Freak folk emerged in the 1970s as a subgenre of psychedelic folk, but later took off in the 1990s with a resurgence in the 2000s. It blends the hippie sensibilities of straight folk—pastoral images, free love, and primarily acoustic instrumentation—with the psychedelia and experimentation of its main genre. Follow us on a journey through freak folk and its pioneers, its psychedelic influences, and later revival in the modern age. Just don’t take any mushrooms offered to you by a gnome.
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[RELATED: Forgotten Folk Albums From the 1970s You’ve Never Experienced (But Should)]
Vashti Bunyan, the Godmother of Freak Folk
Vashti Bunyan released her debut album, Just Another Diamond Day, in 1970. It later labeled her a pioneer of psychedelic folk’s lesser-known subgenre, freak folk. The track “Diamond Day” featured the pastoral lyricism of folk, but her instrumentation and airy, crackling voice attempted to introduce a new aspect of the genre. Overall, the album was inspired by her travels through Scotland by horse and wagon in 1968. Its lyrics and musicality reflect the serenity of the landscape.
However, Just Another Diamond Day went on to be relatively ignored by the masses at the time. Bunyan went into self-imposed exile from music but returned in 2005 with the album Lookaftering. Her debut brought the freak folk style into the fold, though. It was out there for anyone to discover, to influence future freak folk acts. Bunyan eventually got her props for Just Another Diamond Day.
David Crosby’s 1971 Album If Only I Could Remember My Name
David Crosby’s album If Only I Could Remember My Name was a more mellow offering that has also been described as an early influence of freak folk. Crosby was moved to make this album by grief after the tragic death of his girlfriend Christine Hinton. He was living on a sailboat and abusing drugs regularly, but he created a freak folk masterpiece that became an easy cult hit. Additionally, this was Crosby’s debut solo album, and for it to be so consumed by grief while still ringing in a unique subgenre is an interesting choice.
Freak Folk’s 2000s Revival and New Weird America
Freak folk died down for a while after the barely-noticed releases of Linda Perhacs, Anne Briggs, and Shirley & Dolly Collins. These women, however, later gained cult followings, which led to their influence on the 2000s revival.
Groups like Animal Collective and Xiu Xiu, and artists like Devendra Banhart and Joanna Newsom would pioneer the freak folk resurgence, guided by past artists like the Incredible String Band, Pearls Before Swine, as well as those mentioned previously. Freak folk was having its day in the sun, finally.
Banhart and Newsom, in particular, come to mind immediately when I think about freak folk. Banhart has cited Vashti Bunyan as a major influence, as well as other folk and experimental artists, and the psychedelic folk influences come through in his visuals as well as his music. For Joanna Newsom, her incredible lyricism, yodeling, squeaking, and harp prowess propel her to the top of the freak list.
In terms of New Weird America, this term was coined by Scottish writer David Keenan in an issue of The Wire. It reflects on the term Old Weird America, invented by journalist Greil Marcus and used to link pre-WWII folk artists to artists like Bob Dylan, et al. New Weird America is generally used to describe the 2000s American freak folk revival led by Newsom, Banhart, and the band Vetiver.
It all started with relatively ignored releases in the 1960s and 1970s, but freak folk has become a beloved subgenre for—what else?—total freaks.
Featured Image by Evening Standard/Hulton Archive/Getty Images
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