First: What is post-folk music? Brace for disappointment if what you seek is absolute clarity. As Eustace Pendragon III -- who was, upon release of his brilliant but popularly overlooked historical revision of hurdy-gurdy subculture in 14th-century Europe, labeled by Revolving Rock magazine (now-defunct) “an essential and timeless musicologist” – would have it (and as he will elucidate further in subsequent posts), post-folk music is merely, solely, a label. Unbreakable is the habit (or, to put it pejoratively, addiction) of denominating music and those who create it. Even if done only for convenience, the practice often unfairly compartmentalizes artists, thus jeopardizing their individuality and muddling labels themselves – indeed, it is a cyclical problem. Yet we at the <redacted>, these beliefs in hand, have devoted a publication to the very practice we question. Why? If labels must exist, must be ascribed, must mean, we prefer to assist in the development of that meaning. Lest the meaning be altogether lost.

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