Indie folk singer-songwriter Ivan Moult will release his third album, “Songs From Severn Grove,” tomorrow (May 26th) on the Welsh record label Bubblewrap Records.
This new album showcases Ivan’s versatility as he wrote, played, recorded and mixed all the songs at his home studio in Cardiff, with mastering polished off by Charlie Francis (REM, Robyn Hitchcock, Adwaith). “Songs From Severn Grove” chronicles Ivan’s journey of growth, beginning in lockdown during the 2020 pandemic and continuing through the challenges and joys of becoming a father.
We persuaded Ivan to write a Track-by-Track guide to the album to celebrate the release.
Ivan Moult on Songs From Severn Grove (Introduction)
Sometimes It’s almost preferable not to explain the meaning and intent behind songs when we know listeners can take away entirely different understandings from those we had in mind when writing and recording songs. That potential, to me, is a wonderful thought, even with a deeply personal storytelling/confessional LP like this one. However, I love FRUK and their reviews and mix-tapes, and of course, it’s a subject matter all writers love more than any other, themselves. So here we go.
This album is the first where I’ve endeavoured to write and record the whole thing myself. A project born primarily out of logistical necessity began in lockdown. I upgraded my home studio from a battered old Fostex multi-tracker I’d had since 16 and finally joined the laptop bedroom producer revolution. I bought a second-hand interface and a decent microphone off my previous producer Callum Duggan, borrowed my record label boss Rich Chitty’s drum kit and got stuck in (thanks guys/sorry neighbours).
I like to think I’m competent on most instruments, but learning to play and record drums was the biggest challenge. Lots of musicians think they can, I guess, hence all the jokes, but it wasn’t easy, although it was enjoyable. I found it really informed my production and set the tone of the record. Fast forward three years I’d had a steep learning curve and seen several versions either accidentality lost or ditched altogether, so I had to call time on the project at the insistence of said boss. In fairness, I’d still be editing and adding now If he hadn’t. I eventually allowed someone else to get their ears on it when Charlie Francis (REM- Robyn Hitchcock) mastered it for us.
I hope you enjoy the record and find this track-by-track a useful and insightful companion piece.
Track-by-Track: Songs From Severn Grove
‘Supermoonlight’
Everyone has a song referencing the moon. This song is my effort, composed about the time a supermoon formed the backdrop to a romantic summer’s evening for my now wife and I. The track is about a date we had early on in Cardiff one Sunday evening the day before her birthday. I wrote it later on in reflection, not of the moon, sadly.
‘Heard It All Before’
Apparently a song about arguing over family finances. Perhaps not everyone has a song referencing this, and probably for good reason. Despite that, this is the first track of the album I was able to listen to and enjoy for the overall production I’d arrived at. I was happy with the drum sound and general mix before any of the others. Also managed to get some shaky eggs in. Jackpot. Quite live sounding too, I think.
‘Magic In Your Eyes’
Imagine you have a weeks-old baby, a toddler and an 11-year-old. You’re both absolutely knackered at the end of every day, but your partner is in the attic most evenings trying to figure out how to sound engineer… sorry darl! So patient. In all seriousness, another confessional with added reassurance. And triangle. Written quite late on in the process to substitute for a track I dropped, which I couldn’t get right. I returned to a chord progression I wrote one summer afternoon in Cornwall down at my parent’s place a few years back.
‘Just Like You’
Sonically I had ‘Time After Time’ by Cyndi Lauper stuck in my head, and this was an interpretation of that really. Lyrically it’s drawing again on the theme of reassurance and understanding. I think we’ve all seen the dangers of polarised politics in society, and this was meant to be a reflection on the interpersonal aspect. It’s about looking to find common ground.
‘Written On the Wall’
A major musical influence of mine is John Martyn. I love his rhythmical percussive style on acoustic guitar, the folk & blues and ambient & trip-hop stuff too and especially his often deeply personal writing. This track came from a bright and initially positive chord progression played in that percussive style.
I’ve not gotten far away from mining the personal for my songs and have realised it’s almost the only way that writing seems to work for me on my own. This was the second single from the record, and it’s about the stage in a relationship where your respective romantic pasts could be discussed with a new partner. Sometimes unsettling territory, but I think it proved fruitful here.
‘Home & Dry’
You might have spotted a theme by now. This is, in essence, an album of love songs to my wife and peans to the challenges and joy found in family life. This track is about when my wife gave birth to our son Stan.
It was in the eye of the storm of lockdown in March when everything first exploded. I was, of course, endeavouring to be the rock that was needed and an island of calm in those turbulent times. When the moment arrived, and we set off for the hospital, we knew the maternity ward was being converted into an ICU for Covid patients. Of course, events took over, and we didn’t have time to think about that really.
The relief and joy when we got home and had time to ourselves as a young family was inspiring, and it felt like a shield from what seemed like an apocalypse outside. Bless the NHS for so many reasons.
‘Tell Me When’
A simple song about missing the one you love. I had this Oye Como Va / BuenaVista, Ry Cooder sound in mind and set out to try and capture something along those lines. Don’t need more than two or three chords and some glassy guitars. Some inebriation. More shaky eggs. Done.
‘Right Now’
Another fairly easy but hopeful love song. Simple acoustic guitars, echoey ‘Oh Brother Where Art Thou’ backing vocals. Bit of neck pick up for colour from the electric. Optimistic and warm. About being impatient for love. I added a glockenspiel to the mix at one point, but it suddenly felt like a Christmas song, so I left them off.
‘Out Of Time’
The first single from the record. Drawn from ruminations on the meaning of life and the need for individuals to find their own purpose. Tapping into years of conversations I’d had with friends and strangers under various influences that allowed us to let our guard down and philosophise. Again a very dreamy, relaxed and smokey sound. Think I had a cold when I recorded the vocals, a producer would never have allowed this out, but that was the take I liked the most, and time was of the essence.
Also, I almost used the track name as the album title but changed my mind. Sounded like a dig at my own drumming!
In conclusion, and somewhat predictably, I’ve enjoyed this exercise. It’s pushed me to reflect on the record and make some sense of it as a whole, which I wouldn’t have done otherwise. Thanks FRUK.
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More here: ivanmoult.com