Visual

Gauche the Cellist (1982, Isao Takahata)

Considered ‘proto-Ghibli’ for Isao Takahata’s direction hence lots of visual similarity. The story (originally written by Kenji Miyazawa) follows a struggling cellist who indirectly learns the skills he needs for his concert through encounters with talking animals.

See also: Fairy Florence

hidden treasure

Eurythmics – In The Garden (1981)

new wave / art rock / neo-psychedelia / synth pop

RIYL – Annie Lennox, Siouxsie And The Banshees’ Kaleidoscope, early Cocteau Twins, This Mortal Coil, Conny Plank productions

Offbeat, ‘leftfield’ or plain weird early work from soon-to-be chart toppers are a phenomenon that never fails to draw me in. Beyond an already unique path in sound and genre, Eurythmics’ commercial-flop debut was a great example. 1981 had Annie Lennox and David Stewart in an odd spot between their upbeat power pop with Tourists and finding their niche as a minimal synth-pop duo. They had the icy keyboards down by now, but a backing band as well, playing an ambiguous new wave-jangle-neo psych hybrid.

In The Garden is a studio creation first and foremost, but it’s knack for ghostly surrealism isn’t too far from how Goldfrapp recorded their debut in a cottage. Picture Annie as a half-woman half-ghost haunting an old mansion or farmhouse in the English woods, and you have the right idea. She hasn’t sounded so haunted before or since. If the cover is any hint, she tones down her usual powerful belts and soars for chilly falsettos and sinister, abstract poems. They tend to echo off into the music in a way that would do wonders for a 4AD group; now I wish Annie sang in such a band. The lyrics follow suit:
‘I’m never gonna cry again / I’m never gonna die again’
’Dust is collecting / But she doesn’t notice / counting forever / she’s a calculator’
‘Another change of light / The underlying truth / request to pack it in / no solutions’

Combined with the uneasy, resonant wide-open space distinct to a krautrock giant like Conny Plank (“All The Young”), this is an album full of surprises. The result highlights many interesting parallels between krautrock and early new wave.  You’ll hear foresty atmospheric touches, bizarre sound effects, and creeping post-punk twang among other curios Eurythmics left behind within a few years.

For all the weirdness (“Sing-Sing”, filled with samples chattering away and Annie singing in French) and sinister undertones (“Caveman Head” with it’s edgy goth rock tease, the horror-inspired b-side “Le Sinistre”), songs like “Belinda” approach a normal pop-rock sound. Part of me wishes they engaged more with those thrilling goth/experimental hints than these upbeat grooves as a result. Still, you can find some fulfillment for that on the bonus tracks “Le Sinistre”, “4/4 In Leather” and “Take Me To Your Heart”’s live version. As it stands, In The Garden is worthy curiosity for anyone drawn to the oddball early eighties.

List

A Gothic Top 5

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With The Banshees as my biggest gateway into my serious musical interests, I’ve had a fascination for gothic themes for many years now. As picky as I get with the goth rock/darkwave scenes, they generated and influenced several of my all-time favorite albums.

To coincide with this Halloween, I’ve decided to look back on five of my most formative gothic, autumnal and/or ‘spooky’ favorites. This is more about representing than building an exact top-5, so check out this related list and my Halloween mixes if you want more!

Lene Lovich – Shadows And Dust, 2005

Lene Lovich is new wave’s wacky witch of the west. Anyone familiar with her distinctive polka-dotted voice will know this already. Shadows And Dust is the lesser-known piece to the puzzle. Despite coming fifteen years after March, Lene sounds more witchy than ever. She tributes the Wicked One herself with all the right gleeful camp on track 9.

Mixing non-forced cabaret drama with speculative themes, SAD is a goth-pop wonderland. SAD plays like a natural step from where she left off, unfazed by time. It never lacks a new trick to show off, be it wispy synth bells (“Ghost Story”), viking-like backing vocals, a grim synth-string intro (“Remember”) or an elaborate Dracula narrative (“Insect Eater”). To top this off, every song has a bouncy hook to get you nodding along. Altogether, it brings me back to Siouxsie’s Peepshow. With a bold sing-along and mutant arrangement, “Shapeshifter” makes a worthy “Peek-A-Boo” sequel. And this is coming from a fanatic!

Lene sings like she’s stirring a cauldron. Her voice wears a bit on louder sections, but I love her enthusiasm. Her wild-but-warm spirit hasn’t faded a bit, and her deeper, richer tone matches her themes. The sheer thrill she takes in voicing Reinfield on “Insect Eater” is nearly contagious. Sweeter moments like “Remember” show her knack for tender romance isn’t gone either.

Even beyond her ‘prime’, Lene had so much more to offer than “Lucky Number”. SAD is a major reason why; the limited release has me wishing more fans got to hear it.

Grimes – Halfaxa, 2010

In a Simpler Time ™ before dating billionaires and romanticizing climate change with anime, Claire Boucher packed fresh creative instincts into a computer. On oft-ridiculed Halfaxa, she channeled cathedrals and haunted medieval heirlooms from what many critics dismiss as the lowest dregs in music-making: Garageband. Albums like this tell me they’re wrong.

These technical limits and her isolation at the time informed these songs to unique results. Like many albums in this formative time for bedroom e-music, she’s alone with her thoughts here. As expected with a creative musical mind, it’s easy for me to get lost in them.

The songs create unique emotional portraits, both vague and pointed. “Devon”, for one, is a raw, rejected love song all the way, but with other highlights like ”Dream Fortress”, I detect so many different feelings at once. It’s sad nostalgia for that once-beautiful abandoned heirloom one minute and ghostly horror the next.

Halfaxa is a mind, a universe and a huge antique house. It thrives in surrealism and history’s shadows, but as other reviews stated before, you find human feelings inside. Her devotion to Mariah Carey helped; she stated Halfaxa was her attempt to capture the spacious, haunting effects of group church singing. I know well these vocals can be a bit much with the echoes and caterwauls everywhere, but I would argue the cowgirl-punk approach on Art Angels is it’s own acquired taste.

Halfaxa is ethereal wave’s digital-age niece; any fan should try it.

Bauhaus – The Sky’s Gone Out, 1982

Bauhaus’ messiness was the main reason I was a ‘casual fan’ rather than worshipper. With that said, Sky’s Gone Out struck me as a glorious, thrilling mess if anything. Beyond “Exquisite Corpse”, the songs don’t lose their footing in shouty jam-outs. They had more ambitious ideas and the experience to pull them off by now. They were maturing from the faux-edgy rambling that filled their debut.

Sky’s Gone Out stands out further as the one Bauhaus album where they could pull a true ‘scare’ on me. For all the hammy drama leftover from Mask, this album allows itself to build a stronger atmosphere, one that belongs in bizarre nightmares out of an arthouse film. Sky’s Gone Out has it’s own black-and-white, surrealist world like the cover art.

Complete with piano and sax from a haunted house, “Spirit” isn’t punk as much as a wild, dancing chorus of ghosts. The “Three Shadows” trio is a journey in itself, going from quiet goth-tar disturbance to an underworld’s fairground waltz.

Despite everything, the album ends on a quiet, solemn note with “All We Ever Wanted”. It’s the gentlest song to the Bauhaus name. Peter’s fittingly spectral highs toward the end whirled around my head for years. Fun as songs like “Spirit” and “Bela Lugosi” get, it makes me wish Peter Murphy showed this vulnerable side more often.

Cocteau Twins – Head Over Heels, 1983

Head Over Heels takes place in the mountains and towering caves of your mind. As the first ’normal’ Cocteau album, this invented ethereal wave as we know it and pioneered the 4AD sound. I’d argue shoegaze’s whole color-wash approach began around here too.

HOH is a thrilling display for Cocteau’s leftover goth roots in the more elemental context that would become their trademark. Liz Fraser’s voice settles a bit, sounding freer than ever as she belts, quivers and hums with equal strength. Her usual non-lyrics add to the enigma but her tone posesses incredible warmth and nobility here. The boldness in her delivery is surprising knowing her famous self-deprecation.

The spacious fuzz-guitar draws curiosity but insists to lurk in shadows. It’s a long, long gaze into said caves, where water drips quietly and huge sun rays peer inside. This is the moody, bewitching edge of nature in it’s full glory. It can be “Sugar Hiccup”’s candyland dream sequence or an intimidating divine beast emerging from it’s lair. What never fails to cast a spell on me is “Tinderbox Of A Heart”, a tie with “Fifty Fifty Clown” for my favorite CT song. it works like a travelogue for HOH’s world, where this mountain-cave turns out huge from the outside and all you can do is glare in awe.

Siouxsie And The Banshees – Peepshow, 1988

As the 33 1/3 book stresses, Peepshow emphasized SATB’s art-film interests. At this point, they were more a ‘goth pop’ group. Far from Juju’s raw impact, then, but resuming the moody elegance that graced Dreamhouse and Tinderbox. For each goth-tar you have ”Carousel”’s haunted circus organ, “Rhapsody”s chilly strings and “Peek-A-Boo”‘s reversed tango.

Martin McCarrick is the one who took the Banshees (further) beyond rock. Adding cello, accordion and other new flavors, he’s one of their most unique members. The result is the band’s last goth album, being a few years before “Kiss Them For Me”. As if predicting this change, they went all-out with it. Peepshow has all the thrill, variety and surrealism to remind you why this band was so vital to the goth scene. Q gave this apt summary: ‘Peepshow takes place in some distorted fairground of the mind where weird and wonderful shapes loom’. In a parallel to Goldfrapp’s debut made in a cottage, they recorded these songs in a 17th century mansion. The kind of album that puts Hot Topic rock to shame.

Siouxsie sounds like the suave and secretive ringleader in a freakshow. Songs like “Scarecrow” and “Rhapsody” showcase her refining flair for drama. As a whole, Peepshow finds this band at a special middle ground. Yet to hit the Top 40 with “Kiss Them For Me” but on their way, with their middle era’s adventurous spirits intact.

Mix

Castles In The Sky (I Heart Noise Guest Mix)

ORIG BRIGHT

IHN Mixcloud + 8Tracks + Youtube

My guest mix for I Heart Noise highlights the surprising darker and sadder corners of new age music. Despite common aims to soothe and uplift, these songs dive into downbeat and/or ambiguous feelings: vulnerable, longing, bittersweet, haunting. The bright synths of a meditation cassette meet the murky lows and fragile heart of your favorite oddly-sinister children’s VHS.

Made from selections off my eponymous Rateyourmusic list: plenty more in this vein over there!

Track listing

  1. Suzanne Ciani – The Eighth Wave
  2. Hiroshi Yoshimura – Singing Stream (Spring Mix)
  3. Bob Foster – The Water Garden
  4. Hiroyuki Onogawa – August In The Water 1
  5. Michel Genest – Reflections On A Moonlit Stream
  6. Medwyn Goodall – Dolphin Dreams
  7. Spencer Nilsen – Title Theme
  8. Peter Seiler – Reef Moods
  9. Milan Pilar – Way To The South
  10. Simon Benson & Mike Tauben – Dreamworld
  11. Graham De Wilde – Underwater World (a)
  12. Milan Pilar – Nocturne
  13. Sumio Shiratori – Winter In Moominvalley
  14. Toshifumi Hirata – Fire And Forever
  15. Joe Hisaishi – The Huge Tree In The Tsukamori Forest [8Tracks & Mixcloud] / The Path of the Wind (Instrumental) [Youtube]
  16. Warren Bennett – A Time To Remember
  17. Bel Canto – Unicorn
  18. Spencer Nilsen – Skylands
  19. Happy Rhodes – Ra Is A Busy God
  20. Miami Vice – Tokyo Negative
  21. Delicate Features – Taurus Moon
  22. Mychael Danna – Sky 2
  23. Áine Minogue – The Grove
  24. John Hall – Illusen’s Glade [Youtube Only]
  25. Emerald Web – The Red Vapour of Still Lakes
  26. Kirsty Hawkshaw – Modern Mermaid
  27. Milan Pilar – Green Velvet
  28. David Rogers & Paul Shaw – Ice Kingdom [8Tracks Only]
  29. Emerald Web – Soft Silence The City
  30. Patrick O’Hearn – España

 

hidden treasure

China Crisis – Autumn In The Neighbourhood, 2015

sophisti-pop

RIYL80s China Crisis, Love And Money, Prefab Sprout, Gangway’s Sitting In The Garden

I love fall but I’m not ready for it. For one thing, it feels less fitting to post more of my findings in sophisti, a style screaming ‘cocktail party at the beach’. I meant to do more than my August mix, but that time flew as usual. Thus, a title like Autumn In The Neighbourhood enticed me.

I’m not sure if this is autumnal as much as windy and down-to-earth, but it’s close enough for me. I wish more sophisti had this imagery, I know that much. This being their ‘comeback’ album (2015!), China Crisis perform with more ease and nuance than ever. Decades later, they’ve kept that same elegance that defines sophisti-pop. The subtle keyboards, clean guitars and hints of brass are all here. Add a nostalgic, thoughtful mood and you have a great scene-setter. It’s the kind of British eighties(-styled) pop where you can just feel the busy city and morning breeze. It’s hard to name favorites but this comes from the impressive coherence more than anything else.

♥︎ – “Smile”, “Down Here on Earth”, “Joy And The Spark”, “Tell Tale Signs”

 

Artists you should know · Playlist

Artists you should know / Milan Pilar

TXT

Milan Pilar (born 1934 in Czechoslovakia) is a master of fantasy melodrama. Once he came to use synths, his music became the soundtrack for finding a magic necklace in a pastel-colored forest where anything can happen. Milan created these images in gorgeously exaggerated detail that can touch your heart if you let it, no matter outlandish it may seem at a glance. He had a talent to induce the most grandiose emotions with impact and genuine tenderness.

Most songs will have sweeping synths and/or strings as a backbone, with digital bells and flutes playing the melodies. Many are wistful and sensitive as if telling you secrets in it’s hiding place, some carefree and happy, others cinematic and awestruck. No matter the mood, they never lose their Moomin-worthy fantasy charm and romantic expression. It’s a shame Pilar didn’t wind up directly composing for children’s fantasy movies.

He also kept a distinct sound across ten-plus years, something rare for library composers. For instance, his 2003 album Nature In Motion has the virtual same approach as his late-eighties work.

Playlist

I’ve gathered my favorites from across his albums to give a good taster for his style (link above).

1. February  – Pastoral Seasons, Coloursound, 1982

2. Reconciliation – Nature Spoiled and Unspoiled, Coloursound, 1983

3. Above / Extensions – Extensions, Sonoton, 19??

4. Industrial Signature 11 – Industrial, Coloursound, 1986

5. Fountain Idyll – Above And About, Coloursound, 1989

6. Birdlife – Above And About, Coloursound, 1989

7. Digital Structure 2 – Digital Structures, 1990

8. Digital Structure 25 – Digital Structures, 1990

9. Softly As The Summerwind – Nature Study, 1990

10. Wind And Waves – Nature Study, 1990

10. Caravanseral – Nostro Mondo, 1993

12. Irish Autumn – Floating Line, 1993

13. Rainbow – Textures And Fusion, 1994

14. Lost Game Blues – Signs Of Wisdom, 1999

15. Call Of The Mountains – Nature In Motion, 2003

16. Deep Sea Romance – Green Planet, 2004

Songs that got me into music

Siouxsie And The Banshees – “Into The Light” (Juju, 1981)

‘A racket that mixed up Blondie with Siouxsie And The Banshees’; said one critic on Yeah Yeah Yeahs. Who were the Banshees?, I thought eight (!) years ago. Soon I found “Into The Light” on my sister’s iTunes by fluke and it blew my mind within seconds. I knew nothing about the new wave scene and the endless creativity within yet, so you could imagine my awe.

The song resembled a campfire with Siouxsie as the enigmatic storyteller. The guitar sizzled over Budgie’s drums like wood covered in flames. With this band, guitar worked more as the portal to their surreal worlds than a tool for beefy riffs. John McGeoch’s ‘Gizmo’ effect pedal played a big part in this. “Into The Light” has a raw instinct for sure, but they didn’t look past melody; it’s an agitated beast. Likewise, something vulnerable lies in Siouxsie’s defiant voice. Her lyrics insist on rhymes with ‘light’:

Our hearts entwine / a new horizon

Remember when / bleached into white

Your time again / kept out of sight

Standing in the light

I never wanted to be right

Now I’m attracted by the light

And blinded by the sight

What is this light? ‘I never wanted to be right’; it’s confessing something, it sounds defeated. Genius suggests a light-before-death scene, fitting the cosmic images though not confirmed. Either way, I couldn’t ask for a stronger delivery.

Key to Juju’s impact was how it found Siouxsie between her punk roots and later refinement. She reached a raw desperation (especially live) that wasn’t quite the same with earlier and later periods. As it took one jam-based take to record with improvised lyrics, this song came from pure impulse. It told me that spontaneous bursts can birth the best inspiration.

Go here for my Siouxsie gateway playlist if you’re unfamiliar.