Did the council follow the correct process to name Herzog Park back in 1995?
Or has Rathgar been living with Orwell Quarry Park all this time?
“It’s a savagely loud and airtight set of post-punk songs, the most exciting release from an Irish guitar band I’ve heard in a while.”
“This is music for intense listening in a comfortable chair as you clutch the record sleeve in both arms.”
The seven songs on “Avenoir” function as “a fine entry point to an ascendant rap cult hero right before he hits that next level”.
“There’s no question that when we put a button on 2021, Alicia Raye’s ‘Nobody 2.0’ will stand as an Irish rap single of the year contender.”
Even within a tightly knit Dublin music scene so quick to glorify its innovators, Stano feels like a man apart.
“In this dream world, Dulu wanders soundscapes that feel endless in every direction, each song resembling fragments of different half-remembered hallucinations.”
Seán Keenan and Gearóid Peggs – buddies “separated by sea, producing remotely from Dublin and London” – have spent the longest year recording nostalgic tunes.
“I like a certain amount of tradition, such as the long-form music project, and ‘92 Degrees’ is, for me, the most complete drill release this island has produced yet. If this isn’t the best Irish album in a while, it’s for sure the hardest.”
“In a way, Róisín Machine finally brings her around to the kind of record that might have launched her star in the mid-2000s,” writes Dean Van Nguyen on the Irish disco musician.
“The video for ‘Up De Flats’ is a show of hometown pride in a corner of the city too often degraded and denigrated.”
Ailbhe Reddy’s “Personal History” and Kean Kavanagh’s “Dog Person” are two debut albums with vastly different perspectives on coming-of-age in the city.
“In Waiting” is “a classic Irish guitar music debut, a proud affirmation of queerness, the power and the peril of organised religion, and a love letter to Dublin”.