Tag Archives: Music

Ten Years #26: Summoning

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
26. Summoning (1,154 plays)
Top track (86 plays): Menegroth, from Oath Bound (2006)
Featured track: Ashen Cold, from Let Mortal Heroes Sing Your Fame (2001)

Blind Guardian’s Nightfall in Middle-Earth might be the most inspired musical retelling of any of J.R.R. Tolkien’s works to date, but no band has crafted an atmospheric sound to capture that world quite so convincingly as Summoning. With a sound that would just as soon excite fans of video game music or “new age” artists like David Arkenstone as their orginal black metal fan base, Summoning have forged a truly unique musical path. While their first studio album, Lugburz (1995), was relatively standard for the synth-laden black metal of its day, they nearly finalized the sound that made them famous on Minas Morgul, released later that same year. Since then, the only perceptible change has been a slow decline in the use of tremolo guitar; the quality of the songwriting and the imaginative world it invokes has remained pretty consistently superb.

For me at least, Summoning and Tolkien’s fantasy world have become nearly inseparable. The echoing, tribal drums paint vast landscapes cast dark by distorted vocals and guitar. The synth speckles the scene in a light that, never breaching the world of full orchestration, retains a fantasy aspect through its unnatural sound. The lyrics enliven the music with the spirit of an epic tale–whether it be the dramatic narrated loop on on “South Away”–“By the crowns of the seven kings and the rods of the five wizards!”–the water god Ulmo’s bold proclamations on “Farewell”–Who can tell you the age of the moon? But I can! Who can call the fish from the depths of the sea? Yes, I can! Who can change the shapes of the hills and the headlands? I can!–or the spirit of perseverance on the track here featured–“Though his body is not tall and his courage seems small, his fame will take long to fade.”

Tolkien’s greatest achievement was to craft a fantasy world so vast that imaginative minds ever since have managed to forge a place within it. Summoning have done so with a level of excellence nearly unrivaled, and they continue to today. There might have been a seven year gap between Oath Bound (2006) and Old Mornings Dawn (2013), but their new release is in every way on par with the rest. It’s a bit of a wonder that they’re only ranked 26th on my decade-spanning last.fm charts. I suspect that, another ten years from now, they’ll be much nearer the top, because their music takes me to a place that is eternal.

Ten Years #28: Týr

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
28. Týr (1,101 plays)
Top track (75 plays): Hail to the Hammer, from various albums
Featured track: Regin Smiður, from Eric the Red (2003)

Viking metal, pagan metal, folk metal, call it what you will–it’s pretty impressive that Týr have managed to capture an extraordinary vision of the Norse past with absolutely no traditional instrumentation or synth choruses to speak of save the human voice. Since their second album, Eric the Red, Týr have revolved around Heri Joensen’s breathtaking vocals. Their unique brand of progressive rock instrumentation is heavy enough to blast out your stereo and yet entirely subservient to the driving vocal anthems. I would be very interested to gain a better understanding of where Joensen’s dedication to tradition gives way to his unique creativity as one of the most innovative musicians making music today–of the extent to which his vocals are derived from Faroese tradition. With an educational background in both vocals and Indo-European linguistics, he probably has a better idea than most of how traditional Germanic and Norse singing must have sounded, and I feel a sense of solidarity between the band and other students of folk vocalization such as Latvia’s Skyforger. At the same time, I gather that Norse musical tradition is a far more elusive beast than its eastern counterparts.

As a modern band, Týr seem to me the most central act of the whole “viking metal” scene. The term is a bit of a ruse, in so far as it lacks both the stylistic conformity of most genre labels and the acknowledged generality of catch-alls like “folk metal”. Whether a band might garner the label depends upon so many nuance factors that it is much easier to agree upon which acts ought to receive it than to discuss why. Attempts to properly define it are few and far between. The Wikipedia article on “viking metal”, for instance, is largely substantiated by a thesis on folk metal submitted by Aaron Patrick Mulvany in 2000. That is only 12 years removed from Bathory’s Blood Fire Death–now a quarter of a century behind us–and two years prior to one of the most significant bands of the “genre”‘s debut. With the utmost respect for anyone who acknowledges folk metal as a legitimate subject for scholarship (I’m looking forward to reading Mulvany’s thesis, available online, over the next few days), I would ascribe to him the gift of prophecy were it not hopelessly dated. But while I would say that Bathory was fundamentally black metal, Amon Amarth death metal at their core, Falkenbach hopelessly under-appreciated, and Thyrfing given to fantasy, the inherent catch-all-ism of progressive metal (not the Dream Theater worship standardized derivative) lends to Týr a sense of authentic originality. As a metal act they do their own thing, and that makes their tradition-influenced vocals and lyrics emerge with no strings attached.

Týr’s music is neither too confrontational nor too fanciful to be generally accessible. They are, in the very least, the first band I would recommend to an inexperienced listener who asked me what specifically Norse-derived folk metal sounded like. Their sound bleeds an authentic scholarly interest in Norse culture and plugs the myriad gaps with progressive rock that is both down to earth and impressively original. You’ll find no fallback to Tolkien here (album cover aside), and no hell-raising or Transylvanian hunger either; it’s something a bit more Apollonian, and exciting all the same. If I could pick any one artist to spend an evening in a pub with, Heri Joensen may very well top my list.

Ten Years #29: Therion

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
39. Therion (1,059 plays)
Top track (81 plays): The Siren of the Woods, from Theli (1997)
Featured track: Vanaheim, from Secret of the Runes (2001)

Therion is an interesting animal in the world of metal. In a lot of ways, Christofer Johnsson’s brainchild derives from forms of music that don’t much suit me. The harsher vocals are firmly rooted in his death metal origins, the guitar riffs and drumming waver between metal and a softer “hard rock” sound, and 80s-inspired over the top solos flourish throughout the discography. Yet all of these typical turn-offs for me shake their negative connotations and merge rather seamlessly with Johnsson’s greater operatic vision. For the majority of Therion’s 26 year history, Johnsson has been forging his own unique path through the world of theatrical rock by infusing fairly typical stylistic norms with outstanding song writing. I can’t help but fear at times that Therion may descend to the quality of another boring Trans-Siberian Orchestra, but they never do. Across 15 studio albums, Johnsson continually manages to find compelling new ways to make the peculiar marriage of rock and opera somehow work.

I’ll admit to not being a huge Therion fan. The vast majority of the 1000+ listens that render them my 29th most-listened-to band of the past decade came in 2003 and 2004, when the individual elements of their sound were still a bit novel to me. I never did get around to picking up Sitra Ahra or Les Fleurs du Mal. But I’ve heard enough to confidently state that Johnsson is one of the finest song-writers to seriously approach the possibilities of combining rock with classical styles. Secret of the Runes is my personal favorite album in his discography. There, I think Johnsson really let the opera be heavy in its own right; it’s frequently more intense and driving than the traditional metal instrumentation accompanying it.

Ten Years #33: Аркона

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
33. Аркона (909 plays)
Top track (49 plays): Покровы небесного старца, from От сердца к небу (2007)
Featured track: Гой, Купала!!!, from От сердца к небу

It’s no coincidence that a lot of folk-oriented Slavic metal bands have more of an edge than their western counterparts. There is a spirit of primitivism and barbarism that seems to permeate these acts; while Alestorm and Korpiklaani are reveling in booze, bands like Arkona are delighting in something more savage. Grittier distortion, harsher vocals, lower quality production, and a tendency to incorporate black metal all play a role. While this has allowed a lot of Slavic folk metal bands to capture a slightly deeper, more introspective connection to their cultural roots, it has also reduced their accessibility. Arkona are impervious to this consequence; they manage to invoke that essence of savage Slavic glory while still constructing songs I wouldn’t hesitate to recommend to people unconditioned to extreme metal. This is due in part to their above-average production quality (obviously lacking in a youtube rip), but more so to Masha’s wildly diverse range of sung and screamed vocals, often accompanied by a glorious operatic Russian chorus.

As with the last entry in my last.fm series, there is not much I care to say about Arkona that I did not already cover in a previous post. Their position as my 33rd most listened to band of the past decade is no accident. Hell, they’re the initial reason I learned how to transliterate Cyrillic.

Song of the Day: “In The Room Where You Sleep”

Posted on by Leonard Wilson

On my way out of James Wan’s “The Conjuring” last night, I noticed Ryan Gosling’s name in the credits. A bit of curiosity led me to his band, Dead Man’s Bones. I wasn’t aware he sung, but he’s pretty good at it. Feeling like a mix of The Doors & Roy Orbison, this song really matches with some of the creepiness of the film. Here, the band plays “In The Room Where You Sleep” , with kids as the background vocals. Enjoy.

Ten Years #35: Blur

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
35. Blur (850 plays)
Top track (43 plays): Parklife, from Parklife (1994)

It wasn’t until about 1996 that my mother decided it would be acceptable to allow me to purchase cds. Prior to that, all non-Evangelical Christian music and television was banned in our household (aside from The Beatles and Pink Floyd; she liked them as a kid, so they must have never done drugs or any of that Satanic stuff). Her lovely father was exploiting me for slave labor at that point for the fair wage of 25 cents an hour, and I found that, at $8 a pop through the BMG music distribution club, I could buy a new cd every four days. I quickly replaced all of my secret cassette recordings of radio singles with actual albums, and some time the following year that lead to the acquisition of Blur’s Parklife. I was initially appalled to find that it did not contain “Song 2”–the only Blur track that most Americans have ever heard–and considered writing to BMG demanding my money back for their faulty advertising. How dare they sell me some other cd by a band that, according to my radio, only ever wrote one song worth listening to.

Well, suffice to say I gave it a few more listens and it became one of my lasting favorites of that decade. I was oblivious to its tongue-in-cheek social commentary at the time. What I heard was a vision of some foreign, advanced culture in which people spoke in tantalizing accents and could sing about subjects other than religion without resorting to aggression. The novel experience of a world beyond a particularly self-isolating yet prominent American subculture and its proclaimed enemies (grunge music and video games–we hadn’t reinstated the Crusades yet) is largely responsible for my persistent, overly glamorous and unrealistic Europhilia today. Blur’s ability to craft a sound that perfectly reflected the modern British life they were mocking placed them at the forefront of this experience. For me at the time, the most popular band in Britain was a close-kept secret. To have grown up and realized they really were one of the most talented and creative bands of their generation is just icing on the cake. Blur remains one of my most listened-to non-metal bands today–my 35th most-played band of the past decade–and I can’t imagine I’ll tire of them any time soon.

Ten Years #36: The Mountain Goats

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
36. The Mountain Goats (846 plays)
Top track (37 plays): Home Again Garden Grove, from We Shall All Be Healed (2004)
Featured track: Fault Lines, from All Hail West Texas (2002)

Back in my later high school days, when my early obsession with metal music coexisted with an active participation in games like Magic: The Gathering and Dungeons & Dragons, I remember stumbling across a 1/1 beast in Ice Age that I became bound and determined to name a pseudo-grim heavy metal band after:

I was very briefly disappointed to find that a band had already beaten me to the punch on that one. One of the things that makes John Darnielle an awesome person, though, is the very real possibility that this is no coincidence and he took his band name from M:tG too. (Probably not, given that his first album came out in 1994, but you never know.) This guy has made a guest appearance on an Aesop Rock hip-hop album and written an acoustic love song set to a Marduk black metal concert in the same year; his appreciation for the awkward and out-of-place couples with an above-average awareness of other musical scenes to conjure a constantly befuddling self-image. The first time I saw him live, before I was very aware of his works, I wasn’t sure if I ought to take the dialogue between each track as stand-up comedy or legitimate commentary by someone who was hopelessly socially inept. In retrospect, it was more the former, but the heart-felt sincerity Darnielle packs into everything he says or writes is both a quintessential part of the act and a reflection of who he really is–someone both incredibly aware and controlling of his public image and just a little bit legitimately weird. He has made his claim to fame writing sentimental solo acoustic songs with over-the-top lyrics and awkward subject matters that are simultaneously heart-felt and tongue-in-cheek. He has cultivated his awkwardness into some of the best solo acoustic albums recorded since Bob Dylan.

Lately, The Mountain Goats have evolved from a solo project to more of a full band. Last time I went to their show the audience had expanded from about a hundred to a few thousand, and Darnielle was hamming up the rock-star image with a shit-eating grin on his face the whole time. I absolutely love this guy and his works, and while I can’t say that I’ve kept up with him consistently over the years (his discography is massive), I’ve certainly listened to him enough to rank in my top 50 most played artists of the past decade. Here are the lines to Fault Lines, to give you some idea of his brilliantly bizarre lyrics:

Down here where the heat’s so fine
I’ll drink to your health and you drink to mine
As we try to make the money we scored out in Vegas hold out for a while
We drink vodka from Russia
We get our chocolates from Belgium
We have our strawberries flown in from England
But none of the money we spend seems to do us much good in the end
I got a cracked engine block, both of us do
Yeah the house, the jewels, the Italian race car
They don’t make us feel better about who we are
I got termites in the framework, so do you
Down here where the watermelon grows so sweet
Where I worshiped the ground underneath of your feet
We are experts in the art of frivolous spending
It’s gone on like this for three years I guess
And we’re drunk all the time, and our lives are a mess
And the deathless love we swore to protect with our bodies
is stumbling across its bleak ending
But none of the rage in our eyes
Seems to finish it off where it lies
I got sugar in the fuel lines, both of us do
Yeah the fights and the lies that we both love to tell
Fail to send our love to its reward down in hell
I got pudding for a backbone, and so do you
La la la la! Hey hey!

Ten Years #39: Camera Obscura

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
39. Camera Obscura (786 plays)
Top track (228 plays): Country Mile, from Let’s Get Out of This Country (2006)
Featured track: Razzle Dazzle Rose, from Let’s Get Out Of This Country (2006)

The presence of Camera Obscura on my decade-spanning last.fm charts might be the only fluke in this series. They basically got here because I listened to “Country Mile” on repeat for about 12 hours one day. Let’s Get Out of This Country is the only album I’ve really listened to extensively in their discography (they just released their fifth last month), and while I did get the pleasure of seeing them live once, I can’t say I know much about the band. But I do think this album is absolutely delightful–a little hidden ray of light in my mostly heavier music collection that warmed my heart the first time I heard it and still does today. Its retro vibe feels oddly more authentic than any of the actual classic pop sounds it replicates, made fresh by a heavy dose of 2000s indie aesthetics and Tracyanne Campbell’s angelic vocals. Let’s Get Out of This Country takes me back in time so vividly that I swear I remember growing up surrounded by the wallpaper on the album’s cover. It’s flooded with innocent ennui, played out in front of a kitchen window on a rainy Saturday afternoon. Its depression is refreshing and nostalgic, replaying some childhood memory in which boredom seemed to be the worst thing life had to offer.

Song of the Day: Haunted (by Rob)

Posted on by Lisa Marie Bowman

Maniac

Today’s song of the day is an instrumental piece from the latest horror remake, Maniac.  Composed by the French musician Rob, Maniac‘s score is just as important to the film’s unlikely success as Elijah Wood’s disturbing performance in the lead role.  Reminiscent of the scores composed and performed by Goblin for the films of Dario Argento, Rob’s work here results in one of the best horror scores ever recorded.

Here is Haunted.

Ten Years #45: Miki Higashino

Posted on by necromoonyeti

Decade of last.fm scrobbling countdown:
45. 東野美紀 (Miki Higashino) (705 plays)
Top track (31 plays): Beautiful Golden City, from Suikoden (1995)

Ms. Higashino is the first of a handful of video game music composers to have risen through my ranks over the years, thanks almost entirely to her beautiful contributions to the soundtracks of Genso Suikoden I and II. (Funny, I would rank Suikoden II in a three way tie for my favorite video game ever, and all three relevant composers made it onto the charts.) Her discography is small but compelling, showcasing an appreciation for traditional Asian and European folk music that rarely surfaces with such force among her contemporaries. Paying special attention to Japanese and Irish folk in particular, she managed to imbue the first two Suikoden titles with a lively earthiness ideal for an unprecedented model of gameplay made possible by the Playstation. The Suikoden games eschewed fantasy in the raw for an appeal to political and military strife in which the hero moves from town to town gathering an army and waging war along grey lines, the quintessential naivete of the RPG hero being frequently exploited to generate scenarios in which the moral high ground stood open to debate. If the main plots centered around those characters most aware of war’s many faces, the hero and the bulk of his officers–108 recruitable characters in all–were simple folk, fighting for personal reasons without a grasp of the big picture. Miki Higashino’s success in the Suikoden soundtracks rested in her ability to score appropriate music for the simple majority–those characters with deep ties to the land, who lacked a grand vision and swallowed whole the political propaganda which cast their homes and country in jeopardy. Songs like Beautiful Golden City capture what the majority of the Suikoden cast fought to preserve.

Higashino has a long history in the video game music industry in spite of her short list of works. She composed her first two soundtracks–Gradius and Yie Ar Kung-Fu–in 1985, at the surprisingly young age of 17. Yie Ar Kung-Fu in particular reveals that Higashino bore an appreciation for folk music from the very beginning of her career. I’ll leave you with the NES version of this remarkably early score.