Silences

Armagh has always been a hub for thought, for the arts - in pagan Ireland, it stood as a great royal capital, while it remains a small but immaculately formed city. It's also home to young songwriter Conchúr White. Drawing on the weight of history around him, he began drawing together a few friends to form Silences.

The project have released a pair of imposing EPs, matching emotive songcraft against some subtle arrangements. Sterling indie folk with a remarkable sense of emotional weight, Silences are set to complete this EP trilogy with 'Luna'.

Co-produced by Tommy McLaughlin and Declan Legge, it emerges on April 15th. Ahead of this, Clash received a full stream, plus a track-by-track guide penned by Conchúr himself. - Clash

Indie-folk outfit Silences produce a sonically beautiful sophomore record with their new E.P. Sister Snow.

With the glistening grandeur that is ‘Sister Snow’, Silences confidently open their second E.P. with a song that encompasses all the group’s most engaging characteristics.

Indeed, what is most impressive about Sister Snow is the oneness of the record’s production. With each track organically leading to the next, songs such as ‘Stones’ and ‘Cops And Robbers’ blend but do not overpower each other.

Closing with the dramatic finale of ‘Chase Me Home’ the interwoven musicianship Silences have at their disposal moves from great lifts of percussively built passages to softer reflective moments all within the blink of an eye, showcasing the group’s ability to expand and retract their sound when needed.

In context, Silences sound finds it’s home within the harmony driven indie-folk of bands like the Barr Brothers. Creating a defined shape the five-piece imbue enough of themselves into the music to make their sound feel more personal and crafted.

Sister Snow simply permeates space and harmonic ambience. Build on an undercurrent of textural indie-folk sensibilities the record flows perfectly from track-to-track as the overarching reverb soaked air keeps the E.P. sounding cohesive and natural.

Populated by atmospheric soundscapes deftly arranged around stellar songwriting Sister Snow is a clear and confident evolution and realisation of the promise shown in Silences’ debut E.P. Nevernames.

Rating: 9/10

Sister Snow by Silences is out now - The Last Mixed Tape

We live in a very noisy, cluttered world. With so many distractions consantly battling for consideration and accolade, sometimes, strangely enough, it’s the quiet ones who emerge the winners. ‘Nevernames’, the debut EP from Silences, is a case in point. The three tracks offered up here by 23-year-old Armagh native Conchúr White and his ensemble of Christopher Harbinson, Breándan White, Michael Keyes and Johnathon Downing are a lesson in understated inventiveness. They don’t so much battle for your attention as quickly charm it into willing surrender.
Anchored by acoustic guitars, keys and velvety harmonies, the EP testifies to the fact that having genuine talent and the courage not to overcomplicate things can be just as – if not more – powerful than the showy antics some acts tend to rely on. A gentle affair, there’s a warmth and a sincerity behind the songs that’s both endearing and engaging at the same time.
None of the tracks demonstrate this more conclusively than Emma, a soft and gorgeous plea to love. Conchúr’s effortless vocals take centre-stage, carousing with rich, easy harmonies, as guitars and a piano trickle delicately away behind. It’s so subtle and yet so compelling; the nuances of the music are matched only by the depth of the lyrics, creating a simultaneously stirring and sobering experience.
Santa Cruz is another low-key, unhurried exercise in restraint. The guitars, keys and harmonies come together again, lifted by steady, but never overbearing drums, and giving everything the space it needs to make its mark. Vancouver Aches boasts the strongest rhythm and probably the most defined melody of the lot, without straying too far from the blueprint set out in what went before. At the same time, it feels the most “done”, losing a little of the lure held by the others for that.
What makes this EP so absorbing is its lack of pretension or needless embellishment. It’s all very natural and heartfelt, making it almost impossible not to feel involved with the song and the singer in some way. It’s refreshing to find music that has that strength of character; if they continue on along this path, the sound of Silences will be heard for a long time yet. - Goldenplec

Silences were one of my picks of the recent Hard Working Class Heroes lineup and the Armagh band have a new single and EP out. The band’s folk-leaning harmonic music is pleasing in its execution and ‘Sister Snow’ might be their best example yet. - Nialler9

Opening with gentle strumming and just-right high guitar hooks, Sister Snow is heartfelt alt-folk with vocals provided by frontman Conchúr White. Listening to some other pieces from their discography certainly highlights the depth of this band, in both sound and frank emotion. I can definitely hear some Joseph Arthur and Sufjan Stevens (whom I both love). Sister Snow the title track from Silences‘ forthcoming EP which is due to release in October. - Fresh on the Net

Silences’ began life as the solo musical project of 23-year-old Singer/Songwriter Conchúr White from Co. Armagh. It has since expanded to fully functional five piece and ‘Vancouver Arches’ is from their latest EP Entitles ‘Never Names.’ They’ve been compared to Jeff Buckley and Death Cab For Cutie, and their music does evoke an aching sense of yearning but whilst it’s undoubtedly infused with a wistful melancholia, it is in no way devoid of hope. Quite the opposite in fact. - Fresh on the Net

Get ready for some exquisite and majestic music from a new Irish quintet named Silences. There’s nothing silent about their music at all, with its cinematic beauty and heart rending sentiment. Their single, The Sea, is a stirring alt and melodic pop song, perfect for those that love earlier Coldplay or Kodaline’s moving songs from their first album. It’s no wonder that The Sea has already been supported by BBC Radio 1 and played alongside amazing artists like Hozier, St. Vincent, and Laura Mvula. - I heart Moosiq

Swelling from its rising tides of softly strummed guitar lines and folk-lorn vocals comes a stunning debut from Ireland's Silences. Having already played alongside Hozier, St Vincent and Laura Mvula, The Sea is the first official recording to materialise online and serves as the perfect introduction to their rousing, melody driven compositions. Unravelling with each layer from its rather unassuming intro, the track quickly changes direction as we're taken to soaring heights with its superlative pop nuances and surrounding percussive drives. "Practicality cripples us" explains front man Conchúr White. "We consistently negotiate and compromise with our anxieties. The Sea pays homage to desire over fear. It is an amalgamation of everything we have learnt and signifies an advancement in both writing and production". Take a listen above. - Scientists of Sound

A climb back up the hill and Silences are now on the main stage. The Silences songs ATL are most familiar with on record, ‘Emma’, ‘Santa Cruz’ and ‘Vancouver Aches’ among others, are all beautiful, delicate pieces. Live though, the energy is upped. While the melody is still there, there’s more volume and more edge. There’s no need to worry about the hum of the festival drowning them out. Live, the 5-piece does each track justice and there’s a familiarity to the songs, a feeling that they could belong to some of the big names in popular music. They’re strong tracks, for sure. - BBC

The Armagh band Silences were a recent pick at last year’s Hard Working Class Heroes festival. Their lilting folk song ‘Sister Snow’ was my way in.

Conchúr White, Christopher Harbinson, Breándan White, Jonathan Downing and Michael Keyes are back with a new song and they are gearing up for two shows at The Great Escape in Brighton next month.

‘The Sea’ has their sound reaching further than before, and sounding grander in the process:

White said this of the track’s lyrical content:

“Practicality cripples us. We consistently negotiate and compromise with our anxieties. The Sea pays homage to desire over fear. It is an amalgamation of everything we have learnt and signifies an advancement in both writing and production.” - Nialler9

Silences show a ton of potential on big new track “The Sea.” The track gets off to a somber, folksy start, sounding a lot like a Jim James cover of Radiohead‘s “Fake Plastic Trees” (get on that Jim). Just when you’re reading to kick back and close your eyes, however, the clouds part to reveal a cinematic, Sigur Ros-style bridge. Listen below, and if you’re going to be in Brighton this May make sure to check out Silences at The Great Escape. - All things go

Silences in China.

Armagh's indie-folk group, Silences, are part of our UK Music on The Go campaign, which aims to offer the Chinese audience access to 10 new songs from 10 cutting-edge UK bands.They’re in good company too, sharing the roster with a number of renowned acts — including the Mercury prize-winning Young Fathers.

The campaign, which involves using the bands’ lyrics and a QR code, is being promoted across China on 100 buses in Shanghai, 30 buses in Nanjing, Chongqing and Wuhan respectively, as well as in Beijing, Shanghai and Guangzhou university campuses. The QR codes will then direct the Chinese audience to the microsite UK Now where they will be able to listen to the ten chosen tracks.

UK Music on The Go is an initiative of British Council’s radio station, The Selector. Selector Radio brings the best of new UK music to the world once a week on behalf of the British Council with an estimated audience of three million listeners - Find out more here

Watch Silences song, The Sea, here - British Council

The third EP from Armagh’s own Silences, is a refreshing four-track release that showcases a uniquely folk-informed indie rock. A sound that has seen the band achieve early success and launch them to the stages of Electric Picnic and SXSW. Co-produced in Attica Studios by Tommy McLaughlin and Declan Legge, the Luna EP builds on the band’s previous success with the emotionally-charged ‘Sister Snow’ and ‘Nevernames’ EPs that embody the singer-songwriter charm of front man Conchúr White.

However, opening track ‘There’s A Wolf’, demonstrates an explicit progression for the band and White’s own musical politics, self-styled as being “about the menace of nostalgia and how our minds can reinterpret our memories and feelings to make us miss something that we never cared that much for.” One can’t help but feel the transformative basis of the song in the lyrics ‘There’s a yellow line for me that I crossed indulgently’.

Delicate guitar work echoing 2014’s ‘Sister Snow’ EP opens the track alongside a synth line that informs of the band’s new electronic direction. Throughout, the song sees the introduction of synth melodies and swells that couple with choral backing vocals to recreate the enchanting harmonies of the band’s earlier work with an impressive sense of digital grandeur that is sure to see their further success. The song plays with soft instrumental breaks and louder dynamics introduced by rolling percussion until building to a final crescendo that reaffirms the new sonic palette with a synth solo layered over overdriven guitar.

In the following track ‘Breathless’ we see the band further underscore their renowned technical prowess with softer dynamics. The soft sibilance of White’s vocals is set against electronic melodies and a gossamer guitar line that channels the likes of Air and Röyksopp. Sequenced drums replace the acoustic kit of the opening track and maintain an elegant atmosphere until live drums are reintroduced alongside an electric guitar line that reminds us the band haven’t lost their indie rock sensibilities. A vocal hook that blends seamlessly with the crash “Honest, am I ever gonna leave you breathless?” again shows evidence of the band’s sheer technical prowess and the production value of the work.

Atmosphere is once again notable with the graceful yet gripping with ‘Failing To Learn’. Opening with the bands’ characteristically gentle and reverb-saturated guitar, a steady beat introduces White’s elegant falsetto which blends with the sliding acoustic until it’s swapped out for electric guitar which cues the chorus, particularly striking in its live energy captured by the full-band acoustic performance. Death Cab For Cutie is clear influence with production that spotlights White’s lyrics angled on the theme of cautious love, ‘If we are falling in love, then we are failing to learn,’ and rhythmic breaks that blur a biting guitar tone and hissing cymbals into one. The introduction of a piano motif before the second verse teases the 2:30 instrumental break which sees the incredible acoustic competence of the band emphasised again with keys, White’s vocals and guitar respectively building into the same emotionally-gripping melody line.

‘Carve Me Open’ sees a return to the aforementioned folk charm of White’s singer-songwriter roots. Subtle multi-tracking highlights an acute awareness of atmosphere and allows the vocalist to present a closing track coloured with the emotion and authenticity that brought Silences their initial success.

For Silences, Luna marks a progression from the honest folk-inflected indie stylings that saw the band grip their first successes to impressive digital arrangements built out of an increasingly complex sonic palette. With its considerable production value, the Luna EP is a testament to the artistic capability of the NI music scene. - Chordblossom