Yesterday, for the first time in five years (has it only been five years? Feels longer!) Manchester rock band Oasis's official online presence was resurrected for news beyond the feuding Gallagher brothers individual projects. No, no. This was more than Beady Eye's or High Flying Birds. This was the real thing and leading with only a picture of former bassist and cult hero Guigsy beside the almighty Noel with the words; '26th February, 9am' above them. You may remember Liam's Beady Eye implored similar tactics when announcing their Festival slots last year, playing on the words of their most recent record, 'Where will you BE?'. Some might say this was a genius piece of advertising, of which Oasis simply wanted to pay homage too. Could it really be true? Could the original Oasis line-up ever really grace the stages of the world to blow away a brand new generation? In our hearts, Oasis fanatics (myself included) are deliriously optimistic. When you immerse yourself in a musical history of 'living life in the sunshine(eeeeee)' and all the love and hope that is wrapped within this carefree attitude, you can't help but religiously cling to any hope that one day Noel and Liam will see sense and take on the world one last time. At times though, we must put our hearts to one side and look at the facts. 9am came and went. The obligatory website crash went off as expected and XFM radio hyped up the pressure more with their talks of 'their biggest announcement in years', which it was, but only because there has been literally nothing to announce since 2009. Then, finally, the moment arrived. Twenty years on from the release of Oasis's debut album 'Definitely Maybe' the band are to re-release this, along with it's three Brit-pop successor's, ('What's The Story (Morning Glory)?' and 'Be Here Now') on remastered vinyl, complete with live tracks, unreleased b-sides and covers from their respected periods. A nation sighs. There were rumors of Glastonbury and/or a reunion show in Manchester. Yet, it was not to be. The question on the minds of every Manc-loving, parka wearing, 90's consumed music affection-ado is, can it ever happen? Simply put, yes it can. None of the original band members have gone the way of the dodo and all five remained, in some capacity, involved with music. Where are they now though? And would they ever do it?

• Tony McCarroll - The original Oasis drummer was famously described by Noel as being 'not very good' and as a result it was reported that Noel played all the drums on Definitely Maybe as Tony struggled to master them in the recording process. (Noel gaining drumming experience of course through his time with the Inspiral Carpets) Tony is, however, well loved by the Oasis fan base and wrote himself into the musical history books when he agreed to be the member of the band buried alive in the 'Live Forever' music video. Later, this would prove eerily symbolic, as Tony was the first member of the band to be sacked, right before the recording of 'What's The Story'. A founding member of Oasis's original carnation as The Rain, he later wrote a book called 'The Truth: My Life As Oasis's Drummer' and has been seen drumming for various underground bands in Manchester since. His last gig with the band? Performing 'Some Might Say' on Top Of The Pops.  

• Would he be open to a reunion? - Yes, but only if he was on good terms with Noel again. After a few bust-up's on the road involving Creation legend Alan McGee, £1,000 pounds worth of unpaid dues and Noel's old trick of forgetting his long term mate's name in interviews, there may be one too many bridges burnt between Oasis and Tony McCarroll.

• Paul 'Bonehead' Arthurs - The eccentric rhythm guitarist gave Oasis their driving, full anthemic sound. Songs like 'Columbia' and 'Underneath The Sky' were only able to flourish and grow through Arthurs loud and powerful grounding. Through his classic Epiphone's sweet tones and down to earth persona, 'Bone' was the living embodiment of the working class rockstar and loved by band and audience alike. The subject of What's The Story's gloriously drunken vinyl bonus track, 'Bonehead's Bank Holiday', (where he travels to Spain for a holiday, meets a girl called 'Avaline' (cheeky!) and finally reaches the conclusion that he should have just stayed in England) the Manc legend also plays piano on 'Don't Look Back In Anger' and pretended to play Cello in the assembled orchestra for a Top Of The Pops performance of 'Whatever'.

•  Would he be up for a reunion? - Perhaps, but it may take some convincing. Bonehead has since continued his musical adventures in some style, firstly through the band Parlour Flames and currently with singer songwriter Alex Lipinski as 'The Phoney's and The Freaks', an act getting more and more popular with each new release. Add to that the excitement surrounding his young son's band 'The Croon's and Bonehead may decide he has too much on his plate to relive the glory years.

• Liam Gallagher - The voice and sneer of a generation, Liam has a claim to being one of the greatest fronmen of all time. With his carefree stance, trademark parkas and undeniable charisma, every teenager in the 1990's wanted to be him and twenty years on, this is still the case. His aggressive stage presence, no nonsense attitude and at times, moving and fragile vocals gave Oasis the edge to back up Noel's poetic verse and stadium shaking anthems. Without Liam, there couldn't have been an Oasis and thankfully, Noel knew that. He wrote 'Songbird' in 2002 for his then fiance Nicole Appleton, a rare glimpse at the delicate soul beneath the bravado.

• Noel Gallagher - Simply put, Noel is almost certainly the greatest songwriter of his generation. Is he the greatest songwriter of all time? In this journalists humble opinion, yes he is. And then some. Away from the mainstream success of the Wonderwall's of this world (a beautiful song, tainted by it's own brilliance, as millions of aspiring songwriters rattle out the chords at every opportunity) you have the Carpe Diem grit of 'Supersonic', the tear educing brilliance of 'Champagne Supernova' and the sheer brilliance of 'Whatever', a piece of classical music molded into the perfect Brit-pop song. These are simply three examples, of which millions could be given. His balance between introspective wisdom and piledriving energy has and will continue to capture generations for years to come. Through Noel's words and Liam's attitude, Oasis will Live Forever.

So in the meantime, buy Definitely Maybe on vinyl, crank it up loud and celebrate one of the greatest rock and roll records of all time. They'll be back soon enough and when they are, you'll have to make sure you know every lyric.


Taylor Johnson.

(Left to Right - Tony McCarroll, Noel Gallagher, Liam Gallagher, Paul 'Guigsy McGuigan, Paul 'Bonehead' Arthurs - 1994)

Unless you've been well and truly buried under a mountain of paper work/exam revision and/or album preparation (for our increasing number of band member readers), you will have been made of aware of the next stage in Londonderry/Derry's pop virtuoso's Wonder Villains masterful rise from local life enthusiasts to one of the nations biggest pop outfits. Already beloved by many, the vibrant four piece have just released the  brilliant music video for their newest single 'Marshall' and with it, have only reinforced their reputation as one of this countries most exciting and lovable bands. Here Taylor Johnson takes a look at the new video and the single itself (due for release March 24th), which is of course our 'single of the week'.

As The Wonder Villains juggernaut continues to move onward and upwards towards the highly anticipated debut album, the release of Marshall and it's accompanying music video is the perfect teaser to whet the appetite in the meantime. Shimmering with the sort of pop hooks we've come to expect from the Villains, it's easy to take for granted just how brilliantly developed each of their tunes are, 'Marshall' being no exception. Here, lead guitarist Ryan McGroarty's catchy opening riff guides the boundaries of the song, immediately invoking the kind of feel good dynamism lacking all too often in pop music's current stereotyped landscape. It's a very positive sign indeed when an audience is compelled to sing the opening riff from a song back at the band, (think Snow Patrol's 'Spitting Games' or Ash's 'Burn Baby Burn') and that's exactly the effect The Wonder Villains seem to master time and time again.

As the song's verses bounce into life, it's the foot tapping bass riff of frontwoman Eimear Coyle which takes centre stage, a soft, dream-invoking vocal then lightly waltzing through the delicately woven pop underlays. Subtle key board riffs from the fantastically original keytar of Cheylene Murphy adds to 'Marshall's soft and fragile centre. Wearing their charismatic credentials on their sleeves, perhaps the real key to The Wonder Villains  success is their ability to embrace this warm, friendly image, while never feeling the need to be anything other than just that. Their abundance of fun and dance invoking grooves has the potential to entrance kids in the same manner that Alphabeat managed so brilliantly with their self titled debut album (remember 'Fascination'?), yet where those Danish pop-rockers failed, the Villains succeed effortlessly. They're cool. It's as simple as that, and 'Marshall' and it's music video is further testimony to this.

Here we see the band rocking out on one of the many magical roundabouts in our very own Barry's, Portrush. Eimear and Cheylene are the face of the band, sharing vocal duties and looking exuberant and exciting in the process. How many youngsters could be inspired to pick up a bass or a keytar after watching a video filled with such wonder? Meanwhile Ryan swings his electric blue guitar around with the confidence and ease of a man playing his hundredth gig, rather than someone taking part in their first professional music video. You can tell how much he's enjoying the experience and rather than looking awkward or tentative, he, and indeed the whole band, look like they've simply been waiting for this opportunity from day one. In the background, drummer Kieran Coyle keeps things ticking along, his tight and explosive drum work acting as the unsung jewel in the bands pop crown.

In all, The Wonder Villains are unlikely to remain simply ours for much longer. As we stated at the turn of the new year, 2014 could and should be the year that see's these four childhood friends explode into the mainstream. They've already gained airplay on Radio 1 and if their upcoming debut album 'Rocky' (due for release 23rd June!) is as good as anticipated, expect a lot more.

*Sidenote - We would have brought you this review sooner, but we've been so busy dancing to the song, alone in our bedrooms that we simply didn't have the time. Woo!

Taylor Johnson.

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Watch the official video for 'Marshall' below⁞►

Building on the remarkable success of his online cult following and the subsequent release of debut singles (particularly the stunning 'Your Life Over Mine'), Dublin born purveyor of 'folky, indie-pop' Brian O'Riley is now on a one man mission to take over the world. Performing under the affectionate pseudonym 'BriBry', 2013 saw the release of his second EP 'Grow', a delicate acoustic affair capitalizing on the charm, wit and overwhelming warmth which has led to over a quarter of a million subscribers on Youtube and a legion of fans around the planet. After his successful stint as support for Orla Gartland's recent Belfast headline shows, Encore NI had the privilege of chatting to the singer/songwriter and grabbing a copy of the much sought after 'Grow EP'.

Opening proceedings with the gentle balladry of an artist much beyond his young years, 'Child' is BriBry's ode to his future children. Brimming with sentimentality and a potent lyricism that perfectly encapsulates the young songwriters optimistic, yet refreshingly honest perspective. Carefully striking a balance between cautious positivity and sweet devotion, BriBry alludes to the inevitability of life's more difficult periods, while brilliantly encouraging his future child keep their head up. 'And when you fall in love cherish your heart, if it breaks don't let it tear your world apart'. This is all offered solely on the promise that 'you learn from my mistakes', a sweet and caring sentiment that manages to remain genuine throughout. Wrapped in the kind of rich tone that has won Ed Sheeran countless accolades, 'Child' is a beautifully written ballad and a fitting introduction.

This is followed by the simply wonderful 'Adventure Time', a song written in a similarly heartfelt manner, though tinged with the type of melancholy that can overwhelm entire audiences almost effortlessly. Picking through a passion filled chord structure, here BriBry's Irish croon drifts through the minimalist set up, never loosing it's passion or the honesty from which you imagine the song was written. Subtle piano embellishments and vocal re-verb simply elevates the emotional depth of what is a truly moving song. Again, BriBry alludes to his longing for fatherhood and the joys of having 'grandkids hanging off your arm', although the overwhelming elements seem to revolve around his desire to never loose his sense of childlike wonder and keeping the spark of his undoubted love burning for as long as possible. The first line, 'And if I, if I loose my head again, please remind me that I have nothing and I'd be nowhere without you to protect me' resonating immediately. BriBry's natural wit occasionally surfaces from beneath the waves of emotion, 'Life's a game to me, but with only one controller' particularly reminiscent of Never Shout Never's Christopher Drew and indeed, the delivery is similarly so. This, however, is no bad thing and with every listen 'Adventure Time' not only continues to pull on metaphorical heartstrings, it does so each time with added vigor, emotion and unrelenting passion.

'Old Enough' see's BriBry up the tempo, as a fast paced guitar see's Grow's folk styling's given their first real run out. Showing an almost Ben Howard-esque element (see 'The Wolves' from his debut Every Kingdom), here BriBry's falsetto vocals and mixture of arpeggio picking and strumming may benefit from a crashing drum or at least, slight percussion. That said, the strength of the songs foot tapping chorus alone is enough to make this a solid addition to the EP.

Ending with a live rendition of 'You Are', here the EP returns to it's delicate core, as BriBry plays alone, with only a piano to accompany him. The sorrowful arrangement of the song, along with it's ever so vintage feel from the quality of the live recording, leaves the impression that this song would be the perfect accompaniment to a tragic love scene in a coming of age Sit-Com. Once again, BriBry's lyricism remains both poetic and endearing.

 'I go to crazy extents just to be the guy, who see's you first thing when he opens his eyes'.

For a live performance, it's as engaging as is imaginable. The sheer silence of the crowd a testament to the captivating performance element that accompanies his increasingly impressive back catalog.

In all, 'Grow' is an emotion filled affair, brimming with confidence and moments of lyrical brilliance.
BriBry is sounding increasingly like the finished article already.

Taylor Johnson

If you like... Never Shout Never | Lewis Watson | Ed Sheeran ~ You'll love BriBry

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From the opening serenading waves of sound from Amidships shimmering guitars, it's clear that 'Oceans' is a special track indeed. Bursting with ambient beauty and a stunningly fragile vocal from frontman John Paul-McCorley, 'Oceans' is a gentle ballad displaying the sort of lyrical prowess that takes most bands years to master. 'Oh, just give me this chance, to fuck this up one last time' leaving an emotional mark that will resonate long after the final note has rang out. The Amidships trademark violin accompaniment from Fiona McCauley adds an endearing element, elevating the arpeggio guitar which guides much of the songs serene emotion. The falsetto backing vocals of the second verse is a subtle, but welcome accompaniment, which acts as further example of this bands quiet brilliance, as McCauley's extra backing vocals also rest beautifully over the bridge and ending chorus.

A crescendo of violin and Sigur Ros styled melancholy gives this song the ending it deserves, crashing like the very waves it's protagonist sings about so delicately.

'Oceans' is a song with tremendous depth and the emotional gravitas to command the attention of the most hardened individual. It has the power to give out tremendous hope and comfort the broken hearted in equal measure.

Taylor Johnson

If You Like...Iain Archer | Band Of Horses | Arcade Fire ~ You'll love Amidships

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Ed Zealous are a band who have very much done it the hard way. From organizing their own tours, printing their own merch and relentless gigging up and down the country, there isn't much in the rock and roll check-list the Belfast four piece haven't been able to tick off. Except Ed Zealous aren't just another rock and roll band. Drawing comparisons to the electronic soundscapes of The Naked and Famous, Echosmith and Los Compesinos! amongst others, the difference between these now celebrated alternatives to the guitar driven indie of years gone by, is Ed Zealous have stuck to that remit for years. Many may assume they have simply jumped on the synth guided band wagon, in an attempt to raise the hype and attract the modern indie kid. Not so, as the 2013 release of their first single 'Telepaths' served to highlight. Now, over five years since their formation in late 2009, Ed Zealous's breakthrough into the mainstream consciousness took a step closer to reality with the release of their debut album 'Wired'. Encore NI couldn't wait to get our hands on it.

Opening with the piercing synths of '147', Ed Zealous set the tone early on through a flowing barrage of melody and rhythm. The chorus rises like The Killers at their electronic best, protruding suddenly from the fast paced verses to elevate the song to stadium filling levels.  There's a touch of Dog Is Dead about this track, as it swoops and sails through the wave of noise to an almost falsetto'd conclusion. A brilliant choice for first track and, you imagine, a potential set opener. The driving synths refuse to relent in second track 'Thanks A Million', as Ed Zealous's knack of crafting a beautiful amalgamation of two distinct sounds is showcased brilliantly. Listen closely to front-man Steve McAvoy's powerful vocals and you will hear a touch of Biffy Clyro's Simon Neil in the final delivery. Add to that the bass driven, edge of an early Muse and you will have an idea of the creative influence embraced throughout Wired.

'Medicines' takes the distinct 80's blue-print of a late New Order and sprinkles it with a shimmering dance beat that both encapsulates and, put simply, makes you want to move. Guitar overlays add a modern element to proceedings, yet in the context, the pristine pop woven into this track makes it a welcome addition to any DJ set or indie gathering in equal measure. The singalong nature of the chorus, 'What is going on?', gives this track the hook to complete it's jangling composition. First single 'Telepaths' then makes an appearance, another dance-styled track that, although lacks the catchy production of the tracks that have proceeded it, still has the gravitas necessary to send a room/concert hall/ field of festival goers into carefree 'dance like no one's watching' abandon. 'I Will Destroy You' is covered in 90's video game nostalgia, the opening synth lines sounding like a remixed version of every Nintendo game ever created. The syncopated back beats and repetitive drones allow the melody to burst in a subtle, yet dynamic finish, also making the song a perfect candidate for a dance-styled remix. (Palookaville DJ's we're looking at you)

'Talk With Your Hands' see the band take a brief foray into guitar centered territory, as the track rests upon a hypnotic, slightly heavier riff. The verses dance along a slightly darker tone, with a frantic drum beat complimenting the purpose filled vocal which cascades alongside it. Remaining on the video game theme, any passionate follower of the popular 'Fifa' franchise will surely be able to imagine this track holding it's own on one of their coveted soundtracks. Then comes 'Diamonds For Eyes', which must surly be considered the hit 'Wired' had been building up to from the opening electronic hook. With it's swirling underscores of 80's influenced synths and beautiful production, this track screams inventiveness. It contains the kind of feel good vibes that elevate an underground gem into a beloved, feel good party piece, a fail-safe wonder for the likes of Radio 1 to switch too when all else seems to be falling flat. Easily in the same category as Foals indie hit 'My Number' or MGMT's 'Kids'. Catchy, melodic and impossible to dislike, 'Diamonds For Eyes' is the song to blast from your speakers now, because very soon the cool kids will claim it as their own.

Follow up 'These Words' initially seems to fall slightly below par, even if this is too be expected after the high point of 'Diamonds...'. Although, as it progresses, 'These Words' does picks up, a grand production briefly allowing the track space to breathe. Quickly though, a bass that has been dropped slightly too often comes back into play, forcing a potentially exciting song into a slightly mundane dance styled piece. Penultimate track 'Videohead' opens with some of the most explosive drumming you may hear on a record this year, the sheer pace of Paul Irwin's time keeping setting the track up well. Unfortunately, this track too seems to fail to reach the heights of the first half of the record. Despite the catchy hooks of 'It's a mess, it's a mess, but I'm trying my best' and the indie guitar solo which follows, 'Videohead' simply never gets going. Thankfully the album gets the ending it deserves through final track 'It's Only The End', opening as it means to go on, with a renewed sense of desire. Ed Zealous seem to regain their purpose, as the retro grooves and 80's influences return in a flamboyant and eccentric manner. The subtle introduction of a high pitched backing vocal give proceedings a Daft Punk type of feel, again adding to the eclectic mix of influences spread across an intriguing debut.

In all, Ed Zealous have clearly laid down a marker for the future with Wired. It is captivating, baffling and completely electric in equal measure. As word of it's release spread across the country and beyond, expect an army of indie kids dancing to this record in dimly lit clubs.

Taylor Johnson

If you like... MGMT | Chvrches | Echosmith ~ You'll Love Ed Zealous

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Listen To The Debut Album Below⁞►

Since their first introduction to an unsuspecting public more than four years ago, Belfast's 'Abandcalledboy' have lived by the mantra of heavy riffs, big hitting sound and an admirable attitude to play every gig like it may be their last. As such, the power trio have (in reality very little time) worked their way into the capital cities hearts as one of our funnest and most energetic outfits. With such a reputation being carried to each gig and anticipated new release, perhaps we should be surprised by the raw genius and beautifully original concept behind their latest single, 'Cliff Richard', but, to be quite honest, we're not. Encore NI couldn't wait to delve a little deeper into the thoughts and meaning behind a single that in many ways simply had to be written.

Reading like a day dream from the mind of a desperate, lonely and intoxicated failing comedian, Abandcalledboy's latest single bares all the hallmarks of a lunatics fantasy. Take one 73 year old, 60's pop, Christian pin up. Consider the length of time and considerable detail involved in a career spanning over 50 years, 3 Brit Awards, a Knighthood and more gigs around the planet than The Beatles. Add to that mix one of Northern Ireland's most exciting 'fun time power trio's' and you have the makings of something rather special indeed. It's true that the concept alone behind the first single from Abandcalledboy's eagerly awaited second EP (the superbly named 'Self-Titled EP') is enough to immediately turn heads and intrigue the masses. Anyone who already knows of the bands heavy roots and menacing rock songs will be aware of the irony and genuine fun behind a single about the UK's most mild mannered pop superstar, indeed, this was perhaps part of the thought process behind it's A-side status. It is fun, it is wonderfully ironic and the accompanying video is a work of sheer genius. Though one question still remains, is the track actually any good? Thankfully, the answer is a resounding yes. From the opening riff, it's clear that 'Cliff Richard' is the pile-driving tubthumper necessary for Abandcalledboy's energetic live shows. The overdriven, fast paced guitar sounds straight out of the song book of a Bleach-era Nirvana, channeling angst and commitment into every gravely vocal delivery. What singer (and drummer - Yes, somehow that is possible) Ryan Burrowes lacks in range, he makes up for in sheer power housed passion. Throughout this heavy bombardment of noise, there remains some lines of lyrical brilliance. Within just over four and a half minutes of rock induced carnage, it is claimed that Cliff Richard is 'the messiah', 'will never die' and through his 50's pop ballads 'the world shall be free'. 

Lyrics aside, the track has a captivating ebb and flow, showcased perfectly at the middle eighth's quieter verse. Accompanied only by a lightly strummed distorted guitar, 'I've got no place to go, my life couldn't be moving any slower' is a welcome break from the barrage of sound, allowing Abandcalledboy to burst back into life as seamlessly as a Biffy Clyro live show, complete with perfectly executed break down to boot.

Would Mr Richard approve? Probably not. Though no one can deny that the day the great man himself writes a crooning, cheese covered retaliation pop song about Abandcalledboy will be one of Northern Ireland's greatest musical achievements. You're up Cliff, don't let the side down.


Taylor Johnson

If you like... Nirvana | Biffy Clyro | The Jesus Lizard ~ you'll love Abandcalledboy

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& Watch the official video for 'Cliff Richard' here⁞►