Amidst a diverse musical background ranging from Dark Alternative Rock and Electronica to World Music & Neo-Classical, to Jazz, Avant Garde and Folk, Faith And The Muse provide one of the rarest experiences in art, theater and music. As artists and songwriters, William Faith and Monica Richards have created their own unique universe by allowing no boundaries to the music they write, reaching across historical genre and cultural style. From personal acoustic pieces and traditional/tribal folk melodies to grand orchestral production and dark rock epics, this diverse combination of simplicity and complexity places Faith And The Muse in their own musical category.
You Must Be Certain of the Devil
Saint of the Pit
Combining modern dark rock sounds with a neo-pagan slant, the Shroud weaves an irresistible spell. First manifesting on Halloween of 1991, they have been enchanting listeners ever since.In addition to four releases of their own, the Shroud have appeared on numerous compilations and tribute albums, a video compilation, and in books on the gothic underground.
01. Filter & The Crystal Method - (Can't You) Trip Like I Do
Tinderbox is arguably Siouxsie and the Banshees' most intense release of their career. Faster beats, aggressive guitars, and an overall cohesive record both lyrically and musically. Tinderbox offers plenty of classics and SATB signature songs, like Cities in Dust, Candyman and 92 Degrees, to name a few.
Mors Syphilitica appeared after the break-up of cult underground band Requiem In White in 1995. This break-up was a big disappointment for fans of the band and simply those who enjoyed good bands playing authentic, original and beautiful music. But destruction often leads to creation of something unexpected, something better. That was the case this time as well, and from the remains of Requiem In White emerged two projects - Eric Hammer and Lisa Hammer (formerly Houle) decided to do all the studio work alone and called themselves Mors Syphilitica
Mors Syphilitica's second album Primrose is a testament to the Hammers' love of ballads. It is a collection of songs in the vein of Victorian love songs and bluegrass murder ballads. The addition of the banjo and mandolin to their work breathes a new life to their work, a new purity. It is simultainiously the most musically diverse of their works and the most refined. I bears the signature deeply. The use of soundscapes, samples and toys, enhances the immediacy of the invocation of the world the songs create. 
How strange that there are no comments on this album.. As I recall, her first album under her own name, after Dead Can Dance disbanded, and in a few words: eclectic--ancient, tribal, renaissance, gothic, original, and inspirational. Been listening to it for almost 10 years, and it is almost still as enchanting as it were when I first heard it.
Switchblade Symphony, a compelling union of chemistry and circuitry, was formed in San Francisco in 1989 by composer Susan Wallace and vocalist Tina Root. These talented artists took dreamy, dark visual imagery, the poetry of alienation, and the timeless romance and grandeur of classical and theatrical styles of music, and layered these elements over dynamic heavy beat industrial and lush electronica to create a unique and vivid auditory tapestry.
