Milkweed is a hardy, flowering perennial, toxic to many species including humans. For a duo who make music that sounds like different varieties of folk growing in terrifying patterns out of peculiar soil, it’s a fitting name.
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Milkweed’s third album, consisting of nine tracks and lasting just over 10 minutes, follows their previous releases in 2023 and 2022, which also drew inspiration from obscure books for their lyrics. This time, an academic journal on folklore studies serves as the source for strange tales, editor’s letters, and obituaries, accompanied by the sounds of zithers, traditional pipes, and softly struck drum skins. It is uncertain whether these sounds are samples or artificially created, as they all emanate eerily from the distorted fuzz of a cassette.
Starting off with a song titled My Father’s Sheep Has Passed Away, the project would have a more satirical and hipster vibe if it didn’t also incorporate elements of eerie folk horror. The female vocalist of Milkweed, simply known as G, is the driving force behind this impact with her oddly captivating voice reminiscent of Anne Briggs and Radie Peat. Her lyrics contain dizzying phrases such as “the breath turned into a storm and his voice into thunder” in The Snake In Chinese Belief, or “hearing as a young boy that the juice of bloodroot was the blood of the dead man” in The Tree As a Kinship Symbol.
The disturbing and eerie electronic music from Mordant Music and Ghost Box label can be heard in her fragmented compositions. The standout piece, “Mordred, King Arthur’s Son”, which is only 97 seconds long, captures the essence of the album. It is a captivating waltz with a twisted storyline about a king who locks his daughter in a tower with 12 attendants. The haunting lyrics about incest and death linger even after the song ends.
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Also, released this month is…
Andy Skellam’s album, “Brighten Up the Place (Pear O’Legs),” features dreamy songs about love, birds, and dogs. The soft sounds of the guitar, Skellam’s gentle voice, and the cello create an intimate atmosphere. Johnny Campbell’s “True North” includes eight traditional songs from northern England, recorded in places with high elevation. Campbell’s Huddersfield accent adds to the simplicity of the songs, occasionally accompanied by natural sounds. Heisk’s “Headstrong (The Bothy Society)” has artwork reminiscent of 80s Ze Records and is performed by a six-member all-female band. The combination of accordions, fiddles, and electro harp creates a unique blend of perky pop. The standout track, “Diamonds,” could be described as sultry squeezebox R&B.
Source: theguardian.com
