Bariann Tuite and I had a correspondence between last fall and through that winter. A number of things conspired against me publishing most of the interviews I did since then~ but circumstances have changed and I am pleased to bring you our conversation.
Bariann’s label, Fiadh Productions, is enthralling to me not only because she releases a lot of music which is completely within my wheelhouse but because it also exposes me to music I would not otherwise have the chance to listen to. It has widened my tastes and I’ve come to trust her instincts and pay attention to releases on the label. i am also quite taken with the Ethos of the label, which describes itself as follows:
Promoting all that is wild, dark & enchanting 🦌Supporting animal rescue, rights & welfare 🐾 Female-run & antifascist
I’ll share our conversation and then a list of their releases to which I am particularly drawn.
CR:
Can you talk a bit about your experience with the music world before you started Fiadh? I know that you worked with Broken Limbs Recordings, and I'd love to know about that, but I am also interested in what your musical origins are~ what role did music play in your youth and family, for instance?
FP:
So my musical background is kind of all over the place. I started on piano when I was really really little, and went the classical/recital route until I was about 12, and in elementary school I got permission to do both orchestra and band: orchestra on violin and band on percussion. I started drum kit lessons around 3rd grade as well as violin so I had those three instruments going, and jazz band until high school, when I just focused on snare drumming. My mom is a piper so when I was about 15 I joined her band and we’ve been playing together in various pipe bands ever since, marching and competing. As for Broken Limbs, I had been a PR intern at Earache Records and found that I really enjoyed the behind the scenes work. I started Broken Limbs as well as doing publicity in the music industry around then so I was about 22 years old, and my first record was a 10” Vattnet Viskar, which ended up getting picked up by Century Media. My partner eventually moved here from Ireland and began managing the label and really moving it along, as he’s more capable in those areas than I was and was fantastic at finding new music and connecting with bands!
CR:
Wow, you were completely immersed. I take occasional forays into folk listening, British and Scandinavian mostly, and as such I have definitely enjoyed some pipes in my day! I think that is incredibly cool. I am jealous of that formal training- I am the antithesis of that myself. I hung out with folk rock bands and worked setting up violins when I was much younger. Then I fell into a jazz period, where I started to play flutes and free reeds but it was all intuitive textural improvisation. I can play with others, but only when they are willing to come to me in that mode of existence. I can sometimes manage something by ear, but I think that formal background you have is really valuable.
What kinds of music did you listen to growing up? What was played in your house and how did that influence your own development of your musical aesthetic?
FP:
Ohhh I would love some Scandinavian folk recommendations. I’ve heard a bit of Sami music and really liked it but wouldn’t know where to start. I think setting up violins would give you a proper knowledge of them right? Tuning and setup was half the battle. We all have a jazz period!! I think playing by ear and by note are equally important but I know that can be divisive. Growing up my mom played a lot of Irish folk tunes and stuff like the Clancy Brothers, The Dubliners, The Pogues, and the Wolfe Tones. My aunt was with a Scottish folk musician for a very long time and him and his brother toured in the US quite often so we were at sessions and gigs a lot here and abroad. My dad was a singer and mostly listened to doo wop and Bob Dylan, Sam Cooke, etc. He did security for Motown so there was a lot of that, and he was in a group with Bill from Vanilla Fudge when I was younger which was pretty cool to see. So doo wop has a special place in my heart! Personally I fell into punk pretty early, one of my brothers is a bassist/vocalist and would mind me when my parents were at work and would play lots of Sabbath and Maiden when I was in elementary school. We both hung out at a record shop called Slipped Disc by my house where I bought my first records - Glassjaw (local) and the New York Dolls. From there I learned about Johnny Thunders, the Dead Boys, 999, Crass, The Slits, Richard Hell, and eventually made my way to crust and street punk with some psychobilly and rockabilly like the Burnette brothers thanks to my dad. He was really encouraging in my musical education so I totally skipped over metal throughout high school and exclusively listened to punk and d-beat.
CR:
Here are some suggestions for Scandinavian folk. These are the ones I often find myself going back to over the decades.
1. Hedningarna: one of my favorite bands ever. These are two amazing albums by them.
CR:
Would you be interested in sharing a list of some of your favorite Celtic folk songs? The stuff that is the most important to you? I'd love to both hear and share that as well. It occurs to me that so many of my musical friendships over the years consisted of a sharing of music back and forth; this is a treat.
FP:
Yes!
Wanted to share this Sami song first:
Celtic favs:
Altan - Dónal Agus Mórag
Robbie O’Connell - William Hollander (not really a Celtic folk song, more of an Irish-influenced sea chantey)
Óró sé do bheatha ‘bhaile
Solas - The Wind That Shakes the Barley
Lunaris - Brian Ború’s March
Danú - An Drúcht Geal Cheo
Also not sure if you’re interested in waulking songs (female work songs from Scotland):
CR:
Thank you! Have you ever delved into Fairport Convention or similar folk rock groups?
FP:
No, I haven't. Who's that?
CR:
So, Fairport Convention is English folk rock~ often cited as the first English folk rock band. I'll share some of it with you.
We've both experienced some loss this fall~ I assume that other people have particular songs they listen to when grieving (a process which seems to be going on nearly consistently as I get older, which I suppose is how things go).
Anyhow, here is 'Meet on the Ledge':
Here is 'A Sailor's Life'.
Fairport still exists, but for me it was never the same after Richard Thompson left (he's one of my favorite guitarist songwriters ever). The vocalist on all the stuff I'm sharing with you is Sandy Denny~ who died far too young. I don't bother listening to their stuff after these two have gone, but they created a collection of masterful albums. The early ones were a mix of rock and covers with folk inflections, but they eventually leaned right into the folk and recorded one of my favorite albums, which incidentally seems to have influenced a bunch of dungeon synth people. It is called 'Liege and Lief' and it is a pleasure to share it with you if you haven't heard it before:
FP:
Thank you so much for sharing these with me. A Sailor’s Life is particularly fantastic. Liege and Lief - loving it already!
CR:
Can you tell me about your intentions when you started Fiadh Productions? What does running a small label entail?
FP:
So my intentions, when starting a label again, were to a) help animals and b) put out music that I really liked. I was able to do both with Broken Limbs but I knew that I had some more expenses behind me especially continuing my work in animal welfare. It’s hard for small artists to figure out how to release music, and my intention has always been to help good music get out there to be heard. So running a small label means a ton of emails, a lot of packing and shipping, and a lot of work actually getting releases ready for production. Each plant and format has different requirements for both art and music files, and if you can’t afford to outsource this you need to learn how to do it yourself. I’ve definitely gotten a lot better at it! Day to day I make sure I’m on top of my communications with customers and artists, answering any questions I can, keeping track of orders in production and through the post, and making sure each order that’s in stock gets out the same day. Working from home is helpful but not when you have a 19 month old and a bunch of dogs.
CR:
Can you talk about the overall aesthetic of your label? Visually, your releases are striking~ beautiful in fact. What role do you play in developing this aspect?
FP:
This is so flattering - thank you so so so much! So I always ask the artists for their vision first, and try and stick with exactly what they want or what they were going for. If they don’t want to or don’t have time or the means to do the layout, which is frequent and quite ok since I enjoy this, I take whatever images they already have or are thinking of and start messing around in photoshop. I try and make sure the cassette is consistent with the J-card or vice versa and overall do my best to tie a theme together. I’m not an artist so it’s really nice to hear that people are enjoying the aesthetic of the physical releases!
CR:
We will have to disagree on whether you are or are not an artist. There is a cohesive quality to your releases that is enviable and engaging even before you listen to the music.
Could you talk about how your label and the artists who work with you are trying to help different causes? Why are animals in particular so dear to your own heart?
FP:
So I grew up with a mom who rescued animals from the street, wildlife and dogs alike, and we always had dogs and foster dogs in our home. My mom has always volunteered with animal shelters and dog rescues and we have a rotating cast of 4-5 dogs in our home at all times. She’s also a professional photographer that specializes in animals! I have always loved animals, especially dogs as I’ve never had a cat due to my dad being severely allergic. When I started PR professionally, I didn’t just start in the music industry. At the same time I started working in communications for North Shore Animal League America, the largest no-kill animal shelter in the United States as well as working with my mentor who was the first female producer in news television. She was a VP at another national nonprofit and left to start her own PR firm that specialized in animals and the pet industry. I worked for her on and off for many years and learned so much, and eventually freelanced myself (Including at Alley Cat Allies) while working at various animal rescues in a PR and volunteer capacity. I had to take some time off working in animal welfare full time after doing campaigns with a group that works to end the Yulin Festival as well as animal cruelty against feral cat colonies, which was really difficult. Now I’m back professionally in animal rights, which is a bit of a different sector but just as important. With Broken Limbs and my prior PR experience, I was still able to raise money for awareness for animals, like with the Metaldudes Cats Book, which benefited a great rescue in my area that I still support, Bobbi & The Strays, but this label gives me the opportunity to maximize my experience and reach for animals while doing what I do best!
CR:
It does my heart good to hear about people working for change and following their hearts. Every time I look at one of your label's releases, I am pleased to see the artists contributing back to the world. Bariann, do you have any particular goals for your label moving forward?
FP:
Thank you!! So my goal is to do more blackened thrash which is a personal thing that I like because the imagery and lyrics are often problematic and just as I’m trying to do with neofolk I'd like to show that there’s a safe space for this type of music as well. I also want to continue to expand, find some better options for distribution in Asia to lower shipping costs there, and ultimately save all the animals. I do have the compilation in April but I’d like to do something bigger, maybe some on the ground rescue work with artists or collect actual resources for shelters. I’ll be putting up a DIY winter cat shelter tutorial too but I keep forgetting to get straw!
CR:
Bariann, to close out our discussion, are there any other labels or artists whose work inspires your own?
FP:
So I’m always inspired by labels like Bindrune and Tank Crimes who have kept a great ethos for so long, I also really enjoy working with Vita Detestabilis Records, Realm & Ritual, WereGnome, and Folkvangr, who are all extremely dedicated and wonderful. For inspiration I really look to visual artists like Lily Seika Jones, Laura Sheridan and Orphné Achéron since curating a beautiful but also whimsical aesthetic with a focus on strong female characters is important to me. For releases, I’m really excited about the upcoming Uamh full-length, the new Bergfried, as well as some more collaborations with Irish artists that are in the works!
Oh my god and the comp of course!
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So, that is our conversation, spread out over almost a year, starting in late 2022 and ending mid 2023. I’m sure that some of Bariann’s answers might be different had I asked my questions now, but I think there is still value in sharing our conversation.
I also think that sharing some of the music that Fiadh Productions has put out which has caught my attention over the past couple of years is important, so here you go:
1.
This release by Hircine is mesmerizing, introspective loveliness. It is magical.
3.
Eckel weaves an atmospheric narrative here about Vlad the Impaler that is equal parts disturbing and beautiful.
4.
Without Fiadh, I doubt I ever would have encountered Robes of Snow and this acoustic neofolk gem. Thank you.
5.
Fungal comfort synth by Faye. Treat yourself, you deserve this listen and you don’t even know it.
6.
Crown of Asteria terrifies me; this reminds me of feelings I sometimes experience in the deep countryside and the wilds which are hard to articulate. There is so much in here and I’m so glad that this exists.
7.
From the description on Fiadh’s bandcamp page:
“This compilation was finally realized after seeing the vital work being done by Transform A Street Dog, a nonprofit organization on the ground in Ukraine rescuing animals from an active warzone, treating them and providing medical care, and finding them foster and permanent homes worldwide. The goal is the same as Fiadh’s: to make the world a safer and more compassionate place for animals, especially those in acute danger. This compilation is set at NYP to encourage everyone to not only donate what they can if they’re able, but to check out the artists who volunteered to be a part of this incredible cause through their creativity and talent.”
8.
Doom infused traditional tunes, a fascinating and strangely natural sonic exploration:
9.
This is gut punching existential black gaze from Lesath. You don’t know what you’re missing.
10.
This album from Fortress Of The Pearl contains depths. Let yourself surrender to it, there are wonderful juxtapositions here to explore.
11.
Here is some utterly captivating transcendent folk music from Walden.
12.
Willow Tea is one of my favorite people and I am obsessed with their work. This is a perfect example of why that is.
13.
Here is nautical, textural, and emotional synth from Alkilith for drowning in.
14.
Another acoustic release, this time from a group called River. So easy to fall into and follow:
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I’m going to close this out sharing some additional interviews with Bariann and a great article on Fiadh Productions. Check them out if you are interested in learning more about the label!
Stereogum Fiadh Article
and finally, her contact info.
Fiadh Link Tree
Thank you so much, Bariann, for your time and patience.
The next interview in line is with Evergreen and I’m really excited to share it with you.
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A special thanks to Ruby for her support and encouragement.