Keiron Phelan and Peace Signs

Keiron Phelan follows up the critically acclaimed Peace Signs album, Hobby Jingo, with his blend of 70s glam pop for new LP ‘Bubblegum Boogie’. The Strange Brew asks Keiron 5 questions:

Are there any particular themes that thread through the lyrics of ‘Bubblegum Boogie’?

Yes, indeed. All of the songs on the album were composed while I was caring for my late, dementia suffering, mother in the final year of her life, in what had been my childhood home. Part of the album is directly concerned with that. For example ‘You’ve Got Your Mother’s Love’ is reflective of the fact she didn’t always know who I was, and ‘I Don’t Know How We’re Getting Home From Here’ is a child-turned-parent song which was engendered when she ceased to recognise her own home. But even more, there’s a push against the restrictions of the situation and many of the songs are almost ridiculously upbeat. The title itself is quixotic but it’s a refusal to bow to pressure and to unhappiness. Looking after a parent with dementia is very tough but, in some ways (if you can hack it) it’s one of the most important (and even best) things you may ever do.

What was the writing and recording process for it?

The year I mention was also the first year of lockdown so, like most other writers, I was working on my tod. When you’re caring for someone with dementia you’re never really off duty, so all of the ‘having to be in the right mood’ to songwrite goes completely out the window. You use whatever moments you have or you can’t do it at all. It’s a harsh discipline but, frankly, I’ve never worked with such a purpose. After a while I was able to hook up with Jenny, my pianist, so that helped move things along. Peace Signs’ music needs a ‘live’ feel, though, so it took a while before we could all get back into our Lightship 95 floating studio and get to work. But my band is really amazing; they simply clicked right back in with each other.

Can you outline your background in music and what you have done previously?

I was a fully paid up member of the post rock and neo-classical fraternity from the late ’90s until around 2017, when I metaphorically ran away to join the circus. My main bands were State River Widening, which I co-founded with Brian Eno biographer David Sheppard, Phelan Sheppard (same deal, more ambient), leading the Anglo-Japanese outfit Smile Down Upon Us and partnering Katie English in the flute-centric littlebow. Plenty of music out of that little lot and it tends to be a life affirming sound, as opposed to doomy. I jumped ship as I felt that 18 odd years of largely instrumental music was enough, I was a decent singer and I had things to sing about. Hence Peace Signs.

What artists do you admire and why?

I’ve been, more or less accurately, described as working ‘within the tradition of the great eccentric English songwriter’ and I do prefer individualists. In recent years I’ve got heavily into Bobby Gentry for that reason, discovered the very wonderful Jimmy Campbell (now, he was quite eccentric) and been working my way through my pal, John Howard’s, back catalogue. That man should have been a big star in the ’70s, but at least an increasing number of people are finding his work. I’ve recently become a complete Walt Disco fanboy, too. Any band that can sound like a cross between The Associates, Sparks and Japan are alright by me and I find the combination of arch theatricality and simple smilyness very charming.

What are your future plans?

I’ve decided that the world needs more intelligent, eccentric, bubblegum pop so the fourth album is mostly written and we’ll start recording that early next year. But mostly I’m just looking forward to being on stage more. There’s a visual style element to the whole Peace Signs aesthetic so the dressing up and the performance is important. The band sounds damn good live, too. It’s a real joy!

Further information

Insta: https://www.instagram.com/keironphelanpeacesigns/
Facebook: https://www.facebook.com/keiron.phelan/