“tantalisingly strange folk vignettes”
4/5 Guardian

Milkweed are a UK-based duo making experimental folk music steeped in myth, memory and the weight of inherited stories. Their latest record, Remscéla, is a haunting and expansive work rooted in the prelude tales of the Táin Bó Cúailnge, an epic of Irish mythology, filtered through the language of Thomas Kinsella’s 1969 translation. This is folk music not defined by genre but by method: fragmentary, reverent and radically interpretive. We spoke with the band about the challenges of becoming a vessel for ancient stories, the joy of live reinvention and how to honour tradition without becoming trapped by it.

"Yorkshire folksmith's ruminative, storm-tossed masterwork" 9/10 Uncut

"There's no contemporary singer quite like Jim Ghedi.... you're unlikely to experience a more intense trip of an album this year." 5/5 Songlines

"Tim-Buckley-meets-Richard-Thompson-at-the-end-of-the-universe vibe. Colossal." MOJO ★★★★

"the Sheffield folk musician gets brilliantly apocalyptic on this rallying, medieval-tinged battle cry." The Guardian

"an original voice with an ancient spirit." 4/5 The Times

Jim Ghedi produces an alternative take on classic folk ideas, exploring themes on landscape and history. Incorporating 6 & 12 string guitar composition, orchestral arrangements and traditional folk song. MOJO magazine praised his most recent album A Hymn For Ancient Land by calling it “Melodically sublime and infused with tradition”, while The Financial Times said “This is landscape music… landscape art.”

Nature permeates through his music, the subtle use of the instruments (guitar, double bass, violin, cello, harp, trumpet, piano) and beauty of the arrangements create something both fluidly transient yet also deeply rooted to a sense of place.

Elanor Moss grew up in a very creative, devoutly Catholic family, and began playing music at church events. Homeschooled through early youth, her parents put a real emphasis on nature, reading and music. Eventually leaving the faith, Moss started writing songs of her own in York as a student of English literature and playing open mics around the city.  While at University she also discovered songwriting greats: Leonard Cohen, Joni Mitchell, Bob Dylan, The Beatles. Shortly after graduation, Moss met producer Oli Deakin, who offered to record her first EP, “Citrus." Her work with Deakin took her to New York City, where she began forging a sense of community. Between “Citrus” and her second EP, “Cosmic,” Moss toured with Christian Lee Hutson, Benjamin Francis Leftwich, and LYR, played one-off shows with Cassandra Jenkins, CMAT, and Sam Amidon, and performed at Pitchfork London, Green Man Festival, and Mosely Folk, among others.

‘an immersive debut’ 8/10 The Observer

‘...stunningly confident, in full possession of its art’ Uncut 

‘...raw, virtuosic...’ Mojo

‘Raymond’s fearsome precision often feels both portentous and perfect.’ ****  The Guardian

'...no doubt that she is among the most vital, dynamic voices within the still-teeming solo guitar orbit.' **** Mojo

'This the sound of celebration of life, and of music escaping confinement and coming to be freed.' 8/10 Uncut

Fascinating, daring and complex’ folk radio

Gwenifer Raymond began playing guitar at the age of eight shortly after having been first exposed to punk and grunge. After years of playing around the Welsh valleys in various punk outfits she began listening more to pre-war blues musicians as well as Appalachian folk players, eventually leading into the guitar players of the American Primitive genre.

In 2018 she signed to the American label ‘Tompkins Square’ and released her first album ‘You Never Were Much of a Dancer’ to widespread acclaim. In 2020 her second album ‘Strange Lights Over Garth Mountain’ shifted somewhat from straight Americana and started to take more of a spiritual influence from the landscape of her homeland of Wales. Recalling from her childhood memories of spooky trees, black against the grey sky and breath misting in cold air there is present a style of guitar playing that could be referred to as ‘Welsh Primitive’.

Sixteen years in, Jennifer moves between worlds with ease. She was once described as having “irreverent puckish vim” in a mag. She plays Barb in Shane Meadows’ The Gallows Pole, has opened for Pulp and John Cooper Clarke and performed for Chanel’s Metiers d’Art. She’s toured with Eliza Carthy for 18 months, and in 2025-6, took her songs to Aotearoa to critical acclaim. Rooted in archives and oral histories, her work braids nineteenth-century music with the present: teaching, performing, researching, sharing, advocating and supporting spaces for memory and making in the tradition. 

Jasmine Padgett is an experimental human person who is capable of many things. She finds herself in this present moment, on a curious quest to find ways of expelling imaginary sounds from her internal world outwards into the external world, for other human persons to consider, muse upon and possibly enjoy.