Folklore Featuring Jim Lockey and the Solemn Sun

Very excited to have the Four-Piece Anarcho-Anglo Folk-Rockers 'Jim Lockey and the Solemn Sun' gracing the stage at 93 Feet East in may. With excellent support from THE DIN, MR DUPRET FACTORY & INTI ROWLAND.

Buy advance tickets from:
skiddle.com/events/11635278?skcampaign=fbe

Jim Lockey and the Solemn Sun

'Death Released on 9th April 2012 through Xtra Mile
Recordings and Produced by Peter Miles (King Blues, Crazy Arm, Futures).

Anarcho-anglo storytellers JL&tSS deliver their blend of country-folk/punk - the most energetic, poetic and engaging British folk music in the UK today. In two short years the band have incessantly toured the country playing alongside the likes of Mumford & Sons, Frank Turner, Dry the River, Johnny Flynn, Alessis Ark and Pete Doherty amongst many others, their visceral approach to live performance often takes them from the stage into the crowd for intimate singalong moments, impressing crowds everywhere they go. In mid 2010 they released debut album Atlases (produced by MPG Engineer of the year and double Gammy nominated producer James Towler) through istartedthefire records to critical acclaim and airplay from Steve Lamacq on Radio 2, Kerrang Radio and BBC Introducing including being named BBC Gloucestershire Introducings Band of 2010.

In two short years they have incessantly toured the country, including as main support on Frank Turners February 2011 UK Tour plus shows alongside the likes of Mumford & Sons, Dry the River, Johnny Flynn, Alessis Ark and Pete Doherty.

Just last month the band were included in the NMEs 100 New Bands for 2012 As well as airplay on the Mike Davies Radio One Punk Show.

The young quartet draw influence from a plethora of alt. country folk artists and hardcore punk bands alike, opting to mould these influences with a strong political ethic and a play-til-youre-dead attitude to live performance to create an innovative and arresting sound, crammed with hook -filled soaring harmonies, country/punk rhythms and passionately honest lyrics - often likened to Bright Eyes, Frank Turner and Billy Bragg.

The Din

Back for another Folklore show after a storming set at Jamboree last month, The Din are three, but sometimes five. (When their cellist and violin player are on board). They live, rehearse, mosey and mingle in Camden Town (home is where the heart is).

Theyre from Newcastle, Newcastle and Barcelona.
Their music is diverse (no really)
Music equals = a heady blend of gypsy jazz and alternative acoustic indie via Indian classical, Eastern European folk, flamenco and blues.
The Immaculate Consumption is their new album OUT NOW
They have some prestigious London shows coming up.
They're turning heads, or rather, ears.
The Din are free, but sometimes jive.
Mr Dupret Factory

Mr Dupret Factory dont have much to say about themselves and prefer to let the music do the talkling which is definately fair enough with songs like these. A very talented singer/songwriter who has been quietly making some waves on the London music scene. The Future looks bright!!

Inti Rowland

Again a modest man of few words so here's what someone else has said about him -



Inti Rowland caught my attention during an afternoon spent exploring Soundcloud a couple of months ago. A few clicks took me to his website, where I found a video of him singing his song Eyes of a Starling, unaccompanied, perched on the edge of a bath, sounding haunting and magnificent. It is that song which gives its name to, and opens Intis excellent new 6 track Ep, a delightful, folk-inflected record which stands out from the glut of twinkly, indistinct, acoustic music that seems, albeit gently, to assail one these days.


Intis voice has a kind of choir-boy purity to it, yet isnt lacking in emotional texture, his guitar-playing is bright and subtle, and his song writing is sophisticated, particularly in terms of structure: the timing is beautifully measured, and there are plenty of well-judged pauses and spaces. For all but two of the songs he is joined by cellist Sam Rowe and violinist Megan Jenkins, both of whose thoughtful playing greatly enriches the record. They sing on it, too.


A new, fuller version of Eyes of a Starling, starts proceedings. Beautiful though it was in aforementioned, unadorned, bath form, the song is deepened by its treatment here. It bursts forth after a minute of rustling, somnolent instrumental music which seems to describe the forest setting in which the record was made (somewhere next to a mountain in Wales), and is all crescendos and peaks, interspersed with gentler moments that let Intis voice to shine through. Those more heavily orchestrated passages never sound congested, and the melodies and harmonies of the strings are unusual and dont simply follow the main theme (this is true of the whole record, in fact). Megans occasional singing provides a neat counterpoint to Intis spare vocal style.


Megan sings with Inti throughout the second song, Merchant Men at the Windows, a simple, plaintive duet. It is, save the final, hidden song, the barest track on the Ep, sweetened by warm vocals that disguise the tenor of whats being told. The following three tracks are more elaborate. A Purse of Copper Coins, passes through various transformations: its melancholy opening theme, wrought over by a weaving violin part, clears to reveal Inti singing alone with his liltingly-strummed guitar; the strings rejoin him and everything builds up for a cavernous-sounding middle that is, dare I say it, epic it works though, and soon enough the song resolves, quietly winding down with just the man and his guitar.


Cotton Dandelion Dress conjures a wonderful atmosphere, seemingly awash with autumnal evening light. This feeling is reinforced by the cello and violin, which accompany Inti through most of the song (I am reminded of the string playing on parts Jeff Buckleys album Grace).


Arabian Dolls continues in the same vein, with Intis sweet tune richly embellished by the sung and bowed harmonies of his cohorts. It ends unexpectedly, underpinned by a deep, reverberating note on the cello. Twenty seconds later comes the (hidden) closing track of the Ep. It is quite lovely, a simple ditty, just solo voice and guitar, and sounds like it was recorded in one take. For all the wonderful, imaginative enhancements on the rest of the record, and they really do make it a varied and rewarding listen, the final track exposes the real nub of Intis talent: his beautiful voice and considered approach to song writing.