single review ~ 'perfect then' ~ owen mcgarry

by 05:05

Name: Owen McGarry
Genre: Experimental Pop
For Fans Of: And The Giraffe, Amber Run, PØRTS
Location: Belfast

'Perfect Then', the latest effort from songwriter Owen McGarry, is a real gem ~ but he does a good job of hiding it.

His distinctive tone is on display and sounding good from the off, but there's no real intent to grab the audience in the opening few bars. It's in tune, yeah. It's inoffensive, but is it any different? No it's not. But don't confine this track to the Ed Sheeran shaped dust bin of acoustic-pop just yet, oh no.  When 'Perfect Then' finds it's rhythm, it keeps it.

PØRTS inspired choirs sing over mellow caverns of soulful guitar. Violins rise and fall, drums come crashing in and out. There's a lot going on, but this song needs it. McGarry seems to embrace the rumbling bass which really shouldn't go, yet somehow seems to. In a strange way, 'Perfect Then' feels nostalgic on the first listen ~ like its the soundtrack to a distant memory you can't quite pin down.

Whether or not that was intentional seems irrelevant. If there's even the slightest hint of doubt in Owen McGarry's mind to abandon such grand production, we would strongly encourage him to ignore it.

Taylor Johnson

Listen to the track below⁞►

single review ~ nothing (me & you) ~ rebekah wilson

by 02:33

Name: Rebekah Wilson
Genre: Alt-Pop
For Fans Of: The Cranberries, Avril Lavigne, Alanis Morissette
Location: Belfast

There are few musicians today, North or South of the border, that command the same level of respect as 17 year-old Rebekah Wilson. More still, the excitement surrounding her debut single rates higher than most local releases you can expect this year, as the hype of  several encouraging demos proved. Most impressive of all however, is when you strip away all the goodwill towards Wilson and the positive impact she's had on Belfast; what remains is simply a quality pop song.

Built upon that ever so-slightly distorted-guitar tone she's made her own, Wilson fuses her indie-rock genes with the pop melodies that clearly come with ease here. Recorded in the confines of the beautifully secluded Millbank Studios in Lisburn, the intimate nature of her songwriting was clearly never once stifled here, Each verse bounces along sweetly, creating a juxtaposition between the scorn poured over in the lyrics.

The chorus see's Wilson's steadfast harmonies never loose their cool; when she could so easily have started shouting. Though perhaps you'd be interested to hear her fire out A Plastic Rose styled aggression, she instead allows Mojo Fury's Mike Mormecha to do it for her, as his explosive drum beats give the track it's indie underbelly. Vocally Wilson's tone is warm and haunting. There's nothing plastic on display here, which keeps the rawness of 'Nothing...' in tact. When she could have hidden behind an auto-tune, she didn't. When she could have included a violin or five, she didn't. To have such a vision of you're own sound at such a young age... that may be the most impressive thing of all.

With elements of The Cranberries, Avril Lavigne and even Feet For Wings all battling for their place on 'Nothing (Me & You)', it must be remembered that Rebekah Wilson is still learning the trade.

What exactly she has yet to learn another question altogether.

Taylor Johnson

Listen to the track below⁞►

single review ~ 'late night radio' ~ moscow metro

by 01:39

Name: Moscow Metro
Genre: Alt-Rock
For Fans Of: Depeche Mode, New Order
Location: Limerick 

Now reformed as a three piece, Limerick's Moscow Metro have undergone quite the makeover. Former bassist Sean Corcoran's shift from stage left to centre proves inspired in this new, dance worthy single.

Metro fans of old need not fear however, as this transition to the groovier side of indie comes via New Order, rather than The Pet Shop Boys; though it's a progression none the less. For example, 'Late Night Radio's entrancing drum beats are significantly more feelgood  than their older material.  The sheen on the guitars now elevate their 80's 'maudlin-pop' sound to something altogether more fun.

Suddenly Moscow Metro are a band you want to dance to and 'Late Night Radio' makes no apologies for it. In a sense this shift see's them let go of the worldly pain which attached itself to 'Headlights' and 'Spirit Of A City', it's a chance to start again.

If there's one critique to be made of this newest single, it is perhaps at it's lack of a definitive ending. Whilst waiting for that post-rock breakdown which never comes, the song seems to fade prematurely, not a fault of the bands, more of the bands legacy ~ which may take some time to outrun.

In truth 'Late Night Radio' is more 'Head On The Door', than 'Disintegration'. By no means a bad thing, but it may need more time to gel.

Taylor Johnson

Listen to the track below⁞►

encore introducing//ep review ~ 'bunch of legend' ~ munez

by 08:01

Name: Munez
Genre: Low-fi Surf
For Fans Of: Peace, Pond, The Strokes
Location: Brighton

Our coverage of Brighton's music scene (which has been entirely accidental) continues with the next installment of Encore Introducing, where this week we focus on Munez, a band of harmonious chaos and melody drenched paranoia. Their latest release, 'Bunch Of Legend' see's the bands echo-surf credentials stretched to the limit, with elements of shoe-gaze and guitar driven indie in there too.

The beauty of 'Bunch Of Legend' is the fun running through it. 'I've Got Issues' floats with the nonchalance of  'Is This It' era-Strokes, but it doesn't end there. Dig deep enough and you'll hear all manner of indie hero's lurking in Munez's shadow. The gentle sway of Swim Deep seems to go hand in hand with Californian renegades Best Coast, particularly in opener 'Gulliable'. That's not to say they lack originality, far from it. For one thing Munez's tendency to break down their surf-pop songs gives them a heavier vibe, without ever straying too far. It's the hallmark of an experienced band, something they most definitely aren't.

Not that they give a damn. As the old mantra goes, 'the less you care, the cooler you are' ~ right kids? No? What do you know anyway! Typified by grungy closer 'Nah', (a short, pile-driver) Munez really couldn't care less if you like their band, and that's exactly why you like them. In fact, you'll love them. With a sound draped in hooks so big and piercing they could be used by the Japanese whaling industry, this is a band with potential.

Go buy//download//listen while you're stoned to 'Bunch Of Legend'. 

Taylor Johnson

Listen to the Ep below⁞►

track of the week ~ 'elephant park' ~ glen foye

by 06:25

Name: Glen Foye
Genre: 'Sad-Punk//Emo'
For Fans Of: A Plastic Rose, Million Dead
Location: Brighton

Don't let the name fool you, the amorphous mystery of Brighton's 'Glen Foye' is not a maudlin singer songwriter writing quirky acoustic songs about elephants. Far from it in fact. This South Coast power-trio are the antithesis of everything that's been coming out of England in recent years, sticking two fingers up to every industry professional along the way. Describing themselves as [sic] "sad punx", 'Elephant Park' trundles along with the youthful abandon of very early A Plastic Rose ~ the free flowing guitars and harmonious interplay between their heavier sections and melody (which for a punk band especially, they have a tremendous command of) fitting so much more into one song than expected.

Somehow Glen Foye manage to take you from damn angsty pain, to gentle acquiesce. It's a pile driver of a song, with a waltz like outro and beautiful guitars. Listening to 'Elephant Park' is the sonic equivalent to a trip to the therapist. Raw, emotive and strangely cathartic.

And not a synth in sight. Take that NME.

Taylor Johnson

Listen to the track below⁞►

ep review ~ tanizaki ~ 'ouroboros'

by 13:10

Name: Tanizaki
Genre: 'Occult tinged-Electronica'
For Fans Of: Tycho, Merchant Ships
Location: Belfast

Entrancing electronica is the most accurate description we could find when describing beat maker Tanizaki. Based in Belfast, the mysterious producer's debut spins with a quiet foreboding, each track's whimzy eclipsed by the lingering feeling that something terrible is on the horizon; but much like the inevitable heat death of the entire universe, Encore NI finds 'Ouroboros' peculiarly comforting.

'A Spell For Fog' lingers in a lucid dream, building towards a climax that somehow questions it's own existence. It fades to the sonic equivalent of the calm before the storm, whilst Tanizaki remains in total control throughout. The menacing androgynous voice which runs throughout this Ep feels like the narrator of a twisted apocalyptic fairy-tale, it's warnings of a reality ravaged by humanity's greed ever present, even if it's not directly stated. 'Seed Pod Explodes' could well have been lifted straight from Noel Fielding's 'The Mighty Boosh', it's gentle electro-swing and whale song backing ever enthralling. Curiously, 'Wildflower's Beatles-tinged acoustic guitar suggests it should be anywhere but Ouroboros fantasy complexion, and yet it is an undoubted highlight.

Particularly for a debut release, Tanikazi has proved his technical understanding of this niche genre beyond doubt. What's more impressive, is the feeling he conveys throughout the record. This EP has a great ebb and flow, a beautiful harmony between light and dark. Here, we enjoy the latter slightly more ('A Spell For Fog' particularly), though the beautiful thing about 'Ouroboros' is that it is a journey to be had. You'll want to play this Ep, in order, many times through.

Exciting indeed.

Taylor Johnson

Listen to the debut EP below⁞►

encore introducing ~ 'visitors' ~ liverpool, england

by 07:09

Name: Visitors
Genre: Garage-Doom Rock
For Fans Of: Royal Blood, Joy Division, Mojo Fury
Location: Liverpool

Today's new found musical offering hails from Merseyside, a band who's self proclaimed 'garage-doom rock' has taken them from leather clad-also rans, to headline shows in the likes of the world famous Carvern Club. For those expecting mop-tops and three part harmonies however, Visitor's will leave you sorely disappointed; as this band take the punk tinged melodies of Radio One's beloved Slaves and deliver it with the fiery fervour of .Royal Blood.

Dig beneath the stony-faced surface of Visitors and there's more to what meets the eye. While there's no doubting this is a band with their feet rooted firmly in the 21st century, a theatrical swing permeating through their debut EP 'Truth' nods to legends of Liverpool past. For example, the falsetto cries of 'Yeah, yeah, yeah' on that EP's title track are positively McCartney. The fact that it lies between a Humbug era-Alex Turner guitar solo only heightens the appeal.

As if to remind the audience of their harder exterior, 'Stay Away' is a track of snarling, punk edged delivery, menacing bass and pulsating electricity. The ferocity with which vocalist Callum Mian generates in the songs chorus is truly outstanding; thus negotiating the tricky business of capturing what is surly a watertight component of their live set, bang on, in the recording studio. By their debut EP's closing track Visitors' have added yet another string to their bow, 'Radioactive' dropping like a remastered Joy Division b-side. Dealing in metaphors and intricacies, Visitors' fluid sound and raw energy set them apart from their heavy counterparts. They seem to have found a middle ground between dark-riffs and noise rock appeal. Provided they can exploit it, I see a very bright future for them indeed.

Taylor Johnson
Listen to their debut EP below⁞►

single review ~ 'holding me down' ~ ryan mcmullan

by 07:51

Name: Ryan McMullan
Genre: Acoustic
For Fans Of: James Bay, Foy Vance
Location: Portaferry

Encore NI is already well acquainted with the soothing tones of Ryan McMullan. The young singer-songwriter was kind enough to headline one of our Modern Life Is Rubbish shows, putting on as excellent a performance as you'd expect. His debut single, "Holding Me Down" (released this week), is a rousing affair of accentuated acoustic guitar, sparse arrangements and McMullan's voice at full pelt. The song has for a long time been regarded highly by his fans, and sounded wonderful within the grand confines of the Ulster Hall, supporting Richi Sambora of Bon Jovi fame.

In short, "Holding Me Down" has became the safety rope within his set ~ a big hitter of mass approval. Catchy, engaging and showing off the top of his range like no other, it was a natural choice to pioneer his recording career. Having said this, there were some concerns. So much of the Portaferry native's live set revolves around his talents with a loop pedal. Allowing his songs to grow mid performance, it has almost became a trademark. Would this track, now given the room to breathe, blossom in a studio environment? Or would it wither? Thankfully it's the former in this case as "Holding Me Down"s stomping chorus is given extra gravitas with the violin overdubs it has been crying out for. Nursing a new folkier exterior, the track also avoids the mandatory single trap of time management. Or rather, it doesn't overstay it's welcome. Coming in at just under three minutes, Ryan McMullan has crafted a near perfect pop tune, enough to spark a mass singalong ~ which you imagine would work just as well opening a show, as closing it.

Critically it's 'Wild West' maraca intro and embellishments is more 'Noel Gallagher's High Flying Birds' than Travelling Wilburys. (Not that there's anything wrong with George Harrison's super group...we just can't imagine many leather jackets and motorcycles at a Ryan McMullan gig)

Like a third round FA Cup tie against a lower league side, recording this tubthumping single was surely harder than it looked. For Ryan McMullan however, it's a test he's passed with ease.

Taylor Johnson

Watch the official music video below⁞►

news ~ "meb jon sol is dead, long live son of the hound!"

by 04:16

Everybody calm down. Micheal McCullough, the acoustic nut-job we know and love, hasn't literally died; but his mysterious moniker certainly has. Making the announcement over Facebook and Twitter last week, the bluegrass inspired artist will from now on be known as 'Son Of The Hound', a name which clearly means a great deal to him. Encore NI caught up briefly with Micheal to find out the reasons behind the change...

"The name change was down to people not remembering or being able to pronounce the last one! I also wasn't overly fond of it and it was getting to the point I was sick repeating it so much so that I would avoid talking about it. Counter-productive to self-promotion y'know?"

With the practicalities of his new, sleek stage name in check and the hype around his next release growing, it's no surprise that his first gig back in action is a big one. He'll be supporting ex The Hold Steady keyboardist Franz Nicolay in The Bar With No Name on the 16th March, in what's nailed on to be a sell out gig. Nicolay, a multi-instrumentalist and key member of New York's art-punk scene in the early 2000's, will be promoting his new album 'To Us, The Beautiful', a swirling, energetic mass of a record. With Son Of The Hound on the bill, this could be a very special evening indeed.

Taylor Johnson

Check out Son Of The Hounds new Facebook page here.

& Hear Franz Nicolay's latest single below⁞►

single review ~ 'red' ~ more than conquerors

by 06:07
Band Name: More Than Conquerors
Genre: Alt-Rock
For Fans Of: You Me At Six, Foo Fighters
Location: Belfast

Belfast's More Than Conquerors commitment to their home city left a bigger hole than most during their significant time out of the gig circuit last year. Reunited briefly to produce an incredible performance in support of 'Therapy?' at the NI Music Awards, the band hinted that their trademark energy was back even stronger this time around. New single 'Red', goes one step further, not so much reaffirming their position as alt-rock supermo's as cementing it.

If the honest nature of 'Red' is anything to go by, this is a band now fighting for the right to be heard like never before. Each riff is delivered with fervour, each verse more solid than before. You almost feel entitled to listen, like the band will take personal offence otherwise.

The angst and aggression of previous records remains here, though you feel frontman Kriss Platt is more comfortable with arrangements. As if this chorus was just waiting to be written by the band. As an alt-rock song, 'Red' is big. Huge even. Yes, the chorus is uplifting, and the punchy verses remind us why we've always loved them, but there's more going on here ~ the middle eighth see's them dabble in Sonic Youth shoe-gaze territory for the first time, whilst a chugging bass line takes things that step further.

In all honesty, MTC have long ago reached the levels of You Me At Six and their alternative counter-parts. Now they just need a break.

Taylor Johnson

Watch the official music video here⁞►

track of the week ~ 'this is love' ~ lilla vargen

by 06:06

Name: Lilla Vargen
Genre: Piano-Pop
For Fans Of: Emeli Sandé, Regina Spektor
Location: Belfast

Young songstress Lilla Vargen is perhaps one of Belfast's most enigmatic artists on the scene today. Whilst in possession of a glacier vocal, an  irrepressibly warm tone and an undoubted gift on the piano, she has only recently released her first, and only, song to date. No warnings, no teasers and very little promo. Hype, you sense, will never be her thing.

Choosing to take things slowly, Vargen's soulful vocals echo pop starlets from Duffy, to Regina Spektor, captivating and honest. A quite brilliant slice of introspected pop, any reservations Vargen may have about playing live (she's yet to venture beyond the recording studio) is left behind on three minutes of soul searching, surrounded by the sort of piano usually reserved for album singles ~ not a debut release.

It brings to mind  Emeli Sandé putting her own spin on Coldplay's 'Christmas Lights' ~ inoffensive, pour your heart out pop music. Even if this single doesn't explore any new ground, it's a refreshing reminder of our potential to produce female artists.

Now shortlisted as one of Chordblossom's finalists for their Kickstart competition, this could prove an interesting year indeed for Lilla Vargen. A name worth remembering...

Taylor Johnson

single review ~ 'garavogue' ~ a plastic rose

by 07:07

Band Name: A Plastic Rose
Genre: Alt-Rock
For fans of: N/A
Location: Belfast

I think it's safe to say that the fifth single to be taken from A Plastic Rose's massive new record 'Flickering Light Of An Inner War' came as a bit of surprise. A curve-ball in more ways than one, this soft centered single see's the band revive the gentler roots of years gone by, with 'Silence You', 'Scream If You Need It' and even the now classic 'Indian Sheets' all coming to mind. That said, to suggest 'Garavogue' is in any way a regression for the adopted Belfastian's would be to completely misinterpret not only a song of real warmth, but the band themselves. An emotional affair, 'Garavogue' guides the listener to simpler days of it's author's childhood spent in their native Sligo, the Garavogue itself being the river which runs through the town.

Musically it's a spell binding affair of Sigur Ros inspired guitar, overlapping the bands now trademark sound. The nostalgic nature of this single see's the interplay between Norman and McHugh at it's absolute best, the chemistry of their acoustic beginnings as evident (and powerful) as ever. Harmonies a plenty, any fearing a lack of spark are misguided; as this track really delivers the singalong chorus it's haunting opening promises.

Lyrically too, the genuine nature of this song is laid out for all to see.

'There's no heaven or hell, just the sand and the sea...'  

Need we say more?

In an album as varied and explosive as 'A Flickering Light...', Garavogue is proof that no matter how much this band may evolve, they will undoubtedly remain the band Belfast fell in love with all those years ago.

It may also prove the ultimate encore for that Mandela Hall not miss it.

Taylor Johnson 

Watch the official music video here⁞►

track of the week ~ 'consolation prize' ~ alice signal fires

by 07:12

Band Name: Alice Signal Fires
Genre: Indie-Rock
For Fans Of: Arcade Fire, Bright Eyes, Ben Kweller
Location: Carryduff

A track of real intent, 'Consolation Prize' is the result of simple acoustic guitar, smothered in waves of reverberated beauty. Coming straight off this very young bands DIY debut record, Alice Signal Fires have chosen to go into this crazy business all guns blazing; hitting the general public with a series of surprisingly impressive indie-rock anthems, each one brimming with emotion. 'Consolation Prize' is no different, the heart it's author clearly prides himself on evident in every verse.

At times it can be taken for granted just how difficult it is to transfer genuine emotion into a four minute recording ~ it can be so easy to stray into clichéd territory. Impressively, Alice Signal Fires seem to have struck the perfect balance between feeling and 'acting'. There's no plastic lyrics here, no falseness and certainly no lack of quality. The production here is big, capturing the spirit of the whole album excellently. Made up of young brothers Declan and Conor McCrory, you feel there was no shortage of quality records growing up in that household, as elements of Arcade Fire, Elliot Smith and Neutral Milk Hotel's Jeff Mangum all take precedence on their debut album 'Ghost'. 

The most exciting aspect of Alice Signal Fires? This is just the beginning. 'Consolation Prize' (in fact, the majority of their album) could soundtrack an indie movie quite comfortably. Declan McCrory (himself just 17 years old) possesses a voice of rough grandeur. The strings which rise and fall throughout their songs are heartfelt, their introspective lyrics similarly so.

Provided they retain the epic sound which have defined their short existence so far, Alice Signal Fires may just have a future in this.

It's still very early days, but promising all the same.

Taylor Johnson

ep review ~ 'man about a dog' ~ ruairi and the owls

by 02:20

Band Name: Ruairi And The Owls
Genre: Acoustic
For Fans Of: Daveit Ferris, The Feeling, NeverShoutNever
Location: Londonderry

Ultimately, Ruairi and The Owls debut is a charming batch of cheeky imagery, simplistic lyricism and a genuine warmth that at the very least, allows him to stand out from the 'sad songwriter' stereotype. There's a nice balance here between overdubbed electric guitars and the simple acoustics that form the basis of his sound. Opener 'Thaw' is the undoubted gem here, a song which takes the Jack Johnson styled innocence of the other three tracks out of the equation ~ leaving an enjoyable pop-song with not only an enthralling chorus, but lyrics of a borderline nihilistic nature; which makes an exciting change of pace.

"Girl we're all just chemicals,  no ghosts inside these skin and bones. 
 I know we're on our own.  So lie to me girl, lie to me girl"

As a songwriter, the man behind the moniker, Ruairi Connolly, has an undoubted ear for a melody, as each track has the potential to make you sing along. 'Memory Stick's gentle hop has a radio friendly swing that you imagine would go down very well live, even if there's a kick missing from this particular recorded version. Equally, with 'Egg and Spoon's 'The Feeling' inspired piano and harmony drenched verses you couldn't rule out day time radio play, though again, the intriguing dark undertones that filtered through on 'Thaw' just don't come, no matter how much you're willing it to.

Final track 'Contagious' retains the sugary-sweet melodies of the previous tracks, but we begin to see more of the artist here. Even if it does occasionally stray into 'too much information' territory ("those supple breasts,  that hang upon your chest..."), there's enough warmth here to reminisce with a NeverShoutNever quality attached. You're left feeling that Ruari and The Owls is an honest project, writing sweet songs, about sweet things.

That said, if he really wants to push on in Belfast and abroad, he may need to explore his darker side a little more. More of the 'Ben Howard pondering the nature of existence' that we hear on 'Thaw' please Ruairi.

Taylor Johnson

ep review ~ 'time' ~ mere moths

by 04:08

Band Name: Mere Moths
Genre: Acoustic-Indie
For Fans Of: Richard Ashcroft, Sixto Rodriguez, Ray LaMontagne
Location: Dromore

Following up from the hazy softness of debut solo release 'You Grew Up', this latest effort from Dromore native Patrick Wright see's his acoustic project emerge from it's awkward teenage years into a comfortable new maturity. His 'rock-band' skin now completely shed, this was always going to be a defining moment for an act gathering substantial pace over the last two years. Could he keep the momentum going? Taylor Johnson had a listen...

While Encore NI have been quick to praise recent releases from the Mere Moths camp, the feeling that each of these recordings have been more of a stepping stone towards a more personal style has been evident.  'Time' takes this process one step further, as Wright's voice quivers become more and more recognisable, each melody more authentic and we start to see more of the enigmatic teenager behind the guitar. That said, the title track which opens the EP is a very brave choice indeed.

Built around a hypnotic bluesy swing, 'Time' may be one of Wrights best songs to date. That said, it's slow pace, falsetto vocal and chilled demeanour make it more likely to soundtrack a Parisian art-house party than a bar in Belfast. This is no bad thing, on the contrary, it makes a refreshing change of pace from the tired 'maudlin acoustic-balladeer' format. Be warned though, those less exposed to the quiet folk of Ray LaMontagne and the like may need a few listens to fully appreciate it.

'Save You' see's Mere Moths return to more familiar ground, as another impressive piece of guitar work (think José González) draws the listener into his frantic fight to help his muse through another personal battle. Despite the captivating lyricism which is fast becoming a trademark ("God hates an equal, but he loves a trier"), 'Save You' lacks the bite of previous tracks such as 'Fight Me'; the sparse production leaving you wanting more.

In stark contrast, the anthemic thrall of 'Dance Music' is quite simply a joy from start to finish. Possibly (almost definitely) Wright's most enchanting song to date, everything from it's pulsating bass drum, to it's 'William It Was Really Nothing' inspired bridge captures the spirit of the 'Cool Britania' movement of the mid 90's. Even the falsetto call of the tracks chorus holds a beautifully sentimental value, reminiscent of Bono at his most delicate. It's a festival song, with fields full of revelers singing the chorus in unison in the Summer sunshine. (That said, it seems to be a song about a near-fatal car-crash...let's imagine it's a metaphor for now, shall we?)

 Just why Mere Moths has chosen to hide this gem so far down the tracklisting, only he knows, though thankfully this songs optimism comes pouring out from it's opening line,
Vocally excellent, 'Dance Music' also see's one of Mere Moths best ever guitar solo's ~ it's understated, 80's vibes proving a beautiful addition to a track full of heart.

So...not bad then.

Closer 'Break Left' see's a return to the slightly bluesy nature of the EP's title track. Another song of singalong quality, 'Break Left' is further evidence that Wright may have been raiding the 90's section of HMV before hitting the recording studio. Although his personal style remains as ever (particularly in the acoustic guitar riff which begins each verse), the warm melody which runs through the song feels like a forgotten Verve classic, with a definite nod to the likes of Noel Gallagher. It's a feel-good strummer in the vain of 'Married With Children' and an appropriate end to the EP.

Lyrically Patrick Wright has always been a fascinating prospect and that fascination is retained right up to Time's final track.

'It doesn't matter anyway, I'll still make you smile with my shit jokes all the time...No one sings like you anymore...'

The singer-songwriter's muse remains, and long may it continue. If Mere Moths embraces more of his 90's stylings, he may be one of Belfast's best... sooner, rather than later.

Taylor Johnson

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