That could be a stumbling block in other hands, but always seems to bring out the best where these two are concerned. The split between Perry and Gerrard's singing parts remains distinct not only vocally, but for the different subjects each explores. But Anastasis often comes close, especially with the concluding "Return of the She-King" and "All in Good Time". Gerrard's breathtaking vocal range remains strong, while Perry's deeper, ruminative voice still feels less like a singing brogue than a calm invocation of ancient knowledge. From Future Sound of London's early techno landmark "Papua New Guinea", which samples Gerrard's voice, to cover versions by bands such as arty metal types the Gathering and the more experimentalist impulses of recent bands like Prince Rama- not to mention Gerrard's own now extensive work on a wide variety of film soundtracks - Dead Can Dance's approach to sound has resonated widely.ĭespite the long layoff, Anastasis is a logical progression from the band's mid-90s albums as well as Brendan and Gerrard's respective solo work since. There's nothing here quite as jawdroppingly melodramatic or proclamatory as old classics such as "Anywhere Out of the World" or "Host of Seraphim", where Perry and Gerrard's vocal strengths were matched with the sense of vast spaces, agog and in awe. But over time, the influence of Brendan Perry and Lisa Gerrard has reached far and wide. They're as open to new technologies and recording possibilities as they are to ancient instruments like the yangqin and the bodhrán, but they also eschew the collision of samples and beats that often defines other experimenters in the field. Dead Can Dance always avoided a curatorial or purist approach to global music, and that trend continues here.
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