The Spook of the Thirteenth Lock and an electric guitar orchestra will perform the first movement of “Lockout” at an open rehearsal at the Factory, Sunday January 19th from 3.30-4.30pm.
Buoyed by the successful release of 2012’s critically acclaimed album “The Brutal Here and Now”, The Spook of the Thirteenth Lock return with a new project, and a new lineup.
“Lockout” is a new large-scale work written to commemorate the 100th anniversary of the 1913 Dublin Lockout. For this project, the band will be augmented with an electric guitar orchestra, bringing the unique sound popularized by composers such as Glenn Branca and Rhys Chatham into the world of contemporary Irish traditional music. “Lockout” is a grand departure for the band, adding epic volume and scale to the band’s blend of contemporary and traditional sounds and a sharper, more political voice which addresses the timely anniversary of the Lockout, and it’s relevance today.
Following the departure of Donnchadh Hoey, the Spooks are delighted to welcome guitarist and producer Liam Caffrey to the fold. The first performance with this new lineup will take place in October at the Airwaves festival in Iceland October 30th to November 3rd, where the band will be performing alongside Adrian Crowley, Villagers and Donal Lunny as part of a Young Hearts Run Free night supported by Culture Ireland.
We have some upcoming shows including the St.Patrick’s Festival in Dublin and two gigs in Austria:
Mar 14 – St. Patrick’s Festival, Dublin
Mar 15 – Festzelt beim Burgtheater, Vienna
Mar 16 – Ottakringer Brewery, Vienna
Mar 22 – De Barra’s, Clonakilty
Mar 23 – The Pavillion, Cork
May 3-5 – Camden Crawl, Dublin
We are playing two shows in New York, this weekend, our first trip to the US:
Jan 12 – APAP NYC 2013 Conference
Jan 14 – The Living Room
The band’s name and the title say it all: this is an intriguing and quirky psych-folk outfit with an unexpectedly tough edge. Named after a poem about a haunted canal lock, The Spook first got together in Dublin to write songs in the folk tradition, but other influences started creeping in. There are melodic echoes of Planxty or the Dubliners here, but matched against a blitz of guitar rock and feedback and a delight in the unexpected. They sing in three languages, starting in Italian with The Tarantella, which begins with an eerie wash of sound and ends up as a frantic party dance with a real sense of danger. Then there are brooding and menacing three-part harmonies on Black Diaries, edgy but acoustic Gaelic songs, and a fine mix of melody and unease in Shudder in the West. One of the Irish albums of the year.