REVIEWS

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Mirabilis
Pleiades

Middle Pillar Presents

Posted: Tuesday, March 28, 2006
By: Ilker Yucel
Editor

If you’re a fan of the modern goth scene, chances are you are familiar with the names of Dru Allen and Summer Bowman; as the duo behind Mirabilis, both of them have amassed quite a following with their respective bands (Dru in This Ascension, and Summer in Machine in the Garden). While their prowess as vocalists is certainly not in question, this reviewer has noticed the existence of a certain stigma regarding groups with female lead singers, that of possessing the “hot chick” singer as nothing more than eye candy to fill up shows and sell more records. A sexist statement that is certainly not shared by the majority of their fan bases, but one that exists nonetheless, denying not only the musical talent of the bands, but also the singers. Without having been to a live concert by This Ascension or Machine in the Garden, one might not realize just what sort of musical skills these women have beyond being excellent vocalists. On Mirabilis’ debut album Pleiades, they do away with preconceptions and clichés to create a work of absolute beauty.

With only the occasional help from backup musicians, the majority of Mirabilis’ music is performed and produced by Dru and Summer. The centerpiece of the music is undoubtedly the soaring operatic vocal harmonies, showing just what a clear sense of both musical skill and personal camaraderie these two people share; not unlike that exhibited by the classic duo of Simon & Garfunkel, who are paid something of a tribute with a rhythmic and almost medieval rendition of “Scarborough Fair.” The use of dulcimer strings and sparse tribal drumming on this track, as well as on “Moon” and “Invocation of the Sun” (which features Matson Belle on vocals, sounding similar to Monica Richards of Faith and the Muse), as well as the use of traditional texts and melodies from the 16th through 19th centuries show a classical folk mentality pervading throughout the music, something akin to what one might hear at a Renaissance Festival. Other pieces are written by Mirabilis, showing the duo’s own compositional skills. Indeed, their pieces are just as satisfying, and some even haunting. Tracks like “In the Dark” and especially “Haunted” are reminiscent of Peter Gabriel’s score music for Passion: The Last Temptation of Christ, full of sweeping drones of synthesizers and occasional flourishes of piano, once again displaying a sense for classical music.

Those who are expecting Dru and Summer to produce some sort of offshoot of their respective bands will be very surprised indeed to hear Mirabilis. This is no rehash of their past musical endeavors, but rather a new outlet for them to shine as both vocalists and musicians. Those who can appreciate their talents beyond being simply singers in goth rock bands will find much to behold on Pleiades. The vocals are breathtakingly beautiful, both in performance and production (no gratuitous use of effects besides the slightest of reverb and echo, and even then it is never used more than necessary). The music is minimalist, but plays as the perfect complement to the voices; they allow the lyrics to shine above all else, showing the voice to be the most powerful instrument in Mirabilis’ repertoire. The voice alone could not carry this album if not for the sense of music behind the melodies and harmonies. If you’re looking for an album of sparkling intensity as well as soothing ambience, Mirabilis’ Pleiades will certainly satisfy.