“DEREVAUN SERAUN is a piece I wrote a couple years back in five movements for voice, piano and string trio. Each movement is written about a different piece of literature, exploring the value I see in each work and the impression it has made on me, and there is nothing more to it than that.” Kiran Leonard

It’s a simple and modest description, but there is a great deal more to Derevaun Seraun.

The title itself is taken from a James Joyce short story, Eveline. There is no official translation of what “Derevaun Seraun” means in Gaelic, some guessing that it equates to “the end of pain” or “the end of pain is pleasure” or even “the end of freedom”. One suspects that Leonard enjoys the lack of clarity around the phrase – not everything has to be explained away.

“I think that when a work resonates with you it is an instinctive response to something. You can be taught to understand a challenging book, but not to feel affection for it; I think a lot of conversation around art, especially around literature, sometimes forgets this.”

‘Could She Still Draw Back?’ is inspired by Eveline, and is the most transparent of the lyrics on this record. It’s an examination of conflict – the safety of home versus the intrigue of a new and unknown world.

The stark, naked opening passage of simple, thin piano chords and Leonard’s vulnerable voice is gently warmed by strings, and it’s immediately obvious that he is keen to expand on the musical landscape of previous album Grapefruit (even if both were written around the same sort of time). The interplay between piano, strings and voice grows as the song progresses and it stealthily envelopes the listener.

‘Living With Your Ailments’ follows and is deeply melodic. Its intro contains sweeping, circular string movements, driven by insistent piano stabs. It’s gorgeous stuff. That musical tapestry is coupled with a vocal that fights and counterpoints; at times it feels like anti-melody and at others as if Leonard is the narrator, reading from a book. It’s one of the most beautiful things he’s written to date, albeit beautiful in an unconventional way – a beauty of creativity and passion; a vibrant collision of styles and ideas.

Like Leonard’s previous works, it warrants repeated listens to uncover the detail and appreciate the complex arc of the melody, yet there is also an immediacy about the song. A positive energy underscores it and gives rise to a sense of optimism and excitement: “There is a happiness beyond meaning.” pokes out as a line that forms a synergy with the music. Elsewhere: “I can just be mortal, Godless and free,” embraces the joie de vivre that the arrangement creates.

‘A Particle of Flesh Refuses the Consummation of Death’ presents more of a challenge to the listener. Its melodramatic string arrangement is rich with menace, but is off-set by elaborate and dextrous piano. It’s an arrangement that certainly showcases Leonard’s imagination as it twists and turns around unexpected corners. It’s also the most dissonant cut on the record.

‘The Mute Wide-Open Eye of All Things’ is the penultimate piece, and follows nicely from ‘A Particle of Flesh…’. It’s short and punchy – over in about two and a half minutes. The intricate opening is heavily influenced by modern classical and quickly gives way to pulsing piano; full of purpose and body. The spoken vocal works really well and reminds me of Slint (a band who I believe have a wider influence on Leonard). The song quickly descends into classical chaos but doesn’t outstay its welcome. It’s impressive writing.

‘The Cure for Pneumothorax’ begins with a calming piano (much needed after the intensity of the previous song). It’s the most ambitious and wide-ranging arrangement – there are lots of different sections in this ten-minute track. Fans of These New Puritans will certainly appreciate Leonard’s efforts as chunky, dark piano chords fight with rich strings to provide an intriguing mix of sweetness and sombreness whilst the song lurches on from one section to the next. Much like ‘Pink Fruit’ off Grapefruit, it’s a journey of a composition that demands several listens before the listener can piece it all together, but it’s worth the effort.

Derevaun Seraun is further evidence of Kiran Leonard as an artist that pushes himself musically and intellectually. I have no idea what direction he’ll take his next project in, which is an exciting prospect given how much of a departure this is from Grapefruit. In the meantime, he’ll be on the road with a string trio to tour this album; something I eagerly anticipate.

Adam Atkins

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