Out of the many historically inspired bands that have come and gone since the early 1980s, one of the most creative was Dead Can Dance, whose mystical stylings and globally inspired harmonies appealed to those with a love for the dramatic, from medievalists to Goths and fans of New Age music. Their former percussionist, Peter Ulrich, has carried on their legacy with his own potent blend of ancient instruments, cutting-edge technology, and inscrutable vocals. A rare treat for those who like their music arcane but not necessarily archaic, Enter The Mysterium conjures up timeless mysteries, infuses them with contemporary creativity, and presents the whole as a soundtrack for the ages.

Ulrich's latest solo outing, 2005's Enter the Mysterium, is an incredibly lush recording -- chock-full of exotic instruments not usually associated with your typical rock bands (recorder, oboe, violin, etc.). Recorded at his home and also at a few British studios, Enter the Mysterium would serve as the perfect soundtrack to a European marketplace before the advent of electricity (think one of the early flashback scenes of Highlander, and you're not far off). Written entirely by Ulrich (who also supplies the vocals and the majority of the instruments all by himself) and paying close attention to sonic detail, Mysterium is definitely a "headphones album," as evidenced by such standouts as "The Scryer and the Shewstone," "The Witchbottle of Suffolk," and "Kakatak Tamai." If you're looking for soothing music that is 100 percent free of distorted Marshall amplifiers, Enter the Mysterium is recommended.

On his second solo album Enter the Mysterium, former Dead Can Dance percussionist Peter Ulrich creates a rich, varied tapestry of medieval, folk, world, and gothic music that amounts to one of the most fascinating albums of the last ten years. The album opens with the stunning At Mortlake, introducing listeners to the dark, brooding, ethereal atmosphere of the rest of the album. Ulrich soon takes you on a timeless, borderless journey of sound and music, each song becoming more adventurous and experimental than the last. The highlight of the album is undoubtedly The Witchbottle of Suffolk, an expansive work covering a wide array of musical influences ranging from medieval chants and whispers to modern-day new wave. The song takes you into the lives of a husband and wife, and the mysterious effects of a magical potion. While the lyrics are simple and elementary, the theme and musical adventures easily puts this song among the best of 2005. While Ulrich may not be the best singer, his talents as an instrumentalist make this album an excellent follow-up to his days with Dead Can Dance and his stellar solo debut Pathways and Dawns.

Former Dead Can Dance percussionist Peter Ulrich's second solo CD, Enter the Mysterium, is very much a piece with his 1999 CD Pathways and Dawns in substance, tone and overall quality. Once again, Ulrich has penned all of the songs and provides most of the instrumentation (there are a few guests -- backing vocals, recorder, oboe, guitar, piano, violin), which is a seamless blend between digital samples and live instruments. The music itself is deceptively sparse; while there are a multitude of instruments (from cow bells and kazoos to acoustic guitars and kalimba) and effects (shamisen, taiko drums, orchestral brass), no song feels overcrowded, and, in fact, they seem stripped down to the bare necessities. Yet they are all quite rich sounding, as if many-layered. In fact, the vocals are many-layered; Ulrich has laid down several vocal tracks on a few songs, thus often providing his own backing vocals. There is a consistent tone throughout the CD, one that is largely low key and reflective, a product of both the music and the folkloric and spiritual nature of his lyrics. Ulrich's strength as a percussionist shines during the instrumental pieces of the songs, with some parts -- for me -- favorably evoking Jerry Marotta on Peter Gabriel's Security CD (most notably track four, "Nothing But the Way")....Enter the Mysterium has it all..a fascinating CD that is a pleasure to listen to, on both a musical and an intellectual level.