Paul E Flynn’s Prosaic Poetry

Outside it was a seemingly ordinary Thursday evening in early November, but inside the Tanz Cafe in Bryanston, there was an air of enchantment and expectation. A veritable who’s who of the music and media industries had turned up to join Paul E Flynn (Sugardrive) in celebrating the launch of his debut solo album Fields. The evening started with a screening of the video for the first single off the album, May God’s Work Resume. A delicate song which catches you off guard with its closing ode to love, the video portrayed this spirit well. It was filmed by Eban Olivier on location at his studio in Blairgowrie and in Delta Park, and features the model Hayley Rickard. Certainly the poignancy of the song is captured in the video, and the audience responded with glee. A great way to get things going. Naturally, it wouldn’t be a CD launch without a performance from the man of the hour, and Paul E Flynn and the Seeds of Doubt took to the stage after the video screening. They appeared to be energised by the magic of the evening, and once again held their audience mesmerised. Just to add an extra special element to the night, we were treated to guest appearances by Louise Carver, who appears on the album on Changed, and Cito of Wonderboom. By the end of the night I think all who were there had the warm sense of having been part of something beautiful and momentous in the musical fabric of our society.

I caught up with Paul before a show at Back2Basix the following night to chat about the new album, going solo, and basically whatever else popped into our heads:

Belinda Glenn: This project has been a long time in the making – how does it feel to have it finally reach fruition?

Paul E Flynn: I started writing the songs for Fields in early 2005. Sugardrive was playing at the time, but I already knew I wanted to do something on my own. It also happened to be a three month period during which I had no alcohol, and all I did was write. Maybe that wasn’t such a coincidence! I had no agenda – I just wrote and ended up with about 30 songs. Then I did nothing with them for almost a year. Later that year I met up with Theo Crous (Springbok Nude Girls) and he wanted to hear the songs. He phoned a few days later to say he loved them and then set to work getting the deal with Playdough Records organised. I went down to Cape Town and recorded the songs with Theo producing and the master was done by 2006. Still, I had no agenda and felt no pressure to release the album. There was all this talk about deals and I needed a break. I took time off in Ireland and it was six months without even touching a guitar. When I got back, the album was ready but I wanted a band to play the songs during shows with me. Live performances are what matter most. There was really no rush; I wanted to make sure I had the right chemistry with the band and that we’d be good live. The Seeds of Doubt (Sean Strydom, Donovan Campbell and Paulo Rego) formed, and we’ve done about 20 shows. The album was released about 3 months ago, and we only had the launch last night, so really it’s been a very relaxed process. I’m loving that it’s gone public now. It’s really cool. I know the different directions an album can take once it’s been released and I’m really relaxed about where we go with this. As long as I get to play shows, I’m happy.

BG: What would you tell people who haven’t heard it to expect from the album?

PF: It will take you on a journey. Each song is a story and they’re all very visual. It’s natural and raw-sounding, and has a lot of soul. I think when you’ve listened to it a few times it grows on you, into something of stature. I’m not going to say it sounds like this band or that artist. I hate that. I will say that this album’s about optimism. Sugardrive was far more investigative and surreal. This is uplifting. It’s cathartic.

BG: What are the pros and cons of going solo?

PF: Well, the obvious pro is that you have 100% creative control. I thoroughly enjoyed the idea of being able to hear something in my head and not having to consult anyone. I’m a bit of a loner so it really appealed. The other pro is that you can soak up every influence you like – even if you’re not a fan of a specific genre – and play with things in ways you couldn’t in a band. If you walked up to your drummer or bassist and said let’s play an electro-ska-reggae song, he’d just look at you like you were mad – this way I could do whatever I wanted. And the way I did it, I had total control of the way the tracks were laid down as well. Um. I sound like a control freak, I know! But you can definitely be crazier if you’re solo. On the other hand with a band you have a brotherhood that’s really great. And you don’t have to take the reins all the time – you can feed off others, which you can’t do if you’re solo. But I think now that I have the Seeds of Doubt, I have the best of both worlds.

BG: How does it work having the Seeds of Doubt playing with you after you’ve already recorded all the material?

PF: The album was recorded quite casually, using session musicians and guest artists like Louise Carver. Mostly everything was done by me and Theo. He’s really a fantastic producer and I managed to convince him to do backing vocals on a few of the songs as well. Since our first gig together, the band has just made the songs their own. I’m not too pedantic about it, and they really capture the feel of the album. I think they’ve found it difficult sometimes but I’m so happy with the way the live shows are going.

BG: Why did you call the album Fields?

PF: Fields was one of the first songs I wrote in 2005 and the lyrics really drove the song. They’re simplistic, yet there’s a depth there. That song directed the way the rest of the songs were written, and essentially is the reason the album sounds the way it does. It’s significant in that that was the way I was feeling at that time – “It’s alright to break your life, it’s alright to lose your mind” – and that’s why I chose it for the title.

BG: How did your time in Ireland affect you?

PF: The album was done already. I just needed a break from everything, music included. I had to get away from the claustrophobia I was feeling in South Africa. And I wanted to get in touch with my roots since I have grandparents from Ireland. I had no expectations of going there to pursue music. I wanted to start anew. But I didn’t make a big deal out of leaving because I knew it was almost inevitable that I’d be back again, I just didn’t know when. I took the time to re-identify with my soul and my being. I think it’s made me less cynical and more grown up. Probably a good thing!

BG: Your songs are always lyrically so evocative – to what extent are they autobiographical, and what else motivates you to write?

PF: Hmmm, I don’t think any of the songs are really autobiographical as such. More like points of view. May God’s Work Resume was totally stream of consciousness and at first the change at the end surprised even me – I wasn’t sure it would work at first. My lyrics are really based on my observations, on things that strike a chord. And they’re everyday things. I think the songs are prosaic and poetic at the same time. The main thing is that this album has a positive vibration. There are no dark places reflected in the lyrics. I’m often inspired to write by what I’ve seen on the road. You can be hypnotised by the landscape of different places as you stare out of a car window. There are always very visual elements in my lyrics.

BG: So, where to from here?

PF: Getting a new album out there is usually an 18 month process. We’ll keep doing lots of live shows. And I’m hoping to do some new songs with input from the guys in the band. We’ll release these online I think – not everything has to be an album now. Sugardrive will also be doing some shows again at the end of the year and are involved in the Do Band Up competition, which should be interesting. Basically I’m just going with the flow and keeping it simple.