Last chance to back the Misbehavin’ Maidens’ 3rd Album Kickstarter.

Okay folx, last chance to back the Misbehavin’ Maidens’ 3rd Album Kickstarter! It ends May 10 at 10 p.m. EDT! We are a 100% indie, self-funded band.

The album we’re funding, “Swearing is Caring,” is full of wonderfully nerdy, feminist, LGBTQIAP+-inclusive filk music, plus a lot of swearing, because #Big2019Mood, y’all.

It’s got songs about libraries, anxiety, what not to say after sex, mansplaining, catcalling, Star Trek, Harry Potter, and more.

Because we’ve met stretch goals, everyone who backs the Kickstarter gets bonus stuff, too:

1. All physical-reward-level backers will receive a “Swearing is Caring” sticker

2. ALL backers will receive a bonus, downloadable coloring book page

3. All $5+ level backers will receive an early-release single IF we hit our $17,500 stretch goal (and as I write this, we’re less than $500 away!)

Backer-exclusive rewards (ones you won’t be able to get anywhere else) include:

1. Skull pillow

2. Drunken postcard

3. Glittery variant “Swearing is Caring” enamel pin

So don’t miss out! And thank you to everyone who has supported the campaign so far – please continue spreading the word! And even if you don’t have money to spare right now, reblogs are super helpful. Thank you for boosting the signal!

Flashing Blue – Adolphson & Falk

In the early 80s, one of the big bands on the Swedish music scene was Adolphson & Falk. A lot of their early stuff covered space, technology, radios, and astronomy (they met during their military service at the Swedish agency for signals intelligence). This is their breakthrough song “Blinkar blå” in English translation.

As far as I know they have never been a part of or encountered sf fandom, but this is true found filk.

Gethenian Suite

Back in March, I was at the world premiere of Gethenian Suite, a one-hour fusion of chamber orchestra, jazz, and space music, based on Ursula K Le Guin’s The Left Hand of Darkness. A video can of course not do this piece of music justice, but I have some small hope that it can be performed at the Worldcon in Dublin 2019.

Alchemy – Cerian Cantwr

@arachnaetheyarnspider submitted: It’s been a while since I’ve seen any SCA filk on here. How about a song about a Very Serious Ancient Science?

(Let’s be honest, it’s been a while since there’s been ANYTHING on here.  I Have Become Grad School -dog mod)

Cerian Cantwr singing a song called “Alchemy,” about….alchemy.

Anna Lovinda – Sissel Kyrkjebø, Bjørn Eidsvåg, & Åge Aleksandersen

“Mary O’Meara”, Poul Anderson’s classic filk song, has been featured here using Anne Passovoy’s melody. Originally, Anderson was inspired by and used the melody of the song “Anna Lovinda”, with lyrics and melody by the Norwegian songwriter Erik Bye. Here Sissel Kyrkjebø, Bjørn Eidsvåg and Åge Aleksandersen present the song.

Scottish songwriter Alex Campbell also translated the Danish translation of “Anna Lovinda” to English; that version can also be found on Youtube. Both the Danish and the English versions are very faithful to the Bye’s Norwegian original.

[submitted by anonymous]

Mellonath Gléowine

The Stockholm Tolkien society started their choir Mellonath Gleowine in the early 1970s, and it is still going strong, and is the oldest continuous filk tradition in Sweden. They sing a mixture of Tolkien and early modern songs. Here is their concert when Stockholm’s science fiction bookstore had their 30-year-anniversary as an independent business in 2014.

Don’t miss their version of The Misty Mountains Song in Swedish and Khuzdul at 10:00!

[submitted by anonymous]

Autonomous – Marshall Burns


This song was written by Marshall Burns (and animated here by Sunny Adams) for the novel Autonomous by Annalee Newitz, and she wrote a really good post about the genre she’s calling “Canadian prairie futurism” and how it relates to traditional music.  I’m just gonna copypaste a chunk of it here because it’s such a good explanation of a huge part of the filk ethos:

Two summers ago, when I was finishing the first draft of my novel Autonomous, I watched Marshall play and thought about the future. Back then he was at Leopold’s Tavern, and I’d come to the crowded bar with a bunch of family after a long dinner full of conversations about politics and art. This is the sort of thing we might do more often if there were an apocalypse, I mused. We’d gather in some communal shelter, after a day of hunting and gathering in the trashed wastes. Then somebody from our family would start to sing. We’d raise our voices too, to take our minds off the famine and plague and wildfires.
But it’s also the exact kind of thing we’d do in a Utopian future. Imagine us surrounded by carbon-neutral farms whose plants are monitored by sensors and satellites. Our brains would be crackling with ideas, thanks to government-funded science education. After a productive day in the fields and the labs, we’d gather at the co-op watering hole and sing our brains out in agrarian socialist solidarity. We’d all sound great too, because we’d have optimized our vocal chords with open source biotissue mods.
Maybe it sounds a little strange to say that Marshall’s old-fashioned songs gave me these vivid, contradictory images of the future. But I see the future clearly in these anachronistic moments. If we can still hear traditional prairie music in a modern city bar, then it’s a kind of guarantee that people of the future will still be listening to us. As Marshall sang, I could imagine distorted bits of my own culture still alive in a world utterly transformed by time’s passage.

And besides all that, enjoy a song about sad robots!