Invisible Fields

Recorded in his home studio in rural County Kilkenny, Iarla Ó Lionáird’s second solo album has a quiet, introspective feel that stands in contrast to his work with the Afrocelts (formerly the Afro Celt Sound System).
While there’s still a fair bit of programming and synth-generated sound, it’s much more low-key than on his last recording, 1997’s The Seven Steps To Mercy. Instead, harmonium, piano and hammered dulcimer intersect gracefully across the background of the songs, with the emphasis always on Ó Lionáird’s soaring voice. Indeed, one song is recorded unaccompanied: ‘Táim Cortha ó Bheith im’ Aonar im’ Luí/I’m Weary Of Lying Alone’, a macaronic (i.e. with verses alternating between Irish and English) ballad learned from archival recordings of the singer’s grand-aunt, Elizabeth Cronin. With no instrumentation to distract the ear from the power of the lyrics and Ó Lionáird’s utter immersion in the song, the effect is spellbinding.
There are several originals here, all of which share credit with producer Kieran Lynch (who also plays guitar, bass and keyboards on a couple of tracks). ‘The Day That You Were Born’ is dedicated to Ó Lionáird’s daughter Éabha; opening track ‘A Nest Of Stars’ draws its inspiration from his childhood in West Cork’s Cuil Aodha gaeltacht, and ‘Oisin’s Dream’ revisits the story of the legendary Celtic hero.
Ó Lionáird has described the album as ‘a love song to the Irish language’, and one of the most emotionally affecting tracks is the CD’s closing number, ‘Scathán Na Beatha (Still Life)’, which sets speaking voices – including those of both his parents – sampled from a Raidio na Gaeltachta interview against a soothing backdrop of birdsong and softly droning harmonium.
While Ó Lionáird is clearly progressing as a songwriter, his own compositions don’t quite measure up to the sheer intensity of the traditional material.
The standout track for my money is ‘Tuirimh Mhic Fhinin Dhuibh’, a beautiful old lament that accords perfectly with the glorious medieval string arrangement behind it, courtesy of five-piece viol ensemble Concordia.
Also notable are renditions of ‘An Buachaillín Ban’, featuring lovely finger-picked guitar backing by Graham Henderson, and the aisling song ‘Taimse Im’ Chodladh’.