More than a record label, Folklore Tapes describes itself as an “open-ended research project exploring the vernacular arcana of Great Britain and beyond.” Its mission: “to rekindle interest in the treasure trove of traditional culture by finding new forms for its expression.” It’s a project deeply rooted in the twin inspirations of landscape and lore, as co-founder David Chatton Barker explains, his voice battling against eddies of wind sweeping across the South Pennine Moors. “It started 15 years ago,” he says, of the label’s origins, “with myself and Ian Humberstone. We were living in Exeter at the time and were drawn to the landscape and the stories from the region.” The creation of a record label grew organically from an initial project as a duo.

“We picked two reputed witches who lived in Devon in the 19th century,” recalls Barker, “and responded to their stories.” The results became Folklore Tapes’ debut release: Devon Folklore Tapes Volume I: Two Witches (2011), a fascinating melding of field recordings, ambient soundscapes and experimental song. From there, Folklore Tapes expanded to embrace a family of creatives dedicated to reinterpreting Great Britain’s physical and psychic geography. “It’s rarely been a case,” says Barker, “when I’ve not met the person who has been invited to contribute to the project. It’s been people who I’ve met on tour or played a show with, or somebody I’ve ended up in conversation with, who shares a similar kind of outlook.” These include musician Sam McLoughlin, whose album, Fae Transit (2023), possesses a beguiling simplicity of presentation, weaving harmonium, acoustic guitar, hand percussion and dictaphone into a dreamy, drifting tapestry of sound. Elsewhere, Hannah Leighton-Boyce’s Instruments of Industry (2017) explores the sonic properties of archaic trade tools taken from a collection at Touchstones Museum and Art Gallery in Rochdale via an extended ambient composition, subsequently broken down into its component parts.

The label’s releases are available digitally and as C30 cassette tapes housed in illustrated library cases with research notes and Ordnance Survey map cut-outs. “Cassette tape was something that we’d both worked with since being kids,” explains Barker, “so it was a natural medium.” The label’s latest releases include works from the ongoing Ceremonial County series, an ambitious, two-year endeavour. “On each side of these tapes”, Barker explains, “an artist explores certain areas of folklore from a particular county, then produces a 15-minute piece.” On the Oxfordshire / Derbyshire (2025) volume, The Grey Funz merge scattered fragments of sound and song into a haunting collage, while on the B-side, Mark Vernon explores manipulated field recordings with soft synths and voice. Each edition brings something unique. Folklore Tapes is a living, breathing entity which feels, and sounds, vital – a contemporary conversation with a constantly evolving past.

Key Recordings

Bridget Hayden, Dan-Bridgwood-Hill, Ramsey Janini, Sam McLoughlin & David Chatton Barker

The Witches of Eagle Crag (2024)

A sublime, semi-improvised piece for fiddle, bouzouki, electric guitar and flute.

James Green / Eva Bowan

Ceremonial County Series Volume III – North Yorkshire / Devon (2024)

Undulating drones unfurl over ancient mysteries. Deep textures form an echoing well for plaintive voice.

Ian Humberstone & Jorden Ogg

Wester Ross Folklore Tapes Vol I – Sacred Island: The Legend and Magic of Isle Maree (2017)

Richly affecting melodies rub shoulders with altered voices, rumbling keys and nature.