Deadlight Dance, unapologetically adorned in their influences like badges of honor, exude an unflinching reverence for the darker depths of the post-punk era. Their very essence, from the evocative title Missives From The Sisters to the brooding essence that saturates their penmanship and stage presence, pays homage to a time of unbridled intrigue. Yet, this isn’t a mere nostalgic indulgence. Oh no, it’s a beckoning call to rekindle the fires of the gothic spirit, a spirit that has stealthily crept back into the collective consciousness, riding the coattails of contemporaries such as The Bellwether Syndicate and A Cloud of Ravens.

With a thunderous bassline and a relentless drum cadence, Deadlight Dance sets the stage for a symphony of coiled guitars and haunting vocals that flicker like distant flames through a misty night. They nod to the bygone era when the post-punk trailblazers abandoned their six-strings and commandeered discarded keyboards, birthing a new wave of darkness—epitomized by the ethereal blend of synth whispers and analogue urges that define the enigmatic allure of Innocent Beginnings.

The twin fragments of Samurai Sunrise and Samurai Sunset bear testament to the band’s dexterity in weaving fleeting sonic landscapes, where brief interludes of ambient mystique punctuate the overarching narrative. Meanwhile, Black Glass, with its nonchalant yet purposeful wandering, breaks free from the shackles of convention, an ode, one might say, to the haunting spectres of the legendary Bauhaus, their influence lingering like wisps of smoke.

In a tradition akin to the revered Sisters of Mercy, Deadlight Dance gracefully tiptoes through unexpected covers, breathing new life into The Velvet’s I’m Waiting For The Man, a familiar yet expected choice. However, it’s their inspired rendition of Heartbreak Hotel that unveils a tantalizing connection between the mournful croon of Elvis and the ethereal echoes of the night. Perhaps the King had a touch of the gothic about him after all, if only in his lyrical lamentations.

Beyond Reverence isn’t a mere dalliance with the ghosts of the past; it’s a resolute continuation of a saga that transcends time and space. Their contribution to the annals of Goth: Undead or Very Much Alive? is not just noteworthy but essential, a resounding chord that resonates with the enduring vitality of a genre that refuses to be confined to the sepulchre of memory.

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