Search Results for:

DEAD CAN DANCE

Dead Can Dance

Into The Labyrinth

    Into The Labyrinth (1993) is Dead Can Dance’s sixth album, one of their most successful releases, its title a reference to the Greek legend of Theseus going into the Labyrinth to slay the Minotaur. It came when Brendan Perry and Lisa Gerrard had embarked on more individual personal paths, now writing their songs independent of one another, and on separate continents. Engineered and produced by Brendan at his Quivvy Church studio in Ireland, the album is an audiophile benchmark and also noted for being their first without any guests, instead they played all the instruments.

    The 2016 LP version is also a double LP like the original release, but comes with brand new cover artwork and an altered track sequence.

    Dead Can Dance

    Aion

      With the industrial textures of their eponymous debut behind them, the fifth album from Dead Can Dance (Aion, released in 1990) is perhaps the most focused and concise of their albums. Predominately recorded at their own studio in Southern Ireland and featuring guest vocals from soprano David Navarro Sust to add to Brendan and Lisa’s opposing yet complimentary styles, the Middle Ages and the early Renaissance are a core influence; an atmosphere amplified by the album’s cover, a section from the Earth phase of Dutch painter Hieronymus Bosch's triptych, The Garden of Earthly Delights.

      Dead Can Dance

      The Serpent's Egg

        Dead Can Dance’s fourth album, The Serpent’s Egg (1988), came during a prolific period for the band, being released just four years after their debut. It was also the first they made at their own studio which, according to Brendan Perry, allowed them to continue to grow in “their own self-proclaimed direction”. A minimal yet rather grandiose record which includes fan favourites ‘The Host Of Seraphim’ and ‘Ullyses’, The Serpent’s Egg is a triumph and perhaps the finest example of where Brendan and Lisa’s diametrically different influences are overcome to form a new, almost synaesthetic whole.

        Dead Can Dance

        Within The Realm Of The Dying Sun

          ‘Within The Realm Of A Dying Sun’: With Dead Can Dance now firmly centred round the core of Brendan Perry and Lisa Gerrard, they released their third album ‘Within The Realm Of A Dying Sun’ in the Summer of 1987, showing both a continued maturity in their sound and rise in their popularity. Recorded during an intense period of musical and personal growth for the band, the album’s eight songs are split equally between the duo with the first half being sung by Brendan and the second Lisa. At the time, Q Magazine described the album as combining “superb voice, ethereal church choirs, sweeping strings and a brochure of ethnic music: Middle Eastern, Indian, Moorish, anywhere but London’s East End where the couple resided.” The album’s cover only adds to the album’s aura of mystery with a haunting photograph of the family grave at the Père-Lachaise cemetery in Paris of famed French biologist François-Vincent Raspail.

          Dead Can Dance

          Garden Of Arcane Delights & Peel Sessions

            ‘Garden Of The Arcane Delights’ / ‘The John Peel Sessions’: ‘Garden Of The Arcane Delights’ is the only EP released by Dead Can Dance, coming out in 1984 and acting as a bridge between their first two albums. Its sleeve a sketch by Brendan Perry, depicting “primal man deprived of perception, standing within the confines of a garden containing a fountain and trees laden with fruit... a Blakean universe in which mankind can only redeem itself, can only rid itself of blindness, through the correct interpretation of signs and events that permeate the fabric of nature’s laws.”

            This new expanded version sees the EP faithfully pressed on to one piece of a vinyl at 45rpm with a second disc being added, compiling both of the band’s sessions for John Peel, recorded in the same time period.

            Dead Can Dance

            Spleen And Ideal

              Dead Can Dance’s second album, Spleen And Ideal (1985), saw them experiment more with instrumentation, abandoning guitars in favour of cello, trombone and timpani. Widely acclaimed, there was now a richness of unification between voice and music, lyrics and structure, showing they had a concrete sense of the aural ideal they were striving towards. It’s title was taken from Spleen et Idéal, a collection of poems by 18th century French poet Charles Baudelaire.

              The 2016 LP version is a repress of the original release.

              Dead Can Dance

              Dead Can Dance

                On their eponymous debut album, originally released in 1984, Dead Can Dance successfully harnessed a “bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. If the range of the group is staggering, then so too is their disciplined economy, no song lasting more than four minutes or degenerating into formless cacophony. With the five group members continually interchanging instruments, only the vocals of Lisa Gerrard and Brendan Perry remain as a constant focus”.

                The 2016 LP version is a repress of the original release.


                Latest Pre-Sales

                129 NEW ITEMS

                E-newsletter —
                Sign up
                Back to top