The 'Le Mans' EP is out now on Humming Records...

Name; Yes Cadets
Genre; 'Maximist Heartbreak Pop'
Influences/ Comparisons? ~ Vampire Weekend, Peace, Jaws

Riding on the crest of the distinctive 'B-Town' wave comes Northern Ireland's answer to chart topping elctro-pop outfit Vampire Weekend, the refreshingly joyous sounds and bright overtones of Yes Cadets. Having plied their trade in the underground indie circuits of Europe (gaining particular popularity in Germany), the Belfast three piece have finally got into the studio to record their debut major label release, the highly anticipated 'Le Mans' EP. Filled with the kind of sparkling, pristine pop that has had a resurgent comeback in recent times, the bands melodic rhythms and upbeat soundscapes takes the bittersweet riffs of a Graceland era Paul Simon and bring it into the 21st century. Lisa Mageean's uptempo and impeccably tight drumming adds an extra dimension to the bands breezy, engaging sound, while adding a touch of class through her infectious enthusiasm and grace behind the drumkit. Her backing vocals in tracks such as the vibrant 'Seconds In A Minute' is a perfect compliment to frontman Alan Haslam's fast paced and emotive vocal delivery. In an ever growing back catalouge, songs such as the EP's title track show a darker edge to a band determined not to simply blend into the background of a movement defined by high tempo, riff based tales of teenage heartache and halcyon daydreams. Somehow, particularly in the 'Le Mans' title track, Yes Cadets have been able to capture the serene and delicate atmosphere of albums like Ben Howards 'Every Kingdom' and add to that the indie, electric guitar based drive that could see in the start of a new movement in Belfast.

Could B-Towns UK wide assault on modern music about to hit Belfast? If this enthralling indie-pop trio is anything to go by, the answer is a resounding Yes (cadets).

To sum up? Yes Cadets are what you imagine 'Noah and the Whale' would sound like with electric guitars and a greater sense of purpose.

Taylor Johnson

Listen to Yes Cadets latest releases here & keep up to date with all Yes Cadets official news here.

Gently brimming underneath the surface of Belfast's bustling music scene is a young band with big potential and an even bigger sound. Formed as purely a Summer project two years ago by producer Andy Christie, guitarist Alastair Greyson and rapper Gershom Kaoma, 'The Project Sound' quickly established themselves as an exciting and vibrant three piece, pioneering the countries growing alternative hip-hop movement which has developed over recent years. Known for their passionate and honest lyricism, as well as their catchy hooks and rhythmic melodies, The Project Sound are very much at the forefront of a revolution waiting to happen, but much like short lived London outfit WU LYF they prefer to remain out of the spotlight, letting their dynamic soundscape and honest prose do the talking for them. Taylor Johnson had a listen to their latest EP...

The Project Sound are a band known for their commitment to originality and their strong mentalities, so it's no surprise to learn that their latest EP. 'Nude Street', comes straight out of the ingenious 'concept album' bracket. Based around a fictional utopia, where humanity can live without fear of judgement  and in perfect harmony, 'Nude Street' is the basis from which this EP is allowed to flourish.

Kicking off proceedings is the smooth, synthesized intro of 'Colour', a track that glides into life with the most upbeat and rhythmic saxophone solo's that sets the pace of this dancey opener. Kaoma's confident, yet expressive tone flows beautifully over the vivacious melody as the drums gradually begin to drive on the pace of the song, adding more purpose to each expertly linked lyric. As the verses fade into it's instrumental interlude, the songs engaging melody is given the freedom it needs to really enthrall, reaching heights that lead you to imagine thousands of festival goers dancing along in the Summer sun. It then leads to it's wonderfully haunting middle eighth, that see's Alastair Greyson's echoed vocals fall delicately over a soothing piano structure. The true nature at the heart of the songs meaning is then laid bare as Greyson croons; 'I'm screaming words in black and white, show me your light and that's enough', a plea to society to stop chasing the validation of others and instead to simply embrace who you are. Kaoma's fine rapping ability is invigorated for the second verse, with the first line particularly, 'Fighting for equality to be just who they wanna be'  incredibly empowering. The song fades out as melodically as it began, the breezy, dance elements retained until the final note.

This paves the way for the second track, the mesmerising rhythms of L.A.E (Love Addictive Ecstasy). Opening with a hypnotic and perpetual piano riff, L.A.E draws you in from the off. Again, creatively utilising a saxophone for an added counter melody, the song is driven forward by Kaoma's slick and measured vocal delivery. Christie's brilliant use of dramatic synths add to the pulsating atmosphere, as the song heads towards it's powerful and captivating bass drop. The line; 'You know it's ecstasy when you hear the project sound' adding an anthemic quality to a song that sets out to inspire as much as it sets out entertain. The songs unique jazz elements, fuse seamlessly with their distinctly hip hop routes, a rare and exciting combination that has rarely been fully embraced in such an audacious manner. You imagine that in any other format, it may not quite work. Yet, with The Project Sound, it is this unusual collaboration of three very different musicians that is the key to their success. With the title track reportedly still in production, this is an EP that still has more to offer, but with The Project Sounds strong message of self acceptance and self belief, you feel that these two tracks alone will continue to capture the public's attention in the meantime.

Review by Taylor Johnson

Listen to the 'Nude Street' EP on the bands Soundcloud here and keep up to date with all of the bands latest news here.

Opening with the sort of serene and heartfelt acoustic guitar progression that has elevated songs such as 'You and Me' by Lifehouse to the emotional masterpieces that they are, Silhouette's 'Put the Silence On
Hold' begins as honestly and passionate as it means to go on. Sillouette's (real name Shauna Tohill) clear and ethereal tone is a perfect compliment to the slowly building atmosphere around her. The verses drift hazily into life, Tohill's thought provoking prose as captivating as it is tragic. The strong vocal melody could be straight out of  Cranberries frontwoman Dolores O'Riordan's back catalogue, weaving through the somber backing tones, as it builds to its chorus, which glides gently into life with Tohill's soaring vocals depicting more emotion in one note than many artists are able to convey in an entire track. Lyrically, the depths at which this track falls into is never dark or harrowing, yet it can't help but tug at your heartstrings and anyone who's ever felt the wreckless abandon of young love or heartbreak will no doubt relate easily to what is an incredibly genuine song. The vivacious addition of violin to the chorus and subtle use of piano in the verses adds an extra dimension to a song brimming with honesty. At it's best, 'Put the Silence On Hold', particularly with it's passionate chorus, could be a Taylor Swift ballad, yet, it's also easy to imagine the trademark drawl of a young Stevie Nicks singing this song with equal power and intensity, and that is where Silhouette's true natural talent lies. It lies in her effortless ability to write incredibly personal songs, with  widespread appeal. She can connect through her lyrics to as many people as are lucky to hear her, without loosing her alternative edge. A rare and exciting combination.

Taylor Johnson

If you like; Bat For Lashes, Florence and the Machine, Rams Pocket Radio   ~ You'll love, Silhouette.

Download Silhouette's debut EP, 'Can't Keep Up' here and listen to 'Put the Silence On Hold' here. 

Silhouette's debut EP 'Can't Keep Up' is out now...

As the sun looks to finally set on the musical heritage of Draperstown's Cellar Bar, the feeling that the end of an era is finally upon us has grown ever more prominent, in a town steeped in musical history. After Patrick Glasgow's decision to call time on the famous 'Glasgowbury Festival', it seems the town that has for so long been at the epicenter of Northern Irelands local music scene has begun to move on, as the Cellar Bar too recently announced their decision to no longer host local music gigs. As sad as it is for the local musical community when I arrived last night for 'The Cellar Bar's Long Goodbye', a night of five bands for the outstanding value of £4, the locals were in great spirits, capturing the mentality of positivity and passion, that made The Cellar Bar one of the countries top venues for so many years. It was a brilliantly planned event, worthy of the occasion as one of the the famous bars last ever live gigs. No pressure for the musicians then...

The night was kicked off in definitive style as special guests 'Car Chase City' took to the stage. The band's infectious enthusiasm and boundless energy acted as the perfect introduction to the evening, getting the audience on their feet almost immediately. Car Chase City's unique take on American styled punk rock was very clearly embraced by this more rock orientated from the off, a feeling encapsulated by their reaction after an audacious Green Day cover went down a storm. The brilliantly titled, 'Dude, Can I Borrow Your Straighteners?' flowed seamlessly, the bands energetic performance at times just as enticing as the music. Highlights of an uptempo set came during the Blink 182 styled 'Home', that had the band at their full frontal best, standing on amps, diving around the stage and headbanging as if their lives depended on it. As the song blasted along to it's distortion heavy conclusion, two members of the audience ran on stage and proceeded to hoist the lead singer and bassist in the air, triumphantly shirking any and all safety regulations in the name of rock and roll. It was the kind of reckless abandon and spontaneous optimism that only the Cellar Bar can produce and the audience were loving every second of it.

Next on the bill was Belfast's most exciting alternative rock act 'Those Ghosts'. With an already fully formed wall of sound, the band captivated from the off, enticing the crowd with their own brand of melodic, riff driven stadium rock. Blasting through an incredibly tight and polished set, the Strabane lads turned out potential hit, after potential hit, with tracks such as 'Enemies' sounding like a classic, just waiting to make it's appearance on a Fifa soundtrack. With U2-esque soaring lead guitar coupled with Aodhan Doherty's stunningly unique vocal, you cant help but feel that 'Those Ghosts' have all the ingredients to add their name to the long list of great alternative rock bands emerging from Britain in recent years. Towards the end of the set they unleashed 'Evelyn', the resplendent jewel in the crown and they know it, cleverly dedicating it to The Cellar Bar and it's dedicated punters, a beautifully executed piece of frontmanship that had, for the first time, the whole bar singing along to the incredibly catchy chorus. Despite this passionate and exciting moment, the highlight of the set came just before it, as Those Ghosts introduced a new song to their ever growing set. The beautifully articulate and genuinely moving 'Not Waiting For The End'. Set to a melancholic and serene back drop of arpeggio guitar and with Doherty's delicate vocal capturing the raw emotive atmosphere, 'Not Waiting For The End' is quite possibly the best song the band have written in their short time. If they continue to create songs of that quality and honesty the future could be incredibly bright for Those Ghosts.

This was followed by 'Dog Will Hunt', a guitar driven three piece who describe their sound as 'heavy dance funk'. This unusual combination of rhythmic grooves, high tempo, upbeat riffs and angry screamed vocals got a fantastic reception, as well as creating a colourful and perplexing contrast, that shouldn't be attempted to figure out, but should instead, simply be enjoyed. Taking obvious influence from local punk rock hero's 'And So I Watch You From Afar', If Dog Will Hunt's manifesto was to get people dancing, create a mini, but by no means less committed mosh pit and play very, very loudly, then it was no doubt mission accomplished. A fantastic relationship with the audience and natural stage presence added a personal touch to a watertight set.

As Dogs Will Hunt played off their final riff, it paved the way for 'The Big Grizzly', an energetic, punk, metal three piece with an electronic edge. The band came storming out of the blocks, ripping straight into their set with all the vigor and passion of a band playing Wembly stadium. This was made all the more remarkable by the fact that, literally moments before taking the stage, The Big Grizzly's drummer (Sean O'Neill) was struck down by a disastrous case of 'Buckfast Disease' as the band looked like they would have to perform their unique blend of distorted-metal without a drummer. Luckily Car Chase City's drummer Phillip Crean had bought an earlier Big Grizzly EP and, in a bizarre twist of incredible luck, displayed the sort of  comradery that encapsulates the  spirit of the venue by agreeing to step in and drum the tracks from that EP. It meant having to completely change the gigs setlist and rely on a drummer they'd never worked with before, yet, it worked brilliantly. The Car Chase City drummer continued his fine form from the bands earlier set, to deliver a startlingly strong performance behind the drumkit. Charming and witty, Bill Woods bass playing and vocals never faltered, despite claims that a virus had left his throat 'Away with the fairies'. 'Get Loud' particularly stood out, as Anthony Captains frantic guitar work allowed Woods vocals to finally stretch itself, providing a melodic yet exhilarating performance. At it's best, it could even be reminiscent of an early Smashing Pumpkins. Cleverly structured, yet seething with anger. A high octane and fast paced set, The Big Grizzly turned a potential disaster into a memorable performance, but you get the feeling it couldn't have been achieved without Crean.

As the night progressed into the early hours it was finally time for the nights headliners, one of the countries hardest working rock bands, The Rupture Dogs. With an audience already fully committed to the Rupture Dogs cause, wearing their authentic t-shirts and discussing the possible setlist long before they'd taken to the stage, other than the momentous aspect of the occasion there was no pressure on the band and thankfully that's just how they played. It was a classic set from the veteran rockers, at times engaging, with dark and menacing guitar riffs, at times tumultuous, with passionately screamed vocals and doom laden, distorted bass riffs, but it remained captivating throughout and it was clear that The Rupture Dogs could have played those songs in their sleep. The enthusiastic and receptive crowd thrived off every syllable, as the band eased into proceedings effortlessly and easily. Years of touring have left them impeccably tight as a unit, the group were note perfect. The gig descended, understandably into madness towards the end of proceedings and as the final riff echoed out around the tiny venue, you couldn't help but feel the beginning of the end couldn't have got off to a better start. There's only a few more gigs left at The Cellar Bar and my advice? If you can, get to one of them. You wont regret it.

Taylor Johnson

Stand out band(s)? ~ Those Ghosts, Car Chase City

Stand out tracks? ~ Those Ghosts - 'Not Waiting For The End', The Rupture Dogs ~ 'Wake Up'

Keep up to date with all the bands on the links below;

Car Chase City
Those Ghosts
Dog Will Hunt 
The Big Grizzly
The Rupture Dogs

Limerick born 'Moscow Metro' are clearly a band determined to follow their own vision and remain out of the main stream. With a name derived from the tragedy of the Moscow City suicide bombings of 2010 and lyrical inspiration found in the social environments of modern life, it's clear 'Moscow Metro' know exactly what they want to achieve musically. With a gradual move into local musical consciousness, the band have already amassed a strong and dedicated fan bass, as well as a plethora of experience, gaining regular air play on many of Ireland's top radio stations. The most remarkable aspect of this incredibly rapid and exciting rise? They've only released two singles to date, but what fantastic singles they are.

Starting with the atmospheric, electricity of 'Spirit of the City', Moscow Metro manage to combine the raw, power of a young Glasvegas and back it with the haunting melodies and gently soothing riffs of a young Joy Division. As the track progresses, you can't help but feel Moscow Metro are the band Ian Curtis's tragic Manchester band should have gone on to be. With choir like counter melodies floating over an assured and striking baritone vocal, this cacophony of melancholic wonder simply leaves you wanting more. It's easy to see why so much faith has been placed in the Irish four piece, it's obvious from the audacity of their massive sound that they share that faith.

With a full year out (a hero's welcome in the shape of T-Vital aside) to gather his thoughts and reconnect with the subtle craft of songwriting, Northern Ireland's beacon of hope Gary Lightbody announced the release of his supergroup Tired Pony's second album  'The Ghost of the Mountain'. Far from suffering the dreaded 'Second album syndrome', "Ghost" see's this Tired Pony begin to stretch it's legs, as a piece of work that reinforces Lightbody's position as one of the worlds most gifted songwriters. Taylor Johnson had a listen...

The album opens in stunning subtly, a simple synthesized intro coupled with the most delicate of country guitar slides, which drifts into Lightbody's serene and heartfelt vocals. Unusually high for the Snow Patrol frontman, it shows his eagerness to give Tired Pony it's own unique identity. Right from the off the simplicity and striking fragility of the lyrics are as breathtaking as they are heartbreaking. 'Well I want you as you are, not some collapsing star'  Lightbody croons. Yet it's the chorus that is the most wondrous. 'I don't want you as a ghost, I don't want you as a fading light, I don't wanna be the weight you carry, I just wanna be the man you come home too'. Vivacious, emotive and searingly honest. It's Lightbody at his best, and his band don't sound too bad behind him either. The mellow vibe suits the almost cracked vocal delivery. What also becomes apparent is there is a running theme throughout the album, one that has been alluded to in recent Snow Patrol songs such as 'Lifening', and that is Lightbody's desire to reconnect with the carefree spirit he possessed growing up. It's as if he wants to forget about the pain and suffering that goes hand in hand with growing up and delve back into the endless freedom of childhood. 'The kids that we once were, they wouldn't know us now...'. Stunningly performed and incorporating a brass section towards the end of proceedings adds a different dimension. There's also an incredible guitar solo from R.E.M's Peter Buck. A beautiful introduction.


'I'm Begging You Not To Go' follows a similar vibe as the opener, with a lighter over coat. A catchy and light solo bubbles over the verses and works fantastically in the chorus. Again, Lightbody's stunning lyrics elevate the track to a new level. A captivating chorus, filled with impeccably executed backing vocals, is decorated with heart warming stories and again it is the simplest couplets which leave the lasting impression. 'Our shoes kicked off, side by side like they are dancing' is pure poetry. The band is sounding tight and brighter as a unit, with the darker shackles of expectation from 'The Place We Ran From' well and truly cast off it sounds like Tired Pony are no longer trying to prove anything to anyone other than themselves.

With a building choir like intro which bursts into a pulsating footstomping rhythm, 'Blood' marks the first change of pace in the record. It's also the first song to show the bitter side of Lightbody, his natural wit and evident frustration going hand in hand to perfectly remonstrate the pit falls of young love. 'It's alright, it's alright, a love like ours is easy found...is it fuck! Is it fuck, I chopped through blood and bone for you'. If it came from the mouth of any other songwriter, it may be considered a poor attempt at self expression,  but through Lightbody's heartfelt delivery it's as tragic as the songs before it. The song builds to the type of chorus's Lightbody is now famed for mastering. Powerful, uplifting and as genuine as anything he's ever written. 'Blood' is a song that could so easily have been on Snow Patrol's third album 'Final Straw', a throw back to that era through the filter of a much wiser and considerate mind.

'The Creak in the Floorboards' begins with the type of palm muted guitar he built an empire around with Snow Patrol, the atmospheric density which surrounds it is a credit to producer Jacknife Lee. Again, a climactic chorus elevates the track to 'mass sing along status'. Bronagh Gallagher's stunning backing vocals in the chorus is simply intoxicating. 'Do You know what I'm looking for now? Cause I sure don't'.

Then comes the albums first single, the stunning 'All Things All At Once'. A track supposedly written in a drunken haze after a celebratory drinking session. With haunting vocal melodies, perfectly placed slide guitar to retain the folky nature of the album and lyrics that provide a reflection into the mind of Tired Pony's secretive frontman, it was an obvious choice for single. Again, Lightbody continues the metaphor of past glory, through a series of emotive and wonderfully written stanzas. 'These wings ain't for flying, these wings are just for show, it's been years since I've been flying, I am damned to the Earth'. Even the title, 'All Things All At Once', rolls sweetly off the tongue, but it is only through listening to Lightbody's ethereal delivery do you get a sense of the undercurrent of sadness on what is a powerful track.

'Wreckage and Bones' incorporates an intricate guitar intro, but perhaps the use of electronic drum beats means some of the soul of the song is perhaps buried underneath. 'The Beginning of the End' follows a similar formula, but with an electric guitar allowing the track to breath somewhat. It also see's the introduction of Ian Archer, who's distorted delivery works wonderfully and sweetly with Lightbody's creating a wonderful harmony. Unfortunately the chorus falls short of the captivating highs prominent earlier on and it would have been lovely to hear Archer's voice attempt the chorus. It's the first time on the record that you would struggle to distinguish between a Snow Patrol demo or a Tired Pony track.

'Carve Our Names' takes similar influences, though manages to present it in a gentler package. A song about 'carving our names into the ocean', here the band create a delicate story of simplicity and fun, yet you can't imagine it getting the strongest of live receptions. Lyrically sweet and certainly deep, but it never gathers the energy necessary to win them any new admirers. 'Ravens and Wolves' which follows, contains the delicate opening of a Sigur Ros track. With a chorus that blasts out from nowhere, 'Ravens and Wolves' show Tired Pony beginning to waken up. The contrast between verse and chorus could so easily be too contrasted, but instead it serves to the bands advantage, an unexpected gem in their ever growing arsenal. A crashing piano outro hits home like waves against a battered pier, a fitting end to a song which like a lighthouse ensured this album stayed on course.

After a bizzare, 80's styled intro (almost Echo and the Bunnymen-esque) 'Punishment' highlights a new direction for the band. Buck's heavier guitar riff blends uncomfortably into the background as a song which could have been a triumph of synthesized harmonies instead falls slightly flat. The most dedicated of Tired Pony fans may not be satisfied with this one, which may have hit the mark had it retained the acoustic format they're known for. This is followed by the title track, an example that electric and acoustic guitar can live in harmony under the right circumstances. More choir like vocals contrast some upbeat, rhythmic drumming as Tired Pony begin to get things together. The lyrical potency returns, 'You're the sweetest bitter end I could have hoped for' and 'I'm not a man, i'm just a shadow, just a fragment, just a ghost' glistening through.

The album ends with 'You're Way is the Way Home', a simple acoustic track highlighting the groups ability to bring together different elements to form a delicate conclusion. With subtle piano gliding in and out of the track, there's a slight feeling of Fallen Empires final track 'Broken Bottles Form A Star'. A beautifully melancholic ending to an album which stands to show that though this pony may be tired, it has no intentions of slowing down just yet.

Review by Taylor Johnson

Hear a preview of 'The Ghost Of The Mountain' here and keep up to date with Tired Pony news here.

Stand out tracks; 'I Don't Want You As A Ghost', 'Blood', 'All Things All At Once'