24 and 25 August 2012
Project Arts Centre
Temple Bar, Dublin 2
Tickets €20/15 available from projectartscentre.ie and 01 881 9613
Book before 15 August and save 25%.
Two new operas by the Irish composers Benedict Schlepper-Connolly and Garrett Sholdice — performed back-to-back on each night — combine music, film and dance to create an experience of feeling and atmosphere. Their idea of opera is a truly contemporary one: minimal, intuitive, immersive.
Benedict Schlepper-Connolly’s Heimat, which features the choreographer and dancer Liv O’Donoghue, focuses on the experience of modern-day nomads — the emigrant, the drifter, the commuter. Fast and loud, the performance layers interviews, film and song to reveal ideas about rootedness and belonging.
Garrett Sholdice’s Recueillement, as the French title intimates, is a more gentle, contemplative piece, with choreography by Silja Thomsen, film by Krishan Hukam and the mezzo-soprano Michelle O’Rourke. Imagine dusk, two women, the ritual of Javanese gamelan music, the yearning words of Charles Baudelaire, a sense of changing light.
Performances come from the Irish mezzo-soprano Michelle O’Rourke and Ergodos Musicians, a flexible ensemble of instruments and voices, including some of Ireland’s most brilliant performers, in this case the cellist Kate Ellis, and the New York-based pianist Isabelle O’Connell. Ergodos Musicians’ performances are outstanding for their subtlety, attention to detail, and innovative approaches to programming.
Two Operas launch will take place at the Odessa Club in Dublin on 2 August at 6pm, with preview performances of Heimat and Recueillement given by Kate Ellis.
Kate Ellis, cello
Isabelle O’Connell, piano
Benedict Schlepper-Connolly, guitar, voice, film
Liv O’Donoghue, dance
Kate Ellis, cello
Isabelle O’Connell, piano
Michelle O’Rourke, mezzo-soprano
Silja Thomsen, dance
Krisan Hukam, film
Benedict Schlepper-Connolly, production director
Valerie Francis, sound engineer
Aedín Cosgrave, lighting designer
Tickets: www.projectartscentre.ie and 01 881 9613
Yes Cadets (Le Mans single launch)
+ special guests
Wednesday 1st August
Upstairs At Whelan’s
An enticing mix of sensual, reverb-drenched guitars and edgy, rhythmic art-pop, Belfast-based Yes Cadets feature singer/guitarist Alan Haslam, singer/ drummer Lisa Mageean and bassist Steven Matthews. The trio began playing together in 2009, crafting a distinctive sound inspired by everyone from LCD Soundsystem and The Knife to The Cure and My Bloody Valentine.
They rapidly gained buzz for their magnetic live performance, earning high profile festival slots across Europe (Glastonbury, MiDEM, Berlin Festival) and support slots with luminaries The Antlers, Yuck and Guillemots. An early, home recorded version of the Yes Cadets track “Le Mans“ was picked up by the BBC and soon playlisted on daytime Radio 1. Brimming with atmospheric pop hooks and pulsing cinematic lament “Le Mans“ made waves amongst the indie-pop blogosphere and the mainstream music press alike whilst still only in raw demo form. It’s time for their “Maximist Heartbreak Pop“ – as the band refers to it – to officially be released.
September Girls are a five piece girl group, playing fuzzy and reverb-soaked garage pop with heaps of harmonies. September Girls have been described as “radiant noise pop of the finest order, guitars distorted, verses simple and catchy, drums energetic, it sure is sweet on the ears”.
Tickets €8 available to buy online from www.wavtickets.ie or call the WAV Box Office [Lo-call 1890 200 078]
Temper-Mental MissElayneous, rapper extraordinaire from Dublin has teamed up with Eberhart, Composer and Writer for Bitches With Wolves, together they wrote a song for Katie Taylor called “Step In the Ring”. MissElayneous, a boxer herself was feeling inspired by Ireland’s 4 time World Champion Boxer Katie Taylor.
“Step In the Ring” can be downloaded for €1, with proceeds going to the Peter McVerry Trust for the Homeless http://www.pmvtrust.ie, on Bandcamp and coming soon on itunes, Temper-Mental MissElayneous will be performing at Festivals and venues throughout Ireland during Summer, Autumn and beyond. Up-dates on http://www.misselayneous.com/
“Temper-Mental MissElayneous” is an artist from Finglas in Dublin, Ireland. It’s difficult to box her into one category as she varies in her ability and style, however she is mostly recognised as a rapper. MissElayneous has collaborated with numerous other musicians and continues to branch out to create new work. She has trained as an actor and has performed in diverse roles, amid strong casts. MissElayneous is full of raps and ballads along with her bodhran and bells. She mentors youth in her community and has become a hero to many teenagers in Dublin.
Temper-Mental MissElayneous was recently on the cover of The Ticket in the Irish Times (for the St. Patrick’s Day special edition). Her song “Cailin Rua” was featured on St. Patrick’s Day. And she performed for President Michael D. Higgins at the Hot Press Music Show. MissElayneous has appeared on the same bill as Mick Jones, Tricky, Wu Tang Clan, Thee Satisfaction, and Shabazz Palaces. MissElayneous continues gigging, showcasing, auditioning, teaching and facilitating.
“Whether it was watching her freestyle on the street in Finglas or mentoring other female would-be rappers about their flow, she was on-point, lively and fascinating, one of the brightest sights and sounds on the Irish music scene right now. She’s the real deal.” Jim Carroll – Irish Times
Eberhart is an up-and-coming producer from Dublin, first coming to light through his songwriting and production work with Dublin-based electro-popster Bitches With Wolves.
Though classically trained from a very early age, stylistically his sound reflects a much wider musical spectrum. Influenced by pop producers Dr. Luke, Benny Blanco, RedOne, Max Martin and Kuduro inspired artists and producers such as Diplo, M.I.A, Buraka Som Sistema, Santigold, his is a style that combines pop hooks with fresh sounds, edgy production and stadium-size club beats.
The last few years has seen Eberhart touring as part of the Bitches With Wolves live band (Oxegen, Electric Picnic, Eurosonic, Fatboy Slim, Groove Armada, Calvin Harris, etc) as well as performing a number of high profile DJ sets under his own side project Gents With Guns with DJ Chris James (Oxegen, Two Door Cinema Club).
Over the last few months Eberhart has been songwriting, producing and remixing for some of Ireland’s most promising musical talent. He reached the Top 5 finalists in SPIN 103.8′s Mark Ronson “Move To The Beat” remix competition in June and had two tracks in the Top 5 iTunes album charts.
Temper-Mental MissElayneous will perform at Castlepalooza on the Marquee stage on Sat. Aug 4th at 7pm.
As part of its year-long 10th Birthday Celebrations, The Galway Music Residency has announced a call for submissions! The residency is seeking a composer (Irish or Irish–based) to write a piece of music in celebration of a decade of music in Galway. The piece will be written for the current Galway Ensemble in Residence; ConTempo Quartet.
This call for submission is unique in that it also comes with a Composer in Residence posting, the first of its kind in the ten year history of the residency. As part of its on-going programme, The Galway Music Residency regularly hosts guest artists in Galway. Guests play an active role in the overall programme during their period in Galway and the Composer in Residence will do so with regular visits to the city, leading workshops and working closely with ConTempo towards the final work which will be premiered as part of the Residency’s first ever Music Festival in February 2013.
The role of the successful candidate will include regular visits to Galway to work closely with ConTempo Quartet. It will also entail a number of schools visits and composition workshops as part of our education initiative. The residency will run from September 2012 to February 2013.
Applications are now being accepted. The closing date is 24 August 2012.
For full details on the application process see http://www.thegalwaymusicresidency.ie/ or contact
Following the release of his debut album, “Take a Stand”, earlier this year, Belfast songwriter and producer, Robb Murphy, has been generating interest among music bloggers and fans both in Ireland and the UK.
After studying music technology at Queens University, Robb discovered he had a passion for songwriting and creating original soundscapes. His first EPs picked up airplay on regional radio stations, as well as BBC Radio 6, with comparisons being made to Damien Rice, Tom Baxter and José Gonzalez.
For a taster of Robb’s work, you can check out tracks “Never Letting You Go” and “The Breakdown” here:
Robb will be playing at The Blackbox, Belfast on Saturday 15th September and The Grand Social, Dublin on Sunday 21st October.
IMRO is currently engaging with the Copyright Review Committee and the government to ensure a balanced set of measures is introduced so that new enterprises in the off-line and online environment have easy access to our repertoire and that royalty fees paid for such use are fair and reasonable.
Our central objective in this review process is to ensure that Ireland possesses a modern up to date copyright system that delivers a balance between technology based industries and consumers on the one hand and fair incentives for the creative sector on the other.
Copyright – the statutory means to reward creativity – is the core principle underlying this value chain. The general tenor of the terms of reference of the Copyright Review and by extension the consultation paper suggests that copyright is a barrier to innovation. Innovation, it would appear, only occurs in the technology sector. This ignores the reality that innovation firstly takes place at the creative level and is indeed the very essence of the creative economy. Musical creativity of itself is derivative in nature and the current copyright legislation provides adequate room for creativity to flourish whilst at the same time protecting and rewarding those who innovate. The success of Ireland’s creative sectors in areas such as music, film, literature and now computer gaming is testament to the flexibility inherent in the existing system.
We fundamentally disagree that weakening copyright law will somehow benefit an economy with such a dependence on creativity. However, even if we agreed with such a proposition, there is no logic whatsoever in joining with other EU territories to campaign for the same relaxations. Where is the competitive advantage that the Review Committee seeks if our other participant members in the EU seek similar benefits? In any case we should point out at the outset that the EU Member States are themselves parties to the Berne Convention and some of the exceptions mooted are contrary to the provisions of this Convention. The EU will therefore not be in a position to modify any existing EU directives that run contrary to the Berne Convention, and Ireland’s efforts in this regard would be futile. The importance of the creative industries to the EU and Ireland in particular are best summarised from the Tera Consultants’ Report “Building a Digital Economy: The Importance of Saving Jobs in the EU’s Creative Industries”
“The production and distribution of works by creative industries, including movies, music, television programmes and software, has been recognised as having a positive effect in economic growth and the creation of jobs. Unfortunately, over the last decade digital piracy (copyright infringement of digital media) has increasingly threatened the economic performance of the industries responsible for these creative works. For this reason, stemming the rising tide of digital piracy should be at the top of the agenda of policymakers in the European Union and elsewhere. But to make well-informed decisions in this area, policymakers would benefit from understanding the extent of the economic contributions of these industries and of the losses resulting from digital piracy.”
Their analysis determined the following:
• In 2008 the European Union’s creative industries, based on the more accurate and comprehensive definition, contributed 6.9%, or approximately €860 billion, to total European GDP, and represented 6.5% of the total workforce, or approximately 14 million workers.
• In 2008 the European Union’s creative industries most impacted by piracy (film, TV series, recorded music and software) experienced retail revenue reduction of €10 billion and losses of more than 185,000 jobs due to piracy, largely digital piracy.
• Based on current projections and assuming no significant policy changes, the European Union’s creative industries could expect to see cumulative retail revenue losses of as much as €240 billion by 2015, resulting in 1.2 million jobs lost by 2015.
In Ireland, according to the latest DKM Economic Consultants research entitled “The Economic Contribution of the Copyright Based Industries” (June 2012) copyright based industries play an important role in the overall economy.
DKM estimated that the core copyright industries in 2011 comprised 8,600 enterprises with 46,300 full-time equivalent persons employed (70,400 persons engaged), a turnover of €18.85 billion and gross value added (GVA) of €4.6 billion. The latter, which represents the direct economic contribution, is equivalent to 2.93% of GDP. This value is heavily dependent on copyright protection.
The copyright industries, taking account of direct and indirect impacts across the economy, represent 7.35% of total GDP which is equivalent to €11.50 billion. This figure includes the GVA (gross value added) of the range of industries whose primary function is to facilitate the creation, production, manufacture, distribution and sale of copyright content and other protected subject matter.
Total direct and indirect employment generated by the copyright based industries is estimated at 116,000, which represents 6.4% of total employment.
This is not only an economic argument. Many of the attractions of Ireland as a centre for foreign direct investment, as a tourist destination and the worldwide standing of Ireland as a source of creativity lies in our reputation as a culturally rich nation that nurtures, respects and rewards the creation of artistic works.
There is a very real danger that uninformed, poorly targeted or ideologically driven changes to copyright law could instead undermine growth, both for Ireland’s creative sector and those digital businesses dependent upon the valuable content produced by Irish creators. We need to distinguish between interested parties arguing for genuine requirements for reform, and those who would simply seek lower royalty fees, which will not result in increased economic activity but simply effect a transfer of resource from the creative sector to others.
Whilst the economic and technological aspects of entrepreneurship and innovation are important, concentration on these aspects in isolation is of concern, given the vital importance that copyright plays in the social and cultural contribution to Irish society. This aspect seems to have been largely ignored in this Review. Any proposed amendments need to be considered in the light of objective impact assessments of such measures.
In support of our assertion that the real barrier to innovation in the ICT sector is lack of access to capital, we refer to the following article written by John Dunne, co-founder of Intune Networks, the overall winner of The Irish Times IntertradeIreland Innovation Awards 2011. In his article entitled “Too Reliant on the likes of Intel, Google and Microsoft”, Mr Dunne states:
“The real barrier to success for those who have intellectual property and have developed and created something that addresses a global need, is the lack of venture capital to fund their growth. There are inadequate levels of finance available in Ireland. While there is more than €400 million notionally up for grabs through Enterprise Ireland venture capital funds, the problem that many start-ups find is that there is no real understanding – or appetite for – the kind of long-term investment that is needed to grow and develop a company that has the potential to become a global leader”.
Whilst we acknowledge that easier access to venture capital is outside the scope of the CRC’s terms of reference, we nonetheless believe that the Committee should bring this to the attention of the Minister for Jobs, Enterprise and Innovation.
We cannot find any evidence suggesting that current copyright law is a barrier to innovation.
Summary Position By IMRO On The Main Issues
The Copyright Council
We welcome the suggested establishment of a Copyright Council. This Council should be established on a statutory basis. We also commend the emphasis placed on public education on copyright, recommendations on best practice, and the entire process of ongoing copyright reform which in a rapidly developing marketplace is vital to all participants. We believe the independence of such a Council could play a very important role in helping the IP Unit draw up a policy framework on notice and take down procedures and counter notice and put-back procedures. The composition of the Council needs further discussion and its function and objectives need to be clearly defined. Such functions and objectives must not conflict with those of Government through the IP Unit and the Office of the Controller of Patents, Designs & Trade Marks (‘the Controller’). Given this we believe that the Council’s role should not extend to any dispute resolution issues.
The recommendations aimed at providing expertise and specialist jurisdictions in the District and Circuit Courts are welcomed, though we acknowledge that such proposals will have significant resource implications.
The Digital Copyright Exchange
The real problem for industries depending on intellectual property is one of enforcement. How can Ireland expect to attract creative industries and to act as a centre for trading IP assets if we do not provide an environment that both respects and protects the commercialisation of such assets? Promoting Ireland as a location for the International Digital Copyright Exchange on the one hand, while simultaneously relaxing the laws of copyright is inconsistent and sends confused messages to investors.
We do need greater clarity on what is being envisaged by the Committee as regards a Digital Copyright Exchange before we would give further comment on what seems at face value to be an idea worthy of pursuit. We also are aware of a parallel process underway in the UK and note the recent first report of the Digital Copyright Exchange Feasibility Study (http://www.ipo.gov.uk/dce-report-phase1.pdf). IMRO will support any practical initiatives in this area.
Exceptions to copyright
The 2001 Copyright Directive is quite explicit in terms of the list of exceptions contained therein and the list is exhaustive i.e. no other exceptions may be granted or applied by member states nor permitted under national law. This achieves legal certainty and the list itself is not mandatory, rather it was designed to accommodate various traditions pertaining throughout the EU at that time.
(i) Format shifting
We could support an exception in respect of format shifting so that consumers can enjoy the benefit of technology, subject to fair remuneration being paid to copyright holders and thereby fully complying with EU Copyright Directive and European case law. Such an exception should be limited to any copies format shifted to other devices, legally purchased and should not extend to cloud locker services which are fully licensable.
(ii) Educational exceptions
The licensing system currently in place in Ireland adequately takes account of the particular requirements of educational establishments, providing flexible solutions for copyright owners and users. Any further exception introduced in this area would result in a straight transfer of value (impeding innovation in the process) from the creative sector to the public sector. Such a proposal would not in any way aid innovation.
(iii) Fair Use
We believe that importing “fair use” provisions from the US will hamper innovation. The US has a better record of innovating, not because of a more lax copyright system but because of a deeply embedded culture of entrepreneurship, much deeper relationships between the business community and the University and educational sector, and wider availability of capital. Strengthening the links between academia, innovative enterprise, creativity, and encouraging wider access to capital are much better ways for Ireland to drive its knowledge economy forward in terms of both large and small enterprises. There is no evidence whatsoever that introducing fair use provisions will remove any barriers to innovation. We question how any policy recommendations can be made in this area without evidenced based impact assessment being undertaken in advance. We contend the following:
• Fair use is not compatible with the three step test in Berne;
• Fair use does not comply with the Berne Convention or TRIPS;
• Fair use contributes much more legal uncertainty than the fair dealing exceptions in CRRA;
• Due to this uncertainty, alongside the substantial penalties that attach to copyright infringement, the cost of establishing fair use is only feasible for very large, well resourced companies that seek to benefit from fair use provisions, hence it is of no benefit to small innovative start-ups.
• The fair dealing exception via Irish and EU law achieves a better balance between the uncertainties of a US style fair use doctrine, and a rigid application of a closed and inflexible list of exceptions and limitations;
• WIPO institutions have ruled on fair use and found it to be in breach of international law;
• The arguments made to support fair use are flawed, simplistic and fail to understand the position under US law;
• Fair use must be looked at in the context of demands for broader exceptions than those currently allowed under EU law;
• There are a lot more factors at play in how the US successfully innovates than fair use;
• There is no evidence to support the assertion that the absence of a fair use doctrine hinders Irish or EU innovation and much evidence that fair dealing provides no hindrance to innovation, but rather it has fostered it.
Registration of Licensing Bodies, licensing schemes and procedures regarding referrals to the Controller
We believe that the practices and procedures under the CRRA and The Copyright and Related Rights (Proceedings Before the Controller) Rules 2009 relating to registration of licensing bodies and referrals to the Controller, which have been in operation for 12 years, require review in a number of areas particularly around the registration of licensing bodies, the publication of licensing schemes, and the procedures for the referral to the Controller in the event of a licensing dispute. For all service companies, from start ups and SMEs to large corporations, the ability to obtain copyright clearance through collective licensing bodies is beneficial. This mechanism allows companies to develop a variety of new business models and get them to market without undue delays. IMRO requests that the interaction it has with these companies is made easier with the introduction of more efficient procedures under the Act as set out above. We call on the Review Group to recommend to the Minister the adoption of legislation as appropriate to effect such changes. This will help bring about a more efficient and productive copyright clearance framework in Ireland, which will protect and reward creativity while at the same time promoting and facilitating innovation.
We welcome the introduction of the recent Statutory Instrument. Clearly we have an issue in relation to enforcement of copyrights in the online environment. We cannot allow a situation to continue whereby copyright owners will have no option but to seek High Court injunctions in each separate instance of infringement in order to protect their copyrights from obvious piracy. This is unworkable even in the short term. We strongly support greater co-operation between the creative industries and the internet gate-keepers so that obvious abuses of copyright cannot continue with impunity.
Finally we believe our policy makers and the Minister should be given a real choice when the CRC issues its final report. The consultation paper provides draft legislation only in terms of one avenue being pursued. A more balanced approach is to provide the Minister with draft legislation for at least a choice of approaches. This will give the final report more objectivity and allow policy makers to make a more informed decision. In this regard we would refer the CRC to Recital 9 of the Information Society Directive which states that:
‘any harmonisation of copyright and related rights must take as a basis a high level of protection, since such rights are crucial to intellectual creation. Their protection helps to ensure the maintenance and development of creativity in the interests of authors, performers, producers, consumers, culture, industry and the public at large’;
and recital 12 of the Information Society Directive:
‘Adequate protection of copyright works and subject-matter of related rights is also of great importance from a cultural standpoint. Article 151 of the Treaty requires the Community to take cultural aspects into account in its action.’
Chief Executive Officer
Irish Music Rights Organisation
Tickets for both The Olympia & Whelans Shows go onsale through Tickemaster, Friday 27th July at 9am.
Rubyworks, Ireland’s leading independent record label and management company are celebrating their first decade of music. To mark this auspicious occasion; the label will be hosting three very special nights in Dublin, presenting their artists at three of Dublin’s most iconic live music venues.
On Sunday 26th August, Rodrigo y Gabriela, Ryan Sheridan, Wallis Bird and Josephine will play at The Olympia Theatre. This will be Rodrigo y Gabriela’s only appearance in the Republic of Ireland in 2012. Tickets priced from €25.90 (including booking fee), go on sale this Friday 27th July at 9am.
On Monday 27th August, Fight Like Apes, The Minutes, Funeral Suits and Deap Vally will play in Whelan’s. This will be the first Irish appearance for the hotly tipped LA based Deap Vally, and will be Fight Likes Apes only Irish gig of the year, and they will be showcasing some new material as part of their set.Tickets priced at €17.50 (including booking fee), go on sale this Friday 27th July, 9am.
On Tuesday 28th August, the label returns to it’s spiritual home at Doyle’s for a celebratory Ruby Sessions with an array of talent from across the roster. A small charitable donation is accepted (on the door) on behalf of The Simon Community.
Started by Niall Muckian in 2002, Rubyworks, together with sister labels Model Citizen and Gotta Run, has released over thirty albums in both Ireland and internationally. The label has launched the careers of artists as diverse as Rodrigo y Gabriela, Fight Like Apes, Ryan Sheridan and The Original Rudeboys.
London based ARK Recordings, home of Little Roy, Alberta Cross, Josephine and Deap Vally recently joined the Rubyworks family .
Rubyworks has always embraced a wide range of musical genres. Their roster is united by charismatic personalities with tremendous live ability, global reach and first rate song writing skills.
The first 100 fans through the door at both The Olympia and Whelans gigs will get a free exclusive limited edition Rubyworks 10th birthday album sampler!
Tickets for Rodrigo y Gabriela, Ryan Sheridan, Wallis Bird & Josephine at The Olympia Priced from €25.90 (including booking fee), On Sale Friday 27th July, 9am from Ticketmaster.ie
Tickets for Fight Like Apes, Deap Vally, The Minutes & Funeral Suits at Whelan’s Priced at €17.50 (including booking fee), On Sale Friday 27th July, 9am from Ticketmaster.ie
What a journey 2012 has been for Hogan so far….from performing at a GermanS.E.X. CLUBfor Berlin Fashion Week to touring around China the boys from the midlands are now getting set for the release of their next single, the up tempo & very radio friendly ‘NO! NO! NO!’ out on our new label Collective Management via Warner Music Ireland.
Hogan also recently completed a 10-date tour in Germany, taking in most of the early festivals in East Germany, and some of Bavaria. The highlight of that particular tour was the “Mai City Festival” in Fassberg where they headlined before a crowd of about 7000 people.Currently working on their 2nd album, Hogan also toured in Ireland with good friend Bressie earlier this summer before heading to China to play at Beijing ‘Pop Festival’. The band also received an invitation to perform at “The Strawberry Festival’, Northern China’s largest music festival. Hogan played to an audience of 130,000 mid afternoon!
In parallel to working on the new album Hogan is also planning a tour of Asia for later this year. The band will travel to Vietnam, Thailand and Cambodia.
‘NO NO NO’ was recorded at Modern World Studios with Greg Haver producing (Manic Street Preachers, Lost Prophets, Super Furry Animals and many more). HOGAN is a band that is constantly evolving music wise & quite clearly not keen on staying in one place for too long or said in another way….LOVE touring.
President Higgins is inviting young Irish people to make multimedia submissions on their vision for Ireland to his Being Young and Irish consultation and seminar. Being Young and Irish is the first in a series of Presidency Seminars.
Young people aged 17 to 26 years are invited to use music, poetry, narrative, video recordings or whatever media suits them best to put forward their vision for Ireland.
The deadline for submissions to the multimedia consultation for Being Young and Irish is 29 September 2012.
Find out how to make a submission here (http://www.president.ie/being-young-irish/)
Check out Being Young and Irish on www.facebook.com/youngandirish
Twitter Hashtag: #youngandirish
MOTORCYCLE DISPLAY TEAM are an alternative power-pop band comprised of Steve Hinds (Vox and Guitar), Matthew Eyre (Bass Guitar) and Morgan Condon (Drums). No strangers to controversy and the adventures of being in a band; such as stalkers and arrests, onstage fights, provocative costumes and not to mention dealing with mental health issues within the band… the build-up and recording of their debut album caused one of the members to have a nervous breakdown. The album was recorded in a juxtaposed atmosphere of laughs, sweat, Citalopram and anxiety attacks.
The album in question is their debut long player ‘Captatio Benevolentiae’. Produced and mixed by Cesar Gimeno Lavin of Modest Mouse and White Lies fame, it’s 11 songs of immediate impact that, because of its traditional album length of 39 minutes, lends itself for repeated and very addictive listening. Its official release date is Fri Oct 5th, preceded by singles ‘Betweenager’ (August 17th) and ‘The Arguers’ (Sept 28th).
Two of their previous songs have been featured in the Channel 4 youth drama ‘Hollyoaks’ and on BBC sitcom ‘Off The Hook’. MDT where awarded ‘Unsigned Band of the Month’ on We7 and ‘band of the week’ on Absolute Radio, which is a one of the leading FM radio stations in the UK.
Garnering a powerful word of mouth endorsement for their live gigs, they are set to perform on one of the main entertainment stages on Blackheath Green in south London for the 2012 Olympics on Sat 4th August. And are residents in The Dublin Castle in Camden and The New Cross Inn in New Cross – both of which are leading venues in London.
Thurs 25th Oct- The Grand Social, Dublin
Fri 26th Oct- Monroe’s, Galway
Sat 27th Oct- The Stables, Mullingar (TBC)