Incoming: A Quick Chat With Oh Boland

Oh Boland by Sean McCormack

Oh Boland by Sean McCormack

Oh Boland shall be brewing up a storm of a mastercful raw, noisy garage pop in BRÚ House, Newbridge on Friday, December 1 – fresh from doing the same across the other side of the Irish Sea.

This is the second in a series of collaborative shows between Broken Home & I, as we aim to bring some of our favourite musicians and artist to Newbridge – of which this line up comes up trumps for both of us.

Galway trio Oh Boland are one of the brightest talents to emerge from these shores. Their early EPs are superb and their 2016 debut LP, Spilt Milk is a treasure – and one of the finest records of recent times. The trio truly provide  a masterclass in raw, noisy garage pop that is ragged but irresistible, blasts of lo-fi goodness. Tunes trash, screech and rumble rumbustiously along, while brash it is, it is supremely catchy and mashed with earworm hooks. Here in lies the brilliance of their sound, traversing the space between brash and beautifully catchy. Oh Boland create something unique and special, perfection through imperfection if you will. Just superb.

Oh Boland join Silverbacks and Luke Redmond in BRÚ House, Newbridge this Friday, December 1, for what is a rather formidable lineup – Doors @ 9pm | Tickets (€5/€7) available here.

Ahead of the weekend’s show I caught up with Niall from Oh Boland for a quick chat….

Tell us a little bit about Oh Boland. How did it come about? And what is the essence/inspiration behind the project?

Hi Barry, how are you? Oh Boland are three wholesome shrubs from the verdant plains of Tuam county Galway. Roughly five years ago, I was a gormless dropout working in my Dad’s pub filling swill for fossils. I’d known Simon and Eanna since we were in our teens and so when their band broke up we started hanging out a lot and playing at the weekends in Simon’s house. All of this is probably an intolerable cliché so with any unfortunate reader in mind I won’t elaborate much further. Yeah, that’s how we started playing. With regard to essence or inspiration, I’m not sure. At this point I guess we try to make drunken, poppy, noise music or noisy, drunken, pop music. Those are the three constants in our lives.

After a long time trying to make it work, we finally got you to Newbridge. Are you excited to bring the Oh Boland show to town?

My grandfather is from Newbridge so I’m really excited to get back to the flesh and blood. Stephen of course who’s putting the show on has worked with us on some videos and is a good friend, looking forward to seeing him. My memory’s useless but I’m fairly sure this is our first time playing with Silverbacks too. We have seen them a few times and they’re super good and I’m really excited to be playing with them too.

What can we expect from an Oh Boland show?

Hmmm. Tough one. I think it’s got to the point where we barely know what to expect ourselves. Expect a healthy amount of new material at this point for sure. We’ve a new LP almost ready to go and the live set is often how we get the new stuff together. Otherwise, you can expect a slobbery gurgling bubble-gum punk mess. There’ll be a lot of oohs and aahs and unnecessary soloing. We’ll inevitably end up sounding like a cranked up showband trying to play the national anthem, slowly going down with the ship.

On the issue of touring, you toured the US last year; it would be interesting to hear your perspective on the differences (if any) between touring Ireland and the US?

I suppose it’s the same landscape you have to navigate in both instances. Ireland is way more manageable relatively speaking because it’s such a short run. It’s the blatantly obvious issue of size I suppose. In Ireland there are really only four or five towns to play all within four hours of each other. With America or the UK, you’re looking at stupid ferry routes, 13 hour drives etc. It only takes one day or one hour to break you when you’re crammed into a car with three people fermenting at a rapid pace with little food or sleep. I love touring though. For all the brutality you get to play every night which is the ultimate reward as well as meet every manner of sweetheart and weirdo the particular town has to offer. That makes the bodily aromas and marathon roadtrips easier to swallow for sure.

You’ve shared the bill with a number of legendary bands such as the Sonics and The Undertones, did they offer any sage advice or words of wisdom? What was it like to be that close to the origins of punk?

We’ve been really lucky over the last few years to be able to play with a lot of groups that have influenced us a lot over the years. Though none of the groups we’ve played with really spoke to us that much watching them play at such close quarters was more than enough. Standing barely off the stage watching Gerry Roslie scream is something I never thought I’d ever see.

In my humble opinion, Split Milk is one of the finest records of recent years. Tell us a wee but about making the album and were you happy with how it was received?

Thanks man. Glad you like it. At this point Spilt Milk is actually quite an old record in terms of the recordings themselves. We did the whole thing over Halloween weekend 2014 amazingly. The record was made with our long standing saviour Mark Chester of Ginnels, No Monster Club and Lie Ins fame. Everything since Delphi we’ve done with him and he’s always been really easy to work with. He listens to the same stuff as us and knows how we want to sound and how to get there. As for our approach to recording we like to do it pretty quick. This is mainly due to money and time, between getting time off work and not being able to fork out heavy currency for a studio. It also has a lot to do with the sound and performances too, to be able to just bash them out really quick with little time to be precious and second guess what you’re doing. I think though there is obviously a difference between onstage and recording the heart of a recording has to maintain a similar energy to the performances onstage. The heart of everything is cut live. The three of us in a room trying to wobble through the tune as best we can. I’ll add some extra guitars and that’s it. We do most of our recording as of late out in a cottage in Carraroe out in the wilderness. So that was it, two days out there running through the ten tunes and out the door again, sadly nothing worthy of a BBC4 documentary.

As for the reactions to the LP, yeah I’m fairly pleased. We are all really happy with how the record sounds and the experience making it and though I can’t really get my head around it people have been into it and that’s been really nice.

For me anyway, the brilliance of the Oh Boland sound is it simultaneously traverses a space between brash and beautifully catchy – is this a conscious thing or did it just sort of happen?

I suppose it’s somewhat conscious, a reflection of the weird extremes in our record collections. There was never a conscious decision to cross this with that. We were just bashing out what felt good in Simon’s garage. We all love 60’s music and 70’s power pop music. So you definitely have that element, but on the other hand we also love really loud abrasive sounds and it needs to be said that we’re also pretty sloppy musicians, particularly when we were starting out. So I suppose we started unwittingly trying to resolve the two extremes in the music and being so loose as musicians it just sort of came out the way it came out. As we’ve become tighter together musically it’s become more of a conscious thing.

What are you listening to at the moment?

I am listening to The World, Flesh World, Day Creeper, The Cowboys, the new Protomartyr LP, Rays, Arthur Russell, The Necessaries, Game Theory and Terry Allen in that order.

What are your plans for the rest of 2017 and 2018? Can we expect a new record soon?

We’ve a lot planned for next year. We are planning some trips over to the UK and a European tour in late spring as well as a return to the US late in the summer. We’ve also got a new LP almost finished which is going to be called Cheap Things and you can expect that sometime in the summer too.

And lastly, in all the interviews you’ve done is there anything you’re eager to address but no one ever asks you?

I can’t really think of anything right now. Leave that one with me.

Touts – ‘Bomb Scare’

Touts-press-shot-new

Derry punks TOUTS were the finest new discovery at HWCH last year, scintillating at Electric Picnic this year and their debut EP Sickening and Deplorable, was exhilarating.

The Maiden City trio are about to release their new EP LIT and ahead of its entering the world we’ve got latest single ‘Bomb Scare’ to contend with. ‘Bomb Scare’ is an intense first preview of what to expect, and continues to build on the ’70s punk sound they’ve rather nicely cultivated thus far. An absolute punk rock stormer, this is a three-minute rattle through ’70s-channeling punk with a furious and thrilling high energy. Despite its rawness and filled with an undeniable anger, ‘Bomb Scare’ manages to maintain a certain level of fun and undoubtedly danceable. Outstanding on record and scintillating live, Touts are one of the most impressive acts on this Island right now – and if you get a chance to catch them live, do it!

Touts’ second EP LIT is out now via Hometown Records. The four track EP includes the lead single ‘Bomb Scare’, which you can sample below:

Continue reading

Introducing: Irascible Fuck Brigade

18194991_139124826629033_808940916900197213_n

Formed earlier in 2017 by one angry Englishman and his machines, Irascible Fuck Brigade are hard to forget; partially due to their rather tasty handle but also because of the ferocity and caustic nature of their electro-punk sound.

While lyrics rage at societies increasing structural inequality and seething anger is never far away from exploding, the music differs in texture and intensity, sliding between punk, rock and electronic. Irascible Fuck Brigade don’t create music which is easy on the ear, rather it reflects a genuine anger and frustration (and a backlash against), proclaiming a defiant message of protest that takes no shit. Take recent singles ‘Slash The Fucking Seats’ & ‘Chocolate Box’, both feisty, ferocious and angry, they chop and change between styles but the instrumentation is intense, releasing the pent up energy like a coiled up spring, whilst the impassioned and flurried lyrics implore the listener to smash the chains. Blistering, righteous and caustic; Irascible Fuck Brigade leave a hell of an impression.

Listen to ‘Slash The Fucking Seats’, ‘Chocolate Box’ & ‘Conservative Dad’ below:

Passed Out – ‘Bukowski & Brautigan’

19657165_682774608582393_8886087345623857225_n

What can you do in one minute and 18 seconds? You can’t adequately boil an egg. If you smoke, you can probably hoover a sneaky one but a far more worthy while and healthy option is listening to ‘Bukowski & Brautigan’; the latest single from Buffalo, NY-based pop punk outfit Passed Out.

‘Bukowski & Brautigan’ packs a lot into 1:18. A ferocious, defiant, swaggering, riff-laden and catchy-as-hell, cohesive ball of punk rock force with a power-pop touch, ‘Bukouski & Brautigan’ is full to the gills with wailing guitars and screeching vocals on top of a twitchy, fast and furious drums.The new single is lifted from their forthcoming EP, The Aforementioned and How it Pertains to Absolutely Nothing.

Take a listen to the single below, guaranteed to be the best one minute and 18 seconds of your day, and check out more of Passed Out here.

Genius – ‘2226’

artworks-000240210721-zg2063-original

Based out of the port city of Busan, South Korea, GENIUS is Steve C, Lee Chung Mok, and Kim Il Du.

Since forming in 2009, they independently released two studio albums Yangatchi (2009) and Birth, Choice, Death (2010), before releasing their third album, Beaches (2014) through Helicopter Records. The rock and roll foursome released their new and fourth album Starsea back in August and ‘2226’ is the latest single lifted from the record. ‘2226’ is a fuzzed-up, scuzzy and meandering rock and roll jam. Imbued with a punk spirit, the drawled vocals and buzzy punk guitars wade through a haze of fuzz and feedback with a loose, free-flowing vibe. As incessant the buzz and fuzz is, ‘226’ is strongly melancholic, dreamy and somewhat catchy – in short; it’s a top tune!

Starsea is out now & you can stream it here. For now, listen to ‘2226’ below now:

Johnny Kills – ‘End Game’

21369330_529529997386878_1810065090001206087_n

Brighton/London-based garage-surf trio Johnny Kills have been delighting our ears with a series of infectious and scuzzed-up singles; ‘Let’s Talk About Me’ & ‘My Shirt Guy Is High’.

The trio have returned with a scintillating, razor-sharp single ‘End Game’. A fizzy sub-three-minute blast of fuzzed-up and scuzzy alchemy. Vocals flicker in and out between meaty bass, crunchy riffs and searing percussion, all the while maintaining a sweetly melodic core. Clocking in at just under three minutes, it does not mess about and it will certainly brighten your day.

Everything from Johnny Kills thus far has been sensational, here’s to that trend continuing into the future.

For now though, you can take a listen to the superb ‘End Game’ below.

Penguin – ‘Fiction’

penguin1

Penguin are protopunk-influenced alt-rock newcomers from Newcastle-upon-Tyne, who made their musical introduction with debit single ‘Not A Problem’ back in May.

On that occasion the Geordie outfit delivered a cut of anthemic, indie-rock brilliance; and they are at it again with latest single. ‘Fiction’ is an irresistible three-minutes of relentless, fast-paced alt-pop fizzing with a lively electricity. Propelled onward by clattering percussion, driven guitars, meaty riffs and playful rhythms, ‘Fiction’ is as infectiously sing-a-long as Futureheads at their very best. And if that comparision where not enough, the wonderfully exuberant breakdown finale brings to mind the late, great Beta Band. An utterly marvellous fun and riff-filled adventure to a place of sheer joy! If this doesn’t warm your heart and plaster a delirious grin across your face, nothing will.

‘Fiction’ is out now, listen to it below.

Introducing: Stoat

20424015_1574304385959440_5739287509699390241_o

With an extensive back-catalogue, an indie/post-punk sound similar to HMHB meets Sultans of Ping FC and Irish to boot, it is a mystery how Stoat existence remained unknown (to me at least) until very recently.

After taking a breather for a few years, so far in 2017 Stoat have been revealing new material with a view to releasing an LP called Try Not To Think About It later in the year. The latest single lifted from the forthcoming record is the title track, providing a welcome introduction to both band and LP. Spearheaded by militaristic drums, jerky and somewhat jagged punky-reggae guitars and wry, sardonic lyrical quips. Delivered with hawkish precision, they tap along in perfect time regaling tales of the downside of fatherhood, domesticity, and steady employment. Striking a balance between bashing out a memorable jam and being light-hearted is a tough ask, many have tried and many have failed. But thankfully – like the aforementioned HMHB & Sultans – Stoat deliver the goods. Hopefully there’s more to come from Stoat in 2017, an excellent – if somewhat belated – discovery.

Check out ‘Try Not To Think About It’ & other recent single, ‘Talk Radio Makes Me Feel Alone’ below.

Something for the Weekend: New Music Playlist #1

BGPL1

A brand new feature on the Gruff channel, a weekly 15-track Spotify playlist series featuring some of the finest new music to prick my ears.

Clocking in at under and hour, it’s an easily digested slice of new music, just in time for the weekend. There’s a nice mix of genres and styles too, allowing me to share more great tunes for your ears, so hopefully it can be a regular feature. We’ll see how it goes, I guess.

Continue reading

Chick Quest – ‘Down in a Crypt’

Chick-Quest--Down-In-A-Crypt-

Self-described ‘Spaghetti Western Post-Punk Dance Party’, Chick Quest are an unconventional punky foursome – Ryan White (vocals, guitar), Iris Rauh (drums), Marcus Racz (trumpet, keyboard), and Magdalena Kraev (bass) – hailing from Vienna, Austria.

Chick Quest explore rather unusual realms of music, taking in parts punk, post-punk, ska, funk, b-movie and spaghetti western soundtracks. The Austrian foursome are readying their second album, Model View Controller. Ahead of its release later this month, Chick Quest provide a preview with ‘Down In A Crypt’. Its all dance-y and fuzzed-up post-punk with a spooky b-movie-esque organ riff, crunchy guitar riffs, brisk bass-line and dynamic beats. Catchy, infectious and simultaneously rather creepy; it’s a hard act to pull off but pull it off they do.

Model View Controller is out February 24th via Triangular Sounds. Until then, why not give ‘Down In A Crypt’ a spin below.