Musical Rooms

December 14, 2009

Musical Rooms Part 96: The Holy Roman Army

Filed under: Interviews,Irish Music,Musical Rooms Series — by Sinéad Gleeson @ 2:35 pm
Tags: ,

“It seems like I’ve always made music at a desk by a window in the spare room at home, wherever I’ve lived. For a few years the window was overlooking the river in Cambridge (which was lovely, the sound of passing cyclists and late evening rowers drifting in the window) and for another year it was the canal in Phibsboro (which wasn’t so lovely, the sound of feral teenagers and broken bottles spoiling the ambience a little). Now I’m overlooking the manicured flowerbeds of a suburban South Dublin apartment complex, they’re like Celtic Tiger Memorial Gardens. I don’t know if favourite is the word, but I’m able to write here. It’s very quiet outside, the room is very plain and there’s very little external stimulus. For some reason that seems to work.

There’s loads of odds and sods lying about the place. Effects pedals, guitars, loads of keyboards, a xylophone, a Speak and Spell, many many wires, a set of monitors that are too big for my desk. Empty teacups feature prominently, although I have yet to harness their awesome musical potential. Something for the difficult second album perhaps. Dirge In B Minor (With Teacups).

I try to write something or tinker away at a piece a couple of times a week. It’s hard to find the time sometimes with work but thankfully over the last year or so I’ve had a more 9-5 job
so I find more time during the week to write. I write best generally when I’ve a weekend afternoon to myself, I can get loads done if I’ve four or five hours to really go at it. I go into an odd, almost trance-like state for a few hours, I lose track of time, I forget to eat (believe me, that’s not my usual modus operandi) and at the end of it there’s a song. Sometimes I come back to the song a few days later and I ask myself what the hell I wasted a whole Saturday for to come up with this rubbish. But sometimes I don’t and it makes it all worthwhile.

For anything we’ve written so far it has begun with me working on a song by myself and if I think it’s going somewhere I send it to Law and then she adds in her bits and then we work on it together. Her bits often being the melody, hook and funny things like that which I tend to overlook sometimes. We’ve never really sat down together and written something from scratch. I think if we did we’d end up killing each other – Law is much more finicky than I am about everything being in tune and whatnot, it’d probably take a year to finish a single song.

The creative process starts with me opening a blank project on my audio sequencer Ableton Live (a German program which I now know and love so well that it’s like an extension of my arm; it’s also the only piece of musical equipment at which I am even vaguely proficient). I think that moment is even better than the point of feeling a song is finished. It’s like starting a new book by your favourite author, not knowing the plot or having read reviews. It’s maybe not the most useful feeling – I’ve started hundreds of songs and finished far less. The program is so good and I’ve so much virtual musical equipment on it that opening the program is as bit like opening the door to Abbey Road, there’s no excuse not to be able to write something good there. I started off writing DJ Shadow rip-off tunes and I’m still very much in the habit of starting a tune with a sample I’ve grabbed from a CD or record and then building the song from there. Nine times out of ten I’ve gotten rid of the sample after a half hour, but for whatever reason that seems to spark things off for me.

What I like most about this space are the boundless possibilities. And they make the tea the way I like it there.”

The Holy Roman Army are Chris and Laura Coffey, a brother and sister from Co. Carlow, Ireland. They blend samples, synths, vocals and guitar to create music that encompasses electronica, hip-hop, dub, post-rock and shoegaze indie. Their debut album, How The Light Gets In, is out now on their own Collapsed Adult label. This weekend they play the first in a series of planned gigs by Ragged Words. Also on the bill are Adrian Crowley and Hunter Gatherer. The gig takes place at Dublin’s Twister Pepper and tickets cost €10 (plus a small booking fee) and can be bought here. For more information on the band, visit

About Musical Rooms
Musical Rooms Full Index

December 7, 2009

Musical Rooms Part 95: 65 Days of Static

Filed under: Interviews,Music Reviews — by Sinéad Gleeson @ 5:19 pm

“Our favourite space to create music is wherever we are allowed to play loud enough to hear ourselves without getting thrown out. This is becoming harder and harder for us to find. I don’t think we’re getting any louder. It’s a rehearsal room where sometimes you can pay by the hour, sometimes you have to pay by the month. Sometimes you can leave your gear set up and sometimes you can’t. Sometimes there is running water and sometimes there isn’t. It is always too cold or too hot. The longer you stay there the more it steals away part of your soul. It will feast on your confidence like a king on a peasant’s bone.

We just have our stuff there, the same stuff we have on stage. In the corners there are piles of broken equipment. Somewhere there might be a kettle. We make all of our beats on an Atari ST and a circuit-bent gameboy. I believe the Royalty to be cannibals. Essential to the room is our instruments, members of the band, coffee and a GO-GET ‘EM attitude. When we are writing we spend every day in the room, for too long. Longer than is fruitful, longer than is healthy. We are lucky enough to be in a band as a job, so we make sure we put in the hours. We’re all too Northern to believe in time-off for inspiration.

As a band, we tend to work alone. If you’re a band who writes with other people, then 65 doesn’t understand you. Personally, isolation is definitely important. But the rest of the band keep turning up and making trouble. Our creative process takes 14 months. It starts with a round table meeting where each member of ’65 put forward their concept for the next project. This time round, Simon voted through sheer force of will, with his idea of writing a soundtrack for the Bayeux Tapestry. Did you know that, despite its title, it isn’t a tapestry, it is actually an embroidery? After the initial meeting, we basically argued for a year, and then wrote some instrumental nonsense on a laptop when we realised we were running out of time. We use drums, a bass guitar, some other guitars, a keyboard, a sampler, some other, smaller keyboards, and a computer. Oh, and a mixer. And various leads to join all of it together.

What we like most about the space is that it’s beautiful, infinite and expanding outwards at the speed of light.”

Combining elements of post-rock with heavy electronica influences, Sheffield’s instrumental 65daysodstatic have developed into Britian’s finest live act. Currently working on a new album, they’ll be taking time out to play at umack’s 15th birthday party at Tripod on Thursday December 10th. The bill also includes Battles, The Ex, the !!! DJs and Adebisi Shank. Doors are 8pm and tickets are €35 From Sound Cellar, Road Records, City Discs, Sentinel & online at For more information on 65daysofstatic, visit

About Musical Rooms
Musical Rooms Full Index

Create a free website or blog at