“We all just sit in a room playing bad things until something good happens.”
You’d be forgiven for assuming the worst from Dublin five-piece SPIES’ own description of their creative process, but the approach seems to be working for them. Their first EP, Liars Call Me King, came out in 2010, and the four years since have seen their fanbase and the buzz around them grow. Last year they were featured in NME’s Radar section as well as the Guardian’s New Band of the Day column. SPIES seem on the cusp of exciting things with the exquisitely realised, taut, dark guitar stylings showcased on their releases thus far, but singer Michael Broderick and bassist Hugh O’Dwyer are still feeling cautious about the prospect of releasing a full-length album anytime soon.
Mainly to reassure my many readers (hi dad) that I am still an active, relevant music journo, here is an article I wrote recently that was originally published in Trinity Bull. I promise more of those sweet, waffly posts about music I like full of questionable use of words like “crepuscular” and “ethereal” are coming soon. For now, here’s the article:
“I changed the music industry for better and for always”, is the claim made by Napster-founder Sean Parker (as played by Justin Timberlake) in 2010’s The Social Network. While Napster revolutionised the music business as a whole back in 1999, many would question whether it was really “for better”. We continue to hear claims that the music industry is dead; that illegal downloading and piracy are destroying the livelihood of artists, and that the era of CDs and records is behind us.
It’s an ongoing debate, but as the tussle between modern technology and the music industry continues, one has to question why it has persisted for so long. After all, every business has endured unprecedented challenges with the growth of the Internet, and we stand in an era where we expect information to come to us for free. If that is the case, should it accordingly be the same for the arts?