Posts Tagged ‘Stantough’

‘I’ Article on ‘Bardcore’ – Postmodern Fusion of Medieval Music and Modern Pop

August 5, 2020

I’m a fan of early music, which is the name that’s been given to music from the ancient period through medieval to baroque. It partly comes from having studied medieval history at ‘A’ level, and then being in a medieval re-enactment group for several years. Bardcore is, as this article explains, a strange fusion of modern pop and rock with medieval music, played on medieval instruments and with a medieval vocal arrangement. I’ve been finding a good deal of it on my YouTube page at the moment, which means that there are a good many people out there listening to it. On Monday the I’s Gillian Fisher published a piece about this strange new genre of pop music, ‘Tonight we’re going to party like it’s 1199’, with the subtitle ‘Bardcare reimagines modern pop with a medieval slant. Hark, says Gillian Fisher’. The article ran

“Hadst thou need to stoop so low? To send a wagon for thy minstrel and refuse my letters, I need no longer write them though. Now thou art somebody whom I used to know.”

If you can’t quite place this verse, let me help – it’s the chorus from the 2011 number one Somebody That I Used to Know, by Gotye. It might seem different to how you remember it, which is no surprise – this is the 2020 Bardcore version. Sometimes known as Tavernwave, Bardcore gives modern hits a medieval makeover with crumhorns a plenty and lashings of lute. Sometimes lyrics are also rejigged as per Hildegard von Blingin’s offering above.

Algal (41-year-old Alvaro Galan) has been creating medieval covers since 2016, a notable example being his 2017 version of System of a Down’s Toxicity. Largely overlooked at the time, the video now boasts over 4.4 million views. Full-time musician Alvaro explains that “making the right song at the right moment” is key, and believes that Bardcore offers absolute escapism.

Alvaro says: “What I enjoy most about Bardcore is that I can close my eyes and imagine being in a medieval tavern playing for a drunk public waiting to dance! But from a more realistic perspective , I love to investigate the sounds of the past.”

In these precarious times, switching off Zoom calls and apocalyptic headlines to kick back with a flagon of mead offers a break from the shambles of 2020. Looking back on simpler times during periods of unrest is a common coping mechanism, as Krystine Batcho, professor of psychology at New York’ Le Moyne College explained in her paper on nostalgia: “Nostalgic yearning for the past is especially likely to occur during periods of transition, like maturing into adulthood or aging into retirement. Dislocation or alienation can also elicit nostalgia.”

The fact that Bardcore is also pretty funny also offers light relief. The juxtaposition of ancient sound with 21st-century sentiment is epitomised in Stantough’s medieval oeuvre, such as his cover of Shakira’s Hips Don’t Lie. Originally from Singapore, Stantough (Stanley Yong), 35 says: “I really like the fact we don’t really take it very seriously. We’re all aware what we’re making isn’t really medieval but the idea of modern songs being “medievalised” is just too funny.”

One of Bardcore’s greatest hits, is Astronomia by Cornelius Link, which features trilling flutes and archaic vocal by Hildegard. It’s a tune that has been enjoyed by 5.3 million listeners. Silver-tongued Hildegard presides over the Bardcore realm, with her cover of Lady Gaga’s Bad Romance clocking up 5 million views. Canadian illustrator Hildegard, 28, fits Bardcore around work and describes herself as “an absolute beginner” with the Celtic harp and “enthusiastically mediocre” with the recorder. Her lyric adaptations have produced some humdingers such as “All ye bully-rooks with your buskin boots which she sings in rich, resonant tones.

HIldegard, who wishes to remain anonymous, believes the Bardcore boom can be “chalked up to luck, boredom and a collective desire to connect and laugh.”

In three months, the Bardcore trend has evolved with some minstrels covering Disney anthems, while others croon Nirvana hits in classical Latin. While slightly absurd, this fusion genre has ostensibly provided a sense of unity and catharsis.

The humming harps and rhythmic tabor beats evoke a sense of connection with our feudal ancestors and their own grim experience of battening down the hatches against the latest outbreak. Alongside appealing to the global sense of pandemic ennui, connecting to our forbears through music is predicated upon the fact that they survived their darkest hours. And so shall we.

While Bardcore’s a recent phenomenon, I think it’s been drawing on trends in pop music that have happening for quite long time. For example, I noticed in the 1990s when I went to a performance of the early music vocal group, the Hilliard Ensemble, when they performed at Brandon Hill in Bristol that the audience also included a number of Goths. And long-haired hippy types also formed part of the audience for Benjamin Bagley when he gave his performance of what the Anglo-Saxon poem Beowulf probably sounded like on Anglo-Saxon lyre at the Barbican centre in the same decade.

Bardcore also seems connected to other forms of postmodern music. There’s the group the Postmodern Jukebox, whose tunes can also be found on YouTube, who specialise in different 20th century arrangements of modern pop songs. Like doing a rock anthem as a piece of New Orleans Jazz, for example. And then there’s Orkestra Obsolete, who’ve arranged New Order’s Blue Monday using the instruments of the early 20th century, including musical saws and Theremin. There’s definitely a sense of fun with all these musical experiments, and behind the postmodern laughter it is good music. An as this article points out, we need this in these grim times.

Here’s an example of the type of music we’re talking about: It’s Samuel Kim’s medieval arrangement of Star Wars’ Imperial March from his channel on YouTube.

And here’s Orkestra Obsolete’s Blue Monday.