15 Artists from around the world - 15 Tracks - All inspired by "Tales from the Black Meadow"

The Artists

Contributors to "Songs from the Black Meadow"

Joseph Curwen - Septimus Keen -Eastgreen -Kid Moxie - The Soulless Party - Mervyn Williams - The Rowan Amber Mill and Angeline Morrison - The Implicit Order -The Hare and the Moon with Alison O’Donnell - Winterberry - Wyrdstone - Emily Jones - Elena MartinKeith Seatman - Lost Trail

Joseph Curwen

I am Joseph Curwen.

I make HP Lovecraft inspired Evil Drone, Post-Rave Hauntology Rituals and Radiophonic Occult Synth Horror Soundtracks, based on that weird bit between life and death the day after a big party.



There is a small, almost forgotten village in the county of Lancashire, not far from the shadow of Pendle Hill, which bears the unusual name of Septimus Keen. This village was purchased back in 1887 by well-known philanthropist and local eccentric Mr Septimus Keen. Upon purchase Septimus set about inviting many of the great minds and artists of the day to join him in setting up a very secretive and very unusual community/psychological experiment hidden away from the eyes of the world.

Not only did he rename the village after himself, he also insisted that everyone who came to live in the village also change their name to Septimus Keen. It was his dream was that the community would grow to the extent that all sense of class or hierarchy would be rendered unnecessary because every man, woman and child would be made equal by their shared name. He believed that without a name to identify an individual if they weren’t currently present then gossip and criticism would become a redundant concept. This theory did seem to work for a while creating a very surreal yet creative environment. That was until his insistence that babies born to the community were also to be named Septimus became a reality causing some people to leave in protest.

The small group who remained (a mere 14 people compared to the original 103) carried on this eccentric way of life for a further 16 years after their founder’s death in 1906. An interesting paradox created by this experiment relates to this last remaining commune of believers. Because the name `Septimus Keen’ no longer referred to a specific individual in any way, the name became meaningless and was therefore longer used. What remained was a village where there were so many `Septimus Keens’ that in fact no one was Septimus Keen anymore.

Artwork, writing, music and theatre came out of the village at a prolific rate in the last 5 years of its existence and all are credited solely to `Septimus Keen’. There is no way of knowing the age, gender and background of any of the creators nor even how many different people were involved in this last body of work. When Warhol commented that he wanted to distance the artist from the art and leave just the impression of the piece he was referencing the earlier achievements of this artistic community. Subsequently when you listen to any of the material recorded under the Septimus Keen name what you are listening to was indeed written, arranged and performed by Septimus Keen – we just don’t know which one.

If you wish to hear more from Septimus then look out for the split release with Fuad Ramses Exotic Caterer on Psychic Field Recordings - due out soon. It is also rumored that Septimus Keen may be making a live appearance next year in a cinema near you……..…if you live in Newcastle that is.

Septimus Keen on Facebook



Eastgreen (Birth Name – Oliver Randall Cox) is a 16 year old musician and actor, born and bred in Reading Town, UK. He attended Theale Green School and took GCSEs in both music and drama. From a young age, he experimented with song writing, using an old camcorder to record his creations. To the present day he has released 3 albums and is currently working on a fourth to be released at the end of 2014.

His song on this album, 'Welcome to the Meadow', tells the gruesome story of a serial killer who buries his victims in an old cornfield within the meadow.

To find more of Eastgreen's work, visit the links below:

Eastgreenraps on You Tube

Are you Green Enough? (Eastgreen on Facebook)

Eastgreen on Twitter


Photo credit : Stathis Mamalakis

Kid Moxie is a Los Angeles-based music project fronted by Greek-born singer/ actress Elena Charbila. A blend of powerful beats, pop sweetness and haunting melodies lead the Kid to coin the term "Gutter Pop".

In 2007 Kid Moxie released her first EP "Human Stereo" (available on Itunes worldwide). While honing songs and playing at Los Angeles events, Kid Moxie began working with producer Daniel Hoal (also producer to Nancy Sinatra). In the beginning of 2009, the Kid completed her first full-length album for Undo Records/ EMI, "Selector", which was released in the fall of '09 (also available digitally worldwide).

Capturing the attention of many different musicians, Kid Moxie has worked with artists around the world on various remixes of songs from "Human Stereo" and "Selector". Serafim Tsotsonis' remix of “Tsunami” was played on heavy rotation in greek radio stations and was in the top 10 most played songs for two months in a row. The album “Selector” contains two remixes, “Medium Pleasure” remix from greek pop sensations Marsheaux, and the remix of title song “Selector” by Fotonovella.

Kid Moxie's song "Ma Romance D' Hiver" was featured on SHOWTIME's hit TV series "The L Word" in its season 4 premiere. The video for "Hollywood Smile," along with "Tsunami" are currently airing on rotation on MTV/Logo TV ( U.S) and won a slot on Logo's Top 10 Videos for March '09. Songs from Human Stereo and Selector are being played on radio stations globally, from Greece (Best FM 92.6 in Athens, Greece) to the UK (Robo Cast Radio, BBC) to the US (KROQ 106.7,Hunnypot Radio, WomensMusic, KXLU Los Angeles). Kid Moxie has been featured in numerous magazines in U.S and Europe such as VOGUE (Greece), Curve Magazine (U.K), Diva Magazine (UK), Lifo, Vima, NEA, Status and Monopolis Magazine in Greece.

She has recently collaborated with David Lynch and Angelo Badalamenti on several projects. Her collaboration with composer Angelo Badalamenti will be soon released and featured in the movie BEREAVE (which she also stars in with Malcom McDowell).

Elena was nominated for Women Of The Year by Life and Style Magazine in Greece for her international career in acting and music.


The Soulless Party

The Soulless Party came in to being in 2008.

It is the long term project of Yorkshire born musician Kev Oyston.

An avid fan of science fiction and all things weird (wyrd) and strange, Kev is often inspired to write music based on such interests.

In 2011 he overseen a collaborative album entitled ‘Electronic Encounters’ which was a tribute album to Steven Spielberg’s classic movie Close Encounters of the Third Kind.

A lot of interest was gathering for this project and Kev managed to persuade a number of talented musicians such as Vic Mars, Neil Fellowes, Sarah Angliss and Pye Corner Audio to participate.

Electronic Encounters gained a lot of interest from Internet radio stations, blogs and reviewers around the world and was even given the thumbs up from Spielberg’s own Dreamworks company who now own the rights to CE3K.

Following this, Kev worked on his own album ‘Exploring Radio Space’ which was an experimental labour of love and was in a way, another tribute to 70’s and 80’s British Science fiction TV shows and the famous BBC Radiophonic Workshop.

It was whilst he was working on Electronic Encounters though, that Kev met writer and musician Chris Lambert .

Both shared similar interests and together began to embark on a strange concept entitled ‘Tales from the Black Meadow’.

Kev’s album of music for Tales from the Black Meadow was released in 2013 and again was a critical success.

This has inspired further work in the subject such as this album you are listening to now and there is a second Soulless Party/Black Meadow album in the works for 2015.

Electronic Encounters on Bandcamp

Mervyn Williams

Mervyn Williams is well known as a recitalist and accompanist. He has given recitals and accompanied choirs in various countires including Germany, Holland, Austria, Norway, Belgium, Japan and America; he has also performed in numerous cathedrals across England and Wales and has made many recordings. Mervyn was a student of Dudley Holroyd at Bath Abbey and Richard Popplewell at the Royal college of Music and Chapel Royal, St James’ Palace, London. He was also sometime Director of Music at the University of London Church of Christ the King and Deputy Organist at Bristol Cathedral. Before moving to Reading, Mervyn was organist at Kingston Parish Church, London and Nantwich Parish Church, Cheshire, respectively. From 2007-9 Mervyn was Chorister Outreach Coordinator for both Liverpool Anglican and Metropolitan Cathedrals. Mervyn has been Director of Music at Christ Church Reading since 2005, where he has worked hard to establish a flourishing choir of a high quality. The choir's recent successes include singing the services at both Westminster Abbey and St Paul's Cathedral. In 2013, Mervyn played for services at Canterbury Cathedral, in the presence of The Archbishop of Canterbury. This year's engagements include Norwich Cathedral and St. George's Chapel, Windsor Castle.


The Rowan Amber Mill and Angeline Morrison

The Rowan Amber Mill formed in 2007 and they play woodland folkadelica. So far, their own releases have included Folk Devils and Moral Panics, Midsummers and Heartwood, and they have also contributed tracks to a handful of folk compilation CDs. In 2014 they released the folk horror soundtrack “The Book of the Lost” in collaboration with Emily Jones. The Rowan Amber Mill dream of making music more frequently in the future.

Angeline Morrison is the heart and brains behind The Ambassadors of Sorrow, who believe in the beauty of sad songs, and the wonder of weaving narratives of longing through the warp and weft of 60s beat pop, English folk and doo-wop of all kinds. Her solo album ‘Are You Ready Cat?’ (Freestyle Records) is awash with gentle folky jazz…

‘Essential ethereal listening’ (Freestyle Records)

‘Somewhere between the folky jazz of Ben Sidran and the jazzy folk of acts like Pentangle…’ (FolkBlues.co.uk)

‘Very fine stuff’ (Mark Lamarr, BBC Radio 2, on The Ambassadors of Sorrow)

The Implicit Order

I started like 10 million other people playing in a band after High School. It was me and 2 other friends playing Depeche Mode and Japan covers on bass, drums & guitar. I played the drums, and not very well. Fast forward to May of 1989. I was in an accident where a truck ran over me and I was in bed for a total of six months. There I figured out I could make Musique Concrete loops on my Sony Walkman... I didn’t even know what Concrete music was untill years later. Also at that time I discovered the world of underground zines & mail art and music. Simple collage trading turned into networking and I found out people also traded tapes. The Implicit Order was born when I traded my first tape through the mail. Fast forward again to the early 1990's. I was making very good money and decided to buy some equipment. I got a 4-track Tascam, an early digital sampler (8 seconds total memory) & an effects processer and a Mini-Korg Univox synth. In the early 1990's I was making my own albums and trading them all over the world. I made a good friend in Richard from De Fabriek who had already been around since the mid 1980's. We became close friends and he was like a mentor to me. I produced much of the music myself, but did have some local collaborators who would float in and out... not really permanent members but they did contribute. I continued to record and release albums here and there until 2000-2001 when personal problems forced me to stop. I didn’t record or touch an instrument until I got high speed internet and started connecting with old friends in 2008. I was comfortable with the "Ambient" genre when I first started, but really never "fit in" with what the Ambient artists were doing at that time or now. I've always said I belong to no genre or scene and I intend to keep it that way. Anything is possible when you don’t commit yourself to a box. I've had success in what I'm doing. I've found something I like to do when it calls & a few like-minded people enjoy it. Who knows what time holds for I/O? It could stop tomorrow & restart again in 10 years. Or I could keep going for another 25 years. Who knows???



The Hare And The Moon live in The Forest. Their main occupations are knitting and necromancy however sometimes they make music too. When they do they like to throw their love of 1970s and 1980s children's TV shows, MR James, Arthur Machen, Victorian and Edwardian ghost stories, Black Sabbath, Pentangle, The Innocents and The Wicker Man into their cauldron and give it a good stir. Two albums have been cooked up for the Reverb Worship label and a third is brewing.

Alison O’Donnell recorded her first single at the age of 15 with the cult band, Mellow Candle. Their album, ‘Swaddling Songs’ is regarded as a progressive folk rock classic. In the following years albums were recorded as a member of traditional groups Flibbertigibbet and Éishtlinn. Alison also has extensive experience in session singing, teaching and satirical theatre. 2006 onwards saw collaborations with a string of collectives including British bands, The Owl Service, Circulus, doom metal group, Cathedral, Head South By Weaving, Firefay and Dodson and Fogg. As a member of the experimental psych folk band United Bible Studies, Alison has contributed to their considerable catalogue since 2008. Live work includes concerts, gigs and sessions across a number of genres and performances taking in improvisation and jazz. Other recordings are a joint CD with Isabel Ní Chuireáin in 2006, a vinyl double-A-side single with Head South By Weaving and an EP with The Owl Service in 2008. Her first solo album entitled 'Hey Hey Hippy Witch' was released in 2010. Recent albums are ‘The Execution of Frederick Baker’ with Head South By Weaving and ‘Anointed Queen’ with Firefay.



The Fruits of the Moor (Trad.) - Winterberry

I was initially approached by the Black Meadow researchers to compose a piece of music for this release, but after much deliberation, I felt that I couldn't do such a project justice. Instead, I opted to seek out recordings, if any existed, of traditional folk songs relating to the area and its phenomena. After much internet and library trawling, I finally tracked down this, from little-known, long-disbanded folk group Winterberry. I've found references to this odd story going back to the 1700s, and despite a few variations, certainly seems to originate from the 'Black Meadow' area of the North Yorkshire Moors. The song's provenance is hazy, its composer and librettist unknown, but it's most likely 19th Century in origin.

Winterberry's version of The Fruits of the Moor is competent enough, and was included on their only album The Lay of the Land (1974). The exact personnel can't be gleaned from the sparse sleeve notes unfortunately, but the brothers, Colin and Derek Winterberry are credited with sharing the vocals.

I managed to find an enthusiast with a vinyl copy of this album, and he told me that it was one of probably only a handful left in existence. The final, bizarre twist to this tale is that after the studio closed, the original master tapes ended up buried under the construction of the M96 motorway!

I hope you enjoy listening to this as much as I have finding it.

Chris Sharp, April 2014




Wyrdstone is the work of East Sussex resident Clive Murrell, whose acid-folk guitar layering style is inspired by the beauty, myth and strangeness of the surrounding Sussex countryside.

Wyrdstone's debut album 'Cuffern' was released on the Reverb Worship label in September 2009. Other recording contributions have featured on compilations such as Folk Police Recordings acclaimed ‘Weirdlore – Notes from the Folk Underground’ and Cold Spring Records ‘We Bring You a King with a Head of Gold’ part of the award-winning ‘Dark Britannica’ series, as well as incidental pieces for TV and regular worldwide radio play.

Recording and mixing is currently underway for a long awaited new album.
“….Cuffern by Wyrdstone, the nom de plume of Sussex folk guitarist Clive Murrell. The 10 instrumental tracks – two traditional, eight self-penned – are simply lovely hand-hewn musical sculptures. The nearest modern comparison is probably Voice of the Seven Woods, although Wyrdstone goes far further in evoking rural details of corn dollies and well dressing without uttering a word." - Jeanette Leech - Shindig Magazine.

Wyrdstone at Bandcamp


Emily Jones

Emily Jones (daughter of ’60s psych folk artist Al Jones) has never been cool and hopefully never will be. These days she lives in a small house on the edge of a marsh in Cornwall, and plays strange, melodic songs about subjects like love, moss and bees.

She released the folk horror album The Book of the Lost with The Rowan Amber Mill in 2013, and a solo album, Autumn Eye, in 2014. Both albums had nice reviews - from fRoots, Shindig! and MOJO amongst others. She also contributed to David Thompson's book on the modern psychedelic scene, A Seance at Syd's (2015).

Her second solo album, Dust and Lights, will be released in summer 2016.

Andrew Male, MOJO: “Romantic folk narratives with a dark-woods chill of pastoral melancholy.”

Dave Thompson, Goldmine Magazine: “...an utterly spellbinding CD soundtrack for the show that never was…a slice of dark-dreamy lost and lovely psych, with Jones’s marvelous voice a wraith-like presence that is both childlike and ageless.”

Tim Carroll, Folkwords: "...weird-edged, dark folk...an enthralling, deliciously disturbing album."

http://www.thebookofthelost.co.uk http://owltextures.co.uk


Elena Martin

Elena Martin is a 17 year old singer-songwriter from Reading, England. She has been writing her own songs since the age of 14 and playing the guitar from the age of 11. Recently, her musical attention has been turned to folk music, writing, and giving life to, folk songs for a devised piece of drama.

Her influences are KT Tunstall, Suzanne Vega and, more recently, bands like Tame Impala and Wild Nothing (which, consequently, have led to the desire for a bass guitar and synths!) She hopes to continue writing and singing in many different styles and genres, from Jazz to psychedelic rock, to see where it leads; to quote J.R.R Tolkien “the road goes ever on and on”.

Moving Trains


Keith Seatman

Keith Seatman is a musician, DJ and collector of synths, records and all manner of old junk.
He has recorded sessions for The Garden of Earthly Delights, Phantom Circuit and NTS Radio’s Alien Jams. Keith has also been played on BBC 6 music's The Freak Zone.

A long long time ago Psylons (Guitar Keyboards and Vocals).
Sessions for Peel and Kershaw. 5 singles Cassette release and 1 Album later it was over.
Now & then Seatman Separator with Simon Heartfield & Jack Packer..
May 2011 1st album Consistently Mediocre and Daydreams.
January 2013 2nd Album Boxes, Windows and Secret Hidey Holes
May 2014 3rd Album Around the Folly and Down Hill

"Seatman is a kindred spirit, and this is his most evocative and personal sounding work to date."
Jim Jupp, (Ghost Box, 2013)

"Boxes consists of 12 tracks of bubbly synths, chiming robotics and twangy guitars, recalling cheapo 50s sci-fi flicks, 60s spy movies and dusty old underwater nature docs, as filtered through an English seaside town perspective. An interesting entry into the odd genre of wibbly, weird electronica."
Thomas Paterson (Shindig Magazine, June 2013)

"Seatman's music is one of whimsical electrosis. There's an often nursery rhyme aesthetic that waltzes through the less capricious and altogether more caustic elements. Psychedelia is very much the game of the day here and indeed this album makes for a very colourful and kaleidoscopic experience even when the hardest thing you have to hand is Earl Grey tea in a mug with the words 'Space Bastard' on the side."


Lost Trail

Lost Trail is the ambient/drone/experimental noise project of husband-and-wife duo Zachary Corsa and Denny Wilkerson Corsa. Based in the mysterious small city of Burlington, North Carolina, The Corsas utilize lo-fi and obsolete recording technology in their music, aiming to capture a sense of atmosphere and landscape in both man-made and wild environments. Working primarily with second-hand analog equipment, their work is a vivid patchwork collage of damaged cassette loops, field recordings, primitive percussion, layers of ethereal guitar drones, wailing feedback and static, and skeletal traces of antique piano and organ. The themes of Lost Trail's work often include a sense of the otherworldly or supernatural, as well as strong ties to nature, human calamity, and a fascination with the concept of passionate belief systems. The songs themselves are raw, broken, minimalist, imperfect, flawed, emotionally resounding and chaotically unpredictable, all composed in the spirit of reckless, heedless improvisation.

Lost Trail is often a multimedia endeavor, and both members contribute poetry, photography and experimental film to their material, all while maintaining a fiercely self-sufficient DIY aesthetic. The Corsas have toured the bulk of mainland America, released scores of cassette and CD editions on numerous national and international labels, and have had their work acclaimed by publications such as Pitchfork, The Wire, Tiny Mix Tapes, Decoder, Heathen Harvest, and many more.