A Sweeping Curve of Sound

How about a little Auld Lang Syne?

Nicki Jaine with musical saw.

See you in 2008!

My weekly podcast “A Darker Shade of Pagan” has just been posted. This week featuring brand new tracks from The Machine in the Garden, Mirabilis, and Arrowwood. Enjoy!

[direct download]
[subscribe via iTunes]
[podcast feed]

Playlist:

Monica Richards - Fell to Regret, Mirabilis - Sub Rosa, Sigur Ros - Staralfur (live), The Machine in the Garden - Otherworld, The Valerie Project - Torchlight, Arrowwood - With My Heart in My Head Like One Eye, Irfan - Simurgh, The Moon and The NightSpirit - Orokke, Akron/Family - Ed is a Portal, Faun - Konigin

You can also listen to this show on the Pagan Radio Network!

I just came across an article in Zeek (a Jewish journal of thought and culture) from 2006 that discusses the recent revival of psychedelic music and the spiritual dimensions underlying “psychedelia”.

“For today’s psych-folk musicians, spirituality exists in the tension between the great heights of ego-dissolution and the sunken buried claustrophobia of the self — not in the escape from one to the other. Pysch folk, particularly with drone, can have the qualities of an incantation, of a spell, the words learned first as a prayer, but manipulated into something magical. And yet, there is something oddly pragmatic about it. Like any good folk music, it is the music of community, of simple songs that become part of an oral/musical tradition, music that can be passed on. The subversive side of psychedelia — the effect pedals, reverb, looping — means that the community that will sustain it is also one that is of the 21st century. This combination of technology and the echoes of British folk partly gives psych folk a pagan quality. But this peculiar brand of musical mysticism more readily evokes a kind of pantheism: Holiness is hidden in the world; the right tool, maybe the drone of a computerized loop, can be the incantation to set it free. “

Similar sentiments can be found in the “Wyrd Folk” movement, ritualistic and Heathen strains within Neofolk, and from individuals within the psych-folk movement.

“It should be noted that the underlying impetus of The Project Series is to reconnect the world to itself. Valerie is a film partially born from of a complex folk tradition, centuries of provincial culture. As global borders expand and cultural homoginisation ascends, it is important that artists spread the heritage and uniqueness of pre-21st century cultural identity, so that such identities can be discovered, valued, and hopefully preserved by a modern global culture that tends to forget the learned wisdom of its past. “

Part of my attraction to the psych-folk revival stems from this emphasis on pagan, folkloric, and immanent themes that can be found (either explicitly or in the subtext). It’s one of the reasons I include these artists (another is that I like them) within my A Darker Shade of Pagan podcast, and why I’m going to be covering them in my book (currently in process) on the history of modern Pagan and occult music.

Musicfolio has released their top twenty Goth/Darkwave/Industrial albums for 2007. Topping the list is VNV Nation’s album “Judgement”.

“Judgement is obviously a darker album being that the theme is Judgement Day, the end of mankind. Lyrically it contains many of VNV’s most popular themes, but on tracks like Nemesis and Descent we see Ronan really tapping that dark visceral vein of his. The vocals on Descent are spoken, not sung, and believe me when I say Ronan sounds seriously grim on that track! A very haunting song.”

I can’t say I think VNV Nation made the best “dark” album of 2007, but I’m sure they are working with different criteria.

On a more personal note, I would like to give a shout-out to the Parasol Records top-2007 picks (I briefly interned there, and they are all wonderful people with great musical taste).

But enough of this 2007 pondering! I am very much looking forward to the music of 2008. New albums from Nick Cave, M83 (check out a preview), Bauhaus, Deadfly Ensemble, Devotchka, Ladytron, A Silver Mt. Zion, Portishead, Jessie Evans, and the new Mirabilis CD “Sub Rosa” (now available via mailorder, but hitting the stores in February) which I plan to review here soon (once I get my hands on it).

“Mirabilis - the collaborative neo-classical/heavenly voices duo Summer Bowman of The Machine in the Garden and Dru Allen of This Ascension - return with Sub Rosa, the brilliant follow-up to their 2004 debut, Pleiades. The new album mixes classical sensibilities with exotic electronics and acoustic instrumentation to complement the vocal depth listeners are familiar with from Dru and Summer. The vocals are supported with a melancholic arrangement of flute, hammered dulcimer, and live percussion mixing with multi-layered vocal stylings to invoke a range of emotional textures.”

Sounds right up my particular alley. Now off to record this weeks podcast…

Writer and Techgnostic Erik Davis (author of an excellently esoteric book concerning Led Zeppelin’s “IV”) weighs in on the recent Led Zeppelin reunion show, and what exactly the band was invoking that night.

“While the Zeppelin reunion show was indeed an invocation, what was really being invoked was not the devil but, well, the entertainment juggernaut that is Led Zeppelin. Market-wise, their live appearance was as well-timed as a bonfire on solstice: the band recently released their “new” Mothership collection, featuring barely a hair’s difference from their last new double-CD collection; there’s also a redux of the still-wack The Song Remains of Same. In October, the behemoths gave into the digital regime and agreed to offer up their catalog online—an agreement that brought them an increased royalty rate from their distributor Warner Music Group, who also negotiated to oversee their copyrights. (Sharks!) I just saw The Golden Compass, and was treated with a Verizon ad for Zeppelin downloads before the film—a movie that, now that I think of it, also features a airship beefed up with metallurgic technology. When I finally played the bootleg backwards, I distinctly heard the following during the awesome rendition of “Kashmir”: buyyy led seppelyn ringtonezz… “

Capitalism devours all, even Crowley-obsessed legendary bands it seems. But despite that, Davis is still a true believer.

“Feeding off this show at one remove, I was forced to recognize that I was still a believer, that live performance on a global stage can recall and retain something like majesty in our hypermediated age. Call it presence, if you will, or a piper’s call. I just know I wish I had been there.”

It remains to be seen if Led Zeppelin will continue to hold on to their legendary legacy in our digital age, will the sigil magick conducted in the sixties and seventies hold out?

Have you done some illegal downloading and now feel a bit guilty over the whole sordid affair? Why not send them five bucks and a letter? Wipe away that karmic debt for the price of a fast-food value meal.

www.dearrockers.org

“Many of us own music that we didn’t pay for. We don’t feel guilty about shafting the record company, but what about the musicians themselves?”

Hat-tip to Listening Post.

Today I have been settling down with my new copy of “Goth: Undead Subculture”, a collection of essays edited by Lauren M.E. Goodlad and Michael Bibby. Though I have hardly gotten past the introduction, the book is already prompting me to examine my own experiences within the goth subculture, and where I currently stand with my own “goth identity”.

“The volume’s editors provide a rich history of goth, describing its play of resistance and consumerism; its impact on class, race, and gender; and its distinctive features as an “undead” subculture in light of post-subculture studies and other critical approaches. “

Goth: Undead Subculture

Though I have been listening to goth and “goth-friendly” music since I was a teenager (Peter Murphy, The Cure, Dead Can Dance, etc) I never considered myself an active participant in goth culture (nor did I ever think to label myself a “goth”) until around ten years ago when I decided to start actively mingling at the local “goth night” and attending shows held by local promoters. Eventually I found myself helping out around shows, then I parlayed my newfound position at a community radio station towards hosting a goth-themed radio show, then I started doing the occasional live gig. The next thing you know I was running the only “goth-industrial” night in town, promoting my own shows, and still doing my radio program. At which point I could no longer avoid the fact that I had become “a goth”.

Today, several years later, I’m no longer doing most of things, partially due to scene burn-out and partially due to a move a different State. Though I do still host a darkly-themed music podcast and often comment on dark music here on this blog, I’m not sure if other goths would still label me as “one of them”. Then again, as more and more goths age, the notion of inclusion being based on active club involvement and wardrobe seems to be shrinking.

“These goths eat at the buffets, run up tabs at the cigar bar and venture onshore with their digital cameras to pose at waterfalls, colonial sites and, yes, beaches. Favored onboard activities include “scare-aoke” (when GothCruise members take over the mic at the karaoke bar) and making “goth soup,” (sitting in the hot tub, but without the black satin and body paint). Those who have gone on the trips, many of whom are in their 30s, say that they don’t fit the stereotype of brooding goth because they grew out of it as they entered the working world …  “We wore black lipstick in the ’80s, but now we’re grown up,” said Megan Green, a 39-year-old graphic designer for Merrill Lynch…”

So perhaps I’m “stillagoth”, even if I can’t stay up past ten on most nights, and hardly ever get the chance to wear my six-buckle PVC boots.

Due to family obligations I won’t be blogging today, but I’ll be back tomorrow with my regular daily dose of music-related news and commentary. In the meantime, I wish a very happy holiday season to you all, and a very happy birthday to Jesus of Nazareth, Mithras, Carlos Castenada, Sol Invictus, Robert Ripley, and Annie Lennox among many others.

Sol Invictus

Wired’s Listening Post runs down the top ten music stories of 2007.

My favorite music blog, Raven Sings the Blues, shares its top 15 of 2007.

Mtv: The year the music industry broke. Also, what is coming in the future?

Pitchfork: Top fifty albums of 2007.

See also: DJ Martian’s extensive best-of lists link collection.

Deathrock.com: nominations for best 2007 albums.

Mick Mercer’s picks for 2007’s best albums.

Plus: Mick Mercer’s X-Mas-themed issue of The Mick (pdf), and a Christmas card from Uncle Nemesis.

My weekly podcast “A Darker Shade of Pagan” has just been posted. This week featuring holiday music appropriate for just about any Winter Festival. Enjoy!

[direct download]
[subscribe via iTunes]
[podcast feed]

Playlist:

The Mirror Reveals - Island of Misfit Toys, Faith and the Muse - A Winter Wassail, The Knife - Christmas Reindeer, Dar Williams - The Christians and the Pagans, Nellie McKay - Christmas Dirge, Gwydion - The Lord of the Dance, Unto Ashes - For I Am Winter Born, Mediaeval Baebes - Coventry Carol, Hexperos - Winter Rhymes, Jaiya - To Drive the Cold Winter Away, Mirabilis - Invocation of the Sun, Arcanta - Carol of the Bells, Autopsia - Stille Nacht (g)rave remix

You can also listen to this show on the Pagan Radio Network!

Today* is the Winter Solstice, the longest night and shortest day of the year.

Sun Halo at Winter Solstice

The solstice time was marked as special by pre-historic peoples in both Ireland and England. While there is scant evidence of specific celebrations, it is generally thought that the pagan Celts did mark the solstice time.

Germanic pagans and modern Heathens celebrate Yule at this time. During this holiday the god Freyr was honored. Several traditions we associate with Christmas (eating a ham, hanging holly, mistletoe) come from Yule.

The ancient pagan Romans celebrated Saturnalia which typically ran from December 17th through the 23rd. The festival honored the god Saturn and featured lavish parties and role-reversals. From Saturnalia we can see the traditions of exchanging gifts and decorating evergreen trees indoors that would be adopted as Christmas traditions. Following Saturnalia were the birth celebrations in honor of Sol Invictus (the unconquered sun) and Mithras both held on December 25th.

Many modern Pagans, including Wiccans, Witches, several Druidic traditions, and their many off-shoots hold this time as one of the eight Sabbats/holy days. Usually called Winter Solstice or Yule. It is a time when many of these traditions celebrate the re-birth of the god by the mother goddess.

No matter what your religion or tradition, may this year’s winter celebrations and observances bring you peace and joy!

For some holiday-appropriate tunes, check out my ADSOP podcast tomorrow! 

* The Winter Solstice happens on December 22nd at 06:08 UTC. Which means that it happened at approximately 12:08 AM CST for me. You can calculate the time for your own neck of the woods, here.

The Edmonton Sun has a nice profile up of Canadian “goth-tinged” group Cockatoo.

Cockatoo

“Bassist Rod Wolfe’s musical career has seen him play nearly every style of alternative music over the years. He’s done punk, ska, electronic, goth and psychedelic rock and collaborated with ex-members of Skinny Puppy and SNFU among many others. His musical journey has most recently landed him with Edmonton’s Cockatoo, a band that allows him to exercise a wide array of his influences, which he can’t quite pin down himself … In October, the band finally pressed a few of its goth-tinged rock tunes to CD. The Basement Tapes EP has quickly spread Cockatoo’s name from their own basements to homes all over the world. “

I have been following the career of singer/guitarist Robyn Bright for some time now, and I can tell you that her songwriting chops are solid, her voice assured, and her talent apparent. You should definitely check out Cockatoo’s new EP “The Basement Tapes”, you’ll be glad you did. While the article claims their sound to be “undefinable”, you can certainly hear darker post-punk echoes and sign-posts throughout the EP, including a healthy dollop of Echo and the Bunnymen, and the “4AD-sound” (albiet with a more aggressive drum sound). Don’t miss out.

Links: Cockatoo on MySpace, Robyn Bright on MySpace

Legendary British folk-rock pioneers Pentangle are reforming to celebrate the 40th anniversary of their Royal Hall performance where they recorded the live portion of the seminal double-album “Sweet Child”.

Pentangle

“On 29 June 2008, exactly 40 years to the day that unique British folk/jazz ’supergroup’ Pentangle recorded the live disc of their seminal double album, Sweet Child, at London’s Royal Festival Hall, the original band: Bert Jansch, John Renbourn, Jacqui McShee, Danny Thompson and Terry Cox, will reunite and return to the Royal Festival Hall to celebrate their legacy. From their formation in swinging ‘60s London, Pentangle were one of the most exciting and innovative groups in the world, genuinely pushing boundaries and exploring new musical avenues. Simultaneously stars of the underground and darlings of the mainstream, they enjoyed an unprecedented degree of success worldwide for an acoustic band and their influence and musical impact is still revered and relevant today, as evidenced by the critical and commercial acclaim for The Time Has Come, and their BBC Radio 2 Lifetime Achievement Award presented in February 2007 at the BBC Folk Awards by Sir David Attenborough. This concert is a once-in-a-lifetime opportunity for long-time fans to revisit and new fans to experience for the first time the magic that is Pentangle.”

It is hard to overestimate just how influential Pentangle and other British folk-rockers were on the new crop of Psych Folk artists, the British Wyrd-folksters, and the Pagan music scene. Though the original lineup hasn’t worked regularly together since 1972 (though vocalist Jacqui McShee still tours with a band dubbed “Jacqui McShee’s Pentangle”), their shadow looms large on the current underground folk scene. A recent example being the 30th annual Brosella Folk Festival in Brussels, where several members of prominent Flemish folk bands joined with Jacqueline ‘Jacqui’ McShee and Danny Thompson to form “The Wicker Band” and proceeded to perform songs from “The Wicker Man” movie before a midnight showing of the film (an event I would have given my eye-teeth to attend).

The highlight was the special project, The Wicker Band. Their performance was dedicated to Antoine Courtmans, honorary president of the Friends of Brosella, who died in April. First, the group performed some songs which contained themes in relation to The Wicker Man film. Including music written by XTC, Malicorne, The Velvet Underground and some traditional numbers. There was also a beautiful duet between Neeka and Jacqui McShee, the classic folk song “My Husband’s Got No Courage In Him”.

No doubt fans are going crazy at the thought of seeing the original lineup live. In any event, its a good an excuse as any to explore this extremely talented and influential group. For a quick education on the band, why not start with their recently released box-set? You’ll be glad you did.

Downloads: Pentangle - “Cruel Sister”
(from the album “Cruel Sister”)

Links: Pentangle on MySpace, Bert Jansch on MySpace

David Byrne (you know, that guy with the really big suit) holds forth on the future of the music industry for Wired.

“Some see this picture as a dire trend. The fact that Radiohead debuted its latest album online and Madonna defected from Warner Bros. to Live Nation, a concert promoter, is held to signal the end of the music business as we know it. Actually, these are just two examples of how musicians are increasingly able to work outside of the traditional label relationship. There is no one single way of doing business these days. There are, in fact, six viable models by my count. That variety is good for artists; it gives them more ways to get paid and make a living. And it’s good for audiences, too, who will have more — and more interesting — music to listen to. Let’s step back and get some perspective.”

Since you may have already read this, I would also like to mention that one of my favorite projects that David Byrne was involved in was the excellent documentary about the Brazilian/Yoruban religion Candomble entitled “Ile Aiye (The House of Life)”.

ILÉ AIYÉ explores the ways in which Candomblé has influenced the daily life and culture of the people of Brazil in music, art, religion, theater, food, dance, poetry and more. ILÉ AIYÉ uses experimental film techniques, music, and cultural observation to express the life and rituals of Candomblé and the symbolic manifestation of the Orishás, the deities which represent the wide range of natural and spiritual forces. The rhythms of the sacred drums and bells, a dance of spiritual ecstasy, offerings and sacrifices, divination and the visitation of the Orishás through trance are all part of the color and life of Candomblé. 

Truly one of the most beautiful explorations of this syncretic religion that I have ever seen, Netflix it today!

If you haven’t already followed the link from Boing Boing, go check out the latest post on the Arthur Blog concerning the occult musical underground in Britain.

“The 2002 ritual is one of the more striking manifestations of a largely unobserved current of inspiration running through the margins of British electronic music in recent years. A loose network of musicians have been following similar paths of interest or obsession, paths that frequently end up in places where ritual, magick and paranormal occurrence are the spur for musical invention. Themes and reference points include weird tales and ghost story writers (especially some of the names that influenced HP Lovecraft), psychogeography (or the physical examination of the psychic qualities of our cities), renegade science, and nostalgia for half-remembered (or mis-remembered) films and television, typically science fiction and horror. These groups are eager to use their work to lift the veil on the mundane and shine a light into occluded zones. What they’re delving into might be called “occulture” (for want of a better term), “occult” meaning hidden, and it’s with hidden, forgotten or secret arts that occulture concerns itself. “

Check out the whole thing, it is well worth the read as an exploration of cultural and musical threads that get very little attention from the majority of music and pop-culture journalists.