NOTE: I received a free preliminary, and likely unedited copy of this book from Netgalley for the purposes of providing an honest, unbiased review of the material. Thank you to all involved.
Nearing forty years old myself, its easy to look back at the last twenty years or so, and look at every bit of missed opportunity I had, every bit of wasted potential, and every misstep. It’s important to move forward with one’s life to avoid falling into a trap of a mid-life crisis at best, crippling depression at worst. For the book Hard Melody, we see three guys in exactly the same predicament – having the potential to have been big Chinese Rockstars in the past, their lives have moved on leaving their dreams behind.
Three thirty-year-old friends reunite in Beijing after nearly 10 years apart. They used to be free-wheeling rock-and-rollers without a care in the world, but now, after tasting their own variation of freedom in new China, they are tormented by how unforgiving and unglamorous life had become. Nothing at all like the fame and fortune they dreamed about as kids.
This book is fairly tough due to its subject matter, and there was a bit of Chinese cultural stuff that I was unsure of, but between the mature storyline and the artwork (which is amazing) I was hooked. As a stand alone, this is a great book, and stands as both a societal look at Chinese culture, as well as a way for the reader to think about how they plan to move on with their lives. Many peak far too young, and their later life suffers due to it, hopefully nobody suffers the same tragedy as seen here.
Usually, when people discuss ways that they were brought into paganism, one usually hears stories about being wronged by another group or an experience that brought them in line with the old ways – for me, the path was slightly different. Ever since high school, I have been obsessed with medieval style folk music and folk metal – to such a degree that I sometimes feel as if I’m having a church experience at concerts from time to time. You know, that blissful euphoric feeling that usually is seen as “being endowed with the Holy Spirit” when discussing Christianity? That’s me if I hear bagpipes and see some dudes wearing tunics on stage. For somebody raised Catholic, then being vaguely Gnostic for a number of years as a reaction to becoming anti-Catholic, I realized that my soul was being drawn to the ways of my ancestors through music – and thankfully, in 2019 I have never felt so full as this is a banner year for Pagan folk bands!
There is no other musician or groups of musicians in 2019 that have imparted this feeling on me more than an experimental folk project called Heilung or “healing” in German. I once stumbled on a live performance of theirs that took place at a festival called Castlefest in 2017, the concert itself is both a work of art, and a classic performance that ranks, with me personally, as something as profound as Queen at Live Aid. The Live album itself is also very impressive as a result.
It would seem that others agree, as many of their Youtube videos have garnered millions of views, and they have been played on Sirius XM Liquid Metal, a channel that, as the name would imply, plays metal music. While there is some overlap between the listeners, Heilung have absolutely ZERO metal to their sound (minus throat singing perhaps), so it’s a testament to their unique nature that they are jumping into territory most folk bands never tread.
If not familiar with these guys, Heilung is comprised of members from various countries like Denmark, Norway and Germany, and describe their music as “amplified history from early medieval northern Europe”. Their music is based on texts and artifacts of the Iron Age and the early Viking Age specifically. In the broadest sense, their general “gimmick” for lack of a better term, is that they are shamans using their music, and stage show as rituals to give zeal to warriors or channel spirits depending on the song. The band uses animal skin drums, osteomancy (human and animal bones) and various rattles, whistles, and other implements, some antiques themselves.
“With the epic new album Futha, the enigmatic HEILUNG return with their signature Amplified History. A counterbalance to their rugged debut Ofnir, Futha reveals a more melodic and beautiful side of the mysterious ensemble. Their primeval musique concrete blends ancient Germanic tongues, lush geophonic recordings (crackling fires, breaking ice), and the percussive thunder of archaic weaponry (swords, shields, arrows) into a reverential ceremonial experience. HEILUNG are in a class all their own, and Futha is an entrancing masterstroke of profound worldly music.”
In 2019, the band has released their second studio album, called Futha – These are follow-ups to Ofnir (2015) (self-released, reissued 2018 on Season of Mist) and Lifa (2017) (Season of Mist) the previously mentioned livee album. On the meaning of the album title, HEILUNG explains:
“The majority of full rune set inscriptions start with ‘Futha,’ and is known to us as the first four letters in all runic alphabets. It is considered that our forefathers saw magic potential in engraving the full rune line, but there is also great significance in the beginnings. Science has no key for the meaning of only engraving the first couple of letters yet, but there is, of course, a surplus of theories. One of the theories we found inspiration in, is that ‘Futha’ holds the meaning of fertility and female gender. As ‘Ofnir’ focused on war and masculine notions, the great healing power of female wild strength is evoked in Futha. Those who have been present at a birth or have seen lionesses hunting know the spirit, and we welcome and embrace it in the sounds that were born during the creation of ‘Futha.’”
Much like with Ofnir, the music from Futha is still folk music, but is almost in more of a post-industrial, neo-folk style – meaning that there is a lot of use of electronic instruments and synthesizers rather than the myriad of bones and other instruments a large touring band can provide as heard on Lifa. This might be a turn of for some, as I was made well aware that many in my friends circle thought that Lifa was, in fact, their first album and had no idea that the sound on it was slightly different than the studio album.
Stand-out tracks are Norupo and Traust which are coincidentally the two singles that have been released as of today. I also enjoyed some of the small interludes quite a bit that pepper the release, usually some type of chanting and and growling that could definitely be envisioned to be coming from a seers tent thousands of years ago. These choices are not to say that the rest of the album is bad, perhaps its 100% the opposite. It’s just that this is more of an “album album” better experienced as a whole rather than in chunks. Those two tracks are just the two that can more easily be tossed onto an iPod and called up at will.
I would say that I like Futha Better than Ofnir as a whole, but absolutely cannot wait for a presumptive live album to come from these tracks. They haven’t announced anything, but I hope they repeat the trend from the last cycle. I also hope that their announced US tour comes somewhere near me, as I would absolutely go insane given the chance to see them in person.
In closing, definitely check this album out if you like Heilung, and do yourself a favor and look at their YouTube page for some live renditions of the songs, you will NOT be disappointed.
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To kick off my “I saw too many concerts these past few weeks” series for the next few days, I wanted to play catch up on a show I actually saw at the end of September, but haven’t had a chance to blog about quite yet. The main draw for me was the band OhGr, a side project for Skinny Puppy front-man Nivek Ogre featuring a lot of the same touring band members of that band. I remember getting into OhGr way back in 2001 when I first started working for a now defunct big box music/book/video chain called Hastings
I was wandering around the music department after work and saw a new CD with a crazy looking cover for a band that promised to be “from the same mind that brought you Skinny Puppy”. I bought the CD sight unseen and immediately fell in love with it. it’s weird juxtaposition of industrial and pop music was something you never hear normally, and since I was coming down from my “Nu-Metal Phase” and getting into much heavier metal and strange music like this, I very findly remember this time period as the time when my real musical taste “clicked” after I drifted from what Mtv told me to like (yeah the sort of played music then).
I’ve missed seeing both OhGr and Skinny Puppy a few times and did NOT want to miss this show since a new album just rolled out and I had some friends going. I never went ahead and did any research on the other bands, and was VERY pleasantly surprised.
Up first was a solo trip hop / industrial act called Omniflux with is the stage name of Mahsa Zargaran a prominent member of the band Puscifer and a ton more. I mentioned I had no idea what the other bands were and was really surprised to see her both her and Paul barker at the show, and instantly felt dumb for not realizing what either band was before I walked in.
Omniflux’s music was pretty awesome minimalist trip-hop with her on vocals and a sampling machine of some degree. It was a short set and I belive she basically played all or at least most of her new album Aquarelle, but I am not 100% certain since I had not heard the music prior to the show.
I wish I had an opportunity to take a picture with Omniflux as she was selling her merch and talking to everyone that wanted to stop and say hi. By the time I decided to roll over there and buy my vinyls she needed to get ready for being on stage and I didn’t want to keep her. She seemed awesome though.
Lead Into Gold
PAUL EFFIN BARKER! I saw the guy when I came in and was immediately like “oh crap!” – I mean not only is he like 6 foot 6 or something, but there was the guy that basically made Ministry awesome back in the day! I can sadly admit that I have been ignorant to much of his solo output post-Ministry aside from Puscifer, a fact that I need to rectify soon. and considering that I’m now in possesion of both his new album and Omniflux, I have some listening to do (both autographed vinyls BTW).
Lead Into Gold was Paul on vocals and bass guitar for a lot of his set with a back tack, until Omniflux joined him and played some additional guitars for the second half of the show. If you want to know what his sound is, it’s basically Ministry during the 90’s albeit a bit more washed out and trippy.
Needless to say, great show!!
Now it was time for the main event – OhGr. Hot off the heels of the recent release of the band’s newest album TrickS, I was excited to hear some of the new material, as well as some of the classic tracks that got me into the band in the first place. The band did not disappoint all, playing a large portion of the new material as well as pretty much any big hit from previous albums. Of course the biggest hits were some of the standout tracks from Welt.
Donning a grotesque mutated rabbit/sheep mask as far as I could tell, Nivek Ogre definitely has the stage presence down that you’d expect from a guy that’s been making awesome industrial jams for the last 30 years. A few highlights included a politically charged segment featuring Mr. Ogre donning a Donald Trump mask while doing some basic sleight of hand card magic while performing and the encore which featured the band in a bit more relaxed state bantering about the reappearance of a bass guitar that many of the band members apparently hated that had been recently fixed.
All-in all this show was well worth every dime I spent to attend, which gladly wasn’t a whole lot considering most shows at this venue end up being around 25-30 dollars at the most. For the level of access to the artists (granted I did not throw money down for VIP which would have been even more awesome) and the somewhat intimate nature of the performances, I wish a lot of bands did stops in similar ways. If you’re a fan of industrial and any iteration of these bands come through, do yourself a favor and go see them – hell I bet Skinny Puppy will have a new tour soon, might be time to watch venue sites!
I’ve done a bad job of keeping up with concert reviews as of late, but I wanted to definitely post a bit about the one I attended this past weekend in order to get everything back on track. I wanted to first mention that I saw this in Lawrence, Kansas at a theater called The Granada, and for small shows around this area there is literally no better venue. I’ve been to my fair share of shows at tiny bars where it’s 300 degrees and you leave the show completely deaf because you are basically laying on the monitors and there are 5 sets of back-filled gear resulting on each band having a postage stamp sized spot to stand on.
The Granada has none of this, the sound is solid, there’s plenty of room for the bands, and I’ve never left with serious issues do to my ears wanting to die nor do I usually have to wear earplugs and I’ve seen some LOUUUUD stuff there. I jumped at the chance to see this show since I am a big fan of Deafheaven, but the rest of the show was a mystery to me. This was largely due to the fact that I was unfamiliar with the supporting acts, I knew they are from three very different genres, and I wasn’t sure what sort of crowd would be in attendance. What I will say in short is that weird shows like this are awesome, and I hope to see more like this.
Uniform, a New York Based band that mixes trappings from industrial and hardcore into a relentless sonic attack, were first up. The band recently gained a bit of notoriety for having two tracks included into an episode of the re-launched Twin Peaks show on Showtime, hot off of this, they have a new album coming out and I will likely be getting it after this show. While I’m not usually a big fan of 80’s hardcore, somehow mixing the vocal trappings of that with industrial somehow helps make that style of music, which can sometimes be very harsh, even harsher, bleaker, and more relentless. Michael Berdan’s vocals hit like some sort of angry slam poetry, ranting about the ills of society, touching on inequality, the media and even religion. If any of that seems up your alley, I’d recommend checking them out (posting a video below) and if you get to see them, Berdan is a really nice dude and took time out to talk to fans at the merch table.
Next up was a Goth / Darkwave band called Drab Majesty – I absolutely love this type of music but have never really had a chance to see any of it live since it’s relatively underground, and cool concerts always happen on days of the week where I have to work. Donned in all white with make-up and large sunglasses on, this California-based two piece is a deliberate throwback to the 80’s both in sound and look. The band seemed to have a huge following at the show which is easily to understand considering that they ooze a mysterious vibe that I can only assume gets them legions of female fans that enjoy dark mysterious alien dudes.
The highlight of their set is a song where the lead singer, Deb Demure, strapped a bright light to his chest and performed basically blinding whomever he was directly facing. While this sounds annoying, it was actually a cool effect with the fog machines going, and made them seem even more mysterious than they already are. Perhaps the one way that I knew this band had something special was that one of my good friends, that normally only likes metal, actually enjoyed the set quite a bit due to it’s quirky nature and being something different.
Once again, here is an example of the band’s music.
When I got “back into music” a handful of years ago, I mostly got really into going over to Bandcamp’s “atmospheric Black Metal” subgenre section and simply scouring over endless pages of crazy bands that I haven’t heard of. Many bands from this period have become some of my favorite current bands – groups like Ghost Bath, Panopticon, Drudkh, Wolves in the Throne Room, and Deafheaven are always on my rotation. I’m drawn to many of these bands because they are usually a lot more melodic than standard black metal (which I also like) and are more willing to experiment much to the derision of gatekeepers of the metal scene.
Deafheaven, in particular, seem to always get jabbed at by metal elitests since “they aren’t metal enough”. After this concert I will say that those guys are all buffoons. I have seen a lot of shows, and I have literally never seen a crowd mosh as hard as what happened during Deafheaven. It was a weird thing since the band is known for long-form songs with trippy interludes that absolutely glow with optimism and possibly weariness. Suddenly this would break and all hell would break lose – people were doing windmills, ninja kicks, the whole gamut.
I was also VERY impressed with the stage presence of George Clarke, the band’s lead singer. In the music videos, even the one I will post below, you don’t see much of the band performing – some of the newer ones show the guys recording an album and driving classic cars around. But, good lord does this guy have it. Jumping around like some sort of black metal Mick Jagger, Clarke was absolutely crazy to watch. Much like when I was able to see Wolves in the Throne Room earlier this year, I was blown away by these guys.
Not too long after I finally got to see the US version of the English Beat Live, I found out that the other iteration of the band had a new album out. It’s been a bit since I bought this, but I was finally able to give it a solid listen today. For those unaware of why I mentioned two versions of the band up there, there are currently two different English Beats with both former singers heading their own version. From what I can gather, there wasn’t any sort of bad break-up or anything (Between Dave and Roger, the band did basically implode in the 80’s with the other members) as Dave Wakeling moved to California in the early 90’s and the rest didn’t want to follow. Both artists tried to do tours with their own names, only to have everyone always call them “The Beat” so they embraced it. Here’s a more detailed answer from an interview with A.V. Club, where the question was asked to Wakeling as to why there was two bands:
Oh, that was quite simple. Whilst we were trying to get five out of the seven members for a reunion show in England, Roger was coming up against the same thing as me; he was being called The Beat over there regardless of what he tried to call himself. The same thing had happened with me. I’d just given up in the end; fine, English Beat, I liked the name anyway, I thought of it, so fine, I’ll be the English Beat.
And so I said, “If you want to use the name in England, that’s fine by me; just don’t screw the legacy, make sure that the shows are always great quality and the fans go home happy and it makes them like the records more rather than less.” And so that was quite an easy thing to sort out. It’s kind of cute, I think, that you can hear “Mirror in the Bathroom” sung live by one of the lead singers on two continents!
With that in mind, it’s kind of funny to find out that Ranking Roger’s The New English Beat released an album at the very tail end of 2016, with Wakeling planning his own new album sometime this year! But your question may be: How’s Roger’s Beat stack up? is it like the old stuff? well yes and no, but not in a bad way. In all honesty Bounce (the album in question) is basically what I would have expected the band to do in the 90’s if they had stayed together. It’s more polished than the previous albums, seems like it was made on a higher budget, and seems altogether “shinier”. You can feel the vibes from Both English Beat and General Public as well as a slightly more somber tone.
For those that know me, “shininess” is not always a good thing for my musical tastes as I sometimes feel that a lot of modern music, especially pop music, is empty and overproduced. While Bounce doesn’t completely stray down this path, there are a few hints of Coldplay-like guitars and such found in a few songs that really didn’t do a whole lot for me. what I did like was that some of the more mellow songs seemed to be a lot more politically charged than most Beat songs ever where. Take a track like “Walking on the Wrong Side” for instance.
What this means, is that some of the energy found in some of my favorite beat songs like “Mirror in the Bathroom” and “Ranking Full Stop” is curiously absent from this record. What we do get are a few lighthearted sentimental tracks to even out the politics, which is a trademark of the sound most bands fall into when they get older. Thankfully this wan’t a total deviation into sappy ballads or anything so that’s a plus.
All in all, this was a solid listen, and a great re-introduction to a band that has basically been doing touring for the past few decades. I’ve personally been hankering for a fourth wave ska movement to pop up, so hearing only a few hints of the rudeboy sound in this record made me a bit disappointed overall. The good news is, that the music stands on it’s own and I plan to include it in my current iPod rotation. I also need to hunt down some of the music Roger did between the original English Beat and this album to see how his sound has progressed. If you enjoy ska, reggae, or The English Beat – do yourself a favor and check this out – despite a few quibbles I have it’s a solid album.
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I know some folks see hundreds of concerts before they even graduate high school, but that was never really a part of my life growing up. At one point, I was even more into music than anything else (more than anime, sci-fi, or wrestling GASP! ) but I went through a few phases of changing musical tastes, and grew up poor, so my exposure to new bands and concerts was at the mercy of MTV and VH1. It’s only been in the past few years that I’ve had both the disposable income and friends that enjoy live music that I have been attending more concerts than I ever have in my life. I’m one of those guys that usually won’t go to the theater or see live entertainment by myself because, to me, that’s super lame.
One thing I’ve especially been trying to do is see shows from bands on my “musical bucket list”, especially ones where band members are getting old, and it might be close to time for them to be retiring….or worse. I still feel sad that I never got to see David Bowie in concert, that is assuming I would ever have had the cash sitting around to do that when he was touring on a consistent basis, but the thought is still there that I missed out.
That’s why I jumped at the chance to see the legendary German electronic quartet, Kraftwerk, when they went out on a North American tour about a year and a half ago. Apparently, they had not been to Kansas City since the mid seventies, with that sort of frequency, this was basically a once in a lifetime show! Why didn’t I post about this then? Well, this blog wasn’t as open to this sort of topic then, and I wasn’t posting as much due to personal stuff going on. Now that Arcadia Pod is open to whatever I want to write about, I plan to review some concerts I attended recently as well.
When we were seated, a guy that I will characterize as an aging yuppie (as well as a gaggle of the drunkest and most-drugged out fiends he could find) looked back at my wife and I, both in our early 30’s (I’d assume they were 50-ish), and remarked at how confused he was to see folks our age at a Kraftwerk show. Indeed, Kraftwerk is ostensibly a band of the 1970’s and 1980’s, but they have been a big part of my life for as long as I can remember. Anyone that is a fan of electronic music, new wave music, or even hip hop music should know about Kraftwerk and their contributions as they were decades ahead of their time.
I recall many days in rural Kansas where I would watch educational TV on PBS; these were the days before I had cable, as satellite was the only real way to get anything other than local channels out into my neck of the woods. I watched PBS more than anything else, and I honestly credit that with the fact that I was slightly accelerated in a few topics in elementary school. A few of my favorites were an old show called 3-2-1 Contact, and another called Newton’s Apple, the latter having an amazing theme song that I loved.
I would later find out that this theme song was in fact, a song called Ruckzuck by a band called Kraftwerk that my mom had a few records by – most notably 1974’s Autobahn. I won’t pretend that I was enamored by the full length LP of Autobahn at that age, because it was far too complex and long for me (22 minutes for the title song alone!) but the band’s name stuck with me. It wasn’t until we moved to Kansas City, and got cable, that I would sometimes see Kraftwerk Videos on Vh1. I immediately fell in love with their sound. So yes, annoying drunk guy at concert – I do know who Kraftwerk is, turn around and let me enjoy the show!
The biggest thing that caught my eye going into this concert was the promoter tagline and marketing listing this as “a 3-D concert”. “What does that even mean?” I said to myself, was this just a bit of marketing goofiness or was there really going to be a 3-D element to the show? Fast forward to us standing in line, and being handed small red envelopes with 3-D glasses in them (seen above). I knew that Kraftwerk usually employed giant media screens as a way to make concerts more exciting, as four guys standing at keyboards can be sort of boring, what I didn’t know was how much this 3-D was going to change the concert game for me.
Considering Kraftwerk also actively pretend to be robots on stage, a lot of stage charisma is sort of out of the question, they need gimmicks like this to enhance the music. Upon the opening few seconds of the song “Numbers” the awesomeness of this 3-D was made clear as the theater was filled with huge lime-green numbers floating in the air and loud cheers from everyone in attendance.
All of the songs (over two hours worth without an opener) were arranged in album suites with some featuring full-length cuts of longer songs such as Autoban and Tour de France. They opened with five tracks from 1981’s Computer World, starting with Numbers as mentioned above. this was followed by songs from Radio-Activity, Trans-Europe Express and more. Almost all of their major albums had some sort of representation here, minus the first two albums that were more “stoner rock” than the electronic sound they eventually settled on.
This was the full set-list, honestly do yourself a favor and see this show if it continues past this leg.
Numbers; Computer World; It’s More Fun to Compute; Computer Love; Pocket Calculator; Metropolis; The Man-Machine; Spacelab; The Model; Neon Lights; Autobahn; Airwaves; Intermission/News; Geiger Counter; Radioactivity; Electric Cafe; Tour de France: 1983, 2003 (Etape 1), 2003 (Etape 2); Trans Europa Express/Metal on Metal/Abzug. Encore: The Robots; Aero Dynamik; Planet of Visions; Boing Boom Tschak; Techno Pop; Musique Non Stop.
One of the cooler parts of the concert, for me, were those small hints of improvisation that were sprinkled in from here or there. I know some folks try to bad-mouth acts like Kraftwerk and Daft Punk as being guys that press play on stage, but that isn’t how this works at all. you could tell that the guys were up on stage actually mixing samples and re-arranging things as they went. while it might have been tightly controlled German engineered chaos, it was still cool to hear.
The highlight of the night was probably Tour De France, there was just something about the mix of video and songs that I wasn’t really expecting. My favorite Kraftwerk album has always been Trans-Europe Express, and perhaps I have ignored Tour De France, but it really caught me off guard in a good way. Since this show, I have listened to it more because of the concert. Honestly the whole concert stood out as awesome, with no real dud anywhere in the set. The only let-down was when the lights came back on.
I will chalk this up as, perhaps, my favorite concert that I’ve ever been to. The attention to making this an “event” that you can only experience live was exhilarating, and I wish more bands would do stuff like this. this was a great show that is suitable for all ages, as there really isn’t any vulgarity or sexual content anywhere in their repertoire. That’s not a big thing for me, as I see stuff that’s definitely not for kiddos all the time, but it’s good to know that it’s out there without it actually being “for kids”.
Glancing at Kraftwerk’s website, it looks like they are currently in the middle of a long European tour – so if I have any UK based readers that have yet to see this show, I’d recommend seeing if it’s coming to your town in May. As for US readers, fingers crossed that it isn’t another 40 years before the robots come back to town. In the meantime, check some videos out on Youtube, that’s almost as good.
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Soon to have a major motion picture coming out, figured I ought to read it!
I’ve been a fan of the largely underground strain of heavy metal known as “black metal” for around 17 years or so, but I fell in love with it for how it sounded rather than how it was created. In the late 90’s / early 2000’s black metal had, well there’s no better term, “sold out” and started to become mainstream, so it was largely distanced from the events that happened nearly a decade previous. The wall of sound, misanthropic minimalist themes, and the theatricality were all awesome to me, so I decided to do some research on some of the original black metal bands – whoops. The sort of music I enjoyed turned out to be comprised largely of extreme right-wing murderers and arsonists that had basically formed a nihilist cult and ran around committing crimes in a naïve quest to end Norwegian Christianity.
This book focuses on the culture surrounding the black metal scene in Norway between 1990 and 1993. This is a cautionary tale on how a group of impressionable kids fell into, what can only be described as, a cult and nearly brought Norway to its knees. The first few chapters give an outline of the progression of heavy metal from bands such as Black Sabbath, Coven and Black Widow to proto-black metal bands such as Bathory, Mercyful Fate and Venom, and finally to the early Norwegian black metal band Mayhem. Then about half of the book follows the exploits of Black Metal’s most famous record label Deathlike Silence Records, and the events leading up to the death of its owner, Øystein Aarseth, and the imprisonment of his murderer Varg Vikernes. Finally, the book chronicles the aftermath of the murders and church burnings and the media circus that ensued.
I have known about this book, Lords of Chaos, for years now, but have not read it until now. Luckily (for the most part) the book has been out long enough that a second edition was put together a number of years ago to delve into some newer information about its “protagonists” like Vikernes. Unfortunately, this allows the book to go in weird directions such as Vikernes’s descent into conspiracy theory, as he discusses, at length, about UFOs and how they influenced heathen religion. Some additions are great, but others like Varg’s tales of Atlantean Wars break the flow of the chapters up a bit too much and make me feel as if I’ve accidentally started reading a Zecharia Sitchin book. The authors try to stand back and let the subjects say whatever they please, they do make an effort to not let this book be a soap box for their political belief and are not scared to step in and contradict any falsehoods that may have been spoken in the interview process.
One of my favorite parts of this book is a series of interviews that try to culturally place “satanism” into Norwegian society, and a conclusion seems to come up that paints this Norwegian strain of anti-Christianity as some kind of naive copy of the fictitious Satanic underground that was the boogeyman of America during its “Satanic Panic” of the 1980’s and 90’s. For those unaware, America and parts of Europe, were made into constant media zoos when people started coming out of the woodwork describing things like grave desecration, satanic ritual abuse, and ritualized murder by hooded members of a worldwide cult. This hysteria has been totally debunked at this point, and zero cases of any of this have every turned out to be true, but if you watched TV or read papers during that time – our world was a battlezone between Jesus and Satan 24/7. These kids, wanting to be Anti-Christian, may have taken this cartoonish “religion” and given it life.
I had read a few reviews of this book (on Amazon) prior to purchase and was worried because the general tone of the reviews was that this was some sort of Neo-Nazi book and that the author was somehow promoting the stuff said within. On the contrary, Moynihan’s neutrality towards the ideologies portrayed in the book means that they are not censored, but they are often directly criticized or it is often implied that they have the ideology of angsty children in editorial sections. In fact, this is written a lot like a newspaper article, most comments are left to stand on their own, and the author jumps in to tie everything together. I wonder of these reviewers have largely not read the book to be honest.
As a true crime book, I will admit that this book is not perfect. It meanders a bit, means little to those that are not in some way “into” metal music, and is written in a manner that is by no means top journalism. What this book does have is a treasure-trove of information, newspaper clippings, media reports, and images from a ten year period that has been infamous for many metal fans, and until a better book comes along this is the definitive history of this genre of music and all the baggage that comes with it. This is with Varg’s UFO tales and all.
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One thing that often confuses folks about my musical tastes, is that I am huge into both metal music and 80’s New Wave music. I might wear metal shirts and a patch vest to concerts, but I almost entirely listen to Sirius XM 1st Wave in the car commuting to work. These are two genres that seem to clash a lot, but I can always make it work in my head, and that’s all that matters. In the past few years, I have been blown away by a “new genre” that goes by many names – some call it Outrun, Others Retrowave, or even Synth-wave. I would consider Retrowave (my preferred term) to be the logical conclusion of 80’s synth music if acoustic guitars and grunge rock hadn’t nearly sent the electronic synthesizer to music heaven alongside the harpsichord and lute. This isn’t merely a nostalgia kick like some regressive genres can be, yeah it’s there but a lot of this never really sounded the same way in the 80’s, and thankfully that’s not what it’s going for.
I plan to cover more Retrowave stuff in the future, so if you like this keep your eyes peeled!
So, the topic at hand is one artist I have particularly fallen in love with – a German musician named Peter Zimmerman. In particular, I absolutely love his re-toolings of anime themes, some that have been so drastically altered to be entirely different songs than before, and usually it’s for the better somehow. One of my absolute favorites (which I will drop the video below) is a remix of one of the songs from Akira (Kaneda’s theme) turned into an Italo Disco song. Akira has an amazing soundtrack on it’s own, performed by a huge musical collective called Geinoh Yamashirogumi. Utilizing percussion instruments like marimbas and xylophones, there really isn’t anything else out there like it unless you get some actually tribal music of some sort. Zimmerman has taken this track and altered it ever so much into one of the best things I’ve heard all year!
Another favorite of mine is this gem, a remake of the opening them for an old school anime called City Hunter. dubbed Mikkori Chan, this new version is very energetic.
Next up is a track using a song made up of a few different samples, but I believe the majority of it is also from City Hunter Despite the Bubblegum Crisis video here.
And I could keep posting these, but I’ll do just one more. This track is comprised of one of the themes for Megazone 23 merged with another from Venus Wars.