Dublin-based Keeley Release Mini Album ‘Drawn to the Flame’
The intro song of this mini album is a track called ‘Shadow on the Hills’, starting with an ethereal vibe, but soon builds into a more powerful, impactful song as we hear another voice join in and add some harmonies, before the drumbeat kicks in and really gets going. My foot’s tapping now. Frontwoman, guitarist, and songwriter Keeley Moss has complete control over this track, using her voice as an extra instrument that smoothly matches - but also stands out from – the instruments that the rest of the band are playing.
Track No.2 on the Dublin-based band’s album is about the capital of the opposite side of Ireland. One of the album’s most upbeat tracks, ‘Boarded up in Belfast’ is a psychedelic dream-pop tune that sounds like the lovechild of The Cranberries and The Jesus and Mary Chain. The following tune, however, gives off much more bleak and gloomy vibes; titled ‘Dead on Arrival', this hardly comes as a surprise. Don’t get me wrong though, it’s still a great tune. The dreamy ‘Travelling in the Opposite Direction’ features lucid, shroomy harmonies and vocal effects alongside some beautifully plucked guitar licks that make you feel like you’re on a hammock… floating… in the sky… of a faraway planet… or something like that anyway.
The album’s final song, ‘Gift from a Ghost’, begins with haunting, echoey vocals with that familiarly ethereal atmosphere thanks to the experimental sound effects in the background. A piano and drumbeat then enter the soundscape, taking the song up a notch. Soon, some louder, jangly guitar is introduced, and it all comes to an end at around 3 minutes and it sounds like the album’s over. Think again! Keeley know how to lengthen a song without allowing listeners to get bored. The soundscape slowly widens again, with mysterious high-pitched sounds and some sliding guitar which floats along for a couple of minutes. Ah, that’s it now. Nope! The ghost of the song’s title seems to appear! Shrill, unsettling vocals sing in an acoustic setting with accompanying folky guitar, sounding like something from the 1969 album Oar by the talented but troubled Alexander ‘Skip’ Spence. The perfect way to end an Irish-made mini album!
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