Applause Music Reviews: Belfast and Northern Ireland

Brand New Friend - Seatbelt's for Airplanes The North coast of Ireland has been famed for its ability to produce high-quality musical talent. Yes, you read that correctly. No, I am not being serious. In fact, shallow a boast that it may be, bubbly four piece Brand New Friend (BNF) might be the best band to emerge from that area of the country EVER. Make of that hot take what you will. Arriving on the scene in 2016, their debut album Seatbelt’s for Airplanes hit the internet this past month, and I must admit it’s surprised me. Usually, when a local band makes their debut, they have two routes: Punk rock or Folk. BNF have elected to do neither and delivered an addictively vibrant and energetic bubblegum pop album that is as far a cry from the local punk as imaginable and is better than most of it. Love or hate them, that move took cajones and they did a fairly impressive job. Proving themselves to be the spatial successors of the likes of ASH and Snow Patrol, Seatbelt’s for A

The Wood Burning Savages - Stability The latest big name to be signed out of Derry, The Wood Burning Savages debut album ‘Stability’ features boundless energy, modern sophisticated riffage and a bubbling ferocity that has it perfectly fit the mould of the modern era of rock. Produced by local sound engineer Rocky O’Reilly at the Start Together Studios in Belfast, ‘Stability’ is as short and serious as a miffed pit bull and is as intelligent and motivated as any punk album to come from Northern Ireland in years. Avoiding the pitfalls of most debut albums, ‘Stability’ resits the comforting allure of repetition in its sound, opting instead for tackling issues that range from self-doubt, anger, the welfare state and heartbreak. Take the barely contained mania of ‘We Love You’. Like a soft drink that's been shaken, there are elements of tension, bottled by the aggressive punk vocals and the unrestrained, driving percussion. Following closely and in the same vein comes ‘I don

Ahead of their free gig in Foundry this Saturday, Belfast based two-piece  WASPS  gave a sneak peek of what to expect with their newest song ‘ Here Comes Mothra’, premiering here on Chordblossom.  The lead single from their second EP is a breathtaking three-minute assault on the senses, you almost forget you are listening from the safety of your headphones as the singles’ destructive tendencies transport you into the throngs of a mental mosh pit. The track is a sequel to  their debut single ‘Godzilla is Dead’ .  The single opens with a fast paced, chunky riff inspired by the hardcore punk rock scene that was the bed rock of underground music in Belfast for so long. Before long however, the dams burst into what can only be described as the soundtrack of a rampaging apache war pack. Singer Danny McClelland roars into action, all raw vocals, boundless energy and sweat you can practically feel through your speakers. Rapid drums keep the breakneck pace as  WASPS’  blitzkrieg through

The Bonnevilles album launch, with support from Amy Montgomery, Colin Geddis & Conor Keys Friday 15th June 2018 – Mandela Hall, Belfast Mandela Hall. One of the most iconic live venues in Belfast ’ s storied history. Playing host to The Clash, Snow Patrol, The Damned and a host of others. Now,  The Bonnevilles  take the stage, on the eve of the venues destruction.  “ Into the valley of death …” I arrive at 8.30pm, 30 minutes before the opening act of the night to find a small but notably buzzed and growing crowd. I order two pints of lukewarm beer, which I grip tightly as I settle into the shadows and begin my people-watching ritual. There is a solid mix of punters in both age and gender but there is an undeniably older, more grizzled vibe from most of those present. Family, friends and die-hard fans mill around the floor at the front of the stage where the macabre, bog gothic artwork that The Bonnevilles are so famous for hangs as a backdrop, like a stained glass window

Downpatrick veterans  Ash  return with their 7th album ‘Islands,’ a seasoned and thoroughly enjoyable album that sees them embrace their future without shunning their past. Following a tour supporting Weezer, this latest endeavour sees Ash dive headfirst into the new world of music after only dipping their toes previously. Following their 2007 pledge to stop releasing full-length albums and departure from their record label, Ash would later return to the fold with 2015’s good-ish (if hesitant) ‘Kablammo!’ Now back at their spiritual home, ‘Infectious Music’, and with a “Jaysus take the wheel” attitude, Ash has produced their best music in over a decade. A master class in power-pop and melodic indie rock, ‘Islands’ is as fresh as it is infectious. Ash escape the common trap of older bands returning to the fold by retaining their old sound without sounding repetitive or dated. Despite their two-plus decade tenure as a unit, ‘Islands’ has the legs of a band hungry to prove them

The release of  Rebekah Fitch ’s newest EP ‘ Broken Mind ’ further proves that her sustained success is no fluke but a result born of both talent and passion for her craft. A mature and nuanced EP constructed from the varying influences of Pop, Soul, Gospel and Electronic music; Fitch comes across as a seasoned and experienced veteran of her craft, which can only be attributed to the excellent production and Fitch’s dedication to her art. The archetypal pop trio of piano, percussion and acoustics are all prevalent, but rather than overlapping they fit neatly together as if pieces in a jigsaw, the perfect accompaniment to the huge impact created by Fitch’s imposing vocals. Complex opening track ‘A Love So Crazy’ displays the full range and depth of Fitch’s vocal ability. A slow build up leads into a gospel-like vocal crescendo that is comparable to the power and authority of a prime Roger Daltry, with the soothing essence of a Paloma Faith solo. Fitch’s powerful vocals are juxtap

Irish singer-songwriter  Joshua Burnside  continues on his journey from strength to strength with the release of his chilling new single ‘ A Man Of High Renown ,’ ahead of his new EP ‘All Round The Light Said.’ Like a cross between a sea shanty and a Celtic battle march, this bog gothic ballad sees Burnside use vernacular vocals positively laden with emotion to create a musical tale that has a palpable sense of tradition. Opening with what can be mistaken for a joyful ditty, the song quickly breaks rank with the air organs bestowing an almost religious sense of dread and weight. Like every great Irish traditional tune, you can almost feel the eeriness and unease. Opening lyrics speak of ghosts and bruised knees, marking the beginning of a curious link between Burnside’s childhood memories and the darker themes of the song. This malice tinged nostalgia serves as one of the most vocal points of the song, with memories of ‘eyes all black’ and a ‘rash down your back.’ The forlorn dr

Sister Ghost, Alpha Twin, Surf Green, Romeo Indigo Romeo Thursday 24 May 2018 – 39 Gordon Street, Belfast On the typical Thursday night, 39 Gordon Street is just another of Belfast many trendy bars present in the bustling Cathedral Quarter. On the night of 24th May, however, the bar transformed into a venue housing four of Belfast ’ s premier young talents. Working in tandem with the BBC Fringe Weekend and the BBC Big Weekend, these four bands represent some of the best bands on the local scene. First on the bill was  Romeo Indigo Romeo  (R.I.R.), who I managed to chat with before the show. As charming and entertaining off the stage as they are on, we talked about a number of things: their upcoming involvement with  Belfest  (local festival on the 8th of June), future gigs ( “We ’ re opening for ‘ Surf Green ’ at their EP launch in Foundry, which is great ” ) and their upcoming EP, hopefully to be recorded this July. Regarding the new EP, guitarist Simon Harte told me that  “ E

The punk and rock renaissance of Derry spearheaded by Touts’ continues with thanks to female three-piece  Cherym , a dynamic group of rabble-rousers whose newest release ‘Mouthbreatherz’ is both a statement as well as a teaser of untapped potential. Opening track ‘Take it Back’ begins with a bass line so meaty that it caused me to lower the volume in my headphones for fear of damaging them, something even Royal Blood haven’t made me do before, before Hannah Richardson revs into gear, delivering clear vocals of funny and relatable lyrics. An upbeat guitar lick that could have been taken from The Wombats’ discography soon roars into play, completing the formula for a song that fits the mould of the modern pop-punk hit. ‘Telepathic Kelly’ immediately follows and sounds noticeably darker, as the distorted riff of the lead and bass guitar combine with sinister vocals. The bass talents of Nyree Porter take over during this song, as the thick bass backbone of the album comes into the

Armagh four piece  Hunkpapa ‘s newest music video release ‘Losing All’ is a dignified song of both accessible simplicity and nuanced complexity. Dedicated to the late Scott Hutchinson, ‘Losing All’ deals with loss, regret, sorrow and nostalgia. However, it is not merely an ode to misery, but instead a metaphor for the ‘light at the end of the tunnel.’ The music video itself is minimalistic, which is in keeping with the theme of the song. Following a solitary man (BRØR’s Ben Whittington), we see his journey through a drab and empty countryside, taking only his stuffed bear as company. Symbolically, and physically, the man is alone, giving a sense of both empathy and connection between the audience and the man. Opening with rhythmic a cappella chanting, the song quickly breaks into an impassioned indie ballad, in the same vein as Kodaline, with lo-fi acoustics and stirring vocals adding to the depth of the song. As the song progresses, however, the density and volume increases. An i

Derry’s rapscallion three-piece  Touts  continue their tour of rampaging success, both locally and internationally, with the release of their newest single and music video ‘Asleep’. As with their other releases, Touts avoid the trap so many local bands fall into of sounding too much like their predecessors, as ‘Asleep’ instead sounds fresh, bouncy and dangerous. You would be forgiven for sensing some similarities in the vocal style between singer Matthew Crossan and former Undertones singer (the band they will inevitably be compared to) Feargal Sharkey. However, any similarities end there. ‘Asleep’ has no pop pedigree, nor any mass appeal. Where there should be melodies, there is only menace and it sounds so refreshingly unapologetic that you can’t help but crack a smile at the sheer cheek that emanates from the pores of this single. Stripped back, raw vocals, snarling guitar and bass and relentless percussion give ‘Asleep’ the harsh edge that has become Touts signature sound. A b

Those familiar with  Rebekah Fitch ’s work have a rough idea of what to expect from the rising star. A model of consistency and talent, Fitch’s new single ‘Not Myself’ sees her continue her vocal tour de force in staggering fashion as she produces her best work yet. A towering, triumphant anthem in the same vein as Stevie Nicks or Sia, Rebekah Fitch demonstrates yet again that she is one of the premiere young talents in the country, both vocally and lyrically. With all the hallmarks of a modern hit, the colossal synth beats, imposing vocals and stadium sing along quality of the lyrics, ‘Not Myself’ adds itself to an ever growing list of Fitch’s hits.

One of my favourite quotes about music comes for legendary producer Dr Dre, who once told a then-aspiring Eminem that, when in the songwriting process you must “work hard to get it, and TWICE as hard to maintain it”, with the metaphorical ‘it’ representing the mindset of writing a good song as opposed to writing a ringtone for a quick cash-grab. ‘It’ happens to be, simultaneously, the easiest process and most difficult obstacle for every young musician and band to grapple with. The compositional world is your oyster, and yet with so much to choose from, how do you separate the wheat from the chaff. This is especially true when it comes to the indie rock bands of the last decade, wherein it becomes a bitter struggle to merely separate yourself from the pack while maintaining the basic and enjoyable aspects of indie rock that made bands like Kasabian, Arcade Fire and Arctic Monkeys household names. Yet, it would seem that Belfast formed Indie/Alt-rockers Echo Raptors suffered very

Although not far removed from their first EP, what Zeppelin puppers Alpha Twin lack from other bands in experience they more than make up for it their unique firebrand style of music. Going from strength to strength since there self-titled debut EP, they have gigged relentlessly, won the Guinness “Battle of the bands” and performed at Sunflowerfest. In the meantime have taken the opportunity to write an EP that, frankly, blows their last effort out of the water due to a marked increase of talent and comfortability in their musical membranes. With its 70’s inspired riff opening ‘Ecstasy’ starts as they mean to go on: hard, heavy and in your face. Coming out of the gate firing on all cylinders started the first of the body shivers before Fisher (Tomas, Guitar and vocals) seems to channel the spirits of an Apache war party through his guitar as he lets loose a 15-second outburst of pure malice. After this initial onslaught you realise that constant reverberation in your head is comi

It’s been a long road for Search Party. After forming in 2013, they’ve gone through a sizeable turn around in members, particularly in the bass department, and gigged furiously around the country before finally settling into their now established line up of Sean McDonnell, Dee Malone, Ethan Murphy and Ryan Pendelton. An EP was soon to follow and they were sure to deliver. Opening with “Contrapuntal paradox” establishes the punk rock ethos that carries on throughout the rest of the EP. Fast-paced, aggressive guitar prevails as the group take on a pseudo-Foo Fighters approach, thrashing away with reckless abandon it a somewhat controlled manner. Boisterous drumming permeates the airwaves as frazzled, spark plug guitar licks lash away at listeners, before ending on a solid note as the band begins their recorded journey. Next song “Life is art” manages to improve still, with a much more modern vibe pushing the tempo to a breakneck pace. The post-grunge vibe continues, spreading the d

For a group so remorseless and unmerciful in their pursuit of dastardly rock numbers and bombastic hip shakers, Firebobbies makeup and modus operandi remains shrouded in mystery. With their EP revealing little outside their love of Lego and their musical roots, the general population know little of the group outside of their radio hungry, forward-thinking, down-to-earth rock n’ roll sensibilities. The three members, referred to only as Mark (guitar & vocals), Barry (bass & vocals) and Kevy (drum & vocals), indulge in this mysticism and use it to bring forth some exciting, pitch fork waving tunes. First song ‘Unsaid’ acts as the venus fly-trap of the EP, luring the unsuspecting reviewer close with its brief five-second ethereal pop intro before launching mortar shells of typical post-2000 rock madness. Immediately you are given the sense that these guys know exactly what they can do and that they enjoy doing it. They simply get torn into it, with no need for messing ab

Progressive rock hopefuls from Belfast, Windfall’s debut EP provides enjoyable riffs and accessible melodies that appeal to a wide audience. Utilising the talents of Nathan Lacey (Vocals, Bass) Gerard Burns (Guitar), Kacper Lewandowski (Guitar) and Niall Quinn (Drums), Windfall begins a sonic adventure of their EP Spiral that proves to be both rhythmical and complex, yet remaining catchy and free of pretentiousness. The first song ‘Spindrift’ on this 4-song EP opens with a razor-sharp energetic riff that should come with a warning label as its liable to injury. It's not long before Lacey slides in with thick, droning vocals. While the vocals are good and the lyrics adequate, there is, however, a slight sense of discombobulation as they don’t quite fit the frenetic instrumental pace (which varies between 100 miles per hour and oh god think of the children). Never the less, the heavy tone is carried further by the metal-prog rock musical combination of licks and bass lines. D

LoFi Life is an interesting case when it comes to solo records, as it seems to place multi-instrumentalist Michael Mormecha outside his comfort zone. Contrary to common thought, however, Mormecha seems to thrive off being the sole focus of attention and delivers a solid and intriguing record straight off the bat. Mormecha begins his solo career with 1-and-a-half minute acoustic yarn ‘Restless’. While it remains a solid opener, the song still stings slightly of underachievement. While Mormecha’s adequate acoustics feel on point to the listener, the vocals remain weak throughout and do not mesh well with the lyrics. Despite this, it’s short length gives the “calm before the storm” impression and left me eager to see what else was in store. Hopefully, I thought to myself, this was all part of his master plan. Not one to disappoint, Mormecha’s next number, ‘Happily Lost’ quickly picks up the slack. Distorted heavy guitar slams open a 3-minute crescendo that effortlessly makes up fo

When you think of an artist’s influences, it's unlikely that you envision a man inspired by folk and pop punk. Even less likely is the assumption that it’s actually any good. Ladies and gentlemen, Darren Hill would like a word. Following a very interesting year that saw him perform with such acclaimed musicians as Chuck Ragan and Henry Cluney, Hill has expanded his musical aptitude and experience considerably from his first EP; a fact that can be clearly gleaned from a quick listen to new EP Hand Of A Wolf, which he produced himself. First track ‘The Rolling Tide’ creeps up slowly on listeners, with its hymn-like vocals and harmonies mingle to create a tune that resembles a seance more than a song. Ghostly lyrics, which are delivered in a 90’s Grunge droll, roll over the mind like the tide they describe, with the folk inspirations become apparent as they describe the desolate scene Hill has created. ‘Howling Into The Wild’ see’s Hill continue to show off his lyrical chops,