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Their last album, Twilight of the Innocents , was unfairly maligned - but who will deny, even now, that their heart swells when a sweeping orchestration ushers in the chorus of Oh Yeah? The last decade has a seen a flourishing of instrumental music in Ireland, with The Jimmy Cake at the forefront. An evolving line-up of musicians has given them the time and space to experiment with composition and tone, creating something both experimental and accessible.

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Mick Pyro is a true one-off. He has raised the profile of ancient Irish vocal techniques, incorporating modern twists into something traditional and sparse, best evidenced in his most recent album, Invisible Fields. His compositional skills have won him soundtrack work and Grammy nominations as part of Afro Celt Soundsystem , while his most recent collaboration was a live piece with the Crash Ensemble.

Peter Wilson is the curious one in the list. The dreadlocked, eye- linered musician surrounds himself with arcane recording artefacts and even, on occasion, borrows from the music of long- gone Northern Ireland stars. Ruby Murray springs to mind; ask your Grandad. Damien Rice is the quiet one, the intense one, the singer-songwriter most revered by the other quiet and intense ones.

For every pattern of bleeps, there are dusty chimes and organic beats. Coping Mechanisms, his many-layered debut album, grabbed hearts and minds, and pushed his live performances from solo electronics to a full-band experience. A follow-up is in the works and due later this year.

The 50 best Irish music acts right now

A musical match was struck when the fiddler returned to his musical roots and the Cahill came along. But the true measure of the partnership is in the live shows, when each sparks off the other and the music transcends the setting. A merry banquet of clattering banjos, Krautrock psych-outs and space- age flights of fancy: God only knows what comes next, but it will be well worth hearing. These quiet-loud-quiet, post-rock maestros from the Glen of the Downs in Co Wicklow are proof that some Irish bands do think outside the box.

She has since signed to SonyBMG, composed two pieces with the Crash Ensemble, written electronic scores for theatre and contemporary dance, and conducted a piece orchestra.

Booklist ( by Genre - Adventure fiction) : NSW Premier's Reading Challenge

Her second album is set for release in Ireland on May 29th. His debut solo album The Hare's Corner , released last year, while rooted in traditional Irish music, has managed to gather many modern threads together. It garnered praise from bloggers and non-trad fans alike. A stunning record with a brooding, free-flowing feel centred around his accomplished fiddle-playing.

The frontman of two of the most disaffected Irish rock bands of the past 30 years - Microdisney and Fatima Mansions - Cathal Coughlan stands alone in the pantheon of disgruntled Irish shruggers. Through a sequence of solo albums over the past 10 years, however - as well as projects that could easily fall into avant-garde categories in the areas of theatre and spoken word - Coughlan has steered clear of placing himself and his music in a corner.

In short? A smart cage rattler. She is currently based in Canada. We await further developments - and perhaps a record from Kitt-kin side-project Spilly Walker - with interest.

The sci-fi novel Roadside Picnic has inspired works in film, TV, books and even videogames...

News of their reformation in made grown men cry, and that was before they were exposed to ear-bleeding levels of feedback at the comeback gigs. Their Electric Picnic performance in should have been a let-down, considering the high expectations, but their set was incendiary. A pulverising, body-shuddering experience, it proved that the quartet still have the potential to blow away a new generation of fans.

Irish hip-hop? Mixing accessible, sample-heavy tunes with incisive lyrics - their third album From the Word Go is their best yet - MJEX may have many influences, but they brand it with own inimitable style.

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Despite appearances to the contrary, Imelda May is no overnight success story. Her first paying gig came flogging fish fingers in an ad as a 14 year-old and she spent many years on the live music and corporate gig circuit since. When the time eventually came to set out her solo stall, May recorded that fantastic Love Tattoo album and things began to fall into place. By the time April is out, Oppenheimer will have another US tour done. There are many one-man-and-his- guitar outfits in Irish music, but none quite like Dubliner John Lambert.

Blending the acoustic guitar with a clutch of electronic flourishes, his album Penny Black received much critical acclaim.

The album by this accomplished graphic artist united the visual and aural to create a portfolio of instrumental moods. Yet their recently-released album, No Line on the Horizon , is less of a masterpiece than many critics are claiming; indeed, it contains some of the most mediocre music U2 have created, something that seems to have been doggedly overlooked in the rush to lionise them which is also occasionally justified. Edgy, daring and sparky, Dublin band Cap Pas Cap play a hugely alluring post-everything game. There has only been a handful of releases to date, but each one has seen them pulling new shapes from the bag.

Even when Delorentos were supporting nonentity bands in Crawdaddy on dreary Tuesday nights in , their spark was unwaveringly evident. An obviously well-rehearsed group - this writer has never witnessed a sloppy performance by the Dubliners - their debut In Love With Detail was stuffed with razor-sharp and radio-friendly guitar-pop. News of their forthcoming split came as a blow to fans who expected great things from the young quartet. Is he any good?

We can live with that, no problem.

In one short and very sweet debut collection, Fionn Regan managed to shatter the po-faced stereotype of the singer- songwriter. With its liberal sprinkling of humour and literary references, The End of History gave us surreal stories with a philosophical heart. Despite the differences from the book, the ending is built on a similar notion. When the three finally reach The Room, they start to fear their own inner most desires. The game was long delayed, having been announced six years before release. It was riddled with bugs and glitches too, though over the years a dedicated community of modders has added patches that have greatly improved the experience.

The story isn't terribly compelling, but the world and atmosphere are terrific. Most games are player driven, creating the impression you're driving events at all times.

Like the book and film, this creates the feeling the environment itself is a living thing, and players must also be on the lookout for lethal traps like jets of flame. Shadow Of Chernobyl feels like a survival horror title in many ways, where resources and ammunition must be managed and creature attacks can happen at any moment. For the hardcore fans of the series, there are even a few tie-in novels too. There are numerous Zones players can explore, such as France and Japan, with each having unique environments, traps and artefacts. Filmmaker John Scheinfeld dips in and out of the music—too much so, it turns out, and with too little insight into the specifics of his gifts.

Still, the overarching salvation Trane found in music resonates with such joy. Martin Luther King Jr. Cornel West describes Coltrane as a thermostat, not a thermometer, of the times, an instrument personified that adapted rather than just measured. In its best moments, Chasing Trane succeeds in that as well. With the exception of his fascinating crime doc Tabloid , his output over has predominantly been a sober postmortem on our overseas failures: The Fog of War , Standard Operating Procedure and The Unknown Known.

Bush from to , puts a face to hawkish policies. Previously, Rumsfeld served in the Nixon and Ford administrations, bearing witness to the conclusion of the Vietnam War; when wars went wrong for America over the last 50 years, Rumsfeld was been there. No film in years has produced such a shockingly vivid reminder of what the Bush years felt like: utter confidence, vague contempt, a fiendish skill for playing the PR game in such a way that the administration was guaranteed to come out on top.

That he is somehow able to waddle his way into the most exclusive and sometimes terrifying situations is nearly incomprehensible, until one realizes that, to some extent, all his weirdness probably makes him seem so non-threatening that the folks who spill deeply incriminating confessions probably never figure his footage will ever see the light of day. Yet, the access the man gets … when it comes to documentary film, do the ends justify the means? Because: the last 10 minutes of the film alone are worth the journey, in which an interview with Suge Knight whom the film pretty clearly portrays as the orchestrator of both murders reveals unnerving opinions on socioeconomic and racial realities.

Documentarian Kasper Collin—who previously made My Name Is Albert Ayler , also about a jazz musician—looks at the difficult, abbreviated life of trumpeter Lee Morgan, who was shot dead in the winter of in New York. Throughout the film, you feel the slow, grim pull of inevitable tragedy set against a lush visual palette.

And then there are the interview subjects and the milieu. Collin understands that his film is about people, not art, but his deft storytelling—and the endless sadness that comes from his tale—flexes its own nimbleness and beauty. For those not experiencing that reality on a daily basis, it can very easily become an abstraction. Several years after the factory closed, a Chinese company called Fuyao moved in, hiring back many of the employees of the old plant and offering hope to an economically depressed community.

The American workers would help build windshields for cars and, ideally, along the way discover that Chinese and American employees can live together in harmony. Early on, we can surmise that things may not work out: The Chinese bosses note derisively to their cohorts that the Americans have fat fingers, while the American workers feel alienated by motivational slogans put on the walls in fractured English. American Factory is a portrait of how two cultures clash—not violently or maliciously or even intentionally.


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Nonetheless, divisions start to form, and overriding financial interests take precedence over individuals, resulting in employment shakeups for both workforces. Even their conclusions are measured, if also dispiriting. In 20 Feet from Stardom , music documentarian Morgan Neville introduces talented women like Darlene Love, Merry Clayton and Lisa Fischer, who, for one reason or another, lived mostly out of the spotlight.