One Leg One Eye + Bridget Ferril

Ian Lynch and George Brennan drag traditional Irish music into the most extreme voidic realms. Across their albums ...And Take The Black Worm With Me and its follow-up CRONE, released via AD93, layers of distorted pipe drones and jagged black metal textures are fused with heavily processed field recordings, stripping folk elements down to their fundamental heavy frequencies. 

A professional folklorist and member of the Dublin folk group Lankum, Lynch draws thematic material directly from the bloody texts of the Ulster Cycle, utilizing obscure incantations and literary fragments to channel and invoke entities such as the Mórrígan, the triple goddess associated with sovereignty, war, and death. When performing live, the duo deliberately deconstructs any remaining traces of traditional song structures entirely, focusing on sustained pitch manipulation and massive walls of resonance that alter the physical perception of the room and leave the mind feeling completely untethered.

Based in Berlin, Bridget Ferrill works with acoustic instruments, subjecting them to severe digital manipulation and spatial distortion until nothing remains but the bare bones. Last year’s Subtext Recordings release, *Domschatzkammer*, subverts the harp, church organ, and microtonal tuba using what she terms “false additive synthesis,” intentionally pushing acoustic timbres to the point of collapse and detuning. By constructing custom electronic circuits—such as the chaos-driven Anglerfish drone synthesizer—and engineering live setups for artists like Bendik Giske, her background in instrument building and audio engineering allows her to weaponize her feedback, extracting hidden, agonizing frequencies from voltage and physical space to dissolve the venue’s presence. Looming in its place, immense entities of noise consume the listener.