Comrade Hat

Capturing the curious quality of a solitary city traipse on the continent, the video for ‘Old Amsterdam’ by Derry’s Neil Burns AKA Comrade Hat is as uniquely dreamlike as the track in itself. An experimental ambient-pop impression, it’s a nicely layered, bittersweet ode to the eponymous city, bridging “old-world nostalgia and knowing, 21st Century detail”. With a mini-album set for release in June, it makes for an immersive audio-visual encounter with a multi-instrumentalist sure to carve out his path more and more throughout the year. - The Thin Air

"I imagined being transported in time to a smoky jazz lounge in the ‘70s with a guy on piano, singing about his observations on life" - There goes the fear

Tá an cumadóir is léiritheoir Neil Burns bunaithe i nDoire agus is léir ó na rianta atá le clos ar a EP The Winter Takes It All, go bhfuil máistreacht aige ar an gcineál pop-cheol leictreonach, íogair a chleachtann leithéidí Junior Boys, Circlesquare is Telefon Tel Aviv. Tá Neil le feiscint sa bhfíseán seo, a stiúraigh sé féin, agus a taifeadadh i mBann agus Loch Louise i gCeanada i mí na Samhna seo caite.

The composer and producer Neil Burns is based in Derry and all of the tracks heard on EP The Winter Takes It All show that he has mastered the kind of electronic pop music reminiscent of the likes of Junior Boys, Circlesquare and Telefon tel Aviv. Neil is seen in this video, he directed, and recorded in Banff and Lake Louise in Canada last November. - Tuairisc.ie

And concluding things this week is Comrade Hat, the moniker of Derry producer Neil Burns. Inspired by his time writing in the cold, dark depths of the Canadian rockies, he produces icy electronic music with deep atmospherics. "One Of Them" is taken from his E.P "The Winter Takes It All", which sounds like a cross between Air and Lorde, as fronted by Vampire Weekend. It's a song that's best suited for repeat listens, as you discovered something new hidden within the song's intricacies every single time. - Metaphorical Boat

...Derry's spacy, mountain-inspired dream-tracks from the wonderfully named ‘Comrade Hat’. - Hendicott Writing

"The video for One of Them is artsy and inspiring, but more importantly, the music is ethereal and inviting." - Notes and Vibes

Comrade hat, AKA Neil Burns has been hiding away in the hills of Donegal and Derry producing music for around 26 years. Coming from a newly flourishing and up and coming North westerly Irish scene, his style is reminiscent of the cold and constantly hindering weather of the area.

Having spent time in the company of such local (and up and coming heroes) Sas Head Duck, Captin A, Great White Lies, Victoria Geelan, Maximum Homosapien, Calamity Gin and Velvet Alibi. Neil is in line to make his own mark with his chilling and melodic, tripadelic and aptly titled “The winter takes it all” EP.

From the start of this EP we can see this is not going to be a drive thru experience. The first track takes us to territory currently occupied by Tame Impala and Unknown Mortal Orchestra to name a few, but with new generations, come new artists and with new technological concepts come new expressions. Comrade hat is here with his own flag and he is ready to hoist it.

The first track “One of Them” features beautifully layered synths and 90’s era chillout synth lounge sounds, peppered with sparkly Rhodes-esque pianos that take you to the galaxies edge and back with the catchy opening line “Take a look at yourself”.

On “Ice King”, we are treated to an almost “Last Christmas” by “Wham!” type of sound. There are exquisite keyboard bends that are so bad they’re good, and magnificent chord sequences that just teleport you to another dimension.

The third lyrical offering of this EP shows us a glimpse of the 80s. There is some flirting with some old skool electro pop of which Gary Numan would be proud.

As a music lover and musician I appreciate what art is, art is the ability to escape the given human psyche and this EP takes us away to space and back. There is lots of attention to detail, yet it’s compacted in a way that you could listen to it a few times in a day. Comrade hat is here to stay, for that we are thankful. - PureM

Available from Neil’s bandcamp page, ‘Winter Songs 2009-2015’ is a compilation of songs from Neil’s past 5 Winter/Christmas EPs: ‘The Winter Takes it All’ (Jan 2015), ‘4 Songs for Winter’ (Dec 2013), ‘Christmas is Upon Us’ (Dec 2012), ‘Guiding Star’ (Dec 2010), and ‘Happy New Year’ (Dec 2009). In addition to ‘Winter Songs 2009-2015’, Neil’s other releases are also available.

Comrade Hat covers many different styles in his music – ‘Going Home’, the 5th song on the album, has a real 80s feel about it. Opener ‘In The Bleak Mid-Ulster’ is a nice take on the Christmas classic, with elements of jazz bolstered by a brass band – beautiful.

‘Bills’ starts off as a sort of parody of ‘Close To You’ by The Carpenters – we think there’s a bit of The Pink Panther there too? Neil’s wit and humour shines through, with his voice lazily tripping in and out of his skilled piano.

‘Star Of Wonder’ is an a capella masterpiece: one expects the familiar carol, but 10 songs into this album we know to expect the unexpected. Followed by ‘O Come O Come Emmanuel’, which evokes visions of monastic chanting. Beautiful and haunting. - Essentially Pop

Named for the revolutionary chapeau he wore throughout school, Neil Burns has returned from electronic side project ‘False Relations’ with Comrade Hat’s first full album. The Boy Who Left His Mind on the Boil has been some time in the making since two EP’s going back to 2009 and an appearance at Glastonbury in 2010. Needless to say it has been worth the wait.

Sometimes a break is just what a musician needs and by expanding his musical horizons with False Relations, there is a smattering of synths and drops of psychedelic funk that are married perfectly with Comrade Hat’s eclectic yet more conventional jazz infused folk. With opening track ‘April Fool’ we are treated to Burns delicate falsetto mixed with bassy synths that at first glance wouldn’t seem a great combination but somehow it just works. Neither sound overpowers the other.

The successful mixture continues with the title track that is instantly comparable to Gary Numan’s early work albeit less robotic and with fewer staccato vocals. Burn’s composing skills are clearly on show here as lyrically the song moves at a brisk pace and is intertwined with synths and piano that allow the song end on a crescendo that never feels forced. Siobhan Sheils backing vocals help to add extra depth and weight to an already outstanding track. We head back into more conventional territory with ‘New Brighton Blues’ a dreamy and meandering love song stripped back with a few simple guitar chords and piano. ‘Old Brighton Blues’ keeps us at the seaside but with a refreshing summery feel that Brian Wilson once held a monopoly on. The synth used is very simplistic, which is just what this record needs. Over complicating a song that already has the huge benefits of Burn’s voice and clever lyrics. The production values of having a full band roster are also prevalent throughout. There is a real plethora of sounds and textures on display here.

Neil has a voice that at times is eerily similar to Art Garfunkel and with the somber ‘Paint the Town Blue’ it is hard to ignore the vocal similarities. The song washes over the listener and continues the seaside, nautical feel. ‘Polling Day’ takes away from the beach and to a eerie and terrifying circus that is quite an assault on the senses. The ominous and heavy circus theme that cycles in the background does not make for easy listening, but this reviewer does have a pathological fear of clowns so this song is not for sufferers of Coulrophobia. It is experimental and while it doesn’t work for me, it again highlights huge versatility. The sequel track to the eponymous title ‘The Boy Who 2’ gives the listeners a brand new experience with a short instrumental that is pure electronica. The duality of tradition and experimentalism throughout this record is wonderful to hear as there is never a danger of complacency. Variety is what makes a great album and here we have it in spates.

The penultimate track ‘I Can’t Sleep with the Light On’ could easily have been lifted from The Flaming Lips, Soft Bulletin, with their unique style a clear influence on another absorbing lullaby that makes you thankful Burn’s took the time to figure out where this group was heading and how he planned to get them. The spaced out, reflective theme continues with the final track ‘Streetlights are like Stars’ that brings the album to back down to earth softly and with great care.

Where do we start? This album is a great success. The album contains a great mixture of old styles and new experimentalism. The folk and jazz aspects do fall a little to the wayside but the clever lyrics and clear and delicate vocals of Burn’s remain throughout. There is no point trying to categorize a record as unique as this as it would be a great disservice. For a debut album, after a hiatus, this is quite remarkable and deserves your attention. -