In November 2022 Dubliner Meryl Streek released his politically charged debut album ‘796’ via Venn Records. The title refers to the harrowing discovery of the secret burials of ‘796’ children at a former mother and baby home run by nuns in Tuam, County Galway. It was exposed by whistle-blower Christine Corless.
Meryl Streek used his voice to provide a raw and visceral telling of abuse of power in Ireland. After years in various bands, the now solo artist Meryl Streek caught the attention of music lovers who were educated by these songs and entertained by their delivery. Sometimes music is so much more than purely entertainment and so it is with Meryl Streek. Sadly its perhaps predictable that he hasn’t had the recognition on the airwaves that have afforded his contemporaries. Irish bands such as Kneecap, Gurriers and Enola Gay now find themselves on BBC Radio 6Music playlists but the struggle for media recognition continues, albeit live Meryl Streek goes from strength to strength. Exposure has been aided by support slots in 2023 including PiL, Bob Vylan, Kneecap and Benefits.
—
—
Going into 2024, Meryl Streek completed a headline tour at the start of the year and with sell out shows it was becoming obvious that the radio stations and streaming sites may not be pushing him, but audiences were fully engaged. And so what’s next? The pressures of a independent solo artist means multiple demands on their time but second album ‘Songs For The Deceased’ has arrived to outstanding acclaim.
During a broad conversation over zoom I began by enquiring about the opening track ‘Welcome’. It appears to lay the groundwork for this album, as the voices are not only Irish – sadly the themes explored in ‘796’ exist elsewhere. “That’s why I wanted Kingsley (Hall, Benefits frontman) to do a song on it as well because I felt I wanted to bring a bit of the UK into this album with me, and I wanted him to show his anger at the UK while I handled Ireland. But yeah it’s a nice way to set the mood, and show this is what’s up ahead.”
‘796’ was very much a solo effort and ‘Songs For The Deceased’ includes a number of collaborations. “I asked a lot of people to play on the second album, and I’m already eight songs into the third album and I’ve got the same buzz going with different people helping me.”
It’s always intriguing to learn about the creation of a second album by an artist. A debut album is inevitably particularly important in the history of any artist. Was there is a difference in the production of this second album for Meryl Streek? “Honestly, not a lot of difference. It was a few songs that were left off ‘796’, plus a whole bunch of new songs that I reworked. But the production is always the same. It’s me at home, getting stoned, at five in the morning making songs!” The album was again produced by Dan Doherty at his Darklands Audio Recording Studios in Dublin.
—
—
The first single released from ‘Songs For The Deceased’ is ‘Paddy’, inspired by a deceased uncle of Meryl Streek. It’s a thought-provoking track recounting a man who wanted to use his time to gain knowledge. “You get thrown into a society where you’re told what to learn. There is a lot of stuff we are not learning about because it doesn’t suit the people in charge. Paddy was his own character I think he used to get through about 10 books every couple of weeks. He just never stopped, that was his whole existence. He just wanted to learn and he was so good at it. He was a smart guy and he really enjoyed educating himself.”
To be clear Meryl Streek is not shying away from social injustice and corruption just because this is his second album. ‘Terence’ is one such example. “When I moved back from Canada two years ago I got put onto this case by an Irish artist friend of mine called Spicebag, who does a lot of political work. My friend Gemma Dunleavy is also quite close to the case. Basically 20 years ago a kid left his house to go buy a paintbrush, told his family he loved them, and they never saw him again. He was arrested that day for a crime he didn’t commit. They put him in a cell. They gave him a hard time and he was found dead, I think the following morning. He was hung from a rope and the whole premise of that song is that an innocent kid doesn’t kill himself. But coincidently the jail cell was repainted the following morning as well, so there was a lot of evidence lost. The family are still protesting every single year to find out what happened to their kid. All fingers are pointing to the Gardai because they had threatened them in the past.”
It’s important to note here that the family gave their blessing to Meryl Streek to produce the track. “That case has been haunting Dublin for 20 years now. I go to the protests now any time they’re happening. I’m interested in this kind of stuff, I think everyone should be.”
When it comes to his live performance, Meryl Streek performs solo and it’s an unforgettable experience. He does not hold back, the frenetic beats, punk aesthetic and impassioned vocal delivery making for a unique experience. He will get into the crowd, explaining: “I think why I get a bit closer is that it adds to the whole, ‘oh shit this guy’s not messing around’. I think it’s a little bit different when you’re jumping around onstage, to being that close to me and I’m very serious about what I’m saying. I tend to get into the crowd for ‘Terence’ and ‘Paddy’ because they’re two of the songs I just want everyone to listen to. They’re the two songs when I’m most like, ‘just listen’”.
It’s an emotional, thrilling experience for the audience but one that is also educational. “A lot of these cases don’t leave Ireland and they don’t want a lot of these cases to leave Ireland so I’m just trying to be a devious little prick and get them to the UK!” When it comes to playing in Ireland, it’s complicated, such is the nature of the content of his songs. “Ireland has always been ten years behind. It’s crazy. The gigs I’m doing are slowly getting busier but I don’t play Ireland that often because I don’t want to. I don’t get the same satisfaction as playing in the UK.”
“I think it’s quite weird as well to hear someone with a Dublin accent going on about these things. The Irish crowds are getting better but I’m not going to overplay here until there is something there. I’m going to sit tight.”
—
—
As already mentioned, Meryl Streek has toured extensively particularly in the last 12 months “clocking in at almost 200 gigs since this started.” There will be a headline tour in the autumn in support of ‘Songs For The Deceased’. Social media may have its downsides but for independent artists it can provide a valuable platform to spread their music. One of the joys of social media has the growth of fangroups, where communities of the artists supporters connect. For Meryl Streek the facebook fangroup “Bon Secour, Bonjour” has over 700 members. “And it’s the commitment of every single one of them that’s absolutely fascinating. But it’s been like that since day one. I had some woman fly from New York to see me in Paris, and another guy who travelled 600 miles to go to that gig. It’s unbelievable.”
Meryl Streek has already played in the EU but graces the stage of Left of the Dial in Rotterdam in October, the first time performing in Holland. However one statement made during this conversation took CLASH aback: “and I’m excited about album number three, I never stop!” This was swiftly followed by “and I’m working on a side project as well. I have an instrumental album coming out as well!” This creative output is great to see but we do return briefly to discuss just how little coverage there is of Meryl Streek on streaming platforms and on radio.
CLASH notes with interest a track on the second album called ‘The Industry’ and I mention that perhaps it shouldn’t be released as a single, such is its tirade against the music industry. “I don’t give a shite” is the honest response, “someone needed to say it.” Now here is an interesting story. Meryl Streek shares that he had a go at Hot Press (Dublin based music publication) on the first album. “They called me in to do a podcast with Mary Coughlan and now they just love me. A bit of honesty like that it’s fun. But the industry is so fucking toxic and doomed as it is so I thought: Fuck it”.
To end on a happier note we close by discussing Meryl Streeks last single before the album is released, ‘Dogs’. Cal Graham from The Chisel is also on the track, another of the collaborators on ‘Songs For The Deceased’. So, come on Spotify, BBC Radio6Music and RTE and the rest – it’s a tough world out there and there is no reason why it cannot be expressed in contemporary music. The channels must be open for education, discussion and progress and artists such as Meryl Streek are important to not only entertain us but to provide us with knowledge on issues we will probably not be aware of.
—
—
‘Songs For Deceased’ is out now.
Words: Julia Mason
—
In November 2022 Dubliner Meryl Streek released his politically charged debut album ‘796’ via Venn Records. The title refers to the harrowing discovery of the secret burials of ‘796’ children at a former mother and baby home run by nuns in Tuam, County Galway. It was exposed by whistle-blower Christine Corless.
Meryl Streek used his voice to provide a raw and visceral telling of abuse of power in Ireland. After years in various bands, the now solo artist Meryl Streek caught the attention of music lovers who were educated by these songs and entertained by their delivery. Sometimes music is so much more than purely entertainment and so it is with Meryl Streek. Sadly its perhaps predictable that he hasn’t had the recognition on the airwaves that have afforded his contemporaries. Irish bands such as Kneecap, Gurriers and Enola Gay now find themselves on BBC Radio 6Music playlists but the struggle for media recognition continues, albeit live Meryl Streek goes from strength to strength. Exposure has been aided by support slots in 2023 including PiL, Bob Vylan, Kneecap and Benefits.
—
—
Going into 2024, Meryl Streek completed a headline tour at the start of the year and with sell out shows it was becoming obvious that the radio stations and streaming sites may not be pushing him, but audiences were fully engaged. And so what’s next? The pressures of a independent solo artist means multiple demands on their time but second album ‘Songs For The Deceased’ has arrived to outstanding acclaim.
During a broad conversation over zoom I began by enquiring about the opening track ‘Welcome’. It appears to lay the groundwork for this album, as the voices are not only Irish – sadly the themes explored in ‘796’ exist elsewhere. “That’s why I wanted Kingsley (Hall, Benefits frontman) to do a song on it as well because I felt I wanted to bring a bit of the UK into this album with me, and I wanted him to show his anger at the UK while I handled Ireland. But yeah it’s a nice way to set the mood, and show this is what’s up ahead.”
‘796’ was very much a solo effort and ‘Songs For The Deceased’ includes a number of collaborations. “I asked a lot of people to play on the second album, and I’m already eight songs into the third album and I’ve got the same buzz going with different people helping me.”
It’s always intriguing to learn about the creation of a second album by an artist. A debut album is inevitably particularly important in the history of any artist. Was there is a difference in the production of this second album for Meryl Streek? “Honestly, not a lot of difference. It was a few songs that were left off ‘796’, plus a whole bunch of new songs that I reworked. But the production is always the same. It’s me at home, getting stoned, at five in the morning making songs!” The album was again produced by Dan Doherty at his Darklands Audio Recording Studios in Dublin.
—
—
The first single released from ‘Songs For The Deceased’ is ‘Paddy’, inspired by a deceased uncle of Meryl Streek. It’s a thought-provoking track recounting a man who wanted to use his time to gain knowledge. “You get thrown into a society where you’re told what to learn. There is a lot of stuff we are not learning about because it doesn’t suit the people in charge. Paddy was his own character I think he used to get through about 10 books every couple of weeks. He just never stopped, that was his whole existence. He just wanted to learn and he was so good at it. He was a smart guy and he really enjoyed educating himself.”
To be clear Meryl Streek is not shying away from social injustice and corruption just because this is his second album. ‘Terence’ is one such example. “When I moved back from Canada two years ago I got put onto this case by an Irish artist friend of mine called Spicebag, who does a lot of political work. My friend Gemma Dunleavy is also quite close to the case. Basically 20 years ago a kid left his house to go buy a paintbrush, told his family he loved them, and they never saw him again. He was arrested that day for a crime he didn’t commit. They put him in a cell. They gave him a hard time and he was found dead, I think the following morning. He was hung from a rope and the whole premise of that song is that an innocent kid doesn’t kill himself. But coincidently the jail cell was repainted the following morning as well, so there was a lot of evidence lost. The family are still protesting every single year to find out what happened to their kid. All fingers are pointing to the Gardai because they had threatened them in the past.”
It’s important to note here that the family gave their blessing to Meryl Streek to produce the track. “That case has been haunting Dublin for 20 years now. I go to the protests now any time they’re happening. I’m interested in this kind of stuff, I think everyone should be.”
When it comes to his live performance, Meryl Streek performs solo and it’s an unforgettable experience. He does not hold back, the frenetic beats, punk aesthetic and impassioned vocal delivery making for a unique experience. He will get into the crowd, explaining: “I think why I get a bit closer is that it adds to the whole, ‘oh shit this guy’s not messing around’. I think it’s a little bit different when you’re jumping around onstage, to being that close to me and I’m very serious about what I’m saying. I tend to get into the crowd for ‘Terence’ and ‘Paddy’ because they’re two of the songs I just want everyone to listen to. They’re the two songs when I’m most like, ‘just listen’”.
It’s an emotional, thrilling experience for the audience but one that is also educational. “A lot of these cases don’t leave Ireland and they don’t want a lot of these cases to leave Ireland so I’m just trying to be a devious little prick and get them to the UK!” When it comes to playing in Ireland, it’s complicated, such is the nature of the content of his songs. “Ireland has always been ten years behind. It’s crazy. The gigs I’m doing are slowly getting busier but I don’t play Ireland that often because I don’t want to. I don’t get the same satisfaction as playing in the UK.”
“I think it’s quite weird as well to hear someone with a Dublin accent going on about these things. The Irish crowds are getting better but I’m not going to overplay here until there is something there. I’m going to sit tight.”
—
—
As already mentioned, Meryl Streek has toured extensively particularly in the last 12 months “clocking in at almost 200 gigs since this started.” There will be a headline tour in the autumn in support of ‘Songs For The Deceased’. Social media may have its downsides but for independent artists it can provide a valuable platform to spread their music. One of the joys of social media has the growth of fangroups, where communities of the artists supporters connect. For Meryl Streek the facebook fangroup “Bon Secour, Bonjour” has over 700 members. “And it’s the commitment of every single one of them that’s absolutely fascinating. But it’s been like that since day one. I had some woman fly from New York to see me in Paris, and another guy who travelled 600 miles to go to that gig. It’s unbelievable.”
Meryl Streek has already played in the EU but graces the stage of Left of the Dial in Rotterdam in October, the first time performing in Holland. However one statement made during this conversation took CLASH aback: “and I’m excited about album number three, I never stop!” This was swiftly followed by “and I’m working on a side project as well. I have an instrumental album coming out as well!” This creative output is great to see but we do return briefly to discuss just how little coverage there is of Meryl Streek on streaming platforms and on radio.
CLASH notes with interest a track on the second album called ‘The Industry’ and I mention that perhaps it shouldn’t be released as a single, such is its tirade against the music industry. “I don’t give a shite” is the honest response, “someone needed to say it.” Now here is an interesting story. Meryl Streek shares that he had a go at Hot Press (Dublin based music publication) on the first album. “They called me in to do a podcast with Mary Coughlan and now they just love me. A bit of honesty like that it’s fun. But the industry is so fucking toxic and doomed as it is so I thought: Fuck it”.
To end on a happier note we close by discussing Meryl Streeks last single before the album is released, ‘Dogs’. Cal Graham from The Chisel is also on the track, another of the collaborators on ‘Songs For The Deceased’. So, come on Spotify, BBC Radio6Music and RTE and the rest – it’s a tough world out there and there is no reason why it cannot be expressed in contemporary music. The channels must be open for education, discussion and progress and artists such as Meryl Streek are important to not only entertain us but to provide us with knowledge on issues we will probably not be aware of.
—
—
‘Songs For Deceased’ is out now.
Words: Julia Mason
—
In November 2022 Dubliner Meryl Streek released his politically charged debut album ‘796’ via Venn Records. The title refers to the harrowing discovery of the secret burials of ‘796’ children at a former mother and baby home run by nuns in Tuam, County Galway. It was exposed by whistle-blower Christine Corless.
Meryl Streek used his voice to provide a raw and visceral telling of abuse of power in Ireland. After years in various bands, the now solo artist Meryl Streek caught the attention of music lovers who were educated by these songs and entertained by their delivery. Sometimes music is so much more than purely entertainment and so it is with Meryl Streek. Sadly its perhaps predictable that he hasn’t had the recognition on the airwaves that have afforded his contemporaries. Irish bands such as Kneecap, Gurriers and Enola Gay now find themselves on BBC Radio 6Music playlists but the struggle for media recognition continues, albeit live Meryl Streek goes from strength to strength. Exposure has been aided by support slots in 2023 including PiL, Bob Vylan, Kneecap and Benefits.
—
—
Going into 2024, Meryl Streek completed a headline tour at the start of the year and with sell out shows it was becoming obvious that the radio stations and streaming sites may not be pushing him, but audiences were fully engaged. And so what’s next? The pressures of a independent solo artist means multiple demands on their time but second album ‘Songs For The Deceased’ has arrived to outstanding acclaim.
During a broad conversation over zoom I began by enquiring about the opening track ‘Welcome’. It appears to lay the groundwork for this album, as the voices are not only Irish – sadly the themes explored in ‘796’ exist elsewhere. “That’s why I wanted Kingsley (Hall, Benefits frontman) to do a song on it as well because I felt I wanted to bring a bit of the UK into this album with me, and I wanted him to show his anger at the UK while I handled Ireland. But yeah it’s a nice way to set the mood, and show this is what’s up ahead.”
‘796’ was very much a solo effort and ‘Songs For The Deceased’ includes a number of collaborations. “I asked a lot of people to play on the second album, and I’m already eight songs into the third album and I’ve got the same buzz going with different people helping me.”
It’s always intriguing to learn about the creation of a second album by an artist. A debut album is inevitably particularly important in the history of any artist. Was there is a difference in the production of this second album for Meryl Streek? “Honestly, not a lot of difference. It was a few songs that were left off ‘796’, plus a whole bunch of new songs that I reworked. But the production is always the same. It’s me at home, getting stoned, at five in the morning making songs!” The album was again produced by Dan Doherty at his Darklands Audio Recording Studios in Dublin.
—
—
The first single released from ‘Songs For The Deceased’ is ‘Paddy’, inspired by a deceased uncle of Meryl Streek. It’s a thought-provoking track recounting a man who wanted to use his time to gain knowledge. “You get thrown into a society where you’re told what to learn. There is a lot of stuff we are not learning about because it doesn’t suit the people in charge. Paddy was his own character I think he used to get through about 10 books every couple of weeks. He just never stopped, that was his whole existence. He just wanted to learn and he was so good at it. He was a smart guy and he really enjoyed educating himself.”
To be clear Meryl Streek is not shying away from social injustice and corruption just because this is his second album. ‘Terence’ is one such example. “When I moved back from Canada two years ago I got put onto this case by an Irish artist friend of mine called Spicebag, who does a lot of political work. My friend Gemma Dunleavy is also quite close to the case. Basically 20 years ago a kid left his house to go buy a paintbrush, told his family he loved them, and they never saw him again. He was arrested that day for a crime he didn’t commit. They put him in a cell. They gave him a hard time and he was found dead, I think the following morning. He was hung from a rope and the whole premise of that song is that an innocent kid doesn’t kill himself. But coincidently the jail cell was repainted the following morning as well, so there was a lot of evidence lost. The family are still protesting every single year to find out what happened to their kid. All fingers are pointing to the Gardai because they had threatened them in the past.”
It’s important to note here that the family gave their blessing to Meryl Streek to produce the track. “That case has been haunting Dublin for 20 years now. I go to the protests now any time they’re happening. I’m interested in this kind of stuff, I think everyone should be.”
When it comes to his live performance, Meryl Streek performs solo and it’s an unforgettable experience. He does not hold back, the frenetic beats, punk aesthetic and impassioned vocal delivery making for a unique experience. He will get into the crowd, explaining: “I think why I get a bit closer is that it adds to the whole, ‘oh shit this guy’s not messing around’. I think it’s a little bit different when you’re jumping around onstage, to being that close to me and I’m very serious about what I’m saying. I tend to get into the crowd for ‘Terence’ and ‘Paddy’ because they’re two of the songs I just want everyone to listen to. They’re the two songs when I’m most like, ‘just listen’”.
It’s an emotional, thrilling experience for the audience but one that is also educational. “A lot of these cases don’t leave Ireland and they don’t want a lot of these cases to leave Ireland so I’m just trying to be a devious little prick and get them to the UK!” When it comes to playing in Ireland, it’s complicated, such is the nature of the content of his songs. “Ireland has always been ten years behind. It’s crazy. The gigs I’m doing are slowly getting busier but I don’t play Ireland that often because I don’t want to. I don’t get the same satisfaction as playing in the UK.”
“I think it’s quite weird as well to hear someone with a Dublin accent going on about these things. The Irish crowds are getting better but I’m not going to overplay here until there is something there. I’m going to sit tight.”
—
—
As already mentioned, Meryl Streek has toured extensively particularly in the last 12 months “clocking in at almost 200 gigs since this started.” There will be a headline tour in the autumn in support of ‘Songs For The Deceased’. Social media may have its downsides but for independent artists it can provide a valuable platform to spread their music. One of the joys of social media has the growth of fangroups, where communities of the artists supporters connect. For Meryl Streek the facebook fangroup “Bon Secour, Bonjour” has over 700 members. “And it’s the commitment of every single one of them that’s absolutely fascinating. But it’s been like that since day one. I had some woman fly from New York to see me in Paris, and another guy who travelled 600 miles to go to that gig. It’s unbelievable.”
Meryl Streek has already played in the EU but graces the stage of Left of the Dial in Rotterdam in October, the first time performing in Holland. However one statement made during this conversation took CLASH aback: “and I’m excited about album number three, I never stop!” This was swiftly followed by “and I’m working on a side project as well. I have an instrumental album coming out as well!” This creative output is great to see but we do return briefly to discuss just how little coverage there is of Meryl Streek on streaming platforms and on radio.
CLASH notes with interest a track on the second album called ‘The Industry’ and I mention that perhaps it shouldn’t be released as a single, such is its tirade against the music industry. “I don’t give a shite” is the honest response, “someone needed to say it.” Now here is an interesting story. Meryl Streek shares that he had a go at Hot Press (Dublin based music publication) on the first album. “They called me in to do a podcast with Mary Coughlan and now they just love me. A bit of honesty like that it’s fun. But the industry is so fucking toxic and doomed as it is so I thought: Fuck it”.
To end on a happier note we close by discussing Meryl Streeks last single before the album is released, ‘Dogs’. Cal Graham from The Chisel is also on the track, another of the collaborators on ‘Songs For The Deceased’. So, come on Spotify, BBC Radio6Music and RTE and the rest – it’s a tough world out there and there is no reason why it cannot be expressed in contemporary music. The channels must be open for education, discussion and progress and artists such as Meryl Streek are important to not only entertain us but to provide us with knowledge on issues we will probably not be aware of.
—
—
‘Songs For Deceased’ is out now.
Words: Julia Mason
—
In November 2022 Dubliner Meryl Streek released his politically charged debut album ‘796’ via Venn Records. The title refers to the harrowing discovery of the secret burials of ‘796’ children at a former mother and baby home run by nuns in Tuam, County Galway. It was exposed by whistle-blower Christine Corless.
Meryl Streek used his voice to provide a raw and visceral telling of abuse of power in Ireland. After years in various bands, the now solo artist Meryl Streek caught the attention of music lovers who were educated by these songs and entertained by their delivery. Sometimes music is so much more than purely entertainment and so it is with Meryl Streek. Sadly its perhaps predictable that he hasn’t had the recognition on the airwaves that have afforded his contemporaries. Irish bands such as Kneecap, Gurriers and Enola Gay now find themselves on BBC Radio 6Music playlists but the struggle for media recognition continues, albeit live Meryl Streek goes from strength to strength. Exposure has been aided by support slots in 2023 including PiL, Bob Vylan, Kneecap and Benefits.
—
—
Going into 2024, Meryl Streek completed a headline tour at the start of the year and with sell out shows it was becoming obvious that the radio stations and streaming sites may not be pushing him, but audiences were fully engaged. And so what’s next? The pressures of a independent solo artist means multiple demands on their time but second album ‘Songs For The Deceased’ has arrived to outstanding acclaim.
During a broad conversation over zoom I began by enquiring about the opening track ‘Welcome’. It appears to lay the groundwork for this album, as the voices are not only Irish – sadly the themes explored in ‘796’ exist elsewhere. “That’s why I wanted Kingsley (Hall, Benefits frontman) to do a song on it as well because I felt I wanted to bring a bit of the UK into this album with me, and I wanted him to show his anger at the UK while I handled Ireland. But yeah it’s a nice way to set the mood, and show this is what’s up ahead.”
‘796’ was very much a solo effort and ‘Songs For The Deceased’ includes a number of collaborations. “I asked a lot of people to play on the second album, and I’m already eight songs into the third album and I’ve got the same buzz going with different people helping me.”
It’s always intriguing to learn about the creation of a second album by an artist. A debut album is inevitably particularly important in the history of any artist. Was there is a difference in the production of this second album for Meryl Streek? “Honestly, not a lot of difference. It was a few songs that were left off ‘796’, plus a whole bunch of new songs that I reworked. But the production is always the same. It’s me at home, getting stoned, at five in the morning making songs!” The album was again produced by Dan Doherty at his Darklands Audio Recording Studios in Dublin.
—
—
The first single released from ‘Songs For The Deceased’ is ‘Paddy’, inspired by a deceased uncle of Meryl Streek. It’s a thought-provoking track recounting a man who wanted to use his time to gain knowledge. “You get thrown into a society where you’re told what to learn. There is a lot of stuff we are not learning about because it doesn’t suit the people in charge. Paddy was his own character I think he used to get through about 10 books every couple of weeks. He just never stopped, that was his whole existence. He just wanted to learn and he was so good at it. He was a smart guy and he really enjoyed educating himself.”
To be clear Meryl Streek is not shying away from social injustice and corruption just because this is his second album. ‘Terence’ is one such example. “When I moved back from Canada two years ago I got put onto this case by an Irish artist friend of mine called Spicebag, who does a lot of political work. My friend Gemma Dunleavy is also quite close to the case. Basically 20 years ago a kid left his house to go buy a paintbrush, told his family he loved them, and they never saw him again. He was arrested that day for a crime he didn’t commit. They put him in a cell. They gave him a hard time and he was found dead, I think the following morning. He was hung from a rope and the whole premise of that song is that an innocent kid doesn’t kill himself. But coincidently the jail cell was repainted the following morning as well, so there was a lot of evidence lost. The family are still protesting every single year to find out what happened to their kid. All fingers are pointing to the Gardai because they had threatened them in the past.”
It’s important to note here that the family gave their blessing to Meryl Streek to produce the track. “That case has been haunting Dublin for 20 years now. I go to the protests now any time they’re happening. I’m interested in this kind of stuff, I think everyone should be.”
When it comes to his live performance, Meryl Streek performs solo and it’s an unforgettable experience. He does not hold back, the frenetic beats, punk aesthetic and impassioned vocal delivery making for a unique experience. He will get into the crowd, explaining: “I think why I get a bit closer is that it adds to the whole, ‘oh shit this guy’s not messing around’. I think it’s a little bit different when you’re jumping around onstage, to being that close to me and I’m very serious about what I’m saying. I tend to get into the crowd for ‘Terence’ and ‘Paddy’ because they’re two of the songs I just want everyone to listen to. They’re the two songs when I’m most like, ‘just listen’”.
It’s an emotional, thrilling experience for the audience but one that is also educational. “A lot of these cases don’t leave Ireland and they don’t want a lot of these cases to leave Ireland so I’m just trying to be a devious little prick and get them to the UK!” When it comes to playing in Ireland, it’s complicated, such is the nature of the content of his songs. “Ireland has always been ten years behind. It’s crazy. The gigs I’m doing are slowly getting busier but I don’t play Ireland that often because I don’t want to. I don’t get the same satisfaction as playing in the UK.”
“I think it’s quite weird as well to hear someone with a Dublin accent going on about these things. The Irish crowds are getting better but I’m not going to overplay here until there is something there. I’m going to sit tight.”
—
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As already mentioned, Meryl Streek has toured extensively particularly in the last 12 months “clocking in at almost 200 gigs since this started.” There will be a headline tour in the autumn in support of ‘Songs For The Deceased’. Social media may have its downsides but for independent artists it can provide a valuable platform to spread their music. One of the joys of social media has the growth of fangroups, where communities of the artists supporters connect. For Meryl Streek the facebook fangroup “Bon Secour, Bonjour” has over 700 members. “And it’s the commitment of every single one of them that’s absolutely fascinating. But it’s been like that since day one. I had some woman fly from New York to see me in Paris, and another guy who travelled 600 miles to go to that gig. It’s unbelievable.”
Meryl Streek has already played in the EU but graces the stage of Left of the Dial in Rotterdam in October, the first time performing in Holland. However one statement made during this conversation took CLASH aback: “and I’m excited about album number three, I never stop!” This was swiftly followed by “and I’m working on a side project as well. I have an instrumental album coming out as well!” This creative output is great to see but we do return briefly to discuss just how little coverage there is of Meryl Streek on streaming platforms and on radio.
CLASH notes with interest a track on the second album called ‘The Industry’ and I mention that perhaps it shouldn’t be released as a single, such is its tirade against the music industry. “I don’t give a shite” is the honest response, “someone needed to say it.” Now here is an interesting story. Meryl Streek shares that he had a go at Hot Press (Dublin based music publication) on the first album. “They called me in to do a podcast with Mary Coughlan and now they just love me. A bit of honesty like that it’s fun. But the industry is so fucking toxic and doomed as it is so I thought: Fuck it”.
To end on a happier note we close by discussing Meryl Streeks last single before the album is released, ‘Dogs’. Cal Graham from The Chisel is also on the track, another of the collaborators on ‘Songs For The Deceased’. So, come on Spotify, BBC Radio6Music and RTE and the rest – it’s a tough world out there and there is no reason why it cannot be expressed in contemporary music. The channels must be open for education, discussion and progress and artists such as Meryl Streek are important to not only entertain us but to provide us with knowledge on issues we will probably not be aware of.
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‘Songs For Deceased’ is out now.
Words: Julia Mason
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