Cinder Well – The Unconscious Echo album review

Our very own Lutenist extraordinaire Peter Lagan reviewed the most recent album by haunted folk combo The Cinder Well for us. We hope you find his musings most enlightening.

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“From the outset I have to invoke Shakespeare and others to say “All comparisons are odorous” I say this because it’s common for reviewers to give the reader some sort of peg to hang music on. All I will say is this music has a strong flavour of the 1970s folk revival which took place in England. With a gentle nod to the Strawbs. The music is beautifully crafted with some tracks having the mournful air of broadside ballads accompanied by the sounds of haunting fiddle and viola with the lilting voice of Amelia Baker, carrying each song effortlessly.

Granted this album was recorded and performed in America by American artists . Yet for me the music has many echo’s of English and Scottish traditional songs .And as such should be required listening for those who like their Folk music with a dark and melancholy taste.

The band recently undertook what seems to have been quite a long tour which took in England, Scotland and Ireland.”

 

For those not in the know, Cinder Well are made up of vocalist and multi-instrumentalist Amelia Baker (Gembrokers and Blackbird Raum) on vocals and guitar, Marit Schmidt (Vradiazei, Disemballerina, and Sangre De Muerdago) on viola, Mae Kessler (Ekstasis) on violin, Magnus Nymo (Regn, Blackbird Raum) on drums and vocals, Peter Olynciw (Blato Zlato, Blackbird Raum) on upright bass, with special guest CPN on old-time fiddle.

My own opinion is that the album is a beautifully dark collision of traditional European and American folk music, with a post rock twist. Amelia Baker’s voice is both sombre and exquisite, and the whole album is a melancholy masterpiece of some astonishing quality. Don’t take mine and Peter’s word for it, give it a listen at the bandcamp page below and if you’re impressed please consider investing in a copy.

 

Bandcamp: http://www.cinderwell.bandcamp.com

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Witch Cults – The Melmoth the Wanderer mix

 

This mix has been compiled to mark the forthcoming Folk Horror Revival event – Witch Cults. It fatures all the artists who will be appearing at the event plus samples from the films and dramatic performances that will be featured –

Marcus H
Hokano
Black Mountain Transmission
Georgia Seddon
The Heartwood Institute
Nathalie Stern
Peg Powler

Witchcraft 70, Simon the King of the Witches and Tracey Norman’s WITCH.

The event takes place at Star and Shadow cinema in Newcastle on 14th July.
Full Day Tickets are now available for £17.50
Individual Afternoon and Night tickets are £12.50 each,
Available now from Eventbrite.

Our second Witch Cults Announcement is Here.

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The second announcement for our Witch Cults event which takes place at the Star and Shadow Cinema in Newcastle upon Tyne, on July 14th is finally upon us and what a wonderful selection of speakers and musicians we have for your delectation.

Joining our musical programme we have the world’s finest “purveyors of sonic archaeology” The Heartwood Institute

The Heartwood Institute

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Their latest album Secret Rites has been described as “an unholy collision of Throbbing Gristle style proto industrial, kosmiche krautrock and 70’s folk horror soundtracks.” The album’s overriding  focus lies heavily on the witchcraft documentaries of the 1970s, Secret Rites, The Power of the Witch, Witchcraft ’70, and The Legend of the Witches, and in particular the prominent stars of the period Alex and Maxine Sanders, the self appointed King and Queen of the Witches. The album is in their own words ” A hauntological delve into a time when the Occult was making inroads into mainstream media, truly the Age of Aquarius…”

For their performance at Witch Cults you can expect a setlist largely fashioned from the material on this album. We here at Folk Horror Revival are very much looking forward to checking them out on the evening.

Hokano

Hokano

Hokano is the solo project of Andy Hokano, mainly known for his work with the coldwave/neofolk outfit The Psychogeographical Commission and Newcastle based occult drone trio Chonyid. Andy will be performing a set based upon his forthcoming release “Witch Pricker” which is based loosely upon the 1650 Newcastle witch trials.

Gail-Nina Anderson

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Gail-Nina Anderson is a cultural historian, lecturer and journalist based in Newcastle-upon-Tyne, with a specialism in the visual traditions of the Gothic.

She has contributed to the Fortean Times and the Journal of the Folklore Society, as well writing on Victorian art, William Burroughs, fairy traditions, and the Angel of the North. She reviews regularly for The Crack, is an active member of the Dracula Society and is one of the founders/readers for the Lit & Phil’s bi-annual “Phantoms at the Phil” ghost story event. Her third exhibition of weird and wonderful postcards will take place this summer in Newcastle.

We can’t wait to hear Gail-Nina’s talk “Hecate or the Horned Man – was there a God of the Witches?”. How about you guys?

Ok, that’s enough for today’s announcement. So far we have talks from Gail-Nina Anderson, and Darren Charles, Bob Beagrie’s poetry recitals, music from Black Mountain Transmitter, Hokano and The Heartwood Institute, and our first film Simon King of the Witches.  We still have quite a bit to come so please stick with us and hopefully we shall have our next announcement up in a few days time.

Tickets are available now from the eventbrite link below, priced at £25 for the full day event and £15 for the evening event alone.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-witch-cults-tickets-45698031041

 

The Devil and the Universe (Live) – The Church of the Goat

The Devil and the Universe – The Church of the Goat

by Jim Peters

(this is an excerpt from an article that will feature in Harvest Hymns (Volume 2: Sweet Fruits)

It began with two cards selected from the 78-piece tarot card-set as utilised by the most famous occultist of the 20th century Aleister Crowley. ”The Devil” and “The Universe” were the cards pulled that would prophesize a name for a musical-magical-transcendental composition and transformation project…..

Ashley Dayour – (instruments and voice), David Pfister – (instruments and field recordings) and Stefan Elsbacher (percussion) set out to create music from magical systems. Their aim was to give up their musical creativity and allow the legitimacy of magic and religious mechanisms form musical rules. The process and its system dictated and created not just phonetic anarchy but also examples of sound perfection.

With this as their mission and the influence of Crowley’s tarot The Devil and the Universe were born. Using their transcendental music design and occult and religious iconography as inspiration they combined and reinterpreted these elements and influences to create a variety of musical offerings from Space Disco, Psychedelic Glam, Synth Pop, new wave and Black Metal. There is one musical style however that is very much The Devil and the Universe’s own and it is one they have christened `Goat-Wave’.

Watching The Devil and the Universe live is when all the various influences come into their own and combine to create a magical experience. I don’t mean that in a Disney way (there are no enchanted castles and princesses here!) but in a truly occult sense of the word.

The scene is set with images and film clips showing various robed figured in goat masks connecting with the landscape – communing and seeming taking inspiration from the sepia tinged rural landscape they roam across.

First to enter the Church of the Goat is Stefan (although you wouldn’t know it was him under his robe and mask) and he immediately starts pounding out a tribal rhythm as if to call the audience together – to get us all breathing, swaying and hearts beating in unison to one hypnotic beat.

Next David – once again fully robed and goated up – joins the swirling mist on stage and seems to merge with the visuals before joining in the rhythmic pulse. By now samples, field recordings and synth swathes envelop the audience entrancing them further as Ashley joins the others completing the Unholy Trinity. All three add to the growing sonic conjuration with the most unlikely of instruments – the wooden football rattle. Building the intensity until every person in the room – themselves included – is well and truly under the spell of The Church of the Goat.

There is no let up. Even when there is a change in pace or style or when new instruments are brought into the mix there is no pause between tracks – no chance to break the spell. The whole experience is built around that tribal primeval rhythm – it hypnotises, seduces, entrances and completely captivates the audience and when all three on stage become robed silhouettes pounding against the backdrop of creeping visuals the effect is magnificent. It is a shared experience – all those called to worship at the Church of the Goat do so as one.

The John Carpenter-esque synths, crunching guitars, perfectly chosen samples and field recordings – plus an array of percussive instruments – all play their part in the sonic alchemy but it is so much more than that. What makes The Devil and the Universe such an unmissable live experience is the sum of many parts – the music, the robes, the masks, the visuals, the lights, the audience and the rhythm….that never ending rhythm….the rhythm of the Universe…and The Devil.

(THE DEVIL & THE UNIVERSE)

When Will The Wolves Howl ?” / ” Kiedy Wilki Zawyja ?” by Mzylkypop

This is an album which throbs, pulsates and yes, howls, with imaginative intensity.

When Will The Wolves Howl? provides the soundtrack of a chilling imagined future. England is surrounded by the Republics of Scotland and Wales. Albion is now ruled by a far right government that has come to power on a manifesto of forced repatriation. There is panic in the streets. Resistance is scattered as bands of immigrants, environmentalists and activists flee to the ‘wild space’ north of the border. Here they bind together as they hide away from the UKops who deploy witch drones to trap, imprison and deport them.

So far, so dystopian. However, while this album undoubtedly warps the dark currents of the present into the future in disturbing ways, this is a recording that delights the listener with the most vibrant musicianship. The soundscape is ever-changing, twisting and turning with dexterity in ways which bewitch and surprise. Analogue instrumentation, mostly drawn from Somerset’s collection of 1960s keyboards, effects and woodwind, is used throughout to provide distinctive and innovative instrumentation.

Three years in the making, When Will the Wolves Howl? is an album fermented to perfection. It is the brainchild of Michael Somerset, formerly of industrial funksters Clock DVA and Was (Not Was). Those Revivalists who were lucky enough to attend the FHR events at the British Museum in 2016 and the Hepworth Gallery, Wakefield in 2017, will most likely recall the striking performances delivered by Michael alongside The Consumptives and Mother Crow.

The album brings together a variety of other talented musicians on the Sheffield music scene, including I Monster, Simon Lewinski and several highly skilled drummers and bassists. Of particular note is the singer Sylwia Anna Drwal, whose vocal performance animates the whole recording with flair and sonic seduction. Given the subject of the album it is interesting to note that Sylvia is Polish and one might assume that the band’s name Mzylkypop is also of Eastern European derivation. However, this is not so as it is in fact a word which Somerset made up as a child to describe the ‘mischief maker’ in the Superman of DC Comics whose name was just a bunch of letters and symbols. As the strange uncertainties of 2018 begin to unfold, it is time that we allowed Mr Somerset and his fellow Mzylkypop mischief makers to entertain and protect us.

The howling has begun.

John Pilgrim

Unearthing Forgotten Horrors

This week’s Unearthing Forgotten Horrors radio show features fantastic new music from With the Dead, and Youngblood Supercult, alongside our very wonderful Viking Saga SoLA written and directed by Michael Somerset. Tonight’s episode is the second in the series and is called The Draugr.

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The second half of tonight’s show is dedicated to the bands playing at the Folk Horror Revival – Winter Ghosts event in Whitby across the weekend of December 15th – 16th, with tracks from The Equestrian Vortex, The Soulless Party, Leasungspell (which is to be performed for the final time) and the legendary Inkubus Sukkubus.

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Join me tonight, Monday 11th December from 7pm UK time on a1radio.co.uk and we will head on down the rabbit hole together.

https://unearthingforgottenhorrorsblog.wordpress.com/

http://a1radio.co.uk/

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-winter-ghosts-2017-tickets-34484492044

 

The Stone Tapes

The Stone Tape theory holds that the impressions of emotional or traumatic events can be recorded into rock and replayed under certain conditions. We have been tirelessly investigating this phenomenon and are pleased to present you with the first cassette and digital download volume of The Stone Tapes.

http://thestonetapes.bandcamp.com/album/the-stone-tapes-avebury

Limited number available on cassette loaded with high-quality music-grade ferric tape.
Also includes index cards and unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC, WAV and more.

https://www.facebook.com/thestonetapesproject/