Mix

Thinking Of Christmas Past

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Are you up to set the Christmas mood but wanting something a bit different? Here I’ve gathered songs that remind me most of Christmas season without necessarily being about the holiday: icy, magical sounds with plenty of twinkling and moods ranging from jovial and nostalgic to mysterious. As a theoretical ‘stocking’ I include two Christmas covers and three themed originals.

Track listing

camera lucida – robin guthrie / dreamers tied to chairs – ashrae fax / dazzle + il est ne le divin enfant – siouxsie and the banshees / modigliani (lost in your eyes) – book of love / cut down the tree – ice choir / world 5: snow land [kirby’s epic yarn OST] – tomoya tomita / march of the dawn – the mummers / love to stay – altered images / winter wonderland – cocteau twins / nightingales – prefab sprout / espresso – rajie / latitudes – ollano / limpidite – robert viger / la petite fille de la mer – vangelis / red wrapping paper – the creatures / christmas reindeer – the knife / virgin blue-eyed – lovesliescrushing

Photo credit: Christmas With Southern Living, 1984 https://palmandlaser.tumblr.com/post/189715654560/palmandlaser-from-christmas-with-southern-living

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.

Songs that got me into music

Cocteau Twins – “Pandora” (Treasure, 1984)

I learned of Cocteau when I overheard “Amelia” from my sister’s room.  “Amelia” was interesting, but Liz Fraser’s singing baffled me at first.  “That’s their whole style”, she said. This seemed too ‘weird’ for me. But that was when “Pandora” came on, which changed my mind the second it hit that chorus. Before I knew it I was obsessing over dream pop and all things ‘atmospheric’. Like the Banshees, CTs showed me an atmospheric density I hadn’t thought possible before.

The melody’s rapid syllables could become too much, but Fraser’s voice makes it sound easy and free. Add guitar wash from Atlantis and her most angelic falsetto and every note feels like a fountain. For all I knew, they were playing those drums from under a well.

“Pandora” is one of those rare songs with a therapeutic quality, where I wish I could take a nap in it. I pictured a happy-sad farewell in some aquatic world, where someone watches their friend journey off. It’s somewhere between this and the purest daydream.

Complex emotions like these are part of Treasure’s power. It will evoke such grand, sublime images and feelings across time and space, but never one at a time.

Genre primers · Guest post · Playlist

Genre Primers: Ethereal Wave

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by Jan

Originally written in Polish for Jan’s new music blog Anielskie Jajo. This is the first guest post I’ve featured here! I’m not sure how common this will be, but I’ll be open to more in the future.

About the guest author:

Jan (~shores on Rateyourmusic) is a musician and dedicated listener from Poland. We ‘met’ by chance in January when I answered his thread asking for recs in 80s new age. We had an immediate connection from there as we happened to share close opinions on several more genres like ambient, folk, pop and darkwave. Listen to Jan’s music here and here.

I. What is Ethereal Wave?

Ethereal Wave, or Ethereal Goth, or just Ethereal, is a music genre that is a variation on gothic rock and darkwave, transcending the dark imagery of said genre into denser, dreamier environments.

What’s more, you can say some bands playing “ethereal” sounding music who aren’t a part of goth scene could be called ethereal wave. Commonly the genre is applied to music that is related to gothic rock, but still a bit different. Lots of ethereal wave bands don’t play goth rock with female vocals (there’s a misconception that all goth rock bands with female vocals are ethereal), but uses certain means of expression that make the genre stand out from the goth scene – such as sparse, delicate guitar layers with lots of effects, soaring vocals (some using glossolalia), drum machines, and sometimes synths or keyboards.

II. Short history of genre

While lots of bands not affiliated with the goth scene today could be classified as ethereal, the style was born on goth rock and darkwave influences. The first half of the 80s brought us classic bands such as The Cure, The Banshees and Bauhaus. We could say that ethereal wave was born as a reaction to the murky and suffocating atmosphere exhibited in music of those bands (not to say it’s a reaction to ONLY those bands, just the scene at the time).

4AD was the primary powerhouse that made the genre happen – with bands like early Dead Can Dance, Cocteau Twins, and This Mortal Coil, the genre had a nice headstart. But it didn’t have a name yet, and it wasn’t established yet – music press just tried to classify the music played by those bands, and “ethereal” was probably the closest, and it possibly stuck. It was rather an unspoken artistic movement.

The second half of the 80s brought fame to the genre: Cocteau Twins had indie hits with singles like “Carolyn’s Fingers” and “Heaven Or Las Vegas”, while This Mortal Coil became somewhat legendary with “Song To The Siren” and released highly acclaimed albums. But it was Dead Can Dance who actually migrated to neoclassical and regional music-inspired sounds with goth undertones, today known as neoclassical darkwave (Genre Primers post soon!).

That was the ethereal wave scene in the UK. In United States, the genre was popularised by Projekt Records – a bit of an American version of 4AD, but they had their own aesthetic and credo. Bands such as Black Tape for a Blue Girl, Love Spirals Downwards, or Lycia were the most popular pupils of said label.

In the end of the 80s and the early 90s, the genre regained some popularity, and several new bands were formed. Unfortunately, the genre went out of fashion rather quickly after that – it could be said that Cocteau Twins’ last album (1996) in marks the end of the genre’s popularity. Yet still: bands affiliated with the scene were experimenting with the sound and expanding it’s influences, sometimes incorporating electronics into their work – notably Chandeen and Love Spirals Downwards.

Today the genre has a small yet faithful fanbase, and – what is really nice to see for me – there are more bands appearing who play in such style.

Finally, this is how the ‘official’ EW looks. ‘Unofficial’ ethereal wave can be found in early 80s new age records and some non-goth artists, but it’s up to you if you feel it’s okay to call non-goth artists ethereal wave or not.

III. Playlist

feathers oar-blades – cocteau twins / ocean – dead can dance / rains on me – heavenly bodies / cranes fly – black rose / birds of passage – bel canto / wish – soulswirlingsomewhere / scatter january – love spirals downwards / sparks – faith and the muse / mr. somewhere – this mortal coil / beneath the leaves – requiem in white / drifting – lycia / ecdisis – wind atlas / floor – them are us too / feral love – chelsea wolfe

Mix

Daydreams In The Garden / A Moomin-inspired playlist

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Original Tumblr post here

A mix inspired by the music & visuals of the Moomin universe with folksy, sweet, calm, pastoral and thoughtful moods. Ranges from misty folk songs to gentle new age; featuring twinkling keyboards and pseudo-classical/chamber elements (woodwinds, harp, strings).

Featuring music from Moomin Voices (a recording of songs written by Moomin creator Tove Jansson), the 90s anime OST, the 1980 puppet show OST, 4AD and more!

Track list

mumintrollet’s visa tove jansson, johanna grussner & mika pohjola / aikea-guinea cocteau twins / antarctica echoes vangelis / bordeaux durrutti column  / rozo, du pecoj world standard / kun ha minami he sumio shiratori / vite, petite fille david snell / parachute area / thibault et l’arbre d’or emmanuelle perranin / silver chord jane weaver / glad glasser / most unusual graeme miller & steve shill / icebow delicate features / open sequences a vision of panorama / i’ll read you a story + push the boat onto the sand colleen / le reflet dans l’eau train fantome / the dancer linda perhacs / lily of the valley brian bennett / february milan pilar / eternal garden ray russell / soft spring paul williams

About this mix:

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