• Neill Nevin

Ambient Sounds Of Irish Literature

Ancient Sounds of Irish Literature explores the fusion of Irish storytelling and modern sound design. This EP blends spoken word passages with ambient compositions, creating immersive soundscapes inspired by Irish poetry and oral tradition. While rooted in traditional Irish instruments such as harp, violin, flute, and tin whistle. The project reimagines their presence using high-quality samples and synthesis.

These digital recreations merge with natural field recordings and atmospheric textures, bridging heritage with innovation.
The compositions prioritize mood and environment over conventional song structures, shaping each track around the emotional essence of the literary works. Voice performers interpret the spoken passages, while synthesized elements add a contemporary, experimental edge.

By blending the organic with the digital, Ancient Sounds of Irish Literature creates a unique listening experience, evoking nostalgia, introspection, and a deep connection to Ireland’s literary past. This project redefines tradition, proving that stories are not just told but lived through sound.

There were 3 collaborators on this project, they were each reciting a poem. I had a few choices of poems to use and I was open to suggestions from my collaborators if there was a poem or piece of literature that they liked or were influenced by.

Track 1 – Rónán O ‘hArrachtáin – Eleanór, A Rún. By Cearbhall Ó Dálaigh

Track 2 – Tom Bán – The Song Of Wandering Aengus. By W.B Yeats

Track 3 – David O’ Rourke – An Ode To Gráinne Ní Mháille. By David O’ Rourke (Unpublish Original Poem)

This piece was inspired by a voice, a recorded interview recounting a near-death experience during childbirth. There was something raw and intimate about it that immediately struck me, and I knew I wanted to build the entire track around that story. The voice isn’t front and centre in a traditional way; instead, it drifts in and out, fragmented and processed, like a memory resurfacing. It sets the emotional tone without explaining itself, which I find powerful.

I’ve always been drawn to ambient music for its ability to create space, both physical and emotional. Artists like Biosphere, The KLF and Brian Eno showed me how subtle textures, field recordings, and vocal samples can transform into a sonic environment rather than a conventional “song.” With this track, I leaned heavily into those ideas: sustained drones, minimal harmonic movement, spatial effects, and layered synths that evolve over time.

Using tools like MNDALA 2 , SPITFIRE LABS and Arturia V Lab, I sculpted a sound world that felt organic but slightly uneasy – built around a D5 drone and a simple progression with moments of dissonance. Arpeggios added motion without pulling the listener out of the atmosphere. The track isn’t about arrival or resolution; it’s about staying present in a moment that feels suspended in time.

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