<- page  1  Review page of some new Folk & "Folk-Rock" related releases page 2 :

folk-rock : The Owl Service & Alison O'Donnell, Alison O' Donnell, Dunkelschön, Mr.Pine,
Black Flowers, Zanzibar Compagnie, Ballycotton, Dietrich ; folk : Umnachter (2x), MandoMorphosis

Any recommendations of creative, vivid and original folk releases
with a true spirit for the music?
Please E-mail me to inform me.


Static Caravan     The Owl Service and Alison O'Donnell : The Fabric Of Folk (IR/UK,2008)**°

After two promising limited cdr only albums, it’s good to see how The Owl Service joined forces with Alison O’Donnell of former Mellow Candle’s fame for this EP. The band was almost too careful and respectful for the opener, a song led by Alison’s (dual) vocals, with droning sitars and pipes, a dark goodbye. The two following traditionals are more in the British story-telling tradition than refocusing its underlying experiences, so that they are a bit easy going, while bringing in just some small flavours that bring them into a new area. The fourth track is a sweet and subtle lullaby-like instrumental break revealing the Owl Service’s slightly vulnerable approach before revealing it’s needed conditions. “The fabric of life” is a strong to end with honest song about experiencing life, and is musically slightly nostalgic flavoured. Such a small EP sounds more like a small starting point that hides more for Owl Service’s restrained approach.

A limited edition of 1000 copies with a cardfold package as a sort of mini-LP sized digipack.

Label info : http://www.staticcaravan.org/item.asp?Ref=142
or info on http://www.midwich-cuckoos.co.uk/shop.html
Homepage of Allison : http://www.alisonodonnell.com/ & http://www.myspace.com/alisonodonnell 
More Alison O'Donnell related releases on http://psychedelicfolk.com/MELLOWCANDLE.html
Interview with Owl Service : http://www.subba-cultcha.com/article_feature.php?id=5604
Previous Owl Service albums : http://www.psychedelicfolk.com/acidfolkreview16.html#anchor_380
& http://psychedelicfolk.homestead.com/acidfolkreview19.html#anchor_633
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Bracken Rec.The Owl Service and Alison O'Donnell : Day Is Done / Frozen Warnings (UK,2008)****

The 'Fruits De Mer' section of Bracken records asked several promising artists to interpret some of the classics outside mainstream pop, for their series. “Day is Done” (Nick Drake) and “Frozen Warnings” (Nico) are amongst such well known classics, which Alison remarkably interprets perfectly, with a deep feeling for the songs and with a convincing voice as well as with perfectly suiting arrangements. “Day is Done” is arranged with acoustic and amplified guitar with a bass drum-like bass, and with some electrified violin mixed into the background, and with some vocal overdubs near the end. It almost became like a new classic, and with a stronger voice than ever. Also “Frozen Warnings” is well interpreted, and translates perfectly John Cale’s arrangements into wave-oscillating guitar, and it is with a deeper hidden underlying folk rhythm on different acoustic instruments. This is absolutely successful as well. The beautiful front cover was designed by psychfolk artist Aritomo. (I will review his own single soon. A reissue of his first album you can expected soon as well).

Audio : "Day Is Done", "Frozen Warnings"
Label info : http://www.brackenrecords.com/p26.html & http://www.myspace.com/fdmer
Homepage of Allison : http://www.alisonodonnell.com/ & http://www.myspace.com/alisonodonnell 
Other review : http://www.toxicpete.co.uk/alisonodonnell.html

->More Alison O'Donnell related releases on http://psychedelicfolk.com/MELLOWCANDLE.html
Alision also sang on one track of Mr.Pine. Review of this item see below->
Curzweyl/Rough TradeDunkelschön : Nemeton (D,2008)****

I recently checked the sounds of some of the new German bands which were influenced by or who were performing medieval music, and I believed this band stands out. The front cover of their album is a bit confusing, for this is the type of artwork usually reserved for metal and eventually folk-metal, while this band has much more of a pure medieval folk inspiration (reaching towards the edge of folk-rock) without any other associations, except that they would just fit fine enough in between a list of those mediaeval neo-folk bands who use hurdy-gurdy’s and medieval classics with that sort of developed powerful podium sound, which they also practice for just a few tracks (the sort of tracks with 2 hurdy-gurdy’s combined with acoustic guitars and percussion, with variation of flutes,..), while remaining distinctive enough and even being much more original than all that the effects proclaim.

(“Dunkelschön” signifies “dark beautiful”). The title of the album (and therefore the photo as a reference), Nemeton, refers to the old Celtic secret groves in nature, a place which for the band was felt as inspirational. Two interpretations from the Carmina Burana were interpreted, partly translated into German, a text from Madamme d’Auloy, three folk traditionals (of which one has Swedish origins), and four completely self-penned tracks, which are completely into minstrel songwriting and medieval folk-rock. The folk-rock flavours are adding that sort of Nu/modern effects, to in fact an old music fundament, making the music more powerful with water-clear arrangements, having learned a bit from both traditional medieval music and folk-rock perhaps even from at times some Finnish folk-rock bands. There’s plenty of variation. What amazed me was the use of what seemed a complex percussive idea of playing 3 beats during and over an 8/4 theme !, on a folk-rock traditional. The inspirations feel very real, which together with the convincing arrangements provides songs that are much more than stylistic enjoyment.

Vanessa Istvan sings, and plays a whole collection of flutes including the exotic Hu-Lu-Si, Michael Kaiser plays nickelharpa, harp, hurdy-gurdy, voice, bouzouki, percussion ; Katja Linzert plays davul , bodhran, percussion ; Björn Scheuplein plays guitar, hurdy-gurdy, chalumeau, Rennaissance zither, viola da gamba ; Christian Wittkopf plays davul, trommelburg (?) and other percussion instruments.

Audio & info : http://www.myspace.com/dunkelschoen
Homepage : http://www.dunkelschoen-musik.de/
Label : http://www.curzweyhl.de/ with Dunkelschön here ; distributor info on http://www.roughtrade.de/...
German reviews : http://www.folkig.de/reviews,id99,0,dunkelschoen_nemeton.html
& http://www.folkmetal.de/reviews/d/dunkelsch%25n/cd/nemeton/2046/index.html
& http://www.amboss-mag.de/reviews/Archiv2/08/r08-07/dunkelschoen.html
& http://www.pr-inside.com/de/dunkelschoen-ist-folkrock-vom-fei-r661371.htm
Whiskey Lad Rec.   Mr.Pine : Rewilding (CAN,2008)***°

I had to listen a couple of times to this already second album of this Canadian band Mr.Pine, for there is a certain diversity that makes it difficult to hear all aspects in a quick first listen. It is as if somehow they came from a different indie(pop)rock style, (and this is exactly in the order of experience the album sounds like) with the more easy drums and bass closer to pop and the strums of guitar (partly) and banjo and flute leaning to folk already. Then it is as if they rather quickly began to adapt more and more folk leanings into the music (like acoustic pickings, traditional melody,..), and began to develop ideas coming from the British folk heritage, and with this association developing, and thanks to a classical education, they start to combine this with more Renaissance ideas on guitars or flutes (“The Enclave”), or baroque arrangements with harpsichord (“Blue Onyx” is led by two harpsichords!!), or a few more classical arranged elements and even a few small orchestrations. The combination of folk with classical (the piano and harpsichord especially) might have evolved out of an admiration for Mellow Candle. Alison O’Donnel (former Mellow Candle) was invited to feature on “Sleep of Ondine”, a homage to Mellow Candle, which you hear especially in the break, a bit less in the vocal arrangements which were complex at Mellow Candle, this has its own charm and is just an inspiration, something new while the hints are absolutely clear. This Mellow Candle-association returns as accents in several more tracks, especially for the additional piano (like on the first Pierrot Lunaire a bit, but more simple) or for the harpsichord. And after a few more totally acoustic tracks (without rhythm instruments), something of Trees seems to have come in suddenly, the more electric strength of folk-rock, especially on the last track where the band, as a chamber-folk-rock band, develops an energy to improvise. A nice album.

Personnel: Matt McLennan (vocals, acoustic and electric guitars); Kevin Scott (acoustic guitar, piano, organ, harpsichord, recorder, concertina, vocals); Richard Caners (violin); Leslie Oldham (vocals); Jason Peters (electric and acoustic guitars, tambourine); Ken Phillips (bass, classical guitar).

Guest players: Alison O'Donnell (vocals); Ryan McVeigh (electric guitar, tambourine, percussion); Matt Hildebrand (drums, percussion); Jeremy Epp (drums); Anna Bond (violin); Kristjanna Oleson (viola); Jonathan Bauch (cello); Nathalie Roy (soprano recorder); Mark McLearon (alto recorder); Margaret McKenty (tenor recorder); Jay Churko (banjo); Kim Coss (flute); Clare Reimer-Dorratt (oboe).

Audio & info : http://www.myspace.com/mrpinetheband & http://cdbaby.com/cd/mrpine2
Band info : http://en.wikipedia.org/wiki/Mr._Pine
Homepage : http://www.mrpine.net/ with audio : http://www.mrpine.net/listen/index.php
Bo'Weavil Rec.Black Flowers : I grew from a stone to a staue (UK,2009)**°

I was a bit puzzled when I heard the first track of this Bo’Weavil release, from a label which I associated more with folk than from what I heard here. Black Flowers is a band led by Alex Neilson on drums and vocals (The One Ensemble Of Daniel Padden, Ashtray Navigations, Bonnie Prince Billy, Six Organs of Admittance, Alasdair Roberts, Directing Hand and Scatter), and Lavinia Blackwall (The Pendulum/Directing Hand) on vocals, organ, harp, psaltery, Michael Flower (Vibracathedral Orchestra) on guitar/ vocals and Alasdair Roberts on vocals and guitar. Assembled are just 5 tracks : two originals, two traditionals and one Richard Thompson song. The style fits more or less with the associated bands, as well as with some bands from the indie chamber-folkrock area like Mount Eerie.. or such, so in fact this is already away from folk where “acoustic” no longer has the same significance or association.

The introduction still says “The voice is standard here but not that authorial voice, the sacred synecdoche (?) of English folk. This is voice as jouissance, reaching beyond meaning, beyond its own corporality.” On the first track this works a bit like a shocking effect, like a punk thrown into a medieval folk milieu. The standard is other than folk, a rock standard, the hard underground cradle rock (heading later towards the tralala-rock mode), with a screaming indie rocker voice, which is radical as an effect, and even disturbing, unstable in moments in the more hysterical emotional moments (her vocal approach disturbed me perhaps more on Directing Hand, but also here I experience moments of unease with it). Then some interesting organ with fuzz guitars are added, which brings a psychedelic flavour to it without losing the harshness of that track. The drumming also is mixed with this harsh flavour, a strange approach if you consider the folk milieu from where it came from and it now seems to..get rid off. The second track takes an element of communal cerebrational lalala singing. Here the female weirdness however is very effective with her contribution. The mix with organ, drums and guitars is slightly chaotic, or free and repetitive as a musical theme as well, but there’s also a song context. “Polly On The Shore” with duet singing also has an indie-psychedelic flavour mixed with the underground mode ; some weird guitar you hear too. The next track which starts with overtone vocal harmonies only turns this into an indie-droning effect, before the electric guitar comes in interestingly as if it’s an electric pipe sound. Added also is some Floydian psychedelic organ. Despite these great elements, it is performed with a certain blurriness, typical for our times, but it has the effect of a vague hypnosis. The ast traditional sounds more like a folk lullaby with some electrified effects.

Info & audio : http://profile.myspace.com/...
Info & audio : http://boweavilrecordings.com & www.myspace.com/boweavilrecordings 
Alba MusicaPascal Lefeuvre Compagnie : Zanzibar :  Folk Rock D'Oc (F,rec.2008,pub.2009)***°

This new band by hurdy gurdy master Pascal Lefeuvre collected in this album, in their own words, some “small studies in dance forms”, and this is a whole bourrées or mixture indeed! Not only folk bourrées, rumba, a waltz and even a bit of folk-rock, but just take “Scottich Andalus” for instance, with the combination of oud, hurdy-gurdy and electric guitars and some dub rhythm too. Mostly the drumming and bass is rather straight rock, so it is especially the fast, clever and skills on hurdy-gurdy which steals the show, strengthened by some electric guitar or touches of oud and mandolin, from slower moodiness till happy feast music and style mixes. I think it is amazing when at times Pascal imitates any other instrument, like the electric guitar (on “Rumba Mihijaz”) revealing a rather progressive approach on the instrument (like on “L’Autre Mixer 1&2”), or is it just melodic and interpretative skills, but also together with the electric guitarists there are more remarkable swifts (like a flavour somewhere of jazz rock on 6). The Spanish “Buenas” is more performed at first like a happy and light polka, which is strange, but then it still concludes rather wildly after that. A mostly hurdy-gurdy led compilation, from a band which I think will be noticed live.

Info & audio : www.myspace.com/zanzibarcompagnie & http://www.myspace.com/pascallefeuvre 
French info : http://www.albacarma.com/index.php?page=zanzibar-compagnie
& http://www.albacarma.com/discographie/product_info.php?...
Info : http://www.albacarma.com/index.php?page=pascal-lefeuvre
Other band from Lefeuvre Tre Fontane reviewed on http://www.psychedelicfolk.com/oldmusic.html
PrivateBallycotton : Jenseits vom Ende der Zeit (AT,2009)****

Ballycotton’s CD is beautifully composed folk-rock with chamber-like capacities. I knew the professional guitarist already from his own band Umnachter. His own contribution with guitar pickings and an occasional throat singing as the kind of overtone ‘whistling tone’ singing. An equally interesting accordionist and electric violinist all lead this band, with some hand percussion. The moody well arranged and sometimes semi-improvised chamber-like compositions are played with emotionality, but there are also happy rhythmic up tempo hophop-jig-alike dancefolk elements here and there. Very professional. Recommended for lovers of original folkrock.

Audio : "Dudelsack für Arme","Gedankensplitter"
Info & audio : http://www.myspace.com/ballycotton 
Homepage : http://www.ballycotton.at/
Other reviews : -
German review : http://www.huscarl.at/cdreview10.php
PrivateUmnachter : Gedankenspiel (AT,2009)***°

Umnachter is more or less a one man band by Robert Polsterer. He alternates this album perfectly with beautiful guitar pieces, mostly with two guitars, that range from romantic melodically classical guitar, to most often (rather) Renaissance pieces and some interpreted but self penned) Baroque melody split into melodic classical guitar and bass notes on a second guitar (8), but I also heard an Austrian folk flavour coming through (on 8 as well). Additionally occasional instruments like didgeridoo appear too. The other tracks are of a more shamanistic nature, like expressing in a different form the magic in mountain areas. Here mouth harp and mouth harp singing, overtone throat singing are used, and some yahowahee kind of Shamanistic singing, occasionally enriched with a hint to the yodelling area (3). I wondered at first if the item would fit well on the neofolk review page, on which solo mountain pieces could fit well enough, but the guitar excursions so seriously stand on their own, I prefer not to associate them with the mostly much more minimal and more lost idea-bound approach of that scene.

Info & audio : http://www.myspace.com/umnachter
Homepage : http://www.umnachter.com/
German info : http://www.regioactive.de/umnachter
& http://www.action.at/artists/?/cgi-bin/artists/page.pl?id=352
Other reviews : http://www.acousticmusic.com/fame/p04725.htm
& http://www.folkworld.eu/36/e/cds3.html#umna
& http://www.theshadowscommence.com/umnachtergedanken.html
& http://mkmk1.com/kozlovsky/mini-review_umnachter.htm
& http://www.renradio.org/index.php?q=node/23
German reviewS : http://www.track4.de/agentur/bands/14475
& http://www.regioactive.de/album/2878/umnachter_gedankensplitter.html
& http://www.huscarl.at/cdreview03.php & http://www.welt-musik.net/?p=1376
2010 release->
Home Rec.  Dietrich : Evok (B,2009)***°

Polyphonic harmonies are something Dietrich seems to have managed completely. At times they tune in well to the sounds of hurdy-gurdy with slightly more nasal overtones by Jeuc Dietrich. They must have adapted at least a similar comparable approach to the folkrock band Malicorne, with a semi-medieval flavour, with acoustic guitars and occasional electric folkrock (with even mellotron on 6). But there must have been (East and high North European) ethnic origins in their inspirations as well, like the female polyphonic ideas on 8 which remind more of some Swedish folkrock examples. Basically folk/folkock with a medieval touch, the range of world influences is much wider : a Persian percussionist combines beautifully, an African touch in the guitar on 8, hurdy-gurdy playing in an Arab mode, but with a Swedish folk touch on 13 sounds a remarkable idea, but sounds in fact very natural and normal. And switching instruments : what do you think of a mellotron playing a art normally reserved for hurdy-gurdy on the closing track ? Quite often the band shows remarkable ideas to an original and intelligent, well produced and mixed folkrock style, but there are also more modest smaller tracks. Recommended.

Info & audio : http://www.myspace.com/jeucdietrich 
Label info : http://www.homerecords.be/anglais/en_dietrich/en_evok.php
Other reviews : -

More Belgium folk & folkrock (3 pages) on http://www.psychedelicfolk.com/belgiumfolk.html
Rocket Shop   MandoMorphosis (US,2009)***'

"This project started with a simple goal – to harness the talents of the group in a spirit of adventure. The record takes many twists and turns, ranging from high-energy tunes with traditional roots, to free-wheeling jams, to fresh arrangements of classical works, to spontaneous group improvisations. While the music is mandocentric."

It is a very original and challenging idea to bring together seven mandolin players to improvise or try to explore certain possibilities mostly based upon the styles/schools the players were used to playing in (blues, folk and bluegrass,..), and with a few new possibilities (classical baroque, free improvisation with certain new melodic –high toned- combinations, and some improvisation based upon the raga idea). The result is fresh and joyful with a noticeable obvious joy in the making/playing. The free excursions are never too weird not to remain enjoyable and recognisable, as being never too far away from the first main house of the genres. Nice!

Info & audio : http://www.cdbaby.com/cd/MandoMorphosis
& http://www.myspace.com/mandomorphosis
Homepage : http://www.mandomorphosis.com/
Umnachter ProjectUmnachter Project : Schall und Rauch (AT,2010)****

The Umnachter Project is still lead by Robert Polsterer (overtone-singing, western- and classical- guitar, jew’s harp, didgeridoo, and some percussive elements). His own description of his work is :

“Archaic overtone singing meets melancholic guitar music. Confluence of suspenseful silence and glowing ritual fire. The Umnachter project is melancholic music full of hope and yearning. Images of faraway lands are arising, fabulous beings are accompanying the traveller on his path and mythic rites open the gates to unforeseen worlds.”

But the difference with the previous album is that there are less repetitions and contradictions in styles and that I have the impression there is a more whole group idea and performance behind it. Melodic and compositional dual acoustic guitar arrangements are alternated with overtone harmony singing. The guitar pieces have mixed ideas of melancholy, romanticism and medieval and folklore ideas worked out more often like baroque compositions. The singing parts are like a mix of medieval monk singing, shamanic singing in a new context, like some Finnish folk-rock bands perform, with the same attractive effect of some rhythmic accents, and with some hints to Austrian folklore and an occasional yodelling spell. Included were also two compositions composed for the European Overtone Choir (EOC). Recommended.

Info & audio : http://www.myspace.com/umnachter
German description : http://www.dark-festivals.de/folk/umnachter_project__schall_und_rauch_1422.html
Homepage : http://www.umnachter.com/robert_english.htm with description of band here
(The album is also available as download on Amazon.com)