Ceol 07
Ceol ’07 is the third instalment of an annual compilation, created as part of Seachtain Na Gaeilge, which collects native-language tracks from contemporary Irish pop/rock groups.
Kilian Murphy
Ceol ’07 is the third instalment of an annual compilation, created as part of Seachtain Na Gaeilge, which collects native-language tracks from contemporary Irish pop/rock groups. Spread over two discs and 31 tracks, this record was never going to be uniformly enjoyable, but there are enough moments of excellence here to make it a success.
Many of these songs were originally delivered in English, and have been re-recorded specifically for this record. Re-casting tracks in a different tongue can have both negative and positive consequences; those less familiar with the Irish language may find the material a little less immediate, as a language gap can limit the music’s emotional resonance.
Of course, this is not a problem for confident Irish speakers. Besides, music can often take on a new life when delivered in an unfamiliar language, as it develops a new layer of mystery and intrigue. This is the case for much of the best material here.
Bell X1’s ‘Bladhm’ (‘Flame’) is a pertinent example; an excellent track – easily the best in the group’s canon – that has become a touch over-familiar and played-out. In its new guise, the unfamiliarity of the lyric brings the song’s original melody into sharper focus, and provides a welcome reminder of its initial impact.
There are a number of other fine moments. Paddy Casey’s ‘Fágáil’ is a sweet, twinkling ballad that loses none of its warmth when delivered as Gaeilge. The Frank & Walters’ ‘Tony Cochrane’ and Q’s ‘OOH! LA LA LA’ are gorgeous, ringing indie-pop gems, instantly catchy and pregnant with melody.
A change in language only helps to draw greater attention to Jack L’s rich, seductive vocals – which have always been his trump card – on the luxurious ‘Ó! Mo Chroí’, while The Spikes are pleasingly low-slung and rugged on ‘Fear Seó’.
The Irish language is still alive and kicking, and sounds very much at home in our contemporary music scene.
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