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The beginning of Lankum’s fourth album may give the impression of a beautiful piece of traditional folk music. However, this is not the case. The Dublin-based band showcases their versatility with False Lankum, as Radie Peat’s vocals shine in the opening track “Go Dig My Grave,” accompanied only by instruments. As the album progresses, the group delves into expansive and emotive arrangements, transforming traditional Irish songs and including a few original pieces. The album is divided into sections by three interludes, showcasing Lankum’s ability to defy genres and bring classic songs into the modern era.
Lankum has been developing their current sound for many years. Initially known as Lynched, the band was formed over a decade ago by siblings Ian and Daragh Lynch. Their earlier style was more closely tied to traditional music. However, a 2015 performance on Jools Holland, featuring two songs from their album Cold Old Fire, now seems quite upbeat compared to their current sound. Their 2019 album False Lankum and its predecessor, The Livelong Day, have only become even more intense and heavy.
Where initially woodwind and jaunty harmonies prevailed, Lankum have since embraced a mixture of light and shade, pulling you from plucked strings to sudden cacophonies that could soundtrack the onset of a nightmare. The band started working more closely with the producer and unofficial fifth member John “Spud” Murphy on The Livelong Day; they have credited him with drawing out what they call the “sound in our heads” – unsettling, layered and mesmerising as it may be.
At the midpoint of Netta Perseus, written by Daragh, the tone shifts dramatically from a seemingly sweet vocal and acoustic guitar combination to a barrage of percussive beats and haunting viola, evoking the chaos of a thunderstorm set to music. The musicians themselves struggle to identify all the instruments used in this dirge-like track. The instrumental piece Master Crowley’s takes inspiration from Hugh Gillespie’s 1937 fiddle performance of a medley called Master Crowley’s Reel. Lankum’s rendition, lasting almost six minutes, features a faster tempo and incorporates concertinas and ambiguous percussion. In an interview with The Guardian, band member Cormac Mac Diarmada noted a particular section of the song with a “waspy” sound, admitting he has no idea what instrument could produce it.
Although False Lankum is known for its intense, hair-blown-back sound, it also has moments of tenderness and delicacy. The song “Lord Abore and Mary Flynn,” which features Mac Diarmada’s first vocal performance alongside Peat, is a prime example of this. However, in true Lankum fashion, the song is actually a retelling of a Scottish ballad about a mother who poisons her son’s girlfriend. The girlfriend then dies by her lover’s bedside after rushing to see him when he falls ill. It may be dark subject matter, but Mac Diarmada and Peat’s soothing voices add a bittersweet touch to the song and provide a break from the album’s heavier moments.
In a similar manner, the simplified track “Clear Away in the Morning” flows smoothly while embodying the album’s nautical theme. The group recorded “False Lankum” in a Martello tower on the eastern coast of Ireland, with a view of the sea every morning. They did not intend to reference the water, but later realized it appeared multiple times, symbolizing the powerful and varying dynamics of the album.
False Lankum hacks out its own path, with few songs ending sounding as they started. That variety was intentional – and ends up being incredibly effective. As Peat put it to the Irish Times: “Things work best in contrast because it makes both parts stand out. If something is the same for two hours, your brain stops hearing it.” There is no chance of that happening here: the staggering beauty of False Lankum stays with you long after its run time concludes.
Source: theguardian.com
