Tag Archives: Dublin

SPRINTS: All That Is Over.

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Buckle up because this is nearly 2,000 words!

The second album curse. Is it a myth? Is it for real? Well, one listen in on the new Sprints record, and it’s clear that this myth has passed them by. That myth looked at Sprints and knew better. It knew not to mess with them.

Letter To Self was one of the best records of 2024, and it was one of the most captivating debut records we’ve had in a while. It’s not fair to compare the two, but it’s fair to say that All That Is Over shows exactly what years of touring and working your arse off can do. Letter To Self was the starter. All That Is Over is the main event. It’s the one that grips you in a different way. The record opens with Abandon, and the way Karla’s voice grips you is unreal. It makes you feel like you are somehow listening in on something really private- almost voyeuristic in a way. You feel you shouldn’t be listening in but my god you are glad that you did. It’s the perfect way to start the record off and it truly grips you in ways the first song on a record should. Also, the drums on this are unreal.

You get your ears beautifully destroyed on To The Bone and this is one of the many moments where Karla’s voice shines. There’s this power (I honestly can’t think of a better word) in her voice that’s always there and she uses it to the fullest on this.

There are so many moments on this record that just make you think, “Oh shit this is THE BAND.” Like, this is the band you need to be pouring all your attention and love into. I’m seeing them play a small venue on Sunday here in Manchester and I just know it’ll be the perfect setting for them. Then, a few days before my birthday they’ll be playing the Albert Hall here and that’s my favourite big venue here in Manchester. I don’t there this a more fitting venue for them and to hear this record. It’s not a record that can be contained. It’s not a record that you stick on in the background. It’s a record you have to pay close attention to and let it grip you so tightly. The first song we got from the record was Descartes back in the summer and that pretty much summed up the feel of the record. Dark, heavy, poetic and addictive. It’s a stunning record and I feel that my words just don’t do it justice. This is a record that demands to be heard.

The latest single, Need is wild. I love the ending of it, and if you pay attention, you’ll hear Karla say, “I need you to leave me the fuck alone.” Perfect. I think most of us probably want this on a t-shirt or something. It’s fast and rowdy number, and I’m pretty sure seeing this live will be almost biblical. I think seeing them live will be just that to be fair. The more I listen to this song, the louder I want it. You want it louder and faster. It’s addictive. I’m pretty sure I’ll play this at the gym and feel I can take on the world.

Something’s Gonna Happen has claimed my heart. I could have this on repeat for hours, and with every listen, I’d find another part of it to adore and call it home. There’s an eeriness to it that would fit perfectly in like, a Norwegian detective drama series. It feels sinister. And you know, the whole record has this dark and sinister feel to it, but you don’t feel threatened. You feel quite safe, but you do feel on edge and that’s what they’ve done with Something’s Gonna Happen. You feel on edge, like it’s going to kick off and fuck me when it does kick off on this- it goes. It absolutely GOES. And I cannot wait to see this live. I just know the live version of this will be intense, and you can hear changes in Karla’s voice as she approaches the edge of the song- and that is the moment where you know you cannot escape your love for this band. It’s the anticipation that holds you so closely. You feel on edge- should you feel safe, or should you try run? As if you’re going to run. Don’t be a fool.

Every song on this record is a prime example of why Sprints are the most vital band around. You feel like you’ve found someone’s diary when you pay close attention to the lyrics, but you also fee like you’ve found a home. There’s a line on Pieces that got me in the gut; “Home is where the heart is, so where’s my head? For the last one who loved me, left me better off dead.” Oh, come on now! What a line! I’d have related to that well over a year ago, and it would have probably made me bawl. Now it just makes me feel silly for feeling that way. There’s always better and I found it. It’s a furious number, and again, is another example of why this record is made to be witnessed live. There is nothing calming about this record in the typical sense. As someone who finds security in loud songs and feels uneasy with the quiet, this record definitely feels good for the soul. It is comforting and its home. It’s just perfect.

Lyrically, this record is Sprints at their most honest and tender. Better is a solid example of the tenderness and it’s definitely got the potential to break the hardest of hearts. It’s one of the slower moments on the record and shows a different side of heartbreak in a way. There’s a healthy mix of rage, heartbreak, and disappointment on this record and Better sums up those emotions in the most perfect way. Sam and Karla’s vocals on this are just divine. I love their voices together anyway, but on Better you really hear how gorgeous they are together.

The record ends with a 6-minute dream of a song, Desire. I compare everything I listen to to the greatest song of all time- A Forest by The Cure. If a song can make me feel like I did when I first heard that aged 13/14, then I’m hooked. It goes without saying that feeling is there throughout All That Is Over but its comes alive on Desire. The last minute of this song feels like Karla is unleashing every single demon she’s ever known and giving it to the world and letting go. That’s how the whole record feels, and that’s how you feel when you listen to the record. Every ugly and intense feeling you have, that you have no idea what to do with is let go of when you listen to this record and for me, that’s what makes Sprints and this record such a joy to listen to. It’s like an exorcism of sorts. It’s a cathartic record and you get a real sense of it having that feeling during the creation of it.

The band in general on this record sound like gang. There’s not just one band member here to focus on- it’s all of them. Jack is a real threat on the drums, and there are a lot of moments on this record where the drums just take your breath away. The addition of Zac adds something that compliments the sound of Sprints in a way you didn’t think could exceed Letter To Self and previous, but Zac’s nailed it- that ferocious guitar sound feels like fireball approaching. Sam is probably one of best bassists around- the way he and Jack create this unique and thrilling rhythm on every song just leaves you in awe. Karla’s voice (and guitar) has never sounded so powerful. She has this tone to her voice which reminds me of my two favourites- Shirley Manson and Patti Smith. Writing this makes me feel like I have found Garbage for the first time aged 6 or 7, and that is what I get with Sprints. The power in their music reminds me so much of Garbage and my heart is so full of love for that. I pretty much could have cut out a thousand words here and just kept that in to sum up this record!

The whole record exposes the bin fire that is the world right now, and you feel less alone listening to the record- especially when you feel so fucking helpless. The world is heavy, and this record explores that heaviness in a way that has you hooked from the start. The production on this record is again flawless (I mean, it’s Daniel Fox- of course it’ll be perfect!) What was done on Letter To Self has been heightened and something entirely new has been birthed. It’s ripper of a record, and one you cannot get tired of. Sprints won’t shrink themselves for you to feel comfortable, and that’s one of the most wonderful things about this band. The hard work, the passion and the drive is right there. It’s always been there, but this record unleashes something entirely different, and you want it to be poured into your eardrums constantly. You simply cannot get enough of it.

All the best records are dark, intense and creep you out a little bit- All That Is Over does all this and more. If this is what they can do with just two records, then imagine what they’ll be like 5 or 6 records in. Dublin’s finest. Ireland’s finest. Just the best. I couldn’t praise this record more if I bloody well tried. It is like a thousand punches to the gut and head. A freight train to the soul. A mirror to yourself. It is perfect.

If you are in need of a record to break or fix you. If you’re looking for a record that puts you on edge but also makes you feel safe. If you’re looking for a beautifully created masterpiece. If you want a record that makes you feel like someone has stepped into your head and exposed all that you think and feel. If you’re looking for something you’ve not heard or felt before- then this is the record you need. It’s a masterpiece and it is a joy to listen to, and to be consumed by.

I don’t think I have ever written about a record in such detail before. Nearly 2,000 words about a record. I didn’t think I had it in me, but sometimes you hear something so important- you just have to let it all out. So, thank you Sprints. Thank you for creating one of the most important records of the year and for making something that feels like home.

SPRINTS: Letter To Self.

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Since its release, I have been quietly obsessing over the debut record by SPRINTS. It is easily one of the most beautiful records of the year, and honestly- I’ve not connected with a record like this in a long time. If I could personally thank them for making such a phenomenal record that has made my dumb brain feel less strange, I would. But alas, I’ll just rant about the record here.

SPRINTS have made a record that HAS to be played loud. But you have to play it loud whilst on your own so you can take it all in. Like really really ignore the world around you, turn your phone off or throw it in the bin- and play this record so loud. I plan on playing it a little bit louder when I go home later. I want to crawl inside this record and make it my home. The more I listen to Cathedral, the more I hear the absolute genius of this band. There is nothing else out there like them. Nothing before them and nothing after them- they are it. I liken it to falling in love with the person you’ve been waiting for and finally feeling at home. This record is a safe space and also, beautifully terrifying because you cannot help but click with every single word.

Letter To Self is one of those songs that make you feel like you’ve reached the point of self-acceptance and understanding. I reckon if someone ripped my insides open this song would start playing. But the whole record feels like the purest and biggest cathartic experience you can imagine. It’s just as if you’re hearing something life-changing for the first time, and my god this is so clear within seconds of listening to the record. It opens with Ticking which feels like a punch right in the kisser, but you go back for more because you actually feel something. The way Heavy is effortlessly next after Ticking- give this band every award, everything good in the world. I don’t care- fucking give them it. This record is IT. If I get hit by a bus tomorrow and this is the last record I hear- then I will die happy. It is perfect. My words don’t do this record justice; I hope anyone who listens to it feels the way I do because my god it is the most perfect record I’ve heard in a long time. Maybe years. I don’t know. I feel like I’ve never heard music before playing this.

There are records you will hear in your lifetime, and you know that they will change you. Or change parts of you. Maybe they’ll get to parts of you that a person couldn’t. They’ll say the things you couldn’t pull out- and SPRINTS have beautifully done this with the record especially on the song Cathedral. My god that song is lyrically a work of art. It’s just divine.

SPRINTS have everything I want from a band in their sound; the lyrics, the heaviness, the way you feel as if you’re having your head bashed into a wall whilst Karla screams out the words that just speak to you more than anything else ever has. Her vocals on Up And Comer are INSANE- you can hear every raw emotion on this song, and you just want it to take over your life. This record will. It’s absolutely done that with me, and I’m happy if I never hear anything new again because everything I’d want is in SPRINTS. They unleash hell in the most perfect and beautiful way- the chaotic sounds are a delight for the ears and good for the soul. I want it injected into my veins- would that even be possible?! It’s a record (well, band to be honest) that you cannot help but become obsessed with in the best way imaginable. I couldn’t imagine going a day without listening to them, and I’ve got a handful of bands that I love as much as this. Part of me wants to lock myself in a room by myself for the rest of time playing their music and the other wants every single person in the world to listen and love them as much as I do. In short, everyone should love this band. How could you not?

The record ends with the album title track, and it’s the most perfect way to end the record.  Again, lyrically it’s genius. There is not a bad song on this record. There’s not a bad lyric. Everything is so vital and delivered with such urgency that is so infectious. You want it around you all the time. 11 songs aren’t enough but it’s just the start- they are going to be one of the best bands we’ve ever been lucky to have. Let’s treasure them in the way they deserve.

I LOVE how SPRINTS have this energy that just makes you want to shut everything out and play their music as loud as possible. I love how their sound reminds me of a band I miss so much- Savages. Karla’s vocals has the same power as Jehnny Beth- that energy and raw emotion is nothing short of perfect. If I had even a touch of musical talent, this is the band I’d probably want to sound like. They’ve got this glorious way of giving you something positive when everything seems utterly hopeless, y’know?

I’ve just bought a ticket to finally see them in November; I’ve not been to a gig this year yet and I have no idea why, so if this show ends up being the only one I go to this year- so be it. It’ll be the best anyway.

GRAVE GOODS: Tuesday. Nothing Exists.

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This record came out just over a month ago, and I had something written in my drafts. Looked over it, and deleted it. How I felt about the record then and how I feel about it now is different. Not by much, but there’s a difference. This isn’t a bad thing; I’ve had the record on repeat and can safely say that it’s up there as being one of the most flawless and interesting records of the year. It’s everything you love about music, and more.

If you’ve never listened to Grave Goods before, then you are in for a treat with this record. Grave Goods are made up of members from three bands that I’m a huge fan of: PINS, Girls Names and September Girls. If you mix up their sound and influences, and style- then you’ve clearly got a perfect band haven’t you. This is such a fantastic record from that slick sounds to the way the vocals are delivered. It’s got so much excitement to it; there’s this pure thrill you get from every listen because every single listen feels like you are being exposed to something new every single time. I reckon the ideal setting to listen to this record is on the top deck of a double decker bus, in the pissing rain and watching the world go by.

These seven songs are powerful, and songs like Story are a perfect listen on a grey and rainy day in Manchester. The whole record is a huge comfort, and with just seven songs the band completely and utterly show you what they are made of. The songs are digs are what society expects, thoughts, feelings and unspoken narratives. It’s just a phenomenal record, and I honestly feel like it’s a record that just needs to be heard. There’s an urgency to this record that just gives you a kick up the arse.

Listening to this record full whack through headphones or in your room is such a great sensation. You can’t help but take in the lyrics- Miles is a perfect example of this. The storytelling on this is just divine; it’s dark and humorous. The whole record has a dark sound but the lyrics/vocals add this gentleness. It works so well. It’s a heavy record, but it’s done in such a way that leaves you in awe. That’s all there is to it really.

The record ends with Die, and although it’s probably a morbid title for some- it’s a bloody lively song. The last minute of this song is euphoric and it just makes you start the record all over again. That’s when you know you’ve found a record that’ll you keep going back to over and over. You’ll use it as a reference. You’ll compare everything you now hear to this. Every song on the record fits perfectly. They sound as if they are made for this moment and whatever Grave Goods create next will be another masterpiece like this. You just know don’t you, when you listen to a band, and you know that regardless of how much music they put out, it’ll always be mind-blowing. They evidently a band that could never ever make a shit record. They’ve got this ideal sound that I just want to constantly hear. I bloody love this record.

Tuesday. Nothing Exists. Not only is the title of the record great, but you know how Tuesdays are probably the most boring day of the week? This record adds excitement. Play this record every Tuesday on repeat to add some spice to your life. It’ll make waking up less exhausting.

BULLET GIRL: Talking Pony EP.

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Good Friday has now taken on a whole new meaning because the debut EP from Bullet Girl is FINALLY here. It feels like we’ve been waiting forever for this. And yes, as that old saying goes- good things come to those who wait. I mean I was pretty impatient for this one, but I stayed up well past my bedtime last night/this morning and at midnight, I played the EP. I’ve been playing it all day (I’ve taken a break from listening to CROWS for the time being.) Good Friday? More like a BRILLIANT Friday. If you’re looking for something that is powerful, will burst your eardrums, give you a swift kick up the arse and make you feel something- then I URGE you to check out this EP. It’s incredible.

In 4 songs, Bullet Girl show us exactly what they are made of. They are a political, honest, focused and a poetic bunch. The songs are insanely brilliant. It opens with The Hunt, then we go right into Paper Guns which is just a treat for the ears. The whole record is. Of course, you want more, but what they’ve given us is a work of art that oozes passion, dedication and determination. You can truly feel the hard-work that has gone into this record. Everything about Talking Pony just screams every fury you possibly feel right now. Paper Guns nails this more than most. The despair and hurt on this are so raw, and you’ll probably be made of stone if you don’t connect even a tiny bit to this one.

With one EP they have firmly put their sound out there. There’s nothing like this around and thank God because no one can do it like Bullet Girl. They make you want to cast aside your daily responsibilities and just follow them on tour or something equally fun. They’ve got this energy to the songs that just makes you punch the air in agreement and yell the songs out. Nothing will hit as hard as the into to McViolence. That intro just gets me every single time. Pretty sure I could be having the worst day possible, and within seconds of that intro being blasted out- I’ll feel better. I love the sheer rage in the song. The whole record has this brutality to it that just makes you really connect to the band and what they are about. Again, it’s all about picking up on that drive and determination in this EP- it’s wild. I honestly didn’t know what to expect when listening to the record. Like, I knew it was going to be great of course, but I didn’t know how the songs were going to hit and how it’d feel to finally hear this body of work that they’ve worked so hard on.

The love and drive gone into this EP is evident on every single song. If you want music that will make you feel like you are being thrown about or if you want lyrics that are just an accurate social commentary that are sung with such vulnerability and urgency- then this is the record for you. These 4 songs were made to be heard by the world and to be treasured. The record ends beautifully on Parasites but it doesn’t have to end there. Simply play it over and over again. It’s the only way. The last 20 seconds or so on this one is just incredible. The screaming of “Better days will come” just hits you right in the soul.

Talking Pony calls out everything shit with the world, but it’s delivered in a way that givers you hope. Hope that it’ll get better. It has to, right? With bands like Bullet Girl telling it like it is, it’s a sure fire way of making us all feel less alone and less helpless.

Tour dates for May are:

7th May: Retro, Manchester (R-Fest)

8th May: Hyde Park Book Club, Leeds

9th May: The Washington, Sheffield

10th May: The Old Blue Last, London

11th May: Bedford Esquires, Bedford (supporting Personal Trainer

14th May: The Black Lion, Brighton

BULLET GIRL: McViolence.

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Given the state of the world at the moment, a song like this seems, sadly, very apt. It’s hard to avoid the news and it’s even harder to not feel helpless. All you can do is hope it all gets better, and that feels like such a throwaway comment to make. I know. I know. Sometimes you just look at the state of the world, and words fail you don’t they. I guess when words fail you, you can turn to music in the hopes someone else can say what you’re carrying round.

Bullet Girl are a band I’ve written about previously, and will be a band I carry on talking about for as long as they make music. They are back with a new single/video called McViolence and like I said above, this song is pretty apt write now. The dual vocals with Aaron and Dylan on the chorus is exceptional- I reckon this song live will be something else!

As I write this on my lunch break at work and have the song on repeat, I can’t help but think that Bullet Girl are quite possibly, from another planet. How can a band be this good?! Well, I only write about music I love and when I listen to Bullet Girl, I can’t help but get excited for what they’ll do next and for their future. McViolence is a heavy song in every sense of the word; taken from the press release, “The song was inspired by an unprovoked attack on two of the band members from a group of teenagers in their hometown.” Remember when My Chemical Romance sang, “Teenagers scare the living shit out of me.” That fear is something that never goes. But, we must remember that regardless of age, gender, race etc- there is good and bad in everyone and everywhere.

McViolence is a hard look at this horrible culture of toxic masculinity, and Bullet Girl aren’t a band to shy away from topics most would try turn away from. The song is extremely powerful and a beautiful piece of noise. The video shows violent clips (which you’re advised to proceed with caution) but these clips really show the essence of toxic masculinity and how it is something that’s always been there. We can live in hope that it dies out because it’s just such an ugly way to be. Although a heavy topic, the song is insanely brilliant and shows us what we can expected from their debut EP, Talking Pony which will be released on the 15th April via Blue Organ Records and has been produced by the brilliant Daniel Fox from Girl Band. I cannot wait to hear it and to play it religiously. That’s the only way to listen to Bullet Girl- constantly.

Around the release of the debut EP, the band will be playing some dates:

17th March: The Good Mixer, London

7th May: R-Fest, Manchester (Retro Bar)

24th September: Post Punk Strikes Back, Porto

Further dates will be announced soon!

BULLET GIRL.

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If you are looking for a band to really rip through your body, chew and spit out your guts, and make you feel alive- then I’ve got the band for you. That band is Bullet Girl. This band are something else. You know when you hear something for the first time, and you feel like the only one who has heard this and you just want to tell any and everyone about them? That’s EXACTLY how Bullet Girl make you feel. That feeling, that rush you get from finding a band for the first time is unlike anything else you’ll ever feel, and it is one of the greatest feelings in the world. It’s a feeling that makes you feel 10 feet tall. It’s a feeling that cancels out all the band in your mind briefly as you completely lose yourself in the band. Their music becomes every single part of you; you drown the world out and allow yourself to be consumed by the band. Is this too heavy? Not even a fraction.

Bullet Girl are exceptional, and that’s putting it mildly. We have bands like Fontaines, The Murder Capital and IDLES who are excellent at helping us feel safe and alright with expressing how we feel. They take ugly feelings and make them beautiful. Bullet Girl are pros at this too.  Their music is made to be played ridiculously loud. My work pals got me some great headphones for my birthday last week, and listening to Bullet Girl through this is just blowing my mind and my ears. I’m probably going to make myself deaf listening to this band, but it’s fine. I’ll be in a state of bliss as it happens.

They only have a handful of songs out so far, and of course it’s Concrete Bed that is the absolute monster of a song. That song was made to be played anywhere, everywhere and all the time. Imagine this in a massive stadium and everyone is screaming along. It would be unreal. Bullet Girl aren’t afraid to share what they know with the world, and they are true poets. Their songs are made to be played loud and sung even louder. They have everything you could possibly want from a band and more. If you’re looking for a band to become your life, then Bullet Girl are THE band for you, you and YOU. They are for any and everyone. They are an absolute joy to listen to. They go beyond being a Post-Punk band; there’s no way you can define this band. They make you want to sack everything off and live a life of sin in Dublin. Spend your days in a drunken haze, wandering around without a care in the world. I just really, really love this band. It was an instant love.

Panic 2020 reminds me a bit of the Pixies mixed with Talking Heads; but every song on theirs is just out of this world. You can lump them in a genre if you want or must, but this band are something else. Just when you think you’ve heard it all before, you find yourself completely immersed in Bullet Girl and it’s just as if you are hearing music for the first time. This is magical. This is worth sticking around for.

Their latest song, The Hunt is a brutal piece of art. Play this in the dead of night, or early morning when the early morning mist comprises everything you can see. The Hunt is their anthem. It’s got such a bite to it and that beautiful aggression in this song is just divine. It’ll make you feel like you’ve gone a few rounds in the ring with a real bruiser. You’ll feel weak after but fucking alive.

It’s nearly the end of another shitty year, but I think we can finally say that Bullet Girl are the band of 2021 and beyond. I honestly don’t think I’ll hear anything else that’ll move me like this for a long time. I’m open to it, but Bullet Girl are just something else. Every single song feels like it was made to be part of you and to feed into your daily life; especially those times where everything just feels a bit off. Bullet Girl make sense. Bullet Girl are quite frankly, the future.

FONTAINES D.C. : A Hero’s Death.

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In a few small hours, the world will be able to finally hear the new record by Fontaines D.C. I don’t say this lightly when I say it is truly one of the most heartfelt, heartbreaking and brutally honest records of the year. There will be no comparisons to their debut, Dogrel. The only fair comparison is that both records are phenomenal and show us exactly why they are one of the most exciting and exhilarating bands around. If you’re looking for a record that soaks up all of your anger, insecurities, fear, lust and all that goes in between, then this is the record for you. Treasure it.

Fontaines D.C. are quite frankly the best at what they do. We can all agree on that, right? With so much uncertainty in the world it’s hard to find any good in anything or in anyone. It’s totally okay to have a meltdown. It’s okay to feel like shit and not have the words to describe why. You can be as happy as a pig in shit one minute, then be a bawling mess the next. I get it. More than I wish I did. One of the few things that can get me out of a rut is music. Certain bands can drag me out when I can’t. We all look for a crutch in conventional and unconventional things. What they have done on A Hero’s Death is something that goes beyond words. It’s the record you’ve been needing for so long. You’ve been so desperate for this record. You will cling to it- day and night. It will be all you have at 3am when the world goes quiet, but your mind doesn’t.

Vocally, Grian has excelled himself. His voice on this record is that of someone who isn’t afraid to be vulnerable with their words and share them with you in a way you didn’t know someone could. Without being too personal, I’ve struggled since last August when my Gran died to find any joy in music. I didn’t want to hear anything new. I didn’t want to hear anything old. I got in this phase of just playing certain songs over and over. To the point where I didn’t want to listen to music. I cried myself to sleep many times listening to The Murder Capital. I blocked out bits of grief to Fontaines D.C. I was finding ways to cope. Nearly a year on, I’m still there. I’ve made peace with grief, fully not accepting she is gone at times. The poetry on A Hero’s Death is beautifully crafted, a sheer romantic record in all ways possible. The typical to the not so typical. One thing that is constantly constant is the greatness and honesty on the record.

A Lucid Dream is my number one obsession right now; I love the ferocious energy it has, and I cannot wait to see them perform this live (May cannot com quick enough.) There is something about the way it musically sounds like The Birthday Party but vocally, it goes beyond. I love everything about this song. You can just imagine it being played live, with the lights as dim as possible with the smoke machine going on overdrive, and everyone in the room just loses their mind to it. Heavenly. God, I miss going to gigs.

You Said is a gentle number, vocally. But don’t let that fool you. It is a monster of a song and the way A Lucid Dream flows right into it is just divine. I love how the songs flow into each other. The order of the songs on A Hero’s Death is sublime, and you cannot help but fall in love with this record within seconds. Their second record comes just around 18 months or so (a little less) than their debut. You can hear the growth and power in what they do. I’m all for music sometimes keeping me on edge/making me feel a little uncomfortable but A Hero’s Death is a safety net. It is such a comforting record that just soothes your soul. One of my favourite moments on the record is Carlos and Conor’s guitar on You Said. It is so gentle, but it is so powerful. Mix this with Tom’s ethereal drumming and Conor’s slick bass- you’ve got the most beautifully created song imaginable.

There is so much poetic imagery on this record, and songs like Oh Such a Spring feel like a lullaby and all of a sudden you are smacked in the chops again with the title track. It’s an effortlessly brilliant move, and the way Grian chants “Life ain’t always empty” just makes you feel less alone. The song is a mantra for those who are unsure or are struggling. It’s alright. It’ll be alright.

The last song on the record is just over 5 minutes long and I urge you to play No on your own, through headphones. The whole record should be played like this, but this song in particular just makes you feel like you need to go outside and find a place quiet/sacred and listen to it through headphones with no interruptions. Make this song yours. It is one of the most beautiful songs I’ve heard in a long time. I read somewhere that bands like Suicide and Beach House played an influential role to this record. As someone who adores both bands, I can definitely hear a nod to Beach House on this one. It is the most perfect ending to such a perfect record. I’m in awe of every single song.

2019 saw the band probably work harder more than most. Touring was relentless and their music was (and of course, still is) vital. A Hero’s Death is one of the few positive things to happen this year, and my god it is such a powerful and important record. It is one of those records that you hope some kid in a tiny village hears, and they scribble their thoughts in a notebook. They find like-minded pals and form a band which allows them to speak their truth and what they see/feel. It is such an inspiring record, and I honestly don’t think anything is going to top this record. I love the sense of community the band give off. You can feel it on the Facebook group, you can feel it intensely at their live shows. They are a band that just make everyone feel every single word, every note, every beat. Every single detail is felt right in your soul. And you cling to it.

With 11 songs coming in just over 45 minutes, Fontaines D.C. have given us something to treat as our reflection. Something that pulls things out of us that we may be afraid of. It’s comforting but it is also THE most exciting record of the year. My words don’t do this record justice. It’s out tomorrow- BUY IT!

FONTAINES D.C. : O2 Ritz, Manchester 19th November 2019.

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“A sell-out is someone who becomes a hypocrite in the name of money. An idiot is someone who lets their education do all of their thinking. A phony is someone who demands respect for the principles they effect. A dilettante is someone who can’t tell the difference between fashion and style. Charisma is exquisite manipulation, and money is a sandpit of the soul.”

 

Recently crowned by Rough Trade as being their record of the year, Dogrel by the mighty Fontaines D.C. is a record that you need to witness in a live setting. If like me, you’ve been playing it almost religiously since it came out this year you will know just how powerful this record is. It’s romantic, it’s brutal, it’s honest and it is powerful. There’s only one way to play it, and that’s loud. In a live setting, it becomes something else. I knew it was going to blow my mind, but my god it exceeded everything and anything I thought about this beautiful band.

Their set is basically Dogrel in full, and every song is performed with this ferocious energy that makes you believe in every single word that comes out of Grian’s mouth. He’s a poet yet he delivers the words in a way of a preacher, it’s absolutely hypnotising and such a great thing to witness. As I watch the band, I can’t help but feel that they have the same energy and presence that The Birthday Party had. Grian stalks the stage like a young Nick Cave; Carlos and Conor are like Rowland S. Howard and Mick Harvey/Blixa.

 

 

Fontaines D.C. are unapologetically loud, and they touch on subjects that most tend to shy away from. Their songs touch on the sexism in the workplace to dreaming of being big to black cab drivers. There is so much reality in their songs, and this reality is something that many would fear or try to shy away from. No one at the Ritz last night was shying away from any of this. Pints of beer were flying; middle aged men were screaming the songs at the top of their lungs and the kids at the front were no doubt soaking up everything Fontaines were giving us to create their own noise in the future. I sure hope they do.

Songs like Too Real, Sha Sha Sha and Liberty Belle see the venue absolutely erupt in euphoria. We all know that this is one of the greatest records of the year and beyond, but trust me it all changes when you see it live and when you are surrounded with people who love this record, and this band as much as you do. You feel at home and oddly secure. Chequeless Reckless was my highlight for sure, but I’m going to touch on the set closer Big shortly which was equally as powerful. So, Chequless Reckless goes beyond being a song; it is a vital piece of poetry that should be studied. I honestly wouldn’t be surprised if, in the future their lyrics find their way onto syllabuses in schools. Fontaines are no doubt our future and are showing us a side that we need to be exposed to. You can see their world anywhere, but so many chose to ignore it. Don’t. Just don’t. I love the way the band just play with this urgency and dedication to make these songs be heard. Grian’s vocals takeover the venue, but when you see the sheer devotion in the way Tom beats the living shit out of the drums and how Conor treats his bass like a machine gun not to forget how Carlos and Conor thrash their guitars about with this sheer Punk energy that would make even Johnny Ramone proud if he was here. If you were at this show last night, chances are that like me, your love and obsession for Fontaines has gone through the roof.

The band end with Dogrel’s opener, Big. In a way, this has become a bit of an anthem. All their songs have done this. Fontaines could easily sell out arenas there’s no denying that, and maybe this will now be the last time we get to see them in a venue this size but their songs and the way they perform them do create a sense of intimacy and sheer devotion between the band and the fans. Big is THAT song that will inspire many to get out of their current town and to make it elsewhere. Anyone can do it, and the self-belief that Fontaines have, and had got them where they are now. Big is the song you play to pump yourself up or to just give yourself reassurance that you can make something of yourself, even if your beginnings aren’t grand.

 

 

If you’re looking for a band that will blow your mind, burst your eardrums and leave you covered in other people’s drinks- then go to a Fontaines show. It was most certainly one of those shows that you know people will be talking about in decades from now; it was memorable for so many reasons, and as time goes on those reasons will evolve. People will start bands because of this show, people will create their own poetry because of this show, this band and Dogrel. There is no denying just how brilliant Fontaines are and of course, they deserve to be big. Last night’s show went beyond proving that. Definitely one of my favourite shows of the year.

 

THE MURDER CAPITAL: YES (The Pink Room) Manchester. 18th October 2019.

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A very wise person once said, ‘The Murder Capital are one of the best bands you’ll ever see live.’ Not sure who it was, it was probably anyone who has ever been to their show.

Their debut record, When I Have Fears has been my crutch since my Gran died in August. It’s been that something I turn to when I have no idea what is going on and when I’m trying to get a hold of what I’m feeling. I never get hold of it; I never will. The show tonight meant the world to me for this reason, and I honestly don’t think I’m ever going to get over just how incredible it was.

 The Pink Room at YES tonight was completely rammed. It was full of people who were clinging to these songs. The Murder Capital are a band of the people, and my god they are a band to be utterly proud of. James’ is one of the most enthralling front men I’ve ever seen. He’s got the presence that will make him be likened to Nick Cave. The band are just the most captivating and passionate band you’ll see. During songs, James leans over to Damien, Gabriel and Cathal and plants gentle kisses on their heads- it is such a simple moment, but you just know how much it means.

 

 

When I Have Fears is one of the most hard-hitting records of the year. Before they play On Twisted Ground, James announces “This is for everyone who should be here.” I immediately think of my Gran and my friend who took her life in the summer this year. I cry. I cry for many reasons. Some obvious and some not. All reasons I try to grasp every day. I wish I could say this show was a form of healing, but I won’t heal, and I’ve accepted this. What I can say is that this was one of the most emotional, passionate and important shows I’ve ever been to. With just one record, The Murder Capital have created something we expect from bands who are playing huge venues and have numerous of records- but The Murder Capital are different.

 Watching the band, you simply cannot get over just how immense the experience is. The way Diarmuid annihilates his drumkit, and makes you feel like the stage is going to crumble because of the sheer weight of his playing, this merges so perfectly with James’ vocals which can be grand yet delicate. The band are exceptional at creating tender moments on their songs, and the bring it out so well in their live shows. I love when they all completely let go in their heavier songs like More Is Less and Feeling Fades and I love seeing the quieter moments where you can see them take everything in. You can really tell that this isn’t just a band to them, it isn’t just a job. It’s their life. And as a fan, that’s how you feel. They go beyond being just a band; they are just everything. Simple as really, yet it holds a lot.

 Everyone goes apeshite to More Is Less, Green and Blue and set closer, Feeling Fades (stage invasion from the Happy Couple was great, and James launched himself into the crowd!) And the tender moments in songs like Slowdance I and Slowdance II are just so perfect. For Everything is belted out by the band and is also sung back to the band by the crowd even louder. These are the moments that make you realise that you have seen something truly special; this will probably be the last time we see them in such small spaces. They’ve just announced a tour for early next year, and it’s only a matter of time before they start selling shows out in seconds. They are such an important band, and they aren’t afraid to vocalise the issues many want to shy away from.

 Don’t Cling To Live reads as a poem, but when you see this live it becomes an anthem. It is one of those songs that regardless of where you hear it (live or in your room) it changes you. It becomes part of you; it has something that makes it such a gorgeous composition. Seeing it live is truly something else. Seeing The Murder Capital live is truly something else. Once you see them, that’s it. It takes over you. In an ideal world I could be at their shows every single night. They hold so much power in their music; it can break you, then heal you, then break you again. It’s an emotional rollercoaster for sure, and I wouldn’t have it any other way.

 

 

Aside from being way too close to people who thought talking all the way through the show was appropriate, I can safely say that this was one of the most personal and captivating shows I’ve ever been to. It’s hard to put into words just how exceptional the show was, and I think anyone who has seen them or even just loves the band knows what I mean. There are some bands that just love beyond words, and The Murder Capital are exactly that. There are no words good enough to describe this band and all they mean to me. It was such an intense experience, and although it was over all too quickly it has left a lasting impression that is permanently etched upon my heart.

 Tickets for their tour next year are now on sale. Buy them and go sing your heart out.

*Photo by JustGrayce

FONTAINES D.C. : Dogrel.

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This is a record that I should have written about the day it was released, but I wanted the record to really sink in before I even got started on this. It’s a heavy record- in both sound and lyrically. It isn’t a record to casually listen to. It is a record to invest yourself in, and to completely focus on. The past few weeks or so, Dogrel has been a record I have constantly listened to. Over and over. I think I’m now ready to put my thoughts about it out there.

I’ve not read any opinions on this record, but I’m assuming it is loved by so many. How couldn’t it be? It is one of the most important records of our time, and is an astounding debut. For a band to have this much power so early on is something to really treasure, and to keep a close eye on. Fontaines D.C. aren’t a band that are going to just fade away with what they have done on Dogrel they are likely to keep on doing. They have made songs that will last a lifetime and more, they are a band to hold dear and lean on. How did we get this far without them?

 

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Big opens the record; a song that sets the tone for the record and how Fontaines D.C. are surely going to take over. They give hope for those for may have been held down, told they can’t do something and made to feel like they can’t get out of their situation. It’s a song for lost souls who know there is something more out there for them. Grian pours his heart out on this and it something that is occurs throughout the whole record. Too Real and Television Screens are the songs that you know are chanted right back at the band at their shows. Every single song on this record has the feel of an anthem. You can imagine crowds singing this on the terraces, in the pub, on a walk home from a night out or just being at home and shouting them out like your life depends on it. These songs are made to be heard, but also screamed along with. Grian doesn’t scream, but his voice has the same power as if he is. You cannot help but soak up everything he sings. The band are lovers of poetry, and that is something that is apparent throughout this record. They aren’t just songs. They are poetic symphonies that have so much heart and passion. There’s a Beat Poet style about them, and I am completely in love with it. It’s a style of poetry that is just stunning, and they have their own take on it that’s beautifully portrayed in their songs.

There have been so many astounding records this year. Records from bands that we have been in dire need of, bands who are just getting started but make you feel like you’ve had their music in your collection for all your life. Bands that have this urgency in their sound that makes you feel like nothing can touch you. Dogrel is the kind of record you would use as a shield to protect yourself from the world. There is so much nostalgia in this record, but Dogrel also has hope for the future. This record is the future, Fontaines D.C. are the future. I can safely say that I have not become completely obsessed with just one song on this record. It has been every song that I have been in awe of. As soon as it ends, I start the record all over again. However, to mention Television Screens again- I just have to say that the vocals on this are my absolute favourite as well as the drums. I love the gentleness on this song, but how the lyrics are so hard-hitting and get you right in the gut.

Fontaines D.C. are a band that we are in dire need of. They aren’t afraid to be painfully honest to be so open in the topics they touch on. They talk about their city (Dublin) in a way that makes you connect it to your own hometown. You connect with the frustrations, the passions, the struggle of daily life. They give it to you in a way that makes you feel like it is your own story.

 

 

Dogrel is clearly one of, if not THE most fascinating records of the year. It is rowdy, poetic and brutal. It is a bold statement that oozes charm and bravery; something that we are so desperately in need of.