Here’s one that’s been eagerly anticipated here at Riot Towers since their single “Jesus Don’t Save Me” was released earlier this year. The album’s been available in Ireland (and at live shows) for a while now, but this is the official UK release.
So, where on earth do you start trying to describe The Eskies? The band are Irish, but got together in Europe, which hints at the breadth of influences you can hear on this exhilarating, eclectic and energetic album. Ian Bermingham, Tim George, Stephen Kearney, Robert Murphy and Sean O Reilly have pulled together elements of Irish folk, sea shanties, gipsy jazz, klezmer, ska and vaudeville to create “After the Sherry Went Round”. After the mood-setting instrumental title track, it moves at breakneck speed, packing every imaginable punch before slowing down a little with the penultimate song “Rapture and Revelry”, a triple-time tale of mismatched lovers.
Although the tempo rarely lets up, there’s a huge rhythmic and dynamic range across the album. The rhythms shift from a slight emphasis on the backbeat to the out and out ska feel of “Thelma Erve” and many of the songs feature punchy staccato arrangements that add a theatrical drama to the songs that creates a challenge when they’re played live because they need really tight ensemble playing. And, yes, they can do it all live, and more besides. The element that The Eskies never lose sight of is that no matter how dark or melancholy the message of the song, it has to be entertaining if you want to engage your audience. “After the Sherry Went Round” entertains from start to finish with its frenetic pace, changes of direction and injections of theatricality; it’s the craic set to music, if you like.
As an introduction to the weird and wonderful world of The Eskies, this album pretty much nails it, capturing the manic energy and musicality of the live performances while adding trumpet, clarinet and trombone to create a cabaret/circus feel to some of the arrangements. You certainly won’t be bored.
The Eskies have been doing the festival circuit over the summer and they’ll be touring indoor venues through the autumn.
“After the Sherry Went Round” is released on Parochial Dancehall Records on Friday August 26th.
The Eskies have been known to have a go at the odd cover; have a look at this one:
Another Saturday, another venue to tick off the list. The Unicorn on Camden Road seems incongruous in this area; you think it should maybe be a mile down the road with all the vibey places in Camden Town. But maybe it works because of the distance. Anyway, the reason for this excursion from the well-travelled path is to check out a pub that’s daring to put on live music six nights a week; tonight’s offering was the “Somewhat Damaged” night offering four very different live sets. It wasn’t packed to the rafters, but it was reasonably busy, with an enthusiastic audience.
So, first up was a solo set from Adam Lightspeed playing acoustic versions of some new songs and some from his band Starscream’s debut album. It was a valiant attempt, but the album versions lean heavily on big productions and the songs weren’t the same in the stripped-down format. Full marks for effort; it can be a lonely place on stage solo when the room’s nowhere near full. The album “Sexploitation” is definitely worth a listen though.
Next up, Loose Joints were from the badlands of south-east Essex, mashing up funky rhythms with riff-driven rockers and generally getting the audience off their seats on their feet. They even threw in their own take on the James Bond theme. Great tunes, inventive arrangements and loads of fun. I’m sure I’ll be seeing Loose Joints again.
So, what about Sister Witch? The songs are the work of David Ryder Prangley and Lux Lyall, guitarist and singer respectively and they were joined on stage by Belle Star and Anna Christina (drums and bass) from Lilygun and another two guitarists to create a very seventies-style line-up; three guitars, indeed. There’s more than a nod to seventies iconography as well, with DRP’s low-slung guitar and the routine of sharing Lux’s vocal mic à la Bowie and Ronson. And the glam references don’t stop there, some of the riffs could be T Rex at their noisiest and they’re interspersed some classic Stones-style interwoven guitars. And that’s before we get on to the studied ennui of Lux, sitting down to read a Zelda Fitzgerald biography mid-song. A bit theatrical maybe, but it’s all part of the show, and she really can sing, so it’s not just a distraction; it never harmed Bowie or the New York Dolls to introduce a bit of performance art. On a crowded stage there was always something interesting to watch; no way you’re going to ignore Sister Witch. Style yes: substance definitely.
As for Black Sixteen, well, not for me really. Two guitars, bass and drums knocking out muscular riffs and a singer who didn’t quite have the voice to compete. Maybe not helped by the minimal soundcheck, but they just weren’t doing it for me. Nice venue, but one little whinge on behalf of the photographers. Red stage lighting; just say no.
Have a look at some of the photos from the gig here and here.
