Was Star Trek‘s Theme Music Stolen From Beethoven?

Sunday, January 12th, 2014 | Posted by John ONeill

The CBC’s Tom Allen and the Gryphon Trio do some amazing musical detective work, following the clues from Mahler to Brahms to Beethoven to the 23rd Century, in this delightful single-take through the twisted subterranean corridors of Paul Hahn’s piano studio in Toronto. Also starring teleporting pianist Jamie Parker, and a little cosplay.

 


CONAN: “Caveman Battle Doom”

Tuesday, October 22nd, 2013 | Posted by John R. Fultz

Conan-SnailriderCLR

Cover to CONAN’s split release “Conan Vs. Slomatics” (2011)

What is the sound of Sword and Sorcery?

It probably sounds a lot like CONAN. This U.K.-based power trio gives a whole new meaning to the word heavy. But these guys aren’t hampered by “Cookie Monster” vocals or the demonic noise-worship that often plagues today’s heaviest acts.

CONAN have coined their own genre, calling themselves “caveman battle doom.” For hardcore fans, this is simply a new sub-category of the “Doom Rock” scene. For the rest of us, it’s an amusingly accurate description of CONAN’s unique sound.

As the band’s own bio puts it: “CONAN are as heavy as interplanetary thunder amplified through the roaring black hole anus of Azathoth.” TheObelisk.net christened them “Europe’s heaviest battle-sloths…” It doesn’t get much cooler than that.

After releasing an indie debut EP in 2010 entitled “Horseback Battle Hammer,” the trio signed to Burning World Records and released their critically acclaimed magnum opus, “Monnos.”

Both albums are perfect for headbanging, slow-grooving, couch-tripping, or simply cranking up loud enough to vibrate the walls of your apartment. And your skull. They are super sludgy brilliance in the vein of early BLACK SABBATH, KYUSS, MELVINS, and TOOL. Call it “stoner rock” if you will, but absolutely no drugs are necessary.

Fantasy and sword-and-sorcery themes are essential to CONAN’s lyrical cosmology, which makes perfect sense for a band named after Robert E. Howard’s famous barbarian. 

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Finntroll! Viking Metal and the War Against Irony

Wednesday, October 2nd, 2013 | Posted by M Harold Page

finntroll

Imagine if the Cookie Monster joined a Madness tribute band and persuaded them to adopt a heavier guitar sound while he rapped.

There’s a half-naked man on stage and he’s got pointed ears — not the rubber Vulcan/Elf ears you see at parties; full on floppy troll ears. More importantly, he’s not doing this for comic effect. He addresses the crowd in a crisp Finnish accent; ”Did anybody buy the album!”

Incoherent roars and yells from the pit where long-haired students wait to “mosh.”

Somebody must have boasted about getting a pirate download because Mathias – Finntroll‘s lead singer – shoots back levelly, “#### you, sir.  We have the vinyl over there. You can go buy it right now.”

Perhaps the pirate retorts that information wants to be free, or that musicians should play for the love of it. If he does, his words are lost because the music starts.

Gamer Dad and I have hauled ourselves to the Classic Grand in Glasgow, a city which reminds me of late Constantinople; the inhabitants live out a vibrant life amid the crumbling relics of Victorian glory, repurposing old buildings until the very scars in their fabric tell the sagas of lost milieus. This venue started life in 1915 as a cinema. Now it’s a rather good rock club.

We 40-something dads have the shortest hair in the room and are at the upper end of the demographic, but we don’t care. We’re here to see Tyr, who are playing support tonight. They’re more melodic than their cohorts and sing about Viking gods and the old ways. Robert E. Howard would approve (but that’s another story). However, we’re in no rush to get our train. We stay for the main act.

Finntroll are… not easy listening.

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Goth Chick News: Music for Seducing Your (Dead or Partially Dead) Date

Thursday, September 12th, 2013 | Posted by Sue Granquist

image002I have no explanation for why a fairly cheesy Bride of Frankenstein remake from 1985 popped into my head while listening to this, but it did.

There I was in my headphones, taking in what can only be described as seductively creepy orchestrations, when suddenly Sting appeared in my subconscious, leaning over his “monster” in the form of a dewy-eyed Jennifer Beals.

Maybe this is normal when you finally eat red meat after a long hiatus…

Perhaps I’d better back up and explain.

In celebration of the upcoming “season,” musician Ken Elkinson had sent over a copy of his new release, Halloween Ambient, and I was giving it a listen prior to approving it for play over the sound system in the Black Gate offices.

The last time I allowed my seasonal music to be played without previewing it first, Howard Andrew Jones and John O’Neill were moved to go shirtless, don fake fangs and red contact lenses, and hang around the interns’ canteen asking everyone’s blood type. After that incident, I promised the Black Gate lawyers there would be no further public playing of music which had the potential of inciting poor staff behavior.

Halloween Ambient was definitely not getting played.

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Goth Chick News: Music From Where It All Began

Thursday, August 8th, 2013 | Posted by Sue Granquist

image002It might have been at a sleep-over, huddled around the TV and a local public broadcasting station, or more recently around an older sibling’s laptop.

It could have been in a midnight show at the broken-down theater in the town where you attend college or, heaven-forbid, at the cliché of a drive-in.

Wherever it was, you’ll never forget it – that night (for it certainly was at night) when you discovered the classic movie monsters.

Who was first?

Dracula?

Frankenstein?

It doesn’t matter. The impact was the same. And whether you went on to be a lifelong fan of the genre or just a Lugosi devotee, there will forever be a place in your heart for that first time.

It’s a lot like love, only with more running and screaming.

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An Interview with Lonesome Wyatt of Those Poor Bastards

Thursday, August 8th, 2013 | Posted by Patty Templeton

Lonesome WyattI came across Lonesome Wyatt as I nosed about a funnel cake shack in an abandoned amusement park built on a prairie settler boneyard. He had a rotted sack of popcorn in one hand and he dragged a crowbar in the other. Twilight filtered in through a roof hole. Something skittered across his hat. He hummed an old-time dirge.

This being Lonesome Wyatt of Those Poor Bastards. This being the man behind Lonesome Wyatt and the Holy Spooks. This being the author of the pulp horror novel The Terrible Tale of Edgar Switchblade and the composer of its companion album, Behold the Abyss. Which, really, if you’re in the mood for a cloven-hoofed, knife-wielding bounty hunter with step-daddy issues chasing an albino werewolf with supplementary gothic country tunes, there is no better pairing than that which Lonesome Wyatt has provided.

Under normal circumstances…well, you try to avoid talking to mad-eyed men on decrepit fair grounds; but I – being the steadfast and fearsome Black Gate minion I am – AHEMed. Stood my ground. Waited for him to turn around. I am not one to be intimidated. A man can’t hex you by humming. Usually. And this was a man I wanted to talk to.

Lonesome Wyatt turned and sneered, or possibly he smiled; these things are hard to tell. He agreed to do an interview before I had the words out of my mouth to ask. He is a mysterious revelator of mayhem and wonder, and quite possibly he is psychic.*

For your perusal, here lies the exchange Black Gate had with Lonesome Wyatt in that shadowy funnel cake shack…

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Readercon 24: “A Most Readerconnish Miscellany”

Thursday, July 18th, 2013 | Posted by C.S.E. Cooney

BGClaire

Yours Truly, C.S.E. Cooney

First of all…

HALLOOOOO Black Gate Readers!

I don’t even know if you remember me; it’s been so long, and I think there are probably a lot more of you now. Anyway, I’m C.S.E. Cooney, and I’m a writer, and sometimes I blog here, and today is one of those days.

So, hi. Again.

This last weekend, I attended Readercon 24, as participant and performer. This year, instead of signing up for ALL THE SCARILY CLEVER PANELS that I’m mostly unsuited for, I signed up to perform stuff.

BGBanjo

Caitlyn Paxson, Jacqueline of All Trades

Because I like performing.

Performing’s cool.

And since performing is so cool, why, Caitlyn Paxson (another writer, also a storyteller, also a harpist and banjo-player, also the Artistic Director of the Ottawa Storytellers and All-Around Belle Dame Sans Merci, only, like, Avec Merci) and I proposed to teach a workshop at Readercon called “From Page to Stage: Adapting Your Text for Performance.”

But I get ahead of myself.

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Goth Chick News: New Music from Our Orchestral Crushes

Thursday, June 27th, 2013 | Posted by Sue Granquist

image001Did you really think a Goth Chick would have a thing for One Direction or NKOTB? Okay, forget I even know who they are in the first place; there are some things you just cannot escape when you spend all your free time studying pop culture.

Nope, instead it is imperative that as purveyors of the dark and disturbing we crush on the equally dark and disturbing musicians who write and play tunes that worry people older than us and align with our own personal, parent-scaring idioms.

Which is precisely why I am Midnight Syndicate’s devoted Chicago-area groupie.

Whether they like it or not.

For almost two decades, composers Edward Douglas and Gavin Goszka have been known as Midnight Syndicate, creating symphonic soundtracks for the secret dimensions of our minds’ eye (cue lightning and thunder clap).

To many of their fans, they are Gothic music pioneers, brewing a signature blend of orchestral horror music and movie-style sound effects. To others, they remain the first “haunted house band” that forever changed the Halloween music genre and became a staple of the October holiday season.

And still others know them as the duo that teamed up with Hasbro and Wizards of the Coast to produce the first official soundtrack to the legendary Dungeons & Dragons roleplaying game, or the lucky devils who created the ear candy for Hugh Hefner’s Playboy mansion Halloween bashes.

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Amanda Palmer’s Kickstarter Scandal (and New Album)

Wednesday, October 3rd, 2012 | Posted by John ONeill

amanda-palmer-kickstarter-smallMusician Amanda Palmer has been a favorite of fantasy fans since her days with the Dresden Dolls. Her first solo album, Who Killed Amanda Palmer? (a loose homage to “Who Killed Laura Palmer?”, the famous line from cult TV show Twin Peaks), generated a companion photo book with text by Neil Gaiman and pictures by SF photographer Kyle Cassidy. I first heard about it from Kyle when he came to Chicago to add to his “Where I Write” project, photographing SF and fantasy writers in their writing caves (and taking a pic of me in my big green chair.)

Palmer’s 2011 wedding to Gaiman cemented her status as genre royalty. But true fame had to wait until May of this year, and it arrived in the form of a legendary Kickstarter campaign. Seeking $100,000 to fund her new album and tour, Palmer raised closer to $1.2 million, winning the title Queen of Kickstarter from MTV and numerous news outlets in the process.

Palmer’s new album, Theatre of Evil, arrived a few weeks ago. But its success has been overshadowed by a growing controversy surrounding hiring opening acts for her tour. Here’s what The New Yorker said yesterday, under the headline “AMANDA PALMER’S ACCIDENTAL EXPERIMENT WITH REAL COMMUNISM”:

Amanda Palmer, the singer who raised a spectacular sum on Kickstarter to fund her new album and then neglected to pay the musicians who toured with her, is the Internet’s villain of the month… Album in hand, Palmer prepared to tour. She advertised for local horn and string players to help out at each stop along the way: “join us for a couple tunes,” as the post on her Web site had it. Even better, “basically, you get to BE the opening ACT!”

Just one thing, local musicians. There would be none of this million-plus dollars available for you. Supposedly, Palmer had spent it all on producing her album… She promised instead to “feed you beer, hug/high-five you up and down (pick your poison), give you merch, and thank you mightily.” This is a compensation package which, honestly, might be worse than nothing. Depends on the beer.

Cue furor, via the usual music, snark, and music-and-snark Web sites. Palmer has since renounced her hornsploitation scheme and will pay the band, but the outrage remains.

The story has been picked up by The New York Times (“Rockers Playing for Beer: Fair Play?”), Digital Trends (“Kickstarter queen Amanda Palmer, meet your Internet backlash”), Gawker, (“Amanda Palmer’s Million-Dollar Music Project and Kickstarter’s Accountability Problem,” accompanied by a graphic showing Palmer grabbing bags of money), and other news outlets. She’s been called out on Twitter multiple times by musicians unions, and American Federation of Musicians President Raymond M. Hair Jr. told the New York Times, “If there’s a need for the musician to be on the stage, then there ought to be compensation for it.” As The New Yorker noted, Palmer has since relented and agreed to pay the opening acts, but so far the furor shows no sign of dying down.


Clockwork Angels III. Hope is What Remains to be Seen

Sunday, July 1st, 2012 | Posted by Matthew David Surridge

Clockwork AngelsToday, July 1, is the one-hundred-and-forty-fifth anniversary of the date the British North America Act came into effect, which effectively established the modern country of Canada. We still celebrate that as our national holiday: Canada Day. So it’s only appropriate that I’m posting now about three men who have together been named as official Ambassadors of Music by the Canadian government, who have been made Officers of the Order of Canada, and who have as a group won the Governor General’s Performing Arts Award. I’m talking about Rush, and after two posts recapping their career (the first here, the second here), I’ll finally be writing about their new album, Clockwork Angels.

It’s a long album, over 66 minutes, and tells a single story. Although reminiscent of some of their older songs, not least due to lyricist Neil Peart’s use of themes and images that’ve clearly fascinated him for years, it’s also new ground for the band, who have never before created a fully-fledged concept album. Clockwork Angels is a steampunk epic in 12 songs, with accompanying passages of narrative prose that help to tie the story together. A novelization’s forthcoming in September by author Kevin J. Anderson, in collaboration with Peart.

To reiterate something I said in the first of these posts: this is a brilliant album. It’s lyrically and musically complex, constantly challenging, a treasure trove of ideas that’s impossible to assimilate in a single listen. The conceptual and narrative structure works, and lends the album a distinct feel — literally, a novelistic (and novel) sensibility. The relation of the songs, the recurrence of symbols that both resonate with the album’s story and derive from earlier in Peart’s career, gives Clockwork Angels significant thematic depth.

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