We could spend our mid-term report yapping on about the unprecedented A&R interest surrounding the most promising pups from the Northern litter. We could go on about the Kowalski lads, hammering away at a much-anticipated debut album in a studio used by Radiohead and Supergrass. Or mention the heat being generated by In Case Of Fire. Or pass on tales of how every venue played by General Fiasco these days finds itself annexed by eager scouts from across the water.

We could. But we won’t. Because taking a glance back over the year to date, it seems that ’08s emergent grand narrative isn’t one of quick, prodigious ascent. No, it’s a yarn of Johnny-Come-Latelys-lately-coming-good.
Let’s start at the top, with the wonderful self-titled debut album by Cat Malojian. Jonathan and Stevie are a welcome corrective to the message board warrior strand of musician; given to noisy proclamations of their own genius, but entirely lacking in anything resembling a tune. Instead, they’re a modest and unfussy pair, clearly beholden to the notion of the perfect chorus, who, through years of steady gigging, have bought themselves the time and space to craft a record with little in the way of outside interference. Finances may have been tight, but that hasn’t impacted on the quality of the songs. In fact, the necessary longeurs between sessions have contributed to the unhurried and attentively crafted mood of the piece. Make no mistake – Cat Malojian is a great record. Easily the best collection of songs by a local band since Desert Hearts’ Let’s Get Worse. And – are you listening Choice judges? – arguably the equal of any Irish album produced this year. Don’t be put off by the fact that they’ve released it themselves. There isn’t a label out there that it wouldn’t grace.
Then there’s Oppenheimer’s second album Take The Whole Midrange And Boost It. During their years manning the toilet-gig barricades, Shaun and Rocky never looked like challengers for indie poster-boy status. But since hooking-up, the duo’s everymen demeanour (and knack for rustling up literate and feelgood electro-pop) has proven so successful, they can slip comfortably onto the soundtracks of big budget US TV shows like Gossip Girl and Ugly Betty without anyone calling security. Just like their debut, Midrange is as fun, companionable, and warm-hearted as a long-term best friend. And given their unquenchable work ethic, chances are it will pick up pals all around the world.
Ben McAuley from Three Tales works alongside Rocky at Belfast’s Start Together Studio – an enterprise that accounts for much of the current feelgood vibe in the city’s music community. Between times, however, his own band has managed to conjure up a record full of sly humour and offbeat charm. In any other year it would be a comfortable front-runner for the local end of season titles, but competition is looking tough this year, so it will have to maintain its early pace. I’m confident, though, it’ll last the distance. Any band that bases songs around lines from Louis MacNeice will be smart enough to keep plenty in reserve for the final lap.
A Glasto slot proved a fitting reward for years of coal-face endeavour for Ed Zealous, but the boys are keen that their afternoon at Worthy Farm is just the first peak in a mountainous summer. This month they’ve finally got round to releasing their first single, ‘Pretty Face’ and, although they waste no effort attempting to hide their debt to the Roses-Oasis-Libertines bloodline of UK rock, it’s still a storming, cock-sure statement of intent. Driving By Night are, likewise, another band with a fair few miles on the clock. And like Ed Zealous over the years they’ve had their noses bloodied by harsh industry imperatives. Last summer, though, saw them take matters into their own hands and, in common with every act mentioned so far, they’ve returned all the better (and more empowered) for it. ‘Departure’, their new single, is a typically assured and grown-up slice of heart-on-sleeve rock which finds frontman Neal Hughes in remarkable voice.
The Only Gone label chose Worthy Cause EP by Paul Archer’s latest incarnation, Burning Codes, as its launch record. A slow-burning collection of songs, tracks like ‘Keep It On’ and ‘For All Time’ gradually bloomed into very special colours. It left the distinct impression that there is much more to come, both from the label and Archer himself. He’s been AWOL for quite a while. It’s good to have him back.
New records from The Foamboy Deluxe Arkestra, Tom McShane and Escape Act (a double A-Side joint release through Penny Distribution) all attest to the healthy mojos enjoyed by some of our most experienced veterans.
And then there’s the re-emergence of St Vitus Dance – one of the North’s most unfairly neglected bands. Glypotheque, their first record in over two decades, brims with lovely hooks and smart lyrical conceits. It was a fine way for them to reintroduce themselves. And also to offer reassurance that should the whelps disappear into the distance, there are plenty of old dogs willing to stay home; barking up a racket, and mastering new tricks.