Polecat Creek - Lyin' Man

 #Polecat Creek #bluegrass #Americana #folk #roots country #traditional #singer-songwriter

Most old-time string bands keep their repertoire routed in the classics, learned either from recordings from the 1920s thru 1940s or old master musicians. Polecat Creek, however, offers no less than fifteen original songs on Leaving Eden. Greensboro’s Polecat Creek presents an exceptional balance of traditional country sounds with new songs penned by musical partners Kari Sickenberger and Laurelyn Dossett. The latter’s “Come By Here,” the ninth title on Leaving Eden, won at MerleFest’s Chris Austin Songwriting Contest in 2004. That’s probably not even the best song on an album full of memorable songs. Sickenberger’s “The Past Ain’t Over Yet” reflects all of the hallmarks of the best honk-tonky of more than half-century ago. Yet it switches gender with the female voice into direct opposition to Kitty Wells’ “It Wasn’t God Who Made Honky-Tonk Angels.”
All told Kari wrote nine of the songs, with Laurelyn responsible for the other six. Just as important as the writing, the pair sing far more than effectively, delivering a full range of emotional communication. Not only are these their songs, they sing them as if telling their own life stories. That sets them apart from the old school, using the old-time form as a platform for two outstanding singer-songwriter.
The duo receives equally accomplished musical support. Regular collaborator Riley Bauguss, one of the most respected southern string band players of his generation, plays outrageous banjo throughout, along with some fiddle and guitar. Producer and frequent Tim O’Brien collaborator Dirk Powell of Balfa Toujours adds bass, accordion, mandolin, guitar, and fiddle. Former Good Ole Person Kevin Wimmer fiddles on four cuts.
Rather than recycle themes from nearly a century ago, Polecat Creek creates an original roots sound that draws from string band, brother duet, Cajun, bluegrass, and traditional country. Yet they do that without ever losing their spiritual connection to those who have gone before. That makes Leaving Eden one of the most delightful releases of 2004 in any form of country music.
From: https://artmenius.com/more-recent-publications/reviews-for-the-independent-2004-2005/

BraAgas - Fraile Cornudo - BalconyTV

 #BraAgas #Balkan folk #medieval #Scandinavian folk #world music #Sephardic folk #traditional #ethno #Czech Republic #live music video

BraAgas is a predominantly female band interpreting folk songs from all over Europe in original arrangements. A significant part of BraAgas' repertoire consists of Sephardic songs, Scandinavian and Balkan folklore, and they enjoy odd rhythms and melodies. On their last album ‘O Ptácích A Rybách’, the band also focused on folk songs from Moravia. In their arrangements of folk music, BraAgas try to use the diversity of the origin of the individual songs and the interesting sounds provided by ethnic and historical instruments, over which great female vocals are soaring. They have performed at leading festivals such as Colors of Ostrava, MFT Zlatá Praha, Rainforest World Music festival, EBU Folk Festival in Cologne, and Sur Jahan festival in India.  From: http://www.folkworld.de/73/e/braagas.html

BalconyTV was a wheeze cooked up by three friends living on Dame St. in central Dublin, and then improbably became a global online phenomenon, before a peculiar and confused descent back to something like obscurity. The story is now the focus of a three-part podcast, allowing those involved to have their say, with the series also showcasing the vagaries of the music industry. BalconyTV was the brainchild of friends Stephen O’Regan, Tom Millett and Pauline Freeman. The podcast is by Mark Graham, a lecturer in the Department of Arts at SETU (South-East Technical University) in Waterford, also a musician himself. In fact, his former band, the highly regarded King Kong Company, turned down the opportunity to appear on BalconyTV - unlike sundry others, such as Ed Sheeran, Kaiser Chiefs, and Mumford and Sons.
According to Graham, the trio who first set up BalconyTV in 2006 were hungover when the idea first came to them. One of the group, Tom, was a musician and was practicing double bass on the balcony. The others thought it looked good and so BalconyTV was born.
“It started a little bit before YouTube,” explains Graham. “They had their own website first, with a Flash media player, then YouTube came on stream so in the very early days of YouTube they were early adopters. It is de rigeur now to video performances but they were the first to do it, not just in Ireland but maybe in the world.” At first the trio recorded a magician doing his act on the balcony, or someone juggling a football, but it was music performances in this incongruous settings complete with background traffic noises, which caught the imagination of people online. For Graham, BalconyTV formed the template for enduring online music shows such as the Tiny Desk series by US broadcaster NPR.  From: https://www.irishexaminer.com/lifestyle/artsandculture/arid-41057474.html 

Otyken - Storm

 #Otyken #Siberian folk #Siberian indigenous music #traditional #world music #folk rock #throat singing #tribal drumming #music video

A group of aboriginal Siberian taiga people makes its way across a frozen river. The sky is gray and the wind is growing stronger: a storm is coming. They unpack their gear, pull out large drums and proceed to pummel them. “Are you going east?” A girl in a colorful indigenous outfit and long black hair wails. “Then be careful!” This is followed by a song that can best be categorized as ethnic rock: there is throat singing, a keyboard sampler imitating an electric guitar, drumming and dancing. Also making it into the picture is a bass guitar-looking instrument made out of something that looks like the skull of a large animal - and you’ll find that that’s exactly what it is. This is Otyken and this is how the video for their track ‘Storm’ begins. The band members are all indigenous Siberians who hail from the Krasnoyarsk Region, in the heart of the Russian North. Otyken was founded in 2019 and is the brainchild of Andrey Medonos, director of the local museum of ethnography. Their style is a mixture of rock, R&B and tribal electronica, complete with throat singing. They perform in three languages - Chulym, Khakassian and Russian. All the band members are representatives of the Chulym, Ket and Selkup ethnic groups. And all hail from tiny villages in the remote taiga - no coffee shops, pharmacies or even electricity. The name ‘Otyken’ comes from the turkic word meaning the “holy place where warriors laid down their arms and held talks”. According to Medonos, Otyken gained popularity thanks to foreign tourists interested in Siberian life. South and North Americans and Canadians are frequent visitors, often looking for parallels with their own cultures. At first, Otyken had a more authentic and traditional sound, but, in order to increase their reach, the band began introducing outside elements. The costumes were improvised, as well - they’re not really true replicas, but more of a mixture of traditional and modern elements. You’ll often see animal hides, feathers and modern elements all rolled into one. As for the instruments, the same principle of embellishment applies. “The most unusual instrument we have is the morin khuur [a Mongolian string instrument] made from a horse’s skull. We have other instruments and outfits as well: maracas, horns…” says Tsveta, who plays the Jaw harp.  From: https://www.rbth.com/arts/335614-otyken-siberian-indigenous-band

I Draw Slow - Apocalypso

 #I Draw Slow #folk #contemporary folk #Americana #roots music #contemporary bluegrass #Irish 

I Draw Slow is an Irish folk/Americana band that bridges the gap between Dublin and Nashville with exceptional picking and singing and a deep love for American roots music. Citing influences like Doc Watson, Joni Mitchell, the Carter Family, Neil Young, and Hank Williams, the group was founded in 2008 around the talents of Adrian Hart (fiddle), Colin Derham (claw hammer banjo), Konrad Liddy (double bass), and siblings Dave (guitar and vocals) and Louise Holden (vocals). Employing a compelling blend of bluegrass, Appalachian folk, old-timey country, and Americana, the group released their acclaimed debut album, Redhills on Pinecastle in 2011. They tapped veteran Irish producer Brian Masterson (the Chieftains, Van Morrison, Norah Jones) to helm their sophomore outing, 2014's similarly well-received White Wave Chapel, and in 2017, they inked a deal with Compass Records and released their third studio long-player, Turn Your Face to the Sun. 2020 saw the band retreat into isolation due to the COVID-19 pandemic. Healing from that shared trauma was at the core of the group's eponymous fourth long-player. Released in 2022, I Draw Slow looked inward and introduced new sonic elements into the group's rootsy sound, including retro-pop, jazz, and ambient soundscapes.  From: https://www.allmusic.com/artist/i-draw-slow-mn0003232529/biography

Laura Love - I Am Wondering

 #Laura Love #folk #Afro-Celtic #Americana #Afro-Carribean #folk pop #funk #R&B #world music #singer-songwriter

Laura Love's restless, musically adventurous spirit has carried her in a remarkable array of directions. A bass player with a unique vocal style, Love has performed everything from grunge to jazz to bluegrass. She has covered songs as diverse as Hank Williams' I'm So Lonesome I Could Cry, Jackie DeShannon's Put a Little Love in Your Heart, and Kurt Cobain's Come As You Are. Most remarkably, she has melded her own funky, folky genre from African and Caribbean rhythms, Irish melodies, and R&B. She calls it Afro/Celtic. "Love has a powerful raspy voice not unlike Toni Childs, and she uses it to full advantage — howling , crooning, and even yodeling," Lahri Bond wrote in Dirty Linen magazine. "These tunes usually have spiritual underpinnings that give Love's lyrics a simplicity with a lot of depth. Love often strings together 'nonsense' words that serve as rhythmic connecting devices similar to scatting or African chant."
With self-deprecating wit, the singer described her sound to Billboard as "more like confusion than fusion. I don't really devour a lot of music, but I hear snippets here and there at festivals without meaning to. Some of it just sinks in — the really emotionally grabbing stuff — and sticks with me. But I've always loved Appalachian — the high lonesome, bluegrassy, mournful, minor-key white soul music — and I love black soul music. Time magazine music critic Christopher Farley has described Love as more traditionally folky than musically exotic, believing that Love could be a descendent of Joni Mitchell, and her songs address typical coffeehouse subject matter. "Love has a voice rich with dark shadings and rural twang," Farley wrote. "She calls her music Afro/Celtic, but it's mostly front-porch folk with a few twists."
Love made her jazz-singing debut for a "captive audience" at a penitentiary in her home state of Nebraska in the early 1980s. She was 16 years old. Later, she developed a following in the Seattle music scene, where she played grunge rock in the early years of her career. Eventually, Love found — or, more accurately, created — her own niche. "The Afro-Celtic label doesn't communicate the full flavor of Love's songs," Nelson George wrote in Playboy. "Her songs have bright, lilting melodies that contrast nicely with lyrics that focus on poverty and pain. But Love isn't as heavy-voiced or didactic as Tracy Chapman. Her vocals are lighter, higher-pitched, and less guarded than those of her fellow pop-folkie. As pained and bitter as the songs are, Love suggests there's room for optimism."  From:https://musicianguide.com/biographies/1608000914/Laura-Love.html

 

First Aid Kit - War Pigs

 #First Aid Kit #indie folk #Americana #country folk #folk rock #folk pop #singer-songwriter #Swedish #Black Sabbath cover #music video

You wouldn’t imagine that the mellow folky tones of First Aid Kit would pair well with the frenzied howling maelstrom of Black Sabbath. Sometimes defying convention is a thrill and music proves that time and time again. In fact, defying convention is something that First Aid Kit have had to do in their own usual field anyway. "We had a lot to prove, especially being in a genre that’s dominated by a certain type of man – you know, nerdy, bearded men listening to folk,” Klara Söderberg told The Telegraph. “We felt we had to prove we were serious about music and we weren’t just doing this because we thought it was trendy.” Her sister Johanna adds: “I felt there was a lot of sexism in that as well.” Thankfully, they persevered and have been offering up blissful music ever since, not least last year’s cracking album Palomino. Throughout their musical journey so far, they have remained defiant enough to venture into a range of genres and let their individualism and undoubted talent shine through.
That’s just as well when it comes to covering Black Sabbath because very few songs have the raw, mystic power that the anti-war juggernaut of ‘War Pigs’ contains. It is, in essence, an outcry. “Britain was on the verge of being brought into the Vietnam War,” Geezer Butler recalls, “there was protests in the street, all kinds of anti-Vietnam things going on. War is the real Satanism. Politicians are the real Satanists. That’s what I was trying to say.” The anthem remains one of the great opening tracks, blasting Paranoid off like the gunshot at the start of a race. Everything about the band was rough, tumble, and raw. Even their debut album was pieced together in a day, as Tony Iommi recalls, “We thought we have two days to do it and one of the days is mixing. So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff.” While Ozzy Osbourne’s thunderous screech is hard to match, the duo bring their own sense of power to it. As Alex Turner of the Arctic Monkeys once correctly identified, there is just something special about siblings harmonizing.  From: https://faroutmagazine.co.uk/first-aid-kits-cover-black-sabbath-war-pigs/

Nickel Creek - When in Rome

 #Nickel Creek #bluegrass #folk #contemporary bluegrass #progressive acoustic #Americana

Today, the music community broadly known as Americana has too many stars, scenes and subcategories to count. Beloved artists like Jason Isbell and Kacey Musgraves, who in another era might have been all but ignored by country gatekeepers, have found a welcoming community and something in the neighborhood of household-name status. The Americana Music Festival, held annually in Nashville, grows larger each year. And in 2014, the Grammys gave the first awards in the newly created "American roots" categories, which encompass bluegrass, blues, folk, gospel and anything too left-of-center for the country mainstream. But the music under this umbrella wasn't always the stuff of major festivals and glitzy awards shows, or of such broad interest to the youth market whose tastes drive the industry. At the turn of the 21st century, progressive-minded artists in this world were likely to be scattered across granular labels like contemporary folk or the then-popular "alt-country," with smaller audiences and fewer entry points for a casual listener. As it still does today, country radio leaned heavily commercial (though it did, at least, play music by women back then): In 2000, the songs that dominated genre playlists before finding crossover success were pop smashes like Faith Hill's "Breathe" and Lee Ann Womack's "I Hope You Dance." Traditionalists, meanwhile, carried on in the passionate but niche scenes they had occupied for years.
Then, 20 years ago this month, an album arrived that seemed to speak all these languages at once: unafraid to push the boundaries of its primary genre, and packing the musical chops to bring such an eclectic vision to life. Behind it were three musicians just barely old enough to vote. When Nickel Creek released its breakthrough album on March 21, 2000, the players comprising the California-born bluegrass trio were anything but newcomers: Chris Thile and siblings Sara Watkins and Sean Watkins had been playing together since 1989, when Thile and Sara were just 8 and Sean 12. The young talents had already released two studio albums as well as a handful of solo projects, and were regulars on the bluegrass festival circuit, a tenure that had refined their sound to a level typically reserved for older players with bigger discographies. Still, despite arriving with a pages-long resumé, Nickel Creek is still popularly thought of as the trio's debut — perhaps because, in retrospect, everything about it seems to signal a new beginning.
Both to mainstream ears and those steeped in string music, what Nickel Creek was doing sounded fresh. The three musicians, then aged 18 to 23, found creative and playful ways to infuse bluegrass music with ideas from jazz, classical, pop and rock. They put traditional songs next to original material about characters from The Lord of the Rings. Perhaps most impressively, they did so in a way that felt cohesive, as though the new approach they had forged for themselves had roots as deep as bluegrass itself. Working in a genre known to spark arguments over what counts as "authentic," the trio seemed far more concerned with realizing its own vision than hewing to hardline conventions — like sticking to a repertoire of mostly folk songs and standards, using common chord progressions or relegating the guitarist to the rhythm section. (And how fortunate that Nickel Creek didn't, as Sean Watkins' masterful guitar solos are always album highlights.)
There was some precedent for this kind of deviation, of course. Veteran genre agnostic Béla Fleck, who made his studio debut in 1979, had racked up accolades for his singular take on banjo playing, which often treads closer to jam and world music than to traditional American bluegrass. Alison Krauss, who would be integral in bringing Nickel Creek to a wider audience, toyed with pop and rock tropes alongside her band Union Station, and is often considered a primary influence on the "newgrass" movement. In 1998, Lucinda Williams released her landmark album Car Wheels on a Gravel Road, which won the Grammy for best contemporary folk album. The same year, Wilco released its first Mermaid Avenue team-up with Billy Bragg, which featured new songs built around previously unheard lyrics by Woody Guthrie. The album was a critical and commercial success. While nonconformists had found room in the conversation before, there was still something novel and uniquely compelling about the sight of three musicians, two in their teens and one in his early 20s, who revered Bach and Bill Monroe in equal measure. Krauss agreed, bringing the trio to Sugar Hill Records and producing Nickel Creek herself. Already a multi-Grammy winner upon meeting the group, Krauss had found great success both in bluegrass and adult contemporary, making her uniquely qualified to shepherd such an unconventional young act.
From: https://www.npr.org/2020/03/13/814739478/nickel-creek-self-titled-20-years-americana-roots-folk-country

Donovan - Season of the Witch

 #Donovan #folk rock #psychedelic folk #singer-songwriter #1960s #music video #Häxan

One of the first songs to fit the "psychedelic" genre, Donovan recorded it in May 1966, shortly before his highly publicized arrest for possession of marijuana. The genesis of this song goes back to an evening at folk music notable Bert Jansch's house in north London, when fellow acoustic master John Renbourn showed Donovan a D ninth chord. From that Donovan built up a riff that, according to the memories of those present, he then played solidly for the next seven hours. "There was a feeling, even then, that all was not perfect in the Garden of Eden," he said of the song in an interview with Mojo magazine June 2011. "Dealers were moving into bohemia and hard drugs were on the fringes. The song was also prophetic. It was about the bust, although of course I couldn't know that then."
This song is ideal for long jams. The two main chords (A and D) are played during the verses, and during the chorus there are three chords (A, D and E). In Mojo magazine, January 2005, Donovan said: "Season of the Witch' continues to be a perennial influence because it allows a jam – not a 12-bar or Latin groove, but a very modern jam. Led Zeppelin used to warm up every day to it on the road during the soundcheck. It makes me very proud that I've created certain forms that other bands can get off on, to explore, be experimental, or just break the rules."
In the same Mojo interview, Donovan said: "I remember the bass line going down and Mickie saying, 'We've got a problem. The engineers are saying that they can't turn the bass up.' I said, Why? They said, 'Well, it's going into the red.' And so he said to the engineers, 'Look, you go into the red, I'm giving you permission. Go in the red! That's the bass sound I want. Very, very loud.' And they said, 'Well, we'll have to have a meeting.' So they went upstairs and had a meeting about whether the bass should go into the red. And they came down, they said, 'No, I'm sorry, the equipment can't stand it.' So Mickie Most said, 'Look, I've just made a record deal with your boss Clive Davis for $5 million and seven bands. And he's given me $1 million right now. So do you think if I phone him up, you'd give me a little bit more bass?' And they looked at each other, and immediately realized that their jobs were on the line. They said, 'OK, you've got more bass.' We got more bass the needle went into the red, the equipment didn't blow up. I guess next time they made that needle, they did that thing by just moving the red bit a bit farther to the right, like in Spinal Tap: 'My amp goes up to 11!'"
This song was covered by Al Kooper (Blood Sweat & Tears, The Blues Project) and Stephen Stills (Buffalo Springfield, Crosby Stills Nash & Young) on the historically significant 1968 album Super Session. That gives us an excuse to tell a fun story: Stills was brought in midway through recording the album to replace Mike Bloomfield (Butterfield Band, Electric Flag). Now, Kooper was originally enthusiastic to play with Bloomfield, but Bloomfield had a habit of ditching at the worst possible time. So when he showed up at Al Kooper's house, Bloomfield complained of an infected toe, then proceeded to use the most expensive crystal bowl in the house to soak his toe in. A photo of this (the toe) ended up on the back cover of the Super Session album. Then Mike Bloomfield simply disappeared in the morning, leaving only a note saying that he'd had insomnia. It wouldn't even be the last time he stood up Al Kooper! In his memoir Backstage Passes and Backstabbing Bastards, Al Kooper mentions that he's been moved to cover this song after a trip to London, when he'd heard Donovan's "Season of the Witch" coming out of every shop on King's Road.  From: https://www.songfacts.com/facts/donovan/season-of-the-witch

Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen’s legendary silent film uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages and early modern era suffered from the same ills as psychiatric patients diagnosed with hysteria in the film's own time. Far from a dry dissertation on the topic, the film itself is a witches’ brew of the scary, the gross, and the darkly humorous. Christensen’s mix-and-match approach to genre anticipates gothic horror, documentary re-creation, and the essay film, making for an experience unlike anything else in the history of cinema.  From: https://www.criterion.com/films/352-hxan

Avey Tare - Uncle Donut

 #Avey Tare #Animal Collective #psychedelic folk #experimental #psychedelic pop #neo-psychedelia #electronic #freak folk #music video

The EP Conference of Birds/Birds in Disguise recreates five songs Avey Tare (aka Dave Portner) wrote and played live during his Eucalyptus and Cows on Hourglass Pond tours. Like the two solo discs—and indeed, like the recent work of Animal Collective — the songs alternate between tone-washed mystical auras and bouncy, dance-y raves. This bird-themed recording breaks down into two distinct sides. Conference of Birds — encompassing “Midnight Special,” “Red Light Water Show” and “Disc One”—has a euphoric air, whether in the dopplering guitar and distant voiced soundscapes of the opener (“Midnight Special”) or the gentle undulations of “Disc One,” the catchiest, most melodic song on the EP. “Red Light Water Show” splits the difference between hook and atmosphere with oscillating keyboard riffs that split the time in twos and fours and high chanting vocals that crest over a burble of noise and glitch.
The Birds in Disguise side runs incrementally more abrasively. Its exuberance is sweatier, more physical and less celebratory than the opening’s cerebral whoosh and hum. A wheezing buzz marks out dystopian time in “Enjoy the Change,” sounding a bit like the siren-y riff in ESG’s “UFO,” then eighth-banging percussion bumps up the tension. There’s a claustrophobic tautness in this cut very much at odds with “Disc One”’s dayglo colored joys. “Uncle Donut” dials up the rhythm further, with a syncopated cadence in percussion and chant; it is very much in line with the rave-y, drum-heavy experience of a live Animal Collective show.
Fans of Avey Tare, and of Animal Collective in general, will find much to like in this brief recording. If nothing else it’s more of what they do, which lots and lots of people like very much. Does it break down the barriers, explore new territory, redefine how you think of Avey Tare (assuming that you do think of him)? It does not. But it shimmers and envelops and bops in a satisfying way, and will perhaps, hold you until the next full length from Portner solo or his more famous band.  From: https://dustedmagazine.tumblr.com/post/190124837243/avey-tare-conference-of-birdsbirds-in-disguise

Stick In The Wheel - Roving Blade

 #Stick In The Wheel #folk #British folk #contemporary folk #folktronica #world music #indie folk

London’s Stick in the Wheel live up to their name: For the past few years they’ve been jabbing at the spokes of the English folk scene in their attempt to upend the system. With their 2015 full-length debut, From Here, they conceived of English folk music as something rooted in the past but not in the pastoral; the songs were urban instead of rural, social realist, often abrasive, and defiantly outside the folk mainstream. On traditional tunes dating back centuries as well as originals about the London riots and contemporary land-rights laws, Nicola Kearey sings in a voice that has more in common with Joe Strummer than with Shirley Collins. Co-founder Ian Carter eschews the jazzy improvisations that have defined UK folk guitar since the days of Davey Graham and Bert Jansch. Instead, he plays intricate looped rhythms that sound like he’s mimicking the beats he once created with the XL Recordings-signed electronic group Various Production. They followed up From Here with a 7” single based on 17th-century ballads, a split with the Irish band Lynched, and a collection of mostly a cappella performances recorded in the living rooms and kitchens of some of the country’s biggest folk artists. With their second album, Follow Them True, Stick in the Wheel continue their attack. About half of the album refines the acoustic folk sound of their debut, with lyrics emphasizing the pride of craftsmen and laborers as well as the desperation driving the poor. As Stick in the Wheel dig through the vast catalog of British folk music, they gravitate toward tales from the fringes of society: the destitute, the hopeless, the wronged, and the forgotten.  From: https://pitchfork.com/reviews/albums/stick-in-the-wheel-follow-them-true/

Vartra - Sena

 #Vartra #world music #Balkan folk #Slavic folk #ethnic fusion #dark folk #tribal drum #shamanic #music video

Vartra is a collective of musicians, dancers and craftsmen based in Belgrade, Serbia, gathered around a common goal of bringing magic and mystery to the stage through a unique blend of their skills, interests and experiences. Our music is influenced by various genres, from traditional Balkan music characterized by the merging of Slavic and oriental cultures, through a variety of traditional music styles of indigenous cultures across the world, to a more harsh, industrial and dark atmospheric sound, common for genres such as doom metal. Most of our lyrics stem from old folk incantations and mantras from the Balkan area, that are sung in Serbian and Vlach languages. Our performances are enriched by utilizing handmade drums and rattles crafted by main instrumentalist and vocalist Siniša Gavrić. These instruments are made from animal skins and foraged materials from the rivers and mountains of Serbia.

The album Basma is inspired by the remnants of the South Slavic healing practices and folklore in Serbia, Bosnia and Herzegovina. The lyrics in the majority of our songs are based on folklore from these areas, leaning predominantly on fragments of the spells used for healing purposes. These spells, named basma in the said areas, are the most archaic aspect of folk medicine and their power to heal illnesses, remove curses or cast away evil spirits lies in suggestive rhythmic repetition.This album was composed and recorded in the home studio of Siniša Gavrić and Ivana Stošić.

From: https://vartra.bandcamp.com/album/basma

Initially formed by Siniša Gavrić and sisters Ivana and Aleksandra Stošić, the band has extended into more of a community, brought together by an interest in world fusion music, Slavic paganism, shamanistic drumming and spirituality in general. Beside band members, integral part of the Vartra tribe are dance performers and friends dedicated to crafting costumes, accessories and stage requisites for live shows. The first debut album “Luna Nouà” was recorded at home based studio in Belgrade in 2018 and officially released on CD Baby online store in January, 2020. The band performed on multimedia arts festival Dev9t (Serbia), Exit festival (Serbia), Javorwood festival (Bosnia and Hercegovina), Elysium festival (Serbia), Lovestock festival (Croatia) and Nishville Jazz Festival (Serbia). The second album “Basma” was released in 2022 by a German publisher CPL music. “Luna nouà” was heavily focused on Vlach incantations (Eastern Serbia) while “Basma” focuses on the lyrical heritage from Serbia, Bosnia & Herzegovina and Montenegro. Their live shows are a cathartic experience, evocative of healing ceremonies and often combined with dance. Dark in a way that draws darkness out away from the spectator, Vartra’s primordial sound speaks directly to our internal rhythms and the lost ancestral wisdom that exists within all of us.  From: https://vartramusic.com/about-vartra/

The Dead South - In Hell I'll Be In Good Company

 #The Dead South #folk #bluegrass #roots music #contemporary folk #acoustic #music video

With banjo, mandolin, cello and guitar, The Dead South certainly look the part of bluegrass traditionalists. But, as outsiders to the bluegrass world by circumstances of geography, they’re from the Canadian prairies, and by influences, equal parts finger-picking and punk, there are few comparisons to be made for the four-piece acoustic band. With a global following sparked by YouTube, early success in German rock clubs and now, sold out shows at iconic venues in many continents, this is no country for old-time string purists. A brotherhood first and foremost, formed in university and forged on the road, The Dead South are quite comfortable in their role as a total anomaly most everywhere they go. Their progressive, tightly-constructed approach to acoustic music that favours intricate solos and harmonies has brought two JUNO Awards for Traditional Album of the Year, the most recent for the Muscle Shoals-made Sugar & Joy (2019). The Dead South followed up in 2020 with Served Live, a double live album that celebrated and supported the live music industry in a time of crisis. With their newly-released double EPs Easy Listening for Jerks, Parts I & II, The Dead South find their own balance between their punk origins and the bluegrass world of their sound. A strong statement about identity, influence and inspiration, the new EPs show a band stepping out into new musical territory while also staying true to themselves.  From: https://www.axs.com/artists/1105506/the-dead-south-tickets

 A rock band without a drummer, a bluegrass band without a fiddler . To the gentlemen of The Dead South, a self-styled 4-piece string band from Regina, Saskatchewan, it’s about how, not what, you play. The Dead South’s combination of cello, mandolin, guitar and banjo has all the hallmarks of a group tuned to bygone times, but with their signature sleight of hand, The Dead South find distinctly ­modern bathos in this old time rigging.
The band has announced their third album, Sugar & Joy, coming October 11, 2019 via Six Shooter Records. In “Diamond Ring,” poor William, whoever he is, done got robbed by a would-be groom trying to impress his betrothed . Money doesn’t buy love, but it does buy the ring. In The Dead South’s world, characters do what they must, even when twisted logic leads them astray. From the opening galloping strum to the lower register cello and deep backing vocals, the song’s moody mania captures The Dead South’s stock-in-trade, stories of desperation and bad decisions told in fast-paced, brightly-laced bursts.  From: https://store.sixshooterrecords.com/collections/the-dead-south

Alison Krauss & Union Station - So Long, So Wrong

 #Alison Krauss & Union Station  #bluegrass #country #contemporary bluegrass #progressive bluegrass #contemporary folk #newgrass

“If only all those country (or pop or rock) fans who say they don’t like bluegrass would just give it a listen, they’d love it.”
“If only the mass media would give bluegrass some positive exposure…”
Those of us who care about bluegrass are probably as familiar with these sentiments about our music as we are with “Orange Blossom Special” and “Foggy Mountain Breakdown.” They come up with amazing regularity whether it’s a discussion with people who make their living in bluegrass or conversation with fans at a festival. Until now mass exposure has frequently meant linkage with comedy (The Beverly Hillbillies, The Andy Griffith Show, Hee Haw!), historical inaccuracy (Bonnie & Clyde—they died before the birth of bluegrass), or what many thoughtful people view as negative regional stereotyping (Deliverance). Even Ricky Skaggs’ stunning success several years ago in making Top-40 country hits of bluegrass songs involved numerous concessions to popular taste—electric lead instruments, drums, etc.
It has thus been with excitement verging on disbelief that in recent months fans have come across stories on Alison Krauss and Union Station in publications like USA Today, Newsweek, Rolling Stone, Musician, Billboard and Time Magazine. It might be supposed that her recent receipt of the Grammy award for the Best Bluegrass Recording of the year was the cause of this flurry of press coverage. But that would be missing the point. Most of these articles came out far in advance of the award. It’s not that the national press is just recognizing bluegrass as a valid and noteworthy American music style. These highly-paid professional writers are really listening to Alison. They are tuning in to what bluegrass fans like about her and are helping the general public do the same.
“Subordinated to the group sound as Krauss’s fiddling is, it continues to amaze—airborne one minute, austere the next,” writes Newsweek’s Bill Christophersen. “ ‘Will You Be Leaving’ features a space shuttle of a solo that, just as you’re reaching for the Dramamine, sprouts parachutes and eases into a double-stop.” “I’ve Got That Old Feeling,” writes USA Today’s David Zimmerman, “is as ‘cutting edge’ as anything around. Krauss’s incredibly nimble, clear voice—recalling a young Dolly Parton—and soulful fiddle convey a passion and vitality that will surprise anybody who expects bluegrass to drone. This is one of few albums bound to please anyone.”
Uncharacteristic warmth like this toward bluegrass by the mass media might lead one to suspect that it was won by gimmicks or by abandoning what fans would think of as “real bluegrass.” No danger. Check out the long lines of diehard bluegrassers trying to get into Alison’s show at Alexandria, Virginia’s, showcase club, the Birchmere, or the wildly excited audience responses at the nation’s major festivals from upstate New York’s Winterhawk, to Colorado’s Telluride to California’s Strawberry Music Festival. Yet her group can also knock out country fans on Hee Haw! or on the Grand Ole Opry, where the group has been invited back half a dozen times in recent months. It can win over New York City sophisticates at the prestigious Bottom Line. It can even sell out a thousand seat auditorium at Maryland’s Goucher College on a double bill with a New Age music group.
Alison’s appeal is all the more remarkable because it is based not on glamour, a fancy stage show, sexy outfits, cuteness or any of the other show business tricks you might think a young female band leader might need to employ to gain attention. Onstage there is a sense of earnest focus on the music coupled with evident delight by the musicians in one another’s musical contributions. Alison’s voice has a wonderful clarity and precision which appeals to a broad range of listeners. Her instrumental work is not only technically excellent; it is also beautifully creative and exciting even to someone who has listened to decades of the great bluegrass fiddlers.
Alison is by no means a solo performer with a few faceless backup musicians. She loves playing with people who challenge her musically. And she loves her present band. When asked to name the people in bluegrass music who most inspire her, she first names the members of her band. These are Alison Brown (banjo), Tim Stafford (guitar), Adam Steffey (mandolin) and Barry Bales (bass). By the standards of earlier generations, it would seem an unlikely mix of backgrounds.  From: https://www.bluegrassunlimited.com/article/alison-kruass-and-union-station/

Gjallarhorn - Suvetar

 #Gjallarhorn #world music #European folk #Finnish folk #Swedish folk #traditional #medieval #music video

This adventurous Ostrobothnian quartet formed in 1994 have created an alluring and successful style that has launched for them a thriving international career. Combining the Swedish folk music tradition of Finland with medieval ballads, ancient poems and rich, acoustic soundscapes, Gjallarhorn conjure an atmospherically charged sound fronted by Jenny Wilhelms' vocals and didgeridoo, integrating perfectly with the Norwegian hardanger fiddle, violin, mandola and percussion.
Gjallarhorn are Jenny Wilhelms on vocals, violin and hardanger fiddle; Adrian Jones on viola, mandola, vocals and kalimba; Tommy Mansikka-Aho on aho, didgeridoo, mungiga, udu and djembe; and Peter Berndalen on percussion and kaliba. Wilhelms is an outstanding vocalist, with a soft soprano that is layered throughout their album “Sjofn" to create a sense of abandon that is oddly tender and never harsh. She sings in the traditional Scandinavian style, with occasional flourishes from Indian vocal traditions. Wherever it comes from, it's phenomenal. Think Vartina without the shrill factor; after all, Wilhelms doesn't need to use her voice as percussion because she is supported by an awesome collections of percussive sounds and the drone of the didgeridoo.
Gjallarhorn takes us deep into Scandinavia, to parts with warm, subtle Swedish and Finnish accents and the epic ballads we associate with those northern parts. African and Oriental percussion instruments, and the Australian didgeridoo provide the obsessive drones. Violins, a jew's harp, a mandolin, a magnificent voice, cries resounding ad infinitum in the idea open spaces of Scandinavia; a multitude of noises, echoes, buzzing and tapping sounds, are all used to serve tradition, with ancient epics, medieval ballads, and rites. This music has a strongly modern orientation.
From: https://www.progarchives.com/artist.asp?id=1240

Lyle Lovett - Fiona

 #Lyle Lovett #Americana #roots music #country folk #C&W #Western swing #singer-songwriter 

I think it's safe to say that there are not too many people out there quite like Lyle Lovett. One of the most creative singer-songwriters on the scene, he's a Texan through and through, embracing country music, but is about as musically eclectic an artist as you will find. He's an engaging singer with a distinctive voice and a gifted lyricist, but he nevertheless writes some songs that can only be described as having downright weird words. After being a confirmed bachelor well into his 30s, Lovett suddenly married movie star Julia Roberts. After being pretty much the domain of Public Radio, he found himself plastered on the front pages of the supermarket tabloids and trash TV shows. Lovett also acted in a few films himself.
After creating a series of outstanding albums with an often jazzy group he called his Large Band, in October 1994, Lovett released I Love Everybody, a collection of older songs he had lying around since as long ago as the 1970s, performed with scaled back arrangements. They included a few pieces with some of the most eccentric lyrics of his career. That album was released during his happy marriage to Ms. Roberts, and many of Lovett's fans were wondering if there was anything autobiographical to be heard the record. But Lovett stressed that all the songs pre-dated his engagement and marriage.
Well, Lovett and Roberts have separated, and thus the tabloids have lost interest in the songwriter. Now he is out with a collection of new songs called The Road to Ensenada, which shows him up to his old tricks again, creating songs that make you wonder what goes through his mind if you take the time to listen carefully to the lyrics. Also, as usual, musically, the album is very tastefully done, running from twangy country to jazzy, with some introspective folkie-type songs in there as well.
Texas has a rich tradition of singer-songwriters, going back to people like Jerry Jeff Walker, Townes Van Zandt, Guy Clarke and scores of fine current-day artists. Lovett grew up on their music listening them in folk clubs in college as he studied journalism. He made an interesting admission in an interview a couple of years ago - that while he was familiar with many of Bob Dylan's songs, he had never actually listened to an entire Dylan album straight through. I think that serves to illuminate Lovett's penchant for creating his own world, paying little attention to styles and trends around him.
From: http://georgegraham.com/lovett.html 

Pentangle - House Carpenter

 #Pentangle #John Renbourn #Bert Jansch #Jacqui McShee #folk #British folk #folk blues #jazz folk #progressive folk #British folk rock #1960s

By pulling together folk, jazz and blues into evocative, melodic albums, Pentangle were ahead of the curve in the late 1960s. An early "supergroup", they set the scene for more celebrated artists. Long before singer-songwriters – from Van Morrison to Carole King to Joni Mitchell – discovered the joys of mellifluous bass and jazzy drums, double bassist Danny Thompson and drummer Terry Cox added a startling perspective to the folk club frontline of guitars and vocals, contributing gravitas and spirit to Jacqui McShee's traditional songs of lost love and abandonment. Guitarists John Renbourn and Bert Jansch were accomplished musical storytellers, who occasionally spiked the brew with sitar and banjo.  From: https://www.theguardian.com/music/2011/aug/03/pentangle-review-royal-festival-hall

Were Pentangle a folk group, a folk-rock group, or something that resists classification? They could hardly be called a rock & roll act; they didn't use electric instruments often, and were built around two virtuoso guitarists, Bert Jansch and John Renbourn, who were already well-established on the folk circuit before the group formed. Yet their hunger for eclectic experimentation fit into the milieu of late-'60s progressive rock and psychedelia well, and much of their audience came from the rock and pop worlds, rather than the folk crowd. With Jacqui McShee on vocals and a rhythm section of Danny Thompson (bass) and Terry Cox (drums), the group mastered a breathtaking repertoire that encompassed traditional ballads, blues, jazz, pop, and re-workings of rock oldies, often blending different genres in the same piece. Their prodigious individual talents perhaps ensured a brief lifespan, but at their peak they melded their distinct and immense skills to egg each other on to heights they couldn't have achieved on their own, in the manner of great rock combos like the Beatles and Buffalo Springfield.  From: https://www.allmusic.com/artist/pentangle-mn0000838559/biography

L'Ham de Foc - Pandero

 #L'Ham de Foc #world music #Mediterranian folk #Catalan folk #Greek folk #neo-Medieval #traditional 

Power and beauty are the two main concepts in their music, and fire and water the contrary elements that are symbolized by their name. L'Ham de Foc (Fish hook of fire) from Valencia are no longer an exotic musical phenomenon for specialists but a well sounding name within the international worldmusic scene and a timeless musical concept, that develops its strong character without taking care of current fashion. A new instrument, a new musical style can only be studied and understood going to where it comes from and within its cultural context. This attitude was responsable for a lot of journeys especially to Greece where the main protagonists of L'Ham de Foc -singer Mara Aranda and multiinstrumentalist Efrén López- have now found their second home. Their compositions have the ability to transform music for specialists into an understandable but profound music. Each album of L'Ham de Foc reflects what they have experienced in their recent journeys and studies. L'Ham de Foc´s audience is as diverse as their instruments and influences: with their concerts and CDs , apart from the standard worldmusic/folk audience, they have also reached listeners coming from classical music, Rock/Pop, Gothic/Wave and medieval music.  From: https://www.womex.com/virtual/galileo_mc/l_ham_de_foc

L’Ham de Foc was one of the leading groups of a new Folk movement in Spain, that worked the traditional roots into a new, modern music concept. But L’Ham de Foc’s work is not just a superficial look at its roots. The musicians’ intention was to go back to where things originally came from, to learn how to play instruments, techniques and interpretations from first hand. Mediterranean folk music, including their own Valencian music, Greek music and also music from India or Northern Africa, are main influences for L’Ham de Foc. This mixture was responsible for a widespread acceptance of their music. To understand the group’s work, one needs to know some things about the special cultural situation of the Valencian region. During the history of the southern Spanish coast, different cultures settled down, imposing their cultural roots. Due to its harbors, southeastern Spain was an important place for trading and the result was a permanent cultural exchange. Musically spoken, three different zones have the strongest influence: The Arabic countries in the south. The tradition from Aragon and Castille in Spain, France and Italy denominated as the European zone. The central zone that is identified by a fusion of the north and the south. Hereto belong countries and regions like Greece, Andalusia, Yugoslavia, Albania, the Balearic Islands, Malta, Crete, Valencia, etc. These cultures are characterized by melismatic melodies, polyrhythms, double stringed instruments, wind instruments, quarter tone harmonies, and by the presence of the Arabic culture throughout 700 years.  From: https://worldmusiccentral.org/2019/01/31/artist-profiles-lham-de-foc/

Psalteria - Nazad, Nazad, Mome, Kalino

 #Psalteria #medieval #world music #neo-medieval #folk #traditional #pre-BraAgas #Czech

Psalteria was a Czech medieval folk band consisting of four young women. The quartet advertised itself with the catchphrase "the medieval women's band". The group's repertoire consisted of traditional pieces from the Middle Ages, which the group interpreted in their own way. In addition to songs in German, Latin and French, most of the songs are in Spanish. Due to a high presence on German medieval markets, Psalteria was able to achieve high popularity here in the medieval scene. In January 2007, the group disbanded. The band members now play divided into the medieval groups BraAgas and Euphorica.  Translated from: https://de.wikipedia.org/wiki/Psalteria

 ‘Go back, Kalina, don’t follow me. Ahead is a thick forest, you can’t cross it.’
‘Then I’ll turn into a hawk. I’ll fly over the forest. I’ll be yours forever.’
‘Go back, Kalina, don’t follow me. Ahead is a deep river, you can’t cross it.’
‘Then I’ll turn into a trout. I’ll swim across the river. I’ll be yours forever.’
‘Go back, Kalina, don’t follow me. At home I have a beautiful wife and some children too.’
‘Then I’ll turn into the plague. I’ll kill your wife and take care of your children. I’ll be yours forever.’
From: https://londonbulgarianchoir.bandcamp.com/track/nazad-nazad-mome-kalino

Jasmine Sandlas - Patt Lai Geya

 #Jasmine Sandlas #bhangra #Indian music #world music #Indian folk pop #Punjabi folk #music video

Born in Punjab and raised in California, Jasmine Sandlas has an East-meets-West heritage that’s helped her stand out among Punjabi playback's most beguiling singers. Born in Jalandhar, Sandlas was raised in a Sikh family and spent her formative years inspired by Punjabi folk singers. At age 13, she moved with her family to Stockton, California, adding the music of the US West Coast to her palette of influences. By 16, Sandlas was writing her own material, rooted in the style of her Punjabi inspirations but undoubtedly inflected with Western pop stylings. As a recording artist, Sandlas has spun many plates in her career to date, including prolific playback work across three languages as well as stylistically diverse solo pop albums and collaborations with the rapper Bohemia.  From: https://www.shazam.com/artist/jasmine-sandlas/377061445

Bhangra is a type of traditional folk dance of Punjab. It is done in the season of harvesting. Bhangra is especially associated with the vernal Vaisakhi festival. In a typical performance, several dancers execute vigorous kicks, leaps, and bends of the body - often with upraised, thrusting arm or shoulder movements - to the accompaniment of short songs called boliyan and, most significantly, to the beat of a dhol (double-headed drum). Struck with a heavy beater on one end and with a lighter stick on the other, the dhol imbues the music with a syncopated (accents on the weak beats), swinging rhythmic character that has generally remained the hallmark of bhangra music. An energetic Punjabi dance, bhangra originated with Punjab farmers as a cultural and communal celebration; its modern-day evolution has allowed bhangra to retain its traditional Punjabi roots, while broadening its reach to include integration into popular music and DJing, group-based competitions, and even exercise and dance programs in schools and studios.  From: https://en.wikipedia.org/wiki/Bhangra_(dance)

Mediaeval Baebes - Musa Venit Carmine

 #Mediaeval Baebes #medieval music #choral music #traditional #crossover #a capella #vocal ensemble #ex-Miranda Sex Garden  

The Mediaeval Baebes are a crossover vocal ensemble whose unique style features a deft mixture of medieval music, multi-language texts, modern arrangements, and both ancient and modern instrumentation. Their skillful and attractive arrangements, usually fashioned by member Katharine Blake, often have a dark, somber character while exhibiting contemporary rhythmic and sound features. Consisting of about six to twelve singers, Mediaeval Baebes are typically attired in long, sometimes provocative gowns or gothic-inspired costumes, and may wear, depending on the concert's theme, vampiric teeth, flowered headwear, or other exotic accoutrements. Song texts typically deal with such subjects as death, drunkenness, unrequited love, and religious and supernatural subjects. The ensemble's members often play an instrument during performance. Katharine Blake, Bee Lee Harling, and Jo Burke, for example, are violinists; Emily Ovenden and Blake play the recorder; and other members, Esther Dee, Clare Edmondson, and Tanya Jackson, play various instruments. Over the years the group has made use of accompanists like Frank Moon (oud, cittern, etc.) and Rebecca Dutton (medieval fiddle, psaltery, etc.). The range of languages in which the Mediaeval Baebes sing is vast and includes Latin, French, German, Russian, Spanish, Italian, Swedish, Irish Gaelic, English, various older forms of English, and such archaic languages as Cornish and Welsh. The Mediaeval Baebes were formed in London in 1996. Founding members included Katharine Blake, who also serves as the ensemble's musical director, and Dorothy Carter, who played several medieval stringed instruments like the hurdy-gurdy and hammered dulcimer. Some of the earliest members were drawn from Blake's musical group Miranda Sex Garden. After early concert success, the Mediaeval Baebes were invited onto Thames Television in 1997 to sing the 14th century hymn Gaudete. Their first album, Salva Nos, was issued on Virgin Records the following year and it's success led to more prestigious concert venues and a string of popular recordings.  From: https://open.spotify.com/artist/1vQmLYgD92RwmsfHqTwjmQ