New Music: Lisa Gerrard and Jules Maxwell, Alan Jackson, Amy Winehouse, 'Winston-Salem Sound'

Four must-hear titles are featured in my column this week.

Artist: Lisa Gerrard and Jules Maxwell

Title: Burn (Atlantic Curve)

You might like if you enjoy: Dead Can Dance, Sigur Rós, Howard Shore's "Lord of the Rings" soundtracks, Moby

Tell me more: The new full-length collaboration from Dead Can Dance's Lisa Gerrard and Jules Maxwell titled Burn is a beautiful listen, seamlessly blending sounds spanning the globe and time itself. Gerrard – one of the world's great singers – has joined forces with Maxwell and English producer James Chapman (also known by his moniker "Maps") to craft seven intoxicating compositions that truly immerse the listener. Choral, symphonic and electronica soundscapes converge on the marvelous opener "Heleali (The Sea Will Rise)," with several layers of Gerrard's vocals layered around her primary vocal track. The driving "Aldavyeem (A Time To Dance)" recalls the art rock of Radiohead, while the soaring "Orion (The Weary Huntsman)" somehow spans opera and Neo-classical on its magnificent trajectory. On the title track Gerrard and Maxwell both sing, their triumphant tandem voices artfully dueling with another line sung by Gerrard alone. This is a opulent and sumptuous listening experience from start to finish. Information: https://orcd.co/lisajulesburn.

Artist: Alan Jackson

Title: Where Have You Gone? (UMG Nashville)

You might like if you enjoy: Alan Jackson, Merle Haggard, George Jones

Tell me more: Armed with one of country music's best voices, Alan Jackson brings his signature vocals to the expansive 21-track collection Where Have You Gone? – an album collectively celebrating authentic country music with a master's touch. Indeed, on the opening cut "Where Have You Gone," Jackson sings: "Sweet country music, where have you gone? / Sweet country music, please come back home" with emotional authenticity and a timely aim. Elsewhere his rich baritone mines love (the tender "I Can Be That Something," joyful fiddle- and piano-adorned "Where the Cottonwood Grows," the rowdy "Livin' On Empty"), drinking ("Wishful Drinkin'," "Beer:10") and a fusion of those matters (the lovely "Way Down In My Whiskey," literate "The Boot," touching "So Late So Soon" and "I Was Tequila"). On "Things On Matter," he addresses the fragility of life with a particularly affecting touch, while a father's love is expressed on the beautiful "You'll Always Be My Baby." Other great tracks on the collection include the rip-roaring "Back," bonus track "That's The Way Love Goes (A Tribute to Merle Haggard)" and confessional "The Older I Get." Information: AlanJackson.com.

Artist: Amy Winehouse

Title: At The BBC (Island/UMe)

You might like if you enjoy: Amy Winehouse, Sharon Jones and the Dap-Kings

Tell me more: Featuring the late British singer Amy Winehouse at the height of her vocal powers, the three-disc At The BBC (available on audio CD and vinyl) features more than three dozen tracks recorded between 2003 and 2007. The soulful "Stronger Than Me" (captured on a Jools Holland TV appearance in 2003) kicks off the far-flung set. That powerhouse performance proves to be the first of many with Winehouse's signature contralto impressing on each track of the collection. The dynamic "Take The Box" (from 2004's Mercury Prize Awards) with her vocals spanning from the lower to higher reaches of her vocal register, jazzy "Teach Me Tonight" (from a 2004 appearance on Jools Holland) and blues-styled "Rehab" (from a 2006 performance) are early high marks. The magic displayed on the essential collection continues courtesy on the buoyant jazz offering "Tears Dry On Their Own," a bewitching cover of the '60s Motown standard "I Heard It Through The Grapevine," "Don't Go To Strangers" (a duet with Paul Weller), the rhythm and blues foray "October Song," reggae-tinged "Just Friends" and lavish "Love Is a Losing Hand" and "I Should Care." Sadly, Winehouse joined the so-called "27 Club" with her death of alcohol poisoning on July 23, 2011. "At The BBC" is an amazing salute to her remarkable talent. Information: AmyWinehouse.com.

Artists: Chris Stamey, Mitch Easter, Don Dixon, Peter Holsapple, more

Title: Yesterday's Tomorrow: Celebrating the Winston-Salem Sound (Omnivore Recordings)

You might like if you enjoy: Let's Active, early R.E.M., dB's

Tell me more: It's great when an album immediately reminds you how much fun rock and roll can be. A new titled Yesterday's Tomorrow: Celebrating the Winston-Salem Sound does just that. The album was recorded live at the Ramkat on May 12, 2018 and documents a one-time celebration of a relatively small city in North Carolina and its tremendous impact on indie rock. To be sure the performances by indie heroes Chris Stamey (the dB's), Mitch Easter (Let's Active), Don Dixon, Peter Holsapple (the dB's), Will Rigby (the dB's), Lynn Blakey and many others on the disc are inspired and will lead listeners to pursue more exploration of under-the-radar acts such as Sacred Irony, Rittenhouse Square, Little Diesel and Sneakers. But this album is no mere stepping stone; it bristles and shines with nearly two dozen stellar performances. The propulsive rocker "Hot Smoke & Sassafras" dazzles with its garage rock attack and Baroque instrumental guitar break; "Reptilian Disaster" is just as powerful with Easter unleashing a creative flurry of lead guitar work. Just listen to the fiery "Yesterday's Tomorrow" (amazing with its mix of incredible lead guitar, strong lead vocals from Doug Davis and rollicking attack from the rhythm section). Various styles are highlighted on the disc, albeit with a decidedly indie approach; hard rock ("Black Death"), jangly power pop ("S'il Vous Plait," "Condition Red," "Ruby"), indie alt-rock ("Every Word Means No," "Kissy Boys"), blues ("Think") and classic rock (takes on the Beatles' "Got to Get You Into My Life" and Paul McCartney's "Maybe I'm Amazed," both featuring Dixon) are all magnificent. The package contains detailed liner notes by Stamey and a 24-page color history booklet with rare photos and details about the 2018 event and artists celebrated on the wonderful title. Information: OmnivoreRecordings.com. 

Robert Kinsler

Dead Can Dance announces rescheduled North American Tour Dates

 Concerts, remember those? So cool that we are starting to get news about rescheduled concert dates. And so great to hear that Dead Can Dance will be returning to the U.S. this fall... (read my review of the duo's wonderful August 2012 at the Gibson Amphitheatre concert HERE) - Robert Kinsler

Dead Can Dance performing in August 2012.

“As with all Dead Can Dance records, [Dionysus is] like an anthropological encyclopedia without any words: orchestral strings play obtuse melodies that split the difference between traditional Mediterranean and Middle Eastern music, percussion instruments stutter and shake in curious ways and both he and Gerrard tap into the most primal, Dionysian parts of their souls for stirring vocals they sing in languages they seem to have divined." - Rolling Stone “Dionysus is grand, not unlike its namesake, and it aims to break down the distinction we tend to make between studio music and the sounds our everyday environments and cultural rituals generate in the world around us.” - The A/V Club "a gorgeous, enigmatic, distinctive piece of work." - The Big Takeover  "This is music of grandeur and grand humanity.” - Pitchfork   Announces Rescheduled North American Tour With Dates Beginning Oct. 1st in San Diego, CA Performing: A Celebration of Life & Works 1980 – 2021   Lisa Gerrard and Brendan Perry of DEAD CAN DANCE Photo Credit: Jay Brooks Due to the COVID-19 pandemic, DEAD CAN DANCE has rescheduled their North American Spring Tour for the Fall. Beginning October 1, 2021 in San Diego, CA, Brendan Perry, Lisa Gerrard and full backing band will return to the Americas for the first time since Coachella in April 2013. Ticket holders will receive a separate email with details on their new seats within 10 business days. If you are unable to attend the rescheduled event, you will be able to receive a refund on your tickets until April 25, 2020 from original point of purchase. Visit livenation.com/refund for details.

TOUR DATES:   SHOW DATE CITY, STATE VENUE TICKET LINK 10/1/2021 San Diego, CA San Diego Civic Theatre Tickets 10/2/2021 Los Angeles, CA Greek Theatre Tickets 10/3/2021 San Francisco, CA The Masonic Tickets 10/5/2021 Denver, CO Mission Ballroom Tickets 10/7/2021 Chicago, IL The Chicago Theatre Tickets 10/8/2021 Detroit, MI Masonic Temple Theatre Tickets 10/11/2021 Washington, DC The Anthem Tickets 10/12/2021 Philadelphia, PA The Met Philadelphia Tickets 10/13/2021 New York City, NY Radio City Music Hall Tickets 10/15/2021 Boston, MA Boch Center Tickets 10/17/2021 Toronto, ON Meridian Hall Tickets 10/23/2021 Vancouver, BC Queen Elizabeth Theatre** Tickets 10/25/2021 Seattle, WA Paramount Theatre Tickets ** Please note that the concert at Vancouver's Orpheum Theatre will now be held at the Queen Elizabeth Theatre. DEAD CAN DANCE performing at  Odeon of Herodes Atticus Amphitheatre (Athens, Greece) Following their sold out two-legged European tour in the Spring of 2019 which ended with a triumphant show at Athens’ stunning Odeon of Herodes Atticus Amphitheatre (see above), the band will be taking their spectacular three-decade spanning set that includes music from their 2018 studio album Dionysus along with much loved classic works from their extensive catalog such as "The Host Of Seraphim," "The Carnival Is Over," and "Yulunga," to theaters across the Americas. Dead Can Dance - ACT II: The Invocation Link: https://youtu.be/wjm5o0ZxLyg

Dead Can Dance unveils "The Invocation" music video

Lisa Gerrard, left, with Brendan Perry of Dead Can Dance.
Photo: Jay Brooks

Dead Can Dance is one of the most inspired and interesting artists of their time. Make sure to read my review of the duo's latest album 'Dionysus' (click here) that ran in November, and check out the new video for "The Invocation" here...

“As with all Dead Can Dance records, [Dionysus is] like an anthropological encyclopedia without any words: orchestral strings play obtuse melodies that split the difference between traditional Mediterranean and Middle Eastern music, percussion instruments stutter and shake in curious ways and both he and Gerrard tap into the most primal, Dionysian parts of their souls for stirring vocals they sing in languages they seem to have divined." - Rolling Stone “Dionysus is grand, not unlike its namesake, and it aims to break down the distinction we tend to make between studio music and the sounds our everyday environments and cultural rituals generate in the world around us.” - The A/V Club "a gorgeous, enigmatic, distinctive piece of work." - The Big Takeover "This is music of grandeur and grand humanity.” - Pitchfork

UNLEASH "THE INVOCATION" VIDEO new album DIONYSUS Out Now

Taken from the critically-hailed album DIONYSUS, the video for "The Invocation" by DEAD CAN DANCE was directed by the Bulgarian company Wonderswamp, who state:

 

“When we were contacted by Dead Can Dance we were very excited, as we had been fans of the

band for many years and this was a great opportunity to create something for an act we admire. When we heard ‘The Invocation’ the excitement grew as the song features motifs inspired by Bulgarian folklore music, and to see that our music and traditions can inspire them motivated us further. It was also an opportunity to create a narrative for a video based on ancient traditions that used to be practiced in our country and are still somehow preserved to the present day. The match between these peculiar rituals and the band’s music could not be better."

Released in November 2018, Dionysus is the duo’s first album in six years and consists of two acts across seven movements that represent the different facets of the Dionysus myth. Recorded with an array of folk instrumentation and field recordings, the recording takes the form of an oratorio with the voices used imagined as communities celebrating - in communion with each other at times via call and response, chanting, and often conveying emotion beyond the boundaries of language itself. With its musical inspiration still drawn from across the world, this new album shows that Dead Can  Dance continue to mine a rich creative and spiritual seam.

Dead Can Dance will embark on an extensive European tour throughout May and June 2019, celebrating their life and works from 1980 to the present day. See the announced tour dates for Dead Can Dance below:

TOUR DATES:

May 02: Le Liberte, Rennes, France
May 04 / 05: Eventim Apollo, London, UK
May 07 / 08: Cirque Royale, Brussels, Belgium
May 10 / 11: Grand Rex, Paris, France
May 13 / 14: Tivoli Vredenburg, Utrecht, Netherlands
May 16 / 17: Tempodrom, Berlin, Germany
May 20 / 21: Barts, Barcelona, Spain
May 23 / 24: Aula Magna, Lisbon, Portugal
May 26 / 27: Teatro Degli Arcimboldi, Milan, Italy
June 16: Alte Oper, Frankfurt, Germany
June 18 / 19: Ruhrcongress, Bochum, Germany
June 21 / 22: Torwar Hall, Warsaw, Poland
June 24: Kongresove Centrum Praha, Prague, Czech Republic
June 26: Papp Laszlo Budapest Sportarena, Budapest, Hungary
June 28: Sava Centar, Belgrade, Serbia
June 30: Roman Theatre Of Philippopolis, Plovdiv, Bulgaria
July 01: Dassous Theatre, Thessaloniki, Greece
July 03: Herodion Theatre, Athens, Greece

Rhapsody of Stellar Sounds

R.E.M., Fastball, Dead Can Dance and Blues Traveler are featured on must-hear new releases, while the success of the newly-released film "Bohemian Rhapsody" is a great reason to rediscover Queen courtesy of the 2012 multi-format release "Hungarian Rhapsody: Queen Live in Budapest."

Artist: R.E.M.
Title: The Best of R.E.M. at the BBC (Craft Recordings)
You might like if you enjoy: R.E.M.
You might like if you enjoy: Spanning nearly 25 years and featuring inspired live and in-studio versions of some of the band's most beloved hits and rarities, The Best of R.E.M. at the BBC is without a doubt one of the greatest and most important releases of the year. Available in several formats including a Super Deluxe 8 CD/1 DVD box set, and via 2 CD (the version reviewed in his column), 2 LP and digital formats, R.E.M.'s growth and artistic spirit is reflected across the performances which span from November 1984 to March 2008. Among the many disc one highlights are the introspective "World Leader Pretend," Americana-flavored acoustic nugget "Half a World Away," anthemic "Lotus" and yearning piano-anchored "Electrolite." Disc two features a slew of equally-compelling performances including the countrified "(Don't Go Back To) Rockville," elegiac "So. Central Rain (I'm Sorry)," propulsive indie rocker "Driver 8," fiery "The One I Love" and genre-bending "E-Bow The Letter" (featuring guest Thom Yorke of Radiohead). The two-disc set closes out with a stirring take of "Man On The Moon." Information: remhq.com.

Artist: Fastball
Title: All The Pain Money Can Buy (Omnivore Recordings)
You might like if you enjoy: Gin Blossoms, Goo Goo Dolls
Tell me more: Listening to the timeless songs that play out across the 20th Anniversary edition of Fastball's All The Pain Money Can Buy (available Nov. 9, 2018) it's unbelievable the album was released back in 1998. The good news is the original LP's remastered 13 tracks sound better than ever and the reissue is bolstered by nine must-hear bonus tracks. Tony Scalzo (lead vocals, bass, keyboards), Miles Zuniga (lead vocals, guitar, keyboards) and Joey Shuffield (drums) found a way to effortlessly blend the best of '90s alt rock and melodic power pop into their own sonic brew, with fantastic tracks such as "The Way" (one of the decade's most enduring classics), "Fire Escape" and "Out Of My Head" putting an equal focus on strong songwriting, top-tier musicianship and energetic performances. Beyond those three radio staples, the reissue puts a spotlight on compelling cuts heard across the collection. The ambitious track "Slow Drag," neo-'60s rocker "G.O.D. (Good Old Days)," edgy melodic gem "Damaged Goods." The bonus tracks are worth repeated listens, notably the hard hitting "Quit Your Job" and blues rock-tinged "Freeloader Freddie" (both tracks recorded for "All The Pain Money Can Buy" but not ultimately included on the original release), a cover of the Replacements' "Androgynous" and an acoustic version of "The Way." Information: OmnivoreRecordings.com.

Artist: Dead Can Dance
Title: Dionysus (Pias America)
You might like if you enjoy: Moby, Brendan Perry, Lisa Gerrard
Tell me more: The newly-released Dead Can Dance album Dionysus marks the duo's first new studio LP since 2012's Anastasis. Brendan Perry and Lisa Gerrard have created a new album whose genesis came after Perry became fascinated by long-held spring and harvest festivals with their origins in Dionysian religious practices throughout Europe. Each of the movements in the two act masterwork relate to the Dionysus myth (Dionysus is the Greek god of wine, ritual madness, religious ecstasy and fertility). The musical depth and power of the concept work is a musical mix of Eastern European, Middle Eastern, Asian, African and nature-flavored sonic stylings that intoxicate and excite. The musical pieces capture specific themes; the lush "Sea Borne," fast-moving "Dance of the Bacchantes," evocative "The Mountain" and distant "Psychopomp" are among the enticing selections on "Dionysus." There has always been an otherworldly quality to the blend of Perry's resonant baritone and Gerrard's exotic soprano, with the tapestry of world music and classical influences providing a soundscape that is the pair's alone. Dionysus marks another essential offering in Dead Can Dance's rich discography. Information: DeadCanDance.com.

Artist: Blues Traveler
Title: Hurry Up & Hang Around (BMG)
You might like if you enjoy: Blues Traveler, Spin Doctors
Tell me more: Blues Traveler's 13th studio album Hurry Up & Hang Around is a joyous affair, featuring a dozen tracks that deliver on the band's groundbreaking mix of rock, blues, folk, Southern rock, soul and psychedelia. The brisk "Accelerated Nation" kicks things off, bolstered by John Popper's signature vocals and dazzling harmonica work. Other moods and shades are expressed with equal zeal on the winning disc; the lovely "She Becomes My Way," blues-meets-funk cut "The Touch She Has," reggae-flavored "When You Fall Down" and tender "Ode From the Aspect" demonstrate the diversity and strength of the New Jersey-spawned quintet.  Blues Traveler will headline at Belasco in Los Angeles on Nov. 13. Information: BluesTraveler.com.

Artist: Queen
Title: Hungarian Rhapsody: Queen Live in Budapest (Eagle Rock)
You might like if you enjoy: Queen
Tell me more: With the tremendous success of "Bohemian Rhapsody" in movie theaters around the world over the past week, many new (and long-time) fans wanting to see and hear more from Queen and lead vocalist Freddie Mercury should get the multi-format release Hungarian Rhapsody: Queen Live in Budapest. The last full-length Queen concert filmed with Mercury, the concert film was filmed on July 27, 1986 in a rousing performance at the Népstadion in Budapest in front of 80,000 fans. The set list features many of the band's biggest hits, all performed with emotional firepower. Queen was at the height of their powers, delivering a mix of massive rockers ("Tie Your Mother Down," "Hammer to Fall"), elegant ballads ("Who Wants to Live Forever," "Love of My Life") and radio favorites ("Bohemian Rhapsody," "Under Pressure," "Crazy Little Thing Called Love," "We Are the Champions"). Filmed three years before the fall of the Berlin Wall, this historic event was the first Western rock concert performed in a stadium behind the-then Iron Curtain. Information: Eagle-rock.com.


Robert Kinsler

Coachella 2013: Day 3 highlights from Three O'Clock, Dinosaur Jr., OMD, Dead Can Dance and more

My coverage of the third and final day of Coachella Weekend 2 originally ran on The Orange County Register Web site on Monday, April 22, 2013.

Sun sets on the final day of Coachella 2013. Photo: Robert Kinsler

Sunday (April 21, 2013) may be the day when even the most seasoned Coachella-goers run on fumes, especially with temps reaching into the mid-90s. But the force of several strong performances left me thinking: "If the music is this good, keep it coming."

At the start of the final rundown, about half past noon, Little Green Cars appeared in the Gobi tent for a seven-song set pitched somewhere amid the alt-folk of the Lumineers, the Civil Wars and Dawes. The Dublin quintet spun lush harmonies, showed off two gifted lead singers and mixed up complementary clean and distorted guitars in a way that made both sound necessary. The group ended its 30-minute run with "The John Wayne," a heartfelt tale of unrequited love wrapped in rich vocals.

Louis Gutierrez, left, and Michael Querico. Photo: Robert Kinsler

When I first heard earlier this year that the Three O'Clock would reunite for this Coachella, I wondered if it was the same band I used to see at area clubs in the early '80s. Fast forward to Sunday afternoon and there I was watching almost the original quartet serving up its stew of '60s greats like the Zombies, the Byrds and mid-era Beatles.

Led by singer-bassist Michael Querico and guitarist Louis Gutierrez, the band's fast-paced set included classics such as "Simon in the Park (With Tentacles)," a brilliant version of "Jet Fighter," even a hard take on Pink Floyd's "Lucifer Sam," something they shined with during their warm-up a couple weeks ago at the Glass House in Pomona. The songs were always more than they appeared, with punchy bass solos, evocative keyboards, sometimes 12-string Rickerbacker jangle and distinctive drum patterns all part of the attack.

A young twentysomething woman next to me noted that she had flown all the way from Japan just to see the group. Indeed, the Three O'Clock's return will be one of the things I'll remember most about Coachella 2013. Let's hope this is a reunion that sticks.

That bunch was the first of several veteran acts that turned in strong, well-received sets in Indio on Sunday. Performing on the Outdoor Theatre stage, legendary trio Dinosaur Jr. (boasting its original lineup of singer-guitarist J Mascis, bassist-singer Lou Barlow and drummer Murph), used its 50-minute allotment to blast through a set of mostly originals steeped in chainsaw guitar, feedback and distortion. They also toss in a reworking of the Cure's "Just Like Heaven," Mascis delivering Robert Smith's distinctive guitar lines with fluid bursts of staccato notes.

I then ran over to the main stage where O.C.'s own Social Distortion was just getting started.

There was little doubt leader Mike Ness, who noted how much better the crowd was this time, recognized the significance of this second chance at a lasting Coachella performance. He and his band turned in a set of best-known songs designed to impress even those positioned at the furthest reaches of the Empire Polo Club.

Opening with "Reach for the Sky," then diving into the crunchy "Bad Luck," the quartet's nine-song appearance ended with their long-loved and rocked-out version of the Johnny Cash classic "Ring of Fire," with a good-sized mosh pit breaking out, bringing a bit of Hootenanny to Indio.

Watching the crowd pack into the Gobi tent to watch Orchestral Manoeuvres in the Dark (OMD) was an amazing sight. Here's a forebear that couldn't be more relevant to today's electro-pop scene, a New Wave fixture whose groundbreaking sound was no longer in fashion by the late '80s, yet who has proven how impossible it is to keep a good band down.

Singer-bassist Andy McCluskey was a ball of energy as he led his three bandmates and the party-minded multi-generational gathering of fans through the British troupe's classics as well as cuts from recent releaseEnglish Electric. The audience ate up the propulsive glee of "Enola Gay" and was caught up in the group's new single, "Metroland," but by the time OMD closed with "Secret" and the fast-paced "Electricity," I could actually feel the ground moving below my feet from thousands dancing frantically.

Lisa Gerrard, left, with Brendan Perry. Photo: Robert Kinsler

Mojave hosted one of the final performances of the fest, from genre-defying Dead Can Dance. Brendan Perry and Lisa Gerrard led an ensemble of four other musicians through an hour-long set of songs that blended world music, gothic rock and neoclassical together with trademark mystique. Perry's mighty baritone is as forceful as Gerrard's soaring soprano, and both took turns on lead vocals over the course of eight selections.

"Children of the Sun" opened with a range of percussion and keyboards used to cast a vast soundscape around Perry's delivery, while Middle Eastern sounds later graced "Agape," with Gerrard's voice in full flight. DCD's set ended with the wonderful "The Ubiquitous Mr. Lovegrove," the outfit's stirring atmospherics providing an otherworldly backdrop to Perry's resonate vocals.

Dead Can Dance displays magic at Gibson Amphitheatre




Dead Can Dance: Lisa Gerrard, left, and Brendan Perry on Aug. 14, 2012.

  The triumphant return of Dead Can Dance displayed itself over the course of 19 magical and magnificent songs on Tuesday night (Aug. 14, 2012) in Universal City. More than 30 years after DCD was formed Down Under by Lisa Gerrard and Brendan Perry, the duo have reunited to tour in support of a fantastic just-released album titled Anastasis. Backed by a fantastic five-member group, Gerrard and Perry showcased their genre-defying blend of art rock, ambient, Gregorian chant, Middle Eastern, Celtic, African and world folk music before an enthusiastic crowd at Gibson Amphitheatre. What the faithful heard - and I marveled at with every note - was a sound so beautiful and unique that time has not diminished its power and glory.

Opening with the first song on Anastasis, "Children of the Sun," Perry's mighty baritone rose above the haunting rhythm in what would be the first of many potent versions of new songs. With Anastasis being DCD's first new full-length studio album in more than 15 years, it was great to see that the duo's artistic powers remain flawless. Other highlights from the new disc included the hypnotic "Amnesia" and "All In Good Time," the latter featuring Perry' rich voice in a spectacular if somewhat melancholy tone.

Lovers of classic Dead Can Dance marveled at the brilliant version of "The Host of Seraphim," which is truly as powerful as any music recorded in the 20th century. Gerrard's voice filled the concert hall with the affecting song further adorned by Perry's low notes.

Later on the Renaissance-flavored "Dreams Made Flesh," Perry stood and intensely played a hammered dulcimer while Gerrard - standing to his left - sang using the full range of her emotive soprano. At times her voice used spoken word-like diction, while at other times it soared in wondrous flight.

Gerrard's otherworldly vocals impressed throughout the show.

Dead Can Dance ended their second encore with another new gem, the Celtic-styled "Return of the She-King," featuring Gerrard's vocals immersed in a symphonic sea of keyboards and gentle percussion. Then, to add depth and range, Perry sang solo before their voices joined in a joyous and lush finale.

Setlist: Dead Can Dance at the Gibson Amphitheatre, Universal City, Tuesday, Aug. 14, 2012

Main set: Children of the Sun / Anabasis / Rakim / Kiko / Lamma Bada / Agape / Amnesia / Sanvean / Nierika / Opium / The Host of Seraphim / Ime Prezakias / Now We Are Free / All In Good Time

Encore: The Ubiquitous Mr. Lovegrove / Dreams Made Flesh

Encore 2: Song to the Siren (Tim Buckley cover) / Return of the She-King

Encore 3: Rising of the Moon