Latest news with #PoorCreature
The Guardian
6 days ago
- Entertainment
- The Guardian
Poor Creature: All Smiles Tonight review
The latest gorgeous release from the fecund Irish folk scene doesn't begin with bassy dread in the Lankum mode, but a mood of gentle, haunting psychedelia. Adieu Lovely Erin starts by evoking Broadcast swirling around a maypole; then it's as if Cocteau Twins had been transported to a traditional music session. Its sweet, high female vocals also evoke the improvisations of sean-nós singing, while simmering, krautrock-like drums build drama. Poor Creature comprises three musicians expert in heightening and managing atmosphere: Landless's Ruth Clinton, Lankum's Cormac MacDiarmada plus live Lankum drummer John Dermody. Their debut album steeps cowboy songs, Irish ballads, bluegrass and other traditional songs in a misty, playful lightness that somehow also carries an eerie power. Bury Me Not is a 19th-century American song about a dying sailor desperate not to be buried at sea, and Clinton delivers its lamenting lyrics with a bright, shining innocence. MacDiarmada leads Lorene, a rolling, country ballad by Alabama duo the Louvin Brothers, with a similarly soft, brooding magic. Singing as a boy desperate for a letter from his beloved, despite clearly knowing he's being ghosted, the song's melancholy slowly rises as voice and guitar mesh together. Preprogrammed beats from a Hohner Organetta (a mid-century table-top organ), the wails of an Otamatone (a 21st-century Japanese synthesiser, shaped like a musical quaver) and a theremin add childlike, hauntological flavours to much of this music. Meat and muscle are also built into Hicks' Farewell, a Doc Watson song fed through a sturdy wall of shoegaze, and propulsive highlight, The Whole Town Knows. Within Clinton and MacDiarmada's dense harmonies, Dermody's drums and the track's cacophonous final minutes, you sense folk rocketing somewhere poppy, wild and new. A folk duo who also work in cabaret, performance, and installation art, Lunatraktors collect together six years of collaborative work on their new compilation, Quilting Points: Invitations and Open Calls 2019-2025 (self-released). A loud mix of salvaged songs, archival fragments, chaos and energetic ideas, its most intriguing tracks are the Korg-propelled 'Oss Girls, inspired by the Padstow May Day song, and The Truth of Eanswythe's Bones, a twisted choral epic inspired by the discovery of a skeleton of a 7th-century saint. Clàrsach (Celtic harp) player Grace Stewart-Skinner's Auchies Spikkin' Auchie (self-released) is a moving, textured exploration of the stories and dialect of her north-east Highlands harbour village, Avoch, mixing her playing with field-recorded conversations, fiddle, double bass and drums. Toby Hay's gorgeous New Music for the 6 String Guitar (The State51 Conspiracy) also further confirms him as a warm, 21st-century heir to the string-bending genius of John Fahey.
The Guardian
6 days ago
- Entertainment
- The Guardian
Poor Creature: All Smiles Tonight review
The latest gorgeous release from the fecund Irish folk scene doesn't begin with bassy dread in the Lankum mode, but a mood of gentle, haunting psychedelia. Adieu Lovely Erin starts by evoking Broadcast swirling around a maypole; then it's as if Cocteau Twins had been transported to a traditional music session. Its sweet, high female vocals also evoke the improvisations of sean-nós singing, while simmering, krautrock-like drums build drama. Poor Creature comprises three musicians expert in heightening and managing atmosphere: Landless's Ruth Clinton, Lankum's Cormac MacDiarmada plus live Lankum drummer John Dermody. Their debut album steeps cowboy songs, Irish ballads, bluegrass and other traditional songs in a misty, playful lightness that somehow also carries an eerie power. Bury Me Not is a 19th-century American song about a dying sailor desperate not to be buried at sea, and Clinton delivers its lamenting lyrics with a bright, shining innocence. MacDiarmada leads Lorene, a rolling, country ballad by Alabama duo the Louvin Brothers, with a similarly soft, brooding magic. Singing as a boy desperate for a letter from his beloved, despite clearly knowing he's being ghosted, the song's melancholy slowly rises as voice and guitar mesh together. Preprogrammed beats from a Hohner Organetta (a mid-century table-top organ), the wails of an Otamatone (a 21st-century Japanese synthesiser, shaped like a musical quaver) and a theremin add childlike, hauntological flavours to much of this music. Meat and muscle are also built into Hicks' Farewell, a Doc Watson song fed through a sturdy wall of shoegaze, and propulsive highlight, The Whole Town Knows. Within Clinton and MacDiarmada's dense harmonies, Dermody's drums and the track's cacophonous final minutes, you sense folk rocketing somewhere poppy, wild and new. A folk duo who also work in cabaret, performance, and installation art, Lunatraktors collect together six years of collaborative work on their new compilation, Quilting Points: Invitations and Open Calls 2019-2025 (self-released). A loud mix of salvaged songs, archival fragments, chaos and energetic ideas, its most intriguing tracks are the Korg-propelled 'Oss Girls, inspired by the Padstow May Day song, and The Truth of Eanswythe's Bones, a twisted choral epic inspired by the discovery of a skeleton of a 7th-century saint. Clàrsach (Celtic harp) player Grace Stewart-Skinner's Auchies Spikkin' Auchie (self-released) is a moving, textured exploration of the stories and dialect of her north-east Highlands harbour village, Avoch, mixing her playing with field-recorded conversations, fiddle, double bass and drums. Toby Hay's gorgeous New Music for the 6 String Guitar (The State51 Conspiracy) also further confirms him as a warm, 21st-century heir to the string-bending genius of John Fahey.
Irish Times
16-07-2025
- Entertainment
- Irish Times
New Irish albums reviewed: Sons of Southern Ulster, Poor Creature, Darragh Morgan, The Swell Season and California Irish
Sons of Southern Ulster: Through the Bridewell Gate (SOSU) ★★★★☆ Through the Bridewell Gate by Sons of Southern Ulster The malcontents of Co Cavan resurface with the aim of once again visualising young dreams in middle age. Three albums in (and 10 years from their formation), Sons of Southern Ulster can safely lay claim to be as authentically Irish post-punk as any of the current native crop touting a similar validity. Sprechgesang songs such as Billyhill Hall, Royal Breffni, and the especially lyrical To the New World and Back ('I heard the voice of Joe Dolan – 'make me an island,' he cried'), place mainstays David Meagher and Justin Kelly in a league and a psycho-geographic place of their own. Poor Creature: All Smiles Tonight (River Lea Records) ★★★★★ All Smiles Tonight by Poor Creature Cormac MacDiarmada , John Dermody, and Ruth Clinton may have their limbs in other contemporary experimental folk bands ( Lankum , Landless), but their eyes remain firmly focused on recalibrating songs from many years past and adding unexpected sonic twists and turns without making you reach for the smelling salts. Psyche-folk might be the applicable category or genre, but there's something else filtering through on multilayered tracks such as Willie O, Bury Me Not, Adieu Lovely Eireann and Hick's Farewell. Think more kosmische variations of Cocteau Twins, Enya and several spectral others, imbued with sean-nós, drone, and artists such as Sandy Paton, Jean Ritchie, and Karen Dalton. Producer John 'Spud' Murphy sets the controls for the dark heart of the sun, while Clinton (whose father, incidentally, was once a member of Ireland's finest R&B band, The Rhythm Kings) delivers vocal shivers and delights in equal measure. Definite Album of the Year vibrations from this one. Darragh Morgan: For Violin and Electronics Vol II (Diatribe Records) ★★☆☆☆ Cover of For Violin and Electronics Vol II by Darragh Morgan New music violinist Darragh Morgan has quite the professional career, performing not only with numerous contemporary music groups (including Ensemble Modern, Icebreaker and London Sinfonietta) but also with The Divine Comedy, the Spice Girls and Sigur Ros. The sequel to his 2017 album showcases examples of what could be, for some, taxing. There are shades of that throughout the 10 minutes of Zack Browning's Sole Injection (think repetitive hiccups with occasional stabs of police car alarms). Conversely, in Scanner's A Cantegral Segment, Morgan's playing is peak elegance, but the album's longueurs far outweigh the best moments. The Swell Season: Forward (Masterkey Sounds) ★★★★☆ Forward by The Swell Season Glen Hansard and Marketa Irglova reunite as The Swell Season for their first album in 16 years, and to say the results are equal parts bittersweet, heartwarming and wise is a piercing understatement. The pair's personal history is (presumably) well enough known to view Forward as a story-driven sequence of confessional regret and acceptance. Whatever the truth, there's no denying the empathy and common threads that connect not just the songwriters but also their folksy songs. Listen to People We Used to Be, Stuck in Reverse, I Leave Everything to You and A Little Sugar without your eyes brimming, and you have a heart of stone. READ MORE California Irish: The Mountains Are My Friends (7Hz Productions) ★★★☆☆ The Mountains Are My Friends by California Irish From bullish hard rock to harmonic folk is a turn we didn't expect Belfast's Cormac Neeson to take, but the former frontman of The Answer has taken to the sensibilities of Laurel Canyon like the proverbial duck to water. Gathering a bunch of musicians with similar influences, the mood enveloping the debut album by California Irish is, says Neeson, 'the opposite of boring AI-generated, no-soul perfection'. There is throughout, then, not only genuine creative instinct but also the kind of sonic warmth that comes only from musicians in a room taking cues and empathetic hints from each other.
