GiggingNI.com

And So I Watch You From Afar

In HMV Instore, Belfast

And So I Watch You From Afar have been one of the hottest musical topics of late, and have been riding the hypothetical tidal crest for around two years, and their individual brand of post-rock phenomena is tipped to keep them there for quite some time. Despite having released an album only matter of months ago, the Northern Irish four-piece decided to keep the attention deficit teens of today interested in their trade by letting another roaring EP loose onto the shelves of a multitude of fine musical establishments. And what better way was there to kick off the 15th February launch of their Letters EP, than with an exclusive (and free) instore performance in their hometown?

It's reasonable to pronounce that these guys are every iota as popular as the press would lead the public to believe, owing to the hoards who had lined the aisles of the store for their evening meal of rock. Served raw, of course.

The significantly more subdued 'B Is for B-Side' helped open their short set, waving the chequered flag for dubious head banging and a somewhat contained scramble which began to travel stagewards. Unsurprisingly, this was promptly halted by security - after all, there were shelves of innocent compact discs to consider. After a brief conversion between Tony and the student types surrounding the stage, ASIWYFA launched into the squealing distortion-fest of 'K is for Killing Spree'. Literally. The manic three-man moshpit of Rory Friers, Tony Wright, and the significantly taller Jonathan Adger had by now warmed up, and much to the crowd's (and photographer's) delight, was in full swing.

An impromptu rant regarding the Jedward singles lining the shelf in front of Wright's microphone marked the half way point, and left just enough time for the musicians to recover from their strenuous workout. And encouraging the crowd to replace the 'J' with a 'D,' the lead man introduced 'D is for De[a]dward,' adding the flourishing statement of 'the wee b*stards,' before kicking off into a flurry of energy, eventually slowing the pace slightly to reveal the blues-esque undertones contained within the composition.

The finale came in the expected shape of the latest single 'Set Guitars to Kill,' a track which begins in a misleadingly average manner, but quickly develops into the masterpiece which it has come to be regarded as. This provided the fans with a predictable yet epic conclusion, before ending abruptly and leaving them ravenous for more, as expletive exclamations of "was that f**king it?!" echoed up the aisles.

And unfortunately for them, and myself, that was f**king it...