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httpv://www.youtube.com/watch?v=xsJ4O-nSveg

Lightning Crashes

By: Live

I still remember the day I purchased the Throwing Copper album.

My mother was working at a music store in Calgary, and I used to go in with her sometimes for singing lessons. The lessons themselves were only an hour long, but I cherished them (I had a massive crush on my teacher; we mostly did showtunes). During my free time, I would play around with one of the display guitars, or go to Chapters across the parking lot and read. Sometimes I would wander over to the record store. They sold new albums, but primarily they dealt in used CDs and cassette tapes, and often I could find obscure or rare gems within the carefully ordered shelves.

I’d been meaning to pick up some Live ever since my grade ten English teacher asked us to write an essay based on the song Lightning Crashes. I wrote about the idea of reincarnation. At the time I really didn’t know much about Eastern religions, but he liked the essay, regardless. More importantly, the song turned me on to the music of Live. At the time I didn’t have a whole lot of my own albums; mostly I borrowed CDs from my parents or my older sister. My collection consisted of: Ace of Base’s The Sign, Dance Mix ’94, No Doubt’s Tragic Kingdom and some Weird Al.

Live was the perfect first expansion to a paltry collection. I promptly bought Secret Samadhi after that, and my girlfriend at the time gave me The Distance to Here for my birthday.

Nearly everybody from the ’90s is familiar with Live. Similar to Collective Soul, they combine a post-grunge sound with often-spiritual subject matter – Ed Kowalczyk was often inspired by the Indian philosopher Jiddu Krishnamurti. The albums are worth a listen for more than just their mainstream hits. It’s the type of music I keep going back to time and time again…and I always find something new to enjoy in their sound or the lyrics.

…and is it just me, or did every slow-tempo alt-rock music video of the ’90s do that weird camera-flash thing?

httpv://www.youtube.com/watch?v=hW8J4fWCeaY

Name

By: Goo Goo Dolls

Arguably one of the best hits of the 1990s (written by one of my favourite bands from the 1990s), Name is a song that holds lasting appeal. Although Johnny Rzeznik wrote the song about his past and being raised by his sisters after his parents died, the lyrics are obscure enough that nearly anybody can find their own meaning. He sings of the loneliness of stardom, but loneliness is a universal theme, something we can all relate to at some point.

This song, like many, reminds me of my roleplaying group before I moved to the island. I would often interject music into our gaming sessions for atmosphere, and Name became the theme song of a particular campaign.

I don’t have much else to say about this song, other than that it embodies the theme of ‘Songs I Never Get Tired Of’…there’s nothing quite like wistful lyrics backed by an acoustic guitar.

httpv://www.youtube.com/watch?v=hQg4C5l9aPk

Switchback

By: CellDweller

If you can forgive the goth porn/epilepsy inducing music video, the song is really quite catchy (if a bit on the angsty side). There are a few reasons why I really like CellDweller. Today, for fun, I’m going to present my reasons in the format of a bullet list.

  • There’s nothing more fun than blaring CellDweller obnoxiously from your car stereo as you drive through town.
  • It’s a pretty eclectic mix of pop vocals, driving rock riffs, trance beats, industrial sensibilities and metal themes.
  • Apart from the road band, it’s technically a one-man singing, instrument-playing, mixing operation, kind of like Trent Reznor.

Klayton…I am your father.

That’s not true…that’s impossible!

  • I was first introduced to CellDweller by Dave when he lived with my parents. He introduced me to pretty much most of the industrial I listen to, actually. Thanks to him my lawn-mowing was a lot more fun (this was before iPods. I had a Sony MP3 player that would play ordinary CDs or CDs with MP3s burned onto them. Yes, you read that right.)
  • If you thought the guitar riff in Switchback sounded familiar, it’s because you’ve probably heard it before. Klayton of CellDweller sold his music to be available for commercials and movie previews, etc. I can remember it being used in the preview for the second Spider-man movie, the Doom movie and some weird young adult movie about go-karts. It was also used in America’s Next Top Model. The licensing section of the Wikipedia page for CellDweller’s eponymous first album has some interesting facts about how frequently his stuff gets used in the media.
  • I know I’m repeating myself when it comes to concept albums, but ‘CellDweller’ is a great concept album.
  • Also this:

httpv://www.youtube.com/watch?v=K-QKFbNU2CY

Details in the Fabric

By Jason Mraz

Well, this one speaks for itself in many ways. I’m not a big Jason Mraz fan, but when I’m feeling low this song has a pretty strong and uplifting message. Everybody needs a few of those in their playlist that they can seek refuge in during times of uncertainty and duress.

What would you do if I sang out of tune?

With a Little Help from My Friends, Lean on Me, He Ain’t Heavy, etc. The list of slow, helping hand/feel-good tunes goes on and on, and with every generation there are more. It’s a universal theme that never gets old…hold your head up high, struggle on, and remember that there are people who love you. We can all relate to that, at some point in our lives.

…and that’s all I have to say about that.

httpv://www.youtube.com/watch?v=aRGvJ6ep_G0

Masterpiece Theatre 1

By Marianas Trench

It seems odd to follow up a classic band like the Eagles with a modern pop-punk group from Vancouver, but this blog series is about music that has inspired me or touched my life somehow, rather than just artists that have withstood the test of time.

Plus, there was that Juno nomination this year...

The group cites its biggest influences as Queen, Foo Fighters, Green Day, The Beach Boys and Ben Folds Five. That’s not a bad list, if you ask me…and it makes for a compelling blend of sounds. While I do find pop albums to be heavily engineered, mixed and edited, Beach Boys-style a capella vocals combined with catchy punk-rock chords and a Mercury-esque flair for the dramatic make Marianas Trench a band worth listening to.

I chose the first song on the album, but really it’s the whole album that I’m hoping to convince you to listen to. I’ve always been a sucker for a concept album, and Masterpiece Theatre is exactly that. It’s an honest tale of a difficult relationship put through the grinder because of commercial success. It’s a tale of hope, tragedy and yearning…cautionary but sometimes shockingly blunt in its delivery. The title track opens like a prologue:

First it comes on quiet, creeping slow/Clever words and phrases only stain, I remain so/Lost and buried under everything that I need/When all I want is you

And from Josh Ramsay’s mouth comes forth a story, probably containing more of his own life than he perhaps intended, but artists seem to work with what’s in their hearts. Themes and lyrics are revisited in the middle of the album with Masterpiece Theatre II, and the tale continues to unfold until a brilliant climax with the final track, Masterpiece Theatre III, which combines lyrics from every track on the album and weaves them together to tell the listener how the story ends. When you listen to an album and focus on the lyricist’s intent, I find that it can give the music an entirely new meaning.

Ever After was the follow-up album to Masterpiece Theatre, and it continued the concept album theme to the point where tracks segued perfectly into each other, both musically and thematically. Ramsay’s stated intent (paraphrased) was to bridge ideas across the entire opus, creating a pop-rock symphony around a fairy-tale concept. I haven’t fallen in love with it yet, but in some ways I am slow to love. It took a long road trip and a rough patch in my life for me to find the deeper value in Masterpiece Theatre, and I suspect that perhaps Ever After demands the same kind of slow, patient love that requires a lot of listening.

My recommendation, however, would be to start with Masterpiece Theatre. You may just find yourself falling in love with Marianas Trench, no matter how entrenched your musical roots.

httpv://www.youtube.com/watch?v=PUevY8GHLiw

‘Hotel California’

By: The Eagles

It took me a while to decide which Eagles song to include in this blog series. I’ve had a long and involved relationship with this band over the years, and their own history as a band has been tumultuous, but it’s hard to deny their obvious talent and broad spectrum of covered genres in their repertoire. A friend of mine once referred to The Eagles as ‘radio fodder’, and I felt it was my solemn duty to educate him on how, exactly, he was incorrect in that assumption. He was a big Pixies fan, so it was easy to see how he could decry The Eagles due to their lasting popularity and ability to sing (/jab)

Well, we could digress for quite some time about the band’s talent musically and lyrically, as well as their masterful blending of musical genres (country, rock and blues). Or we could talk about how I still regret not going to see them in Saskatoon a few years back. Instead, I’ll relate a bit of an anecdote that has to do with their music and my writing.

The Hell Freezes Over album (and their reunion tour) happened around ’94, when I was about ten years old. My parents promptly bought the album, and I promptly borrowed it for months at a time. It featured the most incredible acoustic version of Hotel California, four new tracks, and really great concert recordings of many of their greatest hits.

At the time, I was obsessed with a series of characters in my head who mainly ran around doing G.I. Joe-esque ‘missions’…that is to say, blowing up enemy bases and generally engaging in gratuitous violence for the sake of world peace. It was the world as I understood it in my pre-teen years. I wanted to write novels upon novels (I think I had up to twenty of these planned at some point) featuring these characters, eventually including an afterlife of Roman-Catholic proportions, battles between heaven and hell, and so on.

Now, The Eagles’ lyrics generally speak to an adult crowd, dealing with subject matter that most people won’t relate to until they’ve had similar experiences, or at least can make certain inferences, sometime in their late teens or early twenties, say. We’re talking about complicated relationships, Life in the Fast Lane, and the decadence of Western society. Yet, by listening to this album ad nauseum and thinking about my characters through the lens of some of the lyrics, I came to a greater understanding of both the lyrics and these imaginary people. Suddenly Desperado was a scene where a character makes a desperate plea to his greatest adversary, begging him to change his ways and accept forgiveness rather than resort to violence. Hotel California became a dream sequence, warning the main character that his life of debauchery would eventually destroy him.

You never know when or how a piece of music will provide inspiration, and often the unexpected will yield surprisingly useful results. The Eagles still inspire me, and that’s one thing I don’t expect to change. I don’t write about angels and demons anymore, but I learned a lot about my craft when I did, and I often have great musicians to thank for pushing me in a positive direction.

httpv://www.youtube.com/watch?v=-GteUS553vI

‘Romeo and Juliet Fantasy-Overture’

By Pyotr Ilyich Tchaikovsky

And now we reach my absolute favourite classical composer, the expressive and bombastic Tchaikovsky. To me, he represents the best elements of the Romantic period in classical music – his melodies are clever and compelling, his compositions are grand in scale and they build steadily in intensity until they usually reach a highly emotional climax. Tchaikovsky tells a story with his music, and you can hear in his work the intent – to take the listener along on a gripping journey.

Most will recognize the central melodic theme of the Romeo and Juliet Overture – it’s been used in TV cartoons for as long as I can remember to indicate when a character has fallen in love at first sight. The first few times I listened to it, I had a hard time not picturing a silly cartoon scene in my head, complete with bulging eyes, wolf-whistles and heart surging out of the chest. However, a much more careful listen will reveal a wonderful piece of music…even if most of us still think of cartoons, we have to admit that such a melody must have had some lasting cultural impact in order to be so easily recognized.

Tchaikovsky was well-known for his ballet music, such as Swan Lake, Sleeping Beauty and The Nutcracker.

Dances inspired by other cultures were another great part of his music

Since the piece I’m talking about today is referred to as an ‘overture’, the natural assumption is that it serves as a prelude to a ballet or opera. However, the 18th century saw the rise of what was known as the ‘concert overture’: a piece of music inspired (usually) by a literary theme, but not connected to any stage work. Therefore, the Romeo and Juliet Fantasy-Overture stands alone, but you could always put it on when reading a bit of Shakespeare. Personally, I prefer to picture a more medieval setting when I listen to the overture…Disney’s use of Tchaikovsky’s Sleeping Beauty ballet music for the motion-picture of the same name is likely the culprit, there.

Some other incredible pieces include his violin concerto in D major, Marche Slave, Capriccio Italien, the 1812 Overture, his piano concerto in B flat minor, his 4th symphony…the list goes on and on. My suggestion to any artist? Throw on some Tchaikovsky when you want to feel inspired. Just as the ‘Classical’ period of composers like Mozart was fairly restrained, the ‘Romantic’ period of Tchaikovsky was passionately expressive.

httpv://www.youtube.com/watch?v=2OSYqTA2fuQ

The Moon and St. Christopher

By Mary Chapin Carpenter

My introduction to country music as a child was a little bit different. While most of my peers were hooked on the newly popular Shania Twain or the ever-popular Garth Brooks, I was exposed to artists with less of a Nashville influence and more of a singer-songwriter kind of feel. The best of these, in my opinion, had her roots in folk and rock as much as country. She wrote thoughtful, humorous or wistful lyrics, and she didn’t seem to buy into the glamour of music television. I didn’t even know that she was a Grammy Award-winning artist for the longest time, but in the mid-nineties she seemed to have won those as easily as she won my ear.

Mary Chapin Carpenter still produces albums, but I haven’t lost my attachment to her prolific period from 1990-1994, and it’s not her greatest hits that I treasure the most. I find that she’s at her best when she’s pensive. Songs like Come on Come on, I am a Town and Only a Dream have stuck with me throughout the years, and have inspired some great story ideas.

If you’ve never heard Mary Chapin Carpenter, do yourself a favour and check her out.

Concerto for sopranino recorder in C Major, RV 443 (Largo)
By Antonio Vivaldi
This post is also a test to see if my blogger imports to my website properly. It’s over here if you want to check it out…still under construction, obviously. Pay no mind to the shifty eyes at the top of the page, they’re a placeholder until I decide what to put there.
Ok! On to the song. This one is a rather long story, but I’d like to open by saying that Vivaldi is one of my favourite classical composers. How did he become so? Well, it all started with a children’s music series called ‘Classical Kids’. Each album would feature a classical composer – there was ‘Bach Comes to Call’, ‘Beethoven Lives Upstairs’, ‘Mozart’s Magic Fantasy’ and of course…
There’s fire in his music, too

I’ve always appreciated my mother for instilling in me a love of classical music, and I’m fairly certain that Vivaldi’s Ring of Mystery found its way into our CD music collection because of her, along with Rachmaninoff, Grieg, etc. I must have listened to this CD dozens of times, just like my old Treasure Island cassette tape/graphic novel combo.

Sadly, my version was not read by Alfred Molina.

The CD itself, like all of the titles in the Classical Kids series, was an ingenious melding of narration and music. Vivaldi’s Ring of Mystery managed to interweave beautiful baroque music with a compelling, touching story. At the same time, the tale teaches the listener a great deal about Vivaldi, his work, and Venice during the renaissance. Is it strange that a young boy fantasized about being a member of the Pieta? Yes, I know the school was for orphaned girls, but dammit, I wanted to play a Stradivarius!

Vivaldi used to boast that he could compose a complete concerto in less time than it took to copy out the parts. If this particular sopranino recorder concerto (replaced by the piccolo in a modern orchestra) was written that quickly, then I imagine that Vivaldi’s vanity was well-earned. The largo movement is haunting and compelling, and in the Ring of Mystery it’s combined quite well with the story to create a sense of chilling urgency.
Most are familiar with Vivaldi through his most famous work, The Four Seasons, which is well-represented in Vivaldi’s Ring of Mystery. However, to this day that recorder concerto has stuck with me. Give it a listen, or do yourself a favour and check out the Ring of Mystery. It’s a great introduction to the importance of classical music.
Better yet, get your kids to listen to it.
‘When You Were Young’
by The Killers
I didn’t get into The Killers as quickly as many others did. Hot Fuss came and went and I didn’t really pay too much attention. Don’t get me wrong, I liked their sound, but sometimes an album really has to grab me.
Sam’s Town did just that.
It was the goat that grabbed me, officer
Sam’s Town is one of those albums that I can listen to from beginning to end and enjoy it all. Damn the critics, I say — I don’t care if they tried to emulate The Boss and I don’t mind that their biggest hit off of Day & Age sounds like something I would have danced to in a high school gymnasium. A well-put together album is just that, and if you’ve seen these guys live, you’ve got to admire Brandon Flowers’ stage presence.
Sometimes what you need is a refreshing sound, and I’m a bit of a sucker for concept albums.
Besides, When You Were Young is a great karaoke tune.
‘Genesis’
By: VNV Nation (Icon of Coil version)
Well it’s no secret to those who know me that I went through an extended electronica/industrial phase. Some of the bands that I listened to heavily during this time (which was probably from 2001-2005, if anyone’s curious) have stuck with me over the years for various reasons. Yes, some of it is good to dance to, but I’m not much of a dancer.
It’s not just the touching, wistful tone of songs like Beloved, or the thought-provoking angst-ridden tunes like Carbon or Saviour that set VNV Nation above other electronic music. The reason that I don’t skip VNV Nation tunes when they come up on my random playlist is that they’re catchy like a pop song, but instead of hooks and watered-down generic lyrics they make you think…repetitive lunar-landing sampling aside.
I mean, let’s be honest. When’s the last time a top-40 tune made you think about the nature of the cosmos? If you can think of one, please write it in the comments…despite evidence to the contrary, I enjoy being proven wrong from time to time.
Songs like this make me want to look at Hubble Telescope pictures for hours on end. Anyone else?
God is the ultimate voyeur…
‘I Will Possess Your Heart’
by Death Cab for Cutie
The weekend was quiet here on the blog…I was at the Calgary Expo. I made a lot of great contacts, including a friendly and wonderful publishing company, Tyche Books, who hosted a couple of very informative panels regarding the publishing industry.
On to the music!
I fell in love with Death Cab right away, and I’m pretty certain this is the first song of theirs that I heard. What struck me the most, from the get-go, is just how honest the lyrics are, in all their songs.
However, honest lyrics aren’t the only thing that I like about IWPYH (yes I’m going to abbreviate the song title). The song begins with a long instrumental intro that builds in intensity, and summons to mind the idea of a yearning that only grows stronger over time. It’s a story that many of us can relate to, being in love when those feelings are not immediately reciprocated, and I think the early part of the song captures that sentiment beautifully, both with lyrics and music.
However, the more times I listen to the song, the more the lyrics speak of an almost stalker-ish obsession. There are days when outside your window, I see my reflection as I slowly pass. It’s not directly stated whether the route that takes him past her house is simply coincidence, a chance way-point on his way to an important destination, or whether it’s a deliberate detour.

The obsession continues. You reject my advances and desperate pleas. So it’s pretty clear that she’s not interested. However, he then goes on to sing: I won’t let you let me down so easily.
A while back I saw a really great play (and please forgive me but I can’t remember the title for the life of me) about a career woman who decides to go on a blind date. Things go decently on the date, but she decides at the end that she isn’t really interested in a relationship, and would prefer to focus on herself and her career. All seems fine until she starts getting strange phone calls and messages from the man she met on the date. She calls him and tells him to back off, and things only get worse from there. She returns home from work one evening to find inappropriate (and threatening) messages written in all of her photo albums and journals. In the end (spoiler alert!) she is forced to move cities and change her name to protect herself.
There is a fine line between love and obsession, and the fear of being stalked (or pursued after a clear rejection) is no laughing matter…and I think IWPYH creeps into you like that, and makes you think about where that line really is. As a male, and somebody who has never been stalked, I don’t pretend to understand what it’s like to be a victim from the same angle or depth as others, but I certainly like to believe that it’s an issue I can be sensitive about.
Just like Foster the People’s song Pumped Up Kicks, IWPYH puts us in the shoes of the antagonist in order to shed light on difficult issues. It’s a clever device, one that has certainly made me think.
What else can I say? I deeply regretted not going to see Death Cab and Neil Young a couple of years back in Calgary.
Oh, and there should be a new chapter of Chasing Lucifer up tomorrow.
‘Man’s Road’
By: America
I’ll start with a confession:
I never saw ‘The Last Unicorn’ until I was in my twenties. Whew! There, I said it. That’s a load off my chest.
You might find that rather odd since I grew up with Rankin & Bass Christmas specials…and I was fairly obsessed with J.R.R. Tolkien thanks to my mother, who would read ‘The Hobbit’ to me and my sisters when we were very little.

The greatest little hobbit of them all  

For those of you unfamiliar with Rankin & Bass, they were the dudes responsible for bringing such beloved Christmas stories as ‘Rudolph the Red-Nosed Reindeer’ and ‘Frosty the Snowman’ to life, using a classic, animated style or occasionally stop-motion animation with little puppets made out of felt & cardboard, etc.
You put one foot in front of the other.
The neat part about these holiday specials is that, for the most part, original music was written to supplement the show:
I remember being blown away when I discovered that Rudolph was produced in 1964…meaning that it was a part of my parents’ childhood as well as mine. Still, somehow as a child I’d managed to miss out on several of Rankin/Bass’ feature films, including The Wind in the Willows and, most importantly, The Last Unicorn.

I was familiar with the Band America long before giving in and enjoying what was, in my mind at the time, essentially a little girls’ movie. My mother used to add the album History to the old Sony 5-disc changer on shuffle, and thus America became a childhood staple along with Al Stewart’s Year of the Cat and other (now somewhat obscure) baby-boomer music.
Since America’s contributions to The Last Unicorn were not considered a part of their ‘greatest hits’, they were not included on the album History. Thus, similar to my brief love affair with Evanescence after watching Daredevil, I knew that I had to have the music after watching the movie.
Man’s Road fits the movie perfectly. America’s folky, clean-vocals style lends itself well to a song about the beginning of a difficult journey. For me, it became the theme song of one of my fantasy role-playing campaigns…and I’ll be honest, I’ll probably use it again for the exact same thing. Some bands, some songs are a little more timeless than others, and everybody can relate to what it’s like, walking man’s road.
…even if the lyrics aren’t exactly gender-neutral.
‘Tunnel of Love’
By Dire Straits
I find that most people are familiar with the Dire Straits through hits like ‘Sultans of Swing’ or ‘Money for Nothing’ (which is famous both for its music video, one of the first uses of computer animation,
as well as its recent controversy in Canada surrounding offensive lyrics).
However, I find that where Mark Knopfler really shines (other than at his amazing guitar solos) is when he writes love songs (Romeo and Juliet being another amazing example that you should probably listen to at some point). Through clever use of lyrical devices, he tells us a love story, using the framework of a carnival. Even the title itself, ‘Tunnel of Love’, is a metaphor.
The principal theme shines through easily, telling us that love is a gamble, a game. Infatuation is full of flashing lights and excitement, but sometimes it ends abruptly, and sometimes all we’re left with at the end of it all is a sense of yearning. Even Knopfler’s guitar solo at the end of the song seems to be crying out with unfulfilled longing. I highly recommend listening to this incredible song and then ‘Romeo and Juliet’.
Even if you don’t like love songs, I think that anybody can find something to appreciate in the Dire Straits.
P.S. A new chapter of Chasing Lucifer should be up tomorrow. Thanks for reading!
Everlong
By Foo Fighters
Well, I could talk about how I never get tired of listening to post-grunge rock because I grew up with it, or I could talk about just how influential Dave Grohl was (and still is, I suppose) to modern rock, or I could do what everybody on all those lyric interpretation websites do and pick the song apart, but the fact of the matter is that Everlong is just a really great love song. Not my favourite music video, but a fantastic song nevertheless.
What sets it apart from many other love songs is that although the lyrics are sappy, the music is quick and driving, building in intensity as the song goes along, giving the whole piece a more urgent, sexual feel.
Everlong may be about finding harmony in love, but when I close my eyes and listen, it always makes me think of a chase.
Beg, Steal or Borrow
By Ray LaMontagne
I have my friend Kyria to thank for introducing me to this incredibly talented alt-country (y’allternative) artist. It’s often difficult for me to explain to people who don’t like country music why he’s so good, and how exactly he’s different from the kind of pop-country you hear on country music radio stations. Suffice it to say that the lyrics are less about trucks/boy-meets-girl/getting cheated on…and often about subject matter that requires a bit of introspection after you listen to it.
Like ‘Beg, Steal or Borrow’, for example. Never has a song so perfectly captured the restless feeling of growing up in a small town and wanting, pining desperately for an escape.
Other good examples include ‘Are We Really Through’, which got me through a depressing and lonely winter (yes, depressing songs help when I’m depressed) and ‘Empty’, which has brutally honest lyrics and a driving, haunting sound.
If you think you don’t like country music, give Ray LaMontagne a listen just to make sure.
by Norah Jones
I’ll be the first person to admit that I don’t listen to enough jazz. However, ever since hearing ‘Don’t Know Why’ as a part of the mix CD we listened to when warming up in university drama, I knew that I loved Norah Jones. When an artist is easy on the eyes and easy on the ears, you’re pretty much helpless, I find.
The cool melancholy of Jones is a part of what I like about her so much. ‘Shoot the Moon’ is a fairly wistful song. As she sings of a lost love, she wonders if the passing of the seasons had something to do with it. I think many of us have been there at least once, where a summer fling dies as we head into autumn, and with the cooling of the fall season, our passions cool along with it.
Universal themes are an easy way to sell records, of course…but if you’ve never really listened to jazz, Norah Jones is a pretty easy transition for an ear unaccustomed to the style.
Gnossienne #1
By: Erik Satie
In a bizarre childhood twist, I was first introduced to the music of Erik Satie via a video game: Challenge of the Ancient Empires.
My sisters and I devoured games by The Learning Company when we were kids. There were games that taught reading comprehension, basic math, and even ancient history (see above). I’m not sure what the children’s educational software market is like nowadays because I don’t have any children, except to tell you that Mavis Beacon is probably still kicking around somewhere.
But enough about childhood educational video game nostalgia. The point is that The Learning Company had this great idea. If you don’t have somebody on your programming team who can compose music, what’s the easiest way to include it without infringing upon copyright laws? That’s right, kids. Classical composers. Bushbuck was the same way. You could fly across the globe on a geography learning adventure/scavenger hunt, whilst enjoying Rossini as you watched your plane travel from airport to airport.
Whoops, I promised no more childhood video game nostalgia. Ok, on to Erik Satie.
Like I was saying, I was introduced to the music via ‘Challenge of the Ancient Empires’, but when I was a kid I thought it was just music composed for the game. Years later, I was listening to CBC Radio in the car, and the Gnossiennes came on…all six of them, in fact. Needless to say, I flipped a little bit when I realized the connection. I’m weird like that.
I went home and immediately did what anybody of my generation would do: I went on Wikipedia and looked up Erik Satie. Then I looked up Challenge of the Ancient Empires, and smacked myself on the forehead. The game played ‘Marche Slave’ in the Egypt rooms, which should have tipped me off because I’ve always been a huge Tchaikovsky fan. I should have known the music was all borrowed from classical composers!
I got over it, though, and downloaded an entire album of Satie’s music. The best part about the Gnossiennes is that no two pianists are going to play them the same way. Satie composed the music without traditional time signatures or bar lines, leaving a lot up to the interpretation of the performer.
No matter how it’s played, however, Gnossienne #1 is a haunting piece; I’m sure you’ll agree if you have a listen. It’s pretty popular too, and has been played in at least a dozen films. It’s a great introduction to a style of classical music that you might not normally approach…and it’s one of those great pieces to put on your playlist when you’re outside underneath the stars.
Classical has that great ability to inspire because it merely sets the mood – it doesn’t demand anything extra by adding words. I think every artist should have a good classical playlist ready when they need some inspiration. I probably couldn’t have written Crystal Promise without some help from Vivaldi!
This has been another rambling James Funfer essay. Enjoy the music!

Good morning, loyal readers!

*Crickets*
Well, hopefully that’ll change. I wanted to talk about a couple of things quickly. I’m taking some time away from home and doing a self-directed writing residency with the hopes of churning out a lot of work on the sequel to Crystal Promise. I’m also hoping to finish my website with some of that time, which means that the entire blog will be moving to jamesfunfer.com. That being said, I didn’t want the blog to fall silent in the meantime. Chapters of Chasing Lucifer will still be posted on Mondays (or sometimes Tuesdays, or Wednesdays) until the story is finished. There are probably about three or four chapters to go.
However, in the interest of practicing some non-stressful writing that doesn’t involve novels, and because I want to keep the blog active, and because I think it would be fun, I’m going to post a little thing every day (except Mondays) that I like to call:
Songs That I Never Get Tired Of
Every day I plan on posting a song from my playlist that I never get tired of listening to. I will disseminate the song slightly, and explain what I love about the music (and often the artist) so much. Feel free to comment and share some of your favourite songs as I go along! I love picking up new music.
Yes, I know the song is twenty minutes long. Yes, I know it’s based loosely on an Ayn Rand novel. The point is, it’s an awesome twenty minutes.
How many times does a piece of music tell a complete story, complete with ups and downs? The beauty of the song is that it has time to go through several sections, and the music will *change* completely, as well as return to previous themes in sort of a leitmotif-esque fashion.
Driving drum beats on the snare and toms and incredible guitar solos are a staple of Rush. I could talk about the band’s talents all day long, and I still haven’t figured out how Geddy Lee can belt out some of those notes. What makes ‘2112’ special is that it tells a story, a story about music. Seriously, if you’ve never listened to 2112, you’re missing out. Concept song/albums like this are hard to find these days, perhaps because the heyday of prog rock has completely come and gone.
As a writer, I love a song that tells a story…and the longer the story, the better. There’s no hook, no banal chorus…Rush has always been about the art rather than the industry, and it shows in their style. If you haven’t discovered Rush yet, you’re missing an important part of music history. At the very least, take twenty minutes aside and listen to ‘2112’.
I like to picture the entire song being told as a story animated in the style of ‘Heavy Metal’
-James Funfer

God’s View, Part One

This short story was inspired by skiing, religious music and the view from the top of a mountain. Enjoy!

God’s View
Part One

Briga’s arms were numb from the cold and the climb, but still she continued. Her laboured breaths steamed in the frigid air. She reminded herself that it wasn’t much further to the top; the trees were growing sparse and the air felt thin. The sky was a pre-dawn indigo, and Briga prayed that it would bring some warmth when it crested the eastern horizon far below.

The wind picked up and powdery snow billowed across the face of the mountain. Briga shuddered and pulled her woollen scarf tighter across her face. Where it covered her mouth, the fabric was laced with crystals of ice. The edges flapped in the wind, along with the rabbit-tail tassels of her boots. The wind sucked warmth from the exposed skin around her eyes, but she gritted her teeth and continued to climb, relying on the wooden net-shoes lashed to her feet to stop her from falling into the drifts of snow that were deep enough to bury her.

Her large satchel felt heavier with every step. Only a day’s worth of food remained inside, but it also carried her offering to God, which was bulky and heavy enough on its own, and slapped against her back in the wind, making bruises along her ribs. Strapped to her back were her wooden skis and poles for the trip back down the mountain, and even the knife at her hip was beginning to feel heavy.

Briga took a short rest in the shelter of a copse of trees. She chewed on deer jerky to regain some energy, and washed it down with water from the bladder that was tucked underneath her jerkin. Her belly rumbled, demanding more, but she refused to indulge. She reminded herself that few made it this far up the mountain, and that she needed some food for the return journey in case she found no game.

After her rest, Briga refilled the bladder with snow and slid it back underneath her clothes so that the snow could melt into water, adjusted her meagre supplies, and continued up the mountain.

The wind died down suddenly and the snow settled. Briga stopped and shielded her eyes as the sun shot its first orange rays across the face of Hjunn, the Mountain of God.

The world lit up beneath her, brilliant and vast. The snow of Hjunn was bathed in a warm glow, and the light stretched across the landscape to reveal all of creation as Briga knew it. Far and away down the slopes of the mountain, the evergreens covered the land like a blanket. At the base of Hjunn, too far away for Briga to see, was her village, nestled in the valley. The river that ran from the Mountain of God through her village snaked out to the ocean far to the east, where the fishing clans lived. From Briga’s vantage point, the ocean was placid, indigo. She was so high up that she could see the Carpi mountains on the other side of the sea.

She breathed deeply and took it all in. Climbing Hjunn was as close as Briga would ever get to God while she still lived, and it wasn’t hard to see how His hands had built the world. From up above, hills were like mounds of clay; valleys and rivers were grooves made by fists and fingers.

The ocean was the sweat of God’s labour from building the world, and the tears that He wept for His wayward children, when they abandoned Him for lesser gods.

Up on His mountain, the water was pure, cold, unsalted. Only those strong enough to brave the climb could bask in the purity of His essence, in the temple of ice.

Briga shivered, not from the cold. She had trained her whole life for the pilgrimage, and the anticipation and thin air were making her dizzy. Only a few per generation could manage to scale the mountain alone, but Briga had been determined to be one of them, ever since she was old enough to look up and point at the peak. Only those who went alone could commune with God directly, and receive a holy quest.

Briga looked up at the peak of Hjunn and grinned. The temple of ice wasn’t far. It was on the other side of the peak, hidden from her view. She had reached the summit, and escaped the fate that befell the women of her clan. With renewed vigour, she resumed her climb.

As the slope became more severe, Briga loosened her leather straps and brought out her wooden poles. She was hugging the rock face of the mountain in places, and felt as though she was walking sideways across the powder as she wound her way around the peak.

The temple of ice came into view quite suddenly. Gleaming in the sunlight, it nearly blinded Briga as she rounded a corner of sheer limestone. It was just as her father had described it to her so many times when she was a child.

Over the centuries, snow would fall upon the peak and remain, too high up to melt fully and join the rivers far below. However, sometimes the sun would warm the peak just enough to melt the snow together into sheets of ice. As the years went on, the sheets of ice grew thicker, until most of the limestone peak was covered, double its original size.

The ice was carved fresh every year by the high priest, around the entrance to the cave that Njal the Holy had dug into the side of the mountain. Briga gazed up in wonder at the frozen frescoes that bordered the icy maw. At the base on either side of the cavern entrance, the carvings depicted pilgrims climbing, carrying offerings to God. Some held gemstones and coins, others fine weapons or carved heirlooms. Above Briga’s head, a likeness of Hjunn had been carved into the ice, and the scene depicted pilgrims resting and eating, praying and meditating in the Pool of Purity. The high priest stood near the entrance and offered spirit water to a man whose icy eyes seemed to shine with refracted light.

Briga was startled out of reverie by a cold sensation on her cheek. She gazed up to see a little dagger of ice forming, spitting little droplets of water. She smiled. A warm day on the peak was a sign that God was pleased. Briga took one last look at the panoramic view, the sight of creation as God saw it. She wanted to remember it, in case the clouds rolled in beneath her while she was in the temple.

Briga turned and looked into the cave. The entrance was dark, but she knew from what her father had told her that there was a kind of glowing rock deep inside the mountain. She unstrapped her skis and left them propped up by the entrance, along with her net-shoes and poles.

Briga made her way carefully through the tunnel, into the temple of ice. The path was winding and steep, leading deep into the mountain, and she had to slide her feet slowly across the rocky ground to keep from slipping. Her hand trailed along the wall for balance, and soon the light from outside was completely gone. She went forward slowly, blindly. Every shuffling step echoed up and down the tunnel. It was so quiet that she could hear her heart beating in her chest, and every breath she took thrummed in her ears. The anticipation was making her mouth water; she wanted to slake her thirst on the essence of God, the most holy spirit water crafted by the high priest. She wanted her quest.

After a few minutes, Briga could see her hands again. The tunnel ahead was suffused in a soft cobalt glow. Her footsteps became quicker, more sure. Suddenly the tunnel opened into a vast cavern.

It was difficult for Briga to tell where the stalactites ended and the icicles began. Everything in the cavern was covered in ice, like panes of glass. Beneath the sheets, some of the rocks glowed blue, casting light about the chamber. Briga took off her gloves and rubbed her hands together. Her skin looked as white as snow in the soft blue light.

A voice echoed throughout the cavern. “Welcome, child of God,” it boomed deeply. Briga wheeled about but couldn’t identify the source.

Suddenly, he was there in front of her. He was stooped and old, wrinkled, with wispy white hair and a long flowing beard to match. Though he was much shorter than Briga, he had wide shoulders beneath his snow-white robe, and she could tell that he must have been a strong man in his youth. His hands were bare, but fleshy and pink. He did not appear to feel the cold at all.

The high priest clasped Briga’s arm warmly and smiled. Unlike the icy blue of the cavern, his eyes were warm like a summer sky.

Briga removed her woollen cap, and her white-blonde hair tumbled down her shoulders as she bowed to the high priest. “I am honoured to be in your presence, holy one.” She had rehearsed her words every day since childhood.

“How many set out on your pilgrimage?”

“One.”

“And one I do see before me. Did you bring an offering?”

“I have brought an offering for God.”

“And what do you seek in return? A boon, a quest, or enlightenment?”

“I seek a quest.”

“Then rise and follow,” the high priest commanded. Despite his age, he moved swiftly, gliding across the icy floor on smooth, supple leather boots. He led Briga across the cavern to another tunnel, which led further down into the mountain.

The tunnel was long and sloping, but well-lit by the glowing rocks, and the floor was covered in pebbles to prevent slipping.

“How was your climb, Briga?” the high priest asked.

“C-climb?” Briga stammered. She hadn’t expected the high priest to know her name. “It was the greatest challenge of my life, holy one…but to be honest, I enjoyed every moment of it.”

The high priest chuckled. “Greatest challenge thus far, you mean. That was a test of your physical limitations. God has yet to test your faith.”

Gradually the ice on the walls seemed to recede, and the air grew warmer as Briga followed the priest down the passageway. Soon she was sweating underneath her furs, though the high priest seemed to remain unaffected by the change in temperature.

He led her into a room carved out of limestone, decorated in the old runic script. The chamber was simple, but cozy. A cot lay in the corner, covered by a blanket. A rough wooden table and chairs were in the centre of the room, unadorned. There were three other passageways leading from the room, to places Briga could only guess at.

The high priest gestured to the table. “Sit and rest, Briga, daughter of Bjarl the Fearless.”

Before she could even thank him for the hospitality, the high priest had disappeared down one of the passageways. Briga unwound her scarf, removed her gloves, and set them on the table along with her cap. As she sat in the chair, her weariness hit her all at once. She was asleep in moments.

She dreamed she was back on the mountain, climbing. It wasn’t cold at all; it was bright and sunny and even the snow was warm. She was merely hungry. There were deer and rabbits and mountain goats all around, but she wasn’t allowed to eat them because they all belonged to God. Her stomach was growling at her like a bear and she had to make water. The trickling sound was reminding her.

She reached the temple of ice, finally. The carvings on the entrance had all melted into long icicles like swords. The water was trickling down the sides of the mountain in little rivulets that became waterfalls. She was trying to reach the tunnel through the deluge of water and slush.

“Swim against the current, Briga,” her father said. He was beside her, bracing himself and standing tall against the flow. “God’s tears will wash you away if you are not strong. The weight of our sins pin us to the ground. You must learn how to fly.”

“But I don’t have any wings,” she said in a child’s voice.

“Not that anyone can see.”

Then the water turned red and frothy, and Bjarl was swept away, down the mountain.

“Daddy, don’t go!” Briga screamed.

She awoke. Her furs were soaked in sweat and her back was aching. Upon the table, a simple meal of dark bread and raw onions was laid out on a plate. The high priest was pouring a steaming, dark red liquid into two stone mugs. As Briga heard the trickling sound, she sat up.

“My apologies, holy one. I must make water. Where do I…?”

He nodded and smiled, pointing to one of the passageways. Briga bowed and left as quickly as her legs would take her. The tunnel was a short one, and ended in a small hovel with a hole in the bottom. The wind whistled furiously past the hole. Briga danced from foot to foot as she pulled down her leggings, and glanced down.

She giggled despite herself. The hole was too small for a grown woman to fit through, but it was a sheer drop, at least a hundred metres to the rocky cliffs below. As Briga squatted and shivered from the feeling of the cold air on her bare flesh, she burst out laughing. The image of the high priest doing the very same thing, letting his refuse fall down the mountainside, was as funny as it was inappropriate to think about. Briga wondered if it was the thin air making her so giddy.

She laced up her leggings and returned to the priest’s room. He was leaning back in his chair, sipping the deep crimson beverage from his own mug.

“I laughed the first time, too,” he remarked.

Briga turned as red as the drink in front of her and could not find a reply.

The high priest gestured to the bread and onions. “Please, eat and drink. This is no place to be modest. God created us in his own image, with needs in our bellies, hearts and loins. One of those can be fulfilled here, and you need your strength if you are to commune with Him.”

Briga’s belly rumbled audibly. She was starving; on the journey up she’d eaten only enough to sustain herself. However, she didn’t want to appear rude in front of the high priest. She tore off a chunk of dark, seed-filled bread and forced herself to take small bites. She washed it down with a generous swig from the mug in front of her, and found the liquid to be hot, strong and well-spiced. It was so delicious that she took another deep sip, and her head began to buzz. Briga suspected that it was grutmedhu, and wondered how the high priest had managed to procure a barrel since it was produced outside of the lands belonging to the clans of Frullend.

He seemed to sense her thoughts. “Some bring offerings not just for God, but for me,” he said with a twinkle in his eyes. “The rest I gather when I come down the mountain in the spring.”

Briga nodded and grabbed a large yellow onion from the plate on the table. She took a big bite and her eyes watered, but she savoured the tangy-sweet juice.

“You must have questions about the communion,” he continued, “but those are buried under your weariness and hunger, I’m sure. We shall speak further after you have rested properly, Briga. You will need to be mentally and physically at your best before you face Him.”

“Of course, your holiness,” Briga said between bites of her onion. The remainder of the meal passed in a comfortable silence. It did not take long for Briga’s belly to fill; she had conditioned herself to eat conservatively. After she had drained the last of her mug, the high priest led her to another adjoining chamber, where a series of straw mats were arranged in a line against the bare rock wall. Wordlessly, Briga chose one and lay down without even removing her furs. A question formed in her mind about the warmth of the cavern and the ice in the chambers above, but it drifted away along the rest of her consciousness.

She dreamed again.

The high priest was talking to her, but she was trapped in a block of ice. For some reason, she could move her hands to try and communicate, but her lips were frozen shut.

“…rest here, and once you are awake I can bring you to the Pool of Purity.”

Briga attempted to form a reply, but her hands were clumsy, her fingers stiff as icicles. Why am I trapped here? She asked. Is this a part of the ritual? The high priest seemed to understand her fumbling attempts at communication, because he answered her, but his reply didn’t fit her silent questions.

“Not at the same time,” he said. “A communion with God is a solitary thing. She was the first to enter the temple, so she will make the first offering. However, I have a feeling that…no, never mind. That is for God to decide, not his servant. Still, this is a serendipitous occasion. I am glad that you have come, my friend. Now that you and Briga are here…”

But I am Briga, her mind screamed. Her fury resonated so loudly that the block of ice shattered, and the din drowned out the rest of the priest’s words. She fell to the ground as the temple melted around her. When she looked up, it was her father standing before her in the sunshine at the peak of the mountain.

“You screamed just as loud the last time you were here,” he said. “It’s your tenacity God wants to see, not your defiance. When are you going to learn to separate the two?”

“The last time I was here?”

A strange buzzing noise jolted Briga awake. She experienced a brief moment of disorientation, and pressed her hands firmly to the ground to make sure she wasn’t sliding down the mountain. She noticed the cavern walls around her and remembered where she was. She tried to remember what she was dreaming about, but all she could remember was her father telling her that she’d been to the temple before.

She heard the loud buzzing sound again and sat up straight, clutching the knife at her hip. Her eyes darted around the cavern to identify the source of the odd noise.

It was coming from a body, wrapped up in furs and sleeping in another cot. Briga heard the noise once more, and breathed a sigh of relief when she realized it was just a loud snore. The loudest snore she’d ever heard. Briga relaxed her grip on her knife and approached the sleeping form, which was buried under a mound of dark furs. She hadn’t expected to see another pilgrim at the temple; most clanspeople climbed the mountain in groups for safety’s sake, and feasted before their journey so that all the villages would hear of their bravery.

Briga had gone alone on purpose. Only her mother had known about the journey, and even she had tried to stop her. Briga wondered who the other pilgrim was. She circled around so that she could try and get a glimpse of the traveller’s face.

Her eyes widened in shock. It wasn’t a member of the clans at all. The sleeping face poking out from the furs had a broad, flat nose, a jutting jaw, a ruddy complexion and a sloped forehead.

The other pilgrim wasn’t even human. Briga couldn’t even begin to wonder how God felt about a hama visiting the top of His mountain.

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