(Retransmission:) If you should look closely amongst this particular year in the country you may well see that around these parts there has been activity which has involved the encasing of disturbances in the airwaves.
Audiological Reflections and Pathways is inspired by those particular encasings and the related work/creators of said work…
Along which lines, She Rocola’s Burn The Witch / Molly Leigh Of The Mother Town.
When I think of those songs, my mind will sometimes wander along to flickering cathode ray and celluloid tales of what has come to be known as folk horror.
In many ways there is a lot that fits/could fit into that particular category; as has been mentioned around these parts – and elsewhere before – in practise it often refers to a particular canonic trio of films – The Wickerman, Blood On Satan’s Claw and The Witchfinder General…
…and then if I’m thinking of such things, my mind will often wander along to ether collections of such things and interrelated tales.
…and as I gather interconnected intertwinings for this particular pathway and reflection I come to see that I have wandered amongst such stories from the shadows beneath the plough more than a time or two… and actually just how varied and multitudinous the outgrowths and gatherings of such stories is, beyond, including and quite possibly taking as its heart/centre that canonic trio…
Along which lines, a dybbuk’s dozen of folk-horror gatherings (covens?), travellings and intertwining pathways around these parts:
Elsewhere amongst the ether you could wander amongst…
Fiend In The Furrows: an academic consideration/debating of such culture.
A History Of British Folk Horror (tread gently)
I feel that after travelling down the pathways of this particular day in this particular year in the country it may be apt to quote a certain aforementioned lionheartess:
“The first time in my life, I leave the lights on, to ease my soul…”
…and to once again pack among my belongings the thoughts below:
“We were keen to conjure up the psychedelic witch party at the mansion scenario too, also to keep the idea ‘pop’ and tongue in cheek, very conscious of not becoming too dry.” (James Cargill)