Seamus Fogarty - Fragments of memory from a big Irish fellow

So, hi Seamus, thanks for giving us some of your time. Talking to some longtime fans of your music, I think we “all” felt a bit surprised listening to “The Curious Hand”. Because of its artistic boldness, the confidence that comes through on the record. Take “Carlow Town”, for example.  It really is such a fully realized piece of work. Do you see that as a defining feature of the album, and either way, why do you think it is?

Pleasure's mine, Lorenzo! I think it does sound more accomplished, certainly more than the first album. I think a lot of that comes from the fact that it's an album born out of collaboration – with my band and also with Leo Abrahams, who recorded and mixed much of the record, as well as co-producing. It was also recorded in a proper studio, unlike my first record, which was more lo-fi… But I think that's part of its charm.

For at least a few people, this will undeniably be their first encounter with Seamus Fogarty. Certainly, few would deny that talent and a distinctive artistic signature are in no short supply. Can you tell us how you grew up musically?

I grew up playing traditional Irish music. I played the violin but then I got into Smashing Pumpkins and Rage Against The Machine, so I quit and started on electric guitar. Then came an obsession with American lo-fi bands, like Pavement, before finally finding some balance with Sparklehorse… And then Jim O’Rourke led me all the way to John Fahey. And a lot of Aphex Twin and The Orb.

I think you're one of the few who's really managed to bring together traditional and contemporary music, as few have done in recent years. I'm thinking of Sufjan Stevens, of Bon Iver, who tried it successfully on the other side of the ocean. With both of them, you can sense that exploration is one of their most important artistic drives, and I imagine it's the same for you. What was the “exploration” that sparked “The Curious Hand”?

I guess it's a kind of research, I used different software to try to create new sounds, or picked up a new instrument to see what it could add. For example, I borrowed a ten-string zither from Frank Tate, and I remember holding it while working on “Heels Over Head”, without even knowing how to tune it, and with that I added exactly the thing I was looking for. Then I spent a year working on a soundtrack for a film, vocal only, and so I spent a lot of time listening to old a cappella folk music, and part of that process, I think, filtered into my writing.

Five years passed between your two records, and in the meantime maybe the new one changed shape and sound in your mind and, perhaps, in reality too. How did the album come together over these years, in terms of writing and sound?

Well, there was an Ep in 2015 that captures the transition between the two albums pretty well. I did actually try to record a lot of the songs that ended up on the new record back then. But I was never happy with the result… It felt like the songs were better than how I was treating them! It wasn't a total waste of time, though – when I finally recorded those songs, I was able to steal bits and ideas from the earlier versions, which turned out to be useful!

It definitely sounds a lot more like a collective effort, in terms of sound and arrangements. Big strokes of strings and accordion, for instance, a more direct approach. Was it, really, a collective effort, at least in the recording studio?

We probably recorded half the record live, in the studio, so it's definitely a collective effort. I recorded most of the other half by myself, but then Emma added the strings, or Aram came into the studio to add percussion… So, still a collective process either way.

I imagine that when the creative process gets a bit spread out over time, it blends with real life in a way, and “The Curious Hand” is full of details from your life in London, little episodes that happened along the way. How would you describe these years in London? Did you find what you were looking for?

They've mostly been good years, I'd say, but it's a big city, people come and go. I'm lucky to live in a nice house, with a garden, which is already a good start. I prefer to think of London as a base, rather than a place to be all the time. Did I find what I was looking for? Probably, but there's always something new to look for.

You've always been a multimedia artist, and this record shows that very well, with its superb artwork and a very generous run of videos, almost like it's the 90s again. It almost feels nostalgic, in a way, to shoot so many videos (and you act in all of them, by the way). What role do they play for you, and how involved were you in the concept and the making of them?

I love videos; it's been such a privilege to work with such creative directors. I think each of these videos has something to offer and really gives new life to the songs. In each of them, the director had a very strong vision and my input was honestly minimal… Except for my stunning Oscar-worthy performances.

Your experimentalism is probably now woven more organically into the songs, except for a few dialogue recordings, for example in the title track (and a couple of short compositions). What moment were you recalling with that recording?

I interviewed two of my neighbours about ten years ago, musicians talking about how music has changed over the last 60/70 years. For me, an important theme of this song is growing up, knowing where you come from. When I hear my neighbours talking, I go straight back to Swinford, where I'm from… So first and foremost, they're there for me! But I always love it when people ask me about those recordings.

This is your first release for a major label, Domino. What was it like working with them, for you?

It was great, I've been listening to Domino artists since the 90s, so it's surreal for me to be on their roster… But in the best possible way.

Thanks again for your time, Seamus. Can you tell us about your future touring plans, especially if you'll be coming to play in Europe and Italy?

We have a tour in the Uk and Ireland in November, and then we'll head to Eurosonic, in the Netherlands, in January. After that I'm not sure, I hope to make it properly around the continent in February/March… I want to bring the band with me, to do the album justice live, but that makes everything more complicated to organise… Promoters, get in touch! Cheers and thanks!

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