We Speak Music
Ireland’s Breandán Fitzpatrick releases striking debut solo single ‘Sweet Return’
Breandán Fitzpatrick is an artist from Ireland. He is one half the acclaimed band Omonoko who are mostly know for electronic dance music, however over the last 10 years Breandán has also been working steadily in the background of the band on his own acoustic singer-songwriter tracks, which are about to take the forefront of his musical ambitions with debut solo single ‘Sweet Return’, out 21st April.
The years in which Breandán has spent perfecting his solo material in the background of Omonoko has truly paid off. ‘Sweet Return’ is a perfectly produced and instantly striking gorgeous indie-acoustic affair, that would sound at home on national radio as well as major Spotify playlists alike.
Lyrically, the song centres around an individual who no longer is in the world of the protagonist, as Breandán reflects on a difficult relationship, wishing for a ‘Sweet Return’. Combining true feelings and a relatable modesty, the song’s simplicity allows it to scale high mountains of depth.
“You’re here in my heart, you’re here in my head”, he sings as subtle piano picks out emotions and creates poignant atmospheres behind the song’s Ben Howard and Jose Gonzalez-esque acoustic rhythms.
Omonoko have been highly revered across Ireland by the likes of RTE, Hot Press & Nialler 9 and more, but with ‘Sweet Return’ it is an exciting time for Breandán who is coming out of the shadows to showcase a long secret side to his creativity. ‘Sweet Return’ looks set to put Breandán firmly on the map this year as a singer-songwriter of very high calibre.
“Balancing Act” by Vinyl Floor is a real treat. It is the sixth record from brothers Daniel and Thomas Charlie Pedersen sounds like it was made for right now and how they blend the ’60s and ’70s with modern elements never feels forced.
The production is clear and thoughtful. Every string, every horn, every vintage keyboard has space to exist. “Puppet Laureate” opens strong with real energy, while “The Swan of Eileen Lake” catches you off guard with folk warmth. “Adelaide” might be the best track, built on a lovely piano line with vocals that cut through cleanly. No hiding behind effects here.
The title track closes things out with the reflection the album’s been working toward. The core idea of finding hope in a fractured world could tip into despair easily, but Vinyl Floor stays honest about it. They’re not offering false comfort, but they’re not drowning either.
Progressive rock this restrained is rare. The arrangements serve the songs instead of overshadowing them. If anything, some moments could use more breathing room, but that’s small in a record made by people who clearly care about what they’re saying.
This is for anyone who wants rock that actually wrestles with real ideas. It counts for something.
You can listen here.
