Quidnunc (kneeshooter) wrote,

Dead Can Dance

Obviously by sleeping I've missed being current, so there's every danger this entry will sound in parts like a poor shadow of s0b. Perhaps if I take a leaf out of last-nights-designated driver and exaggerate.

Firstly it was surprising to me how much of London I knew - I don't drive through there if I can help it, but it appeals to my inner-neat (not that it gets out much) to be able to see the roads that link the tube stations.

Anyway, getting to the Barbican was easy - getting to the Barbican was not so easy, but more so than getting around it, which itself was easier than getting something decent to eat. Still - food is for the weak.

Thanks to dreamfire I had a great seat, and settled down with seconds to go to see what the evening had in store.

I'd better come clean at this point and say that I am a casual rather than dedicated fan of DCD, I certainly don't recongnise many of the tracks (with some obvious exceptions such as Saltarello). So, all strapped in I was optimistic about the evening - and wasn't disappointed.

I certainly didn't get really drawn in as some said to me, but it's impossible not to be impressed by what they do - definitely appealing to my love of percussion. A good length and reasonably varied set meant I didn't see a disappointed face on the audience during the way out. A couple of observations came to mind on the way back.

The first is the obvious parallel with Neubatuen, and then a parallel with Tolkein. I did find myself musing on the nature of "made up history/culture". To me DCD have created a rich mythology and draw on this with their music. I wouldn't consider accusing it of being filk, but in the same way as Tolkein created wrote an "epic for a world that didn't have one", DCD come close to writing "world music for a world that doesn't exist".

The next parallel is with Neubauten. DCD draw upon history and tradition, and the sounds of days gone past. Neubauten draw upon the sounds of a different day - one where the world is sharp rusty metal, rubbish cans and machinery. There's strong parallels in having music drawing on the fabric of the world around - whether it be "an imagined patchwork of reality and fantasy" or "industrial society". Or at least I thought so.

On the downside there was the astonishing rudeness of people who kept coming in and out of their seats, and a pox on flash (see rants passim).

Oh, and apparently Gerrard sings "Glossolalia". Sounds painful.

And waves to nearly_everyone who were in the audience.
  • Post a new comment


    default userpic

    Your IP address will be recorded 

    When you submit the form an invisible reCAPTCHA check will be performed.
    You must follow the Privacy Policy and Google Terms of use.