The Wyrd Kalendar – Spectral Fields Mix 2

The Kalendar Host has been reading.

He has found himself lost in “A Year in the Country – Wandering Through Spectral Fields” by Stephen Prince. This incredible work has inspired a new journey out of the Kalendar Heath and across these Spectral Fields to discover music, ideas, stories, folk horror jaunts, hauntological treats and nostalgic terror.

This is the second of four mixes dedicated to this new book. This mix explores chapters 14-26 through music, sound and key extracts, acting as an accompaniment or, if you will allow, an aural appendix.

Buy the book here: https://www.amazon.co.uk/Year-Country-Wandering-Pastoralism-Hauntology/dp/0957400721

Discover the delights of Broadcast, Cat’s Eyes, Virginia Astley, Brian Eno, Kate Bush, Jim Williams, David Colohan, Howlround, Keith Seatman, Loose Capacitor, The Twelve Hour Foundation, Shirley Collins, Stealing Sheep, Leyland Kirby, David Sylvian, Fairport Convention, Roy Redmond, Nirvana, Luke Haines, Tim Hart and Maddy Prior.

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The Wyrd Kalendar – A Mix for Summer

Join the Kalendar Host in a haunting hike upon the Kalendar Heath this summer. Peppered with the sounds of summer, music on the theme of summer and extracts from three summer based tales from Wyrd Kalendar (available to buy at http://www.lulu.com/shop/chris-lambert/wyrd-kalendar/paperback/product-23371751.html). You will also be given the opportunity to pause in your trek as special guests from the Folk Horror Revival, Howard Ingham and Darren Charles discuss a vital summer film and album for your edification and delight.

The Spring mix includes tunes by Belbury Poly, Marianne Faithful, Emil Richards, XTC, Kate Bush, Patricia Varley, Acid House Kings, The Style Council, David Cain, Percy Faith and his Orchestra, Animal Collective, T Rex, Aha, Belle and Sebastian, Jim Williams, Los Chicarrons, Terry Hall, G. Love and Special Sauce, Beck, Clannad, Reef, Cold Cave, Pink Floyd, The Divine Comedy, Ella Fitzgerald and Louis Armstrong, The Heartwood Institute and many many more…

Witch Cults T-Shirt Now Available to Preorder.

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The news that our rather wonderful new Folk Horror Revival – Witch Cults shirt is now available to order has been received with great delight here at FHR towers. The admins are frothing at the mouth over the beautiful new design created especially for the event by Andy Paciorek and Cobweb Mehers, in conjunction with Jonas at Tyrant Designs who has done a remarkable job with the manufacturing of these individual pieces.

If you are planning to join us on July 14th and would like to preorder your shirt, either contact Kt Mehers via PM on Facebook, or email us at folkhorrorrevival@gmail.com, please include a contact email address, a delivery address and your chosen size.

The shirts are available in size S, M, L, XL and XXL and are priced at £15. These can be collected at the event. Those who can’t make it can still order a shirt, postage and packaging is priced at £6, and please state in the message that you require the shirt to be posted out to you.

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Another announcement is due in the next few days so keep your eyes open, however if you want to get in early tickets are currently available from the eventbrite link below, priced at £27.54 for the full day event and £16.76 for just the evening.

Hope to see some of you there.

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

The Wyrd Kalendar – Spectral Fields – The First Mix

The Kalendar Host has been reading.

He has found himself lost in “A Year in the Country – Wandering Through Spectral Fields” by Stephen Prince. This incredible work has inspired a new journey out of the Kalendar Heath and across these Spectral Fields to discover music, ideas, stories, folk horror jaunts, hauntological treats and nostalgic terror.

This is the first of four mixes dedicated to this new book. This mix explores chapters 1-13 through music, sound and key extracts, acting as an accompaniment or, if you will allow, an aural appendix.

Discover the delights of the Albion Country Band, John Martyn, David Bowie, The Sally-Angie, Trader Horne, Demdike Stare, Howlround, Belbury Poly, The Advisory Circle, Hoofus, Lubos Fiser, Frog, Broadcast and the Focus Group, Jugg, The Soulless Party, The Rowan Amber Mill and Emily Jones, Magnet, Broadcast, Pulp, Sneaker Pimps, The Owl Service, Ultravox, Strawberry Switchblade and Nik Kershaw. As well as this you will be able to experience soundtracks from War Games, The Owl Service, The Changes, Sky, Penda’s Fen and many many more…

Buy the book here…

http://ayearinthecountry.co.uk/the-a-year-in-the-country-wandering-through-spectral-fields-book-and-a-visual-accompaniment/

A-Year-In-The-Country-Wandering-Through-Spectral-Fields-book-front-and-back-cover-575x382.jpg The A Year In The Country: Wandering Through Spectral …
ayearinthecountry.co.uk
“This incredibly well-researched book, which is obviously written by a man with an enormous passion for this subject, is probably as comprehensive as it is possible to be.

The Wyrd Kalendar – The Swansongs Mix

To celebrate the Folk Horror Revival Swansongs event at the Black Swan in York on May 12th the Kalendar Host has produced a special walk upon the heath that explores the work of the artists at that concert – Sharron Kraus, Sarah Dean and Hawthonn. As well as this you will hear extracts of swan related poetry and tales and music from Passengers, Thom Yorke, The Ken Moule Assembly, REM and Saint Saens.

For tickets to this extra special event visit: https://www.eventbrite.co.uk/e/swansongs-tickets-44059576379

https%3A%2F%2Fcdn.evbuc.com%2Fimages%2F42031057%2F212934394505%2F1%2Foriginal.jpg?w=1000&auto=compress&rect=0%2C140%2C676%2C338&s=18e758c22057ba139aed08bf5bad8c0d Swansongs Tickets, Sat, 12 May 2018 at 19:00 | Eventbrite
http://www.eventbrite.co.uk
Eventbrite – Folk Horror Revival presents Swansongs – Saturday, 12 May 2018 at The Black Swan Inn, York, England. Find event and ticket information.

You can find out more about the event here: https://folkhorrorrevival.com/2018/03/11/swansongs/

5c8d825fc07681d14ee23549dbb27db1-woodcut-art-memento-mori.jpg Swansongs | Folk Horror Revival
folkhorrorrevival.com
John Pilgrim and Folk Horror Revival proudly present ‘Swansongs’, an evening of haunting music at the Black Swan Inn, York featuring Sharron Krauss, Hawthonn and Sarah Dean.

Hawthonn Interviewed

Phil and Layla from Hawthonn have just released a critically acclaimed album ‘Red Goddess: Of this Men Shall Know Nothing’ on Ba Da Bing records. They will also be appearing at our Folk Horror Revival event, Swansongs which takes place in York on May 12th at the Black Swan. John Pilgrim caught up with Phil and Layla for a chat about the new album, their influences and what we can expect from the upcoming gig.

hawthonn

Your new album is Red Goddess: Of this Men Shall Know Nothing. Who is the Red Goddess and what is it that men shall know nothing of?   What clues does the album provide in these respects?

 

Phil: For a long time the new album didn’t really have a title. We had a lot of themes that we touched on: mugwort (‘In Mighty Revelation’), menstruation (‘Lady of the Flood’), hysteria (‘Eden’), the post-mortem exploitation of women’s bodies (‘Misandrist’), and dream… all things which I suppose could be considered as relating to the feminine experience. Originally I’d given the album the working title Flood, but I don’t think either of us were 100% happy with that…

 

Layla: We had been reading several books around the time we were working on the album, particularly Penelope Shuttle and Peter Redgrove’s The Wise Wound, which had a lot of invaluable knowledge on the sacred feminine and many jumping off points for inspiration, and also Peter Grey’s The Red Goddess, which explores his vision of Babalon: the Scarlet Woman, or Mother of Abominations – a goddess found in Thelemic mysticism. The idea that she represents earth and sexual impulse made her a fitting matron deity for this set of recordings.

 

Phil had also found a painting by Max Ernst called Of This Men Shall Know Nothing, which in the early stages of designing the album cover he had wanted to recreate in tableaux. The final cover photo by Narikka contained some coincidental resonances to the Ernst image, and the title of the painting seemed to echo concepts within the album of feminine wildness, and the perceived unknowableness of the female nature.

 

Phil: The Ernst picture has also been interpreted as depicting sexual alchemy, which also ties in with much of Peter Grey’s writing on Babalon and the goddess’ connection to sexual magic and the three ‘Fs’: f(e)asting, flagellation and fucking!

 

Red Goddess has already been critically acclaimed. Ben Chasny, of Six Organs of Admittance, had this to say:

 

    “Hawthonn is the real deal. Equally adept at transcribing crow calls into musical scales as they are at creating horizon melting atmospheres, Red Goddess raises the bar for musicians interested in composing straight from the creative imagination. For fans of Jocelyn Godwin, John Dee and Folk Horror as much as the darker spectrum of British music, this is a record of staggering breadth.”

 

Following on from this, here, can you say something on how you went about composing Red Goddess and the role of  the creative imagination in this project? How did the experience develop your theory and practise of the creative process more generally?

 

Phil: I think imagination and creativity are inextricably linked. Many of our favourite artists and poets place great emphasis on imagination, reverie and sudden illumination. Of course, that doesn’t mean there’s not a lot of hard work to do in bringing these visions to fruition, but it is the imaginative aspects that dominate their experience and make the whole enterprise worthwhile. There are often equal amounts of technique and imaginative work going on in a piece – and, as in poetry, we often try to bring disparate symbols together into a whole. Layla’s work on ‘In Mighty Revelation’ really worked well in this respect: she brought together sounds recorded at an abandoned cooling tower with a recording of Rin’dzin Pamo’s thighbone trumpet blasts (- using an instrument anointed with her menstrual blood -), which evokes a very interesting sonic atmosphere and attendant mental imagery: a decaying post-industrial temple, open to the stars (- as we recently discovered were the ancient Indian temples of the cult of the Yoginis, female tantric deities -), and the sort of space where edgeland herbs blossom: in particular mugwort, which rather became our ‘vegetable ally’ for this album (our previous collaborations having explored hawthorn and yew!). Conjuring mental spaces to accompany the sound – and continuing to explore them through the ongoing process of producing the music – is a very important part of our practice, but only one amongst a whole other lot of imaginative and creative techniques we use!

 

Layla: Dreams, for example, have been integral to the creative process for Hawthonn from the start and continue to be so. The latest track we’ve been working on is conceived around a dream I had recently that I was reading a grimoire of Andrew Chumbley’s, whilst a portrait of him next to me began to shapeshift into a demon. The dream sound/landscape was incredibly vivid and evoking those sounds, feelings and thoughts again has made it a compelling project on both a creative and imaginative level.

 

The cover image for the album is powerfully striking.  How did this come about? What was the location and what was its significance to you? 

 

Layla: The cover image came about due to a set of lucky coincidences/syncronicities, I had followed a photographer, Aki Pitkänen, alias Narikka, on Tumblr after a friend of mine posted a pagan/magic themed set of his. I thought his work was exceptional, so showed it to Phil.

 

Phil looked him up on Facebook and that same day Aki had posted to say he was looking for collaborators/models to work with in our home town of Leeds the following month. We got in touch and found we had a lot of shared interests, and agreed to take him up on Ilkley moor as apparently they have no moors in his home country of Finland and he’d always wanted to shoot on one!

 

A friend very kindly drove us all up to Whetstone Gate, and as I still didn’t really know what Aki wanted as a backdrop I had planned a walking route to take him to various antiquities that held personal significance to us… but ultimately Aki just wanted “bleak” as the backdrop so most of the photos he took of us are from a particularly desolate spot near the Badger stone, overlooking a huge barrow that most people don’t even know is there.

 

We had a few hours of larking around with skulls before the proper Yorkshire weather hit us, and then I was extremely glad to be wearing a thick wool cloak! He sent us that shot almost immediately when we got home and we knew right away that one of them was the cover, which we had been stuck on for a couple of months.

 

Both of us have a long love and personal connection with Ilkley moor so it seems doubly fitting that the cover was shot there – Phil recorded some of his earlier music as Xenis Emputae Travelling Band on the moor and we have spent many hours wandering there together. It’s especially wonderful in the mist, when the edges of the real world are completely erased and all you can see are the soft curves of land in front of you. It’s a beautiful, liminal landscape that can become quite frightening after dark!

 

As  a duo of ‘Mugwort-smoking surburban witches’ in what ways do you seek to connect with the ‘old ways’ and the hidden currents of Old Albion ?

 

Layla: I think we both have quite vivid, mystic connections with landscape. Our relationship with the world we inhabit both on a physical and imaginal level is essential to both our personal practices and our music. We don’t try and claim any tradition. Although Traditional Witchcraft has been a source of inspiration at times, we are more interested in the poetic relevance of the landscape and it’s past inhabitants: a palimpsest of activity and meaning, which we unearth and interpret in our own way. The place where we live is rich in Romano-Celtic history so we have made dedication to, and drawn inspiration from, an Iron age shrine in the woods and a sacred river that flows nearby. The two deities associated with them – Cocidius and Verbeia – have formed a god/goddess duality in our personal mythos, which has become a particular backdrop to our more recent music.

 

Phil: Cocidius and Verbeia are very much deities embedded in our northern landscape, and they derive their names from the meetings of two cultures: Roman and Celtic. In some ways, thinking deeply about this – and the political climate of our time – has forced us to revise our thoughts on religious syncretism and the bugbear of cultural appropriation. We want to distance ourselves from the idea of pantheons being nationalistic and tied up with rigid ideas of cultural identity, which have become increasingly toxic. We emphasise the highly syncretic nature of religion in the ancient world as a potential alternative, and one that does not dilute the power and individuality of deities by reducing them simply to interchangeable masks of pop-Jungian archetypes. On our track ‘Lady of the Flood’, we borrowed from the Graeco-Egyptian magical papyri, which are masterpieces of heady magical lore and symbolism, incorporating fragments of ancient Egyptian ceremonialism, Greek mythology and Gnostic cosmology into something that more visceral and powerful than its component parts.  In some ways, it is the Roman presence in England that also connects us to Egypt, and I find it fascinating that the English witch Andrew Chumbley incorporated so much Egyptian lore into his ‘Sabbatic Craft’, which at first glance seems very much rooted in the British landscape, but again yields work that is highly eclectic, but utterly spellbinding and aesthetically ravishing in its execution.

 

You are clearly fascinated by occult thinkers and writers from previous centuries such as  Heinrich Cornelius Agrippa and Dr John Dee. Do you see a contemporary relevance to such  figures?

 

Phil: I think Dee is most relevant to my solo work, such as Hesperian Garden, which features compositions drawn from his Hieroglyphic Monad: a glyph which he believed had profound implications for all arts and sciences. I do find it quite funny how such an establishment figure – a courtier and member of England’s elite – has become such a countercultural hero, although there is no denying that he was a deep and eccentric genius.  Agrippa, similarly, is a rather profound inspiration personally, but in Hawthonn we often concentrate on the works of more contemporary occultists and artists: John Balance, Andrew Chumbley, Peter Grey & Alkistis Dimech, Penelope Shuttle & Peter Redgrove, and so on. I think my own work can be quite cerebral and uncompromising sometimes, often with quite dense swathes of sleeve-notes or accompanying texts, but with Hawthonn we strive toward something more direct and relevant to the present.

 

You will be playing at ‘Swansongs’ at the Black Swan in York on 12 May. What can people expect from your performance?

 

Phil: The three Fs! Haha, only joking…

 

Layla: I was so nervous but dead-set that we’d play live this year, the first gig was an absolute joy to do, so I’m hoping the York gig will be equally transcendentally fun! Ritual elements, death whistle, singing bowl, synths and bone rattles… I hope it’s a little bit spooky and we can coax the resident ghost out for a duet.

 

Phil: Hah, in that case, we definitely have to re-use the Spiricom frequencies that we used in our first album. After that particular recording session, our infant son woke up sat on our bed babbling excitedly to thin air! We managed to record that and include on our track ‘Thanatopsis’! I hope that whatever happens, it will be a mesmerising and sonically engaging experience even for those who don’t buy into the occult side of things!

 

Lastly, can you tell us something amusing that has happened while working together recently as Hawthonn?

 

Phil: Well, we’re often quite serious when it comes to Hawthonn and how we go about working on these pieces. They are often entwined in our interests, obsessions, dreams etc, and we have quite critical listening sessions while each piece develops. Sparks often fly, but that process definitely enhances the quality of our output tenfold. Our friend Gretchen (of the noise rock band Guttersnipe) said she imagined us working together in perfect hippyish harmony – but our ‘studio’ is definitely an infernal forge, and what we create there is far more robust for it!

 

However, one amusing thing that did happen was when we decided to make a kangling, or thighbone trumpet, which is an important tool in chöd rituals of Tibetan Buddhism, which involve the use of fear to cut through the ego. Being made of a human thighbone, the kangling has a unique, utterly unnerving and haunting sound. We were very interested in making our own, and a friend of ours told us that he had some human bones from a medical skeleton that had been given to him by someone else who felt uneasy keeping them around. So, we gathered all the material, including dust masks, hacksaws, knitting needle (for poking through the marrow), and so on. I took the bone outside to cut it, and sat with it for a while, sombrely meditating on death and thanking the original donor from which it came.

 

As I began to saw the top end off, however, it became apparent something wasn’t right. The bone was too hard… and solid. It turned out to be a very convincing plastic cast! At that point, it seemed like the universe was having a cosmic joke at my expense, and the solemnity of the occasion was undermined somewhat! It was even more amusing to think of our friends respectfully transporting these bones from flat to flat as they moved around Leeds, completely oblivious to the fact that they had never been part of a living thing!

 

Wow… we probably sound like a right pair of ghouls!

You can listen/buy Red Goddess: Of this Men Shall Know Nothing here.

Swansongs takes place on May 12th at the Black Swan, York featuring live performances from Sharron Kraus, the aforementioned Hawthonn and Sarah Dean. Tickets are available from the following link.

https://www.eventbrite.co.uk/e/swansongs-tickets-44059576379

 

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)

The Wyrd Kalendar – The Spring Mix

Join the Kalendar Host in a haunting hike upon the Kalendar Heath this spring. Peppered with the sounds of spring, music on the theme of spring and extracts from three spring based tales from Wyrd Kalendar (available to buy here: http://www.lulu.com/shop/chris-lambert/wyrd-kalendar/paperback/product-23371751.html ). You will also be given the opportunity to pause in your trek as special guests from the Folk Horror Revival; Howard Ingham and Darren Charles, discuss a vital spring film and album for your edification and delight.

The Spring mix includes tunes by The Polyphonic Spree, Emil Richards, Donna Summer, St. Etienne, Aaron Copland, Children of Alice, Donovan, Massive Attack, Gao Liang, Ella Fitzgerald, Morcheeba, David Cain, Paul Weller, Pentangle, Scott Walker, The Producers, Jimmy LaValle, The Kinks, Two Door Cinema Club, The Hobbits, Sidney Torch and his Orchestra, Tom Waits, The Coffinshakers, The Lemon Drops, Igor Stravinsky, REM, Anne Ziegler & Webster Booth.

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

The Wyrd Kalendar – The December Mix

It is December.

The bells are ringing and the Old Father is coming. Find out what happens to those who displease the Old Father in extracts from the final tale of the Wyrd Kalendar entitled "Santa Claus and the Witch".

You can buy the book at – http://www.lulu.com/shop/http://www.lulu.com/shop/chris-lambert/wyrd-kalendar/paperback/product-23371751.html – All profits go to Wildlife Trusts.

As you wander through the snow and ice of the Kalendar Heath you will hear Simon and Garfunkel, Sufjan Stevens, Marc Almond, Iron and the Wine, Broadcast, Bjork, Bert Jansch, Anne Briggs, Ryuichi Sakamoto, Zen, The Divine Comedy, CAN, Kate Bush, The Ukulele Orchestra of Great Britain, Sea of Bees, Sean Wesche, Lindisfarne, Jethro Tull, Mazzy Star, The Rolling Stones, Spinal Tap, Jimmy Smith, The Free Design, David Cain, Neal Casan, Vashti Bunyan, The Who, The Fall, Scott Walker, Nick Cave and the Bad Seeds, The Grateful Dead, David Gray and Victor Hely-Hutchinson as well as extracts from Winter Landscape by Laurie Lee.

This is the last Wyrd Kalendar mix of the year. You can hear all the others for every month of the year by visiting – https://www.mixcloud.com/Wyrd_Kalendar

There will be four seasonal mixes next year. Look out for the Spring mix on March 21st.

Happy Christmas!