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  • Dead Can Dance [Re-Mastered]
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Dead Can Dance [Re-Mastered] Hybrid SACD - DSD, Original recording remastered

45 customer reviews

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Audio CD, Hybrid SACD - DSD, Original recording remastered, July 22, 2008
$23.99 $22.68
Audio, Cassette, March 22, 1994
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Editorial Reviews

On their eponymous debut, released in 1982, they successfully harnessed a bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. Their range is staggering, as is their disciplined economy, with no song lasting more than four minutes or degenerating into formless cacophony.

Disc: 1
1. The Fatal Impact
2. The Trial
3. Frontier
4. Fortune
5. Ocean
6. East Of Eden
7. Threshold
8. A Passage In Time
9. Wild In The Woods
10. Musica Eternal
Disc: 2
1. Carnival Of Light
2. In Power We Entrust The Love Advocated

Product Details

  • Audio CD (July 22, 2008)
  • Number of Discs: 1
  • Format: Hybrid SACD - DSD, Original recording remastered
  • Label: 4ad Records
  • ASIN: B0015YFOGA
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (45 customer reviews)
  • Amazon Best Sellers Rank: #355,735 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

21 of 22 people found the following review helpful By Bachelier on October 18, 2005
Format: Audio CD
Dead Can Dance's debut self-titled album has elements of a partnership still finding voice, and the great promise of things to come. The primary refreshing element here was that the group was not afraid to experiment, and unlike many post-punk or natal-gothic bands, was not afraid of polished vocals informed by both polyphony and plainchant. In addition the band's use of unfamiliar instruments, particularly with percussion, is also a welcome departure from the narrow constraints of independent and DIY music of the early 80s.

However, fans of latter DCD, particularly "Aion," may find this original album cacophonous and discordant, for it is clear that both Joy Division and The Swans were on the turntables of Lisa Gerrard and Brendan Perry during these early years. Early Dead Can Dance fans often enjoy the first three albums in rotation with the omnipresent The Cure and the vocally similar Switchblade Sister. Latter DCD fans often enjoy a rotation with Enigma and Cocteau Twins, although I believe the band itself would eschew such bucket selections, as their own musical growth and trajectory are what made them distinct in the first place.

This is a welcome, appreciated work that may be problematic for some.
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19 of 20 people found the following review helpful By Mark Champion on April 19, 2006
Format: Audio CD Verified Purchase
The DCD debut sounds almost nothing like its successors, but it in many ways betters them all. The production is of the time - - heavily chorused bass, a drum machine, echoey guitars and voice (and everything else) - - but the album even today transcends the time. Along with the early Cocteau Twins and Xymox (er, Clan Of . . .) it defined the 4AD ethos and spawned a lot of mimics. But there is something primal about this album. Tracks like "A Passage In Time'; "Threshold"; "Fortune"; the beautiful, haunting, (and oceanic) "Ocean" - - there still is nothing out there sounding quite like them. Beautiful cover, too. Brendan Perry and Lisa Gerrard created a masterpiece the first time out, and if you can get past this one there are some great ones to follow. The CD reissue appends the album's successor, THE GARDEN OF ARCANE DELIGHTS EP (but not its distinguished cover) and it's just as good, particularly "Carnival Of Light" with Gerrard's soaring vocals, and "In Power We Trust The Love Advocated" with its shimmering keyboards and Perry's Jim Morrison-like intonation. It all still astounds.
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19 of 22 people found the following review helpful By DCD worshipper on February 2, 2005
Format: Audio CD
First of all, this album contains the song Ocean, and if every other song was terrible, that one asset would be enough to make this the greatest album in history. This is far and away DCDs finest work, that the subsequent albums have never quite lived up to, although Spleen and Ideal comes close.

The level of originality on this record is truly staggering. I remember hearing this for the first time in the 80s, and I was completely shocked that music like this could have been taught up by a mortal.

I will never stop loving this.

I remember thinking that this band was too good to hit the big time, but that it would take the world another twenty years to realise the greatness of Dead Can Dance, and I am beginning to think I was right.
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8 of 8 people found the following review helpful By Christopher Culver TOP 1000 REVIEWER on June 10, 2001
Format: Audio CD
Dead Can Dance's first album, eponymously titled and released in 1984, meshed well with the industrial production and female vocal trends of the 4AD label. Nonetheless, it's different from anything the band did after and is a clearly immature effort.
Dead Can Dance's early sound was raw, nocturnal, and a product of the post-goth musical landscape of early 80's England. There are foreshadowings of the classical/baroque and world music influence that the band would later incorporate, but the album is firmly grounded in rock production.
Because Brendan Perry was the less-shy member of the team in the beginning, he is the center of several songs on the album. "The Trial," "Fortune," and "East of Eden" display his curious lyricism.
Lisa Gerrard's voice was much rawer in the early days of DCD, and the classic "Frontier" (later made a music video on the 4AD compilation LONELY IS AN EYESORE) and "Threshold" display a side she later moved past. The out-of-body experience "Ocean" is just as powerful as her later works.
Tacked onto the CD release is the four-song "Garden of the Arcane Delights" EP, which catches the band at the turning point between their first album and what came after. The first track, "Carnival of Light," is a Lisa-centered piece with vocals and fantastic yangqin playing over what sounds like darabourkas. Following are two Brendan songs. The first "In Power We Entrust the Love Advocated" is a moving song which went on to enjoy a myriad of live encarnations. The second, "The Arcane," is deep and threatening, and harkens back to the band's first album. The EP ends with more Lisa Gerrard and her yangqin on the exotic "Flower of the Sea.
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5 of 5 people found the following review helpful By Mike Chadwick on March 4, 2004
Format: Audio CD
While this great duo is most known for an upgraded mixture of traditional sounds from all around the world with a bit of electronic,the self-titled debut shows all where from it came...Dead Can dance in the early eighties was an young and ambitious group with an idea of taking new wave Joy Division styled music up to higher level of art and making something fresh out of something popular at the time.
Duo on this album sounds in some moments like on "Spleen and ideal" or "Aion".The sound is mostly dominated by Brandon Perry's noisy guitar,drum machine and expressive bass riffs (a bit in peter Hook's style)."Frontier","Arcane","fatal impact" or "Threshold" define the early band's sound.Brandon's a bit distant vocals are followed by the spooky Lisa Gerrard's soprano.i believe that "Ocean" is one of the most haunting and scary tracks in history.Turn of the light and listen to it loud.i am sure that you will be scared when hte creepy Lisa's vocal will be coming straight to your ear...It is funny because even with the use of few instruments like Bass,drums and bass Dead Can Dance sounds like Dead Can Dance.4 last tracks are taken from the ep "garden of the arcane delights" - they sound much more essential,but i must say that i was not dissapointed by any track from here.
If you like dark new wave music or gothic you must listen to it.there are only few albums that will make you look nervously around searching some monsters or withches while listening it.It's creepy and beautifully haunting music.Highly recomended
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