Fusionists Dead Can Dance return with cinematic flair
Dead Can Dance Dionysus (PIAS) From its name to its image, Dead Can Dance— formed in the heady days of the early 1980s by Brendan Perry and Lisa Gerrard — was right in line with the exploding goth rock scene taking place in the post-punk era.
Although the band rejected the label, it would be hard to categorize its ethereal wave music as heard on the group’s 1984 self-titled debut right through to early fan-favourite records such as Spleen and Ideal and Aion. Beginning with 1987’s Within the Realm of a Dying Sun, the group’s fusions of churchical chants, African and Polynesian rhythms, Arabic instruments and more was married to a more clearly stated medieval sound that included orchestral strings and an orchestra of other instruments. Gerrard pushes everything along with her yangqin (Chinese hammered dulcimer) playing.
The group became something of a touchstone for future global fusionists and also deeply influenced the burgeoning “ethnotechno” scene, even though its music is mostly performed by live musicians using acoustic instruments. Live, the group could include multiple musicians and the staging could get quite ornate.
Dead Can Dance disbanded in 1998 after touring its final album Spiritchaser.
Gerrard had already launched a successful solo career with her 1995 debut The Mirror Pool and worked extensively in film, winning a Golden Globe for her work with composer Hans Zimmer on the music for the film Gladiator.
Perry also pursued a solo career, with his most recent album being 2010’s Ark.
The group reunited once in 2005 and then again in 2011, when it released and toured Anastasis in 2012.
Dionysus is the band’s ninth album. Here are five things to know about it: 1.
A two-act play
The album is divided into Acts I and II, with three movements each. Each track appears to investigate a different aspect of the powers of the ancient Greek god of wine and revelry with titles such as Liberator of Minds, Dance of the Bacchantes and Psychopomp.
2. Perry-less vocals
While many would disagree, this critic once dubbed Perry “the Bat Cave Barry Manilow” and always considered his singing to be the least interesting aspect of Dead Can Dance’s music. It’s a really nice, rich, resonant voice. But where Gerrard sang in sounds, Perry sang in words and that wasn’t a good thing. 3.
Le Mystere des Voix Bulgares Gerrard collaborated with this celebrated vocal group on the album BooCheeMish and the choir’s unique vocal style influenced by diaphonic singing and dissonant interval harmonies is clearly a touchstone to the vocals on Dionysus. 4.
Dance of the Bacchantes
The third part of Act 1 is under five minutes of pure bliss as hand drum, Arabic strings and Gerrard’s yangqin drive along at a rhythm that invokes a caravanserai across the spice route. Dead Can Dance’s best moments have always been cinematic. 5.
Bird calls and more
In the Forest, a swirling tempo is built and then assorted bird calls, handclaps and wonderful choruses of soaring female voices transpire. It’s a wickedly fun romp as is so much of this album. For fans of wide-open instrumental music, having new Dead Can Dance material out is a bonus.
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