a greater maturity and as he puts it this is not an ‘album that could have been made two years ago’ It’s a deeply personal record that reals with raw feelings & bruised emotions.
Don’t despair though, this isn’t a morbid sounding Morrissey-fest. It’s quite the opposite actually. There’s a subdued, laid back feel to the songs that make it a real pleasurable listen. Carcone half delivers his lines in a relaxed drawl that just flows perfectly on tracks like ‘Dream it’. Other highlights include the Walls-esque ‘Talk’, a simple enough yet pleasant reflection on love. ‘Hotel Room’ deals with not being afraid and is delivered in the same languid style before building into a crescendo of sound. It’s a low tempo yet polished sounding record, the decision to have Man produce has delivered.
Overall it’s a decidedly pleasant album that shows a songwriter who is confident in his craft and direction of his sound. It’s not anything ground-breaking but there are enough positives here to make ‘Home’ worth a listen.
Le Galaxie have been building a considerable reputation as a very special live act off the back of some very warmly received slots at Electric Picnic and Indiependence to name but too. So when I heard they were playing a free gig in The Pavilion it wasn’t a difficult decision to pop my head in the door. The Dublin electro-dance merchants didn’t disappoint. They delivered a fast and furious one hour set that lifted the roof off the venue.
From the off they played with a real energy and enthusiasm that translated to the audience and provided the kind of night that is all too rare. Highlights of the set included a rousing rendition of their recent single The Nightcaller and terrific versions of Heat City and Midnight Mdnight.
Often electronic gigs can be sedate affairs with the guys stuck behind a keyboard syndrome dampening proceedings. This was never a worry here,frontman Michael delivered the kind of frantic Duracell bunny on speed performance that left the crowd crying out for more. The Pav witnessed an act who seemed to be genuinely enjoying themselves and giving the kind of assured, exuberant performance that marks them out as a live act not be missed.
Copenhagen’s finest are back with their fourth album and it’s a hell of a showing. Quirky as always they were never going to bash out a Coldplay flavoured record by numbers and instead the trio headed north to a remote abandoned Russian mining town to seek inspiration for ‘Piramida’. Sleeping in a shipping container and worrying about the prospect of polar bear attacks has clearly proven inspirational and the Efterklang boys have delivered a record of real beauty.
Pictured: The slowly decaying mining town of Piramida
Experimentation is key and they’ve done enough sound recordings in empty oil tanks and the like to produce a record that never has a dull moment. Standout is ‘The Ghost’ a haunting and affecting song that highlights the bands strengths. Namely frontman Caspar Clausen’s tremendous vocals and an ability to construct melancholic melody that grasps the listener by the lapel and shakes them into taking notice of this band’s sound. ‘Apples’ is a lament that waves goodbye to love and it’s a track where the band’s sound really soars. Likewise ‘Black Summer’is a sonically rich and thickly layered affair that benefits from a substantially-sized choir.
This is a grown up album that is massively ambitious in it’s scope and ultimately provides a rewarding experience for the listener. They’ve taken a step back from the more accessible radio friendly fare of 2010’s Magic Chairs and delivered an album of real immediacy and scope which is an altogether more sober but nonetheless engaging affair.
Piramida is out now (4AD)