Dead Can Dance
Dionysus

"Anastasis" released a couple of years ago was the album that after the substantial hiatus had brought them back into the spotlight for their many admirers scattered at every latitude of the globe.

Personally, I admit that I wasn't particularly enthused.
And you (quite rightly) might say: who cares.

But let me ramble, for heaven's sake: the review is mine and I'll write what I like.
If you don't like it, write your own somewhere else.

I was saying (before being annoyingly interrupted): not that it was a "bad" album; these two wouldn't be capable of that even intentionally.
But the feeling was a bit like listening to a collection of aesthetically flawless tracks but without the necessary soul, research, and depth that has always distinguished them.

Fragments in which one could sense the absence of their very essence.
I don't quite understand what I wrote, but I'll leave it at that.

Perhaps it was a consequence of the long absence from the scene with the main brand that led to that result.

It should be noted, however, that both Lisa and Brandon in that (long) meantime did not artistically go into hiding: from that 1996, which in fact sealed the first part of their career, until the 2012 comeback, they worked on multiple (not only) record projects.

Uhm!
I'm already at the fifth paragraph and I still haven't started writing what I wanted to say about the album. Let's do this: don't read this useless drivel that's above.

If you already have: I love and adore you like tomato sauce (aka amen!).

The real DeReview starts below: alert friends and acquaintances.
Enemies, however, must die, you know.

Dioniso, as everyone surely knows, is one of the great divinities of the Greek Olympus: son of Zeus and Semele, daughter of Cadmus.
And then they say that DeBasio isn't a Cool(turabile) site.

Personally, I've heard about the "Dionysian Style" in the context of "tantic Shaivism" and "pornographic struggle of the Greeks and Latins".

From that day I took inspiration and focused mostly on the meticulous study of the first part of the second phrase.

In this new lush work, the muse Gerrard and the totemic Perry draw vital and sinusoidal inspiration from the vicissitudes of this mythopoietic figure, weaving in two separate suite(s) the sublime fabrics of the new project.

Each suite, in turn, is subdivided into further movements linked inextricably to each other in a shimmering game of references and ancestral echoes.

The album does not take inspiration from any other previously released work, yet their solemn trademark is absolutely recognizable and successful.

Perhaps the one it could be most closely compared to, although this "Dionysus" proves decidedly more dark, dashing, visionary, rich, and powerful, is that "Spiritchaser" which concluded the first part of their career and which arose quite a few perplexities among the duo's fans for the slightly too World Music turn it introduced.

This new creation, like the Greek myth, is sonically rich, exciting in its choice of solutions, and evocative as only they know how to be.

At this point to celebrate, I'd say a nice bacchanal is just what the doctor ordered.
Dionysian, ov corz.