music and narrative {[0]}
so. as part of the ongoing music researches, I've for a while wanted about the relation between music and narrative. that's going to be a long project! but to begin with I wanted to run down the examples I know, and maybe solicit a few more~
now, on some level, nearly any song has some degree of narrative. your basic love song introduces us to some characters - singer, object of their affection - and furnishes them with emotions and desires. moreover, music can play a role in a narrative without literally relating events - indeed, the art of soundtrack design is definitely a subject I want to look into at some point. even songs addressed directly at the real world, such as political songs, construct some kind of narrative.
however, for these purposes, I'm interested in songs that go a bit further in the direction of telling a fictional story, especially when those link together into whole albums (sometimes called a concept album, though this is a slightly broader concept). which can work in a lot of ways!
for example, Janelle Monae's The ArchAndroid tells a sweeping scifi story of an android fleeing an oppressive society and becoming an unintentional figurehead of revolution. it sketches out a wide-reaching set of influences in constructing a scifi world, but you'd be hard-pressed to boil it down into a simple series of events - it prefers to leave a lot to interpretation. by contrast something like Splendor & Misery by clipping. deals with kinda similar subject matter - a scifi story, an escaped slave, artificial intelligence - but with a different musical approach and perhaps a slightly clearer narrative arc; sometimes directly narrating the thoughts and actions of characters, or slipping into memory, but also drawing less direct musical parallels with e.g. gospel tracks and slave spirituals. both excellent albums - both solve the problems of conveying a story musically in different ways.
of course, the largest pool of examples here comes in the context of musical theatre, and further back opera. (the exact transition from one to the other is something I'm going to need to research). particularly interesting to me are sung-through musicals such as Les Misérables, in which there's no spoken sections in between the songs. this restriction means the songs (and staging etc.) have to do all the work of conveying the events of the story.
there's a lot to be said about the various traditions of musicals (for example). there's even more to be said about the history of opera - both the Western traditions and other musical traditions that have been given the label such as Chinese opera. but that will have to wait for later day in the project because otherwise this entire post would be a huge list of musicals, and I want to try and wander all over the shop.
what I'm most curious to find is music that tells a story all on its own - no actors or staging, but more similar to oral narration. of course, in the present era, music is often released along with videos, and these can tell quite elaborate stories that will become part of the overall 'message' communicated by the song, so the lines are a bit blurry! but since the aim of this series will be to look for ways to convey narrative using music, I'm looking for examples where the music does most of the heavy lifting.
music that tells stories is something with a looong tradition in folk music, pretty much the world over. in Europe, the ballad was a common form for it, a word that survives into the present. it seems that most cultures have had some kind of tradition of wandering itinerant musician-poets - for example, at various points in history, there were biwa hōshi in Japan (pictured) and griots in West Africa, medieval Europeans had minstrels, the Celts had bards, the Occitans had troubadors...
moreover, work and marching songs such as sea shanties would also have a certain degree of narrative to them, in addition to their main function of keeping a group moving in time.
in modern times, people will sometimes attempt to reconstruct how this kind of music and lyric poetry would have been performed. you can naturally only go so far with the archaeological evidence, but I'm fond of Peter Pringle's recordings of segments of the Epic of Gilgamesh, using period instruments if not necessarily a period musical style!
in the modern age of recorded music, these traditions have become much more niche, but there are still artists who use music as a vehicle to tell a fictional narrative. (fair warning: I'm a huge nerd, so most of the examples I know are like, supreme nerd shit. also about ten years ago I was given an assortment of metal from a friend which included a bunch of what I'm about to put below.)
to begin with I've naturally got to talk about my friend Maki Yamazaki (Dr Carmilla) and the band she founded but later left, The Mechanisms. They tell a story of a sprawling gothic scifi universe, with the band playing the role of travelling space pirates who observe the (invariably tragic) tales that unfold. The Mechanisms' music starts as folk song pastiche, but gradually gets more original, although narratively they keep the approach of crossing over mythology with genre storytelling (fairy tales as space opera, arthuriana as space western).
The Mechanisms got a significant measure of international fame washing back after their frontman Johnny Sims got really big on some podcast or something.
Maki's solo music as Dr Carmilla took things in (from a narrative sense) a more abstract direction, using elaborate production and an incredibly textured sound to tell a (so far!) fragmentary story of the tragic space vampire Dr Carmilla and her doomed relationship with another vampire Lorelei (for example). And I'm gonna have lots more to say about them all, in the future, but this is just an overview so let's not get ahead of ourselves!
In a related vein (though I'm much less familiar with them) comes indie band Decemberists, who often create narratively driven songs - for example, The Mariner's Revenge Song depicts a sailor's motivation for extracting bloody revenge on someone who wronged him, with the actual violence conveyed by an energetic instrumental break. A subject that reminds me of the Clockwork Quartet, now long gone, who managed to record just three of their songs from a larger project, yet stand out as way more interesting than most of the steampunk milieu - with for example The Clockmaker's Apprentice giving a very fun antihero-revenge narrative to the ticking beat of a clock, and The Doctor's Wife a compelling tragedy of desperate medical science.
There's definitely something in common with this type of storytelling and the subgenre termed rock opera, which has a pretty long history going back to the late 60s (SF Sorrow by Pretty Things and The Story of Simon Simopath by Nirvana, thanks wikipedia), with notable examples including some incredibly popular albums like Pink Floyd's The Wall (which was adapted into a partly animated film using animations by Gerard Scarfe, c.f AN86) and My Chemical Romance's The Black Parade. In many of these, the connection between songs and narrative is fairly abstract and metaphorical - most of the examples mentioned are about the psychological arc of one character.
Calling this a genre or subgenre is kind of a stretch recently - just in those four examples we see a pretty wide range of musical styles, so it's more like an approach to album writing. Still, for want of a better word, there's definite overlap between this 'genre' and musicals. For example, the history on wikipedia cites The Rocky Horror Picture Show as an example of rock opera, which in my head it's just a musical. (Anyway, exactly the taxonomy of regular opera/libretto, rock opera and musical theatre is not that important anyway, because we want to look at the techniques of all of them!)
A more direct narrative comes in the work of The Protomen, who have the 'no way that would work' premise of creating a huge, dramatic, emotional story based on the plot of the Mega Man games. By putting the focus on the tense relationships of the fought main characters (scientists Light and Wily and robot boys Proto Man and Mega Man), and their sense of rejection and betrayal by the broader society, they somehow pull it off.
Moving gradually in the direction of (progressive) metal, we encounter Ayreon, whose entire career has been telling psychedelic and occult stories of time travel, aliens, warnings projected into the past, out of body experiences, and the history and direction of humanity. I'm not sure if all of their albums fit together into one big story exactly, but certain ideas seem to keep coming up - for example, future societies or aliens sending warnings to humanity to fix our shit before it's too late. In some of their albums (e.g. The Electric Castle) they follow the device of having each member of the band play a character in an ensemble cast, bringing it a bit closer to something like a radio play.
Also in metal land we find the rather unique project Charlemagne: By The Sword and the Cross, best known for that time Christopher Lee shed the blood of the saxon men. This is using music as a vehicle for a (more or less) historical story, featuring an old Charlemagne (Lee) reminiscing on the various awful things he did over the course of his life. Apparently they made a sequel to this album, which I never realised!
As well as history, metal also likes to lean on literature and poetry. For example, Kamelot (classed, apparently, as 'Power Metal') have a rather fun adaptation of the story of Faust into two albums, Epica and The Black Halo. Iron Maiden famously took on the Rime of the Ancient Mariner in a 13 minute song. And that's not even to get into all the songs dealing with Tolkien.
Moving on from metal before we start listing a hundred songs about vikings, it's worth looking more broadly for music about history, since it's a pretty major overlap with fictional storytelling! For example, the Boney M song Rasputin tells an incredibly catchy account of the assassination of Grigori Rasputin. Another rather more charged example comes in Nakam by Daniel Kahn and the Painted Bird, about the unsuccessful paramilitary plot to poison six million Germans as revenge for the Holocaust.
If you go looking, you can find an impressively long list of historical songs compiled by 30 users of lyrics website Genius - though many of these I feel don't really count, since they were describing contemporary events when they were written.
Of course, there is a heavy overlap between this subject and political songs - in many cases the historical subjects are invoked to comment on the present. For example, Wernher von Braun by Tom Lehrer was written at a time when von Braun was leading the US space programme. In many cases, the songs simply invoke a historical event to express a feeling, assuming you already know what happened. Others may recount events more or less directly, before seguing into a verse or two at the end about why it matters now. Most of the songs in this list focus on recent (20th-century) history, sometimes they reach further back - mostly to talk about colonialism.
Historical songs can also be quite oblique. For example, Mili's song Salt, Pepper, Birds and the Thought Police is about the life of Korean poet Yoon Dong-ju, but you wouldn't necessarily know it from the content of the lyrics unless you were already familiar with Yoon's life. More on Mili in a moment - most of their songs are more fictional.
One thing I'm curious about is whether there are examples of more historical fiction in music, which tries to imagine the thoughts and feelings of historical characters... well obviously there's Hamilton, and perhaps that illustrates why there aren't a lot more songs about non-recent history, because the vibes can be off.
Storytelling is still a powerful mechanism even in a contemporary, political song. Take Construção by Chico Buarque - the story it tells is of the pointless death of a construction worker; with the lines ingeniously remixed over the course of the song, this turns into a wider illustration of the ruthlessness of the system that killed him. Its lyrics are absolutely fucking genius, even if you don't speak Portugese.
Speaking of language, most of the examples I've covered so far are in English, since well, that's my native language. It's naturally a little harder to access a story in a language you don't speak, but in these days of subtitles, we kinda can! So for example I can encounter projects like MILGRAM, something of a combination of music project and voting-driven story, in which we are introduced (by character song) to a number of characters facing execution - and then invited to vote on who should die. Heavily illustrated, it is somewhere vaguely in the space between album and straight-up anime.
I mentioned Mili already, but many of their other songs have a strong narrative arc to them, and sketch out the contours of a fictional setting. For example, one of their best-known songs is world.execute(me), which portrays the failure of a bdsm relationship between an AI girl and her creator. Which is relatively grounded by Mili standards - other songs depict for example the relationship of a jiangshi and a mad scientist cooking food, or a witch reanimating a knight with scientific methods to kill on her behalf.
And I think that will suffice for now. But we are of course only scratching the surface - this is by no means supposed to be an exhaustive list but I'm sure there's stuff that I'll be kicking myself for not mentioning. Mostly, however, this is a request for recommendations - particularly, of music from genres I haven't addressed in this post, and especially non-English languages, or that convey their stories in especially creative or unusual ways.
This project will likely be a long time in the works - it's something of a supplement to the Music Theory Notes (for science bitches) series - but my aim will be to pick out a few of these to examine how they go about conveying narrative through songs. Because I think that's kind of one of the big things I want to do with music.
ok canmom out i gotta go play some music. see you next time!
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