Serpent's Egg [Import]

Dead Can Dance | Format: Audio CD

Product Details

• Audio CD (July 1, 2008)
• Original Release Date: 2008
• Number of Discs: 1
• Format: Import
• Label: Phantom Sound & Vision
• ASIN: B0018OAAZC
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (40 customer reviews)
• Amazon Best Sellers Rank: #1,120,459 in Music (See Top 100 in Music)

Editorial Reviews

Review

The fourth Dead Can Dance album, THE SERPENT'S EGG, continues the band's evolution away from tradition rock/pop song structures. The tracks are instead built on sustained chords, vocal harmonizing, and brittle-sounding string instruments. "Orbis de Ignis" is almost a cappella, the only music being a bell struck between verses, with the ethereal voice of Lisa Gerrard (and others) skittering over the surface. Along with the insistent tribal drumming of "Mother Tongue," which eventually evolves into a wordless chant by Lisa Gerrard, the best tracks here are two featuring Brendan Perry's vocals, "Severance" and "Ullyses." The first opens on an ominous drone as the song's narrative tells of a fading community (or civilization, even). The second features some of Perry's most interesting work with the hurdy-gurdy, which is echoed by a string section. Also of note is the creepy vocal interplay in "Echolalia." For fans of This Mortal Coil, "Song of Sophia" distinctly recalls that band's "Song to the Siren." This is maybe not the best Dead Can Dance record to begin with--it is certainly the group's most insular--but for fans it is another fascinating trip to the dawn of Western music. --Muze

Product Description

Originally issued in 1988 Serpent's Egg was a move forward for Dead Can Dance as they took ancient or various musics from around the world as primary sources, with Lisa Gerrard singing glossolalia, giving the duo a very distinctive style. As a result, their later albums sound quite different from the first three. Critics have labeled these as neoclassical, ethereal, or dark world music. Remastered from the original analogue tapes specially for this vinyl edition and pressed on 180g VINYL, this is a LIMITED EDITION of 5000 copies, with heavyweight board jacket and newly designed inner bag. --This text refers to the Vinyl edition.

Customer Reviews

Most Helpful Customer Reviews

68 of 73 people found the following review helpful:

5.0 out of 5 stars a treasure that has sunk beneath heavy tides and waves, January 20, 2001

By 

Lilien (Croatia, Europe) - See all my reviews

This review is from: Serpent's Egg (Audio CD)

I do not own many CDs, and mostly because I never seem to find music I truly enjoy or even appreciate. Dead Can Dance has released many albums, but this one is something so different. "Aion" and "The Serpent's Egg" are the most treasured by me. After that, Dead Can Dance have seemed to drift off to other realms and cultures.

I find that "The Serpent's Egg" has a deep element of fear and sorrow. A serious maturity! Lisa Gerrard and Brendan are at their most developed musically and lyrically.

I am in love with "The Writing on my Father's Hand". I have never heard such a BEAUTIFUL, ELEGANT, POIGNANT piece in my whole life. Lisa, you are very lucky to have such a gorgeous voice and to be able to share it with the whole world. I also love mystical "Orbis De Ignis" with Brendan. Brendan has an artful way of representing his song called "Ullyses". His imagination and yearning to sing of old tales that were told throughout the world is so admirable.

When I listen to Dead Can Dance I hear a sincere desire to open the hidden doors of religions and myths. Dead Can Dance has been searching and searching all over and everywhere! Maybe they have found what they are looking for, because I know I have found a treasure that's sunk beneath tides and waves.

I LOVE this album "The Serpent's Egg"!

25 of 27 people found the following review helpful:

5.0 out of 5 stars DCD continues to evolve, and the results are surprising, June 2, 2001

By 

Christopher Culver - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   

This review is from: Serpent's Egg (Audio CD)

Coming two years after their perfect WITHIN THE REALM OF A DYING SUN, Dead Can Dance's 1989 album THE SERPENT'S EGG shows the band continuing to evolve. Here, Dead Can Dance reached an interesting turning point. Lisa Gerrard's vocals begin to show the ethnic influence that would come to the front in 1993's INTO THE LABYRINTH, while the interest in older musical instruments foreshadows the renaissance-themed AION.

This album is especially remarkable because it departs from the use of orchestral musicians and lush atmospherics to give a more personal glimpse of Lisa and Brendan's partnership.

THE SERPENT'S EGG opens with "The Host of Seraphim," which may be their finest song ever. Featuring Lisa's pious wailing over the backing vocals of David Navarro Sust and Brendan Perry's drums, this song is literally heavenly.

As with much of Dead Can Dance's output, individual songs can be noticed as either Brendan's or Lisa's, such as the half-and-half split of WITHIN THE REALM OF A DYING SUN. Here, it's obvious that Brendan has provided "Severance," "In the Kingdom of the Blind...", and "Ulysses." Lisa clearly is the creator of "The Writing on My Father's Hand," "Song of Sophia," and "Mother Tongue."

Nonetheless, for the first time here are several tracks where Lisa and Brendan are equal, such as the aforementioned "The Host of Seraphim," as well as "Orbis de Ignis" and "Chant of the Paladin."

While not Dead Can Dance's best album, which is arguably WITHIN THE REALM OF A DYING SUN, this album should not be the last you purchase if you are a fan of this unique duo.

13 of 14 people found the following review helpful:

5.0 out of 5 stars The 'in-between' release, February 2, 2000

By 

DAC Crowell - See all my reviews

This review is from: Serpent's Egg (Audio CD)

This album sits right between two 'pillars' of Dead Can Dance's work, in my opinion: "Within the Realm of a Dying Sun" and "Aion". And because of this, it shares some elements with both. The medieval atmospherics of the latter begin to come in strongly here, but there's still a major focus on European classicism present, as well. The sound, also, is right between those two in feel. It's an amazing release, and perhaps one of their darkest-sounding as well, but my suggestion would be to pick up those other two, then come back here for the treat of hearing how it all fits together. But like both of those, there's no duds, and we're clearly heading toward the 'unified' release style that began with "Aion" and really hit its pinnacle with their final album, "Spiritchaser".