Folk Horror Revival – Winter Ghosts 2019 – First Announcement!

This December, Folk Horror Revival, will be returning to Whitby for our second Winter Ghosts event. The all day happening takes place at the Metropole ballroom, on December 14th 2019. The event will run from 1pm until after midnight and features some truly outstanding talks, stories, music, films and much, much more besides. The lineup itself has been handpicked by our team, and features some truly incredible talent that we simply can’t wait for you to see.

It is with much excitement that we would like to announce Al Ridenour as our first guest.

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Explore the authentic folklore, history and contemporary practices associated with the Krampus with Al Ridenour, author of The Krampus and the Old, Dark Christmas and
preeminent English-language expert on the subject. Ridenour’s lively presentation,
illustrated with slides, archival video (and a drop-in by a LIVE KRAMPUS) reveals how
this often-misunderstood figure is connected to centuries-old witchcraft beliefs and an
older darker understanding of the Christmas season as a time offering access to the spirit
world. Now in its second printing, The Krampus was described by LA Times’ books critic
Elizabeth as “gleefully erudite,” and a book that “deserves to become a classic.”
Ridenour is also a producer of Krampus events in Los Angeles, an artist and mask-maker,
and host of the folk-horror podcast, Bone and Sickle.

Home

https://www.boneandsickle.com/

Joining Al for more Krampus related fun and frolics will be Whitby’s very own Elaine Edmunds and Laurence Mitchell of Decadent Drawing, organisers of the annual Whitby Krampus run that takes place each December, and raises much needed funds for The Whitby Wildlife Sanctuary.

https://www.decadentdrawing.com/

 

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We don’t want to say too much at this stage, but we can promise Al, Elaine and Laurence have something a little special planned for Winter Ghosts, and we can’t wait for you all to see it.

Our first musical addition to the lineup is the sensational Burd Ellen, the new solo project from Debbie Armour (Alasdair Roberts, Green Ribbons, Alex Rex) featuring Gayle Brogan (Pefkin, Barrett’s Dottled Beauty) and Lucy Duncan (Luki). The group uses traditional song to explore and evoke dark landscapes and deep stories. Innovative instrumentation, drone and sound-wash support detailed vocal work to create a unique sonic atmosphere.
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Burd Ellen self-released their debut album SILVER CAME in Feb 2019, on limited edition CD. A record exploring women’s narratives in British folk song, SILVER CAME investigates ideas of persistence, defiance, devotion and transformation. The album was recorded by Jer Reid (Painted X-Ray, Claquer, Glasgow Improvisers Orchestra) over two days in the rehearsal space of Glasgow Theatre Arts Collective.

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“sonically adventurous … with an emotional range and a raw inventiveness which is all too rare in contemporary folk circles.” – Alex Neilson
“A masterclass in shimmering, ethereal folk music… Cannot recommend highly enough” – Kyle Lonsdale, Earth Recordings

burdellen.com – burdellen.bandcamp.com
Sweet Lemany music video – https://www.youtube.com/watch?v=PSRB5Vsvx2A

Our final guest for this first announcement is George Cromack, a writer, sessional tutor and lecturer whose core subject areas are creative fiction, specifically Scriptwriting for film & T.V, and Film Studies. For almost ten years George taught on a number of programmes at the University of Hull’s Scarborough Campus – including modules on their Creative Writing Degree. It was during this time he developed his interest in what has become widely known as the Folk Horror genre, the subject of his film based PhD thesis, delivering a paper on some of its narrative conventions at the Fiend in the Furrows Conference in Belfast.  A keen advocate of adult and community education, George also teaches evening classes in Film Studies & Creative Writing for the local Scarborough branch of the WEA and introduces the occasional film screening at the Stephen Joseph Theatre. Recently one of his fictional short stories was included in Terrors Tales for a Winter’s Eve, a small collection of ghostly tales from local writers.

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George’s talk ‘Home for the Holidays’ will take inspiration from adaptations of popular children’s stories in film and television such as The Children of Green Knowe, Moondial and the Amazing Mr Blunden examining their use of the ‘time slip’ narrative, notions of ‘ancestral mystery’ and speculating on their appeal.

Right that’s it for now, we’ve much more still to come, so please keep checking back for further announcements. Tickets are available from the link below priced at £13 for the full day and £7 for the evening. So what are you waiting for, grab your tickets now while stocks last.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-winter-ghosts-tickets-55468722442.ant

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Wyrd Harvest Press: Charity Donation – Winter 2018

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The winter 2018 charity handover from the profits of Wyrd Harvest Press / Folk Horror Revival books has now been made. Congratulations to Nottinghamshire Wildlife Trust who receive £500.00 for their Save the Meadows Appeal

In thanks to our donation, we have been given the chance to name a newborn lamb in April (yes I have requested a black one) so we will be asking then (Not Now) for name suggestions and we will put a short-list to a poll on the group

Thank you for voting and Thank You especially for buying our books. We will continue to charitably donate the sales profits we receive for our books quarterly to the Wildlife Trusts, and we have more great books coming in 2019, so please continue to stock your bookshelves with our quality books with the extra bonus of helping biodiversity and natural habitats

WYRD KALENDAR, REVIEW BY JOHN PILGRIM

“Gripping, sometimes terrifying but always surprising: this is the year described in the Wyrd Kalendar. Live it if you dare…” – Sebastian Baczkiewicz, Creator of BBC Radio 4’s “Pilgrim”

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Following the cult success of “Songs from the Black Meadow” in 2016, Chris Lambert is set to bring more delight to all those who enjoy the curious, magical and mythical with the release of the Wyrd Kalendar album which is published by Mega DoDo.

The strange, or more appropriately, wyrd stories of the calendar months which are to be found in the book of the same title provide the starting point for each of the artists on this remarkable release.  A captivatingly diverse musical landscape opens out before us and quickly seduces the listener into an enchanting world of folk, electronica, psychedelia and forgotten horror soundtracks.

The new year is heralded in with Widow’s Weeds (led by Grey Malkin, formerly of The Hare and the Moon) with their occult tinged hymn Song for January. This sets the tone for an unsettling but captivating hour. The imaginative electronica of Keith Seatman leads us on before the talented psych-folk singer Emily Jones brings to life the words of her long dead ancestor in Waiting for Spring. And then, before we know it, Crystal Jacqueline is playing us all for fools as she goes Chasing the Gowk.

A personal favourite of this reviewer is the song for May, as Ghost Box’s Beautify Junkyards provide Portuguese pastoral enchantment in the form of May Day Eve.  Those people who had the good fortune to see Beautify Junkyards on their recent visit to these shores will be happy indeed with this sweet vernal offering.  Soon we feel the warmth of the sun on our backs as Alison O’Donnell of Mellow Candle, Flibbertigibbet, Firefay and United Bible Studies teams up with David Colohan in the wasp celebration of Deadly Nest.

The second half of the year unfolds with Scarfolk collaborator Concretism treating us to the vivid imagery of A Fair by the Sea and Icarus Peel exploring lost love and yearning in the musical lament The Weeping Will Walk.

The mellow mists of Autumn begin to fold around us as folk rock duo Tir na nOg invite us to raise a seasonal glass mbine and then it is the turn of Wyrdstone to immerse us in the haunting harvest celebration of The Field.

The Soulless Party leave their familiar abode of the Black Meadow to take us for a deliciously unsettling Dark November Drive
 The year concludes with the ever delightful Rowan Amber Mill who sing us out with The Witch’s Lament.
 A final gift comes in the form of the album’s closing titular track by the shape-shifting talents of The Mortlake Bookclub.

This album and the accompanying book illustrated by the hugely talented Andy Paciorek are the fruits of rich imaginations at work. You would be foolish indeed to consider going through the year in any other way!

The album is available to buy from January 1st 2019 from Mega Dodo as a CD and as digital download, with all profits being donated to Cancer Research UK. https://megadodo.bandcamp.com/album/wyrd-kalendar

The Wyrd Kalendar book is available from http://www.lulu.com/spotlight/andypaciorek

Mega Dodo Bandcamp

www.wyrdkalendar.blogspot.com

 

 

 

Rowan: Morrison – Bury The Forests EP Review

Rowan:Morrison

Bury the Forests EP

Miller Sounds 2018

https://rowanambermill.bandcamp.com
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The aptly and splendidly named Rowan:Morrison (who are wyrd folk outfit The Rowan Amber Mill with singer Angeline Morrison) present the Bury the Forests EP, a specially chosen selection of tracks from the forthcoming and much anticipated long player In The Sunshine We Rode The Horses alongside some essential non-album cuts. Both The Rowan Amber Mill and Angeline Morrison should be familiar to those of a folk horror bent; the Mill for their pursuit of the uncanny and the unusual in their own unique take on acid folk that can be heard on (highly recommended) recent recordings such as The Book Of The Lost and Harvest The Ears, Angeline for her previous work with the Mill as well as her delicate yet eerie releases with Emily Jones as ‘Emily & Angeline’. Thematically the new EP and album stand together, described by the band as exploring issues ‘of our beautiful natural surroundings, and how the pursuit of profit guides us to learn ‘the cost of everything and the value of nothing’, paving the way for the scarring of the landscape with fracking, HS2, retail parks and so on…’ These ideas and values permeate the songs with a gentle yet stubborn melancholy and a quiet but persistent sense of foreboding, of something beyond a monetary price which is inexorably being lost to us all. The album itself will take the story further as the land itself reacts to decades of man’s interference and destruction and promises to have a Play For Today styled edge to this unfolding narrative. One to watch out for indeed.

The EP begins with The Buzzard and the Nightingale, flute and harp encircling Morrison’s repeated intoning of ‘the light cometh in’. At once bewitching and otherworldly, the song’s ritual chants and delicate woodwind evokes an enchanted space; the most hidden part of the forest, somewhere liminal. Regal and richly detailed, this opening offering casts a persuasive spell which then does not falter for the duration of its fellow songs. Indeed, Bury the Forest is arguably best listened to as a whole, a song cycle with its own inner narrative, pace, mood and concept. We Rode The Horse, a melancholic and sepia tinged acoustic slice of perfect psych folk is swathed in orchestral sweeps and cascading piano, however, whilst truly beautiful, there is an air of dread and tension that befits the subject matter. Rowan:Morrison hold this dissonance masterfully throughout the EP, the interplay of darkness and light only serving to enhance each aspect and provide a finely crafted and nuanced take on the outer edgelands and more haunted furrows of folk. Likewise Gather Around, with its vintage electronic squeals and throbs weaving and wefting into both the warmth of its central cello and Morrison’s lilting vocals, is a lament as much as a call to arms. Its successor, The Meadows Call (Ridgeway) offers an effective musical crossroads whereby psych folk meets analogue electronics, the latter perhaps an area more usually associated with ‘hauntological’ artists such as Belbury Poly, The Advisory Circle or, journeying further back, Broadcast. Indeed those in thrall to the work of Trish Keenan and James Cargill will find much to admire here in Rowan:Morrison’s eye for the eerie, period detail and folktronic orchestration. The EP proper finishes with the somnambulant and beguiling Fall To Sleep, a baroque and wistful piece of chamber folk that would fit equally at home within Paul Giovanni’s The Wicker Man soundtrack as it would PJ Harvey’s piano led and ghost filled White Chalk. Two further bonus songs that will not feature on the soon to be released album peal the closing bell for Bury The Forest; these feel equally as crucial as their predecessors and would be a significant loss not to obtain by missing out on this release. The Meadow’s Call (Original), whilst an alternate take on a previous song, is a strikingly different version and holds its own individual approach and emotional impact, its layered strings and synths offering a more strident, stirring and ornamental interpretation. It is the last of the additional tracks however which feels utterly indispensable; At The Circles End marries an evocative spoken piece on the precarious state of the land to huge, filmic swells of strings and a resolute and reoccurring harp melody that seems to hang in the air itself, all framed by the constant chatter of birdsong. That such a strong piece of work is considered a bonus song demonstrates the level and quality at which Rowan:Morrison are operating.

Beautifully housed in a metal tin replete with badges, prints and stickers (and available in both a monochrome or colour version), Bury the Forests is a carefully crafted and sublime slice of psychedelic folk. This is the real deal, a genuine artifact that doesn’t simply seek to emulate or provide an imitation of the original, antiquated acid folk recordings of the past but which instead carries on and furthers the tradition in an individual and fascinatingly unique fashion. It also bodes extremely well for the release of In The Sunshine We Rode The Horses, creating significant anticipation for the album itself. Both the CD versions and a download of the EP can be found at The Rowan Amber Mill’s Bandcamp page; haste ye there.

Grey Malkin.

‘On Halloween Strange Sights Are Seen’ – About a Short film by Tea & Morphine

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On 31st October, this Halloween, ‘Tea & Morphine’ will take us on an unusually eerie walk through a small Hertfordshire allotment. In this seven minute video short the viewer is taken on a surreal journey that transforms an everyday allotment into a world of mystery and intrigue as we are introduced to the many weird and wonderfully handcrafted characters who reside among the plots there.

Along the way we encounter sinister sunflowers, pumpkin laden tables and a whole host of quirky scarecrows and oddly imagined effigies, set to the atmospherically whimsical music of The Parlour Trick, the film takes the traditionally English pastime and spins a darkly twisted tale of the unseen going’s on when the inhabitants are left alone to their own devices. With no rigid plot or narrative it is left to the viewer to imagine the storyline as the procession moves dreamily through this surreal landscape.

‘Tricksters and Threats’. Also known as: Scarecrows, Wurzels, Tatter-Men, Mommets, Bugbears ~ Tatty-Bogles cannot help but frighten, as they shamble down country roads with their arms outstretched as if crucified – yet inspiring terror may not be their prime motive, as they simply want to stretch their legs after a long day of solitude standing. The fear generated in human observers may be either amusing or regrettable to them, or it may even go unregistered. It is by their very name and nature to frighten, for they are the Scarecrows erected in fields by farmers to try and protect their crops from the hungry beaks of birds.

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The reasons for their nocturnal animation is somewhat of a mystery, for perhaps not all will rise and leave their plot, but some seem more inclined to come to life at night. Perhaps this is of their own volition or maybe there is some external enchantment at work. It could be that the magic of Witches or perhaps Fay beings animate these rag-bag effigies in order to cause mischief or perform other tasks. Otherwise a Scarecrow could provide an ideal host for a wandering spirit or Demon that possesses no true form of its own. Such strange and shapeless souls are the Brollochan. These uncanny wanderers may visibly consist of at best a mouth and pair of eyes but they can grant mobility to any inanimate object they enter. Should a Tatty-Bogle be thus possessed by a Brollochan, this would be revealed as “Thyself” and “Myself” are said to be the only words it can utter.

Extract on the folklore of scarecrows from – ‘Strange Lands ~ Supernatural Creatures of the Celtic Otherworld’ by Andrew L. Paciorek.

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http://theparlourtrick.com
Music is by The Parlour Trick; a song chosen from ‘A Blessed Unrest’ known “The Halloween album of the year” ~ Douglas Wolk (Rolling Stone, Pitchfork, TIME) Meredith Yayanos; Voice, strings, theremin, percussion & Dan Cantrell; Accordion, bass accordion, pump organ, celeste, glockenspiel, percussion.
https://theparlourtrick.bandcamp.com

‘On Halloween Strange Sights Are Seen’ is being shown Wednesday 31st October 2018 on the Tea & Morphine Facebook Page

https://www.facebook.com/teaandmorphine/
Images © 2018 Tea & Morphine

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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

Recording our own ghosts; a review of ‘A Year In The Country – Wandering Through Spectral Fields, Journeys in Otherly Pastoralism, the Further Reaches of Folk and the Parallel Worlds of Hauntology’

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For nearly five years the A Year In The Country project has been diligently producing field reports from the more haunted and folk horror inclined borderlands and wyrder areas of popular culture. Transmitting via their regularly updated webpage and issuing audio relics in the medium of themed compilation CD/ downloads featuring such artists as The Rowan Amber Mill, Sproatly Smith and United Bible Studies, A Year In The Country (AYITC) has amassed a valuable archive of all that is uncanny, unusual or unsettling in modern culture, whether it is film, TV, literature or music. Be it Bagpuss or Beyond The Black Rainbow, Shirley Collins or Sapphire And Steel, AYITC has documented these idiosyncratic yet highly significant moments in modern media.

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These writings (or transmissions) are reproduced, revised and expanded upon here, in the first AYITC publication ‘Wandering Through Spectral Fields’ (for the musical side of the project please do visit AYITC’s splendid Bandcamp page). Divided into 52 distinct chapters (one for each week of the year), the book is described as;

an exploration of the undercurrents and flipside of bucolic dreams and where they meet and intertwine with the parallel worlds of hauntology; it connects layered and, at times, semi-hidden cultural pathways and signposts, journeying from acid folk to edgelands via electronic music innovators, folkloric film and photography, dreams of lost futures and misremembered televisual tales and transmissions’.

Indeed, AYITC embrace a wide range of avenues to bring together not only a sense of how far reaching and varied the origins, mainstays and current players of genres such as folk horror or hauntology can be, but crucially also how they intertwine and cross pollinate. There are chapters therefore on 70’s acid folk and its impact and influence on today’s folk artists, on ‘Folk Horror Roots’ (including an entire chapter on ‘cultural behemoth’ The Wicker Man) but also on ‘Folk Horror Descendants’ such as Kill List, on apocalyptic popular culture through the decades (taking in the horrific The War Game as well as Frankie Goes To Hollywood) and on dystopian literature and cinema such as No Blade Of Grass, The Midwich Cuckoos and The Day Of The Triffids. Television series that have become a part of the folk horror conversation also feature prominently, such as The Owl Service, The Changes, Penda’s Fen and the influential Robin Redbreast (arguably a forerunner for The Wicker Man). Each chapter expertly charts its chosen subject’s impact upon the public consciousness as well as indicating that these artefacts are now part of a greater cultural cobweb that may well have threads and components that are radically different in genre or style but that equally have a strong commonality in their sense of unease and their haunted content; of similar ghosts in the machine (or spooks in the television and bookshelves). Further investigations delve into folklore, TV public information films and the landscape itself as a medium through which a certain mood, an uncanny, can be evoked.

Speaking to author Stephen Prince, we discussed this sense of cross pollination, over genres overlapping and finding common themes and ground;

SP: I think, to a certain degree, the way in which it isn’t easily definable how the different and loosely gathered areas of culture that are discussed in ‘Wandering Through Spectral Fields’ appear to connect, influence one another, have become part of a lineage etc is an aspect of what is appealing about them and that gathering; it is part of what creates a certain mystique around it. Possibly in an age where every area of culture, no matter how niche, can be investigated and explained by for example a brief online search, it is the sense of a hidden history and stories, of an at least partly unexplained aspect to such work that is one of the things which may draw people to it. Along which lines, some of the older culture, although at times inherently containing a left-of-centredness, was initially produced and intended as quite mainstream entertainment. However, over time it has gained an otherlyness and also become points of interconnected reference and inspiration for future hauntological/ otherly pastoral work or again a loose “tradition” or set of themes:

 

“…they have come to be touchstones or lodestones that seem to invoke a hidden, layered history of the land but which also encompass and intertwine with a wider, hauntological, parallel, alternative version of Britain…” (Wandering Through Spectral Fields, P. 38)

 

In Chapter 4 of the Wandering Through Spectral Fields book (Cuckoos in the Same Nest: Hauntological and Otherly Folk Confluences and Intertwinings) I discuss some possible shared ground for such work, including a yearning for lost utopias; whether Arcadian dreams within more folk/pastoral orientated work or the lost progressive futures of hauntology. Connected to which you may know of this article but in Robert Macfarlane’s “The Eeriness of the English Countryside”, that he wrote for The Guardian in 2015, he suggests a possible more overtly politically orientated or at least rooted explanation for this curious confluence of culture:

 

“What is under way, across a broad spectrum of culture, is an attempt to account for the turbulence of England in the era of late capitalism. The supernatural and paranormal have always been means of figuring powers that cannot otherwise find visible expression. Contemporary anxieties and dissents are here being reassembled and re-presented as spectres, shadows or monsters: our noun monster, indeed, shares an etymology with our verb to demonstrate, meaning to show or reveal (with a largely lost sense of omen or portent).” https://www.theguardian.com/books/2015/apr/10/eeriness-english-countryside-robert-macfarlane

 

There’s not really an overarching and definitive name for this “broad spectrum” of work but in that article he describes such “eerie counter-culture” as being an occulture; which seems appropriate and connects to the earlier mentioned sense of the hidden within such possibly disparate seeming work as some of the roots of the word occult are from the older French word occulte meaning “secret, not divulged” and the Latin occultus which means “hidden, concealed, secret”. I’m wary of seeming overly serious (!) about such things; to a certain degree you could see such cultural exploring as in part a form of grown-up make-believe and world creation, a form of escapist fun. At the same time and connected to the above comments by Robert Macfarlane, that escapist aspect may also at times have roots in more serious areas in that such intertwined work and the worlds it creates could be seen to also create a bulwark from what some may see as the more potentially overwhelming, rapacious or secularly monotheistic aspects of modern life, culture and dominant belief systems.

 

Philosopher Jacque Derrida, who again as you may know introduced the idea of hauntology, suggested that in a certain stage of society (what has been described, possibly erroneously/precipitously, as “the end of history”) the present will start to orient itself towards ideas and aesthetics that can be thought of as rustic, bizarre or “old-timey” or towards the “ghost” of the past. Much of the culture that I discuss in ‘Wandering Through Spectral Fields’ whether older or more contemporary, folkloric and/or hauntological, could be seen as having an “old-timey” or nostalgic aspect. At the same time often rather than purely providing the potentially more comforting, familiar and recreation of the past aspects of nostalgia, it also has reimagined, unsettled or eerie aspects:

 

“A re-imagining and misremembering (that creates) forms of music and culture that seem familiar, comforting and also often unsettling and not a little eerie, creating a sense of work that is haunted by spectres of its and our cultural past…” (P. 27-28; from a section in ‘Wandering Through Spectral Fields’ that brings together some of the recurring themes of hauntology and which could also be applied to work which explores the flipside/undercurrents of folkloric culture).

 

The flipside of folk/pastoral culture and hauntology seem to interconnect to create those familiar but also reimagined, unsettling, eerie and spectral aspects; creating a cultural harvest that on paper and technically you would not expect to, as you also say, cross pollinate but which has proved curiously and intriguingly fertile and hardy.

 

FHR: Can you say more about your motivation for producing ‘Wandering Through Spectral Fields’ and the possibility that this may just be a first volume of many?

 

SP: In terms of why I produced ‘Wandering Through Spectral Field’s as a book separate from the AYITC website; at heart and in part it’s not all that much more complicated than it was a book that I wanted to read, that I found myself looking for over the years. Previous to and since its publication/I finished writing it there have been a number of books released which have explored some similar areas but they have generally more tended to focus on one particular area of related culture; semi-consciously I wanted to bring all these different aspects together as, well, they seem to fit, interconnect and influence one another. Online and print orientated publishing both have their pros and cons, their strengths and weaknesses and I’m not didactically more inclined towards one or the other but the more possibly curated, edited etc aspect of a book can bring a particular theme or set of themes into focus – or again as you say, on reading a collection of writing in book form it is hopefully possible to “see how they become part of a larger cultural tradition”. In terms of ‘Wandering Through Spectral Fields’ possibly becoming part of a series of books; we shall see (!).

 

The AYITC webpage continues to be updated with new thoughts and recollections, new features and films, books, television and music that seem to exist either in a more liminal space outside of the mainstream or that instead occupies the mainstream in a more liminal and unusual manner. Seek it out if you are not already a regular visitor. And for those who favour a little Quatermass with their Wicker Man, a touch of Belbury Poly with their Incredible String Band or a taste of Children of the Stones with an offering of Chocky, this volume is highly recommended.

 

With thanks to Stephen Prince for his time and answers. ‘Wandering Through Spectral Fields’ is available from ayearinthecountry.co.uk as well as Amazon.

 

The Potatoes Have Eyes ~ A Glance into the Field ( + Discount Code)


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Presenting the  revised edition of the seminal tome Folk Horror Revival: Field Studies. A collection of essays, interviews and artwork by a host of talents exploring the weird fields of folk horror, urban wyrd and other strange edges. Contributors include Robin Hardy, Ronald Hutton, Alan Lee, Philip Pullman, Thomas Ligotti, Kim Newman, Adam Scovell, Gary Lachman, Susan Cooper and a whole host of other intriguing and vastly talented souls. An indispensable companion for all explorers of the strange cinematic, televisual, literary and folkloric realms. This edition contains numerous extra interviews and essays as well as updating some information and presented with improved design. 100% of all sales profits of this book bought in our online Lulu store are charitably donated at quarterly intervals to The Wildlife Trusts.

http://www.lulu.com/shop/folk-horror-revival/folk-horror-revival-field-studies-second-edition/paperback/product-23557533.html

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Save 10% on orders of Wyrd Harvest Press Books, plus free mail or 50% off ground shipping

Use Code: BOOKSHIP18

at checkout at – http://www.lulu.com/spotlight/andypaciorek

(change little flag at top of sales page to get your local currency)

Ends 6 August at 23:59

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.

Unearthing Forgotten Horrors Radio Show 25/06/2018

Profondo-Rosso

This week’s Unearthing Forgotten Horrors show features a smorgasbord of amazing music including new tracks from two Folk Horror Revival favourites Goat and Sharron Kraus, as well as a sseasonal classic from Grand Magus as well as great tracks from Umberto, Black Mountain Transmitter, Trappist Afterland and Hawkwind. Our  soundtrack of the week is Dario Argento’s Profondo Rosso, and comes courtesy of both Goblin and Giorgio Gaslini, Join me on a1radio.co.uk, Monday from 7pm UK time.

https://www.a1radio.co.uk

Black Mountain Transmitter will be appearing at the Folk Horror Revival Witch Cults event at the Star and Shadow cinema in Newcastle on July 14th.

black mountain trans

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