Awesomely Spooky Music II

There are quite a few musical works that I enjoy that evoke that magnetically dark and “spooky” atmosphere that I love in works of art. I thought that, as we approach the quintessentially spooky holiday of Halloween, I would make a few posts about some of my favorite pieces of Halloween-appropriate music.

I would call the works of Lustmord more atmospheric soundscapes than music in the traditional sense, but his works definitely have an eerie vibe and can kind of take you on a mental journey. Apparently, his live shows incorporating sound and sights can be quite transcendental. This video gives a short taste of his type of performance.

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Awesomely Spooky Music I

There are quite a few musical works that I enjoy that evoke that magnetically dark and “spooky” atmosphere that I love in works of art. I thought that, as we approach the quintessentially spooky holiday of Halloween, I would make a few posts about some of my favorite pieces of Halloween-appropriate music.

I’m starting with this gem of intense witchification, Hexerei im Zwielicht der Finsternis, by the group (solo artist?) Aghast. I don’t think that they/she ever did any other albums (if I’m wrong, please let me know), but this one would be at the very top of my all-time occult-sounding works. It’s creepy, eerie, “witchy,” and sublimely beautiful in a darkly fun way. Listen for yourself, and enjoy!

 

Dangerous Fairies

“He shall find the thornies set
In his bed at night.”

Be careful: Not all fairies are benign, ethereal sweeties. The Fairies, by 19th-Century Irish poet William Allingham, is a dark-themed children’s poem that includes the abduction (and eventual death) of a child. This artwork by Boris Artzybasheff adds to the creepiness. The poem and illustration were included in the Collier’s Junior Classics’ The Young Folks Shelf of Books, Volume 1 (“ABC GO!”; 1962) under the heading “Best-Loved Poems.” As a pre-schooler, I found the picture especially disturbing. It always comes to mind when I think I feel something scratchy in my bed at night.

Here are some excerpts from the poem:

Up the airy mountain

Down the rushy glen,

We daren’t go a-hunting,

For fear of little men;

Wee folk, good folk,

Trooping all together;

Green jacket, red cap,

And white owl’s feather. …

 

They stole little Bridget

For seven years long;

When she came down again

Her friends were all gone.

They took her lightly back

Between the night and morrow;

They thought she was fast asleep,

But she was dead with sorrow.

They have kept her ever since

Deep within the lake,

On a bed of flag leaves,

Watching till she wake.

 

By the craggy hill-side,

Through the mosses bare,

They have planted thorn trees

For pleasure here and there.

Is any man so daring

As dig them up in spite?

He shall find the thornies set

In his bed at night. …

You can find the entire poem at Poetry Archive

Where the Light is as Darkness

Job's Evil Dreams (William Blake)

Job’s Evil Dreams (William Blake)

 

Are not my days few? cease then, and let me alone, that I may take comfort a little, Before I go whence I shall not return, even to the land of darkness and the shadow of death; A land of darkness, as darkness itself; and of the shadow of death, without any order, and where the light is as darkness.

— Book of Job, 10:20-22 (King James Version)

The Dark Beauty of Bach

From: hdw.eweb4.com/out/948282.html

From: hdw.eweb4.com/out/948282.html

This is the first in what I plan as occasional posts of music that I find related to the Dark or Dark-Light current. I don’t think that anyone plugs into that current the way that Johann Sebastian Bach does in many of his works, and most particularly in this one, the Passacaglia from the Passacaglia and Fugue in C Minor, BWV 582. Mysterious, sublime, terrifying, unrelenting and cathartic, it captures, to my mind, most perfectly Jacob Boehme’s Ungrund concept. It can pluck you up and hurtle you deep within the darkest cosmos and spit you out to bask in the searing fire of illumination. Maybe it only affects me that way. But – it has to be performed well, as in this recording by Michael Murray. I have a recording of the work by another, very accomplished organist, and that performance leaves me very cold; while it may be technically perfect, it does nothing for me on an inner level.

The person who uploaded this YouTube video has put up the complete Michael Murray recording, which includes some other works; I tried to set it up here so that it would begin at the Passacaglia, but if it starts at the beginning for you, as is likely, then click forward to exactly the 20:00 minute mark, which is where the Passacaglia begins. I may replace this with my own video of just the Passacaglia at some point, if I get around to making one.