Interview: East India Youth

Deadheading got to talk to William Doyle of East India Youth before his first show in Belfast about playing his last “Culture of Volume” shows, Brian Eno, and gardening.

DH: What’s your favourite song to play live?

WD: “Hinterland”, probably. It’s a bit obvious, maybe, but it’s like the dance peak of the set, and I’ve worked out a way to play it that it’s kind of different every time. It’s a very malleable thing- some of the songs are a bit more rigid, and that’s fine, but with “Hinterland” I’ve gotten to that point of the set where I can just let go and sort of enjoy it, I think it makes a big difference, so that’s always going to be my favourite to play. It really gets the blood pumping, so yeah.

DH: Are you sick of playing “Culture of Volume” yet, and do you find that having to continually engage with each song has changed how you perceive them?

WD: I am, yeah. It’s been so long now; the first album came out the year before last, and it was about a year before “Culture of Volume” came out, so it’s just been non-stop touring. I’m not bored or sick of it, I’m just having to invent new ways to make it interesting again, I think, and it’s getting harder and harder as the tour sort of winds down. I’ve been doing this version of the set for a year, like what with the gear and stuff I’ve got on stage, so it’s time for a change, but it’s a bit late in the day to bring in a massive C change now.

I was sound checking some of my old songs that I haven’t played for a while today, but it didn’t feel right. There’s always a mixture of the two records, but I was going to play the “Total Strife Forever”, the sweeps, the instrumental strings, but it’s not quite where I thought it was. I haven’t played it in a year and a half, maybe, so I’m a little bit rusty with it, but I’m quite keen to bring back that part of what I do, just offset the pop moments with something that bit more abrasive.

I just think that the pop thing hasn’t worked out as well as they thought it would. I love pop music, and I always think there will be a melodic focus to what I’m doing, and I just thought after working on things that would become “Culture of Volume”, it was like, oh, it seems like it’s becoming more of a vocal-led album and it’s more pop-focused, but the longevity hasn’t really been there with the material in quite the same way.

In terms of how I feel about the material, I feel there’s some moments of “Culture of Volume” that I love, and there’s other moments that really aren’t doing it for me any more. Like “Beaming White”, it just seems like this empty shell of a song to me. I think that one was the main pop experiment, and I wanted to do a Pet Shop Boys sort of thing, and I think it worked, but what it’s loosely about doesn’t really hold much of my interest now.

With “Culture of Volume”, I don’t really feel like the person that made that album any more, even though the period during making “Total Strife Forever” was much weirder and more emotionally ridiculous, I feel like it’s closer to my intentions generally. The thing is, the idea that every statement you make artistically is this definitive thing that you have to stand by forever is kind of crazy, you know, your feelings develop, so I might feel differently about that.

I went through a bit of a rut with “Total Strife Forever” for a while, and I guess your opinions change and playing things live over and over again, they develop in different ways. I’m all about having a relationship with the songs; they’re not just this passive blob of a thing.

Maybe not with “Culture of Volume”, because I think it’s still too new to have that distance from it. “Total Strife Forever” has renewed itself in ways I didn’t think it was going to. There were songs like “Turn Away” that I feel, like, some of the lyrics were things came true after I’d written it, rather than things that happened while I was writing it, which is a bizarre thing to happen, but it happened a couple of times with that album, and maybe that’s why I have this weird emotional relationship with it, because “Total Strife Forever” was all about that moment and what happened prior to it, whereas “Culture of Volume” still feels like it predicted things going forward.

You can’t not draw from personal experience- I don’t write fiction or narrative based stuff, but obviously I don’t really like to ascribe one song as being this particular moment or memory or person or whatever, like they’re influenced by those things, but they’re a bit more abstract in that, I think that’s what I wanted to do. You paint an atmosphere rather than try to capture a specific moment, maybe.

DH: Do you find that you approach writing with more of an ambient sensibility than anything else?

WD: Yeah, for me, it’s all about creating an environment. Eno’s always a good example of someone who’s able to create an environment with what they do. Everything’s interpreted by people, and that’s what it’s there for rather than you forcing a meaning onto someone else, you give them enough tools and they’re able to build this environment themselves, so that’s more exciting to me.

DH: What made you decide to add vocals to “Culture of Volume”?

WD: Playing live, and getting more comfortable with my voice and enjoying that aspect of it, and in the next one too, you know you’re going to end up touring the next thing for a year or however long, and I wanted to convey that a bit more live. It was a challenge as well; I pushed my voice a lot more than I did previously. It’s just grown into this thing that I didn’t really think it would, like I love singing, it’s one of my favourite things to do, so I just wanted to create more opportunities for me to do it, I guess.

DH: What comes first when you write songs, the lyrics or the melody?

WD: Melody, always. I hated putting lyrics to songs before, but I’ve worked out a new way to do it; because I haven’t been able to write too much music on the road, I’ve been writing a lot more poems and stuff like that, and I’ve been training my brain to write things down within that form, and you start to worry less about rhythm and rhyme and stuff like that. The words are more important, so I’ve been writing them first and then fitting them before I’ve even written the rest of the song sometimes. It’s just attacking it from a different side, it’s been so much more enjoyable lately, and the words are so much better at the moment, so that’s good. I’m glad I’ve been able to figure that one out because I really hated writing the lyrics sometimes.

I got most stuck on “Beaming White”, and maybe that’s it, it’s always the easiest songs that flow out of you, like “Heaven How Long” and “Carousel” are my two favourite songs of mine, in terms of everything they give, and they’re the ones that happened the easiest, I suppose.
Things change so much anyway- sometimes the song has been written and then the arrangement changes or maybe it becomes a different style of track, so I don’t know, it’s a fluid thing.

DH: How much do you use oblique strategising as a means of writing?

WD: Not very much. I actually told Eno that I don’t find it that helpful! They’re interesting, and I think as time’s gone on I’ve employed them more than I would have otherwise, but I think they’re things that I memorise, but when you use them in the traditional way and pull them out randomly, I actually don’t find them that helpful then, I find them frustrating, because it’s sometimes like, “Go outside and shut the door.”, and I know it’s meant to promote lateral thinking, but I can’t really interpret that one.

Some of them have made a lot more sense to me over time; at the moment what we do in my house, I stick them on the front porch, and when you open the front door there’s two doors that go into the living room, so we’ve got one on each door at the moment, so we shift them around a bit, and when you come in you think about them , and they’ve helped more in terms of that, but I didn’t use them a lot during “Culture of Volume”.

DH: You met Brian Eno. How did you find that experience?

WD: It doesn’t really get much better than that for me. In terms of people, I think I’ve learnt more from him than from any other artist, you know, from reading their interviews and getting into their music and stuff like that, so that was kind of it for me, but then again, it’s always the people that you don’t expect to have an impact on you that do.

DH: I hadn’t realised that you play everything yourself during live shows. Do you find it liberating or frustrating to be the only one on stage?

WD: The more into it you get, the more you forget that you’re the only person up there. It depends how well the show is going really, if the crowd are into it then I find myself in my own space, and it doesn’t make much difference that there aren’t any other people up there. There’s a lot to do, but you get used to it. It took some time initially, especially with the set up that we’ve got now- I think we debuted this set up this time last year, so we’ve just been doing that, but at that point it was like, “There’s so much to do, there’s drum bits here, and bass guitar!”- but now it’s more like second nature, and I enjoy it a bit more, but I think it’s always important to keep changing it up. The next record will be a different thing; there might be other musicians as well, but I think that’s going to take a long time to come together, as I haven’t formed a super group in my head yet, so we’ll see how it goes.

DH: What are you planning to do with your time off?

WD: Carry on working actually, but just not touring. I’m setting up some collaborations at the moment, writing with other people, trying to do bits and pieces like that, but I’m doing all the visuals myself for the next project, so it’s going to take a while, because I’m out of my depth with that stuff. I don’t know what I’m doing with it, so I’m taking a year to do it, so yeah, maybe I’ll actually go on a holiday or something like that, but that seems like a weird idea- it’d be nice to go somewhere on holiday rather than go there to play a gig.

DH: You were previously a member of “Doyle and the Fourfathers”. Do you miss being in a band?

WD: No. I mean, I miss the guys, but I don’t miss being in that band. I miss playing with other musicians regularly, like that is an exciting thing to do, and it’s a shame that I haven’t been able to work that into what I do now, but it’s a necessity really. Like I say, hopefully I will be doing more of that. But no, I think the problem with that band is, and any band you’re in your teens, it was like, “We’re going to get signed!”, and all that, and there’s an aspiration to do those things, which is great, because that keeps you going, but also you miss the point as to what’s enjoyable.

If I was to do something like that now, it would have to be more of a non-committal thing, and I’d have to enjoy doing it, because I just stopped enjoying being in a band, but I do miss playing with people. With that band, I was 18 or 19, and it was all ego- like you don’t realise it at the time, but when you grow up you realise how stupid you might have been at some points, but I’m over that now.

DH: What was the first song that you ever learnt to play?

WD: I started off on violin actually, because it was available to learn at school. I guess it gave me that basic knowledge of frets to transfer onto guitar. I couldn’t play it now, but I think it was Scarborough Fair (on the violin), but the first song that I learnt on guitar was probably Green Day or something.

DH: What would you be doing if you weren’t playing music professionally?

WD: A gardener. Some friends asked me this recently, because it was part of a conversation that we were having, so I don’t know, there’s something similar between cultivating something and trying to put beautiful things out into the world, which is what I think you’re always trying to do with making art, but there’s less judgement with gardening- like, no one’s going to have a go at you on Twitter, or at least if they did, you’d have to respect them for it.

DH: Do you find that using software helps or inhibits the creative process?

WD: Helps, but only because I’m used to it. I’ve been playing with it for like ten years now, since I was fourteen or fifteen, I just had some software and didn’t really know what I was doing, so I started off with and still love Cubase. It’s through necessity that you learn it, so I now find it easy to translate ideas into reality using software. I’m not really a hardware or gear person, like I don’t own any synthesisers really and I’m not interested in doing it. Ryan (Vail) was talking to me about the gear that he’s got set up on stage, and I’m like, “It looks cool to do me, and this can do some cool stuff!”, but I’m just not really interested in it. I don’t even consider myself as an electronic musician really, I think of myself as a songwriter, I suppose, and I’ve used electronic music as the vehicle for that.

DH: When did you first get into electronic music?

WD: Just through playing with software and stuff, really, I just happened upon electronic sounds. I didn’t really listen to electronic music at the time- maybe it was Beck or someone like that, or the idea of all that overlay and sampling and stuff like that, it came more through that. I mean “(Midnite) Vultures” is quite an electronic record in itself as well, and “The Information” was too, but there wasn’t a particular moment. I mean, I’ve had plenty of epiphanies with it, but I don’t think of it as being electronic music always, because I don’t really think of Eno as being wholly electronic- he’s an artist who uses synthesis and stuff, but I don’t think of it as being electronic. I think we’re able to use software in a way to build error into things now, and that gives it this human quality. I think building that into it is important to do always, because it creates interesting, unpredictable moments, and that’s what leads you to conclusions, and that’s what makes things sound human when you’re dealing with electronic music and synthesis and software.

DH: What’s been the most frustrating aspect of being a musician professionally?

WD: Touring. I enjoy it, and you make it work for you, definitely, but I’ve found it frustrating in the last year or so that I haven’t been able to write or create on the road, and like, you fly into somewhere the day before the show, you play the show, and you fly back out afterwards, and it takes you three days to do one gig, and I can’t do any other work, and you barely see any of the places that you go to.

I don’t like to be moaning, because I do get to go to such incredible places and meet brilliant people and play to wonderful audiences, and that’s the best part of it, but sometimes the more tedious parts do start to outweigh all that. But it’s just another creative challenge to be able to solve, “How can you make this interesting for yourself?”, so we just try to go and see as much as we can whenever we can, eat interesting food and try interesting beers and whatever. We’ve had an amazing time the last three years, touring together, but it’s just that the touring doesn’t always agree with what I want to do creatively.

DH: What are you listening to at the minute?

WD: I had a good listen to “Blackstar” today. It’s really good, it’s brilliant. It’s a shame that he didn’t release more weird stuff like that until the end, because it had so much to offer, it’s a really strange album. Like “The Next Day” had some weird parts, but it was straightforward, and this has atonal sax solos, and the phrasing of the vocal is completely off from what’s happening in the rhythm section, but it’s just a really dense and beautiful thing, and it feels like a shame that he wasn’t doing more of that. No one’s made a record that sounds like that.

So that mainly, at the moment going back to an album called “Quarantine” by Laurel Halo, she’s amazing, she’s one of the best, and that album especially has been one of the most important records for me the last few years, so I gave it a bit of a break, but it’s an amazing record, and it’s got one of the best album covers that I’ve ever seen. It’s quite a weird record, but it’s incredible.

DH:Is there anything that you wish I’d asked you?

WD: Eh, no. Don’t think so!

You can buy Culture of Volume at http://eastindiayouth.co.uk/ and catch East India Youth’s last Irish performance until 2017 at the Button Factory in Dublin.

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Live Review: And So I Watch You From Afar, 20th June

And So I Watch You From Afar, with support from Skymas
Saturday 20th June, 2015- The Mandela Hall, Belfast

The almighty And So I Watch You From Afar have just finished the first leg of their “Heirs” tour. Consisting of Niall Kennedy and Rory Friers (guitar), Johnny Adger (bass) and Chris Wee (drums), the instrumental four-piece are well on their way to world domination, and recently concluded their extensive string of European dates with a celebratory show at the Mandela Hall, which was their only Northern Irish show of 2015, marking June 20th as a date to be observed by anyone with even a fleeting interest in music.

Skymas, who took to the stage shortly after the arrival of the bus of ASIWYFA’s hometown supporters, seemed to be an anomalous choice of support, but as their set wore on, it became apparent that this was a decision influenced by their ability to work a crowd as opposed to genre constraints. Like a fusion of The Prodigy and Japanese Popstars, their energetic EDM-influenced stylings served to suitably enthuse the already dangerously swaying masses. Their furious basslines battled against simultaneously saturnine and searing synth sounds, which were in turn accompanied by disconcerting, constantly transmuting animations played on screens either side of the stage and enthusiastic vocal (and kinetic) delivery.

Although it is difficult to pinpoint what exactly the issue was (that being said, the thundering bass and the plethora of effects that were in use probably went some way towards muffling Corrigan’s acerbic vocals), the sound quality did not do what would otherwise have been a perfectly decent performance any favours; during “Hey Porter”, I heard “Paula”, whilst a girl behind me heard “Harry Potter” in a Cornish accent.

The interlude that follows means that by the time ASIWYFA, already looking triumphant (and justifiably so- the Mandela is close to capacity), decide to grace the stage, the crowd has reached fever pitch.
Opening with the first track of Heirs, “Run Home”, the intricacies and relentless energy of which elicited the most powerful reaction from the audience imaginable, it is evident that this show is going to be remembered as a highlight for the band and their fans alike. Without breaking for breath, they dive headlong into the unceasingly intense “Wasps”, with tumultuous guitars and gang vocals overlaying the rumblings and ruminations of the rhythm section.

The focus of the evening remained, for the most part, (and for fairly obvious reasons) on their incredible new album, “Heirs”, but interspersed throughout the set were some of their earlier songs, which were received appreciatively by their captive audience as they are now commonly regarded by most: as classics. “BEAUTIFULUNIVERSEMASTERCHAMPION” (I challenge you to type that without feeling a certain surge of adrenaline), “7 Billion People All Alive At Once”, and “Search:Party:Animal” in particular serve to cement the atmosphere as electric, and at more point than one, I am fairly certain that the barrier has become a permanent installation in my abdomen, such is the crushing and moshing going on behind me.

In between songs, it is touching to see that the band is visibly moved by the crowd’s fervent response, whilst Rory Friers takes the time out to pay collective and individual thanks to members of their team and fan base. This is a band that continues to be all about their fantastically loyal fan base, and it’s an indefatigable, almost familial relationship in which both sides just keep on giving; not counting those onstage, a surprising number of tattooed ASIWYFA logos were proudly displayed throughout the venue.

Just when it didn’t look like the emotions being experienced couldn’t be heightened any further, ASIWYFA had to go and make it even more poignant by inviting Ewen Friers (brother of Rory, and vocals/bass of Axis Of) to join them for a stirring rendition of “These Secret Kings I Know”. Followed by “A Little Bit of Solidarity Goes a Long Way”, all of the band’s astounding technical capabilities are fully utilised, with Niall Kennedy and Rory Friers’ joint excavation of octaves building on Johnny Adger’s blaring, pounding basslines and Chris Wee’s rolling demolition of the drum kit.

“A Beacon, A Compass, An Anchor” and “Don’t Waste Time Doing Things You Hate” melded into one another, expansive in nature and spirited in delivery, the closing notes continuing to reverberate long after the band left the stage. There was disbelief amongst the crowd, who were astoundingly confident in an encore taking place; much to everyone’s relief, after a short break, ASIWYFA returned. Had they not, sweat-soaked riots en masse would surely have ensued.

“Eunoia” and “Big Thinks Do Remarkable” from “All Hail Bright Futures” were performed with astounding precision and even greater vigour. “Set Guitars To Kill” sounded truly monumental (I later overheard some say that during it, they “felt like I could punch through mountains.”, which is an apt description of the general feeling that ran through the entirety of the evening), and final song, “The Voiceless”, was verging on transcendent.

Despite the fact that a number of fans probably went home with an impressive assortment of neck injuries, there was a real sense of catharsis underpinning proceedings. ASIWYFA’s only Northern Irish show of 2015 was superlative, and it’s not difficult to see why a band as supremely talented and hard-working as they are has been greeted with such acclaim. As relevant as they ever were, if not more so, these innovative musical stalwarts have already made the transition from local band to legends- the rest of the world is just getting up to speed.

Interview: And So I Watch You From Afar

Deadheading got to interview Chris Wee (drums) of the instrumental stalwarts “And So I Watch You From Afar” about their latest album “Heirs”, playing 32 shows in 35 days and setting up in front of Dave Grohl.

DH: What made you first realise that you wanted to start a band?

CW: Myself and Rory (Friers) were friends from a very early age, and by the time we were in our early teens we started getting into a lot of the same music and started our first band with my brother. We did the typical teenage thing, playing Nirvana and Green Day covers but also had our first stab at writing our own songs as well.

DH:What have you enjoyed most about the first leg of the ‘Heirs’ tour?

CW: Aside from the obvious enjoyment of getting to play to the fans every night, this particular tour has been easily the best run tour we have done. We have a great team around us now and this tour was really well routed and planned, so even though it was a fairly relentless tour of 32 shows in 35 days it didn’t feel intense because of the great planning.

DH: How does it feel to be headlining your own tour?

CW: It feels great, it’s rewarding to know that we can put together an extensive tour of cities all over the place and have lots of people come out and see us. Playing support tours is really good in terms gathering new fans without the stresses of pulling our own crowd particularly but headlines are the true test of popularity.

DH: How did you feel about your homecoming show?

CW: We just played them last weekend, and we were totally blown away by the crowds. Both the Belfast and Dublin shows were amazing and we felt really comfortable playing having had 5 weeks of touring under our belts before them. Playing Irish shows are always a treat for us since the crowds are always so animated and appreciative.

DH: Who has been your favourite band to tour with so far?

CW: That’s a tough one as we have got to play with so many amazing bands over the years, but a stand out band would have to be Them Crooked Vultures, we toured with them a few years ago and it was an incredible experience, especially setting my drums up in front of Dave Grohl every night. They were by far the most famous yet down to earth guys we’ve ever played so it was an unforgettable time for us.

DH: If you could tour with anyone, who would it be?

CW: I think touring with Nine Inch Nails would be an amazing experience, we supported them at their big Belfast show a couple of summers ago and they had the most staggering production, it was great to be a part of it.

DH: What is the worst tour you’ve ever been on?

CW: Some of the early UK tours we did when we were first starting out were pretty tough on us. We would maybe do a month at a time and many of the shows would be to around 5 people so it was it was hard to see past the bleakness of it as well as struggling a lot with money back then. However, tours like that were invaluable to us in the long run as they really hardened us to difficult times and have made us all the more thankful that things are going well now.

DH: Which album have you found the most difficult to write?

CW: Writing has always been a really rewarding process for us but the most difficult was maybe writing ‘Gangs’. Being our second album we were suddenly faced with a level expectation from people that we hadn’t had before. With our first album we were just putting together our best stuff since we had started the band and it was the first proper port of call for listeners so we didn’t have any pressure.

DH: Is song writing something that occurs relatively naturally, or do you have to actively search for inspiration?

CW: Ideas are always coming out of nowhere at the strangest times and places. A lot of the time there might be a guitar line that one of the guys comes up with backstage in a venue at 1 in the morning and it stays as a small idea until we get back from tour and start working on it. Then other times some of the best ideas spring out of many hours of fruitless writing right at the end of the day.

DH: You have a very distinctive sound. How much experimenting did it take to achieve/hone that sound?

CW: With our early music we were putting a different edge to a lot of instrumental music we had been listening to at the time, but as time has gone on we have been constantly trying to reinvent and push ourselves creatively. We’re always striving to be more competent musicians as well, so developing more technicality also feeds into the progression of the music.

DH: Outside of music, what do you like to draw inspiration from?

CW: Traveling has to be one of the biggest inspirations for us I would say. You are always product of where you come from as well as the environment that you are in, so as people that travel a lot because of touring, we get to meet people from all different walks of life and experience countries and cities so vastly different from our own so that gives us a lot of inspiration in what we end up creating.

DH: Is it difficult to decide when to stop working on a song?

CW: This was actually quite a notable aspect of our most recent album HEIRS. We came up with a technique called ‘Wasping’ that came about from the song Wasps, where we had an arrangement much longer than the final version, and we decided that we had to drastically cut it down otherwise we couldn’t see it going on the album. So wasping was our ruthless method of cutting deadwood from ideas and we used it on quite a few ideas throughout the writing process and it was a really liberating feeling.

DH: What was the first song you ever learned to play?

CW: Crush With Eyeliner by REM, my Dad showed me how to play it on guitar. However I quickly got bored and frustrated at learning guitar and when I discovered drums it was no going back from there.

DH: Was creating music that is mostly instrumental a conscious decision?

CW: Myself, Rory and Tony (past guitarist) had been in a more conventional rock band up until we started ASIWYFA so when we started jamming and finding our feet it was just easier to not worry about vocals. We had also been listening to a lot of instrumental music around that time so that definitely rubbed off on us.

DH: As your music is primarily instrumental, do you feel a certain pressure to be continuously innovative?

CW: We definitely have a motivation to continue to be innovative but it isn’t out of a sense of pressure but more our own satisfaction as creative people. It’s probably the most important aspect of our band that we continue to be challenged and fulfilled by the music that we make. Starting to churn out records simply to pander to a particular audience would be stifling, and our fanbase would pick up pretty quickly to that type of insincerity.

DH: Is there ever a disparity between what you intend to write and what you actually end up with? If so, do you find that frustrating?

CW: Any ideas we pursue are always one that we are excited about, so the only time working on ideas becomes frustrating is when we can’t consolidate them all into a finished song. But in those instances, we either ruthlessly adjust them till we’re happy or we shelve the idea. It’s important to be able to make tough decisions like that and identify it in certain songs to prevent yourself getting bogged down with ideas that aren’t going anywhere.

DH: Have you ever written anything and felt that you couldn’t release it? If so, why?

CW: There is always a wealth of material that never makes the final release, and it’s simply part of the writing process. We fire off ideas in all different directions and we capitalise on the ones that stick and make sense. Songs get left off for many reasons, maybe they don’t fit with the mood of how the album is taking shape or maybe they’re too similar and it needs more diversity, or the song is just us stretching ourselves in a totally unrelated direction just to see whether it was worth pursuing.

DH: What has been the most challenging aspect of committing to ASIWYFA full-time?

CW: As many people are aware, being a touring band isn’t particularly profitable on a personal level unless you are playing arenas every night so money can be tight but its something that we have adapted to over the years.

DH: Was a career in music always your end-goal?

CW: In our first band together as teenagers, Rory and me would talk and dream up all these scenarios about being in a band and although there hasn’t been the glitz and glamour that our young brains had dreamt up all those years ago, we have certainly worked our way into a extremely rewarding path. I think we have all had various notions over the years of career ideas but nothing was ever as strong as our love for music and so we have just been following that in a very simplistic way, we love creating and playing music so that is our drive.

DH: If you hadn’t ended up in music, what would you have done?

CW: During my university years and while ASIWYFA was in its’ infancy, I was working in night clubs and worked my way into management but by the time I was graduating the band had been discussing becoming a more serious operation and it didn’t take me long to come to a decision about it.

DH: Do you think that music will always be your primary focus?

CW: Absolutely, it has been the one constant in my life in terms of a pursuit that I love and believe in so I’ll continue music for as long as I’m fit and able!

DH:What are your plans for the next year?

CW: We’re hoping to do another release in some form or another but we still need to work out if it’s feasible or not. Release or not, we’ll definitely be touring in 2016, hopefully with ones in Asia, the US and further afield with any luck.

DH: Has the reception that the band has received been anything like you had anticipated?

CW: We have always been a band that has built up and progressed slowly yet steadily. So most of the time we have been able to roughly predict how the reception to new albums and shows will go. Every so often though we get nice surprises when a certain show ends up being crazy good and that’s a lot of added fun for us. We have always worked off the ethos of having low expectations of things but remaining highly ambitious regardless.

DH: Have you found any experience surreal so far?

CW:A number of years ago when touring in Sweden during the winter, we had to pull over and sleep at a truck stop in our van and when we woke in the morning there was about half an inch of solid ice frozen on the inside on our windows. That was a strange moment!

DH: What, if anything, would you do differently?

CW: I’m really happy with how everything has turned out with our band. We have been together for just about 10 years now, have a wonderfully loyal and passionate fanbase and continue to be writing music together, so I wouldn’t change a thing.

DH: How does being cited as an influence on so many emerging bands feel?

CW: That is always humbling. Occasionally we will meet bands that say they started their band because they were all fans of our band and that’s incredibly rewarding to know that our music could have such an impact on people. I guess it is just as important to be influencing others around you as it is to be making the music.

DH: What are you currently listening to?

CW: I’ve been listening to Mirrored by Battles while I’ve been writing this interview, such an incredible and unrelenting album. Recently I have also been listening to Com Truise, Shipping News and Run the Jewels quite a lot as well.

If you could transcend space and time, what artist would you see live?

CW: Queen. Some of my earliest music memories were of seeing Queen concerts on TV, Freddie Mercury was mesmerising and no one will ever come close to him as a performer.

You can stream and buy And So I Watch You From Afar’s incredible new album, “Heirs”, here: http://asiwyfa.com/heirs

Live Review: Portrush Brawl, 29th December 2014

The Portrush Brawl, featuring Good Friend, A Bad Cavalier, Two Glass Eyes, Sons of Burlap and Pocket Billiards

Monday 29th December 2014- the Atlantic Bar, Portrush

2014 marked the 8th annual Portrush Brawl, which, in the spirit of tradition, was hosted by Team Fresh at the Atlantic Bar, and this year, was in aid of the Welcome Organisation (a Belfast-based charity that reaches out to the homeless and vulnerable, and is a cause which is definitely worth checking out and supporting: follow the link below for more information on how you can help).

http://www.homelessbelfast.org/

The North Coast/Newcastle Upon Tyne based Good Friend kick off proceedings, with an energetic fusion of old-school post-hardcore and regional punk(think Black Flag meets Dropkick Murphys, but with sharper guitar effects, and no pipes). Playing a series of hearty, hardcore tracks, and providing a preview of their (then unreleased) single, the riff-fuelled “Irish Goodbyes”, Good Friend are a solid choice of starter.

Newcomers to the live circuit, brainchild of ASIWYFA’s Niall Kennedy (and super group, of sorts) A Bad Cavalier produce a slick, joyous, almost glam-influenced set. Every song is a highlight, so for fear of gushing, my personal favourites include: “I Miss My Mind”, which is wonderful, with cheerfully syncopated, yet contagious, driving rhythms; “Olive Tree”, filled with crafty lyrics and infectious electro overtones; and finally, the hook-filled “Coast On”, which boasts expertly constructed layers, full of crashing vocals and waves of harmonious synth and guitar effects. Not a bad start at all for A Bad Cavalier; with their brilliant, meticulously rehearsed repertoire, this performance is even more impressive upon taking into account the fact that this is only their second live outing as a band.

Acclaimed for their visceral, cerebral alt-rock stylings, the superlative Two Glass Eyes are next to take to the stage. Their set blends old fan-favourites, such as the soaring “Mend” and the heart-rending, gnarled “So Old”, with explosive new tracks (which are as yet unreleased, but likely to be featured on their upcoming album) that are full of rumbling bass, pounding, no-holds-barred breakdowns and vocals that veer between hardened and explosive. Evocative of early Deftones, Two Glass Eyes are an intense, brilliant unit that certainly know how to pummel a crowd into (deserved) awe, and are well worth keeping an eye (be it glass or otherwise) on in the year to come.

Having heard only positive things about the rather elusive Sons of Burlap, and given the nature of the other acts, I, for some bizarre reason, anticipated some variation of local, possibly heavily bearded, rock outfit. Despite my expectations being proved wrong in almost every respect, I was not, by any means, disappointed. Having honed a truly unique style, with firm roots in traditional Irish music, but with folk-tinged, Eastern European sensibilities, you’d imagine that such an ambitious musical venture would serve only to divide an audience (a word to the wise: you’d be wrong. I’ve scarcely seen a more tightly concentrated mosh pit assemble).
Upon the band breaking into “Caravan”, I recount it being the first time in my life that I’ve overheard a flute solo being referred to as “killer”, “insane” and “f***ing amazing” non-ironically, while narrowly avoiding being kicked in the head by a passing crowd-surfer. Even if (not just figuratively) killer flute pieces, acerbic fiddle and percussion that’s frenetic enough to fuel a week’s worth of Armenian weddings aren’t your thing, I strongly advise that you never pass up the opportunity to see Sons of Burlap play live. They might not necessarily be synonymous with traditional, but they certainly are with raw, compelling, musical energy.

Heading the bill are Belfast-based ska-punk outfit, Pocket Billiards. They are possibly the ultimate feel-good outfit; the 9-piece waste no time in breaking into their unique strain of energetic ska, with an inclination towards riff-heavy sensibilities that are normally more typical of rock. “Belfast Town” epitomises this, bursting with clever lyrics that have the potential to cut close to home, blaring trumpets and a veritable crescendo of punchy guitar tones harmonising beautifully with the brass section. Their sense of dynamics is second to none, working the audience further into a fervent, heaving mass with songs such as the driving musical force that is “Dirty Money” and the aptly named “Last Chance to Dance”. As members of the crowd are passed overhead at random, writhing, mere inches from inflicting a multitude of fractures, I’m sure that it occurs to everyone that this is a musical initiative that is truly deserving of its name. However, thankfully, no significant injuries are obtained by any party, and as the pit gradually dissolves, it marks another fantastically successful year for the Portrush Brawl; long may it continue.