Bone Dry

From Sufi chants and Shamanic drums to Brian Wilson’s attempts to write a “teenage hymn to God” and the mass communion of raves, music, magic and mysticism are inextricably bound together.

That connection, the divine spark that breathes life into chords, notes and melodies and both transports and transforms the listener is at the heart of The Living Gods of Haiti’s music, a powerful fusion of esoteric imagery and ethereal electronic music.

Originally conceived as a spoken word project by singer, poet and visual artist Rebekah Dobbins, the word became flesh when Rebekah, then working in LA, reached out to former collaborator, Parisian producer Marc Collin (Nouvelle Vague, Yasmine Hamdan). Communicating by email the two began to explore the new world Rebekah had sketched out, not writing songs at first but just piecing together textures, sounds and ideas, building a new sonic universe from these disparate elements.

By the time Rebekah finally made it back to Marc’s studio in Paris the world the two had set out to create had taken on a life all of its own. Taking their name from Maya Deren’s documentary film on ritual dance and voodoo, ‘Divine Horsemen: The Living Gods of Haiti’, the duo set out to create an all encompassing aesthetic, one that drew as much from the writings of EE Cummings, Aleister Crowley or the Zoroastrian Avesta as it did from the music of Dead Can Dance, David Bowie or the Cocteau Twins.