'It seems like an alternate universe now, but back in the early eighties finding adventurous music was almost a full-time job, especially if you did not live in a major city. I probably would have been listening to nothing but Quarterflash and Billy Squire had it not been for a Tower Records store near the local mall. They carried cool magazines like Trouser Press and ZigZag, and had import bins filled with the albums those mags were reviewing.
I made many discoveries this way, because there was no way any radio station within 500 miles of me would be playing any of this stuff. This is how I came upon 4 AD Records, and their largest selling act over the years, Dead Can Dance.
In 1984, I bought their instant-classic Goth debut, Dead Can Dance and have been a fan ever since. Thanks to the burgeoning vinyl renaissance, I now own the LP in a vastly improved pressing over the original. Additionally, this great package includes the four-song Garden Of Arcane Delights EP, which was also released in 1984.
The “new generation” of vinyl features long-players pressed on 180 gram slabs of plastic, with deep grooves. There is a huge improvement in the sound quality of these meticulously re-mastered beauties over what had come before.
In the end though, it comes down to the music. Some later DCD fans dismiss the first album as “too Goth.” Not me. If anything, I want more like it. Although I never adopted “the look,” I was a huge fan of bands like Siouxsie And The Banshees, Bauhaus, and The Chameleons in 1984. Dead Can Dance fit in perfectly.
From the opening instrumental “The Fatal Impact,” through the atmospheric closer, “Musica Eterna,” this was a record that resonated deeply with me. Listening to it all these years later is a reminder of the vital role that sequencing made on an album back then. Side one ends dramatically with the haunting “Ocean.” Flip the LP over and you are onto a different journey, beginning with the bouncy (for DCD) “ East Of Eden.”
It seems appropriate for 4 AD to include the Garden Of Arcane Delights EP with Dead Can Dance, as they had previously incorporated it into the CD reissue. Having said that though, the Garden songs never really fit with those of Dead Can Dance. Much of the Goth-ness of the debut has been stripped away on these later tunes. There is no way they could be mistaken for music written and recorded at the same time. Garden does point the way to the very different band DCD would become however, especially the songs “Carnival Of Light,” and “Flowers Of The Sea.”
I never noticed it before, but it seems that Chris Martin’s parents were playing Garden’s “In Power We Entrust The Love Advocated,” to him each morning before grammar school. It seems to have provided him with quite the rush of blood to the head.
As always with 4 AD, the packaging is immaculate. Even though I am reviewing the magnificent vinyl reissue here, I have to say that this music is worth hearing on any format. Their debut in particular is grossly underrated, and is an album I highly recommend.'
'Dead Can Dance were one of those eighties post-punk/goth era bands like Bauhaus and Siouxsie & the Banshees and the Cure and Joy Division that seemed to owe a lot of debts to the punk movement but whose music didn’t echo that genre’s cultural or political sensibilities. It’s really only a product of time (a quarter-century actually) that has recast Brendan Perry and Lisa Gerrard as anything resembling ‘progressive folk’. In their day about the only place you’d hear this music besides on your own turntable was in a goth club or late at night on open-minded college radio stations.
All that said, it is great music and Gerrard’s voice is always a treat to hear. She’s an alto I guess – a deeper voice than most women is all I know, and her Irish lilt has a tendency to make her sound even younger than she was at the time (early twenties). Brendan Perry was a former punker, but with Dead Can Dance the musical arrangements are very well thought-out and carefully executed to maximum emotional effect; Perry clearly is working very hard to control one’s experience when listening to his music.
This little EP came out shortly after the debut album, which I actually don’t remember. I do remember ‘Spleen & Ideal’ which followed this one. If I’m not mistaken the debut did fairly well but not great on release, and EPs were a popular way at the time to put something inexpensive on the shelves as a teaser. That’s what this 12” was I suspect, as you could have picked it up for about $6 USD or so when it first came out.
There are only four tracks here but each of them is solid. “In Power we Entrust the Love Advocated” reminds me just a bit of the Cure, mostly because it’s pretty gothic and Perry does all the vocals and sounds not unlike Robert Smith. “The Arcane” is the marquee track and features Perry’s Casper-the- friendly-ghost vocals again but softened and given some depth with Gerrard’s throaty accompaniment. Gerrard plays that Oriental hammered dulcimer on all the tracks, something she did throughout most of the life of the band. Not sure if that’s because she can’t play anything else or because they actually think this add to the music’s vibe, but really it’s the guitar and percussion that make the music on all these tracks.
“Flowers of the Sea” has a synthesized riff that persists throughout and sounds like a bagpipe to give this either a martial or a Celtic tone, depending on your perspective. Either way the track seems ever so slightly out-of-place although it is a decent Dead composition.
This isn’t a masterpiece for sure but it is definitely required listening for Dead Can Dance fans and would be a good and reasonably-priced inclusion to most prog folk fans’ collections. Four stars (which might be a tad on the high side but justified in my mind) and well recommended.'
'A mightily powerful and entirely memorable second outing from Dead Can Dance in '86, with a massive change in sound and style from their first album in '84.
Huge reverb through the practically 'Scott Walker' like vocals of Brendan Perry make this a very atmospheric recording indeed. Beautiful downbeat tunes in the most Gothic of ways pretty much sums up this dark masterpiece.
The incredibly powerful voice of Lisa Gerard on one half complements the 'High Priest' Brendan Perry on the other, creating a gloomy religious undertone to everything that occurs.
Some listeners might find Lisa Gerard's vocal performance very similar in style to the 'Trio Bulgarka' - which should be no surprise considering Peter Murphy of 'Bauhaus' fame introduced said group to the record label 4AD in the early 80's.
With lyrics based on the writings of Charles Baudelaire, this is one of my all time favourite records. I unhesitatingly give this five stars. Everything is drenched in reverb creating an eerie atmosphere throughout this astonishing album. Double bass, Cellos, Timpani drums, balalaika, dark keyboards and most of importantly of all - the incredible vocals.
This truly is the blackest of albums. To the uninitiated it may sound a bit 'Gregorian Chants'. Deliberately, Perry and Gerard never sing on the same tune - they're voices are so disparate and contrasting that they wisely kept them separate.
Interestingly - the front cover is actually a shot of a building which was currently being demolished in Manchester where, from a passing car somebody got out, plucked out a cloak and star from their boot and took the photo! Strange, but true...
Inspirational, completely consistent and close to perfection. As black as pitch, a masterpiece which would only expand one more time with their next release 'Within the Realm', before the inevitable slide...'
Summary: A very atmospheric, dark and haunting album with incredible singing and composition that proves that the 80's were not totally rubbish for music.
'‘Within the Realm of a Dying Sun’ is one of the most atmospheric albums of all time. The music is much like the ominous title and mysterious album cover: dark, haunting and eerie. While it may at first seem minimalist, there’s a lot going on beneath the surface.
Ascribing a genre to Dead Can Dance, and especially this album, is very difficult. There are elements of neo-classical and World music influences, but also traces of the gothic post-punk from their earlier albums.
The album is split half way between two singers, Brendan Perry and Lisa Gerrard. Perry takes the first half of the album - his songs are played in a dreamy pop style compared to Gerrard’s slower more ethereal songs. Despite being structured like ‘normal’ songs, don’t expect to hear electric guitars or anything, except for keyboards which are only used to enhance the atmosphere and never overpower the music. The instruments here are traditional string instruments, violins, horns and medieval instruments that create a genuinely believable ancient feel. While if many bands attempted to do this the result would be cheesy, DCD’s sound is very authentic and sombre so it never gets close to sounding even slightly outdated.
While the melodies are sometimes quite simple this works in DCD’s favour as not one note at all seems at all out of place. The songs often start of simply and build as more instruments are added in later on and all of the melodies, often played by instruments like chiming bells and backed by strings and keyboards, are beautiful and incredibly atmospheric while at the same time, dare I say it, catchy.
Perry’s warm, airy and slightly Jim Morrisonesque singing fits the grandeur of the music perfectly. His lyrics, while not at the level of Bob Dylan’s or Leonard Cohen’s, are very complex, metaphorical and serious, also perfectly suiting the mysterious mood of the music.
The second half of the album starts with ‘Dawn of the Iconoclast’. The song begins with an intro played with horns and a snare drum that is so epic that it would easily fit in a film like ‘Lord of the Rings’, but somehow manages to stay completely free of cheesiness and retain the same seriousness and atmosphere of the rest of the album. Suddenly the music clams down and we are introduced to Lisa Gerrard’s incredibly unearthly singing. Gerrard is easily one of the best singers I’ve ever heard, she can sing in a huge amount of different styles and has a huge vocal range, though she usually sings in a deep ethereal voice with a lot of vibrato. If it wasn’t for the similar majestic quality in the singing you could be forgiven for thinking that the deep singing in ‘Persephone’ is done by a totally different person than the high singing in ‘Dawn of the Iconoclast’. In whatever style, Gerrard’s voice is always completely in control and very powerful.
The music also changes for Gerrard’s half. The music becomes slower to focus more on the atmosphere and singing, which really does seem to soar above the music. Gerrard’s lyrics are all in glossolalia, completely made up meaningless words. However, the importance here is placed on the sound of the singing itself, not what is actually being said.
An exception to this is ‘Cantara’, considered by many to be DCD’s best track, which is the only drum-heavy song on the album and much livelier than her other songs here. ‘Cantara’ shows the Eastern music influences that become more pronounced later on in their career.
It really is very hard to find criticisms for this album, as it really is one of the very best of the entire decade. The sudden change between Brendan Perry and Lisa Gerrard songs has been criticised by some and it perhaps could have worked better if they’d mixed up the track list a bit, and if they’d sung some songs together that also could’ve worked well. Apart from that though, this album really is almost perfect.'
'Does any of you reviewers here feel the need once in a while to branch out beyond the common boundaries of your favourite genre? To explore what lies beyond the hordes of heavy metal bands (in my case) and try out things you've actually never tried before? Well, one day I found myself in the cd store and remembered the recommendations of some of my friends. They said that this was a good record and I'd heard two songs by them, and quite enjoyed them. So I picked this up (yes, I still buy cd's) and found myself actually quite enjoying this.
So, what does this album sound like to anyone who hasn't heard anything about this band? Well, basically, it's indescribable. There isn't anything heavy at all about this album. There are a couple of violins, and some other obscure instruments this band likes to use, something that sounds like an organ, but none of them ever take the forefront. They merely serve as atmosphere-enhancers to allow the voices of the two people that made up this band, Lisa Gerrards and Brendan Perry, to steal the show. And what a show it is. On the first track, called The Host Of Seraphim a very atmospheric sad one, Lisa Gerrards demonstrates her powerful voice. Chanting melodically, in a way that it sounds Arabic, sad, and beautiful at the same time, the song is so sad it could have been used as a soundtrack for a war documentary in Iraq or Sudan. It's THAT inspiring.
Similarly, songs like Severance, with some gorgeous male vocals, or In The Kingdom Of The Blind The One-Eyed Are Kings, with a strong climactic ending, demonstrate the use of your vocal chords as a powerful instrument. You don't need a heavy guitar or a bass or a drum to make music. Just being able to sing and use some obscure background instruments is good enough to do the job. And the atmospheres that conveys is the best about this album. There isn't a moment where the music doesn't try to suck you in. It's not meant to catch a listeners attention by some catchy chorus or melody. It's advanced listening, requiring attention for the subtle details of its work, or it may also function well as enhancing background music to set a mood for a certain area. It's a perfect album to fall sleep to, so to speak. It requires a totally different mindset for listening, moreso than your average pop or rock album, but once you do that it's well worth it.
However, no album is without its flaws, and even this one has some things about it that just make it not good enough to merit a five-star rating. One of them is the spectacularly short running time of just over 36 minutes. It's a very good and ambient album, but it's over so quickly! The moment you're in, it releases you again. It's only good if you end up not liking it, which is entirely possible, but if you don't like this album, I will ask where you have left your heart all these long lonely years.
Another is that some songs are definitely too short or seem out of place. Orbis De Ignis's placement makes no sense unless it would have been three minutes longer, rather than being quite a boring one-and-a-half-minute interlude about precisely that, nothing at all. Furthermore, it's a bit of an album that's quite over-reliant on a single formula, the use of the aforementioned vocals to draw you in. The only problem is, that by track 8 I can never keep track of where I am in this disc. Once I thought I was listening to the seventh song and I found out I actually already was at song 9. This is good for the ability to captivate, but bad for not being able to actually distinguish songs from each other. Then I guess that's a form of ambient music altogether, but I find it annoying when I can't tell which song is which.
This isn't the most classic album you'll ever find, therefore. It's a great and diverse listen for people whose tastes are broader than just three records, and a good way to distract yourself from everything going on in the whole wide world out there. But for fans of ambient music, despite this being a pretty worthy cd of picking up, I'm not sure whether you actually really need this that bad. Then again, there are some excellent songs worth the price of entry, and it IS an excellent display of what world music is all about. If you're in an alternative or different mood than usual, it can never hurt to pick this one up. Either you'll like it, or if you don't, it's short enough to sit through in one listen regardless.'
Summary: With Aion they created what was quite possibly their masterpiece.
'You know, I must say that I'm disappointed in some people here. Given the musical diversity and penchant for obscure brilliance that I've recognized in so many of you I was somewhat shocked to find that there was not even a band page made for Dead Can Dance.
Definetly musically diverse, not to mention obscure and brilliant, Dead Can Dance (composed of just two band members, Lisa Gerrard and Brendan Perry) pushed the limits of popular music, until eventually stepping out of them altogether.
With Aion they created what was quite possibly their masterpiece. Reaching back further and further until eventually hitting the Renaissance, they settled around there as the basis for the music of this album. A surprising success, given the very different sounding nature of this album, Aion went on to become what I believe is their best-selling album (it's been a while since I glimpsed the numbers).
But let me say this now, in order for me to justify the rating I have to first and foremost say that this is by no means a rock band and this is by no means rock music, so be wary. Fans of Godspeed You! Black Emperor might feel right at home with some of these tracks (bear in mind that I did say some, not all), but this is the closest real comparison that I can make without going into Renaissance music, of which I, admitedly, know very little of. Still, I would like to emphasize that in my opinion the music is not weird so much as different. It has precedents, those precedents just happen to be several hundered years old.
Enough of that though, I'm not trying to scare anybody. This music is not necessarily as hard to "get in to" as with other bands, at least, again, in my own opinion. That said, before moving on to the review, I'd like to state one more thing. Reviewing these tracks by a numerical basis is just not in me. They are too varied, and each has it's charms and nuances. Due to these reasons, however, I will do a track-by-track.
The Arrival and the Reunion starts things off very nicely. The music is very epic sounding polychoral work. Much faster than conventional chant though, with Gerrard's signature glossolalia moving at a very rapid pace near the beginning, before slowing down near the end. This is one of the religious sounding ones, but keep in mind that there aren't any real lyrics in it, so if you're offended by being "preached to" in your music, then you don't have to worry about this one. This is one of my favorites, so don't be put off by the short run time.
Next is Saltarello, a reworking of a traditional piece of music. It's actually pretty catchy, with a nice Irish jig feel to it, and I get it stuck in my head quite frequently. No vocals in this one, not that they would really be necessary.
Mephisto isn't really meant as a separate track so much as a bridge. It's just a short line of melody that repeats over and over again, fading in, then out almost a minute later. Surprisingly enough, I kinda like it, and have been known to listen to it on repeat on occasion (but that's likely just my own weirdness further shining through).
And then we come to The Song of the Sybil, my personal favorite off of the album. This one is very religious sounding, obvious given that it's a reworking of a traditional Christian chant. It has a somber and mysterious sound to it, which I love. The lyrics seem to be actual words this time around, though not in english, and are about the apocalypse. Like I said, awesome.
Fortune Presents Gifts Not According to the Book (I love that title) is next. This is the first song track on here sung by Perry and the first with english lyrics (in fact's it's really one of the only two that can really be considered a song). The lyrics are taken from a poem of the same name written some time in the 15th century. This one is the most Renaissance-y of the lot, with some very nice guitar work. At six minutes it's also the longest.
After that comes As the Bell Rings the Maypole Spins, the second longest track (about 5:16). Gerrard is back on vocal duty this time, with her glossolalia back into it. This time, however, bagpipes join the fray, and there's a nice beat to this one as well. I regret to say that I really don't listen to this one all that much, but many fans hold it in very high regard. Either way it's a great piece of music.
The End of Words is a very gloomy sounding piece, with a bell ringing in the background while voices (male and female this time) chant over it. This and the next two tracks are often grouped together by fans, and I can see why (here's a hint: they're not exactly the most upbeat things you'll ever hear, unless, of course, you, like me, love the concept of the next track as much as I do).
And what better concept for a song than the end of the world? Yes, with a title like Black Sun, you might have guessed what this beauty was about. Steady timpani with brass parts over it, and Perry's vocals of the end of days (this is one of the two actual songs that I mentioned earlier) all serve to illustrate man's oncoming demise. Alright, you might have noticed that I take a giddy pleasure in this, but you might very well find it depressing, I guess it depends on your personality. Oh, and watch for that brass part at a bit over two minutes or so in, it gets me every time. Another of my favorites, in case you hadn't noticed.
And then, to round out the doom and gloom, comes Wilderness. This one goes back to the chant format, but it's just voices this time, so it's kind of like the Arrival and the Reunion (alright that one had some quiet drums, but you get the point), but not as exciting. It's by no means bad, but I don't listen to it all that often. Still, it's perfect for the two tracks it surrounds.
Which brings me to The Promised Womb, which, apart from having one of the worst song titles I've ever run across, is actually an extremely good piece of music (both, again, my opinion). Very somber sounding strings play while Gerrard sings over them. The strings bring to mind Godspeed to some extent, while still maintaining the more antiquated sound of the album. Another of my favorites.
The Garden of Zephirus is much like Mephisto in that it's a short repeating line of music used mainly to tie tracks together. There's some nice forest sounds in the background, but there's not much more I can say about it except that, oddly, like Mephisto, I like listening to it.
And last comes Radharc. This one is very arabian sounding, with traditional drums playing with interjections from strings and Gerrard's voice. Definetly a must-have for the soundtrack of your next arabian desert expedition... anybody? Well, I'd imagine CD or mp3 players probably wouldn't work very long in the desert anyway, but if they did this would be one to bring along. And though I might be slightly biased by my love of things arabian or arabianesque, I think this is a great way to end the album.'
The Good: - Great if you're into Renaissance, World or otherwise less mainstream music. - Consistant quality and diversity (aside from the predominant glossolalia) on the tracks. - When the end times come, you'll be ready with back-up music.
The Bad: - Very short as an album, not even forty minutes. - You might be turned off by the glossolalia (I love it, but am well aware that that might not be everyone's opinion).
The Ugly: - The Promised Womb's song title. Seriously, what would compel people to...?
Recommended Tracks (by track order): 1. The Arrival and the Reunion 4. The Song of the Sybil 8. Black Sun 10. The Promised Womb 12. Radharc
'A big shift in sound heralds Dead Can Dance's sixth album. This one's far more ethnic without any mediaeval references whatsoever. It's always an admirable thing to hear bands change style, and Dead Can Dance did it more than most during their 12 years, but this doesn't cut the mustard.
Lisa Gerrard and Brendan Perry play all instruments with no guest musicians at all on 'Labyrinth', unlike previous albums. It's just all too serene and pretty for my liking, although I do still like Perry's vocals enormously. In a way, he sounds like Frank Sinatra!
'Labyrinth' alludes to Greek mythology where Theseus lays the string to find his way back after his encounter with the Minotaur. Strangely, Pete Murphy and Bauhaus on 'In the Flat Field' sang 'Where is the string that Theseus laid' which leads me to the question of the big fight that Perry and Murphy had last year. What on earth's going on with the vendetta between this pair? On the verge of touring together, everything fell apart amidst a sea of vitriol and hatred. How unlikely eh?
'Toward the Within' is excellent - this is where Theseus had to journey to 'the within' to encounter Mr Minotaur. Very middle Eastern sounding with excellent percussion and wind instruments.
The best track 'Emmeleia' is a beautiful choral piece by Perry and Gerrard which unfortunately only lasts two minutes. It's the one time they sound perfect singing in conjunction. Perfect...
On the whole, I'm far happier listening to Brendan Perry on this album. Gerrard's vocals make this a bit of a dreary listen. The power and emotion from '85's 'Spleen and Ideal' to 88's 'Serpent's Egg' has vanished, leaving us with a pretty enough album but seriously lacking in emotional content.'
'Toward the Within is the first and for now only official live album released by Australian world music act Dead Can Dance. The album was recorded in one take in November 1993 in the Mayfair Theatre in Santa Monica, California. In addition to the two members of the band, Lisa Gerrard and Brendan Perry, the album features several guest musicians including Brendan Perry´s brother Robert Perry. Toward the Within was also released as a VHS/ DVD. The album and the Video differ slightly from each other but neither of them contain the full show from that evening. While most live albums features live versions of songs that have already been released on studio albums Toward the Within only features 4 out of 15 songs that have been released before making this a very worthwile purchase even for those who already have the studio albums.
The show is excellent all the way through. Even though this is the first time that I hear most of these songs they instantly click with me. The excellent high quality production and the intense performance by both Lisa Gerrard and Brendan Perry makes this album a rather special treat IMO. The 4 songs that have been released before are Yulunga (Spirit Dance), The Wind That Shakes the Barley, Cantara and The Song of the Sybil. The first two are taken from Into the Labyrinth (1993), while the two latter are taken from Within the Realm of a Dying Sun (1987) and Aion (1990) respectively. While the two first are hard to improve on because the originals are so fantastic the latter two are delivered in such a powerful way that they far outshine their original studio versions. Especially Cantara needs a special mention here IMO. Lisa Gerrard´s intense vocal performance on this track is probably her best performance ever. Almost aggressive and certainly emotional to the brim. Other favorites on this album for me are the three singer/ songwriter style Brendan Perry penned tracks I Can See Now, American Dreaming and Don't Fade Away. I just love his emotional singing and his 12-string guitar.
Toward the Within is an excellent live album release by Dead Can Dance. Don´t expect rock star attitudes or anything like that though this is a much more subtle and introvert performance. There are no talking between tracks for instance and my guess is that the performance is timed down to seconds. The audience do make noise between the tracks and it´s kind of deliberating when they do because the performance almost seems to perfect at times. A 4 star rating is well deserved.'
Summary: A very good tribal African themed album, with especially great percussion and singing.
'Spiritchaser is often considered to be one of Dead Can Dance’s weakest albums but apart from the reason that it’s very different to their earlier work and not as ethereal, I’ve never understood why. To me at least, this sounds absolutely fantastic. I’ve heard people say that Spiritchaser lacks the ‘beauty’ and ’atmosphere’ of previous DCD albums, but I strongly disagree - the beauty and atmosphere is still here, it’s just different. In fact there’s probably even more of it than in their earlier albums.
On Spiritchaser, instead of their traditional medieval/Eastern sound, DCD show a very strong tribal African and Caribbean influence. Despite the change of ‘scene’ it still has a very recognisable Dead Can Dance sound throughout.
The album is much more percussion heavy than previous DCD albums. While on their earlier releases they would sometimes use nothing more than a drum machine, five people worked on the percussion here. The percussionists do an incredible job of creating complex and very lively tribal rhythms. Combined with the synths, it always sounds very busy, deep and dense; there is no silence and always something happening to lead the album forward.
There are some really beautiful and memorable melodies played by a variety of instruments. To be honest I don’t know what exactly is being played half the time, as DCD have a habit of using ancient, forgotten or just very obscure instruments. Saying that, there are some very un-traditional instruments being played, such as the aforementioned synth and occasional electric guitar. However, these do not break the ethnic atmosphere at all, but actually succeed in adding DCD’s own uniqueness to it and modernising the sound.
DCD had two permanent members, Lisa Gerrard and Brendan Perry. Except for the percussion and a Turkish clarinet on one track, every instrument is played by them, and they composed all of the music. As well as being hugely talented multi-instrumentalists, they are both incredible singers. Lisa Gerrard in particular is easily one of the best singers I’ve ever heard. She usually sings in a deep and ethereal voice, but has the ability to sing in a huge range of different styles. While it may sound a bit of a cliché, her voice really does seem to soar above the music. Brendan Perry is also great. His singing is not quite as spectacular, but it contrasts well with Lisa’s as it is more grounded and ‘ordinary’, sometimes sounding a bit like Jim Morrison.
On the other DCD albums, the songs are usually sorted neatly between Lisa’s atmospheric ethereal songs and Brendan’s (still atmospheric) rock/pop songs. On Spiritchaser however, they mix both styles together with them both singing on the same songs, usually with Brendan singing back-up vocals. The two different styles combine perfectly to create very atmospheric yet still melodic songs. There are two exceptions: ‘Song of the Dispossessed’ which is a classic Brendan Perry rock song with a strong Caribbean beat, and ‘Devorzhum’ which ends the album. While it is only a few notes being repeated for over 6 minutes, Lisa Gerrard gives a stunningly haunting vocal performance, making it one of the album’s best tracks.
Spiritchaser is not without its problems though. Usually one of the best things about Brendan’s songs is his fantastic metaphorical lyrics. On Spiritchaser he only sings in English on one track (apart from a brief spoken word section on ‘Song of the Stars’), and while his lyrics here are good they are far from his best and it is disappointing to only have them for one song. Lisa Gerrard’s singing is also held back slightly by the heavy drumming (except on ‘Devorzhum’) so isn’t quite as impressive as usual.
Overall though, these are only minor gripes, and overall the album is incredibly rich in atmosphere with some great melodies and easily worthy of many repeat listens.'
Written byusername345 @ www.sputnikmusic.com
Этот дуэт* субтильного англичанина и хрупкой женщины с болезненно-утонченным лицом и удивительным голосом - не самый мой любимый коллектив такого плана; есть, в конце концов, The Angelic Process, и уж совсем на недосягаемой высоте стоит гений L'Âme Immortelle. Но когда душа требует музыки, наполненной потусторонним шаманским очарованием, или просто хочется вспомнить, какой непосредственной и прекрасной некогда была готика, - включаю именно Dead Can Dance.
* Там, кажется, когда-то были ещё какие-то люди, но это не важно, совсем не важно.
Dead Can Dance - SACD Box-Set (2008) [9 Remastered CDs, MFSL Japan Vinyl Replica] [SACD-Rip, 24Bit/88.2kHz]
1. The Fatal Impact (03:24) 2. The Trial (03:53) 3. Frontier (03:15) 4. Fortune (03:48) 5. Ocean (03:22) 6. East of Eden (03:25) 7. Threshold (03:32) 8. A Passage in Time (04:05) 9. Wild in the Woods (03:49) 10. Musica Eternal (03:55)
1. De Profundis (Out of the Depths of Sorrow) (03:59) 2. Ascension (03:05) 3. Circumradiant Dawn (03:17) 4. The Cardinal Sin (05:28) 5. Mesmerism (03:52) 6. Enigma of the Absolute (04:14) 7. Advent (05:16) 8. Avatar (04:34) 9. Indoctrination (A Design for Living) (04:12)
1. Anywhere Out of the World (05:07) 2. Windfall (03:31) 3. In the Wake of Adversity (04:14) 4. Xavier (06:15) 5. Dawn of the Iconoclast (02:08) 6. Cantara (05:58) 7. Summoning of the Muse (04:57) 8. Persephone (The Gathering of Flowers) (06:34)
1. The Host of Seraphim (06:18) 2. Orbis de Ignis (01:35) 3. Severance (03:23) 4. The Writing on My Father's Hand (03:49) 5. In the Kingdom of the Blind the One-Eyed are Kings (04:12) 6. Chant of the Paladin (03:48) 7. Song of Sophia (01:24) 8. Echolalia (01:16) 9. Mother Tongue (05:16) 10. Ullyses (05:09)
1. The Arrival and the Reunion (01:38) 2. Saltarello (02:34) 3. Mephisto (00:53) 4. The Song of the Sibyl (03:45) 5. Fortune Presents Gifts Not According to the Book (06:03) 6. As the Bell Rings the Maypole Spins (05:16) 7. The End of Words (02:06) 8. Black Sun (04:56) 9. Wilderness (01:24) 10. The Promised Womb (03:23) 11. The Garden of Zephirus (01:18) 12. Radharc (02:49)
1. Yulunga (Spirit Dance) (06:55) 2. The Ubiquitous Mr. Lovegrove (06:17) 3. The Wind That Shakes the Barley (02:51) 4. The Carnival is Over (05:26) 5. Ariadne (01:56) 6. Saldek (01:07) 7. Towards the Within (07:09) 8. Bird (05:03) 9. Tell Me About the Forest (You Once Called Home) (05:43) 10. The Spider's Stratagem (06:41) 11. Spirit (04:57) 12. Emmeleia (02:05) 13. How Fortunate the Man with None (09:14)
1. Rakim (06:25) 2. Persian Love Song (02:56) 3. Desert Song (04:21) 4. Yulunga (Spirit Dance) (07:11) 5. Piece for Solo Flute (03:34) 6. The Wind That Shakes the Barley (03:11) 7. I am Stretched Out on Your Grave (04:38) 8. I Can See Now (02:57) 9. American Dreaming (04:54) 10. Cantara (05:16) 11. Oman (05:49) 12. Song of the Sibyl (04:31) 13. Tristan (01:48) 14. Sanvean (04:05) 15. Don't Fade Away (06:15)
1. Nierika (05:44) 2. Song of the Stars (10:13) 3. Indus (09:22) 4. Song of the Dispossessed (05:00) 5. Dedicacé Outò (01:09) 6. The Snake and the Moon (06:11) 7. Song of the Nile (08:00) 8. Devorzhum (06:14)