Posts Tagged ‘Folk’

Ola’ Kool Kitchen is a show on Rock XS Radio, KCLA 99.3 FM in Los Angeles, 107.5 andhow.FM, Primal Radio, Rock Velvet Radio and Maximum Threshold Radio hear more shows here
Show 297

  1. Cub-Go Fish
  2. Angelica-Bring Back Her Head
  3. Sonic Jesus-Sweet Suicide
  4. The Halfways- Not All Are To Be Trusted
  5. John Howard and the Night Mail- Intact & Smiling
  6. Smithereens Featuring Suzanne Vega-In A Lonely Place Without You-Especially For You-Enigma
  7. Violent Femmes-Blister In The Sun-Violent Femmes-Rough Trade
  8. Add N To (X)-Take Me To Your Leader-Loud Like Nature-Mute
  9. All Natural Lemon and Lime Flavours-Your Imagination-Turning Into Small-Gern Blandsten
  10. Bobby Hebb-Sunny-Sunny-Phillips
  11. Lena Rios – Eu sou eu, nicuri é o diabo- Soul Braza: Brazilian 60’s & 70’s Soul Psych Vol 1-Nosmoke
  12. Ben Kweller – Wasted & Ready-Sha Sha-ATO
  13. Billy Swan-Don’t Be Cruel- Country Funk Volume II 1967 – 1974-Light In The Attic Records


The music of British songwriter Novo Amor, AKA Ali Lacey, has always felt mystical. His whispery voice and dreamy production give his work an otherworldly quality, creating lush and immerse atmospheres with every track. It doesn’t matter if he’s performing solo material or covering Guns N’ Roses’ “Welcome To The Jungle”, a supernatural sense of peace permeates every track he touches.

His latest song, “Anchor”, is the epitome of this delicateness and craft. The strings on his acoustic guitar buzz sorrowfully as he fingerpicks, singing above it all at a hushed volume. Soft electric guitar tones float in the background, drifting like slow waves crashing on a shore. The track feels enchanting, so much so that it only makes sense that the music video would take on the mythical.
“The inspiration for the video comes from Gaelic folklore of the Selkie,” Lacey says “Selkies live as Seals in the sea but shed their skin to live as human on land. If a man steals a Selkie’s skin she is to live in his power and become his wife, but because her true home will always be the sea, she will always be longing for the ocean and often caught gazing at the horizon. The underlying concept of the song is about wanting and waiting for something/someone to return, so this video was naturally a perfect fit.”

Lacey’s version of the legend isn’t as gruesome as shedding skin or overtly concerned with domination. Instead, it features a lonesome fisherman finding a woman in the ocean and bringing her back home. Things seem okay at first until her distance from the water starts to take a physical a toll. The video aptly captures the feeling of longing, both in the legend and within the song.

Josienne Clarke is a glorious, and very funny, purveyor of gloom who argues that she can now be as miserable as she likes after she and Ben Walker won best duo at this year’s folk awards. This the elegant and suitably melancholy opening track to their last album, Nothing Can Bring Back the Hour. From the album ‘Nothing Can Bring Back The Hour ‘
Out on Folkroom Records October 13th, 2014.


Another awesome sampler from the Active Listener, To hear more from these artists please visit the following links:

The Hanging Stars:
Mystery Flavors:
Wesley Fuller:
The Noble Krell:
Surfing Arcanis:
Tangerine Love
Pretty Lightning:
Crown Larks:
The Hare & The Moon:
Mr Pine:
High Mountain Bluebirds:


Blue Rose Code’s latest album, The Ballads Of Peckham Rye, features a remarkable roll call of musicians from the folk side of the fence, including Karine Polwart, Lau’s Aidan O’Rourke and the lead single from Ballads features Mercury Music Prize Nominee, Kathryn Williams. Ross has also toured as the duo, Hardy & Wilson, with the BBC Radio 2 Folk Singer of the Year, Bella Hardy.
2014 has been some year for Blue Rose Code. Ross made his TV debut on the BBC. Lead single, One Day At A Time, was playlisted on BBC Radio Scotland and Ross has done sessions for BBC Radio 2 , for Another Country with Ricky Ross and for Bruce MacGregor’s Travelling Folk.  But, to top it all, Blue Rose Code takes legend, long-time fan and musical collaborator, Danny Thompson out on tour this Autumn with a number of the shows already sold out.
It’s the respect and support shown for the music of Blue Rose Code‘s by a pantheon of award winning musicians that illustrates the high-regard in which Ross is held or, as Bob Harris puts it “Blue Rose Code is a very important emerging singer/songwriter”.
Ross describes his music as “audibly Scottish, Caledonian Soul” a term borrowed from the music of Van Morrison. Nevertheless, the estimable Bob Harris was so struck by Ross’s acutely personal, bruised and soul-bared songs he flew to Nashville for the BBC Introducing showcase at the 2013 Americana Music Association conference.

“I guess that I’m a crossover artist,” says Ross. “I’m just not sure from where I’m crossing over or where I’m going to end up.” It’s that reluctance to be boxed or pigeon-holed that has earned Blue Rose Code a burgeoning and fiercely loyal fan-base across the UK and beyond, with folks travelling from far and wide to see his three-night sell out show at this years Edinburgh Fringe.
At the start of his career, Ross sent demos to folk clubs in the hope of a gig. One promoter posted his CD back with a post-it note, scrawled in red that simply said: “Your music is not folk.” You can’t argue with that. Or can you?




Paradise of Bachelors is a Record Label, Plus Archive located in the North Carolina Piedmont and in the subluminal aether of Chapel Hill, they has spent the past few years building its reputation as one of the finest labels around for traditionally minded North American music. If they’re putting it out, its worth listening. On May 12th, They will release The Weather Station new Album Loyalty“,  The Weather Station is Toronto’s Tamara Lindeman  This her third album titled Loyalty”  recorded in a 19th century mansion outside Paris. Like that studio, or memorable art, the record seems to exist outside time. “I saw recently the works of Mary Pratt, a Newfoundland artist who spent most of her life as a housewife—her husband was a successful painter,” Lindeman said “Her paintings depict domestic scenes—jelly in jars, cod fillets in aluminum foils, a salmon head in a sink, but in such rich, elaborate detail, it’s painful somehow. I guess when I see her paintings, I realize that I’m trying to do the same thing, with my music.

“Shy Women,” a perfect example of her attentiveness to minute, universalizing details. “It started the same as most my songs do—a small, commonplace moment that I couldn’t get out of my head,” There was something about it, so ordinary that it begged to be described, and describing it felt powerful somehow—simply to say that it was important, this common place thing—worth singing about. And as I did, the moment revealed itself as a kind of elevator shaft, going pretty much straight down, through all the ‘shyness’ of myself and many of the women I grew up with, and all the moments when we had kept silence, and how that silence has underpinned so much that is deeply wrong.”

One of the great lines in “Shy Women” is: You were staring out, your eyes real straight, like nothing touches you these days/ It seemed to me that luxury would be to be not so ashamed. She explained a bit: “When I say it would be a ‘luxury to be not so ashamed,’ I mean that completely. Shame is, for most women, a constant companion, and is I think the last greatest gender divide, that will be with us for as long as women feel their experience is not worth speaking of, and blame themselves for the actions and feelings of others.” Below, it adds up to a remarkable song.


Chelsea Wolfe and her spectral, stygian brand of ambient-doom-folk-pop sounds even more divine crackling off my turntable . my Favorite track is Kings. This is a far more polished album than “Apokalypsis” and does not have the raw feel of that album. That’s not being critical though it just reflects the progress Chelsea Wolfe has made. It still has the energy, catchy beats and original vocals with a wider range of instruments on show. Don’t think there’s a boring bone in her body Chelsea…love it!. This is Chelsea Wolfe’s fourth studio album, Pain Is Beauty, was released September 3, 2013. An album trailer was released alongside this announcement, as well as a North American headlining tour in the fall. The song “Feral Love” was featured in the trailers for Game of Thrones season 4 and the television adaption of 12 Monkeys.



Soft Cat are a hugely underrated folk act out of Baltimore who with Lost No Labor. After two years, they are releasing their third album, “All Energy Will Rise”, on April 7th via Miscreant/Father Daughter Records. Today we’re premiering “Somebody” as the first taste of “All Energy Will Rise”, an appeal to our endless search for intimacy, even when it’s an unspecified desire. At the epicenter of Soft Cat is Neil Sanzgiri, whose songs unfurl like ribbons, needling you with each new element: horns, flutes, cello, violin, banjo, and classical and electric guitar. Just days after the release of “Lost No Labor” in 2013, a fire devastated the artist-run gallery, performance venue, and library known as Open Space, where most of the musicians involved in Soft Cat lived. With seventeen members of this artistic collective now effectively displaced, and the recent death of a friend looming heavy, Sanzgiri relocated to a farm to work on new music. These circumstances fueled his songwriting, and “Somebody” feels especially laden with grief, as the whirring, urgent strings fade into quieter vocal melodies.


Whilst the emergence of Luke Daniels as a singer songwriter may have caught some flat footed, it perhaps shouldn’t come as a total surprise. He may well have staked a claim to fame as a melodeon player of considerable repute, with the likes of Ian Anderson, De Dannan, as part of the Riverdance band and as a mainstay in Cara Dillon’s combo, but along the way he has recorded several albums under his own name and in tandem with others. It all points towards a wellspring of creativity that you could argue was always heading towards “What’s Here What’s Gone”. While the clues are there, however, the really pleasant surprise is what a bold and accomplished album this is, great songs, a sumptuous sound, containing at its heart a burgeoning philosophy, which adds a whole other level at which this record works.


Over the course of a twenty-year career Daniels has already earned his place on the UK Folk scene as a virtuoso melodeon player with the likes of Riverdance, De Dannan and Ian Anderson. Whilst performing with his own band at The London Jazz Festival, The Royal Festival Hall and festivals in the UK and internationally. Luke also worked alongside Howard Shore and The London Philharmonic Orchestra as a soloist on the movie soundtracks for Lord of the Rings and The Hobbit.


The critically acclaimed singer-songwriter Alexi Murdoch’s second recording, “Towards the Sun”, follows his 2006 breakout indie release, “Time Without Consequence”. Murdoch’s debut cemented him as an Artist to Watch from Alternative Press, and was hailed as “a timeless folk-pop record that’s likely to endure” by NPR Music.
Fiercely independent, and supported by a word of mouth groundswell, Alexi Murdoch chose to self-release Time Without Consequence. It has to date sold over 100,000 copies — and continues to sell briskly almost a half decade after initial release.

Though his second record has had a long gestation, Murdoch’s reputation as a serious musical force has been growing apace. With no marketing and little fanfare, his debut quietly became one of the most licensed albums of the decade, receiving placements in countless films and television shows, making Murdoch one of those rare artists who is known primarily for how his music actually sounds. Most recently Murdoch was tabbed by director Sam Mendes to helm the soundtrack for the acclaimed 2009 indie film “Away We Go”, contributing nine songs alongside songs by the Velvet Underground, Bob Dylan, George Harrison & the Stranglers.

Murdoch tape-recorded the majority of Towards the Sun in Vancouver in a single night while on tour in North America in 2009. Revisiting the tape months later in a basement studio in Brooklyn the arrangements were kept poignantly spare; calling on a small handful of local musicians, the record was finished in a few days. The result is a compellingly stark and raw document of quiet, visceral folk songs that are at once dark and immediate.