track of the week ~ 'at a loss' ~ mylk

by 06:38

M Y L K ~ 'At A Loss'
For fans of: Los Campesinos, Weezer

Flying straight into their recorded debut with a sing-along chorus and feedback-y guitars, M Y L K's intention of being your new favourite band is made clear from the very start. Brimming with frenetic energy, Belfast's newest indie-poppers debut single 'At A Loss' sounds like the charismatic love child of Courtney Barnett and Weezer, culminating in a track bursting with energetic-tragedy.

At it's heart, 'At A Loss' is a song about getting the beers in, followed by the existential dread of the next day come-down. It's partly an assessment of mans escapism down the bottle, it's partly a celebration of that same feeling. That seems to be M Y L K's thing, they'll make you think, but not enough to stop you dancing.

A highbred band taking their roots from established Belfast artists like Beauty Sleep, Bee Mick See and Empty Lungs, M Y L K are one of the most unlikely collaborations to hit Belfast since frontman Brendan Seamus' indie-rap side project 'Bloody Gold'; but  'At A Loss' is proof that this formula works wonders, with a sound dripping in harmony and enthusiasm.

Having been lucky enough to have caught M Y L K at their debut show in the Mandela Hall, there is thankfully no shortage of material either; the band recorded four songs in seven hours in Belfast recently. If they continue to be of this standard, there's every chance MY L K will push their own name alongside that of their parent bands very soon.

Taylor Johnson

ep review ~ 'the eyes, the heart, the sin' ~ born only yesterday

by 06:58

Born Only Yesterday 
For fans of⁞► The Cure, U2, And So I Watch You From Afar


On first listen 'The Eyes, The Heart, The Sin' sounds like a massive leap forward for Born Only Yesterday; a band casting off the indie-rock shackles of their much loved original moniker 'The Bayonettes'. On second listen, this record only gets better. Floating melodies, 'Unforgettable Fire' era U2 guitars and a frontman in fine form, this may be the ever-moving Danny McClelland and co's best release to date.


'Wunderkid Prevails!' dances solemly like The Cure, entwined with US melodic heroes The National. The 'I've seen better days' refrain provides a rare sing-along moment on an EP created predominantly for impassioned swaying, and arm raising of the most triumphant kind. 'Golden Keys and How We Found Them' continues this cinematic feel, again sounding big, ambitious. 'Atoms' offers a brief nod to the band's past, with a slower tempo and vicious finish.

The key difference between the two bands may simply be in the delivery. In B.O.Y, the heartache is more refined. McClelland's stories are viewed through more experienced eyes, though no less painful, there is perhaps more understanding here. Musically, we hear everything turned right up. The drums are huge, the guitars float and sting in equal measure. The vocal delivery never falters. 'Better Left Unsaid' see's B.O.Y's post rock credentials come to the surface, building to a cacophony of sadness most reminiscent of their North Coast origins.

In contrast to the rest of the EP, 'Hawaiian Tribal' is the sound of a band in love with what they're doing. Jovial and fierce, it sounds like four best friends, in a room, not even aware they are being recorded. Effortless and free, 'The Eyes,The Heart, The Sin' is a heartbreaking joy from start to finish.

Taylor Johnson

'The Eyes, The Heart, The Sin' is released 21st September.

track review ~ 'wreck less nature / / between the lines' ~ life goals

by 08:23

Photo by Ciara McMullan
Life Goals
For fans of⁞► The Menzingers, Vicky Speedboat, Modern Baseball

The debut release from Life Goals echoes a scene cultivated and perfected across the atlantic; alternative emo-punk with heart. 'Wreck Less Nature' opens strong, the biting guitar line complimented by a sincere vocal performance from frontman Decky McBride. It's a track tinged with self deprecation, with clever and honest lyrics that their US contemporaries would be proud of, and the emotive refrain, "I don't want to die / But I don't want to live like this anymore," is brought to life with storming gang vocals.

'Wreck Less Nature' is followed by its slightly sunnier sibling, 'Between The Lines'. Lyrically it serves as an anthem for the jaded and demotivated, but the track is anything but stagnant. The driving bassline stands out alongside gritty guitar, and the "where do we go from here?" hook is simply made to be repeated by a rowdy crowd.

Consisting of former and current members of Two Glass Eyes, Empty Lungs and Gascan Ruckus, the Belfast trio have managed to blend the influences of all three bands to create something altogether unique and exciting. For those who can't wait until their next release, catch them in action on 30th September at the Hangar, Dublin with The Winter Passing, Nibiru and Me And My Dog.

Lauren Johnson

track review ~ 'no easy way out'~ skymas

by 13:06

Skymas
For fans of⁞► The Prodigy, Not Squares

'No Easy Way Out' (the latest effort from electronic Belfast two piece Skymas), carries all the brooding menace of Dublin's high flying noise-makers Girl Band, combined with The Prodigy's fierce dance rhythms.

A bold track from the off, 'No Easy Way Out's hynotic guitar riff and unmistakable fuzz ensures that it's catchy hooks remain 'European Underground' and not 'Kelly's on a Wednesday night', as is always the danger with dance music in the twenty first century. There's also room for a time honoured call to arms with it's 'Don't give in!' refrain.

Comprised of Martin Corrigan and Nick Todd, the band are due to follow this up with another single in December.

Taylor Johnson

track of the week ~ 'song 3' ~ junk drawer

by 13:40
Junk Drawer
For fans of⁞► Dinosaur Jr, Yuck

Junk Drawer are a cool band. They may not agree with it, they'd probably hate being called it, but cool they are and this is perhaps the most apt description of  "Song 3", their most recent release since 'Their Self-Loathing Debut (Mostly)'.

Sounding like the battered cassette your older brother played to death trying to impress girls in the 90's, Junk Drawer somehow capture the hell for leather instrumentation of a band nearing ever closer to the edge; sewn together with the clever lyricism of Courtney Barnett.

"Play to your strengths, predestination has it’s perks,
Parallels everywhere you look,
Commitment’s nothing but a breeding ground for further discontent
Don’t place too much stock in not-for-profits"

Whilst "Song 3" makes no apologies for its art-house credentials, (this is music for "the cult fat guy" after all) it's done so in a way accessible to anybody stuck in a shitty nine to five, with a mind prone to overthinking (that's a lot of people). A hard balance to get right, but one that Junk Drawer's lackadaisical detachment has nailed thus far.

Frontman Stevie Lennox sounds great here too, his delivery never lost amidst the bands raucous noise around him. Having seen this band live a couple of times now, and knowing each member takes turns on every instrument, I still haven't worked out which formula works best. I can also confirm this is not a bad problem to have in their case. More please.

Taylor Johnson


interview: r51 ~ jonny woods

by 12:43


Appearances at Reading and Leeds Festival, a critically acclaimed debut EP and an ever increasing list of admirers has done little to inflate the ego of R51’s principle songwriter and co front-person Jonny Woods. The last few years may have been a whirlwind for his band, but as Encore NI would soon find out this is no reason to slow down and admire their achievements to date. Instead they find themselves on the brink of ‘No Chill’, a six track explosion of noise pirouetting dangerously close to ‘mini-album’ territory and due for release September 12th; we caught up with the guitarist on a rare day off…


Hi Jonny, firstly thanks for chatting to us! How you guys been?

Pretty good, pretty nervous, pretty excited, pretty relieved. All the emotional stages of releasing a new record...

It’s been a crazy year for the band so far, how did you find the writing process for ‘No Chill’ with so much happening?

Well, Most of these songs have been kicking about since just after/during “Pillow
Talk.” I think we released Pillow Talk in March 2015, and we started writing NO
CHILL around September/October 2015. We have a pretty regular routine of always
being together so yeah, it was written in between the hard gigging we did from
Pillow Talk onwards. How did we find the writing process? Really uplifting, then
really tough, depending on what point of 2016 we talk about. I suffered from pretty
heavy duty writers block in January 2016 that lasted a solid 6 months. Most songs
were actually recorded, scrapped, redone live, and lyrics were constantly being
trashed as we went along. 

It wasn’t really until Feb or March we decided “fuck this” and just felt like something
needed to be released. So when we put out the track Elephant earlier this year, the
reaction we had to it was a pretty uplifting experience. My “block” lifted, (with the
help of some important records that came into my life) I reduced my sad-boy level
(marginally), rewrote stuff, and came to terms with the rest of the songs again after.
Elephant was the last song written and the first one released. It’s most epitomising
where we are as a band right now.


You’ve also recently been announced on the bill for ATL’s 30th Birthday celebrations in The Ulster Hall – how do you feel about playing such an iconic venue?

Its a huge huge huge thing for us, it feels like probably the most important thing we
will have done to date. We have all seen so many of our heroes play that stage, and
to share it with modern-day heroes of ours is a serious trip. We are freaking out a
fair bit, and Mel is mainly worried in case she accidentally drops a swear word live
on air!

You’ve gigged an awful lot this Summer, it’s been almost a tour! Have you had a favourite gig or moment over the last few months?

By far a highlight for us was Stendhal Festival. We had a terrible time getting there
with our van breaking down, as well as a whole problem with the stage we were to
play originally and being moved last minute. We’ve been told there were even
Chinese whispers of when/where R51 would actually play among some of the
festival goers. When we actually let rip, we couldn’t believe the crowd that turned
out. Being not able to see the back of the sea of people was a serious thing for us,
but most importantly when we were done some friends of our heard people say to
each other “they were amazing!” and that was the most overwhelming feeling
because its a big deal to say those words in private between friends.

We’ve been lucky enough to get a sneak preview of the EP and it feels like it’s going to be a very special release indeed. Do you find you’re writing about the same subjects on this record your last one? Is there much correlation between ‘No Chill’ and ‘Pillow Talk’?

“Pillow Talk” was always a transitional record. It always had these really brave big
motifs and goals, but some songs were written a million years ago and with
different band members. We like to think NO CHILL is more connected and
grounded and although its a little prettier in some places and a little more lo-fi in
others, no matter what they are really still just songs about love and apathy, with a
pinch of humour and lots of self-deprecation.

I have the (probably old school) belief that no matter how short a release, be it an EP or an album, that it should be a rollercoaster and no two sounds should be identical. NO CHILL and Pillow Talk have that in common for sure!



You’re of course not just a musician and have produced a lot of music over the years, including the band! How important is it for R51 to keep that recording process a tight-knit experience between the five of you?

I’ve said publicly once before that I don’t want to produce the next record, but we
haven’t right now found the producer that we think could knock us up into the next
level and really believe in it, and any names in the hat are either too far away or our
bank account hasn’t hit that level yet. I think I am too close to the songs, and I want
to have someone I can have an argument with and who can tell me when to stop.
Because I am so close to the songs all the way through, when I suffer, the record
suffers. The band are amazing though, they push through my shite.

Do you have a favourite track off the new record?

Personally my favourite is “Surrender”. I’m really proud of Elephant and “A Perfect
Life” is a great example of us playing live, but Surrender really makes me smile. Mel
is really on form with it and the lyrics mean a lot to me.

Finally Jonny, ‘Pillow Talk’ was a massive release for your band last year, breaking a lot of ground both at home and across the water. What are your hopes for this one?

We want to keep evolving and hope that lots of people get something cool out of it.
Making records is tough, and we can only hope that not only some new people sort
of get the joke while we go on this journey together, but that it helps us grow and
keep pushing ourselves into new water. We absolutely love playing in a band
together and hopefully this and all our future records show that. 

Thanks Jonny!

'No Chill' is released on 12th September.

ep review ~ 'sleepy' ~ sleeping outside

by 08:25

Sleeping Oustide ~ 'Sleepy'



For fans of⁞► Modern Baseball, Cloud Nothings
Facebook


For some, the golden age of the North Coast music scene had been and gone. And So I Watch You From Afar made the big time. Axis Of similarly so...and since then? Well, there hadn't been too much to get excited about. Gigs became scarce, those that remained didn’t get the biggest of crowds. Change was needed and in four young lads called Little Arcadia, the North finally got some.

Indeed, these last few years have seen an indie resurgence, still inspired by the harder edges of those legends past. A series of new band’s slowly emerged up North, bringing with them fresh perspective of an ever changing cultural and political landscape. There were new people to sing songs about and new people to sing them; and so a new scene was born. 

Like it or not, alt-four piece Sleeping Outside now have the responsibility of helping to carry this new scene; but could their four track debut ‘Sleepy’ go someway to living up to that hype? Taylor Johnson had a listen…


Long term fans of Sleeping Outside (from the ‘Omerta’ days) will immediately recognise the familiar burst of ‘Inhaler’, ‘Sleepy’s explosive opening track and so often the band’s opener on stage. Regret tinged and cinematic in equal measure, ‘Inhaler’ races to a crescendo of unusually comforting sadness, broken only by a well-timed slowdown. Frontman Shea McCauley’s vocals have never sounded so pristine and clear, floating over the band’s raucous noise. Maintaining this blistering pace is ‘Shoelaces’, which sounds straight off of Cloud Nothing’s ‘Turning On’ EP, albeit with a lighter finish. What’s beautiful here is for every tragic lyric there’s a catchy melody, an engaging bass run. This is heartbreak you can dance to. 


We’re then hit with ‘Postcards’, a ferocious emo-anthem bordering on early Modern Baseball. We also hear McCauley at his most introspective. ‘You sent me postcards from places I’ve never been, set it on the mantelpiece and never look at it again…this is the reason why we can’t simply be friends’. Lead guitarist Andy Kane also gets his first chance to really let go, in a sea of feedback.

It’s here Sleeping Outside tear up the rulebook and remind you of their roots. ‘Two For Joy’s gradual build up and triumphant ending is an exhilarating and unexpected finish to a strong debut. It perhaps to acts as a nod to Little Arcadia, a band that from day one supported Sleeping Outside at every opportunity; a love clearly reciprocated by all those involved in the North Coast scene.

As cool an instrumental as it is, you still long to hear more of the stories McCauley and his band mates tell so well. It is here where they truly shine and the reason why you’ll return to ‘Sleepy’ more than once. 

Taylor Johnson

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