Start Listening To: Oisin Leech
Join us as we get to know Oisin Leech through the melodies and memories that define his craft.
Oisin Leech is an Irish songwriter and musician with soulful melodies and heartfelt lyrics. From his roots in Navan, Ireland, to the release of his debut solo album Cold Sea, Oisin's musical journey is one of exploration, inspiration, and serendipity.
In this interview, we delve into the depths of Oisin's music, exploring the creative process behind Cold Sea, the influences that shaped its sound, and the significance of collaboration and sense of place in his songwriting. From the windswept landscapes of Donegal to the intimate connections forged through music, Oisin shares insights into his artistry and the profound emotions woven into every note of his music.
For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?
My name is Oisin - I'm an Irish songwriter and musician from a place called Navan just one hour north of Dublin City in Ireland. Music has been my life since I was a child. I started a punk band when I was 14 called The Vermin- we mainly covered Subhumans songs and UK Subs tracks. Then hearing Bob Dylan opened up the world of folk and roots and I've never looked back. I released seven albums with The Lost Brothers over fifteen years and just this month I released my solo debut album entitled 'Cold Sea' produced by Steve Gunn.
Congratulations on the upcoming release of your debut solo album Cold Sea. Can you tell us about the journey and inspiration behind creating this album?
I run a music night in my hometown called Joey Procida's Folk Club. we have had everyone from Willy Mason to Lisa O Neill to Perlee and Steve Gunn come play. I usually begin the night by singing a song and then welcoming the first act. I started to think that I should write songs to sing at the folk club. After a few months of writing I found myself going down an expected and unexplored musical side road - I soon discovered I had created a new world in song. These new songs didn't feel like Lost Brothers songs - they felt like a liberation- the songs were pulling me towards a new chapter in my life. I had never planned to make a solo album but I had to because these songs appeared.
I was experimenting with open tunings and vocal registers that were new to me. I was reading Sheffield author Bruce Chatwin's novel Songlines about travelling across Australia and his studies of how the aboriginal people mapped their lands in song. Chatwin's theory was that they sing their land into existence. I was also reading Seamus Heaney's works 'North' and "Field Work" and listening to Miles Davis' album In A Silent Way. All these inspirations led me to write these songs.
My mother's family are from Donegal in the north of Ireland. I was spending time there with my family beside the north Atlantic ocean and finishing these song ideas. Often the sea would inspire the melodies and then I would finish the lyrics over a period of weeks. When Steve told me that his great Grandmother was from Donegal it was one of many serendipities that surrounded the making of my album. Many cool coincidences occurred - it was a joyful experience working with Steve Gunn- we had a really fun time.
The poems of Seamus Heaney influenced the lyrics of the album. How did his work impact your song writing process?
I learn something new every time I read a poem by Seamus Heaney. Two of my favourite collections, as I mentioned, are "North" and "Field Work". I love his use of language- there's a lot fun in there too in his use of words. I find that he introduces a soft tone and then cuts it down with a harsh word or line. This is very like the irish landscape itself- you could walk over damp Irish bog with heather and then meet a sharp edged rain washed rock.
You wrote nearly 40 songs during the pandemic before selecting the ones for Cold Sea. How did you narrow down your selection, and what made the chosen songs stand out to you?
When I was writing these songs I had no idea where these songs would end up - I was unaware that I was writing by debut solo album. If inspiration came I simply wrote a song. I enjoyed the craft of sculpting these new songs into existence.
I often sat and wrote too just for fun- to workshop ideas and to try hone my skills. In the evening I sat and sang the songs that felt right to sing.
It was that simple.
There was no thought out process of elimation when it came to the songs- I simply sang the songs that felt good to play. The nine songs on Cold Sea are very healing songs to sing in some ways- cathartic.
I just finished a uk tour with Gaz Coombes and each night it felt great to sing them. They feel like sturdy wooden boats that I spent many months building. Thankfully they still hold up. Some of the songs came to me very quickly like 'October Sun'. Others like 'Colour Of The Rain' took months to write.
Can you share some insights into your collaboration with producer Steve Gunn and the decision to record the album in Donegal, Ireland?
When I finished writing I sat down and made a list of possible producers. Steve Gunn was top of the list. I sent him 'October Sun' and he wrote back saying "I'm in."
Then we discussed a location and I suggested Donegal. It was so special when he explained his family connections to Donegal. My wife then found this old schoolhouse cottage with wooden panelled floors and ceilings near Malin on the most northernly tip of Ireland. It sounded perfect.
In a way I could have called this album "Songs Of The North' so it made sense to record there.
The recording process for "Cold Sea" seems filled with serendipitous moments, from borrowing vintage recording gear to chance encounters with locals. How did these experiences shape the album's sound and atmosphere?
It really was a hoot from start to finish. Like a road trip. It didn't rain once during the 4 days of recording which was so rare for Donegal. I collected Steve from Dublin Airport and we drove to Downings where his great grandmother was from. We jumped in on a local music session in the local pub and Steve met his long lost cousins. The next morning someone suggested we visit a local l music historian of sorts Billy Robinson. We hired a great sounding old U87 microphone from Billy and an old Martin guitar. We had the boot of the car rammed with gear and drove to Malin. We spent one day setting up the studio. Neil Mcgrory a local musician came over and helped us set up. Neil's wife Roisin added strings. The video for 'October Sun' is Neil filming Steve and I setting up and tracking that song.
Then for the next 4 days we swam in the morning and recorded long into the night. It was an absolute joy- really great fun. Steve Gunn was wonderful at getting the right sound - he was brilliant at creating the right mood in the room too- like a jazz man! I played and sang all my parts live simultaneously- often we used take one or two for the final cut.
Collaboration plays a significant role in "Cold Sea," with contributions from musicians like Tony Garnier and M. Ward. How did these collaborations enhance the creative process, and what did each artist bring to the table?
Tony is an old pal and so is M Ward.
Both those guys are huge inspirations to me. They just love music of all kinds.
Tony gets inside a song when he plays bass on a track- he seems to play to the lyrics as much as to the melody. I have seen Tony play with Bob Dylan all over the world and these guys are masterful musicians. Bob Dylan's music is gold to me. His songs changed my life.
M Ward's albums are also wonderful. When Matt said he loved 'October Sun' that was a big honour coming from such a great writer. I love the sound he gets on the electric guitar on 'October Sun'.
Donal Lunny too - his bouzouki playing weaves a magic through songs like 'Trawbreaga Bay' and 'Malin Gales'. It was very special to work with Donal. And Roisin McGrory's strings on 'One Hill Further' and 'Malin Gales' and 'Trawbreaga Bay' are stunning.
With all these collaborations we made sure to leave space and to let the songs breathe- not to overcook the broth.
"Music is a feeling for me" you've stated. Can you elaborate on how you aim to evoke specific emotions or sensations through your music, particularly on ‘Cold Sea’?
Music has always been a lifeline to me- since an early age. A certain song or melody can move me in a profound way. It still can. At the end of the day I am just a music fan.
My own songs on this new album mean a lot to me- I can't figure out why but this batch of songs resonate with me. I used the ocean as a platform unto which I can project my ideas- I made the sea my canvas and got to work. The themes of the ocean are there but ultimately these songs are very personal to me. If even one person is moved by them then thats' something.
When Steve Gunn and I made this album our number one concern or objective was to leave as much space as possible in the sound - to not get in the way of the song. It's all in the lyrics and the melody and the feel. The three instrumental pieces are like a call and response to the six songs. One answers the other. For example the instrumental 'Cold Sea' was inspired by this huge barren bogland near the studio that we drove passed each day. Steve called it "the end of the world."
'Maritime Radio' perfectly captures the atmosphere we were working in. That track is us jamming along to the Irish radio weather report at midnight.
The song "Trawbreaga Bay" is mentioned as having originally had 20 verses. How do you decide on the final structure and lyrics for a song, especially when dealing with such rich personal narratives?
I kept singing the song over and over until those 3 verses remained. I had to use some kind of intuition to edit it down. After months of songwriting instincts start to kick in.
"Cold Sea" is said to express the landscape and atmosphere of Donegal, acting as a sort of musical map. How important is a sense of place in your songwriting, and how do you translate physical landscapes into musical landscapes?
On this album it was very important to harness Donegal and the Irish landscape into my songs. Also the landscape of the imagination. I was trying to connect with my ancestral home. When I stand at the ocean up north I feel very inspired.
When I hear the wind and ocean I hear music. The line where nature turns into a song or music for me is blurred- it's all one for me. After a walk by the sea I can usually come home and write a song or melody. If I am lucky it will be an idea worth pursuing. Swimming in the Atlantic Ocean every day and being surrounded by natural beauty is going to ultimately find its way into the music.
What do you love right now?
Listening a lot to jazz - anything off the Blue Note label. Herbie Hancock's 'Maiden Voyage' is a new favourite.
What do you hate right now?
I think I am officially ready for Spring time to arrive like Frank Sinatra from stage right!
Name an album you’re still listening to from when you were younger and why it’s still important to you?
Bob Dylan's Freewheelin' LP changed my life. I still stick to on when I have a long drive. Like The Clash, like punk rock, it's authentic and funny and full of energy. It's a sign of what was to come and how Dylan would change popular culture as we know it. Strangely it led me to explore Irish folk like Planxty and Christy Moore and The Bothy Band, The Clancy Brothers and on to people like Joni Mitchell- it opened up the universe of folk and roots to me. I have a vivid memory of my school pal Allen playing it to me on cassette in my kitchen for the first time. I stared at the stereo in absolute awe.
What do you hope listeners take away from Cold Sea, both musically and emotionally?
I am proud of this album. The end result is larger than the sum of its parts. Steve Gunn and I somehow managed to capture some kind of mystery. I don't know how did it but we did. Maybe it was just luck.
I put a lot of heart and soul into this LP. In the end I think Steve did a wonderful job producing it. Jimmy Robertson mixed it in north London and did such a wonderful job. Tony Ganrier's bass playing is sublime as is Donal Lunny's bouzouki and Roisin Mcgrorys strings.
Sinead Smyth's cover painting is sublime.
The songs come from somewhere very real but open up a new world of the imagination. When I sing these songs in concert I see a very clear film in my mind's eye. Often its a different film each time but every time it's a from a place of sincerity. Musically I hope the listener enjoys the great musicians that are on here. M Ward's electric guitar riff at the end of October Sun is stunning. I was humbled when M Ward said he loved that song. I got to play it with him in London and Paris last October. Tony Garnier's double bass and electric bass on One Hill Further is so great!!!
Emotionally I hope my LP 'Cold Sea' is a friend to those who connect with it and to those who need it. These songs have become like strange old companions to me. They give me solace and a sense of belonging. If anyone gets even a small bit of warmth and soul from these songs then that's a success in itself. But I never take anything for granted anymore these days. Twenty years on the road has taught me to cherish every moment.
