Hunter’s Moon

#1204: By The Light of the Silvery Moon

O, By the light of the silvery moon
I want to spoon, to my honey I’ll croon love’s tune
Honeymoon keep a-shining in June
Your silv’ry beams will bring love dreams
We’ll be cuddling soon
By the silvery moon
(Edwards/Madden 1909)

Oh, the moon! That might explain things. You see, the moon affects the brain.
(Amman – Clash of the Titans 1982)

RECORD STORE TALES #1204:  By The Light of the Silvery Moon

I’m not a nocturnal person, though I used to pull a few allnighters with Jen when we were first dating.  I do have insomnia, so I often wake in the middle of the night.  At home, this usually means checking my email and having a drink before heading back to the sheets.  At the cottage, I enjoy stepping out into the cool summer air and having a look around.

I don’t bring a flashlight.  I let my eyes adjust to the darkness and wander.

You see things at night.  When visible, the moon lends a silvery sheen over the entire landscape.  Not quite enough to read by, but certainly enough to see the ripples of waves on the water.  Under the cover of trees, silver slits of light pierce the darkness, creating spotlights on the earth.  If there is a breeze, the movement of the trees can really make you feel as if you’re not alone.

You hear things at night.  Once or twice I heard a coyote, crying like a human child and echoing through the valley.  Another deep dark night, I heard a growling that I could not see.  We do get bears here.  Sometimes the swaying trees can create a growling sound as they move in the night, but this growl scared me and I made a quick retreat back to the house.

I enjoy the total solitude at 3 AM.  I feel more connected to nature by the silence (other than wind, waves and nocturnal beasts).  I don’t wear shoes on these walks.  I can feel the grass or cool sand beneath my feet.  Sometimes I stub my toe on a tree root, but that’s a small annoyance in the grand calculus of the pitch black night.

I try not to make a sound.  Just observe with my senses. Feel the cool air on my back.  It’s mental health maintenance.  While I love living in Kitchener (for many great reasons), I feel truly free and alive in the wilderness.

A special moonlight treat is when the silvery satellite turns blood orange.  A moonset is a very special sight that not many get to know, or even know about.  I’ve seen a few of them.  When a crescent moon hits the horizon, people describe as the image of a blazing sailing ship on the edge of the lake.  This year, wildfire smoke has prevented us from seeing the moon kiss the horizon, but its orange glory remains as a fiery ember in the sky.  When the moon is full, you can imagine it is a burning Balrog, climbing out of a gaping maw in the dark mines of Moria.

Truly the world looks alien at night in the light of the moon.  Perhaps that is why I love it so much.  I have always yearned to see other worlds, but the beauty of the Earth is enough to last many lifetimes, if you go out at night under the light of the silvery moon.

 


Of all the versions of “By the Light of the Silvery Moon”, Little Richard’s is one of the highest charting, going to #17 in the UK, 50 years after the song was written. Other renditions were performed by Gene Vincent, Doris Day, Fats Waller, Etta Jams, Burl Ives, Ray Charles, Julie Andrews, and even Bugs Bunny (Mel Blanc) among countless versions.

REVIEW: Ghost – Impera (2022)

GHOST – Impera (2022 Loma Vista)

Ghost have been pretty consistent over the years.  In all honesty the only album of theirs that I seldom spin is their second Infestissumam.  Everything else has been pretty solid to me so hopes were high for the new Impera.  Tobias Forge and Ghost have steadily evolved since Opus Eponymous in 2010.  From their melodic gothic metal origins, Ghost have gradually shed metal elements and replaced them with pop sensibilities.  Impera is most similar to their last album, Prequelle.  Let’s take a deep dive and analyse what Forge and his Nameless Ghouls have come up with this time.

Inspired by the real life rise and fall of empires, but through the lens of 2020, Ghost seem less interested in Satan while remaining fascinated by the dark side.  The idea had been long-simmering in Forge’s skull:  empires, repeating patterns in history, followed by annihilation.  The opening instrumental “Imperium” sets the stage with acoustic and electric guitars, layered in a way that recalls classic 80s Leatherwolf but far more lush.  Then we are suddenly engulfed not in darkness but in Darkness — the opening guitars sound like the British band, and Forge’s opening scream is a dead ringer for Justin Hawkins!  “Kaisarion” could easily have been a Darkness song.  High speed and instantly memorable, it’s the only song that will have you singing words like “Far away from the stench of the heavens,” this summer.  An immediate triumph, “Kaisarion” has it all from wickedly melodic guitars, deep backing vocals and clever instrumental prowess in all corners.  Can’t wait to road test this on a warm day in the car with the windows down.

“Spillways” might recall Trash-era Alice Cooper, with a tremendous amount of attention paid to the incessant melodies.  One after the other, the hooks keep coming.  Be it the vocals, the guitars or hell even the goddamn drums, “Spillways” is nothing but hard catchy rock they way you remember it from ages past.

The dark single “Call Me Little Sunshine” takes a different turn.  A simple spare guitar lick makes up the backbone of the song, with quiet verses and explosive choruses.  “Call me little sunshine, call me Mephistopheles,” sings Forge going full-Faust.  I’ll call it a song that takes a couple listens but will eventually bore its way into your permanent memory.

The second single, “Hunter’s Moon” follows, an upbeat prowl through dark woods.  (This is the single mix, with a more elaborate version included in the film Halloween Kills.)  While an impressive enough song on its own, “Hunter’s Moon” is over quickly, and overshadowed by the awesome “Watcher in the Sky”, a possible contender for album highlight.  Relentless bass and drums set up the biggest boldest chorus on the album.  The lyrics are hard to pin down, speaking of Machiavelli, bloodlines, and the rot of empires.  Possibly about looking to God for salvation but getting no reply.  Regardless of the dark theme, it’s one of the most party-ready tracks on the album.

The horns that blow on “Dominion”, an instrumental interlude, lead to a shocking transition.  “Twenties” is the strangest song on the album and contender for one of Ghost’s most bizarre tunes overall.  Beginning with a dark Metallica “Through the Never”-ish riff, “Twenties” soon transforms into something completely different.  Indescribable and simultaneously existing in the 1920s and 2020s alike.  Not sure if I like ir or not.

“Darkness at the Heart of My Love” is a pretty epic ballad, with suitably epic accompaniment from harpsichord type keys to angelic sonic backdrops.  Choirs of vocals join by the end, heaped on top of guitar harmonies in decadent fashion.  Brightening the mood, the poppy “Griftwood” returns us to a classic hard rock sound circa 1987.  The lyrics offer a critique of organized religion, but in the brightest musical frame.  Forge has leaned heavily into a specific kind of 80s hook of late, and “Griftwood” is soaked in them like cold gin.

A brief instrumental called “Bite of Passage” precedes the final song, “Respite on the Spatialfields”.  The empire has fallen, and Forge asks “I wonder, did no one hear the distant thunder?”  (We did, but we chose to ignore it.)  This complex track might be called a metal ballad, but it’s more progressive than that.  It has elements of Ozzy, Queensryche, Savatage, Whitesnake and Europe’s “The Final Countdown” all rolled into one.  An epic way to close the album.  “Nothing ever lasts forever.”

Musically invigorating and lyrically thought-provoking, Forge has created another memorable Ghost album for the masses.  While we hope the world doesn’t end too soon, and Forge can continue making albums, Ghost have harnessed the musical and apocalyptic themes of the 80s and brought them forth to the present day.  Job well done.

4.5/5 stars

REVIEW: Ghost – “Hunter’s Moon” (2022 7″ single)

GHOST – “Hunter’s Moon” (2022 Loma Vista 7″ single)

The new Ghost album Impera is almost upon us!  (March 11.)  The group’s sound has changed from album to album, progressing from a gothic metal band with a foot in the past, to something more perversely pop.  Their last album 2018’s Prequelle, pushed further in that direction, with at least one song (“Danse Macabre”) sounding like a keyboard-drenched rock single from back in ’86.  So who knows what we will get this time out?

The single “Hunter’s Moon” from the film Halloween Kills might be a clue. The single version does not appear in the film, but a much more elaborate mix runs during the end credits.  Presumably, the single version will be on Impera as well.

The beat is strong, and the melody is prominent.  The chorus is a little more old-school Ghost, so perhaps the album will be a hybrid of styles.  There’s a cool guitar line and the usual idiosyncratic Tobias Forge vocals.  It sounds like latter-day Ghost with a little of the early thump, and one particularly Sabbathy guitar bend.  Plenty pop, plenty gothic.  Good song though not up there with “Rats” or “Danse Macabre”.

According to Max the Axe:  “All the neat metal tricks save it from being a simple pop song, and transcends it to hook-laden heavy rock.  Lots of breaks and dynamics.”

On the B-side is the Halloween Kills main title theme by John Carpenter.  It’s a variation on the familiar, iconic Halloween piano theme, bare with synth and choir.  A very nice add-on to this cool single.

3.5/5 stars