Read Ebook {PDF EPUB} Folk Horror Revival Harvest Hymns. Volume I- Twisted Roots by Andy Paciorek Pagan Altar. Pagan Altar is a doom metal band from England that formed in 1978 in the borough of Brockley in London, England. Terry and Alan Jones, respectively father and son, formed the band. Contents. Biography Discography Albums EP Singles Demo See also References External links. Biography. Alongside Witchfinder General, they are one of the few NWOBHM bands to play doom metal. [2] The band's concerts are characterised by moody, epic and heavy music, blended with stage effects which accentuate their interest in occult themes. Pagan Altar's only release from the NWOBHM era was an independent, self-released, self-titled demo album (which was heavily bootlegged in later years). The album would be re-released as an official full-length on Oracle Records in 1998, retitled "Volume 1". The group reformed in 2004 to re-record an album of previously unreleased material which had been written during their original tenure as a band. The resulting album, "Lords of Hypocrisy", met with a positive reception from fans, and a third full-length album duly followed in 2006, entitled "Mythical and Magical". In 2008, Pagan Altar co-headlined the "Metal Brew" Festival in Mill Hill, alongside Cloven Hoof. [3] Both bands also performed at the "British Steel IV" Festival at the Camden Underworld in 2009. [4] Pagan Altar returned to headline the "British Steel V" Festival in April 2011 [5] and the "Live Evil" Festival in October 2011. In 2012, Pagan Altar began work on their next album "Never Quite Dead", in a purpose-built recording studio in the back garden of vocalist Terry Jones's home. The 2013 lineup included: Dean Alexander on drums, Vinny Konrad (Vince Hempstead) on 2nd guitar, and William Gallagher on bass guitar. On 15 May 2015, vocalist Terry Jones died of cancer. [6] The band had finished recording their upcoming album, which was in its final mastering stage. In 2017, Alan Jones announced that he intends to partially re-record the band's upcoming album as neither he nor the late Terry Jones were happy with the finished product. Discography. Albums. Judgement of the Dead (1982) Lords of Hypocrisy (2004) Mythical and Magical (2006) Room of Shadows (2017) The Time Lord (2004, re-released as a special edition in 2012) Singles. Pagan Altar - "Walking in the Dark" / Jex Thoth - "Stone Evil" (Split single, 2007) Pagan Altar - "Portrait of Dorian Gray" / "Mirror of Deception" - "Beltaine's Joy" (Imperial Anthems split single, 2011) "Walking in the Dark" / "Narcissus" (2013) Pagan Altar (1982) See also. Related Research Articles. Lightning to the Nations is the debut album by British heavy metal band Diamond Head. The album was recorded in 1979 and released in 1980 through Happy Face Records, a label owned by the producer Muff Murfin of The Old Smithy studio of Worcester, due to lack of interest from major labels and the band feeling that they needed to get the ball rolling as other bands from the same era, such as Iron Maiden and Def Leppard, were already becoming big names. It was originally released in a plain white sleeve with no title or track listing, and was subsequently named after the first track on the album. Metal Blade Records re-released it on CD in 1992. In 2001, it was re-issued in its original "White Album" form by Sanctuary Records, featuring seven bonus tracks that were featured on singles and EPs from this era. The new wave of British heavy metal was a nationwide musical movement that started in the United Kingdom in the late 1970s and achieved international attention by the early 1980s. Journalist Geoff Barton coined the term in a May 1979 issue of the British music newspaper Sounds to describe the emergence of new heavy metal bands in the mid to late 1970s, during the period of punk rock's decline and the dominance of new wave music. Killswitch Engage is an American metalcore band from Westfield, Massachusetts, formed in 1999 after the disbanding of Overcast and Aftershock. Killswitch Engage's current lineup consists of vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, bassist Mike D'Antonio, and drummer Justin Foley. The band has released eight studio albums and two live performance albums. Their eighth studio album, Atonement , was released on August 16, 2019. Saxon are an English heavy metal band formed in 1977 in Barnsley. As leaders of the new wave of British heavy metal (NWOBHM), they had eight UK Top 40 albums in the 1980s including four UK Top 10 albums and two Top 5 albums. They had numerous singles in the UK Singles Chart and chart success all over Europe and Japan, as well as success in the United States. Diamond Head are an English heavy metal band formed in 1976 in Stourbridge, England. The band was part of the new wave of British heavy metal movement and is acknowledged by thrash metal bands such as Metallica and Megadeth as an important early influence. Vardis are an English three-piece hard rock, boogie rock and heavy metal band from Wakefield, West Yorkshire, England, who enjoyed hits between 1978 and 1986, and reformed in 2014. William Geoffrey Steer is a British guitar player, and co-founder of the extreme metal band Carcass. He is considered a pioneer and an essential contributor to grindcore and death metal due to his involvement in Napalm Death and Carcass, two of the most important bands of those genres. Presently he plays with Gentlemans Pistols, the reactivated Carcass and appeared as a live second guitarist for Angel Witch from 2011–2015. Angel Witch is a British heavy metal band which formed in London, England in 1976 as part of the new wave of British heavy metal (NWOBHM) movement. Trouble is an American doom metal band from Aurora, Illinois, formed in 1979. They are often considered one of the pioneers of doom metal, and have been referred to as one of the genre's "big four" alongside Candlemass, Pentagram and Saint Vitus. The band created a distinct style, taking influences of the British heavy metal bands Black Sabbath and Judas Priest, and psychedelic rock of the 1970s. Grim Reaper is a British heavy metal band from the new wave of British heavy metal era. The band was formed in 1979 in Droitwich, England, by guitarist Nick Bowcott. Monstrosity is an American death metal band originating from Fort Lauderdale, Florida, in the death metal scene of the early 1990s. White Spirit was an English heavy metal band from Hartlepool, England, best remembered for guitarist Janick Gers who went on to play with Ian Gillan, Bruce Dickinson, and ultimately, Iron Maiden. Other members of the band were Bruce Ruff (vocals), Malcolm Pearson (keyboards), Phil Brady (bass), and Graeme Crallan (drums). Jaguar are an English heavy metal band, formed in Bristol, England, in December 1979. They had moderate success throughout Europe and Asia in the early 1980s, during the heyday of the new wave of British heavy metal movement. Cloven Hoof are an English heavy metal band from Wolverhampton, West Midlands, that were active from 1979 to 1990, and again from around 2000 onward. They were associated with the new wave of British heavy metal movement, alongside bands such as Iron Maiden, Saxon and Diamond Head. Enduring many line-up changes, only founding bassist Lee Payne has remained. Sentinel Records (Sentinel) is an independent record label & webstore. Previously a record store based in Temple Bar, Dublin, Ireland in two locations, Cope Street & Upper Fownes Street.. Sentinel was founded in August 2000 with the initial intention of releasing a compilation of Irish Metal bands from across the country and then to continue to develop into a Record Label. An Irish Metal mail-order was established to stock and sell everything released by Irish Metal bands from demos to CDs and LPs and also stock shirts, fanzines and any other related merchandise. Later this was expanded to world-wide metal and an on-line store was created. The webstore and label has had somewhat of a resurrection in recent years and expanded their stock greatly. NWOBHM is an EP by Norwegian black metal band Darkthrone, released during summer 2007 as a "small taster" for their then-upcoming album F.O.A.D. . NWOBHM is usually referred to as new wave of British heavy metal, but, in this case, NWOBHM means "New Wave of Black Heavy Metal". Salem UK is a hard rock/heavy metal band from Hull, England. It was formed following the split of the new wave of British heavy metal band Ethel the Frog. Salem recorded three demos and a single in the early 1980s; a compilation album of these recordings was released in 2010. Halloween is an American heavy metal band from Detroit, Michigan, United States. Tricks, Treats And Other Tales From The Crypt is a compilation album released by Detroit-based Heavy Metal band Halloween in 2003. It features re-recorded versions of classic Halloween songs, as well as one new studio track. It was recorded in 2002-2003. Acid Witch is an American heavy metal band formed in Detroit, Michigan, in 2007. They released their first album, Witchtanic Hellucinations , in 2008 on Razorback Records. The band then released two EPs, Witch House in 2009 and Midnight Mass in 2010. The band released their second album, Stoned , in 2010, on Hells Headbangers. In 2012, Witchtanic Hellucinations was re-released on Hells Headbangers. The Haunted Generation. "Elastic time to stretch about the eternal moment…" Twisted Roots: ‘The Seasons’ by Ronald Duncan and David Cain. In May 2018, Wyrd Harvest Press published Folk Horror Revival: Harvest Hymns, two excellent volumes of appreciation for music with a strong connection to landscape. For Volume 1: Twisted Roots , I wrote about my love for The Seasons , the 1969 album of poetry and Radiophonic music produced by Ronald Duncan and David Cain and released as part of the BBC’s Drama Workshop series. Thanks to Andy Paciorek of Folk Horror Revival for allowing me to reproduce it in full here: THE SEASONS B y RONALD DUNCAN AND DAVID CAIN. (BBC Records, 1969; reissued by Trunk Records, 2012) It was the 1970s; school was different back then. This was the school of cold parquet floors on icy February mornings, mercilessly numbing tiny buttocks into frozen submission during morning prayers. The school of congealed dinners derived from government-issue pamphlets; of cabbage and carrots, and semolina and suet. The school of clanking radiators, and bearded teachers reeking of Old Holborn. The school of tepid milk and measles, and austere hymns in unsettling assemblies: “They left me there on a cross to die”… sang a legion of four-year-olds, pining for the safe familiarity of Mr Benn and Bagpuss and the warm, protective cuddles of their suddenly and inexplicably absent mothers. Those wishing to take a Proustian journey back to this formative era of separation anxiety could do a lot worse than listen to The Seasons . Originally released in 1969, it was specifically intended to be played from crackling speakers in draughty halls as part of the BBC Schools Radio service’s Drama Workshop series; with primary school-age infants encouraged to express their reactions to what they heard via the medium of interpretive dance. And what they heard was a poetic depiction of the English seasonal cycle so explicitly raw that it bordered on the offensive; accompanied by an electronic soundscape so harshly metallic that even the Cybermen, if they’d caught a snatch of it at the school gates, might have paused warily and thought twice, retreating back to Telos to put a nice James Last LP on the cyber-turntable instead. The music was produced by the BBC Radiophonic Workshop’s David Cain. The poetry was written by Ronald Duncan – a gifted playwright and a friend of T.S. Eliot – and narrated by the acknowledged voice of BBC Schools Radio, Derek Bowskill. Not an immediately obvious triumvirate to create a collection of musical mood pieces steeped in post-hippy Paganism and dark ritual practices, but by God (or whichever ancient deity takes your fancy) they succeeded. The album boasts seventeen short tracks; twelve of them dedicated to the months of the year, plus one for each season. And then a concluding instrumental piece entitled ‘The Year’ that sounds like Edward Elgar messing around with valve oscillators. It’s earthy, macabre and sexual. Strength is drawn “from the earth’s thighs”, and May “teases with all the orchards of her eyes, and leans with apple, tempts with peach”. There are gaunt elms shuddering “within the groin of grief”, and those of us who had previously associated October with merely the advent of the conker season and the occasional dodgem were startled to be presented with somewhat darker imagery: “Like severed hands, the wet leaves lie flat on the deserted avenue”. Mr Benn this was not. If it came within a country mile of a primary school in 2018, it would be surrounded by police marksmen and destroyed with a controlled explosion. But, back in the fuzzy, sepia-tinted haze of my early childhood, were my friends and I irrevocably traumatised by The Seasons ? We were not. There were sections of it that we didn’t understand, verses that we considered very strange, and the occasional line that we thought was rather funny. But still we danced, uninhibited, in our pale C&A vests, with our fingers flexing towards the school dinner serving hatch, going “in impudent loveliness to meet the wind’s wantonness”. Or a tray filled with mince and dumplings, whichever came first. I’m glad that I grew up in an era when school could be dark and weird and scary, because I think all of those feelings are important, and I wouldn’t be the person that I am today without them. And that fact that, almost forty years later, I’m sitting in my front room listening to The Seasons as a middle-aged man and finding it even more evocative and inspiring than I did when I was six years old is testament to the extraordinary work that Messrs Cain, Duncan and Bowskill put into it. I don’t feel the need to slip into a pale C&A vest any more, but I feel a giddy connection to the tiny, nervous young North-Eastern boy that did, and that’s to their eternal credit as well. ‘The Earth’s a woman, time will take her’. Time has taken us all, but The Seasons has come with me on the journey. The Seasons was reissued by Trunk Records in 2012, and is available here: Folk Horror Revival: Harvest Hymns and other Wyrd Harvest Press publication are available here: Folk Horror Revival: Harvest Hymns I & II Released – Companions for Wanderings Amongst the Patterns Under the Plough. Published just recently are the books Folk Horror Revival: Harvest Hymns I – Twisted Roots and Folk Horror Revival: Harvest Hymns II – Sweet Fruits. The books are collections of articles, interviews, album reviews etc by a number of different authors, with both taking as their focus the undercurrents and flipsides of folk music, alongside more spectral/hauntological music and related cultural pastures. They are published by Folk Horror Revival which is described as: “…a gathering place to share and discuss folk horror in film, TV, books, art, music, events and other media. We also explore psychogeography, hauntology, folklore, cultural rituals and costume, earth mysteries, archaic history, hauntings, Southern Gothic, ‘landscapism / visionary naturalism & geography’, backwoods, murder ballads, carnivalia, dark psychedelia, wyrd Forteana and other strange edges.” In recent years those gathering places have included the main website, well-visited social media groups and a number of events including the Otherworldly: Folk Horror Revival at the British Museum day long event which featured talks, lectures, short films, poetry readings and museum tours. Harvest Hymns I – Twisted Roots considers the roots of related music and includes chapters on The Wicker Man soundtrack by Jonny Trunk, A Brief History of Acid Folk by Grey Malkin (of The Hare And The Moon and Widow’s Weeds), David Cain and Ronald Duncan’s The Seasons by Bob Fischer, the music of British folk horror films by Adam Scovell (author of the book Folk Horror: Hours Strange and Things Dreadful) and the sounds of The Stone Tape where Jim Peters interviews Andrew Liles. Elsewhere you’ll find chapters by/that focus on Sharron Kraus, Comus, Alison O’Donnell, Maddy Prior, Coil, The Radiophonic Workshop alongside a fair few other wanderings and explorations. Harvest Hymns II – Sweet Fruits explores the modern day descendants of such work, including an interview with Jim Jupp of Ghost Box records by Jim Peters and Darren Charles, a review of Keith Seatman’s A Rest Before the Walk by Chris Lambert (of Tales from the Black Meadow), an interview with Drew Mulholland by John Pilgrim and also Jim Peters and a chapter on Boards of Canada’s Geogaddi by Daniel Pietersen. Elsewhere you’ll find chapters that focus on Moon Wiring Club, Songs from the Black Meadow, Jon Brooks’ Shapwick, Flying Saucer Attack, The Stone Tapes’ Avebury, The Rowan Amber Mill’s Harvest the Ears and as with the previous book a fair few more flipside of folk/spectral hauntological wanderings. The book also includes Cuckoos in the Same Nest, which is an alternate version of the Cuckoos in the Same Nest: Hauntological and Otherly Folk Confluences and Intertwinings chapter from the A Year In The Country: Wandering Through Spectral Fields book. And if you look closely, you may also see a piece or few of A Year In The Country artwork in the books… As just mentioned the focus of these two books are the music side of folk/hauntological and interconnected work; they can be seen as a companion piece to the previously published Folk Horror Revival: Field Studies, which focused on similar pastoral flipside and spectral areas but in the realms of film, television and literature. That volume featured writing by amongst others Robin Hardy, Ronald Hutton, Alan Lee, Philip Pullman, Thomas Ligotti, Kim Newman, Adam Scovell, Grey Malkin, John Coulthart, Gary Lachman and Susan Cooper and includes chapters on Public Information Films, Nigel Kneale, David Rudkin, M. R. James and well, once again many more… If you should fancy a wander amongst the patterns under the plough you may well find that these three books prove to be rather fine companions and bountiful points of reference and inspiration. Tag: goddess. 2018 is already again a busy year for both Folk Horror Revival and Wyrd Harvest Press. Lined up are talks at others’ events or media presences and again a fruitful focus of books. Our first venture into publishing back in the winter of 2015, Folk Horror Revival: Field Studies was very much a cutting of teeth. Using multi- contributors from many a field close and far for inclusion in a charity book and testing out unfamiliar Print on Demand demands led it is safe to say a headache or ten … But we were left in our hands, somehow put together by a new and relatively unexperienced quantity a tome that featured amongst its pages , contributions by the likes of Philip Pullman, Robin Hardy, Alan Lee and also a cornucopia of interviews with or essays by a surge of new talent. Field Studies, I think it is fair to say, opened more eyes to the genre of folk horror and its revival. Furthermore, though its creators have not made a penny from it; conservation and biodiversity projects conducted by The Wildlife Trusts have benefited well from its presence. It was not a perfect book however, as some reviewers fairly pointed out, there were some formatting issues which gave an uneven appearance. A minor complaint, but one we took note of …..sooooooo …. this year sees a Second Edition of Field Studies, which not only sees the design improved but also features numerous new interviews and essays featuring the talents for instance of Susan Cooper, Pat Mills and Ronald Hutton and themes such as cults in cinema, communications with the dead and the wolf in the rye, amongst others. The original Field Studies is no longer available to buy from our book-store but a new, bigger and better version is coming soon. It will be followed by Harvest Hymns (a 2 volume extravaganza released simultaneously). Pieced together by the mysterious music-magician Melmoth the Wanderer, prepare to be treated to the sumptious tastes of the twisted roots and sweetest fruits of Folk Horror music. Delving first via essays and interviews, into a paganistic past of folk music, experimental electronics and witchy metal we are brought into the present of dark folk, drone and many other strange and wondrous aural delights. Also this year, we will bring to you a collection of contemporary ghost stories gathered by the author Paul Guernsey from a pool of talented haunted souls, whose nightmares have been illustrated by Andy Paciorek. Andy Paciorek has also been in cahoots again with professor and traditional storyteller Dr. Bob Curran to unearth the grisly tome that is The Wytch Hunters’ Manual. Also on the agenda and in progress for this year or beyond are Goddess – a volume brought to you by a female powerhouse delving into a wide variety of topics, The Choir Invisible , a book that deals with death in its varying shades of morbidity and beauty; and Urban Wyrd – a study into what happens when the harvest of folk horror and other strange fields, spills beyond the lines of town and country, both in place and mind. 100% of profits from FHR / Wyrd Harvest Press books sold in this store will be charitably donated at intervals to different environmental, wildlife and community projects undertaken by the Wildlife Trusts. The Haunted Generation. "Elastic time to stretch about the eternal moment…" The Seasons. Twisted Roots: ‘The Seasons’ by Ronald Duncan and David Cain. In May 2018, Wyrd Harvest Press published Folk Horror Revival: Harvest Hymns, two excellent volumes of appreciation for music with a strong connection to landscape. For Volume 1: Twisted Roots , I wrote about my love for The Seasons , the 1969 album of poetry and Radiophonic music produced by Ronald Duncan and David Cain and released as part of the BBC’s Drama Workshop series. Thanks to Andy Paciorek of Folk Horror Revival for allowing me to reproduce it in full here: THE SEASONS B y RONALD DUNCAN AND DAVID CAIN. (BBC Records, 1969; reissued by Trunk Records, 2012) It was the 1970s; school was different back then. This was the school of cold parquet floors on icy February mornings, mercilessly numbing tiny buttocks into frozen submission during morning prayers. The school of congealed dinners derived from government-issue pamphlets; of cabbage and carrots, and semolina and suet. The school of clanking radiators, and bearded teachers reeking of Old Holborn. The school of tepid milk and measles, and austere hymns in unsettling assemblies: “They left me there on a cross to die”… sang a legion of four-year-olds, pining for the safe familiarity of Mr Benn and Bagpuss and the warm, protective cuddles of their suddenly and inexplicably absent mothers. Those wishing to take a Proustian journey back to this formative era of separation anxiety could do a lot worse than listen to The Seasons . Originally released in 1969, it was specifically intended to be played from crackling speakers in draughty halls as part of the BBC Schools Radio service’s Drama Workshop series; with primary school-age infants encouraged to express their reactions to what they heard via the medium of interpretive dance. And what they heard was a poetic depiction of the English seasonal cycle so explicitly raw that it bordered on the offensive; accompanied by an electronic soundscape so harshly metallic that even the Cybermen, if they’d caught a snatch of it at the school gates, might have paused warily and thought twice, retreating back to Telos to put a nice James Last LP on the cyber-turntable instead. The music was produced by the BBC Radiophonic Workshop’s David Cain. The poetry was written by Ronald Duncan – a gifted playwright and a friend of T.S. Eliot – and narrated by the acknowledged voice of BBC Schools Radio, Derek Bowskill. Not an immediately obvious triumvirate to create a collection of musical mood pieces steeped in post-hippy Paganism and dark ritual practices, but by God (or whichever ancient deity takes your fancy) they succeeded. The album boasts seventeen short tracks; twelve of them dedicated to the months of the year, plus one for each season. And then a concluding instrumental piece entitled ‘The Year’ that sounds like Edward Elgar messing around with valve oscillators. It’s earthy, macabre and sexual. Strength is drawn “from the earth’s thighs”, and May “teases with all the orchards of her eyes, and leans with apple, tempts with peach”. There are gaunt elms shuddering “within the groin of grief”, and those of us who had previously associated October with merely the advent of the conker season and the occasional dodgem were startled to be presented with somewhat darker imagery: “Like severed hands, the wet leaves lie flat on the deserted avenue”. Mr Benn this was not. If it came within a country mile of a primary school in 2018, it would be surrounded by police marksmen and destroyed with a controlled explosion. But, back in the fuzzy, sepia-tinted haze of my early childhood, were my friends and I irrevocably traumatised by The Seasons ? We were not. There were sections of it that we didn’t understand, verses that we considered very strange, and the occasional line that we thought was rather funny. But still we danced, uninhibited, in our pale C&A vests, with our fingers flexing towards the school dinner serving hatch, going “in impudent loveliness to meet the wind’s wantonness”. Or a tray filled with mince and dumplings, whichever came first. I’m glad that I grew up in an era when school could be dark and weird and scary, because I think all of those feelings are important, and I wouldn’t be the person that I am today without them. And that fact that, almost forty years later, I’m sitting in my front room listening to The Seasons as a middle-aged man and finding it even more evocative and inspiring than I did when I was six years old is testament to the extraordinary work that Messrs Cain, Duncan and Bowskill put into it. I don’t feel the need to slip into a pale C&A vest any more, but I feel a giddy connection to the tiny, nervous young North-Eastern boy that did, and that’s to their eternal credit as well. ‘The Earth’s a woman, time will take her’. Time has taken us all, but The Seasons has come with me on the journey. The Seasons was reissued by Trunk Records in 2012, and is available here: Folk Horror Revival: Harvest Hymns and other Wyrd Harvest Press publication are available here: