Though there have been many reunions and recommencements in Irish music since we launched back in May 2013, none have demanded our attention more than the long-awaited return of Charles Hurts. A solo moniker of Belfast musician Philip Quinn aka Gross Net, who is also a one-third of Grave Goods and guitarist with the currently inactive Girls Names, ‘Living Under Lockdown’ arrives eight years on from his last Charles Hurts release (Blue Valentine, a stellar split with Hello Translinks? on CF/Recs). Taken from forthcoming three-track EP Squashed, which is released on July 3, it’s a typically phantasmal effort from Quinn, and a wonderfully balmy rumination…
-
-
Named for Le Manifeste des 343, a brave act of civil disobedience by French women who dared sign a Simone de Beauvoir penned petition, publicly declaring that they had undergone illegal abortions, The 343 is a feminist-led, Queer art space that has swiftly become a thriving and vital corner stone of the Belfast music scene. Having garnered a glowing reputation for its community-driven ethos and unflinching dedication to creating a safe and inclusive space for LGBTQIA artists, The 343 has now put together its first compilation album. The 343 Vol. 1 brings together a vibrant range of experimental artists associated…
-
In virtually no time at all, Belfast’s 343 has established itself as a vital part of the city’s creative community. An artist-focused, feminist-led, queer art-space in East Belfast, it’s one of many venues fighting to survive during the current COVID-19 pandemic. Currently fundraising as part of a national initiative launched by the Music Venue Trust, the 343 are going one further with the release of the aptly-titled The 343 Vol 1. Across fifteen tracks, it’s an endlessly listenable, perfectly genre-traversing compilation, featuring TTA favourites Rising Damp, Natalia Beylis, Elaine Howley, Gross Net & Fears and more. Best of all, seeing as Bandcamp…
-
On Saturday, February 1st, Belfast Film Festival will host a one-off event exploring utopian and dystopian urban visions of Northern Ireland. Taking place at the former Masonic Hall on Rosemary Street – a three-storey stone building designed by Young & Mackenzie that was officially opened in 1956 – High Rise | Low Rise promises a playful, in-depth look at how modernist architecture and urban design was presented in media through the 1950s to the 1980s in Northern Ireland. Bringing that to life are two of Belfast’s best musical propositions: Blue Whale (above) and Philip Quinn aka Gross Net, who will be providing live soundtracks to…
-
Gross Net started life back in 2014 as a collaboration between Girls Names guitarist Philip Quinn and Autumns’ Christian Donaghey, crafting krautrock jams out of primitive drum machines and industrial guitars. However, Donaghey’s early departure has left Quinn to captain the ship alone, steering it in a more fully electronic direction. After two EPs, 2016 saw the release of debut full length, Quantitative Easing, on Belfast’s ever reliable Touch Sensitive Records. Now, as if to ease the pain of Girls Names dissolution earlier this year, album number two has landed on LA based label, Felte. While Quantitative Easing’s cold electronic pulse…
-
If we truly are living the end of days, at least there are those who can observe and comment on the doom, with a bit of dark humour and use of rhythmic beats to remind us there is a glimmer of hope in humanity. One such person is the man behind Belfast’s avant-garde electronic outfit Gross Net. Philip Quinn started the project back in the, comparatively tranquil, year 2014. His first release was the Cassette EP, when Christian Donaghey of Autumns was part of the Gross Net set up. Next came the second mini-record of Outstanding Debt, followed by the…
-
If there’s a busier Irish musician than Philip Quinn, please, send them our way. Over the years, the Belfast musician has performed in myriad guises: from releasing music as Charles Hurts and playing guitar in the recently-disbanded Girls Names, to making up one-third of the already hugely-promising Grave Goods, his versatility has always ran parallel with fecundity. Bands, collaborations and the odd side-project aside, it’s in his main solo guise as Gross Net where the full weight and majesty of Quinn’s art comes into view. Taking from his eagerly-anticipated second studio album, Gross Net Means Gross Net, ‘Gentrification’ is one of his most cohesive and assured efforts to…
-
An outright highlight from his first-rate debut album, Quantitative Easing, ‘Still Life’ by Belfast’s Philip Quinn AKA Gross Net is a song that wrestles dark tidings and psychic pain in impervious fashion. With its creeping Numan-esque bass-synth climb and stark drum machine patterns, a perfect maelstrom of noise is woven across the song’s masterfully suffocating six-and-a-bit minutes. Check out Autumn Andel’s new video for the single below and make sure to check out Quantitative Easing via Belfast imprint Touch Sensitive.
-
The issue of building your persona around darkness is that after a certain point it becomes ridiculous. An overwhelming sense of nihilism, an abhorrence of any kind of salvation and an unwavering fascination with misery can be profound, for a while. Those who can sustain careers built around gloom, the likes of Sun Kil Moon, Scott Walker and Nick Cave, know that you have to allow some light in. Because if you don’t and you’re unwilling to go the extreme, á la Ian Curtis or Richey Edwards, then all you doing is insincere posturing which will inevitably slide into unintentional…
-
Ahead of a three-way release launch in a secret location in Belfast this Friday night, Philip Quinn of Gross Net, Autumns’ Christian Donaghey & Fears’ Constance Keane discuss growth, release, community & “timid Irishness disease”. Go here for the show’s event page. Hi guys. You play a secret location show together in Belfast this weekend. It’s titled ‘A Death To Complacency’. What’s the significance of the title? Philip Quinn (Gross Net): There’s an element present here in society I dub “timid Irishness disease”, whereby people just don’t knuckle down and get making something. I see the three of us as…