secret fireworks

changing rss feeds...

2009-08-22T00:05:00.003+01:00

I just realised that those of you on RSS feeds might not have gotten any articles for a while now! We haven't forgotten about ye. Check out the new website at

www.secretfireworks.tk

to get the new articles, the new news and the new interviews :D

Patrick

a movie script ending: will mcconnell's bandwidth films

2009-07-31T19:15:00.002+01:00

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!

2009-07-29T19:12:00.003+01:00

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

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

2009-07-27T12:28:00.002+01:00

"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

2009-07-27T02:51:00.002+01:00

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

2009-07-27T02:18:00.003+01:00

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

2009-07-27T01:11:00.003+01:00

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

2009-07-27T00:02:00.003+01:00

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

2009-07-26T23:24:00.004+01:00

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

2009-07-26T22:38:00.003+01:00

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

2009-07-26T21:23:00.003+01:00

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

2009-07-26T19:16:00.004+01:00

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

2009-07-26T18:40:00.002+01:00

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!

secret fireworks @ trans: heliopause in the dome

2009-07-23T01:24:00.005+01:00

I'm struggling to write this review without cracking at least one geography pun. Something along the lines of the band creating an amazing atmosphere. However, that would detract from one of the most surprisingly stunning gigs I've been at in the last two years. I've followed the band for quite a few months now (Richard was actually my first SF interview) and I thought I knew what to expect, having loved the Dark Matter EP.

From the first track, "Stained Glass", the band start as they mean to go on. Chris' droning guitar creates a shoegazesque cavalcade of noise while Richard's trademark fingerpicked acoustic guitar line means we experience this unusual yet lovely contrast. The vocals are muffled beyond belief, but that adds to the experience: it's a little bit magical, a little bit strange and a little bit hazy. Niall's drumming ranges from the delicate to the furious within the space of 30 seconds.

Most of the material we hear tonight is completely new, but we do get to hear the single Moment Of Recognition with Grace from Cutaways filling in on vocal duties. Interestingly enough, it's the weakest song on show here by a great deal. Despite the fact that the vocals are still indecipherable , the new material sounds very promising.

One or two tracks in particular stand out: one track features Richard crooning "this is everlasting, this is never ending" while Chris jumps in with a slightly more upbeat guitar riff and harmonies that mix together so well. It's a shame Therese wasn't part of the performance: I'm not sure if she's left or just couldn't make the gig but her vocals were the perfect compliment to Richard's and it was one of the standout points of Heliopause.

Chris' dreamy guitar parts return as they ring out in the Dome, with Niall's soft and measured drumming complimenting each other perfectly. I feel like I'm watching When Pilots Eject without keyboards and meaningful lyrics: we hear the odd word from Richard but there's this intense energy within the band that's restrained at times and released at others. It seems there's been a sound shift since the first EP and I welcome that greatly. There's a solo track from Richard which is nice but doesn't live up to the rest of the set: in the band there's an immediate contrast between Richard's restrained nature and Chris' energetic manner, with Niall caught somewhere in the middle. It's this mixture that makes the band unique!

All in all, it was a gorgeous, reflective set that made you stop, think, breathe and relax, a time of peace in a crazy world. The new material sounds ridiculously promising and I hope we get to hear a new EP soon enough but I'd still like to hear some of the older tracks played live, even the heartbreaking, shiver inducing "Mon Peu Rimbaud". A special band in a special venue on a special night: just next time guys, please do a proper soundcheck.

Edit: Thanks Chris for pointing out my mistake: Grace, of course, is in Cutaways, not the Flora, the Fauna. Last time I do late night posting, eh? And thanks to Steve for pointing out my mistake in regards to the Flora, the Fauna.

secret fireworks' guide to glasgowbury 2009

2009-07-20T12:49:00.006+01:00

This Saturday sees the return of the famous Glasgowbury festival to Draperstown and due to the recent revival of local music it promises to be brimming with quality music. And So I Watch You From Afar are set to headline the event (in their own words, their biggest ever show) with numerous bands such as General Fiasco and Cashier No 9 creeping further and further up the billing each year. With four stages, less than 24 hours and just under 50 bands playing I've selected a number of bands that have caught my eye over the past couple of months. There inevitably will be some clashes, but c'est la vie.

And So I Watch You From Afar (11pm-12am)

This band need no introduction, but just for the hell of it, I'll give them one. Instrumental balls to the wall rock doesn't sound like everyone's cup of tea, but their debut album has gained huge acclaim not only from the usual suspects but mainstream media as well. With truly magical live performances and a seemingly limitless amount of energy, ASIWYFA can turn geeky girls into rock chicks within 30 seconds. A band that were born to play festivals.

General Fiasco (9:45pm-10:15pm)

It's rare for a band to be lauded by serious music magazines like AU and Hotpress and to be able to make thousands of teenagers swoon, but General Fiasco seem to have that magic formula. Nothing complicated about them: just good old pop punk with insanely catchy melodies and great drumming from Leaky. Even if you're not a big fan the guys can put on a lovely show Owen is one of the best live vocalists I've ever heard, so this performance certainly won't be a damp squib. Potential crowd singalong for Rebel Get By.

LaFaro (7:15pm-8:00pm)

Dirty rock with more than a hint of punk, LaFaro have been turning heads in the months leading up to their debut album release. I had the chance to see the band in Oh Yeah Music Centre and they created this amazing atmosphere in the place despite the fact there were only about 15 people there: with a fully stocked crowd and good weather, we could be in for something really special. The new material from the album sounds strong and there's rarely a dull moment in the set, plus of course there's the track of this generation, Tuppenny Nudger.

The Good Fight (2:10pm-2:40pm)

There's a touch of Coldplay about this band, there's no denying that. Good for some people, not so good for others. The Coleraine bunch have been getting plenty of press recently for being the first support act announced for General Fiasco's Ulster Hall gig. With an ear for a good tune and an cracking track in "Landslide" (available free on NI Chart, but it's not great quality) they could be one to watch. I'll be interested to see if Ben can pull off those crazy high vocals live on stage, and that's my one fear about their slot.

Here Comes The Landed Gentry (9:15pm-10:00pm)

It will be my first time seeing the band but from the rave reviews I've heard of live performances this should be something special. A band that combine blues and country with a dose of old school rock Here Comes The Landed Gentry provide are one of those bands that you should go and see even if you haven't listened to them before. Fingers crossed we won't be disappointed. David Roy famously described the band as "a riot in a prison chapel": surely even the least inquisive person amongst us will want to find out what that sounds like.

The Q (4:30pm-5:00pm)

I thought this Derry band were robbed in the ATL Rock School competition, but they're still going strong. Armed to the teeth with hooks, lively guitars and witty lyrics the Q have turning heads over the past few years with Neil Hannon and Stu Bailie self proclaimed fans. Think of the Jam and the Undertones blended together with a dash of modernity and a shot of energy and you'll be halfway there to understanding the Q.

Kowalski (1:10pm-1:40pm)

It's time for Kowalski to stand up and be counted. Things have been pretty quiet from the band recently but apparently we'll see some new material at Glasgowbury. A fun band to watch and they've been promising for years but a new EP is important. Look out for "Japanese Waterfall" which the band are really excited about: will it stack up to earlier material? I hope so. We need Kowalski to kick ass.

A Plastic Rose (12:50pm-1:20pm)

Great live performers and super songwriters, A Plastic Rose have made shoegaze and passionate rock just that little bit more acceptable. With some of the nicest harmonies I've heard in a long long time and energetic drumming it's possible to be beautiful and devestating at the same time. Kids Don't Behave Like This is one of my favourite tracks of 2009, a song that builds and builds before exploding beautifully in a cavalcade of shouty vocals and crashing cymbals. One of the most exciting acts I've seen so far.

The Best Of The Rest...

The Jane Bradfords: no new material, apparently, will be featured but always a great act to see live. Deci Gallen's vocals have improved tenfold and everything seems to be clicking into place for the band.

Edit: I've been told that the guys will be playing one unreleased song that they've been playing for the past few months. This will probably be the end of The Jane Bradfords Mk 1: the acoustic gig in QUBSU with The Tallest Man On Earth will be the dawn of the JBs Mk 2, playing the new record and featuring an expanded lineup. Cheers!

Cashier No 9: not everyone's cup of tea, but the folk rock electronica shenanigans are always fun and the lads always deliver a stonking performance.

Skruff: if only to listen to This Is Not OK. What a song.

Yes Cadets: if the weather is good and you don't mind missing the start of A Plastic Rose's set, check these guys out. They don't provide a wall of hugs, but their sugar coated dancey indie pop sound will be a great way to kick off the festival weather permitting.

Joe Echo: one of the strongest local singer songwriters I've heard over the past couple of years, Ciaran's proved that there is life after Leya. Risky experimental pop is his game and an incredible cover of If I Were A Boy reinvents the song completely. An eagerly awaited set.

Dutch Schultz: the pole dancers may not be taking part in this performance but these boys are a talented bunch of rockers. They haven't quite settled on a sound yet, but there's still plenty of time.

Inishowen Gospel Choir: probably best known for their Urban Hymns performance, this could turn into a wonderful happy clappy gig. And that's fine by me.

Pocket Promise: releasing their debut album and with one of the singles of 2009 Pocket Promise could be the surprise of the festival.

secret fireworks @ trans: john shelly and the creatures

2009-07-19T18:18:00.005+01:00

*tenuous link here, bear with me*

Who would want to work for the Northern Irish Tourist Board? It must be up there with being Michael Owen's physio, Pete Doherty's minder or Mahmoud Ahmadinejad's PR representative. Norn Iron is known abroad for bombs, bullets, Bibles and blustery weather: whoever said "any publicity is good publicity" is clearly talking rubbish. A multimullion advertising campaign showing the landscape and countryside of Northern Ireland (as well as the general craic in our wee country) is a drop in the ocean compared to the round the clock news coverage when something wrong here. How do we change that perception that prospective tourists have? What does Northern Ireland mean to us?

Well, today's little performance in the Ulster Hall cafe by John Shelly and the Creatures would have been the perfect TV advert for Northern Ireland, if there had been any cameras knocking about. Or people, for that matter. Yes, I was able to have a good cup of tea sitting inside the newly revamped Ulster Hall while the band put on a great performance as the sun shone outside. Rational thinking, public investment, a resurgent music scene and global warming now feature in Northern Ireland, and we're all the better for it.

Kicking off the set with "Angeline", it feels like I'm watching a different band to the one I had seen at Trans:mission last week. As a full band JSC are good, but in an intimate acoustic performance like this, they really shine. Walter's vocals are much stronger than the previous Waterfront show, while all of the instrumental parts grab your attention. There's a warmth in this gig that was devoid in previous performances: it seems that once you unplug the electric guitars and remove the barriers JSC come to life. "Soft To The Bone" (well, I'm calling it that, I'm not sure of the proper title) sounds lush with three part harmonies interlinking and mixing together so well. It's a sign of good songwriting that a track can hold up in different situations: I would argue that 90% of this set was better than a full band performance. The little things stand out in these performances and they were on show today as the bassline takes prominence time and time again.

We're treated to a twee number featuring a mouth organ and mandolins which is reminiscent of Turin Brakes, nothing too complicated but simply a song that warms your soul. The lead vocals seem to swap between Ger, Walter and Phil: it's not necessarily a problem but it can make a set a little inconsistent as sometimes the vocalist can't break into their stride. However considering the fact every song seems to contain a harmony or two we didn't encounter that problem today. "Blinded and Cross" can only be appreciated truly in this setting: a simple little song that features those lovely three part harmonies that are hauntingly beautiful. The folk kings and queens of Belfast seem to be The Lowly Knights at the minute, a band I love but a band built on shaky foundations. John Shelly and the Creatures are an act built upon damn good songwriting, great melodies and glorious harmonies. There most certainly is a challenge for the crown.

i found a sound that turned me around....

2009-07-16T18:26:00.004+01:00

Well, on Tuesday we had our first Kids Don't Stand A Chance gig. Despite all the red tape, the bureaucracy, drama with bands and health and safety problems on the 14th of July we ran our event in Oh Yeah Music Centre, Belfast. With coverage in the Irish News, the News Letter and AU (not to mention more viral/guerilla marketing that you can shake a stick at) we were hoping for a big crowd. That didn't materialise, sadly, for a number of reasons but we've learnt our lesson now. Perhaps the Belfast scenesters aren't familiar with LaFaro or A Plastic Rose (possible), our promotion was abysmal (certainly possible), and that there were so many different events going on that our target audience was scattered around Belfast to say the least (most likely).

However, this is a music blog, not a charity blog so here's the lowdown. Gigging Northern Ireland (who I've been doing a fair bit of work with) have a review by the lovely Finola Doran up here which is well worth a read, while my thoughts are below.

The Postbox Theory took to the stage and looked nervous as hell. Their first song of the night seemed to reflect this: the obvious self confidence documented on their first EP was clearly missing. After the first track those nerves were cast aside: hell, we even see a smile from Zach. There's a dark energy that seems to run through the band: they're certainly not your typical teenagers. The new tracks we heard had a air of Smashing Pumpkins about them but retained the unique experimental elements that we've come to know the band for. The track of the night had to be the instrumental "Mirrors": a moody little song that really turned heads at the concert and the only track from their debut EP.

The Audiables delivered an acoustic set that was as much as a throwback to the 60s and 70s as the drummer's hair was a throwback to Ian Brown's Stone Roses days. Armed with a crowd of teenage groupies that sat down in the front row and swayed to the music, the band drilled out song after song from a bygone age. "Behind Closed Doors" and "Free My Soul" have a bluesy vibe about them: nothing original, nothing new, but it's nice to listen to. They've got a cockiness about them, assured and confident, but the set feels a little bit long and a little repetitive. A full set would probably ease my doubt about the band.

A Plastic Rose certainly raised the bar with their performance: for the majority of the audience it was the first time they had seen the band and from the sounds of it it certainly won't be the last. Tracks like "The Colour Blue" and "Superspeed" gain a surprisingly warm reaction from the crowd, while the band are a prime example of an act that has evolved over the years into a professional music machine. The one inevitable problem in playing such a small venue is that sound can suffer and it was most evident in APR's performance: those devastating harmonies we've come to know and love from Ian and Gerry don't come across that well. That's a small point in an otherwise faultless performance: we even get a "fuck yeah!" from a member of the audience when "Silence, You" begins. The track of the set has to be "Kids Don't Behave Like This" dedicated to the legend that is Matthew Patton, which features awesome drumming and those lovely vocals from Gerry (which range from tender, emotional, enraged then screaming) in a song that gradually builds up into a frenzied finale. Thumbs up, lads.

Due to the Audiables running over time, Lafaro took to the stage later than scheduled and the crowd by this stage were starting to dwindle. A huge shame, because Lafaro quite frankly tore me a new one. Rollicking wouldn't do the band justice. This is punk rock, my friends, it's loud, it's proud and it doesn't say sorry. Fans of Taking Back Sunday don't know what punk is. We're treated to a couple of new tracks: at one point Jonny decides not to tell the audience what the track titles are, as apparently they're irrelevant. Those sound limitations become a hell of a lot more obvious during Lafaro's set as we can barely hear Jonny's vocals because the bass is terrifyingly loud, the drums are pounding and the guitars are grating against our eardrums. The younger members of our audience experience ringing ears within seconds.

I've been pretty excited about the debut album and after this performance I can barely wait. The new songs sound so strong: "Chopper" and "Party Hardy Marty" are destined to be classics while the band seem confident enough to throw "Tuppenny Nudger" into the middle of the set instead of closer to the end. The guitar amps cut out at one point and the performance quickly turns into a comedy extravaganza with Michael Jackson jokes a plenty and more inappropriate jokes than you can shake a stick at. Personally, I'm cringing, as it's my head on the line if the parents complain, but normal service is eventually resumed. The crowd, by the end of the set, had dwindled to just over 18 people, so we're told to come right to the front for the final song. Bad move on my part standing right beside a speaker. The first chord rings out of "Leningrad" and my ears still haven't stopped ringing.

The turnout wasn't great, but the music was class. Tonight we saw a class act in the making (The Postbox Theory), a band that have grown into a solid act over the years (A Plastic Rose) and a band that is on the fringes of greatness in Lafaro. Roll on Newry!

secret fireworks in the summer...

2009-06-22T23:26:00.002+01:00

I have been looking forward to this summer for quite a while now: liberation from exams, relatively nice weather and lazy mornings all rank rather highly in my book. The advent of summer means the Northern Irish music scene kicks into top gear and you can be assured that Secret Fireworks will be blogging like there's no tomorrow- hell, you might actually think this blog is a serious music production. (Rather unlikely, but I can always dream.)

Our summer begins with the Belfast City Carnival, as some of Norn Iron's finest combine to create the greatest supergroup since The Travelling Wilburys. The Jane Bradfords, John Shelly and the Creatures, Mojo Fury and Katie and the Carnival, John D'Arcy, Cara Cowan, Shauna Tohill and Steve Toner are all set to feature. Colour me excited. I wonder if Naomi Long plays a musical instrument?

Four major festivals are taking place in the North, and I'll be at three of them. While I can't afford to go to the very promising inaugural Willowstone Festival in Killyleagh, I'll be covering Trans '09, Glasgowbury (my first ever!) and Forfey Festival. I'm gearing up for my first live experiences of Fighting With Wire, Not Squares, Mojo FURY, Yes Cadets, Pocket Promise and Dutch Schultz amongst others: I simply cannot wait.

Of course, I'll be covering the Northern Ireland Youth Forum "The Kids Don't Stand A Chance" festival in detail with reviews, interviews and exclusive tracks with the bands involved.

So laissez les bons temps roulez , and enjoy this summer.

it's not perfect, but it sounds alright: an interview with a lowly knight

2009-06-17T20:17:00.004+01:00

The Lowly Knights

Originally uploaded by Conzo.. (via Flickr)

"We like to think that a gig (of ours) is more than just a concert where people come and see us play, but that people come and feel like they're a part of it, contributing to the whole event- a bit of idealism, I know." Numerous acts have tried to make this happen over the years, but only the Lowly Knights have taken strides to make this a reality. The twelve-piece provide an unique experience both live and on record with a rich, approachable folk pop sound that warms the soul of every listener from the opening chord to the last gorgeous harmony. The Knights and their debut EP "The Rifles" have been lauded by both national and local media: "Devotion" is rarely absent from Across The Line or Rory McConnell's NI Introducing show, while the band featured in Alternative Ulster's top 50 tracks of their generation. So, how exactly did the Knights come this far?

"Some bands plan to dominate the world from the beginning. Others just make the best music they can, enjoy it, and let what happens happen. That is actually one of my favourite things about the Knights; we've never really had big expectations for ourselves and therefore we were always stunned when anything good happened to us. I remember thinking with everyone, "Wouldn't it be great to actually play in the Empire?", then, "Could you imagine supporting Duke Special?"

It has been a meteoric rise for the Knights. Gary Lightbody has been one of the most vocal supporters of the band, with the Knights supporting one of Snow Patrol's recent Odyssey dates. Indeed, he became an honorary Knight along with Iain Archer and Miriam Kaufman as they joined the choir for their showstopping number "You Can Tell A Man By How He Lifts His Hands". "The Snow Patrol shows were pretty surreal- the taste of the big stage (and all that comes with it) was pretty intoxicating." These performances turned the Knights from the best kept secret on the local scene to the worst kept secret. Since the start of 2009 the twelve piece have been ridiculously busy, playing with And So I Watch You From Afar (live review here) and Foy Vance-"the gentleman with the voice of a god" according to Jon. One of the most memorable gigs for the band (and for me) was the BBC "Do You Remember The First Time?" concert (live review here), as the Knights opened the first major gig in the refurbished Ulster Hall.

Any band would find it difficult to continue such an ascent in the local scene, so it isn't surprising that the Knights are taking things a little easier at the minute. "We've intentionally not taken on many shows so we could spend most of our time writing songs and gearing up for recording again: we're planning on hitting the studio this July and releasing the next recording this autumn. We are extremely excited for this- we recorded The Rifles EP over a year ago and though we are truly proud of it, it is a old recording. We have evolved as a band quite a bit over the past year or so and are excited to get an up-to-date recording out." However, the Knights are planning a UK tour as well as a stellar launch for the new EP. Excitement will undoubtedly ensue.

The band are known for their hooks and their complex instrumentation (the Knights use mandolins, for crying out loud) so songwriting is never an easy task, especially with such a large number of musicians in one group. "We haven't exactly perfected our process yet and perhaps we never will- Cazi and Neil usually write somewhat of a skeleton of a song and a rough structure, play it for us, then we spill our guts. One of the best songs we've ever written took only a few practices to get right but it can take months to get things just right! Our recent practices have been going on all night, and they're pretty intense. But after several hours when it all comes together I can say that writing music with these 11 other people is an amazing experience!"

Hundreds of bands from the North have come so close to breaking through into the mainstream, but no band is quite like the Lowly Knights. With a genuinely unique folksy sound and a knack for creating catchy but deep songs, we are all destined to become Knights. "We've always had the attitude of "this isn't going to last forever so let’s enjoy it and make it as fun as possible while it does last"". Let us hope the Knights continue to march on.

the curse of teflon don

2009-06-14T20:03:00.002+01:00

Common Bred Trigger's debut EP "The Curse Of Teflon Don" is an intriguing rock release that never quite hits top gear and leaves me banging my head against a proverbial brick wall. Featuring more melancholy than a widow's never ending monologue, CBT set their stall out in "In Trails" with Nirvana tinged guitars and strong vocals. The lyrics aren't the most philisophical in the world, but there's the occasional memorable line ("In hindsight, things look better, somewhat blackened, somewhat wetter"). This is rock by numbers: there's nothing revolutionary here and it chugs along with ease with some great drumming, but part of me wishes CBT would go out on a limb and try something a little crazy."Lock And Key" is the best track on the EP in my opinion: there's a lovely little guitar riff while Karl's vocals take prominence, with the song switching from tender to bitter within seconds. The backing vocals are a real treat and I can imagine this being a real joy to see live: the question and answer style outro is ridiculously catchy.

"When Will It Stop?" marks a return to the original formula of driving, ominous guitars and perpetual darkness- I've never been a fan of shouty/screamy vocals and this track sadly features them in abundance. Once again, it's rock by numbers. There's nothing really wrong with "When Will It Stop" and indeed there's nothing wrong with the EP. CBT clearly have potential and they will create the deep dark sound they seem to be searching for. Karl's vocals are excellent: very clear, rich and strong. I just wish they'd stick their necks out, be a little bit more adventurous and record the results. The Curse Of Teflon Don is a promising EP that's just not quite there yet.

Common Bred Trigger MySpace

look left to see if you are right....

2009-05-31T21:41:00.008+01:00

The Postbox Theory are a band that have impressed me from the outset: their song "Recommence The Tea Party" has been a particular favourite of mine over the past a few months, while they are set to play with A Plastic Rose and LaFaro in July. The Lisburn four-piece recently released their debut EP "Experiment #1" and have been garnering praise and acclaim from both bands and the blogosphere: not bad for a band that are still in secondary education! I caught up with Claudio Manso to discuss the EP, the band and the future.

"Zach and I were sitting in a changing room about a year ago, and we just decided there and then to have another crack at getting a band together," explained Claudio. "After that, it all fell into place: we recruited our friend Dean to play drums and after a while Dane became our bass player." The Postbox Theory have encountered a few difficulties due to their age: "We sometimes get asked for IDs [when we're playing a gig] and we've been asked to leave. However, I think once people look behind the name and listen to us play, they ignore the age thing and they take us seriously."

It's quite rare for a band that has been together for such a short time to put out an EP, but according to the band, the timing was perfect. "We had written a couple of songs and we spent a few months trying to perfect them: at the same time, we had a number of new ideas that sounded really good. Michael Mormecha (mojoFURY and Clown Parlour) really wanted to record with us so we went for it." For Claudio, the recording experience was fantastic: "It was weird at the start, adjusting to a studio, because we had never been in one before. After a couple of hours recording drum tracks and demoing, however, it just clicked."

The first track on the EP, "Mirrors", is an instrumental that evokes memories of Mogwai and Explosions In The Sky: however, unlike most post rock it has a purpose instead of just dandering from note to note. It's ominous, dark and brooding from the outset. A distorted noise gently opens the track with a clean guitar riff, then instruments join in one by one. "Mirrors" is carefully measured, restrained and a memorable way to start the EP. The track slowly builds up, reaches a peak and then dies away with grace. It's a bit creepy but it's gorgeous nonetheless. Claudio explains: "Zach and I were jamming, and Mirrors just came together. I asked the band whether they thought the song needed vocals, but it was clear that it was better to be left alone!"

"Mirrors" may have been a little too restrained for my liking, but "Ease Of Use" certainly doesn't suffer from this problem. Driving guitars and thundering drums open the track, then a glorious bassline kicks in. Indeed, the bassline is consistently impressive throughout "Experiment #1"- it is constantly at the forefront and always inventive. "We want everyone to have a major part in every song- instead of forgetting about bass guitar like some bands, in tracks like Ease Of Use it drives the song along." The sole disappointment with the track is the vocals, sadly: Claudio's performance is good, but you can barely make it out, as the instruments drown him out. It's quite clear he's going for gravitas instead of dramatics: he pulls it off, but for maximum effect he really needs to be a little bit braver, and a hell of a lot louder.

"Look Left To See If You're Right" is a wonderfully layered track that features a lovely little acoustic guitar part. Zach takes over on vocals for this track, creating a dark atmosphere with quiet yet powerful vocals. Dean's drumming is tight and appropriate: never distracting, never overbearing, just perfect. The track is angst ridden, mournful, and very promising.

"Recommence The Tea Party" is probably my favourite track on the EP. The harmonies are gorgeous and the song just keeps taking me by surprise: the introduction sounds a little like "Ease Of Use" and wouldn't be out of place on a We Are Scientists album. Then, the rhythm guitar part kicks in, and it's a cracking upbeat number. The middle eight part is a little dodgy: it feels to me like the song loses its structure. The outro, however, is magnificent: Manso sings "the only way is up for me", and it's balls to the wall from there. The driving guitars return and the drummer becomes temporarily possessed by the spirit of Animal. According to the band, it's a live favourite, but they're not quite sure why. "For Recommence The Tea Party, we wrote the music long before we had even thought of lyrics. The title doesn't even have anything to do with the lyrics!"

"The Argument" is easily the most radio friendly track on "Experiment #1"- those ominous, punktastic guitars return, battling against one another in a fight to the death with no clear winner. Lyrically it's probably the best track, and the chorus is catchy as hell. I can imagine a few hundred people screaming out "I think all you's want me dead", though the grammar police might not be happy. There's a cowbell in the background too- an instrument sadly missing from local music all too often.

Overall, it's a great EP. Four talented musicians have created five tracks that many bands would be envious of: it's an angst filled and genuinely disaffected record. It's still raw but it's a professional debut: measured to perfection, inventive and promising great things. I'd be interested in seeing the band live: I'm not 100% sure if Claudio's vocals would be able to stand out amidst the inevitable ocean of noise that The Postbox Theory will create on stage, but even if that's the case they're one to watch on the live music scene. It's a scary thought how young these guys are and how darn good they are at the moment. If they catch a break and they continue to progress musically at their current rate, this EP could be the start of something very beautiful indeed. The band believe their next release might have a slightly different sound: we'll be waiting with baited breath.

The Postbox Theory MySpace

welcome to the night sky

2009-05-30T23:20:00.003+01:00

Honestly, I had never heard of the Canadian band Wintersleep until they recently played in Auntie Annies (to rave reviews): I've been making up for lost time, however. Their 2007 release "Welcome To The Night Sky" is a wonderful album from the very start to the last drum beat. Their third album is anthemic rock at its finest, veering between up tempo pedal to the metal pieces, simple catchy folksy songs and complex post rock symphonies.

Lyrically, it can be disappointing at times: "Weighty Ghost" and "Search Party" are filled with sweeping questions and statements that take the sheen off some excellent tracks. However, it's instrumentally flawless: the drumming is superb, with complex rhythms driving forth tracks such as "Drunk On Alumininum". Despite the lyrical limitations there's a great attention to detail: there aren't any passengers in Wintersleep. Paul Murphy's vocals can be tender and vulnerable when needed, or raw and loud, such as in "Archaeologists". I've read that he's a bit of an intellectual and refers to Sylvia Plath and Ted Hughes as influences- it can be a little aloof at time, a little surreal, but it's a good thing.

The guitar riffs and parts are tight: the melodies are dreamy, soaring and a little eerie at times. It's pretty unsurprising to discover Tony Doogan produced this album: he's an absolute master at harnessing this sort of sound (he produced Mogwai's "Zidane: A 21st Century Portrait" and Snow Patrol's "When It’s All Over We Still Have To Clear Up", two of my favourite albums of all time). The crowning glory of the album is "Miasmal Smoke & the Yellow Bellied Freaks" (a hell of a title): an eight minute post rock extravaganza featuring organs, insane drumming and lyrics I simply don't understand. Welcome To The Night Sky is an musical rollercoaster that doesn't know exactly where it's going- all it knows is that the journey is going to be incredible.

Check out "Drunk On Aluminum" at the bottom of the post.

the kids don't stand a chance

2009-05-22T14:29:00.005+01:00

(apologies for the lack of recent posting, but these exams are quite frankly taking over my life)

Since January 2009 I've had the delightful pleasure of working with the Northern Ireland Youth Forum, a charity set up in 1979 to speak for and represent young people. It's a youth run organisation, and it's simply brilliant craic- there's a real vibrant attitude around the offices and there are always a number of exciting initiatives being talked about. A few months ago, we were discussing what we'd like to do this year, and one thing that was close to all our hearts was music.

I say music, but what I really mean was gigs. Since I was 16 I've had a keen interest in the local music scene, but due to my age I was never able to see live local music. The Ulster Hall was shut and every half decent local band were playing in bars and clubs. This normally meant I wouldn't even try to go to a gig, or even if I did try, I'd get knocked back 99 times out of 100. When we discussed this, it seems my experience was common to most people, and it only ends up hurting bands in the long run.

The teenage demographic is one of the most influential and powerful out there without a doubt. A few local bands have managed to harness and reach out to teenagers- General Fiasco and Fighting With Wire are just two names that spring to mind- but there are so many acts bubbling under the surface that would be lapped up by teenagers. I'm convinced that Two Door Cinema Club and the Panama Kings would take over the country given a chance to play to younger audiences- what's more, I would personally make the latest ASIWYFA album a compulsory part of the National Curriculum if I was Minister for Education.

It's not just the fans that are suffering, though. It's the music scene in general. I'm sure a band would prefer to play a sold out show than a half empty venue. Perhaps it would cost a little more to rent out the venue and have a dry bar, but a bigger audience could cancel that out. Local bands need younger fans- because younger fans are much more likely to grow a little obsessed over a band than the more "discerning" music fan. It's all well and good putting posters up and spamming your MySpace link on various local websites, but word of mouth is worth its weight in gold. Musicians may criticise filesharing, but it's teenagers who are sending each other band demos and singles over Bluetooth and Rapidshare, even. This promotion is volunteer led and most importantly free- what band wouldn't want that?

Finally, young musicians are suffering. From chatting to a number of younger bands, a major concern of theirs is that they'll be kicked out of a bar or a venue for being underage. It stifles the scene. Bands don't want to play church halls or GAA clubs- they want to play where their musical heroes play. It's motivating. Quite simply, young musicians, music lovers and local bands don't stand a chance. The kids don't stand a chance.

We decided that we'd try to push promoters and venues to hold more all ages gigs- and the best way of doing that would be by holding a few underage gigs ourselves. Originally the project started out as a single gig in the Oh Yeah Music Centre, with a few younger bands and perhaps an established band on the local scene. After I got in contact with a few musicians, the project has taken on a life of it's own. Dozens of bands of all musical genres got in touch with our project, pledging everything and anything to seize this valuable opportunity to play an all ages gig. Promoters got in touch with the project, advising us on what we needed to do, helped us create various posters and gave up their time for free. Currently, we're planning to hold four gigs in Belfast (Oh Yeah Music Centre), Newry (The Magnet Centre) and two unspecified venues in Derry and Coleraine featuring over 16 top quality bands- playing to roughly 1,000 people in Northern Ireland.

I'm delighted, thus, to announce our first gig of the mini festival: two well established acts and two very promising younger bands on Tuesday 14th July 2009 in the Oh Yeah Centre Belfast.

LaFaro are headlining- to say we're delighted is an understatement. One of the most talented local bands over the past 10 years, LaFaro are a polished, professional group that play dirty yet appealing punk rock. They've been critically acclaimed by local and national media, and their track "Tuppenny Nudger" was voted the greatest track of Alternative Ulster's lifetime. I've had the pleasure of seeing LaFaro nearly destroy the Ulster Hall with the song "Leningrad", and my ears are still ringing. Beautiful.

A Plastic Rose, those beautiful, beautiful people. Within 5 minutes of posting on Fastfude, Gerry Norman got in touch with me, and we're over the moon to have these guys playing our gig. "Kids Don't Behave Like This" is easily one of the best songs I have heard all year, and their live performances are a joy to behold. They've written some solid material over the past 6 months and it's pretty safe to say there will be a number of new Plastic Rose devotees after this gig. I think they take the concept of Biffy Clyro, tweak it, and deliver it a hell of a lot better. They've got some gorgeous harmonies going in all their tracks as well! Download their track "Skin" at the bottom of the post.

The Audiables are a band you might not be familiar with, but that'll hopefully change over the next year or so. It's a little surprising to hear such a young band with a sound that plays clear homage to musicians of yesteryear but the Audiables are a solid act, mixing blues, Brit rock and psychadelica with a modern twist. They've also got a habit of throwing an awesome guitar solo or two in there as well. They're set to represent Northern Ireland in the prestigious Coca Cola Blastbeat competition finals in Dublin, and I'm sure they'll do us proud.

Last, but certainly not least, we've got The Postbox Theory. They've recently released an EP (which I should REALLY post the review for) which is a promising start for a very promising band. They're not the finished product yet, but they've certainly got their heads screwed on. Their influences span from electronica to post punk rock, resulting in a unique sound that reminds me a little of We Are Scientists crossed with Desert Hearts and ASIWYFA. Intrigued? You should be. Listen to Recommence The Tea Party, available for download at the bottom of the post.

Over the next few weeks, I'll be announcing the other gigs, sharing some interviews with the bands and perhaps a competition or two for tickets. Check out the MySpace at www.myspace.com/niyouthforum for the latest information in regards to tickets and the like.

Skin- A Plastic Rose
Recommence The Tea Party- The Postbox Theory

i burnt the roller disco

2009-05-03T19:41:00.002+01:00

The word pop is seen as a pejorative term these days- an insult labelled by music not belonging to or affiliated with a major record company kids towards music that's a tad catchy and full of hooks. I, however, am a big fan of pop, and an equally big fan of Will McConnell at Bandwidth Films. There's a unique simplicity with his music videos that makes them instantly memorable, always handy for local bands.

Pocket Promise have been one of the more recent bands to undergo the Bandwidth treatment. A band that drop all pretension and welcome catchy hooks with open arms, their Waving At Strangers EP was warmly welcomed by the local media. The single I Burnt The Roller Disco has quickly become a firm favourite of mine- it sounds a little sinister with discontent bubbling underneath, dragging you in almost instantly. This song is a little like the balloons in the video. Pocket Promise are doing their thing in the corner, and they're not really catching your attention. Soon, however, you're surrounded by hooks that you can't remove from your head, the chorus is on a constant repeat, and within a fortnight you're rocking backwards and forth huddled on the ground in a cold sweat laughing manically as you sing "I burnt the roller disco dowwwwwnnnnn".

....or is that just me?

Well, it's an awesome tune, nonetheless. It does deserve a warning sticker on the cover stating "may cause insanity" though. I Burnt The Roller Disco is a song honed to perfection and delivered with precision that promises great things from, well, Pocket Promise. Enjoy it while you can, before Pete Snoddon ruins it for all.

Pocket Promise - I Burnt The Roller Disco from bandwidth films on Vimeo.

the phonograph that plays your favourite albums back (free download of the week)

2009-04-26T15:48:00.001+01:00

Such Great Heights - The Postal Service
Originally uploaded by MoreInterpretations

The Postal Service is a particular love of mine: Give Up will forever be in my Top 10 albums of all time. It was the soundtrack to my teenage years and appeared on every mix CD I ever made. Needless to say, the relationships didn't last, but the musical love affairs did. Ben Gibbard's unique vocals and the glorious mix of electro, pop and indie rock make nearly every song on the debut album one to remember. Who, indeed, can forget Such Great Heights? A song covered by everyone from Amanda Palmer to Ben Folds to Iron and Wine. The Postal Service, with one album, inspired bands all over the world with simplicity and inventiveness. Kowalski and Two Door Cinema Club mention Gibbard and Tamborello as influences, for example.

Another love of mine is KCRW's Morning Becomes Eclectic. Despite being in little ol' Belfast I discovered bands such as Rilo Kiley, Death Cab for Cutie, Elliott Smith and The Decemberists amongst others as a result of Nic Harcourt's radio show. He may have left the show last year, but Jason Bentley continues the great tradition of playing good live music from nearly any genre. I guess it's like a better version of Jo Whiley's Live Lounge.

This week's download is a combination of both of these wonderful things. Accompanied by the mesmerising Jenny Lewis, the trio play a lovely set featuring many of their hits. The idea of the Postal Service playing live is rather unusual in my eyes- I don't like seeing a band that sound exactly the same live as they do on CD and there's not much room for manoever in this genre of music due to the processed electronic instruments.

However, it's a great recording- The District Sleeps Alone Tonight sounds better than it does on Give Up, due to Jenny's harmonies and keyboard part adding a little something to the mix. The lead singer of Rilo Kiley doesn't actually feature on the album but took part in all of the live performances: her talents clearly show through on Nothing Better as she more than adequately fills in for Jen Wood. Jenny's voice is sultry and indeed sexy, adding a little bit more (necessary) emotion to the duet. Finally, the version of Brand New Colony sums up this band perfectly. You've got the catchy, upbeat tune, the genius lyrics of Gibbard and the lovely distorted guitar part in the outro of the song combining with the electro beats reminding us where Gibbard and Tamborello come from.

Download Postal Service Morning Becomes Eclectic

the boy done wrong again... (free download of the week)

2009-04-15T01:09:00.001+01:00

BELLE AND SEBASTIAN: If you're feeling sinister
Originally uploaded by Christoph!

Belle and Sebastian have been a long running obsession of mine. Ever since the first few bars of "I'm A Cuckoo" back in the day the ever changing troupe have never been off my MP3 player- twee they may be, but without doubt they're one of the best bands to come out of the UK in the past 20 years. Witty lyrics and ridiculously poppy melodies are all the hallmarks of Belle and Sebastian and with seven albums released they're stalwarts of the music scene. From the techno brilliance of "Electronic Renaissance" the disco extravagansa of "Your Cover's Blown" and the T Rex inspired "Blues Are Still Blue" there simply isn't a genre that Stuart and the lads haven't explored.

With the upcoming release of the God Help The Girl soundtrack (the soundtrack is scheduled to be released before the film of the same name, oddly) I thought it was time to pay homage to Belle and Sebastian. I went to see the band at the Ulster Hall the last time they played here, and to be honest I was disappointed. Musically they were excellent, but the crowd were lacking a certain something. It's difficult to appease everyone in a crowd when you've been around for so long- everyone has their favourite album or favourite track and it's pot luck whether you get your perfect setlist. However, this Washington recording of the band at the 9:30 Club shows what can happen when the crowd and the band are on form.

It's a long ol' concert but it doesn't drag on- Stuart Murdoch and Stevie Jackson have this wonderful on stage chemistry with a fair bit of banter and a live "confession" from Stevie. There's even sectarianism! Joys of joy. Old favourites like Expectations and newer tracks like Sukie in the Graveyard seamlessly mix while tracks from Tigermilk sound better than ever. Stuart even gets to fulfill the dream of every single frontman alive- he introduces his band, part by part, as an intro to White Collar Boy. Quality.

Listen and love, my dear readers. Ignore the negative connotations associated with Belle and Sebastian and enjoy.

Download NPR All Songs Considered (Belle and Sebastian Live In Washington)

competition time!

2009-04-13T17:26:00.002+01:00

(edit: this is a repost because the first attempt didn't go into the original Feedburner RSS feed.)

Thanks to the lovely Hazel at Shazam Music, I've got a small treat in store. I've got CDs to give away-

Dear Loney's album Dear John,

Hatcham Social's quality CD You Dig The Tunnel, I'll Hide The Soil

Handsome Furs' album Face Control

and the incredible And So I Watch You From Afar album.

All you have to do to win one of the CDs is to email me and try and sell me a band in less than 50 words. The more obscure, the better! I don't want the standard press blurb or a cut and paste job from MySpace- I want to know why you like a certain artist/band.

Everyone who emails in will be put into a draw and it will be one CD per winning entry. The competition is open to those within the UK only. Good luck! The closing date of entries is the 31st of April.

the many faces of david kitt...

2009-04-11T15:00:00.001+01:00

This week I got a copy of The Nightsaver, David Kitt's latest album, and it's quality. It marks a return to the true lo-fi (even electro) sound that gained the Kittster such fame. Tracks like Learning How To Say Goodbye and It's Yours are great, while I simply cannot stop listening to Alone Like That.

With David, each album release can either be a huge disappointment or unexpectedly good. Square 1 and The Black And Red Notebook were pretty poor, yet Small Moments and The Big Romance were superb. Not Fade Away, I can take or leave. It's not a question of Kitt lacking talent as a songwriter but it's consistency and originality that is lacking from his albums sometimes. Every album has one or two show stopping tracks that I could listen to over and over again but to stand out in the genre that's not good enough.

However, The Nightsaver seems to be a moment of self-realisation for him. It's a consistent album that really delivers and fulfils the potential of the Kittster. There's no need to skip tracks on the album unlike, say, on Not Fade Away. The Nightsaver as a whole sounds beautiful with moments of electronic brilliance: I have to say, I'm in love with drum machines.

Below are three tracks: a gorgeous live version of "It's Yours", one of his first singles "You Know What I Wanna Know" and one of his many covers, "Me and My Love". (Sadly there aren't that many videos of live performances, but ah well.) Please ignore the eejit in the People's Republic of Cork t shirt as well: it just makes me thankful we've got such wonderful music presenters like Rigsy up in the North.

updates and apologies

2009-04-10T17:35:00.002+01:00

Hey faithful readers! I haven't uploaded the free album of the week this week due to a few unforseen circumstances, so apologies. However, we will have an interview from The Jane Bradfords, a feature on Driving By Night (with the interview below) , a wonderful piece of news hopefully and a feature on younger bands.

Enjoy!

i heard about you (driving by night interview)

2009-04-10T16:52:00.006+01:00

(photo credit: Speed Demon Photos)

On Driving By Night's MySpace, one simple phrase grabs your attention immediately:

"2009 belongs to Driving By Night."

It's a pretty darn bold statement to make considering the number of top bands within the North that are ready to take the world by storm- but with a wonderful single released at the end of March and the debut album set to be released by Summer 2009, the future looks bright for DBN. I caught up with Terry Lavery from the band earlier this week to chat about the single, the impending album release and plans for 2009.

SF:The single “Promise In Youth” has just been released on Dental Records, and it’s a cracking tune- do you think it’s the best song you’ve written to this point?

TL: Personally I think "Promise In Youth" is a great song, and we're happy that so many people are loving it, but its not our best I would say. We have other great songs on the album which might surprise a few people. Listen out for "Put Me Down Slow" and "Bruce Waits" (named after Springsteen and Tom Waits, two influences on the band). Promise is doing a great job at grabbing people's attention and adding a bit of beef to the album. You'll definitely find a good mix of feeling in there with every track!

SF: Speaking of releases, the debut album’s scheduled to come out in Spring 2009- did you enjoy the whole process? And do you have a date set for the release?

TL: We're actually looking at end of Summer now for the release of the album so there isn't a date set as yet. We want to make sure that we give it the time and effort it deserves. It would also be great to get a bigger label to release it on, so we are pushing the tracks to industry at this stage so we can get organised for the release. It will be our first album and a very proud moment for us all, we'd like to make it really special!

The actual process from start to finish was long, enduring and pushed us to nearly break up. Thankfully that didn't happen! When we we're in studio, it was great, we had goals and stuck to them, outside of the studio we kept up with showcasing and playing good support shows. This helped us to keep a level head throughout the year, so that we never felt locked up like a studio band.

It probably took us close to a year to get it all together, but to watch it come together, the way we want it, was worth the wait. We are really excited about getting the songs out there and getting some real reactions from real fans.

SF:You’ve got a surprisingly strong fanbase within America- playing 3 showcases at SXSW 2008, supporting David Kitt in the Mercury Lounge in New York... were you surprised with the response you received?

TL:Yeah, we were definitely surprised with the reception we got while in America. It's like everything became real for us as a band and where we finally felt like a real band. We were on a tour, people were treating us like professionals, from the venues to the fans. While in New York, we got put up in a suite in a really fancy hotel, where all the acts from the festival we played all passed through at some stage of the night as we where holding the aftershow party in our suite.....we have some interesting pictures from that! At the shows, it seemed we didn't have enough merchandise, people couldnt get enough of our CDs, T-Shirts, whatever they could get their hands on really....especially Neal haha!

We're planning to get back to New York in Autumn for the CMJ showcase, there we will meet up with some of the labels and management that showed interest in us when we met at SXSW in Texas.

SF: Driving By Night have been playing a great deal over the past few years- can you pick out one particular gig as your favourite and why?

There have been a few great shows over the years, the Vital festival (we played the mainstage with Kings Of Leon), support to Keane and The Thrills at the Ulster Hall (probably the best venue in Belfast). Some of our single launches have been brilliant: we get great support from our local fans. Playing shows with between 500 and 3000 people watching is just unbelievable.
If I was to choose just 1, I think I would have to say maybe New York. It's been an ambition for all of us to travel with the band and to have that experience and be taken seriously, knowing we can do this again and on a bigger scale once the album is released.

SF: Finally, have you any plans for summer festivals this year? Will we see you at Glasgowbury or other events farther afield?

TL: We've nothing confirmed yet with festivals, our plans at the moment are to showcase in London with a possible tour of the UK just before the album is released. A support tour and then a headline tour when the album is out. I almost forgot, we just got a promoter in Germany! There are plans to spend a week or so there to tour with possible festivals, we are already getting airplay on a few of the cool indie radio stations. We'll have to bring our German phrasebook if we end up doing interviews there haha, you could only imagine our first talks with the promoter and their lawyer!

We'll have a DBN feature later during the week with some exclusive downloads. Cheers once again to Terry and the band.

clench fists, grit teeth....GO! (ASIWYFA at mandela hall)

2009-04-05T22:46:00.003+01:00

(Alan Maguire www.livemusicpics.com all rights reserved)

And So I Watch You From Afar have taken their rightful place on the rock and roll throne in Norhern Ireland. Last night's concert was simply a sonic adventure (without the hedgehogs) that dropped the jaws of many and thrilled every single person within Mandela Hall. The lads are getting a fair bit of press but if we look at last night's performance they're probably the most underrated band in the UK. I put my neck on the line a couple of weeks ago and predicted that their debut album would be the best of 2009- on the release of the album I'm quite happy to say that I'm standing by that statement. It's been a long road to this point but for the hardest working band within NI they were always going to reach it.

It was a star studded cast from the first act to the last song in the encore. I've seen Pocket Billards a fair few times over the past two years and it's safe to say that their performance was the best I've seen- it's amazing what can happen with a decent venue and a bigger crowd. Ska is sometimes seen by the music press as a pejorative term- playing the same rhythm over and over again and little innovation. However, it's not the case with PB: Chris Savage and the guys seem to combine a wealth of different influences into a wonderful sound that's reminscent of The Toasters, Franz Ferdinand and even (God forbid) The Ordinary Boys. The songwriting is pretty good too: the lyrics are pretty relevant to modern living. Neil Hannon may be one of the best songwriters of the modern era, but's he's never written a song about spides. Indeed, the line "You're only 13, but you're already a da" would be perfect for a Divine Comedy song. The classics like Dirty Money and Big Mistake are wheeled out, sounding better than ever.

Adebisi Shank were, different, to say the least. You expect good things when a man in a red mask takes to the stage- you hope the band live up to the mystique. Their first two tracks weren't great but after that it seemed like a switch was flipped and the lads really shone. The light show was quality and Shank just seemed to be enjoying themselves on stage. If I could say one thing it would be that maybe the band relied a little bit too much on effects- I like the sound effects as much as the next man but it was a wee bit over the top at times. Having said that, there were some wonderful tunes played, including one with a quality solo that sounds like Baba O'Riley by the Who if Queens of the Stone Age covered it. (It's a weird concept to grasp that only makes sense after a few drinks, but hey.) I'd like to see these guys again in a smaller venue perhaps- they're really energetic on stage and the songwriting is tight but you just feel that they need a bit of polish to really do themselves justice.

The Lowly Knights took to the stage looking even hotter than ever. The music wasn't half bad either- it's maybe a little dodgy to start the set with your most well known song ("Devotion" in this case) but it was a top quality start to a professional set. The drums were a wee bit loud for my liking, slightly drowning out the vocals at times but overall it was just gorgeous. "You Can Tell A Man By How He Lifts His Hands" is one of the best songs I've heard in a long time- it's romantic, it's emotional, the lyrics are cute with the lovely vocals we know and love from the Knights. There's a lot of handclaps going on and the ladies sing the sweet harmonies from start to finish, it's just a joy to listen to. Considering the vast majority of the audience bought the ticket to see the main act it's nice to see a warm reception for a very different genre of music: talent is clear whatever your taste.

The lights dim for the final time tonight. We wonder how the hell they're going to kick things off- I don't think anyone was expecting "Start A War" by the National to bring the guys to the stage. Then, the band we all know and love. "Set Guitars To Kill" begins with that distinctive marching beat and one of the most wonderful lights shows I've seen in a while. Snow Patrol at the Odyssey went overboard but it's amazing what you can do with a few lights. It really is a sonic adventure with guitars soaring and some excellent drumming- the finale to the track is just hell for leather. The break halfway through the song is very cute, as well- everything just stops, and the crowd shout out.

There's a massive cheer as Rory announces the next track, by far the most well known ASIWYFA song A Little Solidarity Goes A Long Way. It sounds much better live- the lead guitar is just so much louder and sticks out a hell of a lot more. At 3 and a half minutes it's also one of the shorter tracks played tonight- every track just overwhelms the senses and in a perfect world a small break would be nice between songs. A human being cannot handle just that much awesomeness in one go.

It's evident that the lads are loving every minute of it- there's clear chemistry on stage between the guys as they rattle off each track, aurally fitting together like a jigsaw puzzle. Apparently some guy called Michael quit his job just to be at the gig- the audience/mob mentality is clear as the entire Hall chants his name for a bit. It's not just about the music: it's a celebration, a party and a chance for a success story to be given their rightful plaudits.

ASIWFYA appeal to everybody, from the middle aged music lover to the hardened rocker. I see moshing at the front during These Riots Are Just The Beginning: I see one guy in the back literally standing slack jawed staring at the stage, I see a couple of thirtysomethings in the back tapping their feet and nodding to the music, and there's myself, dancing like an idiot. Tracks like Don't Waste Time Doing Things You Hate unite everyone: it's not simply a song but a true symphony with various distinct movements that stun everyone. It's a lovely thing that the support acts sing the vocal parts to the track, aided only by the more than willing audience. We're not exactly the Belfast Halian Battalion, but we do the job.

The standout track for me had to be The Voiceless. It's a masterpiece with a superb bassline, building up and building up before going a bit mental on it, calming down then going for the all important finale. The final song in the encore, Mount Kailash, feels like it goes on forever- we're nearly too tired from the wonderous music beforehand to carry on. However, it's a superb end to a wonderful night's music. I don't think I've ever seen a band that good live.

say what you see competition.....

2009-04-05T22:17:00.005+01:00

Thanks to the lovely people at Shazam Music, I've got a small treat in store. I've got CDs to give away-

Dear Loney's album Dear John,

Hatcham Social's quality CD You Dig The Tunnel, I'll Hide The Soil

Handsome Furs' album Face Control

and the incredible And So I Watch You From Afar album.

All you have to do to win one of the CDs is to email me and try and sell me a band in less than 50 words. The more obscure, the better!

Everyone who emails in will be put into a draw and it will be one CD per winning entry. The competition is open to those within the UK only. Good luck! The closing date of entries is the 31st of April.

no one does it like department of eagles

2009-04-02T21:27:00.001+01:00

Department of Eagles
Originally uploaded by stephen.gebhardt

Music can be a rather scary business at times. I'm not referring to the snakes in the grass that make up the music industry, or the glass bottles oft hurled towards musicians. I'm talking about the actual music. One particular song that used to creep the hell out of me was "Being for the Benefit of Mr. Kite! / I Want You (She's So Heavy) / Helter Skelter" by The Beatles off the Love album. It sends a shiver down my spine. It's not just the bassline of She's So Heavy kicking in but the mixture of Mr Kite's circus noises (a laughing clown) and the general insanity of Helter Skelter is terrifying. It's a cracking wee track.

The debut album of Department of Eagles "In Ear Park" consistently has the same effect on me, and it's quality. The sound is totally unique- haunting vocals and a raft of instrumental parts that mix effortlessly. I guess it's almost baroque, with a few fingerprints of Beirut, but there's simply no other band that sounds like these guys. It's all well and good having a revolutionary sound but DOE have backed it up with excellent production and top notch songwriting.

The single "No One Does It Like You" is a prime example of this. There's a super bassline that sticks in your head within 10 seconds: exquisite harmonies and beauty from the start to the end. However, it's the string part that gets me in the verses. Each chord change seems to take you by surprise: it's a carefully constructed symphony that drops jaws to the floor. The vocal harmonies just resonate throughout the song: they never take precedence but slot into the background, just as important as any other instrument. "Phantom Other" is another highlight, slowly building, part by part into this completely over the top chorus, before breaking back down to a guitar and vocal.

Check out the bizarre video at the bottom of the page.

question time with richard davis (heliopause interview)

2009-03-30T18:15:00.007+01:00

Hot off the heels of featuring as our free EP of the week, Secret Fireworks had the pleasure of interviewing Richard Davis from Heliopause. He's probably best known for playing music but he's a notable filmmaker and animator producing short videos for bands like Fighting With Wire and Cat Malojian. If you haven't already, check these guys out!

SF:First of all, you're clearly a man of many talents- you're an established filmmaker and animator as well as a musician. Has your main priority always been to write music or was it just a hobby that took on a life of its own?

RD: I guess it really took a life of its own, patiently waiting for the right moment. I've always been creative and was always musically minded, playing violin at school and piano, then self teaching myself guitar. It was very much a hobby because filmmaking and animation was my main passion. My work was always centred around music though and it was very natural to progress to directing music videos. It was my close involvement with the Belfast music scene that really spurred on my development as a musician. I finally learnt how to write a song, as bizarre as that sounds, developing my own style of finger-picking to suit my voice. I could never understand how to write lyrics but one day it all fell into place and music naturally started to become more important to me. . The songs/lyrics are very personal to me and I've always been shy of attention but strangely I feel very calm being open with people in this way.

SF:It seems increasingly common for songwriters to go into isolation or at least to a new location to stimulate the creative process: Justin Vernon of Bon Iver may be the most notable recent example but you personally have gone to Iceland, Cushendall and a cottage in Antrim to work on new material with the band. Does it pay off, in your opinion, instead of staying in the city?

RD: I think it really does: as an artist it's so natural and easy to be inspired by new places and experiences, to get new ideas and blend them into how you work. Just the sheer surroundings of staying in a small town in the fjords of east Iceland blows your mind and was so apt for the kind of music i write. Its very barren there in terms of landscape, but its intense and so inspiring you instantly understand why bands like Sigur Ros and Mum create the sounds they do. I'm really inspired by the country and its music and this ethic of writing as its how I write...from the inside out. It's headspace and time to concentrate and create. A week away focusing on only one thing can do so much when you have no distractions from other jobs, people or social events. In saying that, my lyrics are mostly inspired by personal interactions and feelings with people and specific situations so if i locked myself away for too long who knows what would happen to my writing.

SF: As a performer, what has been your favourite gig and why?

RD:It would have to be the Botanic gig with Albrecht's Pencil: it was really special as we performed completely acoustic in amongst all the trees and plants. It was a beautiful setting and people were dotted around where they could: some kids just sat in front and played with the stones. It was a great atmosphere and the intimacy of the venue lent itself so well to our style. We both played separate sets then we collaborated on 6 songs, three of ours and three of Albrecht's. It was the first time I had performed on someone else's material so it was quite an unusual yet positive experience for me which I hope to do more of.

Are there any plans for another EP release later in the year and will there be any more gigs in the next few months?

RD:We just recorded our next release at Start Together with Ben McAuley, who recorded our Dark Matter EP. It will be out on Furious Tradesmen in May and will feature three new songs: we're really excited as they convey the varied sound of our band from the summer pop song to the intimate acoustic track. We have a gig at a friend's house on 5th April: he puts on these great gigs in his house and makes great pizza and sushi so we're looking forward to that. The next big one planned is performing in the Cathedral Quarter Arts Festival at the Black Market at Custom House Square, Sunday 10th May. It'll be a quality afternoon with interesting stalls and great music!

Huge thanks to Richard and the rest of the guys in Heliopause for consenting to the interview as well as allowing me to post the Acoustic in Berlin EP.

(photo credit: Amy*Retrosight Photography)

heliopause (free album of the week)

2009-03-29T02:30:00.004+01:00

I only came across the wonderful Heliopause in the past few weeks due to a rather amusing incident upon Fastfude, the influential local music forum. Apparently a very well respected music review outlet published a glowing review of the band’s performance with Albrecht's Pencil- surprisingly glowing, as both bands pointed out obvious factual inaccuracies and suggested that the reviewer didn’t go to the gig at all. Oh dear. However, any publicity is good publicity and I’m glad I discovered this band.

We’ll have a small interview with Heliopause published within the next few days: the band have very kindly consented to offering their Acoustic in Berlin EP for Secret Fireworks’ free download of the week. It’s a wonderful demonstration of the simple beauty of Richard Davis’ songwriting. Indeed, the partnership with Therese McKenna and Davis is stunning- it’s so rare to hear such a well suited partnership. Damien Rice and Lisa Hannigan nearly perfected it, Torquil Campbell and Chris Seligman from Stars were a good match, but McKenna and Davis intertwine so well that it’s a match made in heaven.

Armed only with acoustic guitars, vocals, xylophones and the occasional flute part, this Heliopause EP features some excellent tracks from the Dark Matter EP as well as some unreleased tracks. “Electronic Experience Gone Wrong” is reinvented acoustically-more focus is paid to the thoughful lyrics and you’ve got those wonderful harmonies and vocals in addition to a multilayered sound that is alluring even to the first time listener. “Lullaby” is simply a stunning track. The harmonies are sweeter than ever as Davis and McKenna croon over their love. It sounds like the perfect song for new mothers and fathers as they watch their children grow up, or the perfect soundtrack to home videos shot by nostalgic parents.

Heliopause have a dreamy yet mournful sound at times, constantly reflective and emotionally incisive. We forget to listen to the lyrics sometimes and concentrate too much on melodies or riffs- it takes wonderful songwriting and supreme vocals to remind us that the voice is not just another instrument in the wall of noise that can sometimes constitute local music.

Individual Tracks

Electronic Experiment Gone Wrong

The Tug That Tore My Insides Out

Entire EP

Acoustic in Berlin EP (zip file)

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Secret Fireworks' 12 Songs for March

2009-03-27T20:47:00.003Z

First Night Fireworks
Originally uploaded by iceman9294

In addition to the free downloads hosted every week on Secret Fireworks, every month we will have a special feature on music, past and present, from all over the world. I want to keep things nice and legal at the minute, so no direct downloads are available. However, we will be using the wonderful, wonderful Spotify service for the time being. As a consequence of this, the music collection is limited, but Spotify are expanding their music collection daily so this might be a temporary thing. Anyway, this month, we've got Department of Eagles, Patrick Wolf, Belle and Sebastian, The Divine Comedy and Ida Maria as well as a number of other superb artists.

Download March's Secret Fireworks Playlist

A Fond Farewell- Elliott Smith

A gorgeous song as always from Elliott, just highlighting the desperate decline of a soul as his "companion" leaves. It's such a pretty guitar part as well.

Becoming More Like Alfie- The Divine Comedy

Neil Hannon: he's a very witty man. This song is full of clever comments and snide remarks as well as an awesome trumpet part. Due to it being the Divine Comedy, a great melody comes as standard.

Bixby Canyon Bridge- Death Cab For Cutie

The opener to Narrow Stairs, Death Cab kick things off with a darker sound and a more rocking feel, with Ben Gibbard making a tribute to the legendary Jack Kerouac.

Faster- Manic Street Preachers

I barely understand a single lyric of this song, but it's face paced and dark. Considering the upcoming release of the new Manics album Journal for Plagued Lovers is based upon the lyrics of Richey Edwards, it's a nice reflection of the past Manics.

Holy Pictures-David Holmes

My favourite song off The Holy Pictures, the title track is a deep shoegazetastic anthem full of hooks and mystery.

I Like You So Much Better When You're Naked- Ida Maria

Great bassline and great vocals. Witty lyrics and such a ridiculously catchy song.

Keep Yourself Warm- Frightened Rabbit

Scott Hutchinson is the most exciting voice I've heard in recent times, and this track demonstrates why. An amazing talent. Frighened Rabbit, on the whole, were the most impressive live band I saw in 2008, and this track is simply incredible live.

No One Does It Like You- Department Of Eagles

Ominous, creepy and pretty at the same time. A song laden with hooks and layer upon layer of instrumental excellence.

Sealion- Feist

Completely reinvented the old American folk song and shows off the talents of Feist perfectly.

So Far Around The Bend- The National

The second best track on the Dark Was The Night compilation (Sleepless, by the Decemberists, is the best in my opinion) is possibly the most poptastic song released by the National. It's catchy as hell: listen to it at your peril.

The Magic Position- Patrick Wolf

Such a simple song, such a wonderful single.

Your Cover's Blown- Belle and Sebastian

This is less of a long and more of a symphony- about four different tracks within one. Funky bassline, witty lyrics and Stuart's wonderful vocals as per usual. And that wonderful section of the song where it just goes a little haywire? Amazing.

holy moly....

2009-03-24T20:53:00.002Z

I restarted Secret Fireworks three weeks ago today, and decided to make a bit more effort into regular updates. I wasn't really expecting more than 10 visitors within a month, and that was the best case scenario- it was always going to be just a bit of fun. However, over the last twelve days 70 people have visited SF, which is pretty staggering, and I just want to say thank you to everyone who has. I'd write the articles anyway, but knowing someone on the off chance might be reading them makes it all the more worthwhile, so cheers!

Part of the increase in traffic has been due to the wonderful efforts of Chris from Wired Up, a Northern Irish music blog aggregator, that SF features in. He's put hours of work into his wee project and his own blog is superb. Check it out in the blog list at the side: a number of much more talented writers are featured on the site and I'd advise you to check it out.

I've chanced my arm and a couple of wonderful opportunities have come my way. Over the next two weeks we'll have interviews from not only The Jane Bradfords (woo), Heliopause (woohoo) and The Lowly Knights (woohoo!) but an exclusive (for the time being, at least) download of an acoustic Heliopause EP and many more surprises. Keep reading, keep subscribing, and thank you so far.

Patrick

the jane bradfords (free album of the week)

2009-03-24T20:36:00.011Z

Well, it’s not so much an album, but more of a sampler. In the next few days I’ll have my first interview with the wonderful Jane Bradfords, and in honour of that I’m choosing the lads for this week’s free download.

I first saw The Jane Bradfords as the support act to The National in Mandela Hall, and I was pleasantly surprised- a fresh, talented band that combine electro and a little rock into a neat little package.

The highlight of their set was “The Evening Angels Gather Here”: the closest to an anthem we’ll probably get from the JBs. The song gets a bit of time to get going but when it does, it’s great- be it the simple, wonderful guitar instrumental or the unique vocals of Declan Gallen, it’s a hit. “Starlight, starbright, the evening angels gather here” is one of the more memorable lines from local music in the past few years.

The next track, About Our Love, is a bit of a departure from the typical Bradfords song but the essential qualities remain- there’s a lovely repetitive guitar part, the occasional synth and Deci’s vocals, possibly paying homage to Matt Berninger from the National? Make up your own mind on that. I love the acoustic sessions because sometimes the lyrics are difficult to hear or understand, a terrible shame considering the lyrics are more perceptive and memorable than your typical band.

The track Ninety Nine is the more well known track by the lads- it would slot seamlessly into any indie disco. With a strong electro beat pulsating constantly and a harsher sound it’s a great track. I love the whole electro movement in Northern Ireland (such as Kowalski and Two Door Cinema Club) and Deci and the lads have got a great talent for a catchy hook and a decent melody. It’s wonderful live as well.

Finally, the last track is October Eleven from the eponymous debut album. It’s by far my favourite track from it: great guitar parts, some wonderful hooks and those memorable lyrics once again from the Jane Bradfords. “So beautiful I’d break a million hearts to be with you” is just one of many excellent lyrics within this song.

The Jane Bradfords are stalwarts of the local scene, and long may it continue. Their unique sound has gained support from Queen's Radio to, well, Qatar, and if their recent Valentine's Day session is anything to go by we're in for a great 2009. Check out the lovely video for The Evening Angels Gather Here below.

Keep reading in the next few days to read the interview along with another couple of nice surprises....

About Our Love (right click, save as)

The Evening Angels Gather Here (right click, save as)

Ninety Nine (right click, save as)

October Eleven (right click, save as)

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mothers and fathers of the world, be patient with your children.... snow patrol at the odyssey.

2009-03-21T23:44:00.009Z

photo credit: cheryl http://www.flickr.com/photos/24120498@N07/

Snow Patrol. Everyone's got an opinion on them. From the diehard fans that hold them up as a shining example of the Northern Irish music scene to those that would prefer to listen to screaming chainsaws. Personally, I'm quite a big fan- ever since I listened to Final Straw, I fell in love with the simplicity of the band. My favourite album was When It's All Over And Done We Still Have To Clear Up, which is simply a masterpiece. However, I was always disappointed with the live performances. Gary simply could not sing live, bless. However, we've been patient, and he's improved a hell of a lot.

Saturday's gig at the Odyssey was the second best I've seen in the Odyssey, and it was wonderful. First of all, the two support bands in Ed Zealous and General Fiasco were superb. Ed Zealous really got things going with their set- The Mothership was simply rocking, with wonderful interplay between the guitars and the keyboards. The riffs soar and slide, but the highlight of Ed Zealous' set would have to be due to Paul Irwin, the drummer. My goodness, I have never seen such a drummer on the local scene in this genre. The rhythms are complex and appropriate: he never showboats but he steals the spotlight constantly. The best song of the set has to be "I Will Destroy You" which thrilled and creeped the hell out of me at the same time. It sounds ominous and, well stalkerish. Think She's So Heavy by the Beatles. Minor, sharp vocals, great drumwork, just lovely. A tiny, tiny point that James McAvoy might perhaps pick up on is that while it's great to talk to the crowd, you don't have to keep asking how they all are every break between songs. But hey, he was probably nervous. A lot was asked of Ed Zealous when they were given the slot- and my god, how well did they answer.

General Fiasco were the better of the two supports- on another day, they could have been the best band in the Odyssey. They rocked the place with a ridiculously professional performance from a band that looked like playing the main venue in Northern Ireland was just a walk in the park for them. Owen's vocals, as ever, are stunning. I mean, it's rare to see a frontman that can be note perfect from start to finish and Owen is just one of these guys. As opposed to their Stiff Kitten gig it's not a wall of noise from GF tonight- the guitar lines are ringing out superbly. Something Sometime goes down very well with the crowd, and you're singing along without thinking about it.. the highlight of their set was a song that I haven't heard before- the guitar line sounds a little similar to Girls Just Wanna Have Fun (always, ALWAYS a good thing) and the lyrics are imaginative and clever. These lads are more than just two song wonders.

After the numerous Blackberry ads and obligatory Kings of Leon video, Snow Patrol take to the stage with "If There's A Rocket Tie Me To It", from A Hundred Million Suns. Lightbody and company start the gig like they finish it: they're note perfect, their performance has improved dramatically and Gary's voice is superb. Simply superb. Unrecognisable from the Gary Lightbody that took to the Ulster Hall for the Final Straw homecoming in 2004. The lights show is simply a feast for the eyes, with yellow light streaming out from everywhere and gorgeous visuals for all to see. One thing that particularly makes me feel all happy inside is the reaction of the band. They look like children at Christmas. Nathan and Gary are all smiles and laughing, while Paul and Jonny can barely keep their composure. The atmosphere is amazing.

We love Snow Patrol and they're happy to see us. Gary keeps thanking us and they keep knocking out the hits. "Chocolate" and "Hands Open" are played, with Gary making a small reference to Belfast and we go crazy with delight. He said the name of our city! In a song!

The band have been touring all over the world now over the past four years and it's really starting to show. There's an air of showmanship tonight- running all over the stage, playing to the crowd, it's class. "How To Be Dead" is reinvented on stage and it's nice to hear an older tune- then Gary announces that the legend that is Richard Coburn (from Belle and Sebastian) is on stage drumming tonight. It's that kind of night- this is Snow Patrol's homecoming, and they've brought a few friends with them.

And my my, it's easy to rock the Odyssey. To bring it down a notch and play a slower song takes guts and skill, and how well did Snow Patrol pull it off. The gorgeous musicbox keyboards ring out as "You Could Be Happy" starts up, and once again, Gary's vocals are wonderful. I can't state enough the massive improvement that has taken place. Then, surprisingly early, we hear those first few chords of "Run", and we go a little beserk. Leona Lewis' version of "Run" may be moving, but it's nothing compared to 10,000 people singing in perfect harmony. It's stunning. Claps ring out around the Odyssey and it just feels so special.

The encore of "The Lightning Strike" is stunning. I talked about the feast for the eyes that was the light show, but the video for this symphony is mesmerising. It's just hypnotising as the flowers make shapes and spawn. "What If The Storm Ends?" sounds better live than it does on CD- it's the best track on A Hundred Million Suns and if this is the direction Snow Patrol is heading in, I will be a very happy man.

All in all, it is a professional and gorgeous performance. It's a shame nothing was played from the first two albums, and Gary's mic completely drowned out the harmonies- a complete crime considering the complex vocal layers that SP are famed for- but they've set the bar pretty high for any acts from here. The spotlight was literally on Mr Lightbody for the entire show and he shone. Snow Patrol pleaded for mothers and fathers of the world to be patient with their children- that patience has certainly paid off.

a little solidarity goes a long way…

2009-03-17T15:57:00.005Z

(photo credit:Shane Kelly, www.ballinascreen.com)

I have a confession to make. Despite the fact that And So I Watch You From Afar have been trumpeted all over the blogosphere and indeed in mainstream media, I’ve only listened to them in the past week. It’s a shame that it’s taken me so long as well, as I’ve been searching for a band just like them for the past four or five years. With the release of ASIWYFA’s eponymous debut album in less than one month and the release of the wonderful single “A Little Solidarity Goes A Long Way” the future looks pretty bright for a band that looks odds on to release the best album of 2009. It’s a bold statement but hell, that’s how damn good these guys are.

The whole instrumental post rock/punk thing isn’t really a new concept. You’ve got the wonderful Mogwai, and you’ve got the superb Explosions in The Sky. The slight problem I have with both these bands is that they concentrate too much at times on creating works of art and beautiful symphonies with electric guitars, and not enough on just going “balls to the wall”. Sigur Ros suffer at times from being a little too fragile, and the vocals can get on your nerves at times, let’s be honest. ASIWYFA simply combines the best bits of other bands, adds in their own unique talents and influences, and the output is solid gold.

The tracks that I’ve heard combine an intensity and an incredible energy with gorgeous melodies and beautiful, beautiful layers. It’s catchy as hell as well: you still have the 7 minute symphonies but there’s good reason for each track to be that long. “Don’t Waste Time Doing Things You Hate” and “The Voiceless” highlight this perfectly: you’re gripped, you’re fascinated by this incredible sound. However, the single, "A Little Solidarity Goes A Long Way" (the name of a Belfast festival set up by the band which I sadly missed) is an absolute gem. Watch the video below, and I'm sure you'll fall in love.

Mandela Hall hosts an ASIWYFA album launch on Saturday 4th April: tickets are £9 and available from the usual outlets. The wonderful Lowly Knights are supporting, along with Pocket Billiards who are wonderful live. If you want to be thrilled and amazed by the NI music scene, simply go ahead and buy a ticket: these lads will simply blow you away.

MySpace

conor mason (free album of the week)

2009-03-15T20:24:00.005Z

Once again, welcome to the free album of the week post. This week’s offering is the debut album of Conor Mason, a wonderful songwriter originally from Derry that currently resides in Glasgow. “Let It Unfold” documents the first tentative steps of Mason towards musical brilliance.

Conor is a singer songwriter in the true sense of the word- on this album he doesn’t give into the temptation of just hammering out a few chords and singing along. Every song has a clearly sculpted melody and structure that includes bass and lead guitar as well as a pretty acoustic guitar line. With the drum machine and the desire to mess things up a little the comparisons to David Kitt are pretty darn obvious, but in some respects he manages to outKitt the Kittster.

The vocals are restrained and quiet, rather like the shy guy at a party instead of the boisterous shouts of the typical singer songwriter (Damien Rice, I’m looking at you). The lyrics can be lacking at times but apart from this, you can safely mention Elliott Smith and Conor Mason in the same breath: a wonderful ear for catchy and memorable tunes, lovely harmonies and a desire for complex songs. The gorgeous waltz that is “Nothing To Say” sticks in your head- there’s trumpets, a repetitive drum beat, lovely, unassuming vocals (with half hearted lyrics) and a wonderful guitar part. It wouldn’t be out of place on XO: indeed, it wouldn’t be out of place in Grey’s Anatomy.

“Let it Unfold”, the title track, slows things down a bit. A repeating guitar line, backing vocals that are reminiscent of Bon Iver and something unmistakeably wonderful that captivates the listener. Mason doesn’t waste words: indeed the chorus consists of the words “let it unfold, let it unfold” repeated over and over again, and it’s stunning.

There really isn’t a filler track on this album. Admittedly, it’s more of a demo than a properly produced album and it does show at times. However, the whole lo fi thing makes “Let it Unfold” just a teeny bit more intimate, especially on tracks such as “Save A Line” that could so easily be over produced. A great debut that promises a lot more.

Download album

Download Let It Unfold (right click, save as)

Download Save A Line (right click, save as)

Download Nothing To Say (right click, save as)

something good can work

2009-03-11T21:26:00.007Z

Well, I've made no secret of my love for Two Door Cinema Club. I first saw the lads in the Waterfront back in 2008 and there was just something wonderfully captivating about Two Door- poppy, indietastic rock. Their first EP, Four Words To Stand On, was a good effort, though didn't really live up to their live performances (apart from Undercover Martyn). Over the past two years Two Door have slowly created their individual sound- one part Kowalski, one part The Postal Service, one part the Cribs, but unmistakeably unique.

At the Stiff Kitten gig we saw new material from Two Door- and this new material is quite simply wonderful. The EP pales in comparison to the new songs we've heard! The lead single, Something Good Can Work, is destined to be a huge hit in 2009. A light melody of a mazy guitar riff and a synth that reminds me for some crazy reason of the Beach Boys (I'm not quite sure why either) with the trademark drum machine beats we've come to expect. Alex's vocals do the job- they suit the song perfectly, not too many words, just perfect. Something Good is catchy as hell, and it's bound to get into your head after two listens. Listen to the track here and download the track if you so wish from the enclosed links.

In addition to the wonderful single I've found two excellent recordings from Two Door Cinema Club on the interwebs. The first is a demo called Hands Off My Cash, Monty- less emphasis on lyrics this time but one of the best choruses I've heard in a long time. The second is a recording from Steve Lamacq's show after a Two Door session called What You Want- perhaps a slightly darker but trademark track of the lads, with an excellent vocal performance by Alex. Listen to Hands Off My Cash, Monty and download What You Want

Two Door are currently on a tour taking them all over Europe after supporting the Wombats- if you get a chance in the UK or abroad, check them out. And my goodness, check them out when they return to Northern Ireland. These guys are going to be stars.

MySpace

did you remember the first time?

2009-03-10T17:08:00.015Z

(this is a work in progress so I'll add more info when I find my notes)
(photo credit: Alternative Ulster)

Devotion. One word that sums up Northern Ireland's relationship with the Ulster Hall. Since 1862, the Ulster Hall has been the venue for events in Belfast. However, as a music venue it really shines and it always has done. The Ulster Hall has wonderful acoustics and a certain magic when you enter the hall, as if ghosts of musicians past and present haunted the hallowed venue. The renovations to the Ulster Hall started in 2007 and robbed the local music scene of a wonderful place: you either had to settle for the Odyssey (which isn't intimate at all), Mandela Hall (which is nice enough but isn't great for under 18s) or St George's Market (which has terrible acoustics and generally stinks as a venue).

However, the renovations finished a few weeks ago and the Ulster Hall is looking more wonderful than ever before. And my goodness, judging by last night's musical extravaganza, we gave it one hell of a welcome back. The ATL/Belfast City Council "Do You Remember The First Time" gig featured surprises, wonderful new music, some classics, some wonderful covers and even fireworks.

The Lowly Knights kicked it off with their wonderful tune "Devotion"- a gorgeous, happy tune with handclaps, beautiful harmonies and mandolins. Mandolins! There's been a few comparisons made to The Arcade Fire but I like to imagine the Knights as more of a folksy Polyphonic Spree or Reindeer Section- they've got a lot of heart and they're a lot of fun to see in concert. They covered a Divine Comedy song (Something For The Weekend) which was lovely: it had the sheen that we've come to expect from the band, wonderfully poppy but with feeling and musically exquisite.

Kowalski were as wonderful as we've come to expect- an accomplished performance combining gorgeous electro beats and guitars with vocals that suit perfectly. It's almost hypnotic watching the lads, with an infectious chorus quickly getting into the heads of the audience. Their cover of This Modern Love did the original justice, but I hoped they'd do something a little different with it- however it's a small point on a great performance. Cashier No9 were simply awesome: their unique sound amalgamating folk, rock, indie, electro and country certainly blew a few minds (including mine) with When Jackie Shone.

Foy Vance stole the spotlight of the first half of the show: his gorgeous guitar playing and his magnificent vocals were obvious as he covered the Crash Test Dummies, but he stunned the entire hall with his "unfinished new song" Be The Son. There were three noises during that song: the guitar, Foy's voice, and roughly 1,000 gulps as men and women held back tears. Damien Rice became a household name due to Cannonball- when Foy releases this song, he will become a megastar and rightly so. It seemed the spirit of musicians past possessed both the crowd and Mr Vance- what a magnificent act.

La Faro were wonderful, really rocking the Ulster Hall to its very (new) foundations. Their cover of Juicebox by the Strokes really got the place going, reminding Belfast of that wonderful night where Casablancas et al rocked the Hall. I think most people wondered how Iain Archer and his friends would manage to follow the Derry lads... and goodness, how wrong we were. After a gorgeous solo track, two guys walked onto stage looking a little tired, a little weary, and a little nervous. Gary Lightbody and Nathan Connolly brought the Ulster Hall down. The stars really were coming out tonight. A great cover of the Frames' "Lay Me Down" set the scene nicely but the Snow Patrol tracks (Chocolate and Chasing Cars) maybe didn't do the lads justice. Having said that, just having those stars back in the Ulster Hall was immense.

Neil Hannon probably stole the second half of the show in my eyes. He walked on stage fully relaxed, cracking jokes and looking oddly like Ringo Starr. After Rigsy's gushing introduction "not just the greatest songwriter from Northern Ireland but up there with Lennon and McCartney" it would be tough to live up to that introduction but this is Neil Hannon, ladies and gentlemen. A pretty version of Tonight We Fly showed exactly what Rigsy was talking about: a beatiful piano part, excellent witty lyrics and that unmistakable voice. Then the best cover of the night: a version of Gigantic by the Pixies. Simply astonishing, tune in and watch it on St Patrick's Day.

Duke Special (and friends) delivered a polished performance, covering the Waterboys' classic Fisherman's Blues with aplomb and stagediving at the end of Diggin' an Early Grave with Foy Vance. Fighting With Wire and Jetplane Landing were, well, interesting. I have to laugh every time I see Cahir O'Doherty move on stage: it's a very unusual way of dancing, but who cares: his vocals have grown so much stronger over the past few months and the Hall was rocking. The cover of You Really Got Me emphasised this- strong vocals but the guitars were driving, the drums were excellent and the bass was chugging. Jetplane Landing were excellent- at times cringeworthy comments were issued telling us to put a fist in the air, put another fist in the air etc, but my goodness did they make a lot of noise. Their cover of Know Your Enemy by Rage Against The Machine did the original justice as well as justifying the inclusion of a man in a gremlin mask on stage as well as a man wearing what could only be described as a cross between a gimp and a superhero mask. I guess you had to be there!

Ash got the biggest cheer of the night as they took to the stage: their cover of Mrs Robinson was, to be honest, pretty ordinary. However their performance of Shining Light was the Ash we know and love: showcasing the wonderful, wonderful songwriter that is Tim Wheeler and reminding us that Tim, Mark and Rick are still knocking about (sadly, Charlotte isn't with the band) on the Northern Irish scene! Therapy? finished off the night- it's quite fitting that the band that really kickstarting the Northern Irish scene were the final act on show. Andy Cairns certainly seemed to take advantage of the "if it's after the watershed" rule, cussing and swearing like there was no tomorrow. But hey, that's how we were rolling on Monday night. Their cover of Alternative Ulster was a huge wall of noise but topped off a wonderful gig- you could barely hear a lyric but most of us had the words on our lips. Simply brilliant.

Finally, in a scene resembling Band Aid, all 14 bands came on stage in a scene that resembled a who's who of Northern Irish music- there were many drinks on stage and it was clear to see that the bands were ecstatic to just be part of the night. The opening chords of Teenage Kicks were played- the Ulster Hall erupted. There was singing, there was dancing, there were hugs, there were kisses, and I'm sure there were even tears. The Ulster Hall is back, literally, with a bang. A wonderful, wonderful, wonderful night.

Do not underestimate the work that Across The Line and Belfast City Council have put into this. Read this post and you'll see the hours of work that have gone into this excellent night. I've used dozens of superlatives to describe this concert but there would never be enough to describe this musical jamboree. Northern Ireland has more to offer than just Snow Patrol and Dana : the evidence is right in front of you.

escape act (free album of the week)

2009-03-08T13:51:00.003Z

escape act sticker
Originally uploaded by escape act

The first in the series of free EPs and albums put up every Sunday is the debut album of Escape Act "Loosely Based On Fiction". The Belfast band have slowly but surely been turning heads in the blogosphere as well as within mainstream media with a sound that is reminiscent of perhaps Irish Americana (or The Thrills with a bit more bottle and drive).

Loosely Based On Fiction is a great debut album that delivers much and promises even more. There's a couple of radio friendly tracks such as "Cabin Fever" and "God Says" but the true gems are hidden within the album- "Sullied Behave For The Stars" and "Corpses Candle" are standout songs. The lyrics are, well, a little unusual at times- it's difficult to be eloquently disaffected- but when it comes together, it's a hit. Wonderful drumming and ridiculously catchy melodies (don't say I didn't warn you) make Escape Act a promising Northern Irish talent. Recording is underway on a new album and from the material we've heard live, it's clear to see that Chris Heaney and company are not a flash in the pan.

Standout Tracks: Cabin Fever, God Says, Sullied Behave For The Stars
If you like this you'll like: The Jane Bradfords, Panda Kopanda

Download: http://escapeact.bandcamp.com/

kids don't behave like this....

2009-03-07T15:59:00.004Z

A Plastic Rose - Kids Don't Behave Like This -1
Originally uploaded by Bandwidth Films

I've seen A Plastic Rose twice in the last 12 months and each gig has been one to remember. There's something gripping about this band- a rare intensity that stuns you with every track. At the Unconvention showcase, the lads were incredible- were it not for John Shelly and the Creatures they would have been the standout act of the entire gig. A particular highlight was this track, and now the wonderful Bandwidth Films has recorded a video to Kids Don't Behave Like This that is stripped back but does a wonderful job. It's a wonderful song- slowly but surely building to an incredible climax with soft vocals at times and nearly shouting at the finale. This song and this band are going to be huge. Video after the jump!

unconvention showcase, black box, 6/2/09

2009-03-07T15:09:00.005Z

The smell of pizza fills the air as we walk into the Black Box cafe for tonight’s Unconvention showcase, featuring more than 10 local acts from across the musical spectrum upon two different stages.

Seven Summits kicked off proceedings with a simple yet gorgeous set full of beautiful harmonies. The temptation for many bands is to cover weak songwriting or a lack of talent by simply making a lot a noise but it’s clearly not the case for these guys- Rory’s voice is hauntingly beautiful at times, and the songs certainly stand out even when they’re stripped back to just an acoustic guitar and a bass. “Stairs” and “Lemonade” were just two highlights.

Robert Holmes greeted us with a dark, eerie set that immediately grabs your attention. Once again he excels in the stripped back setting- despite the commotion taking place in the cafe during his set he manages to create a wonderful atmosphere that makes you feel like you’re watching something private, something raw and emotional. The vocals don’t always ring out and it’s tough to decipher the lyrics, but that just adds to the atmosphere. A wonderful performance and certainly one to watch in the next few years.

Escape Act (or rather, the lead singer, Chris Heaney) perform a very different set compared to what we’re used to. A wonderful performance of “Sullied Behave For The Stars” starts things off and it’s clear to see that this band are getting better and better. Heaney’s voice has improved tenfold- it’s much stronger and much more consistent. The new material played promises great things: while the debut album Loosely Based On Fiction contained some brilliant songs it seems the new tunes have a bit more substance and edge.

It’s the turn of the main stage now, and the best performance of the night comes from John Shelley and the Creatures. Quite frankly, it’s stunning. There’s simply not a weak song in tonight’s set, and the performance is very polished. The songs are catchy but they’re distinctive, blending folk and indie into one delightful little package. The drumming is incredible and the vocals are superb tonight. They don’t deserve to be playing in front of relatively small crowds and if their new single “Long May You Reign” does well, they’ll be a major success. Simply the best performance at this showcase.

With that in mind, it was pretty difficult for Strait Laces to follow that performance. “Romantic Issues” is a cracking song (with one of the funkiest introductions I’ve heard in a while) but the vocals, by the singer’s admission, are a little off (apparently he’s losing his voice) and it’s the same for the rest of the set- it’s energetic and there’s a lot of things going on but the vocals just aren’t there. With that in mind, it would be a little unfair to be overly critical of Strait Laces tonight.

Colenso Parade take to the stage, dressed to the nines and immediately crack things up a notch. Every song is ridiculously catchy and poppy- a talented McFly, if you will. It’s a fairly short set but my goodness, the lads give it their all. The last song “Mr Riley” sums up the band perfectly- catchy choruses, well constructed melodies, thoughful lyrics and a hell of a lot of noise.

A Plastic Rose sit at the other end of the musical spectrum- their sound is a little bit more contemplative, a little bit more moody, but they simply rock the Black Box to its foundations. The group has matured over the past few years and it’s clear to see. “Sun’s A Shadow” is jaw droppingly amazing. The whole post rock sound works so well for the lads, and probably the most stunning moment of the night is the brief moment of silence before everything goes a little bit haywire. The incredible forthcoming single “Kids Don’t Behave Like This” wraps up the set, and it’s the end to such an wonderful intimate performance.

The sound of helicopters in the background brings Ed Zealous to the stage and from the first note to the encore song it’s a non stop rollercoaster. The melodies are so well constructed and the keyboard parts intertwine perfectly with the crashing guitars. “Pretty Face” is my highlight of the set- every word is delicately chosen, with ridiculously catchy melodies and more hooks than a cloakroom. The biggest cheers of the night ring out after the encore- a great end to a night filled with superb acts. Supporting Snow Patrol in the Odyssey may be Ed Zealous’ big break- and on tonight’s performance it’s clear to see that they deserve it.

two door cinema club/general fiasco, stiff kitten, 26/12/08

2009-03-07T15:06:00.010Z

There's a very, very good reason why I queued up in the freezing cold outside the Stiff Kitten on the night of St Stephen's. I could have been tucked up in front of a fire watching some fine Christmas films on the telly. Instead, I went to see two of the hottest bands in Northern Ireland. Two Door Cinema Club and General Fiasco are planning to take the UK, and indeed the world, by storm in 2009 - on the basis of this performance they've got a pretty good chance.

Two Door, as always, got the party started with their delightful little mix of drum machines, driving guitars and occasional keyboard solos. There were a couple of small technical problems and there was a small delay as the lead guitarist broke a string, but the trio fly through a wonderful and polished set. New material is tucked in between old classics: one of the best songs of the night (called 'Kids', according to the ripped piece of cardboard that passes for a setlist) promises great things from this band. The new single 'Something Good Can Work' is destined to be huge in 2009: a memorable melody, an anthemic chorus and it's simply an excellent song. The biggest cheer of the set came at the last for 'Undercover Martyn' - Northern Irish indie rock at its finest, coupled with hand claps. Every time I see this band they're something different - their sound shifts from the Cribs to Death Cab to Kowalski - but they're always unmistakably brilliant.

General Fiasco have had a lot of hype and attention in the local music press - and I can safely say, in my eyes it's justified. Rigsy wrote this article in mid 2008 and it seems he's got it spot on. The lads blew nearly all of us to the wall last night. What's the difference between General Fiasco and the hundreds of local bands knocking about Northern Ireland? They've got the look: black t-shirts, cool hair and confident but not arrogant attitudes. They've certainly got the talent (more on that later). What's more, they've written some excellent material. Most of the songs we heard tonight had been recently written and they're really rather brilliant: there doesn't seem to be any filler whatsoever and the crowd loved every tune. The new single 'Something Sometime' is infectious and shows off the distinctive sound of the trio. There aren't any passengers in General Fiasco: Owen (with surprisingly strong vocals), Enda and in particular Leaky (with some incredible drumming) seem to give their all in every song. Of course, when 'Rebel Get By' finishes off the set, the lads have got the crowd in the palm of their hand.

Take a bow, gentlemen, the world is at your feet. If you haven't seen General Fiasco yet live, you really, really, really, really should.

frightened rabbit/death cab for cutie (st george's market, 12/11/08)

2008-11-28T22:34:00.007Z

I’ll be perfectly honest- I’m a huge Death Cab for Cutie fan. To say that I had been anticipating the gig for quite a while would be quite an understatement. However, the Seattle band was accompanied on Wednesday night by the acclaimed Frightened Rabbit, promising a indie rock spectacular within the confines of St George’s Market.

The delightful Scottish indie rockers opened proceedings in quite some style- while the acoustics of St George’s didn’t lend themselves to Scott Hutchinson’s heartfelt and strong vocals (often the excellent lyrics were drowned out) we witnessed something special on stage. Few bands can go straight from a pulsating anthem into a more melancholy tune but Frightened Rabbit did this with ease. “Keep Yourself Warm” and “The Modern Leper” were highlights of the set, and it’s clear to see why both Death Cab and Biffy Clyro have chosen the band as their UK support act.

However, they were just the prelude to what promised to be an incredible night. Northern Ireland had been waiting nearly ten years for Death Cab for Cutie to take to the stage in Belfast, and they didn’t disappoint. From the first few bars of “Bixby Canyon Bridge”, the opener to their most recent album “Narrow Stairs” until the end of the night it was an assured performance with energy, anger and excellent musicianship.

However, the crowd, quite frankly, were horrible. Some genius decided to throw a pair of socks and a bottle at Ben during the first few songs, and to say the atmosphere became cool was quite an understatement. Chris Walla apologised afterwards, but it was clear to see that Ben was not a happy bunny.

Despite the fact the majority of the crowd were more familiar with the last two albums, we were treated to some gems from previous releases such as “We Laugh Indoors” and “405”. The audience came to life during the singles but were remarkably subdued otherwise- this, in conjunction with something being thrown at the band during the first two songs, meant that there was little interaction between songs between Ben Gibbard and the crowd and at times it felt like we were listening to a CD recording instead of a live performance. “I Will Follow You Into The Dark” took us by surprise, seemingly thrown into the middle of a heavy set with no rhyme or reason. However, hundreds of hearts swooned as the soft acoustic guitar and gorgeous vocals resonated around the hall.

“I Will Possess Your Heart”, in contrast, showed the darker, edgier side of DCFC- the 10 minute jam session showed off every member of the band’s ability. With excellent drumming, one of the most memorable basslines in recent years and great guitar work from Chris Walla Death Cab showed to Belfast why they have been in the spotlight over the past few years. An excellent version of “We Looked Like Giants” was my personal highlight.

The final song, “Transatlanticism”, should have been an anthem for the night and a superb end to a wonderful gig. Yet once again, it fell a little short. Musically, it was fine, but the crowd seemed rather lifeless. A superb band and a great night only impeded by a poor crowd.

delays....

2008-11-13T20:49:00.001Z

Well, as expected I haven't written here in a while. Due to school and such I've been writing less and going to fewer gigs but I keep forgetting to upload! So I apologise for the delay and we'll have more posts up soon.

the depreciation guild (free album of the week)

2008-08-21T00:44:00.007+01:00

The Killers. You may hate them or love them, but I love their fans. The offical board to the band may have its fair share of "OMG BRANDEN IS SOOOOOOOOOOOOOOOOOOO HOT" kids but for every fanboy/girl there's a couple of fantastic music fans. So fantastic, that they've kindly provided a number of bands for us to enjoy.

First up is a New York band called The Depreciation Guild. They're not exactly the Polyphonic Spree: according to their MySpace they're just "two guys and a Famicom (that's a NES to us youngsters)". Their debut album, "In Her Gentle Jaws" was put on their website for free and I really, really recommend you download it. It's a superb listen.

Their sound is so lush and beautiful, yet so full of energy and enthusiasm when the time is right- I keep thinking this is what the Postal Service would have sounded with a younger Ben Gibbard and more input from Jimmy Tamborello. The guitars and the techno/shoegaze mixture is just perfect, with great melodies and sweet vocals. Sadly, you sometimes forget about the vocals when listening to In Her Gentle Jaws- and that's a huge shame, as some of the prettiest lyrics I've ever heard were just drowned out by crashing guitars. Granted, they're not poetry, but they certainly get the job done. It's an uptempo musical extravaganza that will appeal in some way to every self-respecting music fan.

Songs to recommend: Butterfly Kisses, Nautilus.
If you like this you'll like:... tough to call. The album's free, so go ahead and download it!

www.inhergentlejaws.com free download of the album.

here come the drums...

2008-08-21T00:37:00.002+01:00

Hi once again! So, I'm back from hiatus and full of blogging energy!

the cutaways/two door cinema club, urban outfitters

2008-07-18T22:58:00.005+01:00

So, Belfast just got an Urban Outfitters store. Woohoo, I hear you say. It's class to have a look at clothes that I can never afford, but I can always dream, can't I? Anyway, to celebrate their opening the store had a free gig in association with local bar The Stiff Kitten, featuring acts such as The Panama Kings, The Cutaways and Two Door Cinema Club.

The first act up are The Cutaways. According to their MySpace they have "infectious harmonies, driving choruses and upbeat songs that are made for dancing". Sadly, they aren't on display here. The infectious harmonies seemed a little off key and the crowd seemed to be too cool to dance. Indeed, when the local band attempted to interact with the crowd, they faced a brick wall of apathy. The only saving grace of their performance was the superb drumming displayed by Ryan, playing with precision and style.

The second act up are Two Door Cinema Club. It's the second time in a week they've rocked a Belfast venue, and they certainly did in Urban Outfitters. They even manage to get the crowd dancing and clapping along- Cutaways take note! The three-piece combine dancefloor drum beats with soaring melodies and wonderful vocals, creating a dish full of awesomness that reminds me of a poppier The Postal Service. The set does drag along a little bit in the middle, but gems like "Undercover Martyn" make Two Door a band to watch out for. (Speaking of which, the video they created with BBC Across The Line is attached to this post).

Overall, a fairly decent gig. Cutaways were certainly a little bit disappointing, but Two Door Cinema Club made it worth the visit. To be fair, though, you can't really can't argue with the admission price.

cat malojan/two door cinema club/kowalski/los campesinos!, waterfront hall

2008-07-18T02:50:00.004+01:00

It's the first night of the Trans festival and we've got a fantastic line up tonight- Cat Malojian, Two Door Cinema Club, Kowalski and the Welsh sensations Los Campesinos!.

The first act up tonight is the wonderful Cat Malojian, the wonderful folk/country duo from Lurgan. Their soft acoustic sound and the crisp, clear voice of Steve Scullion echoes a bygone era when Neil Young and James Taylor were at the top of their game. An unusual act to open the night with considering the other bands on show, but this wonderful stripped back performance by the lads has surely won them a few more fans.

A brief interval, and Two Door Cinema Club come to the stage. It’s an immediate contrast from Cat Malojian- within a few minutes the audience are dancing to songs with pumping basslines, adventurous guitar playing and some of the best vocals we’ve ever heard in the Waterfront Studio. The trio aren’t afraid to play new material either, which goes down very well with the crowd. They certainly aren’t the finished article yet, but in a few years they could be the next big thing from the North. An assured performance and certainly a band to watch in the next few years.

Kowalski take to the stage, wearing bandanas and various French related paraphernalia. (It is Bastille Day, after all.) It’s clear to see that they’ve brought along a number of fans tonight, but they’ve got the audience in the palm of their hand within seconds as they flood the studio with high tempo rock songs, featuring incredible drumming. Kowalski opened up for Snow Patrol at Ward Park last year and they’ve obviously learned from the experience- they fly through a solid set, only broken up by the “Bastille Day Song”. “Is it a pain au chocolat, or is it an onion?” is hardly a classic lyric, but it shows the lads are still up for some fun.

Finally, the moment we’ve all been waiting for. Los Campesinos! take to the stage to rapturous applause from the crowd, and they certainly don’t disappoint. To call the Welsh rockers “energetic” would probably be the understatement of the century- the lead singer, Garth, is like a three year old child on stage, bursting with enthusiasm and energy while jumping off various pieces of musical equipment. When the drummer starts a gig semi-naked, you know you’re in for some good music. The band barely pauses for breath as they reel off hit after hit from their album “Hold On Now, Teenager” and this addictive pop/punk/rock/dance sound takes a hold of us all. Too many times these days exclamation marks are used as a throwaway gesture- with this hand clapping, feet stomping gig this band certainly deserve to be called Los Campesinos!

trans festival

2008-07-18T02:43:00.003+01:00

Well, it's Summer, and once again it's time for the Belfast Trans Festival. For those that aren't familiar with the festival it was set up a couple of years ago to bring in acts from around the world as well as showcasing NI talent.

http://www.transbelfast.com/

Anyway, that means our little city will have more gigs than we can shake a stick at, and I'm planning to cover as many as possible.

the jane bradfords/the national, mandela hall

2008-07-18T02:38:00.011+01:00

Tonight, we’re about to experience one of the most anticipated gig in recent times- The National have come to Belfast.

A stage bathed in blue light beckons for the Jane Bradfords, the first act up on tonight’s bill. The Belfast band, championed by many reviewers, provided a rip roaring set featuring songs from their eponymous debut album for the Mandela Hall audience. With catchy melodies and ever improving performances it won’t be long before they’ll be playing bigger venues. A particular highlight of the set was “Ninetynine”, a song that should become a firm indie dancefloor favourite.

A short interval and the lights dim as the National take to the stage to huge cheers. Even on looks alone, the crowd know they’re in the presence of greatness. They're more mature than your typical band, both in a physical and musical sense. The lead singer, Matt Berninger, has a shy demeanour and a sheepish grin as the crowd applaud. The violinist performs with more enthusiasm than a primary school orchestra combined. As the first few bars of “Start A War” are played, the audience begin to scream. The baritone voice of Berninger soars through the summer air, aided only by the faithful crowd. He turns his back to the audience when he's not singing, as if he's embarrassed to be performing in front of so many people. The guitars are roaring, the bass is chugging and the drums are incredible- Bryan Devendorf thundering away like there’s no tomorrow.

As “Squalor Victoria” comes to life, you see the true essence of the band. Berninger closes his eyes and sings with such honesty- as he screams out the chorus, you can feel and see he passion (it looks like he’s going to throw the microphone stand into the audience). The drums once again come to the forefront as the band wander into darker territory, and the guitars play with a restrained brilliance. “Abel” is the first real song to get the crowd dancing- the closest thing to an anthem the band have written, a joyful soaring symphony that is a change from the self questioning reflective set we've experienced so far. It seems that Matt Berninger has the crowd in the palm of his hand, which he uses to devastating effect. They hang on every word as he dedicates “Daughters of the Soho Riots” to diehard fans the Jane Bradfords.

A chord rings out. A drum beat begins. The audience goes wild. “Mr November” rings out around Mandela Hall, and the guitars give in to temptation, showboating like true rockers do. A middle aged well dressed man attempts to crowdsurf and is quickly removed from the building. Matt Berninger jumps from the stage, much to the behest of the bouncers, and the crowd reach out to grab a hold of him, as if by doing so, the band would play just one more song. Sadly, it's time to go, and the end of probably one of the best performances in Mandela Hall in recent times.

a new start....

2008-07-18T02:23:00.004+01:00

Hello! I'm Patrick, and this is my blog- Secret Fireworks. It's a music blog that will hopefully inform, entertain and keep you up to date on what's going on in the Northern Ireland music scene. Well, to be more honest, the Belfast music scene. Obviously, new albums and new bands that come to my attention through the magic of the series of tubes that are the Internet will get a mention as well. So enjoy and subscribe to the RSS feed!