It is a bizzare notion that a band could simultaneously score on both the goth-industrial and new age charts, but the fact that Rhea's Obsession has done just that hints at how impressive their music is. This project was initiated by Sue Hutton and Jim Field, who, by combining their individual backgrounds, created a heady musical blend that touches on both ancient tradition and modern innovation. The concept of using modern instrumentation to reinterpret traditional music is nothing new, and was used to great effect by Dead Can Dance and Enya. While Rhea's Obsession fits well in this vein, their focus is on a more Arabic or Middle-Eastern feel rather than European or Celtic styles.

The opening track, "Memento Mori", exemplifies the strengths of the duo's formula. Opening with a drone, the song uses a faint radar ping to establish a sense of time, after which Hutton's wordless, old-world call to prayer enters the mix. Slowly, hypnotically, synthesizers build as a contemplative flute answers her call. Suddenly, drums arrive -- a complex tribal pattern combining tabla, electronic and rock sounds into an enthralling rhythm. Field uses this rhythm track to let loose a conservative guitar lick that focuses on the tone of the notes rather than their speed. As Hutton reenters, the song is pushed towards a fulfilling, satisfying climax. The powerful impact of "Memento Mori" makes it obvious why Rhea's Obsession has been tapped for television soundtracks, including Much Music and La Femme Nikita.

This particular release combines the pair's earliest output with a batch of remixes. On the whole, I don't find that the remixes offer much insight into the originals, but only two tracks are repeated, so this is not a severe drag on the album. Throughout, I was impressed by the instrumentation, which transformed to suit the mood of each piece. In addition to the "traditional" numbers, the music runs from the scorched-earth guitar feedback of "Strategies of Movement" to the subtle electronics of "Luft Und Erde" (that's Air and Earth for those of you who didn't major in German). This variation serves to vary the mood, keeping the album moving along nicely.

For many listeners, however, the main draw will be Hutton's vocals. Her classically trained voice is a rich, lush instrument, precisely controlled. On tracks like "Tsunami", she hits resonant notes that echo and are reinforced by well-timed vibrato. My personal favorite, however, is her vocal work on "Waves (Take Me Alive)", for which she puts forth so much passion and desire that I'm left breathless. This vocal layer is also what makes Rhea's Obsession a worthwhile purchase for anyone who owns more than one Muslimgauze record. Offering several fine performances, Re:initiation is a disc deserving of investigation.