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Their music might be chilled-out psychedelia, but, in person, The Coral are capable of Gallagher-level rowdiness. Not that they harbour dreams of being the next Oasis. The Liverpool outfit are happy being a cult act...
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Irony-deficient Nordic rockers Turbonegro are one of the world’s most credible hardcore acts, with a fanlist that includes Queens Of The Stone Age and Therapy?
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Shitdisco's Joe Reeves has kind words for Sting, Paris Hilton and Arnold Schwarzenegger.
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Ahead of Electric Picnic, seminal band Sonic Youth chat to Hot Press.
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To be fair to Ritter, he’s played the hand he’s been dealt with bravado and good grace.
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Fife's finest songwriter returns with a sophomore disc that's neither drastic nor fantastic, but is nonetheless rather good.
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They're incendiary live - but can the Brixton-based ensemble bring that fire to the studio?
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If Cole’s Corner was a monochrome Saturday afternoon matinee, Lady’s Bridge, is a Technicolor Friday night feature.
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The audience witnesses Prince in his full-blown, mercurial, magisterial pomp. The Earth Tour is a misnomer – it’s out of this world.
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Damian Dempsey, The Spooky Men's Chorale, Dobet Gnahore and the Kocani Orkestar live at Farmleigh, the Phoenix Park
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The Stones brought their time-honoured brand of of rock'n'roll mayhem to Slane, delighting the faithful.
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The dark angel of Montreal is in joyous form tonight.
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Over the past six months Delorentos have found themselves in the not entirely enviable position of being tipped as the next big thing before they’d released a single note of music. Thus their debut EP finally arrives with great expectations. Fortunately, it’s a case of happy endings all round as the Dublin four piece pass their first test with flying colours. Indeed, you’d be hard pressed to recognise this as anything but the work of a band at the top of their game. Every aspect exudes pure confidence. The only possible worry, in fact, is that, with its twisted guitar riffs and awkward beats, they could find themselves tied a little too closely to the whole Franz / Bloc / Futureheads thing. Some lead, most follow and Delorentos are heading for the front.
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This song has a nasty whiff of autopilot about it. All the hallmarks of a great Girls Aloud record – turbo-charged guitars, tag-team vocals brimming with attitude, a stomping disco backbeat – are here, yet something is missing. It could be the absence of any effective melodic hook to speak of: the Girls did not get where they are on style alone, and the substance of their previous work is in disappointingly short supply here.
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The nimble guitar part that runs behind the chorus of ‘All I Want Is For You To Be Happy’ reminds me of Pulp’s classic ‘Do You Remember The First Time?’. The Aftermath may still have some distance to go to attain the pithy, effortless brilliance of Cocker and co., but let’s not be negative: the UK-based, Longford-bred group have delivered a solid slice of direct guitar pop, and the echoey treatment of the vocals is a nice sonic touch.
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The debut from Naas quartet Miracle Bell shows plenty of promise, though it’s hardly an unqualified success. The overall sound hints at something potentially interesting: sloppy garage-rock, with electronic burbles floating just beneath the surface may not be everyone’s cup of tea, but there’s a platform established. Now they need to start building...
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It’s become fshionable to slag off Minus, but it’s hard not to be seduced by Pierce’s latest mushy, non-linear release. This doublepack ambles along unhurriedly, but Pierce is busy throughout, catching the listener off guard with visceral percussion, lurching bass licks and frazzled acid freakouts.
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Detroit house producer Dixon returns with a release that takes inspiration from his techno contemporaries’ fixation with outer space sounds and, on the droning ‘Links’ a booming bass that makes Saunderson’s Resse project seem tame.
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Tensnake’s original is a slamming, filtered house track, but it’s not a patch on Cosmic Sandwich’s remix, which plunges the bass to fathomic depths, laying down heavy acid lines and infectious bleeps.
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‘Corvo Molto’ features tough bass licks and deep house chords, while ‘The Action Painter’ is a surrealist take on techno, a detuned bass trying and just about succeeding in holding together quirky melodies and organic, pastoral sounds.
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