Author: blueestai

Categories
Horror Theatre

Gravest Fears – Theatre Review- University of Sheffield (29 Oct 23)

A picture of Robert Lloyd Parry looking academically perplexed with a pipe his mouth in the spitting image of M R James

We are off to see Nunkie Productions (https://www.nunkie.co.uk/) touring show of “Gravest Fears” as part of their M R James Project, spreading ghost stories through the land; those wonderous things that thankfully don’t ever die. The show is in association with the Enable Us Project at the University of Sheffield (https://performancevenues.group.shef.ac.uk/enable-us/) which has been showing some excellent shows as part of it’s programme.

Our return to the University of Sheffield Drama Studio is a suitable one for this show as the venue isn’t too much of a behemoth, open space that could (without modification) leave you feeling on the outside. This is a contained show that is helped by you feeling you are in the room with the narrator as if in modest urban townhouse.

Gravest Fears is a show structured around two stories from M R James which are narrated by Robert Lloyd Parry. Parry looks the part and has considerable pedigree in this department having playing him for Mark Gatiss’ BBC2 documentary and having performer and reported on across teh United States. As he sits in the chair he has the feeling of a storyteller comfortable in his own domain, yet portrayals the slight unease at the subjects of the stories well. He pour his spirits next to his table festooned with picture frames and other paraphenalia of a man of antiquary and delivers the stories true to that of a seasoned storyteller, not just someone reading from a page. There is a light the actor and the table, and little else needed here; the listener has to imagine the goings on much like they were reading the book themselves.

The first story is “The Stalls of Barchester”. Parry here is performing as the scholar Dr Black who is looking through an old diary and other assorted pieces from Dr Haynes, an Archdeacon who died at the Barchester Cathedral approximately 50 years ago (to the early 1800s). Once the evidence starts getting read, the reconstruction of events begins and what initially seems like the unlucky death of a previous Archdeacon, becomes something with a much creepier undertone.

Firstly, Parry certainly suits the part. “The Stalls of Barchester” is a story that in particular that highlights M R James’ scholarly interests and his family involvement in the church setting. Parry brings this element to the fore in his characterisation with his quiet enthusiasm for finding the 1814 records and a kind of driving mix of agnosticism of circumstance and the academic air of someone who wants to study the phenomena in front of their eyes and apply reason. The actor also carries the slightly dry love of the details, facts and biblical references you would expect to be close to M R James. The strength of this story for us is the little elements that hint at a pervading folk horror, the memories in our environment (here the Hanging Tree and intentions of the wood carver). The notion that one’s own moral failings causes Dr Haynes to be at the mercy of these strange circumstances is interesting and reminds a lot of the morality at the centre of fairy tales and the Old Testament.

Next there is “An Episode of Cathedral History”. This story looks at a mysterious tomb that is discovered in the church in the background to a plot where the Archdeacon Burscrough is forcing through renovation to Southminster Cathedral in line with a Gothic Revival style. This one shows the range of Parry as he inhabits the characters of the everyday verger (Mr Worby) both as his adult self and as a child getting up to mischief (and seeing more than he should) as well as a rather bullheaded, pompous Archdeadon Burscrough and a historian husband-wife team that go to write up the progress of the renovation. Parry gets into the spirit of things and lingers quite well in the right places such as where we peer into a coffin, look in the darkness or feel the pure disbelief of Worby’s father at what is seen. This story is the more pacy and immediate of the two.

It is a good idea to arrange the stories in this fashion. The “Stalls of Barchester” is like a details-heavy reflection of M R James mind and life with it already happening and the main character investigating like M R James himself looking into old literary sources. The second story is you discovering things as they enfold, a larger set of characters, and plenty to energise the audience as the tension grows; it is effective being after the intermission.

In summary, this performance brings to mind exactly the atmosphere and method of delivery that M R James would have intended and desired. It does not have the flash of elaborate set-pieces or technology, multiple actors or extensive attempts to rework the content in new ways; but it doesn’t need to. To say it is simply telling a story isn’t really doing it justice. It’s focus on the narrator allows the audience to imagine with their inner eye the horror, and Parry’s role as the gatekeeper to this old time horror on this wet and cold night is the perfect one.

Categories
Festival Horror Short Films

Celluloid Screams: Film Shorts (20 Oct)

For a change of pace from folk music reviews we decided to attend the Celluloid Screams horror festival in Sheffield. We needed to get some horror on while the spirit of Halloween was just around the corner, albeit sadly just for a day.

There were many films, it was delightful blur of memorable pictures.

We wanted to share our thoughts, so in our first post we wanted to talk about the short films we saw:

:

THE WYRM OF BWLCH PEN BARRAS

(https://www.wyrmfilm.com/)

Director / Writer: Craig Williams

Release: December 2023

Our first short of the day is a Welsh one drawing on a constructed folklore which will hit the right notes with many people, including those fans of historical tales which might have influenced the story such as the the River Taff Worm or even the Lambton Worm. The main difference here though, is that nobody has a hankering for milk.

There are some delightful rural shots, the terror here is not really from the dark but the wind. Among the confused, slightly reticent sun you get the sense of an early chill; the forcing of unwilling bones to go and do “what has to be done”, and the core of this horror that “to go forward we must look back”.

Like many a good film with Folk Horror at the core, much of the fear is in the mind and the landscape. This is complimented well by the characters on their journey. All the actors represent a different face to what is happening be it the person who has seen too much (Morgan Hopkins), the muscle who has a kind of complicated approval of things (Seán Carlsen), the stalwart yet saddening person in charge (Bryn Fôn), and the resigned pariah (Morgan Llewelyn-Jones). Victoria Pugh sets up the dread and fear early on too as someone else in the know.

This is a slick short that captures the mood. You do believe this hidden community shame; there are little nuances that spark and add quite a bit, i.e. when a character is berated for standing in the road waiting; the secrecy and urgency is there in the character’s eyes.

The terror of the landscape and the old ways is strong in this short. We hope it is a success, it is the kind of thing we hesitantly get out of bed for.

STOP DEAD

(https://www.otherbrotherstudios.co.uk/stop-dead)

Writer: David Scullion

Director: Emily Greenwood

Release: 12 October 2023

Next up is “Stop Dead”, a bloody crisis that takes part on a country road. Two police officers have pulled over and a dishevelled woman approaches. Then things take a turn for the worst.

For us, “Stop Dead” is a pretty good proof of concept for something bigger. It has the ingredients of a recipe for something really intriguing. There are two main characters at odds with each other, the terrifying visage of a broken, terrified person in the middle of nowhere, and an antagonist with some room for lore to be built around.

As the promotional picture shows, the lighting is especially good and deathly in this film. The makeup effects are top notch (Priya Blackburn’s Jennifer is a pale, scary visage) and the fate of one of characters reminds very much (in the best way) of that in a 1997 Canadian horror.

Prior to seeing the short, we saw no promotional material. If we had seen the tag line, we would have understood the particular rules of this scenario (“not to stop”) but for some inexplicable reason (it is probably mentioned in the film), it did not occur to us that this was the cause of everyone’s problems. As a result the final scenes were initially confusing to us. It might have been glaringly obvious, but we did not notice.

Even this misunderstanding did not take away the potential for an interesting villain take or stop us appreciating the set piece that was there in all it’s moodiness.

ONLY YOURSELF TO BLAME

(https://player.bfi.org.uk/free/film/watch-only-yourself-to-blame-2023-online)

Director / Writer: Noomi Yates

Release : 14 October 2023

Self-described as a feminist body horror, “Only Yourself to Blame” evokes a strong sense of panic, fear, and signals traumatic memories of assault in an almost ballet-like dance whose central choreographed scene is startling.

Artistic in presentation and strikingly conceptual in setting, the vehicle for this short is undoubtedly the emotions of the main characters (Simone and Pervis), and the menace that is all around. This foundation of acting makes the piece flourish but there are other good choices too.

The makeup and presentation in a particular scene are well selected. With this theme in the wrong hands there is a danger it could be over-the-top and a risk that the real horror could be played for cheap thrills, especially when the film is going for a serious tone. There is never a danger of that here though, and like all good media with an underlying social message, the spirit of hope is also strong and clear.

The film does a lot with the time has and it’s setting is particularly isolating and creepy, a great achievement.

WOLF WHISTLE

(https://filmfreeway.com/RUN137)

Director / Writer: Jennifer Handorf

Release: August 2022

One of the shortest of the films we see, “Wolf Whistle” is nevertheless an interesting and necessary watch.

There is a runner going to run out at night. Not much can be given away, but this is a blunt instrument of a film, and a necessary one at that. The frustrations and anger of the director/writer are very much felt here, and the tension feels very real.

The manifestations within the film are incredibly well-received at the festival. Along with the other short in their segment, this one seems to elicit the most outward expressions of positivity from the crowd. There is air punching to be sure.

TRANSYLVANIE

(https://www.imdb.com/title/tt28434810/)

Director: Rodrigue Huart

Writers: Rodrigue Huart / David A. Cassan / Axel Wursten

Release: 22 August 2023

Transylvanie is a French short that captures the soul in a distinctly sweet way. The main character Ewe (Katell Varvat) believes that she is a vampire and is looking to turn someone to stand by her and rule this province of apartment blocks. She calls on her powers to face her lonliness and looks on at her neighbours from on high.

Delightfully cute and quirky, this central premise takes place within a space of play as several of the teenage characters hanging out in the urban space together with Ewe being considered he outsider from every conceivable angle.

Probably the most popular short of the day, Transylvanie’s heart is comedic as Ewe’s seious proclamations, Hugo’s wonder (Lucien Le Ho) and Gwen’s (Emma Gautier) exasperation combine into a quietly charming mystery that with Ewe’s conviction makes hard to know for certain what the truth of the matter is.

Characterful and sharp in filming and dialogue, this is a short that probably resonates with that young wonder of horror that latter blossoms to full on fandom.

POOL PARTY

Director / Writer: Ellie Stewart

Release: 2023?

The last short we see for Friday at Celluloid Screams is Canadian short film, “Pool Party”.

We start by seeing a slumber party through the eyes of Freya (Glen Dela-Cruz) and feel her pain as from the beginning she wants to escape the pain that is talking awkwardly about intimate personal grooming and being made to participate in the coming-of-age ritual of getting leathered on cheap spirits.

This short feature surprises though as the awkwardness of growing pains turns into something else together. As the short progresses it becomes like a hazy dream, the bright colours glare and the pastels swirl and blend. Most of all, the piece describes the fears of this transformative time, but also the wonder of it and the self discovery of sexuality.

Warm and rewarding with some excellent prosthetics, this short brings the heat, excitement as well as pain, of young adulthood to the fore.

Categories
Duo Electronic Folk Music Folk Stories Gig Roud Trad Covers

Live Review: Burd Ellen, Carusias Arise!, and Aeourth (5th October)

Bishops House

Recently we got a chance to revisit Bishops House for a gig. Bishops House is a venue close to heart as this where I got married last year. This was not the Bishops House I remembered though. True the building is still intact, the old wood looking regal under the dark sky, but on entering to a three-part gig we have been invited to, we notice a pure ocean of electronics, be it loop peddles, samplers and many many forms and functions we had no idea about. The lights all blink their own rhythm in their own space and time like peddlers shouting out their wares and overlapping each others voices in the dark.

As part of Sensoria (the festival) and Sonido Polifonico (the micro label), we look forward to an evening of sounds and visuals with the intention of escapism, inner thought and at times mild terror.

Aeourth

The night starts with Aeourth. The floor is surrounded by his instruments, the mood is set as he kneels down to start the music. There is something about the start of the session that sounds cellular, quiet at times with a biological hum. The sounds transition into the feeling of tiny pricks of legs, the skittering of spiders as everything shuffles as if navigating in the micro-world.

Throughout there is a sense of awe, the soundscape is growing from small to large. Flashes of a powerful figure appear on the screen, and we move to a tunnel and the sea as it fades in and out of view. . You feel water Aeourth brings out a fiddle bow and bows on a guitar. Later he plucks what looks like a dulcimer, and as the electronic soundscape seems full of bells, we see reeds and the sound becomes all so oppressive. It comes full circle and feels small, microsopic but the visuals and sound combine and it sounds like tiny invisible robots swinging limbs, maybe nanobots; the piece hints at something dark to come later in human society (maybe).

A good introduction to the rest of the evening. Whilst we are sure no harm came to the violin bow or guitar strings, the sound it produced was rather hair-raising (to a fiddle player myself) and traumatic in all the best ways.

Carusias Arise!

Next up was Carusias Arise! Starting in a dark wood, you see a silhoutte of a Male figure, and the set takes off from there. The artist has a number of switches and buttons, and as the sounds emerge he chants over the top, we are not sure for certain but it seems at one point there is reference to a cradle, (we might have misheard this). Like a trance, the visuals back up the looping performance, severe splashes and dashes of colour combine and explode to form an eye that watches, and the lines spiral around and around in an electronic terror. The performance hints at the horror at the fringes of knowledge and experience while sometimes showing glimmers of hopefulness. The artist chants over the top reaching inward, like a commanding inner voice or conscience. The whole sessions ends with an anxiety, a feeling of dread even, but all-in-all this slightly trippy experience has been a good one.

Burd Ellen

The last segment of the night is Burd Ellen, the acclaimed electro-folk duo of Debbie Armour and Gayle Brogan. There is much anticipation, and we have been keen to see them for a while. We were treated to their project of “Neither Witch Nor Will Warlock” a commissioned piece for the WITCH // HAG Festival (how good does that sound?).

Burd Ellen are recognised by the BBC, the Guardian and Songlines, and frankly, can see what the fuss about. When the music is combined with Kieran Milne’s evocative landscapes and visualisations, something special happens indeed. A sense of brightness and optimistic starts with the efflorescent light, the musical well that we begin by peering into. The video starts with a walk over the fields and of the whipping grass as the woods approach.

This image has an empty alt attribute; its file name is 20231005_213338-768x1024.jpg

When we get there, we hear the affecting, cutting words and the atmospheric chimes of “The Lovers”; Burd Ellen’s take on a version of “Maiden Hind” [Roud 205]. The song’s tragedy around personally discovered incest between siblings and tragedy has the soundings of doom. You do not see the act, but the track grinds like a heavy metal tool on an anvil. It feels like the weight of society’s disapproval crushing the joy of a carefree, fun act with a misery. The worlds of the brother’s life at sea and that of the woods of the sister collide in the display, the sun ends somewhat blindingly implying a malady of the mind yet to come.

When it moves to the sea, we get some fiddle strings, swirly clouds and the drone of more misfortune to come with a rendition of “The Lass of Lochroyan”. The earthy, ill-fortunes of the people in these stories resonate against the power of the Witch at the centre. She pulls the strands of fate as the Tarot flashes up in a sequence and the esoteric takes over.

Well worth the wait, this magickal exhibition of forms is a collision of occult art, folk music and storytelling in all the best possible ways.

Categories
Acoustic Appalachian Bluegrass Duo Folk Music Gig Trad Covers

Derby Folk Weekend – 1 October 2023

On the final day of the Derby Folk Weekend after being buoyed by the proceedings thus far, we come to the final run of acts.

We have enjoyed the variety and the different flavours of the folk world, and the final day continued this trend.

Old Spot

(www.oldspotmusic.com)

Having already skirted (or dipped in an out of) some Appalachian numbers previously with the Magpies Duo, we awake to the background of the sun shining over the mountaintop and go full Old-Timey with the band “Old Spot”. Old Spot is comprised of Rowan Pigott and Joe Danks playing fiddle and banjo respectively as they tackle the melting pot that is this region’s music. If you search for “Old Spot” pigs on Google you will undoubtedly find a description of them as “a hardy breed able to cope with most conditions” and having a reputation as an “excellent forager”. This is a funny but accurate description of their reach towards this genre of music.

For their set we see and hear some marvellous numbers be it starting with “Louis Collins” a Mississippi John Hurt murder ballad with an enigmatic origin and subject matter, “the angels laid him away, laid him six feet under the clay”. Another great number was the Aberystwythian, Red Kite track, “Fly That Red Kite”. Delicately played it is both the hangover response and some of the previous night’s revelrie floating in the distant vision much like the collection of Red Kites and sore head that inspired the track. A rich, bitter travelling number, “Otter Creek” is a contemporary old-time number written by Brad Kolodner that still oozes atmosphere despite the downsizing from additional hammered dulcimer and double bass.

We get the feeling that Old Spot were more like a “Dark Horse” than a pig, as their merch stall gets swamped afterwards. They have clearly lit the beacon on Mount Mitchell and they (the audience) have all gathered.

Kieran Towers and Charlotte Carrivick

(http://www.towerscarrivick.co.uk/)

The vibe continues with an established duo of artists who have their own hands in interpreting Appalachian Music. It is good to see this combination of artists for a snapshot in Derby as they have been all over, and it is doubly good that the high energy, generous enjoyment of this old music is as interesting as it was around the first time we saw them (when they were just starting out as a duo, in what seems like another world).

There were many tunes that warmed like the late morning sun, “Wolve a-Howling” is a good one invoking the lupine presence on a balmy prairie. A fairly fast number, the fiddle and banjo sparkles as always. Similar animal-centric there is the even more frantic scramble which is “We’ll Die In The Pig Pen Fighting” a raucous, sweeping melody that in it’s succint way describes a pig describing how they will escape. In terms of a plan, Chicken Run it is not. They also gave us a version of one of our favourites, “The Blackest Crow” which works due to the characterful fiddle work by Towers and Carrivick’s mournful voice par excellence. A hot combination following the Old Time early morning we had just heard.

As a cool bonus, Towers & Carrivick teamed up with Old Spot to play together at the end of the set, see our sample here. Excellent stuff.

Trish & Mark Kerrison with
Fi Fraser- “From Como Boy to Coram Girl”

After a bit of a break we return to something quite a bit different. “From Como Boy to Coram Girl” a story described as one about, “war, work and love – travels through the Industrial Revolution”. A gentle and affecting story that spans the Alps, the lace industry in Nottingham, Liverpool and the sea there is a lot to like with this performance. Aspects of this play reminded us of how far we have come, and hearing my own family’s stories of the experiences of mothers out of wedlock and how society treated them. There is not much we want to give away, but the throughline of acoustic guitar and song paints a vivid picture, especially when a member of the family the story follows was in the audience listening.

Certainly something different for the final day of the festival, but like previous festivals in Derby, it is especially nice to have something a bit more theatrical in the mix.

Katie Spencer

(HOME | Katie Spencer)

What can we say about Katie Spencer? An artist new to us, but one who inspires people who are fans of Joni Mitchell and Michael Chapman an their style of singer/songwriter stylings. Spencer’s set was the kind of stuff you go to festivals for with it’s contemplative, emotional welded strings and moody bite, it is an understatement to say we were impressed.

Spencer’s “The Edge of a Land” is much like many of her other works, steeped in the industrial heart of Hull and it’s changing face and role. Her voice evokes another time, and here she uses it to vibrate the sinews of the sea as they lose hold of the memories they keep. “Shannon Road” is a snapshot to a place where Spencer weaves a picture of an old road she returns to with the hints of the characters underneath, her spiralling voice and lyricism prods the exterior of the area to see the shades of light and dark within. There is much else to like here including her commission from the Yorkshire Folk Archive, the “Shipyard of Beverley” and “Forevermore”, a newer song which had the feeling of the “silver lining” on dark clouds.

We don’t purport to be naturally enthusiastic to solo guitar artists and their work, it usually takes something a bit more special to hook us in. Katie Spencer has spun the mind around with her introspective lyrics that when paired with voice and guitar peel back and intrigue is in the best way of the phenomenon that is music.

Doug Eunson and Sarah Matthews

(Doug Eunson and Sarah Matthews DUO)

The penultimate performance is a well-received and anticipated performance by Doug Eunson and Sarah Matthews. A set littered with old favourites and drawing on collections familiar to trad fans, they are a strong, accomplished duo who bolster the entire festival.

Probably the funniest, cleverest lyrics of the festival we strongly remember a rendition of Robert W Service’s “In Praise of Alcohol” that was sung, it’s comedy only getting bigger by the second. Folk mainstay, “John Barleycorn” also made an appearance to which everyone raised their voices in joy, and of course, knew the words. We were also treated to a melodic, beautifully performed “Willie’s Lady” about a disapproving mother capable to giving out curses (one of our favourite stories in folk). Eunson and Matthews have great chemistry, their voices fit like chocolate and peanut butter. They are definitely a duo to see if you like if you enjoy your folk music adorned closer to your picture of traditional tunes, albeit with great composition, performance and reworking. Think of Steve Reeves with a loin cloth, classic.

Tarren

(tarrenmusic.com)

Ending the festival, we come to Tarren a fairly young, fresh but pedigreed group of artists (Sid Goldsmith, Alex Garden, and Danny Pedler) whose skills cover the concertina, cittern, fiddle and accordion. There is a lot that stirs and excites in this groups music and their takes on classic compositions. Hornpipes and irregular fiddle tunings aplenty, we look forward to the show they are putting on.

“Hot Wax” is a fantastic original tune conceived as a kind of “slow jig”. It wanders, and much like the substance drips flashes of heat and energy as it progresses. A steady tune, the mix-up of instruments is sweet but with a rough, granular edge; it isn’t showy, but rather reflective and hypnotic. “Rigs of the Time” is like a spiky gauntlet, it catches on a social feeling in whatever age it is worn really, but its constant reminder of corruption and feelings. Tarran continue the tradition of inventing new verses now, and several will probably continue into the endless future where there exploiters, greed, and people who have power over others. One of our favourites from their set, their instruments make a groove in the vinyl of our society.

Categories
Acoustic Americana Appalachian British Duo Electronic Folk Music Gig Historical Trad Covers Traditional

Derby Folk Weekend – 30 September 2023

After the events of the first day, the second day at Derby Folk Weekend really kicked into gear and we were delighted to see known artists and some new faces who have been making the rounds on our social media feeds.

Apologies must be made as we were unable to go and see the political powerhouse that is Maddie Morris (https://www.maddiemorrismusic.co.uk/), or the stalwart Winter Wilson (https://winterwilson.com/) during our stay, though they would undoubtedly be well received by the audience. There were a few artists that we managed to see:

Frankie Archer

(https://frankiearchermusic.com/)

Frankie Archer is an artist who relatively described as, “a bold mash of electro alt-trad”. We are certainly inclined to agree with this descriptive statement.

Archer’s use of loop peddles and other technology along fiddle do the job of honouring the Northumbrian tradition and leaning on the inherent sadness or joy of the tracks without distorting them all out of recognition. Think of a shiny slinky, coiled and full of kinetic energy which to the unsuspecting child is an explosive, magical stepping instrument of movement and purpose.

Archer’s version of the old, old tune “Lucy Wan” is a good, personally grief-stricken take of the old murder ballad from the woman’s perspective. The samples drip behind the fiddle foreshadowing the grisly end, and whilst the brother of the piece does not get his comeuppance, so to speak, his guilt plays a darker course in end. Archer continues her wealthy showcase of her home area with a lively rendition of “Elsie Marley” that weds you to the time and place, as well as “Peacock Follows The Hen”, sounding more like it’s self then some of the other numbers. Archer is a fresh, assured start to the second day, an artist that should certainly assure all those electronic soundscape tinkerers and trad lovers that there is always room for reinterpretation. This along with her determination and drive for women’s persepective in folk make her a must see for us.

Jim Moray

(https://jimmoray.co.uk/)

We then put our hands together for Jim Moray.

Moray is the kind of artist with an esoteric mix of songs and subjects that are really appealing such as the curious “The Straight Line And The Curve”, a song about John Dee, an occult advisor to Elizabeth or, the exceptionally strong closer to the session, “Sounds of Earth” detailing the Voyager spacecraft and the audio recordings stashed on it. Moray himself is a lynchpin in several aspects of the modern folk scene with his indelible mix of traditional songs and original material, and his application of producing skills in support of newer artists such as Frankie Archer.

The audience seemed in particular anticipation for Moray, most likely because of his grounding in traditional numbers (a Child ballad, a broken token, a classical regional piece) and the variety he trundled along with him. A nice treat was him taking the stage with Frankie Archer to perform the aforementioned “broken token” song, “Jenny Of The Moor” , a beautiful inclusion to a good set. Moray has an enviable reach and seems to be especially dedicated to the folk scene, we look forward to seeing more.

Threaded

(https://threadedmusic.com/)

As the darkness is looking to fall, the evening lineup starts with an intriguing group from our homeland (The Midlands). Comprised of Jamie Rutherford (guitar/lead vocals), Ning- ning Li (violin/vocals) and Rosie Rutherford (clarinet/vocals), Threaded’s sound is not merely a vein of optimism but rather a left ventricle pumping in the spirit of high adventure and fun into proceedings. Their music is not initially familiar to us, but there is a spark which resonated somewhere and then we realised why. They have been involved with Red Earth Theatre, the excellent Deaf-accessible, story-telling wondermachine that we have previous reviewed (see our review of Soonchild from the annals of history here). This explains why their wide-eyed creativity and joy has a place with us.

There is a lot to like to here starting with; “The Colony”, an unruly, bright song about massive ants, “The Lady Next Door”, a situated and loving piece about one of Rutherford;s neighbours, and a newer number “Raven Road”, a song full of warning and woe. Threaded’s music has a kind of family-friendly wonderment about it. You could call them the “E.T.” of the folk world as their tunes are the musical equivalent of the fruits of Steven Spielburg’s producing flair. If you get the chance, you should check them out.

The Magpies

(https://www.themagpiesmusic.com/)

The late part of the evening was allowed to soar a little higher with a chance to see The Magpies Duo (Bella Gaffney and Holly Brandon), the TransAtlantic Folk Band that hops all around the musical variations of the Atlantic. We have been vaguely aware of their journey whilst we were becoming new parents but missed them on the live circuit following this and Covid and everything else, so this was a rare pleasure. Their music is always moving like a bee collecting bits of pollen and influences from all over.

There is the earnest sounding “No More Tears” from the “Tidings” album, a quiet but forthright break-up song, the bouncing “Colin’s Set”, a modern tune written by Holly and arranged by the group, and the old-time Appalachian Song “Fall on My Knees” of (as the group rightly points out) a guy being “overly dramatic”. Their set was characterised by a dry humour, and excellent musicianship from their growing catalogue. They also gave the crowd what they wanted with (what they are well known for) their cover of the Eurythmics, “Sweet Dreams (Are Made of These)” that takes the jazzy electric synth and holds it down to an earthy, woody folk standard.

So all in all, a great second day, stay tuned for our third and final day writeup!

Categories
Acoustic British Chill Duo Festival Folk Music Folk Pop Gig Singer-Songwriter Traditional

Derby Folk Weekend – 29 September 2023

This year we managed to get to the Derby Folk Weekend.

Not quite as large as it has been previous, it still continues to get a good selection of artists from across the folk genre and it all takes place in the Old Bell Hotel (one of our favourite venues).

There are some other exhibitions going on around the Market Square, we hope to get to these in due course.

On the first night after setting our weary feet and joyful heart down for a whisky, we were able to see three(ish) acts from the first night: The Herron Brothers, Blair Dunlop, and Leveret.

Herron Brothers

(https://theherronbrothers.com/)

It all started for us in the front bar with The Herron Brothers; we were running a little late and did not settle for too long. What we heard was encouraging, bright and a cheerful pop act that had character. From what we have seen they are like Mirror Universe Gallagher brothers bringing the cheer to Derby in their own rather than projecting an image of fighting you for your bag of chips, like a seagull. Independent music is great and this band is carving a place with some cool music.

Before moving on we have to plug their clip of “Babu”, what a great, joyous listen.

Blair Dunlop

(https://blairdunlop.com/)

Then, from nearer our neck in the woods, Blair Dunlop arrives from sunny Chesterfield. Dunlop is a good entry to ticketed part of the festival with a mix of mellow, insightful in his acoustic performance. He credits Jim Moray as being a big influence (which seems to be a theme emerging in this festival so far) and, like Moray, he has found a plethora of interesting topics to tackle be it recent historicals or more obscure interests, (The expenses scandal, a Porsche, and condiments).

Dunlop is like a rag and bone man, he has a bit of something for everybody. For us we were particular enamoured by “Sweet on you” (a bad relationship, but a good melody) which has a hook as good as Arturo Gatti, “In the day I think you are trouble, in the night I’m sweet on you”. We also enjoyed the time travelling nature of “Spices From the East” which brought back a historical talk we had on a guide tour of the Salt Mines near Krakow. Fascinating, beautiful place and also a metaphor-filled spice rack of good lyrics once again. Check out the link below for the previous release for “Sweet On You”.

Leveret

(https://www.leveretband.com/)

Leveret don’t really need much introduction for those swimming in the pool of traditional music. For many, they are probably “all about the playing”; as they said themselves on stage, “We don’t talk much”. They actually talked more than you might expect with this sentiment, but there were definitely some interesting stories from the road alongside the continuing excellent musicianship.

We’ve seen them a couple of times and hadn’t been aware of the changing roles they take during their sets depending on how they feel. Such fluidity must come from a place of prior technical excellence and practice. We loved the abundance of hornpipes, including the 3/2 ones such as “The Good Old Way” which is the tune that always instantly springs to mind when we hear their name. A beautiful change of pace was the set of airs, “The Height of Cader Idris” with “Jack a Lent”. The first tune certain conveys a kind of majesty within it’s performance, “Jack a Lent” has serious Spring overtones and probably less of the implied dark contradiction in this rite than you would imagine. If you want a listen, take a listen below:

An impressive entry to the Folk Weekend covering a few different bases in the musical tradition. There is a lot to like here and much more coming up for the Derby Folk Weekend https://www.derbyfolkfestival.co.uk/

Categories
Album/EP Reviews Energetic Fairy Tale Folk Music Folk Rock Sci-Fi

Joshua Burnell – Glass Knight – Review – 14/08/23

“A dizzying amount of craft, musical influences and layers of sonic excellence that nevertheless has an accessible shine that musical afficionados, local Dungeon Masters, and your Nan, are all going to equally enjoy”

We remember Joshua Burnell on a hot sunny day, a few years ago during the height of the Beverley Folk Festival. Burnell himself, and his band, were all there playing away as the sun blazed. Burnell was sliding all over the place over the keys, the dragon kite above his head seemed to come alive and it was all an explosive, colourful foray into the live folk scene. It was not so much that he was racing from the devil, but rather in all his efforts his gusto and enthusiasm seemed like it might have had the devil’s envy.

We sadly admit not keeping up with the development and journey in intervening years, but it is safe to say that there must be tales to be told. No longer is he the enthusiastic spirit of fighting youth, he is fact Russell Crowe in Gladiator. He knows a thing or too, and his Glass Knight, in this instance is a show of his refinement and skills. The only difference is we don’t expect Burnell to have the same sticky end that Maximus did.

For those not in the know, Joshua Burnell’s origins are a mixture of life in Haute-Savoie, Linlithgow and York. Along with his band of Nathan Greaves (electric guitar), Oliver Whitehouse (bass), Ed Simpson (drums) and Frances Sladen (backing vocals) joined with Kathleen Ord/Elizabeth Heyes-Lundie (violin), Ellen Brookes/Rhiannon Fallows (violas), and Greg Morton/Ele Leckie (cellos); we have an expansive collective that is not just large in size, but in range.

After all, Burnell has been described as having the sound and influences of Bob Dylan, The War on Drugs, Arcade Fire, Peter Gabriel and others combined with the sound of synth, art rock, folk roots, psychedelia and glam. They do feel like their own beast though, performing this mix of fantasy and folk with gusto. So how did we find “The Glass Knight”?

In “Where Planets Collide” the guitar wails as he declares, “I can’t help but feel that nothing is real anymore”. The track arrives as if on the thundering of approaching space hooves. Burnell’s opener is a bruiser; it’s layers of guitar swell and the drums spell a fatal inevitability and excitement over it’s space-fantasy themings. The purpose of the track is almost to show you how much Burnell has learned, as “Where Planets Collide” is a bit like making a special edition of the “Into the Green” album. Where “Into the Green” is Gandalf the Grey holding back the Balrog in Moria, “Glass Knight” is where Gandalf returns brandishing a ray gun and kicking ass. Energetic and confident, it is as good a translation of Burnell’s on-stage energy into a physical medium as is possible.

“Looking Glass” is truly delightful too. Burnell’s is having a whirlwind of a time with this rendition of a romance in the ilk of the original Snow White story with the references to “the fairest of them all”, “poisoned apples” and loads more. We decidedly have a soft spot for old fairytales, and this one kicks with its stirring piano, barking guitar and spellbinding singing voice. Burnell’s spin on Snow White adds to the modern record of great fable representation, be it American McGee’s Alice in a twisted, psychotic vengeance, the great Fables comic series or Yulia Stepanova’s junkie pimp Snow White in Rammstein’s “Sonne”. The difference is that is a brighter take than this other media, with a sound akin to a favourite artist of ours, Princess Chelsea. We would love to keep this discussion on the train track of folk music but let us (like Burnell) come close to coming off the rails here as we take a second to appreciate a track at the intersection of the old and new and how wonderfully it’s rock groove has been put together.

A confident retro entry on the disc is Burnell’s “Lucy”. We think that Burnell is a witch with this track due to the abundant cauldron of influences here. He sounds a lot like Bob Dylan with dashes of Elton John, William Shatner and the Beatles all the while that the song builds to an electric guitar solo (by Nathan Greaves) which could be the finer moments of Queen. Special kudos go to the mixing on this loveable “biography of a rock star” which brings Frances Sladen’s backing vocals to the sky with it’s interesting and soulful inclusion. It truly is a song that is a vibe encapsulated, as if Glam Rock music had just hatched from a reanimated dinosaur egg and thinks you are it’s mother. Bouncy and radiant this is a good track.

Another couple of great tracks to mention are “Played my Part”, a song that looks at climate change and personal responsibility with Burnell’s voice riding high in the mix and “Glass Knight”. “Played my Part” is an energetic and lively number that gets the feels going with Burnell’s directness of voice and some of the instrumental soundscapes that emerge throughout. Billed as a prequel to a previous track called, “Look at Us Now”, it is an interesting eye that is cast to a despondent future when the Earth might not be such a clean place. When we come to “Glass Knight” we realise it is the kind of subject matter that gets folklorists out of bed in the morning. It retells an old Saffron Walden story about a night in glass armour who goes to save the villagers from the stare of a “basilisk” (that can turn people to stone). Some excellent retro chord progressions and a guitar pedal effect clearly chosen for it’s futuristic haunting (a la Jeff Wayne’s War of the Worlds) take us along to a new grim ending when the deed is done. It seems to hint at any number of things that might lead to a lack of thought be it social media, the news, youth culture; you pick it. A great rock centrepiece to hang the album on in concept and sound.

This album is exceptional. Burnell wears his influences on his sleeves, but these sleeves are actually bracers that are so powerful he can deflect arrows with them. Nerdy but not childish it is a harkening to a musical universe which is part fantasy and sci-fi, fairytale and modernity, and rarely do we find something so surprisingly aligned with a large number of our interests yet more than successful in execution, scope and creativity. Astonishingly put together and conceived there is a lot we haven’t said, so we recommend that you go out and buy this one, Burnell’s album bristles with the aura of a disc that should win awards this year.

The Glass Knight was launched at Fairport’s Cropredy Convention on August 11th, and is available from all good stockists, though we often encourage to purchase from the artist themselves. Joshua Burnell’s store is here.

There are several tour dates coming up, check out the website here for more information.

Categories
Acoustic Blues Folk Music Gentle Gig Trad Covers

Miranda Sykes @ The Wesley Centre – 9th June 2023

We return to the Wesley Centre in Maltby after a hiatus to see what we have been missing out on. We haven’t been since Covid and are looking forward to a night of live music.

The Wesley Centre is still a nice intimate venue with friendly serving staff and the all-important raffle to host the folk-gig night “Firbeck Live” which continues to gather some cool folk artists. As pointed out, Miranda Sykes herself is not touring extensively until her own new album release and upcoming work with other bands, yet she is here and she is playing to a pretty full audience.

It is a set of two halves. Sykes’ first is her self proclaimed, “songs that I like and random numbers” and the second is where she delves into songs from her “Farmhouse Sessions”. The whole selection is light with a few forays into more traditional faire (notably the Bonny Light Horseman), but generally taking a comfortable and popular collection of blues and acoustic numbers that have been influences on Sykes. We have seen her before and have always been impressed of the road she has taken and her tales of being on the road. Contributing to many albums and travelling from Yorkshire across Europe in a number of groups, including her part she has played with the Show of Hands group; Sykes is a musician who is a pleasure to hear .

Sykes voice is more towards the softer and quieter scale, punctuated with a great clarity like that still hummingbird picture you see with it’s wings mid-motion. Her voice is somewhat like suede in that her lilt is versatile and can take a bit of punishment while retaining a glossy alllure. Metaphors aside, this is the best we have heard her voice in the few years since we last saw her and it was only better thanks to the great sound engineering work on the night.

There were some standouts from the sets, her rendition of Karine Polwart’s, “Only One Way” from the Faultlines album is a good one. Each pluck of the double bass was like a leg on a blues freeway you are hurtling down, building on the night wind in your hair. However one like’s their blues, this is a sharp number and performance. Kerr’s cover of Nancy Kerr and James Fagan’s “Sweet Peace” did it justice. Her voice managed to encapsulate the original’s duo dynamics with her own range and steady guitar strums. Gentle, spiritual and stirring it is a reflective cover of one of our favourites. A particular crowd pleaser was Sykes’ performance of “The Lincolnshire Song” a song peppered with heart and familiarity, which the audience were jubilant about hearing.

Sykes’ tunes contain echoes of counter-culture and kindness without being a harsh political denouncements calling for blood. This is seen in tracks such as Nancy Griffiths’ “Time of Inconvenience” with it’s especially boingy bass that thumps to the rhythm of technological commentary. The theme of joy and light is furthered with a rendition of Chris Hoban’s “Stay Close to Me”, a particularly poignant and pretty number penned during the time of Covid, which resonates through it’s call to hope even at a time when things were less certain for the future.

The songs and others point to a relaxed, happy evening. Warming and restorative, it is a pleasure to see Miranda Sykes again for a delightful evening at a great venue.

Check out Miranda Sykes’ website for details of further tour dates here

For details of further Firbeck Live gig, go here.

Categories
Classic Horror Theatre

Haunted – “Influential horror stories dug up and made fresh” – The University of Sheffield Drama Studio (1st April 2023)

When it comes to yarn spinning the best type (in our opinion) is, quite explicitely, the one involving reading from a book or telling a grand tale. Knitting a jumper seems rather complicated and in folklore so many bad things seem to happen when you start spinning that wheel. That being said there is that familiarity in a favourite jumper, especially the one that appears after seemingly doing commando-ops in the bottom of your clothes drawer. In a strange way this comfort is rather like that of classic ghost stories, especially when their form and idea is respun in stories of the modern day.

Made in conjunction with The Book of Darkness and Light/LittleMighty/Harrogate Theatre, penned and performed by Adam Z. Robinson, and showcased as part of Enable US (which joyfully brings “New professional performances” to the old Baptist setting) “Haunted” is a play directed by Dick Bonham which we recently saw that showcased a performance of classic stories “The Upper Berth” (F. Marion Crawford, 1894) and “The Monkey’s Paw” (W.W Jacobs, 1902).

The Monkey’s Paw itself is close to the consciousness with such recent adaptations as The Simpsons, and (our personal favourite) Inside Number Nine, so watching a seed of these ideas being played back is a treat meaning that “Haunted” occupies a space which hits the sweet spot in the mind where your favourite spooky feelings dwell.

It all starts with hard liquor from the decanter, as our narrator gets a case of the shaky hands and tells us that “nothing will get him back on thatship”. “The Upper Berth” is a great story about a passenger on a cruise ship who ends up staying in a room which all the staff speak ill of due to the fate of several of those who were boarded there on previous voyages. The adaptation really keeps some of the best descriptions that set the scene, e.g. “sad coloured curtains”, his sensory description of the “wet” floor, and the individual running like “the shadow of a galloping horse”, and the performance around the spookiness of the “port hole” is memorable. In “The Monkey’s Paw”, we get a different story about a family who acquire a magical artifact from a Sergeant-Major returning from service India that grants wishes; but when has that ever been unproblematic? Robinson’s range is good as he moves from the part of an educated, supernatural sceptic to the Northern, working class father of the story in “The Monkey’s Paw”, who seems more than willing to accept and get his hands dirty in that superstitious, dark unknown. Other side characters such as the doctor on the boat are effectively performed allowing us reminisce of how an exasperated, worried and educated man of science of the time might be like too.

The constrasting themes of the perils of the curiosity of the scientific method (The Upper Berth) vs the curiosity of the chance to cheat life and fate itself are gruesomely desperate and fun themes. “The Monkey’s Paw” is great for what it doesn’t show too as well are left to imagine the grisly “machinery” death of one of the characters. It’s fascinating to see here how the promise of wealth even corrupts those with modest ideas about improving their station in life but also the pain and strength of avoiding temptation and trying to right a terrible wrong. Robinson switches between roles well, they all have distinct voices and idioms that make them recognisable. The only confusion for us is when Mr White (in the Monkey’s Paw) seems to refer to his wife as “Mother”. This could be narratively simpler for the audience to follow or it is possible we are losing our own internal plot at this point.

Credit must be given to the BSL interpreter (whose name I did not get unfortunately) whose forlorn and haunted expressions accompanied the signings and kept the grim atmosphere and tension high. The set is recognisable and effective in it’s choice of furnishings (Steve Watling/Charlotte Woods, technical manager) with the ghostly, greyed pictures in frames and domesticity of “The Monkey’s Paw” compared with the rolling netting, old case and dusty bottles of the marine nightmare. The lighting was moody and communicated the bleakness of the dark well (particularly as part of The Upper Berth). At times there were loud sound spikes for the jump scares. These were quite successful, we did jump at least once during the show after a scary build up.

These two stories are a great showcase of presentation, performance and writing. “Haunted” is the unfolding dread of the unknown and the dangers of human choice and inquisitiveness when perhaps things, “should just be left alone”. Old in subject yet lovingly adapted (and inclusive), it was a night to remind of the joys of storytelling and bone-chilling horror.

Photos by Charlotte Woods,

Check out the rest of Enable Us’s programme here, theres some great stuff.

For more details of projects and artists LittleMighty support, click here.

For enquiries around covering horror, folk horror theatre or folk music, please email us on reviewer@folk-phenomena.co.uk

Categories
Dark Folk Duo Electronic Folk Music Folk Stories Historical Myths Nature Folk Poem Review Spoken Word Synth

Swift Wings and Lost Stones – Live Gig Review

University of Sheffield Drama Studio on 13 November 2022

Enable US Project https://performancevenues.group.shef.ac.uk/about-us/enable-us/

We had the pleasure of attending an event which marks the shimmering of the air and the slipstream of the horror season as we move from the month of Halloween and into the one of even darker nights and exploding lights. 

With a strong connection to Folk Horror, early 20th Century, poetry and traumatising children’s television (which is slightly before my time), we are treated to a thoughtful, exploratory evening of two parts, namely (i.) a lecture on the Avebury stones, Stonehenge and Silbury Hill, and ideas around them, and (ii.) a musical gig that provides atmospheric samples and song over essential poetry. This all takes place within the cool, intimate wings of the University of Sheffield’s Drama Studio.

To start, we meet David Bramwell, author of “Cult of Water” as he looks into the Avebury Stones, his experiences and connections with the children’s show, “Children of the Stones”. It is an intriguing, enlightening talk and not exclusively for its educational value. Brawell does an almost Dave Gorman thing by pursuing the history of a fake stone head that was part of an April Fools Joke around Avebury and where that indeed may lead to. Along the way there is a joyous, informed exploration of monuments and interpretations of their purpose. His playful manner does dig into some of our most basic preconceptions sometimes such as, “Cavemen didn’t live in caves, they could build houses, no-one would ever live in a cave.” That raised a good laugh. 

The theme of our preconceptions is the starring role here as Bramwell gives us a glimpse of what a particular brand of children’s programme was in the 70’s (I will give you a clue, terrifying). On one hand he looks at the notion of celebrity through history; and on the other he dips his toe into counterculture views of the stones when he recalls discussions with musician and celebrity Julian Cope. As you would expect, when Cope gets involved it goes, in all the best ways, from him dipping his toe in to losing a leg to an alligator under the still waters. 

The second half brought us to a gig by Justin Hopper and Sharron Kraus with tracks from their swift wings album. Here the ambience of the venue at Sheffield Drama Studio (which we haven’t mentioned yet) really came into its full. Sparse lighting, an enigmatic triangle of candles and the aetheric, sight saturating brightness of Wendy Pye’s nature visuals. 

Combining Krauss’s haunting vocals,  recorders, flute and synth loops with Justin Hopper’s assured narration, we enter the world of Victor Neuburg, a more-than associate of Aleister Crowley and the poetry he produced through his own press. Before the performance there was some context to Neuburg’s life and viewpoint which complimented the open, peaceful messages of the first half of the evening. Neuburg clearly suffered through life, but many of his joys are also scratched deep into the velum of his work, where many of his poems spring from (only having been uncovered this very year). Some of our favourite of the chilling but often bursting-with-life tracks include, “Frenchlands” an upbeat, woodwind-fuelled, mustard-yellow haze of a dream that precipitates the mind like a passing ray of sun on the face. “Coombes” a more future-centric track which can hit like a kind of spiritual cyborg, ruminating on “ghosts”, and the the otherworldly purgatory, grey and flat “October” feeling that trying to escape the taunt of spiraling, embracing thorns. Joy and gloom, the call of history and the spirit of doing justice to this creative, obscure soul is a great way to spend an evening. The album itself will undoubtedly be an interesting staple for folk fans, folk horror enthusiasts, poet-chasers and magickal practitioners all alike and together in appreciation.

Thoughtful and enjoyable as both a nostalgic folk horror memory, an exploration of counter-cultural notions (such as water dowsing), and a call to pre-Christian beliefs it was a great night amplified by the immersive, humbling and spiritual power of Swift Wings’ performance.

If you are interested in having a listen to the album, then click on to their Bandcamp here, or checkout a sample video below.