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College Tribune | 3rd February 2009
Music
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Moving up the Social Circuit Heather Landy recently caught up with up and coming unsigned act, Social Circuit in advance of their single launch in Radio City to discuss the birth of Social Circuit, their plans for the future and being political in the musical sense It’s a Wednesday evening and in a small recording studio in Dublin’s City Centre, Social Circuit are busily rehearsing not only for their single launch next month but also in advance of a number of confirmed gigs where spectators will be able to hear the new material which has been evolving ever since the band’s formation last summer. After fifteen minutes of listening to the previously unheard material, we finally ask the group a number of questions, getting the inside scoop on one of Dublin’s undiscovered musical gems. The first burning question has to be how did Social Circuit as a musical collective come to fruition? Lead singer and guitarist, Sean Arthur enlight-
ens us with a brief history of their beginnings, “Myself and Mick (drummer) were in a band that played after school, as you know as time progresses and members disperse, concentrate on their studies…we decided to continue on with a new band, Conor (guitarist) invited himself to join with Andy (bass/synths) proving a later addition to the musical makeup of the band.” However Arthur continues and ascertains that “Andy’s position was temporary at first, minimal tension lurking in the early stages upon Andy’s arrival… myself and Conor were anxious to record as much as possible…nowadays we rehearse pretty regularly… we have been rehearsing here [Loop
Studios] since last year.” On the subject of recording down the country as a number of bands have been accustomed to lately; “We don’t want to gig down the country, associate with country folk,” he jokes. In addition, the band stresses the importance of democracy in a band, where opinions are shared and utilised into the musical structure, “it is important to be democratic as possible, everyone should have a say, we always seem to figure out a way so that everyone is happy.” However, like any band, Social Circuit has had to face problems when it comes to a musical direction. Conor muses, “When it comes to deciding a cover it is usually a three to one verdict.” Of course there is ultimately an upside to this, “the fact that everyone has different opinions creates a variety of music.” Already, Social Circuit have played in a number of venues including the Boom Boom Room and Radio City with an up and coming date in Whelan’s on the 11th of February and, most important-
ly, their single launch in Radio City on the 21st of February, which will represent their biggest gig to date. It’s hard to believe that Social Circuit have only been on the word go since last September, however the last few months have seen the quartet take
“We don’t want to gig down the country, associate with country folk”
a break so that they can increase their repertoire and in a way polish their sound. As Arthur confirms, “We decided to take a break over that period so we could write more material…we faced the problem of demand over supply where we only had three or four songs that we could play at gigs which ultimately wasn’t enough.” Their sound is certainly polished and brimming with energy. “It was important to make songs accessible
lady gaga
Green day
the fame
dookie
This is an album of hits, already riding high in the charts and splattered all over the radio and the clubs, and there’s many a song that will most likely follow the successes. However, The Fame is a record that echoes the lyrical simplicity of Kylie Minogue in her Lucky, Lucky, Lucky era, except with a bit less innocence and a little more innuendo, “Let’s have some fun this beat is sick I wanna take a ride on your disco stick” (Lovegame). There’s not a lot wrong with the beats that are layered on top of everything – they bounce and they’ll do no harm to the dance floor but there’s nothing new or that interesting in them, the most entertaining thing is deciphering the unfortunate lyrics. It is really a note on society that someone who could have come out with something a lot more intriguing and meaningful – there being some flashes of real talent, unfortunately all too few to add to the overall – if having been exposed to a differ-
ent sort of atmosphere has gone the generic and easy hit-making route. Her songs are self-written which is impressive but they revolve around the overused themes of being wealthy and splashing that cash around, along with the good old track that makes sure to raise the idea of money not being everything, Money Honey. Fame really isn’t all it’s cracked up to be... but thank you Lady Gaga for bringing the word Glamophonic to the world. EOIN BOYLE
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Green Day’s Dookie has sold over fifteen million albums since its release fifteen years ago, their first album on a major label and third studio album, following 1,039/Smoothed Out Slappy Hours and Kerplunk. Their power chord, palm-mutted, fast playing and rapid lyriced songs had widespread appeal among gen-Xers. The album clocks in at 39 minutes and change but packs a lot of punch. While the opening three tracks would probably be more notable on a less talented band’s album, they’re hardly worth mentioning given that what follows them is so outstanding as to leave them firmly in the shade. The fourth track and first single, Longview, has a very simple message; “Its about boredom, masturbation and smoking dope,” described author and Green Day frontman, Billie Joe Armstrong. This tells you everything you need to know about Dookie. With tracks like She, about an abusive girlfriend, and Basket Case, about mind-numbing boredom driving one insane, it is a testament to their abilit that Green Day
by the time they are put together. They ultimately have a pop aspect.” Additional synths perhaps pinpoint a Killers-esque sound, solid syncopated drum beat and intricate and catchy guitar riffs also suggest not only pop influences but indie influences ranging from The Strokes to Kings of Leon. Vocally they are tight and their energy is demonstrative of a band who are passionate about what they do, basically making music for the sheer joy of it. Bannister stresses, “We are becoming more experimental as a band…we all have different influences.” Perhaps an observation could be made that this is a band merging respective influences into one musical outfit. The future certainly seems bright for the Dublin foursome who are going from strength to strength. Arthur mentioned IMRO, the association for unsigned acts that propelled Fight like Apes beyond the underground scene into the mainstream. They hold an annual show where unsigned acts play in to a much larger audience than they are accustomed to in hope of securing a lucrative record contract. Perhaps we shall see this circuit make that shift from the underground into the social.
»»www.myspace.com/socialcircuit
»»Social Circuit release their de-
but single, Modern Man in Radio City on the 21st of February
Released: February 1st 1994
manage to make these things sound upbeat and fun. The bonus track on the album, All By Myself, written by drummer Tré Cool, is a wonderful discovery for the first time listener; it is all about masturbation. It’s a lot funnier and less juvenile than you might think. The album had huge gen-X appeal, with songs about panic attacks, insomnia, mental illness, masturbation and sexual orientation, it was always easy to put the listener in the shoes of the musicians, neurotic slackers. Ironically, the album was regarded as “sell out” by many of their early fans – an insult that would follow the band with subsequent albums, Warning and American Idiot, by fans who regarded Dookie as true Green
Day material. Often unheard by fans of the band’s most recent album and particularly the singles, Holiday and Boulevard of Broken Dreams, Dookie is definitely worth listening to for a fan of their later works. Dookie is not a feel-good album; if it were released today it wouldn’t be successful because it is not happy or easy listening. It is morose but funny, laughing at the less desirable aspects of suburban life, particularly boredom and listlessness. Dookie achieves depth without trying to, a feat which is remarkable considering all the albums and musicians trying so desperately to be deep and only managing to be shallow and whiney. In the age before the internet, Dookie got a lot of airtime in a lot of bedrooms. It still should.
KEV DOYLE