Customer Reviews

Dead Can Dance

5 star:		(19)
4 star:		(10)
3 star:		(2)
2 star:		(4)
1 star:		(0)

 

 

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.

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.

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.

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."

Not the best introduction to Dead Can Dance, I would suggest getting their 1987 masterpiece WITHIN THE REALM OF A DYING SUN, but definitely worth picking up if you're curious about the origins of this unique duo.

Dark, rocky, and somewhat abrasive, DCD's debut is anything but the medieval ambiance many have come to expect from this band. No wonder, since Brendan made his first musical experiences in a punk band. Recalling the sound of Cocteau Twins' debut "Garlands", "DCD" is also a very sparsely produced album; thin electronic percussion, fuzzy guitar riffs, and Brendan's tired-of-life voice are the dominant components on most of the songs. Still, there are also some calm tracks with Lisa's voice, but I think the more aggressive pieces like "The fatal impact", "The trial", and "A passage of time" provide the main interest throughout the album. "Threshold" rocks harder than anything the band has ever done. After all, it ends with the wonderful, appropriate "Musica eternal". The last four tracks are taken from the EP release "Garden of the arcane delights", originally released in 1984. Here, the music is rather subdued and paves the way for DCD's subsequent album "Spleen and ideal" The densely percussive "Carnival of light" and the majestic "In power we.." are the highlights here. A must-buy for fans of the early 4AD sound.

When this album came out in 1984 I was already listening to other Death Rock and Gothic music. One day I was in my favorite record store and the owner said "I think you might like this one." He pulled out this black record cover, slipped out a record with this strange symbol in the middle and put the needle down. He played East of Eden which was the first song of what became side two. The original record didn't have side one or two marked. Just the DCD symbol. Within the first three strums of the guitar I had my wallet out and my money on the counter. I wore that album out. I bought the CD when it came out. I lost that one when my house was robbed. Bought another one as soon as possible. I have listened to this album at least a thousand times. The music is ingrained in my soul. I have put in my will to play "In Power We Entrust the Love Advocated" at my funeral. My wife wouldn't let me play any DCD at my wedding. This album is in my albums that changed my life list. Those records are in no certain order; "The Pleasure Principle" Gary Numan, "Oxygene" Jean Michael Jarre, "Garlands" Cocteau Twins, "Dead Can Dance" DCD, "Only Theater of Pain" Christian Death, "Mind: The Perpetual Intercourse" Skinny Puppy, and of course The Rocky Horror Picture Show.

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

A year and a half ago, I bought this CD. This was the first Dead Can Dance album I ever bought. I had to listen to it a couple of times to really get to appreciate it, but I have been absolutely in love with it ever since then. I have every one of DCD's albums, but this one is by far the greatest, in my opinion. I keep experimenting with other songs, other bands, and other genres, but I keep coming back to this CD. I recommend it with all my heart.

This album is one of those rare jewels that shines from the first song to the last. It transcends time, making it ever refreshing and classic. I could listen to it over and over again, and never get tired of it. It's a wonder to me how this music is so elegant, yet so primal and wild. The voices of Brendan Perry and Lisa Gerrard soar seamlessly with the ambient atmosphere, bell percussion and tribal rhythms. From the dark and intense Fatal Impact to the haunting Musica Eternal, this album creates an ethereal tapestry that can draw you into another world.

It may be rawer than some of its successors, but personally I wouldn't have it any other way. I think that's exactly what makes this album so spirited and invigorating, in a different way from the others. That raw quality gives it an eerie power, like a look into the primordial heart of nature. If you're new to DCD, it can't hurt to start here. After all, I did, and I'm devoted.

Similar to what other "goth" bands of the time were releasing, this is not the greatest DCD album (but how can you compare anything to albums like Aion and The Serpent's Egg). This is definitely worth listening to, especially if you want to hear Lisa sing in English (at least more often than she does now). There are some very powerful songs here, espcially "In Power We Entrust The Love Advocated", which is one of Brendan Perry's best songs.