Author: Charlie Byrne

Irish alternative shoegaze and noise rock band Anemoia released their latest single ‘gesso’ on Tuesday, August 25. ‘Gesso’ comes as Anemoia’s second single of 2026, following ‘downer’, which dropped in April.

Featuring on RTÉ’s Behind the Music in 2025, the band described their music as “a bit bold, flawed, noisy, uneasy, dreamy and a bit dejected”. It comes as no surprise that the best and most vivid description of Anemoia’s music comes from the horse’s mouth itself.

As ever, Behind the Music also offers some fun insights, with the band shedding light on former Interpol bassist Carlos Dengler, The Prodigy and Phil Lynott’s ‘Old Town’ in response to questions about their inspirations, first records bought, and favourite lyric. It is always fascinating to see if artists’ inspirations filter through into their own sound, which elements of other artists they acknowledge, and how the likes of Phil Lynott and Bring on the Horizon can be listed alongside one another in a band’s range of influences.

Notably much darker than ‘downer’, and certainly darker than anything on their debut album, driving songs, ‘gesso’ is a chaotic combination of noise, with a strong sense of menace and anarchy running from beginning to end. The catchy main guitar riff that resurfaces throughout is undoubtedly the highlight of the track and the part that keeps drawing you back once it has finished. The final minute of the song is particularly well done. Just when you think that the song is beginning to fade out, the guitar riff returns one last time before the song finishes abruptly. The type of song that could create carnage during a live performance, where flashing bright lights in an otherwise pitch-dark venue would scramble the senses, mirroring the tension within the music.

Anemoia previously performed live supporting Chaepter in the Sound House, Dublin, July 28, with more gigs hopefully to be confirmed before the year is out. Their Breaking Tunes bio noted that there was a “roster of singles planned for the summer”, suggesting that a potential EP or second album featuring some of these singles could be just around the corner.

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19-year-old rising talent Killian Keating released his latest single, ‘Simply Mine’, last Friday, August 28. After taking a year away from music to figure out the artistic direction he wanted to take, ‘Simply Mine’ marks Killian’s first single following this period of self-reflection. Having already released tracks such as ‘Anywhere with You’, which reached No. 1 on the Irish iTunes charts, and ‘Syncopated Blue’, Killian had established a strong foundation that suggested a promising future lay ahead.

Crafted from a simple yet effective acoustic guitar progression, ‘Simply Mine’ is supported by subtle guitar notes and gentle backing violins which further enhance the song’s emotional resonance. What makes ‘Simply Mine’ particularly compelling is Killian’s ability to portray a universal struggle through a highly specific and personal lens. The narrator’s lived experience keeps the listener hooked, while the overarching theme is a hardship that will resonate with anyone who has found themselves in a similar situation.

The song stems from an experience Killian had in March 2026, when he and a friend went to see RAYE at the 3Arena. During the show, a familiar face appeared on the main screen, shifting the focus of the night.

The line “The music keeps on playing, while I’m trying to make you mine” highlights how, even at a concert, everything can become an afterthought in this scenario. However, although clearly a song about romantic longing, it is far more about the lover than the beloved.

Lyrically, the song explores the scattered thoughts of the lover, as they question whether catching sight of this face at a concert is a sign that the stars are aligning, or merely a case of the frequency illusion playing tricks on them.

Complementing the song’s heartfelt theme is Keating’s distinctly Irish vocal style, one that many of his inspirations possessed before him. Raspy yet warm, emotive yet conversational, Keating’s voice brings a sense of familiarity to his stories about growing up in Finglas and everyday Irish life.

Killian stated, “Growing up in Finglas, I always looked up to the likes of the late Christy Dignam, Glen Hansard, and all those working-class Irish household names who made their dreams come true. They proved that no matter where you come from, you can make it.” Killian has also spoken about the impact that these musicians had on his teenage years and his desire to give others the same feeling they gave him.

Killian featured on Dublin South FM with Paul Cox, discussing his single and recent events on August 12. Killian was joined by his friend Aislin, who served as an extra set of ears, offering her own input and feedback on Killian’s recent work and how it shaped his songwriting. Performing ‘Simply Mine’ and the yet-to-be-released ‘Moon and the Stars’, Killian broke the news of his plans to release his debut EP later this year. Seemingly in a much happier place with his music since his hiatus, Killian now looks towards his debut EP and album with renewed confidence.

This upcoming EP looks set to be a major milestone in Killian’s young career and will provide listeners with an even deeper insight into what to expect from Killian Keating.

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Waterford based, multi-instrumentalist songwriter Shane Barry released his latest single, ‘Later Than You Think’ last week, 21 August. A standout track from IMRO’s New Music Playlist last Friday, it proved a good opportunity to take a deeper dive into what could well be one of Ireland’s most underrated artists.

‘Later Than You Think’ is Barry’s second single of the year, following the release of ‘Carousels’ in May. Previously of Shane Barry and the Distractions, Barry has been collaborating with a variety of different groups and bands since Covid, sharing an array of singles, a 2023 album Songs from the Silver South, and a 2025 EP, A Thursday Night Live. Some of Barry’s more recent singles have veered towards a more Americana and acoustic folk style, with a notable increase in the use of violin and orchestral sounds.

However, ‘Later Than You Think’ recalls elements from Songs from the Silver South, with more electric guitar and prevalent vocals. Put simply, ‘Later Than You Think’ has all the ingredients of a classic radio single. From the get-go the song begins with a catchy opening riff, that instantly kicks back in after the chorus. Containing a distinguishable verse, pre-chorus, and chorus that all alter the song’s dynamics, the track builds to its climax before fading out with its melodic focal line, “Cuz it’s later than you think”.

Carrying a breezy spring into summer feel, the song’s central guitar hook has a kind of open-air charm, the sort that makes you want to tilt your head back and let your body flow to the music across an endless field of green.

Ironically, this vibe aligns with one of the track’s central lyrical themes. The lines, “I wish that I had tried a little harder to tell you” and “this ain’t no burning building that needs to be run from” suggest a “faraway hills are green” scenario about to unfold. A theme that will resonate with listeners who have experienced the unfortunate reality of tragic foresight, where despite their own convictions, they must let a loved one learn their own lesson.

Barry recently debuted a number of new songs live at Geoff’s Bar earlier this month and, strikingly, opened for The Bluetones on 12 June at Bank Lane. Seemingly focused on releasing singles for the time being, it’s evident that with the likes of ‘Later Than You Think’ alongside previous tracks such as ‘Love You When You’re Gone’, Barry has all the ability to write a great radio hit. Catchy, melodic, harmonising and relatable, Barry possesses a cluster of songs that as things stand might just make him one of Ireland’s hidden gems.

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Coming off the back of their brilliant single “Excruciating Heights”, their first release since second album Go Mutant was issued in May of 2025, garage-rock band Search Results released their latest single “Secret Bench in the Bardo” on 11 August.

Initially performed on the band’s Rockpalast setlist in 2025, the two-minute blast of energy is led by briskly strummed chords and is somewhat of an unusually jolly track compared to earlier works from Search Results. A back-and-forth guitar pattern creates a pendulum like groove that most will find hard to resist bopping their head along to. The track contains a shamelessly feel-good vibe, tailor made for a scene from a ‘90s film, with a group of friends in high spirits set to embark on a summer getaway.

Released alongside “Abacus Rubicon”, the B-side track presents a more menacing and darker atmosphere, with a notable return to the more lo-fi vocals similar to those heard on Search Results’ debut album Information Blip. However, “Abacus Rubicon” has put an unexpected spanner in the works for my initial notion that “Excruciating Heights” and “Secret Bench in the Bardo” were set to be the beginning of a change in dynamics for the band’s upcoming projects. Not just faster paced, but two tracks that felt more vocally upbeat compared to previous releases.

Despite not currently featuring on any EP or album together, the two singles seem to complement each other nicely, as if cut from the same cloth. Although “Excruciating Heights” is still the lead runner for me as the next standout track if featured on a future EP/album, “Secret Bench in the Bardo” offers a type of optimistic energy that I don’t think Search Results have had in previous records and will add plenty of charisma to the band’s catalogue.

Having recently begun touring across Europe over the past year, the group last performed at Wipeout Festival, Sligo on 18 July. Unfortunately, it will probably be another year or so before another EP or album release, but IMRO will be keep our eyes peeled for whatever Search Results’ next move is, as should all indie and garage rock fans.

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Three-piece rock band, Really Good Time released their debut album, Affirmations, earlier this month. Following a string of singles dating back to 2022, ‘Shit One’ became the first of these to feature on the album in late 2025, with three more singles following in 2026. Across its ten tracks, Affirmations has been self-described as an album that “ultimately seeks a rejection of navel-gazing nihilism”.

Notably a trio who kit themselves out in matching jumpsuits, the band previously spoke about their signature look explaining how “it’s workwear” for them. Similarly, Interpol once spoke about taking particular pride in their appearance on stage, viewing it as “part of their job” to be well-dressed while performing. Really Good Time seem to be embracing a similar mindset, albeit with more of a blue-collar approach.

This sense of intention is then carried into the music itself. From the opening track of the album onwards, Affirmations takes its listeners on a journey, with a storyline conveyed partly through lyrics and partly through emotion. Shaped by intensity and a rebellious ambience, instrumentally the album resembles the soundtrack to a Hollywood thriller, despite its contrastingly calmer vocals.

Interestingly, in a 2024 interview with Rolling Stone, the band stated that “you have a really good time in the midst of some chaos”. It is fitting that, even back in 2024, Really Good Time were mentioning the notion of chaos in their music. An everlasting theme throughout the album, first introduced in the opening track ‘On Dublin Bus’, a teeth-grinder of a song, echoed in their accompanying music video on Spotify, where we see things from the narrator’s perspective as they look out from the top deck of a bus at a city up in flames.

This uneasy sense of anarchy and menace is prevalent particularly in the first half of the album, with fellow standout tracks such as ‘Do It’, and ‘Love Song’. Second track ‘Do It’ takes over from “On Dublin Bus”, still early in the album’s storyline, the track gives off the impression of our narrator “taking action”, as though this is playing in their earphones, spurring them on. ‘Love Song’ continues this rebellious theme with the track built around sirens that echo throughout, evoking the unwanted noise of Gardaí, ambulances or fire brigades approaching.

Considering the band’s earlier description of the album as one that “ultimately seeks a rejection of navel gazing nihilism”, the theme of anti-conformity and rejection of societal/peer expectations is apparent. However, equally telling are the titles ‘Shit One’ and ‘Dig Up Stupid’. This time without having to examine dynamics within the track, these two highlight the themes of Affirmations by title alone. ‘Shit One’, a familiar heartless comment thrown around, the title really stresses a “tough luck, get on with it” mentality, in an age where people are often quick to feel wronged or hard done by.

‘Dig Up Stupid’ serves a similar purpose, another unapologetically harsh and sergeant-like call to action. The song, however, also marks a tonal shift in the album. By far the most calming verse and melodic chorus, the track is followed by the similarly natured ‘Toadman’. These back-to-back tracks feel like a turning point for Affirmations. Anarchy has calmed and we can begin to evaluate the new dynamics of the storyline. Weirdly, the album’s closing track ‘Life, Life’ puts another spin on the Affirmations’ trajectory. What was first a hectic revolution against modern societal ways, the halfway point marks a halt to the chaos as if the initial shock of the revolt has eased and the listener is able to process the story. However, ‘Life, Life’, brings a return to this tension, but not to the extent of the earlier parts of the album. With nearly a four-minute stalemate of monotone noise seeing out the remaining moments of the album, Really Good Time leaves the listener with a giant question mark over how they are supposed to feel. Neither convincingly optimistic nor pessimistic, the ambiguous ending leaves us with a strange sense of uncertainty after the first listen.

A fascinating collection of songs, one of the earliest thoughts that crossed my mind when first listening to the album was how Affirmations seems like it will thrive when performed live. Considering Really Good Time’s already acclaimed reputation for their audience also having a “really good time”, you can almost hear the album being played live even when listening to the studio recording.

A few years ago, when attending a Fontaines DC concert, following their release of Skinty Fia, despite having the album on repeat for months, it was only upon attending the live show that I realised two tracks were among the album’s true standouts. Only to then listen back to the studio version and not be able to understand how they could have possibly gone so underappreciated before the live show. This memory came into my head, when listening to Affirmations last week. When I first heard the album, I could highlight songs that caught my attention, only to find myself coming back to a different set of songs midweek, and then another round of songs towards the end of the week. With this variety in preference happening whilst listening to the same studio version, I then considered which songs would then standout live, and if they would differ completely or at all from what I deemed standout at first glance.

With a stacked rest of the year laid out for Really Good Time, including a European tour to places such as Leeds, Amsterdam, Madrid, Paris and Scandinavia, Affirmations looks to skyrocket the bands presence on both the Irish and European rock music scene. Reminiscent of an iconic 90s/2000s teen-rebellion rock anthem, the album has a clear sense of purpose, both in how the band want Affirmations to be heard and in the impression they hope it leaves behind.

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Indie-rock quartet :Panic :Over released their latest single ‘Choking on Air’ last Friday, 31 July. Formed in Bangor, Co. Down, during the Covid-19 lockdown, they released their debut album False Alarm in summer 2024, with a handful of singles following since.

Already familiar to IMRO, having performed at our showcase during Belfast’s premier music industry conference, Output, in November 2024, the band were also added to the IMRO New Music Playlist following the release of their new single, making it the perfect time to take a closer look at the track and the band.

Having already received some strong coverage since their debut single in 2023, :Panic :Over have three claims to fame worth noting: their track ‘Part of Something’ was chosen by UEFA as the official song of the U19s Euro 2024 opening ceremony, ‘Paper Planes’ was used in the closing montage of England vs Ireland’s 6 Nations match-up, also in 2024, and, lastly, their song was featured in a Love Island episode in 2025, though the band are adamant they only found out through external sources and not by being die-hard fans of the show – IMRO remains sceptical.

Nonetheless, self-described as a band who deliver “catchy hooks you can sing along to”, ‘Choking on Air’ more than fits the bill. An infectious, guitar-driven track with a rebellious and deviant ambience throughout, the track presents a shout along chorus which effectively complements the contrasting melodic pre chorus found in the earlier stages of the track.

Considering the band’s prominent reputation for impressive live performances, while it may be unusual to say, it feels like the perfect track for the opening two or three songs of a gig, setting the tone and giving the audience an early ‘crowd jumper’.

A defining feature of :Panic :Over’s work seems to be the way their songs ease into the verse, then chorus, to verse, then chorus again, gathering momentum through each progression before being unleashed in the second half of the track through a repeated chorus and hard-rock instrumentation. ‘Choking On Air’ is no exception, reaching a clear climax in the latter stages and building towards its main-event finish.

One of the track’s most important elements, as mentioned above, is the change to the more melodic pre chorus found in the first half of the song. This moment is particularly notable, as it demonstrates :Panic :Over’s ability to weave melodic songwriting into their crashing, rocking exterior, a quality possessed by many of the genre’s elites.

Beyond the track itself, the band also featured on RTÉ’s Behind the Music, sharing that they are headlining the Music of Irish Origin stage at Fleadh Cheoil na hÉireann on 8 August, as well as supporting JLS in Derry on 29 August.

The article also offered some fun insights, with lead guitarist/co-vocalist Charlie McAdam listing Whipping Boy as one of the band’s musical inspirations, and lead singer Rueben Curran later mentioning a lyric from Interpol’s ‘NYC’ as their favourite. Now, I’m willing to put my neck on the line by stating that, with music taste like this among the band’s members, only great music can prevail.

Considering their already fan-friendly sound, noted by the broadcasters referenced earlier, one would imagine that a second album from the youngsters, complete with a standout focus track, could truly open the floodgates for :Panic :Over.

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New Irish grunge/alternative rock band Slowpoke have released their second single in as many months, making it a busy summer for the newcomers. Released on July 20, their new single ‘Sink or Swim’ follows the release of their debut single ‘Montana’, which received positive feedback, including a feature in Hot Press’ New Irish Songs to Hear This Week. Having come across Slowpoke’s latest single earlier this week whilst catching up on IMRO’s New Music Playlist, it felt like the perfect time to take a deeper dive into the band and the track.

Resembling a breakthrough grunge or alternative rock band of the 90s, the four-piece outfit are close-knit friends who have been playing music together since Covid. Previously going by the name “Mr Pink”, and having performed alongside Cardinals in November 2022, the group later decided it was time for a different persona, different name and different sound, reinventing themselves under the moniker “Slowpoke” in January 2025. Despite having released only two singles, both tracks are six minutes in length, offering enough insight into the kind of identity the band are looking to establish.

Perhaps one of the greatest strengths of ‘Sink or Swim’ is the subtle contrast between its gentle, free-flowing instrumentation and its raspy, gravelly vocals, a combination that feels distinctive within the current Irish music landscape. The type of song you want to hear come on during an autumn walk or late-night car journey, ‘Sink or Swim’ crescendos in the chorus before pulling back at the last second to the calming guitar riff that plays throughout. This becomes a repeated theme, until the song eventually following through to its peak at around the three-quarter mark and into its composed outro. With vocals positioned brilliantly on the edge of strain and potential roar, there is an eagerly awaited feeling that the song may erupt into a crashing climax of yelling lyrics, and although we never truly get that lyrical outburst, the instrumental climax prevails.

With an eventual EP surely on the horizon for Slowpoke, it will be fascinating to see the direction the band take, and whether they continue with what is, as of now, their trademark sound, or venture further towards the hard-hitting, unrestrained outlook they have already gestured towards.

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Goth Fight Cage, the solo project of Mark Holloway from Belfast’s Fagash McCann, released his latest EP, Untaxed Vehicle, last month. The five-song EP was written and recorded during Holloway’s college days in 2023 at his old student house. Evoking the early 2000s indie and alternative rock renaissance, Untaxed Vehicle is rooted in a strong DIY ethos and lo-fi, bedroom recorded sound.

In stark contrast to Goth Fight Cage’s previous 2024 acoustic-centred releases ‘I’m Going Out’, alongside ‘Stop and See’, Untaxed Vehicle has a more upbeat and faster groove, spearheaded by a lead guitar that rivals Holloway’s vocals for the listeners attention throughout.

Put simply, Untaxed Vehicle is an intriguing listen for anyone who has an interest in the indie or alternative rock scene. Perhaps its greatest selling point for me is the creativity and variety of the storytelling across each track. Whether the events described happened directly to Holloway or were inspired by the experiences of friends and family, the EP carries a strong sense of first-person narration, exploring universal struggles through a distinctly personal lens.

The EP kicks off with ‘Tired’, a fast-paced opening track that sets the tone for the rest of the collection. Built around a continuous lead guitar riff, the song, at face value, discusses the inconvenience of sleep deprivation. However, upon closer examination, it hints at the struggle of going about your daily life when a worry is weighing you down. In this specific scenario, Holloway refers to the yearning to figure out the next steps in life. The line “Maybe if I’m up all night, I’ll figure out what I was trying to find”, captures the narrator attempting to throw a positive spin on the struggle, in the hope that sometimes our clearest thoughts can come in moments of tranquillity after hours.

The middle tracks of the EP, ‘I’m not in Love with You’, and ‘Girlfriend’s Girlfriend’ both explore the complications and complexity of romantic relationships. In one instance, while there is unrequited love, the line “let’s have a drink or two and try pretend it doesn’t matter, but it matters”, indicates that this situation may need a more careful approach than most. On the other hand, ‘Girlfriend’s Girlfriend’ shamelessly illustrates a slightly more unique and outlandish scenario, where the narrator seemingly finds a few too many qualities in his girlfriend’s friend, though she is also in a relationship herself.

A personal favourite on the EP, and one that many Irish listeners will relate to, is ‘Why can’t you be nice to me’. Presumably where the EP takes its name, the song addresses a common issue amongst young drivers, where a first car can sometimes lead to more trouble than it’s worth. Despite this trade-off, these problems are often overlooked thanks to the affection and sentiment attached to owning your first “banger”, (“She’s old, she’s grey, she’s rotten but she’s mine”). This frustration then is directed towards the laws and authorities that can compound the fragility of a car on its last legs. So much so that the morality of these regulations has found its way to the forefront of the song’s subject.

The Ep closes with focus track ‘Yours’. Discussing a topical theme, particularly in online spaces, the song addresses the realities of modern “hook up culture” and its implications. Despite the void and lack of fulfilment it can leave many with, the lyric “Hold me close just tonight” highlights the narrator’s priorities, which differ from conventional perceptions of casual relationships.

Overall, Untaxed Vehicle ticks all the boxes of what you want from an EP. Defined by its unique narrative storytelling, signature lead guitar work, and youthful exuberance, the EP keeps the listener invested throughout its runtime. Capturing the joys of the EP format, Untaxed Vehicle is more structured and defined than a first demo whilst keeping the raw and bedroom-recorded originality that has not yet to be polished away by the studio.

Although only five-tracks long, Untaxed Vehicle deserves to find its way to the ears of indie and alternative rock fans. As all great EPs should, it piques the interest of the listener and puts Goth Fight Cage in the ‘one to keep an eye on’ category. With a complete album surely on the horizon, a big push to the finish line could see many of these tracks included in a breakthrough album for Goth Fight Cage.

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Dynamic alt-rock duo HAVVK, led by Julie Hough alongside Matt Harris, recently released their fourth studio album Time Will Kill on 19 June, via Veta Records. Self-described as “a reckoning”, Time Will Kill explores the personal pursuit of reclaiming control in a race against time.

The eleven-track album features the focus track ‘The Last’, alongside a handful of standout songs that could each lay claim to being the “best song on the album”. Kicking off a particularly strong opening trio of songs, Time Will Kill begins with ‘Happening Again’, a track that both opens and closes with crashing punk vigour, countered by a more controlled midsection and melodic chorus.

‘On Time’ raises the intensity further, delivering an even more punk-driven and headbanging enthusiasm. Ironically, only a minute and a half in length, considering its title and chaotic pace, ‘On Time’ sets an early tone and tempo for the rest of the album.

Concluding the opening trio of songs mentioned above is perhaps the album’s most pop-leaning track, ‘Bad Look’. A personal favourite on the album, the song resembles the infectious energy of a Paramore-style hit single, pairing a classic upbeat verse with a catchy chorus that is likely to leave listeners singing along by the song’s end.

The focus track ‘The Last’ and ‘Pick Your Poison’ go back-to-back in the middle stages of the album, balancing out the strong start. Similar to ‘Happening Again’, ‘Pick Your Poison’ demonstrates HAVVK’s ability to seamlessly transition from a heavy rock intro into a gentle, melodic chorus and back again.

Perhaps the most underrated track on the album is the penultimate track ‘Backwards’. Arguably more relevant now than when initially written, Hough has said that the song reflects the re-emerging rise of intolerance and misogyny, particularly in the online world.

Time Will Kill is a striking album that balances bursts of punk energy with softer, more reflective moments throughout. The album ranges from the edge of one genre to another while maintaining an overarching theme where all eleven songs have a sense of belonging within Time Will Kill. HAVVK launched the album last night at a sold-out Anseo, with support from Cable Boy.

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