I've been listening to This Ascension and Machine in the Garden for a long time. Dru's work especially has had an immeasurable effect on my work. Mirabilis is not only their incredible vocals, but their transcendent aesthetic.
Favorite track: The City.
Submerse yourself in the third ethereal/darkwave foray from Mirabilis featuring Dru Allen and Summer Bowman, two of the genre’s most-celebrated vocalists. As Mirabilis, these women go beyond the rock-hued sounds of their respective bands (This Ascension/Mercury’s Antennae and the Machine in the Garden) to create beautiful, vocal-centered originals alongside reinterpreted pieces ranging from medieval to pop.
As on their previous Projekt releases, 2004’s Pleiades and 2008’s Sub Rosa, Allen and Bowman weave their signature heavenly voices into a lush bed of dream-like harmonies amidst understated electronics, acoustic instruments, and majestic percussive elements. Their most diverse work to date, Here and the Hereafter transcend genres from cinematic, orchestral pieces to traditional folk and chant to spoken word. Accompanied by instruments including hammered dulcimer and recorder, these 16 tracks with roots as diverse as Bulgaria, India and Japan span ages and cultures, reality and dream.
By design Mirabilis has always sought to invite other like-minded creators to contribute to albums and performances. The new album marks the band’s first composition with long-time inspiration Monica Richards (Faith and the Muse), whose vocals appear on the piece “Here and Hereafter” and introduces neoclassical/baroque vocalist and harpsichordist Lacy Rose at the helm for “Can She Excuse My Wrongs.” Mirabilis also renews its collaboration with Pete Murray (Lo-Pro, Life on Planet 9), who contributes programming on a number of tracks, along with mixing the album. Two remixes conclude Here and the Hereafter: the first a sparkling rendition of “Sanctuary of Mind” courtesy of Justin Elswick (Sleepthief), the other by Bowman, which adds a steady beat to the haunting and originally sparse “Permafrost.”
The words “here and the hereafter” suggest that presence which resides in us now and our enduring and profound connection to the creative force of life. Here and the Hereafter embodies the search inward of one’s own spirit and outward into the unknown.
Though brimming with musical styles and instrumentations, ultimately it is the exquisite interplay between the two vocalists that serves as the driving force on Here and the Hereafter. The vocals serve not just as conveyer of lyrics but also as a distinct instrument unto itself. This is a spellbinding, affirming work that transports the listener on a sweeping, emotional journey.
Reviews of their past work:
“It’s records like this which remind you where the term Heavenly Voices comes from.” - Mick Mercer
“Mirabilis has produced an ethereal recording, untethered by contemporary beats, unmarked by time. Pleiades is historically pungent and spiritually potent, and takes the listener both backward and forward through the ages.” - The Santa Barbara Independent
“Both powerful and seductive, the duo are the nearest we have to sirens in this age. But you really couldn’t hope for a finer soundtrack to sinking slowly beneath the waves.” – Liar Society
“From beginning to end the music is haunting and captivating as they spin their web of subtle synths, old-world instruments and lush vocals.” – Gothic Paradise
“Their music brings together both the dreampop and neomedieval sounds the Projekt label is known for, to impressive effect. Lots of very beautiful material here, from a band I’m keen to hear more from.” – Bliss Aquamarine
supported by 11 fans who also own “»Here and the Hereafter«”
Bewitching cello "looper" mixed like Ed Alleyne-Johnson did in early nineties but not on New Age way. Here it is as closer to J.S. Bach and his Cello Suite than Ed Alleyne. But the method is similar.
A very relaxing performance brings ears to nirvana by sounding rich harmonics from her instrument.
Siting quiet on a sofa savoring these sumptuous melodies taking my mind out of daily customs. This is what I feel while I'm listening to this album. Emmanuel Codden