Ronan O'BrienThe husband & wife duo of Driven Snow return with their second studio album, Mother Of Christ. After discovering this dynamic duo earlier this year, their latest record is as accessible, honest and deeply felt as you would expect from the dreamy pair.
The Dream Team
Husband-wife duo Kieran McGuinness and Emily Aylmer are familiar faces to Irish music fans. At least that was my first opinion on seeing them at Forest Fest earlier this summer. McGuinness’ voice was not only familiar, but when the duo played a cover of “Petardu“, I recognised him instantly for his time in Delorentos. Aylmer also struck me as a familiar face. Performing later with the legendary Mik Pyro, it became clear that she was a mainstay performing backing vocals with Republic of Loose.
Naturally, I was drawn to their beautiful sound. Dreamy vocals, sumptuous melodies and some fantastically introspective and poetic lyrics are enough to have me sold. The duo’s honest approach to their art is reflected soulfully in their 2024 debut studio album, A Kind Of Dreaming. A decadent mix of acoustic and electric melodies, combined with blissful harmonies and harrowing truths, the duo quickly grew on me.
Despite the responsibility of raising a family, the duo continue to explore the ups and downs of relationships, the chaos of life and pain of loss in their sophomore studio album, Mother Of Christ.
Always On Top
A soft guitar opens the album, with McGuinness’ melancholy voice. The opening lines of “Everybody knows that I messed you up“ sets the tone for the opener, “Knots“ impeccably. Aylmer joins from the pre-chorus, creating such a beautiful, dreamlike harmony. A melody the duo had sat on for over 10 years, it shows the beauty that can be created when something is unrushed. The delicate and emotional song about navigating external opinions on one’s relationship is such a perfect opener for the album.
Aylmer takes the lead on “Slowly, Gently“, which features some of the prettiest vocals across the album. The guitar and drums are prominent but the focus is absolutely on these dulcet vocals. The melodies are hypnotic and fuzzy that creates such a dreamlike atmosphere. Lyrically, it’s a yearning and heartwarming track about the mutual support the two give to eachother. It’s nothing short of beautiful, I love it.
Further hypnotic melodies come into play on the brilliant title track, “Mother Of Christ“. The guitar notes are dizzying, as are the drums, which are supported by lovely snippets of bass and piano. Aylmer takes the lead vocals again, whose vocal lines harmonise in fantastic fashion. The tone is further away from the tender concepts heard previously, this time exploring the familial drama that inevitably comes from close relationships.
You’re Calling Me Home
McGuinness returns to lead vocal duties on “They Swim We Follow“. Another track that is brimming with beautiful instrumentals, it’s a perfect indie folk track. The fuzzy guitar, the blissful piano, and the lively drums are a perfect combination, it creates such a fun atmosphere. Not to mention the serene vocal harmonies in the choruses, it’s yet another fantastic display of the duo’s talents.
“I Wasn’t Looking For You“ takes a bit of a u-turn from the fun-filled atmosphere of the last track. Opening the track is a simple piano melody with Aylmer’s rich vocals. As the percussion builds, the momentum does too. McGuinness supports their signature vocal harmonies as well as providing sustain on the guitar. The lyrics are pervasively mournful, exploring the unexpected difficulties that can arise in life and relationships.
“Dawn Chorus“ sounds like a bedtime lullaby at times, with its sparse and simplistic melody and soft harmonies. Behind the poetic lyrics detailing the cycle of lessons taught and learned by parent and child sits a spoken word piece by Aylmer’s mother. It’s a cool concept which really nails home the significance of generational understanding.
Further melancholy is induced by the heartbreaking “Swallow In The Eaves“. Another sparse yet simplistic melody works so well, not to mention the typical dreamlike harmonies by the duo. With lyrics exploring loss, the silence which follows “Were you someone before you met me“ is deafening. The duo really know the impact of less is more – this song is one clear example of that beauty.
Don’t Die With The Sins On Your Hand
The guitar that opens “Better Man“ sweetly identifies it as one of McGuinness’ tracks before his mellow vocals are introduced. The melody is great, as are the usual harmonies, but the real show-stopper are the lyrics. A tribute in a sense to his wonderful wife and children, McGuinness details the awe in which he sees them compared to himself. It’s soulful and it’s sweet – what’s not to like?
A slightly eerie piano opens “The Beast In The Woods“, where McGuinness continues on lead vocals. There’s a darker feel to this song, almost one of impending doom. And the lyrics seem to support that impression. Referring to a beast that will raise its ugly head and cause destruction, it seems to indicate the damage secrets can inflict on a healthy, happy relationship.
A muffled voice on a background television opens “Bohemian“, which sustains the unsettling aura created by the last track. McGuinness is the sole vocalist for the majority of the track, which is a clear indication that this is one close to his heart. A ballad which features droning instrumentals, it’s seeped in pain. Lyrically, it’s one that explores generational trauma, and the inclusion of Aylmer’s vocals harmonising at the end may show her support for him in reality.
The album finishes with the short reprise, “Since The Day You Were Born“. Ending as it started, it features both Aylmer and McGuinness reciting lyrics from the opening track in their harmonious fashion. With further elements heard throughout the album like Aylmer’s mother’s spoken word piece and the buzz of background noises, it serves as a beautiful full circle moment on a fantastic project.
Final Thoughts
From my very first impression of Driven Snow, I knew I would be hooked. Dulcet harmonies, instrumental artistry and a husband-wife powerhouse that shares their passion for music is a combination that is always going to work. Soon after my first introduction to the group, I fell in love with their debut album. So it doesn’t exactly surprise me that I love this album too.
What I really love about Mother Of Christ is the duo’s ability to create so much out of so little. The instrumentals are fantastic in the “fuller” tracks, but serve such a brilliant purpose in the more sparse ones. And of course, there’s the harmonies. The duo’s ability to create such a blissful, dreamlike sound with their voices never ceases to amaze me. On top of that, you have lyrics that explore a host of different emotions. From the humour in the title track, to the sorrow in later tracks, it’s a decadent mix.
The main theme I interpreted from the lyrics across the spectrum of themes on display is that of learning. The couple do not shy away from the honesty in their feelings and display the maturity in voicing what they have learned from each other, their families and themselves.
