Roger DoyleOizzo No

Roger Doyle - Oizzo No album cover
Label:Thrust Records (5) – THR 3, Thrust Records (5) – 6810 719
Vinyl, LP


A1Bitter-Sweet Suite
Piano [Special Piano]Roger Doyle
A2Ceol Sidhe
Bagpipes [Uillean Pipes]Peter Brown*
Harp [Irish]Grainne Yeats
Tin WhistleJol Jackson*
A3Oizzo No
CelloBetty Barrett
ClarinetJohn Meehan
DrumsRoger Doyle
FluteBrian Dunning
PianoJol Jackson*
ViolinKieran Egar
Loops [Loop Tape]Roger Doyle
B1Why Is Kilkenny So Good?
TapeRoger Doyle
B2Two Movements For Flute And Strings
B3Theme From Emptigon (A Film) - Extra Bit
Drums, Piano, Guitar, Bass GuitarRoger Doyle

Companies, etc.



A1 recorded in Malahide.
A2 recorded in St. Catherine's Church, Thomas Street, Dublin.
A3 for septet with electronic and concrete sounds recorded in Stockholm, Utrecht, Dalkey and Malahide.
A4 recorded in Malahide.
B1 recorded in Dublin and Malahide.
B2 recorded live in St. Patrick's Cathedral, Dublin.
B3 recorded in Utrecht and Malahide.

A Thrust Record John Weir Sound Ltd.

Other Versions (2)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Oizzo No (CD, Album, Compilation, Limited Edition)Dom Bartwuchs, Artware ProductionDOM BW 03, ARTWARE 04Germany1992
Recently Edited
Oizzo No (LP, Album, Reissue)Cacophonic24CACKLPUK2018


  • bonnicon's avatar
    A long & complicated album, ranging through a plethora of styles. It opens with "Bitter-Sweet Suite", a scampering piece played on 'special piano' which ripples & weaves, carrying it's tune along on bright, spidery energy, concluding with a childhood taunt. As with most unaccompanied piano, this has a certain isolated loneliness to it, but is nonetheless a neat little instrumental. "Ceol Sidhe" features Uilleann Pipes, Irish Har, Tin Whistle, and despite the obvious conotations suggested by this combination, reminds me more of, say TEST DEPT circa "Beating The Retreat" than CLANNAD or THE POGUES. It is a complicated little instrumental, again having an atmosphere of stark loneliness. "Oizzo No" brings VARESE to mind, with hints of people like RUNZELSTIRN & GURGELSTØCK. A very clever piece which could be described as 'smashed, scattered & reconstructed' music. It's not random - you can tell there's a sort of 'seat-of-your-pants' composition there, but it's loose & complex. Voices with thick Irish accents rise in the middle, belying the title as "I Don't Know". At times it falls into Neo Classical areas, often into more Trad Industrial music. "Obstinato" is a quite clever loop work using a stolen phrase & a short piece of soundtrack music. "Why Is Kilkenny So Good?" again has a dark, deconstructed sound to it, this one subtle & atmospheric, like a distant, dark wind blowing through stark mountainous passes while a voice recites a short dialogue. Punctuation comes in almost machine-like clatterings & batterings before returning once more to it's well-peopled atmosphere. Again this changes, sounding like a cacophony of cowbells thinned out into certain, narrow elements, becoming extemely Industrial, bringing THROBBING GRISTLE to mind. Clangorous metal sounds abound & washes of echoed, effected & treated noise grows and fades. "Two Movements For Flute And Strings" is a much more 'full' sound, thanks to the Dublin Baroque Players, it is a warm, dramatic piece which, despite the fact that it is an orchestrated piece, still has the angular, edginess, along with the more smooth, rounded edges of the strings. The second movement has a faster, more rhythmic to it, almost touching mellow Rock before realising & shying away. Some of it reminds me of RYUICHI SAKAMOTO's "Merry Christmas Mr. Lawrence" soundtrack. "Theme From Emptigon" opens on a full, Jazz-like construction - a short, bright piece using Drums, Piano & Guitars to weave a rhythm of normality, before fading away on thick effects. "Extra Bit" has a tune hidden within it's strange & complex construction, which uses all manner of sounds, backward echoes & effects to create a Surreal Coda to the previous track. "Piano Suite" is in three parts - "Journeys", "In Paris" & "Dominique, This Year" which varies from 'artistic' pieces to rippling, descriptive, elemental pieces, which are too busy to give you that sense of isolation. "Baby Grand", described as 'for 4 hand piano' is more tunefull than suggestive or graphic - fleet little piece which absolutely shimmers as it expresses the simple but effective tune in a variety of different styles, some which must have pushed the player(s) to the limit. He's not above using effects either, having a backward echo slam down like a portcullis. "Solar Eyes" concludes the album, opening on sustained atmosphere which drifts along like the heavy gaseous ambience of a distant high-G planet, peopled by weird & wonderful beings whose voices, both strange & disquieting, rise up to the naked stars. The sound grows & builds, declines & fades, ever changing without really transforming into anything different. Bird-like voices finally draw the album to a close, ending on the weirdness which makes it so attractive.

    Originally reviewed for Soft Watch.



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