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secret fireworks

a music blog with a northern irish twist

 

a movie script ending: will mcconnell's bandwidth films


I've been a Bandwidth Films fanboy ever since I saw the National acoustic session: there's nothing over the top about the videos Will McConnell produces. You create a simple situation, throw a band in the mix and film it. Inventiveness. however, is key for Bandwidth. Who would have thought about throwing Silhouette into a Citroen people carrier? It reminds me of Arcade Fire's Neon Bible in a lift.



We recently covered Pocket Promise's awesome video for I Burnt The Roller Disco on Secret Fireworks and it's the same sort of idea. While I'm not a fan of Panama Kings Will recently released a video for "Golden Recruit" but his finest work was also one of the first music videos Bandwidth produced. "The Evening Angels Gather Here" is a brilliant concept, projecting lyrics and leftover project footage onto a moving backdrop. It just works so well.



One of the most interesting developments from Bandwidth in the past two months or so has been the "In Stores Now" series. Take a relatively small band, put them in an unusual shop or location within Belfast and let them perform one track. Escape Act's performance was one of the better ones but in my eyes the best one by far was the John Shelly and the Creatures video embedded below. The sound is gorgeous, the band are inventive (using a vinegar bottle on a slide guitar, salt shakers etc) and there's a great circular shot that brings in the entire chip shop. Bandwidth may not win Oscars any time soon but we should be damn proud of them.




Check out the ASIWYFA live performance on www.bandwidthfilms.com right now or just click on the link in the blogroll!

 
 

we're moving!

I've been working on the new version of Secret Fireworks for a while now and it's nearly ready for primetime. You won't have to do anything: the address will the same but the design will be radically different. It looks like a proper media outlet now, all I need to do is to get the writing quality up to that standard now!


I'm covering John Shelly and The Creatures on the 4th of August and Joe Echo on the 5th (both dates in Auntie Annies), as well as going to the Pocket Promise album launch party in the Menagerie which features Kowalski and The Good Fight on the 6th of August. I'll also be covering the Saturday MONIO festival featuring David Holmes, SixStarHotel, LaFaro (those lads must be thinking I'm stalking them) and The Vals amongst other excellent acts for BBC Across The Line: you'll be able to catch me on Monday night's show and the review will be up on the BBC ATL blog.

We'll have articles on B.O.Y, Building Pictures, A Plastic Rose and Cardigan Drive as well as a hilarious interview from John Shelly and the Creatures (featuring Seven Summits as well) from the Trans festival. Don't forget I'm always looking for new material, new suggestions and anything you're interested in: fire me an email at patrick@secretfireworks.tk and I'll get back to you!

Patrick

By Patrick
On Wednesday 29 July 2009
At Wednesday, July 29, 2009
Comments :
 
 

secret fireworks @ glasgowbury: and so i watch you from afar

"What are you doing here? We're an instrumental punk rock band from the North Coast!". Tony Wright may be a little caught up in the moment on stage but he asks a valid question: how the hell can such a band become so darn big on the local scene in such a short space of time? The band admitted that the Glasgowbury show would be the biggest to date, but most observers were pretty confident that they would deliver.

And how they delivered.

The National's "Start A War" may be an unusual introduction for a band, but it gets the audience excited to say the least. There's rapturous applause as Tony, Rory, Chris and Johnny take to the stage and begin with "The Voiceless", a melody that soars into the night sky and provides calm before the storm that is Chris Wee, hammering the drums like there's no tomorrow. The strobe lights are flashing on and on as the crowd dance in the mud while I'm covered in dirt after I jump up and down at the finale of the track.

"S is for Salamander" is starting to become a staple part of an ASIWYFA set and although it's fairly rough around the ages the crowd seem to warm to it. The track was played for the first time as part of a session for Radio 1 and it certainly is a grower. With a few inevitable tweaks we could have another brilliant track on our hands. ATL seem to love it, for sure. "D is for Django" is another new track and while it's even rougher around the edges it's super. I love the jazzy drum part from Chris and the crazy bassline provided by Johnny: nobody could ever really accuse the band of just setting their amp volume to 11 and chugging away but this track is something special and something very different from material we've heard before. A ballsy track, it's very adventurous but it goes down very well.

"A Little Solidarity" wasn't as good as we've come to expect from the band: there's just something missing from it. Perhaps the band are growing a little tired of playing it or perhaps it is just me but the energy that we had previously seen in the set wasn't there. However, the show stopping track of the night had to be "Don't Waste Time Doing Things You Hate". It sounds immense on the main stage: the question and answer guitars at the start, leading the audience into a false sense of security before all hell breaks loose and the band kick things up a notch. Tony seems to be loving the fact that there's two thousand or so people enraptured by every note the band play and manages to get the crowd to fill in for the choir in the middle of the song.

There's a beckoning hand and a few dozen musicians come onto the stage, standing in front of the microphones and getting ready to give the audience a hand. We've got A Plastic Rose naked on stage, more than a few bottles of Buckfast knocking about and a few musical instruments to boot. In fairness, the attempted singalong doesn't come off, but it's a damn nice effort. Those distant guitars and the bouncing bassline return to bid farewell to the audience... but we're having none of it.

The curfew was broken and we were treated to an extended version of Eat This City, Eat It Whole. It's a little symphony made up of various movements: the slow, contemplative beginning with the echoing guitars and the lovely bassline resembling some sort of post rock/punk James Bond theme tune. (If only.) Then, the lead guitar kicks it into overdrive and we get this dirty, dirty melody. It relaxes for a little bit, then we have the breakdown. The guitars and the bass chug in perfect synchronisation, building and building and building until it all goes a little haywire and it's Johnny's time to shine. The echoing guitars return, followed by a final push for the finish line and then a return to the reflective beginning before one final growl. This is sheer unadulterated bliss.

This isn't ASIWYFA's best performance to date (that honour is reserved for the mindblowing Mandela Hall show) but it's top notch. The willingness to take risks, the sheer energy and talent of the band make ASIWYFA true festival kings. They're a band born to play festivals. This is their machine, and nothing can stop it.

High point: The failed singalong. Yes, it didn't work out, but it encapsulates this band and this festival: the happy go lucky nature of most of the bands on the local scene and the general solidarity that exists here.
Low point: Surprisingly, "A Little Solidarity Goes A Long Way". It just felt a little muted compared to the rest of the set.
Final point: One of the revelations of recent years and one of the best albums of 2009, And So I Watch You From Afar are going to be huge. They're releasing a new EP in the next few months which will be hotly anticipated.

 
 

secret fireworks @ glasgowbury: lafaro

There are some things you can be sure of in this world: birth, death, and Dave and Herb Magee headbanging at exactly the same speed and time. LaFaro trotted out a typically dirty set full of swearing, contempt for "trendy people", contempt for "ugly people" and inappropriate jokes as well as some damn fine music.


Alan Lynn seems content to just go crazy when he sits in front of a drum kit, while the Magees and Jonny Black share vocal duties on "Leningrad". It's pretty furious stuff with the bassline chugging at a mile a minute, but the vocals are simply inaudible. You simply can't make out the words . "Chopper" is one of the harshest tracks I've ever heard, technical brilliance displayed by each and every band member at some point within the song. I got the feeling that they nearly wrote this song just so each of them could have some sort of solo. It's trashy, loud and proud.

Tuppenny Nudger is played by LaFaro, almost reluctantly due to the band's hatred of "trendy people". The same trendy people that run, buy and support AU, a magazine that recently voted Tuppenny Nudger the best track of the past five years on the local scene. It may be a boring riff, but it gets the crowd dancing and for once you can actually hear the nice harmonies from the second verse on. The band play a new track which starts with a soft melodic rock opening which leaves the crowd slightly confused: have LaFaro somehow turned into Snow Patrol? Thankfully
the introduction ends and it turns into another loud, brash, incomprehensible song.

The song of the set has to be "Girl Is A Drummer" which is an uptempo rock number with a great chorus and some top notch bass work from Herb. It has a guitar riff that reminds me of the Strokes but darker and dirtier. It's the sort of stuff you'll happily dance in the mud to, which we're all doing. Tony Wright from ASIWYFA comes onto the stage to help out with vocals on a track to much applause, and we're reminded he can actually sing as well as play a mean guitar.

High point: I was expecting it to be "Tuppenny Nudger" but it was "Girl Is A Drummer" simply for that awesome chorus.
Low point: Either when the Michael Jackson jokes were cracked or in the intro to a couple of the songs where the band start slagging off people. A few friends of mine who hadn't seen the band before thought they were more than a little condescending at times and that in the end distracts from the good music on display.
Final point: A great show as per usual from a band releasing their debut album in the next few months.

 
 

secret fireworks @ glasgowbury: cashier no 9

Fresh from their Glastonbury session Cashier No. 9 took to the stage to a fairly decent sized crowd on the main stage. Opening up with probably their best known track"When Jackie Shone" you have to admit the band have balls breaking the song out so early on in the set. However, it's a rollicking performance, even quicker than on record and the guitars are a bit dirtier as well. Danny Todd shines on guitar, and he's got a cracking voice to boot. The legend that it Stuart Bailie is standing right in front of me, and he's nodding his head in approval.

Disco pop drums and a repetitive riff kick in for "To The Death Of Fun", a song that contains more twists and unusual turns than the Draperstown to Belfast route. It's a good track and it's the perfect way to demonstrate folktronica. "42 West Avenue" features yet another cracking guitar riff and it sounds a lot more sinister than on record: the harmonies sound like ghosts lamenting in the background. I can't decipher a word of the lyrics in fairness so the meaning of the song is lost on me.

"Jump The Queue" is a good ol' fashioned country song, but "The Lighthouse Will Lead You Out" seems to indicate that the band have at least temporarily converted to electro pop. The audience begin to clap, it's stopped raining, and we're treated to a lovely little catchy number that we can sing along to. Sure, the live version may not have the stylophone solo featured in the demo, but there's something pretty surreal about 50 or 60 people chanting "this ain't the day" and singing along.

"Goodbye Friend" strikes me as a track with the fingerprints of Elliott Smith all over it, especially in the chorus, with the various melody and chord shifts. It all gets a little bit weird during the breakdown where the voices mix together to create a sound that bounces between a bunch of Ooompa Loompas and a selection of zombie children going to kill you. Very strange end to a promising set.

High point: "When Jackie Shone".
Low point: "Jump The Queue" was forgettable, quite literally.
Final point: Describing Cashier No 9 is a tough job: no matter which way you package it, it simply doesn't compare to a live performance. You'll be able to catch them at the Monio festival in the Kings Head!

 
 

secret fireworks @ glasgowbury: the q

The Q begin their set with a gigantic Imperial Japanese flag featuring a charming little elephant in the middle. Normally, we'd wonder what the hell was going on, but seeing as this detail isn't quite as strange as some of the stuff we've already seen (and nothing compared to the things we see later) it's not that big a deal.

There are sound problems from the start (frontman Paul's vocals are simply too loud, so when he does begin to belt the songs out the poor wee speakers can't take it) but the band kick things off with "Magpie". The lead track from the Big Fub EP, "Magpie" sounds a lot less clean-cut than on record which is always a good thing. The energy on stage is unreal: frontman Paul Connolly takes on this Jaggeresque persona, strutting his stuff and dandering around the stage while blasting out the vocals. The guitar riff has a Smiths/Beatles ring to it, not too difficult but significant enough to stand out.

Tracks like "99" feature some awesome, awesome drumming from Daniel Gavigan: he doesn't over do it but when a song needs a drum solo, he's got one tucked up his sleeve. Every song seems to contain a massive chorus and it's clear to see the band subscribe to the Kasabian school of songwriting: the one thing I would point out is that if you constantly shape songs to have these big singalong choruses they lose their effect over time. It has to be said, they're damn catchy though.

It's easy to be happy and upbeat but the challenge for bands like the Q is writing slower material. Surprisingly it's the strongest song of the set that's also the slowest. The bassline takes the glory this time in "Radio" as things get a bit more ominous: think "She's So Heavy" but mixed in with some Oasis and you'll have an idea of the sound the band are going for. Paul even tries to get a singalong going but it's just not happening."Alarm" features a riff that both Albert Hammond and Albert Hammond Jr. would be proud of, with guitar work that would have slotted perfectly into the Strokes' debut album. It's a bit more punky and returns to the upbeat sound we're used to with some super guitar battling between Thomas Nicholl and Thomas Doherty.

High point: The singalong during "Radio".
Low point: The first two bars of "Magpie" because Paul's vocals are just so fricking loud.
Final point: A surprisingly strong performance from a very promising band. Great songwriting and the band have the persona of rockstars, all they need now is a little exposure.

 
 

secret fireworks @ glasgowbury: the jane bradfords

The Jane Bradfords are dead: long live the Jane Bradfords. The final major gig before they transform into a sexy six piece, the JBs delivered a trademark set and left us wondering what the next album will be like. Will there be more indie pop or will we see the acoustic evolution glimpsed in the Valentine Day's sessions on Bandwidth Films? We wait in hope.

In "Hide From The Cold" we have a synth driven guitar laden song that's annoyingly catchy. The lyrics certainly aren't: Deci's vocals follow a rambling style that is pretty difficult to sing along to. It's the guitar part, the two note "na nahhhh" that will stick in your head, and no amount of drinking will get rid of that. The rain really starts falling as "Ninety Nine" kicks in, an indie pop number which would be a cert for any mix tape I would make. The vocals aren't strong but that vulnerability is probably what the band are looking for: the tender boy reminiscing about his romance in 1999.

The last two tracks of the set show the diversity of the band. The anthemic "The Evening Angels Gather Here" is a gorgeous song that deserves to be played on a dry night in front of a large crowd instead of in showers in front of a smattering of people. It's an uplifting number and it's one of the strongest songs the band have written, with a lovely refrain of "starlight, starbright, the evening angels gather here". Sadly it seems Deci has ditched the megaphone for the finale.

The finale, "Strategy #2 (Fight Them All)" featured Andrew Wilson from Ed Zealous on guitar, and it felt like the band were given permission to finally rock out a bit and relax. The electronic drums are being battered by Johnny while Deci suddenly becomes ridiculously awkward and uptight on stage, grabbing the keyboard and stuttering around stage before sitting on the floor and playing the wee synth part in the chorus that sounds a little like elevator music. It's a little strange, very enjoyable and a good show.

High point: The Evening Angels Gather Here. The most gorgeous version I've heard live.
Low point: The failed singalong for Fight Them All. It's a simple tune and you won't exactly forget the words but you'd wish that the crowd would be up for it.
Final point: Exciting times lie ahead for the Jane Bradfords. The Tallest Man On Earth gig will see the Jane Bradfords mark 2 trot out new material and could be the shot in the arm the band need.

 
 

secret fireworks @ glasgowbury: we are resistance

I'm not going to even lie and say that I know a lot about We Are Resistance. On arriving at Glasgowbury I was immediately greeted by a wave of yellow WAR tee shirts and the occasional WAR flag. Few words can do the band justice. They're a funk rock machine that make music that wills you, nay, commands you to dance. At times they're a mix of Rage Against The Machine and Red Hot Chili Peppers, at others they're dishing out riffs that are sexier than Barry White, Jenny Lewis, Zooey Deschanel and Prince combined. (That's a whole, whole lot of sexy time.)

Donal Scullion's vocals are good on record but simply super live. Loud, brash and clear, on tracks like PSA (Public Service Announcement) he emerges in the limelight and basks in it. The audience are swaying, dancing, just generally going mental to the music and it really is infectious. The percussion and the drumming is second to none: it's so complex and god damn nuts that you simply have to take notice.

The bass riffs are mesmerising and the guitars are dancing from fret to fret. Formed out of the ashes of Mantic, We Are Resistance could be the next big thing to take the local scene by storm.

High point: PSA, just for the bassline.
Low point: Not seeing the start of the set!
Final point: An experience, not just a band.

Edit: Thanks to Donal from the band for pointing out the band didn't play Terra Nova! My bad. I thought there might be an error or two due to the fact my phone died halfway through the review, losing half my notes.

 
 

secret fireworks @ glasgowbury: kowalski

Kowalski are a band I've greatly enjoyed since the release of the Sunshine State EP: their indie pop rock goodness always reminded me of a more synth based Plans-era Death Cab For Cutie. I hadn't heard a peep out of them in 2009 and they haven't been touring as much as in recent years, which placed a little doubt in mind. The band promised new material at Glasgowbury and once again we asked ourselves will the Bangor juggernaut run out of steam?

I was hoping for this gig to answer those questions for me but they remain unanswered. Older tracks such as "Seesaw" sound as good as ever, with those distinctive synth riffs bouncing up and down with a crazy drum beat and crashing guitars combining with thoughtful lyrics. Songwriting is an art for these boys: you'll be happy to have a Kowalski song stuck in your head and chances are at least one will be permanently lodged in your brain.

We hear the words "this is a new song" and the audience collectively braces itself. The first new track isn't bad, but it's not great either. It lacks the certain je ne sais quoi we've come to expect from the band and dare I say it, it could even be regarded as filler instead of floor-filler. The next track is an improvement: with a keyboard riff that could have been lifted from a Cutaways number and a great chorus it seems to be a bit of a grower.

The band give us an old favourite in "Sunshine State" and we're reminded of what the band can do. Gradually the song builds layer by layer with some interesting drumming, a bending bassline and a clean guitar part followed by a big chorus. The scenesters are dancing in their wellies and it feels like all is good in the world, especially during the trademark breakdown in the middle of the track.

Finally, we hear "Japanese Waterfall", the new single. On first listen, it's not half bad: they seem to out do Two Door Cinema Club with a mazy riff that's both irritatingly catchy and danceworthy while there's another big chorus. It's typical Kowalski: nothing mindblowingly different but when you've got a good sound going it doesn't make sense to change it. We'd need a few more listens to pass real judgement on the new material, but fingers crossed we'll have the Kowalski we know and love back.

High point: The chorus in Seesaw, "we'll stay 'til it gets liiiiiiiiiiiiiiiiiiiiiiiiiiiiiight". You can see a few thousand people singing along to that in the not too distant future.
Low point: The near deafening feedback that we experience during the second new song not just once but twice. I badly need to buy a pair of earplugs.
Final point: Don't pass judgement on the new material just yet, but we could have a winner on our hands. Maybe.

 
 

secret fireworks @ glasgowbury: a plastic rose

A Plastic Rose have been a band knocking about the local scene for quite some time now: members have come and gone but the name has lived on. The current unit of Gerry, Ian, David and Troy have gone from strength to strength in the past year or two, featuring in ATL's Top 20 Norn Iron bands (at number 20) and releasing an EP earlier this year. It seemed like A Plastic Rose were living their dream as they opened the Spurs Of Rock stage, with every single member of the band grinning like idiots. Bless.

The band start proceedings by throwing just over a hundred CDs into the crowd featuring pretty much every track they've ever recorded. They're well known for being down to earth and lovely guys and doing that is just testament to that reputation. "Colour Blue" is the first track we hear, a simple little alt rocker that features the cornerstone of the band: the dueling vocals of Gerry and Ian. I'm aware I'm at the Spurs of Rock stage and things always would be rather loud, but even I had to take yet another step back from the speakers as the music is blasted out.

"Sun's A Shadow" provides the first singalong of the festival, if not the first clapalong. A track that features a tender guitar riff reminiscent of "405" by Death Cab For Cutie and soft then explosive vocals, Sun's A Shadow carries a tune and gives David the chance to shine on drums, if only for a few seconds.It's angsty and vulnerable, a gem in a solid set. Gerry and Ian seem to skirt the oh so fine line between singing with emotion and shouting. They stay on the right side of affairs for the most part of this gig but occasionally stray into dodgy territory, especially during "Superspeed" but it's all good.

I sadly missed the end of the set (which was bound to finish up with "Kids Don't Behave Like This", a song destined to feature at festivals) but from what I saw, I was as impressed as ever.
Top notch.

High point: The five second slot in "Sun's A Shadow" where there's calm before the storm. We all know what's coming but still takes you by surprise in its intensity.
Low point: Missing the end of the set.
Final point: A good set and a band that really know how to work a crowd- A Plastic Rose are playing at the Carling Reading and Leeds festivals so if you're going, look out for them.

 
 

secret fireworks @ glasgowbury: pocket promise

Pocket Promise opened the G Sessions stage with a solid set that set the tone for the rest of the day. The sun was shining and the crowd were dancing to the pop rock that has seemingly grown so acceptable these days, but a few major technical difficulties hampered the set. Otherwise it was an enjoyable experience as always from this band. A strong opening and then a track (that may or may not be called Juno, it was a little hard to hear) featuring a good keyboard riff and a big chorus with swirling synthesisers going on in the background. "Inside Out" sounds completely different on stage: drummer Joe Laverty takes the spotlight with some adventurous moves. Sadly as is generally the case, his limelight only lasts a few minutes as all but one of the band whip out some drumsticks and create something akin to a samba band for the finale. Well, when in Glasgowbury...

Cormac Fee's vocals are superb, gliding effortlessly from note to note without any real misses. The ladies seem to love him as well, from the comments being made just behind me. Pocket Promise are a bunch of pretty boys with very pretty music to match: it's all very summery. Then, that distinctive guitar riff kicks in and we're treated to a barnstorming performance of I Burnt The Roller Disco. It does feel like a runaway train at times in terms of tempo but they keep it together, barely. The track is so much more creepy and sinister live than on single as well, a bit of a diversion from what we had heard before.

High point: The drum breakdown in Facing Down. Stellar.
Low point: The tech problems. The keyboard doesn't seem to work, Dominic and Ciaran's mics are inaudible and so forth.
Final point: A solid set and a taster of what promises to be a very interesting album.

 
 

secret fireworks @ glasgowbury: the good, the bad and the fugly

I've just got in the door after travelling back from Draperstown and I have to admit Glasgowbury exceeded my expectations by miles. The bands were better, the craic was better and the weather was better than I expected. Up on Secret Fireworks we will have full reviews from....

The Q
Kowalski
The Jane Bradfords
Pocket Promise
A Plastic Rose
Here Comes The Landed Gentry
LaFaro
Cashier No 9
We Are Resistance
& And So I Watch You From Afar

I was hoping to see a few more sets but I would have collapsed/become deaf/been swallowed into a swamp.

The Good at Glasgowbury:

  • The weather. We didn't get an onslaught of rain and while the craic was slightly dampened by the showers it could have been a lot worse.
  • The craic. From what I saw, only a few incidents occurred and nothing major really happened. There's also something lovely and binding about a bunch of girls and guys kicking a football up into the air and shouting out a word, then cheering when someone headers it.
  • The Beat. One of my favourite parts of the festival, there was an arts and crafts stand set up so we could make our own signs for the bands, or write whatever we wanted. We Are Resistance's followers used this to great effect.
  • The positive attitude of the bands. With one or two exceptions every band seemed to revel in the festival spirit: whether it's Tony from ASIWYFA gushing on stage, A Plastic Rose looking like kids in a sweet shop when a few people start clapping along to their songs or Here Comes The Landed Gentry playing an encore there's pride in playing at Glasgowbury.
  • Free things. Whether it's a hug from the Jagermeister girls, a free A Plastic Rose CD seemingly containing every song they've ever recorded or a passer by simply offering a complete stranger one of their chips in the pouring rain, it's all good.
  • Paul McClean and Rigsy in shades, looking sexy and surrounded by girls. Fair play, lads.
  • Paddy Glasgow.
The Bad

  • Nowhere near enough bins on the campsite.
  • Security not being particularly visible.
  • One band in particular acting like pricks to the audience on stage.
  • Sound problems in the G Sessions tent, but that's par for the course.
  • Not enough hours in the day to fit in all the music. :(
  • The eejits that lobbed bottles at ASIWYFA. That's not on.
The Fugly

  • The couple who began kissing in the front row of the main stage at half 2 and continued until the start of ASIWYFA, then decided it would be a good idea to do the same thing in the middle of a busy narrow country road when traffic was trying to leave.
Stay braced for some updates!