Chymera
Gael
Force!
Despite restrictive licensing, the high cost of living and a
crippling recession, Irish house and techno producers are
poised for great things.
Words: RichaRd BRophy
Jmag has lost count of the amount of the current wave; Decal were joining the dots between
D
times international DJs say the Irish are wispy ambience and high-octane electro from the
the best audience to play for. While there early-’90s and Rohan’s Bassbin imprint provided the
is no doubt that Ireland’s clubs have a focus and springboard for internationally renowned
special atmosphere, the country has drum & bass acts like Calibre and Breakage. However,
lagged behind other European countries for releasing these producers and imprints were exceptions in
electronic music. techno-fixated Dublin and house-obsessed Cork.
That’s not to suggest that Ireland was devoid of talented
producers or visionary labels during the early days. Economic boom Turning point
Dubliner Rob Rowland was releasing irresistibly moody The situation changed in the middle of the noughties. It Brendan Gregoriy aka Chymera is also releasing an artist
Detroit techno from the mid-’90s on Eamon Doyle’s D1 would be simplistic to claim that Ireland’s economic album this year on Sven Väth’s Cocoon. Although
label — an imprint that laid much of the groundwork for boom gave indigenous producers a collective confidence Brendan came late to electronic music, he cites a night in
boost. However, there is no doubt that some of the Dublin’s Red Box in 2000 as a turning point.
Donnacha Costello developments ushered in by the so-called Celtic Tiger, “I saw Dave Clarke and I was totally blown away. I’d heard
including greater internet access, cheaper international techno already but never been to a satisfying gig. He also
travel and the availability of digital production introduced me to electro, a style which I had not heard at
equipment, allowed Irish talent to raise their profile and that point,” he explains.
engage more easily in creative endeavour. Armed with records from Simon Conway’s now-defunct
A number of producers have made it to the international Selectah record store — including a rake of Decal’s pacy,
stage, while a greater number still are poised to join abrasive electro — and inspired by the guests who played
them. Unfortunately, barriers remain for emerging at Conway and Giles Armstrong’s seminal midweek Dublin
talent, including restrictive licensing laws, the high cost club Electric City, Gregoriy tried to emulate his idols.
of living and a lack of state support for electronic music. In 2007, his hard work paid off, with releases on Josh
Wink’s Ovum, revered Dutch label Delsin and Luciano
The first Irish techno producer to break through was supporting his ‘Arabesque’ track on Tishomingo. Gregoriy
Dublin’s Donnacha Costello. While he released sublime cut tracks for labels like Figure and NRK in 2008 and
deep techno for D1 in the late ’90s and an exemplary 2009, but given his love for fierce electro and
ambient album, ‘Together Is The New Alone’ on Mille uncompromising techno, it seems odd that he makes
Plateaux in 2000, Costello’s 2004 ‘Colorseries’ EPs uplifting, melodic tracks punctuated by almost
resonated internationally. Marrying the wide-eyed neo-classical key and string patterns. Where are the
optimism of early ’90s bleep techno with sensuous, bleak, melancholic characteristics that typify most Irish
catchy melodies, the 10 colour-coded records from that art?
year saw his profile shoot up. “Northern and eastern European countries make more
“I played in bands for years and experimented with drum mournful, contemplative music, which may be reflected
machines and got a four track in 1991,” he explains. “I by the weather, but the Irish are a pretty happy bunch,
got back into electronic music in 1994 and haven’t looked despite our predilection to grumble at every available
back since. I was particularly inspired by Aphex Twin’s opportunity,” Brendan says. While he resides in
‘Selected Ambient Works 2’ and the early Plastikman Barcelona, whose climate suits his sunny musical
albums. Getting involved with D1 in 1996 was pivotal.” disposition and which he is “far too attached to” to
While Donnacha praises D1 and promoters Ultramack, contemplate a move home, there is no shortage of
who ran the Phunk City nights, he feels, “Those who introspective Irish electronic music.
broke through did so the old-fashioned way through hard
work, self-motivation and ambition.” Full time
Costello feels the reason it took Irish producers so long Derek Carr has been making music since the late ’80s.
to make it is because they are different to their European While he has only released a few records, his deeply
peers. “Artistic integrity and sincerity is in the Irish soulful techno comes across like a laidback Arne
blood and we tend to invest a lot of ourselves in our Weinberg, or a soft-focus Kenny Larkin. Apart from
work,” he says. Last year, Costello set up the Look Long veteran producer Mick Chillage — whose 2009 long-
imprint, which has put out gloriously introspective player ‘Tales From The Igloo’ is worth acquiring — and
tracks. He is also releasing an album on Steve Bug’s Donnacha Costello, Carr is also one of the few Irish
Poker Flat this spring and his output on Look Long and producers to nail the album format: his ‘Science & Soul’
Minimise in 2010 will be “too many to list”. (2006) and ‘Digital Space Race’ (2008) are essential.
030
www.djmag.com
DJ482.irish_featurePROOFED, PLEASE MAKE MORE SPACE FOR FIRST PULL QUOTE.indd 30 15/1/10 10:17:19
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