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West to the Evening Sun

by Ailie Blunnie

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LYRICS It was late one early afternoon, still bright, if a little dark, still night, if a little day, it was dawn, it was dusk, I was dead, that’s all I knew for sure. I wandered aimlessly along an old country road, aimlessly I wandered, aiming my aim at nothing, and I continued in this fashion until I was fashionably late in the early afternoon at dawn, at dusk, for nothing. I was confused. How could anyone not be? It was a confusing situation. But then, suddenly, in the corner of my eye, something caught my attention which didn’t entirely displease me. It was a lady. No. It was a bicycle. I moved in for a closer look, and was immediately struck by the singular beauty of her silhouette as she leant awkwardly, lonelily, I thought, against the rusted iron gate. Oh I loved her then, I love her still, I will love her yesterday as I did tomorrow and the day after the week before: “I love you” I shouted to her, from the internal rooftops of my mind, for I had not yet found the courage to speak those sacred words aloud. And so internally I continued, and I continued as follows: What do you say, babe? You and me, me and you, you and me, me and you? What do you say, babe? Would you be my love? At this stage in the race, an element of doubt began to creep into my weary, weary bones. I was dead after all, she was a bicycle after all, it was unlikely, after all, that this.. was going to.. work. But who knows? Like Montague and Capulet, animate and inanimate, who knows? And why not? In any case, being dead, I wasn’t entirely animate anyway - inadequately animate at best. And though it’s true she was entirely adequately inanimate, an object, she was hardly. “I would never objectify you, our love is pure, our love is true”, I shouted to her from the internal rooftops of my mind, and I continued as follows: What do you say, babe? You and me, me and you, you and me, me and you? What do you say, babe? Would you be my love? At this point in the proceedings, it came to my attention that while my internal monologue passionately raged, for all my love knew, for all my new love knew, I had some sort of medical staring issues. I panicked: “Oh Christ, how long had I been there? Oh Christ, what was I at? Oh Christ, what if she thinks I’m a weirdo?”. But no, my love she looked at me, my love she looked at me, she looked, her eyes, absent, from not having any, but still she looked at me, she looked at me and said: “Come, come, come, come”. So I moved a little closer and this is what she said: I think this is what she said: What do you say, babe? You and me, me and you, you and me, me and you? What do you say, babe? Would you be my love? And I said: “consider it done”.
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about

“One of the finest Irish albums of the year” Róisín Dwyer | Hotpress

“This album extends beyond innovative musical arrangements, even beyond the skill of poetic, expressive lyrics. Blunnie’s songs are transcendent and transporting.” Colleen Taylor| NY Irish Echo

Vocals recalling Sinéad Lohan, Laurie Anderson or Denmark’s Agnes Obel, and a songwriting style that “pushes the boundaries, both sonically and lyrically” (Róisín Dwyer, Hot Press), Ailie Blunnie’s blend of palpably Irish experimental folktronica melds assured songcraft, inventive arrangements, and delicately-expansive soundscapes developed in collaboration with producer, Daragh Dukes (Headgear / Wyos / Asylum Speakers).

“A taster from the Leitrim singer-songwriter’s forthcoming début album shows a craftswoman who knows the right measure of guile and atmospherics which a soundscape of this majesty requires.” Jim Carroll | Irish Times

“..songs sound like they were spirited up from the landscape of her home in North-West Ireland” 4**** Alan Corr | RTÉ Entertainment

Four years in the making, Blunnie’s début album, West to the Evening Sun, climbs like a wallflower along a diversity of sonic contours. Quietly clinging to trauma, loss, healing, hope, and questions of motherhood and identity on the way (as well as a brief brush with a bicycle), it asks little of the listener but to accept an invitation to eavesdrop:

“‘West to the Evening Sun’ is not just music—it’s poetry too. Listening to these songs is like sitting alone in an archive, reading a collection of letters shared between the closest of friends. There is tragedy, confession, hope, love. Moreover, there is narrative as well as harmonic integrity.” Colleen Taylor | NY Irish Echo

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ALBUM REVIEWS

4**** Review | RTE Radio One ARENA
4**** Review by Alan Corr | RTE Entertainment
Review by Colleen Taylor | New York IRISH ECHO



NY Irish Echo’s “top pick for best début album and best début artist in 2017”

“Ambient, hauntingly intimate and very moving, this is something rather special from the singer-songwriter from Carrick-on-Shannon” (Alan Corr, RTÉ Entertainment)

“a tour de force of masterful songwriting, which pushes the boundaries, both sonically and lyrically” (Róisín Dwyer, Hotpress)

“I hope people outside of Ireland get to hear this album….a serious talent” (4**** RTÉ Radio One ARENA)

“The Leitrim musician has been on the radar for a few years now and this fine assured début suggests she has spent her time judiciously.” (John Meagher, Irish Independent)

“‘Beat of Your Heart’ travels a wide musical range, from new age and Celtic, to folk, pop and rock, and even a slam poetry moment. It all somehow fits together in a perfectly cohesive, mesmerizing way.” (Colleen Taylor, Irish Echo, New York)

One of John Kelly’s “favourite up-and-coming Irish artists of 2017” (Mystery Train, RTÉ Lyric FM)

“Ailie Blunnie has a remarkable way of playing with silence and minimalistic loops that create beautiful textures that morph in and out of completely different styles. Her voice is innocent and sweet, her music is thrillingly sinister.” (Emma Leddy, KnockanStockan Music & Arts Festival)

“So new, so fresh, and so good” (Carl Corcoran, The Blue of the Night, RTÉ Lyric fm)

“One of the country’s leading young poets“ (Brian Lynch, writer)

credits

released November 10, 2017

Ailie Blunnie: Vocals, Piano, Electric Guitar
Daragh Dukes: Electronics, Percussion, Kalimba, Wind Chimes
Aideen Rickard: Backing Vocals, Trombone
Vyvienne Long: Cello
Eoin Coughlan: Electric Guitar, Bodhrán, Backing Vocals, Body Percussion
Neville Lloyd: Double Bass
Laetare Vocal Ensemble (Róisín Blunnie, conductor): Choir on “Would That You May”

Music & Lyrics by Ailie Blunnie
Arrangements by Ailie Blunnie & Daragh Dukes
Produced by Daragh Dukes
Mastered by Richard Dowling at Wav Mastering, Limerick

Photography & Design by PookaDubh

All songs recorded, engineered & mixed by Daragh Dukes in Castleconnell, Limerick. Choir on “Would That You May” recorded at The Chapel, All Hallows, Dublin.

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Ailie Blunnie Carrick On Shannon, Ireland

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