Flogging Molly: Feature

“I guess it’s mostly about trying to get through life on a day to day basis, without being to much of an asshole” reflects Robert Schmidt, Flogging Molly’s mandolin and banjo player during our conversation.  “Just trying to walk through life with some dignity, respect, and being accountable for your actions”.

No he’s no referring to the salubrious life and times of an NME journalist, he’s pondering over the meaning contained within the writing of Flogging Molly’s 4th studio album ‘Float’ which the veteran 7-piece finally released in 2008.  Dubbed by Alternative Press as "One of the most important CDs of the year, if not the decade" the record marked a high point in the bands 12 year career and a return to their roots after recording back home in the Emerald Isle.

12 years in this largely volatile and fickle industry would be considered a lifetime by anyone’s standards, and yet Schmidt cites their recent LP as being the one that marks a true turning point in the bands career. “Now and with ‘Float’ I feel as if we are finally hitting our stride as musicians and songwriters.”  But what about albums 1, 2 and 3, which incidentally sold in excess of 1.5 million between them.  Hadn’t they hit their stride previously in their efforts?  “Yeah, But it definitely takes time to have a sense of what it is that you do best” said Robert, “Especially when you are always in the middle of it”.

Initiated by Irish born dave King, the travelling tale of Flogging Molly began in Los Angeles in 1997 where they laid down their musical blueprint, signing to SideOneDummy records shortly after.  Their moniker was directly linked to the expat Irish bar Molly Malones, which the group would decamp to for a tipple of the black stuff and where their illustrious career was given it’s early kickstart.

From day one they were tagged as a Celtic-crossover of punk slash folk music, with their attention to detail and musicality contained within their 4 albums, due in part to the varying traditional instruments played.  In fact with 7 multi-instrumentalists all championing their Irish roots, they have been instrumental along with a handful of other Irish favourites in keeping the sound as prolific outside of Ireland as it is inside. 

But how do the band themselves define the sound they have been creating for the last decade?  “I always describe us as a soul band, but there are so many styles within the music.  Irish is obviously the most prevalent, but there’s country, soul, middle-eastern, punk, a lot of different things” Robert explained instinctively.  And so what I ask, about the ever-present and obvious comparisons to those traditionalists and Irish-music stalwarts The Pogues? “Well…the Pogues have been around longer,” he laughs.  “And they are fantastic, so it will never get tiring being compared to them”.

It’s a flattering comparison indeed, with The Pogues being the band to transcend the irish-punk genre long before anyone else did.  Yet since the Shane McGowan’s public battle with alcoholism and the final break up of The Pogues in 1996, it’s been Flogging Molly who have picked up where they left off, citing them as a primary influence and tirelessly ensuring the Irish sound remains revitalised. 

As lyricists, Flogging Molly are renowned for their political motivations, born largely out of the bitter and catastrophic effects of what has been dubbed the Bush calamity.  Living in America throughout those tumultuous war years had a profound effect not just on born and bred Americans, but the expats who were entrenched within it’s society. 

This dissent and despising of what we have come to know as a narcissistic and startlingly stupid President, was translated into the words and meaning contained within some of their former songs.  An anti-bush slant that is most significantly contained throughout ‘Within a Mile of Home’ and which propelled them to collaboratively contribute to the Rock Against Bush project which began in 2004; a project mobilizing punk and alternative musicians again George Bush, with the idea of creating a vibe of anti-war and a pro-peace sentiment.

So then, after the unsettled political nature of the last 8 years and now that the US has inaugurated Obama safely into the driving seat, how does a citizen of the USA hope things will change?  “Well we hope for the better,” claims Robert compellingly, “but at the very least for a more accountable and transparent government.  The Bush administration was fucking criminal”. 

Politics aside, this is a band who since their origins in the late 90’s, have also seen overwhelming changes to the music industry they were employed by, and have watched the walls come crashing down on more than one occasion. 

Whilst they have been on the merry go round of a relentless recording, then touring schedule, the dawn of the digital era has rattled industry foundations everywhere and virtually rendered the physical release redundant.  And while making music more accessible for everyone (particularly those who are above paying for it) the ramifications have hit many a label and the hardworking artist right where it hurts.  “But”, Schmidt points out firmly, “the labels screwed themselves in the end didn’t they.  I mean $18.99 for a cd?  Come on.  I can tell you it’s not the artists making that money…”. 

In that case has the digital era actually changed things for the better?  “For the better and for the worse.  Obviously the way music is made and distributed has changed dramatically, and I think that’s for the best, but record stores are disappearing and that sucks.  Plus the quality of most digital downloads is pretty crappy, but ultimately it’s easier for anyone to get their music heard without the help of a label, which can mean more crap, but you just have to use discretion”.

True enough, but at the other end of the spectrum it’s also ended up belittling the craft behind music's great artwork, ensuring its neglect by many artists and a nonchalance expressed by those who just want the music.  The download has single-handedly ensured that what previously had been used to create iconic imagery, associated with bands, scenes or genres, has in some instances become a thing of the past. 

However, in fairness Flogging Molly can’t ever be accused of falling short on the whole package aspect of a physical release, traditionally employing an attitude that ensures their artwork is as relevant as any other aspect of a Flogging Molly record.  But as Robert points out “it’s always a matter of who’s paying attention”!

And so what about the artwork and imagery grasped by the recent LP?  It’s probably best explained by the title track of the album and the next single release ‘Float’.  Another reinforcement by Robert of the attitudes that inspired it’s writing, “of getting through life and trying to remember in the rough bits that there are people and things to help you get through it.”  He then adds thoughtfully “you know you spend your life collecting those people around you, but often in times when it gets hard you forget that they are there for you”.  So to highlight the heart and soul of this track, they enlisted Flynn Productions and the directorial duo Kari & Saul, to make the accompanying video.

With the collaborative talents of art and fashion photographer Karni & 3D director and animator Saul and set against the sober ruminations of ‘Float’, the conceptual video became and evocative and emotional piece of work.  The animated masterpiece combines fantasy with reality and depicts a journey of sorts which resonates within the context of the lyrics.  An idea that Robert explains as “embodying the soul of the song” and which has to be watched to convey it’s meaning adequately.

‘Float’ is released on the 13th April just after the Easter festivities come to an end and the quaffing of chocolate can no longer be justified for another year.  The single typifies all that’s great about Flogging Molly and their timeless and multi-instrumental music, from the fiddle, to the mandolin, to the accordion.  Sad in its lyrics yet poignant in its message, it’s encouraging to hear the words of your elders who have been there, done that and probably bought the t-shirt.

Fans will be pleased to know that although a little older in age, their infamous and raucous stage show is still very much alive, with Robert confiding they “try to give the same show now that they did in the pub days, energy wise”.  It’s comforting to know that if you ever did pay a visit to Molly Malone’s as unaffected as they are, they’d probably be around, spit and sawdust on the floor, Guinness on tap and a Flogging Molly track on the jukebox.  Incidentally I asked, if any of us happened to be on Fairfax in LA and came across Molly Malone, should we pop in?  “Absolutely” answered Robert. 

Forget plane hopping for a mini-break to Ireland, I’m long hauling it to LA.

Words: Francesca Strange

Write a comment

Name:
Email:
Subject:
Comment: *

Security Code: