Author: Webmaster

If you want to know where a band’s heading, it’s a good idea to see where they’ve come from. The acts with the most interesting future often have, shall we say, a unique past.Dublin’s Betamax Format are no exception, as Darren Moloney explains. “We started about a year ago, writing stuff that sounded like horror movie soundtracks from the late seventies and early eighties. We were really obsessed by video nasties. We’d take tracks from stuff like ‘Texas Chainsaw Massacre’ and ‘Dawn Of The Dead’ and do really synthy music.
"We took it from there; at the start it was cult eighties soundtrack music. Then the Wedding Present picked us up to go on tour with them and we went round Ireland with them in February. They were our first big gigs really”.
That was quite a coup for such a new band. The tour, far from being the nostalgia trip you might have expected, saw the headliners staking their claim to a valid place in the current music scene. Darren agrees. “There was a person connected with their tour management at the second gig we ever played. It’s really weird, at that stage we were still an instrumental band but they liked it and passed a CD onto the band.
"David Gedge got in touch and wanted us to do a few shows. It was cool, we were the first band to support them in eight years.
Such incidents have all been part of the group’s rapid progress, from weird instrumental band to, well, weird instrumental band with songs.
“It’s developed a lot and only over the period of a year. It started out as this experimental type of thing. My background is in punk, new wave and LA hardcore like Black Flag and the Germs. I wanted to take that. People are doing synthy stuff but they’re not doing much with it. If you look at bands that used synths in punk music, like the Screamers and Suicide, they were doing really interesting stuff, then it just died. Bands like the Killers are just indie bands with synths, they’re not using it as a proper instrument, more as something in the background.
"We wanted to push the fact that we were using synths for our basslines, that we use vocoders and that the shows are very aggressive. We break a lot of stuff when we play”.
Would a band like Nine Inch Nails be an influence in the way they approach technology?
“More Add N to X. They were the forerunners of what we’re doing. With Nine Inch Nails everything is sequenced. I hate the word electronica, it’s just boring. It’s not real. We play with live drums and nothing is sequenced, it’s different every time. All these bands have drummers playing to click tracks. When we play, if something goes out of time it sounds more organic, it’s amazing”.
He has little time for the kind of acts who turn up with a laptop and nothing else. “It’s like listening to a CD. If you want to hear music like that, why can’t it be played the way that normal bands play music? It can be loud. I hate electronica music that just fades into the background. It can be aggressive, like punk, and it can be taken to different places. Every time we play we end up smashing things by accident. The very first gig we played we blew the PA. It’s exciting; we don’t know what’s going to happen”.
One thing that the band can’t avoid, and make no effort to, is their debt to the eighties – it’s there from the name onward. These are either good or bad times to pledge such an allegiance, depending on how you view the nature of music industry scenes. Darren isn’t too bothered either way. “A lot of the bands that they reference would be bands that I’ve always been into, such as Devo, early Tubeway Army, even the Queen soundtrack for ‘Flash Gordon’…” Sorry, what was that?
“The first record I ever got was the 7” single of ‘Flash’ and the B-side, ‘Football Fight’, sounds more like Betamax Format than anything I’ve ever heard. You think of Queen as this big guitar band and then they put out that soundtrack. I still play it when I’m DJing”.

“We’re definitely not a retro band," insists Moloney, "A lot of the stuff we use would be equipment from the early eighties, but we’re just replicating the period, we’re trying to do something different, not to copy what’s gone before, because what’s the point of that?”
Betamax Format are a band who see everything in terms of the big picture. They’ve already started playing in Europe and have management in Berlin.
“It was through the Wedding Present tour. The woman who booked that tour, Hilary Kavanagh, is now our manager. She picked us up and started to get gigs. The Wedding Present tour was the first time we’d had songs with vocals. She asked us to play at a festival in Berlin with Ladytron, the Kills, Ian Brown and a lot of the Berlin underground bands”.
You can see the European scene providing the band with a natural home. “That’s true. In Berlin electro is dying and there’s a desire for something different, something beyond what electroclash was, bringing a more aggressive, punky element into electronic music. I guess that suits us and people have really taken to it over there”.

It’s a wet and windy Monday in Dublin. Gazing out of the upstairs window of the city’s Odessa club you can spot the passers-by below weaving in and out of doorways, eager to avoid the rain blowing in a gale around them.

As the wind howls, brolleys rise. It’s horrible. On a grey October in the capital, you might say, it’s beginning to brew up a storm; ‘might’ being the operative word.
“Is that thunder?” snaps Steve Wall jumping from his seat, fearful that his trip home on his trusted Vespa may prove more adventurous than he’d like. “They can be quite dangerous to be on when the weather’s beating against you,” he says. “It’s better though than being stuck in traffic. The car now only gets country air!”
Outside of the country though is where Steve Wall wants to be. It’s biting at him. When he speaks, you can see it written all over his face. He regrets not travelling. He’s been in this business nearly twenty years. Twenty years of incredible hard work, of witnessing huge transformations, and of trying to force even greater change from within.
Of course he’s tasted success. The Stunning were huge, an Irish phenomenon. Wall was a star and the band were heroes to a generation. Over ten years on from their split, they remain warmly remembered and highly regarded.
Since then, as The Walls, Steve and younger brother Joe have helped initiate lasting change within the industry as one of the first Irish acts to set up a label and go independent. Two fine albums have been forged in the process.
Yet in the wake of New Dawn Breaking, The Walls second and current album, a frustration still gnaws at the group’s frontman. It’s one, not born out of anger or regret, but stemming from a hunger and yearning for success outside of Ireland. He’s been here before.
“This frustration of waiting around split up The Stunning,” he says with the hint of a sigh. “Since 1987 I’ve been writing songs, and every album I’ve released has only ever been available in Ireland,” he adds.
“With The Walls we’re really at the stage where we just can’t go on putting out records only for an Irish release. We’ve got two albums under our belt, as well as good sales here at home. We’re a good live band. We’re more than ready to start looking abroad. We just need someone to help us bring it out of Ireland. I don’t think we’ll make another record until we see how that goes.”
Wall doesn’t even think he’ll write another song until New Dawn Breaking gets at least a decent crack of the whip abroad.
“I don’t know if I’m in any rush to sit down with the guitar and start churning out more songs,” he says, “because I’ve written so many songs over the years, and a lot of well-known songs. My frustration is that they’re only known within this country. It’s kind of getting to the stage where sometimes I sit down and think ‘Is their any point in doing this? Are they even going to play this on the radio? Is their any point in releasing yet another Irish only release?’
"I think New Dawn Breaking will be a big deciding factor on whether we progress from here, and whether it’s worth my while heading back up to the Tyrone Guthrie Centre to write songs for a new record.”
These are questions that test countless Irish songwriters. Questions not of self worth, but of the industry.
“The big issue, I think, is that the Irish music industry isn’t helping itself enough,” comments Wall, himself a former IMRO board member. “Some one needs to have a serious look at it. This (the Irish music industry) should be huge and should be generating much more money. I mean the six months I did working with IMRO were very interesting because I was learning about the way it works from their angle. I think the most shocking thing I learned was that 85 per cent of the money IMRO earns, from radio play and live music in pubs and clubs, leaves the country. Eighty five per cent! So basically what that shows is the amount of Irish music being played on the radio over here.”
Radio in particular has proved difficult for new Irish artists to get a foothold in. “Personally we’ve been getting great play. We’re lucky to have done well. Our current single is being play listed by a load of radio stations around the country and we have to be very grateful for that because it is quite difficult to get play listed. However, other bands aren’t doing quite as well and there are a couple of stations around the country where the percentage of Irish music they play is appalling. These are in cities where there are thousands of students, live venues, Irish bands playing seven nights a week, and they are not getting the support they need from these stations, which are basically just playing established acts all day. They may have a token Irish show, but it’s usually buried on a Sunday. I can’t understand it, because those stations used to play Aslan, The Stunning, A–House and The 4 of Us all the time. When you had a new single out you got great support, and it wasn’t just the band which benefited. The whole industry benefited because it meant that your gig in say Clonmel would be much better attended because your new single is on the radio. So the venue is doing better. There was a knock on effect. More towns could afford a live music venue. That’s why I think that the industry here is not helping itself. I remember with The Stunning we used to be able to do an Irish tour t-shirt and the list of dates on the back would go all the way from your neck down to your arse. You used to be able to do seven nights in a row in packed venues around the country. You wouldn’t be able to do that now because the venues aren’t there.”
Air play, and the need for artists to stand up and fight for some sort of a change, is a subject Wall is passionate on. It’s a cause for all Irish acts, and he himself has seen the huge effect radio can have on an independent bands success.
“Huge support from Today FM essentially broke ‘To The Bright and Shining Sun’,” he says. “They made a real difference. They were the ones who picked up on it straight away. It wasn’t even a song at that stage. It was just a sixty second guitar riff on an AIB ad. Brian Adams in Today FM called me and said ‘That’s a hit. That piece of music is a hit’. Literally, he said, stick a verse and a chorus on that piece of music and get it in to us. I hadn’t even written any lyrics for it or anything. We never even looked at it as a single, just another potential song in the making. Today FM though broke that song, and then other radio stations followed suit. I just wish more stations would take a leaf out of their book and be that bit more supportive to Irish music.”
“I think there needs to be a higher quota of Irish music on the radio and it needs to be fairly distributed as well. Maybe it’s important that songwriters and bands get together and have a chat or get a petition together to demand some kind of a change. Bands like us aren’t doing badly out of radio, but others are struggling.”
With regards The Walls own aims; radio play is also a subject proving pivotal in their quest for success abroad.
“I think we may have a chance of making inroads in the US,” says Wall. “We’ve been getting great air play and great support from Nic Harcourt on KCRW in LA. He’s sort of the John Peel of the US. There’s talk of doing a session on his show, which is great. That’s a really good yard stick and I think we just need to stick at it. We’ve just got to focus on that for the next twelve months. We applied for South By Southwest which I hope we’ll get. We’re a band who really needs to get something like South by Southwest. We’ve also got Moby’s lawyer interested in the band. Someone in his office heard ‘Open Road’ and alerted him to it, so we sent him a copy of the album and he loved it. So he’d been shopping it to labels on the East Coast. We’ve had contact with publishers and that as well. So really our focus for 2006 is going to be firmly on the US and pushing this album. I just hope a change here might make things easier for younger bands. It’s amazing actually. Just a few plays on KCRW have kind of started this interest in the band and given us a real opportunity over there. That just shows you the power of radio!”

New Dawn Breaking by The Walls is out now on Dirtbird Records

Louise Hodgson talks to The Revs about how they lost the plot, then reinvented themselves in the studio

The Revs are like Ireland’s kid brother in band form. Oh how we watched with proud adoration on first hearing ‘Wired to the Moon’, and the spikey-haired antics that followed. But there was a time there when The Revs, by their own admission lost their way, and we were mostly uninterested in what they were doing. Which, musically, wasn’t much really.
The surprising thing is that the band are happy to concede this. Singer and bassist, Rory Gallagher will tell anyone who’s listening that they were inexperienced – that the talent was always there, but the direction was just a bit distorted.
“We were playing music at the start for the sake of playing music and not working in a fish factory in Donegal," he says. "We just fell into that trap where you’re thinking, ‘This is what people want to hear’ and not what you’d want to hear yourself. It’s the biggest mistake you can make.”
Now, however, The Revs have grown up. Their latest self-titled installment has been described as ‘their Final Straw, their Parklife, their Different Class’.
In other words, the all-round critical verdict is a huge thumbs-up. It’s an achievement by any standards: for a band to claw their way out of a stigma and into the blinking light of acceptance and acclaim.
So where did it all go right? “I’d say probably just from having a break to sit back and really think about what we were actually doing, and get back into music really," says Gallagher. "To buy loads of albums and talk about music again, not just about what number we were in the charts.”
In a sense this is the album they always wanted to do but perhaps due to naivety or inexperience never got the chance. “It’s like, four years later, this is our proper debut.”
The difference seems to be that they are beginning to take responsibility for their music. After the live Sonic Tonic, Suck was self-produced: a move that is ambitious for any band, never mind three musicians on the light end of early 20s.
“Even though we would be pretty good with our instruments and we could write songs, we still didn’t have that studio craft that you only pick-up after ten years," Gallagher notes.
"I think you really have to be in your 30s to know where it’s at in the studio. It was a bit cocky to think we could do everything ourselves.”
This time around there was a very decisive move to get help: there was the realisation that in order to get the best out of their next album, The Revs couldn’t pretend to be able to do it all themselves anymore.
And so entered the engineering duo of Stefan Kvarnstrom and Jens Lindgard (who worked on the first Franz Ferdinand album).
These two new ingredients proved invaluable, not only for their knob-twisting know-how, but even just keeping the boys in musical line. During the 20-day studio-time allocated to them in the famous Tambourine Studios in Sweden, The Revs knuckled down and managed to record the vast majority of their album, and were actually happy with it when it was done too!
“We definitely needed an outside influence so we didn’t lose focus of what we wanted to sound like. When you’re in a studio, after a couple of days it can become a bit of a blur. And you just start multi-layering tracks and going, ‘Wouldn’t a saxophone sound nice there!’ and you just end up losing the plot completely. So it was good even just to have somebody there with a whip keeping us on track.”
Swedish men with whips aside, this album seems to have done the trick, just don’t expect Rory et al to rave about it. This time around, the band are very wary of over-publicity. Says Gallagher, "We just want to put it out there and let the music do the work.”
And while the group can admit they are immensely proud of the album, they shy away from actually saying it’s the best The Revs will be. “It still feels like we’re on a learning curve. We’re not there yet, but we’re getting there.”
One thing they are eager to state is that this is their coming-of-age album: they have matured and feel now their music can reflect that. “It just feels like we’ve finally grown-up and we’re in our twenties and it’s our time.” Which, I suppose, is a case of ‘watch this space’.