Welcome to HeartSongs, our regularly scheduled (probably) look at songs and the people who write them. We spoke to Zach from North Carolina’s Snatch The Snail about ‘In Convenience’ from their new record, Not Another Snail Album.

“The inspiration behind the song started with the first verse. I was working at a movie theatre at the time I wrote it and would constantly drink Icees. My favourite flavour was blue, plus there's a photo of me with blue dye in my mouth and that image stuck with me. From there, we move onto the chorus. First thing that came to mind about the Icees was that "It's a guilty pleasure" so I went with that. And after saying "It's hard to resist" I immediately considered it a "That's what she said" joke. I do stand-up comedy sometimes and like to slip jokes into songs, so I went with it. Also, I was dating a girl at the time who has a "That's what she said" bumper sticker, so it was a done deal.

The second verse was more random. I like the phrase "Nevertheless" but wanted to switch it up and write "Never ever the less". "Put it to the test" made it feel more sciencey, which I dig. "Lest we forget" I got from an old episode of Spongebob. "It's just a jest" was just true about the joke concept. And "difficult to digest" just rhymed and sounded good.

Recording was pretty straight forward. I did it all myself with my home equipment. The guitar parts for the verse and chorus were taken from two different songs that I never used. This is the only album where each song was done first with an acoustic guitar and a metronome, and then drums, bass, electric guitar and vocals were done later. There's also a violin track from the violin setting on a keyboard. It always seemed cheesy to me, but I feel like it added a lot to this album without it being too obvious.

To add to that, the title is ‘In Convenience’ because Icee's are most commonly found at convenience stores, plus I was watching a lot of Jay and Silent Bob at the time. Spacing it out as two words added to the punny nature of the song and had slight sexual undertones.”

LYRICS:

My tongue and my teeth and my lips are blue

I've got brain freeze

From all of the Icees I drink on the reg

If I'm feeling crazy

I'll switch it up to red

It's a guilty pleasure and it's hard to resist

That's what she said

Never ever the less

Put it to the test

Lest we forget

That it's just a jest

But it's getting difficult to digest

Hello! 

Welcome to the second installment of Musos' Guide's monthly (mostly) math-rock column AlgoRhythms, coming at you this time with a bit more of a "What is this about?" approach after last time's platform for flaunting my music taste. So, what is this bizarre genre to which this page of the internet is dedicated? Well, according to the infinite wisdom of Wikipedia it's "a style of indie rock that emerged in the late 1980s in the United States, influenced by post-hardcore and progressive rock bands, characterized by complex, atypical rhythmic structures bearing similarities to post-rock."

My taste for this music stems from those irregularities and intricacies, which lends a sense of engagement when listening, as the layers unfold listen after listen. Starting with the quirks of Foals' debut album and delving deep into the frantic math-core of Rolo Tomassi and The Dillinger Escape Plan, the road has been frenetic and interesting. However, it's the invention and optimism of "math-pop" bands like Signals. and The Darien Venture that really sparks my imagination. 

Below are a list of bands I would consider vital to my induction into this style of music, topped off with a new track from Manchester Orchestra for good measure. As my first choices weren't available on Soundcloud, I've included one track for listening now and an additional, ideal suggestion if you're looking for some "further listening" or "homework" whatever on this mathematical journey. But for now, waffling over once again, and time for the music... 

Biffy of the Month: 'In The Name Of The Wee Man'

This track, like a lot of the band's b-sides in recent years, is a taste of the "good old times" in the present day. Cutting through the pop-rock anthems for which they are now known and renowned, this track harks straight back to the Beggars Banquet trilogy with its raw and visceral nature. Yet, the song is still absolutely massive before it descends into madness and Simon Neil's feral screams make a welcome return to close out studio album #7 (Ellipsis). That slow burn into a ferocious closing is undeniably cathartic, and tracks as exciting as this are why Biffy Clyro are one of the biggest names in UK rock music today. 

1. Foals - 'Mountain At My Gates' (Two Steps, Twice)

Whilst the disjointed and angular roots of Antidotes makes it my favourite Foals album without question, 'Mountain At My Gates' is a killer track from their equally killer most recent record What Went Down. You might notice that the "build to an impressive something" theme here, which is pretty much story of those awesome loud-quiet dynamics. This track in particular is full of guitar and swagger before that understated "solo" picks up the pace and Yannis Philippakis' shouts get slightly more unintelligible and soulful. 

2. 65daysofstatic - 'Red Parallax' (The Fall Of Math)

Again, it's that bizarre debut record (The Fall Of Math) that really resonates with me, but over the years since 65daysofstatic (pictured above) have really made a name for themselves alongside the likes of Mogwai as one of the instrumental musical behemoths. Most recently they've provided a soundtrack for the video game No Man's Sky featuring an array of expansive and energetic tracks like 'Red Parallax' to capture the game's vast and engaging nature. This track instills a wonderful sense of purpose and wonder into the listener. 

3. Battles - 'The Yabba' (Futura)

Embed doesn't seem to be working, so the Soundcloud page is here. 

The artwork of Gloss Drop enticed me into the music of Battles, and their mystical powers of composition still enthrall me. 'The Yabba' was the first track released from latest album La Di Da Di and is somewhat jarring with its meandering pace and direction (the music video is likely to confuse also). Walking that line between math- and post-rock, song durations stretch out, and so clocking in at just under seven minutes this track is going to divide opinion between those who "appreciate the art" and those who are a little more wary of the style. 

4. American Football - 'Give Me The Gun' (I'll See You When We're Both Not So Emotional)

American Football's self-titled debut record is arguably the modern math-rock record, with its lush and intricate composition setting the path for pretty much everything that followed. Yet this is a band I somehow bypassed until I was already at the heart of the party, and then the self-titled return to the fray arrived last year and affirmed their status. Equally tender and beautifully poised, tracks like 'Give Me The Gun' serve to showcase the band's talent and deft of touch in composition as layers of emotion and instrumentation interweave to strike the perfect tone. 

5. Brontide - 'Matador' (Tonitro)

Returning to the "building to something awesome" theme, this track is a prime and straight-up awesome example of loop pedals and crescendos. As the layers and tension build you can sense that dirty guitar chord break minutes in advance, but it's still satisfying when it hits. Like American Football, Brontide have that intrinsic ability to compose music which is simultaneously free-flowing and complex. Two records in and their brand of pop-tinged instrumental rock is up there with the best you can lay your ears on. 

6. Manchester Orchestra - 'The Gold' (The Alien)

Finishing with something more on the "indie" spectrum we have the phenomenal Manchester Orchestra, who released the arguably perfect track 'Shake It Out'. Ahead of new album A Black Mile To The Surface which is released next month, they've released some tracks to remind us of the powerful and emotive nature of Andy Hull and company's songwriting. As 'The Gold' saunters along, it gives all the flavours of a stadium anthem of the future, and like most songs by this band that feral edge lingers under the surface. 

Thanks for your attention for another month, and catch us in the same place next time. If you have any suggestions of any kind, musical or otherwise, please just shoot a nudge over to @kj_mccormick and I'll be happy to chat it out with you. But for another few weeks, have a lovely summer time and... 

Goodbye! 

Welcome to HeartSongs, our regularly scheduled (probably) look at songs and the people who write them. We spoke to Jack from Gorey band, 5 Dollar Shakes, about their recent single ‘House In Spain’ and the creative way they are promoting it.

“‘Transitions’ started out as the intro to ‘House In Spain’. It has no lyrics. It was heavier and had a Foo Fighters type of sound but we went in an indie direction with the drone in the background creating the ambience. You’ll see how it fits in the short film. We knew going in to it that we would have a 15 minute video for the whole EP. We had Richard (X. Deering) who is a talented filmmaker as well as being our bassist, so we made the intro into a standalone track.

We’re constantly changing; every EP is very different to the last. We recorded the tracks live to capture our live sound. It’s something we’ve struggled with; trying to get that energy while recording drums or guitars alone. We tracked it all together and did the vocals after.

Like a lot of our songs we worked on the music then I took it away and started writing. It came to me one day when I was out walking in the Irish sunshine. My folks were heading off to Spain and I was thinking that in years to come I would like to retire early from whatever I’m doing, up sticks, and buy a house in Spain, and live out my days in the sunshine with the love of my life.

There are doubts creeping in to the lyrics. I love that line at the end “I'm so sick of writing songs, That remind me of how it was when we were together”. As we were exiting the breakdown there’s an extra bar and it came out unintentionally.

We’ve released the “single” version of ‘House In Spain’ that is a standalone. Then the whole 17 minute Transitions video followed. Fair play to Richard and all the people in Carlow Institute of Technology who have worked very hard over the last number of weeks on it.

So many bands are releasing high quality videos and pumping great money into them and they’re not getting the attention they deserve. Maybe we will fall flat on our faces with this but we’d rather try something different than just release another music video. So we’ve done this short film with a concept. Who knows? Hopefully people will watch it.”

‘House In Spain’ Lyrics

You and I got by,

We rode our bikes and said goodbye,

Bought a house in Spain,

Is it too late?

Where do we go from here?

what if this feeling disappears?

What if I'm wrong for you?

Check your suitcase in,

Slip on your dancing shoes,

What you see is what you get,

And what you see is all you get,

No time to pick and choose,

Maybe when you find a place,

You'll start again, To rebuild,

Without a trace of the ones you've pawned and sold,

You've packed up,

Moving out, with the old,

As for the house in Spain,

It's much too late ,

There's too much "friendzone",

there's too much money spent ,

There's no solution,

Keeping word for word all the things you've said,

What you see is what you get,

And what you see is all you get,

No time to pick and choose,

Maybe when you find a place,

You'll start again, To rebuild,

Without a trace of the ones you've pawned and sold,

What you see is what you get,

And what you see is all you get,

No time to pick and choose,

Maybe when you find a place,

You'll start again, To rebuild,

Without a trace of the ones you've pawned and sold,

And I'm so sick of writing songs,

That remind me of how it was when we were together.

Welcome to HeartSongs, our regularly scheduled (probably) look at songs and the people who write them. Deep Sky Objects have a new single and EP due out shortly and they’ve just played their first London gig in support of their recent single ‘Bones’. We spoke to lead singer/ guitarist Kevin about the song.

“It was our first trip to the UK to play. We originally reached out to a few venues to put together some shows for later this year. The Hope & Anchor replied to us proposing a much earlier date for May 25th, and we couldn't refuse. We booked a ferry, drove to London from Cork, and then back. The gig was very special. The venue was located in a small basement in Islington under the main Hope & Anchor bar, and the audience reached capacity at 80 people within the first 10 minutes of the gig. We played a mix of our new songs with some tracks from our debut EP. The crowd really enjoyed it and we loved it.

After the gig we met up with some lovely people and got talking about the music scene in London and what gigs are going on. It really was an eye-opener as to what's happening outside of Ireland. We'll definitely be heading back very soon, maybe with a few more dates across the UK later this year.

‘Bones’ was written over a long period of time. Originally we came up with the verse sections a couple of years ago but we never had the opportunity to fully develop the idea. At a rehearsal one day DD showed us this bass & guitar riff combination so we made it follow the verse section. It was then the foundation of the song was made. Over time I wrote the vocal melody and lyrics by singing into a voice recorder app on my phone, and later applying it to the music. After adding some distortion and effects, ‘Bones’ was born.

We had the pleasure of working with Ciaran O'Shea at Whitewell Studios in Cork. We recorded, mixed and produced our new songs with Ciaran at the studio and he really helped bring out what we wanted in the songs. It can be tough sometimes to get on the same wavelength but Ciaran knew what sound we wanted from our demos and did a fantastic job with the tracks.”

‘Bones’ Lyrics

Verse:

I hope you understand,

This was never part of my plan,

I see it in your eyes,

I see it in your eyes tonight.

Chorus

Oh, oh, oh,

I feel it in my bones,

I feel it, i feel it, i feel it,

I feel it in my bones,

I feel it, i feel it, i feel it.