Oxhy outside

oxhy kneels on the muddy banks of a river, the hum of one thousand flies and the churn and squelch of the rivers mud thick and dense around his crouched form. Surrounded by the skeletal remnants of wooden posts and scrub, he cups his hands to wash himself in the filthy water, the sun glinting off its slowmoving flow. This is how we find the Londonbased artist on the opening track of his debut album, Woodland Dance. In comparison to the scorchedearth abrasions of 2017s respite unoffered and his doomladen turn on Yves Tumors Serpent Music, for Woodland Dance oxhy turns inward, opting for a looser, more intimate and reflective take on his experimental club variations. Describing this refined sound to AQNB as new folk, the album sees the artist zeroing in on more primitive musical forms, roughly stitching together field recordings, analogue instrumentation, evocative sound design and vocal contributions from Thoom, Dæmon, Cecilia and Felix Lee. I see folk as anything that people are making a