"[Winterlands] revealed the spellbinding poetic lyricism of Hyland’s songwriting, together with the group’s innate ability to channel their diverse influences (jazz, folk, sound art, traditional) into their own distinct sound. Their captivating sound and thrilling lyricism continue to expand and flourish on the band’s follow-up, “The Round Soul Of The World”. Released in March of this year, the group’s second album is a stunning achievement in distilling myriad themes (chiefly those of mortality, death and love) in such a quietly breathtaking and poignantly moving way. "

Fractured Air interview.
Read full interview here: https://fracturedair.com/2017/08/08/central-and-remote-clang-sayne/

"Hyland’s soundscapes explore the rugged uplands criss-crossed by contemporary folk, avant-pop, improvisation and acoustic abstraction. A singular, defiantly independent voice in the lineage of Joni Mitchell, Kate Bush, and Bjork, Hyland empowers the members of her Clang Sayne quartet - drummer Matthew Jacobson, bass clarinetist Carolyn Goodwin and cellist Judith Ring – with similar independence."

Cormac Larkin, The Ticket

"the hypnotic, hymnal nature of these songs fuels a desire to unravel their mysteries."

Lauren Murphy, The Irish Times

"full of freestyle guile, wonky pop spirit and avant-everything experimental folk-jazz moxie."

Jim Carroll, On the Record

"One of the most interesting new bands from Ireland in recent times."

No More Workhorse Blog

"On the extraordinary and exceptionally realised The Round Soul of the World, Hyland and co. unravel a sonic landscape of real, oftentimes transcendental beauty. Sparse in nature yet refined in its poise and glow, the album is a consistently intriguing extended tale in experimental folk, in which its main lyrical themes of birth, death, work and nature are both framed and informed by Hyland’s intensive yet organic process of improvisation. Each cut here is tellingly born from deeply felt psychic transmission, with Hyland’s playing carrying with it a sense of import that is rarely conceived with such beauteous command off-the-cuff."

The Thin Air

"This is a set of live, organic, no-safety-net performances; there is something exhilarating about this modest yet perverse album and its refusal to conform."

Clive Bell, The Wire

"The raw no-overdubs recording style adds a sense of fluidity to the album, a real sense that on another day the band's improvisational compass could have steered these songs to different waters altogether"

Scott McMillian, Mapsidaisical

"A brittly beautiful collection of autumnal songs - partly structured, partly free-floating, these pieces feel both weightless and airy as well as astoundingly clearly shaped."

Tokafi interview / review

"The milky artwork and packaging bring to mind a pearl, one that stands out all the more from so many other gaudy synthetic gems."

Serdar Yegulalp, Music Machine

"This is an album that could have been recorded at any point between 1969 and the present day, music that transcends the background of its contributors or any expectation a listener might bring."

Baked Goods

"The quartet's stunning [song] "A Death And A Vision" showcases an uncategorisable approach to song craft that brings to mind the music of Tim Buckley, Jandek and David Sylvian's collaborations with Derek Bailey."


"Improvisation yes, but the songs seem to have some kind of logical structure, a frame holding things in place. Mysteriously inviting, with an almost Siren like vibrancy; this is an album of intriguing beauty that's well worth your time."

Organ Art

"I found [your setting of 'A Ritual To Read To Each Other'] memorable and haunting, a very intriguing account of the poem, and very suitable."

Response from The William Stafford Estate