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Imelda May: “Sometimes you need the darkness to see the light.”

Dublin icon Imelda May has always been prolific, and her current creative blend of heartfelt poetry and sparkling collaborative music – two things she largely keeps distinct – is no different. May’s determined to take the positives from lockdown, and while her current record dates back to some degree to what we’ll call ‘the before time’, it’s full of shining positivity, an ode to what she feels we currently need.

The Liberties-bred singer is still very much about fostering creativity, with a sweeping, experimental workflow that sees her explore time with various connections she meets along the way and connects with, as well as spending time exploring her own ‘wants’. In fact, she barely sees the whole process as work, the business aspect of it all aside. The latest record, ‘11 Past The Hour’, she feels is her best yet.

“If I could, I’d sit and write every day, if life didn’t get in the way, the business side of getting an album out,” she says. “Sitting and writing is something I love, it’s my time to wind down. But the poetry and songwriting are two different things for me.”

“I’m trying to make them the same, but poetry is something I find more liberating. I don’t have to think of a band, or time limits – length, and so on. I don’t have to construct a song, and arrangements. I just write and that’s it.”

“‘Solace’ [from the new record] is the only poem I’ve turned into a song. I’d been to see U2 in London with my friend Pedro Vito, and we had a stinking hangover the next day. We were supposed to write a song, which we did, and it was kind of rubbish.”

“I got some coffee, and when I came back, he was looking at my poetry book, which I’d left open, and he was working on the music for it. So ‘Solace’ was a poem that became a song, and not really changed at all. I think it’s one of my favourite songs on the album.”

Teenage Fanclub: “we never got caught up trying to follow trends”

GLASWEGIAN ICONS Teenage Fanclub’s latest release ‘Endless Arcade’, due in a couple of weeks, is a real stepping stone for the band, as the first record since the departure of one of their three core songwriters, Gerard Love. 

Love’s departure has come as something of a shock to the way the band perform: they’ve long rotated vocalists on their tracks, and have already had to adapt their live performances to work around some of Love’s iconic hits. Not that it matters, particularly, to those still involved., now including Euros Child, formerly of cult Welsh act Gorky’s Zygotic Mynci. They feel the partnership had run its course, and they’ve never been that keen on nostalgia anyway.

Instead, Teenage Fanclub charge on with a new album that’s bittersweet, and takes place in a mythical endless city of the act’s imagination. “The pandemic gave us a bit of extra fiddling time on the album,” Raymond McGinley, guitarist and vocalist, told the Gazette. “It’s new territory for us having a record out but not going on tour.”

“The title wasn’t so much born out of a conscious process, but it came out of writing the songs. I wrote the title track, and afterwards, doing vocals in the studio, Norman [Blake, co-writer and guitarist] saw it and thought it would be a good song title.”

“As a concept it just worked, and kind of came out of nowhere,” he continues. It was reverse engineered in our heads a little bit. It’s this idea that life is just a thing you kind of wonder through. It seemed to be something that fit. It was just part of our expression, really.”

After Gerard’s departure, in fact, the process for the album still felt quite normal particularly with Euros involved, too. “There was a long process with Gerry,” McGinley explains. “We still worked together for a long time after we knew he wasn’t going to be in the band anymore. More than six months. The weirdness was in the consideration of everything that was happening at the time. It had gone by the end, and we’d processed it while he was still in the band and rationalised it, and then we just got on with our lives.”

“I guess it’s unusual that someone who’s not going to be in the band is still in the band, but we did all that together. We worked together from June until November knowing he was leaving, and we had that nostalgia tour, and then we moved on. That’s life. We were a bit self aware about it, about taking it too seriously. It’s only a band. No one died, and we’re not The Beatles.”

Siobhra Quinlan: “It’s fascinating to me that mythology and folklore continue to be echoed throughout popular culture”

Performing under the name sfiiinx, Siobhra Quinlan is a real rarity in Irish music. While she finds her roots in plenty of mythology, using her music to tell spectacular tales, she takes her grounding in classical techniques, straddling the gap between contemporary chamber pop and classical performative arts.

As she works towards her LP ‘The Magma Chamber’, Quinlan joined us to reflect on her style of music and its place in modern Irish culture, and talk about new single ‘Changeling’.

“It’s fascinating to me that mythology and folklore continue to be echoed throughout popular culture, rendering time or eras irrelevant, as we find traces of ourselves or our stories in archetypes or myths,” Quinlan said. “I also find it fascinating that mythology serves as a framework for us to project the complexity, ugliness and beauty of existence onto, which appeals to me as a medium through which one can exorcise their demons.”

“‘Changeling’ is threaded together by a few different fragments. One of those is the myth of Philomela, which to me, is the most brutal and disturbing of myths. Philomela, has been raped by her sister’s husband Tereus. He then cuts out her tongue to silence her. Unable to speak, Philomela weaves the truth of what happened into a tapestry, which is how her sister learns of what has become of Philomela.” 

“The myth continues to darkly tangle itself. The sisters are then liberated from their human existence, and transformed into birds – Philomela, a melodious nightingale, finally, singing freely. Woven with this thread, among other things, is also another myth of sorts in that I found out nearly a decade ago that the meaning of Síobhra is not just a “fae” but a “changeling.” Which I was initially not so cool with, but I have since embraced.”

“I’m not certain that there is a great market for this stuff in Ireland,” Quinlan says. “And I’m not entirely sure where my music will end up finding a home, but it’s not something that enters my mind when I’m creating my work. Whilst it’s certainly not the most industry-savvy approach. I’m comforted by knowing that I’m never playing to the gallery, or bending my musical language to piggyback on to a certain genre, style or audience.”

Eiza Murphy: “I normally start with a concept or lyric idea”

Eiza Murphy is only two singles into her short career in music, one that circles around a uniquely personal brand of pop, and which began under lockdown. London-based but Irish-raised, she’s found sparkling success almost immediately, shooting to number one in the Irish iTunes charts with debut singles ‘Black Hole’ and ‘Taxi’.

That’s unsurprising, perhaps, for a woman who’s long been focused on music. Her background includes trips to the Caribbean to perform, and musical education in New York before she headed to London to make her mark.

Murphy’s songs seem to be drawn from a vivid imagination, each with an enticing story to tell over the beats. “With ‘Black Hole’, I wanted to write a song about the world ending and then it grew from there,” she says. “I wrote it during the Australian wildfires and at the beginning of covid so it has an apocalyptic-like feel to it. ‘Taxi’ is about leaving a toxic relationship or scene so they’re very different songs. They were both produced by my sister, Lenii, and released at the end of 2020.”

Her new track is still more personal. “I think in every relationship (not just romantic), there’s a power play going on. One person always seems to be more in control, even if it’s barely noticeable. I played with the idea of dominance being shared in ‘Bat and Ball’.”

“I rarely write the melody first so I guess that’s how I bring out the storytelling elements in my songs. I normally start with a concept or lyric idea when I write and then build the melodies around the story.”

While Murphy has plenty of experience, she didn’t really delve into the industry expecting instant success. Experience, perhaps, gives a sense of realism in that area, and being independent has never been a common route to making noise in the music industry.

“I’m completely independent so when I released ‘Black Hole’ and ‘Taxi’ I didn’t have any expectations. I was really grateful for the support they got, especially because they were the first songs I had shared,” she says.

Ailbhe Reddy: “I choose to put myself out there”

Every so often, an album comes along that’s dripping with beautiful personal stories and perspectives, and captures hearts. Ailbhe Reddy was a regular on the Dublin music scene, but not a star member, when she released her debut album ‘Personal History’ last year.

A slow-builder of a record, it evokes emotional takes on her own life to tell stories, and captures something of what it is to be young and slightly vulnerable and facing into the world. Nominated for the Choice Music Prize last week, Reddy missed out on the win, but will have gathered plenty more love for her delicate performance for the event, highlighting some of the album’s finest moments. There’s no question she’ll be emerging from the current crisis, ultimately, performing shows to much larger audiences than when it all started.

“It was my first album obviously, so I suppose I don’t have a frame of reference,” Reddy says looking back at her debut record. “Releasing during a pandemic was tricky. I had the album finished in September 2019, so the world I released it into was very different to the one I envisioned.” 

“We spent the first few months of lockdown having deals taken off the table and tours cancelled, so by the time I released Personal History I was just excited to get it out into the world. It was just before another major lockdown so I was lucky enough to be able to go for dinner and celebrate a bit!”

“I really loved all the messages of support I received from people and hearing about how people connected to the music in different ways. I’ve always said that you can put out the most personal song in the world, but once other people hear it they project their experiences onto it and it becomes a bit less yours everytime you play it.” 

“I have definitely tweaked a few lyrics to hold things back,” she says of the more personal side of her music. “Not for myself, I don’t really mind because I choose to put myself out there.  But I would definitely take out anything that identifies someone else too clearly, as other people don’t choose to be part of someone else’s songs, so that always seems a bit unfair!”

Ålesund: “our common ground as a band is the cinematic, epic, soundscape vibe.”

As a Bristol-based four-piece with a Scandinavian-style name, Ålesund evoke the soundscapes that seem to inspire them, with the kind of ethereal, spaced-out, scenic type of alt-pop that’s been made famous by the likes of Sigur Ros.

The relative newcomers were making waves when covid hit, touring across Europe and establishing themselves as one to watch in a style of music dominated by soulful melodies and clever delicacy. New singles ‘Lightning’ and forthcoming EP ‘A Thread In The Dark’ are the product, to a degree, of being forced to slow down.

“Lightning is based on that feeling you have before making a big life changing decision, or someone you are close with making that decision and in turn impacting your own life,” vocalist Alba Torriset explains. “It’s about having the courage to take a plunge and trusting in your choices. The video is inspired by a hero of mine, Eadweard Muybridge and his Studies In Motion. His work is essentially the birth of the moving image and I find it beautiful. Using that as inspiration, the rest of the video quickly formed around it. It was a real joy to make.”

“I would like to say the EP is hopeful and uplifting. Even the songs that are slower in tempo are rich in instrumentation and have a warmth about them.”

“I’m lucky in the fact that the band are all amazing producers and engineers so I’ve never had to think about that myself, until Corona hit and I had no way to record or demo up my ideas,” Torriset continues. “The band was amazing though and facetimed me through learning how to use Logic and it’s actually been one of my proudest achievements in lock down!” 

“Only having myself at the start of the demoing process meant I layered up my ideas with lots of backing vocals and percussive clapping, wooden spoon banging and anything else I had to hand. It weirdly turned out to be a brilliant experiment that we rolled with. So I’d say it very much informed the making of this EP.”

Sam Wickens: “My music is always a face to face meeting with some sort of demon I’ve had rummaging around in my head”

Sam Wickens by Nathan Magee

Sam Wickens new EP ‘Watson’ was never meant to be. The Bangor man’s new record was originally something deeply personal, never intended to see the light of day. Now, it’s out in the world, and the way Wickens has poured his heart out is the strength of it. Having won comparisons to the likes of Jeff Buckley and Death Cab For Cutie, Wicken’s heart works best when it’s on his sleeve.

“The EP started as part of a passion project,” Wickens explains. “I began writing and recording a few songs to get some therapeutic release from them. I was in a terrible place and needed to try and work out thoughts and problems I was having at the time.”

“At the start of 2020 I was in such a better place and returned to these songs and had an overwhelming feeling that I had to share these stories and experiences, we finished recording the songs and they just created a body of music that was so tightly knitted together.”

Single ‘Murky Waters’ is a particularly poignant one for Wickens, in that it sees him bare his soul with total transparency. “My music is always a face to face meeting with some sort of demon I’ve had rummaging around in my head. I find that the entire process is incredibly helpful towards coming to terms with what the song was about, especially through the video process as it becomes a lot more in depth to the visual scenes and that can stem a lot of thoughts towards the original mindset of when I was writing the song and it was quite raw.”

““Murky Waters is the realisation that I was raised and put through terrible circumstances. Constantly feeling alone through every obstacle that was placed in front of me. Traumatic events seemed to follow me no matter where I ran, I started to believe that I was some sort of gatekeeper, that my purpose was to absorb the terrible things so others didn’t need too.”

“I love the visual side of things, I have released a music video for ‘Strange.24’ and one for ‘Murky Waters’ and that has been an incredible experience to be a part of. I love tattoos and have many but I only get writing tattooed on me, my girlfriend is a Tattoo Artist so I see a lot of the work that goes into drawing and designing which is incredible to witness! I find Mixed Martial Arts is a creative output as well, You get to be creative in the way of what Fighting style to use, when to mix it up, how to be unpredictable and follow a rhythm then change it.”

Brídín: “I’ve learned very quickly not to take the little things for granted”

SLIGO NATIVE Brídín is the product of generations of music. Born into a trad-loving family, the harpist engaged with more modern sides of music once she got to studying at UCC. Now finds herself in the relatively unusual role of a modern harpist, producing a sound that would be unrecognisable to many trad fans, utilising modern studio and stage techniques to play with her sound.

“When I was studying music at UCC, I learned a lot about all different genres of music,” she says. “That’s where my mind was musically opened. I went on to do a masters in performance at UCC after and that’s when I started writing my contemporary pieces, with my loop pedal and effect pedals. I’m not trying to be ‘contemporary harp’, I just write what I like to hear, and it turns out to be contemporary. I’m so glad people are liking it so far.”

“I’m a fourth generation Irish traditional musician, so the mainstream of music I was surrounded by was Irish traditional music, choral and pop,” she explains.

“I was surrounded by music growing up luckily, because of my amazingly musical mother, Aileen. Mam would take us around playing music in different places and we’d teach ourselves tunes at home. I still love and play lots of traditional Irish music.”

On the ‘Ocean Of Stars’ EP, Brídín does dip lightly into trad elements, but quickly reveals far more substantive modern leanings. A track entitled ‘The Salmon’s Tale’ is closest to her childhood roots.

“I think my music has its own life, with little flavours of different genres.”