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Hot Press - Lisdoonvarna '03
NINA HYNES Kicking off the Lisdoonvarna proceedings on Stage II was Dublin’s crowned queen of quirky pop/rock Nina Hynes, equipped with her pink Fender Telecaster & trademark red-lit flowers wrapped around the mike-stand. It must have seemed a daunting task taking the 2.15 slot but she rose to the occasion with aplomb. Songs included the child-like version of ‘Somewhere Over The Rainbow’ with only haunting notes on the keyboard accompanying her voice. The beautiful ‘Time Flies’ off Staros (taken from the character in Terence Mallick’s The Thin Red Line) tickled the crowd’s fancy so much so that one heckler yelled up his admiration to the songstress who replied “You’re lovely. I love you too. Let’s meet up after the gig”. Next was the excellent, rocked-up ‘Mono Prix’, a fans’ favourite. All in all a great set from one of Dublin’s most underrated talents.
Hot Press - Nina Hynes & Katell Keineg The Sugar Club, Dublin There has always been something
infinitely endearing about Nina Hynes, and tonight, without a backing band and only her trusty beatbox and cute cerise handbag for company, she is more so than ever. Hynes could be described as Dublin's DIY doyenne, the Betty Boop of Bedsit-land- equal parts unassuming sexiness, finely-honed kookiness, and sassy originality. Hynes' voice is throaty, sexy, at times childlike, yet arrestingly earnest. Her songs are simple yet rich in imagery, and it becomes clear that she is writing and singing from a good and honest place. The cosmosphere's loss, it would seem, is the Irish music scene's gain. Scorn not her simplicity, for we are so lucky to have her. Tanya Sweeney
nakedtiger.com - Nina Hynes
Slow Mornings and Lengthy Breakfasts Perhaps it's the summer of the female singer. Like Alice walking through a Rathmines Wonderland, Nina Hynes has eventually arrived with her debut album, an early morning take on the self, relationships and
occasionally, the wider world.
Having slowly emerged onto the Irish scene, this is Hynes' first full-length release, scripted as an account of where she is from and what she's about. In terms of reference, there are clear echoes of intimate female vocalists such as Nina Simone, Natalie Merchant and Hope Sandoval, while the somnambulistic feel of the music suggests that the singer has paid attention to current home talent like David Kitt and Gemma Hayes.
Those who have anticipated 'Staros' on the back of her single release, 'Mono Prix', are likely to be surprised. The eager tempo of that song contrasts with the decidedly slower pace of the record. The twelve tracks on offer are, in the most, contemplative takes on the interactions of man/woman and self/place, all played to a wispy slow beat.
Nina Hynes' world seems to be one of slow mornings, lengthy breakfasts and city walks; but it at times it sounds domesticated ("life is full of complicated situations hush…I'll bring you tea in the mornings when have to rush…so stay with me when we grow old"), the raw edge of relationship damaged or threatened is ever present, as the voice of 'Staros' insists "I will take you with me when I go…'
It is this track, the final one on the album, that best showcases Nina Hynes. It's five minutes are representative of what the rest of the album attempts to achieve. In musical terms, the gentle swell, from Hynes' naked opening vocal to the moody strings at the close, complement the a frantic lyrical appeal to a lover, a cry for re-assurance, that is echoed on 'Dive' and 'Tenderness'.
In this case credit must go to producer Dave Odlum, late of the Frames, whose work with Hynes on producing soundscapes parallel to her voice brings forth, more often than not, the right results. Occasionally, on 'Tenderness' for example, a track that would be better served as a stripped, plaintive cry, is instead submerged in meandering waves of effects, diffusing the music's effect.
The overall feel of music and voice is that walking in a daydream - objects and emotions sound soft-focused. The ethereal, dreamlike quality of Hynes' vocal is emphasized the most, though occasionally it disappears into the mix to leave the listener stranded, alone on 'Staros' perhaps...
Aside from the title track, the pearl-dropped 'Zhivago Blue', where Hynes' wisely uses breath, not voice, and the well-titled 'Last Song of the 20th Century' stand up to repeated listens, the former in particular a good example of the furrow the singer intends to
plough for herself. Others, such as 'Shine' and 'Swallow', fall short of this standard.
The shortcomings of 'Staros' the album are rarely those of weak songwriting. Nina Hynes certainly has a style, but when it comes to painting a background it's often better to keep things simple, particularly when the vocals, melodies and lyrics demand intimacy. More voice, less noise.
But more often than not 'Staros' works, realizing the on-stage potential Nina Hynes has displayed. So, if you're feeling intimate…
Cormac Looney
local.ie - Nina Hynes live NINA HYNES & TEN SPEED RACER – EAMONN DORANS MAY 10 2000
Much has been made of Nina Hynes over the past couple of years; due mainly to her own creativity and determination. Tonight was the last of three gigs before she (and co-headliners Ten Speed Racer) headed Stateside for a two-week tour.
Things have changed since the days of Something Happens, An Emotional Fish and A House bidding their legions of fans farewell on the eve of their maiden voyages. Neither act on tonight’s bill have suffered from an over-expectant media like their aforementioned colleagues.
Hynes was first on stage and slipped into the first song with the kind of dreamy vibe that’s brought her much praise. A lot of the material was taken from her forthcoming album, due out later this year. ‘This Magic Stuff’ got an acoustic going over, a US release is pending.
You’d wonder why she hasn’t been picked up by a major label by now, especially when you look at the number of acts that have been signed with little or no identity of their own.
Guitarist Joe Chester kept up his reputation of immersing himself in the performance, while Hynes and the other band members looked on almost bemused. The impression that you get from seeing such a powerful set like this is that great things can realistically be expected.
Daniel Hegarty
popmatters.com - "Creation"
 The formula of heavy beats, electronic loops, and traditional instruments combined with elegant female vocals has served everyone from its pioneer Bjork to Mono and Hooverphonic well. While there is, without a doubt, bad trip-hop in the world, its dreamy glamour seems to keep most of it intriguing. This, and only this, is why Nina Hynes' Creation is enjoyable to listen to.
A short six song collection, Creation seems to be more of a sample of Nina Hynes' music than an actual album. The songs are taut and beautiful, bringing in mellow alt-rock guitars into the equation while not straying from its trip-hop roots. With Hynes' seductively knowing voice, it seems to be an impossibility for Creation to be bad. Unfortunately, for all the potential that is here, it doesn't rise much above that level.
Starting with the intense "William Tell", Creation seems to promise great things, but the next song, too straightforward "This Magic Stuff" doesn't deliver. The atmospheric "He Turned the Light Off" returns to the sound of "William Tell" but meanders along without ever getting anywhere. The dark and spooky "Trigger" and "Out of the Tunnel" standout from the other songs as the strongest, while "Bring Me Alive" concludes Creation on a bit of a disappointing note. Everything on Creation is probably worth hearing, but the feeling that most of these songs could be better is inescapable.
Lyrically, Nina Hynes brings the right sense of off-kilter mystery. On "Trigger" she sings sinisterly "One move could trigger an ice age unleashing from the mind's cage." Later, on "Bring Me Alive", she declares "The physical manifestation of me is not who I am". The lyrics are dramatic, and while they can be a bit overdone, they are definitely haunting, and while they tend to fade behind the music, they are worth listening for.
Creation shows Nina Hynes' potential, but they aren't there yet. While it will be great what to see what they do next, Creation is not a complete success except to show what they do next.
Eden Miller
musicOMH.com - Live In Belfast
Mundy + Nina Hynes
@ Auntie Annie's, Belfast, 23 September 2002
Considering Turin Brakes were at the Empire on the same night, Auntie Annie's was still quite busy for this Radio 2 Fringe event. But then again, it was a free gig!
First up was Nina Hynes, who has played Belfast several times before. Although most of the crowd seemed unfamiliar with her set she was still reasonably well received. Relying mainly on songs from her recent album Staros, she showed herself to be a versatile artist. Her songs ranged from buzzpop nuggets reminiscent of Tanya
Donnelly to more complex compositions. The background beats provided from her various boxes of tricks provided the rhythm, allowing her to be on stage alone. Performing solo without a visible band gave a more intimate appeal to the gig. Definitely an act worth seeing live again.
And so as she stepped off the tiny Auntie
Annie's stage, the PA system once again blasted out the wonderful The Frames and the anticipation started to grow for the headliner.
Some may be aware of Mundy after his song ‘o You I Bestow was used on the Romeo and Juliet soundtrack eight years ago. After this initial success he took some time out to travel before returning earlier this year with 24 Star Hotel. The non-stop promotion and touring of this album didn't seem to have taken its toll. Of course Mundy had donned his obligatory stetson
hat for the occasion and, as ever, he clumsily chewed on gum throughout the
show.
I'd seen Mundy at the Heineken Green Energy Festival in Dublin earlier this year, where he put on a decent show but one which at times seemed to lack much of a connection with the audience. However tonight in a smaller venue there seemed to be a more intimate relationship between performer and audience. But that's true of most shows in small venues that, most of the time, you get more enjoyable shows at smaller venues.
Playing a good mix of songs from both albums along with some good-hearted banter, the audience rose to the occasion with much swaying and singing along. After a short break the band returned and ended with To You I Bestow which everyone in the room seemed to be familiar with.
Nothing to set the world alight, but a decent performance by both bands. Of the two, Nina Hynes was the new shining light, providing yet another Irish solo artist to look out for.
Graham Smith
splendidezine.com - "Creation"
Dubliner Nina Hynes, along with her band, makes a bittersweet sort of rock music. She employs a pretty, fragile vocal style, at times sounding remarkably like Bjork. On "William Tell," Creation's opening track, she sounds so much like Bjork
that the resemblance is a bit unnerving, or at least distracting. Still, the
song presents a brutally sweet overture, mildly frightening in tone, but
extremely pleasing and accomplished.
"This Magic Stuff" is the stunner of the six tracks here (seven if you count the bonus track found after thirteen minutes of silence). The song has the same sort of power that Seefeel hinted at back in the mid-'90s, though Hynes utilizes a much finer sense of melody. Reminiscent of Heather Nova's dark atmosphere, though injected with a cuter tone, the song springs and bounds across a dark, dreamy soundscape. Her backing band never betrays any hint of pretense
throughout the blissful three and a half minutes. Guitars and electronics
rarely blend so well in this sort of dream-pop genre. It's a twisting
carnival of charmed prettiness.
"Trigger" sees Hynes and band attempting a more aggressive, ominous style. It's not entirely successful, and it does strike a kind of false note not apparent on the album's other tracks. The closing track, "Bring Me Alive," sounds like a long-lost Sinead O'Connor indie experiment. Though it's charming at first, it has overstayed its welcome by the time the seven minute mark comes around. The bonus track, a spooky Lisa Germano-like
number, presents more of Hynes' darker side. At the very least, you can see
her songs as part of the soundtrack to a Miramax film; when she's at her
best musically, she deserves "cream dream" status (that's a Tenacious D
reference by the way, and in no way meant to offend).
Nina Hynes is at her best when she leaves behind the Bjorkish mimicry, and it's hard to fault this fine collection of dreamy, stylish tunes. Unless she wants to be pegged as the front-runner for the lead-singer spot in a Sugarcubes cover band, she will hopefully concentrate more on her own, powerful thematics. Expect to hear more about and from Nina Hynes and her band as long as she can continue to produce such sparkling wonder as "This Magic Stuff."
Tim DiGravina, January 15 2001
RTÉ.ie - Nina Hynes "Staros"
 It's taken a while but Nina Hynes finally releases her follow-up to 1999's 'Creation' EP. Taking three years, the services of seventeen musicians and singers, including the entire Frames contingent, she has fashioned an ambitious and thoughtful album. Mixing samples and strings, radio-friendly pop and darker explorations, Hynes sets her sights firmly on the future.
'Mono Prix', the first single from the album, marries upbeat lyrics to a toe-tappingly catchy tune and deserves to be the soundtrack to many a summers day. Shiny happy pop tunes drive the first part of 'Staros' but Hynes occasionally wrong-foots herself as on the anti-consumerist 'Last Song of the 20th Century'. The wide-screen sound of 'Tenderness' does not disguise the fact that there are too many ideas and sounds vying for attention.
Elsewhere Hynes develops and maintains a sense of intimacy as she seduces the listener as well as the lover; the quiet count into 'Time Flies', near-claustrophobic vocals on 'Universal', the audible ache in her voice on the title track.
Quirky, yet full-bodied, 'Staros' is an album of almost realised ambitions for this talented Irish artist.
Caroline Hennessy 3/5
The Headline Agency - Nina Hynes
Dublin born NINA HYNES swapped her
studies in Trinity College for a more reclusive existence in a weather-torn
corner of Donegal in Northern Ireland. It was there where she learned to
play guitar and developed her voice.
She then moved to France where she tested out her new-found talents by
busking on the streets of Paris. After being offered recording opportunities
and management, she decided to move back home for a reality check and to
further perfect her passion.
She found a perfect outlet in the form of the singer/songwriter night at
'The International' in Dublin. She ended up playing alongside the likes of
Christy Moore, Luka Bloom, Glen Hansard of The Frames, Mundy and Sony
recording artist Paddy Casey. After gaining a sizeable fan base and crafting
some of the songs that would eventually end up on her debut release, she was
picked up by local independent record label Reverb Records. Reverb
immediately put NINA and her band into the studio to help finish recording
her debut-in-progress 'CREATION.'
Once released, it garnered amazing reviews from all corners.
"Like a vivid dream you're not sure was a nightmare or a lovely fantasy,
it's an unshakable beautiful release" Amazon.com
"Brooding off-kilter pop. Her haunting feedback drenched productions
could add atmosphere to a DMV waiting room" Seattle Weekly
"The last amazing find of 2000. A hauntingly powerful voice" HITS
Magazine
"Hypnotic, Sexy, Eerie, Lush, Haunting" Rockpile
"It has been very organic," says NINA. "Our music has really spread through
word of mouth. The critics have been very kind too, so that has really
helped. It feels like a domino effect... every single gig, every single
radio and T.V. performance makes a difference, even if it's only a few
people who get introduced to the music."
Up until recently, 'CREATION' had only been available in Ireland. In America
it was only available as an import and through Amazon.com, who voted it
Number 44 in their TOP 100 RELEASES OF THE YEAR - it topped releases by
Sparklehorse, Pavement, Stereolab, Underworld and Tindersticks.
'CREATION' finally got the full North American release it deserved late in
2000, where college radio immediately put it into the CMJ Radio Charts. To
capitalize on this, NINA ventured out on a full U.S. tour in April 2001,
which spanned the length/ breadth of the country; her enchanting electro-
alternative sound in tow. The tour was immensely successful; Large turnouts
at performances & in- store appearances, extensive press coverage and strong
radio support (commercial radio even started to pay attention).
NINA made such an impression that she was invited back to play several
Summer festivals including Seattle's Bumbershoot Festival, Portland's Bite
Festival and the CMJ Music Conference. This coincided with another U.S. tour
in August/ Sept 2001.
Back in her native Dublin, NINA regularly gets asked to support acts as far
ranging as Stereolab, Cat Power and David Gray. She was recently invited to
play as special guest to Roxy Music at The Point Theater in Dublin for their
first appearance together in 18 years. While she seems to be eternally busy
recording and playing live, she has some how found time to collaborate with
several other interesting acts.
Two of her songs were included on an album by German Cellist Wolfram Hushcke
released on BMG Classics (the album also features Marianne Faithful and Mimi
Goese). She also collaborated on a yet to be released album with French
avant-garde producer Hector Zazou and toured Europe performing with Zazou
and composer Harold Budd.
In between a few live dates around Ireland, NINA HYNES is currently putting
the finishing touches on 'STAROS,' her first album proper. It is reported to
have over 11 musicians as guests, including members of successful Irish band
The Frames. There are also reports of some very interesting and well-known
collaborators participating in a re-mix of the album. 'STAROS' won't
actually see daylight until early 2002, so most people will have to be
satisfied with 'CREATION', which is available now in all good record stores
in both Ireland and America. It is also available world-wide as an import,
through Amazon.com and through this official Reverb Records website. In the
meantime watch for more live tour dates.
womenrock.com - Nina Hynes
 Nina
Hynes' first album Creation speaks to the birth of a great artistic work and
the great artist behind it. Songs like "This Magic Stuff" prove the perfect
mix of rock and techno pop making you want to get up and dance at one moment
and sort of collapse over a drink in the back corner of a smoky bar the
next.
In my headphones she sang, "Be my sanctuary, I know it's not ordinary, I can't get enough of you." The song ended as I stepped off the L train at Bedford Avenue in Brooklyn on my way to interview Nina Hynes. Brooklyn was not what I had remembered. Times had changed. The Brooklyn artist community known as Williamsburg had somehow morphed into a trendy Sohoian oasis between the Polish
neighborhoods and the Hasidic community.
There's always something disconcerting about gentrification. Maybe the loss of inspiration that always seems to bubble up in the vat of human hardship. Or maybe the
fervour with which newcomers scramble to pay rents the community would never imagine and can't possibly afford.
The good news is, with the advent of bars and trendy restaurants comes the opportunity for new venues for rock-n-roll. One such watering hole, Galapagos (at 6th St. and Wythe) plays host to a post industrial reflecting pool, as well as local film festivals, domestic and touring acts. That night Galapagos was host to Irish artists Nina Hynes and Ten Speed Racer both signed to the Dublin based Reverb Records.
Leaving college after a year in the early nineties, Hynes wandered through Western Europe in search of a calling. Eight months later the searching siren made her way back to Ireland, but instead of Dublin removed herself to the tiny town of Donegal. It was here Hynes bought her first guitar, a Washburn acoustic. She continued to live in musical exile from the big cities, writing songs and learning to play. When she finally returned to Dublin, she returned a musician.
From there it was a steady road forward. First playing on the street, then solo acoustic shows at the International Bar and the like. Bands offered her opening slots; Kila and The Frames, DC. When the Dublin Event Guide asked her to perform for one of their events, she decided it was time to form a band.
Finding a band in Dublin wasn't so easy. "There's a hell of a lot of songwriters in Dublin, not a lot of musicians, but a Hell of a lot of people writing songs... most songwriters share musicians." Finally the right group came together and the band was formed.
In April 1998, Hynes borrowed 3000 pounds (about US$4000) from her father to take the band overseas to play shows in New York. She performed at Fez, Arlene Grocery and Brownies, building a following wherever she went. Soon after, her drummer quit and she spent the next six months rebuilding the group from the ground up.
The first record was produced, mixed and engineered by Joe Chester whose solo project, The Sound of Bells, has a large following in Ireland. The CD was recorded over many months and financed by the band. The songs are filled with imagery and intelligence, self-revelations and a love of poetry.
Last year Michael Fitzgerald, an American transplant in Dublin, launched Reverb Records with Hynes' release as the first signing. Michael brought the new incarnation of the Nina Hynes group back to New York in April. They played select shows with Stereolab and showcased in Texas for SXSW. This time touring behind her critically acclaimed first release, Creation.
"A lot of people have these romantic visions of what you do as an artist - but that's a load of crap. I hate being on the road - staying at hostels. Driving in a van five hours a day, loading gear, being the back line engineer. It's tough. I'm not going to quit - love it at the same time."
After the tour, Hynes was disappointed with the new drummer and the band split up again. She spent the summer writing and looking for the right musicians to
fulfil her musical vision. What inspires her songs? "Everything I see inspires me ... my personal life, eavesdropping, films, passing moments ... the street really inspires me." She points to other musicians as well; Beck, PJ Harvey, Don Cherry, Jeff Buckley and Stina
Nordenstam. The band's most recent incarnation is a five piece. Nina Hynes playing guitar and singing, Nico Liebing on the sampler, Joe Chester on electric guitar, Shane Fitzsimons on the bass and Finn O'Leary on drums. Hynes says this band is "more of a band, not so much a songwriter with her band. Everyone's bringing themselves into it, we're just becoming one unit of ourselves". So much so the next CD will be released under a band name (to be announced) in the fall and followed up by a lo-fi solo album under the moniker Nina Hynes in the spring.
On stage, Nina Hynes is a transcontinental dreamscape. The band climbs together, a rising wave beneath the flying dove that is Hynes' voice. "The world is your oyster, I've seen on TV." she sings. A lazy cigarette hangs out the side of the bass player's mouth. Is it all worth it? "Can't help it," she says, "it's got me I don't have it. It is the bane and freedom of your life."
Brenda Kahn |
