Listen to the Voice of Fire – 15-16 March 2019

Layla and I are pleased to have been invited to play the two-night Listen to the Voice of Fire festival, taking place in Aberystwyth between 15th and 16th of March. We’re particularly looking forward to this because it features sets from the elusive Johann Wlight (trading as itdreamedtome) and Alphane Moon (alias Our Glassie Azoth) – I’ll wax lyrical about those two below, but let me also say that we’re also looking forward to reuniting with our friends Bell Lungs (a very fine lathe cut 7″now available at that link) and Sharron Kraus, both of whom attended the 2017 Listen to the Voice of Fire symposium, which I have written about elsewhere. My old friends Ashtray Navigations are also on the bill, too, along with Kitchen Cynics and Laura Netz.

The flyer is below, and you can get tickets via Eventbrite here:

Both days
Friday the 15th only
Saturday the 16th only

We’ll also be joining Sharron again at Bishop’s House in Sheffield on the 11th of May – flyer below, tickets available here.

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Goodbye 2018

Musically, 2018 has been a high-point for Layla and I, with the release of Red Goddess (of this men shall know nothing) in March, to which we must give our profound thanks to Ben Goldberg and Katie von Schleicher at Ba Da Bing! Records, and to also Ben Chasny for originally introducing us. We’re so pleased with all the positive reception that the album has got, and its inclusion in a variety of end-of-year lists – of which we’d particularly like to thank The Quietus for placing us at #18!

As mentioned earlier, returning to playing live has been a revelation – it’s been nice to play a gig every few weeks – although we’ve not got further south than Birmingham… YET. Advance notice that we will be playing Manchester Folk Horror Festival on the 2nd of Feb, and the National Library of Wales as part of Listen to the Voice of Fire on 15-16 March.

Howling and Harrowing in the North

It’s been a lot of fun playing gigs with Layla since our album, Red Goddess (of this men shall know nothing) was released back in March. Thank you to everyone who invited us to play and all those who said very kind things to us after shows. Thanks also to Ben Goldberg at Ba Da Bing! for the gentle push in this direction. I should also mention that WE FINALLY HAVE A WEBSITE!

Hawthonn at Tor Fest (July 21, Hebden Bridge Trades Club). Photo: Andy Jarvis.

Capturing the Red Goddess

Although we finished recording Red Goddess (of this men shall know nothing) in December 2016, the process of getting the album released was beset by a variety of delays which, ultimately, made the end result a lot better. One delay was getting the best possible lathe cut and pressing, rejecting a number of test presses along the way. In this respect, Paul Gold at Salt Mastering did brilliantly – the final pressing sounds excellent: no noise, wide dynamic range, great clarity – one couldn’t ask for more… Apparently Ba Da Bing! had an office full of interns listening to the test presses with notepads in their hands, eagerly listening out for any pops or hisses…

The other thing that took an inordinately long time was coming up with the cover art…

 

Manifestations: Red Goddess and Hexadic III

Hawthonn is the real deal. Equally adept at transcribing crow calls
into musical scales as they are at creating horizon melting
atmospheres, Red Goddess raises the bar for musicians interested in
composing straight from the creative imagination. For fans of Jocelyn
Godwin, John Dee and Folk Horror as much as the darker spectrum of
British music, this is a record of staggering breadth.

– Ben Chasny (Six Organs of Admittance)

I am pleased to say that we can finally announce the new Hawthonn album, Red Goddess (of this men shall know nothing), which will be released on 23rd of March on Ba Da Bing! Records. We premiered ‘Eden’, the first single, on The Quietus last week – you can read more about the track there, or listen below.

Pre-orders, and more info on the album, can be found here! For those in the UK/EU, Layla and I will handle the postage in order to cut out the prohibitive transatlantic shipping fees. If you are interested in ordering a copy, email us at hawthonnband@gmail.com. Prices are £20 LP and £10 CD, plus P&P (LP: £4.50 UK/£7.20 EU; CD: £2.50 UK/£4.50 EU). You can also order direct from us via Bandcamp!

The LP also comes in a burlap-textured sleeve (- like the first pressing of Joy Division’s Unknown Pleasures! -) and has an insert with a short essay thereon. Norman Records, Piccadilly Records and many others will be also carrying the album!

Three Witches and a Celestial Wain

Since posting the 22-minute Dolente…Dolore back in July, this blog has been rather quiet. Of course – much has been going on behind the scenes: I’m pleased to say that 2018 is looking quite exciting – there will be a new Hawthonn album at the start of the year (vinyl, CD and digital: pre-orders should hopefully be announced in a few weeks!), and I have a solo track on a brilliant compilation album that should be released at around the same time.

Furthermore, I’m finishing off a book manuscript for one of my favourite occult publishers. I’m also doing plenty of academic work: a paper on Coil, Killing Joke and Kenneth Grant for Cambridge University Press’ Popular Music Journal (manuscript due in 2018, but not published til 2019!) AND working on my PhD thesis on esoteric discourse and musical creativity! Oh, and I also wrote a short piece for the spring 2018 issue of the Museum of Witchcraft and Magic’s Enquiring Eye magazine, the first issue of which was excellent. 

Sustain//Decay

I am pleased to say that I have an article published in Void Front Press’ new collection Sustain//Decay. Edited by Owen Coggins (Open University) and James Harris, this 289-page collection brings together writings on drone music and mysticism by a diverse range of authors, amongst them Kristina Wolfe, Kim Cascone, Eyvind Kang, J.-P. Caron and Drone Box representing perhaps the speculative and luminescent side of drone mysticism, while Coggins, Harris, Absentology (Mark Horvath & Adam Lovasz), Steven Shakespeare, Joseph Norman and others explore the heavier, doomier side: rounding off the collection with an interview with Sunn O)))’s Atilla Csihar.

My piece is titled Inner-Sense and Experience: Drone Music, Esotericism and the Hieroeidetic Field, and looks at the role of the esoteric imagination the production of drone music. It develops Arthur Verluis’ concept of the hieroeidetic, which can be described as the imaginative space that exists between artist/audience and the art object:

Catching up…

Things have been unspeakably busy for the last few months! Doing a PhD part-time, alongside teaching and working on the new Hawthonn album, provisionally entitled Flood, has meant the blog has lapsed a bit. However, I hope to write in some detail over the Christmas break about on of my recent obsessions: the music of Kristina Wolfe.

Talking and Exhibiting

I hope the following might provide some distraction while my beloved country tears itself apart. At present I’m for embracing cosmic anarchy and seeking solace in the transcendent: the only territory impervious to toxic political manoeuvring!

Anyway, plenty of news: Hawthonn’s first interview was published in The Quietus. We must thank Russell Cuzner for concisely editing what was quite a long and far-ranging conversation.

… of course, this was coincident with the release of our second album, Sea-Spiral Spirit, on Reverb Worship. The physical edition is now sold out (although there will hopefully be second edition), although the digital edition is still available and includes a 15-minute bonus track.

Merlin, Mellotrons, and the Poetry of Consciousness

Recently, Layla mentioned how much she enjoyed the mellotron that permeates many of Julian Cope’s albums and live performances. One source suggests that this may also be same mellotron that is played by Thighpaulsandra on a number of Coil albums – certainly the mellotron is used to excellent effect on Astral Disaster, particularly on the visionary Sea Priestess:

This prompted us to revisit an idea that came up while we were working on the first Hawthonn album. Obviously the album explored themes surrounding Jhonn Balance’s resting place at Bassenthwaite, and the symbol of the hawthorn tree was particularly important. While exploring associations with the hawthorn, S.: of the Psychogeographical Commission mentioned that there was a legendary connection with Merlin.