HOUSE & LAND The duo of Sally Anne Morgan and Sarah Louise Henson hail from North Carolina. Both known in other contexts (Sally as fiddle player in The Black Twig Pickers, Sarah as 12-string guitarist whose debut was released on VDSQ Records), they started playing together after discovering a mutual interest in the same very specific forms of traditional and avant-garde music. The material on their debut, released on Thrill Jockey, is drawn from traditional southern hymns and Appalachian ballads that originated in England and elsewhere hundreds of years ago. However, they choose to link that tradition’s startling microtonal harmonies and drone styles with the avant-garde minimalism of composers such as Tony Conrad, Eliane Radigue and Pauline Oliveros. In this context, repetition is linked to music from across the spectrum that evokes trance and other spiritual states. Experiencing their sparse and unadorned use of close vocal harmony and acoustic instrumentation in a live setting will make for an eerie and uncanny evening, especially in the intimate surroundings of The Blue Moon. http://www.sallyannemorgan.com/house-land.html CAROLE PEGG Carole Pegg, fiddle-player and singer of early 70s acid-folk legends Mr. Fox, will be performing a rare solo set as part of this evening’s bill. Between 1970 and 1972, Mr. Fox recorded two albums of dark electric folk, whose themes of witchcraft and the rural occult are discussed at length in Rob Young’s ‘Electric Eden’. After they disbanded, Carole recorded a single solo album ‘Carolanne’, before moving on to study ethnomusicology. She is currently Faculty Member at the University of Cambridge, specialising in the Tuvan music and shamanic culture of Inner Mongolia. https://en.wikipedia.org/wiki/Mr._Fox DYLAN GOLDEN AYCOCK Oklahoma native Dylan Golden Aycock plays solo guitar emerging from the traditions of the southern Midwest. His recordings weave ambient, experimental, and classical influences into the fabric of traditional American musical styles: flecks of country and blues appear, but they mutate into enveloping soundscapes that go far beyond those genres’ tropes. Aycock respectfully expands on his Takoma-school roots by moving towards the sort of chamber folk compositions and cinematic instrumental in the re-release of Bruce Langhorne’s cult soundtrack to ‘The Hired Hand’ album, and oversaw an extraordinary tribute album to Bruce released earlier this year. https://dylangoldenaycock.com/ http://www.scissorta

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