1220 kHz

This is something I definitely want to turn readers and listeners onto: The Elemental Chrysalis is music by Chet W. Scott (RUHR HUNTER) & composer James Woodhead. The cd is housed in a 6" X 6" X 6" gatefold sleeve with wonderful woodland / psychedelic mushroom art. Musically The Elemental Chrysalis is unlike anything I've ever heard - and that is one of the highest compliments I could give a recording. The Glass Throat website states "Ponder one of Ennio Marricone's gloomy "spaghetti western" folkscapes, fused with a deeply unsettling Alexandro Jodorowsky film score! "The Calocybe Collection" is pregnant with "heavy" Elizabethan classical orchestrations & acoustic hallucinatory funeral drones! Imagine a Victorian Pink Floyd collaboration with a band of woodland gypsies, performing acoustic funeral doom!!! A beautifully intense experience, conjuring vast forests of fog quilted mushrooms & darkened paths of self discovery!!!". What more is there to be said?
This is music of powerful quietude and quiet power. Very earthy and very ethereal.

Instrumentation includes guitars, piano, cello, theremin, dilruba & more. Check out The Elemental Chrysalis & other excellent recordings at www.glassthroatrecordings.com

Robert Moog, 1934-2005

Robert Moog, the inventor whose synthesiser electrified the 1960s, dies of cancer aged 71

By David Usborne in New York

Robert Moog would not be expecting pipes or strings when friends and admirers from across the music world assemble in Asheville, North Carolina, tomorrow to bid him farewell. If there is to be Bach at his memorial service, please let it be switched-on Bach, created with currents of electricity.

Just four months after he was diagnosed with an inoperable brain tumour, Moog, the inventor of the series of music synthesisers that bore his name and helped to revolutionise modern rock sounds in the mid-Sixties and Seventies, died at his home in Asheville aged 71 on Sunday.

While other synthesisers may have been available, it was the Moogs to which bands and performers almost invariably turned. The Beatles used a Moog to record their last album, Abbey Road.

But more than anyone it was Walter Carlos - now Wendy following a sex change - who turned the Moog into a mainstream alternative to traditional instruments. His 1969 album Switched-On Bach, a collection of Bach pieces played with Moog machines, became the first classical album to go platinum. In 1977, we vibrated to the first completely Moog-synthesised pop hit, "I Feel Love" by Donna Summer.

Musicians chose the Moog because of the unique quality of sound it created. It soon began to serve as a solo instrument, particularly for artists such as Manfred Mann, Yes and Pink Floyd.

"The sound defined progressive music as we know it," said Keith Emerson, keyboards player with Emerson, Lake and Palmer.

It was back in 1954 that Moog first started his unusual career, building and selling so-called theremins with his father. Originally invented by a Russian of the same name in 1919, the theremin was a box that made strange musical sounds when the artist waved his hands between two protruding tubes. Ten years later, using new solid-state electronic technology and with the help of a New Jersey composer, Herbert Deutsch, he invented and marketed his first Moog Modular Synthesiser.

He can have had no idea at the time how far it would catapult popular music into its electronic future. According to friends, he never felt like a musician or a star himself. He was just a technician.

He sold his Moog-making company in 1974, just as the popularity of the new synthesisers was peaking and before they were somewhat overshadowed by new digital sound-making machines. But the Moog sound never died and was kept alive over the ensuing years by progressive rock musicians such as Brian Eno and Frank Zappa as well as the Cure, Fatboy Slim and Stereolab.

Last year a documentary film about the inventor, simply called Moog, was released with tributes to him from a range of artists including DJ Logic, Money Mark, Mix Master Mike, Jean Jacques Perrey and Rick Wakeman, formerly of Yes.

Meanwhile, in recent years the musician Charles Carlini has been promoting a festival in his honour in New York City called Moogfest.

"He's like an Einstein of music," Mr Carlini said, shortly before Moog's death. "He sees it like, there's a thought, an idea in the air, and it passes through him. A lot of people don't realise what this man brought to the masses. He changed the way we hear music."

After spending much of the Nineties as research professor of music at the University of North Carolina, Moog returned to running a full-time electronic instrument business, opening his latest company, Moog Music, just three years ago.

Four other inventions that changed the musical world:

PIANOFORTE
The piano was developed in 1709 by Bartolomeo Cristofori di Francesco. Unlike the harpsichord, where the strings are plucked, the piano is a percussion instrument, which uses hammers to create the sound.

SAXOPHONE
The saxophone was invented by Adolphe Sax, and first exhibited at the 1841 Brussels exhibition. Originally intended as an orchestral instrument, it has transformed jazz.

ELECTRIC GUITAR
When the solid-body electric guitar first became commercially viable in the Fifties, Gibson approached the guitarist Les Paul to help develop a more stylish version. The Les Paul Model, as it was originally called, has changed little since its debut in 1952.

DRUMULATOR
The first Drumulator appeared in 1983, followed by drum machines from Linn and Oberheim, which paved the way for bass-heavy electronic music such as drum 'n' bass and house.

1170 kHz

Dear Readers

After four weeks of staying quiet, Berkeley Liberation Radio 104.1 returned to the airwaves on Sunday, July 24 at 6:00 PM. For more information on why the station has been off-air, read the station alert below. At the same time BLR was getting served notices, Radio Free Brattleboro was getting all of their stuff confiscated by the FCC. At this time of dire need for open communication, I urge all freedom-loving people to support your local media activists and do something to fight the total media consolidation of the megacorporations. I realize that not everybody is brave enough to go on the air with a "pirate" station, but there's still a lot you can do to help save the first amendment from total destruction.

STATION ALERT
From: berkeleyliberationradio@yahoo.com

The staff of Berkeley Liberation Radio (104.1 FM) wishes to make the following statement concerning our ongoing operations: Due to several factors it has become necessary for Berkeley Liberation Radio to temporarily cease its daily broadcast operations. These factors include the termination of the arrangement under which the station is housed and, most egregiously, the serving of an FCC "cease and desist" order, received ten days ago, that demands that we stop all programming at the 104.1 frequency by 27 June 2005. Let us make it crystal clear that this is only a temporary interruption. The staff of Berkeley Liberation Radio understands that the current political climate of fear and irrationality, enabled and abetted as it is by the current media climate of crass mnipulation and illegitimate consolidation, requires solid, informed and concerned community voices to organize and to speak up now, more than ever. It is to this end that we endeavor to change the modality and method of what (and how) we do so that Berkeey Liberation Radio can assume a stronger and even more valuable role in the empowerment of human beings through the power of honest and accurate information and programming. In the immediate future our constituency of listeners in the East Bay can anticipate the re-emergence of Berkeley Liberation Radio as a challenging and powerful voice that will continue to champion the values of the Community we serve: those of tolerance, respect for diversity and the unwavering pursuit and delivery of real and accurate information uncorrupted by the motives of profit. Our broader, as-yet-untapped constituency-- that is, the people of Planet Earth-- can look for Berkeley Liberation Radio to commence broadcast streaming over the World Wide Web within the next few weeks, with a concurrent micro-radio signal resurfacing here in the East Bay very soon. The original charter of the Federal Communications Commission, written in the early 1920s, stated unequivocally that the airwaves belong to the people of the United States: a high ideal, the preservation of which the staff of Berkeley Liberation Radio is emphatically and supremely dedicated to, now more than ever. We thank you for listening to our station and to this announcement, and seek to reassure our audience and the listening public at large that Berkeley Liberation Radio will be back to serve the iterests and concerns we all hold dear in the very near future. If you can support us financially, send a check or money order to :Berkeley Liberation Radio, PMB 2000, 2140 Shattuck Ave., Berkeley, CA 94704

Playlist - August 21, 2005

Seldom Heard Radio Playlist
WNEC 91.7 Henniker NH
August 21, 2005
DJ Frederick, Producer & Host


“music & culture in the spirit of free radio”


Artist/Song/Recording Name

Seven Percent Solution – Built On Sand > Revolve – All About Satellites and Spaceships

Lanterna – End of the Tunnel – Live 7” EP (Independent Project Records)

7 Rooms – Solar Crossing – Crystal Cool

Grouse – We Want to Be Loved – We Want to Be Loved

46 Bliss – Kalimba – 46 Bliss

Dreaming Blue – Hikari – Dreaming Blue

Fit & Limo – Golden Floor – Terra Incognita

Broselmaschine – The Old Man’s Song – Broselmaschine

Gila – In a Sacred Manner – Bury My Heart At Wounded Knee

Sandy Denny – Sail Away to the Sea > Bruton Town – Who Knows Where the Times Goes (3 cd box set)

The Pines – Dieppe Won’t You – 7” vinyl

PG Six – Unteleported Man – Parlor Tricks & Porch Favorites

Pearls Before Swine – Another Time – Balaklava

Aura Shining Green – A Swimmer’s Dream – MP3

Doveman – Honey – The Acrobat

Landing – Fluency of Color – Sphere

Popol Vuh

Popol Vuh became a group at the end of the 1960's thanks to
the figure of keyboard player Florian Fricke, who was also interested in the cinema. They recorded mostly in the 1970's
but released LPs sporadically through the 1990's.

With their first record, Affenstunde, the group (in that period it was just a trio with Holger Trulzsch on the percussion and Frank Fiedler at the sinthetizer) was included among cosmic music of Tangerine Dream but they distinguished themselves by their remarkable spiritualism. That record was the first one made by a group of rock music using the big Moog (not the mini-Moog).

Their next work In Den Garten Pharaos signed a more radical division between their own music and the clichè of cosmic music. Title-track begins with an apocalyptical atmosphere, an emphatic organ and chorus overture such as King Crimson; but percussions, wich are less and less linear up to become a psychedelic effect of frenetic noises and the prolonging organistic "wall", made that endless swoon a supernatural experience. So doing Fricke blends epic chaos of A Saucerful Of Secrets (noisy percussions plus ghostly choir) with indian mantra ecstasy.

Having disowned "black" tribalism of teutonic rock, Vuh is a masterpiece of atmospheric and celestial spiritualism, it is quite similar to a grave and humble church music. It is a rustling noise, a no time electronic vocalism, a tabla whispering with paradisiac notes. This ceremonial goes slowly in a disquieting emptiness according to the millionary rhythm of universe. Fricke's music explores metaphysical dens towards the essence of things looking for the interior sounds of oriental guru.
The best exemple of this new expression has been given by the Hosianna Mantra mess. Fricke's liturgy gives up to the magniloquent electronic of Tangerine Dream and discovers a more intimal and closed tone where cosmic music is considered universal harmony instead of sketch of science fiction, a "fioretto francescano" instead of symphonic hurricane, just like catharsical human music. Fricke's acoustic mysticism approaches ancient and modern music obtaining right music to space catacombs.

Hosianna Mantra's miraculous balance between sacred and profane, liturgic and laic, future and past, is the first one in popular music history (nothing to compare with Electric Prunes). Fricke (piano) and his classical group (Conny Veit, guitar, Robert Eliscu, oboe, Fritz Sonnleiter, violin, Klaus Wiese, tamboura, and Djong Yun, soprano from Korea) create a dreaming and crystal atmosphere, weak and fading, perfumed and charming. This group can be considered a small ensemble of chamber music.

The emotional crackling of instruments and slow melodies contribute to the restoration of natural order, in the name of a revision which refuses violence as instrument of liberation and leads to a state of huge ecstasy. Ah! intensive opening notes of piano seem to communicate at a distance with cembalo and violin so to build up a complete repeated scheme with infinitive variations.

Kyrie is an oniric whispering and its struggle lirics plunge into a thin rain of tamboura, piano and oboe. Eponymus mantra is a nervous crescendo of heavenly chords fluctuating without cohesion and dominated by oboe's melodies. Oboe is the leading instrument of Abschied, with a sad melody well connected to Renaissance dance theme, executed in ralenti.

But Segnung and Nicht Noch Im Himmel go back to "freeform" accompainment because of soprano's humble chant, with more and more humble and lyric prayers (in particular the second one, the more celestial and oniric of the whole album), alternating sometimes the guitar. Melody is reduced to the essential, a phrase continually repeated, and rhythm is almost completely inexistent.

Hosianna Mantra overturns the link between rock music and its traditional ispirations, infact they can all found among Indian folk, Renaissance chant, Baroque suite, Gregorian liturgy. Hosianna Mantra is the masterpiece of religious rock too, infinitely more genial than raga rock of Santana and others.

Accompanied by the devoted Daniel Fishelsher and by always different musicians, Fricke compose the mystic trilogy of Seligpreisung, Einsjager und Siebenjager and Das Hohelied Salomos, all extracted from sacred books. Having left the radical ascetism of the masterpiece, the music uses a compromise, but preserving its own simplicity.

Letzte Tage Letze Nachte, in trio again, finally changes direction, looking for a more easy and rhythmical sound, although lyric and maestoso. The monumentality and the arcane fascination of this suite link toghether to the requirements of cinema. Not by chance, Fricke becomes a devoted partner of director Werner Herzog, and composes many soundtracks for him ("Aguirre", "Kaspar Hauser", Coeur De Verre", "Nosferatu", "Fitzcarraldo", "Cobra Verde"). The best ones are Aguirre (in two parts) and Sohne Des Lichts (from "Nosferatu").

Later Fricke composed faint works, in particular Die Nacht Der Seele with Renate Knaup (ex Amon Duul) as singer. He comes back to Hosianna Mantra inspiration with the Tantric Songs, a collection of small chamber mantra and melodic sketches such as Harold Budd style (Listen He Who Ventures). The long Brothers Of Darkness has got a kind of unique brightness that is not evident in the first works, although its singing is sterile, according to a new tendency in the new age era.

Agape Agape suite (on the eponymous album) and Take The Tension High (on Spirit Of Peace) represent a period of transition ending with kinematical sound of City Raga, with Maya Rose as singer, Daniel Fischlscher at the guitar and Guido Hyeronymus at the keyboards.

Popol Vuh was an important band for having reacted to the cosmic monumentalism of german rock works of mere lyric suggestion, recovering a way of making music within the rhythm of ancestral origin.

1130 kHz

It recently occured to me that I've never actually discussed in this blog exactly what kind of music I play on Seldom Heard Radio. I frequently post playlists to give readers a taste of the range you might hear during the broadcast. On the air I announce the show as "a freeform blend of esoteric music from the 1960's to the present". This isn't 100% true because I've played music from the 1930's, 40's and 50's (in small doses) as well over the years.

Because I love a variety of music it's easier for me to explain what you won't hear on Seldom Heard Radio. What you won't hear: rap, 95% of what has been called "country" music (since 1975 anyway), gospel music (though I have played less heavy handed Christian bands before) commercial pop ala Britney Spears, and klezmer music. Everything else is fair game.

I prefer "indie" music ... non-commercial music of all genres performed by people who have a passion for their craft. I also go wild for psychedelic folk music which has been called wyrd folk. During any given broadcast you could hear anything from R. Crumb and his Cheap Suit Serenaders to the Thievery Corporation all in the same set!

Red Favorite

A few months ago, Jeremy Pisani sent me a copy of his self-released debut cd which will soon be issued by Spirit of Orr. I listened to it a couple of times and placed it in my "must play on Seldom Heard Radio" stash of cds but haven't actually revisited the cd until recently. Recorded between 1996 and 2003, this selection is a gem.

The cd opens with "Starry Sky" which is like listening to a radio broadcast from another time magically intended for your ears only. The next piece "First" opens like a dreamy raga and evolves toward deeper meditations. By the 5th track "Green Hill Beach" we move into a bluesy psychedelic freakout that segues into a quiet electric guitar passage. The 12th track is a mystery track that is reminiscent of Fischbach & Ewing's underground classic 3LP set A Cid Symphony.

This Red Favorite cd is psychedelic folk music at it's purest and resonates a timeless quality to immerse yourself in. For more information please see www.redfavorite.com.

Jeremy is also involved with the cd-r label Elefantplatte Records which is unearthing some very cool seldom heard music from the vaults of the mind. These are the types of projects that I feel like a little kid in a record store when I come across them ... it's a warm glow to know someone is re-discovering this excellent yet obscure music and releasing it in the DIY spirit.

Psych folk / wyrd folk music part one

The evolution of new Wyrd Folk Music by Mark Coyle

Chapter 1 - Let's Awake The Green Man


With this article we will explore the emergence of a new alternative folk music, often called for want of a better description, ‘wyrd folk’. This music builds on the foundations of bands like Incredible String Band, Pearls Before Swine and Vashti Bunyan from the 60s and 70s to create a new more personal folk derived music that brings in a range of influences from outside. Often strange, psychedelic, mystical, exploratory and sonically more ambitious than the original form, this music takes the tradition into new realms.

This is not a form of folk music that grew from the folk clubs, reads the folk magazines or has connection or often is more than casually aware of important past and current traditional folk artists. In the strict sense much of it is not traditional folk music as purists would know it, but the instrumentation, crafting of the songs, the telling of stories and the outsider position often adopted all use this form to help the artist express their vision. With the strict need of the media to tag music with genres, we hope that being associated and part of a new folk evolution will help them find natural audience and in turn refresh the music reflecting it’s continuous change over previous decades.

The media overuse of the phrase 'wyrd folk' to try and pigeon hole these artists unduly restricts them and we use the term merely to draw a comparison between the alternative acoustic music of the sixties and the possible similarities of recent artists in intent and sound, even is this is unforeseen and accidental by the artist.

We hope to show in the article that the current explosion of interest in this music is not new but has been evolving for twenty years from the underground. Inevitably we cannot cover every artist in such an article but we have attempted to be reasonably broad in coverage and to give a feeling for the evolution of the genre. Indeed this site was developed to provide a linkage between folk music old and new and to make more explicit its context and relevant to old traditional customs and folklore (of which more here).

As we explore the new folk related artists we do not support or express any views on the religious, spiritual or political aspects of any artists.

Introduction

In 1980 folk music was withering, the rise in folk rock in the late sixties and early seventies had given rise to some chart success but the commercial focus had moved ever onwards to progressive rock, punk and new wave. In the era of emerging cheap synth-pop and two minute bursts of electric guitar energy folk music suddenly seamed old fashioned. Traditional folk music had continued in the pubs and clubs it’s image by now was of fingers-in-the-ear and beards for the mainstream. Folk music was ignored, ridiculed and deemed irrelevant. As the eighties progressed new wave gave way to indie and power rock and artists such as Shirley Collins retired. A revival in folk music did not seem close at hand....

Psych folk / wyrd folk music part two

The Evolution of New Wyrd Folk Music by Mark Coyle


Chapter 2 - All The Stars Are Waking Now


UK underground artists who appreciated folk music were starting to emerge, informed by interests in the evolution of society, spiritual development, the gothic and sometimes magical exploration.

In particular the inspirational song-writer performer David Tibet previously of Psychic TV and 23 Skidoo with his band-project Current 93 originally created a series of personal, exploratory, atmospheric albums from the mid-1980s onwards that fused folk, gothic (in the original sense of the word), strong use of imagery and experimentation. New comers should check out 1992 album ‘Thunder Perfect Mind’ as good introduction to what became tagged ‘apocalyptic-folk’. So unique and new was his sound and style that it inevitably influenced others both in the UK and overseas. However David Michael (dropping the 'Tibet' name) is now taking Current 93 in a new direction, towards a positive, life embracing approach that moves on from the earlier explorations.

Around this time a number of UK artists emerged with elements of this apocalyptic folk music such as Death In June. Tony Wakeford of the band subsequently left and formed the band Sol Invictus charting his own personal explorations, also playing in Current 93. These artists produce highly conceptualised works that are not folk based but use elements of the form mixed with spiritual and complex political thought. Also worth checking out from this era are The Revolutionary Army Of The Infant Jesus who also produced intoxicated, doom filled folk that is surprisingly Christian in outlook.

Also associated with David Tibet back in the early 1990s and having contributed to Current 93 albums were a number of artists. Fire and Ice is a band led by Ian Read also sometimes of Sol Invictus and Michael Cashmore’s Nature And Organisation. Nature & Organisation did a couple of albums in particular ‘Beauty Reaps The Blood Of Solitude’ which contained dark apocalyptic folk and a definitive version of Willow’s Song from The Wicker Man at a time when the original was more or less unavailable. Pantaleimon also supported initially by Tibet recorded lovely, largely instrumental albums of drifting, almost ambient folk.

The early imagery of some of the so called 'apocalyptic folk' is based on a feeling that Western society has failed and that rampant capitalism is removing our humanity. They were exploring a feeling that Western society is in a consumer goods fed slumber, removing the free will of the people and hence their ability to realise personal potential. Therefore the people need confronting out of their complacency and to challenge the decline of their society. The decline of the 'West' is at the heart of the music and the alternative model offered by a diverse Europe in contrast to the USA approach is explored. However often all forms of oppression such as political bureaucracy or organised religion are seen as part of the problem. There is a feeling that the simpler forms of existence prior to modern complex society may be a more viable approach to living. This decline of society, a removal of societal structures back to simpler models is the 'apocalypse' at the heart of the music. Over time this generalisation fell away and artists began a long personal journey not only into the state of their external environment but also regarding their own evolution as people, the internal drives and frustrations inherent within them.

It is impossible now to generalise, each artist is expressing a personal approach or ethos. The level of frustration and anger by the artists varies, some use allegorical imagery and a need for spiritual reawakening via non-conformist techniques as their approach. Other are more direct and see this as a battle of wills, showing people the oppressed society they live in via totalitarian imagery, with some artists talking about renewed European war to confront this hypnosis over the populace and revival of 'old' traditional models of living. This is not meant literally in almost all cases but is a symbolic struggle, a call to awakening rather than a crusade.

Exploring sentiments that are meant to be empowering but using confrontational imagery or themes can mean they are interpreted literally and associated with the very topics they decry such as fascism (another organised oppression). To be best of our knowledge this is not the case and they are working at a symbolic level, using techniques to shock people in the same way punk did (which this is in part an enduring continuation). In its own way it's a continuation of the punks using swastikas but usually in a more subtle (and hence easy to confuse) way. We do though we feel that any exploration of a folk 'purity' must be done with caution if at all as it leads towards confused areas that became associated the far-right and nationalism, topics we repudiate at the site (and the musicians themselves are not affiliated with).

We therefore advise people exploring this area of music to set it in the context described above and not to take it as a literal expression of political intent. Indeed these artists often abhor politics themselves and if they have in their impetuous youth been drawn towards extremities of politics and expression, as they mature and leave these flirtations behind they enrich their creativity with a more intelligent, insightful creative debate about the position of modern society.

In terms of the UK, the concept of 'apocalyptic folk' is a broadly historical one, there was never a scene as such, just artists working together who has since developed further. They gradually have each evolved a more personalised expression, often centred around spiritual growth. For example Current 93 themselves quickly left behind these qualities and moved towards personalised, stark folk ballad confessional style that evolved the form in an individual way gradually seeming to grow beyond their early explorations. We particularly look forward to their future output with the focus on a more positive approach.

In mainland Europe an entirely separate area of folk related music emerged which was explicitly more dark by intent, using Norse paganism and seeking a direct link beyond simpler society to ancient, even savage models. This is often called 'folk noir' or even 'black folk' (especially as many of the musicians were previously involved in the black metal area of music). Here it does seem that the artists 'mean it' and their lyrics are all the more disturbing. This is music we feel particularly uncomfortable with and generally do not cover at the site.

The eighties also saw other artists emerge who would prove helpful in bringing forward a climate that would slowly become more receptive to folk music and the psychedelic once again. In the UK Dead Can Dance combined medieval music with elements of folk and soundscapes to help give credibility to a more acoustic, alternative sound. In particular on tracks like 'Black Sun' they were creating a new style of doom filled acoustic music with direct parallels to folk music. Lisa Goddard would go on to solo success, notably on the Gladiator film soundtrack and Brendan Perry works in production and also solo.

Also important then and now was musician Martyn Bates formerly of experimental independent pop band Eyeless In Gaza. From the late 1980s onwards he has combined lonesome avant-folk music with cold isloationist ambience across a wide series of albums. A mid-period album of his that brings together many qualities of his work is ‘Glistening Praise’.

Things had also started to slowly turn in the mid-1980s as some artists sought a different path to the spandex-rock of the time. With acoustic rockers The Waterboys recording a folk oriented album in Fishermen’s Blues and in particular a mystical last track that was a stunning version of W.B. Yeats’ ‘The Stolen Child’. Suicidal Flowers combined sixties garage pop and folk music ballads and other artists emerged later from the festival circuit combining progressive rock, folk touches and celtic or pagan stylings elements such as White Willow and Morrigan developed a new pagan influenced folk-rock music.

In Japan the psychedelic folk band Ghost were starting their long journey into mind melting rock and lysergic folk captured brilliantly on the Pink Floyd-folk combination of 'Snuffbox Immanence' . This Mortal Coil also did a quite sublime version of Tim Buckley’s ‘Song To The Siren’ with Liz Fraser of Cocteau Twins singing that created a new highly atmospheric approach to folk.

Folk music was still a long way from the mainstream but these first formative developments and a revival of interest in artists such as Nick Drake would sow the seeds for the growth to follow.

Note: for much more of this article (four more parts!) please see the Color Wheel blog at www.colorwheeljournal.blogspot.com

Folklore of the Moon - In Gowan Ring

The Folklore of the Moon – May’s “Flower Moon!”

This month’s 3” cd-r offering from Hand / Eye’s subscription series is by “In Gowan Ring” and offers 21 minutes of entrancing and enchanting folk-psych. Five tracks that blend and flow into one another … This is music for an ancient future, or from deep within an oaken grove. In Gowan Ring can be found on the web at www.ingowanring.com

For more information on the Folklore of the Moon series, contact: Hand/Eye PO Box 131 Glenville PA 17329-0131 or visit www.somedarkholler.com.