Is This Music

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Artist: Pumajaw
Album: Becoming Pumajaw
Label: Trefingle
Tracks: 10
Rating: *****
The fact that Pumajaw comes with an AKA Pinkie Maclure and John Wills, speaks volumes, as does the arts and crafts cover. It says here is a CD that understands it's history, but knows how to make that history contemporary and relevent. They've even coined a word for it, folkadelica
Pinkie Maclure is an artist that has always been at the edges of music, helping redefine the boundaries, in John Wills she has found a perfect partner to help drive that music forward, and yet at the same time more accessible. Their discovery of folk music as that vehicle only enhances the living tradition of that genre.
Whilst most of the music sits on the periferary of Anglo-Scots folk, Pinkie's delivery and some of the instrumentation also give it a Gaelic feel, and not just on the cover of Jacques Brel's "La Chanson Des Vieux Amants", "No Lamentin'" also takes on the flavour.
With the exception of the Brel track and two traditional songs, "Rosemary Lane" and "The Holly King", Pinkie and John, wrote, produced, arranged and played all the instruments on the album and a damned fine job they've done of it.
Undeniably the sound comes from the darker side of folks broad spectrum, but it's incredibly seductive, not only because Pinkie's rich as honey voacls hang out the words like whispy sugar baited traps, but also because the subtle pagan rhythms and instrumentation add a depth that you cannot help but find seductive.
The Celts worshiped at ponds, islands and caves because they viewed them as links between the planes. To look into the depth was to seek an understanding from beyond. "Becoming Pumajaw" takes that concept and turns it into an aural possibility. In doing so it adds verve and energy, as it reaches for the dark parts of the soul and enlightens them. To understand the darker part of our nature helps make more of the light. It is one of the most honest and refeshing albums you are likely to hear in a while.
Whether you agree with music awards, is music really a competition?, or not, I think it's fair to have an equal crack at the whip. We felt the previous album "Cat's Cradle" should have had the Horizon award, or at least been short listed. Remarkably "Becoming Pumajaw" has built on that album. The band are also establishing themselves an impressive live reputation, what more do they have to do?

Fatea Magazine

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Artist: Pinkie Maclure & John Wills
Album: Cat's Cradle
Rating:
Label: Trefingle

This UK duo has been making some serious waves recently in psych/folk circles. Their latest record, "Cat's Cradle," is a potent blend of dark hymnals and timeless incantations that will have fans of the aforementioned genres frothing at the mouth. Maclure and Wills construct music that feels like it was extracted from history books about ancient mythology. Maclure's voice is a lilting presence amongst the scattered sonic folk wreckage the duo creates. It's enchanting and entirely memorable.

Maclure and Wills do a marvelous job of combining modern elements with these seemingly archaic tracks. The traditional "Fine Flowers in the Valley" is perhaps the best example. With minimally delayed drum loops setting the stage, the duo weaves an organic web of various acoustic instruments on top. It's a constant battle between the past and the future, and it is Maclure's magical voice that keeps it all together. Her range is impressive. She has total control of what she's seeing and her voice is just like butter: smooth and easy. Like most great jazz singers, she can adapt it to whatever the mood or feel of the song is, and on "Fine Flowers in the Valley" she sings with a sense of despair. The whole thing is like a brilliant multi-faceted play with Wills and Maclure taking the starring roles.

However, it is their original compositions that truly set "Cat's Cradle" apart. With the opening piece, "The Bending Wood," the listener is drawn into their world in an instant. This is a mesmerizing trip of psychedelic hallucinations and hexes. When Maclure reaches deep into her gut to find the low notes she belts out, it's as though some sick demon is being extracted from her body. Just listening to her is engrossing. Wills is no slouch either, though. His guitar playing and layering is subtle, yet perfect for the mood of the piece. "Lord, lord, lord, we're all alone," Maclure wails as the song ends. This music may seem isolating to some, but in my head it is a warm embrace in the depths of winter.

The centerpiece to "Cat's Cradle" is the ghostly 11 minute song, "Good Luck Look Upon You." This song is like multiple pieces wrapped into one. After the opening stanza of whimsical notes, Maclure offers her barest and most impressive sacrifice: nearly two minutes of almost-accapella singing. Once Wills starts plucking his guitar and minimal percussive stomps come in, you feel as though you've been transported into the middle of an ancient ritual. Rites of passage as sung by a sultry folk singer? Something like that - it seems absurd in theory, but in execution it is absolutely hypnotic.

"Cat's Cradle" unfolds at snail-speed, offering slightly gothic glimpses to combat the overwhelming psychedelic presence - but in the end, you find yourself feeling drained and refreshed all at the same time. There's so much happening here that you're never quite sure what to feel, and it's that range of emotion that makes it so impressive. I wasn't familiar with either of these artists before "Cat's Cradle," but you can believe be actively looking for other projects they're involved in from now on. This is simply a great album.
- Brad Rose

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I spent most of my childhood in urban areas. My sensory realm was defined by glass, smoke, and asphalt; my feet rarely touched real earth and grass, and my encounters with the animal kingdom were often limited to small birds and rodents. To a certain extent, the natural world was a complete enigma to me, and the occasional foray into the wilderness filled me with a strange sense of dread and mystery. I imagined that there were secrets buried deep underneath the twisting roots, and that every well-worn trail was a hidden path tracing the route back to the worst fever dreams of Tolkien and Lewis. Of course, I would like to think that I grew out of such childish imaginings; however, a weekend spent in the Appalachians still evokes a strangely nostalgic sentiment of slow anxiety and small wonder, as if I'm stumbling across the same old mysteries I could never solve in my youth.

These scattered memories are perhaps why I've grown so fond of Cat's Cradle , the latest release from Pinkie Maclure and John Wills. Their brand of psychedelic folk conjures the same foreboding feelings, sounding as if they too have felt the same odd mysticism often imparted onto the natural world by concrete-born city-dwellers. The music is at once pastoral and urban, mellow yet menacing, recalling those seemingly peaceful landscapes that populated so many children's stories, where every tree and dark shadow hid an ominous presence.

A large part of this sound is perhaps due to the pedigree in the production involved, as Wills had already made his name as the drummer for legendary space rock/shoegaze luminaries Loop and psychedelic noise-rockers Hair and Skin Trading Company. While the noisier tendencies of either band do not make themselves known, the ambience, repetition, and careful regard for space that marked both groups present themselves in spades. Each track moves forward slowly and thoughtfully, allowing each instrument to remain distinct while giving Maclure's sultry vocals enough room to breathe.

“The Bending Wood” opens the album on a somber, near-gothic note, and this mood is maintained throughout most of the album. This is perhaps due to the instruments that Maclure and Wills choose to use; there are some accordions (a melodeon and a concertina, to be precise), some subtle percussion work, and the ubiquitous guitar (plucked, strummed, and e-bowed), but very little else. While there are some exceptions (“Slowly, Slowly, the Water Flows” and the lovely “I Take the Long Way Around” have some very pretty and understated bells in the mix), the premise of each track is patently clear: to provide an ambient, droning background for Maclure's torch-singer voice.

To this end, each track tends to follow a similar structure: the main melodic component is laid out and defined by a repetitious and circular guitar figure, maintained by minimal percussion and the other instruments providing emphasis and effect. The most versatile component of any given song is Maclure's vocal work; she's remarkably well-ranged, able to hit both the low and high registers with aplomb. However, she also has a tendency to infuse the songs with unnecessary melodramatics; it is no small coincidence that the best moments on the album (found in closers “Over and Over” and “Lay Down Your Arms”) show a little more restraint on Maclure's part, as she cuts out some of the histrionics in favor of subtlety. The last two songs also open up the mood in the album beautifully; working on natural major scale progressions, they drop the darkly melancholic (and somewhat oppressive) nature of the previous tracks in favor of a distinctly hopeful and uplifting atmosphere, somewhat akin to sunlight breaking through the clouds after a storm. While it's an old structural and sequencing trick, it's still a very effective one. In particular, “Lay Down Your Arms” almost comes off as a gently affecting lullaby, with Maclure's gentle croons of “Lay down” resonating as both a farewell and an invitation to slumber.

The realm of so-called psychedelic music can be a difficult road to travel; many bands either become too enamored with soundscapes to craft decent songs, or they become too mired within repetition to progress structurally in any meaningful fashion. It is to Maclure and Wills' credit that Cat's Cradle avoids both of those pitfalls; while it can be trance-inducing, it never sticks with a certain musical figure for too long, nor does it place too much emphasis on ambience and noise. And while this is music for a very specific type of contemplative emotional state, it is still remarkably well done and crafted. Admittedly, I can't see this album converting listeners into die-hard psych-folk fans; however, it still remains an oddly apt soundtrack for those tentative forays into the strange and unknown.

 - Joon Kim

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PINKIE MACLURE & JOHN WILLS
CAT'S CRADLE
TREFINGLE CD
BY MIKE BARNES
THE WIRE

There's a timeless feel to Cat's Cradle, in terms of mood, sonics and the repetative quality of the verse structures. "Slowly, Slowly The Water Flows" is typical, with its combination of Wills' percussion, plangent acoustic guitar and lyre, and Maclure's miniature concertina and bells. Their instrumental sound twinkles with light casting the shadows in which Maclure's gasps, exhalations and vocal melismas can be found.
  Once the drummer in Loop, Wills was also a multi-instrumentalist in The Hair And Skin Trading Company, while Maclure is no stranger to torch songs and avant cabaret styles. But the bluesy grounding of her extraordinary voice keeps it free from histrionics, sliding effortlessly from a sensual throatiness up to its higher register. This is demonstrated on the title track, on which Wills' drums mark out time with a ritual severity.
  Cat's Cradle is the product of a potent musical chemistry. "Good Luck Look Upon You" is built on the sort of steady toiling figures that evoke Mazzy Star's "So Tonight That I Might See", with Wills' E-bow guitar drones looming out of the background. The mood is largely contemplative throughout but it all opens up beautifully on "Over And Over And Over", Maclure's lyrics are filled with elemental images, but are often inward looking, tapping into feelings of sorrow or disquiet. Here the song's melancholy is lifted by sights of marine horizons and the space above, into which her voice gracefully soars.

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Pinkie Maclure & John Wills Cat's Cradle ( Trefingle )

I am not sure if it's the harsh winter or not, but I've found myself listening to a whole lot of abstract, multi-layered folk music lately. Last is this row of musicians that go out of their way to redefine what's consider to be folk is the UK's Pinkie Maclure & John Willis.

On Cat's Cradle traditional folk structures are placed against a backdrop of noises and unexpected sonic whims. The slightly gothic opener “The Bending Wood” is a fabulous track of a particularly reflective mood, offering quietly transporting and ritualistic music at its best. Another treasure is to be found in the traditional “Fine Flowers in the Valley” where we get Maclure's warm and rich wide-range voice at its absolute best. The simple, beautiful melody is arranged with loads of traditional instruments (bells, lyre, concertina and probably more) in the most unexpected yet natural way, providing a discreet nod in the direction of German husband and wife duo Fit & Limo, and that's rarely a bad thing.

Cat's Cradle is a concoction of all sort of dark folk that at its best rivals the uncrowned masters of the so-called “acid folk” scene, and if this one is any indicator I owe it to myself to also check out their debut album.

Mats Gustafsson
(The Broken Face)

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Pinkie Maclure and John Wills - Cat's Cradle

UK 2005 , Trefingle

This album sees Pinkie Maclure and John Wills continue their excellent releases but find themselves stepping in the same direction as many other new experimental folk artists.  So whilst they have been doing this for a while we now have a broad range of artists working in a similar field and it is perhaps therefore easier to place them into context.

When playing live they have a fearsome reputation taking their songs into sonically adventurous, progressive realms that leaves audiences stunned.  Here their sound is captured on new album 'Cat's Cradle' and we are pleased to now include them into the future at this site.

With a strike of zither we start with a hazy psychedelic folk song called 'The Bending Wood' of guitar rippling and sighing delayed electric melodies. The melodies are highly unusual, almost feline in their mewing quality which chimes nicely with the cover.  Accordion comes in with its droning adding breadth to the music.  In the background eerie counter melodies creep into the sound taking it slowly but ever more into the gently surreal.  The echoing bending guitar strings reminded me instantly of early Pink Floyd who would be a good comparison on their tracks like 'Paintbox', 'Remember A Day' or 'Julia Dream'.  Vocally it changes from deep baritones to the higher register strange chorus.

It's no surprise that Wills was once drummer in 'Loop' a fantastic avant-psychedelic band who didn't get the attention they deserve and a multi-instrumentalist in 'Hair Skin and Trading Company' another excellent progressive psychedelic band.  The experience and skill shows through with Maclure bringing all kinds of evocative phrasings to the songs.

'Slowly, Slowly, the water flows' is more hesitant, holding band with a percussive pulse and controlled guitar.  Woven around this are harmonica and tiny chimes that add atmosphere to this mysterious song.  'Cat's Cradle' starts with a deeply yearning, emoting vocal that draws as much from Cleo Laine as it does Sandy Denny.  Quietly plucked harmonics on the guitar add to the sense of suspension and awaiting.

'Good Luck Upon You' builds on woozy, breathing layers of reeds, nudging and exploring.  This piece like many great folk tracks has both raga like elements and melodic touches from eastern Europe found in artists ranging from Dando Shaft to early Bert Jansch.  'Fine Flowers In The Valley' is one of the pivotal tracks starting with a mass of whispered child speech, telling their arcane secrets then going into an initially unaccompanied folk vocal that then introduces an electronic drum loop, bell lyre, layered vocals and hushed magical tone.

'I Take The Long Way Round' uses a slow half rhythm with a winding, slowly burning guitar figure and even slower vocal.  'Over and Over and Over' meanwhile has a lovely echoing guitar start then leads into a curious vocal exploration which initiates a folk drone song that has superficial similarity to 'She Moved Through The Fair'.  However the vocals are gradually with each song pushing away from convention, holding, gasping, rising and pushing at the song in strange and often beguiling ways.  This song in particular has a positive, vibrant feeling, of expectation and release with subtle but stunning controlled electric guitar work by Wills.

Final song 'Lay Down Your Arms'  is comparatively relaxed and focused on a simple melody.  With restrain in the vocals and the arrangement centred around this melodic progression the sounds power is heightened.  With sounds like clarinets, harmonica and processed guitar quietly filling in detail this song works very well and gets over an aspect of hope and trust in each other.

Pinkie Maclure and John Wills are to be congratulated for working outside the normal envelope, unafraid to experiment and bring this into the song form.  This is a unique album on many levels, the arrangements, the structures and of course the singing are all individualistic and accomplished.  Whilst more experimental music can put off some people, this is largely approachable and particularly worthy of your attention.

Mark Coyle, The Unbroken Circle
www.theunbrokencircle.co.uk

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CAT'S CRADLE By Pinkie Maclure and John Wills (Trefingle CD)

After their recent electronic outing under the guise of Lumen, Maclure and Wills return to the largely acoustic format for which they are best known, but with some pretty eccentric instrumentation, none the less. The eight songs here are spun out of a fabric consisting of melodeon, bells, miniature concertina, e-bow, lyre, guitar and drums, and of course Pinkie's gorgeous voice. While I found Cat's Cradle a little less immediately appealing than their Lumen work, this is still a fine album that stands out against the flood of the relentlessly modern, in contrast, this could have been recorded almost anytime.

The instrumentation here is sparse and spacious, giving plenty of room for Maclure's velvet tones to do their stuff. She has a stunning and marvellously flexible voice, steeped in torch song and cabaret, but equally capable of tackling the traditional Fine Flowers in the Valley with a verve that would give pause to June Tabor, another singer equally at home with folk and jazz. Her vocal stylings are exemplary, going from throaty rasps to high register shrieks with barely a sign of effort and touching songs with blues inflections and clear knowledge of experimental technique.

While Maclure's voice is the most obvious point for comment here, it should not be thought that this is entirely her show. The singing would not be nearly so effective without the musical framing John Wills brings to the disc. It is sensitive and subtle allowing Maclure to breathe and explore the sonic space thus created, inflecting the whole disc with a gentle, mournful melancholy yearning in a way few others could manage. This is clearly a product of one of those almost-telepathic musical partnerships that are exceedingly rare and to be much savoured whenever they are found, the two musicians have an instinctive rapport that comes across in every note and line – a relatively short, but most satisfying piece of work.

Ian Simmons, nth position

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Trefingle Pinkie Maclure & John Wills : Cat's Cradle (UK,2005)***°'

This duo shows with this new release, compared to the earlier one, an improved sound, working towards perfection, especially on the first half of the album, where there's most attention to various multi-layered arrangements. This makes the opener, “ The Bending Wood ”, so special : with fingerpicking, on a number of instruments (with some experimental textures), the wide range (-bass to soprano-) voice of Pinkie Maclure, and the use of melodeon. Near the end her voice becomes almost animalistic and ritualistic, making the track and a few others similar to the waterway that Faun Fables travels. Also “ Slowly, slowly, the water flows ” is like this : wonderfully arranged, with a multi-coloured percussion use that reminds me a bit of an early Jablkon track, and with an open ear to interesting sounds. " Cat's Cradle ", like a few other songs following on after this, found more inspiration based upon a rhythm of a repetitive melody for creating a perfect mood fundament for the voice of Pinkie, to have some room to improvise. “ Cat's Cradle ” is even more than this, an interestingly arranged dialogue, -within a song structure-, between kettledrums, acoustic guitar, cymbals, voice, and some funny moving string sounds. From then on, musically, (except for "Fine Flowers in the valley") this mood creativity will become most important. “ Good Luck upon you ”, the longest track, leaves the structure, with more repetitions, open to some vocal mood improvisations, which includes here also some attempt to throat singing and other ideas. " Fine Flowers in the valley " starting a few seconds a capella, with bells, lyre, concertina, is like a magical UK folk song. “ I take the long way round ” takes again inspiration from a slow 1/2 cradle rhythm. Instrumentally it takes the fundament of a mood-creativity-thing, with a pagan mother-like energy. At some point Pinkie expresses herself vocally as if with a kitten like contentment. The concluding tracks have some similar energy. Also the song " Over and over and over " sounds like a little cat rolling in her emotions. And " Lay down your arms ", is another variation on a similar mood like this. Here' it's like a lullaby, to be heard when already lying down. Difficult not to become such a kitten after all this.

Recommended.

Gerald.Van.Waes
(Psychedelic Folk & Acid Folk)

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'.......... dark whispers in a sinister fairground... a sweeter song you couldn't imagine, but set to a backdrop of unearthly sounds and noises. Again, Pinkie and John reinvent what we think of as 'folk' music - cosy sweaters and real ale replaced by harsh winds and warming spirits - and all the better for it.'
BB, Is This Music?

Pinkie's staggering voice - soaring above a claustrophobic backing on 'The Long Way Round' and hovering above John's weave of eerie noises on closing epic 'Lay Down Your Arms'. 4/5
Stuart McHugh, The List


The Wire
bites piece
Pinkie Maclure
Songs for remembering
    Pinkie Maclure's 'From Memorial Crossing' sets the spine tingling. From the opening vocals of 'Sorcery', London based Maclure's voice is assured, measured, unhurried and mature,naturally warm and rich, it moves rapidly from husky depths to sublime heights where it cuts like ice on a frosted morning. "I sang a lot as a child, then became self conscious about it as a teenager," says Maclure reflecting on the development of her voice. When I rediscovered it I found that I had quite a good range, different tones." She listened widely, taking in a lot of improvised music including New York singer Shelley Hirsch. " I liked the freedom and I wanted to reach for that with my voice. In the end the singers that I really love are Juliette Gréco and June Tabor."

    In the avant slugcore of Maclure's early 90s group, The Puritans, her vocal extremities were cathartic releases for anger. "With the songs that we do now, every time that I sing them it's the most fantastic spiritual release," she says." And I do think that it has much more of an effect on the audience. It's the art of restraint." Now, rather that parading her remarkable range of vocal abilities she lets the material dictate what's needed."The most important thing is to create an atmosphere or a mood and to say something as well."

    On From Memorial Crossing, scratchy loops frequently set up an atmosphere that are tasteful and uncluttered. The pervading mood is uncannily paralleled in the ghostly sepia tones of its cover photo: a piano with its strings snapped, spilling its wire guts in the dust. A still beauty pervades, and a melancholy tone presides over lyrical themes of success and failure in love and life. Recently she toured as part of the PJ Harvey/Rob Ellis project Spleen, performing material that Harvey had originally sung, (She also appears on Spleen's second album Little Scratches.) Despite her unique talent, there is a sense that a promising career has been held back and that she's never achieved the success that she's deserved - something explored on the new album's title track: "You open the doors/They spring back in your face/You clamber the stairs?And you're sliding back down/Are our best years just spent wishing?"

    The new album is the result of a collaboration with multi-instrumentalist John Wills, which started in 1995 - it's a partnership that extends into the rest of their lives. Wills plays guitar and is responsible for the recording and much of the final arrangements and production. His current work is a marked change in direction. He was previously drummer with, and founder of, experimental rock outfits Loop and Hair And Skin Trading Company. As far as songwriting goes, "We both really do everything. One of us will throw something in the pot, then it will grow until eventually it's finished."

    One of the keys to the album's success is the fact that it was recorded at home, and in a nearby cavernous school hall in Tottenham, North London. As Wills points out,it's also enabled them to find a way of recording Maclure's voice that adequately captures her extreme dynamics.

         "In the end" concludes Maclure, " the things that last and that people remember are things in their pure form - that are purely spontaneous and from the heart".
Phil England

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Marie Claire
From Memorial Crossing
    The Scottish songstress with the disarmingly beautiful voice - a kind of anglophone Juliette Gréco -- is back with this superb set. But Maclure's songwriting style is redolent with folk and jazz, as well as industrial harshness.

    John Wills' eerie production and covers of songs by David Lynch and Tom Waits let you know she is in touch with her dark side, and on tracks such as Frozen in Sleep she positively bewitches with her haunting sincerity.

    Maclure has light and shade in her voice and manages to tell a story without resorting to theatrical cheapshots.
Kevin Le Gendre

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The Wire
From Memorial Crossing
    Partnered with multi-instrumentalist John Wills (Loop, Hair & Skin Trading Co.) and covering songs by Tom Waits and Angelo Badalamenti, singer Pinkie Maclure attempts to find new modes of expression for her impressive vocal skills. Her voice can rise from a husky moan to a shrill exhortation, and through her folk/jazz background tends to make itself felt throughout, this combination of cleverly arranged originals and a couple of unusual cover versions points towards a bold and unclassifiable future.
Tom Ridge

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Q Magazine
From Memorial Crossing
    Pinkie Maclure's third release following 'Favourite'   and side projects such as Fingerfood, includes covers of songs sung by Jimmy Scott and Tom Waits alongside her own compositions. Sometimes compared to Bjork, this also offers nods to Nina Simone as Maclure's smoky-voiced blueswoman mutates into a screaming siren within a single phrase. Pasted over hypnotic, eight track loops it makes for uneasy listening. Intelligent and brave beyond question.
Anna Britten

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Time Out
Upstairs at the Garage (London)
    Maclure swoops to throaty, thrilling lows and soars to the sweetest highs across a range of impassioned songs, as evident on her brand new album From Memorial Crossing  which also features a sensitive cover of Tom Waits' 'I'll Shoot the Moon'. Her remarkable talent should be spellbinding in this intimate venue tonight.
Sharon O'Connell

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Other Music (New York)
Memorial Crossing
    I have found that every now and then, a record will demand to be played, and I feel as fortunate to have caught sight of it as I would a snowflake in a winter sky. 'From Memorial Crossing' is filled with songs of heartbreak, loneliness and unrequited hopeless love -- finally a worthy companion to my Scott Walker albums. Ms Maclure writes unique torch songs capable of illuminating any strange surprise that might slip under the smoke and shadow of an after-hours piano bar. Her work is down tempo and definitely dark. She also performs a Tom Waits cover and a David Lynch penned Jimmy Scott song from the Soundtrack 'Firewalk With Me'. Pinkie has a voice that will reach into your heart and transport you to the time it was broken.
Andy Giles

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Top Magazine (Tower Records)
Memorial Crossing
    'From Memorial Crossing' ****, is an idiosyncratic album that takes you on a trip through Brecht country and even Porgy and Bess. Pinkie and her writing partner John Wills have opted for a lo-fi recording where everything from bicycle spokes to whistling kettles and a chuffa chuffa train are all included in the mix. Add this to Pinkie's glorious voice effortlessly swooping from husky whisper to piercing high notes and you get an album bursting with textures. The stand out here is 'Sweet Kind of Suffering', the smoothest of smooth torch songs which opens with the knock out "I'm still wearing the smile you gave me when we met for the first time"
Dee Pilgrim

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PUMAJAW - transfixed the audience in the PUMAJAW - transfixed the audience in the maritime-themed room with their spectral sea shanties etched out on squeezebox and effects-laden acoustic guitar and crowned with MacLure's eerie voice.
Fiona Shepherd The Scotsman

a weird and wonderful flight of fancy to a seductively mysterious destination
Sharon'O Connel Time Out

Maybe the best/most promising recent UK psychfolk duo/group I know of
Gerald.Van.Waes
Psychedelic Folk & Acid Folk