welcome in

The assembled cast in The Welcome Inn last night were quite a bunch. I had the Galafari to my left. He was still partying from the night before and the wear and tear was beginning to show. Seated to his left was Barry Delta who had also been partying the previous night but obviously values life's simpler pleasures such as sleeping. Galafari and Barry had of course been celebrating the Reach 2nd Birthday Bash in The Twisted Pepper. Happy second birthday to them. To their left again was the Don of Irish Junglism, the man himself, Naphta. I forgot to tell him last night that I'd only been listening to his 'Long Time Burning' album during the week. Although released last December I only listened to it a couple of times since. During the week I decided that I'd dig it out for another listen and it truly is the finest junglism to have come out of this town. To Naphta's left was another lover and maker of beats, hailing from the UK, weighing in at 13 stone it was the one, the only, Equinox. Moving left again the Mullet took his place between Equinox on one side and Dublin's legendary techno pusher Eamonn Doyle of D1 Records (check him out below with the lovely Welcome Inn behind him). The cameo appearances were put in by myself and the Don Rosco. There was one reason and one reason only for this musical meeting of minds. We were all off to see Rollers Sparkers in the Joy Gallery on Rutland Place.

Rutland Place itself holds a few memories from my distant past. There was a party gaff at the end of it that saw many rave casualties pass both in and out its doors. Fond memories indeed from a time when most of the week would be spent recuperating from the weekends exertions. They were simpler times back then.

Myself and Rosco were eager to move the assembled crew around to the gallery but they're a fairly lethargic lot. We did make it in time to see the last tune by Children Under Hoof. I'm glad we made it because although they were a bit frayed around the edges I enjoyed the buzz about them. I guess that they are in their early twenties at most as they had an affectation about them that was somewhat innocent. The tune was a krautrock/psychedelic prog effort but most bands forget that this type of thing is actually really hard to pull off. To maintain the driving rhythm required for this type of music the heartbeat of the band needs to be spot on. At times during their last tune they could have done with a pacemaker. The bass player and drummer didn't seem to be playing in the same time. The guitarist, who looked a little bit like Catweazel, went a bit wonky at the end and in Mark E Smith fashion went over and started belting away at the cymbals. This was the last thing the drummer needed given the difficulties he was already experiencing. The keyboard player kept looking at the drummer and bassist trying to give thenm the nod to end the song but they were ignoring him. In the midst of all this sat the only female member of the band and it looked like she was playing a Nintendo DS. It seems she has other musical abilities as there was a range of instruments adorning the table in front of her, however any such abilities were kept under cover as she completed the next level of Donkey Kong. Song finished, there was a ramshackle attempt at a Von Trapp family bow. To be fair this was their finale tune so they may have just decided to go apeshit. Next up, Rollers Sparkers.

Knowing the members of Rollers Sparkers, my critical faculties are somewhat skewed. I think that they're great and have done since the first time I saw them a few years ago. That said, they were pretty ramshackle the first time I heard them so the kids from Children Under Hoof can take hope. After what seemed like a long time of fixing gear and fiddling with knobs, they were off. Not that most people noticed. The crowd kept chatting away until a few minutes into the first tune. I'm not sure how the band describe their music but suffice to say its slightly leftfield. They make great use of the array of effects on both their voices and instruments. Their tunes build from a basic rhythm into swathes of driving bass, vocal harmonies and electronic effects and pull the listener along with them. It's not the type of stuff you dance to. Those hearing it are usually more inclined to nod their heads a little. In fact much more time is spent focussing on the contributions from the trio and trying to distinguish exactly who is making what sound. I could only hang around for the first three tunes but it was great. Apparently it was their last live show for a while as they go back to write and rehearse material for a new album. I for one will be looking forward to it.

It was great to see a space like the Joy Gallery being used for stuff like this. It was my first time there but I reckon they could be on to something in using it as a venue. They've held a few such gigs there since it opened earlier this year. I can imagine this kind of thing is de riguer in places like Berlin but it was refreshing to see it happen here in Dublin. There were sixty or seventy people packed into a tight space and buzzing off a couple of bands. Having no licence to sell alcohol the attendees were invited to bring their own booze along if they felt like it. The basic ingredients for a successful recipe are there for them. I wish them every success if their venture continues in this vein.

On other fronts I picked up an album on Grand Royal called New York State of Mind. It features a whole load of Beastie Boy tunes that have been reworked by Green Lantern. These tunes have seen the light of day before on earlier 12inch release and on various Green Lantern mixtapes but I think this album is the first time its been put together on vinyl. One reason for thinking that is that I've been googling it and I can find it mentioned in fuck all places. I think it only got a release at the end of October but its been slow to appear in shops. I was over the the Beastie Boys site trying to get some info when I came across this page. Right in the top middle of the photo is a Saba McDisc just like mine. Nice one.

I also picked up the vinyl release of 'Peeek - an earful of Irish Underground' which has been given a limited free issue on vinyl by the nice Analogue people. I got the CD a few weeks ago but to be honest I never play CD's in the house, or the car, or anywhere else for that matter. I'm not much of a CD guy I guess. As such i was most pleased to get the tunes on vinyl including the contributions by Ugly Megan and Katie Kim. It's only as I write that I realise that there's a tune by Children Under Hoof on it too. I'll have to listen to that later.

I also picked up a limited release seven inch that's from earlier this year. It's a tune called Id Engager and it's by Of Montreal. It's on Polyvinyl Records and its got a nice electro groove to it. It's not what I expected at all. I'm not really familiar with Of Montreal and it was a blind buy but I'm liking it.

Right so. I'm off to cry about Arsenal's unfulfilled potential so far this season. You can catch me playing live on www.powerfm.org on Monday night between 11pm and 1am GMT. Drop in and have a listen to me talk shite in between the good music. Later

It being the occasion of my favourite* daughters fifth birthday I was a bit late arriving at The Sugar Club last Thursday evening. There was cake to be cut, presents to be opened and songs to be sung. My lateness was further compounded by a short detour to hook up with The Mullet for a matter of great import. He was busy checking out Nurse with Wound in Andrews Lane Theatre and was enjoying the experience. Our exchange was brief, we are after all, both very busy men. Onwards to Sweettalk. I knew I'd already missed John Gilsenan's opening talk but I was hoping to make it for at least some of Maser. As it turned out I made it about 10 minutes or so into his talk. This meant running the gauntlet of shame past the stage and up the stairs to the bar.

I never knew that I knew Maser until I saw him on the stage. Like myself, he's a regular shopper in All City Records here in Dublin. Unlike me, he goes there to buy lots of spray paint. Maybe he buys records too? I dunno. I've exchanged words on a few occasions and he seems like an amiable enough chap. After his talk (and also a lot of mumbling in places) he's risen hugely in my estimation. I've seen bits and pieces of his stuff around town but I'd never realised the huge extent or volume of work he'd produced over the last decade. He treated the assembled crowd to a whirlwind tour of his work and accompanied it with a slightly self-deprecating commentary. His unadulterated enthusiasm for his work is only slightly dampened by an endearing humility. He is the epitomy of a buzzer. It's obvious that he's consumed by an artistic passion and it's also obvious that he can't believe his current luck in being widely admired and lately, well paid for it. The talk was a wonderful insight into someone who is coming to terms with his talent. His current status as a bit of a media darling will most likely wear off over time. That's not a bad thing though. Unfortunately most people who are identified as the next big thing tend to become yesterdays news. I don't think its like that with Maser. It's hard to begrudge him any of his success thus far. There was a raw honesty in a lot of what he spoke about. His talk treated a range of ideas and personal experiences but a common theme kept rising to the surface. It's like Maser's artistic journey is also a spiritual one for him. He's found something and he wants to tell the world about it. He is a missionary for street art. Maser Loves You. And it would appear that we all love Maser. Nice one.

Steinski began by recounting tales of his early life and college years. How he became the prime dope dealer on the small university campus he was attending. There were slides of his interesting haircut, Afrika Bambataa and peculiar American turntables. It was all very nice but I was finding it hard to get excited about most of it. It was almost like a Woody Allen monologue at times. I don't mean that in a bad way. I have massive respect for Steinski but I'm not sure he's cut out for the after dinner circuit. He tended to ramble on a bit. In fairness he wasn't shy about giving credit to others where it was due and he seemed like a very genuine individual. Maybe he described it best hmself when he said he was an underachiever who got lucky. Steinski's greatest artistic contribution was from a particular time and place. People will always recognise and respect him for that but it also means they will be kinder in tolerating any current artistic notions. It was always going to be hard to follow Maser. The home crowd had already been wowed. Steinski's talk was a different bag. It's not to hard to see why. Here were two very different artists at very different points in their careers. This manifested itself in their interaction with their art, their lives and the audience. Maser was definitely here and now, Steinski was more like a kindly uncle with a pocketful of Werthers Originals. Both endearing but both very different experiences. Sweettalk returns to Dublin in 2009. They're in Cork in November.

I was delighted to open the magazine in todays Irish Times and see a feature on my favourite Irish artist. I've about half a dozen of his prints and paintings adorning the walls of my home and I never tire of looking at them. He works from his base in Co Wexford and although I'd recently been told he was moving to France, there's no mention of it in the article. The article was on Paddy Lennon, a good mate and former employer of mine. On his return from Spain several years ago I worked in his temporary shop/studio in Dublin. I sold bits of Spanish crockery out front and he painted at the rear of the shop. He always told me he'd give me a painting but it was only about ten years after that I ended up getting some from him. I paid him for them but I reckon I still got a very sweet deal. He also threw in a nice country welcome and quick tour of his stables for good measure. I last saw him about a year ago when he was exhibiting here in Dublin. You should check out his landscapes if you get the chance. Here's the article.

The quest continues and with it comes the third instalment in the Indiecater series. The suitably titled Indiecater 3 is now available for purchase. Once again it features the best indie talent drawn from around the globe. Malmo, New York and Dublin representing alongside a host of others. You'll get it for less than the price of a pint, unless of course you live down the country or drink in a GAA clubhouse, in which case it will be a little more than the price of a pint of Guinness. I rest my case.

Finally, the latest online issue of Fact magazine has a nice little feature on their top 20 jungle tunes. There are some blinders in the pick. Have a look here.



* For the record, I have only one daughter.

the black watch

Myself and the missus took ourselves off to the RDS last night. It wasn't for Kanye West or the Ideal Homes exhibition or anything like that. It was to check out one of the feted plays in this years Dublin Theatre Festival. The show in question is called Black Watch. I saw the festival director on the TV last week saying it was the best piece of theatre produced anywhere in the world in the last few years. As soon as I heard that I lowered my expectations. I hate it when fuckers tell you something is going to be brilliant only for it to turn out to be shite. I need not have been so cynical or disbelieving. The show was great. It's produced by the National Theatre of Scotland and directed by some bloke called John Tiffany. Its apparently based on interviews with former soldiers who served in Iraq and it examines what it means to be part of the legendary Black Watch Regiment, what it means to be part of the war on terror, and what it means to make the long journey home. It was a gripping hour and forty five minutes or so and for a large part of it there was definite sensory assault. I'll not bother reviewing it because that's not my thing but you can read the review in todays Irish Times. I'd recommend that you check it out if it comes around again. I've more freaky theatre lined up for tomorrow evening when I go and see Metamorphosis . Written by Kafka, with music by Nick Cave and half of it staged on the ceiling, you just know its going to be mental.

I made peace with a little part of myself the other day when I finally got my hands on a 12 inch copy of the Foul Play remix of 'Renegade Snares' by Omni Trio. I've been wanting a copy of this old drum and bass tune for years. It's in my top three favourite jungle tunes ever and now it stands on the shelf gathering dust alongside a couple of hundred other jungle classics. Big up to Gerry in Beatfinder Records for not selling it to anyone else (despite his best efforts).

A seven inch of note that's found a new home in Chez Vinyl is the second release in the Powerful Beacon series. It sees hip-hop producer Samon Kawamura remix a classic hip-hop tune by OC called Times Up. The Powerful Beacon project aims to reintroduce hip hop classics to the modern listener by having them remixed by contemporary producers. It's nowhere near as good as the original but its still pretty great. It was released on Takeshi Records some time earlier this year.

yes or no

On the eve of the Lisbon referendum, as the eyes of the world focus on Ireland and as the future of the treaty hangs in the balance its nice to be able to think about far more serious things like what has Matt Vinyl been bagging this weather.

In fairness it's been pretty quiet. Some bloke sold a load of his record collection to All City recently and as a result I picked up two pristine Plaid albums on vinyl, Rest Proof Clockwork and Not for Threes. These have great significance in my life as i bought both of them on CD for my now wife when we was courting back in the old days. I'm not sure how much she liked them but once we moved in together I got to hear a lot more of them. I've a bucket of Plaid albums but these two are by far my favourites. They're twenty years making music together this year. Well done Ed & Andy.

I also picked up the third Divine Styler album the other day. Its from 1998 and is called Word Power Vol 2. Although Divine Styler has been knocking around on the hip-hop scene for donkeys I only came across him through the fairly short-lived DeFocus label. He featured on one of the John Tejada 12 inch releases. I think it was Genetical Love. As it turns out Divine Styler first came to notice in Ice T's Rhyme Syndicate, the posse of rappers, Dj's and hangers on that also gave name to the label. Incidentally, John Tejada releases his eleventh album next week.

In other news I brought the kids to see the David O'Doherty and Maeve Higgins play that I was banging on about. I thought it was great but it seemed to go over the kids heads. Pity that, as it was meant for kids. Later that night I hooked up with Barry from the Reach crew to catch up on the happenings in the world of Dublin jungle. With him was DJ Equinox who'd been playing a gig here the night before. Those unaware of Equinox will not know that he's a Uk based producer and DJ who has released some tunes on the Irish labels Bassbin and Breakin. Of course he's released stuff on other labels too but my mates don't run those labels. Barry and Equinox and the rest of the crew were off down to Crawdaddy for the launch of a new album from Subtle Audio Recordings, a Limerick based drum and bass label run by a nice fella who goes by the name of Code. I'm sure that's not his real name. The album is Subtle Audio Vol 1 and its available in all good record stores and probably some not so good record stores. Alternatively you can buy it straight from Code if you go to his myspace site. Its available on CD and vinyl.

ruff in da jungle business - only the strong survive!

I've been playing records for more years than I care to remember, however I only got into the whole idea of beat mixing in the early nineties. Even then i was hard pushed to find records that i wanted to mix. It was a period in my life where a lot of time was spent getting up to no good in places like the Temple of Sound and The Olympic Ballroom etc. I must admit that it was the sheer buzz of those evenings that I liked moreso than the music that was being played at the nights themselves. There were very few DJ's playing tunes that I really liked. I can count on two hands the amount of techno tunes that I still enjoy. However I do remember getting very excited when I first heard 'Way in My Brain' and 'On a Ragga Tip' by SL2 around 1992. Now here was something that I liked. There's something about the combination of ragga samples and breakbeats that enthuses me. An inspired combination! Not all of it though. It really wasn't until about 1995 that I first had a proper introduction to the musical world of Jungle. It was the music that made most sense. I'd arrived. It's funny that an urban, predominantly black, British based music scene could be so appealing to a white, unemployed Dublin DJ but that's the beauty of life. Things don't have to make sense!

Back in late 95 or early 96 I was lucky enough to hook up with the early stalwarts of the Dublin Jungle scene when I was playing on Power FM and with the Bassbin crew. These guys had been pushing the sound on Dublin's pirate airwaves and clubs since 94 and were true pioneers of the scene over here. All of a sudden the music took hold of my life and for a couple of years things pretty much centred around buying records and asking for gigs. It was a great buzz but I'm a bit fairweather when it comes to committing to most things. Some people, thankfully, are different! One such person is Naphta. The godfather of Irish Jungle is still doing his thing and flying the flag and he's just released an album. It's called 'Long Time Burning' and is available from all good record shops around Dublin and should also be available through the fabulous Blogariddims. If, like me, you might have a penchant for reggae, soul and hip-hop samples played over rumbling basslines and Amen breaks, then this is a must have purchase for you. Forget the pretenders and get yourself a taste of the real deal. Naphta continues to inspire. He's the Original Nuttah!

All me have fi do is send for the new gun

Myself and the Mullet headed down to the Sugar Club last night to get a fix of contemporary culture as laid on by Candy Collective. Sweet Talk 29 featured amongst others Richard Gilligan and Alan Clarke, two likely lads from Dublin who were talking about their creative design work and photos.

We landed down a couple of hours after kick off so I'm not sure who we missed. The door into the venue is inappropriately placed right beside the stage so you get eyeballed by a few hundred people for wandering in late. It was all fancy spectacles and scarf wearing by a large percentage of the audience. Lots of head nodding at the talk of typography and letter setting. The final speaker of the evening was a bloke called Adrian Shaughnessy I believe. He's done a lot of design work for the likes of Primal Scream and the Mute record label. The speakers had a large cinema screen behind them where they'd show their work but a lot of it was lost on me because the screen was so far away. It's the first time that I've attended such an event and I have to say that I was suitably impressed by the whole thing.

It's unusual to see the awkwardness in creative types when they're given a captive audience and are in essence asked to explain and justify their creative work. It was obvious that some of the speakers were unused to operating outside of their creative zone. They probably weren't made any more comfortable by a drunk girl at the bar who kept shouting 'Boring, boring'. She was eventually removed from the premises but not before she'd given a stirring rendition of Dusty Springfields' Son of a Preacher Man. How rock and roll is that? Getting ejected from a talk on graphic design! Fuckin' classic.

As I write an old episode of 'Father Ted' is on. It's my favourite and features Brendan Grace as a bad ass priest who keeps playing 'Limb by Limb' by Cutty Ranks. Telly as it should be.