What do you get when you cross an Eno-esque appetite for sonic ambience with a past steeped in traditional music in general, and sean nós singing in particular? Invisible Fields - that's what. Genre-bending doesn't even come close to describing the Olympian leap of faith that Iarla Ó Lionáird has taken with this, his third - and by far his best - solo album.
Irish Times
Recorded at home over a twelve-month period, Invisible Fields is simply astounding, a dazzling series of soundscapes which marry Iarla’s delicious voice to backing so sensuous, so redolent that it almost cries out “Evoke me!”. All told, Invisible Fields is a staggering mélange of light and shade, thoroughly mesmerising, ever-challenging to the senses and emotions and establishes Iarla Ó Lionaird as one of the most innovative forces in modern music.
Songlines
Stetching the Sonic Limits
Invisible Fields is one of those albums that's impossible to classify. Interspersed in the instrumentation and vocals are sampled voices, programmed loops, and unorthodox sounds. It's as if O Lionaird decided to combine Brian Wilson's Pet Sounds with an enigmatic Phillip Glass score and have Daniel Lanois and Sigur Ros orchestrate it. O Lionaird uses all of this to air out his amazing voice. Sonic limits are stretched to the point where he sometimes sounds as if he's on the brink of slipping into a new dimension.
Press review from: Sing Out (USA)
Remarkable dream of an album
...an album that perfectly encapsulates the poetic heart of Irish music....A remarkable dream of an album...O'Lionaird has created a masterwork of modern Irish music.
Press review from: Buffalo News (USA)
The Force of Poetry
From the first precise whisperings of "Gaelic" on track one, Invisible beguiles, mesmerises, surprises and sometimes stuns the listener. Its the sheer, unmitigated force of poetry that does it: Iarla Ó Lionáird's style of delivery makes you feel you understand every word, even if Gaelic is not your native tongue....If you thought Celtic music was fiddles, jigs and reels, this extraordinary album will be a platform for your transfiguration. If you are already an initiate, lie down in these magical fields of sound and prepare for the next Celtic Revival.
Press review from: www.bbc.co.uk
"Iarla Ó Lionáird's real triumph is his voice: as soft as a feather bed and as searingly sharp as a blade when the mood calls."
"All told, Invisible Fields is a staggering mélange of light and shade, thoroughly mesmerising, ever-challenging to the senses and emotions and establishes Iarla Ó Lionaird as one of the most innovative forces in modern music."
" He adopts an approach that combines modern magic with ancient mystery. There are none of the club beats that characterise the Afro-Celt’s sound. Instead, his haunting voice is offset against the sort of electronic abstraction favoured by Iceland’s Sigur Rós.
Many of the songs are centuries-old laments. Tuirimh Mhic Fhinin Dhuibh, for instance, is retooled with a dark, minimalist arrangement for viola da gamba by the composer Gavin Bryars. Yet O’Lionaird sounds just as potent singing unaccompanied on I’m Weary of Lying Alone. It’s one of the few songs in English, but as Gaelic is one of the world’s most poetic tongues, literal meaning is rendered virtually irrelevant on a record of quite otherworldly beauty."
"What do you get when you cross an Eno-esque appetite for sonic ambience with a past steeped in traditional music in general, and sean nós singing in particular? Invisible Fields - that's what. Genre-bending doesn't even come close to describing the Olympian leap of faith that Iarla Ó Lionáird has taken with this, his third - and by far his best - solo album"
Iarla O Lionaird grew up and learned his craft in the musical heartland of Cuil Aodha in the West Cork Gaeltacht. This region though historically rich both in instrumental and vocal music grew in fame through its association with composer Sean O’Riada. Apart from his enormous role on the trajectory of Irish music generally, O’ Riada’s influence in Cuil Aodha was profound. His choir, Cor Cuil Aodha achieved cult status in traditional circles and it was in this milieu that Iarla O’Lionaird grew and developed his art. From his iconic early recording of the vision song “Aisling Gheal” whilst still a boy, through to his recordings with Tony McMahaon and Noel Hill, O’Lionaird established himself both as a masterful exponent of Sean Nos Song and as a pioneer in its renewal and development.
Signed to the Realworld label in the mid 1990’s he would go on to make many ground breaking recordings with the multi million selling Afro Celt Soundsystem and achieved in this period two Grammy nominations. O’Lionaird’s three solo records have also received widespread plaudits at home and across the world. His most recent recorded work ‘Invisible Fields” was voted “Best Folk Record” by the Irish Times in 2006. Iarla has sung in his unique style for audiences across the globe from Carnegie Hall in New York to the Royal Opera House in London, from Cape Town to Moscow, Rome and Tokyo. His many television appearances include among others the “Later with Jools Holland Show” for the BBC and “The David Letterman Show” in the USA. His voice has also appeared on many film soundtracks including ‘The Gangs of New York” and “Hotel Rwanda”.
In between touring he is currently writing his new album with Leo Abrahams and will also perform a new work with Composer Gavin Bryars this Autumn.
After you've finished here, you may like to hear this poem sung on myspace...
Poem 162 of 230, WalkaboutsVerse (please see my blog): TEES TO TYNE: FIRST IMPRESSIONS - SUMMER 2001
Where traditions are not so rare; Sea, country and works scent the air; A multitude of monuments, Planted tubs and patterned pavements.
The longish pedestrian malls; The remnants of defensive walls; Historic buildings are a gauge Of the respect for heritage.
Wheat, rape and pines in the fields; Estuaries guarded by shields; Long sandy beaches and wide scenes; Romantic-ruin go-betweens.
Rivers in parts licked by trees, Or fringed by boat clubs, wharfs, gantries, And crossed by practical delights - Varied spans, forming pleasing sights.
Fine churches headed at Durham; Football kits ad infinitum; Kept castles - one for study; Masonry behind masonry.
And, with moulding-works out that way, It’s somewhere for a longer stay..?
If you want to support me, buy or download the instrumental solo drumming cd “Drums Music” from Peter Hasler’s Kitchen over cdbaby.com or amazon.com. Songs to download are on itunes.com.
After you've finished here, you may like to hear this poem sung on myspace...
Poem 2 of 230, WalkaboutsVerse (please see my blog): WALKABOUT WITH MY PEN
Once drove an old sedan, up north, From a place in Sydney to Cairns; Then to Kuranda I went forth, By train, to look without set plans.
I browsed through the trendy market, With fresh fruits of tropical kind; Walked to the creek through lush thicket - Nature’s hand giving peace of mind.
I dined in a scenic cafe; Then, outside, as I wrote for yen, Some passing Kooris called-out: “Hey, You go walkabout with your pen.”
Request or question, I don’t know - Assured voices, elderly men. That’s now several years ago, And I’ve seen the world - with my pen.
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