I put this together after reading a magazine article on the subject and realised that what the article was calling for was already here (and of course was always there):

There is a long history of creative experimentalism in Irish Traditional Music. As witnessed in the Uilleann Pipes and the acceptance and remodeling of imported tune types as well as other instruments.

The Neff Brothers walk a musical tightrope, giving their music 'rock 'n' soul', characterized by strong traditional rhythm, an emphasis on the melody, and importantly an impassioned improvisational delivery.

This makes for a performance of emotional energy and artistic intensity. They challenge and demand of themselves and this excites audiences of any genre. Pleasure in listening to virtuosity is not limited by genre. The fact that the music is traditional is irrelevant when the performance is this powerful.

This approach and feeling for their music gives Irish traditional music a new platform. Their art, creativity and expression is music. The tension on that tightrope makes the music thrive in its risk-taking.

The tradition in Irish music itself is living and vibrant; its performance is its blossom. Flaithrí on pipes, with its authentic position in the tradition, will guide the shoot towards the light and Eoghan on fiddle will burst into colour and stretch the kaleidoscope. Flaithrí now on low whistle joins in and we have two cutting edge entrepreneurs of sound challenging the traditional ear and even the avant-garde.

The future of Irish traditional music is in no doubt, the basic melodies will live for ever, what each generation wraps around the melodies is a passing impulse but is a great attraction for new listeners and empowers the tradition itself for a new generation awakened by exciting sounds to rediscover the roots. Traditional music is also very much a living pulse and always has had contemporary composers. The tradition itself will decide which contemporary compositions will be brought along by its river of sound. The Neff brothers have paid respect to past generations, however today has another generation.

Pat Ahern in The Irish Examiner wrote "... The basic stock is traditional but there is a clear determination to seek out new angles. Experimentation is vitally important in every branch of music. Traditional music does it on a micro scale. It sees change as a continuous process where progress is measured in barely perceptible increments, rather than in bold quantum leaps. The Neffs challenge that attitude. Experimentation carries responsibilities; the Neffs show an awareness of this. The lazy experimenter, for example, hears both reels and reggae as sharing a 4/4 time signature and attempts to superimpose one on the other without regard to the fact that the result compromises both musical forms."

"The Neffs bring an internal, more subversive approach. They slice the tune apart and reconstruct it in unexpected, and occasionally inspired, ways. ... The Neffs may not be the first to use samples in traditional music, but they have certainly done it with most imagination. They have used recent advances in music technology to create a broad and deep soundscape for themselves, but have not allowed it to overshadow the music itself. ... if you're looking for what's happening at the innovative edge of the traditional music continuum, look no further ..."

John O'Regan writing in 2001 observed " ... create a complex yet accessible web of sound ... a sound that is exciting, energetic and above all different ... There are three qualities these brothers have in abundance, an immersion in the tradition, a penchant for experimentation and boundless energy. The result is powerfully dynamic music ...". In 2004 he commented "... the music is still played with the same enthusiastic abandon but a more experimental side exists ... incorporating technology into the realms of traditional accompaniment. Flaithrí and Eoghan freely employ programmed synths for backing as much as regular backing instruments like bouzouki bodhrán and double bass. The African Thumb piano adds a simple yet attractive background to 'Asturias' and Adrian Curtin's cello adds a sombre Classical intro to "Promenade" ... Elements of Jazz, Rock, Hip-Hop, Classical and World music cruise through the mix yet the result is a uniquely Irish sound each time. 'Ar Scáth a Chéile' is a blatantly experimental and different look at traditional music seen through the eyes of young yet quickly maturing visionaries ..."

"... these lads are fully rooted in the Irish tradition, even when expanding it, so watch out these jewels! ..." FolkWorld, Tom Keller

"... With this album [Ar Scáth a Chéile] they seem to have fully entered the experimental stage, employing a variety of sounds. Everything from thumb piano to cello, tablas, synthesisers and electric bass make an appearance to support the musical vision these two lads quite clearly have ... The brothers Neff display some fearless chops and are not shy of putting it out there ..." Greenman Review, Pat Simmonds

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