"On a rainy Sunday in October 2016 almost 400 people gathered at The British Museum to be a part of a momentous occasion-- the very first Folk Horror Revival event. The day promised to be a packed and varied one with gallery tours, poetry recitals, films screenings, talks, music, Q & As and maybe a surprise guest or two. The volumed you have in your hand serves to record that day, by offering transcriptions of the talks and the Q & As, photographs of all those who took part and even some artwork produced on the day."--Page 5

A new and revised edition of the seminal tome Folk Horror Revival: Field Studies. A collection of essays, interviews and artwork by a host of talents exploring the weird fields of folk horror, urban wyrd and other strange edges. Contributors include Robin Hardy, Ronald Hutton, Alan Lee, Philip Pullman, Thomas Ligotti, Kim Newman, Adam Scovell, Gary Lachman, Susan Cooper and a whole host of other intriguing and vastly talented souls. An indispensable companion for all explorers of the strange cinematic, televisual, literary and folkloric realms. This edition contains numerous extra interviews and essays as well as updating some information and presented with improved design. 100% of all sales profits of this book are charitably donated at quarterly intervals to The Wildlife Trusts.

Harvest Hymns - the twisted roots and sweet fruits of folk horror music '. Volume Two Sweet Fruits' focuses on music that has been inspired and influenced by those artists, composers and albums covered in Vol.1 (Twisted Roots') to create the music that we now would consider to be `Folk Horror' - or that at least grazes in the same pastures as those artists. A mixture of interviews, articles and reviews from, about and with the likes of Adam Scovell, Moon Wiring Club, Drew Mullholland, Broadcast, The Devil & The Universe, Jim Jupp, Inkubus Sukkubus and A Year in the Country. Keep your eyes peeled for Scarecrows, Horn Dancers and Corn Rigs, Hamlets, Fetes and Villages, Black Eyed Dogs, Hanging Trees and the mist rising in Fields of Blackberries, Weeping Willows, the Rolling of the Stones, and the Great God Pan sat upon his throne... and beware of all that goes on Beyond the Wych Elm for there 'tis the Season of the Witch

The Twisted Roots of Folk Horror music. An exploration of the artists and their music who laid the foundations for future generations of Folk Horror musicians. Taking in Murder Ballads, Acid Folk, Occult Rock, The Blues and Traditional Folk Music as well as Film Soundtracks Twisted Roots is a collection of articles, interviews and album reviews from the likes of Maddy Prior, Jonny Trunk, Sharron Kraus, John Cameron and Candia McKormack and many more.

"Thou shalt not suffer a witch to live" or so 'tis said. Within the binding of this hallowed tract, thy shalt findeth the means to cleanse the world of the maleficent curse that the devil, his imps and minions have issued. Praise be. Finding its way into the hands of Dr Bob Curran and Andy Paciorek, Wyrd Harvest Press now bring to the eyes of a modern readership the remaining fragments of the ancient, once thought forever-lost, book, 'The Wytch Hunters' Manual'. Within its pages can be found details of the tomes and tools that should be at the disposal of all professional witch-hunters as well as biographies of notable finders and prickers and their notable foes both earthly and hellish.

Fleet is a 'weltersong' of desire and otherness. An epic saga of shapeshifting enchantment and an all too familiar drama of longing, banishment, abuse, survival and love. Jane Burn brings her unique vision, wild wordplay and stunning image-making to the evocation of the folklore of the Witch-Hare, and the voices of Motherdoe, Fleet and Daughterhare with the full force of mythic tragedy and Ovidian metamorphosis. Bob Beagrie, poet

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. The story of the compact disc is also the story of the end of physical media. It is the story of how the quest for perfection laid the grounds for the death of a great industry. For in the passage from analogue media, like records and tapes, to digital formats, like CDs, something changed in the nature of media and in the relationship we have with music. Music became code, a sequence of 1s and 0s, a flow of pure information. The material structure of the medium itself was always supposed to disappear. But the physical has proved to possess an uncanny knack for returning. Today the CD is a zombie medium, still popular amongst certain avant-garde record labels and Japanese consumers. Against all the odds, the spectre endures. Object Lessons is published in partnership with an essay series in The Atlantic.