What is your reaction to being chosen as the top album of 2023 by The Guardian writers?
It’s crazy. The goals we established for ourselves a decade ago – we have exceeded them to such a degree that it’s difficult to grasp. We would say, “Let’s envision being successful enough to have a sound engineer. Let’s strive to one day do a tour of the entire UK.”
What makes you believe that False Lankum is a significant album?
I believe we have finally achieved our desired sound. We came close with our last album [2019’s The Livelong Day], but it was a bit too gloomy.
What changes did you make this time?
We pushed our instruments to their limits, creating a greater contrast between the darker and lighter elements. This album also features a cohesive storyline, connecting tracks with small interludes [such as the three fugue tracks included].
Can you tell me where your creative mindset was when you created False Lankum in a Martello tower on the east coast of Ireland?
During the ongoing Covid pandemic, we were in a focused state, prioritizing our work. We would often go for runs alone to decompress. I believe this contributed to the overall vibe of the album – we had minimal obligations or tours to distract us, but instead had ample time to brainstorm and refine our ideas. As usual, we gathered together and brainstormed potential concepts: material from our performances, songs we’ve heard on albums, lessons from our peers; and also our own original compositions. We continuously draw inspiration from various sources.
In addition to the two original tracks, “Netta Perseus” and “The Turn,” the collection of songs on False Lankum covers a wide range of time periods, spanning almost 500 years. The lyrics for “Newcastle” date back to 1620, with the tune originating in 1651, while Gordon Bok’s “Clear Away in the Morning” was released in 1983.
A couple of years ago, I came across a Gordon Bok song on a Rolling Stone list titled “Ten obscure folk albums”. As I went through the list, I initially dismissed it, thinking I had already heard all the songs. However, one caught my attention and I was blown away by its quality.
How does the group decide which songs to incorporate?
Sitting for seven hours, attempting to create an arrangement for something you enjoy, only to lose it can be frustrating. Taking a break for lunch and making a cup of tea, then coming back to the task can sometimes lead to a small suggestion that ignites inspiration and within 20 minutes, the arrangement is complete. We have learned to have faith that the spark will come eventually, but it can be exhausting when it doesn’t come easily.
Which tracks by False Lankum did that occur with?
The majority of the group agreed to add another song to the end with The New York Trader. Cormac suggested using an American tune he had been practicing, Big Black Cat, with some adjustments. It ended up working well and within twenty minutes, we were all thrilled with the result.
This album has a powerful sound. What experiences from creating it have stayed with you?
Doing Clear Away in the Morning with Spud [the producer John Murphy], making it woozier, spacier, like Xanax. Being in the studio when Radie [Peat], her sister [Sadhbh Peat] and Cormac [Begley] were doing Master Crowley’s [as an accordion trio]. That’s possibly the best thing I’ve ever heard in my life.
You were the initial ethnic music ensemble to receive a nomination for the Mercury award after a span of 11 years. You played the unyielding opening track, Go Dig My Grave, from the album during the ceremony in September.
We felt like we were in an unusual world – we didn’t feel like we belonged to the industry that night. By the way, that song wasn’t initially considered for the album – we thought of it later. Now, it has become our popular tune. It came to us spontaneously and ended up working perfectly.
What other things have recently come to light? Cormac [Mac Diarmada] is performing on Lord Abore and Mary Flynn. His singing reminds me of Alasdair Roberts and it’s very moving. I was able to quickly create a guitar arrangement for Netta Perseus.
How was your experience performing at the sold-out concert at Roundhouse in London to cap off your year?
This was one of the most amazing performances I’ve ever had. Playing for a crowd of 3,000 people who were completely silent – I was in disbelief.
What comes next?
I would like to explore new places such as Japan and South America. Despite working on a TV project this year, I am still interested in creating a film soundtrack that is strange and unsettling.
Source: theguardian.com
