KNEECAP have dropped the soundtrack for their acclaimed self-titled autobiographical movie, which debuted back in January. Rated five stars by the NME and as “one of the best movie biopics ever made”, the West Belfast trio brings their story of chaos and pride to life, all while championing the movement to preserve the Irish language.
“There are 80,000 native Irish speakers in Ireland / Only 6,000 of them live in the North of Ireland / 3 of us have become rappers”, blares from the speakers towards the climax of the film that sees the film embark on a journey to revive their mother tongue. This is a topic that KNEECAP have never shied away from, and one that has informed their stylistic decision to write and perform the majority of their tracks in Irish, with only occasional verses in English.
Before even touching on the soundtrack itself, the album art is as striking as the raucous, experimental cinematography that characterises the entire movie. Depicting the Belfast trio through an image that evokes the effect of a distorted mirror, you see Móglaí Bap, Mo Chara and DJ Próvaí – the latter member of the band in his most recognisable form, sporting an Irish tricolour balaclava – stood together, one swigging a beer and the other giving a middle finger. This imagery alone embodies the vibe that listeners and avid fans of KNEECAP have come to recognise them for, and hints at what you can anticipate from both the film and the music that defines it.
“Every [expletive] story about Belfast starts like this,” is echoed before explosive sounds of chaos, gunshots, and sirens take over. “[…] but not this one.” From the outset of the film, KNEECAP addresses the political violence and torment that often overcasts much discourse around the city of Belfast, and tells you directly why the group want to offer a different perspective. Instead, they opt to show us the city’s party culture—or rather, their rowdy friendship—with the track ‘Parful’. With strong imagery of debauchery and hedonism, the track not only offers the listener and viewer a fresh lens on their environment but also emphasises the resilience and spirit of the people that make up the city, showcasing that amidst turmoil, there is still room for exuberance and spirit.
Threatening, grime-inspired, and confident, the bolshiness of the band’s sound shines through in tracks like ‘ITS BEEN AGES’—one of KNEECAP’s own releases—and ‘80%’—the number one hit from Derry band Dirty Faces—reinforcing the grittiness of the story that led to the band’s rise to fame.
The soundtrack is interwoven with dialogue snippets, through the likes of ‘Arrested’, ‘What the fuck was that?!’, ‘A wee operation’, ‘You bring a stolen car here’, and ‘No need to panic’, each highlighting key moments within the film. Whether it’s one-liners during moments of interpersonal conflict or reflections on the eclectic and chaotic situations the gang encounters, these snippets offer a break and a curated narrative from the thoughtfully selected mix of musical tracks that make up the rest of the soundtrack.
Although set within a comedic, ironic scene where the band’s frontmen seek prescription drugs by describing their trauma to their doctors, the likes of ‘Ceasefire babies’ serves to shed a light once more on the trauma that the Troubles had on generations past and present. Tracks like this tell a complex, historical, and hard hitting story in a digestible and moving way, again adding to the multifaceted nature of the film.
While some tracks on the soundtrack, like the country-inspired ‘Dad’s Gone,’ the ominous, anxiety-inducing instrumental ‘Kneecapped,’ and the soft, moving ‘Is a Bullet,’ diverge from the anti-establishment sound KNEECAP is known for, the incidental pieces composed by Mikey J that are scattered throughout the soundtrack add a beautiful and dynamic touch to the film, making it an intricate, thrilling, and distinctly cinematic experience.
‘Amach Anocht’, from the group’s 2018 release 3cag, is a boisterous rap that narrates a drug-fuelled, chaotic night out – and a song that is blasted through the movie’s scene whereby the group come together to record an album under similar unruly settings. The subsequent dialogue tracks, ‘Love affair with the schniff’ and ‘No need to panic’, in addition to the band’s 2017 track, ‘C.E.A.R.T.A’, only serve to reinstate this theme of excess throughout not only the film but the soundtrack in its own right.
Other KNEECAP classics, such as their 2021 single, ‘Guilty Conscience’ and ‘Sick In The Head’ from their second studio album, Fine Art, are embedded throughout the album, both of which allude to feeling troubled and downtrodden, though in search of wealth and indulgence. These tracks weave a narrative of internal conflict and aspiration, reflecting the group’s ongoing exploration of personal and societal struggles amidst a backdrop of desire and rising notoriety.
The second half of the soundtrack—and the film itself—features a stellar lineup of renowned artists from Belfast and Dublin. With tracks like Fontaines DC’s ‘Liberty Belle,’ BICEP’s ‘Glue,’ Orbital’s ‘Belfast,’ and The Bonny Men’s ‘The A Minor Set,’ it’s evident that the soundtrack is a carefully curated celebration of Irish art, culture, and heritage.
Fontaines DC’s frontman Grian Chatten makes a second appearance on the soundtrack, with KNEECAP’s hit, ‘Better Way To Live.’ This particular track captures the film’s central theme: the struggle of being trapped in an oppressive environment while holding onto hope that something good is around the corner.
Almost by a sort of cinematic manifestation, this turns out to be the case. With the film drawing to a close with how the 2022 Identity and Language Act granted official recognition to the Irish language in Northern Ireland, and with the closing credits running through some of KNEECAP’s on-stage highlights so far into their career, it is safe to say that the soundtrack and film alike feel like a culmination of freedom for the archetypal underdog.
Words by Ruby Brown
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.