michael salmons
This band does such a wonderful job of balancing psych / acid jam and eastern europe/middle eastern-style follkways. Long Dark Century insinuates and swirls and builds to an intense climax that makes it one of my fave songs of the year. And their cover of the classic King Crimson tune Epitaph is just wonderful. Highly recommended.
Favorite track: 04 - Long Dark Century.
With its fourth album Castings, Fern Knight has woven an uncommon sound from far-flung musical roots that's neither freakish folk nor stoner drone. Under classically trained cellist/guitarist/vocalist Margaret Ayre’s unwavering direction, this Philadelphian quartet continues to color her tightly arranged, smartly produced songs with such delightfully arcane influences as Eduardo Bort's symphonic art-rock, Sourdeline's progressive folk and old-school metal riffery (horns up!) gracefully. This distinctively elegant sound, coupled with the imagination and integrity of Ayre’s songwriting renders Fern Knight peerless in this age.
The lyrical imagery on Castings explores the well-worn memes and archetypes of the Tarot, looking both to the past and the future and notes the disparity between the high promises technology makes consumers and the actual vapidity of modern life. “Cups and Wands” pits two of the suits of the Tarot deck against each other as passivity [cups] vs. action [Wands]. The desire of forward motion when feeling stuck in a situation reverberates in the choruses: “It’s suffocating, so supplicating;” this reflects the polarity expressed in these suits and of the modern predicament. “From Zero to Infinity” chronicles the transformation of the Fool archetype into the Magician, and how this template -- when played out in our modern-day society -- has a dichotomous effect: both good and ill.
Musically the songs on Castings reflect the lyrics’ themes and also the environment in which they were recorded -- a gothic mansion in the Brandywine Valley of Pennsylvania. Fuzz bass and full drum kit form solid foundations for Ayre’s creative arrangements; dark, lush bowed strings bump up against imposing harp flourishes; her voice is the crowning jewel in every case.
credits
released May 30, 2021
Margaret Ayre - Vocals, Cello, Acoustic Guitar
Jesse Sparhawk - Harp, Electric Bass, Drums, Electric Guitar, Vocals
Jim Ayre - Electric Guitar, Drums, Percussion, Vocals
James Wolf - Violin
All songs written by Margaret Ayre (BMI, Goats and Wolves)
Except for "Epitaph": words and music composed by Fripp-Giles-Lake-McDonald-Sinfield (Universal Music/EG Music Ltd)
Co-produced by Margaret and Jim Ayre
Recorded by Jim Ayre
Assisted by Geoff Bucknum
Recorded at Buckshot Manor, January 2009
Mixed by Alan Ford
Mastered at Salt Mastering
"Long Dark Century" recorded at OASTEM! Vibe Studios, January 2010
Art and design by Derek Moench
Cover photos by Derek Moench
Band photo by Geoff Bucknum
Brass and winds on "Cave of Swords" played by Jon Natchez
Special Thanks: Geoff Bucknum, Rosali Middleman, Derek Moench, Eric Carbonara, Scott Wells, Evan Wells, David Chadwick, Amy and Howard Wuelfing, Thelesis Lodge, and Bill Kellum
Fern Knight weaves an uncommon sound from far-flung musical roots. Under classically trained cellist/guitarist/vocalist
Margaret Ayre's unwavering direction, this DC quartet continues to gracefully color her tightly arranged, smartly produced songs with echos of British folk leanings in the manner of The Strawbs, Sourdeline's trad-folk and old-school riffage in the vein of cult-rockers Asgard....more
Excellent medieval folk, IGR, & those with ears to hear. I love the sense of mysticism and deep, introspective ponder this album conveys, & the honest down-to-earth folky lyrics. Simply wonderful yet soulfully rich. Highlights for me are tracks 2, 5, 6, & 12. IGR truly capture what I feel is an authentic sense of a medieval bard at a woodland rill pondering the mysteries of life. Highly recommended. 8.5+/10. Alrihkh
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