“Onto the turntable went Tír na nÓg’s self titled debut from 1971. And what a beautifully pure piece of progressive folk awaited me. Sonny Condell and Leo O’Kelly’s wonderfully crafted songs shine, with them both playing such instruments as tablas, dulcimer and Moroccan pottery drums!”
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“SONG FOR EWE” is the feature where artists & music people beloved by VELVET SHEEP choose an...
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“I used to listen obsessively to The Kinks as an art school student and spent hours in my bedroom teaching myself their songs on ukulele. I soon became very determined to learn how to play the lead interludes in “Milk Cow Blues”, mainly because I loved the raw energy of it and taught myself by ear.”
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“On the song “Caucasian Bird Riffles”, Julie Tippetts stands centre-stage. She’s in on the first bar, to minimal piano and Hammond organ accompaniment, singing with little vibrato or inflexion, but with a dominating, glacial presence, as the descending melody line accompanies the opening salvo from Haines”
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“I remember people called it mod punk when it came out even ‘tho they don’t sound anything like The Jam. I think it was probably more because of their fashion and graphics style. But what it is, is an absolute banger of a GREAT record. It’s full of super catchy songs, loud as fuck guitar, great pic slides and really great snotty vocals. It’s also got a bit of an early Dischord sound and attitude”
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“The steamy image it conjures up sends sends major goosebumps up and down my spine. I can’t put on mascara and listen to this at the same time.”
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“This is a stunning record of New Age/Ambient music, that perfectly reflects the personality of the person that made it. Alex has always had a strong and admirable connection to natural world, we remember them talking excitedly about plans to make a documentary about Magpies and their various calls and songs.”
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“As a bass player, I love hearing bass combined with different types of instruments, in this case the Irani santur, a 72-string instrument dating from approximately 500 BCE. I love the combination of urgency and melancholy I hear in this song.”
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“Even though my own music is strongly influenced by Irish and English folk music I heard while growing up, when I first heard Fats Domino playing “Jambalaya” I was mesmerised. The music sounded so otherworldly. It sounded like a rich swampy terrain, very different from the sometimes bleak and harsh Irish weather. I began digging into the music of New Orleans and Louisiana. I discovered Louis Armstrong and the Blafa Brothers. I was so taken with Armstrong that I named my dog Louis after him!”
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“Megira’s surf rock guitar, bittersweet melodies, and hopelessly romantic lyrics [“…no, no, and you should’t/Don’t say maybe/Maybe today, maybe tomorrow/Tomorrow’s gone…”] remind of a scene from a David Lynch film. I love how timeless this song is, and especially the sound of the rockabilly guitar, knowing it was written in the early 2000s, but it could just as well be dated to the 1960s”
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“Cooper (Cooper Crain, producer and member of Bitchin Bajas, Cave) passed along this record to me a few years ago, and it became a morning tradition in my old apartment. We’d put it on and do our calisthenics and routines. Now it sparks a memory of my psyche in those days, and the horizon snaps into focus when I put it on.”
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“…the music harks back to the early days of sampling: sixties avant garde classical with its dissonant eruptions, drones, reversed sections, human voices pitched beyond their natural range and arranged in sequences…and all endowed with all the shortcomings of the nascent technology… but Cristobal Tapia de Veer has somehow managed to revisit and modernise these traits in a very personal, clever and peculiar way.”
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