In 2022, Myriad Things released two very strong but very different singles. ‘Let It Come Down’ set up an immediate groove, working a funk infused rhythm and bluesy guitar tone. With a heavier riff punctuating the verses, it was a track that was absolutely loaded with swagger. A couple of months later ‘10,000 Years Away’ presented their more melodic side, with a number that introduced a little prog/post rock guitar work which, combined with a wall of funky bass lines and soaring vocals suggested this was a band who could also feel very comfortable working with something a little more atmospheric. Having set themselves up a band to watch out for in the near future, they then didn’t actually release any more new material for three years.

Re-emerging in 2025, Myriad Things sound stronger than ever on rheir three tracks on their ‘Sanctuary’ EP. Its three songs introduce an even broader musical canvas, capturing a band digging even more deeply for an interesting sound.

‘There Is Nothing There’ takes the busy bass from earlier work and tightens it considerably, Working at speed, the bottom end notes supply a huge melody beneath intermittent power chords and an incessant jangle. Mixing hard edged indie, post rock, a touch of psychedelia and a wave of melodic prog, the first part of this track isn’t easily classified; nor does it really settle. It merely powers forth, daring the listener to let themselves go; to lose themselves in the shamelessly busy sound. Then, at the point the band figures everyone has a handle on where things are headed, it’s all change. The funky elements subside, and a tougher edge takes centre stage to allow a manic lead guitar break to wash over everything. Jonnie Rice’s tone is metallic, but never aims to attract the metal audience. In terms of frenzied speed and structure, it leans more into a world of jazz fusion tempered with a proggy touch, and it’s absolutely flawless. At the point where the fretboard melting subsides and the listener expects a return to the main melody, Myriad Things opt for the unexpected…and just stop dead. There’s no closure here; no real resolution – just a desire to make the audience curious as to where they’ll be taken next.

The lengthier ‘Colours of The World’ allows the band to stretch out into a proggier landscape, opening with droning sounds and warm bass. Atop the soft and dreamy backdrop, Jonnie shares a flowing, melodic vocal that’s equal parts AOR, pop-prog and 70s AM radio dreaminess. The melodies grow to feel a little more psychedelic over time, with bassist Brendy Doran sharing an anchoring melody, before Jonnie drops back in with some jazz-prog lead guitar. In a marked difference from most of the trio’s other work, there are no real dramatic turns here. The dream-like state continues throughout, and the only real musical embellishment comes from a busy prog-ish lead guitar break that’s far more post rock than predictably Floydian. Gradually allowing parts of the melody to subside, the bass takes the lead for a really sedate finish, leaving behind the kind of number that isn’t exactly immediate. It does, however, sound better over time – and thankfully, these guys are pitching their thoughtful sounds at an audience who won’t necessarily expect a quick musical fix.

All three of this EP’s tracks are very strong – and as varied as those earlier singles – but the real stand out is the title cut. On this four minute workout, the band appear in no real hurry at first, since they gradually tease the listener with a busy prog rock-ish guitar part that gradually beavers away, increasing in volume. It actually plays a pivotal role, and is eventually left to underscore the bulk of the song’s melody without a pause. That intro builds a lot of interest, but once everything hits, the band sound superb: there’s a prog-ish guitar loop, which should remind some listeners of early Porcupine Tree; a solid bass part that adds more of an indie flair, and a vocal that has a hint of shoegaze. Everything combined creates a really busy yet accessible sound, but in true Myrid Things tradition, it’s a sound that’s not easily defined.

There are moments during this track where everything feels like a clever melodic take on prog, but also a post-rock vibe that collides with indie fare to create something very smart. The way the vocal floats above the incessant rhythm sets a huge melodic contrast in place, and although this isn’t as immediate as their earlier ‘10,000 Miles Away’ single, it’s superb in its own way. It relies more on a musical smartness than a lyrical hook, but it works on its own terms, and Myriad Things are clearly very confident that this sophisticated track will find an audience of alternative heads that will absolutely love it. It certainly supplies this short release with an essential listen.

At the time of this release, both Eire and Northern Ireland appeared to be a hotbed of new and fresh talents, but when it comes to bringing something genuinely interesting to the rock scene, Belfast’s Myriad Things are definitely at the front of the pack. ‘Sanctuary’ mixes genres and moods gleefully and confidently, and although the trio of tunes play very strongly when heard individually, they actually sound better explored as a fifteen minute whole. Even more impressive than those 2022 single releases, this is a highly recommended listen.

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A second opinion from our intern, Merlin The Cat:
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September-October 2025