Dead Can Dance, being born of two from a land Down Under back in 1980, remains a true testament to the fact that radio, with all its power to drive the music industry, is no match for building a devout fanbase in a more conventional way: word of mouth. Their modern-classical, neo-gothic signature sound, in a similar vein to their contemporaries Cocteau Twins and This Mortal Coil, struck a chord with listeners seeking a spiritual release via a rather rough, sometimes unstable, ethereal soundscape. Their style could almost qualify as new age, infused with otherworldly electronica and layered with the surreal, angelic incantations of Lisa Gerrard complementing Brendan Perry’s sombre tones.
Punk novelist/biographer Chris Walter should be considered a Canadian treasure. After I first sunk my fangs into his 2005 novel No Chance Bar and Grill, it was obvious to me that the man knew his way around a keyboard. What he lacked in finesse, he easily made up for with true grit and words that […]
Brendan Perry and Lisa Gerrard are locked in time, on many levels. This is a comeback for the Australian duo, who haven’t collaborated in 16 years, yet they move together as fluidly as ever, their elegant compositions as awesome and imposing as an immaculately maintained ancient tomb. Their style has a timeless, universal quality, not just because it taps into traditional Chinese and Middle Eastern instrumentation and vocalization – it’s as if it channels some dark mysticism, or (if you’re not into the whole metaphysical thing) exists in a meditative state an inch away from death.