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Dreamlike creatures, hallucinated and hallucinatory landscapes, fanciful symbols coming to life, chaotic scenes of an imaginary world, concrete forms of suggestions and inquietudes. Jeroen Bosch may appear to be an atypical element when compared to other Flemish artists, faithful in representing the bourgeois and urban context in which they lived. But exteriority does not interest him, the knowledge of the surface does not satisfy him, and he expends his energies in delving deeply into the human being, rummaging through the depths of the conscience, eager to bring to light the emotional turmoil that lies within. A concentration of the medieval and gothic spirit that continues to permeate the Central European Renaissance culture, different in values from the Italian "classicismo," an expression of the subdued malaise, ready to explode, of pre-Lutheran Europe, Bosch makes his works the epitome of the completed analysis. The verdict is clear. We are heading towards a crisis. We are slowly slipping into corruption.
The musical experimentation of Dead Can Dance evolves according to a line that can be paralleled with the history of the last 1,000 years, with frequent and happy episodes of perfect synthesis between different periods, sensitivities, and contents, even those very distant in time. The use of "period instrumentation" and the vocal talents of Lisa Gerrard and Brendan Perry are, from a formal aspect, the founding elements of "Aion", a 1990 album, but ideally and musically locatable between the Middle Ages and the Renaissance. An album that, while not achieving the overall value of previous works ("Spleen and Ideal" and "The Serpent's Egg"), conceptually constitutes an advancement, if not even a completion, in the journey undertaken by the Australian duo. On the cover, a detail taken from a Bosch triptych.
"The Garden of Earthly Delights" is an allegorical depiction of moral decay and the spiritual disorientation of man, filled with images and symbols deeply rooted in medieval traditions and alchemical practice. A cry, laden with contrition, hurled upward, with strength and passion. A cry that can also be expressed by ethereal madrigals, solemn choirs, or clear ballads. With grace. And spirituality.
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Summary by Bot
Dead Can Dance's 1990 album Aion is a masterful blend of medieval and Renaissance influences, enhanced by the distinctive vocals of Lisa Gerrard and Brendan Perry. The album uses period instruments to create a sonic journey that parallels historical and spiritual themes embodied in Bosch's art. While it may not surpass some earlier albums, Aion represents a conceptual and musical advancement. The symbolism and deep emotional expression make it a significant work within the band's evolving discography.Tracklist Lyrics Videos
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Dead Can Dance
Dead Can Dance are an Anglo-Australian musical duo led by Lisa Gerrard and Brendan Perry, known for evolving from post-punk/gothic roots into orchestral, medieval and world-music-influenced sound worlds.26 Reviews
Other reviews
By Saleppe
Aion weaves medieval influences with ethereal atmospheres to build a mesmerizing soundscape.
The album’s haunting melodies craft a distinctive mood that is both immersive and reflective.
