I was 24, I think, the last time I bought something new from Dead Can Dance, I was probably barely 20 when I bought something from Dead Can Dance that I loved from Track One to Track End. I am guilty of being utterly in love with Lisa Gerrard's voice, and cynical of nearly everything Brendan Perry does. I admit, that disdain has diminished over the years and I have found myself beckoned helplessly by his inviting, warm tone. I guess I could expect one of two things, more Dead Can Dance; or try passionately to meld the directions Lisa and Brendan have gone individually in the last two decades into what I'd imagine the new album to be. I'm pleased to say -it's both and it's neither.
"Anastasis" is comprised of eight epic-length tracks comprising a nearly hour-long journey through history; through diverged paths; and familiarity. Not that any of that is a complaint, because in all honesty, my fear was to purchase an album so foreign to the concept of DCD that it would ruin a dream. However, there is a part of me that hoped in some small way, that influeces of the past two decades might somehow breathe a vague and ghostly kiss upon these recordings. Sadly though... no. Is that a bad thing, not if you really just wanted a new Dead Can Dance record and that 14-year gap is utterly invisible to you.
Children Of The Sun is easily recognizable as a danceable, neo-classical, Dead Can Dance song that fits on "Aion", "Spiritchaser" - seriously, take your pick. You know that track from each album that dj's lust over to remix, and if it really were the 90's, there would be techno, rave, and house mixes well in the works.
Haunting and speall-weaving is Anabasis, our first treatment on the disc to the powerful vocals of Lisa Gerrard. She truly is the voice of the earth and all it's elements. Simple metallic percussion rhythmically drives the track. This is another example of DCD and what you've come to expect, but the musical tone is more reminiscent of the wordly influence the band tackled on "Spiritchaser". If the entire album had been 60 minutes of this song, I'd have nothing but total love and admiration for it.
Agape is another danceable, neo-classical beauty with Western Asian elements. Another track accenting the vocal range of Lisa Gerrard, and is more familiar as her solo efforts, and recalls Yulunga. Again, relying on simple percussion, and a eerie collage of strings and dulcimer.
Midway thru "Anastasis" it begins to shake it's warm coat of familiarity. Brendan Perry makes a sleepy and melodic vocal effort on Amnesia and it's utterly inviting. Heavy on orchestra, the only criticism I can offer is that the hign-end percussion is off-putting. It's forgivable because the wash of Perry's voice and the strings is so evocative and comforting that it's hard to be dismissive of anything musically or otherwise.
Kiko offers more Western Asian influence. Though a lush track, this is the least inviting. Each aspect; Gerrard's vocals, guitar, percussion, piano are beautiful, however they only have the depth and feel of a new age track. It's rather unflattering and flat. I don't feel transported, invoked, or even enpassioned. Not forgivable this time.
Sadly, Opium barely offers a respite from the heavy bass and drums. Brendan's undulating vocal assault is intoxicating, and the string arrangements are breathtaking. This is a Brendan Perry track beginning to end, and it could literally have been lifted straight from his recent solo works. In that context it's lost, but on this release it's another exhibition of his amazing talents and it's enough candy to make a return for more.
Return Of The She-King is a song much too long overdue in embracing Celtic, Irish, Scottish roots. Lisa's vocals are part of the mystery, soul-stealing really. Her voice is layered; part of the instrumentation, as well as above the journey. It evokes images of lush, green hillsides and faerie circles. The percussive bells has me excited to put this song on at Christmas. It's beautiful and utterly calming. Two-thirds into the song, a military snare invites the vocals of Brendan Perry and finally you have an element of Dead Can Dance that has gone missing for too long. Lisa and Brendan sharing vocals. They accompany each other so well, and perhaps because both have such powerful voices, it's a measure of avoidance, but this is so captivating to hear, but all too brief. It's almost as if it's presented to you the listener as a gift, a thank you for years of supporting them and embracing them again.
All In Good Time highlights Brendan Perry's vocal talents, and this is a nice blending of where he is now musically, with what he offered to Dead Can Dance. This is a stunning track, music is the soundscape beneath the liquor of his voice. Cresting strings, synthesizers and subdued percussion. You expect it, but this is his strength, and he carries it here as well as he ever has.
Yes, absolutely go buy, "Anastasis". There is nothing here that will disappoint you, and if you can afford to go do so, go see them. Sadly, I will not be able to go, though I fully intended to. I will have to settle on Austin City Limits, and just be happy with that. This album is rich and lush, and renews my passion for DCD that had been shattered by their final releases. There's rebirth throughout and it doesn't at all sound forced or compromised, it's truly terrifc muscianship to it's core and it feels utterly natural. I was full of apprehension, but I am happy to say I was taken on a journey and it was amazing.
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