Dionysus
Pias, 2018
9/10
Few outfits will last as long as Dead Can Dance nor will they influence as many artists with their inimitable and always shifting vision. This time around, Lisa Gerrard and Brendan Perry take inspiration from spring and harvest festivals that had their origins in Dionysian religious practices in Europe, and the result is one of the most adventurous and mesmerizing efforts in their 30+ year existence.
Act I consists of “Sea Borne”, “Liberator Of Minds” and “Dance Of The Bacchantes”, where the 3 songs unfold in one long opus that starts percussively heavy with ambience, as soaring vocals from Gerrard enter the hypnotic landscape that’s mesmerizing and almost meditative. In the middle, the Act dips into calmer ebbs of mysterious, graceful beauty, where hand clapping and plucking make a lasting impression.
Act II offers “The Mountain”, “The Invocation”, “The Forest” and “Psychopomp”, where a similar amount of exploration occurs, as synth and chimes are used strategically, and strong percussion and vocals from both members complement this unpredictable portion.
A listen with plenty of classical, World Music and Celtic ideas where the vocals, which are used sparingly, are generally chanting, instruments like Aztec flute, zourna and davul, among many others, are in attendance, making for a journey that no one else could replicate quite like this. Gerrard and Perry started Dead Can Dance when they were still teenagers, and they are clearly nowhere near running out of ideas, and we’re all better off for it.
Travels well with: Agnes Obel- Myopia; Marissa Nadler- The Sister