Minding Creative Minds’ (MCM) in association with The Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media, EPIC Working Group, Irish Music Rights Organisation (IMRO), Irish Recorded Music Association (IRMA), MCD Productions & The Cowshedwill hold its eight online Meet and Greet Session for Ireland’s creative community and for Irish creatives overseas on Monday August 30th at 7pm.
“Our forthcoming Meet & Greet will be our eighth session. What I am most struck by during these gatherings is the amazing network of professionals there are in the Irish arts sectors and what a supportive, kind and innovative group of people we all are part of. The beauty of the meetings is that there is no specific agenda for each meeting so we share whatever is the most relevant information for our sector that week, and we have time to get to know each other in smaller break-out rooms. The atmosphere is friendly and there is no pressure on anyone to participate more than they want to. It’s been a lovely way for each of us to broaden our network, during what otherwise could have been quite an isolating time.”– Ann Marie Shields, Minding Creative Minds Director and Head of Careers, Industry and Events at BIMM Institute.
Applications are now open to a year-long artist development programme with Ivor Novello Award winning songwriter and producer Cassell the Beatmaker.
Inside Track is a new fully funded artist development programme for performing songwriters and composers facing barriers to enter the music industry.
Inside Track provides an opportunity for four participants, over the course of 12 months, to work with Cassell the Beatmaker, the In The Making team, PPL and The Ivors Academy to:
Write and produce two tracks with Cassell the Beatmaker
Participate in training workshops and mentoring
Receive a promotional opportunity to elevate profile and showcase work through a live performance
Participants will receive direct experience of the music industry across production, songwriting, image and brand development, business planning and industry networking. Inside Track includes a live performance event for the creators to showcase their work and celebrate their accomplishments.
EMX project, are looking looking for 15 European music professionals, working in the Hip-Hop and Rap music genres, including all sub-genres, from Hip-Pop to Afrobeats, Afro-swing, Drill and anything in between to participate in their upcoming Canadian Export Hip-Hop & Rap Lab. This is a hands-on, week-long digital trade mission to Canada from 6th-10th December 2021, with a Mission preparation day planned for 18th November.
For this project, EMX are specifically targeting participants involved in artist management, the recording sector or publishing sectors. The trade mission will consist of several brainstorming sessions with Canadian music professionals working across the same music genres, with plenty of networking opportunities, as well as the option for an artist/writer you represent to work with creators in online collaborative sessions.
Selected applicants will get a €800 bursary to use as they see fit to promote their company / professional activity to the Canadian delegation, as well as a free pass to digitally attend Indie Week.
The wider EMX initiative is a 22 month long project, funded by the European Commission. The EMX project’s aim is to test new strategies to develop and promote the export of European Music. Hand in hand with networks representing European music professionals, artists, musicians, authors and composers, the general objective of this work will be to experiment with different approaches to reinforce the international foothold of the EU music sector, and generate new knowledge to European music export through research and innovative pilot actions. The International Delegation Tour is one of these pilot actions.
The Hip-Hop & Rap Lab is EMX’s digital trade mission to Canada, which will focus on Hip-Hop and Rap music, with industry professionals working in these genres taking part in an online trade mission from Monday 6th December until Friday 10th December. A Mission preparation day will take place on 18th November, with an option to virtually attend the leading Canadian showcase and conference Indie Week from 9th-13th November. EMX will bring together the best creative minds and visionaries in Canadian and European Hip-Hop and Rap scenes. By taking a “Lab” approach, rather than focusing on company visits or multiplying panels about the local market like it is traditionally the case, EMX want trade mission participants to really spend time with local music industry professionals to think and experiment what the future of European/Canadian collaboration could look like.
Who should apply?
EMX are looking for 15 music professionals, legally residing in either EU countries, Creative Europe countries as well as the UK, and working across Hip-Hop and Rap music genres, who above all are passionate about cross-cultural collaborations and keen to explore new ways of exporting European-Hop and Rap music to Canada. Do you work in the recording sector, as an artist (or writer/producer manager) manager, or in music publishing in this music genre? Relevant roles include (but are not limited to) A&R, Sync Agent, Music Supervisor, Digital Marketing (within a record label), Distribution, Publisher, Streaming Manager, Licensing, Product Manager, Project Manager, Promotion Manager. Are you responsible for helping artists realise their export potential, with an interest in Northern America and specifically Canada? Then EMX want to hear from you.
IMRO chats with Topline ahead of their new single release ‘Y2K’.
Topline in a music sense is the melody which a vocalist sings over a song, it could probably be considered the simplest yet hardest part of the song writing process. We chose this name because we are often drawn towards artists who have a strong flair for writing good vocal melodies (toplines).
The song was written originally as an upbeat disco song but as we began recording vocals we started to lean into themes of nostalgia and yesteryear. This was due to the sense of longing the song evoked in us, when we listened to the harmonic guitars and wandering pads, it felt like an anachronism, a time-slip when we were more focused on doing things based in the present. We came up with the title of Y2K to package all of these themes together, something that’s future-focused but ultimately passed.
The writing process usually begins very gentle, mainly using simple drums with guitars and keyboards, we try to make the songs as memorable and distinct this way only using basic elements, so it becomes something you could hum to yourself or play on piano if you felt like it. Because we end up with a lot of material this way we then only choose to produce the ones which can sustain interest for us over a long period, a few months or so, this way we know the music will have better longevity.
When it comes to writing vocals, the songwriters we like craft many hooks into each section of their songs, it can sound unnatural or forced if this is too intentional though so we take a lot of time to make sure each one can has a flow that can easily pass from one section to the next. In this way, we think each section of the song can become its own ohrwurm, a pocket of delight that you might repeat an entire song just to listen to.
We also tend to use a lot of old machines and hardware for the recording process, stuff we bought second hand. Although these things can break easily and need to be repaired, they do impart a certain charm into the music that’s necessary for us to bring songs to completion.
There’s a lot of people we could say are influential, but supposing it comes down to direct influence on the material we make, people like: Chris Rainbow, Yellow Magic Orchestra,
Ennio Morricone, John Lennon, Ali Tamposi & Max Martin.
Evil Directions is the follow up single to Cabin’s debut, ‘The Parasocialite’. Channelling the psychedelic pop aesthetics that takes influence from classic artists such as The Zombies and The Kinks, Evil Directions is a vibrant and breezy number, laced with the subtle irony of its lyrical content. The swinging rhythm section is matched by lush instrumental arrangement and a devilishly catchy vocal melody.
On the track, Cabin says; “I’ve always adored the sounds and styles that this track draws from, but often found that those bright melodies hid darker sentiments. I see this track as my homage to that classic style of pop writing” Cabin (aka Adam McCabe) began crafting his songwriting and production skills as part of post-punk outfit Brass Phantoms, and has had his music featured on the likes of BBC Radio 6 with Steve Lamacq, Spotify’s Hot New Bands, Clash Magazine, Hot Press, The Last Mixed Tape, Golden Plec and more, along with production credits for the likes of Fangclub.
In producing, writing, recording, and mixing his work, Cabin offers a singular artistic voice, yet attempts to push beyond individual limitations into grander compositions. Drawing influence from the classic songwriters, his psychedelic sound is glittered with the palpable anxiety of Post-Punk, and exuberant tenderness of Soul music.
His focus is for his music and lyrics to imbue the aspects of modern-day disillusionment and existential dread with a defiant sense of radical optimism and to try to see the colour through the grey.
“Cabin creates a lucid psychedelic soundscape for listeners to immerse themselves in”– Indie Buddy
Sun Valley Drive is a bright Summer single and is a homage to the place where John grew up high on the hills of Cork City’s northside. In the 1960’s the Cork City Council renamed certain housing estates in poor areas in an attempt to brighten up the lives of the residents! The American sounding Sun Valley Drive came from this initiative.
The track was produced by Martin Leahy (Cormac O Caoimh, Ger Wolfe, John Spillane).
John Neville is a singer songwriter from Cork city. He played and recorded with the excellent traditional Irish group North Cregg of which he was a founding member. He released his debut solo album ‘Dance With The Wind’ in 2016 to critical acclaim. Songs from that album received nationwide airplay including RTE Radio 1 programs such as Lillian Smith’s Rising Time, The John Creedon Show and Niall Toner’s Roots Freeway. One of his songs also featured in a New York Times article by acclaimed writer Jennifer Finney Boylan.
‘The song had hit me like a knife in the heart’ – The New York Times, Jennifer Finney Boylan writing about John’s song ‘The Wobbling Man’ (18 October 2017).
‘I think he’s up there with John Spillane, Ger Wolfe and Jimmy McCarthy and all those great singer songwriters who come from that part of the world’ – Niall Toner, Roots Freeway, RTE Radio1.
On July 8th Lux Alma premieres her latest solo work and first self-produced track, To the Sea. It is an audio-visual celebration of the elemental beauty and awesome power of the Atlantic Ocean, which will be available on all digital platforms on 9th July.
The idea for this piece was born during the dark days of lockdown. Alma is a native of Tralee who now lives in Dublin. Confined to the city for months on end, she found herself missing the sea. “I had the Irish Sea nearby but it’s not a patch on the wildness of the Atlantic,” says Alma. She took to looking at the Kerry coast on Google Maps. “I followed it from south to north, wishing I could visit every inlet and bay,” she says. When lockdown lifted, she hightailed it home and undertook that journey in real life. “I stopped at every single one of those inlets, 86 of them in all,” she says.
Alma put her sound design skills to use, making sound recordings at each stop of her coastal journey and weaving them into a piece of music. Each instrument on this track is a sound from the seashore. “The sea isn’t just the inspiration for this piece of music; it is the music” says Alma. “Every hit of a snare drum is a crashing wave in Rossbeigh, each kick drum is a thundering roll of the ocean at Coumeenole, and every synthesiser has a different sample of the Atlantic at its core.”
All of these sea sounds are folded in with Lux Alma’s trademark harmonies to create a unique piece of music – a digital shell to hold to our ear when we’re missing the sea.
The work was commissioned by Siamsa Tíre, The National Folk Theatre of Ireland, under their Associate Artists scheme which has supported thirty-six artists during lockdown to explore and develop their practice and ideas of Irish folk culture.
Alma’s music is inspired by nature and her Irish heritage, and is influenced by the likes of Enya, Kate Bush and Björk. She is known on the Irish music scene not just for her solo work. She has sung with acts such as The Coronas, Villagers, Wallis Bird, Róisín O, and Sorcha Richardson and her folk trio The Evertides has been a mainstay on the folk scene for years.
Last year’s Indie chart-topping re-issue of Revelino’s acclaimed debut album was one of the good news pandemic stories for the Irish independent scene. Now, from something old and classic is born something new and vital from the wickedly talented pen of Revelino’s songwriter.
‘Love In These Times’ is the debut solo album from Brendan Tallon and though he may have been AWOL for a few years it is easy to see and hear on this extraordinary record that he has spent his time away from the limelight but not away from music. Life may have gotten in the way of making this record sooner but in that time he has amassed an entire treasure trove of brilliant ideas realised into fully-formed songs. It’s a debut full of optimism and cerebral exuberance, light and colour defiantly counter-pointing a world wrought with anxiety with bright, up-beat pop songs full of thoughtful empathy and hope, not to mention addictive hooks and joyous genre bending recklessness. Every song is crafted meticulously and lovingly with a depth and resonance that weaves a rich tapestry, distilling his passion for subtle and layered musical and lyrical textures.
It’s fair to say that ‘Love In These Times’ displays a dedication to a wide vista of musical touchstones but goes way beyond that to create timeless tunes. These songs draw you intimately into Tallon’s visions on love and justice, obliquely articulated, as melodies woo you into an uplifting aural seduction. Some may say Tallon’s life-affirming take on modern society is somewhat naïve but anyone who has turned on the radio in the last few weeks to hear the poignant heart-swelling bliss of latest single ‘American Strings’ is receiving the hit of naivety we all need right now. It is no surprise it has been the number one most played song on RTE Radio 1 in May / June.
Before that debut single offering ‘Old Man Superman’ honoured the self-sacrifice during times of catastrophe. Second single ‘American Strings’ contemplates our ambiguous binds to greater powers. Forthcoming single ‘The First Time I Saw You’ opines to a lovestruck groove and heavenly strings, on the pain and joy of desire. “What’s the use in pride when you get that rush” is one of the many lines throughout the album that captures the sentiment of giving yourself away to love like it’s our one last salvation, in some ways a full cycle return to the ethos of more innocent times but Tallon reopens that book unashamedly. On title track ‘Love In These Times’ he argues a return to universal value is more vital than ever when things are going badly wrong, but frames it in the sass of glam style Roxy Music and the innocence of doo- wop to deliver thought provoking moments of empathy, “the future’s here but not everywhere, oh listen to the sigh of the poor, give them your hand to hold on the lonely road, looks like they’ll be out there for a while”.
‘Love In These Times’ is 11 unique visions joined by a yearning for connectivity, romantic and universal. Songs of a timely significance.
Commenting on the album Tallon says, “If there is a thread running through the songs on this album it’s that when things are looking really bad and you feel like you’re losing everything, the one thing you really don’t want to give up on is love. And for me that includes music. And love of music. I don’t mean that in a corny or wishy-washy way but in the most stark and brutal way that what keeps you hanging on is love – someone’s love or the hope of love, universal connectivity or just one connection that gives you light at the end of the tunnel.” The light and the shadow of all that love and hope that calls you back from the wilderness and propels you forward into a new kind of optimism. In a world of too much plastic, this is a lovingly cut gem.
The album was entirely written, arranged, produced and played by Brendan in his home studio. It also features contributions from multi-instrumentalist Fintan Jones on Saxophones, Flute, Clarinet and backing vocals and drummers Johnny Boyle, Guy Rickerby and Mark Colbert and engineers Keith Farrell (Pugwash) and our late great friend Gavin Ralston. Ray Martin played Trumpet and strings were added by cellist Ailbhe McDonagh and violin by National Symphony Orchestra member Jenny Burns. Mixed with Frank McGing while he built his epic new studio in Ballivor, Co. Meath and mastered by Jon Astley (Abba, The Who, George Harrison, Paul McCartney, Led Zeppelin, The Rolling Stones).
Brendan first received the masters for ‘Love In These Times’ on the day the first that lockdown was announced in March 2020 and is now delighted to finally announce the release date of July 2nd.
‘Love In These Times’ is dedicated to the memory of two great friends and fellow musicians, Gavin Ralston & Mark Levins. A timely reminder that ‘it’s a heart breaking sometimes that let’s love in’.
Laughter Music Ltd is a true independent publishing company created with decades of experience, focusing on providing creative, forensic and bespoke services for exceptional songwriters.
Pulling from diverse, yet complementary, backgrounds, Laughter Music Ltd is the brainchild of Joe Cleere, Joshua Fisher and Debbie Rose.
Headed in Ireland by a creative force of nature, Joe Cleere, has received Best Male Artist honours at the 2019 IAMA Acoustic Awards. As a songwriter/artist his songs have amassed over 100 million streams on Spotify. With deep creative relationships around the world, Joe will orchestrate collaboration and opportunities for Laughter Music writers; his enthusiasm and knowledge of craft will provide hands-on development and inspire creativity.
Joshua Fisher started his career in Marketing at Interscope Records in Los Angeles. Honing those skills, he transitioned to management where he has guided the careers of Grammy Award winning songwriters/artists/producers including Nate Fox and Nico Segal. Joshua brings his vast talents in hip hop and crossover pop to Laughter Music.
Debbie Rose has spent decades as a music publisher, overseeing the oldest independent publishing company in the US. An industry activist, she currently serves as the Vice President of the Association of Independent Music Publishers (AIMP) and was named to the Dispute Resolution Committee for the newly created Mechanical Licensing Collective (the MLC). With vast in-depth experience with most of the leading CMO’s in the world, she has a seat at the table creating global protocol on numerous committees for CISAC’s Society Publisher Forum including chairing the Music In Commercials roll-out team, she has also served on the Media Committee at PRS. Songwriters Debbie has worked with in her tenure have won multiple Grammy, ASCAP, BMI and Ivor Awards and cross every musical genre.
Said Debbie Rose, “The service at IMRO has always been among the best of any performing rights organisation in the world. We are thrilled to be members, and feel we’ve won the golden ticket in being the 16,000th member of IMRO! We truly look forward to working closely with this incredible team. Ireland has always been fertile ground for great songs, and everyone at Laughter Music can’t wait to unearth more and give them the global recognition they deserve.”
Are you an exceptional artist or music business professional? Are you ready for the next level? Apply to the Keychange programme for international opportunities, training, mentoring, networking and promotion globally throughout 2022.
Keychange seeks to overcome barriers that women and gender minorities encounter in the music industry, confronting the imbalance and by offering solutions towards a representative industry.
Keychange support talent from 12 countries by helping along to the next stage in their career path. 74 participants are recruited annually and are provided with the opportunities they need to progress within the music industry and to help them realise their potential to become the leaders of tomorrow.
