Trá Pháidín’s second album offers an energetic and joyful examination of Irish music, language, and identity, redefining what a contemporary traditional folk album can be. The album opens with the ethereal sounds of reverb-laden guitars and flutes, creating a dreamlike atmosphere reminiscent of rural life, before humorously interjecting with an Irish woman promoting her countryside Airbnb, only to be comically interrupted by a local voice.
Trá Pháidín, a talented ensemble of six musicians based in Galway, the largest Irish-speaking region of Ireland, presents their album titled Cloch’s Claí (Stone and Dry Stone Wall). The title suggests that each track contributes a unique, robust element to the overall composition. Over the course of 45 minutes, the album unfolds as a seamless blend of improvisation, texture, and vibrant ornamentation, with the band exploring various musical genres that feel interconnected.
The energetic Garbhóg (The Rough One) features an infusion of mariachi rhythms and an infectious motorik beat, while the pastoral elements make a return in subsequent tracks. In Fothrach an Cheirtleáin (The Ruin of the Conurbation), the band’s performance is reminiscent of a melancholy Mogwai, followed by the intricate, haunting flutes in To Hell or to Connacht, which draw listeners into their captivating rhythm.
The lyrics throughout the album exude a spirited intensity, comparable to the works of Kneecap and CMAT. One track, An Béal Bocht (The Poor Mouth), named after Flann O’Brien’s satirical take on Gaelic poverty narratives, features rhythmic word passages that depict individuals living amid decaying concrete and yearning for the prosperity of the Celtic Tiger era. Seachtain na Gaeilge (Irish Language Week) presents a sharper commentary: set against a slow dance rhythm, it juxtaposes enchanting facts about Ireland with English translations delivered in a sinister whisper that highlight the absurdity of tourism language, such as, “this ancient tongue is over 10 years old.” Trá Pháidín even humorously acknowledges their duality as an Irish language band that occasionally resorts to English. With its immersive sound and unexpected joy, Cloch’s Claí presents a fresh perspective on the foundations of folk music with each listen.
Meanwhile, Cladach/Mullach (Chamber Music Scotland) marks the stunning debut of Peaks, a new duo consisting of violinist George Smith and cellist Duncan Strachan. Their album delves into the myths of Scotland’s Western Isles, with the initial five tracks showcasing their beautiful musicianship. The narrative unfolds with a tale of a mother who traded her soul for her son’s extraordinary talent to play a magical harp, enhanced by spoken-word vocals from Brìghde Chaimbeul over serene ambient sounds. In the contemporary scene, Rhiannon Giddens releases Hope Is the Thing With Feathers (Nonesuch), featuring a vibrant band of family and friends delivering powerful renditions of Elizabeth Cotten’s Freight Train along with traditional folk songs like Cluck Old Hen and Walk With Me. Jake Xerxes Fussell’s The Old Beloved Path (Fat Possum) stands as his most poignant work to date, offering a gentle exploration of beloved traditional songs, including Boney and Boll Weevil, alongside a delicate reinterpretation of Lonnie Donegan’s Rock Island Line.
