New Pagan`s are a Belfast quintet mixing post-punk, grunge, and indie rock into abrasive, yet melodic noise. They write about past and present issues surrounding relationships, equality, history, gender and more. The band’s name is a reference to the Latin paganus, originally meaning villager or outsider, reflecting their mission to stay removed from the city rules and the orthodox. The band comprise of Lyndsey McDougall (vocals) Claire Miskimmin (bass), Alan McGreevy (guitar), Cahir O’ Doherty (guitar), and McAuley (drums). Their debut album `The Seed, The Vessel, The Roots And All` is released this month.
The album opens with `It`s Darker` which is wonderfully loud and quite belligerent with grinding guitars and vocals shared atop which refer to a messy party incident in which a musician became aggressive and wouldn’t tolerate singer Lyndsey’s opinions. While the vocal is very forceful, there`s a delicious equilibrium that reminded me of Katie White from The Ting Tings. There`s a more punk feel to `Bloody Soil` where the bass seems to divide the challenging guitars and has a driving thumping drumbeat. The vocals are shared with some delightful accompanying harmonies. A track that provides another mutinous note from the downtrodden.
`Charlie Had The Face Of A Saint` had a slight Pixies `Monkey Gone To Heaven` vibe initially but seemed to expand and grow with some jangly guitar riffs and lyrics almost shouted out before becoming quite hypnotically dreamy towards the latter part. It was inspired by conversations overheard on a Belfast bus. There was a hint of the opening riff to Sabbath`s `Paranoid` and a repetitive drumbeat leading us into and through `I Could Die` which is a marvellous cacophony of controlled noise that My Bloody Valentine would be proud of. We get a slight respite two thirds of the way through before we enjoy a cracking guitar solo, thrashing drums and vocals that all vie for attention.
‘Lily Yeats’ is a tribute to the sister of poet William Butler Yeats and the artist Jack Butler Yeats, influenced by the singer`s study of Women’s History in Ireland. Susan Mary “Lily” Yeats was an embroiderer associated with the Celtic Revival. She set up a social enterprise near Dublin teaching women embroidery, painting, drawing, cooking, sewing and the Irish language which pioneered Irish Arts and Crafts at the turn of the century. A faster paced number that melds guitars, bass, drums and allows the vocals that are split with a male adherent adding a different texture, giving it a slightly more balanced aspect. An ode to the commitment that’s needed to keep a long-term relationship going comes with `Admire` which has a marvellous shimmering quality that twists and turns along this really mesmerising introspective reflective journey.
`Harbour` was written about lead vocalist Lyndsey McDougall’s pregnancy with her daughter. It captures the experience of childbirth from all angles, the sickness, the joy, the frustration and the resilience and strength of women. It`s a heady vehement, passionate offering musically and does reiterate how natural and empowering pregnancy and birth can be. The song Yellow Room’ was inspired by the novel ‘The Yellow Wallpaper’ by American writer Charlotte Perkins Gilman, which is celebrated as an important piece of early American feminist literature which focuses on attitudes towards mental and physical health of women in the 19th century. A quite intense narration supported by some stop start grinding blistering guitar riffs and pounding drums with lyrics that are vociferated loudly, nigh on yelled and roared.
`Ode To None` although still formidable musically seems a lot more accessible as it rises and falls with lyrics that seem to question the view that seems to be that a male opinion has more value, why so. Again `Natural Beauty` is another catchy slice of indie rock with a slight guitar solo towards the latter part.
The album closes with ‘Christian Boys’ written after one of the singer’s friends told her about a Christian leader in Northern Ireland with whom she had been having an affair just before he got married to his virgin bride. When similar stores emerged and the men were confronted, they all stated that the women were to blame, it had been their fault, they were the sinners and had led the Christian men astray. The music as reflecting this dark subject matter has a sense of anger and urgency about it.
`The Seed, The Vessel, The Roots And All` broaches a variety of subjects from misogyny, pregnancy, female sexual exploitation to historical pioneers such as Lily Yeats. These touch on topics and issues that can be an uncomfortable listen from a male perspective and may even lead to a possible re-evaluation of behaviour. Lyrically there`s just about the right amount of balance before becoming preachy. Musically these predicaments are delivered with an uncompromising mix of post-punk and indie rock. It was also refreshing, for me, to find an Irish band that wasn`t Dublin centric and has its roots in the North of Ireland.
Rating 8.5 /10
