The track Dangerous Drug, released in June 2024 on the homonymous EP, is sung by Megan Louise with the intensity of a bacchante who invokes ecstasy and wound. The song unfolds as a chant, a litany where the voice repeats its hunger and accusation: “Why do I crave it? Why do you break it?”. In its darkwave pulse, one hears the ancient paradox of Divine love. Presence comes like intoxication and absence like a cruel withdrawal. The dangerous drug is the taste of the Sacred when it floods the soul. Then comes not mere longing, but the unbearable state of one who has just glimpsed the fire of Love and suffers its eclipse. The track is a Marian prayer shaped by electronic shadows.
I. The Litany of Desire
The structure resembles the Marian litanies where invocation and response alternate in unbroken rhythm. Instead of “Holy Mary, pray for us,” the refrain becomes “Why do I crave it? Why do you break it?”. Desire and absence are recited until they form a circle. This circle is prayer through wound, the rosary transposed into darkwave. To crave Divine Love is to know its sweetness for a moment; to endure its breaking is to be left with the memory that burns deeper than possession. Christian mystics spoke of this rhythm as the dialectic of presence and absence, the descent of the Bridegroom followed by his sudden flight. The song touches the same paradox with electronic language. The voice is intoxicated and forsaken at once; the craving is proof that Love has visited.
II. The Veil and the Moon
The verses scatter images that belong to mystical vocabulary across centuries. “Moon chaser” recalls the lunar figure as symbol of Mary, the one who reflects the Sun and bears the mystery of night. The Moon has always been mirror and veil, mediatrix between shadow and Light. “Behind the veil” evokes the ancient division between profane space and the Holy of Holies where the Divine presence dwelt concealed. To stand before the veil is to be suspended between longing and fulfilment; to glimpse behind it is to be seized by a vision that cannot be endured for long.
The song also invokes “Medusa’s stare,” an image that resonates with the fixed star Algol, feared as the most intense of the heavens, where sight itself turns to stone. This is the unbearable intensity of Divine vision; it paralyses, wounds, and then leaves the soul marked forever. The river of blood, the locust swarm, the crimson flood: these are all apocalyptic signs that recall the visions of prophets who stood before unbearable glory veiled in terror.
III. The Craving for Divine Love
The song becomes modern testimony of the ancient wound of love. To crave is to confess that one has been touched by something greater than human attachment. The mystics of many traditions spoke of this open wound. The Song of Songs cried “I am sick with love.” The Sufi poets sang of the Beloved who gives intoxication then departs, leaving only thirst. The Christian contemplatives spoke of absence as proof of divine reality, since only the Eternal can leave such hunger when He departs.
Dangerous Drug becomes the secular chant of the same experience; the Divine as intoxicant, presence as flood, absence as agony. “Silicon sisters” in the lyric echoes the communion of saints translated into a digital age; even in artificial fraternity the voice still calls for the same Presence that no technology can replace. The craving is ancient and the breaking is all eternal. The song mirrors the dialectic of the cross itself, where absence is the cry from Golgotha.
The voice of Megan Louise in Dangerous Drug rises with the subtleness of a bacchante, carrying within it the double pulse of longing and tearing. In the ancient rites of Dionysus, the god offered wine that intoxicated, but also demanded the rending of flesh; ecstasy was always bound to Sacrifice, and joy was inseparable from wound. In
Christ also gives wine, but as His blood; He also offers bread, but as His broken body; and, in that act, the faithful are invited to communion through the fracture of Love. The feminine voice becomes the voice of the Church as Bride, yearning for the Bridegroom; it is also the wild voice of those who, like the bacchantes, do not find their god in order and calm, but in the tearing of the veil, in the surrender of the body. Such is this paradox of the song: the Sacred Love that fills the soul and the Sacred breaking that consecrates it.
Fiat Lux.