Spotlight On... Housekind
Ahead of releasing their debut EP, we shine a spotlight on Edinburgh-based musician Housekind
Some things just go together: peanut butter and jam; wine and cheese; salty crisps and an ice cold beer. The union between OK Pal Records and Edinburgh-based, Irish-born musician Shea Martin is also a perfect match. As Housekind, Martin makes the kind of contemplative, soothing music that sits perfectly alongside the music of OK Pal founders Faith Eliott and Hailey Beavis; it feels almost made to measure.
On Friday 16 June, Housekind releases their debut EP The Foam Road on the DIY label, combining the comforting storytelling of folk music with their Irish heritage through evocative compositions, rich collaborations and the use of traditional Irish instrumentation, like the bodhrán frame drum. To celebrate the release, we catch up with Martin to shine a spotlight on Housekind.
Can you tell us a bit about yourself? What prompted the move from Donegal to Edinburgh, and how do the two compare?
I came to Edinburgh via a four-year pit-stop in Dublin where I studied Popular Music Performance at Ballyfermot Rock School. I moved to Scotland to explore my creativity and ended up doing a Fine Art degree at Glasgow School of Art.
They are two very different places, but I feel connected to both. In Donegal, the music is so culturally embedded and rooted in tradition. There is the Scottish folk tradition here too which feels familiar to me, but there is also more diversity. I’ve been exposed to a much more eclectic music scene here but I really appreciate and resonate with both. The title of the EP, The Foam Road, was inspired by the physical and metaphorical journey between those two places.
Your EP sounds remarkably raw, and the introduction of your voice on opener C90 is goosebump-inducing. Musically, who/what inspires you? And can you tell us a bit more about the EP?
I grew up listening to a bizarre mixture of 90s grunge, metal, 60s/70s pop and then, on the other hand, Planxty, The Dubliners, Sean-nós singing, and all the local trad music. Nirvana has always been my main inspiration, although it may not be obvious listening to my music.
For me, I like that DIY ethos, mixing different types of music and performance to build a show. That’s inspiring to me – people welcoming different types of creativity, musical and artistic expression, making spaces where diversity of approach is welcome and supported. Bringing those elements together.
I’m interested in building texture through metaphor and symbolism. Salt Shield [track three on the EP], for example, has an image of this shield that dissolves away in water. You can protect yourself to an extent from the sting of painful experiences but really the resilience comes from absorbing them, acknowledging them and integrating them.
In the press release for The Foam Road, it states that you “pair parallels between vast cosmic worlds and minute, intimate moments.” What is it about this juxtaposition that you love, and how have you incorporated this idea into your musical tapestry?
Part of the privilege of growing up on the West Coast of Ireland is being able to connect with the beauty of the landscape there. It’s otherworldly and time doesn’t seem to exist in the same way. It’s like a different world and things have their own rhythm. It has this untouched beauty. It’s vast and intangible. I like that sense of things that you can’t grasp but they’re there, they exist. The Foam Road is literally and spatially a place between things, but is also more abstract, disappearing as you see it. It’s only there in passing.
In my experience, melody and lyrics have always been two sides of the same coin. I like the image of the tapestry; it's useful in thinking about this. It brings to mind the chords as the frame, the melody as the colour and the lyrics as the detail. Like a lot of artwork, there’s also hidden messages and meaning for those who are looking.
Even though the EP is a solo release, there are a lot of other musicians involved, in particular Robyn Dawson, who worked on arrangements, recorded and produced the record, and played strings. What was the collaborative process like between yourself and Robyn?
It was playful, kind and really nourishing. We took care with our communication and brought each other out of our comfort zones in a considered way. We have a lot of respect for each other; it was an empowering process to both be doing this for the first time together. We could really encourage and support each other through it. It was also just really fun; we laughed a lot!
You’re celebrating the EP release this weekend with a show in Edinburgh. What can people expect?
People can expect an exciting and dynamic show. Since working on The Foam Road I’ve been playing regularly with Callum Younger, who plays bodhrán on the EP. We’ll be side by side on the stage at the launch. Robyn will also be joining for a special performance on the night and there might even be a couple of other surprises too.
I’m delighted to announce that we have the wonderful Edinburgh-based songwriter Mally Smith opening the show. It will also feature an amazing set by Lisa Fannen, the experimental spoken word sound artist and author of Warp and Weft.
What does the rest of the year look like for Housekind?
After the EP launch, I will be playing at Platform, Glasgow on 7 July with Freda D'Souza & L.T. Leif as part of the OK Pal Takeover. Callum and I will be taking the summer to do some writing together. I’m also looking forward to recording a bespoke orchestral version of Salt Shield with Tinderbox Orchestra; I’ll be joining them for a couple of shows over the Fringe. After The Foam Road, a new album will be on the horizon.
The Foam Road is released on 16 Jun via OK Pal Records; Housekind plays Dragonfly, Edinburgh, 18 Jun; Platform, Easterhouse, Glasgow, 7 Jul