Into The Labyrinth (Ltd Ed) Original recording remastered, Hybrid SACD
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Limited double audiophile vinyl LP edition of this 1993 album, an ethereal gem of ethnic fusion. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant).
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 --This text refers to an out of print or unavailable edition of this title.
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Top Customer Reviews
This is a very eclectic album, when measured against the earlier records. 'Ambitious' is a label that comes to mind, and this can be a dangerous road for a musical artist to tread. On one hand is the possibility of a groundbreaking achievement, on the other extreme, a self-indulgent, flatulent output bogged down in cliché' despite it's lofty aspirations. (And the middle, the 'interesting failure'- a rather flat-footed achievement.)
My opinion, I consider this to be an EXCELLENT album, although this CD took a long time to really grow on me, as it has doubtless done for many others. Ironic that another reviewer voiced a dislike of the 'pop structure' of some of the songs, because this music does not function in the same manner as pop song writing despite that influence. This stuff really needs to be listened to a lot more than once or twice and digested slowly. Like all 'serious' art (an interpretive category, admittedly) the listener only walks away with what they make the effort to invest in the experience. Anyway, lets say SOMETHING about the music.....
'Yulunga' - A longish work that creates a somewhat lysergic quality, a slow moving but forceful mood-setter for the album.
'Ubiquitous Mr Lovegrove' - 'love song' in a way, though not in the conventional sense. The signature wind melody recalls something of 'Aeon'.Read more ›
From 1986's SPLEEN AND IDEAL to 1991's AION, Dead Can Dance explored a world of baroque, classical, and Renaissance song structures gifted with the unique touch of Lisa Gerrard and Brendan Perry. INTO THE LABYRINTH, however, shows a massive change in style. Gone are the orchestral elements, and here Lisa and Brendan display their interest in Eastern music. It's a strategy that doesn't impress, because their talent was really evident most in the style that they had formerly performed.
Another problem is the inconsistency of the record, caused by Lisa and Brendan's increasing tendency to work apart. If it wasn't for a magazine article I read from this era, I would seriously doubt that Lisa and Brendan even came together to record this album. The album is split into Perry's (no longer philosophically brilliant) songs and Gerrard's (increasingly absurd) glossolalia.
On 1996's SPIRITCHASER, Perry and Gerrard had become more comfortable with their new style, but they never again reached the peak that their earlier style afforded them.
*Into the Labyrinth* is what synthesizer technology was made for. The "upgrading" of human spirituality and expression, the surgical transposition of tonal multiplicity, the democratic rendering of "world-beat" multiculturalism beyond all notions of ethnocentric culture-mongering.
Granted, I normally avoid music that requires racks of digital equipment to get itself off the ground. I'd prefer to hear the squish of sweaty calluses sliding across nickelwound strings, feedback woofing through analog speaker cabinets, a real live acoustic drum set and bass guitarist sweating bullets on a 30-minute prog-rock epic. But the power-duo of Dead Can Dance, along with their arsenal of machines and recording-technology, have ensouled their music in waves of digital sorcery as moving and "organic" as the most bare-bones unplugged meat-and-potatoes blues number. Even the pastoral a cappela "Wind that Shakes the Barley" is rendered with so much digital reverb my speakers buzz and vibrate whenever I spin that track. If nothing else, Brendan Perry's machine-savvy production values stand as an inspiring artistic rebuttal to the lurid vulgarizations of "techno" music with its chooming BASS BASS BASS thundering out of car stereos these days.Read more ›
Most recent customer reviews
I ordered this CD about a year ago for Christmas 2012. It came on time, it works and the recipient likes it. The pricing was great to. Read morePublished on Jan. 9 2014 by Heather
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. Read morePublished on April 21 2004
This is one of two DCD albums that I've heard. If it is any indication of the rest of their corpus then I'm staying far, far away. Read morePublished on April 18 2004 by Campbell Roark
I was turned on to "Dead Can Dance" by a Npr radio (Krcc 91.5fm) out here in Colorado. The show was, overnite FreeForm the station had at the time. Read morePublished on Oct. 10 2003 by Rykki
I was first introduced to Dead Can Dance with this album in a high-end audio store. The dark, etherial, eclectic, and unique style of music on this album is wonderful and well... Read morePublished on April 21 2003 by Paladin
I think this album is the best one. I listen it every day and Dead Can Dance is one of the most wonderfull, fantastic, genial group.Published on April 7 2003 by Lali
This album is great. It is dark and haunting (I always think of a tomb when I listen to it). Tribal, celtic, hypnotic, erotic, eclectic, multi-layered, deep, beautiful. Read morePublished on Nov. 4 2002 by LionGoRoar