Hefty Horse
New Member
Hefy Horse Presents:
Rozi Plains
+guests
upstairs @Anseo
8pm/5euro
We are very pleased to bring Rozi over to play her first Dublin Headline Show. She is part of the Fence Collective and played Dublin recently supporting Devendra Banhart in the Button Factory.
(The Fence Collective is a micro-indie record label based in Fife, Scotland: The Fence Collective, King Creosote, The Pictish Trail, FOUND, James Yorkston, OnTheFly, Rozi Plain, François & the Atlas Mountains, Player Piano, Gummi Bako, Lone Pigeon, Pip Dylan, H.M.S. Ginafore, OLO Worms and more)
Rozi has recently released a record called 'Inside Over Here'. Here are some reviews:
PLAN B
Put this to your ear: you can hear the sea. The creels and gulls and taverns and harbours and coasts and aloneness that define the maritime: it’s all here, quietly, made musical. A conciliatory vista wherein clarinets puff like steamboats and voices curl forth like smoke – where bracing guitar notes trace longing and hope – this album navigates wind-whipped days of staring through steamed-up, brine-smeared windows: of watching worlds inside, and out. Perhaps it’s Rozi Plain’s day-job as a ferry worker that calmly evokes such seafaring impressions – as evinced on balmy shanties such as ‘Barbs and Velcro’, ‘Roof Rook Crook Crow’ and ‘Foot Out’. Or perhaps it’s the clement influence of her coastline-fetishising Fence Collective label-mates. Whatever: this debut from Bristol’s Cleaner Records instigator – and Francois / Atlas Mountains collaborator – is unhurried, understated, and ace.
THE LIST
Rozi Plain is a young Bristol-based singer-songwriter, and this debut collection of intimate folk-flecked tunes is gorgeous, original and brimful of character. Plain’s sumptuous yet simple voice trips delicately over banjos, clarinet and accordion on tracks like ‘Stolen Shark’ and ‘Forks and Knives’, sounding like Kathryn Williams with Adem and Sufjan Stevens as backing band. The sparse, swaying arrangements throughout give her off-kilter melodies room to shine and given a decent tail wind Plain could easily establish herself at the front of the nu-folk pack.
THE SKINNY.
There is a problem when trying to review an album like this, which woos you with its easy charms, which stills your spirit with its banjos rippling like a bubbling stream. Rozi Plain's catherine wheel vocal harmonies set your mind a-wandering and you begin to recline into the sound of her voice and melodies like you would a warm bath surrounded by candles and shared with a lover. Plain, the latest signing to Fife's Fence Records, has made an album of such charm that there lies a problem in critiquing it effectively. Let me bathe in it, instead, let me reflect. Oh OK then, some facts: it was produced by a handful of folk including Fence brothers Kenny and Gordon Anderson, and a few friends from Bristol where she's from; and it's bloody good. There, now let me close my eyes and chill. [Milo McLaughlin].
Read more: http://www.myspace.com/roziplain#ixzz10Rbhs2Dg
VALERIE FRANCIS:
Slow Dynamo
VF Records
Release Date – May 22nd
On her debut album, Slow Dynamo, Valerie Francis has managed to cross-stitch a work of coal-burning beauty composed of simple ideas, executed complexly. Old synths, harmoniums, bells, horns, drums, and strings interweave to turn accessible songwriting into something to savour rather than gobble whole (tempting as it is to shovel the whole of Slow Dynamo's platter down your throat at once). Drones pass by each other like ships at night, while instruments play a hypnotic hopscotch together without ever tripping over each other's feet.
Produced collaboratively with Jimmy Eadie (Jape, David Kitt), Francis' album is one of delicate intricacy and an artist's attention to detail. Francis' performance within this album is no box of eggshells, however, but a subtly elaborate engine pistoning off steady streams of kinetic sparks – that Slow Dynamo the album name warns of. This album is all about the creation of energy, a resource Francis has found a way to tap. Rather than a gluttonous rush of exertion, she leaks it out at a rate steady enough to power her along for the album's 33 minutes, and indeed, another 33 years, all lightbulbs glowing and turned-up radiators.
Just listen to the opening self-titled track, with its softly humming harmoniums and synapse-caressing vocals. Pick out any other given chapter from Slow Dynamo's contents. Whether the chiming bells and blissed-out orchestration of 'Punches', or the scorched-earth starkness of 'Please', Valerie Francis' person has merged with her sound. She is the forest-scape instrumentation on 'Trees', the playful singsong voice on 'How', and the jazzed-up drumbeat of 'At Most'. As Francis lays out in her aim: “I wanted to make a piece of music that is optimistic and has life.”
“I'm a big fan of people like Kate Bush,” Francis explains, “and albums like The Dreaming which have sounds on them you would never imagine had any place in popular music, however work completely. Not quirky for the sake of quirky, but quirky for the sake of art.” Fittingly, Slow Dynamo isn't rammed to the rafters with gimmicky instruments or gratuitous weirdness. There's no deceit and no play-acting - this is a collection built in the image of its creator.
In case you hadn't noticed it, Valerie Francis' debut album is a masterful example of how keeping your voice down makes everybody want to listen to what you're saying. Slow Dynamo may indeed be a slow-burner, but it's one hell of a bonfire when the spark catches.
Capital Trid:
http://www.myspace.com/capitaltrid
Rozi Plains
+guests
upstairs @Anseo
8pm/5euro
We are very pleased to bring Rozi over to play her first Dublin Headline Show. She is part of the Fence Collective and played Dublin recently supporting Devendra Banhart in the Button Factory.
(The Fence Collective is a micro-indie record label based in Fife, Scotland: The Fence Collective, King Creosote, The Pictish Trail, FOUND, James Yorkston, OnTheFly, Rozi Plain, François & the Atlas Mountains, Player Piano, Gummi Bako, Lone Pigeon, Pip Dylan, H.M.S. Ginafore, OLO Worms and more)
Rozi has recently released a record called 'Inside Over Here'. Here are some reviews:
PLAN B
Put this to your ear: you can hear the sea. The creels and gulls and taverns and harbours and coasts and aloneness that define the maritime: it’s all here, quietly, made musical. A conciliatory vista wherein clarinets puff like steamboats and voices curl forth like smoke – where bracing guitar notes trace longing and hope – this album navigates wind-whipped days of staring through steamed-up, brine-smeared windows: of watching worlds inside, and out. Perhaps it’s Rozi Plain’s day-job as a ferry worker that calmly evokes such seafaring impressions – as evinced on balmy shanties such as ‘Barbs and Velcro’, ‘Roof Rook Crook Crow’ and ‘Foot Out’. Or perhaps it’s the clement influence of her coastline-fetishising Fence Collective label-mates. Whatever: this debut from Bristol’s Cleaner Records instigator – and Francois / Atlas Mountains collaborator – is unhurried, understated, and ace.
THE LIST
Rozi Plain is a young Bristol-based singer-songwriter, and this debut collection of intimate folk-flecked tunes is gorgeous, original and brimful of character. Plain’s sumptuous yet simple voice trips delicately over banjos, clarinet and accordion on tracks like ‘Stolen Shark’ and ‘Forks and Knives’, sounding like Kathryn Williams with Adem and Sufjan Stevens as backing band. The sparse, swaying arrangements throughout give her off-kilter melodies room to shine and given a decent tail wind Plain could easily establish herself at the front of the nu-folk pack.
THE SKINNY.
There is a problem when trying to review an album like this, which woos you with its easy charms, which stills your spirit with its banjos rippling like a bubbling stream. Rozi Plain's catherine wheel vocal harmonies set your mind a-wandering and you begin to recline into the sound of her voice and melodies like you would a warm bath surrounded by candles and shared with a lover. Plain, the latest signing to Fife's Fence Records, has made an album of such charm that there lies a problem in critiquing it effectively. Let me bathe in it, instead, let me reflect. Oh OK then, some facts: it was produced by a handful of folk including Fence brothers Kenny and Gordon Anderson, and a few friends from Bristol where she's from; and it's bloody good. There, now let me close my eyes and chill. [Milo McLaughlin].
Read more: http://www.myspace.com/roziplain#ixzz10Rbhs2Dg
VALERIE FRANCIS:
Slow Dynamo
VF Records
Release Date – May 22nd
On her debut album, Slow Dynamo, Valerie Francis has managed to cross-stitch a work of coal-burning beauty composed of simple ideas, executed complexly. Old synths, harmoniums, bells, horns, drums, and strings interweave to turn accessible songwriting into something to savour rather than gobble whole (tempting as it is to shovel the whole of Slow Dynamo's platter down your throat at once). Drones pass by each other like ships at night, while instruments play a hypnotic hopscotch together without ever tripping over each other's feet.
Produced collaboratively with Jimmy Eadie (Jape, David Kitt), Francis' album is one of delicate intricacy and an artist's attention to detail. Francis' performance within this album is no box of eggshells, however, but a subtly elaborate engine pistoning off steady streams of kinetic sparks – that Slow Dynamo the album name warns of. This album is all about the creation of energy, a resource Francis has found a way to tap. Rather than a gluttonous rush of exertion, she leaks it out at a rate steady enough to power her along for the album's 33 minutes, and indeed, another 33 years, all lightbulbs glowing and turned-up radiators.
Just listen to the opening self-titled track, with its softly humming harmoniums and synapse-caressing vocals. Pick out any other given chapter from Slow Dynamo's contents. Whether the chiming bells and blissed-out orchestration of 'Punches', or the scorched-earth starkness of 'Please', Valerie Francis' person has merged with her sound. She is the forest-scape instrumentation on 'Trees', the playful singsong voice on 'How', and the jazzed-up drumbeat of 'At Most'. As Francis lays out in her aim: “I wanted to make a piece of music that is optimistic and has life.”
“I'm a big fan of people like Kate Bush,” Francis explains, “and albums like The Dreaming which have sounds on them you would never imagine had any place in popular music, however work completely. Not quirky for the sake of quirky, but quirky for the sake of art.” Fittingly, Slow Dynamo isn't rammed to the rafters with gimmicky instruments or gratuitous weirdness. There's no deceit and no play-acting - this is a collection built in the image of its creator.
In case you hadn't noticed it, Valerie Francis' debut album is a masterful example of how keeping your voice down makes everybody want to listen to what you're saying. Slow Dynamo may indeed be a slow-burner, but it's one hell of a bonfire when the spark catches.
Capital Trid:
http://www.myspace.com/capitaltrid
