Folk Horror Revival – Page 15 – Folk Horror Revival & Urban Wyrd Project ⨘

Wyrd Harvest Press: 10% discount and Free Shipping on all our books*

February 2, 2018February 2, 2018 fertilitycult1 Comment

Claim 10% Discount + Free Shipping on all Folk Horror Revival / Wyrd Harvest Press books* by entering code BOOKSHIP18 at checkout at –

http://www.lulu.com/spotlight/andypaciorek

*offer expires at one minute to midnight Monday 5th February 2018

(To change prices to your local currency, select your nation’s flag at the top of the sales webpage)

Wyrd Harvest Press books explore the landscapes of Folk Horror and related realms in film, tv, books, art, music, events and other media and also psychogeography, hauntology, folklore, cultural rituals and costume, earth mysteries, archaic history, hauntings. southern gothic, ‘landscapism / visionary naturalism & geography’, backwoods horror, murder ballads, carnivalia, dark psychedelia, wyrd forteana and other strange edges.

100% of profits from FHR / Wyrd Harvest Press books sold in this online store will be charitably donated at intervals to different environmental, wildlife and community projects undertaken by the Wildlife Trusts.

FHR Young Artists of the Month: January 2018

February 2, 2018February 2, 2018 fertilitycult

Folk Horror Revival is proud to present the Young Artist of the Month winner for January 2018 as Luis Dutton . His winning picture was this great rendition of Stonehenge shown above, the following drawings are also by Luis.
He wins a copy of the book Hares in the Moonlight by Sharron Kraus.

We also received these fantastic pictures below from other Young Artists.

by Esme Dutton

by Max Whistlecraft

by Mia Newholm

by Ava Paananen

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To enter your child’s art into the Folk Horror Revival: Young Artist of the Month competition –

Please send scans or photographs of the child’s work by email to fhryoungartistawards@gmail.com

Please include the child’s name and age
(the competition is open to children up to the age of 12).

Please include a postal address so that we can send a certificate to each young artist and the book to that month’s winner. (Email and postal addresses will not be shared online nor with any other party and will be used by us only in association to this competition. )

By submitting the child’s work you agree to us potentially publishing it in a book containing all the Young Artist competition entries (the book would likely be printed in black and white). Such a book will be non-profit for Folk Horror Revival / Wyrd Harvest Press with all sales profits being charitably donated to The Wildlife Trusts environmental, community and conservation projects.
All young artists will be granted a free PDF digital copy of the book, (as we utilise Print on Demand and are non profit, we are alas unable to supply young artists with hard-copy paper editions of the book).

The monthly winner of the competition will receive a copy of the book
Hares in the Moonlight by Sharron Krauss.
All Young artists will receive a little Thank You by post.

Review – Marshland – Nightmares and Dreams on the Edge of London Gareth E. Rees

January 20, 2018January 20, 2018 skaldsummerisle

A waking dream on the margin between two universes

Marshland – Nightmares and Dreams on the Edge of London

Gareth E. Rees

Illustrated by Ada Jusic

INFLUX press

“Cocker spaniel by his side, Rees wanders the marshes of Hackney, Leyton and Walthamstow, avoiding his family and the pressures of life. He discovers a lost world of Victorian filter plants, ancient grazing lands, dead toy factories and tidal rivers on the edgelands of a rapidly changing city. Ghosts are his friends. As strange tales of bears, crocodiles, magic narrowboats and apocalyptic tribes begin to manifest themselves, Rees embarks on a psychedelic journey across time and into the dark heart of London. It soon becomes clear that the very existence of this unique landscape is at threat. For on all sides of the marshland, the developers are closing in… Marshland is a deep map of the East London marshes, a blend of local history, folklore and weird fiction, where nothing is quite as it seems.” (Taken from the blurb.)

It is hard to write a considered review of a book that has affected one emotionally. This book is inspiring, emotive and eye-opening.

I have never been to Hackney. I fear London. There is a side of me that despises it. This is the seat of our utterly disappointing government, the home of evil bankers, vacuous celebrities and relentless musical theatre. London decides what to watch, what to visit, what is best and fashionable to wear, what to listen to, to read, to eat. It is faceless and monstrous, the twisted soul of our country.

I initially approached this book with some trepidation, did I want to spend days trawling through a text that explored an area of this city? After exploring the blurb and the fantastic quote pulled from its recesses:

“I had become a bit part in the dengue-fevered fantasy of a sick city.”

I figured that the writer could be singing from the same hymn-sheet. In many ways his book reveals an attitude far more complex than that. Whilst he despairs at the encroaching development of London into the edges of the Marshland in Hackney it is also clear that were it not for earlier developments such as the railway it would not exist. Significantly it is the meeting of these two worlds – this island of nature and the bizarre mix of architecture and industry – that creates a synergy. A little universe in which the strange will occur. A world in which the mundane and the surreal collide. This little world sticks its middle finger up at the city with such defiance that it crackles with an other-worldly energy.

“Wherever you’ve got a margin between two types of culture and two types of landscape you often get a deeper awareness of the supernatural and the spiritual.” – Revd. Tony Redman – (taken from M.R.James: Ghost Writer – BBC)

It is this margin that Gareth Rees explores. Like a 21st Century Kay Harker, he explores a world in which the lines between imagination and reality are continually blurred. In Masefield’s “The Midnight Folk” we constantly question whether Kay is dreaming or awake and the sensation is similar here. By placing the real; the architecture, news reports and stringent historical research, alongside the unreal, we are plunged into a vortex of monsters, bears, time-slips, shamen and hallucination.

The book explores the geographic reality of the Hackney Marshes, but overlaying this in soft swirls of mystical graffiti are utterly compelling tales inspired by or pulled from Mr Rees’ study of the area. It appears that his study is a mix of hard graft and rambling through the Marshes with his dog Hendrix.

Rees introduces us to a man who transforms into a bear, two unfortunate time-travellers and an unhappy couple who find themselves possessed and changing into the occupants of a demolished factory. We meet the occupants of a barge from London’s netherworld, explore the legacy of the Olympic Village whilst visiting a mystical peddler in contraband antique books. This scratches the surface and I would urge you to seek out this book to discover more.

What strikes me about this book is how it has opened my eyes to my own town. I live in Reading which like many urban sprawls contains a weird mix of old and new. It was on finishing the final chapter that I took my children out for a walk. We have been to the nature reserve in Reading but on our way there we decided to try a different route and found ourselves on an old railway line. This ran high above the water meadows. On one side the beauty of the floods were framed by pink-grey tower blocks, while on the other streams and rivers snaked through swathes of green before the drab majesty of the town dump in the distance. We discovered:

dumped mattresses, ceiling fans and wheelbarrows vomited out of the backs of broken garden fences

the remnants of an old fire on the old railway bridge, made from its tumbling bricks

a lake of glass (my son’s words)

two rusted metal fences that framed the path creating “a gate to Narnia” (my daughter’s words)

It was into this margin that a deer ran across our path.

We were in the town yet not in the town.

We were in the country yet not in the country.

I had discovered the margin between worlds.

I hadn’t looked for it before.

Chris Lambert

Folk Horror Revival Young Artist of The Month

January 16, 2018 skaldsummerisle

The Folk Horror Revival Young Artist of The Month is an award for children under 12 years old. Many of our group members come from an arts background and so we’d like to encourage and inspire the next generation too.
We don’t mind if the work is based on other artists work as we understand that all artists learn from copying, plus its great to see the inspiration behind the work. Drawings, paintings or any other medium are welcome. The drawings must be inspired by either folk horror, folk tales (including fairy tales), folk traditions, ghost stories, magic, myth, legend or even the seasons.

Every month we will be giving away a copy of Sharron Krauss’ book Hares in The Moonlight(published by Wyrd Harvest Press) to our favourite artist. For more information about this great book, please follow the following link:

http://www.lulu.com/shop/sharron-kraus/hares-in-the-moonlight/paperback/product-23432343.html

The winner will be announced during the last week of every month and will be judged by Folk Horror Revival administrators John Chadwick and Chris Lambert.

Please don’t worry if the entry is submitted on the last few days of the month as all entries will roll into the following month if they arrive after our decision making.

Submit all entries digitally, as a .jpg file preferably, to fhryoungartistawards.

Best of luck!

Book Review: American Ghost by Paul Guernsey

January 14, 2018January 14, 2018 skaldsummerisle

American Ghost by Paul Guernsey

Thumb Rivera is a small time drug dealer who makes the mistake of trying to get in league with the local biker gang, which ends badly for him. American Ghost follows his efforts to solve his own murder from the afterlife. Paul Guernsey’s third novel is basically a supernatural detective story with a heavy dose of dark Americana, featuring backwoods biker club houses, trailer meth labs and abandoned murder houses.

The story is structured in an interesting fashion, with Thumb’s spirit travelling through time and space, with no knowledge of how the afterlife works, this being revealed slowly to him via other trapped spirits he meets on the way, including the ghost of a man who died in a road accident, who now lingers in the spot he died. By and large Thumb has to observe how life moves on without him, but learns to communicate with two living people, a hapless ghost hunter and a pig farmer who is also a frustrated novelist, who provide a conduit to the land of the living.

The story is well constructed and keeps you engaged as the plot unfolds, as Thumb comes closer to discovering who killed him and why. The afterlife Guernsey constructs is fascinating, with it’s own internal logical and laws.

I’m not usually much of a fan of crime fiction, but this supernatural twist on the murder mystery made it much more enjoyable. If you fancy a haunting (in both senses of the word) mystery novel, then this is for you.

Paul Guernsey also edits The Ghost Story, which has much of interest to revivalists.

review by Scott Lyall

Review – The Stone Tapes – Avebury

January 14, 2018 skaldsummerisle

Was this sent to me in the post or did I discover it in a cavity between the two damp granite walls of a forgotten stately home? Did I, driven by the impulse of a voice within me, frantically tear it from the mud and sod of a field deep in the heart of the West Country? Was I surrounded by ancient stones that seemed to sing out to me when touched or gently caressed? I am uncertain. Is this a genuine recording created using up to date digital technology or are they the sounds captured in the lusum magnetite of the dank walls, playing back when the atmospheric conditions are just right? There is an uncertainty here. This uncertainty is frightening and this fear is rich and sublime.

I listen again to ensure that it is not simply my own imagination or a half forgotten dream, but there it is; the voice in the static, the seemingly innocuous information about Avebury, the snatches of phone conversation with one voice strangely distorted. Is it deliberate? I don’t know. But I am unsettled, I am frightened and this fear is alive and immediate. But I welcome this and I stroll towards it all, arms wide.

In West Kennet the ritual has begun and my head spins, half formed voices dance out at me from within the ether, the whirling electronic dervish excites, inviting me to join the dance but I must not. I must resist. I take shelter in the lychgate, the rain pummelling down all around me and for a moment all is calm.

The rain stops and I venture towards the Owl and Druid Stone. I know I should not touch it but my hand is pulled forwards. The voices and tones thrust into me like lightning into bark. I am among the petrosomatoglyphs, the damp and the drip, the indistinct. The sound grows, it ululates through me as I spin, the light between the stones scratching at my retinas with every pass. My feet leave the ground, stray ends of grass tickling at my bare feet as I rise a narrow herepath before me, made of silver and granite. On closer inspection the path is festooned with tiny carvings, myriads of spirals, symbols, laughing mouths. The mouths move and speak and sing and question and grin. I am lost. I fall.

Reality seeps in. A voice clear and distinct on the end of a crackling line gives thanks. But, it flits away and deeper voices and drifting tones chant around me.

A cry. Someone is lost. But how can you be lost if you stand in one place? How can you be lost if you have not moved from the centre of a field? The sound builds, a low hum, growing. Reassuring dots and bleeps try to break through, but something is crawling in the dark. Something is in the way. I cannot move.

I am overtaken. I should not have listened to the Stone Tapes for madness seeps through. Sometimes we look to deep into the dark, sometimes we travel too far.

I have removed the headphones but Avebury is still within me. The sounds among the stones are sounds among the synapses. The stones are seen when I shut my eyes, when I blink, when the sunlight scrapes across the iris, the stones creep through into the dark.

Do not listen.

Do not lis

Do not

Sink. Tread. Spin.

Let it in. Let the stones in. Let them all in.

Chris Lambert – January 2018

REVIEW – Rowan Amber Mill `Harvest The Ears’

January 10, 2018 skaldsummerisle

The Rowan Amber Mill
Harvest The Ears
(https://rowanambermill.bandcamp.com/album/harvest-the-ears)

The Rowan Amber Mill have been quietly but steadily pursuing their own eerie ruralism and arcane take on psychedelia since 2008’s ‘Folk Devils and Moral Panics’, notably releasing the ‘Book of the Lost’ project with fellow traveller of these roads, Emily Jones, in 2014. This latter recording was an homage to such films as The Wicker Man, Witchfinder General, Blood On Satan’s Claw and Psychomania and ably constructed a soundtrack for an imaginary composite movie, replete with accompanying lobby cards and a suitable mythos. Aficionados of both modern day acid folk troubadours such as Sproatly Smith and Sharron Kraus as well as the haunted electronics of the Ghost Box label are strongly encouraged to wander not only the dark woods of ‘Harvest The Ears’, but also those of the Amber Mill’s back catalogue (a twisted folk version of Gary Numan’s ‘Are Friends Electric’ is one suggested highlight).

The Rowan Amber Mill’s most recent offering is a summing up and compilation of sorts, gathering new, unreleased and remastered songs together under the appropriate banner ‘Cuts From The Folk Horror Archive Vol 1’.

The extended title track of the afore mentioned ‘Book Of The Lost’ opens the album, a Vincent Price styled narrator and a shimmering wash of harpsichord and vintage synth immediately creating an effective atmosphere somewhere between John Barry and Paul Ferris’ s essential score for Witchfinder General. The full length ‘The Book of The Lost’ is a master work and this lengthier version of a track cut from its parent album is no less essential. The melancholic beauty of ‘Separations’ follows, part electronic madrigal and part woodwind imbued lament; this is truly a folk song of the forest. Next, ‘The Witch Twists The Pins’ is a sinister nursery rhyme, echoed vocals framed by the darkest of psych folk to conjure an evocative and magical musical incantation. A highlight of an album filled with many such strong points, this would be worth the cost of admission alone but there is much, much more. ‘Face Of Flowers (Woodcut)’, from the genius ‘Heartwood’ album, utilises harmonised vocals, insistent acoustic guitar and spectral strings in manner that surely has Paul Giovanni nodding his agreement from above. ‘A Hunting’ glistens into being from a few stately harp notes, growing and layering with both analogue synths and waves of choral voices, creating a welcome sense of unease and beguiling nostalgia. This then segues into ‘Pit Of Horror’, a swirling and dramatic instrumental that surely would have been gracing the soundtrack to a 1970’s children’s TV show of a more pagan bent, such as ‘Children Of The Stones’ or ‘The Owl Service’, had it been of that age. ‘The Witch Twists The Pins’ agreeably returns in instrumental form, revealing hitherto hidden detail, until it leads into the final track ‘The Call Of The Black Meadow 1, 2 and 3 (Backing and FX)’. A track previously used on The Rowan Amber Mill’s promotional video for the ‘Songs From The Black Meadow’ album (inspired by Chris Lambert’s book ‘Tales From The Black Meadow’), this is a haunted house of a song, stripped back to effects and sounds redolent of Daphne Oram or The BBC Radiophonic Workshop with solar winds and ghostly electronics whispering in and out of focus to powerful and disturbing effect. And then it is over and the listener is left with an enduring and pleasant feeling of disquiet, appropriate given the folk horror nature of these compositions.

This is an album then that belies its compilation or assorted collection status; it genuinely works as a piece in its own right and sits comfortably and confidently alongside the other Rowan Amber Mill recordings. Highly recommended to those who are keen on investigating the musical side of the folk horror revival, this is indeed a rich harvest for the ears. Time to gather the corn.

Grey Malkin January 2018.

Folk Horror Revival T-shirts – January Sale

January 4, 2018 fertilitycult

If you want to grab one of the Folk Horror Revival t-shirt designs from Hare and Tabor they currently have a sale on now! Lots of other great designs and tea towels available there as well.

20% OFF EVERYTHING in store! Simply use the code HAREANDTABORJAN2018 at the checkout.

http://www.hareandtabor.co.uk/store/p78/Folk_Horror_Revival.html

Midnight Mugs ~ The Folk Horror Collection

January 3, 2018January 4, 2018 fertilitycult

Presented for your ceremonial sups of many a strange brew, Midnight Mugs
present the Folk Horror Collection.

Enjoy your victuals in reverence to ~

The Wicker Man
The Blood on Satan’s Claw
Witchfinder General
the VVitch
A Field in England
The Company of Wolves
Catweazle
The League of Gentlemen
Haxan
Mark of the Devil
and new fresh from Gods’ own country …
Harvest Home

Also available ye olde Folk Horror Revival mug!! Oh, joy of joys !! 🙂

To purchase these fine drinking vessels ~
Contact Steve via the Midnight Mugs Facebook Group
or telephone him on (UK) 07980 871 769
or email at stevie7771@hotmail.co.uk

Mugs are £6 each + postage at cost..

UK postage is £4 for 1-4 mugs (2nd class signed for)

5+ mugs is £8 postage.

Contact Midnight Mugs for information regarding Overseas shipping

Payment by PayPal preferred.

Folk Horror Revival in Shindig! magazine 74

December 31, 2017December 31, 2017 skaldsummerisle

Check out the current issue 74 of Shindig! magazine for a feature by Adam Scovell on the music of the classic folk horror films Witchfinder General and The Blood on Satan’s Claw. The article is an abriged extract from an essay to be published in the next upcoming book from FHR/ Wyrd Harvest Press, Harvest Hymns covering the music of folk horror.

The book will be a mixture of articles, album reviews and interviews from the likes of Maddy Prior, John Cameron, Jim Jupp, Jonny Trunk, Sharon Kraus, Jim Moon, Rennie Sparks, Drew Mullholland and many more, and we hope to have it available early in the New Year. As a teaser here’s all the albums reviewed in the book:

Shindig! magazine, devoted to "the most far-out ’60s sounds through country-rock and folk to soul and electronic experimentation", has long championed folk horror worthy music and related films and TV. You’ll have to hurry to pick up a copy of this issue in the shops though, the next issue is going to be available on the 4th of January.

Shindig! subscriptions and back issues if you miss this one are available here:

http://www.silverbackpublishing.rocks/shop/