My location sitting in a churchyard seemed quite appropriate as I gave the eponymous full-length of Philadelphia group Fern Knight., released on the VHF label, one last listen before my conversation with Margaret Wienk, the group's primary singer/songwriter. It's Fern Knight's third LP, and without a doubt, it is their most focused and textured album to date. The album's sound calls to my mind movie scenes such as those from the original pagan mystery classic, Wicker Man (not the awful Nick Cage one) and Werner Herzog's 70's output, especially films that made use of German prog group Popol Vuh. Wienk tells me that those are without a doubt an influence on her songwriting.
The film connection goes even further, as my conversation with Wienk takes place during some downtime performing with The Valerie Project, a traveling showing of 1970 Czech film Valerie and her Week of Wonders. The show includes live soundtrack performed by Margaret and members of other Philadelphia folks from Espers and Fursaxa.
"We were in Toronto the other night, and the head of the Czech consulate was there. All of us were worried they weren't going to like us."
Pt. 2
"I gravitate towards quieter acoustic stuff like the blend of harp, acoustic guitar and cello," Wienk tells me after I ask her the broad question of what music influences her in day to day life. It's not a shocking answer, but it brings to mind the earlier recordings of Fern Knight. On this self-titled release, the Philadelphia four piece (who brings contributors into the fold on a normal basis), play quiet songs that create a bombastic kind of mellow. The production, done by Greg Weeks of Espers, captures each instrument and gives purpose to every note.
"My German is really bad though," Margaret mentions.
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