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Dead Can Dance [Re-Mastered] | ![Dead Can Dance [Re-Mastered]](http://ecx.images-amazon.com/images/I/41dZ7ww5A6L._SL160_.jpg)
 enlarge | Artist: Dead Can Dance
Label: 4ad Records
Category: Music
List Price: $19.99
Buy New: $12.58
You Save: $7.41 (37%)
New (26) Used (5) from $12.58
Avg. Customer Rating:  31 reviews
Sales Rank: 45581
Format: Hybrid Sacd, Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.1
Dimensions (in): 5.7 x 5.4 x 0.4
UPC: 652637270532
EAN: 0652637270532
ASIN: B0015YFOGA
Release Date: July 22, 2008
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | The Fatal Impact | | • | The Trial | | • | Frontier | | • | Fortune | | • | Ocean | | • | East Of Eden | | • | Threshold | | • | A Passage In Time | | • | Wild In The Woods | | • | Musica Eternal |
Disc 2
| • | Carnival Of Light | | • | In Power We Entrust The Love Advocated |
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| Editorial Reviews:
Amazon.com
This 1984 release set the pace for the band's career, helped define the tone of the 4AD label, and opened the door for a genre that includes Delirium, Deep Forest, and Enigma. While much less dense and textural than more recent DCD, this album begins the group's study of combining global rhythms and instrumentation from various musical eras with contemporary sounds. Here they explore the somewhat Gothic electronic and rock instrumentation of post-punk European pop. Featuring the lush, sonorous vocals of Brendan Perry and Lisa Gerrard, this is a dark, mysterious, and compelling release. Fans of later works will not be disappointed; newcomers will find this groundbreaker a good place to meet Dead Can Dance. --Andy Stevens
Product Description
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.
Album Description
SACD Hybrid Remastered CD of the self titled Dead Can Dance. On the evidence of this, the band's first record, Dead Can Dance can clearly be seen as a "Goth" group in the vein of Bauhaus, et al. The band's sound here is much more clearly based in the "contemporary"--Dead Can Dance uses traditional song structures, the group's instrumentation is almost entirely synthesized, and co-vocalist Lisa Gerrard's voice rarely gets into the truly ethereal, other-worldly realms that it would on later albums. Perhaps the most surprising single song on the album is "East of Eden." Built on a picked (and heavily echoed) guitar line and a rolling drum pattern, it is probably the only track in the DCD catalogue that can be described as relentlessly perky. 10 tracks.
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| Customer Reviews: Read 26 more reviews...
 Hands Down their best.. August 5, 2008
Since only TOWER carried IMPORT LPs here back in the 1980's. I bought this as they were unloading the boxes to display at the store-The cover-and that it was 4AD was good enough for me. Maybe I was the first in seattle to own it , since 4AD was still largely underground and word of mouth. I was absolutely blow away the very thoughtful and profound lyrics.
Brendons voice, conviction and choice of arrangements at - what 25 years old made him seem far beyond his years.
I was delighted that i found music that was soul stirring , mature, could be nonconforming yet interesting.
Most of the stuff out then was junk;
And Lisa's voice sounds a bit young and shrill- but I like - yet she was brave to try the style that she did. I also love her playing the chinese string instrument which was prominent on DCD 1-and then disappeared after SPLEEN
The first album had such freshness and raw sound-their gradual creep into music for new agers and the bombastic music lost by me by the time ITROADS came out. I d enjoy SPLEEN and IDEAL though
The music on DCD is like hearing it for the first time all over again so many more details. and brings great joy
what I dont understand is if this s an 'audiophile' CD, why is the sample size only 44 khz like ordinary CDs, and the sampling rate is the same-24 mhz?
Anyway , thanks Ivo for bringing these out- and my very highest regards to both Brendan and Lisa and wish them both good FORTUNE in the future, for bring in a strong light for me a that time.
 The beginnings of genius, but probably not the best place to start April 14, 2007
If you are a fan of the group from any of their later phases, this album, their first, may come as a bit of a suprise. It bears a closer family resemblance to The Cure and 80s goth and industrial pop than to DCD's later sound on Into the Labyrinth or Aion. As such, it is not the best starting point for the casual fan or someone drawn to investigate the group based on their overall reputation.
Having said that, this is a pretty good album. As with all their albums, it evenly showcases the two primary group members, Lisa Gerrard and Brendan Perry. Unlike their later albums, most songs utilize standard 80s new wave throbbing bass, echoing drum machine, and distorted, shimmering electric guitar overlays. Several of Lisa's tracks actually have English lyrics in addition to her usual glossolalia (wordless pseudo-language). Distinct from their contemporaries, numerous tracks feature Lisa on the Yang Ch'in, a kind of Chinese hammer dulcimer, which adds an otherworldly quality to their sound and which continued to be a staple of their future oeuvre. This album also contains the track Threshold, probably Lisa's fiercest and most passionate performance before Cantara on Within The Realm of a Dying Sun (though check out the live radio performance version of Threshold on their box set for an even rawer recording of it). Brendan's tracks are characterized by the kind of flat singing and shimmering electric guitar typical of the era, and he particularly shines on East of Eden, A Passage in Time, and the primal new wave thrash of The Trial.
This CD is actually an album and half, as it includes the original album's 10 tracks, plus the 4 track EP The Garden of Earthly Delights. The EP, as well as the album's closing track, Musica Eterna, foreshadows DCD's shift away from the standard drums and bass structure of their early work and towards a more ethereal and ethnic/operatic approach. Brendan's closing track, In Power We Entrust The Love Advocated, in particular showcases what would become his later style of rich and at times bombastic vocal delivery of opaque, symbolic lyrics.
1984 -- the year of 4AD March 3, 2007
I give this record and its accompanying EP 5 stars.
There was a strong independent label movement afoot at that time, and to my ears, 1984, was the year when so many different factions of music burst onto the scene in color and sound.
For the 4AD record label, it was Cocteau Twins, Xmal Deutschland, Colourbox, This Mortal Coil, Modern English, and Dead Can Dance. All extremely unique in sound and vision--DCD, on a timeline and in output, apparently outlasted them all.
To hear this in 2007, their debut still sounds incredibly fresh. The right mix of metallic container drumming--supposedly Brendan hammering away at leaking oil drums on "Frontier", computer keyboard effects, distortion guitars and the unique vocal stylings of not-exactly Tops of the Pops-ready Brendan and Lisa. This is before all the silly goth labelling came later. Enjoy the spring of 1984 and count your lucky stars there were entities around countering the ravages of Wham! and Lionel Ritchie. You missed it kiddies, it was awesome.
Excellent, if unrefined first stab at greatness February 28, 2007
Interesting '84 debut certainly worth checking out, overshadowed by later more polished efforts is still quite the impressive rock fusion release, ranging a huge width of genre interplay. Already we can see how the duo's affinity for ancient form and modern aesthetics are dealt equal hands, setting them apart from many of their new wave peers. Less sensual and more direct, some will begin to notice how these female-driven, dark but ethereal songs offer nice contrast to colder, modern male led compositions, and may begin to take sides. Both are decently executed, and both leave much to be desired in the vastly talented outfit. At times, you want to shake the Cocteau right out of the guitar frequency, but alas can you blame the seductive, under-appreciated canvas the band helped utilize to further their singular, albeit derivative vision?
Whatever ones gripe may be of the band's questionable originality, this debut must not be overlooked when surveying a unique flavor the decadently poppy group brought to the 80's and beyond. Whenever the album begins to feel slightly the same in approach, DCD drop another genre influence on us, impressively keeping listeners wanting more throughout the lengthy track list. Granted, words like goth and poseur may come up after dissecting their underrated sound, but only should when uttered through the lips of a hardened musical elitist; there has always been a consistency to match these lofty undertakings at merging modern music with a sense of things that came before The Beatles.
Started with "Aion" and "Into the Labyrinth" so this is probably not the definitive work for me... May 30, 2006
1 out of 3 found this review helpful
I love "Dead Can Dance" any way you slice it. They really gave birth to the world-beat fusion music from which Enigma and Cocteau Twins sprang. My introduction to the group was at a later stage in their development. "Labyrinth" for me was the definitive CD. Would probably have said something different if I had heard this CD first.
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