Crushing Death & Grief present:
SPECTRE FOLK SYSTEM + BEACH FUZZ + C JOYNES
Wed 20th August @ CB2, Norfolk St, Cambridge
8pm - £5 entry
SPECTRE FOLK SYSTEM
It's extremely appropriate that the Magik Markers' and Wooden Wand & Vanishing Voice drummer Pete Nolan was recently in the country to play with Jandek in London because his solo Folk Spectre record on the Woodist label demonstrates a penetrating knowledge of what makes that great Texan loner so amazing. Lo-Fi in the early 90s Shrimper label sense (yes!), the record contains a clutch of fragile, skeletal songs that inspire a depth of relaxation self-help tape manufacturers could only dream of. Of course, we're not talking 'swimming with dolphins' here. It's the constant hum - of tape hiss, mellow feedback, room boom, whatever - that sits beneath these beautiful songs that gives them their dreamlike quality. These sounds have been expanded into a trio format, taking a trip from The Byrds through to Growing. On this UK tour Spectre Folk are joined by Mick Flower (Vibracathedral Orchestra, Flower/Corsano Duo, etc)
Psychedelic improv & drone trio from Manchester. Featuring members of EYE HAI, Serfs and Stuckometer, Beach Fuzz combine walls of overblown, snarling and yet constrained guitar drone with free-thinking cascades of woodwind (both eastern and western) in a semi-educated and totally unspiritual fashion. Releases out on Golden Lab Records, Lotus Birth and Blackest Rainbow, with stuff upcoming on Scumbag Tapes, Digitalis, Recollections Of Knulp and Great Pop Supplement.. Suitable for afficionados of Sun City Girls, Sunburned Hand of the Man and Vibracathedral Orchestra.
Cambridge's C. Joynes is a master of heavy thumb-led finger-picking techniques that hark back to traditional country-blues and early ragtime. However, he uses this technique to explore alternative melodic traditions: the English folk-tune; North and West African music; elements of classical Indian music; proto-minimalist and impressionist musics from the European classical tradition. His approach to the recording and compositional process contains a subtle and unassuming experimentation, at times including collaged fragments, field recordings, processing, en-plein-air recordings, and cut-and-paste to create music that is instinctive, well-researched, placid, and evokes a certain simplicity and naiveté. After a series of self-released CDRs his ‘God Feeds the Ravens’ (Vol II) has been given a full release by the highly respected Bo’Weavil Recordings.