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AUDIO Killian Barry Zara Hedderman Danny Wilson T
he Murder Capital When I Have Fears [Human Season] Friendly Fires Inflorescent [Polydor] The Murder Capital’s word-of-mouth traction means this is a debut record greeted with some intrigue, namely whether our latest talk-of-the-town contenders can deliver when stripped of the live show theatrical intensity that put them on the map. They will surely benefit from the slipstream created by Fontaines D.C., but this brooding Dublin-based five-piece flaunt a heart-on-sleeve purpose that is all their own. Joy Division is the clear post-punk elephant in the room, though while that’s a handy way in, When I Have Fears colours outside the lines, broadening into something else. Murky layers of suffocating moodiness recur (Slowdance I, for instance), but any prickly edges are softened by some delicate touches and a few gothic Nick Cave-isms (On Twisted Ground). It’s the stark sound of a band reaching beyond the playbook in a bid to express sorrow, anger and grief, a sort of sombre catharsis. Sure, it’s a bit po-faced and occasionally straddles the line of pretentiousness, but frontman James McGovern’s demeanour suggests crossover or mass appeal are not a pressing concern. In being resolute in their craft, The Murder Capital have sculpted a taut debut that’s inward-looking and self-assured. Little more than a year into their career, they find themselves at the vanguard of a domestic alt-rock revival. KB Like this? Try these: Girl Band - Holding Hands with Jamie Joy Division - Closer Shame - Songs of Praise The year is 2019 and a number of your favourite hype bands who graced the pages of NME are back in the hope of reclaiming the same levels of adoration garnered when they struck gold, a decade or so ago. One such band making a return is the fun-loving indie-pop trio Friendly Fires. On Inflorescent, their third record and first in eight years, the group, incorporating more house motifs, sound like they’re doing their best impression of Wham!’s Club Tropicana over the course of these 11 new tracks. ZH Sleater-Kinney The Centre Won’t Hold [Mom + Pop] On their ninth LP, Sleater-Kinney present a number of definitive statements. From the album’s title – a declaration that something is on the cusp of deconstructing – to the departure of longstanding (or sitting, in this case) drummer Janet Weiss, which occurred days before release day. It’s challenging to not delve deeper into the lyrics to trace any semblance of unrest within the unit. Produced by Annie Clark, Sleater-Kinney’s sonic tapestry is coloured by St Vincent motifs, nods to Devo, and their unabashed tenacity. A fine return. ZH Shura Forevher [Secretly Canadian] So Cow Do Re Mi Fa So Cow [Self Released] Since Nothing’s Real, the 2016 debut from Shura, the British singer fell in love and was dropped by her label only to sign with Secretly Canadian, a far more suitable match for her sophomore record, Forevher; a balanced blend of introspective pianoled ballads (Tommy) and infectious pop melodies (The Stage). A portrait of queer relationships in the age of online dating, these eleven tracks are extremely engaging. Often echoing Minnie Riperton’s smooth airiness whilst capturing the floating feeling of falling in love with the backing of swirling arrangements. ZH As the domestic music scene continues to get all in a lather over group after group of terminally po-faced young men in overcoats – the return of Tuam’s own rock and roll icon, So Cow’s Brian Kelly, couldn’t come at a better time. Arguably one of the country’s most quietly influential musical figures, Do Re Mi Fa So Cow finds Kelly in fine form, posted up in his utility room recording space channeling a back-to-basics seam of brilliance. A lean collection of artfully tossed-off gems that may well be Kelly’s finest in years. DW CLICK IT OUT… 80 We know it and so should you food, fashion, photography, film, books, magazines, music, design, drink and a curated section of events for you to consider www.totallydublin.ie