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Into the Labyrinth Import

4.5 out of 5 stars 84 customer reviews

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Audio CD, Import, September 14, 1993
$26.44 $0.20

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Editorial Reviews

Their goth-sounding name and dour visual image aside, the prolific duo of Brendan Perry and Lisa Gerrard produce wildly eclectic but utterly unique music. Their painstakingly crafted albums encompass numerous arcane genres, from European classical music to ancient Celtic and Middle Eastern folk styles, often employing authentic antique instruments to achieve their ambitious, emotive soundscapes. The 1993 effort Into the Labyrinth found Dead Can Dance mixing their medieval leanings with more exotic Eastern influences on "Saldek" and "Yulunga," while exploring Celtic balladry on the traditional "The Wind That Shakes the Barley" and theatrical songcraft in their interpretation of Bertolt Brecht's "How Fortunate Is the Man with None." --Scott Schinder

Track Listings

Disc: 1

  1. Yulunga (Spirit Dance)
  2. The Ubiquitous Mr Lovegrove
  3. The Wind That Shakes The Barley
  4. The Carnival Is Over
  5. Ariadne
  6. Saldek
  7. Towards The Within
  8. Tell Me About The Forest (You Once Called Home)
  9. The Spider's Stratagem
  10. Emmeleia
  11. How Fortunate The Man With None

Product Details

  • Audio CD (September 14, 1993)
  • Original Release Date: September 14, 1993
  • Number of Discs: 1
  • Format: Import
  • Label: Wea International
  • ASIN: B000002MM8
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (84 customer reviews)
  • Amazon Best Sellers Rank: #18,903 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By M. Mierzwa on November 18, 2005
Format: Audio CD
About the Band:

Dead Can Dance is considered the seminal example of the ethereal or heavenly voices genre. In fact, the name of the label, 4AD, which carried many of the 1990s DCD releases, is sometimes also used to describe this genre of music, which is a fusion of subtle electronics, vocals, drums, world music, and a near limitless count of instruments. Brendan Perry sometimes has been described as a gothic Frank Sinatra. Lisa Gerrard's enchanting vocals are often sung in a language only known to Lisa. I count myself among the many that hold these two musicians in the highest esteem.

About the Album:

Compared to more recent albums that are loaded with bonus tracks, the 50-minutes of Into the Labyrinth would seem short, if it weren't for the fact that I like to listen to this album over and over again. I count this album as one of my all time favorites, and certainly my most prized Dead Can Dance CD.

One of the nicest things about this album is that it features nearly equal amounts of both Lisa's and Brendan's ghostly vocals. On some tracks they accompany each other, while others feature only one of the artist's chilling or mystical sounding vocals. Simply put, this is beautiful music to relax to. I honestly give this album my highest recommendations!

Two tracks I'd recommend sampling: "Towards the Within" (featuring Lisa's vox w/ Brendan backing) and "Tell Me About the Forest" (featuring Brendan's vox). I believe they best represent the range of songs you can expect with this album. Please note that while all the tracks feature vocals, the lyrics for only those sung in English are included in the liner notes.
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Format: Audio CD
There are a few artists today that you can plug in to and fully appreciate a composer's marriage of lyrics against musical arrangements. Tori gets it, Trent Reznor will bathe you in it and Chris Martin is the most authentic about what it all means. Yet Dead Can Dance is the most creative and risky, with it's unpredictable presentation and delivery. It does not stick to one predictive rhythm or precussion beat; it takes risks with different languages, draws passage from hymnals and reinassiance literature and retells it or adds a musical arrangement that is unyielding and unapologetic with the antagonist and protagonist in their story telling and conclusions in their music. "Into the Labyrinth" and "The Spirit Chaser" are must haves for any Dead Can Dance fan.

For those that are not familiar with DCD, doing a search for them, you will find reviews under "goth" "metal" "new word" "Neochristian" "alternative." The reasoning is that defining their music is indicative of the title of their second track "ubiquitous" (ala "The Ubiquitous Mr. Lovegrove"). I first became acquainted with Dead Can Dance when a boyfriend played it for me, when I wanted a backdrop to camoflague any noise that a roommate might hear upstairs. "The ubitquitous mr. lovegrove" was the selection he selected. I got lost in the sound of it, and it wasn't until later that giving it another listen, that I understand the double-entrende in it and forshadowed the end of our relationship. Yet in that moment, I kind of got lost with it. The sound is intense and it ushers georgian chants (reminiscent of Benectdine monks) against an oboe, strings and percussion drum arrangements while Brendan talks about getting deceived and confronting his truths against lingering residual regret.
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Format: Audio CD
I love dead can dance. The combination of Lisa gerrard's hauntingly beautiful vocals (which I've heard described as kind of like diamanda galas' except pleasant) and a truly amazing variety of instruments. "Yulunga" showcases lisa's true abilities, and I am just now beginning to appreciate brendan perry's vocals in songs like "the ubiquitous mr. lovegrove". I will never understand why people claim this music is "gothic" or even dark. The lyrics are usually uplifting, and in some cases the music comes pretty damn close to lounge music. Whether you're into instrumental, world, or just looking for music thats a little different from the standard, I would recommend any of DCD's albums.
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Format: Audio CD
After many spins in my CD player, this CD has become one of my favorite DCD albums. Of course, when I first got the CD, I would never have said that. It just seemed really strange to me then. Luck for me, this CD was not my introduction to DCD, which was The Serpent's Egg (their finest, in my opinion, due to the marvelous song "The Host of Seraphim"). So, while I recommend this album to all true music lovers, you should be aware that it was a turning point in DCD's musical career, and it is very different from their earlier more European, Classical works, which I heartily recommend you sample first. The best songs on the album for me are: "Ariadne," "Yulunga," and "Towards the Within." A lot of people I know also like "The Ubiquitous Mr. Lovegrove" and "The Carnival is Over." Finally, I would like to point out that this is DCD's best selling album but not necessarily their absolute best overall, although I really love it.
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