Lost In The Cedar Wood

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There are always other babies. On its way is The Outfit, a period crime drama with Mark Rylance, his stage co-star from plays including Jerusalem. Then there is The Score, a heist movie with Will Poulter in which the characters burst into song. Flynn’s own songs, to be precise. He’s thrilled with that one, he says, and generally happy to watch himself. “I’m always interested to see how it turns out. You think: ‘I was sure that bit was gonna be shit but it’s good.’ Or: ‘My hair looks better than I thought it would.’” Flynn’s first LP alongside his band The Sussex Wit, 2008’s A Larum, emerged from a folk morass in London that he had a small hand in cultivating. After seeing the anti-folk movement up close in New York he and a group of like-minded musicians attempted to foster a similar vibe, coinciding with the rise of tourmates Mumford & Sons and old friend Laura Marling. If it wasn’t a scene, it was certainly a happening of sorts. Dig up an old photo from that era and you might see the same guitar slung about his shoulders as you would today: a 1934 National Trojan. This vintage Martin 00 is on loan from playwright and screenwriter Jez Butterworth National anthems Johnny Flynn has plenty to say about destiny, or at least the idea that things sometimes find their way into the right set of hands at the right time. It might be the handwritten songbook he inherited from his mother as a child – where radio hits by Neil Diamond mingled with traditional folk songs – or the Tokai S-type that weaves its way throughout his new record after he stumbled across it in his brother-in-law’s attic. “The origin of it is unknown, lost,” he says. “I’m sure that fate will intervene and force my hand to leave it with somebody else at some point.” There are gaps in the source material that they have filled with melodies and short-form treatises on a work that has already had voluminous amounts of ink spilled over it. Flynn views songs, self-contained and expressive in a singular way, as a worthy vehicle for the challenge. “Songs are not books, or novels,” he says. “There’s a magic that is exclusive to them. A song isn’t an epic, but it can contain a whole universe.” Join us on the ad-free creative social network Vero , as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots.

Also singing on the album is Flynn’s nine-year-old son Gabriel. That inclusion was important to Flynn – not just because Gabriel is a promising young musician, but because parenting was such an intrinsic part of Flynn’s life, and even his creative process, in the past year. The early days of the pandemic were disturbing, disorienting, frightening. They were also quiet. The nation stayed home and traffic all but ceased: towns fell as silent as the countryside, birdsong had never sounded louder. Macfarlane asked Flynn if he’d like to write a song together and the act of creating together was something to cling to amid the tumult. “It started as just a song,” said Flynn, “and then it became a few songs… but it held me in place and kept me from completely spinning out.” It is not lost on Flynn and Macfarlane, for instance, that Gilgamesh is a story of close male friendship – even if, as Macfarlane jokingly points out, one of the characters dies horribly and the other’s a brutal despot. You can picture them together, Flynn and Macfarlane, on their much-prized walks through the English countryside, talking of this and that, and coming up with their next creative ideas. A 4,000-year-old poem about a Sumerian king, written in cuneiform and discovered on tablets in the ruins of an ancient Assyrian library, might not seem that obvious a starting point to everyone. But it is, as Macfarlane points out, “the oldest story in world literature,” and its potent themes cast extraordinarily contemporary parallels. In the poem two warriors, Gilgamesh and Enkidu, defy the gods by cutting down a sacred forest, bringing calamity upon themselves. “The most powerful myths have a prescient as well as a retrospective vision to them,” says Macfarlane. “And that combination of ancient and urgent pushed us on.” Lost In The Cedar Wood, Johnny Flynn’s much-anticipated fifth album, co-written with his friend Robert Macfarlane.Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Because that’s the real question behind this album: what have we learned from humanity’s most recent crisis, and how will it change us? When Gilgamesh loses Enkidu as a result of their sacrilegious actions, he begins a new quest for the secret of eternal life. It’s no spoiler to reveal that he doesn’t find it: appreciating what he already has is more to the point. It has, they agree, been a joyful process, and this joint project is surely the first of many. It may have forced them to confront some of their greatest fears for the natural world and the planet on which we live, but it has also endowed them with fresh hope. Johnny Flynn and Robert Macfarlane - Lost In The Cedar Wood". The Drift Record Shop . Retrieved 27 July 2021.

To Johnny and Robert, Gilgamesh resonated eerily with the present moment –– and it catalysed their song-writing. For Gilgamesh is a story of friendship, love, loss, grief, bad governance and good dreaming; of natural disaster and environmental crisis. It also contains the first recorded act of human destruction of the natural world: when Gilgamesh and Enkidu travel to the Sacred Cedar Wood, slay the guardian spirit of the forest, and cut down the trees with their axes, thereby bringing catastrophe upon themselves. I didn’t go into it with my eyes closed,” he says now. “But I hoped people would take it for how it was intended. It was supposed to be this tiny independent film about a young artist, who just happened to be David Bowie, trying to find his voice, which I thought was a valid story to tell. It got judged for what it wasn’t rather than what it was. I was unhappy with some of the marketing around it. As the trailers were coming out, I could see mistakes being made and I felt sad that it wasn’t going to be seen. I’m still proud of it. These things are your babies. You put everything into them, and you want people to see the best in them.” a b Rathe, Adam (17 June 2021). "Emma Star Johnny Flynn On His New Album, Lost in the Cedar Wood". Town & Country . Retrieved 27 July 2021. Rob was sending me articles about the pandemic being created by deforestation,” says Flynn, “but we were also talking about all the literature that people were reading with a new interest or perspective – Daniel Defoe’s Journal of a Plague Year, or Shakespeare’s King Lear.” Thinking of Anais Mitchell’s Hadestown, based on the Orpheus myth, they wondered what other stories might be worth exploring. Flynn looks at Macfarlane and laughs: “And you said ‘There’s always Gilgamesh’ – as if that was too obvious.”

Live at the Roundhouse

This sense of relevance is also achieved through the exploration of the themes of Gilgamesh which still carry weight today, notably humankind’s destruction of the world around us. Tree Rings is “The first of the tellings/Of all of the fellings” and with brooding menace recounts the destruction of the cedar wood by the Gilgamesh’s two main characters. Flynn and Macfarlane are both passionate advocates for the protection of the natural world, and this shines through not only in Tree Rings but in the many references to nature that run throughout the album. Lost in the Cedar Wood is not just an exploration of human experience, but an ode to the natural world that supports us. The album is loosely based on the Epic of Gilgamesh, aiming to compare the themes of the ancient work with the modern world in the context of the pandemic. [4] The album was recorded in a solar-powered cottage in Hampshire, England. [5] Flynn goes wide-eyed as he considers his other co-stars: “Colin Firth. Simon Russell Beale. Oh, Kelly Macdonald! I had such a crush on her when I was growing up, from Trainspotting.” He wrinkles his brow. “Sorry, that’s kind of creepy.” Then a rethink: “I’m sure it’s OK, lots of people did who were a certain age when that film came out.” Now 38, he would have been 13 at the time: I think he’s in the clear.

My 12-year-old son can’t stop talking about compasses and shapes and patterns’: detail from a Nepalese mandala. Photograph: Werli Francois/Alamy It was intense,” adds Flynn, “worrying about three kids, but the lovely thing about having them at home was getting to really go into every aspect of their thought process and their day.”

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Johnny and Robert began work on the album in the first weeks of the pandemic, wanting to make music that sang of those dangerous, disorienting spring days; when birdsong was brighter –– and the sense of bewilderment more powerful –– than any of us had known before.