Cardinals’ Debut Album ‘Masquerade’ is a Revelation

Four years after their first single, “Amsterdam,” Cardinals released their long-awaited debut album Feb. 13.

Started by the Manning brothers — lead singer Euan Manning, accordion player Finn Manning and drummer Darragh Manning —they began playing in Cork, Ireland with Oskar Gudinovic on guitar and Aaron Hurley on bass.

Combining punk rock and Irish folk, the band sings about love, heartbreak, religion and psychology. They provide a fresh take on the post-punk genre with ambitious artistic choices.  It’s not everyday you hear a guitar shred while an accordion wails.

The first song of the album, “She Makes Me Real,” immediately introduces the angsty style of the band. An accordion blasts while droning vocals describe a man who wants to “genuflect to kneel” to his new lover, experiencing a religious awe for his new relationship.

The religious theme continues in the second song, “St. Agnes.” A relationship falls apart as the two lovers become disillusioned with each other.

“Don’t the truth make it sad / Must’ve hurt bad / She called you in tears / She said I’m a bad person,” Euan Manning sings in the refrain, demonstrating a crisis in faith.

Illusion is further explored in the title track, “Masquerade.” With lines like “Take you as you are” and “She makes me really happy / So good so far / Masquerade,” love is described as a shallow costume party — masking deeper vulnerability.

“I Like You” is yet another love song. It’s a safe, par-for-the-course track which begs a paramour, “Don’t change your hair for me / If you still care for me.” Compared to the rest of the album, it stands out as being the least ambitious in regard to its lyrics.

“Over At Last” beautifully delves into psychology. Euan Manning mournfully describes how constant depression and pessimism led his partner to “Want it over now / Over at last.” The song also weaves in the religious imagery from earlier in the album — comparing his relationship to “A broken congregation / That still prays for more.”

The album takes a violent turn in “Anhedonia.” With scenes of sex and violence, the chorus clues listeners into his motives and continues to examine his mind.

Euan Manning sings “I know I’m not the only one who suffers, suffering is grown,” in a bitter, spiteful tone.

“Barbed Wire” uses prison as a clever metaphor for addiction. In the song, the singer feels trapped by “Alcohol and ecstasy / Aperol and THC” but also feels like he’s being trapped in his relationship, singing “The countless things I do / Make me more attractive to you / I can hardly bear / The shame that comes with that.”

This anguish comes to a head in “Big Empty Heart.” Euan Manning feels nothing for his partner anymore. 

“What if I lost all the shine / That I had / For her?” he wonders.

The band then reference Irish history in “The Burning of Cork.” The song clumsily relates this historical event in 1920 during the Irish War of Independence to Euan Manning’s own state of mind and anger at the world.  

“Most people say you have nothing / How would they know if it’s true?” he asks.

The final song of the album is “As I Breathe.” It ties psychology, relationship problems and religious references into one entrancing song . Euan sings about “feeling out of place” and how his partner’s “gone through me / Like a blade.” He speaks of imagining a wedding day where his spouse “can wear the chain” and he can “wear the collar of my clerical order / St. John and St. James.”

The album drags with pedestrian songs like “I Like You” or “St. Agnes” pile on with pretentious songs like “The Burning of Cork.”  Thankfully, the majority of songs have rich lyrics and are musically entertaining with catchy melodies and unique instrumentals. 

All things considered, the album is definitely a success. Cardinals flies above the rest of the indie rock scene with a distinctly Irish sound and stark lyricism. “Masquerade” is a perfect introduction.
“Masquerade” is available to stream everywhere.