Several years ago I ran across [url=http://www.geocities.com/dhou...]this site[/url] as I searched the web for new music. The minute the page opened up, I knew I had hit the musical lottery. From that day forward I referred to it always as [url=http://www.geocities.com/dhou...]The Candy Store[/url] because I literally I felt like a "kid in a candy store" exploring the page after page of the musical descriptions and recommendations that can be found [url=http://www.geocities.com/dhou...]here[/url] . I think what I love most about the site is not just the sheer number of bands profiled on it[url=http://www.geocities.com/dhou...] (over 1400!!)[/url] but rather it's the depth in which so many of them are explored that makes this site so special. Click on any one of the bands and you find a description that includes genre, history and in many case album reviews, as well as links and related bands. I cannot tell you how many new bands I have found as a result of my explorations at [url=http://www.geocities.com/dhou...]The Candy Store.[/url] I swear, it's like a little piece of heaven! :)
Oh, but that's not the end of the story...
Then... in what can only be described as a cosmic twist of fate of absolutely grand proportions, the creator of [url=http://www.geocities.com/dhou...]The Candy Store[/url] and I just happened to bid on several of the same CD auctions on eBay. I don't recall who won -- althought it was probably him as he used to be one "dangerous bidder" [i]back in the day[/i]-- but somehow, as a result of our bidding rivalry we contacted one another, I learned that he had created what I literally considered (and still consider) to be one of the greatest music sites ever conceived, and a friendship began that has endured the last several years.
But... time passes, as it tends to do. And life has a way of keeping us from the creative pursuits that we love most. And so it came to be that one day recently I clicked my oft used bookmark only to find that[url=http://www.geocities.com/dhou...] The Candy Store[/url] had closed its doors. Out of business! Gone fishing! Error404 -- The page you are attempting access is currently unavailable.
Say it isn't so!?!?!
But it was. And once I had wiped the tears from my freckled cheek, I e-mailed my longtime pal to express my sincere sorrow... and within a few days [url=http://www.geocities.com/dhou...]The Candy Store [/url] was back in business, because friendship always far exceeds the limits of bandwith. And I must say... that's the best news I've received in a long, long time.
So... take a trip to [url=]The Candy Store.[/url] Stick your face up against the glass cases and peer inside at all the darkly delicious goodies. Believe me, they're just as yummy as they look.
I found [url=http://news.bbc.co.uk/1/hi/en...]this article [/url] interesting not only because it claims that recent polls indicated that the threat of legal action has done little to deter European internet users from downloading pirated music, but also because I had a very similar conversation with a group of teenagers (13-15 years old) who echoed these same sentiments. In fact, one boy that I spoke to said that "the chances of getting hit by lightning are greater than the chances of being sued by the music industry." (Note: he said this as he clicked on him mp3 player which, according to him, boasts hearly 3k songs). Meanwhile another girl said, "until they make the system harder to beat, I'm still downloading."
Hmmmmm...
The same article also states ""In the US, there has been a small decline of about 5%." But generally it appears that the law suits haven't done much to deter file swappers. (It's sort of like the death penalty for music ~ not only does it suck, but it's not actually a deterent either!) Meanwhile, file swapping remains completely legal in Canada... oh those crazy Knucks!
So anyway.... now I'm curious.
Do y'all still file share or what? And if so, why? And if no, why not? Please note that I am not an informant for the RIAA or any such group ~ at least not yet. :wink:
Actually, it's tblog's resident artist, [url=http://islandArtist.tblog.com...]Island Artist's, [/url] interpretation of your humble author based on my consistent requests for her to provide details about her artwork ~ such as medium and canvas size, etc ~ hence the magnifying glass and forensics bag!
(Of course, I'm still waiting for her to reveal said details about my portrait as well, but who am I to be picky?) :)
Considering the fact that she's never seen me, I think she did a damn good job of capturing my essence: 1 part music lover, 1 part detail nerd! Those of you who know me, will probably agree that she hit the nail pretty much on the head. Anyway, I absolutely love it!
I'm in the process of making a compilation CD for regular reader and long-time friend extraordinaire jenxer, who reminded me recently that it has been nearly 2 YEARS since I promised her said compilation. Yes, I know... I'm a very bad person. However, this morning as I began the process of pulling out the CDs from which her specially selected tracks will be extracted, I began to think back on the days (that really weren't that long ago) when at the end of this process, I'd have a fragile reel of thin brown tape inside a little square plastic container, instead of the shiny round data miracles we've all grown so used to.
Aaaaaah... the lost art of the mixtape.
Of course, I think a lot of it has to do with the recipient, but by and large those tapes took effort and love to create. Picking the songs, choosing the order, adjusting all the knobs and buttons on the CD/Tape Deck just so, pressing record and keeping your fingers crossed and praying to a litany of music/recording gods so that there'd be no snap, crackles or pops along the way.. and then of course there was the listening afterwards. I was probably much more of a nerd about these things than most folks, but I remember turning the volume way up to listen to the transitions between songs especially closely ~ hoping to avoid the inevitable *blip* ~ betraying the imperfection of my chosen art form. Yes... those were indeed divine days. Until of course something went wrong: the track skipped or the volume between songs was whacked, or heaven forbid, the tape broke. Then the profanity was followed by wishes that someone, somewhere would figure out a way to make CDs recordable!
And then someone did...
And now so much of the process that went into creating those tiny works of love has become superfluous that I've found myself growing lazy when it comes to them. Sometimes I don't even listen to the final product before sending them off to the lucky recipient. The chances of something going wrong are slim, and that confidence seems to breed a bit of apathy on my part. Of course, I know some people out there who continue to mix in just the right amount of love by throwing extra effort into things like the covers or disc labels. Jonathan's CDs, for example, continue to amaze in part because of the CD covers which come complete with multi-colored track-listings and tiny little fish swimming about, along with release dates and such. Perfectly lovely stuff.
I suppose, in the end, it's the music that's the real gift. And yet, there's a part of me that misses the old days, when mixing a tape meant real work and a true sense of accomplishment at the end. At minimum, at least that would provide me with a semi-legitimate excuse for taking so long to get this thing out to jenxer – not that she’d buy it. :)
Here's a review I did for LT some time ago that I thought was going to make it into the new issue (due out in June) but apparently they decided to post it online instead. Anyway... check it out.
[u]Around Three In The Morning [/u]is the second full-length release from San Francisco Bay Area band Andalusia, and marks their first release with permanent vocalist Suzi McLay who joined the band in 2002. As the title implies, [u]Around Three In The Morning [/u]is a collection of delicate, ethereal tracks, each wrapped gently around fairly benign and vaguely diaphanous lyrics. The opening track, "Isaak on Acid," provides a fitting introduction to the CD in which layers of Cameron Ray’s atmospheric guitar work are bended around and through prominent base and percussion lines, (provided by Kirsten and Jon Burns, respectively). The nearly seven minute opener is at once cadenced and tender, creating a mood befitting the blurred moments of an early morning fog. And so goes the rest of the album, repeating a formula that clearly works for the band, and in which they are obviously comfortable. Melodically, several tracks betray the bands influences: The Cure, Cocteau Twins and Slowdive all come to mind, and there’s even an echoing hint of early Love Spirals Downwards in Ray’s soaring guitars, particularly on the album’s second track “Falling Faster.” Overall, this is a pleasant and soothing CD that is very suitable for late night listening or long drives in the rain. However, more alert or concentrated listening will reveal a couple of areas of weakness including: McClay’s vocals (which, while reminiscent of Kristi Thirsk and Lynn Caufield, seem tentative and cautious on most of the album’s ten offerings), as well as each track’s predominately forgettable lyrics, (which fail to evoke images or emotions worthy of the album’s musical whole). However, the slightly flawed details of this release do not overwhelm Andalusia’s strengths as a band, and their efforts on [u]Around Three In The Morning [/u]are both noteworthy and recommended.
WHOA! [url=www.musicplasma.com]This[/url] is so cool! What I think I love most about the [b][i]musicplasma[/i][/b] search engine (besides the fact that it reminds me of the thinkmap [url=http://thesaurus.plumbdesign....]virtual thesaurus[/url] ), is the diverse bands that they seem to have in their database. For example, I type in a relatively unknown band like Chandeen, and I get 12 hits... most of which I know, but at least 2 I have never heard of before!! Now, for someone like me, (a self-proclaimed music nerd), who is constantly on the lookout for new music, this is some pretty cool stuff, because not only do I now have 2 two new bands to check out, but then all I have to do is click on their names, and whamo! all of their hits pop-up too! I'm telling you.. it's like magic! I also did some searches on some pretty mainstream stuff, (Barenaked Ladies, System of a Down, The Cure and REM), and it would appear that they've got it all, baby. Of course, the comparisons are probably fairly subjective... but who cares? The search is half the fun, right?! (And for those of you who just can't get enough, you can always check [url=http://www.masternewmedia.org...]this[/url] out too).
As always, thanks so much to [url=http:shadowmusic.tblog.com]shadowmusic [/url] for consistently hooking me up with all the best links!
That's right.... Anatomy 101 is back in session. I had such fun doing this last time that I decided to have another go at it. I imagine it might be a bit boring for some folks, but the responses I received from the last "dissection" were pretty positive, so I think this may become a fairly regular feature. There's just something about taking a deeper look into a band you love that sort of forces you to examine what it is about their sound, their lyrics, style, etc, that attracts you to them in the first place. ~ And in the process, if you're really lucky, you discover new layers to what they are about. And of course, to a music nerd, such as myself, this type of exploration is truly delightful. So... pull on the rubber gloves people, and pass me the scalpel. Today's Subject: [url=http://www.kpunk.com/softies/...]The Softies.[/url]
[u][b]History:[/b][/u] It was 1994 when Rose Melberg & Jen Sbragia joined forces to create The Softies ~ a twee kissed guitar duo that has endured 10 years of transition without ever sacrificing their sound. The two had been friends for some time prior to their collaboration, but each was committed to other solo projects that delayed their ability to play together... for a little while anyway.
After their self titled first LP, [u]The Softies,[/u] was released on [url=http://www.dropbeat.com/slrla...]Slumberland Records[/url], The Softies earned a reputation as a solid live act by touring vigorously up and down the west-coast. One reviewer of their live show said "their performances are meant for small venues that echo the intimacy of their music." Later, their second release, [u]It's Love [/u]would land them in Olympia, WA and with the label that would become their musical home, [url=http://www.kpunk.com/]K-records[/url] .
Two releases later --[u]Winter Pageant [/u]and [u]Holiday In Rhode Island[/u]-- finds these girls 10 years into their collaboration and still going strong despite both player's numerous other solo projects. (source:http://www.kpunk.com/softies/...)
[u][b]Description[/b][/u] : If ever a band's name was better suited to its music than that of The Softies, then I do not know what it is. The Softies' sound is simple twee-pop in its purest form... boiled down to the very essence of what makes pop music so engaging: deliciously simple melodies, effortless hooks and sweet lyrics all wrapped up in delicate, tempting vocals. Don’t get me wrong, unless it’s your local college station, this is definitely not radio ready, but there’s no denying the sweetness of what The Softies offer. Even the most melancholy of their lyrics are delivered with a spoonful of sugar, (to help the medicine go down, of course):
[i]There's no competing with him. I can't keep you warm like that. I can't love you the way he does. I can only love you more.
There's no convincing me that you'll still talk to me like you did. I can't bear to see you like this. It makes me love you more.
And more than anything ever you're beautiful and always so clever. You're everything good, I hope that I might be ~ I hope he sees even half of what I see.
There's nothing keeping you with me. You can go away with him. There's no sense in rubbing it in, it makes me love you more.
I can't compete with that boy I can't make you feel like that I can't love you the way he does I can only love you more
And more each time you ignore me. This jealousy is starting to bore me. You can have him and I'll have my own, or maybe I'd just rather end up alone. ~ I Love You More from [u]It’s Love[/u][/i]
With every note of their two girls and a guitar sound, The Softies prove that less really is more. There's something absolutely infectious about their music, and I find it the perfect soundtrack to warm summer nights with the top down - and only the highway stretched before you. Yummy.
[u][b]Recommendations[/b] [/u]: All of The Softies' four releases offer something beautiful and unique while at once being familiar. One of the great strengths of this band is their ability to be fresh without ever significantly changing their sound. There's definitely no mistaking The Softies for another band. Once you've heard these sugar coated lovelies, you'll never accidently credit one of their songs to someone else. However, my two favorite releases are definitely [u]It's Love [/u]and [u]Winter Pageant[/u]. Favorite tracks include:
I Love You More - [u]It's Love[/u] It's Love - [u]It's Love[/u] Until You Tell - [u]It's Love[/u] Fragile - [u]It's Love[/u] Excellent - [u]Winter Pageant[/u] The Best Days - [u]Winter Pageant[/u] Winter Pageant - [u]Winter Pageant[/u]
I think fans of [url=www.thearrogants.com]The Arrogants[/url] , [url=www.theinnocencemission.com]Innocence Mission [/url] and even [url=http://www.shink.dircon.co.uk...]The Field Mice [/url] would love The Softies. I know I do.
[u][b]Personal Note[/b][/u]: If you're ever planning to give The Softies as a gift, I suggest wrapping them in paper covered with cut out pictures of Ford Mustangs. That how I first received them, and I can hardly imagine anything more perfect. :)
Since the release of Hyperium’s Heavenly Voices collection in 1993, many bands have laid claim to a branch of the same family tree, and Boudoir is no exception. Their debut CD Currency of the Soul, released by Pandaimonium Records, (the label headed by ethereal pioneers Clan of Xymox), represents an impressive offering of ten tracks revolving around typically gothic themes: lust, sorrow and alienation. Musically, Boudoir walks the same paths of such predecessors as Dead Can Dance, Chandeen, Ataraxia and Black Tape for A Blue Girl, while also adding a slightly more electronic, sampled twist to their arrangements, thereby likely appealing to fans of such Heavenly Voices mainstays as Love is Colder Than Death and Sleeping Dogs Wake. Consisting solely of Ala Sharon’s echoed vocals and Damon Fries’ soaring guitars, tracks like the opener “Unalone” and “Maybe Yesterday” are melancholy dances in gauzy ether. The release’s big surprise, however, comes in the form of a remake of the Buzzcock’s classic “What Do I Get?” Not only is the appearance of this song unexpected, but also Boudoir’s take on the decidedly punk creation is both stirring and intriguing. In general, this is a melancholy and dreamy collection of songs that achieves what Boudoir set out to create: a dark and textured album evocative of the dawn of ethereal music.
Recently, new reader Macki asked me to describe the music of Chandeen and make specific track recommendations. What follows is my response to that request. (I also realize that there have been other requests regarding specific posts here... and all I can say is those are in the works). Anyway, I'm going to consider this a band dissection, of sorts. And if I dig doing it... more may follow. But in the meantime, let me welcome you to anatomy class. Today's subject: [url=www.chandeen.com]Chandeen.[/url]
When you visit the Chandeen website you are instantly greeted with the following claim: "Through more than a decade, Chandeen have managed to artistically steer clear of the stereotype of ethereal music." Now, I am not exactly certain what the "stereotype of ethereal music" is, but I do agree that Chandeen's sound is unique, varied and instantly recognizable as their own.
[u][b]History: [/b][/u] Oliver Henkel and Harald Löwy founded Chandeen in 1990. The band’s first singer Aline Akbari, joined them in 1991 soon to be followed by Antje Schulz, who joined in 1992. Although Akbari left the band two years later (prior to the release of their first studio album), Schulz would remain the primary vocalist who defined the Chandeen sound for the remainder of their existence. The band's first album [u]Shaded By The Leaves[/u], was released on [url=http://www.discogs.com/label/...]Hyperium Records [/url] and helped to give birth to the "heavenly voices" sound that became the label's signature. This album also featured the band's 3rd vocalist Catrin Mallon who shared vocal duties with Antje Schulz. [u]Shaded by Leaves[/u] is a collection of electronic pop tracks that explore a variety of different textures while maintaining a "goth" edge. Both Schulz and Mallon's vocals are stunning on this album.
In autumn 1994 Oliver Henkel and Harald Löwy moved to Jutland, Denmark, for six weeks to compose and produce the second album, which they aptly titled [u]Jutland[/u]. They created a deeply atmospheric album, which had a lasting effect on the complete German underground scene. Ecki Stieg, the eye and the ear of the scene in 1995 commented: "With [u]Jutland[/u], Chandeen created an album which will be a benchmark for all other bands [sic] in this genre. This is the best release in several years." The album reached Top Ten peak positions for more than 10 weeks in the German independent charts and until this day [u]Jutland [/u]remains the most startling and unique of Chandeen's albums.
In 1994, both Catrin Mallon and Oliver Henkel left the band and in the spring of 1995, Chandeen's 4th vocalist Stephanie Härich came aboard. Six month later came the EP-CD, [u]Light Within Time[/u], followed in 1996 by the third album, [u]The Waking Dream[/u]. Chandeen toured extensively in 1996 and became the spearhead of the German Heavenly Voices- Romantic scene. In 1997 Chandeen left Hyperium Records and signed a new contract with SPV. One year later they released their fourth studio album [u]Spacerider-Love At First Sight[/u], with their new guitar player Florian Walther.
In the spring of 1999, Harald Löwy founded his own record label Kalinkaland Records and released the fifth album [u]Bikes And Pyramids [/u]in Fall 2002, the last album to feature Stephanie Härich.
They released their latest and sixth studio album [u]Echoes[/u] in 2003. [u]Echoes[/u] was the returning to Chandeen's roots: the meditative, romantic part of their music became the centre of their influence again. "[u]Echoes[/u] is an album full of energy", Harald Löwy says, "it sparkles and glows and has the soul which we missed from our later works. We've come full circle for Chandeen."
Unfortunately, [u]Echoes[/u] would be Chandeen's last studio album, although a compilation/greatest hits album, [u]Pandora's Box[/u], would follow. The band split up in 2004. (Source: www.chandeen.com)
[u][b]Description:[/b][/u ] Not unlike the band's line-up, Chandeen's sound endured significant changes over the course of their 12 year existence. While their initial release has, in my opinion, a decidedly gothic edge, later works explore a variety of sounds ranging from girl-pop to space-rock and back again, while always keeping one foot planted in the gauzy, layered, ethereal genre that they helped to create. There are two things that set Chandeen apart from other bands within the Hyperium/Heavenly Voices fold, however:
#1 Antje Schulz' vocals: Although I have read some reviews in which the author complains about the hint of German accent that flavors Schulz's vocals, for me this just one of the qualities that distinguishes her voice from other femal vocalists. Indeed, the tenor of Schulz’ vocals and the unexpected manner in which they are delivered are a melodic contradiction: soft and poignant, while also distinctive and disquieting… fragile and wilting, while also dazzling and evocative… haunting and persistent, while also soothing and comforting. Schulz’ soft soprano vocals are unabashedly dripping with emotion and unashamedly flawed and imperfect. But these oddly paired attributes seem the perfect match for…
#2 The mournful lyrics that characterize much of their music. Some of Chandeen’s most beautiful moments are achieved through the ability of the listener to recognize his or her own personal heartache in the band’s lyrics.
[i]Stay is all I can entreat you, but I know it’s much too late You prefer this kind of freedom, you choose your way Now I stay on my own, searching for a meaning Try to walk upright, it’s not that easy… Oh no, it’s that easy Waiting for the time to heal my sores to go by Waiting the time to die Come to me, and hold back the tears in my eyes Come to me, and take me down to your illusion Come to me, and help me to forget the sorrows of my life Come to me… Oh… I don’t want to get hurt anymore. -- “One Last View” from Jutland[/i]
[u][b]Recommendations:[/b ][/u] One release that is not mentioned in the history above is the band’s first greatest hits release [u]A Taste Like Ginger.[/u] This is a great compilation with tracks from the band’s first four albums and includes some personal favorites:
“Ginger” from Jutland “Silver Days” from The Waking Dream “Anyone’s View from the Inside” from The Waking Dream “Mourning Was Driven Ashore” from Shaded by Trees “In Power We Entrust The Love Advocated” from The Waking Dream “Fire and Water” from Light Within Time “Strawberry Passion” from Jutland As well as a live version of “One Last View” from Jutland
All in all, [u]A Taste Like Ginger [/u]provides a pretty good overview of the band and would serve as an ample introduction for new listeners. This is also probably my personal favorite.
However, no Chandeen collection would be complete with [u]Shaded by Leaves [/u]which provides a wonderful glimpse at the band’s beginnings, while an equally impressive glimpse into late period Chandeen can be found in [u]Spacerider - Love at First Sight[/u], which marked somewhat of a departure for the band musically, but which also boasts some of my absolute favorites tracks from this diverse band.
[u][b]A Personal Note:[/b][/u] I think the reason why Chandeen speaks to me personally is because of the way they were introduced to me. Like Love Spirals Downwards, Chandeen arrived in my life by way of a mix tape, from a far away person who wanted to share some of his "weird" music with me. The first Chandeen song I ever heard was "Anyone’s View from the Inside" from [u]The Waking Dream[/u], which boasts delicate piano, a gunshot and a high piercing scream. Now, if that doesn't leave an impression, I'm not sure what will. :) At any rate, if there's one thing I know to be true about music, it's that you can learn a whole lot about a person by simply taking a closer look at the music that makes up the soundtrack to his/her life. When Chandeen, (as well as other bands in that genre) were given to me, the door was opened to a whole new world that included more than just music. It may sound melodramatic to say, but I liken finding this music to being a painter whose pallet once contained only grays, until one day, someone cracked open the box of crayolas, exposing me to an entire world of color with which to paint my canvas. To say that it was life changing, would be an understatement. To say that I am grateful is only the beginning....
... I could make my living writing about music. I realize that's a fairly selfish wish. A lot of people would give their right arm just to be able to make their living writing about any thing, while still others just wish they could make a living... who am I to be so picky?? And yet... I still wish it. I think the list of people who get to spend their lives working in a field that revolves around something they are passionate about, (be it music, or art or even salmon), is a short one. But the people on that list are lucky people indeed.
But enough about that.
One tiny little section of music that I am very passionate about is the afore mentioned "dark music with female vocals" genre. I have to admit that I came to this music a little bit late. By the time many of the bands I love most were introduced to me, they had already broken up or were well on their way towards the next phase of their musical evolution... and I never had the chance to see them live. However, there are still many bands out there that are making darkly beautiful music, and as [url=http://shadowmusic.tblog.com]shadowmusic[/url] noted in his comment, there are lots of resources out there if you want to explore this particular genre. (Although I have to say that many of the links on the site he suggested are broken or outdated). Anyhow, in this list, I will introduce those of you who are interested to some of my personal favorites.
Here goes...
[url=http://www.lovespiralsdownwar...]Love Spirals Downwards: [/url] People who love music, often talk about songs/bands who changed their lives. The song "Avincenna," from LSD's [u]Ardor[/u] album was like that for me. In fact, LSD was really the first band from this genre with whom I fell in love. I can still remember hearing that song for the first time... pushing the homemade tape (which I still have by the way) into the cassette player in my car and literally having to pull over on the side of the road to listen to it. Amazing. LSD made several incredible albums, but [u]Ardor[/u] will always be my favorite. Of their first album [u]Idylls[/u], one reviewer wrote: "Heavenly and reverberant, with highly processed acoustic and electric guitars coalescing gracefully around [Suzanne] Perry's angelic vox, Lum's heavenly keyboards, and occasional hand percussion and rhythm programming." Unfortunately, lead singer Suzanne Perry left LSD a couple of years ago. Ryan Lum (the other half of the band) continued with a new vocalist and new name Love Spirals (original, huh?) but things were bever really the same. Despite the band's meltdown, their site is still fairly comprehensive and includes several sample tracks. So... if you're at all interested in this type of music, LSD is a good place to start.
[url=www.chandeen.com]Chandeen:[/url]One of the more distinct bands within this genre, Chandeen epitomizes the exquisite sorrow that typifies much of gothic/ethereal music. Even though they recently broke up (did you know this, Jonathan?????) they released 6 full length albums during their twelve year life span. With two female vocalists, Chandeen has made some of the most haunting and mournful music I have ever heard. Excellent stuff.
[url=http://www.clairevoyant.com/]Claire Voyant: [/url] Personally, I don't think CV have given their fans much to listen to after their debut. But that debut was so fantastic, that I have been willing to forgive the two subsequent disappointments. (Ok, the second album wasn't *that* bad). Victoria Lloyd's voice is so powerful and gripping that it requires little production assistance to achieve the haunting and dreamy quality that is the staple of this type of music. I'm just waiting for them to realize that they got it right the first time, and go back to making the kind of music they were meant to make.
[url=http://www.stoa.de/index.html...]Stoa:[/url] Even though *somebody* told me that I should not include this band on my list, I am going to rebel and put them on here anyway. Is their music dark? Well... I suppose that is open to interpretation. However, I would classify much of it as such, particularly on their last album [u]Zal[/u] which was released in 03 and about which I [url=http://www.losingtoday.com/re...]wrote a review [/url] for LT some time ago. (One side note, I just realized that Stoa linked to my review on their page, so now I feel like a super star!). Anyway, this is neoclassical music at it's best with somber cello and soaring vocals. Beautiful.
[url=http://www.obscure.org/~dew/Siddal/Siddal.html]Siddal: [/url] Now this is a band that I would just LOVE to hear more from... but they seem to have disappeared from the face of the earth. (Although I hear they are opening for Strange Boutique in DC on July 3rd, so I may have to find a way to be there). Anyway, "Oil Spills" from the [url=]Mystery and The Sea[/url] EP is truly one of my favorite songs. With typically electronic arrangments and delicate female vocals, their music always reminds me of winter... a bit bleak, a bit frozen, abundently beautiful.
[url=http://www.projekt.com/projek...]Faith and Disease:[/url] Now here's a band that has gotten better with age and for whom I have gained more respect over the last couple of years. Not only were their last two releases their best yet, but I saw them live a couple of years back, and they put on a very good show despite having to do so under some not so great circumstances. F&D certainly has a folk edge... but there is definitely some gothic roots to their music. (Another side note, and I SWEAR I did not plan this, I just discovered that F&D linked to my review of their last CD [u]Passport to Kunming[/u] on their site as well!)
Rosewater Elizabeth: This is another band that faded after an incredible debut. [u]Faint[/u] which was (barely) released in 1994, remains the better of their two releases. The description of the band on the link above is pretty minimal, and yet acurate, although I would add that a couple of tracks definitely include some elements of world music. Ha! Now that I think about it, this CD may have been the very first item I ever purchased on eBay. :) Anyway, it is a GREAT album with SEVERAL stellar tracks that show off the considerable talent of lead vocalist Melissa Mileski. Unfortunately, this was not to be repeated and members of the band went onto other projects, but with limited notice. I will always adore this album, however, and secretely wish that they had signed to [url=www.projekt.com]projekt records[/url] early on, as they seem a perfect match for this label.
[url=http://www.azureraymusic.com/...]Azure Ray:[/url] Anyone who has been reading this site regularly knows that this band is my latest obsession. To me, Azure Ray epitomizes the perfect mixture of sad lyrics and ethereal elements tossed around with some occasionally folk/occasionally goth arrangements. One reviewer said of the band: "Similar to Angelo Badalamenti's music from Twin Peaks, their songs are dark and moody, sounding equally influenced by New Wave pop and Midwestern Americana. Atop this are incredibly soft female vocals, sounding so light and airy that it contrasts with the music, giving the music's morose feeling a pop aura. " I ask you, could anything be more yummy? I seriously love this band.
Ok... that is where this list ends. At least for the moment. I'm sure other bands will come to mind, and I may update this later. I also think that I will soon just do a "female vocalist" post, because a lot of bands nearly made it to the tip of my fingers this time around, before I ultimately decided that they didn't *quite* meet the "dark" requirement. In the meantime, thanks to everyone who played along... my appreciation for your comments (always) never ends.
I recently received an e-mail from a [url=http://shadowmusic.tblog.com]pal[/url] regaling me of all his recent musical purchases -- which for the record -- I am sufficiently jealous of. However, in his e-mail he jokingly made the statement: "I just can't get enough dark music with female vocals." Now... as we all know, the funniest jokes are the ones that are true. And the truth is, I couldn't agree more. Dark music (which can be defined any number of ways ranging from dark lyrics to slightly gothic arrangements or undertones) with female vocals might very well be one of my favorite genres of music. I love all kinds of music, but there are very few times in which one cannot find a CD by Love Spirals Downwards, Stoa or Claire Voyant in my CD player.
Of course, these are just a few bands that come to mind. This is a genre whose list of artists is indeed plentiful. So, having said that, (smile, dork) let's make a list.
Our topic: Dark music/female vocals. As always, eventually, I'll be sure to stun the world with my own list, but in the meantime... you first!
In an earlier post wickedlame took me to task for including Blink182 on my list of music's most overrated bands, stating that the term overrated should be defined as "'unwarranted critical acclaim (or controversy)'...not just 'more popular than they should be."' In retrospect, I have to agree, and perhaps given that definition I would remove those Blink boys from my list. But today that definition is especially useful to me as I take a moment to examine the Nirvana phenomenon that has become the focus of my last couple of posts. In attempt NOT to beat a dead horse, (no pun intended), I promise to make this as brief as possible.
First of all, let me just say that I was really surprised by how many people responded with A. Is he an undeserving icon whose death, albeit tragic, served to unjustly inflate his popularity beyond the level of his talent? to my recent question regarding your feelings about Cobain himself and his impact on music. I would be lying if I didn’t say that I truly expected more of you to check your mark in the column marked B. I would also be lying if I didn’t say that my own response, if faced with the same question, would probably fall somewhere in the neighborhood of C.
I can’t deny Cobain’s talent. Many people debate his prowess as a guitarist, but his presence on stage is undeniable. Lyrically, it is without question that his words spoke to an entire generation who were hungering for something musically that flew in the face of the sugar-coated, dipped in plastic music that seemed to define the late 80’s. Grunge was the answer to that call.
In 1988 indie label Sub Pop began producing limited editions of singles from Seattle bands, under the name “"Sub Pop Singles Club." These monthly releases included Nirvana, but also issued singles from other local bands like Green River, Tad, Mudhoney, Soundgarden, King Snake Roost, Lubricated Goat, Surgery, Helmet, Tar, Silverfish, Melvins, Cows, and Steel Pole Bath Tub. Local fanzines started spreading the news and because Seattle was, believe it or not, at the time not a regular tour stop for many big name acts, an entire movement in music began to quietly make noise in the Northwest. Nirvana was part of this movement… but they were not the first, nor were they, arguably, the best. They would, however, become the most famous.
In 1991, when Nirvana released Nevermind, what had been a local music scene, was about to spread throughout the country. The big bang, as it were, began when MTV included “Smells Like Teen Spirit” as a buzz clip that earned heavy rotation. Suddenly grunge was everywhere, and Kurt Cobain became an unlikely spokesperson for a generation. The pinnacle of the grunge overload, in my opinion, was when Vanity Fair did a grunge fashion spread. Listen, when plaid becomes the “new black” we’re all in trouble. Gradually, an underground movement became mainstream and as is inevitable, things began to change…
The music pendulum is in constant rotation and when things swing too far one way, there is bound to be backlash. Just think about it, you can probably name dozens of examples of songs that were great when you first heard them… then the radio played them 300 times per hour… before you knew it SNL was doing a parody…. and without warning, the once popular song/act/genre became doomed to a spot on some later VH1 countdown chronicling the lives of washed-up has-beens. By 1994, when Cobain died, Grunge was on the way out. As Eddie Vedder, another icon of the genre noted, "when commerce is involved, everything changes.”
But that’s when things start to get a bit slippery…
Had Cobain not died, would he now be considered the musical equivalent to Jesus that so many seem to view him as, (type “Nirvana” as a Google search, you’ll get over 2,900,000 responses), or would he have faded back into the dreary subculture of the small logging town of Aberdeen, Washington from whence he sprung? Clearly, we will never know. But I guess my major bone of contention here is that it seems to do an injustice to so many of the other grunge bands like Mudhoney, and Melvins and Green River who, in all fairness, really deserve the credit and status for having sparked a new era in music, that will be remembered long after these bands are long forgotten.
But then again, maybe that’s a spotlight they’re glad to stay out of.
Several years ago I ran across [url
I found [url
It's me! 
I'm in the process of making a compilation CD for regular reader and long-time friend extraordinaire jenxer, who reminded me recently that it has been nearly 2 YEARS since I promised her said compilation. Yes, I know... I'm a very bad person. However, this morning as I began the process of pulling out the CDs from which her specially selected tracks will be extracted, I began to think back on the days (that really weren't that long ago) when at the end of this process, I'd have a fragile reel of thin brown tape inside a little square plastic container, instead of the shiny round data miracles we've all grown so used to.
[url
WHOA! [url=www.musicplasma.com]This[/url] is so cool! What I think I love most about the [b][i]musicplasma[/i][/b] search engine (besides the fact that it reminds me of the thinkmap [url
After their self titled first LP, [u]The Softies,[/u] was released on [url
Oliver Henkel and Harald Löwy founded Chandeen in 1990. The band’s first singer Aline Akbari, joined them in 1991 soon to be followed by Antje Schulz, who joined in 1992. Although Akbari left the band two years later (prior to the release of their first studio album), Schulz would remain the primary vocalist who defined the Chandeen sound for the remainder of their existence. The band's first album [u]Shaded By The Leaves[/u], was released on [url
In 1994, both Catrin Mallon and Oliver Henkel left the band and in the spring of 1995, Chandeen's 4th vocalist Stephanie Härich came aboard. Six month later came the EP-CD, [u]Light Within Time[/u], followed in 1996 by the third album, [u]The Waking Dream[/u]. Chandeen toured extensively in 1996 and became the spearhead of the German Heavenly Voices- Romantic scene. In 1997 Chandeen left Hyperium Records and signed a new contract with SPV. One year later they released their fourth studio album [u]Spacerider-Love At First Sight[/u], with their new guitar player Florian Walther. 
#1 Antje Schulz' vocals: Although I have read some reviews in which the author complains about the hint of German accent that flavors Schulz's vocals, for me this just one of the qualities that distinguishes her voice from other femal vocalists. Indeed, the tenor of Schulz’ vocals and the unexpected manner in which they are delivered are a melodic contradiction: soft and poignant, while also distinctive and disquieting… fragile and wilting, while also dazzling and evocative… haunting and persistent, while also soothing and comforting. Schulz’ soft soprano vocals are unabashedly dripping with emotion and unashamedly flawed and imperfect. But these oddly paired attributes seem the perfect match for… 
[url
[url=www.chandeen.com]Chandeen:[/url]One of the more distinct bands within this genre, Chandeen epitomizes the exquisite sorrow that typifies much of gothic/ethereal music. Even though they recently broke up (did you know this, Jonathan?????) they released 6 full length albums during their twelve year life span. With two female vocalists, Chandeen has made some of the most haunting and mournful music I have ever heard. Excellent stuff.
[url
[url
[url
[url
[url
In an earlier post wickedlame took me to task for including Blink182 on my list of music's most overrated bands, stating that the term overrated should be defined as "'unwarranted critical acclaim (or controversy)'...not just 'more popular than they should be."' In retrospect, I have to agree, and perhaps given that definition I would remove those Blink boys from my list. But today that definition is especially useful to me as I take a moment to examine the Nirvana phenomenon that has become the focus of my last couple of posts. In attempt NOT to beat a dead horse, (no pun intended), I promise to make this as brief as possible.