THE LIVING GODS OF HAITI
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.
Hailed by Metro as "one for Tricky and Bat For Lashes fans" and by Clash for its "darkly enticing electronics", opened the doors of perception as more songs began to take quickly shape in the studio. Music filled with sensual and dreamlike textures that could be described as dark, but may be better called wild, unfettered and suffused with occult potential. Music that drew both directly and unconsciously upon Rebekah’s background, her half-Syrian parentage and childhood growing up on the windswept Celtic fringe of England’s south west, where a reminder of the country’s eerie past is rarely more than a field away.
Whilst Rebekah’s otherworldly songs and Marc’s passion for analogue synths and tribal percussion already has Electronica producers and Goth misfits rubbing shoulder pads with Gnostics and pagans alike, The Living Gods of Haiti has become more than just a vehicle for their music. Extending beyond the music the band’s distinctive style, visual imagery and music videos, all directed by Rebekah, act as seductive invitations to their world, triumphant celebrations of female sexuality and the breaking of taboos. Even the band’s few live performances have side-stepped the everyday to embrace the essence of magick.
In an increasingly risk averse and controlling industry constantly chasing faded copies of the last big thing The Living Gods of Haiti offer up a much needed alternative, a chance to peer behind the curtain and maybe find that magic still exists in music after all.