The Underground is teeming with optimism from the second I walk through the front door. Without doubt it is the most well-hidden venue in Dublin, offering a stage more suitable for a poetry recital than a gig. Perhaps that only serves to amplify the effect any performance will have on the enclosed surroundings. Even accounting for that, the show that follows brings more than enough entertainment on its own to reward any adventurers from outside.

Sounds issues were always going to be a problem with three primarily electronic bands. Some soundmen have nightmares and a gig like this has the potential to be nothing short of apocalyptic.  The darkness of the venue permeated only by the intermittent opening of the front door as the public slowly flows in.

Nakatomi Towers jump onstage and give it socks, converse, spats and any other stylish footwear you can throw at an audience from start to finish. Clocking in with a set just over a quarter of an hour, they dance, shake and power through tune after tune, culminating in their new single Cut Me Out. A strong performance from the relatively new Belfast duo, we anticipate they’ll announce another Dublin gig before long. For the moment, the have half-dozen gigs lined up for Belfast in the next month – catch them on myspace.

Band in the middle, The Holy Roman Army, provide a set packed with half-Tricky, half Amnesiac-era-Radiohead-inspired tunes. Siblings Laura and Chris Coffey deliver nice, spacey, dynamic vocals throughout. The backing band serves to give them a presence that leaves the listener full of visuals and grooves long after they stop playing. The crowd, still building after missing the opening act, gives its united approval. The trouble with trip-hop is that it leads one into such a lull that a loud climax can be jarring. As such, the end of HRA’s set is a suitably anti-climactic, yet it leaves an unfinished feeling. An improper end to an enjoyable set, or a teaser that the best is yet to come from the next gig?

Only one way to find out: The Holy Roman Army play Twisted Pepper on the 17th of October as part of the Hard Working Class Heroes festival.

Headliners and momentum-surfers Sleep Thieves know how to hit the spot. Thumping backbeats abound ab initio, thunderous in places, tender in others. The trio, formed last summer, have quickly gathered an impressive amount of attention and not without merit. Their synthesis of keyboards, guitars and processed rhythms is one they mix well. The audience is treated to a varied set that ends up being slightly short (from a personal perspective, you understand – as a suite it lasts a quite perfect length). The vocals maybe aren’t as exciting and ambitious as they should be, but are note-perfect to their recorded tracks. Closing with the smooth-pop beeps and boops of Osumi, the band depart the stage to much rapture and smiles. Their new single City Lights is available online now and they play Twisted Pepper this Thursday.

A good thing happened here tonight. Death Via Satellite has long been promoting solid artists from around Ireland (and in some cases much further afield). Its return is most welcome and is a thing to be rejoiced and heralded. Let the city of Dublin know that good music is back.

“They’re always like this.” My friend said. “They disappear for months at a time, write 2 or 3 new songs, practice them until they’re within an inch of their life and put on a series of ridiculously tight gigs. Then they disappear again.” Such was his description of the previous incarnation of stealthy Dublin act CODES (Lost). It’s a formula that has been apparent since the quartet officially started in 2007, evidenced by the release of three initial singles: Edith, This Is Goodbye and Guided By Ghosts; then a disappearance after each release.

After two years of hype, praise, festival appearances, more praise and record company backing, it’s safe to say there is some weight of expectation on the band to deliver. Come 18th September 2009, CODES will unshackle their debut album TreesDreamInAlgebra unto the general public. Put aside the mildly flabbergasting title and you can expect to hear a pop-savvy record tinged with sadness rather than aggression – a refreshing alternative to a more immediate overdrive-on, balls-out sound noiseniks are likely to percolate over in and around these pages.

That’s not to suggest CODES don’t know when to turn it up. They quite clearly do and they do it with panache and subtlety. The songwriting here is capable and clever, dotted with little intricacies, set-pieces and pre-pre-pre-choruses galore. There is an attention to detail here that is very rarely heard among artists anywhere, let alone Dublin. CODES lassoed producer Greg Haver (Manic Street Preachers, Super Furry Animals) for the album, leaving a product so finely polished and sculpted you could proudly put it on a pedestal in your living room and show it off to the neighbours. With backs to the wind and clear night skies ahead one question remains.

Does it sound any good?

Succinctly put, yes, the album sounds marvellous. Months of mixing, mastering, love and careful planning have paid off. It’s restrained in all the right places to build mood. It’s alert and never short of a histrionic vocal melody from vocalist Daragh Anderson. Somewhat detrimentally, the glockenspiel almost becomes a main instrument and feels gimmicky when overused. Undeterred, TreesDreamInAlgebra kicks off with the 2 and a half minute Malfunctions, a track full of foggy quotes, atmospheric hums and pleasingly differing, yet congruent time signatures. Followed by the duet of their earlier singles (Edith being the one which misses out), the record chugs nicely before venturing into less-dramatic Muse soundscapes for the next four tracks (Memorial and instrumental Telos deserve particular mentions here).

Muse are just one of the inspirations apparent on the record. Nods to Hope Of The States, The Smiths, Grandaddy, Arcade Fire and Bell X1 can be heard within. Keane are an obvious influence too, evidenced by CODES supporting them last year.

From here, the album slows down notably, the clever pop-pieces giving way to album behemoths Starry Eyed, Truer Words and Magnetic North, interrupted only by the choppy Cities. These tracks are the lighters-in-the-air songs, matching the Johnny Marr-overseen Haven for power balladry. Whether or not this is a good thing depends on your personal viewpoint. They do walk a fine line between drunken arms-around-your-drunken-mates singalongs at the end of the night and Top Gun romance scene soundtracks. New single You Are Here and chanty-outro track 4 Winters close out the album, leaving the listener a little bit happier than an hour before.

In all, where does that leave us? The album has been given acclaim from all quarters (and deservedly so, it’s a fine piece of art), but it is by no means flawless, except perhaps on a technical scale. TreesDreamInAlgebra suffers from having so many big tracks so close together in and among the middle. The songs are more memorable than most due to catchy choruses and well-worked crescendos, but barring the first track, there is an inherent lack of true invention and spark that would allow it to supersede all other contemporaries and claim a complete victory for originality, control, intelligent songwriting and Irish Music.

For now, they’ll have to make do with TreesDreamsInAlgebra as a resounding victory for originalty, control, intelligent songwriting and Irish Music – an achievement few others have matched, and one they can be proud of.

“Then they disappear again.” My friend said. You get the feeling that won’t happen this time.

Drop-D Rating: 8/10