April 11th 8pm/doors at 7:30pm
DONATIONS FOR THE PERFORMERS APPRECIATED!
Dylan Aycock Golden
“Dylan Golden Aycock’s lineage is clear: the fingerpicked blues of John Fahey, the swirling compositions of Robbie Basho and the outward-looking Americana of Jim O’Rourke’s Bad Timing and The Visitor. That’s not a bad crossroads to meet your demons at, especially when so much of what we call American Primitive now is in a state of transformation. Church Of Level Track kicks up dream dust in a positively lush collection of cosmic rags, ambient country tunes and steel-string ragas.”
Louise, an avid naturalist and forager, draws from the guidance that the natural world provides. Whereas portrayals of women in nature are often demeaning and powerless, a folk waif, Louise uses songs such as “Pipevine Swallowtails” to reframe them more powerfully. By reframing traditional music styles and lyricism with a feminist stance, Deeper Woods blends the spiritual with the cerebral. Sarah Louise is actively blending natural themes with explorations of complex emotions. The Appalachian valley is the setting for her stories of independence, solitude, and awe. “Bowman’s Root” and “Fire Pink And Milkweed” take their names from plants that grow on the edges of meadows, reflecting the album’s central theme of liminality. These liminal spaces and complicated emotions are made ever clearer by Louise’s nuanced performances and arrangements, with subtle melodic flares and delicate, sometimes dramatic, shifts in atmosphere.
Sally Anne Morgan
Sally Anne Morgan plays haunting psychedelic Appalachian folk drone that invokes the rhododendron thickets, creeks and mountains of her local landscape in Western North Carolina. Sally plays with the Black Twig Pickers and House and Land, both groups that have been established as dedicated practitioners of traditional music re-cast and shaped by appreciation of modern improvisation, minimalism, microtonality and drone based music from across the globe. Thriving in the in-betweenness of two worlds, Sally is among those who prove that the exploration of the outmost bounds of sound and the exploration of the ancientness rooted in traditional music aren’t as different as one might think. She weaves her fiddle and banjo playing with voice, percussion, and other drone elements to create something that spans both the ecstatic abandon and the simple spaciousness that music can have.
She aIso does letterpress printing, illustration and visual art under the name Ratbee Press.