The Franco Files: Hot Press meets DFF

First things first. If you're wondering what those three initials mean, best not concern yourself. DFF insists it's supposed to mean whatever you want it to. They'd rather not get questioned after gigs about it. The ambiguity certainly works for an outfit with such disparate sonic DNA. Similarly, their debut's title, Pouric Songs, speaks to the fluid qualities that characterise their work. It's all contained in the sound. So best to concern ourselves with the three adept musicians taking time out from rehearsals for a chinwag. The mastermind behind the project is Dave Flynn, an award-winning composer acclaimed for blending traditional, earthy folk tones with classical and jazz structures.

Pouric Songs began life as another attempt to find magic in fusion, taking its cue from the rumba guitar of the late, great Franco Luambo. To do so, Flynn enlisted Niwel Tsumbu, a talented six-stringer who arrived in Ireland from the Democratic Republic Of Congo a decade ago. "I just went straight to the studio," Tsumbu says. "I've know Dave for a long time, so I know the kind of music he likes. He's very much into Franco, this legendary Congolese player. He invited me into the stuido and he just gave me this freedom. That was the most important thing he did, to say: 'this is a platform for you, just run'. I love improvising and Dave was like 'okay, do what you do.' So I did that, didn't even listen back. When I finally heard it, I told him, 'this rocks man, well done!' I think something special happened."

Another key component of the sound is the cello and gentle, "celtic" vocals of Vyvienne Long. The former touring partner of Damien Rice admits she was "happily surprised" by the resulsts. Not because she doubted the ability of her fellow musicians - Dan Bodwell (double bass), Ciarán Swift (rhythm guitar) and percussionists Aidan Dunphy and Cion O'Callaghan also feature - but because Flynn kept them guessing.

He encouraged improvisation and adjusted the sound as new textures and ideas arose. Tsumba was impressed with his attitude of adventure and exploration.

"It wasn't like 'you do this and if you don't, you're out of this band!'"

“There was a rough plan,” Flynn explains. “Songs already set out and musicians I’d identified to play on it. One of the big things that came out of the recording was that originally Vyvienne was just going to be on a few tracks singing harmony vocals and playing a bit of cello. But when we recorded in Real World (Peter Gabriel’s famed Wiltshire studios), listening back I thought she added a lot to it. So I asked her to do some more. A lot of the tracks are now duos rather than just me singing. There are even bits where she takes over as the main singer, and that was never the original plan!”

“Sorry about that!” jokes Long.

Flynn smiles.

“She was just too demanding: ‘I’m not going to do this unless I’m on every track, and I need solos!’”

“It was completely unbeknownst to me, actually,” Long continues. “When I got the recording back I thought, ‘wow’. I had no idea this was going to be the outcome. I was doing backing vocals and had a few moments, subtly. I don’t consider myself a 'singer’. I’m a cellist, who sings.”

Aside from Real World, DFF also recorded in Grouse Lodge. The size of those rooms was vital in getting that live and loose feel.

“We all have experience working in little home studios. I’ve felt, over the years, that that means you’re missing something. A lot of the great records from the ‘60s, ‘70s or even ‘80s were recorded ‘live’ – at least the backing or rhythm tracks. There was just a ‘vibe’, I think everyone agrees.”

Tsumba nods.

“The space is very important. If I was playing in a pub, I play completely differently to if I was playing in a church or an opera house. The space changes you, because you react to what’s going on around you.”

Flynn obviously feels the old ways of capturing a band are often the best. It also means nothing is lost in the translation to the stage. This month, DFF embark on a tour of arts venues. Flynn is eyeing up festival season, which would provide the perfect settings for these warm, sun-kissed songs. “I do think that what will really work with this band will be festival gigs. Niwel wants us to do WOMAD!”

“Of course,” says the guitarist, wide-eyed. “WOMAD, Glastonbury, everywhere. Mars!”

DFF release their debut album on April 4 and play The Button Factory, Dublin on April 12.