Every so often one encounters a sound that seems perfect for a particular vibe as they troll shared recommendations on YouTube – so it was that serendipity that allowed me to discover Jill Tracy and evocative song Haunted By the Thought of You.
BENEATH: The Bittersweet Constrain (instrumental mixes)
This album is entirely voiceless playing instrumental tracks of some of her previously released materials as well as stuff that I had not encountered before. The mood captured in some ways is more powerful than with the vocal accompaniment, as the power of the music moves you alone. Each piece carries with the same Doom Jazz vibe but magnifies it to the tenth magnitude. The melodies deliver on a mélange of mysterious, pensive accompaniments, mesmerizing harmonies and along with classical-cum-parlour piano summons suggestions of another epoch, nevertheless simultaneously, the complete package delivers something shockingly contemporary and fresh. An interesting assortment of instruments is thus employed in creating this sound ranging from the standard base to more exotic wind instruments. Usefully (unless the Game Master just one particular track), for gamers is that the fade outs have also been deleted thus creating the feeling of a single subconscious with different moods and emotions surfacing and descending like globs in a lava lamp. Although, this nicely fits into the genre of Doom Jazz – the ambient sounds behind this album are more sophisticated – there is almost a playful dialogue with the audience akin to a lost encounter. Thus, making many tracks on this CD almost romantic in a way like the embrace charming dark and haunting love – thus making this album perfect for Vampire : The Masquerade RPG or similar Gothic Punk RPG or where the horror is more personal rather than cosmic. As the album will transport the listener to some smoke filled salons or some dark alley some kindred lies waiting to sate its hunger on some unsuspecting victim – it is can also be used for any dark and moody night club or just background music to the game itself. If one had to choose just a couple of tracks to cite as their favourite it would be: 08 Torture & 09 Where Shadows Fall. I cannot wait to get a hold of the vocal version of this album.
Into the Land of Phantoms (The Nosferatu Score)
This album as the name implies is a score to the silent classic Nosferatu, those playing Vampire will once again be rewarded with rich melodies and haunting moments within game play. As most of the segments on this album are very short transition pieces that the Storyteller can use for critical transitions in game play as opposed to the above which can be used as background music. However, it would require the group be attuned and have a musical ear for the modifications from scene to scene can very short – and not everyone might pick up on the cue or clue. Notwithstanding, the album as pleasure listening as opposed to its application in gaming is sheer delight. The music captures a rustic rural sensibility in keeping with the film, as opposed to the urban smoky Cabaret that BENEATH: The Bittersweet Constrain (instrumental mixes) captures, thus, giving way to an older and more ancient evil. Thus, this piece is better suited to those playing in the Victorian era as adventurers would push into the Continent and the wild and chaotic regions of Balkan Europe or the Hungarian/Romanian borderlands where gypsies are in their native habitat and villagers must cowl under the shadow of a minor noble’s tower/keep – for the centuries of submission are not be questioned. Naturally, these are tropes not real places. Tracy keeps these flights of the imagination throughout tinged with something darker just on the edges until the tracks where we get the reveal of the monster. Because, Vampire the secret is revealed, I would say that this game is better suited to Hunter (albeit with its timeline pushed back) or the new Cthulhu by Gaslight – although, the nature of the horror in a Cthulhu game might be radically different and Nosferatu/monster would something more terrifying. And, that is where part of the problem may lie – the music perfect for a Vampire but unless one does an Ancient Sorcerer(ess) who sustains himself/herself with the blood of innocence – the music does not suit the purpose. So, perhaps, it might suit a Steampunk game like Victoriana more. Naturally, a Ravenloft Game Master would find much in this album that could be transferred over to their games.
The album uses a creepy instrumental melange of instruments to convey its message led by cello, violin, marimba and other orchestral percussion instruments accompanied by Tracy’s signature parlour piano. Into the Land of Phantoms does not incite repulsion or apprehension, as much as like BENEATH: The Bittersweet Constrain (instrumental mixes) but creates a mood of disconcerting allure in purest sense of classic Vampire fiction thus the group/individual listener out to capitulate to the hex of the music as intensely as to the spell of the vampire. There are enough tracks on this album that any Gamemaster worth their salt will find something perfectly suited to their game.
NERVOUS96, the score
This single track lasting approximately 12 mins has many different points of entry and exit for gaming. It could be employed as a background sound to accompany a session or with the correct software be broken up and used to convey distinctive segments. The music disturbing as much as it is thrilling and unlike the previous pieces – gives a feeling of unsettled apprehension, as the hairs on the back of one’s neck tingle, as the instruments slowly pour into one’s consciousness. It is fitting that this music accompany a surreal film – as the music would follow the film utterly as there is abrupt and rapid moves that are sometimes a frenzy but other times. If broken apart, I would use this in a Cthulhu Now game or Delirium game wherever there is a game that involves periodical journeys into madness. That said, it could be used as background music but the frenzied seqways might be disruptive to play hence better to break it up and use the cues as needed.
Notwithstanding, it is a beautiful piece of music that one could enjoy more if they have watched the film (I have not) but the music does the work for me – I can see scenes without knowing the plot nor structure.
Under the Fate of the Blue Moon
This is described as a Waltz, and perhaps it is one just a very dark one. It is a haunting tune lasting under six minutes that perfectly captures the bête noir that lurks amongst the whistling chambers of an abandoned ruin – seductive, sexy and secluded words that immediately spring into mind. Yet, this is no Beauty and the Beast waltz nor even the waltz from Labyrinth – the creature trapped here is more primal, more savage yet there is graceful nobility in the tones selected. There is an element of ethereal escapism to the music, in which, it seems like someone wishing to get away from the present into a dream should listen to this music. Thus, this music has a rare quality of being horrific and dreamlike thus is best suited for a game of gothic horror say like Victoriana or Ravenloft and perhaps parts of Vampire.
Should anyone be interested in getting these exceedingly rare albums may I direct you to Jill Tracy’s website [url]http://jilltracy.bandcamp.com/[/url] where they are available for download at a reasonable cost in a variety of formats (I chose mp3 for reasons that I had to mobile while listening to the music). And, to stay current – individuals are encouraged to visit the main site which can be accessed from the news portion simply go to [url]http://jilltracy.com/[/url].
