The Owl Service: A Folk Revival Journey

In the vibrant landscape of contemporary folk music, certain projects emerge that not only reinterpret tradition but also forge a unique path through sheer dedication and artistic vision. The Owl Service, primarily the brainchild of Steven Collins, stands as a compelling example of such an endeavour. What began as a solo studio project in June 2006 has blossomed into a multifaceted collective, leaving an indelible mark on the psych-folk and experimental music scenes. This article delves into the rich history of The Owl Service, tracing its evolution from its humble beginnings to its enduring impact.

The Genesis of The Owl Service

The journey of The Owl Service commenced in June 2006 as a studio-based solo project for Steven Collins. During the formative stages of the first release, the Wake the Vaulted Echo EP, Collins enlisted the talents of Dom Cooper from The Straw Bear Band to provide lead vocals on the track "The Two Magicians." Cooper's involvement proved significant, extending until March 2012, during which he contributed vocals, songwriting, and graphic design coordination. The Wake the Vaulted Echo EP garnered a warm reception within psych-folk circles, leading to an invitation for Collins to contribute to the 2007 compilation album John Barleycorn Reborn on the Cold Spring label. For this compilation, Collins recorded a rendition of the traditional song "The North Country Maid," featuring session singer Rachel Davies. This particular song would later be revisited in an alternative version on The Owl Service's debut album. The recording sessions for the debut album also saw the integration of singers Jo Lepine and Diana Collier as permanent members, solidifying the nascent collective.

Early Releases and Artistic Ethos

The debut album, A Garland of Song, was self-released in July 2007 through Collins' own micro-label, Hobby-Horse. This initial release was a limited, handmade CD-r run of just 100 copies. Collins meticulously handled the arrangement, recording, and mixing of the album from his home, undertaking almost all of the instrumentation himself. This DIY, home-recording model became a hallmark of The Owl Service's operation. Collins would select and arrange songs, record the core elements, and then collaborate with singers and, occasionally, additional instrumentalists to complete the tracks. In instances where musicians couldn't reach his Essex-based studio, Collins would often record vocals and other parts on location, showcasing an early commitment to flexibility and resourcefulness.

Following the debut album's release, Collins sought to expand the line-up to facilitate live performances. It was during this period that Nancy Wallace, formerly of The Memory Band, joined as a permanent member. By the end of 2007, The Owl Service secured a deal with the UK independent label Southern Records. While not an immediately obvious choice for a folk act, Collins felt a connection with Tony Sylvester, Southern Records' A&R representative at the time, due to their shared passion for both heavy metal and the 1960s English folk revival. The label's signing of the Chicago band 90 Day Men, whose music Collins deeply admired, further solidified this decision. Southern Records reissued A Garland of Song in June 2008 on both CD and LP formats. This was followed by an EP on the Static Caravan label, titled The Fabric of Folk, recorded with Alison O'Donnell, the former singer of Mellow Candle. By this juncture, the band's core line-up had expanded to seven members, incorporating Jason Steel on guitar, banjo, and vocals, and experimental musician Katie English (also known as Isnaj Dui) on flute and melodica.

The Pattern Beneath the Plough and Southern Records

In a move to reconnect with his DIY origins, Collins concluded his association with Southern Records at the close of 2009. This transition marked the commencement of a new series of releases collectively titled The Pattern Beneath the Plough. The second full-length album, The View From a Hill, released on May 1, 2010, served as the centrepiece of this series. The album featured notable guest appearances from Joolie Wood of Current 93 and Alison O'Donnell, among others. December 2011 saw the release of a two-track 7" vinyl single featuring "The Standing Stones" and "The Red Barn," a traditional ballad rooted in the historical Red Barn Murder. This was subsequently followed by another 7" release, There Used to be a Crown, which included cover versions of four songs originally performed by Tom Rapp and Pearls Before Swine.

The commitment to a distinctive artistic vision and a hands-on approach became increasingly evident. The band's ability to navigate between traditional folk elements and more experimental soundscapes was a testament to Collins' curatorial and production skills. The choice of Southern Records, a label with a broader, more eclectic roster, allowed The Owl Service to reach a different audience while still maintaining its core identity.

Hiatus, New Ventures, and the DIY Ethos

At the beginning of 2012, Steven Collins placed The Owl Service on an indefinite hiatus. This period of reflection led to the formation of two new projects. The first was Greanvine, a duo with fellow Owl Service member Diana Collier, which explored a blend of traditional songs and cover versions presented in stark, electric arrangements. The second project, Country Parish Music, offered a sound more closely aligned with the established aesthetic of The Owl Service. Concurrently, Collins established a new label, Stone Tape Recordings, named in homage to Nigel Kneale's seminal 1972 television play. The initial releases on Stone Tape Recordings were by The Owl Service itself. These included a data DVD titled She Wants to be Flowers, But You Make Owls, which compiled every track the band had released up to that point, alongside a wealth of unreleased material, artwork files, and video recordings. Additionally, the album Garland Sessions was released, featuring all 13 songs from the debut album, remixed and partially re-recorded, along with six new tracks.

This period highlighted Collins' unwavering commitment to the DIY ethos, even extending to label management. The creation of Stone Tape Recordings underscored his desire for complete creative control and a direct channel to his audience. The compilation DVD, in particular, served as a comprehensive archive, celebrating the band's output and offering deeper insights into their creative process.

Return, Reinvention, and the Final Chapter

October 2013 brought a significant announcement: Collins hinted via Facebook at the production of a new Owl Service record and a return to live performances in December of the same year. The December concert in Leigh-on-Sea, their first live appearance in over 18 months, saw Collins reunited with Jo Lepine, Diana Collier, and Nancy Wallace. The band reconvened six months later for two more shows. The first, again in Leigh-on-Sea, featured frequent collaborator Alison O'Donnell. The second took place in London at a fundraising event for a documentary film about the influential Shirley Collins. October 2014 marked the release of the first new Owl Service material since the Garland Sessions album in 2012: a low-key EP for Halloween titled Three Inverted Nines, featuring cover versions of four songs by the legendary musician Glenn Danzig. By the end of 2014, after 18 releases, Stone Tape Recordings ceased operations, with Collins citing the overwhelming workload as the primary reason, as it prevented him from dedicating sufficient time to recording new Owl Service material. In September 2014, another concert was announced in London, an event organized by Collins to celebrate the 100th birthday of the renowned US folk song collector Alan Lomax. This concert, held the following January at Asylum in Peckham, would prove to be their last for over five years.

The period following the closure of Stone Tape Recordings allowed Collins to refocus entirely on the music. The announcement of a new album, His Pride. No Spear. No Friend., in January 2015, confirmed the band's renewed creative energy. The album, released on October 31, 2015, represented a significant departure from previous Owl Service releases. Collins described it as "a folk album in lyrical content only, not in sound," with a decidedly non-traditional sonic approach. Despite Collins considering it his finest work to date and the pinnacle of his decade-long vision for The Owl Service, the album was met with a stark lack of commercial and critical success, largely characterized by indifference. Collins himself likened the promotion efforts to "flogging a dead horse whilst banging my head against a brick wall." The album was almost entirely a one-man project, with Collins handling all aspects of production and artwork. The perceived failure of this deeply personal project proved to be the final catalyst, and shortly after its release, Steven Collins announced that The Owl Service would officially cease to exist on the band's 10th anniversary, June 6, 2016.

Post-Hiatus and Continued Evolution

After a five-year hiatus, Steven Collins revived The Owl Service in June 2021. A new EP, Rise Up Rise Up, was released via the band's Bandcamp page on June 6, 2021, coinciding with the announcement of a new album project. In October 2021, the band was commissioned by Southend-on-sea's Focal Point Gallery to create a new and exclusive work, resulting in the mini-album English Country Music. This collection featured five new arrangements of songs from a book of folk songs collected in Essex, titled Bushes & Briars. The FPG commission was performed in its entirety by the band at the 2022 Leigh Folk Festival. Another performance in Leigh-on-Sea in 2022, followed by a return to the Leigh Folk Festival the subsequent year, marked the end of that particular phase for the band. In 2024, Collins initiated a series of three releases under the banner of Black Chapel Music, through which he explored electronic instruments, loops, and samples. The third installment of BCM saw a return to folk song, featuring an arrangement of the traditional song "The Garden Gate" (with folk singer Liz Overs) and an original Peter Bellamy song, "Above the Hill." April 2025 saw the line-up expand to include two new singers, Rebecca Leivers and Dorothy Chappell, ushering in a string of new releases. This began with a two-track single paying tribute to Sandy Denny, followed by another single, "All You Maids & Gentlemen," and an EP of Anne Briggs songs titled Will the Waters Hold My Burden, released on both CD and clear vinyl lathe-cut 7". In August 2025, Collins announced that the next Owl Service album, Tied to the Land, was scheduled for release in early 2026.

Key Aspects of The Owl Service's Appeal

The enduring appeal of The Owl Service lies in several key factors:

• Steven Collins' Vision: At its core, The Owl Service is driven by Steven Collins' singular artistic vision. His meticulous selection of songs, arrangement skills, and dedication to a DIY ethos have shaped the project's unique identity.
• Collaboration: While often a solo endeavour in its core production, The Owl Service has benefited from a diverse range of talented collaborators, from vocalists to instrumentalists, each bringing their unique flavour to the music.
• Reinterpretation of Tradition: The band excels at breathing new life into traditional folk songs, often imbuing them with contemporary sonic textures and experimental arrangements, making them relevant to new generations of listeners.
• DIY Ethos: The commitment to self-releasing, independent labels, and home recording has fostered a sense of authenticity and artistic integrity that resonates with fans.
• Evolution and Experimentation: The Owl Service has never shied away from evolving its sound, experimenting with different genres and instrumentation, as evidenced by the Black Chapel Music series and the stylistic departure of His Pride. No Spear. No Friend.

Discography Highlights

While the full discography is extensive, some key releases include:

Frequently Asked Questions

Who is the main creative force behind The Owl Service?

Steven Collins is the primary creative force and founder of The Owl Service. While he collaborates with various musicians, the overall artistic direction, arrangement, and production are largely his responsibility.

What is the musical style of The Owl Service?

The Owl Service is primarily associated with psych-folk and experimental folk music. Their sound often incorporates traditional folk songs reinterpreted with modern and experimental arrangements, drawing on a wide range of influences.

Has The Owl Service always operated independently?

While The Owl Service began with a strong DIY ethos and self-released its early material, it also signed with independent labels like Southern Records for a period. Steven Collins also ran his own label, Stone Tape Recordings, for several years.

What happened to The Owl Service in 2016?

The Owl Service officially ceased to exist on June 6, 2016, its 10th anniversary, following the critical and commercial disappointment of the album His Pride. No Spear. No Friend., which Steven Collins considered his finest work.

Has The Owl Service returned?

Yes, Steven Collins revived The Owl Service in June 2021, releasing new EPs and albums and continuing to perform and record.

The story of The Owl Service is a testament to the power of independent artistry and the enduring appeal of folk traditions when approached with creativity and passion. Steven Collins' dedication has ensured that this unique musical project continues to evolve, captivating listeners with its distinctive blend of the old and the new.