Everybody calm down. Micheal McCullough, the acoustic nut-job we know and love, hasn't literally died; but his mysterious moniker certainly has. Making the announcement over Facebook and Twitter last week, the bluegrass inspired artist will from now on be known as 'Son Of The Hound', a name which clearly means a great deal to him. Encore NI caught up briefly with Micheal to find out the reasons behind the change...


With the practicalities of his new, sleek stage name in check and the hype around his next release growing, it's no surprise that his first gig back in action is a big one. He'll be supporting ex The Hold Steady keyboardist Franz Nicolay in The Bar With No Name on the 16th March, in what's nailed on to be a sell out gig. Nicolay, a multi-instrumentalist and key member of New York's art-punk scene in the early 2000's, will be promoting his new album 'To Us, The Beautiful', a swirling, energetic mass of a record. With Son Of The Hound on the bill, this could be a very special evening indeed.

Band Name: More Than Conquerors
Genre: Alt-Rock
For Fans Of: You Me At Six, Foo Fighters
Location: Belfast
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Belfast's More Than Conquerors commitment to their home city left a bigger hole than most during their significant time out of the gig circuit last year. Reunited briefly to produce an incredible performance in support of 'Therapy?' at the NI Music Awards, the band hinted that their trademark energy was back even stronger this time around. New single 'Red', goes one step further, not so much reaffirming their position as alt-rock supermo's as cementing it.

If the honest nature of 'Red' is anything to go by, this is a band now fighting for the right to be heard like never before. Each riff is delivered with fervour, each verse more solid than before. You almost feel entitled to listen, like the band will take personal offence otherwise.

The angst and aggression of previous records remains here, though you feel frontman Kriss Platt is more comfortable with arrangements. As if this chorus was just waiting to be written by the band. As an alt-rock song, 'Red' is big. Huge even. Yes, the chorus is uplifting, and the punchy verses remind us why we've always loved them, but there's more going on here ~ the middle eighth see's them dabble in Sonic Youth shoe-gaze territory for the first time, whilst a chugging bass line takes things that step further.

In all honesty, MTC have long ago reached the levels of You Me At Six and their alternative counter-parts. Now they just need a break.

Name: Lilla Vargen
Genre: Piano-Pop
For Fans Of: Emeli Sandé, Regina Spektor
Location: Belfast
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Young songstress Lilla Vargen is perhaps one of Belfast's most enigmatic artists on the scene today. Whilst in possession of a glacier vocal, an  irrepressibly warm tone and an undoubted gift on the piano, she has only recently released her first, and only, song to date. No warnings, no teasers and very little promo. Hype, you sense, will never be her thing.

Choosing to take things slowly, Vargen's soulful vocals echo pop starlets from Duffy, to Regina Spektor, captivating and honest. A quite brilliant slice of introspected pop, any reservations Vargen may have about playing live (she's yet to venture beyond the recording studio) is left behind on three minutes of soul searching, surrounded by the sort of piano usually reserved for album singles ~ not a debut release.

It brings to mind  Emeli Sandé putting her own spin on Coldplay's 'Christmas Lights' ~ inoffensive, pour your heart out pop music. Even if this single doesn't explore any new ground, it's a refreshing reminder of our potential to produce female artists.

Now shortlisted as one of Chordblossom's finalists for their Kickstart competition, this could prove an interesting year indeed for Lilla Vargen. A name worth remembering...

Band Name: A Plastic Rose
Genre: Alt-Rock
For fans of: N/A
Location: Belfast
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I think it's safe to say that the fifth single to be taken from A Plastic Rose's massive new record 'Flickering Light Of An Inner War' came as a bit of surprise. A curve-ball in more ways than one, this soft centered single see's the band revive the gentler roots of years gone by, with 'Silence You', 'Scream If You Need It' and even the now classic 'Indian Sheets' all coming to mind. That said, to suggest 'Garavogue' is in any way a regression for the adopted Belfastian's would be to completely misinterpret not only a song of real warmth, but the band themselves. An emotional affair, 'Garavogue' guides the listener to simpler days of it's author's childhood spent in their native Sligo, the Garavogue itself being the river which runs through the town.

Musically it's a spell binding affair of Sigur Ros inspired guitar, overlapping the bands now trademark sound. The nostalgic nature of this single see's the interplay between Norman and McHugh at it's absolute best, the chemistry of their acoustic beginnings as evident (and powerful) as ever. Harmonies a plenty, any fearing a lack of spark are misguided; as this track really delivers the singalong chorus it's haunting opening promises.

Lyrically too, the genuine nature of this song is laid out for all to see.




Watch the official music video here⁞►

Band Name: Alice Signal Fires
Genre: Indie-Rock
For Fans Of: Arcade Fire, Bright Eyes, Ben Kweller
Location: Carryduff
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A track of real intent, 'Consolation Prize' is the result of simple acoustic guitar, smothered in waves of reverberated beauty. Coming straight off this very young bands DIY debut record, Alice Signal Fires have chosen to go into this crazy business all guns blazing; hitting the general public with a series of surprisingly impressive indie-rock anthems, each one brimming with emotion. 'Consolation Prize' is no different, the heart it's author clearly prides himself on evident in every verse.

At times it can be taken for granted just how difficult it is to transfer genuine emotion into a four minute recording ~ it can be so easy to stray into clichéd territory. Impressively, Alice Signal Fires seem to have struck the perfect balance between feeling and 'acting'. There's no plastic lyrics here, no falseness and certainly no lack of quality. The production here is big, capturing the spirit of the whole album excellently. Made up of young brothers Declan and Conor McCrory, you feel there was no shortage of quality records growing up in that household, as elements of Arcade Fire, Elliot Smith and Neutral Milk Hotel's Jeff Mangum all take precedence on their debut album 'Ghost'. 

The most exciting aspect of Alice Signal Fires? This is just the beginning. 'Consolation Prize' (in fact, the majority of their album) could soundtrack an indie movie quite comfortably. Declan McCrory (himself just 17 years old) possesses a voice of rough grandeur. The strings which rise and fall throughout their songs are heartfelt, their introspective lyrics similarly so.

Provided they retain the epic sound which have defined their short existence so far, Alice Signal Fires may just have a future in this.

It's still very early days, but promising all the same.

Band Name: Ruairi And The Owls
Genre: Acoustic
For Fans Of: Daveit Ferris, The Feeling, NeverShoutNever
Location: Londonderry
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Ultimately, Ruairi and The Owls debut is a charming batch of cheeky imagery, simplistic lyricism and a genuine warmth that at the very least, allows him to stand out from the 'sad songwriter' stereotype. There's a nice balance here between overdubbed electric guitars and the simple acoustics that form the basis of his sound. Opener 'Thaw' is the undoubted gem here, a song which takes the Jack Johnson styled innocence of the other three tracks out of the equation ~ leaving an enjoyable pop-song with not only an enthralling chorus, but lyrics of a borderline nihilistic nature; which makes an exciting change of pace.



As a songwriter, the man behind the moniker, Ruairi Connolly, has an undoubted ear for a melody, as each track has the potential to make you sing along. 'Memory Stick's gentle hop has a radio friendly swing that you imagine would go down very well live, even if there's a kick missing from this particular recorded version. Equally, with 'Egg and Spoon's 'The Feeling' inspired piano and harmony drenched verses you couldn't rule out day time radio play, though again, the intriguing dark undertones that filtered through on 'Thaw' just don't come, no matter how much you're willing it to.

Final track 'Contagious' retains the sugary-sweet melodies of the previous tracks, but we begin to see more of the artist here. Even if it does occasionally stray into 'too much information' territory ("those supple breasts,  that hang upon your chest..."), there's enough warmth here to reminisce with a NeverShoutNever quality attached. You're left feeling that Ruari and The Owls is an honest project, writing sweet songs, about sweet things.

That said, if he really wants to push on in Belfast and abroad, he may need to explore his darker side a little more. More of the 'Ben Howard pondering the nature of existence' that we hear on 'Thaw' please Ruairi.

Band Name: Mere Moths
Genre: Acoustic-Indie
For Fans Of: Richard Ashcroft, Sixto Rodriguez, Ray LaMontagne
Location: Dromore
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Following up from the hazy softness of debut solo release 'You Grew Up', this latest effort from Dromore native Patrick Wright see's his acoustic project emerge from it's awkward teenage years into a comfortable new maturity. His 'rock-band' skin now completely shed, this was always going to be a defining moment for an act gathering substantial pace over the last two years. Could he keep the momentum going? Taylor Johnson had a listen...

While Encore NI have been quick to praise recent releases from the Mere Moths camp, the feeling that each of these recordings have been more of a stepping stone towards a more personal style has been evident.  'Time' takes this process one step further, as Wright's voice quivers become more and more recognisable, each melody more authentic and we start to see more of the enigmatic teenager behind the guitar. That said, the title track which opens the EP is a very brave choice indeed.

Built around a hypnotic bluesy swing, 'Time' may be one of Wrights best songs to date. That said, it's slow pace, falsetto vocal and chilled demeanour make it more likely to soundtrack a Parisian art-house party than a bar in Belfast. This is no bad thing, on the contrary, it makes a refreshing change of pace from the tired 'maudlin acoustic-balladeer' format. Be warned though, those less exposed to the quiet folk of Ray LaMontagne and the like may need a few listens to fully appreciate it.

'Save You' see's Mere Moths return to more familiar ground, as another impressive piece of guitar work (think José González) draws the listener into his frantic fight to help his muse through another personal battle. Despite the captivating lyricism which is fast becoming a trademark ("God hates an equal, but he loves a trier"), 'Save You' lacks the bite of previous tracks such as 'Fight Me'; the sparse production leaving you wanting more.

In stark contrast, the anthemic thrall of 'Dance Music' is quite simply a joy from start to finish. Possibly (almost definitely) Wright's most enchanting song to date, everything from it's pulsating bass drum, to it's 'William It Was Really Nothing' inspired bridge captures the spirit of the 'Cool Britania' movement of the mid 90's. Even the falsetto call of the tracks chorus holds a beautifully sentimental value, reminiscent of Bono at his most delicate. It's a festival song, with fields full of revelers singing the chorus in unison in the Summer sunshine. (That said, it seems to be a song about a near-fatal car-crash...let's imagine it's a metaphor for now, shall we?)

 Just why Mere Moths has chosen to hide this gem so far down the tracklisting, only he knows, though thankfully this songs optimism comes pouring out from it's opening line,
Vocally excellent, 'Dance Music' also see's one of Mere Moths best ever guitar solo's ~ it's understated, 80's vibes proving a beautiful addition to a track full of heart.

So...not bad then.

Closer 'Break Left' see's a return to the slightly bluesy nature of the EP's title track. Another song of singalong quality, 'Break Left' is further evidence that Wright may have been raiding the 90's section of HMV before hitting the recording studio. Although his personal style remains as ever (particularly in the acoustic guitar riff which begins each verse), the warm melody which runs through the song feels like a forgotten Verve classic, with a definite nod to the likes of Noel Gallagher. It's a feel-good strummer in the vain of 'Married With Children' and an appropriate end to the EP.

Lyrically Patrick Wright has always been a fascinating prospect and that fascination is retained right up to Time's final track.


'It doesn't matter anyway, I'll still make you smile with my shit jokes all the time...No one sings like you anymore...'

The singer-songwriter's muse remains, and long may it continue. If Mere Moths embraces more of his 90's stylings, he may be one of Belfast's best... sooner, rather than later.