Ratings and Reviews
The album’s story may be prominently inspired by that of Dionysus, but its cover detail comes from a mask made by the Huichol of the Sierra Madre Mountains in Mexico - famous for their yarn paintings and objects meticulously decorated with beadwork - who use peyote as a sacred rite and ritual for the purposes of healing and mind expansion. At its core, it’s this which is key to understanding the sentiment of Dead Can Dance’s latest opus - a celebration not just of humanity but of humanity’s working alongside nature with respect and appreciation.
To say I’m a DCD fan would be a gross mischaracterization. Brendan Perry and Lisa Gerard are from another time and place. A distant galaxy of consciousness. They transcend being human. This album hurls the listener into that realm. I sum it up with two words: intense and powerful. The first songs per act blew me out of the water. I found myself viscerally moved by Sea Borne. The Mountain jarred my teeth loose. I felt that drone in the deepest recesses of my mind. A warm, icy finger probing my soul.
DCD has no equal on this planet.
Was expecting so much more
I’ve been a dedicated fan since their first album. It’s actually hard to write this as I have never been disappointed in anything they have created. This seems to be a Brendon Perry production of his percussion and instrumental improvisation. It has no feel or sense of Dead Can Dance and you can hardly notice Lisa Gerrard at all. I must say that I am completely disappointed. It’s one long improvisational sound piece. Brendon can’t pull off the non lyrical singing which really made this album feel that real creative effort was not put forth to produce this.