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This is a recent playlist to give newcomers to our Frukie Channel of what is on offer. We play a wide range of contemporary / alternative / experimental folk, nu-folk and some indie gems to brighten up your summer and to get you in the festival mood! This is what played out on our Frukie channel yesterday:
Quadron is a child that’s been made by Coco and Robin. Both were part of the soul collective “Boom Clap Bachelors” who in early 2008 secured much respect and success with their debut “Kort Før Dine Læber”. Here they began their collaboration, and Robin fell for Coco’s beautiful voice and ability to improvise with playful ease.
Less addled than Tobacco and less amoebic than Seven Fields Of Aphelion, Dreamend is the most overtly normal branch of the knotty weirdo giving tree that is Black Moth Super Rainbow. It’s a project of honeycomb banjo lullabies like “Magnesium Light,” which we are going to save for when we have kids and need to alleviate their (our) tiring brains. So I Ate Myself, Bite By Bite (SIAMByB), the first …
I introduced you to Stornoway back in March when some (PR folk no doubt) were referring to them as the next Mumford and Son. Whilst I don’t hold any comparison, as I basically can’t see one, I can see them growing in similar pop status. They admit to enjoying musical experimentation, this is apparently due to their scientific backgrounds.
Tired Pony began life as a doodle in Gary Lightbody’s (Snow Patrol frontman) jotter. During idle moments on Snow Patrol’s year-long tour cycle for their last album, A Hundred Million Suns, Gary began writing songs for this imaginary band. Forward to January 4th 2010, a cast of characters assembled at Portland’s Type Foundry studio;
Grubby Little Hands hail from Philidelphia and released Imaginary Friends back in October last year. Despite having had an album out there for nearly a year they still seem to maintain a low profile. We were pleasantly surprised when we heard them and I’m sure Fukie fans out there will agree they have something special!
From her current home base in a 200-year-old farmhouse in rural Vermont, Anaïs Mitchell writes songs that are as intimate as conversations and as rich in detail as short stories. The daughter of “hippie back-to-the-landers” whose father was a novelist and English professor, she remembers her family’s home (another farmhouse in the same state) containing “a library full of novels, and lots of old folk and psychedelic rock albums.
