Paper Dress Vintage
352A Mare Street, Hackney Central, E8 1HR
£8.00 adv. (STBF)
Doors - 7:30pm
Sat 31 March 2018
A NIGHT OF PSYCH FOLK FROM AROUND THE WORLD!
Join us on Easter Saturday for a wonderful night of psych/folk and experimental music by some of the undergrounds most critically acclaimed acts.
It’s very rare to have so many of the worlds folk stalwarts on one bill.
Tonight is the exception.
**EARLY BIRD TICKETS SOLD OUT! FINAL TICKETS AVAILABLE HERE: http://
REVOLUTIONARY ARMY OF THE INFANT JESUS (UK)
TRAPPIST AFTERLAND (AUS)
HEAD SOUTH BY WEAVING & ALISON O’DONNELL (MELLOW CANDLE)
B’EE (IN GOWAN RING) (USA)
DAVID COLOHAN (UNITED BIBLE STUDIES) (IRE)
MOONGAZING HARE (DEN)
About the acts..
///THE REVOLUTIONARY ARMY OF THE INFANT ST JESUS
Revolutionary Army of the Infant Jesus is an experimental music collective that was formed in Liverpool, England in 1985 by founding members Leslie Hampson, Jon Egan, and Paul Boyce. Their name is a reference to the terrorist group in Luis Buñuel’s final film, That Obscure Object of Desire
The group’s music is a blend of folk and sacred music, industrial and ambient sounds, and samples that has drawn comparisons to neofolk artists like Current 93 and Death in June, as well as artists including Dead Can Dance, Godspeed You! Black Emperor, Henryk Górecki, and Arvo Pärt. The group incorporates Christian imagery and symbolism into their music, and specifically draws inspiration from the Eastern Church,
/// TRAPPIST AFTERLAND
Trappist Afterland was formed in 2010 and is the Psychedelic folk project fueled by the religious ruminations of songwriter and multi instrumentalist Adam Cole (oud,guitar,Lute,tanpura plus an ever evolving line up of old friends and musical sympathizers.)
Although the influence of folk music from various sectors around the world can be heard in Trappist Afterland’s music (The British folk revival, 70’s acid folk, Gamelan music, Middle Eastern music, Indian raga) they still maintain a unique and almost otherworldly quality, that sounds unlike anyone else.
With lyrical explorations delving into Gnosticism, Christian mysticism and other esoteric themes, Trappist still manage to keep their music firmly grounded in the present while maintaining a timeless quality.
/// HEAD SOUTH BY WEAVING & ALISON O’DONNELL
Singer, musician, writer of songs & soundscapes. Collaborator in a number of bands across folk, trad, alternative & crossgenres. Long career going back to Mellow Candle as a teenager. Student of United Bible Studies. Songs are meaningful and frequently pastoral and poetic, sung with passion and heart.
Joined on the night with Alison is Winchester’s answer to Jimmy Campbell. Head south by Weaving mainstay Graeme Lockett evokes classy songwriting with a twist of the macabre from the British folk tradition.
Rarely mentioned in articles and reviews without an adjective, B’eirth has been called “mysterious,” “reclusive,” “nomadic,” “effusive,” and “singular.” Much of this attention is due to his cultivated image as a modern-day troubadour and preferring instruments with Renaissance roots.
B’ee is proficient at playing a myriad of instruments, including guitar, cittern, harps (both mouth harps and folk harps), harmonica, recorder, reeds and flutes. He is largely self-taught (though says he has didactically studied “16th century polyphony”). He designs and fabricates his own stringed instruments.
As a live performer, B’ee is commonly associated with his easily recognizable pear-shaped and double-necked guitars. The later is a guitar/cittern hybrid made by B’eirth himself in 1998, which he calls the Stringed Spade. It is, in his own words: “a standard 6 string on the top neck and 9 strings in 5 courses (low course single) on the lower neck. I wanted the combination so as to avoid changing instruments between songs during performance. Occasionally I play both necks during one song and sometimes use the cittern neck as resonant strings while the top neck strings are sounding.” 
/// DAVID COLOHAN
An eerie loveliness that should really be soundtracking a Werner Herzog film; indeed Popol Vuh’s work provides a useful reference point for Raising Holy Sparks as, similar to Vuh, the music herein is almost religious in its solemnity and grace.’
/// MOONGAZING HARE
“I dreamed that the hall was filled with wild swine and my true lover swimming in blood”