Send "Fionn Regan " Ringtones to your Cell 
| Bbc |
 2006’s The End of History established Fionn Regan as one of the finest singer-songwriters to emerge in recent years, splicing dextrously plucked acoustic guitars with literary allusions to captivating ends. A frank, genuinely heart-warming listen, Regan likened its gestation to “building an ocean liner with a butter knife,” a statement borne out by the intricate songcraft and sheer attention to detail throughout.The Shadow of an Empire, however, is a gratifyingly different kind of record. Written while touring …History, Regan casts his net wider and with more confidence here: stepping up the tempo, reaching for the electric guitar and contemplating the world surrounding him as darkness tangibly sets in. If song titles like Genocide Matinee, Catacombs and Violent Demeanour weren’t sufficiently portentous, the central refrain of the latter leaves little doubt as to where Regan’s coming from: his “empire” broadly symbolising institutional oppression and its myriad repercussions. Even when traces of that old warmth creep back into the fold – and they do so far more than a cursory listen might suggest – an element of threat and uncertainty is ubiquitous, culminating on the ranging, piano-led title track that closes proceedings like some dashed cousin of The Times They Are a-Changin’....full text |
| Guardian |
| Fionn Regan composed the lyrics to this album on a typewriter, and has noted that the "percussive nature of typing" influenced the phrasing. Despite his tendency to sing in rat-a-tat bursts, "percussive" isn't the first word that comes to mind when listening. What you do notice are the fresh, striking lyrics ("glasses" is rhymed with "Mr Onassis", and Regan wishes he were "your coathook, your pearl-grey fedora") and the electric guitars. Yes, electric: while not wholly abandoning the folkie acoustica of his Mercury-nominated debut, The End of History, he's discovered the pleasure of plugging in, turning up the volume and roving in a bluesy, rockabillyish direction. And a pleasure it generally is. Regan can be sassy and scruffy, or quiveringly sincere, but he's never uninteresting. Words and images tumble out – we infer that he's a fool for love, but a cynical one – and by the end, you're thoroughly dazzled....full text |
| Musicomh |
| The press release suggests a shift in the Earth: Fionn Regan's plugged in his guitar and notched up the attitude. But hold on to your shaking heads and save the Bob Dylan comparisons, for The Shadow Of An Empire keeps the Irish singer-songwriter closer to his folk beginnings than the pre-boom buzz might have you believe. Lead single Protection Racket was an eye-opener, pledging allegiance to a barn-storming, punch-up and get-dancing spirit. To announce it a good four months before Regan's second album came by in its full form seemed - at the time - to be a means of warning the fans whose hearts were stolen by Regan's Mercury nominated debut, The End Of History, that this was going to be a completely different ride. And to some extent, those warded away by October's giveaway download will be left equally dumbfounded by the likes of Genocide Matinee (musically citing Johnny Cash's early days) and Coat Hook (a perfectly structured two-and-a-half-minutes of modern day rock 'n' roll)....full text |
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