This Z Tapes release left me floored. Rapt are a folk band out of London who have an ethereal sound which reminded me of musicians like Nick Drake fronting a band on 4AD. Think, perhaps, of a more airy-sounding This Mortal Coil gone neofolk. The sound is folky without being stale, and adding elements like shoegaze and dreampop make for a rich, rewarding listen. I really like this.
Canary Records are the kings of shellac-era reissues, and this is one of their most fabulous. It’s a collection of female singers who were active in Turkey’s cultural capital, and Ian Nagoski, musicologist and venerable head of the company, has made these recordings sound as clear as possible, despite being around 90 years old. Yet another stunning peek into the past.
Some time ago I had reviewed the work of an ethno-folk-jazz band from Kostroma, Russia called Gralitsa, and I found them favorable. I have to say that I find this album at least as favorable, but it sounds like a totally different band. This sound is far more affected by genres like trip-hop, downtempo music, and darkjazz (a touch, anyway). There’s also a slightly ‘free’ element to the music, though it never sounds disjointed. The track Echo Poor Heart is the cornerstone of the album, showcasing the vocals of Olga “Gralitsa” Rodionova layered on top of a dark, jazz noir…
We have quite a treat tonight. The Lamplight Club was a six-piece band out of Essex, England who produce a sound that fits comfortably between 60’s garage-psych, gothic folk and touched with a noir country tinge to it. You can stream their songs via Spotify here. If there are more honorable streaming services to recommend, please do so.
Clara Engel is based in Toronto, Canada. Her work has been described as “Folk-Noir” or “minimalist holy blues,” and who am I to disagree? This takes the best elements of neofolk, stripped-down to just voice, cigar box guitar, electric guitar, melodica and harmonica, and it sounds like a rare self-pressed release worth thousands one could find on eBay, but living up to the hype. Clara’s voice is a perfect match for the ethereal music supporting it. I have a feeling those who like the folkier elements of Current 93, Nick Drake, Shirley Collins and 70’s progressive folk are going to find…
Xerxes is not a name one comes across regularly in English, so when I saw James Xerxes Fusssell’s name pop up on my dashboard, I thought I’d give his music a listen. I’m glad I did. This is a one-track release of blues-tinged music sung in a peculiar manner that I found to be enjoyable.
While I don’t celebrate Valentine’s Day too seriously (traveling and lack of a suitable mate at this time will do that), and adding that Eastern Orthodox don’t celebrate the venerable Saint’s day until July 30, I do want to wish my friends and the kind readers who show up here a lovely day with your partner. A bit of Roberta Flack singing Ewan MacColl’s masterpiece, The First Time Ever I Saw Your Face, should set the mood for the day nicely. Tell me these words wouldn’t make your lover swoon: The first time ever I saw your face I thought…
Vedan Kolod are a troupe based in Moscow, Russia, who do sterling work interpreting medieval Russian folkloric music, especially Siberian tunes, with a modern twist. The label, CPL, is run by my friend and colleague, Christian Pliefke, whose taste in artists is impeccable, and every release he’s curated for his imprint has been solid listening. From the promo onesheet: With their release, Gorodische, Russian folk ensemble Vedan Kolod strive to make traditional folk songs from very different parts of their country accessible to a wider public. The vast majority of the songs are going back several centuries and have…
Tom Carter was the guitarist of improvisers Charalambides, one of the heirs of fine Texas psychedelia. His new album, Beautiful Savior, comes as a pleasant, hopeful respite after being inundated by moronic ‘devil’-related titles. Is this an acid-Christian album? Who knows? The tones from this album speak for themselves. The music is beautiful, sparse and has a hazy, relaxed feel to it. It clocks in at around 30 minutes, which is far too short for enjoying such a blissfully folky album which reminds me so much of John Fahey.