Part improvised, part composed — intricate finger-picking across Eastern and Western scales, embellished with tamboura, harmonium and cymbala — a spellbinding, hypnotic bliss-out.
Essential early work from guitarist James Blackshaw, making its debut as a proper CD.
A welcome reissue of this wonderful early release, originally out on Digitalis and more recently as half a Bo’ Weavil.
A rare 2004 outing, originally released by Digitalis in an edition of 200. A sprawling, hypnotic 12-string journey, with tambura, bells, harmonium.
Six originals alternately for nylon-string classical guitar and grand piano, with JB’s own subtle vibraphone and B3 organ overdubs. Genevieve Beaulieu sings on And I Have Come Upon This Place By Lost Ways.
A hushed, stimulating blend of genuine British folk revivalism with literary songwriting and gentle experimentalism. Nodding to Ewan MacColl… and Robert Wyatt — with Will Oldham, Muybridge and Mum connections.
Intensely atmospheric live recording of a reworking of Peter Bellamy’s Sweet Lemeny — full of unease and saudade — which invokes Ballard’s character Lunora Goalem. Enchanting music; beautiful silk-screened sleeve.
Wonderful new collection from Lavinia Blackwall (vocals, harmonium, cello, harp) and Alex Neilson (vocals, drums, psaltery). Haunted trad folk meets explosive free jazz. Highly recommended, very limited.
Exclusive new folk from the Rif Mountain collective, with Starless And Bible Black, The Owl Service and co.
Folk songs from Lorca’s collection Las Canciones Populares Espanolas make rather ruddy, incongruous settings for Foster’s voice. The empty ones are best.
Terrific — half originals, half Ukrainian, Hungarian and Romanian folk re-worked under the spell of Paradjanov’s marvellous film Shadows Of Forgotten Ancestors. Raptly melodious, thunderous, super-charged.
Viscerally churns together blues — Bo Diddley stands out — and tearjerking Japanese folk and pop, as if possessed. Immediate as a street musician off the rails. Brilliant at Cafe Oto in Dalston recently.