Primary sources
Dempsey Damien, Seize the Day, Sony Music, 2003.
Dempsey Damien, The Rocky Road to Dublin, Sony Music, 2008.
Fight Like Apes, Fight Like Apes and the Mystery of the Golden Medallion, Model Citizen, 2008.
Hayes Gemma, Night on my Side, Source, 2002.
Jape, The Monkeys in the Zoo Have More Fun Than Me, Trust Me I’m a Thief Records, 2004.
Kitt David, Small Moments, Rough Trade, 2000.
Messiah J & The Expert, Now This I Have to Hear, Inaudible, 2006.
O’Connor Sinéad, Theology, Rubyworks, 2007.
Regan Fionn, The Shadow of an Empire, Universal Ireland, 2010.
Regan Fionn, The Bunkhouse Vol. I: Anchor Black Tattoo, Universal Ireland, 2012.
Republic of Loose, This Is the Tomb of the Juice, Big Cat Records, 2004.
The Beatles, The Beatles [The White Album], Apple, 1968.
Secondary sources
Augoyard Jean-François, “Introduction: An Instrumentarium of the Sound Environment”, in Sonic Experience: A Guide to Everyday Sounds, Jean-François Augoyard, Henry Torgue (eds.), Andra McCartney, David Paquette (trans.), Montreal, McGill-Queen’s University Press, 2006, p. 1-18.
Bartmański Dominik, Woodward Ian, Vinyl: The Analogue Record in the Digital Age, London, Bloomsbury Academic, 2015.
Bennett Samantha, Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978-2000, New York, Bloomsbury Academic, 2019.
Cohen Sara, “Men Making a Scene: Rock Music and the Production of Gender”, in Sexing the Groove: Popular Music and Gender, Sheila Whiteley (ed.), London, Routledge, 1997, p. 17-36.
Curtis P. J., Notes from the Heart: A Celebration of Traditional Irish Music, Dublin, Poolbeg, 1994.
Dempsey Damien, “Album Notes”, in The Rocky Road to Dublin, New York, Sony Music, 2008.
Derrida Jacques, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International, Peggy Kamuf (trans.), London – New York, Routledge, 1994.
Devereux Eoin, Dillane Aileen, Power Martin J., “‘You’ll never kill our will to be free’: Damien Dempsey’s ‘Colony’ as a Critique of Historical and Contemporary Colonialism”, MUSICultures, vol. 44, no. 2, 2018, p. 29-52.
Dillane Aileen, Power Martin J., Devereux Eoin, Haynes Amanda, “Against the Grain: Counter-Hegemonic Representations of Pre and Post ‘Celtic-Tiger’ Ireland in the ‘Protest’ Songs of Damien Dempsey”, in Songs of Social Protest: International Perspectives, Aileen Dillane, Martin J. Power, Eoin Devereux, Amanda Haynes (eds.), London, Rowman & Littlefield International, 2018, p. 455-472.
Hegarty Paul, Noise / Music: A History, London, Bloomsbury Academic, 2007.
Hogarty Jean, Popular Music and Retro Culture in the Digital Era, London, Routledge, 2017.
Kassabian Anahid, Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity, Berkeley, University of California Press, 2013.
Kaul Adam R., Turning the Tune: Traditional Music, Tourism, and Social Change in an Irish Village, New York, Berghahn Books, 2009.
Krukowski Damon, The New Analog: Listening and Reconnecting in a Digital World, New York, The New Press, 2017.
Krukowski Damon, Ways of Hearing, Cambridge, Massachusetts Institute of Technology Press, 2019.
Link Stan, “The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise”, Computer Music Journal, vol. 25, no. 1, 2001, p. 34-47.
Macherey Pierre, “Marx Dematerialized, or the Spirit of Derrida”, in Ghostly Demarcations: A Symposium on Jacques Derrida’s “Spectres of Marx”, Michael Sprinker (ed.), New York, Verso, 2008, p. 17-25.
Marks Laura U., “A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics”, in The Oxford Handbook of Sound and Image in Digital Media, Carol Vernallis, Amy Herzog, John Richardson (eds.), Oxford, Oxford University Press, 2013, p. 101-114.
McLaughlin Noel, McLoone Martin, Rock and Popular Music in Ireland: Before and after U2, Dublin, Irish Academic Press, 2012.
Ratliff Ben, Every Song Ever: Twenty Ways to Listen to Music Now, London, Allen Lane, 2016.
Reynolds John, “John Reynolds (Sinéad O’Connor, Damien Dempsey) Talks Melodyne”, YouTube, 10 October 2012, https://www.youtube.com/watch?v=XGyLiu_lh8E.
Schwartz Barry, The Paradox of Choice: Why More Is Less, New York, HarperCollins, 2005.
Siqueira Castanheira José Cláudio, “The Matter of Numbers: Sound and the Experience of Noise in Analog and Digital Models”, in Reverberations: The Philosophy, Aesthetics and Politics of Noise, Michael Goddard, Benjamin Halligan, Paul Hegarty (eds.), London, Continuum International Publishing Group, 2012, p. 84-98.
Smyth Gerry, Noisy Island: A Short History of Irish Popular Music, Cork, Cork University Press, 2005.
Sterne Jonathan, The Audible Past: Cultural Origins of Sound Reproduction, Durham – London, Duke University Press, 2003.
Strachan Robert, Sonic Technologies: Popular Music, Digital Culture and the Creative Process, New York, Bloomsbury Academic, 2017.
Taylor Timothy D., Strange Sounds: Music, Technology & Culture, New York, Routledge, 2011.
Thompson Marie, Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism, New York, Bloomsbury Academic, 2017.
UNESCO, “Ethics and Intangible Cultural Heritage”, UNESCO website of the Convention for the Safeguarding of the Intangible Cultural Heritage: https://ich.unesco.org/en/ethics-and-ich-00866.
Voegelin Salomé, Listening to Noise and Silence: Towards a Philosophy of Sound Art, New York, Continuum International Publishing Group, 2010.
Williams Alan, “Weapons of Mass Deception: The Invention and Reinvention of Recording Studio Mythology”, in Critical Approaches to the Production of Music and Sound, Samantha Bennett, Eliot Bates (eds.), New York, Bloomsbury Academic, 2018, p. 157-174.