Mia Khoirunisa
The airwaves are alive this St. Patrick’s Day with a resonant call from Ireland’s experimental and electronic music scene, a compelling invitation to explore a rich tapestry of sound stretching back to the early 1960s. Nyahh Records, a label dedicated to excavating the less-trodden paths of auditory creativity, has recently unveiled a significant compilation that serves as both an archive and a testament to the enduring spirit of sonic exploration within the Emerald Isle. This collection, "Under the Island: A Compilation of Experimental Music in Ireland 1960-1994," along with Nyahh’s ongoing output, paints a vibrant picture of an underground characterized by DIY ethos, handcrafted instruments, lo-fi tape constructions, and a surprisingly persistent fascination with the unexplained.
The compilation’s power lies in its meticulous curation of sounds that have languished in obscurity, brought to light through the dedicated efforts of archivists. As Nyahh Records articulates, "Further down underground, there were a few artists working away in their bedrooms and non-studio settings, experimenting with tapes and handmade instruments. Here for the first time is a collection of these artists and their work. Sounds that had been left in boxes on tape or cassette have now been cleaned up and presented together in a collection spanning over four decades." This endeavor not only preserves historical sonic artifacts but also highlights a distinct lineage of artistic endeavor that predates widespread digital access and studio infrastructure.
Pillars of Irish Experimentalism: From UFOs to Live Television Fisticuffs
Among the luminaries featured in this sonic excavation is Desmond Leslie, a figure whose biography reads like a chapter from an adventure novel. A World War II RAF Spitfire pilot, Leslie’s contributions to electronic music are undeniable. His notoriety, however, extends beyond the sonic realm, famously co-authoring "Flying Saucers Have Landed" with George Adamski, who claimed encounters with Nordic aliens. This intersection of scientific inquiry, speculative fiction, and artistic practice underscores the often-unconventional inspirations that fuel experimental artists. Leslie’s larger-than-life persona was further cemented by a widely publicized incident where he physically confronted a theater critic on live television for disparaging his wife’s play. This event, captured on film and accessible online, provides a vivid glimpse into the passionate and, at times, combative spirit that characterized some of the era’s artistic personalities.
The compilation also showcases the groundbreaking work of Roger Doyle, a Dublin-based artist widely recognized as a legend in electro-acoustic composition. Doyle’s inclusion, particularly his 1983 work featuring the Fairlight CMI and his involvement in the Operating Theater project alongside acclaimed actress Olwen Fouéré, exemplifies the sophisticated electronic techniques being explored even in the early days of such technology. Fouéré’s recitation of an excerpt from Sebastian Barry’s "The Pentagonal Dream under Snow" adds a layer of poetic and dramatic intensity to the auditory experience, blurring the lines between spoken word, performance art, and experimental soundscapes. Doyle’s continued innovation is evidenced by his recent exploration of hybrid real/virtual piano compositions, demonstrating a consistent engagement with evolving artistic paradigms.
A Tapestry of Sound Artists and Multimedia Innovators
David Cunningham, hailing from Armagh, presents another significant thread in the rich tapestry of Irish experimental music. His extensive career as a sound artist, composer, and producer, including his work with Michael Nyman on renowned Greenaway films, highlights a multifaceted artistic practice. Cunningham’s collaborations with media artist Steve Partridge, as seen in the obscure yet compelling media art piece "This is a sentence (2000)," underscore the interconnectedness of music, visual arts, and technological exploration within the Irish underground.
Daniel Figgis, known for his involvement in projects like Virgin Prunes and Princess Tinymeat, also makes a notable appearance. A comprehensive portrait of his career, as featured in Electronic Sound, reveals a trajectory marked by a distinctive and often avant-garde sensibility.
The compilation and the broader discourse surrounding Irish experimental music frequently highlight the prevalence of multitalented performance and multimedia artists. Nigel Rolfe, a prominent performance artist, exemplifies this cross-disciplinary approach. His work, often characterized by provocative and visually striking imagery – such as being covered in paint, immersing himself in peat bogs, or raising a gold-leafed fist – pushes the boundaries of artistic expression. A recent profile in The Irish Times with a captivating opening line vividly captures the essence of his performative endeavors, underscoring the visual and conceptual depth that often accompanies the sonic experimentation.
Noel Molloy also emerges as a significant figure, with his recent work aired on the internet station onaironsite. His compilation on Nyahh Records, profiled by The Quietus, further solidifies his place within the underground Irish scene. John Carson, a widely exhibited multimedia artist, brings a unique perspective, often engaging with themes of post-conflict Northern Ireland through his work, which encompasses research, teaching, and community engagement. His class, "Art, Conflict and Technology in Northern Ireland," directly addresses the intricate relationship between creative expression and technological advancements in a complex socio-political landscape.
Danny McCarthy stands out as a prolific composer and artist, a sound artist, and a performance artist, co-creator of the acclaimed performance group The Quiet Club. His extensive body of work, documented by the Irish Contemporary Music Centre, showcases a sustained dedication to sonic innovation. Giordaí Ua Laoghaire, from County Cork, brings a strong punk sensibility to the scene as a founder of Nine Wassies From Bainne, often incorporating bilingual lyrics into his work.
Fergus Kelly’s contributions are marked by a forward-thinking approach, with recent works like "Swarm Logic" showcasing his engagement with cutting-edge software, such as Leafcutter John’s Forrester. His 2016 recording from Dublin, described as "electromagnet recordings, no-input mixer, speaker feedback, and field recordings," offers a visceral and immersive sonic experience, creating an unsettling yet captivating soundscape that has been likened to being "trapped in an alien washing machine."
The compilation also features the distinctive band name Burning Love Jumpsuit, originating from Dublin, hinting at the often-quirky and memorable monikers adopted by underground artists.
The Ingenuity of Handmade Instruments and the Future of Irish Sound
Michael O’Shea’s story is a testament to the power of necessity and ingenuity. Having divested himself of his possessions to embrace a nomadic lifestyle in the 1970s, O’Shea was compelled to create his own instruments. His unique handmade device, constructed from an old door, seventeen strings, and chopsticks, and enhanced by phasers, echo units, and amplification, became his signature sound. This fusion of Irish folk influences with Asian and North African sounds attracted the attention of improvisational titans such as Alice Coltrane, Ravi Shankar, and Don Cherry, demonstrating the profound impact of his inventive approach.
While the "Under the Island" compilation primarily spans the period from the 1960s to the early 1990s and is noted for its male-dominated representation, Nyahh Records is actively addressing this through its ongoing work. The label’s upcoming compilation promises a greater diversity of artists and perspectives, reflecting a new generation of innovators while continuing to feature established pioneers. This future-facing compilation, encompassing genres from noise and acoustic to electroacoustic, electronics, Musique Concrete, tape music, and drone, is poised to offer a dynamic snapshot of the contemporary Irish experimental scene. As Nyahh Records describes it, the collection features "some new heads on the block like Francesca O and Enola Christ Metalizer," alongside established figures, aiming to provide "some kind of joy and/or discomfort."
A Glimpse into the Future: E The Artist and Emerging Voices
Among the label’s recent and exceptional releases is the work of Dublin-based, Nigeria-born artist E The Artist. His output is characterized by an arresting coherence, blending intense techno reconstructions, "freak folk oddity" songwriting, and a potent assault of power electronics. This multifaceted approach, incorporating wide-ranging collaborations and seemingly disparate elements, creates a deeply narrative and impactful listening experience, often described as feeling akin to an alien abduction. This artist’s work represents the cutting edge of experimental music, pushing boundaries and challenging conventional genre definitions.
The ongoing exploration of experimental music in Ireland is not limited to archival releases. Educational institutions are also fostering the next generation of sound artists. A workshop video showcasing "MMT Electroacoustic Composition – Live Electronics Workshop 2025" provides a window into the innovative projects undertaken by students, demonstrating a vibrant future for the field.
Spotlight on Women in Irish Electronic Music
In recognition of the need for a more comprehensive understanding of women’s contributions to electronic music in Ireland, the work of Bernadette Comac warrants particular attention. Hailing from Northern Ireland, Comac is a significant figure in electronic composition. A detailed examination of her work, featured in an article by MA student Jacqueline Corr at The Contemporary Music Centre Ireland, highlights her progressive approach. Comac’s "The Virtual Performer" (2012) is cited as a prime example of how women have advanced the modes of thinking and creativity in electronic music delivery, incorporating visual technologies to create a novel performance experience. Her desire to extend the possibilities of virtual performance demonstrates a forward-thinking engagement with the medium.
This exploration into Ireland’s experimental music scene, initiated by Nyahh Records’ impactful compilations, reveals a deep and enduring legacy of sonic innovation. From the pioneering efforts of figures like Desmond Leslie and Roger Doyle to the contemporary explorations of E The Artist and the burgeoning talent nurtured in academic settings, the Irish underground continues to produce music that is both challenging and profoundly rewarding. The ongoing commitment of labels like Nyahh Records to unearthing, preserving, and promoting this vital artistic output ensures that these often-unheard voices will continue to resonate, offering a unique and often strange, yet always compelling, auditory journey.
