Review

Nivola: The Easy EP

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Nivola (sounds like a bloody girlie shampoo eh?) are a 3 piece indie rock band from Bray, Co. Wicklow Ireland. The dirtiest town in Ireland, or so they claim, but that’s a disputed title if ever there was one. In the short period of time the band have been together (8 months or so) they’ve managed to make it out to the Whisky-a-go-go in LA and supported Brooks Waterman of Bad Religion and produce this excellent demo. “The Easy EP” is 3 tracks of old school alternative rock, huge slabs of sonic guitars juxtaposition with some laid back jazz sounds and powerful vocals – the kind of stuff that used to come out of Ireland so regularly before the Celtic Tiger came along a gave birth to a bunch of bastard boy-band cubs. Maybe this is the start of the cull.

March 2004

Review

The Sandcarvers: This Time Around

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From Southeastern Wisconsin the Sandcarvers perform classic-styled rock infused with Celtic adornments. Much like Wolfstone, Brother and perhaps Tempest on a bad day, the Sandcarvers are clearly a rock band injected with subtle bodhran, recorder and guitar accents to suggest the Celtic-rock designation. They do provide interesting takes on traditional pieces “Drowsy Maggie” and “Danny Boy.” The latter begins in expected syrupy fashion but quickly morphs into an upbeat fresh take on that infinitely overdone folksong. The best original piece is “Old Man” which begins with a didgeridoo introduction by Hamish (of the band Brother) and is accompanied by an infectious recorder refrain. The Sandcarvers are a decent rock band but if they want to make a greater impact on the sub-genre known as Celtic-rock they’d be wise to add another instrumentalist like a fiddler or accordionist and do away with the electronically reproduced bagpipe and harp sound.

March 2004

Review By Dave Sleger

Review

Novi Sad: Europe’s Other Side

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After more than a decade of proffering quirky and arty pop-rock (with a hint of psychedelia in recent years) Austria’s Novi Sad switched gears with their sixth release, Europe’s Other Side. This largely acoustic collection of original modern folk songs is characterized by the exotic voice of Evelyn Blumenau (who at times resembles Dolores O’Riordan) and Klaus Schuch’s poignant songwriting and deft guitar playing. Drummer Manfred Scharf is featured, more often than not, on accordion contributing immensely to the overall mood of this album. At times the lyrics are impossibly dense, thus difficult to grasp, other times they are beautiful in their stark simplicity. For instance, rarely has a more tangible sound coupled with a graphic visual been created than on the haunting title track. It gives the listener a true glimpse into the underbelly of deep Eastern Europe. This album contains moments both moving and jarring and sometimes overly simplistic in content. Quite frankly, it also contains confusing moments that seem to make little musical or lyrical sense. In context, however, this is a well-crafted and artistic piece of work that should satisfy those looking for more plaintive and reflective qualities in modern folk music.

March 2004

Review By Dave Sleger

Review

Polkaholix: Denkste!

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First of all it must be noted that this band should not be confused with the Chicago-based band similarly dubbed the Polkaholics. Surprisingly both bands play roughly the same type of music – which is rocked up polkas sometimes bordering on punk. This German outfit from Berlin is more esoteric than their Windy City counterpart. With an emphasis on brassy arrangements the Polkaholix sneak Klezmer, gypsy, Cajun and Celtic influences into their polkas, in a manner not unlike that of the Texan eclectics, Brave Combo. Sung exclusively in German the lyrics don’t necessarily need to be understood in order to appreciate this group’s energy and impeccable musicianship.

March 2004

Review By Dave Sleger

http://www.polkaholix.de
Review

Burn Witch Burn: Burn Witch Burn

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Maybe this is old news, maybe not. So if you haven’t heard of Burn Witch Burn, please continue to read. If you already have heard of them, give yourself a nice big ole pat on the back, and smile big like a jackass on a sugar-high, because you beat me to it. The band no longer exists. If fact this album was released back in 2000, so i’m only four years late. (Not bad, considering Shane MacGowan hasn’t released a studio album in SEVEN years!) Anyway, Burn Witch Burn hails from Philadelphia, Pennsylvania, and at the time of it’s release, it was the newest project of Rodney Linderman. (More on him later)

In this reviewers opinion, Burn Witch Burn, sounds like they have been up in the Appalachian Mountains since the 1800’s and waited for the new milleneum to come down and record the album. Picture early Americana meets Celtic flavored Gothic folk, only to be topped off by the dark, mystical vocals of Vienna Linderman. You can’t help but feel the hair on your neck raise up a notch.The mandolin playing is top notch. Actually, the entire album sounds fantastic, with only one exception. Rodney Linderman’s vocals. Yes, I know what you’re thinking… Shite’n’Onions Webzine talking smack about a band? Well, for the record, i’m not talking smack at all. I’m just explaining to you that I’m so used to the lead singers previous work in other bands. You see Rodney Linderman is probably better known as Rodney Anonymous, from The Dead Milkmen! That’s right, The Dead Milkmen. Let me go on to tell you that Burn Witch Burn doesn’t contain any lyrics about smoking bananna peels, and it doesn’t mention anything about things that only eat hippies, (Great song by the way) but that’s the problem. After listening to The Dead Milkmen for so many years, I keep expecting Rodney to suddenly go off and start talking about big lizards in his backyard. Don’t let this stop you from checking these guys out! There are some incredicle tracks on this album. It’s worth a serious look to those of you who enjoy some original music.

March 2004

Review By Brian “Bitchin’ Camero” Gillespie

Review

Amadan: Hell-Bent 4 Victory

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Hell-Bent 4 Victory…I knew it was coming, I just had no idea it would be this good! What a surprize! I have to admit, I haven’t seen Amadan in quite awhile, so I had no idea what was in store for me when I first played the album. The sound is much more full on “Hell-Bent 4 Victory.” In fact, the album sounds nothing like their debut release: “Sons Of Liberty.” Somewhere down the line, The Amadan guys decided to plug in a guitar, and turn the volume up. They also added a full drum kit, a little bit o’ banjo, and some squeezebox action to their sound. It’s amazing to hear how much they’ve grown from their debut album to now.Truth be told, I’ve been listening to it for a full week, and can’t wait to see them live again. (They’ll be opening up for The Real McKenzie’s next month.)

The entire album is solid, from track 1 all the way to 12. Don’t believe me? go check out the Amadan website! Click on the two minute samples and you’ll soon be in complete agreement with me. Ten bucks says you’ll say “holy shit” at least once, possibly twice, and if not I still won’t pay up because i’ll know you’re lying! I’ve been trying to decide which songs stand out more than others, and it took me while, considering all of them are equally as good. I like the upbeat “Nevr 9to5” or the guest vocals of Paddy Buckley (f/Grafton Street & The Pagan Jug Band) on the semi-traditional “Paddy’s Green Shamrock Shores”. “Rhyme Of Remittance Man” was another standout. I also need to mention the last song on the album; “Horseshoes & Handgrenades”.

So there you go, a fan-fucking-tastic album that was recorded right here in Portland. Enjoy!

March 2004

Review By Brian Gillespie

Review

Lady Godiva: Zooperation

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With the exception of groups like early Mahones, the Skels and the extraordinary Greenland Whalefishers, perhaps the finest posthumously Pogues-influenced act is this German septet, Lady Godiva. On this, their fourth release, they’ve continued their quest for a more guitar-heavy sound but not at the expense of their Irish folk affinities. Their duo-electric guitar attack is complimented nicely by mandolin, banjo, accordion and tin whistles, and other than “Peggy Lettermore” and “Springhill Disaster” they’ve written all of the songs here, most in quite convincing fashion. No small feat for a band that only a few short years ago experienced great difficulty utilizing the English language effectively. Lead singer Andreas Beckman’s German accent is quite obvious, which is to be expected, but it doesn’t hinder the listening experience in the least. While this album is highly recommended to those who enjoy Irish-influenced rock & roll, it is also recommended that one purchase Lady Godiva albums in descending order, being particularly mindful of the fact that their debut Whisky You’re the Devil contained some dubious English usage. That said, their earlier records were arguably rawer sounding and more “pub-worthy” than their 21st century releases.

March 2004

Review By Dave Sleger

Review

Sammy Horner: Acoustic Celtic Praisen

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On this, his fifth solo outing, Electrics lead singer Sammy Horner continues in the same fashion carved out on the previous four. While the Electrics have slowly blossomed into a crack Celtic-rock outfit with declarations of faith sometimes understated, Horner’s solo albums leave little for debate. He is an unabashed Christian whose music is intended to edify and entertain the believer. That doesn’t mean that the non-believer cannot appreciate his work as he’s developed into a top-notch songwriter brimming with irresistible melodies. This album is what it is – an acoustic collection of songs of worship and praise. Several of these selections have appeared in more amplified versions on previous releases like QUAICH and T-ALLT RUADH. On this recording singer and guitarist Horner is joined by longtime Electrics member Jim Devlin on guitars and mandolin and recent Electrics addition Tim Cotterell on fiddle and all manner of acoustic instruments (mandolin, mandola, banjo, melodeon, etc.). Cotterell, incidentally, also plays with the left-leaning Tricks Upon Travellers, which must surely cause him to reconcile his beliefs in one direction or the other. Regardless, Sammy Horner and friends have created tasteful music that will hopefully appeal to those who might otherwise dismiss it as too preachy or “churchy.” As a longtime fan of Sammy Horner’s music (both solo and with the Electrics), and as one who is secure in my beliefs I am not at all hesitant to give ACOUSTIC PRAISE a categorical thumbs up.

March 2004

Review By Dave Sleger

Review

Black 47: New York Town

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Granddaddies of the whole Celtic-Rock scene in the US, B47 are back with their first studio album in 5 years – since the disappointing “Trouble in the Land.” “New York Town”, is Larry Kirwin’s attempt to compose a musical picture of his adopted home town, pre and post 9-11. I know on the sleeve Larry mentions Joyce and Ulysses and asks not to be compared but I do see a strong comparison in concept to Joyce’s “Dubliners” – a collection of unrelated short stories set in the general vicinity of a city (Dublin) in and around the same period of time, touching on the lives of ordinary people. On “New York Town”, like Joyce, Kirwin paints a picture of the lives of real people – the hero’s, the villains and working stiffs that make NYC the greatest city on the earth. Musically, NYT is B47s least “Irish” sounding release. B47 have always been the sound of the Irish ghettos of Queens and the Bronx sticking its toes into the pool of ethnic sounds of the rest of the city. But on NYT, B47 have taken that plunge head first and enveloped themselves in the sounds of the city as a whole. The additions of guests like David Johansen (New York Dolls) and Christine Ohlman adds some spice to the mix but on the other hand highlight the weaknesses in Larry’s own voice.

March 2004

http://www.black47.com

Potato-eating, Whiskey-drinking, Bog-trotting, CELTIC PUNK ROCK