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What They're Saying About Enter the Mysterium:

Absolutely fantastic solo album from former Dead Can Dance percussionist Peter Ulrich. Like Dead Can Dance, ENTER THE MYSTERIUM is a wonderfully evocative and atmospheric mixture of folk, medieval, darkwave and world music, although these ingredients are combined in a way that is usually very different from DCD's approach. Nothing But The Way also introduces some New Age style electronics. The lyrics often explore occult themes, as in The Scryer and the Shewstone and The Witchbottle of Suffolk, the latter being a vividly dark tale set to sinister and theatrical instrumentation and sound effects. This is one of those records which takes elements of existing musical styles, some being very ancient, and combines them to create something strongly innovative. Totally recommended.
—Kim Harten, Bliss/Aquamarine.

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, and then some...a fascinating CD that is a pleasure to listen to, on both a musical and an intellectual level.
—April Gutierrez, Green Man Review.

"Enter the Mysterium" follows the same artistic way as his first album "Pathways and Dawns", with a nice variety of songs, combined to different styles, such as folk, ethnic and medieval music, with a strong structure, which gives to the whole album a beautiful unity. A delicate journey through colourful landscapes and varied cultures. Percussions, guitar, violin, piano, keyboards, flute, oboe amongst so many other ones) envelop the fragile voice of Peter, with melancholy in a warm and ethereal atmosphere. If you start listening to this album by watching its beautiful artwork, then you really enter the mysterium. A dark wooden door covered by leaves seems to be the backdoor of a old medieval castle, or a monastery, like suggests the second pictures in the back. There's a true sacred spirit in Peter's music, tainted by authentic spirituality. All tracks in the album reflect the story of ancient religious traditions or old mythical believes. Dark green is the colour I see when listening to Peter's music, not only because it is the predominant colour on both his albums, but also because it is a quiet and peaceful colour, symbol of Nature and Life, bringing serenity and stability. "The Scryer and the Shewstone" is the most folk medieval oriented song of the album, and it reminds me sometimes of Fire & Ice, in the way it is interpreted, as Ian Read could have done it. Other songs might have similarities with Brendan Perry or David Sylvian, but after two albums, Peter has been able to create his own sound, which is immediately recognizable. What can be inherited from the Dead Can Dance period seems to be this incredible capacity of mixing both world music elements with post punk roots. A very rich and varied album, full of fascinating melodies, which haunt our soul and never get out. A splendid journey back to the essence of romanticism and melancholy. Come and find the wise man...
A must ! To be placed next to your DCD album collection.
Highly recommended !!
—Stephane F. HEIMDALLR

City Canyons' Peter Ulrich was the percussionist of the wildly creative, Australian based eighties outfit Dead Can Dance, intrepid explorers of music's every frontier. Their brand of ethnic fusion was one part Brian Eno sound layering and another indigenous artistry, giving influence to New Age and art rock artists alike. Albums like Spiritcatcher and Into the Labrynth are rare in their ability to effortlessly bring to mind artists as divergent as Enya and Nick Cave. Ulrich, who joined Dead Can Dance in 1983, brings these same riches to the forefront on his newest solo album, Enter the Mysterium, focusing most ardently on European folk music and Renaissance structure. Mysterium is filled with ten varied tracks, from dramatic time warp pieces "The Scryer and the Shewstone" and "Across the Bridge" to more emotive concepts like "Through These Eyes"....an adventure that demands repeated listens. There isn't a border, whether earthly or extra-terrestrial, that Ulrich's sound doesn't both reside within and push the outer limits of. His recording of Enter the Mysterium might be the most eclectic, inventive record to date in 2005, a magnet for folk, world and dream pop fans. Like the band he made his name in, Ulrich isn't afraid of traveling the globe in a single disc, drawing on its array of shapes and colors for inspiration
—Bill Holmes, Cosmik Debris

To Enter the Mysterium we all must first pass through the chaos choir initiation, and its going to invoke some questions. The opener's somber tone levies the question, "Do You Know the Wise Man?" After the interrogation, the fields of the Mysterium bloom with kazoos, rattles and a rushing harmony. The music is reminiscent of the Dead Can Dance. This should be no surprise as Peter Ulrich is the former percussionist of that band. The music can be locked into these genres: world music, folk, and dark wave, but these are insufficient and do too much violence. The music of Ulrich is an anachronism, but is not a shy one. It is a confident reproduction of an obsolete way of making music. "The Scryer And The Shewstone" lights the festivities with a meadow filled with Ulrich's percussive expanses and a great celebration of God and the angels. It references an early christian, psuedo-pagan feel. The willowy woodwinds of "Across the Bridge" stick out their tongues and laugh. The song delivers age-old knowledge through simple stanzas, and a story of telling a fortune on the river's edge. The roots of western music still dig at the earth in search of nutrients to give bloom to Peter Ulrich's delightfully anachronistic bouquet.
—The John Shelton Ivany Top 21

A soundscape, both dreamlike and etheral, and at the same time vivid, alive with the sounds of yesterday... a true and honest journey through something long forgotten. these are not only great compliments to the vast catalog of works produced, and written by Dead Can Dance, but mighty pieces of composition in their own right. the Dulcimer on "Flesh To Flame" brings to mind many of the works of DCD, but is something all your own within these songs. the guitar arrangement in "through Those Eyes" tugs at the heart, awakening a desire for what once was, at the same time, anticipation for what is to come... this is sure to please fans of Dead Can Dance, and without a doubt, inspire a whole new following of it's own.
—C. Norris, Fraqtured Sound

'Enter the Mysterium' is quite an assembly of music, from medieval, to dark, to just plain different, in a world of also ran music it's a welcome interlude! This new cd reminds me of a soundtrack to a barbarian movie gone amuck.'
—United Home Audio Newsletter

'...interesting lyrics, beautiful arrangements and a general intelligence that's lacking in music today. On songs like "Another Day" and "Kakatak Tamai", his mixture of sound blends into a dark ambient style that's quite fascinating and chilling, while elsewhere, his jazzy "Through Those Eyes" is a catchy tune... lovely'
—Joseph Kyle, Mundane Sounds

The exotic instrumentation lifts what are, sometimes, fragile songs into a dreamy, lush magic carpet ride, which never fails to enthral. Despite the disparate influences, the album flows seamlessly in and out of the different vibes, nowhere better than on the lengthy, but indispensable ÒThe Witchbottle Of SuffolkÓ, where so many different worlds collide! A remarkable album, not just for the medievalists amongst us, but for anyone interested in the explorations of sounds and texture.
—Zeigeist, Space Rock

Ten tracks from the former Dead Can Dance percussionist explore supernatural and religious themes such as firewalkers, the ÔMarathon MonksÕ of Mount Hiei in Japan, and John Dee, Queen Elizabeth IÕs spiritual advisor. With instrumentation ranging from sharuke to bongos, from violin to electric guitar, this CD is as diverse musically as it is thematically. A thoughtful and fascinating work.
—Rock Confidential, Great New Bands

Former Dead Can Dance percussionist Peter Ulrich, in his new album, 'Enter the Mysterium' is not afraid to seek out pop music, subsequently turning it to renaissance or medieval music.The focal point is Ulrich's excellent percussion and his fantastic despondent vocals (somewhere in between Brendan Perry and Alan Parsons) together with the well-written mysterious songs. It is a lovely stroll through moist abbeys, a walk through far-away bazaars, a rest on the sunny moors, and a way to get lost in dark labyrinths. Peter Ulrich is delivering us a cd which pays tribute to his past, but shows us that he certainly has his own style.
—Jan Willem Broek, De Subjectivisten, Caleidoscoop