Fontaines D.C. perform 3 songs from their new album A Hero’s Death live, for a World Cafe At Home Session with contributing host, Stephen Kallao. Recorded in August 2020.
More Lankum on The Hobbledehoy
Katie Cruel is a traditional American folksong, likely of Scottish origin. As a traditional song, Katie Cruel has been recorded by many performers, but the best known recording of the song is by Karen Dalton on the album In My Own Time. The American version of the song is said to date to the Revolutionary War period. The song is Roud no. 1645.
The American lyrics appear to contain an oblique story of regret. As given in Eloise Hubbard Linscott’s The Folk Songs of Old New England. The opening verse of the song bears a strong resemblance to the Scottish song, Licht Bob’s Lassie, whose opening verses mirror the song in both notional content and form.
First when I cam’ tae the toon
They ca’d me young and bonnie
Noo they’ve changed my name
Ca’ me the licht bob’s honey
First when I cam’ tae the toonWikipedia
They ca’d me young and sonsie
Noo they’ve changed my name
They ca’ me the licht bob’s lassie
Lankum are a contemporary Irish folk music group from Dublin, consisting of brothers Ian and Daragh Lynch, Cormac MacDiarmada and Radie Peat. Their music has been characterised as “a younger, darker Pogues with more astonishing power”. Reviewing their third album The Livelong Day for The Guardian, Jude Rogers described it as “a folk album influenced by the ambient textures of Sunn O)) and Swans, plus the sonic intensity of Xylouris White and My Bloody Valentine”. In 2018 they were named Best Folk Group at the RTÉ Folk Music Awards, while Radie Peat was named Best Folk Singer.
Heady, funny, and fearless, the Dublin band’s second album is a maudlin and manic triumph, a horror movie shot as comedy, equal parts future-shocked and handcuffed to history.
The Horsemen of the Apocalypse do not thunder and gallop. They lurch and stagger, weighed down by the grim burden of their brief. Slowly, they stalk humanity with an Amazon Prime package of grief, war, and pestilence, their approach suggested only by the mechanized drone of social media and cable news. When the end finally comes, it’s all so quotidian and tedious; a whimper, not a bang. All around us, the party is ending, and Fontaines D.C. are the final house band. The setlist is A Hero’s Death.
Slinking seeming fully-formed from Dublin’s working-class neighborhood The Liberties, the five-piece established themselves as bona fide inheritors of a centuries-long socialist-bohemian tradition on 2019’s post-post-punk document Dogrel, an album that weaved together the enduring groove of Gang of Four and the psychically dislocating poetry of Allen Ginsberg with unnervingly precocious aplomb. Dogrel was a shouty revelation—part early Mekons, part cider-addled James Brown & the JB’s—all of it suggestive of a crucial talent abuzz with live-wire intensity.
As SDLP leader, John Hume played a major role in bringing about Northern Ireland’s peace process.
When the IRA called a ceasefire in August 1994, it was greeted with jubilation and relief across Northern Ireland.
Despite enormous criticism, Hume always defended his decision to talk to Sinn Féin in order to build that peace process.
While many people were involved, the SDLP leader’s role was crucial.
“Politics,” he once said, “is the alternative to war.”
John Hume’s involvement in the cauldron of Northern Ireland politics began on the streets of his home city, Londonderry, where he was born in 1937.
Post-war education reforms enabled him to win a scholarship to the local grammar school and he trained briefly for the priesthood, before returning to work as a teacher.
Drawn into public life, Hume began to campaign on issues such as housing and helped set up a credit union in his native city. But more traumatic times lay ahead. Continue reading