#also just my favourite recording of danse macabre ever

[meluisart]

Today’s the final showing for this ride, ever, as it closes today and will be demolished to make space for a new attraction. I’ve got a massive soft spot for Spookslot and probably always will. It is what made my love for horror and hauntings grow as a kid, was my first discovery of classical music as a whole, and still has me in awe. They don’t make them like this anymore <3

#also just my favourite recording of danse macabre ever #its so rich in its sound #if they play danse macabre at efteling in concert in october i am going to sob my eyes out #spookslot #efteling

[saintzenni]

Hey have been asking enterprise writers these questions from the fanfic asks going around, feel free to answer or not! (I just like hearing how people write). 🖖

What’s your favourite line you’ve written in a fic? 

What is your ideal writing set up? 

What is your favourite fic you’ve written and why?

Any advice for writers working through writers block or burnout? 

oooo first ask!!! this is so exciting hehehe

what is your favourite line you've written in a fic?

that is a very good question. i think probably this one:

“Captain Reed was sombre, never speaking more than he needed to, and he carried himself with a martial erectness that made his eyes alert and watchful, as if he was concerned that one of the women in their satins and leg-of-mutton sleeves would suddenly draw a bayonet on him; his collar was crisp and unwieldy on his neck and the pin on his cravat was simple, just a tear-drop pearl.”

from “Danse Macabre” or this one:

“Garak doesn’t answer, instead watching the slow march of the stars like arachnids across the windowpane.”

from “Cobwebs on the Windowpane,” but it’s really hard to choose!! i have a few others i constantly re-use lol, which i guess are kind of my favourites in a different way? for example, i say “clavicle” an ungodly amount, lol.

what is your ideal writing setup?

i’m pretty low-maintenance when it comes to my writing setup. usually i like to write sitting in my bed (because it’s warm and comfy). i always prefer to have a big glass of water with me and a snack nearby so i don’t have to get up while i’m in the zone lol. i tend to slouch real bad over my laptop oops

i use word on my laptop almost exclusively (times new roman, 12pt font, 8pt spacing between indented paragraphs. i am begging ao3 to let us indent our paragraphs PLEASE). i barely ever write on my phone except to record small notes for ideas that come to me during the day.

what is your favourite fic you've written and why?

this is really tough because i go through phases with almost all of my stories where i intermittently think they’re the best thing i’ve ever written and then i hate them. i think right now i love rereading “Sing Me Lullabies in Form of Your Catcalls” probably the most out of any of my stories. i'm really like “Daydreams (Are a Mild Form of Dissociation)” because it’s the longest thing i’ve written in years and i’m really proud of myself for sticking with it even when i felt like giving up. i think “Danse Macabre” is also up there for me because it’s so out of my comfort zone but i don’t think it can be at the top yet because i’ve only written one chapter of the story, haha. and of course i loved collaborating with @glitter-and-metal on “You and Me”! it was really neat seeing how other people work :)

any advice for writers working through writer's block or burnout?

when i’m having a period of writer’s block, i tend to try to do other things that don’t involve writing. i go out with friends, focus on schoolwork, and try to enjoy myself. sometimes, in the process of living my life, ideas will come to me and i’m inspired to write them down! also i find taking a long ass shower and just thinking helps. watching the show i’m writing for inspires me when i’m stuck on stuff like dialogue or characterization. but sometimes, all i can do is sit down and pound something out, sod how good it is. that works best i find when i’m really in a funk, because at least then when i come back to it, i’ll have something to work off of.

thanks so much for asking me!! it’s really nice of you <33 i hope i answered your questions well enough and i wasn’t too verbose lmfao

#star trek enterprise #star trek: enterprise #enterprise #writing #fanfic #star trek #writers on tumblr #ao3 writer

[passionate-reply]

This week, on Great Albums, we finally get around to discussing an industrial album--and we’ve started with one of the best there is, from the OGs themselves: Throbbing Gristle! (No, it isn’t jazz funk, I promise.) As always, full transcript under the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be talking about one of the most important albums in the history of industrial music, and certainly one of the most...infamous. If you’ve ever noticed this album hanging on my wall in my other videos, you may well have wondered how an album that looks like this fits in with the rest of the stuff that’s up there. This record is the pioneering industrial group Throbbing Gristle’s classic 20 Jazz Funk Greats, and it’s essentially a bait and switch. It looks like a dorky, “family band” record from the bargain bin, but when you put it on, it sounds like this:

Music: “What a Day”

...well, not really. I’ve fibbed a bit here, much like Throbbing Gristle lied to you with this album cover. “What a Day,” one of the most sonically abrasive tracks on this album, is actually the second to last track! They take a little time to warm you up to the heavier stuff, actually. The first two tracks, the title track and “Beachy Head,” are still not really “jazz funk” by anybody’s standards, but they ARE decidedly softer than some of the other stuff you’ll encounter here.

Music: “20 Jazz Funk Greats”

Things arguably don’t start really heating up until we reach the third track on the album: “Still Walking,” which introduces us to ear-splitting distortion, rapid, disorienting percussion, and buried, albeit deeply ominous vocals, sounding like the first “typical” Throbbing Gristle track. It’s dense and almost comically busy, almost exhausting to listen to--and yet we have only just begun.

Music: “Still Walking”

So, where do we go from here? 20 Jazz Funk Greats wouldn’t be the legendary album that it is, if it was a one-note knock-knock joke, a jack in the box that emerges fully within the first few minutes of the album. What I think it really excels at is its ability to keep us on our toes throughout its entire runtime--it goes back and forth between showing a slightly friendlier face, and peeling back the skin of that face to show us the gory skull underneath. The whole thing vibrates along that contrast. Side two of the album, for instance, opens with one of Throbbing Gristle’s best-known tracks: “Hot on the Heels of Love.”

Music: “Hot on the Heels of Love”

Positioned squarely in the middle of the track listing, and at the crucial point of opening the second side, “Hot on the Heels of Love” certainly seems crucial to the album. It reads as a sort of dark parody of Giorgio Moroder’s famous “I Feel Love,” in which the voice of Donna Summer stands nakedly alone in a sea of pulsating synthesisers. It’s a pretty quick rebuttal, too, given that “I Feel Love” was released just the year before! Despite those sultry, breathy vocals, courtesy of Cosey Fanni Tutti, there’s no mistaking this one for a disco hit--not with its harsh hi-hats and gritty, highly textural synth scrapes. “Hot on the Heels of Love” features minimal lyrics--and they’re almost insultingly vapid--but 20 Jazz Funk Greats also features two prominent tracks that are much heavier in lyrical content, which I like to think as complementary to one another: “Convincing People” and “Persuasion,” which appear on the first and second side of the LP, respectively.

Music: “Convincing People”

Taken alone, “Convincing People” is weird, but it’s so vague and disorganised that it’s hard to come to a firm conclusion about what’s going on the first time you hear it. Unlike “Still Walking,” the fairly minimal instrumental accompaniment makes it easy enough to make out what the words are, without the sleeve handy. But it’s also so repetitive that it’s bound to infect you with semantic satiation, and fog up your brain’s ability to pay attention to those lyrics. The clearest statement “Convincing People” seems to be making is that you’ll never convince people when you come across as someone who’s trying to be convincing...well, alright, I suppose. But what really gives this song a darker significance is its counterpart on the flip, “Persuasion.”

Music: “Persuasion”

Abrasive numbers like “What a Day” and “Still Walking” are physically uncomfortable to listen to, but “Persuasion,” like the earlier Throbbing Gristle number “Slug Bait,” unnerves you with its lyrics instead. It takes up the mantle of a narrator who’s clearly a predatory, sexually violent character, and once again, a fairly simple instrumental makes us confront this vile subject matter head-on, as though we are alone in the room with this creep. “Persuasion” and “Convincing People” are actually extremely similar, but the biggest difference between them is that “Persuasion” is the escalation of their shared basic idea, with its much more explicit lyrics, and use of dissonant, unpredictable human screaming sounds. It’s actually a great metaphor for understanding how this album works--it gradually pushes our boundaries as we listen, worming its way into our consciousness like some masterful manipulator. And it dovetails with how Throbbing Gristle frontman Genesis P-Orridge would later style herself as a charismatic cult leader, with varying shades of irony, in later projects related to “Thee Temple ov Psychic Youth.” As we’ve recently been told, you don’t convince people by coming across as someone trying to be convincing. Or do you?

As I alluded to in the beginning, the name and cover design of 20 Jazz Funk Greats are a sort of musical booby trap, to hopefully ensnare innocent victims. It’s not jazz or funk, it doesn’t have twenty tracks, and its seemingly quaint cover photo, featuring the band in sunny surroundings, actually has a dark secret: the spot it was taken at, Beachy Head, is the most popular suicide destination in Europe, and one of the most popular worldwide. It’s Britain’s highest sea cliff, a stark, sheer wall of chalk that looms over the English Channel, and just a few feet away from where Throbbing Gristle are standing, people regularly throw themselves off of it. It’s a place where delicate natural beauty meets the profound human sickness sown by our twisted, exploitative industrial world. It’s just one more insidious detail, that heightens the cruel spirit of the album’s visual identity. It’s worth remembering that Throbbing Gristle were, first and foremost, provocateurs. I think that may be a better way to think about them overall, compared to thinking of them as “musicians.”

In my day, I’ve often seen 20 Jazz Funk Greats recommended as a good introduction to Throbbing Gristle, and to industrial music as a genre, more broadly. Industrial is one of the very few genres of music that was given its common name by an artist and not an outside critic--and we have Throbbing Gristle to thank for coining it, so they’re inarguably industrial royalty. Their catalogue remains indispensable to understanding what industrial is about--like so many acts we consider seminal or foundational, the seeds contained here inform a great deal of subsequent music. The problem, though, is where to begin, since they were arguably more of a jam band than a studio act, with legendary live performances that probably influenced other artists much more than anything they ever pressed on wax. Their discography is hairy, peppered with live recordings, non-album A-sides, and releases whose official vs. bootleg status is unclear. If you’re looking for a traditional album listening experience--as many music enthusiasts often are--it’s hard to do better than 20 Jazz Funk Greats.

At the same time, though, I think there’s something to be said for respecting the fact that Throbbing Gristle were never trying to offer anyone a traditional listening experience. Just the opposite! 20 Jazz Funk Greats is a Great Album, for sure, and it’s also a bit more of a softball than some of their other work, which arguably makes it a bit more accessible. But is it really all that fair to try and wring an “accessible” experience from a band like Throbbing Gristle, when it isn’t particularly representative of their work? Or is it better to meet them head on and try to tackle them on what appear to have been their own terms? If you’re new to them, but want to understand Throbbing Gristle and feel literate in their work, I think I might recommend their 1981 “greatest hits” compilation, Entertainment Through Pain, better than I would any of their proper albums--particularly if you’re like me, and prefer their more aggressive cuts to the ambient ones.

Music: “Adrenalin”

I think my favourite track is “Walkabout,” even though I would argue it’s one of the least “industrial” sounding tracks here. It isn’t heavy, rhythmic, or sludge-textured, but instead serves as a sort of “breather” between “Persuasion” and “What a Day,” a brief, floating melody that drifts by like a cirrus cloud. It’s both playful as well as devious, wedging itself between some of the hardest-hitting stuff, looking like it might be a reprieve, but ultimately leading right back into harsh musical territory--like an abuser love bombing you between some of their worst behaviour. Perhaps “Walkabout” is something like a masochist’s after-care, a moment of healing and cooldown after the excesses of simulated abuse. Or perhaps it’s the stillness and disquiet peace of the grave, for those who meet their end at the hands of “Persuasion”’s narrator? Ambiguity and possible irony are an integral part of Throbbing Gristle’s particular danse macabre...so I’ll leave the rest of the interpreting up to you. Thanks for watching!

Music: “Walkabout”

#music #album review #album reviews #great albums #music criticism #throbbing gristle #industrial #industrial music #Genesis P-Orridge #cosey fanni tutti #20 jazz funk greats

[drakorn]

My Current Top 10 Musicals

So, I thought I’d just make a little list of the musicals that I personally consider to be my absolute favourite ones at this point in time. This list will obviously change again when I find a musical that I like more than one on this list. Anyway, here’s my list, if anyone’s interested XD (Btw, I’m only talking stage musicals here, so if you see any musical that was also a movie, I am talking about the stage version).

But first...some honourable mentions that I still adore but didn’t make it into my Top 10: The Phantom of the Opera, Anastasia, Ludwig II, Mozart!, The Lion King and Jesus Christ Superstar.

PS: All of this is opinion-based. Of course, you will disagree with me at some point, that is just natural. And it’s great that everyone has different tastes!

10 - The Lord of the Rings: A LOT of people have not heard about this musical, but it actually exists. It’s nothing fan-made or anything, it’s an actual official musical adaptation of The Lord of the Rings, not the Peter Jackson movies but the actual Tolkien epic. It ran in Canada and the UK and was even supposed to make its way to Germany. Of course, it has changes in it because adapting the entire story into a three-hour stage musical is an impossible task. It’s also the only musical I know of that consists of three acts rather than two. There is actually a cast recording available with the main songs in it. Like, honestly, I personally just love this musical. For instance, take a listen to Galadriel’s big solo:

I know, I’m most likely in the minority here, but for me personally, The Lord of the Rings is one of the best musicals out there and it’s an absolute shame that it’s not performed more often.

9 - Wicked: I am an absolute fan of seeing the story from the antagonist’s point of view and understand all of their motives. Wicked is one of the best examples out there as it takes the classic tale The Wonderful Wizard of Oz and gives it a darker and more serious spin, mainly because the Wicked Witch of the West is now the protagonist. I know, this musical is loved by everyone and makes it into pretty much everyone’s top list, but...honestly, it really deserves it. The songs are amazing and the story is very touching, especially the relationship between Elphaba and Glinda. I love villain origin stories, and to this day, the part where Elphaba decides to embrace her role as the antagonist of the story still sends shivers down my spine. No Good Deed still counts as one of my favourite villain songs. I have seen this musical twice and would gladly go again whenever I get the chance to do so!

8 - Rudolf - Affaire Mayerling: Ok, so this is a little bit of a controversial situation for me. I LOVE historical musicals. I just love them. However, this musical is REALLY not what you would call historically accurate. However, to me, it doesn’t really matter. When I look at it from a musical theatre point of view, it’s actually really entertaining! I have never seen this musical live, only watched the DVD and listened to the cast recordings but I would LOVE to see it live once. The songs are so good! While the story is not the best, the music is phenomenal in my opinion. And it also has one of the most catchy villain songs to be ever put on stage: Die Fäden in der Hand. Yes, this musical has MANY flaws, I don’t deny that. The cheesy and historically non-existent romance between Rudolf and Mary is not really the best thing to watch (seriously, why didn’t they include Mizzi Caspar instead of Mary, that would have made MUCH more sense for the love aspect). But it also has a lot going for it, like the actual songs. It is still one of my favourite musicals.

7 - Dracula: Many people consider Frank Wildhorn’s best piece to be Jekyll and Hyde. I personally think that Dracula is that best piece. Sure, it had a very wonky start and the majority of the good and memorable songs came along when the musical came to Austria, but it’s also the Austrian version that I got to hear and see first (not live unfortunately but hooray to cast recordings). It’s an adaptation of Bram Stoker’s Dracula...but more the Francis Ford Coppola film rather than the actual book. The romance aspect between Dracula and Mina is not the strongest part of the piece by far, however, when the story isn’t about the romance, the music is actually really fantastic! Oh, and it also has my favourite ever confrontation song: Zu Ende. I REALLY want to see this musical live. Why does it never come to Austria again? It had a fantastic run in Graz! And why can’t there be one German-speaking version of this musical that actually sticks to the gothic aesthetic? Oh well, a man can dream.

6 - Artus - Excalibur: Frank Wildhorn seems to be getting on this list very often, eh? Oh well, what can I say? I just love a lot of his source material. Artus - Excalibur is by no means an accurate representation of the Arthurian legend. However, what it does good is: it gives the tale its own spin. It doesn’t even try to be a step-by-step recreation, it’s completely its own thing. And I liked it. A lot actually. I saw it two times, one time in St. Gallen and one time in Staatz. Both times I absolutely loved it. It has great music and a solid story. However, the songs are by far the best part of it. It also has one of my favourite ensemble pieces: Morgen triffst du den Tod. This is one of those musicals I could watch over and over again without getting bored at all. Whenever it gets put on again, I will try to be there!

5 - Les Misérables: Ok, of course this was going to be on here. Les Mis is just the definition of an epic and emotional megamusical that is guaranteed to touch everyone’s heart at some point. Now, the fun thing is, the first time I saw Les Mis was in the cinema...when the movie came out in 2012. I know, shame on me, but I actually really liked the movie. When I was in London, I went to see the stage musical and I was blown away! It was so amazing and powerful! Javert is my personal favourite character. But I also saw Tam Mutu as Javert in London and this guy is just having a total blast in this role. Needless to say that Stars is probably my favourite song in the musical. Also, this musical is very relevant, even in today’s world, just like Victor Hugo said himself. The melodies are great, the story is great and the characters are great. What’s not to love?

4 - Rebecca: Not everyone’s favourite musical but definitely one of mine. I think, one of the reasons why I love it so much is the whole mystery and thriller aspect it has going for it. It truly captured the spirit of Daphne du Maurier’s novel and brought it on stage. The set design is beautiful, the music is great, you can’t go wrong with Sylvester Levay, and Michael Kunze once again delivered with a great script. Plus, the title song has got to be one of the most menacing songs in german-speaking musical theatre, especially when sung by the right actress. It’s a musical I would really like to see live...and one that I would wish, the VBW would finally bring back! Come on, what’s stopping you guys? Tecklenburg had a fantastic run last summer!

3 - The Hunchback of Notre Dame: I love it when Disney decides to just go dark for once. The movie is seen as Disney’s darkest animated movie. Well, it’s nice to see that the stage musical is also the darkest stage musical Disney has put on. While the movie still had a lot of the classic Disney tropes going for it, the musical gets rid of those and adds tragedy on par with Les Mis, meaning, keeping the actual book ending in the show. Also, a surprisingly large amount of Brecht and Greek Chorus was added to the show and it works really well! However, the Disney songs stay and it works as a great combination! Making Frollo the Archdeacon again adds so much more weight to the Hellfire song, and overall all the characters are extremely well-rounded. I have listened to the cast recordings and would really like to see this show live once!

2 - Elisabeth: As I said before, I absolutely love historical musicals. And Elisabeth is my favourite of those. It isn’t exactly told as a history piece but more of a dark retelling in a Danse Macabre style. Seeing the story being told from Elisabeth’s murderer’s point of view was a very clever idea. It also gave us the characters of Death and Elisabeth, some of the best musical theatre characters ever in my opinion. Every single character in this show has great opportunities to shine. The music is phenomenal and this piece single-handedly catapulted Austria and the VBW into the top charts of musical theatre producers. Also...it REALLY makes you want to be a history student! Honestly, it did that with me! As soon as I watched Elisabeth, I wanted to find out everything about the Habsburgs XD Also, this is probably the musical I have seen the most out of any. I believe to have seen it at least 15 times when it was last running in Vienna...and the fun thing is, I didn’t even like it that much when I saw it the first time! That WOW factor hit me later when I was listening to the cast recording...it happens.

1 - Tanz der Vampire: Was that really a surprise for people who follow my blog? Tanz der Vampire is my favourite musical of all time and will always retain this position. It is the piece that got me not only into musical theatre but in theatre in general. It got me into wanting to study Drama and Creative Writing, it sparked a lot of my current interests and influenced a lot of my life decisions. Tanz der Vampire has everything going for it: a great story, fantastic music, very good moral lessons, beautiful and lush sets and probably one of the best characters to ever grace the musical theatre stage: Graf von Krolock, undoubtedly the arch-nemesis of Erik Destler in the race for the rank of best cape-swishing gothic lover. It also has a very untraditional story, breaking clichés and tropes left and right, just as Roman Polanski intended. It has the perfect mixture of being dark and serious but also utterly hilarious. And it has probably one of the longest and most powerful solos of any musical in my opinion: Die unstillbare Gier. I want to see the musical more than I already have, which is 11. It’s just THAT good. For me personally, there is no better musical than Tanz der Vampire.

Ok, I know, a lot of people will disagree with me now, but as I said: this entire list is opinion-based. I would really be interested to know your Top 10 musicals :D 

#Musicals #Top 10 #The Lord of the Rings #Wicked #Rudolf - Affaire Mayerling #Dracula #Artus - Excalibur #Les Misérables #Rebecca #The Hunchback of Notre Dame #Elisabeth #Tanz der Vampire