Roots/Traditional

Three new artists: "Triad" (Ceoltoir Record)

Garry O Briain produces this showpiece of young musos from Ballyfermot College. Heavily influenced by Davey Spillane's rock'n'roll piping, Eamonn Galldubh does interesting things, trying out Arabic head-funks, toying with jazz phrasing, and pushing the poor pipes to - and beyond - their emotional limits. Singer/songwriter Tina Price makes easy-listening Irish-accented folk; songs of heartbreak in a coy, countrified vein, to reminiscent melodies aimed down the middle of the road. David Munnelly is an eye-opening young box-player in the old style, his rapid triplets making you sit up again to the old tunes, while his own Mad Cow Musette is a beautiful Romany waltz. Great flight, a big fat sound, and what's more, a set-dancer's groove.

By Mic Moroney

Peadar O Ceannabhain: "Mo Chuid Den tSaol" (CICD)

Here is one of Connemara's most impressive younger sean nos singers in terrific voice over 13 songs that include the 17th-century Cearbhall O Dalaigh's Seachran Chearbhaill. Mesmerising in its shift from beautifully-articulated spoken word to song, after the fashion of medieval jesters, this is the dramatic centre of an album which also features the singer's terrific working of the dance medley Rogaire Dubh. Big songs are here too, and the breast-baring sentiment that in this song style beats any 20th-century love lyric.

Sleeve notes are just as profound, with translations and background. Neansin Ban declares love in ballad style, Toigfidh Me Mo Sheolta speaks heart-wrenching passion from a female voice, Meirioca is about the separation in emigration. More urgent than older singers, and with variety of tempo, this is a wonderful document in song.

By Fintan Vallely

John Colfer: "Swinging On A Gate" (Kinvara Music)

You don't too often come across a solo mandolin album, backed here by mandola, but this Wexford man has produced a fine, intricate little work. Despite the baroque, almost lute-like feel of his flat-backed instrument, he gives O'Carolan tunes more of a traddy kick up the arse than they are used to, and they perk up nicely. The faster dance sets show up the limitations of the instrument, with Colfer flickering his fingernails in and out between the upper frets. Inevitably, he knocks some of the melodic edges off, often sliding up to a top note with a rubbly banjo-picking glissando. But heck, there's an awful lot of variation and ornament in there, and this CD makes a very pleasant, gentle sound.

By Mic Moroney