Archives for July 2020

Ye Vagabonds, Varo, Landless and the new Irish trad bands

Ye Vagabonds.

The current wave of new Irish trad bands can be traced back to the forming of The Gloaming in 2011. Five musicians of different ages and from different musical backgrounds, The Gloaming were determined to look out and around in as many, all encompassing directions as possible. 

They looked back not just to traditional Irish music, but to classical music, both contemporary modernism and the classical canon. And out, to Irish music in America, but also to jazz and the blues, and to all manner of world music, to Africa, the Americas, Asia and beyond. And they did (and do) so with an unabashed and unapologetic seriousness. 

Paving the way, The Gloaming.

To everyone’s slight surprise, The Gloaming’s three album and various residencies proved a huge commercial success. Which has opened the door to a number of bands made up of similarly serious if somewhat younger musicians, almost all of whom are in their 20s. And each of whom is as keen to broaden and stretch the scope of ‘trad’ as those 5 stalwarts in The Gloaming.

Lankum were the next to enjoy that sort of relatively high profile success. Their second album, Between the Earth and the Sky won the RTE Folk Album of the Year in 2018, and last year’s The Livelong Day was, if anything, even more lauded.

Landless’ Bleaching Bones.

And they’re now signed to the mighty Rough Trade, who’ve set up River Lea, an imprint aimed specifically at these shores. And the latest addition to that rostrum is Ye Vagabonds.

The Carlow duo who make up Ye Vagabonds had been resident at Walshe’s in Stoneybatter, before the youknowwhat, where they were often joined by Landless. Landless’ debut album, Bleaching Bones, was recorded at Guerrilla Studios, in Dublin, which was set up by John ‘spud’ Murphy. 

And Murphy was also the producer on those Lankum albums, having previously worked with Katie Kim (reviewed by me earlier here and here), who is also on River Lea. And more recently, he worked with Varo on their debut album there. 

So to varying degrees, they all move in similar orbits but their take on trad is very much their own. Lankum for instance, are invariably compared to the Pogues. They provide a similarly punk-infused, in your face assault on the traditional ballads and songs they dive into. While Ye Vagabonds produce a much more measured, studious approach, very much in step with that of The Gloaming. 

Varo.

And all three are hugely invested in drone music, which looks on the one hand to indigenous music from all over the world. And on the other, to the avant-garde of La Monte Young and the Velvet Underground

And both Landless and Varo are, if anything, even more distinctive. Landless are four female singers who perform traditional ballads from the all around the British Isles unaccompanied by any instruments, sculpting their melodies with extraordinary four-part harmonies. While Varo are a female duo, one from France and one from Italy, who filter traditional ballads through the prism of European Baroque music.

You can, and should, listen (for free) and then download their albums from Bandcamp; Varo’s eponymous Varo here,

https://varodublin.bandcamp.com

 Ye Vagabond’s The Hare’s Lament here

https://yevagabonds.bandcamp.com

and Landless’ Bleaching Bones here

https://landless.bandcamp.com

And you can see Landless on Blue of the Night

this Varo video

and Ye Vagabonds below.

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“A Special Day”, “ Padre Padrone” and the 1977 Cannes Film Festival

Una Giornata Particolare

The Palme d’Or for Best Film at Cannes in 1977 was fought out between two relatively low-key Italian films, Una Giornata Particolare and Padre Padrone. So it was up to that year’s jury head, the revered Italian neorealist Roberto Rossellini, to reach a decision. His verdict proved controversial on two counts. 

Una Giornata Particolare, clumsily translated as A Special Day (though I can’t, I have to confess, think of an improvement), is set on May 6th, 1938 and is particolare for a number of reasons. It was on this day that the Führer arrived in Rome from Nazi Germany to pay an official state visit to his good friend and fellow dictator Mussolini.

The drama unfolds over a single day and takes place entirely in a now empty block of flats, as practically all the residents have flocked to pay tribute to the visiting dignitaries. The only two people left are Sophia Loren, the down-trodden, stay at home mother of six, and Marcello Mastroianni, an urbane and secretly gay radio announcer.

Loren and Mastroianni as they are more traditionally imagined.

It’s particolare for him, because this is the day that he, like so many other gay men in 30s Rome, is due to be exiled to the island of Sardinia. That being the not quite final solution employed by the perennially inept fascists that Italy laboured under. And it’s particolare for her, in that she ends up spending it almost entirely in his company.

Rather like Demy’s The Umbrellas of Cherbourg, if in a somewhat less operatic manner, what’s so engaging about Ettore Scola’s film is the way he transforms what could have been a drab, kitchen sink drama and elevates it into something else entirely. Rather than undermine the drama, the presence of Italy’s two most glamorous movie stars, playing gloriously against type, lifts the film from what could have been a very grim affair. As does the way the film is shot and so carefully choreographed. The result is not at all what you’d expect given the subject matter. And is all the more moving thereafter.

Padre Padrone.

Padre Padrone, by Paolo and Vittorio Taviani, offers a different kind of grim. Set in what feels like another century but is in fact the remote rural mountains of Sardinia in the 1950s, it’s about the effective imprisonment of the young Gavino, who is bound by the centuries-old tradition that he serve his father on the barren family farm. And his determination to somehow escape, which he does ultimately through the portal of education.

But it too is moulded into a surprising form. It begins and ends as if it were a documentary, which, far from giving you any sense of actuality, merely serves to heighten the sense of artifice. As does the fact that, once we embark on the film proper, we are constantly privy to the inner thoughts of the different characters. Including, even, the farm animals that they come into contact with.

One of the great, iconic scenes in Italian cinema, Rossellini’s Rome, Open City.

That regular intrusion of those voice overs, as we eavesdrop on what they are thinking, is used by the Taviani brothers to consciously distance the viewer from what feels otherwise like an intimate portrait of real people living their actual lives. 

You can see what a film maker like Rossellini would have been drawn to in each of these two films. But it’s equally obvious how far film had moved since his hey day, even with films that were dealing with exactly the kinds of topics that he had once been drawn to.

Ultimately, it seems that the presence of two titans like Loren and Mastroianni, and those elaborately orchestrated shots of Scola’s, proved too much for him, and he campaigned vigorously for Padre Padrone, which duly took the prize. The controversy that followed was twofold.

Mastroianni and Scola teamed up again for what is one of the very few films that gets Naples.

On the one hand, the other members of the jury let it be known that they had very much not appreciated his 12-Angry-Men like determination to convert them to his choice – if indeed that waswhat actually happened. And on the other, rather more surprisingly, the Festival committee announced that they too were unhappy with the decision. Their reason though was on the grounds that Padre Padrone was in fact a made for television “film”, and Cannes was a celebration of cinema with a capital C.

They rang Rossellini up a few weeks later to smooth things over, and to invite him on to the following year’s jury. But a week after he returned to Rome, he died of a heart attack.

Truth be told, watching them both today, it’s difficult to say which of the two is the better film. They are both, in their very different ways, wonderful. But ultimately, you would have to side with the rest of the jury. There’s a classicism and balance to Una Giornata Particolare and a universality to its themes which, necessarily, isn’t there for the very particular and specifically local story that Padre Padrone tells.

You can see the trailer for A Special Day here

And the trailer to Padre Padrone here

Sign up for a subscription right or below, and I shall keep you posted every month on All the Very Best and Worst in Film, television and Music!

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