Dead Can Dance

Released in 2018 via PIAS, Dead Can Dance’s Dionysus is a boldly crafted, ritual-infused work that finds the duo delving into myth, percussion, and ancient atmospheres with renewed ambition.

The record is structured as two acts, each comprising multiple movements rather than traditional songs, encouraging the listener to experience it as a unified journey. In the opening act, pieces such as Sea Borne and Dance of the Bacchantes introduce a palette of sweeping waves, zurna and gadulka strings, tribal drums, and layered field recordings that evoke the arrival of divine energy.

In the second act, the mood shifts but remains grounded in ritual and celebration. Tracks like The Invocation and Psychopomp carry voices often wordless or in invented tongues alongside percussion into a realm of transcendence and trance, merging Mediterranean, Balkan, and Latin American influences into the core of the sound.

Production-wise, the album shines. The duo’s meticulous use of instruments, traditions, and natural recordings gives Dionysus a rich, tapestry-like texture. Vocals are often treated as another instrument rather than the focal point, enhancing the meditative and immersive quality of the work.

The album does have its challenges. Its brief runtime of just over 36 minutes and emphasis on instrumentation over vocal hooks may make it less immediately accessible. The dense layering of influences sometimes leans toward academic stylings rather than purely visceral impact.

Overall, Dionysus is a compelling statement from Dead Can Dance: a work that demands attention, patience, and immersion, rewarding listeners with grandeur, ritualistic depth, and sonic beauty.