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Gruffalo Soldiers #1 10 Years of Barrygruff

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Gruffalo Soldiers #1 10 Years of Barrygruff Gruffalo Soldiers #1 10 Years of BarryGruff July 2020 Includes interviews with Contributions from Joe Donnelly, Evan Lynch & Captain Moonlight Cian Ciaran, Jinx Lennon, Elsa Lester, Peaness, Seazoo, Anderson, Martha Ffi on & Lauran Hibberd Contents Page Anderson Songs 04 BLOOD, SWEAT AND CHEERS: THE LEGACY OF THE LOCAL MUSIC VENUE 06 - joe donnelly Elsa Lester: DIY Guitar Pop-Perfection 10 From Breakers Revenge to Bertie’s Ballad - Captain moonlight 13 Lauran Hibberd: everything is still dogs 16 For The Love Of It - evan lynch 18 Martha Ffion: Ffion pop 20 Jinx Lennon: The Baird from the Border 24 Super furry animal: Cian Ciaran 30 Pea-Popping with Peanesss 33 Seazoo: Indie-pop-wizardy 35 2 Page 10 years of BarryGruff 04 I don’t really know where to begin. It feels both like yesterday and an absolute age since I 06 began blogging regularly about music on my own patch. 10 I’d written for a variety of music sites and done guest posts for Nialler9* but starting my 13 own blog was an opportunity to regularly write and share music I found interesting. There 16 was no great plan, it was something to keep me sane in unemployment ridden world of 18 post-banking collapse Ireland. 20 24 While a lot has changed over the 10 years, I have tried to keep the focus on music that I 30 like and fi nd exciting. There is a special feeling when you fi nd something new that knocks you for six, I’d get that feeling blog or no blog, but it is nice to be able to share with other 33 people. 35 The blog opened up some other avenues too; offers to write elsewhere, radio contributions, DJ and getting to go to so many great gigs and festivals (remember them?). On the gigs front, the BarryGruff shows (with Stevie Moon aka Broken Home & Poggy) were a blast. So many amazing nights with superb acts and hey, one of the shows played a not so small part in the story of myself and wife to be Caroline - which in itself makes it all worthwhile. There was the podcast too with Justin Beats which was a lot of fun – I do miss swilling fi ne Canadian ales and rambling on about music. Stevie & I put together a compilation of favourites to mark 5 years of the blog (it’s great, tune in here). That in a roundabout way brings me to the Zine which is an attempt to mark ten years of the blog. There are superb articles from Joe Donnelly, Evan Lynch & Captain Moonlight, and interviews with some** of my favourite artists from the past decade. It has taken a bit of time to pull it all together and not without its hiccups along the way so I’m delighted it came to fruition in the end. It is/was an attempt to re-create an old fashioned Zine, wheth- er we achieved that or not, I hope you enjoy reading it. I’d like to thank Joe Donnelly, Evan Lynch & Captain Moonlight for their articles, Peter Lane for use of his photos and artwork, Johnny Feeney for his IT acumen and support, all the artists who kindly took the time to be interviewed. Thanks to Stevie and Caroline for their assistance in getting this over the line and lastly, thank you all for indulging me with your time – it is greatly appreciated. Barry *Nialler was a great source of advice getting started. Oh, side note: I was once referred to as Newbridge’s answer to Nialler9 – Niall, you need to reassert your Newbridge credentials. ** We might need to do another issue. 3 Anderson Songs Dubliner Daniel Anderson – aka Anderson – is without a shadow of a doubt, one of Ireland’s very finest songwriters. With the demise of former band, (the late, great and criminally underrated) The Rags, under the Anderson moniker, Daniel returned with a solo musical venture. It has proved to be exciting and intriguing departure with us being the major beneficiaries, as we’ve been treated to steady stream of simply gorgeous, meticulously crafted songs, influ- enced by late ’60s pop and early ’70s sing- er-songwriters. The release of his debut album ‘Patterns’ in 2015 remains the highwater mark thus far, a beautiful and beguiling record and a stand-out from that year, in Ireland or any- where else for that matter. As we await the successor to ‘Patterns’, we thought we’d drop in on Daniel to find out about his mu- sic and inspirations, progress on the new record and how door-to-door record sales singlehandedly saved the record industry. Let’s go way back to the start, how did you get into music? And has music al- the seed of my musicality was sown by seeing ways part of your life growing up? him play. When the Britpop shit was happen- ing, it was his guitar I learned to play Oasis I think music got into me and not the oth- songs on. That’s when I started to believe it er way around. I was always aware of the possible for me to be something other than effect music had on experiences, how it set a plumber. moods and made normal things seem more vibrant. My family are music lovers so I What got you into music? Who would you had a good foundation from which to de- consider your biggest influences? velop my own tastes. That said, I can’t say I had aspirations of becoming a musician Britpop was happening when I was in my that early on. My uncle Bill, who allowed teens and it was huge, everyone was playing me to build my studio out his back, was an guitar. The internet wasn’t a factor and the instrument hopper, he went from Sax to chain of influences was put together more harmonica and eventually guitar, so maybe organically. You’d watch an interview with 4 Oasis or Blur, or whoever was doing the On releasing your debut album, rounds, and they’d mention say The Smiths you released a charming, funny and and you’d try get your hands on a record. heart-warming video - ‘Door To Door The more I dug the deeper my understand- Sales Will Save The Music Industry’. ing of the musical heists these bands were What was the thinking behind selling undertaking. Which was fine by me, it is ok your album door-to-door, and making to rob! the video? Were you pleasantly sur- prised by the response? How would describe your sound and how have your influences impacted I just needed to do something to distin- this? guish myself from the mob. Releasing an album is a tricky business in a world where I’ve always found it difficult to describe my people’s entertainment options are endless sound and I think it’s due to the fact I nev- and constantly expanding. In some way you er really know what I’m doing. I set out to need to tell them this LP is something you write and it just comes out how it comes need, and I think that’s what the video did. out. Whenever I try to interfere, the result After a few days shooting we looked back is invariably bad so I just take what I’m giv- on the footage and I think we had an idea en. I suppose my influences at any given it was something that would resonate with moment effect the way I write but never people. It was just people being people, and overtly, I hope!! it’s refreshing to see a record presented that way. By moving outside the conventional On the creative process that shapes channels associated with releasing music it your music, do you like to work alone? suddenly seems vital. Or collaborate with others? Or a bit of both? On a more serious note, how are things progressing on album #2? And what I do miss the collaborative thing and I often can we expect? pine for a ying to my yang. Writing in, my opinion, is an extremely intimate process The new album is strange, with lots of pe- and for a collaboration to work you need culiar directions. ‘Makes Me Feel For You’ to trust someone enough to expose your is perhaps a good indication of how at least most vulnerable self to them. Otherwise it one song on the record sounds. Other than doesn’t work. That kind of trust can take that, your guess is as good as mine, when years to develop and I haven’t experienced it comes to how it might end up sounding. it since The Rags finished. And, with your songs, what comes first the music or the words? It depends but usually by playing some- thing on the piano or guitar a lyrical idea fires, and a song begins to come out of it. 5 BLOOD SWEAT AND CHEERS: THE LEGACY OF THE LOCAL MUSIC VENUE By Joe Donnelly Music venues are always so much more than just bricks and mortar. Take the iconic and legendary CBGB music club in New York City. As infamous as it was famous, CBGB closed its doors and dismantled its PA for the last time in 2006, having had its heyday in the 70s and 80s with artists such as The Ramones, Talking Heads, Blondie and Patti Smith all grace the small, cramped stage. CBGB became so highly regarded in terms of its cultural legacy – showcasing punk, hardcore and avant-garde live music – that the building in which it existed was added to the U.S.
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