Josephine Foster

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

North American artist, singer, multi-instrumentalist, and composer Josephine Foster is known to breathe new life into archaic forms, embodying the cultural archaeology of Harry Smith’s old weird America, she has lent her warbling mezzo-soprano and interpretive wit to nearly two decades of self-produced recordings.

Foster draws from spiritual wells beyond limits of space and time, her performances mesmeric. An oneiric voice which entwines with her own swelling guitar, piano, harp and autoharp gestures, folk-art songs spun in surprising musical design, are often playfully unravelled. And while she favors the piano or organ, she will probably play whatever guitar is handed to her.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .