Originally by Cascada, based on Maggie Reilly’s song “Everytime We Touch”.

FYI, that link leads to the Play Store page for the YouTube Music app. Not sure why you would link that instead of the song itself.

You might’ve meant to post a link. But Lemmy doesn’t support links together with images by default (neither the web UI, nor popular apps display or post them both). The image replaces the link.

Funny thing, if I open the link in a new tab, its title shows ‘Knower — Around’ until I switch to the tab. Wherein Knower is the duo of Cole + Artadi (often with some invited musicians).

There are more from the same gig. Not in one video, I guess because YouTube only supported ten-minute videos when these were uploaded.

Well, hardcore bands have played in more cramped conditions.

Greenway is always jumping around on the stage even as he nears sixty. This is probably the least fitting venue for him.

Also, fun fact: they played a couple songs from ‘Scum’ — none of these dudes, nor missing bassist Shane Embury, were on that album. And none of the founding members were on the side B of the album.

Looking forward to the author trying to figure out the ideology of Death in June and other neofolk and post-industrial artists. Including non-English-language ones.

Seems to be one of the more distinctive, listenable and chill tracks of Jones. In his vast discography it’s frankly not easy to find things particularly catching the ear.

A minor correction: it turns out that you refer not to the album version but the remix. This is the Discogs page for all releases of the remix, and the credits list four guys having made it. However, the guitar parts you mention are present in the original too, though seemingly less pronounced (if the Youtube upload is accurate).

Btw, if you dig Sylvester, check out Patrick Cowley, his friend and collaborator. Sylvester signed up on Cowley’s and Marty Blecman’s Megatone Records label after having decided to change direction from disco in '82. I’m not into hi-NRG myself, but I like the compilation of his tunes used for gay porn and slowed down by John Coletti, the producer of said porn: ‘School Daze’, released by Dark Entries.

Wikipedia indicates that Wirrick was Sylvester’s guitarist and co-writer by 1976, i.e. before even the first album by Sylvester. It seems that by the time of the ‘Call Me’ album, Wirrick was doing a whole lot of songwriting (together with Jeff Mehl) and production. So I would guess he indeed continued his guitar duty too.

P.S. Also of note that according to Discogs, the credits straight up list Wirrick as ‘all instruments performed by’ (apart from some additional stuff on individual songs), which is quite impressive.

┐(´～｀ˇ)┌

Reportedly they offer 96 kHz at 24-bit, but idk if there’s a way to download it.

Remarkably feels like I’m listening to Bingo Gazingo. Even though I’ve heard The Fall before.

Maybe Tidal? I know it’s advertised with focus on the quality, but haven’t used it myself.

You might also consider buying the music on whatever service seems more ethical and then pirating the flacs. I’ve had to do that with some games that, comically enough, didn’t run on my machine when installed from Steam, but did in pirate versions.

Can’t say much about ‘Marbles’. But ‘Nåke Du Finn I Skogen’ is quite reminiscent of Lacrimosa, the symphonic-goth-rock band — especially the man’s vocal is like Tilo Wolff himself participating on the track. Check out e.g. ‘Alleine Zu Zweit’ (the video is moderately NSFW) and ‘Kabinett Der Sinne’. Not very folky, though.

You might also dig Camerata Mediolanense, since you’re familiar with neofolk.

Let me know if any of these tickle your fancy, I’ve got more vaguely in this vein.

Also, Lindy Fay Hella and the vocalist Kristian Espedal were both in Wardruna, which might be relevant.

It so happens that ‘Lady Marmalade’ in fact predates ‘Voulez-Vous’.

Reportedly TopPop indulged in lipsyncing, just like Top of the Pops, by which it was inspired (tv in general was rife with it back then anyway). At least they bothered to plug in the gear, but the sparse use of mics leads me to suspect playback anyway.

Considering that he released several hundred ‘Pikes’ ‘albums’ by jamming straight onto the record, I don’t think one song was too hard for him.

I think it’s not from ABBA’s song, but from Labelle’s ‘Lady Marmalade’ (which is technically a cover, since it was previously recorded by The Eleventh Hour, band of Kenny Nolan who co-wrote it with Bob Crewe).

Don’t let your dreams be dreams.

Not ‘What’s New Pussycat’?