#dead-can-dance — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #dead-can-dance, aggregated by home.social.
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#musiquinta poliglota: Dead Can Dance - Song of the Stars
Tenho escutado bastante essa ultimamente e acho que encaixa. Letra em inglês e no idioma dos Povos Algonquinos.
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While eating lunch, I stumbled upon this KCRW video of Dead Can Dance that I had never seen before from 2013. Day instantly improved, swoon. #Music #DeadCanDance
Dead Can Dance Morning Becomes Eclectic, KCRW Studios, Santa Monica, 19 04 2013: https://www.youtube.com/watch?v=FvhKAzHfPeo
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DEAD CAN DANCE - De profundis
https://youtu.be/KkwbhL9i6pY?si=sLrdQmsA4KBIXHXh -
Moon Far Away – Acou Review By GrymmAs a fledgling metalhead in the 90s and early 2000s, I spent many a day scouring my local record shop for new, interesting bands and artists due to magazine interviews, reviews, and the occasional word-of-mouth treatment from friends and artists alike. This adventurous time period was responsible for my dalliances and appreciation of the world of neofolk. Between the somber atmospheres of Tenhi and the thriving, teeming music of the late Nebelhexë, it opened up new avenues to explore and bands to check out. With this in mind, I decided to tackle Acou, the fifth album from Russian quartet Moon Far Away, only to realize that they’ve been around since 1994 and this is the first time hearing about (or anything from) them.
Well, at least I got to finally experience their music, as Acou is a fairly enjoyable album with some interesting angles. After a brief interlude, featuring a lone trumpet and some ambient chantings and melodies, the title track kicks off in earnest, showcasing just why Moon Far Away have earned the reputation as “The Russian Dead Can Dance” as the vocal harmonies of multi-instrumentalist Count Ash and his counterpart (and song lead) Leda intertwine during the chorus over a playful bassline from Zhigich and some driving percussion by Victorion, creating a rapturous atmosphere that also plays homage to their Russian roots. Elsewhere, “Steel Light Love” shows off their more Gothic leanings, with Count Ash taking the lead with Leda softly wailing in the background throughout the song’s majority. On these three songs, the band’s artistic strengths shine brilliantly, giving off the impression that this is a neofolk classic for the ages.
The problem is that there are other songs on here, and some of them pull the proceedings down quite a bit. “17 Years” features an older vocalist1 chant-singing partially off-key for over three minutes. Speaking of off-key, Count Ash’s voice on “Look, the Human Flocks…” keeps to a monotone, often at odds with Leda’s angelic vocals, and the song ends without building up to anything. But the biggest issue lies with “Soulofkey,” which starts off promisingly enough, with a haunting piano melody that burrows into your skull. Still, it keeps burrowing, because other than a few key changes, it just keeps going and going and going for the entirety of the song’s seven-minute runtime, losing all potency and interest.
At least Acou sounds great from a production standpoint. Zhigich’s bass is thick and meaty, and Victorion’s percussion hits with the impact his performances need. Even the traditional instruments, such as the flute and trumpet, all ring with a stark clarity that’s sometimes missing from neofolk music. I just wish the arrangements and performances were a bit tighter overall, because when Acou shines, it’s with a brilliance that few can match, and that’s no mean feat.And that kills me, as I wanted to like Acou more than I do. When everyone’s on top of their game, Acou is a compelling album that’s teeming with life and vibrancy. But the hiccups on some of the tracks keep my enjoyment tempered, and that’s a shame because Moon Far Away impressed me on their best tracks, and they are giving me a new band to check out in the future. That said, there’s still plenty to like on here, and if you enjoy any of the bands I mentioned above, you could do much worse than what’s on offer here.
Rating: 3.0/5.0
#2026 #30 #Acou #DarkNeofolk #DeadCanDance #Mar26 #MoonFarAway #Nebelhexe #NotMetal #ProphecyProductions #Review #Reviews #RussianMetal #Tenhi
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook
Release Dates: EU: 2026.03.13 | NA: 03.27.2026 -
Sunday's midnight.
DEAD CAN DANCE - Our day will come (2026)
https://youtu.be/LtGfmeomvQM?si=_xumr1AX719F2eVO -
A message (and a new song) by Dead Can Dance:
Future Dead Can Dance releases are to be sold exclusively via Bandcamp on our very own Holy Tongue Records label.
‘We have decided to no longer support streaming platforms that continue to exploit artists and promote AI generated music. In future we will sell our music directly to the public via Bandcamp, a platform that continues to support independent artists and which has commendably banned all forms of AI generated music, a technology that threatens the very life and soul of our profession.’
The first of these new releases is the single ‘Our Day Will Come’ and is released today: https://deadcandance.bandcamp.com
This will be the first in a series of songs to be released on a regular monthly basis throughout 2026. Each release will be accompanied by a digital pdf containing original artwork and song lyrics.
For every purchase of ‘Our Day Will Come’ we will donate 50% of the proceeds to MAP (Medical Aid for Palestinians). MAP do incredible work to provide medical care as well as providing food and nutritional aid to the Palestinian people.
All donations are very much appreciated and for details regarding their work please visit their website at https://www.map.org.uk
#deadcandance #palestine #music -
Dead Can Dance estrena «Our Day Will Come» y fija exclusividad con Bandcamp | vía #NaciónRock
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Listening to Dead Can Dance, "Our Day Will Come"
Surprise new song!
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🇺🇦 #NowPlaying on #KEXP's #MorningShow
Dead Can Dance:
🎵 Rakimhttps://seasonofmistcatalogue.bandcamp.com/track/rakim
https://open.spotify.com/track/17MtPu2iX6DfTFYOWnR8ix
🎶 show playlist 👇
https://open.spotify.com/playlist/1r22YroTqfHn6X0RvVg67f🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
On 25 November 1985 Dead Can Dance released their second album "Spleen and Ideal".
Further evolving their distinctive neoclassical style, drawing on bygone music in a gothic and darkwave context, 'bringing something left in the past (dead) to life (or to dance)'.
05. Mesmerism
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Some days you just need acts like Circuit des Yeux (very similar to #deadcandance) to get you throw without collapsing or exploding (which I almost did at an estate agent earlier).
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By Tyme
As the whispering winds of winter begin to blow colder through my neck of the woods, a time of year when fires get cozier, quaffed beers get darker, and we here at AMG begin to rhapsodize on things missed and regale readers with things listed, I found myself still searching for a near-end-of-year something new. When I saw Antinoë’s Dark Essence Records debut, The Fold, blurbily described as ‘Neoclassical Folk meets melancholy Pop with a Metal attitude,’ I was intrigued. Descending from the mountains of Madrid, Antinoë is the passion project of pianist and vocalist Teresa Marraco. Launched in 2021, Antinoë’s 2023 release, Whispers from the Dark Past, offered a unique piano tribute to the 90s Norwegian black metal scene, with Marraco covering everything from Emperor’s “I Am the Black Wizards” to Mayhem’s “Life Eternal” and Dimmu Borgir’s “Mourning Palace.”1 Poised to challenge the very fluid boundaries of what metal can be, let’s see if The Fold has the warmth necessary to keep those wintery winds at bay.
Void of instrumental trappings associated with most traditional metal, Antinoë relies solely on Marraco’s beautifully resonant voice and her expansive piano compositions to weave stygian tapestries. Conceptually, The Fold navigates the odyssey of accepting death, inviting listeners to tread a path through the idiomatic depths of grief’s different stages, as it traces the process of ‘folding inward.’ From the outset, as cricket-song fades into “Night Falls,” with its delicately crafted, darkly haunting piano melody and celestial vocals, the track pulls at melancholy heartstrings, drawing you into Antinoë’s dark world and setting the stage for what’s to come. The Fold offers an immersive, piano-led experience, peppered with pummeled ivories that shift with metallic force beneath sustained choral harmonies (“The Devil’s Voice”), as wispy trails of folky, Enya-esque ambiance waft amid airy, Dead Can Dance-like atmospheres (“Når Du Dør”). Not unlike Darkher, Antinoë succeeds at tapping into inscrutable emotion by minimalist means, but where Maiven casts spells webbed in doom, Marraco’s magic leans more toward the black arts.
While Antinoë draws much of its ‘metal’ from lyrical themes that explore the dense nature of grief and death, that doesn’t mean The Fold is musically bereft of heavier fare. Death angels descend on Emperor wings with halos of Dimmu Borgir to hover over the opening chords of “Threshold,” heralding dark omens in a chorus of swarming harmonies, witchy laughter, and raspy breaths, all as Antinoë pounds and trills her way through octaves in true symphonic black metal fashion.2 Is it still just a girl and her piano? Yes, but it’s by far the ‘heaviest’ song on the album. Which gives way to the excellently murky pop of “Chaos in the Sky,” another album highlight that had my neck snapped to rapt attention when Marracos, in her smoky voice, opened with “Who the fuck are you? Who the fuck am I?” like some dark-alt Adele, creating another moment more metal than not.
Drenched in warmth, The Fold’s production captures the beauty of Antinoë’s neo-classical elegance and marries it perfectly to its atmospherically blackened weight, providing a full-on musical experience. Whether it’s the delicate last minute of “The Devil’s Voice,” which flirts with a “Lágnætti” melody, off the Sólstafir magnum opus Ottá, or the inquisitive, childlike mystery of the whispers and keys on “Flock,” to the somber dirge of vocals from “Light Bringer,” listening to Antinoë is to become utterly immersed. I have little to critique, so enamored am I by Antinoë’s ability to impart complex ideas in the simplest of terms. I suppose there’s a minute or two that Marraco could have shaved from the two instrumentals, but in all honesty, there’s not a minute of The Fold that I would cut or change.
One of the things I’ve always appreciated about AMG is its fearlessness in shedding light on bands that are categorically not metal. Case in point, among many, is Dolphin Whisperer’s review of Maud the Moth’s excellent The Distaff this year. Antinoë has recorded an emotional album for healing hearts, and as I look back on the last few years of losses I’ve experienced, I’m unsurprised by how impactful it’s been to me. I wasn’t expecting something of this caliber to come sweeping in so close to list season, but here we are. I’ll gladly wrap myself in a warm blanket next to a cozy fire, slip on my favorite pair of headphones, and sip a smoky porter while letting The Fold envelop me against the impending winter’s chill.
Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dark Essence Records
Websites: Bandcamp | Facebook
Releases Worldwide: November 21st, 2025#2025 #40 #ambient #antinoe #darkher #deadCanDance #dimmuBorgir #emperor #enya #notMetal #nov25 #piano #review #spanishMetal #theFold
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Écouter The Serpent Egg en regardant les nuées d'oiseaux tourner sur fond de ciel gris-nuit, à travers la verrière du coworking, ça a quelque chose d'assez sinistrement apocalyptique 🤔
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Dead Can Dance - “The Host of the Seraphim”
https://www.youtube.com/watch?v=lGCWVuzzrSQ
Not a music video per se, but a segment of Baraka (1992).
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Song of the Stars (Remastered)
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The Host of Seraphim (Remastered)
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🇺🇦 #NowPlaying on #KEXP's #MorningShow
Dead Can Dance:
🎵 Children of the Sunhttps://thegravensign.bandcamp.com/track/children-of-the-sun-dead-can-dance-cover
https://open.spotify.com/track/57Dqlvsn8WcsPFVZzRw3iO
🎶 show playlist 👇
https://open.spotify.com/playlist/1r22YroTqfHn6X0RvVg67f🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🇺🇦 #NowPlaying on #KEXP's #MorningShow
Dead Can Dance:
🎵 The Ubiquitous Mr. Lovegrovehttps://open.spotify.com/track/6bQ2ojoZbv95gBFx3jL9UO
🎶 show playlist 👇
https://open.spotify.com/playlist/1r22YroTqfHn6X0RvVg67f🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
According to Kit-T today's #TuneTuesday theme from Pixelcats is #NonLexicalVocals - songs with any of the do, do, dos, the la, la, las, the scats, yodels, dowops etc.
#LisaGerrard sings often non-lexical to get the right sound out of her vocals, which cannot be achieved otherwise when using words that actual would be not nonsensical. 'The Host of Seraphim' song of the group #DeadCanDance, where she's a part of together with #BrendanPerry, is I think an example of this:
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DEAD CAN DANCE -- Song of the Nile
https://youtu.be/DpcTLni1ezs?si=CDoceeyASpPYoByq -
Mes écoutes de la semaine du 08 Septembre 2025 :
#AerialM, #Anadol, #Anadol, #MarieKlock, #AphexTwin, #ApparatOrganQuartet, #Bablicon, #KarlBartos, #RomainBaudoin, #Bauhaus, #BossaBosa, #CapsulesDiscobole, #PascalComelade, #CulDeSac, #DeadCanDance, #TheDivineComedy, #Exhaust, #FlyPanAm, #FolkDevils, #LaFresto, #Hyperculte, #JackieOMotherfucker, #Katerine, #LucrateMilk, #GaryNuman, #PianoMagic, #PinkFloyd, #RienVirgule, #Stereolab, #Tortoise, #TubewayArmy, #UCM, #Various