Spectre Folk seemed a pretty overt name for Pete Nolan to moniker-up as for his solo side. A see-saw of truth in advertising or bullshit speculation. But fug it, Nolan knows how to make it work. Within the Magick Markers and Virgin Eye Blood Brothers, his two-of-many outfits I'm familiar with, he can transcend the nothing gulch (which can and does happen in those two groups) and shape it into an abstraction of you just wanna wrap your arms around. After some self-released editions and a moving blossom on Static Caravan, the pressing machines have been called up to punch out a buy-in-the-store album called Requiem for Ming Aralia on Three Lobbed. The push toward giving this a modern volk tint is present in the PR blurbs, but while driving home at 2 am a few nights ago, SF shown through as a great, hand-me-down sound transgression as laid by Trapdoor Fucking Exit. The repeated/flickering guitar strings Nolan plays out (and the backing murk) mirror Michael Morley in spades, especially in the opener "Tendrils Floating Fastly" and the closer "Bindi Clip." Both are drawn in and out of the lines and feel as if recorded in a Louisville cellar a few yeas back. The Turtle's "You Showed Me" is not quite huffed with new life here, instead Nolan has taken flecks of it, melody/lyrics, almost as if scraped them from an old cassette and used those bits as as a blueprint; deftly eerie and sounding about 25 years older than it is. C. Spencer Yeh appears on "Indianana" and keeps the Dead NZ aura up with mild shatters of electronics. What is left after these is Nolan and a guitar and the aforementioned cellar. The voice warbles, rough and broken. It all just sounds aged with despair. I was hoping for another cover in "Been Here and Gone," but it is an original of late night loss feed through burned amps and blown mics. This is a fine milky-skin from the underbelly of the Midwest -- even if Nolan is a Brooklyn dweller now.
Spectre Folk - Bindi Clip