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GFM 013CD
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Critically acclaimed folk group Bird in the Belly return with a concept record based around the novel After London; or Wild England. After London; or Wild England (1885) by Richard Jefferies, is an early example of post-apocalyptic fiction. Jefferies tells the story of England's rebirth following an unspecified catastrophe. Cities decay and collapse, pet cats and dogs go feral and festering human bodies are left to rot, before the country is ultimately returned to nature. Jefferies doesn't detail what preceded the end of fictional England, so taking poems (Cotton Famine Poetry, Plague Poetry) and Broadside Ballads, the group constructed a backstory for After London. After the City begins with a song representing a bustling metropolis, where the only nature available is the flowers on the windowsill. Each of the four songs that follow represent a different Horseman of the Apocalypse; plague, war, famine, and death, which leave behind nothing but smokeless chimneys. An interlude marks the end of life as was and songs in the second part of the album are directly adapted from Jefferies' novel, describing the country's slow rot and eventual renewal.
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GFM 012CD
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No one sounds quite like Jinnwoo. When the Leicester-born artist (aka Ben Webb) first debuted his curious and spellbindingly beautiful music via his debut Your Baby EP in 2016, the late Andy Gill of The Independent succinctly described him as "a singular folk talent," with his debut album, 2016's Strangers Bring Me No Light, being equally as critically-acclaimed. Jinnwoo now returns with his follow-up album Dreamcreatures. set for release following his signing by Brit and Mercury winning producer Charlie Andrew (Alt J, London Grammar) to his label Square Leg Records, with Charlie also mixing the album. Charlie Andrew describes the record as "a beautiful body of work" and says of the signing "When Jinnwoo reached out and showed me his new album I was instantly smitten. His incredibly unique voice sucked me in straight away and before long I was on a journey through some of the most gorgeous and curious songs I'd heard for a very long time." Dreamcreatures. was written within the two months of the release of his debut album in 2016. It captures that point in life where one realizes they are no younger young and explores what Jinnwoo describes as "a weird mix of nostalgia, regret and looming responsibility. It's a lot about old relationships, in particular the relationships that can exist between men; friendship, brotherhood, love, jealousy and sex." Dreamcreatures. is a most beautiful return for Jinnwoo. Capturing a bittersweet moment in time that wraps its listeners all in painful nostalgia, where doubt, regret and anxiety rear their ugly heads but world-weary experiences make you more able to process such emotions, albeit with a newfound cynicism and sadness. Jinnwoo encapsulates this perfectly in Dreamcreatures. which is the sound of an already singular artist literally and musically maturing in front of our eyes. The songs on dreamcreatures. were written and recorded by Jinnwoo, and produced and mixed by Tom Pryor in Studio 95, Brighton with additional mixing from Charlie Andrew.
"Jinnwoo's gothic folk-croak is a confessional reel unspooling from his innards." --The Guardian
"Jinnwoo is a true original." --Clash
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GFM 014CD
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Frankie Armstrong is considered the "godmother" of the natural voice movement. She began singing professionally in 1964 and came to wide notice in 1972 with her cult classic record Lovely on the Water (Topic Records). She has gone on to work with historic and contemporary legends alike -- including Anne Briggs, Dave Van Ronk, Peggy Seeger, Leon Rosselson, Alistair Roberts, Stick in the Wheel, and Lankum. Frankie's long and impressive career was recently marked with the Gold Badge Award from the English Folk Dance and Song Society. Frankie is now releasing her twelfth record Cats of Coven Lawn to mark her 80th birthday. The album was recorded over a couple of weekends in Brighton with critically acclaimed producer Tom Pryor and consists of mainly live takes with minimal overdubs, creating a warm lo-fi, almost anti-folk aesthetic. This is a brave record sonically -- traditional on one track, then verging towards outsider art on the next. It's bare-boned with eerie harmonies, raw unapologetic vocals, minimal instrumentation, and at times startling a capella performances. The song selection is daring and incredibly varied -- traditional songs ("Lizzie Wan", "Willow Song"), songs written by her friends ("Dead Funny", "Marcy's Guest House"), and songs that demonstrate Frankie's longstanding commitment to social and political issues ("Where I Live on the Map", "Song of Strength", "We Are Women", "Bread and Roses"). This album strives to represent the many intriguing facets of one of the UK's most important folk singers. Frankie is joined by her friends throughout the record, lending vocals, writing and instrumentation. Guest performances come from Martin Simpson, Bird in the Belly, Brian Pearson, and Bread and Roses. The warm lo-fi aesthetic, combined with the group performances from Frankie's friends creates an intimate, charming album -- an album akin to sitting around the dinner table with Frankie and her friends and reliving her memories through song. An incredibly personal album -- at times, sad, funny, odd, eerie, joyful, but always authentic.
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