#deadcandance — Public Fediverse posts

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

#ambient #antinoe #darkher #deadcandance #dimmuborgir #emperor

Angry Metal Guy @[email protected] · 2025-11-21 · 17:43 UTC

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

#ambient #antinoe #darkher #deadcandance #dimmuborgir #emperor

Angry Metal Guy @[email protected] · 2025-11-21 · 17:43 UTC

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

#ambient #antinoe #darkher #deadcandance #dimmuborgir #emperor

Angry Metal Guy @[email protected] · 2025-11-21 · 17:43 UTC

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

#thefold #spanishmetal #review #piano #nov25 #notmetal

Angry Metal Guy @[email protected] · 2025-11-21 · 17:43 UTC

https://www.youtube.com/watch?v=lGCWVuzzrSQ

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

#ambient #antinoe #darkher #deadcandance #dimmuborgir #emperor

Elliot Shank @[email protected] · 2025-10-30 · 14:15 UTC

Dead Can Dance - “The Host of the Seraphim”

Not a music video per se, but a segment of Baraka (1992).

https://en.wikipedia.org/wiki/Baraka_(film)

#music #DeadCanDance #Baraka

#music #deadcandance #baraka

MediaFlurry @[email protected] · 2025-10-19 · 22:52 UTC

Indus (Remastered)

https://www.youtube.com/watch?v=U2L1QyEI9Nw

#Indus #DeadCanDance #Music

#indus #deadcandance #music

France Pasquale 📷 🦻 :antifa: @[email protected] · 2025-09-15 · 06:44 UTC

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

#aerialm #anadol #marieklock #aphextwin #apparatorganquartet #bablicon

France Pasquale 📷 🦻 :antifa: @[email protected] · 2025-09-15 · 06:44 UTC

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

#aerialm #anadol #marieklock #aphextwin #apparatorganquartet #bablicon

France Pasquale 📷 🦻 :antifa: @[email protected] · 2025-09-15 · 06:44 UTC

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

#aerialm #anadol #marieklock #aphextwin #apparatorganquartet #bablicon

France Pasquale 📷 🦻 :antifa: @[email protected] · 2025-09-15 · 06:44 UTC

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

#record #music #various #ucm #tubewayarmy #tortoise

France Pasquale 📷 🦻 :antifa: @[email protected] · 2025-09-15 · 06:44 UTC

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

https://youtu.be/-qHiaoz9su0

#aerialm #anadol #marieklock #aphextwin #apparatorganquartet #bablicon

Wilhelmus @[email protected] · 2025-09-09 · 14:12 UTC

What @Kitty said, was:

"For the love of all things unusual, a #TuneTuesday theme that celebrates a musical break from the norm.

#WhatWasThat by @EisenTukan invites you to share a song that contains an unusual instrument, vocal or clash of genres 🎶

Thank you for joining in ☺️"

If there's 1 band, who likes to play unusual instruments, then it's #DeadCanDance probably.

The percussive instrument being played by #LisaGerrard is the #yangqin, a Chinese hammered dulcimer.🌠

#tunetuesday #whatwasthat #deadcandance #lisagerrard #yangqin

Kemal ASLAN @[email protected] · 2025-07-13 · 21:32 UTC

Wahyu Kolosebo ilâhisi sâyesinde Dad Can Dance'ın "Mushin"inin Endonezya Müziğinden esinlenme olduğunu farkettim!

Muşin (無心) yüksek düzeyli savaş sanatları eğitiminde kişinin yaşadığı bir bilinç durumudur. Terim, "zihin yokluğu olan zihin" anlamına gelen ve Zen'de kullanılan muşin no şin (無心の心), ifadesinin kısaltılmışıdır.

https://www.youtube.com/watch?v=BmpWw8dI1-Y

İnanmazsanız arkasından bunu izleyin;
https://youtu.be/SQADYSSr0E4?si=-Y6VyDFqp-4NKuYK

#DeadCanDance #Mushin #IndonesianMusic
______
• Muşin (無心): https://tr.wikipedia.org/wiki/Mu%C5%9Fin

#deadcandance #mushin #indonesianmusic

Sven Vabar @[email protected] · 2025-06-12 · 20:54 UTC

#CaliforniaDreaming #DeadcanDance #AmericanDreaming

https://www.youtube.com/watch?v=ipwPk4dJaBw

#californiadreaming #deadcandance #americandreaming

maerchen1313 on Twitch 🇨🇦 @[email protected] · 2025-04-20 · 16:06 UTC

🔴 Happy Sunday! The #Postpunk Chillout Lounge is now LIVE (a bit early today) on #Twitch! 🖤🖤🖤 Friendly chat. No mic, just #vibes. Join us! --> https://twitch.tv/maerchen1313

#music #art #digitalart #radio #chillvibes #easter #punk #goth #80s #90s #00s #vsky #eldenwood #oc #DJ #radio #dreampop #deadcandance #cocteautwins #postpunk #bunny #easterbunny #peeps #chocolate #spring #garden #purple #easterbunny #rabbit #thecure #nickcave #alternative #collegeradio #university #study #yoga #dance #ASMR

#postpunk #twitch #vibes #music #art #digitalart

Kristoffer Lawson @[email protected] · 2025-03-25 · 14:31 UTC

I quite enjoyed this album I just discovered by #Soma from 1998. Soma was a short-lived project between #DavidThrusell (from #Snog) and #PieterBourke of #DeadCanDance.

An intriguing combination of ethnosounds, #darkAmbient, jazz and a lot of other elements. Deep soundscapes paint an intriguing story. Maybe another one for those who like Perdition City era of #Ulver?

https://open.spotify.com/album/5MpBRCAQBYoelsU5WFoLl0?si=U6xhte8_TaKwESF5Bn60Lw

#soma #davidthrusell #snog #pieterbourke #deadcandance #darkambient

France Pasquale 📷 🦻 :antifa: @[email protected] · 2024-12-02 · 07:42 UTC

Mes écoutes de la semaine du 25 November 2024 :

#DavidBowie, #ChagrinDAmour, #SylvainChauveau, #DeadCanDance, #Eleh, #Femminielli, #JonathanFitoussi, #Hangedup, #AtsukoHatano, #HumanError, #Hyperculte, #PhilippeKaterine, #Lesneu, #Lewsberg, #Malaria, #Múm, #JoannaNewsom, #NLF3, #OrchestreToutPuissantMarcelDuchamp, #Téléfax,

#davidbowie #chagrindamour #sylvainchauveau #deadcandance #eleh #femminielli

France Pasquale 📷 🦻 :antifa: @[email protected] · 2024-10-21 · 07:31 UTC

Mes écoutes de la semaine du 14 October 2024 :

#BrechtAmeel, #Arovane, #AvantJoik, #Avrocar, #TheBartlebees, #MathieuBoogaerts, #TheBreeders, #CrysCole, #SarahDavachi, #DeadCanDance, #IbelisseGuardiaFerragutti #FrankRosaly, #FeuThérèse, #Fugu, #GodspeedYouBlackEmperor, #Kim, #MarieKlock, #Kraftwerk, #LaFresto, #LäutenDerSeele, #Mils, #OiseauxTempête, #OrgueAgnès, #Ours, #PasChicChic, #PostMoves, #Razen, #LeRévélateur, #Savel, #TheeSilverMtZionMemorialOrchestra, #StarsOfTheLid, #Stereolab, #SufjanStevens, #DanielTeruggi, #TheCatsMiaow, #TristwchYFenywod, #Various, #EliWinter,

#brechtameel #arovane #avantjoik #avrocar #thebartlebees #mathieuboogaerts

France Pasquale 📷 🦻 :antifa: @[email protected] · 2024-10-21 · 07:31 UTC

Mes écoutes de la semaine du 14 October 2024 :

#BrechtAmeel, #Arovane, #AvantJoik, #Avrocar, #TheBartlebees, #MathieuBoogaerts, #TheBreeders, #CrysCole, #SarahDavachi, #DeadCanDance, #IbelisseGuardiaFerragutti #FrankRosaly, #FeuThérèse, #Fugu, #GodspeedYouBlackEmperor, #Kim, #MarieKlock, #Kraftwerk, #LaFresto, #LäutenDerSeele, #Mils, #OiseauxTempête, #OrgueAgnès, #Ours, #PasChicChic, #PostMoves, #Razen, #LeRévélateur, #Savel, #TheeSilverMtZionMemorialOrchestra, #StarsOfTheLid, #Stereolab, #SufjanStevens, #DanielTeruggi, #TheCatsMiaow, #TristwchYFenywod, #Various, #EliWinter,

#brechtameel #arovane #avantjoik #avrocar #thebartlebees #mathieuboogaerts

France Pasquale 📷 🦻 :antifa: @[email protected] · 2024-10-21 · 07:31 UTC

Mes écoutes de la semaine du 14 October 2024 :

#BrechtAmeel, #Arovane, #AvantJoik, #Avrocar, #TheBartlebees, #MathieuBoogaerts, #TheBreeders, #CrysCole, #SarahDavachi, #DeadCanDance, #IbelisseGuardiaFerragutti #FrankRosaly, #FeuThérèse, #Fugu, #GodspeedYouBlackEmperor, #Kim, #MarieKlock, #Kraftwerk, #LaFresto, #LäutenDerSeele, #Mils, #OiseauxTempête, #OrgueAgnès, #Ours, #PasChicChic, #PostMoves, #Razen, #LeRévélateur, #Savel, #TheeSilverMtZionMemorialOrchestra, #StarsOfTheLid, #Stereolab, #SufjanStevens, #DanielTeruggi, #TheCatsMiaow, #TristwchYFenywod, #Various, #EliWinter,

#brechtameel #arovane #avantjoik #avrocar #thebartlebees #mathieuboogaerts

France Pasquale 📷 🦻 :antifa: @[email protected] · 2024-10-21 · 07:31 UTC

Mes écoutes de la semaine du 14 October 2024 :

#BrechtAmeel, #Arovane, #AvantJoik, #Avrocar, #TheBartlebees, #MathieuBoogaerts, #TheBreeders, #CrysCole, #SarahDavachi, #DeadCanDance, #IbelisseGuardiaFerragutti #FrankRosaly, #FeuThérèse, #Fugu, #GodspeedYouBlackEmperor, #Kim, #MarieKlock, #Kraftwerk, #LaFresto, #LäutenDerSeele, #Mils, #OiseauxTempête, #OrgueAgnès, #Ours, #PasChicChic, #PostMoves, #Razen, #LeRévélateur, #Savel, #TheeSilverMtZionMemorialOrchestra, #StarsOfTheLid, #Stereolab, #SufjanStevens, #DanielTeruggi, #TheCatsMiaow, #TristwchYFenywod, #Various, #EliWinter,