February mix, featuring Songs Of Green Pheasant, God Body Disconnect, Mario Grönnert, Council Of Nine, Refectori, Shape Worship, Laura Cannell, Richard Moult, Michael Tanner, Transmission, and Martyn Bates.
November 2015 mix, featuring United Bible Studies, Ugasanie, Cedar AV, Dronny Darko & protoU, Waterflower, Enmarta, Orla Wren, Kammarheit, Beast Nest, Gideon Wolf, and Michael Tanner.
Our new mix for September features music by In Gowan Ring, Ujjaya, Wil Bolton, Enmarta, Amanda Feery & Michael Tanner, Gideon Wolf , Troum & raison d’être, United Bible Studies, and Bell Witch.
A second mix for May, featuring music by Dirk Serries & Rutger Zuydervelt, Andrew Weathers, Lutine, Áine O’Dwyer, Caught in the Wake Forever, Brian D’Oliveira, Wolf Maps, BC Grimm, ACV, Aveparthe, and Amanda Feery & Michael Tanner.
A mendicant is a travelling monk — one who begs for subsistence, accepting what people and to world have to offer, in humility. The music on this double album could be a distillation of the world experienced in such a way: a flowing by of landscapes and visions, an endless sequence of steps carrying one to some unknown destination. This is the final act of begging and acceptance: to see where the journey leads you, always deferring to decisions made outside of the self; offering up the self.
Raising Holy Sparks is the project that rose from the ashes of Agitated Radio Pilot and saw David Colohan shifting from lo-fi and singer/songwriter releases to something more instrumental, raw, and abstract. The division is far from clear-cut: Agitated Radio Pilot had its share of lush ambient improvisations, and the occasional harsh guitar solo, while Raising Holy Sparks has had plenty of songs interspersed on its earlier releases. All the same, there is a tangible contrast between the two projects.
In my 2012 review of The Cloisters, I had written about how the imagined landscape (Britain, in these cases) features so strongly in some strains of contemporary experimental folk music. Granted, this has been a central theme in folk since the 60s revival, but as I argue, the ease with which electronic manipulation can be applied these days has really influenced some of the more experimental folk works in the past decade or so. This heightened interplay of the ‘acoustic’ and electronic, and in a broader sense, between the rural and the urban, makes for a liminal artistic and imaginary field that is finding different forms of expression these days.