FOLD cite Ike on chilling new release, ‘In the Goodness of Time’

SOUNDING like a trip-hop Scars fronted by Matt Johnson, Leeds-based musical collective FOLD mix Dwight D. Eisenhower’s 1961 farewell speech – which warns of the rise of the military-industrial complex – with sorrowful soundscapes on latest single, ‘In the Goodness of Time.’

“At its core, the song explores a haunting sense of dread, anger, and fear – emotions that feel more urgent and relevant than ever in today’s world,” explained collective founder, Seth Mowshowitz.

“Resonating more strongly today, his words sound even more unsettling thanks to a groundbreaking audio restoration process which modernised his voice using Descript’s AI tool. But this isn’t just a history lesson, it’s also a commentary on how those predictions came to fruition.

“While protective of democratic ideals, Eisenhower’s administration was also complicit in covert CIA operations that installed oppressive regimes across the globe. This duality is woven into the track’s DNA, inviting listeners to critically reflect on the broader narrative.”

But despite its solemn tone, the track ends on an optimistic note, quoting Eisenhower’s own hope for peace: “We pray…that in the goodness of time, all people will come to live together in a peace guaranteed by the binding force of mutual respect and love.”

“By incorporating a wide range of voices including MCs, poets, historical speakers and singers into our music, we aim to amplify humanitarian perspectives and critical reflections on today’s world,” adds Mowshowitz.

“Through doing so we also hope to help keep spaces open for speaking freely and truthfully. Our sound is similarly wide-ranging, from jazz-funk through Brazilian, psyche, hip-hop and downtempo – and we have also been described as ‘a bit weird’ by some of our own children.

“Our compositions are also informed by the innovations of hip-hop and its many offshoots. We aspire to the live spirit of our funk and jazz forebears and therefore use as many real instruments as possible. For that same reason we also avoid using click tracks or pre-sequenced material on stage, and whenever possible, we get Emma Johnson’s horn section to bring gravitas and punch to the sound.”

ONLINE:  HERE