Author: Kate Crudgington

An intuitive rumination on the personal and the political, New Pagans’ debut album The Seed, The Vessel, The Roots and All is a gritty, deeply poetic consideration of inequality and social injustice. Released via Big Scary Monsters, the Belfast band’s first full length record dives into the paraphernalia surrounding religion, romance and women’s pain, and resurfaces having transformed these tired archetypes into aural talismans of strength and defiance.

Formed of Claire Miskimmin, Cahir O’Doherty, Conor McAuley and Lyndsey McDougall, New Pagans blend elements of post-punk, grunge and pop to explore internal & external conflict in their music. On their 2020 debut EP Glacial Erratic, the band crafted six abrasive, yet melodic tracks that have formed the foundation for their first full length record. With the addition of five new songs, The Seed, The Vessel, The Roots and All is a sharper, fully fleshed out vision that sees the band’s scathing, yet sensitive approach to song-writing flourish with defiant flair.

“The demand for perfection is disturbing,” sings vocalist Lyndsey on opener ‘It’s Darker’. Based on a real life confrontation she had at a party with an aggressive male musician, the track will strike a chord with anyone who has had their opinion publicly devalued. “Everyone’s looking and I’m upset” she reveals, working through the unsettling feeling of being spoken down to via relentless riffs and commanding percussion.

Informed by overheard conversations on a Belfast bus, ‘Charlie Has The Face Of a Saint’ flows with a stream-of-consciousness narrative. Throwaway phrases like “I’m doing my part” or “You’re easy to have when you’re down on your knees” float above the loud/quiet verse/chorus structure, with the conflicting voices unable to provide answers, they simply exist in the ether. The spiralling ‘I Could Die’ follows, with its manic riffs and urgent vocals, before the powerful ‘Bloody Soil’ breaks through. It feels like the soundtrack to a social uprising, with its intense riffs and chant-able chorus.

A tribute to the sister of artists William Butler and Jack Butler Yeats, ‘Lily Yeats’ is an aural confidence boost to the song’s protagonist, and to the women who need encouragement to step out of their brother’s shadows. “My daughter needs to know that she can do the same,” sings Lyndsey over erratic riffs and pummelling beats, before dual male/female vocals drive home the message that it’s everyone’s responsibility to amplify the volume of women’s stories.

Lyndsey’s sharp focus on weaving her own stories of pain, self-autonomy and motherhood with other historic female narratives is the lyrical lifeblood of the album. She allows her own joy, grief and frustration to run parallel to others, with the band’s driving rhythms creating a musical space for the resilience and strength of these women’s histories to shine through. Singles ‘Harbour’ and ‘Yellow Room’ epitomise this.

On ‘Harbour’, Lyndsey celebrates the joy and the struggle of her own pregnancy, while on ‘Yellow Room’ she unravels the conversations around women’s mental health and the lack of support that new mothers often receive. Inspired by Charlotte Perkins Gilman’s semi-autobiographical short-story The Yellow Wallpaper, ‘Yellow Room’ is a racing, urgent exploration of female isolation. Through the medium of Gilmans’ text, the band traverse these underlying doubts via crystalline vocals and charged, powerful riffs, challenging and updating the narrative around women’s mental health.

A humble, shimmering ode to the perseverance that’s needed to keep a long-term relationship going, the band’s treatment of love and its many faults on ‘Admire’ is far more romantic than any Valentine’s bouquet. “Let’s preserve our old ways / let’s preserve them always” sings Lyndsey, her voice floating above atmospheric guitars and swirling bass lines. The song builds to a cacophony of shoegaze noise, removing all sense of doubt about remaining faithful to your partner.

On ‘Ode To None’, the band rip up more outdated traditions of conventional storytelling, declaring “We’re the new pagans / dedicated to nurture”, while on the aspirational ‘Natural Beauty’, Lyndsey dismantles what it means to be an ambitious artist. It serves as a reminder to take your art seriously and to have confidence in your abilities, which is wonderfully expressed in the empowering sentiment: “It’s in her destiny to be better than you.”

A riotous, refreshing call for accountability and a take down of sexist double standards, ‘Christian Boys’ seethes with righteous fury against the unfair judgement of women who are involved with hypocritical men. Based on the experiences of Lyndsey’s friend – who had been having an affair with a Christian leader in Northern Ireland before his marriage to a virgin bride – The urgency in the repeated lyric “Christian boys are the worst I know / Christian girls should take it slow” exposes the hypocrisy underscoring the track’s narrative, calling out those who blame others for their own mistakes. It’s a powerful and necessary statement to close the record with.

On The Seed, The Vessel, The Roots and All, New Pagans uproot musical genres, challenge stunted narratives around social history, gender and relationships and manage to cultivate a powerful sonic resilience against them. It’s a hugely refreshing and impressive album that deserves all of the praise it’s received so far.

Order your copy of The Seed, The Vessel, The Roots and All here.

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Kate Crudgington
@KCBobCut