Clang Sayne

County Wexford

Experimental folk 4tet fusing everything from 70's psychedelia to free jazz to sound art. Reviewers have dubbed it "an uncategorizable approach to songcraft". The word 'songscapes' just about sums it up!

Led by Wexford woman, Laura Hyland, Clang Sayne was born in London in 2008 and lived there for the first 3 years of its life, during which time the debut album 'Winterlands' was released to international critical acclaim.
Returning to Dublin, Ireland in 2011, Laura (voice, guitar) reformed the group with Irish musicians, Judith Ring (voice, cello), Matthew Jacobson (drums, voice) and Carolyn Goodwin (bass clarinet, voice).

They independently released their second album, 'The Round Soul of the World' in March 2017, two tracks from which you can here on your left. You can also check out some videos in the videos section. The song 'Requiem' from the album featured on the Wire Magazine's Tapper cd in April.

Since the release they've been a regular feature on Lyric FM's 'Blue of the Night' and 'Nova' , as well as making pop-up appearances on 'The Purple Vespertine' and 'The John Kelly Show'. They recently recorded a live session for RTE Radio1's 'Arena'. An upcoming feature in Cork-based cutting edge music blog, 'Fractured Air' gets to the core of what the group are all about next month!

What the Press have to say...

"The more interesting new band from Ireland in recent times"
No More Workhorse blog, Dublin

"Fronted by Wexford woman Laura Hyland, this band heads for the interesting side of the road with a track full of freestyle guile, wonky pop spirit and avant-everything experimental folk-jazz moxie."
Jim Carroll, On The Record

"Wexford composer/musician/poet Laura Hyland’s soundscapes explore the rugged uplands criss-crossed by contemporary folk, avant-pop, improvisation and acoustic abstraction. A singular, defiantly independent voice in the lineage of Joni Mitchell, Kate Bush, and Bjork, Hyland empowers the members of her Clang Sayne quartet - drummer Matthew Jacobson, bass clarinetist Carolyn Goodwin and cellist Judith Ring – with similar independence."
Cormac Larkin, The Ticket

"Eight years on from their debut Winterlands – a brooding and emotionally potent release – the four-piece follow-up with the extraordinary and exceptionally realised second album, 'The Round Soul of the World'. Hyland and co. unravel a sonic landscape of real, oftentimes transcendental beauty over the release’s seven tracks.
Sparse in nature yet refined in its poise and glow, the album is a consistently intriguing extended tale in experimental folk, in which its main lyrical themes of birth, death, work and nature are both framed and informed by Hyland’s intensive yet organic process of improvisation. Each cut here is tellingly born from deeply felt psychic transmission, with Hyland’s playing carrying with it a sense of import that is rarely conceived with such beauteous command off-the-cuff."
The Thin Air blog, Belfast

"The experimental band gleefully revel in nonconformity, which makes this seven-song collection both unpredictable and fragmentary. There is chemistry on the textured minimalism and cacophonous, jazz-like improv of Curse You Mocking Moon, the breathy woodwind of This Love, and the mournfulness of Emptying of the Ashes, while the folky Blackbird is probably the most palatable track here."
It is all challenging at times and occasionally somewhat pretentious, but the hypnotic, hymnal nature of these songs fuels a desire to unravel their mysteries."
Lauren Murphy, Irish Times

'Winterlands' reviews:

“Lilly Allen this ain't: it's more like Sylvia Plath trying to keep a team of unruly beatnik experimenters in check. Here's a set of live, organic, no-safety-net performances; there is something exhilarating about this modest yet perverse album and its refusal to conform.”
Clive Bell, The Wire Magazine; UK

“Imagine Tim Buckley’s Starsailor and Lorca band with Julie Tippetts channeling Tim’s drama and languor; imagine Beth Gibbons backed by Comus featuring Blixa Bargeld on guitar; imagine Sandy Denny at her most fervent joining the sessions for Mark Hollis’, This is an album that could have been recorded at any point between 1969 and the present day, music that transcends the background of its contributors or any expectation a listener might bring. ”
Baked Goods; UK

“A brittly beautiful collection of autumnal songs - partly structured, partly free-floating, these pieces feel both weightless and airy as well as astoundingly clearly shaped. " Winterlands" has depth and mystery, leading listeners down a dark backalley into an alluring world of sweet melancholia, seductive metaphors and lyrical bliss.”
Tokafi; DE

“Improvisation yes, but the songs seem to have some kind of logical structure, a frame holding things in place. Mysteriously inviting, with an almost Siren like vibrancy; this is an album of intriguing beauty that’s well worth your time.”
Organ Art; USA

No “File Under” tag for Clang Sayne. What they sound like does not boil down to a single, simple label—they have the instrumentation of a light rock / jazz ensemble, and their songs fall right on the divide between improvisation and formally-composed songwriting. A number of tracks are straight-up songs of one style or another, but for the most part they bend and contort their material around each other instead of just lolloping gamely along like so many metronomes. The milky artwork and packaging bring to mind a pearl, one that stands out all the more from so many other gaudy synthetic gems.”
Serdar Yegulalp, Music Machine; SL

"The combined ensemble effect recalls Starsailor-era Tim Buckley, but with more pronounced traditional folk and improvisational leanings. The raw no-overdubs recording style adds a sense of fluidity to the album, a real sense that on another day the band’s improvisational compass could have steered these songs to different waters altogether”
Scott McMillian, Resonance FM; Mapsidaisical, UK

“I found [your setting of 'A Ritual To Read To Each Other'] memorable and haunting, a very intriguing account of the poem, and very suitable.”
Response from The William Stafford Estate; USA

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