Dieselpunk + Steampunk Culture
The Clove Queen
WJH & the Merrie Murdre of Gloomadeers | Merrie Murdre Of Gloomadeers
How about the "Squirrel Nut Zippers"? Dieselpunky enough?
Oh okay! Thanks!
What I really liked were Life Goes to a Party by Benny Goodman, Hut-Sut Song by Horace Heidt, I Surrender Dear by Artie Shaw, and Chicago (I forgot the artist). Thanks again!
Progress keeps moving.
If you know which songs you liked from the Summer playlist, let me know and I'll mix them into a future broadcast.
But, if everyone stays quiet and keep lurking, I'll never know what to play.
Don't wait. Pipe up! Make a request!
I used the Andrews Sisters' version in the previous setlist, so that's why I opted for the Puppini Sisters this time.
I'm not sure if this is the place for this, but I had to mention it.
The version of Boogie Woogie Bugle Boy of Company B you have here is actually a (not as good) cover by the Puppini Sisters, here's a link to the youtube vid of the Andrews Sisters: http://www.youtube.com/watch?v=2pfCFU3Mqww
Also please add the soundtracks for Fallout 3, New Vegas, and Mafia 2. I know how difficult it is to get around the copyrights, but it would make the music player here much more enjoyable and popular.
We're just about full for the next quarter, but I would like to change our ratio in the Spring.
Instead of 80% oldies with 20% contemporary, I'm shooting for more of a 50/50 mix. So, if you have any suggestions for new steampunk or dieselpunk music we can add to Dieselpunks Radio, send it along. It takes quite a while to collect and legalize six hours of new music every season, so I rely on you guys to help!
I hope this helps.
As a side note, I also record vocals using a Shure SH55 II and an MXL Ribbon mic (using the Dark and
Warm end) through a tube pre-amp (none of this 'solid state nonsense',
lol) . I love late-period Dieselpunk technologies and utilise them
where possible :D
Ok, firstly, I'll pop up the lyrics for 'Thick as Thieves' as that seems a fairly sensible thing to do in this regard:
Shattered pigment on a nameless wall[Left foot, right foot]And the beat goes on,As we march to the sound of a broken drumA hanging man swayed in the wind,The mask clung tightly to his pallid skin,But, "A punctured tank is all it takesTo break a man, to cake a lung-So keep yourself strapped tight,tonight". We walked in the falling ashesAnd the dust settles, thick as thieves.Whilst angels slept in blackened snow, Unearthing bones 'midst sticks and stones,We dug our treasures from human sheaths.Overhead, the sirens moaned,We packed and fled towards our homes,but "clumsy feet make people trip,The smallest tears will make you sick"And through the gas I felt your grip.I fell into the ash,You and I, thick as thieves.Whilst angels slept in blackened snowI saw their faces, close below,silently colliding as they speak.
The song is about a post-nuclear future and survivors picking up supplies on the urban battlefield (wonderfully distopian) and about the act of breaking a gas mask. Following the lyrics, there is an adapted reading from Wilfred Owen's 'I Saw His Round-Mouth's Crimson' (Adapted for gendering purposes only). Wilfred Owen has been a large influence in my music, as well as Jeff Wayne's 'War of the Worlds', The Ink Spots, Rasputina, the Men Who Will Not be Blamed For Nothing, Wolfgang Parker, Nick Cave and Tigerlillies. A lot of the music that I write is very inspired by 1920's Cabaret and Jazz. Much of the narrative centres on themes of warfare, post-1950's post apocolyptica, the >1910's Japanese imperialism/military coup, Fascism and the evils of these times and how events could have been become different if the war had ended badly.My music is very 'fantastic' and detached from modern times. I also have a troupe (Dr. Carmilla & the Mechanisms) which features instruments such as flute, cello, violins, piano, percussion, bass and regular 2-part harmonies which keeps truer to the 'traditional jazz' instrumentation. however, not to be restricted by this, the elements which I use in my solo project (Dr. Carmilla) are more guitar-based and follows a much more Enka and surf based tradition. I used to identify my music as 'steampunk' but I came to the realisation a while ago that the Jazz and caberet elements to the music and the space based futures much more closely reflected Dieselpunk, so naturally the ter mand the skin fitted well! I feel that the music doesn't reflect victorian re-invention, british imperialism or the later Japanese Trading Era, but of times much darker: between two World wars, Weapons of mass distruction, the so called 'code of honour' way that wars were fought until the end of WWI, the period of optimism following it, as well as the poverty, mass production, and before the hippies, the commercialism of rhythm and blues (Rock and Roll, anybody?). The period of the 1910's onwards saw a great boon for womens' and black peoples' rights and this is something I'd rather identify with than the victorian objectification (although America in the 1940's is pretty good fuel- there are no catalogues or housewives in my music). I feel that my music is very retrospective futurist. It draws from Jazz, Rhythm & Blues, Surf, Swing, Enka, Flamenco and Spaghetti Westerns, to name but a few. There are too, elements of metal, prog-rock and Post-Rock, but does not sit well in any of them, save perhaps maybe prog-rock, å la pink floyd, moody blues, Mars Volta, but only in a structural sense. And anyways, aren't a lot of prog-rock bands fairly fantastical too? :PAbove all, I feel that my music should be included in the playlist as that's how I identify my music- as Dieselpunk Cabare
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