Projekt: darkwave - Various Artists: A Sepiachord Passport ~ SALE $5

A review from All Music:

The transmogrification of a sizable chunk of goth culture into a full or partial pre-rock approach -- equal parts influenced by Klaus Nomi, steampunk hangover, and maybe judicious playing of Bauhaus' "The Three Shadows, Pt. 3" or Dead Can Dance's take on the Brecht-Weill composition "How Fortunate the Man with None" -- has been captured in a slew of releases and the occasional compilation, so A Sepiachord Passport has its definite antecedents. As a sampler for 2010 it's a pretty good overview of what's out there in the U.S., and if nothing else shows that there's no simple way to pigeonhole what's out there in one fell swoop -- the near-cartoonish falsetto wails on Tiger Lillies' "Roll Up" seems to conjure up Berlin 1932 just like that, but the next track, Walter Sickert's "Off with Her Head!!!," moves easily into sea shanties via late-period Swans and plenty of echo along with all the extreme vocal melodrama by the backing singers. Instrumental rockers like "Scarlet Carpet Interstate, Pt. 1" by Nathaniel Johnstone & the Brazilian Surf Mafia rub up against Never Never Land 1930s jazz jams such as "Kibosh on Your Scene" by Emperor Norton's Stationary Marching Band. Then there's the full-on rock of bands like Blackbird Orchestra and the brogue-heavy punk of the Men That Would Not Be Blamed for Nothing and yet more. For all the sonic (and band name) play at work, there ultimately is a through-line of sorts -- the evident fascination the art glam wing in the early '70s had for the 1920s and 1930s (think David Bowie, Roxy Music, the success of the film Cabaret), crossed at points with a continuing old weird America fetish -- and everything from the vaudeville touches of ukuleles and barrelhouse pianos goes into the mix. Not to mention more names like Miss Mamie Lavona the Exotic Mulatta and Her White Boy Band (with one of the best songs, the jaunty "Thief Song"). -Ned Raggett

A review from bigtakeover.com:

Sepiachord is a gathering place for a certain kind of musician, performer and/or artist, all of whom work within the loosely-defined borders of what’s known as steampunk. According to Wikipedia, “steampunk involves an era or world where steam power is still widely used – usually the 19th century and often Victorian-era Britain – that incorporates prominent elements of either science fiction or fantasy.” The fictional inventions of authors like H.G. Wells appear as if they were common items, and close attention is paid to clothes, architecture, customs and atmosphere. Anachronisms abound – indeed, they’re kind of the point. The shock of seeing a technological item that greatly resembles a modern computer in the hands of a corset-clad wench is part of the fun. There are dozens of variations, depending on which elements the creator decides to emphasize.

Steampunk has been around for a couple of decades, at least, mainly as the rubric of science fiction novels (the work of K.W. Jeter, Tim Powers and William Gibson), comic books (Girl Genius, The League of Extraordinary Gentlemen, the eponymous Steampunk) and under-the-radar films (The Adventures of Buckaroo Banzai, Perfect Creature). Recently it’s made inroads into the mainstream, specifically major motion pictures (the spectacular failure Wild Wild West, the massive successes Sherlock Holmes and Hellboy) and TV (the recent “Punked” episode of Castle).

All that said, what does it have to do with music? Steampunk as a musical style is more difficult to define, as there are as many variations as in fiction and film. But there are certain elements one can pinpoint that indicate an affinity for the genre. Waltz tempos are common, as is a melodic sensibility more informed by vaudeville and cabaret than rock – the 20s and 30s have had more impact than the 60s and 70s. Instrumentation tends to be acoustic, though it’s hardly exclusively so, and the guitar takes a back seat in favor of less rock-oriented noises, particularly brass and accordion. Subject matter takes in almost anything, though there’s definitely a gothic, often macabre sense of humor running through much of the work. A lot of these bands list themselves as “jazz,” “Americana” or (more applicably) “other” on their MySpace pages. Whatever you call them, most of them have a similar feel, even when they sound different from each other, and A Sepiachord Passport gathers a fine batch of musicians together that lets the listener find the commonality for him/herself.

Most prevalent, if not exactly dominant, is a cabaret feel, as if the seedy club scene of Weimar Berlin had been transplanted to the dark alleys of the Pacific Northwest. “Thief Song,” performed by Miss Maime Lavona the Exotic Mulatta & Her White Boy Band, is a prime example – a clever lyric about a thief of love, the metaphor extended but not belabored, delivered in a clear, straightforward alto, a horn-driven, nostalgic arrangement, and occasional profanity (“Why am I screwing such a prick?”) to remind us that it’s not 1929. Rhubarb Whiskey‘s love song “Lilacs From Canada,” black tape for a blue girl‘s “Rotten Zurich Café* and Huxley Vertical Cabaret Nouveau‘s “Early Chill” follow suit, with similar success. Tiger Lillies‘ “Roll Up” puts its cabaret stylings through a gypsy strainer, adding a piercing, androgynous falsetto for delivery.

Things take a darker turn on the same smoky stage with Circus Contraption‘s “If I Told You Once,” as a Gene Austin-style crooner liltingly tells the tale of a Bluebeardesque serial killer who blames his victims’ unfortunate fates on not knowing any better than to get involved with him. Singer/comedian Veronique Chevalier weaves a similar story on “The Dance Master,” adding white slavery and other unsavory activities to the mix, while the Magnificent Seven cuts out the middleman and goes straight to the grave with “The Last Waltz.”

It’s not all a gaslight fantasy version of the Kit Kat Klub, however. The Clockwork Dolls‘ “The Ballad of Black Jack Jezebel” sounds the way you’d think from its title – like a spaghetti western onstage at a drag club, “Ghost Riders in the Sky” by way of Priscilla, Queen of the Desert. The Peculiar Pretzelmen‘s “Hammer Nails” is essentially folk rock, albeit driven by banjo and what sounds like a bass clarinet, while Bakelite 78‘s “Aurora Ave Motel” is a (sleazy, sexually charged) C&W duet. In concert with Miss Sadie Bell, Professor Elemental also brings the smarm with “Sweet Cold Colation,” which piles euphemism on top of euphemism in a mélange of sex, food, hip-hop beats and upper class accents.

While lyrical acumen is a mighty weapon in the steampunk world, there’s room for wordless expression as well. The best instrumental is by Nathaniel Johnstone, multi-instrumentalist for goth/steampunk rock icon Abney Park, who leads the Brazilian Surf Mafia through a mandolin-led romp that marries a Middle Eastern melody to a flamenco rhythm. “Kibosh On Your Scene,” by Emperor Norton’s Stationary Marching Band, is indeed a march, performed by what sounds like a New Orleans brass band reimagined for The League of Extraordinary Gentlemen. Both Sxip Shirey‘s “Mehenetta” and Toy-Box Trio‘s “Stamp Collection” make use of toy instruments, the former mixed with electronics and the latter exclusively, for a pair of cluttered tracks whose charm wears thin fairly quickly.

Some tracks are more obviously accessible to an audience more comfortable with rock. While Bat Country‘s “Knockin’ On My Coffin” and Walter Sickert & the Army of Broken Toys‘ “Off With Her Head!!!” aren’t rock per se, the gravely vocals and catchy melodies will certainly appeal to fans of, say, Tom Waits. The Men Who Will Not Blamed For Nothing (winners of the Most Unwieldy Band Name award), go straight for punk rock with “Charlie,” a witty tribute to Charles Darwin and his detractors that sounds like the classic folk/punk track for which the Dropkick Murphys have long been striving. Blackbird Orchestra‘s “Hollowland” is unambiguously rock of the widescreen alternative variety – it’s not terrible, but its connection to steampunk is undetectable, unless the bandmembers are friends with the compiler.

Unity is definitely a plus on A Sepiachord Passport – there’s a sort of thematic atmosphere that allows these disparate musicians to stand side-by-side under a common banner. With a few exceptions (seriously, what is Blackbird Orchestra doing here?), nearly every band here would elicit a knowing “Yeah, I get it” if you were told it was a steampunk artist. Yet, there’s enough variety to keep you from nailing exactly what that means, or, worse, getting bored over the course of 20 tracks. A Sepiachord Passport accomplishes the goals of any good compilation album – it peaks curiosity, displays a scene’s creativity and, most importantly, consistently entertains. - Michael Toland

A review from Geek Girls Rule !!!:

I need to start off this review by stating that I’ve known Mr. Bodewell, the curator of Sepiachord for a very long time. He is a good friend. I also know members of several of the bands on this compilation. But, as I’ve said before, if something doesn’t work, I’ll be honest about it. Now, I’m not a huge Steampunk fan. I enjoy the esthetic on others, but it’s not a style I favor for myself. However, much of the music on this CD touches the part of me that winds up humming, “Mein Herr” from Cabaret for months on end every time I see it.

The tagline for the Sepiachord site is “Music for a Past that Never was.” Many of the songs on this compilation (and the other Sepiachord CD) have strong vaudevillian and cabaret influences. Jangly pianos and accordions feature strongly, as does the occasional theremin. Everything on this CD is more than listenable, but there are a few standouts.

“The Dance Master” by Veronique Chevalier is hands down the best song on this CD. It tells the story of an evil Dance Master who seduces girls into a life of prostitution. She has a throaty voice, with a French accent. The first time I heard the song, I texted Mr. Bodewell immediately to tell him how incredible I thought it was.

“Hollowland” by Blackbird Orchestra is also a great song, but it doesn’t fit. The others songs feature jangly vaudeville-sounding instruments, and Blackbird Orchestra has a very lush, full sound. Don’t get me wrong, I love the song! It reminds me a bit of Sisters of Mercy with some elements of the Killers thrown in. It’s fantastic, but I just don’t think it really fits.

My other favorites on this compiliation are Walter Sickert and the Army of Broken Toys‘ “Off With Her Head,” and Miss Mamie Lavona the Exotic Mulatta and Her White Boy Band doing “Thief Song.”

The majority of songs on this album tell stories, good ones, interesting stories, and with the exception of “Hollowland” they all fit together very well. They’re incredibly evocative, and I could probably give you a paragraph or more about each if pressed, but I’d like to go finish getting ready for PAX now.

A review from Gothic Beauty:

This compilation features performers from around the world with a common passion for steampunk music. More than just a fashion statement or a convention theme, the notion of steampunk extends into the music realm with a blending of the avant-garde, theatrical, and fantastical tones of gypsy punk, circus blues, and dark cabaret. The 20-track album is full of surprises - some eerily outlandish and other resoundingly pleasant. With contributions by established acts with crossover appeal, like Black Tape for a Blue Girl (with guest vocals by Nicki Jaine), this album is at least worth a listen - even if only to understand how neo-vaudeville/steampunk music sounds. The Clockwork Dolls and Veronique Chevalier are also presences worth mentioning, for being steampunk scene attention grabbers and having appeared at the Steampunk World's Fair in New Jersey this year. Both acts are clearly praised for representing the steampunk sub-genre of music. There are also many Seattle bands that add their own local flair to the mix. Though surely an acquired taste, this collection is an excellent introduction for those uneducated on the unique breadth of steampunk music. - Alison

A review from http://www.darkroom-magazine.it/:

L'area su cui si inquadra questo sampler è quella steam-punk, e qui potremmo perdere il resto della giornata in una succosa discussione, o se preferite una conferenza, su presunte parentele con il punk che in trent'anni di esistenza più o meno nobile, rivoluzionaria e innovativa ha visto la sua essenza sputtanata, esaltata, glorificata in molte situazioni musicali o giornalistiche. Lo 'steam' è il nuovo modo di intendere un suono che, in realtà, nell'underground esiste da sempre e che saltuariamente è stato interpretato da artisti che hanno ricercato la ballata antica, maledetta, squallida. Virgin Prunes o Christian Death, Nick Cave o Tom Waits, Siouxsie o i Pogues, la puzza musicale si è sempre manifestata affascinante in molti episodi felici ed in diversi album in cui il recupero della ballata da taverna, da dock portuale o da vicolo poco illuminato, come di circo decadente e grottesco, ha avuto momenti di lustro che ora hanno convinto più artisti alla totale dedizione ad esso. La letteratura vede con importanti riferimenti il fenomeno 'steam' da decenni, a cui si è aggiunto il cinema; ora è il turno della musica nell'onorare un filone che, grazie al suono, si completa nel suo cerchio, anche se coperto di polvere e decadenti ragnatele di vecchia cantina vittoriana. Il fatto che ancora Seattle sia protagonista non è casuale: noi non siamo sociologi, soprattutto in contesti di terra di zio Sam, ma qualcosa ci dice che in quella città il fermento 'grunge' non ha esaurito le urla underground, ora spostate su altri livelli e suoni. Cinematografico: la prima immagine che mi entra in testa pensando ad un contesto simile è il video "Tonight, Tonight" degli Smashing Pumpkins (tra l'altro uscita dalla mente di Ric Ocasek, leader dei Cars, così futuristi nel senso classico del retrò-style), perché dalla copertina di questa compilation fino al suo midollo musicale è quello lo spirito, dal colore seppiato di fine '800 fino alla Belle Epoque, con i suoi lustri ed i suoi freak, gli emigranti emarginati ed i sogni nati e morti tra puzza di porto e pantaloni scuciti, marinai illusi da bellissime troie decadute e maestrine pronte a sognare l'ennesimo amore da conquistare, cibo avariato e vino all'aceto. Questa è l'atmosfera che nei suoi minuti la compilation vi offre, e tutti gli artisti coinvolti, con la loro bombetta o la gonna scucita e sudicia, palesano carrozzoni inverosimili alla Parnassus e personaggi assurdi e felliniani, e non è detto che molti di loro, in quanto artisti intelligenti, non conoscano il surreale genio del nostro grande Federico Fellini. Quasi ogni canzone è una ballata, ma non del tipo dolce e malinconico: non può esserci dolcezza in un dock zeppo di ratti malaticci e container arrugginiti, se lì immaginiamo la location. Ballate però sincere e poco ruffiane, dirette al cuore e con parole immediate tra taverne in cui irlandesi, italiani o scozzesi (la feccia di quegli anni di sogno conquistabile nella East Coast) portavano con malinconia i ricordi della loro terra per far sì che ancora per un po', ancora per qualche anno, la patria non fosse una lontana dissolvenza ma una madre ancora vicina. Questo è ciò che "A Sepiachord Passport" mi evoca, ed uso il coinvolgimento diretto perché per una volta, per questa volta, sarà così, e forse non sarete d'accordo con il vostro pennino, ma ne dubito... Sarebbe doveroso menzionare ognuno dei venti artisti coinvolti da Sam Rosenthal in questo progetto targato Projekt: Seattle è grande fucina, con molti artisti coinvolti nel carrozzone sonoro in cui i Black Tape For A Blue Girl, nel nuovo ciclo iniziato con "10 Neurotics", si dimostrano ancora acerbi nel documentare la corrente dal loro punto di vista. "Rotten Zurich Cafe" è nobile se raffrontato alla feccia di altri brani, più esposti alla brezza marina anche quando ricca di odore di pesce marcio, più intrisi di muffa degli anni; su queste basi vi invitiamo a vestirvi quindi di abiti logori, desueti ed oltre il vintage, aprendo le vostre menti verso i ricordi di macchine incredibili, racconti esagerati da fine '800, avventure inverosimili e popoli esotici, quelli che oggi hanno un nome ed una connotazione etnica ma che, nelle fervide menti degli scrittori di oltre cento anni fa, erano la magia del nuovo, il lusso della scoperta, lusso perché beneficio di pochi. La scoperta vi aiuterà a percorrere i solchi di "A Sepiachord Passport": buon viaggio, il tempo è ben inferiore agli ottanta giorni... Rating : 7.5. Nicola Tenani

A review from seattle-geekly.com:

A Sepiachord Passport is the latest compilation album put out by the folks over at Sepiachord. The question of what steampunk music is gets asked frequently and this album goes a long way towards answering that question. Not all of the bands on the compilation would necessarily embrace the label of steampunk music but embrace it or not there is something in every one of the songs that will appeal to the steampunk set.

Album curator Mr. Bodewell did an excellent job of selecting tracks for the compilation that fit well together while keeping enough variety in the sound and styles that it doesn’t become monotonous. The instrumentation in most of the songs leans towards a kind of retro-future cabaret sound, lots of brass, concertinas, banjos and piano, but there are also tracks with a more world music sound, Nathaniel Johnstone & The Brazilian Surf Mafia’s ‘Scarlet Carpet Interstate, Part One’, for example and more modern rock sounds like Blackbird Orchestra’s ‘Hollowland’.

The appeal reaches well beyond the steampunk scene. If you have ever listened to the Dresden Dolls or The Squirrel Nut Zippers or Abney Park and wondered where to find more music like that, then this is the album for you. I also highly recommend picking it up if you’re interested in throwing some unique sounds into your play list.

A review from Steampunk Canada:

Let's begin at the beginning.... A Sepiachord Passport, upon my initial listening, made me think “twisted circus meets folk gypsies of the damned." It's an incredible mix of unusual and talented artists. I really enjoyed the vast majority of tunes and having 20 songs on a CD is a welcome treat, most give you a lot less than that these days - good value and good talent – a winning combination.

To be more specific about the tunes.....The first song, “Roll Up”, is a good tune but the voice became grating as it progressed. It did make for a good barker calling the listener in for the rest of the show and after listeninga few times I found it grew on me. It's soon over and into the wonderfully creepy “Off with Her Head”. As the musical journey continued I enjoyed each song as a unique individual, each one being quite different than the one before. In particular I quite enjoyed Circus Contraption's “If I Told You Once”. It is definitely oneof my new favourites. It was quirky and funny and and the lyrics are wonderful.

Something else I enjoyed about A Sepiachord Passport was the mix of performers I already knew and loved like Walter Sickert & the Army of Broken Toys, VeroniqueChevalier, Professor Elemental, Emperor Norton's Stationary Marching Band and The Clockwork Dolls and performers I had not heard of, but now had a chance to get to know.

The whole collection left a good taste in my mouth – like absinthe flavoured cotton candy!

A review from Trial By Steam:

Veronique Chevalier, Mr. Jordan Bodewell, and the people at Projekt Records were kind enough to send me a copy of the recently released A Sepiachord Passport. The album is a compilation of contemporary artists who use pre-modern musical techniques and traditions to create entirely new music.

A Sepiachord Passport is aptly named. Listening to it feels like an adventure through the Steampunk genre. It succeeds in presenting the many facets of Steampunk music in a highly entertaining and engaging manner. It is an anthology of retro-futuristic music that explores the furthest reaches of what Steampunk music could be. From bubbly and optimistic to dark and punky, A Sepiachord Passport is an all-inclusive auditory escapade through the Steampunk genre. I especially appreciate A Sepiachord Passport’s success in exposing me to some Steampunk and retro-futuristic bands I’ve never heard of previously. Because Steampunk doesn’t have uniform sound, online radio stations like Pandora don’t necessarily help me in discovering new Steampunk music. A Sepiachord Passport succeeds where Pandora fails. And although there is a wide spectrum of sounds, textures, and lyrical images, the composition of the Passport is one that flows smoothly and enjoyably.  Some of my favorite tracks on the Passport included Charlie by the Men Who Will Not Be Blamed for Nothing, Scarlet Carpet Interstate Part One by Nathaniel Johnstone and the Brazilian Surf Mafia, and The Dance Master by Veronique Chevalier.

A Sepiachord Passport comes enthusiastically recommended to Steampunks and other retro-futurists interested in further exploring the vast talent of the artists featured.

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A Sepiachord Passport ~ SALE $5

2010 | Projekt / Sepiachord | PRO00250

CD in EcoWallet with Booklet.

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