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Dance With The Dead - B-Sides (black vinyl)
Magical, eerie sounds from the 80's mashed with segments of modern metal and electronic!
Pressed on heavy 180gr vinyl and housed in a beautifully glossy laminated gatefold sleeve.
First press limited to 500 copies:
100x black vinyl (this)
200x pink & black mixed
200x white, solid blue & black mixed
- A1. Get Out
- A2. Banshee
- A3. That House
- A4. Stoic
- B1. The Man Who Made A Monster
- B2. The Awakening
- B3. Tales From The Boneyard
- B4. Entity
- C1. Blood Moon
- C2. Surrender
- C3. Venom
- D1. Snap
- D2. Tilt World
- D3. Skeletons In The Attic
- D4. They Only Come Out At Night
Synthwave Sunday by Metalsucks.net on 03/2017
Earlier this year they returned with B-Sides: Volume 1, an album that solidifies Dance with the Dead’s sonic persona as masters of synthwave’s heaviest jams. Album opener “Get Out” could pass as a metal song — with its galloping pace, thrash and death metal riffing, whammy dives and borderline blast beats — if not for its reliance of razor-sharp analogue synth lines in place of vocals. The guitar solo on “Stoic” shreds with the best of them. And even the eminently danceable numbers like “The Man Who Made a Monster” incorporate chugged riffing and, once again (to my delight), whammy dives where they’re completely unnecessary (but in the best way possible). Every track, it seems, has either chugged rhythm guitars under the synth veneer, searing leads, or both. It’s fucking glorious.
Bursting with energy, a bit cheesy and overwhelmingly fun trip to the 80s nostalgia retro future SF/horror lane. by Sputnikmusic.com on 12/2017
Synthwave infused with heavy metal never sounded this focused and consistent.
While there are other great strictly instrumental projects such as Dynatron, DWTD has most instrumental and rhythmical variations that are most prominent on this album. It was supposed consist of outtakes and unreleased works but I find it hard to believe because there are not many bad or even sub average songs here. So why were they holding on to them on previous albums is beyond me.
There is a lot of rock and metal in solos that are playful and well-thought-out and the rhythm guitar that makes the whole thing punchier and tighter. The overall atmosphere is like a soundtrack for 80s SF/horror movies (skeletons going out of the movie theater on the cover might be a hint). Car chases and action scenes, training cuts where the protagonist is prepping for the big match under brightly flashing colored neon all mashed up to be as lively and exciting as possible. The whole aesthetic is pleasing and well-balanced when looked into that light since the whole vibe is 80s every time, all the time, but with a modern twist. Well maybe a bit sterile since separation of instruments a bit much (dirty it up a bit) and miss the authentic reverb that made everything from the area sound like it was played live on a stadium. It’s still there, but not as gargantuan and hall like. This is really nitpicking and one of the few points one should hope they would improve on the next album, because this time they nailed almost everything.
Fortunately there was no reason to be skeptical about the 65min length because inspiration does not linger and even after 10 of 15 songs the album doesn't become stale. It keeps picking things up with slick guitar/synth intertwining making the whole thing very melodic and well...danceable. Listening to B-sides in a club would be a blast.
Their older stuff was fine but this is on a whole new level and a very nice surprise. When I tried picking stand out tracks I found out I was listing mostly the whole album.