Derry's favorite harmonious indie-folk band Ports have announced a very special gig in Belfast's Limelight on Sunday the 18th November.

Having released their critically acclaimed debut full length 'The Devil is a Songbird' earlier this year, the huge-sounding four piece have had another wonderful year, culminating in a nomination for this year's NI Music Prize and a highly sought after slot at this year's 'Other Voices' music trail.


Support on the night comes from the sublime Silences, the high flying Jealous of the Birds and Joshua Burnside, who has just put the finishing touches to what promises to be a very special debut album.

Tickets are £8 from Tickmaster and £10 on the door.

More details can be found here.

Belfast singer-songwriter Kris Marsden has been playing his bittersweet melodies across the country for years now. One of our most consistent songwriters, Marsden's 'Never Ending Loop' EP from 2014 received warm praise, from Encore NI included.

For fans of: Mojo Fury, Havana House Party, General Fiasco

Sometimes things just fall in to place. Though the number of boats missed by promising bands over the years is heartbreaking, something, somewhere ensured that this year would not be the same for Belfast's Gnarkats. Slots at Spectrum Festival alongside a rejuvenated Mojo Fury, loyal audiences in attendance at an ever growing number of their shows and warm praise from everyone from BBC Radio Ulster, to The Thin Air have saw this band go from nowhere to become Belfast regulars in the space of a year. Encore NI had a listen to their hotly anticipated debut EP 'Waves Collide'...


One listen in and the only thing obvious about Gnarkats music is their absoloute refusal to follow the indie rule book. With the shortest song on this record coming in at an impressive 4 and a half minutes, it's clear this is a band with something to say and once more, they say it with passion. An intriguing blend of riff heavy rock and indie hooks, they've carved out a sound championed by the likes of the much loved Havana House Party, amongst others. That's not the only thing they share with their Antrim contemporaries, and just as their EP 'Demons' soundtracked much of 2011, Gnarkats are hoping their newest effort can do the same for 2017.

The forboding rumble of 'Running From You' sets the tone for an EP dancing between menace and melody, the lyrics often alluding to something darker beneath frontman Caolan McAuley's assured vocal. The subtle piano line in the chorus adds a nostalgic twist to a dark pop song.

'Can You Feel It' offers similar sentiments, but with a melody more immediately enchanting. Bouncing at the pace of a maudlin General Fiasco, it's in a straight fight with the swirling title track which succeeds it for the highlight of the EP. Beginning life as an ambient pop song in the mould of Go Wolf or Beauty Sleep, 'Waves Collide' builds to a triumphant close via ASIWYFA and A Plastic Rose, ending up somewhere in between. It's ridiculous and pulsating in equal measure, the sound of a band having the time of their lives, recording songs that feel like genuine insights into those lives.

(Photo by Chordblossom)

Then comes 'Sorry', an epic seven minute finale filled with gang vocals, dance worthy riffs and the carnival atmosphere that has followed this band at every gig they've played this year. There's even room for a sample of the iconic 'I'll give you the moon' scene from 'It's A Wonderful Life', previously hidden by Modern Baseball for a similarly emotional effect on 'How Do I Tell A Girl I Want To Kiss Her?'. On both occasions the moment has been perfect, the songs have been right and for Gnarkats it brings down the curtain in triumphant fashion.

By the end of it all you can't help but feel you've been taken on a journey by Gnarkats, one you'll be revisiting more than once.



'Waves Collide' is released this Friday.

Girlfriend ~ '3am Rituals'
For fans of: Meanwhile Back In Communist Russia, Sister Ghost, The Smiths


When  My Bloody Valentine released 'Loveless', their sonic tsunami of a second album into the world, an unsuspecting public wasn't sure how to react. Trawling through the archives, one review compared it to 'A beautiful bomb, going off right in front of me' and it is with this in mind that we fast forward nearly 25 years later to the present day. 

Same city, different times, and as everything in the world continues to alter at a rapid pace, four young women in the north of Dublin refuse to accept the grim reality they are confronted; the result? '3am Rituals', their debut EP...

Opening with the raucous 'Kill Them All (Your Feelings)', the punk that lies at the heart of Girlfriend's music is given centre stage, with singer Hana Lamari's vocals cutting through a wall of distorted guitars. What's clear from early on is Girlfriend's unwillingness to channel any one genre or sound, an attitude '3am Rituals' benefits from to no end. Whilst the grit of Lamari's vocals command your attention, Girlfriend leave enough melody to keep this overdriven track firmly in your consciousness. There's echoes too of 'All We Know Is Falling' era Paramore, but with significantly more vitriol on display.

'Don't Come To My Funeral' then marks a complete change of pace, highlighting the versatility of this band. Be it a quiet lament to self doubt or an untouchable fear of the dark. it makes for one hell of a tune. Layered upon delicately haunting vocals and sounding straight off of a 'Meat is Murder' bootleg. This is followed by 'Pissbaby', the hidden gem of an EP full of them. The eclectic nature of this EP continues, as the songs central 90's fuzzed out riff floats through Lisa Rogers' hypnotic bass line. This is the track which had me falling in love with Girlfriend, and after repeated listens that love only strengthens.

'Nirvana Lodge' is a terrifying poem set to the most foreboding of riffs imaginable as Hana Lamari nearly breaks down at the mic, living inside the abstract world Girlfriend have painted themselves. Make no mistake, it's a fucked up tale, and makes no apologies for it.




'The Stuff You Think About Late At Night and Never Tell Anyone About' is the track most indebted to the EP's title, both in nature and sentiment. A dark glimpse into a haunted mind, the screams in the background make this entrancing listen hard to stomach, the pain is visceral, the scars still visible. Building to a crescendo their Dublin counterparts My Bloody Valentine would have been proud of, this may be the most brutally honest song of the year. Comprising of arguably the best lyrics on the record ("There's safety in self-destruction, because at least you know where you're gonna go"), 'The Stuff You Think About Late At Night..." will live with you long after you finish listening to this very important record.

In an ever changing world we need more beautiful bombs to explode around us. '3am Rituals' is one such beautiful bomb.

Stepping on stage within the sweaty confines of Voodoo in Belfast at the end of this Summer, Philadelphia's Modern Baseball didn't look like a band carrying the weight of an entire movement on their shoulders.

Finally crossing the finish line of a month long UK and Ireland tour for their latest album 'Holy Ghost', the four young American's looked much like the adoring crowd gathered in front of them, albeit with more shorts on display. Quirky tee's (drummer Sean Huber sported his iconic 'Up the fucking Lagan!' number two nights in a row), baseball caps and the sort of exhausted happiness that Belfast audiences seem to radiate so naturally, this was a special night in every sense. Three years earlier they played the same venue, to a much smaller crowd and though reports from that night remain sketchy, the reaction of pure euphoria they generated seems to have been the same as that warm night in Belfast. Having followed this special band through each of their Irish tour dates, I witnessed first hand the kind of joy their sad songs inspired in people of all ages, race and social group. Modern Baseball's deeply personal songs, held (and continue to hold) universal appeal.

Pure joy...Modern Baseball

Roughly 49 miles away from their native Philadelphia, in Woodcliff Lake, New Jersey, lifelong friends Brian Sella and Mat Uychich were making similarly emotional indie-folk-pop in their bedrooms. Eventually evolving into the four piece they are today, The Front Bottoms would go on to become the other half of 2016's emo-movement, both bands crowning their rapid ascent with the coveted support slots for emo-pioneers Brand New on their (at time of writing) latest arena tour. These were two bands that started by picking up guitars at house parties and playing anywhere with a floor to sleep on; but just how have these two most unlikely groups rise so quickly? Here Encore NI offer's some potential answers...


1. Thoughtful Lyricism.

Whilst both bands find writing a killer hook as natural as breathing, a more important detail of the 'Mobo'/ 'Front Bottoms' story revolves around their use of the English language. Both bands write songs people want tattooed on their skin forever. Can their be a bigger compliment?

If lager-loving hedonism defined the 90's before them, then sensitivity, nostalgia and love-lorn regret may well define the present. If you are to compare how both bands chose to open their debut studio albums, the regret-tinged parallels are clear.

"Please fall asleep so I can take pictures of you and hang them in my room, so when I wake up I'll be like 'yeah, everything's alright' "


3. A hope for the future.

There's never been a greater focus on mental health in the world than right now. New statistics from the American Foundation for Suicide Prevention (AFSP) shows that today suicide is the tenth leading cause of death in the United States, In 2014 UK based charity Samaritans recorded 6,581 suicides in the United Kingdom and Republic of Ireland alone.   Modern Baseball's co-frontman Brendan Lukens has been incredibly open about his own personal battles with anxiety and depression; not just in his lyrics, but in the mini-documentary 'Tripping in the Dark', where Luken's goes into serious details about the silent battles he faced in the years leading to and during the recording of Holy Ghost.

There was a time when mental health was never mentioned in the music industry, or indeed any industry. Thankfully Mobo and The Front Bottom's openness on such subjects keeps a door once shut, now firmly open.




4. Perfect timing.

At a time when bands that once carried the emo-torch began either disappearing or growing increasingly irrelevant, Mobo and The Front Bottoms filled this very particular hole. Whilst bands like Dashboard Confessional gradually lost touch with a new generation and others, like Paramore for example, began either loosing members or breaking up entirely, there was a space for some plucky young upstarts to follow in their footsteps. Batter up!

Tour Hotline ~ a hotline fans can text or call during a show if they feel unsafe in the crowd

5. Unstoppable songwriting.

In ten years time, when the musical landscape has shifted once more and bands playing in their bedrooms tonight are selling out arenas, what remains from any era are the songs; and at the heart of both of these bands are back catalogs to rival any.

For every person crammed into rooms across the United States and beyond to see these bands, sing their words and forget who they are for a night, that is what will live longer in the memory than anything else.

There may be no reason for their success truer than this, and long may it continue.


If you like these bands why not try ~

Junk Drawer ~ Belfast


Sleeping Outside ~ North Coast


Hot Cops ~ Belfast

Junk Drawer ~ 'For The Cult Fat Guy'
For fans of: Froth, Sonic Youth, My Bloody Valentine

Why does a band like Junk Drawer make you smile? It's an odd question, and perhaps one without a definitive answer.

Their last official release prior to the single 'Song 3' (which opens '...Cult Fat Guy') was 'Their Self-Loathing Debut (Mostly)', a two track glimpse into their fuzzy and infatuating world. For all the cool of that Jonny Woods produced release, the undercurrent of sadness hinted at by the name offered a recognisable warmth that stays with you through each track. For all their American influence, that prelude to self-destruction feels distinctly Northern Irish, perhaps the only instance you'll see any hint of Belfast here. It's a sound not yet done before on these shores, so for this sophomore release Junk Drawer carried a lot of weight on their slouched shoulders.

'Song 3's explosive intro and sepia toned camcorder-cool is a great introduction. Swirling guitars and that suffocated vocal from Stevie Lennox, borderline My Bloody Valentine. 'Do You Ever Think About Existence Adrian' is a bass driven head-banger, moody and volatile, it's a track that doesn't so much as explode, but gradually erupt. Be it a conversation about the end of the world, or simply a running narrative, the apocalyptic terror felt in 'Do You Ever Think About Existence Adrian' is more welcome than most of the eternal dread I've felt in my life so far.

Junk Drawer's cataclysmic disco continues with 'Black Cat', another menacing song littered with feedback and angst. The guitar work here is unquestionable, as bassist/guitarist Brian Coney (possibly, it could literally be any of them) is given full reign to build towards a chorus which leaves you waiting for just long enough. The fear of the future that has percolated much of their work so far remains too, with the refrain;


Then we have the phenomenal 'Quandary', a nostalgia filled shoegaze song with a chorus picked straight out of a 'best of the 90's' compilation made by, well, a cult fat guy. Beautifully mixed by Caolan Austin, 'Quandary's melancholic melody and gentle swing is no less impactful for it's lighter verses when compared to the rest of the EP. In fact, it makes for a clever balance, bringing Jake Lennox's delicate, impassioned vocals to the fore. Once more Junk Drawer's ear for a haunting outro lifts this song and indeed the entire EP to the conclusion it deserves. Faking a fade out, before bouncing straight back in for what may well prove to be another new song in the future. Or not. This band will always keep you guessing these things.

So to bring it back to the opening line of this article. They just do. So there.

SALAD BOYZ ~ 'Dreams'
For fans of: Weezer, The Descendents

For those unfamiliar with Belfast punks SALAD BOYZ, let us offer a brief introduction. Formed in early 2015, these four best friends have forged a reputation as one of the most exhilarating live bands in the local scene today. Never seen without their matching home made t-shirts (depicting what can only be described as "bad ass vegetables") and known for tackling contemporary world issues within their lyrics (their song about the David Cameron fiasco of last year springs to mind...), SALAD BOYZ certainly do things their way and have been recognised because of it.

Though to paint this band with the novelty brush would be a huge injustice indeed. For every 18 second song about "getting kicked in the balls" (see fan favourite "Balls") there's a track like 'LoudCrowdWowed', a Weezer styled celebration of anonymity, or 'T-4-2' the Volume Control Records released love-song which sounds straight off an indie film soundtrack.

New release 'Dreams' has been a long time coming. Making it's debut around the same time as 'T-4-2', it's a full throttle indie-punk anthem about never quite falling out of love, no matter how much you try. Lyrically and musically, it's the most mature we've seen of SALAD BOYZ. Frontman Tommy Haghighi's on stage wit is matched by his lyrics here, all the while retaining a certain romantic tragedy we've not heard before from this band.

The 'Dreams 4 Two' EP is released today ~ head over to soundcloud.com/SaladBoyzMusic

In their own words...

'It's definitely a break-up song, focusing on that feeling when you know it's over, you know you don't want it back, but you can't help still feeling sad, still missing that person. You're basically trying to get used to life without them, but they're still occasionally on your mind (or in your dreams) even if you wish they weren't. Frustrating, ey?

In regards to the 'Molly's Lips' cover at the end, we realised that the chords were almost the same and the lyrics were pretty suited to it, so we threw that in at the end with the original intention of just playing it live, but it stuck and there's no way of getting rid of it now!"

Salad-core in full flight

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

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

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

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

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

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


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


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

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

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


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

Photo by Ciara McMullan

Life Goals
For fans of⁞► The Menzingers, Vicky Speedboat, Modern Baseball

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

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

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

Skymas
For fans of⁞► The Prodigy, Not Squares

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

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

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

Junk Drawer
For fans of⁞► Dinosaur Jr, Yuck

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

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


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

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