POST CATEGORY : Irish Music

Introducing: The Saturday Morning Cartoons (The SMC)

The Saturday Morning Cartoons (The SMC) are Kildare natives Morris Faderlum & Tommy Inowan, who together brew Sparklecore Thrash with a pinch of kink.

These are real songs, with real emotion steeped in honesty and vulnerability – something that jumps out and grabs you from the get go on their debut EP ‘A Shock For Jimmy’.

‘Getting Old’ jostles between the frantic and energised, and light and dreamy, while lyrics come with a Rat-Tat-Tat-Tat energy while ‘Good As Gold’ introduces a slunken groove and acts a bridge toward ‘Livin’ In A Bin’ and ‘Got Let Go’ which up the swagger, increase the bite and dials up the hard-hitting lyrics.

The SMC have created something wonderful here – brash, feisty and jarring yet also very, very catchy at times. A welcome breath of fresh air – it is unique and honest, and importantly damn fine tunes.

Morris Faderlum & Tommy Inowan are ably assisted in the production stakes by Poggy (No Monster Club/We Are Losers) & Stephen Fahey (Super Extra Bonus Party).

‘A Shock for Jimmy’ EP is the first of four planned EPs and with its release coming on July 11, I decided to have a chat with the pair, to find out more about the music and what makes them tick.

First off, what brought this collaboration about? “Absolute sheer boredom” says Faderlum , adding “wanting to escape the inner workings of my own head, spewing forth into the world while ranting to a backing track. That’s pretty much it. I love ranting and ranting, and giving out. Any excuse for a give out” he chuckles.

Inowan discovered a desire to collaborate with Faderlum while working on another project which he felt Faderlum would be very suited to and very good at. Going back further, having witnessed Faderlum perform live and leave himself behind and immerse himself entirely in the performance played no small part.

“You don’t see that sort of bravery an awful lot. it is one thing to get up on stage and plug in, we can all do that and bash the shit out of instruments and play. I think to get up on stage and be vulnerable, even if it is under a different name or pseudonym, whatever helps project reality and honesty – that just really gets me.”

Seeing Faderlum perform was not only impressive, it was inspiring and it sowed the seeds of working together.

Faderlum “had forgotten how much fun it was to write, I had done that shit in years and it was just great to do that track with Tommy and it just got the creative juices flowing.

It seems like an easy partnership from the outside, which is a good thing but how does the dynamic work?

Simple, says Faderlum, laughing “I get an idea for a song, I pass it to Tommy, he goes away and does all the hard work. It comes back and the song is made. Tommy gets an idea for a song, goes away and does all the hard work and the song is made.”

It is more interesting than that Inowan chimes in, “what I have done more recently is ask Morris does he have an idea or can he sing me a line and he might sing me a line or three [accompanied by a short hummed tune / melody] and then that is the end of the Whatsapp message. And for me it is interesting because even getting those few seconds of melodies or ideas, it is almost permission to explore with less judgement”.

One important thing they both spoke about from the off was honesty and vulnerability. Can we be honest enough with each other if we don’t like something to not take offence, to get more out of the other person and to compromise? That is more of a relationship thing that allows the music to come through.

Faderlum totally agrees. “We’re both easy going people, we both have good ideas and we’re both grown ups so it’s okay to bounce ideas around.”

Roughly speaking it is Faderlum who is responsible for the vocals and Onowen who looks after the music. The process worked out by demos being sent back and forth before meeting up to record together and hammer things out in person.

Faderlum has a jotter where all his lyrics are written down. “An idea might be stewing in your head and when you put pen to paper, it looks crap but then you stew it a bit more and you think, ah, now that’s good.”

Inowan says from the beginning he has been conscious of trying to not be too precious about the need to wedge lyrics and vocals mechanically into the structure of the song. “While I know Morris might have songs in mind but they could just as easily read as poems, they are articulate and introspective. I would like us to explore the spoken word element and the theatrical, as well as they Sparklecore. Essentially, engaged energy.”

The plan for the near future of The SMC is 4 EPS and then an album – and gigs, well that is just a case of getting together enough material for a live show.

Listen / Buy the EP below – the super artwork is from Egi23 – it is a short, sharp breath of sparklecore.

Rotation Roundup #2

Time is becoming increasingly precious and difficult to obtain these days but I still have a grá on me for blogging.

So, this is an attempt cover more of what I am listening to on a regular basis, with a relatively quick roundup of what has been on rotation over the past week or two.

The aim is to keep them coming on a weekly / biweekly basis or failing that, I may as well pack this malarkey in altogether.

Panic Shack – ‘Mannequin Man‘

Cardiff noisemakers Panic Shack will release their debut EP, Baby Shack EP, on April 8th via Brace Yourself Records and ahead of which, they have shared lead single ‘Mannequin Man‘.The track is exactly what you’d expect from Panic Shack; a raw, spiky and incendiary punky cut bursting with bouncy basslines, chant along vocals, hooks galore and plenty of attitude. A rip roaring return, the forthcoming EP promises to be quite something.

Lyndsey Lawlor – ‘Love, Lust, Indifference & Hatred’

Lyndsey Lawlor is a Dublin spoken word artist who has teamed up with Kildare producer Gary O’Reilly (Mix & Fairbanks) for new album, Dearest Philistine, released in January. The album came to fruition with Lawlor locked down away from her band and creating an entire record with O’Reilly. ‘Love, Lust, Indifference & Hatred’ is the latest single lifted from the album, Lawlor’s vocals brimming with a positive and hopeful air flow cooly above a beautiful blend of warm, fluffy electronics that shimmer above a soft pattering of captivating beats. 

Peaness – ‘How I’m Feeling’

Longstanding BG favs Peaness have announced their debut album. The Chester trio will release World Full of Worry via their own Totally Snick Records on 6th May, preceded by new single ‘How I’m Feeling’.

Having charmed our ears for years with their irresistible brand of melodic, indie-pop goodness, and latest single is no different. Propelled by a playful, sunny energy juxtaposed by reflecting on the self-loathing and melancholy that can come from being stuck in an unfulfilling job, whilst offering a sense of hope that you can make a positive change. It is insanely catchy, littered with gloriously glossy harmonies, honey-sweet vocals and uplifting jangling hooks . Yet another gem from Peaness who have a propensity for such magic you know.

Listen to ‘How I’m Feeling’ below.

MEMES – ‘Second Thought’

Glasgow’s self-proclaimed “laptop-rock” duo MEMES – composed of cousins John and Paul McLinden – are back with another scintillating slice of fiery and fierce post-punk in the shape of ‘Second Thought’. Unleashed with a feverish intensity, it underlines all there is to love about this tempestuous pairing; unpredictable and unconventional ‘Second Thought’ is fuelled by an erratic, jerky punk electricity and coiled up bassline while the raspy vocals dance over the jagged rhythms and meaty stomp. A thrilling and exhilarating jam; brilliant from MEMES, who have nailed it again.

Astrosurf – ‘Highlife’

Astrosurf are a Toronto based trio with a penchant for freeflowing blues-rock leaning surf sounds, inspired by the cosmos, the open range and seas (like a harder edged, blues embracing version of Wales’ Y Niwl).

The trio’s latest release, Anything But… came out in December of last year and ‘Highlife’ is the latest single lifted from it. ‘Highlife’ perfectly captures the essence of Astrosurf in just under four minutes; it is marvelously scuzzy, unfurling with a lifeforce of its own packed with seductive grooves, meandering catchy  melodies and lashing of fuzz, feedback and mighty reverb laden riffs and licks. To their credit, Astrosurf sound familiar yet authentic, carving their own modern day niche that is, in their own words, “music for surfers, cowboys and spies”.

Blimp – ‘Orchids’

Blimp is a Dublin-based producer with a penchant for lush, warm and woozy slices of seductive house/electronica – attributes demonstrated in abundance by the beautiful, warm and tranquil electronica escapism of new single ‘Orchids’.

The first track from Blimp’s forthcoming debut, independent EP, it is a deliciously seductive and exquisitely elegant track; a lush, lavish and affair as warm synths fizz with an effervescence, gushing over soft beats, melodic grooves and flourishes of colourful electronics, amid an abundance of dreamy vibes. Yet another beautiful track from Blimp and one that definitely whets the appetite for the forthcoming EP.

Tune in below:

Rotation Roundup #1

Time is becoming increasingly precious and difficult to obtain these days but I still have a grá on me for blogging.

So, in an attempt cover more of what I am listening to on a regular basis, here is a quick roundup of what has been on rotation over the past week or two.

I’ll try keep them coming on a weekly / biweekly basis or failing that, I might as well pack this malarkey in altogether.

Melody’s Echo Chamber – ‘Looking Backward’

Melody’s Echo Chamber aka Melody Prochet has announced a new album, Emotional Eternal, which is due April 29 via Domino. The record will be the French musician’s third album and first new music since her excellent 2018 record Bon Voyage. Emotional Eternal is preceded by single ‘Looking Backward’; a dreamy and intoxicating psychedelic pop song with layers of shimmering synths, colours, soft grooves and woozy tones, with Prochet’s recognisable soft but euphoric vocals drifting above.

The first sampling of the new material is all that we would have hoped for and some.

Cate Le Bon – ‘Remembering Me’

Cate Le Bon has released her sixth album Pompeii, follow-up to 2019’s Reward, it is fronted by single ‘Remembering Me’. Difficult to box-off with a taste for offbeat folk but an equal propensity for psych, Le Bon is a treasure and ‘Remembering Me’ reminds us why. Sitting on a cool yet wonky waltzing groove Le Bon’s vocals are as otherworldly and stunning as ever while flourish of guitar appear amid an austere atmosphere; the latter reflected in the introspective and weary lyrics.

Looking forward to sinking the teeth into the album – there is also a rare and great interview in the Guardian for those interested.

Silverbacks – ‘A Job Worth Something’

Dublin-based post-punk outfit Silverbacks have kicked off 2022 in style with new album Archive Material, the follow-up to their superb 2020 debut Fad. The new record continues their propensity for brilliance; a colorful, vivid and exuberant record built upon irresistible grooves and propulsive rhythms, it is spearheaded by lead single ‘A Job Worth Something’. We find Daniel reflecting on his experiences working in insurance while his sister treated patients in a COVID ward, marked by the feelings of futility and guilt he felt at the time. A tight and pointed tune filled alluring guitars, hooks and jangly groove that veers from melodic meander to super focused.

More brilliance from long standing BG favs.

Deadletter – ‘Pop Culture Connoisseur’

Released toward the end of last year, ‘Pop Culture Connoisseur’ signalled the signing of Yorkshire outfit DEADLETTER to the always interesting indie label Nice Swan Records. Lyrically serious yet surreal, musically, it is brash and boisterous (yet very groovy) as a wall of post-punk, dubby bassline, swaggering guitars and impassioned vocals set the blistering tone. Think Gang of Four, Franz Ferdinand and lots of bite. Stellar stuff.

Simple Kid – ‘Failed Musician’

Another released and missed late last year, London-based Irish artist Simple Kid (aka Ciaran McFeely) continued his drip feeding of new material following a long period of musical hibernation with ‘Failed Musician’. A jaunty jam riffing on ‘I Feel Free’ by Cream, guitars glisten and shimmer atop a chugging bassline while McFeely’s recognizable vocals thrive amid the warm tones, charm and general sparkle. Long standing patrons will be aware of my fondness for Simple Kid, his two records – SK1 in 2003 and SK2 in 2006 – are also worth your time.


Future West – ‘Late Last Nite’

Future West is the creative outlet centred around Dundalk-based multi-instrumentalist and producer Francis Watters, who do a fine line in scrappy indie meets groove ridden post-punk.

Having spent the last year-and-a-half writing and recording new material with an all-new line up, Future West will release debut album Who Will Forgive All My Sins in early 2022 and have also shared the first glimpse of their graft, with the superb ‘Late Last Nite’.

Born out of frustration from fear and an internal argument after one too many nights of drinking and staying up too late indoors during quarantine times. Introspective, melancholic wistfulness and smouldering anger thrive in equal measure as vocals shift through the gears to hammer home the lyrics while guitars burn, buzz and jerk amid a layer of fuzz and Strokes-esque vibes meets LCD-style grooves. It is captivating, urgent and groove fuelled post-punk that is candidly introspective yet swaggering – and absolutely brilliant.

Tune in below:

Sprints – ‘Little Fix’

Dublin-based post-punk outfit Sprints have released another single from their forthcoming A Modern Job EP; and quelle surprise, it is a cracker!

The new single ‘Little Fix’ is the latest in a line of brilliant tunes from Sprints – it is a fast-paced, spiky and frantic three-minute post-punk thriller. In keeping with Sprints’ raucous and defiant, yet fun, potent post-punk sound, ‘Little Fix’ is fuelled by short, snappy, repetitive bassline duking it out with a biting guitar riff laying a powerful, memorable and catchy foundation for lead vocalist, Karla Chubb to thrive and soar.
We’ve been keeping tabs on Sprints for a while now and they have impressed on each and every time of asking – ‘Little Fix’ is bursting with explosive energy, swagger and an in-your-face attitude. Take a bow. 

A Modern Job, which is due out via Nice Swan Records on March 11 2022.

SPRINTS – ‘Modern Job’

We’ve been tracking Dublin-based post-punk outfit Sprints for a while now and have impressed no end on each time of asking with their raw, raucous and potent post-punk sound.

Following on from the phenomenal Manifesto EP earlier thai year, Sprints return with news of new EP called A Modern Job, which is due out via Nice Swan Records on March 11 2022. Sprints have already left an indelible mark with releases to date and like their previous work is a fired-up, raucous blast of post-punk. Exploding out of the blocks with ferocious vitality and energy, Karla Chubb’s spoken-sung vocals bite and rise with a focused anger amid the dark, bass-heavy rumblings, sharp guitars and searing noise. Dark, brooding and bone-rattling, potent and poignant;  impressive stuff as usual.

Listen to ‘Modern Job’ below:

The Metallic Cranes – ‘Animated Landscape with Cranes’

The Metallic Cranes is an Irish producer with a vivid imagination and penchant for slow-tempo house with a retro-futuristic slant.

‘Animated Landscape with Cranes’ is the producer’s debut single, and it is a doozy. Written based on an imaginary music video, where a boy is sitting in the back of a car on a long drive across an ocean causeway with cranes flying overhead, and watching the car drive by. Using the sound of cranes, wind, and granular synthesis to create the world the song lives in, they have created something memorable.

‘Animated Landscape with Cranes’ is a fascinatingly imaginative and richly developed electronic excursion; a hypnotic, slick and cinematic vision of downtempo house. It is propelled forward on a wave of soft beats, kicks, twinkly neon-synths and seductive grooves as it meanders along, all in its own time, while a robotic voice whispers in the wind and nocturnal air. A magnificent track masterfully pieced together from start to finish, colourfully creating an incredible sense of wonderment and bringing you under its hypnotic spell from the off.

Listen to ‘Animated Landscape with Cranes’ below now – it is simply magnificent!


Blimp – ‘Always In My Mind’

Blimp is a Dublin-based producer with a penchant for lush, warm and woozy slices of seductive house/electronica – attributes demonstrated in abundance by the beautiful, feelgood and sunny electronica escapism of new single ‘Always In My Mind’.

‘Always In My Mind’ follows debut single ‘Back To Me’ (feat. Kareem Ali) earlier this year, and delivers something deliciously seductive; marrying the exquisite elegance of electronica, dancefloor focus and seductive grooves of house music – and in doing so, crafting something we’d expect from far more seasoned hands. It is a lush, lavish and sunkissed affair as warm synths fizz with life and effervescence, gushing over soft beats, deep seductive grooves and sparkling spurts of electronics, amid an abundance of uplifting and sunny vibes. ‘Always In My Mind’ is a beautifully, uplifting and lush jam, bound together by a feelgood vibe, seductive groove, and peppered by bouts of mild euphoria and compulsion to dance.

One to get lost in as it forms a real sense of familiarity, oozing nostalgic feelings for hazy summer days and nights – and something that will keep you coming back for more.

Listen to ‘Always In My Mind’ below now:

Bobsled Team – ‘Hey Kid’

Bobsled Team are a Belfast pairing – Oliver and Kimberley – with a preference for dreamy, lo-fi guitar-pop – and proudly DIY.

The emerged last year with jaunty debut single ‘This Pink Moon’ and put last year’s rolling Covid-19 lockdowns to productive use, having brought their debut album The Colours Blur into the world this summer. The latest single lifted from the record is ‘Hey Kid’ – a slightly rough around the edges, lo-fi ditty with a charming heart of gold – it perfectly captures the aesthetic of both band and album. ‘Hey Kid’ takes us on a melodic meander as a soft snare patters beneath layers of woozy tones, swirling fuzz and atmospherics as guitars jangle and scratchy riffs waltz with heart melting melodies all while hazy lilting vocals cruise calmly above. 

A warm, charming and heartwarming slice of indie-pop brilliance – give it a spin below – the album (which is definitely worth a moment of your time) is here.