Midnight Synthesis I

"The Moon Is Shining in the Sky"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

One discovers music from all sorts of places.  Once upon a time we used to use the radio; nowadays it’s super-rare for me to listen to the radio at all, much less find anything new (and good) on it.¹  Then for a while I tried Internet radio (such as the inimitable Radio Paradise²) and Pandora (back when it was an actual music discovery service, before it was bought by the detestable Sirius XM).  But probably the most reliable source of new music throughout the years has been coworkers.  My employees at Barefoot Software exposed me to things as varied as Wish You Were Here by Pink Floyd to Sublime.  A guy at Thinkgeek that I barely knew introduced me to Modest Mouse, and my fellow code monkey Jon Sime, who I worked hand-in-hand with for years, introduced me to Naomi and Skyedance.  And so it’s gone, for every job since.  At my current job, we have a whole Slack channel devoted to sharing music, and I’ve picked up a lot of great ideas.

And that’s how I can tell exactly when I discovered Urban Heat: March 24th, 2022.  A coworker (again, someone I didn’t really know) posted this:

Here’s a pretty fun band I discovered at SXSW last week, for those who are into an 80s synthwave vibe: https://www.youtube.com/watch?v=mTvSIt8EUuU

Now, you say “80s” and “synth” in the same sentence and my ears perk right up.  There was a lot of fantastic music in the 80s, but, as you know from my extensive talking about my 80s My Way mix, “my way” generally means heavy on the synthpop.  It’s what really attracted me to the music of the time.

We tend to think of synthpop as upbeat and ... well, poppy.  It’s right there in the name, after all.  But, speaking as someone who listened to a lot of it in the 80s, I can tell you: synthpop has a lot of layers, a lot of different modes, if you will.  And there’s a certain flavor of synthpop songs that is best suited for listening to late at night, in the dark ... at times when you’re not necessarily sad, and not necessarily contemplative, and not necessarily wistful, but perhaps all three at once, and even experiencing other shades of emotion that you can’t quite put a finger on.  When all those feelings come together, in the deep of night ... well, when that happens, you need this mix.

So, while there can be no doubt that Urban Heat was the mix-starter here, there’s also some classic 80s synthpop that I wanted to showcase as well.  And let’s kick that off with what I really feel like is the epitome of this sound: “Today” by Talk Talk.  Talk Talk is one of those bands who never achieved mega-success—their highest charting single in the UK was the third release of “It’s My Life” at #13; in the US, they managed #31 on that track’s first go round—but, in the synthpop scene, they were hugely influential.  A huge number of artists have credited them as influences, including Tears for Fears, Radiohead, Kate Bush, and members of Pearl Jam and Porcupine Tree.  They’ve been covered by No Doubt and Weezer, a tribute concert to them filled the Royal Festival Hall in London, and a documentary about them won the jury prize at Musical Ecran festival in France.  Much of their music is poppy, sure, but all of it is also a bit dark.  And I think the perfect example of this is “Today,” from their remarkable debut The Party’s Over (which was their second biggest hit in the UK, hitting #14 in 1982).  They were doing this sort of music before anyone else, as far as I know, and in many ways they did it best.

Still, let’s not discount Depeche Mode, most especially on their album which is almost entirely devoted to this flavor of synthpop, Black Celebration.  This goth-infused synthpop album is so perfect that I actually picked two tracks off of it: “But Not Tonight” provides our volume title, while “Stripped” is, as its name implies, a bit of a stripped-down track, with its synth chords providing near-minimalism, while the reverb on David Gahan’s vocals give it an almost eerie quality.  And of course this is the perfect place for one-hit-wonder Re-Flex’s iconic “The Politics of Dancing,” which is perhaps the closest thing to “upbeat” we’ll hear in this mix.  This is a shimmering, glittery darkness, sure, but dark all the same.

Closing out the 80s, I didn’t actually discover German synthpop band Camouflage till well after that decade, but they fit right in with the Depeche Mode vibe.  Their sophmore album, 1989’s Methods of Silence, contains a number of decent tracks,³ and I felt like “One Fine Day” was just perfect here.

And just because the 80s is over doesn’t mean the bands of the 80s are.  There are two major finds showcased here.  The first I tripped over when they performed on Stephen Colbert’s late night show: he’d been hosting for less than a year when he announced that New Order was going to be performing new music after 10 years of nothing (and around 20 of nothing notable, in my opinion).  I was intrigued, but not hopeful; when most bands get back together after a gap of that long, they produce “new” music that is merely a lackluster echo of their glory days.  But Music Complete is something entirely different: it’s an album that rivals Technique, and maybe even Brotherhood, in its depth and quality.  And it is, in some indefinable way, darker than their other outings—so much so that I couldn’t resist putting two tracks from it on this volume.  “Academic” is a deceptive little tune: it seems like it’s going to be all bright and happy, but then smacks you upside the head with lyrics like these:

There was a time when my world belonged with you,
But I was so misguided in my youth.
I couldn’t help but drink this poison brew;
You had a strange perception of the truth.

The buzzing guitars of “Academic” are replaced by a synth intro reminiscent of a child’s toy piano on “Restless,” where Bernard Sumner’s breathy, almost whispered vocals give the track a softness that make it perfect for late-night listening.  Overall, two tunes that fit perfectly here.

The other 80s update that you’ll find here is Alison Moyet (Alf to her friends), who was the lead singer of what I usually consider to be the most important synth band of all time (or, at worst, a close second behind Soft Cell): Yazoo.  Typically truncated to “Yaz” here in the States, I knew their hit “Situation,” but it was the random choice to buy Upstairs at Eric’s as one of my very first albums (I think it was on sale or something), almost certainly at Peaches during my freshman year of college, that really blew me away.  Nearly every song on that album is a gem, and I chose one⁴ to be our “push song” at work one day early in 2022.  And I got to thinking, I pretty much know what happened to Vince Clarke post-Yazoo,⁵ but whatever happened to Alf?  I had always had the impression that she left synthpop behind and gone on to do more of a soul-type thing (sort of Adele before there was Adele).  And, you know, she did do that for a while ... and then she stopped recording altogether for a while, due to litigation with record labels ... and then a few more albums ... and then, over 30 years after Upstairs at Eric’s, she released The Minutes.  And this record, despite being nearly 10 years old by the time I stumbled on it, is just brilliant.  It’s synthpoppy, but in a much more modern way, and some of the tracks are just perfect for this mix.  Again, I didn’t try to restrain myself: there are two selections here from The Minutes.  First, “Horizon Flame,” a track that starts out with synths doubling as strings, adds a subtle underlying drone, and gradually ramps up to an ode to “ordinary pain.” It was perfect as the second track of our opening triptych.  Meanwhile, easing into the back third of the volume, “Right as Rain” has a much stronger electronica rhythm, but keeps the drone and even amps up the dystopian lyrics:

If you can’t be happy with me,
Be unhappy with me;
Stay unhappy with me.

Both are just amazing tracks.

But of course it was the modern revival of this darker style of synthpop that was the impetus for the mix in the first place, so let’s not fail to showcase Urban Heat.  The third track in our opening triad is “Running Out of Time,” from their debut Wellness.⁶  It sort of encapsulates all of Urban Heat’s expansive sound: there are echoey vocals, that classic synthpop drum machine rhythm, and sparkly synth chords in between the verses.  It’s just gorgeous.  Then, winding down to our closer, “Stay” starts out slow but insistent, but then blossoms into an electro-guitar-fueled chorus:

Well, I guess if you want to stay,
Who am I to tell you not to feel that way?
Tell them all, they’re all better off:
Better off anyway.

If you like synthpop, you should really pick up this album.

And it’s a truism in the music industry that, if you can find one band making a certain style of music, you can find half a dozen if you look hard enough.  We should probably start with the prolific Davey Havok, ostensibly the lead singer of punk / nu-metal / emo band AFI.  I don’t actually love AFI, personally, and even if they did, their music certainly wouldn’t fit here.⁷  But he and another AFI member went on to found Blaqk Audio, who are a perfect fit for this mix.  I actually did restrain myself this time and chose only a single track, “Waiting to Be Told.” With an almost martial beat and soaring vocals, it’s a strong entry.  But it’s Havok’s other side project, Dreamcar, to whom I gave the honor of the opening track.  I first heard “Kill for Candy” also on Colbert’s show, just a year after I heard the new New Order song, and I was immediately struck by the similarity.  Dreamcar is not synthpop, but then neither is New Order: they’re both quite strongly new wave.  But “Kill for Candy,” as hooky as it is, has a really strong dark throughline that I thought made it work very nicely here.  Plus it’s just a gorgeous song, so it certainly had to go somewhere.⁸

Finally, the Black Queen is a group founded by members of Trent Reznor’s touring band for Nine Inch Nails and members of the Dillinger Escape Plan, a band I had never heard of before, which is typically described as “metalcore.” And, apparently, what you get when you combine metalcore with industrial is this flavor of dark synthwave, because their debut album (Fever Daydream) feels like someone took Urban Heat and Blaqk Audio and ran them through a mellowizing sausage grinder.  Their single “The End Where We Start” is probably more dark than poppy, but Greg Puciato’s vocals here are high and sweet and melodic, in stark contrast to his normal growly screams in the Dillinger Escape Plan.  It’s a nice lead-in to “Stay.”

Midnight Synthesis I
[ The Moon Is Shining in the Sky ]

“Kill for Candy” by Dreamcar, off Dreamcar
“Horizon Flame” by Alison Moyet, off The Minutes
“Running Out of Time” by Urban Heat, off Wellness
“But Not Tonight” by Depeche Mode, off Black Celebration
“Academic” by New Order, off Music Complete
“Remains” by Zola Jesus, off Okovi
“Oblivion” by Grimes, off Visions
“The Politics of Dancing” by Re-Flex, off The Politics of Dancing
“One Fine Day” by Camouflage, off Methods of Silence
“Today” by Talk Talk, off The Party's Over
“Judas” by Clan of Xymox, off In Love We Trust
“Waiting to Be Told” by Blaqk Audio, off Material
“Right as Rain” by Alison Moyet, off The Minutes
“Disconnected” by Emma's Mini, off Beat Generation Mad Trick
“Restless” by New Order, off Music Complete
“Stripped” by Depeche Mode, off Black Celebration
“The End Where We Start” by the Black Queen, off Fever Daydream
“Stay” by Urban Heat, off Wellness
“Trust Me” by Zola Jesus, off Stridulum

Total:  19 tracks,  82:24

I’m not sure what here is too unexpected, but I did feel like I could find some synthy goth tunes which might fit the vibe.  My first thought was Zola Jesus, who ... well, she’s hard to describe, but she has a very distinct, synthy style of goth/darkwave.  “Remains” is a track with nearly ambient vocals and a techno beat, and I thought it provided a beautiful bridge from New Order to Grimes.  Meanwhile, “Trust Me” is a slow, sober track that just made for the perfect closer.

And why not throw in some witchhouse?  Whatever you may think of Grimes—and having a child with Elon Musk definitely does call into question one’s personal choices—you can’t deny she’s got some talent behind the boards.  “Oblivion” is my all-time favorite Grimes track,⁹ and it slots in perfectly alongside Zola Jesus as the end of the first third.

The middle stretch of the volume is a strong dose of that 80s goodness: Re-Flex, then Camouflage, then Talk Talk.  And then I needed something to bridge the 34-year gap between “Today” and “Waiting to Be Told,” so I thought of Clan of Xymox.  Xymox was of course a great, synthy (if not quite synthpop) band from the 90s.  Clan of Xymox, though, has a much stronger goth character, despite both incarnations being mostly just extensions of Dutch genius Ronny Moorings, plus it’s still going strong to the present day.  I thought “Judas” was pretty solid here: it’s certainly got the dark in spades, and it’s got some great synth work as well.

And perhaps the only truly unexpected tune here is from emma’s mini, who I introduced you to back in Smokelit Flashback VI.  In general, emma’s mini is less synthpop and more electropop, which is certainly similar, but definitely not the same.  Most of their album Beat Generation Mad Trick is pretty upbeat, but “Disconnected” has a different cast.  It has the same soft echoey vocals that many of the tracks here, and, while the chorus is nearly as upbeat as “The Politics of Dancing” (though the tune as a whole doesn’t come close), the lyrics (e.g. “I fell down”) have a darker tinge.  I thought it worked very well here.

Next time, we’ll ride the rails.

__________

1 For an exception, please refer to the not-so-long-ago story of my discovery of the only Taylor Swift song I’ve really liked (so far).

2 Which is, somewhat surprisingly to me, still going strong after a mind-boggling 24 years on the Internet.  That’s longer than Facebook, and almost as long as Google and Amazon.  Few things on the Internet achieve that kind of longevity.

3 One of which is a short bridge I used on Phantasma Chorale II.

4 Specifically, “Don’t Go.”

5 Specifically, he went on to form Erasure with Andy Bell.

6 Wellness started out as an EP, but has since been expanded to a full album.  See the Bandcamp link in the tracklist.

7 Perhaps it might find a home on the Thrashomatic Danger Mix.

8 Before this mix existed, it was slated for Totally Different Head.

9 Though, honestly, that’s perhaps not saying much: I’m not a huge Grimes fan.

Creeping Rageaholic I

"Set Shit on Fire"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

This is one of my longest idea-to-realization mixes.  I originally had the idea for this mix back in 2003, when the guy who had been hanging out with a cartoon dog and entertaining my kids put out an album, and the first song on it sucked me in with a serene opening and then just exploded into existence about a minute in.  It reminded me rather forcefully of driving back and forth from where I went to college in Northern Virginia to my parents’ house in southern Virginia and belting out ”‘cos it already is!” at the top of my lungs, and I knew I had to pair those two somehow.  But I didn’t finalize this first volume (or at least get it as close to “final” as any of my mixes ever get) until just this year.

Part of the problem is that mix has a very specific mood.  Musically, the hook is that these are songs which lure you into a false sense of security, then just burst into being.  It’s a little more than just dropping the beat; many of these transform fully from ballads to full-on rockers, if not heavy metal bangers, somewhere between verse and chorus, or even between one verse to the next.  But, emotionally, that’s a very specific mood to capture.  Some of these songs are about loss, or about violent discovery, or about reflecting on one’s own faults and the inevitable frustration that comes when you know you need to be better but somehow just can’t manage to achieve it.  I’m just not in the mood for that very specific energy all that often.  But, when I am, these are the songs I reach for.

To give you an idea of the vibe you might get from this mix, I’ve assembled you a little cento, cobbled together from lines of the songs in this first volume.  When it comes to naming a mix volume, there’s two camps that most of them fall into: either there’s a perfect line from one of the songs that instantly suggests itself as perfect, or there’s nothing that really jumps out at me and I have to go scouring.  But this volume is a bit of an outlier: there’s an embarrassment of riches here, and I ended up with so many great candidates that I started piecing them together in my head.  Here’s what I ended up with (attributions given at the end of the post):

Day after day after sorry day,
the sun makes me sick.
One, ’cause you left me.
You hate the things that I like—
that fascist faith will kill you.
I think I’m just paranoid;
I’m fucking lazy ...
there’s just too much pressure to take:
I’m just another soul for sale.
It’s not my time to wonder why ...
You monkey, you left me.
Set shit on fire.

So that should give you a rough idea of what you’re in for.

For the most part, these tracks fulfill the original pattern: they start out slow, or mellow, or understated, then burst into a sudden sonic explosion (though we’ll see a few songs which subvert expectations in one way or another).  The mix title ... well, the imagery is a bit unusual, but overall this is one of my most intelligible mix names.  The volume title is the last line of the little cento above, of course.

So, the first two tracks of this mix were pretty much always going to be Steve Burns’ epic opener “Mighty Little Man,” from his Steven-Drozd-of-the-Flaming-Lips-produced debut album, closely followed by “For Nancy,” the midpoint banger from Pete Yorn’s debut.  Both songs play with quiet/loud dynamics in a way that’s quite different from the standard grunge pattern.  In grunge, the contrasting dynamics are just a part of the structure of the songs; bands like Nirvana and the Pixies have refined the pattern to an art form, but you can’t really claim to be surprised when they do it.¹  These tunes hit with more emotional impact when they explode: they lull you into a false sense of calm, then burst into emotional being.  There’s really nothing like that feeling.

“Shutterbug” was the next most obvious choice: it’s a magnificent dichotomy of almost-whispered vocals punctuated by raw guitar chords that are almost metal in their ferocity.  It was easily the most standout track from Veruca Salt’s excellent Eight Arms to Hold You.  It was perhaps a bit unimaginative of me to just tack it on as the third track in the mix, but, honestly, these three really combine to form an opening triptych that firmly establishes the mood.  After that, there were a few other obvious choices: Linkin Park’s Hybrid Theory is basically composed of nothing but tracks that fit this pattern (from which I thought “Crawling” was the best exemplar), and the amazing “Bring Me to Life” by Evanescence was still fresh and darkly glittering at the time I was putting together the mix.  It opens with a simple piano melody and Amy Lee’s sweet, understated vocals, then Beny Moody’s grinding guitar licks kick in, and there’s that beautiful single beat of absolute silence before each chorus bursts forth ... it’s quite transportative.  Likewise, PJ Harvey was a no-brainer: I was pretty blown away by Rid of Me when I first heard it, and in particular the way that the title track starts very softly and makes you lean in, only to rock you on your heels with PJ’s aggressive guitar and Rob Ellis’ thundering drums.  There was never a world where this tune didn’t appear on the first volume of this mix.

After that, I looked a bit to the industrial scene.  Stabbing Westward’s “What Do I Have to Do?,” with its sparkly synth-noodling intro, was a pretty obvious choice.  Meanwhile, Machines of Loving Grace’s biggest hit “Butterfly Wings” inverts the pattern by starting out with standard industrial intensity, then dropping down to quiet moments between verses.  “Kiss Off” by Violent Femmes was another obvious choice: it starts with Gordon Gano’s acoustic guitar and quiet vocals, giving it almost a folk song vibe, and this time it’s Brian Ritchie’s bass that provides the burst of feeling; the song quickly turns and becomes a bit of a rant, which makes it fit perfectly here.  In the exact opposite department, it’s the slinky toms and bass of Green Day’s “Longview” that provides the calm before the storm of the guitars and snare.  Obviously Dookie was going to have to feature here, and I thought “Longview” was a great choice (plus it leads into “Kiss Off” quite nicely).

This mix was also started at the height of my fascination with Magnatune,² so it’s not surprising that several of its artists ended up here.  Perhaps most obviously, spineCar’s “Waste Away” follows a similar pattern to “Longview”: the rhythmic bassline is joined by a studied, pulsing drumbeat, then muddy guitars and quiet vocals join in, building to the crescendo where the lead singer breaks into a scream on the third syllable of the song’s title.  It’s a piece of undeservedly little-known nu-metal from the late 90s.  Then there’s “Dirtbag”: the original version of this tune, by Brad Sucks, is a perfectly lovely piece of alt-pop—the lyrics are a bit edgy, sure, but the melody belies that.  But part of the deal with Magnatune is the artists explicitly give permission for other Magnatune artists to remix their work, and what producer Victor Stone (working under the moniker Four Stones) does with “Dirtbag” is transcendant: he adds a seething undercurrent of anxiety and simmering rage by adding echoes and contrasting drones.  It’s really something to hear.  We’ve heard from Jade Leary before;³ “Meaner than Winter” is a short, not-quite bridge track that never really explodes, but always seems on the verge of doing so.  I felt it was a pretty good transition from the first half of the volume to the slightly harder edge of the second half.  Then we have “Charming Gun,” by trip-hop artist Artemis.  Honestly, I’m not sure this track really fits the theme all that well, and I was on the verge of taking it out several times.  But, in the end, I think it maintains just enough contrast (not only quiet/loud, but also slow/fast) to keep its place.

After that, two later additions were Metric’s “Black Sheep” from the Scott Pilgrim vs. the World soundtrack, and “The Pretender” by the Foo Fighters.  The former is just a solid post-punk offering that actually punctuates its quiet verses with strong guitar/bass/drum licks between the lines in a way that I found irresistible.  The latter ... well, I’m not one to think that Dave Grohl learned his craft from his time in Nirvana, because I think he was always pretty damned talented.  But I can’t help but wonder if his unerring talent for knowing when to crank up the vocals into a a full-on scream and when to back off is at least a little influenced by Kurt Cobain, who was undoubtedly the master of that technique.  When I first heard “The Pretender,” I knew unquestioningly that it had to be on this mix.

I follow that track with another one that manages to simmer without exploding and yet never feels unsatisfying: “Glycerine,” by Bush.  The only proper grunge song on this frist volume, the contrast here is provided by Nigel Pulsford’s crunchy guitars and strings, of all things.  Sixteen Stone is a revelatory album, and I’m kind of surprised it’s taken me this long to feature a track from it.  And I close with Smash Mouth, who, along with Nickelback, it seems to be fashionable to hate on these days.  But Fush Yu Mang is a pretty important album itself, and “Let’s Rock” is a great tune that hits a lazy, almost ska vibe for its verses, then bursts into a beautiful metal-inspired crescendo of emotion.  “Fuck it, let’s rock” indeed.

Creeping Rageaholic I
[ Set Shit on Fire ]

“Mighty Little Man” by Steve Burns, off Songs for Dustmites
“For Nancy” by Pete Yorn, off musicforthemorningafter
“Shutterbug” by Veruca Salt, off Eight Arms to Hold You
“Part 2 [Dirtbag Remix]” by Four Stones, off Ridin' the Faders [Remixes]⁴
“What Do I Have to Do?” by Stabbing Westward, off Wither Blister Burn + Peel
“Vinegar & Salt” by Hooverphonic, off The Magnificent Tree
“Big Mistake” by Natalie Imbruglia, off Left of the Middle
“Butterfly Wings” by Machines of Loving Grace, off Concentration
“Charming Gun” by Artemis, off Undone
“Meaner than Winter” by Jade Leary, off The Lost Art of Human Kindness
“Waste away” by Spinecar, off Up from the mud
“Black Sheep” by Metric, off Scott Pilgrim vs. the World [Soundtrack]
“Longview” by Green Day, off Dookie
“Kiss Off” by Violent Femmes, off Violent Femmes
“Crawling” by Linkin Park, off Hybrid Theory
“The Pretender” by Foo Fighters, off Echoes, Silence, Patience & Grace
“Glycerine” by Bush, off Sixteen Stone
“Rid of Me” by PJ Harvey, off Rid of Me
“Bring Me to Life” by Evanescence, off Fallen
“Let's Rock” by Smash Mouth, off Fush Yu Mang

Total:  20 tracks,  78:00

Which only leaves us with the two tracks that break up my two industrial picks.  I’ve talked before about my discovery of Natalie Imbruglia’s amazing Left of the Middle, so I won’t belabor the point, but it’s a testament to her versatility that, in addition to all the other places we’ve seen her in these mixes,⁵ here she is again.  “Big Mistake” starts out sweet and synthy, then right at the one minute mark it turns on you and tells you what a big mistake you’ve made trying to pigeonhole the song based on its opening.  Then there’s the truly stunning “Vinegar & Salt” from trip-hop impresarios Hooverphonic (who we’ve also seen on a pretty wide variety of mixes⁶).  This track is barely more than three minutes long, but it packs so much emotion into its short span that it fairly makes your head spin.  The verses are an almost matter-of-fact enumeration of the problems in a relationship, then the bridges crank up the tension—“honesty’s your church”—and then the chorus explodes into the stunning revelation that “sometimes, it’s better to lie.” It’s a rollercoaster ride in all the best ways.

Next time, I think we’ll dip our toes into the darker side of synthwave.

[As promised, here’s my pseudo-poem along with which songs they derive from:

Day after day after sorry day, [“Meaner than Winter,” Jade Leary]
the sun makes me sick. [“Shutterbug,” Veruca Salt]
One, ’cause you left me. [“Kiss Off,” Violent Femmes]
You hate the things that I like— [“Vinegar & Salt,” Hooverphonic]
that fascist faith will kill you. [“Butterfly Wings,” Machines of Loving Grace]
I think I’m just paranoid; [“Let’s Rock,” Smash Mouth]
I’m fucking lazy ... [“Longview,” Green Day]
there’s just too much pressure to take: [“Crawling,” Linkin Park]
I’m just another soul for sale. [“The Pretender,” Foo Fighters]
It’s not my time to wonder why ... [“Glycerine,” Bush]
You monkey, you left me. [“Shutterbug,” Veruca Salt (again)]
Set shit on fire. [“Dirtbag,” Brad Sucks, remixed by Four Stones]

Yes, I used “Shutterbug” twice; it really worked for this cento.  Those lines, of course, are back to back in the Veruca Salt rendition, whereas I separated them by almost the length of the entire piece.  I don’t think this is as good as either of my two previous centos, but it has a certain charm.  At least I think so.]

__________

1 I’ve mostly avoided using grunge tunes here, but you can expect to see at least a few in future volumes.

2 I told the story of how I discovered Magnatune in Rose-Coloured Brainpan.

3 On Shadowfall Equinox V and VI, and also on Fulminant Cadenza I and Slithy Toves II.

4 Original version by Brad Sucks, off I Don’t Know What I’m Doing.

5 Besides the aforementioned Smokelit Flashback, there was Distaff Attitude and of course her triumphant tune on Cumulonimbus Eleven.

6 Starting with Smokelit Flashback III, IV, V, and VI, and thence to Bleeding Salvador I and Plutonian Velvet I.

Plutonian Velvet I

"Ministers of Night"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

As we approach the pinnacle of spooky season, I thought it appropriate to present one of my spooky mixes.  And I have several of those, many of which we’ve already encountered.  As a connoisseur of all things creepy and crawly—as an aspiring author whose pentagram of literary idols include Stephen King and Clive Barker—I distinguish among many different flavors of spooky.  We’ve seen Phantasma Chorale, for instance, which is lightly creepy, with a bit of child-like thrown in for good measure.  We’ve seen Darkling Embrace, which is creepy but pretty, and Dreamscape Perturbation, which is creepy and dream-like.  Darktime was all about dark music, and Penumbral Phosphorescence was full on goth.  But how about some music which is downright spooky?  Well, you’ve finally come to the right place.

For this mix, we’ll be concentrating on music which sounds a bit scary or unsettling.  If it has some creepy lyrics, that’s a bonus, but it’s not the focus.  Mainly these are songs from artists which usually are perfectly normal-sounding bands, putting out perfectly normal-sounding albums, except for that one track that makes the fine hairs on your arm stand on end.  The name of the mix is drawn from a few lines from The Raven by Edgar Allen Poe, the patron saint of Hallowe’en if there ever was one.  The ends of two different stanzas of that excellent poem are:

“Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

So, as we sit here, on the violet-velvet cushion of Night’s Plutonian shore, let’s see what dark and festering cobwebby corners of alternative music we can find to chill our bones.

When I first discovered Falling You, back in the early days of the Internet,¹ I immediately fell in love with them² and started trying to download every single thing I could find by them.  Which is how I stumbled on this “remix” of “Hush” by Abney Park.  The original is pretty good—listen to it if you like—but it’s not significantly creepy.  What Falling You did was to entirely mute Robert Brown’s lead vocals, kick up Abney Park keyboardist Kristina Erickson’s almost whispered backing vocals, cut out nearly all the instruments except for the synths (which are perhaps even enhanced a bit), and add some creepy sound effects.  The result is something entirely different from the original ... and insanely dark and excellent.  For years I had it paired with “Mad Alice Lane” as the opening to Darktime, but honestly it transcends just being about darkness.  It’s a wonderfully creepy tune that serves as a wondeful intro.

And it’s followed by my other great find from those early Internet days: “Mad Alice Lane” by Peter Lawlor, founder of the Scottish band Stiltskin.  It took me forever, but I finally tracked down the CD single of this excellent (and excellently spooky) song; the version I’m using here is the slightly longer “A Spooker Ghost Story” one.³  The story of the song is just as creepy as the song itself, so defnitely give that a look-see.

Once I divorced these two excellent tracks from Darktime, I decided they should form the core of their own spooky mix.  And instantly I knew the first two companion tracks that had to be added: both are by Siouxsie and the Banshees and both are off Peepshow.  “Scarecrow” is one of my favorite tunes to play at this time of year, and, while the choruses are a bit rockin’ (as much of the Siouxsie œuvre is wont to be), the verses are super eerie.  As for “Rawhead and Bloodybones” ... well, based on a disturbing British tale of child-snatching boogeymen (or a single boogeyman with a compound name; versions conflict), the song has a lot of discordancy and notes that just jangle your nerves.  It made for the perfect closer.

After that, “The Lights are Going Out,” the closer for OMD’s 1985 masterpiece Crush, was so unlike anything else on that album that I’d always had it in the back of my mind as a candidate for a spooky mix, and the Cure’s short “Subway Song” is a little two-minute gem with a little jump scare built right in.  I follow up the latter here with “Barrowlands” by the Bolshoi.  The Bolshoi were contemporaries of OMD, though not nearly so well-remembered these days.  They had a similar sort of new-wave/synthpop sound, and “Barrowlands,” the penultimate track on Lindy’s Party, is similarly conspicuous in its dissimilarity to everything else on that album.  It’s got a great graveyard feel to it, and also provides our volume title.

Rounding out the 80s contributions (though I embarrassingly didn’t think of it until quite recently) is “Sanctum Sanctorum” by the Damned.  I was looking for a replacement for another track that just didn’t seem to fit, and it suddenly occurred to me that I didn’t have anything by the Damned.  And, while the Damned may not be a proper goth band, lead singer Dave Vanian is the gothiest motherfucker on the planet: black leather and huge white streak in his jet-black hair (at least during the Phantasmagoria era), married to Patricia Morrison of the Sisters of Mercy (which is a proper goth band)—hell, he even used to be a gravedigger before becoming a rock star.  And Phantasmagoria has some goth gems on it, of which “Sanctum Sanctorum,” with its Phantom-of-the-Opera-style opening organ chords and backing thunder-and-lightning effects, is easily the spookiest.

Other obvious, if more modern, choices were “Shadow of a Doubt” by Black Tape for a Blue Girl (with Elysabeth Grant breathily telling us how she “met a stranger on a train” and Sam Rosenthal’s goth-soaked arrangement), “Mary of Silence” by Mazzy Star (more organ, sludgy percussion, and echoey vocals by Hope Sandoval), and “Danny Diamond” by Squirrel Nut Zippers (a taste of New Orleans creepy accompanying a song of tragedy sung by Katharine Whalen).  Those fell naturally into a little block, starting with “Diamond” and ending with “Mary,” that closes out the first third and sets us up for the middle stretch.

A few more self-evident choices: modern goth masters Faith and the Muse, who here give us the breathy, bassy track “Kodama,” and dark ambient, strings-heavy Amber Asylum, who provide “Cupid.” The lyrics of “Kodama” are actually about the commodification of Hollywood,⁴ but the song still retains enough sinister to secure its position here.  As for “Cupid,” it’s a rare vocal outing for band founder Kris Force, and those vocals soar and swoop; it’s not always clear exactly what the words are, but the arrangement is a bit menacing and a bit tortured, so it works well here.

Tossing in a bit of early-to-mid-’aughts trip-hop, the Belgian band Hooverphonic can go dark with the best of ’em, and I always thought “L’Odeur Animale” was one of their darkest.  The whole song just feels ... off, and that creepy little tag at the end just seals the deal.  When Geike Arnaert sings “deep inside,” it makes you shiver, even if you don’t know quite why.  My other choice was Germany’s Trost, whose Trust Me is normally fairly uptempo, if a bit surreal.⁵  But the last track,⁶ “Filled with Tears,” has more of that bass-driven, echoey and breathy vocals that have popularized so many of the other tracks I chose.  Plus the one-two punch of Hooverphonic and Trost makes a fantastic wind-down to our closer from Siouxsie.

Plutonian Velvet I
[ Ministers of Night ]

“Hush [Flashback Mix]” by Abney Park [remix by Falling You] [Single]⁷
“Mad Alice Lane (A Spookier Ghost Story)” by Lawlor, off Mad Alice Lane (A Ghost Story) [CD Single]
“Cupid” by Amber Asylum, off The Natural Philosophy of Love
“Scarecrow” by Siouxsie and the Banshees, off Peepshow
“Kodama” by Faith and the Muse, off :ankoku butoh:
“The Lights Are Going Out” by Orchestral Manoeuvres in the Dark, off Crush
“Danny Diamond” by Squirrel Nut Zippers, off The Inevitable
“Shadow of a Doubt” by Black Tape for a Blue Girl, off The Scavenger Bride
“Mary of Silence” by Mazzy Star, off So Tonight That I Might See
“Now, When I'm This” by the Black Queen, off Fever Daydream
“Ghost Children” by Bruno Coulais, off Coraline [Soundtrack]
“Toccata” by Nox Arcana, off Legion of Shadows
“Waltz of the Damned” by Lee Press-On and the Nails, off Swing Is Dead
“Subway Song” by the Cure, off Boys Don't Cry
“Barrowlands” by the Bolshoi, off Lindy's Party
“Sanctum Sanctorum” by Damned, off Phantasmagoria
“L'Odeur Animale” by Hooverphonic, off The Magnificent Tree
“Filled with Tears” by Trost, off Trust Me
“Rawhead and Bloodybones” by Siouxsie and the Banshees, off Peepshow

Total:  19 tracks,  79:13

And that just leaves us with the centerpiece of the volume.  We start with 3 instrumentals: a rare double-bridge leading into a hardcore synth-driven update of Bach’s “Toccata and Fugue in D minor.” First up, the Black Queen, a dark synthwave band composed of former members of Trent Reznor’s touring band for Nine Inch Nails.  I discovered these guys while checking out the veritable cornucopia of dark synthwave that’s springing up these days (such as Urban Heat and Light Asylum), and while dark synthwave doesn’t necessarily mean creepy, there’s certainly something ominous about “Now, When I’m This,” which is the short intro to the Black Queen’s debut album, Fever Daydream.  And the transition from “Mary of Silence” straight into “Ghost Children” wasn’t working for me, so this little track made a nice bridge to the bridge, if you see what I mean.  And “Ghost Children” itself was picked to be a little bridge into “Toccata”: it’s a nice (but creepy) little track off of Bruno Coulais’ excellent soundtrack to Coraline.  I mean, all of Coraline is pretty creepy—it’s the entire raison d’être for Phantasma Chorale after all—but I tend to think that “Ghost Children” is one of the few actually spooky ones.  And it tees up the Nox Arcana take on Bach’s classic, given its uncanny bona fides by association with early silent horror films such as Dr. Jekyll and Mr. Hyde in 1931 (it didn’t become associated with The Phantom of the Opera until 1962, by which point it was already cliché horror film music).  Nox Arcana does some excellent work here, keeping it lively while also providing the appropriate amount of darkness for being the anchorpoint of an album named Legion of Shadows.

And all that takes us to perhaps the only surprising choice of the volume: Lee Press-On and the Nails.  Retroswing auteurs LPON are often silly, but also occasionally gothy, and their album Swing Is Dead contains a few tracks that aren’t out of place in the Halloween season.  But only one is truly spooky: “Waltz of the Damned” sounds almost exactly like what you would hear while waiting in line to see the Haunted Mansion at Disneyland.  The amusement-park-style sound effects fade into some New-Orleans-style dirge before leaping into LPON’s more typical big-band sound, with Lee’s vocals heavily processed through a voice-distortion unit spewing lines like “and when the leader waves his fiery baton, the band begins to scream in three-quarter time!” It’s eerie, spooky fun.

Next time, we’ll sneak up on some sonic explosions.

__________

1 Which is when I also discovered a bunch of other crazy things I’ve shared with you, like Ensemble of the Dreamings and Zoolophone.

2 Well, him: Falling You is almost entirely composed of John Michael Zorko.

3 That single also contains the nearly-ambient “Dogs of Breakfast,” which we heard on Shadowfall Equinox III.

4 Or at least that’s my interpretation.

5 We’ve heard from Trost once before: her weird little ditty “Even Sparrows Don’t Like to Stay” was featured on Gramophonic Skullduggery.

6 These sorts of weird, creepy songs are often used as closers for their native albums.

7 This one is so damned hard to find that I just gave up and uploaded it myself.  You’re welcome.

Sirenexiv Cola II

"Sneaky Like a Fiery Fox"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.  You may also want to check out the first volume in this multi-volume mix for more info on its theme.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

Sometimes a volume II consists of all the songs that just wouldn’t fit on volume I.  But sometimes it’s just that certain artists were so good that they had multiple candidates, and I was working very hard to restrain myself from including them all.  That latter case sums up Sirenexiv Cola pretty well: there’s yet another brilliant opener from KT Tunstall—”(Still a) Weirdo,” in fact, includes the brilliant line “Optimisitc, but never quite elegant,” which came very close to being our volume title—and the promised inclusion of alt-radio favorite “Polyester Bridge” by Liz Phair.  The Sundays and the Katydids are back; the former provide the gorgeous “Here’s Where the Story Ends,” another alt-radio favorite and quite possibly my introduction to the London band; the latter give us a slightly less folky take than last volume with “Don’t Think Twice.” And, speaking of folky, you know I had more from folks like Feist and Regina Spektor and the inimitable Tori Amos.  For Feist, the album that immediately precedes the one with her breakout hit “1234” (which was featured last volume) is Let It Die, which features her first charted single, “Mushaboom.” It’s a sweet pop gem which sweeps us into the middle stretch of this volume.  As for the Russian-born NYC-raised Spektor, “Fidelity” was her first song to chart in the US, and features some beautiful musical hijinx, such as pairing pizzicato string work with some glottal stops and stretching the word “heart” into a dozen or more syllables; it’s pretty breathtaking.  And, while I still maintain that Tori Amos’ debut Little Earthquakes is the most brilliant album of her career, “Caught a Lite Sneeze” is probably the first of her singles that I really enjoyed after that initial infatuation.  It’s somehow both dreamy and poppy, ethereal but with a strong beat.  Definitely a classic.

But that’s not the extent of our returning artists—in fact, it’s perhaps only as I’m writing this blog post that I realize how much throughline there really is in terms of the vocalists.  Bella Ruse is back with “Hold Me Close,” a spare acoustic anti-folk ballad that develops into a dreampop synth wash; its’s somehow hopeful and melancholy all at once.  We hear once again from Beth Quist; the swooping vocals of “Goodbye” show off why she’s part of Bobby McFerrin’s “Voicestra.” There’s another Meaghan Smith tune, “Poor,” which shows off her ability to start out slow and build to something beautiful.  And, on the harder side of this mix, I once again come back to Swedish powerpop star Lykke Li, with “Dance, Dance, Dance,” and P!nk, with “Stupid Girls.” The former was never a hit, but it is off Li’s first, best album (Youth Novels), and it showcases her ability to blend a lot of different instruments and styles into a coherent whole.  The latter was a fairly big hit for P!nk (#13 in the US; #4 in the UK) and contains a lot of typically smart lyrics such as “What happened to the dream of a girl president? She’s dancing in the video next to 50 Cent” and laments “where oh where have the smart people gone?” And it still manages to be a banger, of course.

Still, we must have new blood to keep a mix fresh.  One of the things I realized when putting together volume II was that I had failed to include the incomparable Suzanne Vega.  And, while normally my go-to Vega album is 99.9F°, there’s also much to be said for her follow-up Nine Objects of Desire.  And I just felt like “No Cheap Thrill,” a little more upbeat than most of her œuvre, worked best as our penultimate track.  It’s got that slinky vibe that I featured on Slithy Toves I (speficially, “Caramel”), but a bit more of a pop vibe, with catchy lyrics that compare a relationship to playing poker.

It also felt a little weird that I hadn’t included anything off Fur and Gold.  The brilliant debut of British vocalist Bat for Lashes has provided tracks for Porchwell Firetime I, Slithy Toves I, Darkling Embrace I, and Wisty Mysteria II, but this mix was really tailor-made for her.  “The Wizard” was her first single and, though it didn’t chart, it’s really a great, dreamy track that works quite well here.  I also thought to return to the smokier voice of Chrissy Amphlett and Divinyls; “Heart Telegraph” really lets Amphlett’s pipes shine, and I think it transcends the mid-80s new wave that it also indelibly evokes.  (Last we saw Ampheltt—on Totally Different Head I—I noted that she died fairly young.  Since then, I’ve actually passed her age at the time she died, so it hits even harder for me now.)

Of course, I’ve also just plain discovered some new bands since I started this mix.  A former coworker of mine introduced me to a bunch of new music, from his favorite obscure subgenre (Italo-disco) to just stuff he knew because he was much younger than I.  And sometimes he would have tenuous personal connections to a band: I believe he knew the Dum Dum Girls (who are indeed from our native LA) because an ex-girlfriend was close friends with one of the members.  Or something like that.  But he threw up one of their songs onto our big screen that we used to play “push songs” and I was mightily impressed.  “Caught in One” is my pick for their first appearance here: while they can often be a bit shoegaze-y, this tune is more jangle-pop, with Dee Dee’s powerful vocals singing about the loss of her mother (“Death is on the telephone / I lie and say she isn’t home”).  It’s a great tune.

Another major discovery was Lucius, whose Wildewoman was nearly as exciting a discovery as Tiger Suit, which is what arguably kicked off this mix in the first place.  This indie pop four-piece from Brooklyn features two harmonic female vocalists.  Jess Wolfe and Holly Laessig are not related, but they tend to dress alike and wear their hair in similar styles, so you could be forgiven for thinking they were sisters.  The title track off this amazing album is a bit of a revelation; Wolfe and Laessig do that thing they do so well where they alternative between harmonizing and singing in a round-like style, and it includes great lyrics such as our volume title, as well as the chorus:

She’s gonna find another way back home,
It’s written in her blood; oh, it’s written in her bones.
Yeah, she’s ripping out the pages in your book.
...
Yeah, she’ll only be bound by the things she chooses.

Sublime.

Sirenexiv Cola II
[ Sneaky Like a Fiery Fox ]

“(Still a) Weirdo” by KT Tunstall, off Tiger Suit
“Stupid Girls” by P!nk, off I'm Not Dead
“Caught a Lite Sneeze” by Tori Amos, off Boys for Pele
“The Wizard” by Bat for Lashes, off Fur and Gold
“Dance, Dance, Dance” by Lykke Li, off Youth Novels
“Goodbye” by Beth Quist, off Lucidity
“Mushaboom” by Feist, off Let It Die
“Poor” by Meaghan Smith, off The Cricket's Orchestra
“You and Me” by Sara Watkins, off Sun Midnight Sun
“Hold Me Close” by Bella Ruse, off Bella Ruse [EP]
“Wildewoman” by Lucius, off Wildewoman
“Fidelity” by Regina Spektor, off Begin to Hope
“I Say Nothing” by Voice of the Beehive, off Let It Bee
“Caught in One” by Dum Dum Girls, off Only in Dreams
“The Gold Medal” by the Donnas, off Gold Medal
“Here's Where the Story Ends” by the Sundays, off Reading, Writing and Arithmetic
“Polyester Bride” by Liz Phair, off Whitechocolatespaceegg
“Don't Think Twice” by Katydids, off Shangri-La
“No Cheap Thrill” by Suzanne Vega, off Nine Objects of Desire
“Heart Telegraph” by Divinyls, off What a Life

Total:  20 tracks,  74:45

There’s nothing too surprising here, though there are a few obscure tracks.  Voice of the Beehive was a group comprised of two sisters from California who formed a band in London that included a couple former members of Madness.  Let It Bee is fairly typical for the late 80s, though it does include a few quite clever songs such as “There’s a Barbarian in the Back of My Car” and “Sorrow Floats” (the problem with trying to drown your sorrows, of course).  But I’ve always had a soft spot for “I Say Nothing,” their second single but first to chart (in the UK and Australia only, although they reissued it the following year and it made it to #11 on the US alternative charts), which contains the brilliant line “That’s why I drink: so I’ll be who they think I am.” It’s a bit of 80s-style poppiness that’s hard not to like.

Now, the Donnas might be a little surprising: they’re typically hard rockers in the same vein as the Runaways or Sleater-Kinney, so you might them more suited for something like Distaff Attitude (and I’ve no doubt we’ll see them there eventually).  But in their calmer moments (which still aren’t all that calm), they put out some tunes that work well here.  One of which is “The Gold Medal,” which is a surprisingly non-aggressive song about leaving someone who can’t appreciate you.  Brett Anderson (a.k.a. Donna A) has the perfect, apathetic vocal take on this song, and it’s kind of perfect coming off the Dum Dum Girls and setting up the Sundays for the quieter back third.

And that just leaves me with perhaps the most unlikely artist of all—or at least unlikely that I would own an album of hers.  I first heard Sara Watkins on A Prairie Home Companion, and at first I was convinced that she was way too country for me ... I mean, she started off playing fiddle for a “progressive bluegrass” band, of all things!  But there’s just something about her voice, and I do appreciate a fiddle, especially when it’s not particularly country-fied.  Now, her album Sun Midnight Sun does contain a few tracks which are entirely too country to be tolerated, but many—and in particular “You and Me”—are just gorgeous alt-country tunes.  Powered primarily by what I suspect is a mandolin, with perhaps a few touches of steel guitar and surprisingly little (if any) actual fiddle, “You and Me” is too perfectly apt for this mix for me to ignore it just for the sin of appearing on an album with a few other songs I can’t particularly appreciate.  So here it sits, and I’m pretty happy with my decision.

Next time ... well, Hallowe’en is coming up.  Maybe we’ll find some tunes that would work well for that.

⇐ Sirenexiv Cola I

Sirenexiv Cola III ⇒

Eldritch Ætherium IV

"Tales Around the Desert Crossroads between Aribeth and Anauroch, over the High Seas, beyond the Druid Grove"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.  You may also want to check out the first volume in this multi-volume mix for more info on its theme.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

Well, it’s another volume of music to inspire tabletop roleplaying, and yet again we’ve got another long, silly title cobbled together from the track names—I may have actually reached the limit at this point, and whenever next volume comes along I’ll probably have to reset to a shorter title and start building up again from there.  Many other things are the same too: Midnight Syndicate is back, with two more tracks off the excellent Dungeons & Dragons album, as are Nox Arcana, Colm McGuinness, and Ian Peter Fisher.  Jeremy Soule’s soundtrack for Neverwinter Nights, which exploded into this mix last volume with 3 tracks, now appears with a whopping four (but they’re all very short); Adrian von Ziegler (from volume II) finally returns; and we have two more tracks from both the 13th Age soundtrack (from two different composers: Chris J Nairn and Thery Ehrlich) and Michael Hoenig’s Baldur’s Gate II soundtrack.  Not to mention another track from the World of Warcraft soundtrack, and two more from the Witcher 3, including our amazing opener.

But of course we must have differences too.  For the first time, I don’t feature a track from the Shards of Eberron album that arguably inspired this whole mix.  There’s no Dead Can Dance this time out either, nor any zero-project.  Missing too are Epic Soul Factory and Faith and the Muse, and, perhaps most disappointing of all, no Loreena McKennitt.  Still, changes also mean new artists, and, to make up for McKennitt’s absence, we have a great piece from violinist Lindsey Stirling.  Stirling is one of those musical success stories that are truly inspirational:  She asked her parents for violin lessons and dance lessons, but they told her they could only afford one.  So she stuck with the violin lessons and taught herself to dance.  Then she started developing an act where she danced while playing violin, and everyone told her that no one wanted to see that.  So she took her impressive skills to YouTube and proved everyone wrong by amassing 13 million subscribers and over 3 billion views.  Stirling’s music is remarkable all on its own, but for the full effect you really have to visit her YouTube channel; you could start with the video for the track I use here, “The Arena.” This track has a bit of the McKennitt flair, but it’s also transcendently Stirling.  She has a fondness for fantasy-themed music (such as her Skyrim tribute with Peter Hollens), and I thought “The Arena” fit right in here.

I’ve also found a couple of new soundtracks to mine.  Greg Edmonson’s score to Uncharted: Drake’s Fortune, for instance, works well here; franchises such as Indiana Jones, Tomb Raider, and Uncharted have a lot of traipsing around in jungles and ancient temples, which sort of makes them first cousins to D&D-style adventures.  Then there’s the Assassin’s Creed franchise, which is even closer to your average D&D campaign.  Here I’ve chosen one track from Jesper Kyd’s score for the first installment, and one from Brian Tyler’s for the fourth.  Staying on the videogame kick, we’ve got one track from Yuka Kitamura off the Dark Souls III soundtrack and one from Christopher Larkin’s excellent soundtrack for Hollow Knight, and even more Jeremy Soule, this time from his score for Oblivion, the Elder Scrolls game that immediately preceded Skyrim.

As our journey begins this time out, we’re sitting around a campfire with “Geralt of Rivia” telling “Tales Around the Fire”: after a hushed introduction, they start out quite dramatically, but soon lapse into a comfortable rhythm.  The next morning we begin traveling, exploring fantastical vistas and “Kismet,” which lead us to a “Night on the Desert,” where spooky things lurk in the darkness.  This brings us to a “Crossroads” of conscience, but we forge on into the dark, where mystical things await (“Soft Mystical Fantasy Theme”).  We stalk the magic by doing a bit of “Grave Robbing,” and the danger builds to an “Earth Shaker.” Then we’re immediately plunged into “Battle Aribeth.”

In its aftermath, “The Eyes of the Stone Thief” are upon us, leading to some creepy feelings of being watched.  But we forge on through the jungle, danger lurking at every turn (“Plane-Wrecked”), and then there’s a sudden “Skirmish,” from which we emerge victorious.  Then we must embark on a “Journey Through Anauroch,” which is apparently a romantic, foreign land, but, “In the End,” it is the dramatic bass tones of “Fjölnir” that lead us inevitably to “The Arena.”

After a whirlwind adventure on that field, it’s off to “The High Seas” where we end up “Commanding the Fury” in fierce ship-to-ship combat.  We arrive at our destination just in time for a “City Battle”; fleeing from that encounter, we pass through the sinister and eerie “Stranglethorn Vale” where we have a “Premonition” of danger, so it’s off to “Waterdeep, City of Splendors”—which we find has some similarities to the “City of Jerusalem”—to search for a “Secret Sanctuary.” There we encounter the “Sœurs martiales” (martial sisters) in all their stately grandeur.  That inevitably takes us to the “Final Confrontation” and bestows upon us our “Bloody Blades.” We acquire healing from “The Druid Grove” and reflect on fallen comrades (“Trost” is German for “consolation”).  Our journey is done, but the dramatic airs of the “Reign of the Septims” remind us that further adventures await on the morrow.

Eldritch Ætherium IV
[ Tales Around the Desert Crossroads between Aribeth and Anauroch, over the High Seas, beyond the Druid Grove ]

“Geralt of Rivia” by Marcin Przybyłowicz, off The Witcher 3: Wild Hunt Soundtrack [Videogame Soundtrack]
“Tales Around the Fire” by Chris J Nairn, off The 13th Age Suite [RPG Soundtrack]
“Kismet” by bond, off Born
“Night on the Desert” by Jeremy Soule, off Neverwinter Nights [Videogame Soundtrack]
“Crossroads” by Christopher Larkin, off Hollow Knight [Videogame Soundtrack]
“Soft Mystical Fantasy Theme” by Ian Peter Fisher, off Soundtrack Music
“Grave Robbing” by Greg Edmonson, off Uncharted: Drake's Fortune [Videogame Soundtrack]
“Earth Shaker (Drums)” by audiomachine [Single]
“Battle Aribeth” by Jeremy Soule, off Neverwinter Nights [Videogame Soundtrack]
“The Eyes of the Stone Thief” by Thery Ehrlich, off The 13th Age Suite [RPG Soundtrack]
“Plane-Wrecked” by Greg Edmonson, off Uncharted: Drake's Fortune [Videogame Soundtrack]
“Skirmish” by Midnight Syndicate, off Dungeons & Dragons [RPG Soundtrack]
“Journey Through Anauroch” by Jeremy Soule, off Neverwinter Nights [Videogame Soundtrack]
“In the End” by Eklipse, off A Night in Strings
“Fjölnir” by Adrian von Ziegler, off Fable
“The Arena” by Lindsey Stirling, off Brave Enough
“The High Seas” by Brian Tyler, off Assassin's Creed IV: Black Flag [Videogame Soundtrack]
“Commanding the Fury” by Mikolai Stroinski, off The Witcher 3: Wild Hunt Soundtrack [Videogame Soundtrack]
“City Battle II” by Michael Hoenig, off Baldur's Gate II: Shadows of Amn [Videogame Soundtrack]
“Stranglethorn Vale” by Jason Hayes, off World of Warcraft Soundtrack [Videogame Soundtrack]
“Premonition” by Yuka Kitamura, off Dark Souls III Soundtrack [Videogame Soundtrack]
“Waterdeep, City of Splendors” by Jeremy Soule, off Neverwinter Nights [Videogame Soundtrack]
“City of Jerusalem” by Jesper Kyd, off Assassin's Creed [Videogame Soundtrack]
“Secret Sanctuary” by Nox Arcana, off Winter's Majesty
“Sœurs martiales” by Xcyril, off Coeur Martial [Soundtrack]
“Final Confrontation” by Midnight Syndicate, off Dungeons & Dragons [RPG Soundtrack]
“Bloody Blades” by Jeremy Soule, off The Elder Scrolls IV: Oblivion [Videogame Soundtrack]
“The Druid Grove” by Michael Hoenig, off Baldur's Gate II: Shadows of Amn [Videogame Soundtrack]
“Trost” by Colm McGuinness [Single]
“Reign of the Septims” by Jeremy Soule, off The Elder Scrolls IV: Oblivion [Videogame Soundtrack]

Total:  30 tracks,  78:23

Whew! that’s a lot of tracks.  In fact, this is not only our longest volume title so far, but also our longest in terms of number of tracks (though not in terms of total time—9 of the songs are under 2 minutes, and another 12 are between two and three minutes).  There’s not a whole lot unexpected going on here, but let’s look at what there is.

You may recall French composer Xcyril from his two appearances on Phantasma Chorale I and his single track on Paradoxically Sized World VI.  Those other tracks were from what I believed to be “soundtrack portfolios”—that is a collection of tunes that are likely used to demonstrate the composers skills and hopefully net them a job.  Well, the track here appears to be from an actual movie—if a very short and experimental one (you can watch it yourself and form your own opinion)—called Coeur Martial.  So I guess it worked.  There’s also a track from Audiomachine, an LA-based production company that does music for film and television.  I can’t remember how I stumbled across “Earth Shaker (Drums)” (which is, by the way, different from “Earth Shaker”), but I think I saw that someone on the Internet had cobbled together a playlist for one of the D&D adventures (Tomb of Annihilation, perhaps) and this one I thought was just too perfect.

And that just leaves us with the two string quartets, both of which are attempting to update that very classical sound with a lot of modern production values.  First we have Australia’s bond, who play chamber music infused with a lot of glam, and perform it much like a girl group.  Their first album Born has a lot of great tracks on it, but “Kismet” was the one that I thought really gave that feel of traveling through a fantasy landscape.  Last but not least, Germany’s Eklipse do chamber music covers of pop songs and dress like über-goths.  Their first album, A Night in Strings, has some great covers, including this one, “In the End.” It’s a bit of a challenge to take a Linkin Park song and recontextualize it as a fantasy theme, but Eklipse did most of the work, and I think sandwiching it between Jeremy Soule and Adrian von Ziegler adds a bit as well.

Next time, we’ll take a second look at some indie ladies.

⇐ Eldritch Ætherium III

Eldritch Ætherium V ⇒