|
...
venue: eamon dorans, dublin
“…unlike many of the local bands I’ve seen recently,
they know how to dress themselves and make a decent onstage entrance.
splitting the vocal duties between a bassist who’s a ringer
for alex out of blur and a screaming blue messiah of a guitar player,
the band don’t dally, tearing into a fistful of songs that
wear their references (the jam, the smithereens) with pride. is
this paddypop? well, if that means punchy playing and sharp arrangements,
yes it is, and I’m all for it.
a rousing cover of the primitives’ ‘crash’ brightened
up the earlier part of the set while ‘marlene’ is the
band’s strongest contender for a single, an earnest but tough
tune that put me in mind of the late lamented fischer z. not that
there isn’t work to be done here. the
bass ‘n’ drums could use a little poly(rhythm)filla, but
happily there’s nothing askew that couldn’t be sorted
out with a month’s worth of gigs.
the important thing is that they are on the right track, pursuing
a skilful synthesis of melody and mood that’d make bob mould
proud. titles like ‘paralysed’ are dapper, snappy and
don’t labour the point. think of weller at his most buttoned
down. think the attractions backing frank black.
as I left, they were transposing omd’s ‘enola gay’
from synth-wistfulness into blistering power pop, three men with
a mission to restore our faith in forgotten pop songs….”
back
to top
|
|
|
I recently
received a suspicious package in the post, which once the lads
from the Irish Rangers had given it the once over I feverishly tore
open
with curious expectatition. What I found was a copy all be it a
rough of
Divebomb's latest C.D. curiously titled Verbatim ( the latin influence
probably the result of a good Christian brother education...). So
here it is
at last the definitive answer to the question everyone in the music
industry
has been waiting for with bated breaths. What is the question?...What
is
the new album like? Is it good? Is it up to all our expectations
or have
they just been as so often happens over-hyped? Read on...
The Dublin trio decided stick with the traditional format of a circular
disc
in a case. But don't be fooled, this is not a trad album in the
conventional
sense of the word, nor even in the sense of any other word. This
is a rock
album which once I pressed play I was delighted to find that they
had also
decided to open with track one and continue in numerical order until
the
final track which ends on the last note ( no artistic differences
apparent
from the boys there anyway). Some people may think this is a bit
old hat,
but I am a great advocate of this system. Numerical sequences are
with a
little training easy to understand and I firmly believe that anything
else
would merely confuse and detract from the music.
Track 5. A fantastic song, single material until the end. I have
no problem
with modern music being influenced from the past. However in this
track the
lads decided to give the Beatles and oul nod & a wink...fair
enough. I do
admit that I'm not a Beatles fan but this was not a nod and a wink,
but more
of nutting squarely on the forehead of the fab four.
Track 8.This track started off promisingly enough but then...Who
got the
albatross record for Christmas??? Go on stand up any be counted.
Track 12. brought a tear to my eye for reasons that will soon become
apparent. This is a really good song, the vocals are a little weak
but
overall I like it. But then at the close a piece organ grinding...organ
grinding of the Prince genre was included. The reason for this is
beyond
me...This must be what it sounds like when doves cry, especially
when
they're grabbed forcibly by the goolies in a vice like grip.
Track 15 starts off very promisingly but then it reaches the downhill
bit,
starts to gain speed and plummets with meteoric and indeed catastrophic
consequences. Imagine my surprise when Richard Burton pipes up.
I'm afraid
I'm not going to pull any punches on this one, it is truly awful.
A War of
the worlds meets Das Boot tour de farce. I would personally have
had the
clip from the movie Where Eagles Dare when he drawls 'Broadsword
calling
Danny boy'... and as for the submarine sonar noises...No I wont
say, because
it would probably be libelous. Should I mention the fact that its
something
like two hours long. Now this is a situation where numerical ordering
does
work. I would have been quite happy if track 14 finished just there
and no
further. OK maybe I'm being a bit harsh but I really didn't like
it.
So anyway the following is a countdown of the hit list in a particular
order. This is my opinion and mine solely for what its worth...1.
Overboard. Super... Maybe a little tinny.
2. Like it is. Its a hit.
3. Step away.I'm not sure about the sythesiser sound and be careful
with the backing vocals. Otherwise I like it.
4. You. Top drawer.
5. Perfect Air. One of the classics.
6. Torchlight. Brilliant if slighly
over indulgant on the vocals.
7. Better. Good although the backing vocals are a bit reminiscent
of the U.K. subs and the like.
8. Everybody (listens to the radio)There
was no need for the 'yeah'
bit towards the start otherwise a good solid song.
9. Caught out. A really good song. But you have got to be really
careful with the arrangement...I know you are not that kind of band.
10. I wish. This is pretty good song, although, I do think it needs
a bit more ummph.
11. Play dead. A bit towards the Radiohead style of things. I really
ike it but it won't get you noticed by the A&R man.
12. Self destruct. I've already mentioned
this song so I'll say no
more.
13. Every now and then. Magnificent.
14. Radio girl. Excellent...yeah.
15. Dark love. Well you know...
Overall with a bit more studio production work there is a good album
of 10
to 12 songs here.
Meanwhile Dave Egan the chief protagonist in this beat combo can
usually be
found poncing around various hostelries in Dublin of a weekend.
Hanging
around with an assorted bunch of liggers and wanky designery types
discussing the latest in black clothing.
The album is due out on a label in a shop for a price. Watch a space
for
something.
Brendan O'Reilly.back
to top
|
|
|
|
|
|
Generally
good, all good songs but
1.
Overboard – Bass intro a bit week (more powerful live)
2. Like It Is – Leave off – Good song but too different
from rest of album – sounds like Blur – that stuff is
old hat
3. Step Away – Leave off – Again OK song but doesn’t
sit well – too retro
4. Perfect Air – Fine
5. Listen To The Radio – Fine
6. Radio Girl – Leave off –
It’s a live song & should be kept live – putting it
on the album doesn’t benefit the song
7. You – Fine
8. Torchlight – Fucking excellent!
– This is the sound that you should be going for – Produce
the other songs more like this (distorted/affected vocals especially)
to give the album a ‘sound’. The album needs a common
thread through the songs.
9. Play Dead - Fine
10.Caught Out –Leave off – Too different, doesn’t
sit
11.Every Now & Then – Fine
12.Better – Vocals sound forced – too rough
13.Self destruct – Fine
14.Dark Love – Fucking Briliant – Pure genius, particularly
liked the music backing RB – a perfect last song…etc.
back
to top
Hi
Dave,
Sorry for the long delay in getting this review to you.
I had scribbled notes on the first seven songs before I headed off
to Mexico. I should have sent you these and not waited until I got
back.
Anyway, here?s my review, better late than never. I guess you might
even have finalised the songs for the new album in my absence but
I am sure that you would be interested to hear my thoughts either
way.
I have deliberately written these notes without referring to the
previous notes I sent you so you will get slightly different thoughts
for some songs which I have commented on before.
Prefacing with the fact that Joe Deegan is really only into fast
fast fast rock/new wave/trance etc: here goes ?
1 Overboard 3:30
This song is lively enough alright but I feel bad saying it that
I don?t think it?s anything special. It was one of the first songs
that I downloaded from the site months ago so I have played it quite
a few times. The song starts to sound quite repetitive after quite
a few plays. I like the instrumental towards the end. Would it be
possible to expand or amend any of the lyrics so as to make the
song a bit more varied?
2 Like It Is 4:27
OK, again nothing special. How about ramping up the bass a bit?
3 Step Away 3:27
The organ nearly sounds like the Moody Blues (and that?s not a compliment).
This song is not for me.
4 You 3:47
This song is an absolute killer. It has a great deep bass sound,
a bit like The Vapors used to have. It?s the first song I?ve ever
heard you do that reminds me of The Vapors/The Jam.
In my opinion, this song is head and shoulders above any other new
songs you?ve done. I think it might be the best of any of your songs.
It really blows me away.
Lyrics are also excellent on this song.
Just a note about where the song slows down. It slow around about
2:20 and it doesn?t really kick again until 3:00. I think that 40
seconds slow in the middle of this song is longer than you need.
If it was up to me, I?d probably cut it to no more than 20 seconds
slow section.
Also, I accept that slowing down with a gradual build up to the
fast section again is one way of doing things. What about a slow
section with no build up and then after 20 seconds just jump back
in at full speed. Think of the great way Bohemian Rhapsody lulls
us in to a false sense of serenity and then bang!I really hope that
you guys wrote this yourself, as I will be really disappointed if
this is a cover because it is a really brilliant song. I am not
the only one who thinks this. As far as I recall, I think Paul Deegan
was really impressed by this song.
If you are going to release a single to promote the album then this
should be it. That said, if you do decide to release this as a single
make sure that you move heaven and earth in promoting it as it would
be a shame to release it and not do it justice.
If you are sending copies of the album in to radio stations etc
you should highlight the fact that song ?You? is one they should
listen to if they listen to nothing else.
I also think that when you do release the album you should do all
in your power to get the band on to the Late Late show and play
this song. Remember that Luke?s dad works in RTE (is he still on
Fair City) so he might know whose doors you might need to knock
on.
Make sure that Pat Kenny mentions the web site address, and make
sure that there are some upcoming gigs on the site then even if
it?s just a gig in Tower promoting the new single/album.
I also think that you should immediately put up a sample of You
on the website now but make sure that it is not more than one minute
long. How can you expect people to pay for songs that they can get
for free? And, amend all the other tracks so that they are only
one minute long.
A brilliant brilliant happy/sad love song.
Also, because this song is so so strong, I would suggest that you
might consider naming the album ?You.?
Don?t put this as the first song on the album, maybe as track 4,
or 5, or 6. If you put it as the first track you risk people getting
tired of this wonderful song as they will always end up playing
it even when they only have time to play a few tracks from the album.
What about putting extras on the album as well. Put on a live gig
Video version of You for instance. Now that could be a good marketing
point!
5 Perfect Air 5:29
Would you not think of renaming this song ?Scared??
This song has Bowie-ish sounding vocals. Excellent slow and fast
contrasts. How about cutting it at approx 3:50? At 4:25 it sounds
Beatle-ish (the brass sounds in there) and I don?t think the song
needs it at all. It?s like two different songs and I don?t think
they gel together at all. Frankly, from 3:50 onwards, it?s an indulgence
;-)
6 Torchlight 3:5
What else is in this aside from guitar? Is it violin? If so, then
highlight more for a deeper mood (if you insist on doing a slow
song). Skindive use violin sounds to excellent effect. Divebomb
also use violin perfectly on Everybody listens to the Radio. Lyrics
seem very high in tone between 3:00 and 3:107
Better 3:05
The song has a good lively beat with a deep bass. Do the lyrics
have to be growled so much between 0:20 and 0:35 ? Would it not
sound better sung a bit clearer and deeper? I accept that maybe
the whole point of the harsh vocals delivery is to convey the singers
mood?
8 Everybody listens to the Radio 7:19
This is an OK song (for a slow song). Again, I think it?s over long.
I would end it not later than 4:45. Don?t put this on too early
on in the track listing for the album. Put it towards the end of
the album.
9
Caught Out
I can listen to this; it?s a kind of OK to listen to in the background
type of song. The violin works very well and the instrumental between
3:36 and 4:29 is very good. If you didn?t kill the lyrics at 3:36
the song would be overlong. Last few lyrics at 4:29 close the song
perfectly. As you can see there are parts of this song that I certainly
like, it?s just the Joe Deegan bias against slow songs is always
there.
10 I wish 5:03
Sorry, this one doesn?t work for me at all. I think the only people
that this song will appeal to would be female (fair enough you say).
Maybe if this song had female vocals it would appeal to me.
11 Play Dead 5:26
No, I don?t like this one. It just sounds too dreary. It reminds
me of Morrisey really dreary depressing music. Even if I was depressed
I wouldn?t want music like this. I?d be more likely to play something
by The Primitives to rock myself out of depression.
12 Self Destruct 3:54
Good lively song. Yeah, a good song, but just not a great song.
I think it might be missing something but I can?t think what. If
you did any different versions of this song I would like to hear
them. I think the ?Ooh la la la la la? verses do the song an injustice.
I know you can sometimes get away with this ? even the great Paul
Weller wasn?t afraid to throw these in as required, but ?. How about
?I-I-I-I just can?t get enough? instead, or something else, anything
else. I am not saying that it really sounds that bad, I just think
that if you could come up with some lyrics instead of ooh la la
?. it might improve it a bit.
13
Every Now And Then 7:00
Another song to put towards the end of the album, preferably as
the last track, or better still a hidden last track so that people
would only come across it accidentally ;-) If you do have to put
it in the middle of the album please think seriously about the 7
minutes length. Anyway, you are going to maybe have to shorten some
of these songs to leave room for the live video of the excellent
?You.?
14
Radio Girl 3:29
Excellent stuff. Treble (symbols) sound a bit high on this track.
The song that ?launched? Divebomb (on the live circuit anyway).
I?ve yet to bring anyone to one of your gigs who didn?t like the
band. This is one of the reasons why. If people don?t remember any
other songs after a gig they will probably remember this one because
it is a great rocking song and a has a very rememberable title.
15
Dark Love 10:00
Scary stuff. You?re kidding right. No way are you thinking of putting
this on the album, right? The writer might have been on drugs when
composing this but that doesn?t mean that we should have to be on
drugs to listen to it. If I got this on its own on a CD I would
use it as a coaster or I would put it up in the garden to scare
away the crows. In parts it sounds a bit like Garbage on a bad day.
But really it?s so far away from Garbage it?s not even rubbish.
If this review is not honest enough for you then I suggest that
you forward the song to that Pop Idol judge, what?s his name, Simon
Cowell is it?
Where is Solitaria, tell me you are not going to leave this off
the new album.
Anyway, I hope you don't take criticism to heart. If you do, then
don't ask for any more reviews.
Remember, think about putting lyrics for some songs on the album
(even just for 'You' if for no others).Looking forward to seeing
the new album.
Any more gigs comming up?
back
to top
|
|
