Forty Minutes Of Folkishness

Today's Sunday mix is an inspired by or 'ish' mix, forty minutes of music that is folk adjacent or inspired- the melodies, the playing, a cover of a late 60s, English folk rock classic, an edit of a 60s folk song, some other songs that just feel like they're in the folk music vernacular. Most of the songs on the mix are from this year, the rest from fairly recently.  For want of a better phrase, they've all got a folk vibe. 

There's plenty more music sitting in my downloads and music folders that fall within the boundaries of this- Richard Norris and Dot Allison both come to mind so a part two may follow.

Forty Minutes Of Folkishness

• Luke Schneider: midafternoon classic
• Matt Deighton: Tannis Root
• Coyote: The Outsider
• Andy Bell: Pinball Wanderer
• Andy Bell: Light Flight
• Sydney Minski Sargeant: Long Roads
• Totem Edits 12: Feel
• Sewell And The Gong: Passing Oort Clouds
• Four Tet: Into Dust (Still Falling)

Luke Schneider is from Nashville, a pedal steel guitarist and part of the ambient Americana scene. midafternoon classic came out last year, a couple of minutes of ambient/ folk with nylon strings, pedal steel and harmonica. His latest four track release came out two days ago and can be found here. 

Matt Deighton's Villager is a 1995 folk gem, much overlooked at the time. Tannis Root is a few minutes of acoustic guitar and some woodwind, lovely modern instrumental folk inspired music that came out on Moonboot's Moments In Time compilation. 

Coyote's The Outsider was the closing song on their 2021 album The Mystery Light, an acoustic guitar sequence and the vice of mystic/ writer/ speaker/ philosopher Alan Watts. The Coyote duo were nodding their heads at Andrew Weatherall too, who wrote under the pseudonym The Outsider in the Boy's Own fanzine and who was exactly what Watts is talking about, 'you don't have to join, you don't have to play the game...'

Andy Bell's Pinball Wanderer came out at the start of this year. The title track is lit up by a late 60s folk rock guitar melody, some shuffly acoustic guitars and a sense that Fairport Convention and The Stone Roses in 1989 got in a room together. On his 2022 covers EP Untitled Film Stills, Andy covered songs by Yoko Ono, The Kinks, Arthur Russell and Pentangle. Light Flight was from Pentangle's 1969 folk- rock album Basket Of Light, an album that pushed them into the charts. Light Flight was also the theme tune to BBC 1's Take Three Girls, a late 60s/ early 70s drama about three young women sharing a flat in London. 

I wrote about Sydney Minski Sargeant's forthcoming solo album Lunga last week. The single Long Roads is folk indebted, echoes of Nick Drake and Syd Barrett in the playing and singing. Lunga promises to be one of autumn's highlights. 

Totem Edit is Leo Elstob and Justin Deighton. On Feel they take Gordon Lightfoot's 1967 song The Way I Feel and turn it into a 2025 folk/ Balearic groove. I've played this out and it always gets a response. 

Sewell And The Gong's recent album Patron Saint Of Elsewhere is one of late summer 2025's best, a lovely fusion of folk, drones, pastoral melodies, motorik drums and samples. Previously, in 2023, Sewell released a four track EP called Tonight We Fly and Passing Oort Clouds is a beautiful, folk inspired instrumental, looped melodies, acoustic guitars and a gently prodding rhythm. Oort clouds are (possibly) a giant spherical shell surrounding the sun, the stars and the Kuiper Belt, a bubble made of icy comet like objects. 

Four Tet's Into Dust (Still Falling) came out earlier this summer and has been getting regular plays round here ever since, the Mazzy Star sample and vocal sinking into Four Tet's folky melodies and skippy drum track, Hope Sandoval's melancholy playing off against Keiran Hebden's propulsion.

Monday's Long Song

Back in October I posted Tannis Root, a folky instrumental by Matt Deighton that appeared on a Moonboots Balearic compilation. Matt was in 90s Acid Jazzers Mother Earth, played with Paul Weller in his 90s bands and briefly filled in when Noel Gallagher walked out of Oasis. As well as all of that though, he's recorded several solo albums that I was aware of but hadn't heard. Someone said I should start with his 1995 album Villagers, handily re- released by Acid Jazz in 2021. 

Villagers was Matt's debut solo album and in many ways an album out of time. Folk wasn't a big deal in the mid- 90s. Matt's influences on the album- Nick Drake, John Martyn, Bill Fay, Davy Graham- were largely unre- discovered. The album has a distinctive magic to it- folk guitars, low key, beautiful songs sung beautifully, some flute, all gentle and unassuming, and with the odd bit of Mod soul/ funk creeping in (you can hear why Weller employed him, especially on opening song Good For Us- but Weller was slightly folky too at this point too, not least on Wild Wood's title track). It's crossed the decades very nicely- thirty years since its release and the folk sound of Villager has come around, gone again and come back. This song, two songs really but played together as a medley, is as good as anything on it, ten minutes of bucolic English folk with a weariness to the tune and the words but with the hint of better days to come. You can listen to and buy the remastered Villager at Bandcamp. 

Villager/ Bone Dry Boat

V.A. Saturday

In 2017 Copenhagen's Music For Dreams label asked Mancunian/ Balearic DJ Richard Moonboots to compile an album for them, to pick out some little known gems and chilled tunes that could soundtrack moments of calm and contemplation-  moments that could come sitting at a beach bar in the Canaries or at somewhere more urban/ suburban, Ancoats or Chorlton say. We're definitely into autumn now. This week the leaves have begun to change their colour from the greens of summer to the reds, rusts, oranges and yellows of October and November. Moonboots' compilation, Moments In Time, sounds like summer and foreign shores in places but also carries the chill breeze of autumn. Bombay Hotel's Between Leaves for instance, or this one by Matt Deighton...

Tannis Root

There's a circling, fingerpicked acoustic guitar part, some wonderfully deep cello, and a woodwind instrument (a clarinet probably) picking out a meandering lead, all beautifully mellow and woody, and yep, all pretty autumnal, and done in under three minutes. There are very much shades of Nick Drake and John Martyn present. 

Matt Deighton fronted Mother Earth in the 90s, who were on Acid Jazz. He played in Paul Weller's band in the late 90s and briefly deputised for Noel Gallagher when he walked out of Oasis for a while in 2000. His solo back catalogue is much wider than that brief summary though and his albums and songs are steeped in a 60s and 70s folk sound but go beyond that too. I'm sure I should own more by Matt than I do. 

Coincidentally, or not, I reviewed a  various artists compilation at Ban Ban Ton Ton this week, a twenty track new release compiled by Luke Una which has a similar feel, songs for astral traveling, songs for long nights of quiet contemplation cherry picked from Luke Una's record collection. It opens with John Martyn's sublime ambient/ folk/ jazz/ field recording song Small Hours, a piece of music from 1978 that really has to be heard to be believed. And felt. You can read my review here. 

Small Hours