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KATE MARTIN: Welcome to a
special episode of the National

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Trust podcast. I'm Kate Martin,
a lead ranger in the north of

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England.

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Today we're immersing ourselves
in nature’s poetry and music in

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this season of blossom.

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We will be journeying into the
world of poet laureate Simon

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Armitage and his band LYR as
they create art for their new

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project'Blossomise’.

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We're in London to meet Simon
Armitage in person.

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Simon holds a position in
British culture serving as the

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official poet of the nation,
writing poems to commemorate

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significant events.

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We will explore the creative
process of Simon's poetry and

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music with his band LYR as they
create an album with the

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national trust
called'Blossomise’.

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This involves working with
communities all across the UK to

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bring to life the essence of the
wonderful season with sound.

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The timeless draw of blossom
captivates hearts and minds

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inviting reflection and
celebration and for centuries

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artists have been inspired by
blossom’s symbolic powers of

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renewal and hope.

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Simon's own words resonate with
depth and insight into the

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natural world and the human
experience. [

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SIMON ARMITAGE: Skeleton Tree -
LYR] I waded down to the cherry

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tree to watch it drowning in the
sea, arms reaching for ropes of

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wind, limbs floundering under
the rain

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I’m Simon Armitage, I am the
poet laureate. This is Crouch

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End, north London, a lovely
sunny day.

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I've been writing poems and song
lyrics for the'Blossomise’

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project.

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We’re at church studios, which
is literally a big old church at

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the side of the road let's go
inside for this big old door.

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KATE MARTIN: The studio is
filled with teams readying for

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the day's recording.

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The production team are filming
the process, recording engineers

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are setting up microphones and
the choir are warming up their

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voices.

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In a quieter backstage room
Simon shares how the'Blossomise’

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project was born and more about
his role as the poet laureate.

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SIMON ARMITAGE: Since I became
poet laureate in 2019 at that

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point I said I wanted to focus
on the environment and put

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nature at the heart of a lot of
my projects. [

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Profusion - LYR] Constellations
bloom in orchards of April skies

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the stars Blossomise

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The project is to celebrate the
annual arrival of blossom and

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try and create something of a
tradition, festival around plus

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some such as the ones that take
place in Japan.

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KATE MARTIN: The Japanese season
of blossom, draws millions of

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tourists from around the world
who eagerly await the moment

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when the Sakura cherry trees
burst into bloom.

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They marvel at the sea of pink
blossoms and partake in Hanami

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which means flower viewing.

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Beyond mere spectacle, Hanami is
a cultural ritual encouraging

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reflection on life's transient
nature, often accompanied by

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picnics and tea ceremonies
beneath the trees.

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So what personally inspires
Simon about the season of

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blossom, and how does it
influence his poetry?

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SIMON ARMITAGE: Blossom is an
important reminder of our of our

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connection with nature or maybe
the fact that you know we are

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nature.

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I think we also like the idea of
getting a bit high on the

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blossom you know you see the
bees that there are fair nuts

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with this stuff and so I think
some of the pieces are quite

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trippy and a bit trancey, a bit
droney sometimes.

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KATE MARTIN: Informing this
celebration is the fact that

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blossom appears in the most
surprising of places and as

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Simon observed it can be found…

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SIMON ARMITAGE: Growing in the
most unlikely cracks and

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crevices out of roofs on old
buildings in a little bit of

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scrubby earth somewhere or
wasteland.

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And that resilience I think I
wanted to notice and be noticed

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and the fact that it can
reproduce and thrive in the most

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extraordinary circumstances has
got to be a lesson for hope.

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KATE MARTIN: That encouraging
reminder to persevere is

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reflected all around us in
nature when we see blossom

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return each spring.

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It’s something that the band
wanted to capture with lyrics

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and music in'Blossomise’.

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So how does a poet laureate
former band and start winning

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Ivor novello awards for
songwriting?

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LYR is a three-piece band made
up of author and current poet

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laureate Simon Armitage, singer
songwriter Richard Walters and

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multi-instrumentalist and
producer Patrick Pearson.

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PATRICK PEARSON: The story is
that Richard and Simon have been

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in contact about wanting to work
together for some time but they

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just couldn't find a producer to
work with.

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I'd been working with Richard on
a side project and he said

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“would you want to come in and
work on this piece? ” I thought

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it was a great idea, I love what
Simon is doing.

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Richard and I sent a dictaphone
up to Simon and we thought “you

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know this would be the start of
something fantastic”.

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A whole year passed and we
hadn’t heard anything and we

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thought “maybe this is not going
to happen” and then the

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dictaphone came back in the post
and I was like “I'm sorry I've

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got round to this but here's
some stuff” and there was some

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poems on there, there was some
sound.

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KATE MARTIN: The collaboration
between producer Patrick,

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vocalist Richard and lyricist
Simon became LYR's debut album

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and was titled'Call in the Crash
Team’.

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It was so well received that the
band continued creating and most

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recently embarked on
the'Blossomise’ album.

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But getting together is a
challenge in itself as vocalist

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Richard explains.

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RICHARD WALTERS: So I'm in
Hampshire, Pat’s down in Devon

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and Simon's obviously up in
Yorkshire so we're really kind

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of-

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If you lived on the Isle Of Skye
or something you might be

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further away but we're pretty
scattered, so when we get

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together it's really important
really vital time together.

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KATE MARTIN: So to delve into
the band's creative process do

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the lyrics come first or the
music?

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SIMON ARMITAGE: In this case all
the lyrics came first so there

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are 10 poems there are 11 haikus
and I wanted to be able to go

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into the studio where we do the
composition and lay them all out

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and say to Pat and to Richard
which of these will make the

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best songs?

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RICHARD WALTERS: Blossom CV I
remember that poem really stuck

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out and I think it was probably
one of the first ones we started

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working on. 

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SIMON ARMITAGE: [Poem] Blossom CV
Blossom was a Mountaineer didn't

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look down wait anchor in
hairline fissures and stress

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fractures think of blossom as
solar panels when the weather

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turned and the seasons
unravelled blossom was a

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weathervane rootless and
homeless blossom rode and

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drifted on thermal currents as
the climate shifted-

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KATE MARTIN: The process of
taking inspiration in blossom to

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a finished poem can take weeks
before Simon is happy with his

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work.

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SIMON ARMITAGE: So with a poem
like blossom a CV each quatrain,

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each four line stanza probably
went through nine or ten drafts

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before I got somewhere that I
was relatively happy with.

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I just had too many images,
competing images for everything

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to cohere into one poem and I
started worrying that it would

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just become a very big mixed
metaphor.

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KATE MARTIN: So Simon dealt with
each image individually, as

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something of a summary or a life
history of blossom.

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Not necessarily one tree, but
all the situations that a

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blossom tree might find itself
in and all the ways that we

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might perceive it.

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Now back to producer Patrick to
discover how the blossom music

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was born.

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PATRICK PEARSON: The kind of
initial idea for this was taken

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from a sample that Simon had
made on the piano in South Bank.

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He’d recorded it on his phone
and said “look I've got this

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piano motif, is there anything
we could do with it? ” I took

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the piano sample and sort of
manipulated it.

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KATE MARTIN: An essential part
of music production is

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experimentation so Pat used
music software to take that

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piano chord and stretch it out,
then he tried playing it faster,

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totally transforming the
character of the sound and

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looking for a direction for the
composition.

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RICHARD WALTERS: It begins with
some piano chords and they're

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reversed and turned into
something quite weird. They

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don't don't sound like a piano
anymore!

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Pat's quite strange guys so he
does little things in quite an

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odd fashion which is what makes
him brilliant producer.

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PATRICK PEARSON: And I think it
just developed from there.

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The sample the way that it
stretched had given me a kind of

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pulse and we added some samples
on top of that and then

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eventually we added drums to
replace the samples.

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And at one point I actually went
further down the industrial

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quite high saturation quite high
distortion, but I think the

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feedback was that it got too
much and it lost its identity.

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So then you pull that back, you
don't go too far down there you

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realise that might be the wrong
way for that, but the sample

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stayed in there.

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RICHARD WALTERS: There's a
tendency that Simon will bring a

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lyric, a poem to us and I think
you will quite often have one

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idea of how it's going to be and
then it was suddenly go up in

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this entirely different
direction.

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And Pat came up with this very
kind of dark electronic kind of

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dirgey not remotely blossomy
sound.

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It has that kind of strange
eerie darkness with the calm

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before the storm.

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I think we're aware that like
you think about a project based

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around blossom and it could be
this very kind gentle beautiful

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thing and I think it's really
important it had to have some of

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our personality as a band.

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KATE MARTIN: One signature
element of LYR’s sound is the

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interplay between Simon spoken
poetry and Richard's lyrics

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which are sung. The mix means
there are often two different

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narrative voices in each of the
songs.

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SIMON ARMITAGE: Because of the
nature of your voice I think if

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I display anger in the lyrics
you often come back on the other

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side as a sort of leavening
presence and vice versa.

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RICHARD WALTERS: Yeah there’s a
bit of a conversation happening.

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I tend to sing in a falsetto and
my voice is quite gentle so it's

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never going to kind of go into a
death metal section or

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anything. [

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Blossom a CV - LYR] In spite of
everything that you do.

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We’ve had songs where it feels
like it's kind of like the devil

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and the Angel.

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SIMON ARMITAGE: Like a word off!

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RICHARD WALTERS: A word off
yeah!

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KATE MARTIN: So how do Simon and
Richard decide, which voice is

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lead vocal and when?

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SIMON ARMITAGE: Well I sit down
and I score all the sheet music!

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I don’t know! how does that
work?

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That work that happens when I'm
asleep!

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RICHARD WALTERS: I think you
kind of naturally find the

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spaces and gives us-

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Even when you read it on the
page you can feel the rhythm

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there's a definite tempo that
stands out.

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I think it's just about giving
it space and giving it pauses

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and allowing the music to be
dynamic and grow. [

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SIMON ARMITAGE: Blossom a CV -
LYR] You have to spell

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resurrection and the true
meaning above revelation.

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Blossom the magician transforms-

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KATE MARTIN: Simon shared that
the songs were not prescriptive

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works but invitations for
communities across the country

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to partake in shaping them.

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This was represented in the
recordings by the choir made-up

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of singers from all over the UK
joining to add their sound.

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SIMON ARMITAGE: Choral elements
of these tracks was in our minds

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right from the very beginning.

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We wanted that resonance we
wanted inclusivity and

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involvement and I think the
choir in the songs represents a

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community.

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The harmony of voices coming
together different perspectives

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different viewpoints.

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KATE MARTIN: A big influence on
the decision to record the choir

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in church studios was the
acoustics of the space.

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High beamed wooden surfaces
meant that the choir would sound

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warm and vibrant when recorded.

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Artists such as Coldplay,
Mumford and Sons and Beyoncé

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have all recorded here before.

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ADEL TUZANI: My name is Adel
Tuzani. I've been invited to

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contribute to the recording from
the Soul Sanctuary Gospel Choir.

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It’s always a drudge when you
have to warm myself up but once

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I get going it's just a joy, it
always is and that's why I keep

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doing it after 13/14 years.

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RIO HELLYER: Hi I'm Rio and I am
sort of alto mid in Choir Noir.

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People singing together in the
same room it just really it just

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does something good for the
soul.

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ALEXIS CONSTANTINOU: My name is
Alexis I sing tenor. Beautiful

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songs, loving it!

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MARIANNE RIZKALLAH: I’m
Marianne, I’m one of the

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Sopranos in Choir Noir.

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Singing the songs today it's
been wonderful the arrangements

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are amazing.

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Kat our musical director has
been talking about how all the

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parts blossom, so it starts from
the lower parts going up to mid,

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going up to high and everything
kind of erupts and goes into

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bloom.

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And you really hear it in
arrangements that suddenly kind

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of burst out of nowhere like the
first flowers spring. [

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GENERIC: Blossom a CV - LYR] "in
spite of everything that you do

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wrong you still get me..."

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RICHARD WALTERS: I think there's
a message in that song about

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climate change and the effect
that is having on the seasons

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and things blossoming.

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My lyric is in spite of
everything that you do wrong you

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still get me it's decided you're
pushing me to the edge, me being

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blossom. [

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GENERIC: Blossom a CV - LYR]

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SIMON ARMITAGE: I am trying to
reinforce the idea of kinship

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with the natural world because
ultimately that's where we came

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from.

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We are spiritually,
biologically, scientifically,

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every other adverb that you can
think of connected with the

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world around us and we need to
honour that bond.

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KATE MARTIN: Thanks for
listening to this episode of the

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National Trust podcast. This
spring discover some of the best

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places to see blossom in our
care and beyond. If you'd like

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to hear more of the'Blossomise’
tracks Simon Armitage and LYR

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have composed, or read the poems
then please click the link in

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00:16:36,734 --> 00:16:37,734
the show notes.

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There are also details to live
events, performances and stories

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on the National Trust website.

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00:16:43,525 --> 00:16:46,804
You’ll also find videos to the
tracks made by inspiring young

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00:16:46,815 --> 00:16:49,934
film makers from across the
country on the National Trust

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00:16:49,945 --> 00:16:50,965
YouTube channel.

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To make sure you get new
episodes of this podcast please

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00:16:54,525 --> 00:16:58,294
subscribe to Apple, Spotify or
wherever you get your podcasts,

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00:16:58,544 --> 00:17:00,794
until next time goodbye.