AAALL BYYYY MYYYSEEEEELF...

In a market saturated with singer/songwriters, identifying the prodigies from the pretenders can be a somewhat daunting task. With innumerable acts perpetually repackaging the standardised models, we are slowly drowning in a sea of saccharine substitutes with little or no substance beneath their polished surfaces. On rare occasions, an artist will emerge who avoids regurgitating the tried and tested formula and produces a truly poignant collection of songs. Pearse Mcgloughlin stands as one of those exceptions.

The key characteristic separating Pearse from his contemporaries is his capacity to create a self-contained narrative within each carefully-crafted song. His critically-acclaimed debut album Busy Whisper introduced the theme of memory and developed it through the course of the album. His follow up EP Twine maintains this uniformity of purpose in its reflection upon the concept of choice. Songs evolve into individual chapters, offering enamouring insights into the complex decisions confronting their imagined characters. While each track is free to form its own conclusion, the four maintain a sense of communion in this shared thematic sentiment.
 

The title track is a slow-burning nocturne narrating the life of a forlorn figure lost in reverie. The interweaving lines of the violin and melodica add an alluring melancholic ambience to McGloughlin’s musings, advancing the song’s image of an autumnal landscape. The haunting vocal harmonies of Maria Blackwell resonate with the lyrical content, sounding serene and sorrowful. The concision and economy of the arrangement draw attention to McGloughlin’s capacity as a songwriter. He sidesteps the hyperbole of musical embellishments in favour of capturing the purity of emotional sentiment. The simplicity of the song structure draws the ear to the depth of the imagery emerging in the lyrics.

“Morning Mist” showcases the more optimistic side of McGloughlin’s meditations, delivered in a nostalgic tone that is both sentimental and sincere. The song’s integration of orchestral and traditional instruments creates a contemporary sound resembling the style of Cathy Davey. The timbre of a tin whistle adds a romantic quality to the chorus, marrying the image of old Ireland with the theme of reminiscence. Its strongest feature lies in the memorable hook, which develops the dynamic between McGloughlin and Blackwell; one vocal ascending while the other moves melodically towards the lower registers. 
 

“Mercedes and the Kingfisher” strips his sound of the supplementary instrumentation leaving a single-tracked acoustic guitar and the harrowing hum of a harmonica in its wake. Pearse’s mournful vocals command the listener’s attention like a modern day Paul McCartney, drawing you into the depths of an uncanny world of his own creation. Blackwell resumes her role in the latter half of the song with a lugubrious, layered lament, as alluring as a lilting lullaby. “Spherosphere” forms the concluding chapter of this illuminating collection, conveyed with a charming cadence that ensures the listener departs with a smile upon their face.

For the present moment in time, Pearse McGloughlin is the best kept secret in the Irish singer/songwriter scene. With the advent of this stellar EP however, it would seem success is just around the corner.

4/5

John Ryan