Folkin’ Around

02 November 2009

But while a lot of industry pundits may have been scratching their heads when the unashamedly folk tinged Mumford and Sons debut album crashed into the Australian charts at number four last week, this is hardly either an isolated incident, or a historical anomaly.

Even since Bob Dylan strapped on an electric guitar at the Newport Folk Festival to a barrage of distain, folk music has been heralded as somewhat of a purist’s endeavour, a serious art form with a serious message that shouldn’t be obscured by elements as trivial as rhythm sections or amplification. While that may seem a gross generalisation that doesn’t hold up in these modern times, the fact remains that folk music is still held up as some kind of beacon, a reaction to times of hardship or against any music that is seen as inconsequential or gimmicky.

Turn on a radio (a quaint notion) or wander into any club, and you will be met with a wash of electronic beats, fluoro clothing, and genre mashing. Production and style is king – with a great deal of music being created by duos with no more than a laptop, and a host of high-end programs. While a lot of this was a natural and direct reaction to the depressing whinge and black garb of the emo culture, it has become increasing clear that this is music is, at best, lightweight fare, and at its worst, purely disingenuous.

Audiences and musicians alike are reacting to this by going back to basics. This is not a new mindset. Punk, with its DIY attitude and three chord, two minute bursts of anger and alienation was a reaction against the overblown po-faced grandstanding of prog-rock and ‘70s hard rock. Grunge was a similar movement, bringing back the DIY ideal when ‘80s hair metal bands had reached similar points of overblown excess. In turn, the cheery chirp of the Britpop movement took the mantle when grunge had become a commercially plundered parody of itself, a movement that was mirrored when garage rock sought to put the authenticity and spark back into a musical world that was turning into an embarrassing mix of anger fuelled rap-rock crossover and whiter than white turntable tragics.

This reactionary nature extends past the musical landscape also. Stretching back as far as work and gospel songs being used by slaves to boost morale and express hardship, musical movements have often reflected the social landscape, and been in direct reaction to what is happening. Folk music in particular is often seen as being a reflection of and reaction against its times. The term folklore was coined by British writer William Thoms, who described it as “the traditions, customs, and superstitions of the uncultured classes.” While this description may hold true in detailing how folk music often takes it queues from traditional forms of music, the meaning has become almost obsolete, especially in the late ‘50s and early ‘60s, when folk musically leaned heavily on the traditions of the past, while lyrically became contemporary, being used primarily as a vehicle for ‘protest music.’ Musicians like Bob Dylan, Woody Guthrie, Simon and Garfunkel and Joan Baez sang about hardships and perceived injustice, whilst often (and somewhat ironically) copping traditional melodies and music in order to root the music in part of a larger tradition.

Honesty and authenticity seem to be the cornerstone of folk music, no matter the era, or the performer. These days, the subject matter and delivery is more important than any conceived notions about electric instrumentation, and these flourishes have helped to keep it vital and contemporary, while always having one foot firmly in the past. There is a long line of tradition associated with this form of music, and as long and it is truthful and tuneful, it will always resonate with audiences, no matter the decade.

The New Breed

Mumford and Sons
Rose from the London folk scene, which also housed indie favourites Noah and the Whale. They have a distinct sound that takes from bluegrass, as well as more traditional sounding bands, like The Pogues. First single Little Lion Man was a surprise hit single, spurred along by influential BBC DJ Zan Lowe who named the song the ‘hottest record in the world’ a few months ago.

Fleet Foxes
Seattle based folk group The Fleet Foxes seemingly came out of nowhere to top many (including Billboard and MOJO’s) 2008 best albums list with their plaintive, harmony drenched eponymous debut album. The Guardian called it "a landmark in American music, an instant classic," with the band currently working on their follow up.
 
Bon Iver
Recorded in a small cabin with a microphone, an acoustic guitar, and not much else, For Emma, Forever Ago has quickly become a modern folk classic, with word of mouth and the quality of songs ensuring that this album was a private pleasure for a public throng. MOJO and Uncut both gave it album of the month in May 2008, it has subsequently rated highly in many ‘best of the decade’ lists.

Monsters of Folk
A supergroup, containing Conor Oberst and Mike Mogis from folk group Bright Eyes, producer M.Ward, and Jim James from My Morning Jacket, Monsters of Folk wear their mission statement proudly on their sleeves. This album reached #15 on the Billboard Albums chart, and continued the work that Oberst had already done for the genre –in 2004 two of his songs simultaneously took the top two spots on the Billboard Hot 100 singles chart, a rare feat.

The Swell Season
A musical duo consisting of ex-on and off screen lovers Glenn Hansard and Marketa Irglova, they continue in the Irish folk tradition Hansard has been following since dropping out of school at age thirteen to begin busking. His band, The Frames, have a large Irish following, but international recognition always eluded him, until last year, when Falling Slowly, the heart wrenching song from the film Once, won an Oscar for Best Song.

Those Darlins
From Tennessee, Those Darlins has a twisted take on folk music that has impressed all who cross their path. Sounding as much a hootenanny band as anything else, there are clear folk leanings within their sound. A performance at South by Southwest managed to impress, despite blowing an amp mid-set, and they are tipped to be one of the bands to watch in the next few months.