Tag Archives: Cocteau Twins

Dead Can Dance and the Neoclassical Darkwave Legacy

Posted on January 24, 2013 by Daniel

Thank heavens they’re back! After a 16 year hiatus Dead Can Dance reformed to put out a new album called Anastasis, which although does not quite reach the heights of Spleen and Ideal, The Serpent’s Egg, or Aion, is still … Continue reading →

Posted in Music, Reviews, Uncategorized | Tagged 4AD, Aion, Alchymical Muse, All My Faith Lost, Amber Asylum, ambient, Anastasis, Anathema, Angels of Venice, Arabic, Arborea, Arcana, Artesia, Ashram, Ataraxia, Autumn Tears, Autumn’s Grey Solace, Aythis, Azam Ali, Bacio di Tosca, bagpipe, Black Tape for a Blue Girl, Blur, Brendan Perry, Breton, Brian Eno, British Folk, Bulgaria, Bulgarian, Byzantine, Camerata Mediovalo, Carter Tutti, Celtic, Chandeen, Chaostar, Chris & Cosey, cittern, Cocteau Twins, Collection d’Arnell Andrea, Corde Oblique, Cornish, Corvus Corax, Cye Wood, Daargard, Damon Albarn, Daniel Staniforth, Dead Can Dance, Delayaman, Diary of Dreams, Die Verbannten Kinder Evas, Dracula, Dunkelschön, Elend, English, Ensemble Orphique, Estampie, Fable, Faun, Finnish, flute, folk, French Provençal, Gaelic, Galician-Portuguese, German, German Folk, Gladiator, Gorillaz, Goth, Gothic, Gregorian Chant, Halgalz’ Runedance, harp, Hedningarna, Hindi, hurdy gurdy, In the Nursery, Indian, Irfan, John Renbourn, Judeo-Spanish, Karda Estra, Klaus Schultz, Latin, Lisa Gerrard, Love is Colder than Death, Love Spirals Downwards, Loveliescrushing, Luna Trick, Madrigals, Manx, Marcello de Francisci, mediaeval, Mediaeval Baebes, Mediavolo, Medieval, Mediterranean, Mirablis, Miranda Sex Garden, Mors Syphilitica, music, Myth, Narsilion, Negradonna, neo-celtic, Neoclassical Darkwave, Neoclassicism, Niyaz, Noise, North Africa, Nox Arcana, Omnia, Ophelia’s Dream, Orchestral, Ordo Funebris, Otto Dix, pagan, Patrick Cassidy, Pentangle, Persephone, Persia, Persian, Peter Ulrich, Pieter Bourke, Plainsong, Poeta Magica, Projekt Records, Qntal, Ranja, Rebsie Fairholm, Renaissance, Schandmaul, Sephardic, Sieben, Soap&Skin, Sopor Aeternus, Spleen and ideal, Stellamara, Stille Volk, sToa, Symphonic, Tehni, the Balkans, the Caucasus, The Frozen Autumn, The Moon and the Nightspirit, The Serpent's Egg, This Ascension, This Mortal Coil, Throbbing Gristle, Tinkerscuss, Trance to the Sun, Triskillian, Trobar de Morte, Ulver, Unto Ashes, Valravn, Vas, Victorian Gothic, Welsh. Circulus, Whalerider, Within the realm of a dying sun | 2 Comments

Plakthonestrid Uru: Does Gibberish have a place in Vocal Music?

Posted on January 30, 2012 by Daniel

In a recent classroom survey to determine the most important musical elements for college students deciding whether or not to like a new song, coherent and comprehensive lyrics were given as one of the top two answers. Only one percent … Continue reading →

Posted in British Literature, Essays, Literary Criticism, Literature, Recommended reads, Uncategorized | Tagged abbess hildegard, alternative music, Bjork, choirs, choral music, classical music, Cocteau Twins, composers, conlang, David Bowie, Dead Can Dance, Debussy, early music, Enya, ethnomusicology, fictional languages, folk, gibberish, Hildegard von Bingem, indie music, jazz, King Crimson, language, lyrics, Medieval, music, music history, nadsat language, nonsence literature, pop songs, Ravel, rock music, Romantic Music, scat singing, Sigur Ros, sim series, singers, singing, Talking Heads, Traditional music, vocal music, vocalists, world music | 1 Comment

Tag Archives: Cocteau Twins

Dead Can Dance and the Neoclassical Darkwave Legacy

Plakthonestrid Uru: Does Gibberish have a place in Vocal Music?

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