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Into The Labyrinth (Ltd Ed) Hybrid SACD, Original recording remastered

Price: CDN$ 208.95
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Into The Labyrinth (Ltd Ed) + Serpents Egg (Remastered)
Price For Both: CDN$ 225.01

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Product Details

  • Audio CD (June 24 2008)
  • Number of Discs: 1
  • Format: Hybrid SACD, Original recording remastered
  • Label: Select Distributions
  • ASIN: B0015YFOHY
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (45 customer reviews)
  • Amazon Bestsellers Rank: #94,336 in Music (See Top 100 in Music)

Product Description

Product Description

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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Customer Reviews

4.3 out of 5 stars

Most helpful customer reviews

Format: Audio CD
When I first got "ItL", I actually did not like it. There is a long intro which turned me off right away, and at first I didn't grasp it. It wasn't until several years later, when I gave it another chance, that I actually connected with this music. It is very unique, with some exotic instruments. Yes, it is slow paced (I was at the time a rabid Death-Metal fan), but, as I later found, there is nothing wrong with that. When you put this on, you better be ready, willing and able to quietly let the music take you away on a blissful journey. They have a male and female singer, but they sing on different songs, never together on the same one. I find that odd, but truth is, each song fits marvelously with the vocalist chosen, and I could not imagine it otherwise. For those with the desire for something different, something that will take time to sink in, something that doesn't pummel you with sound from the get-go and takes time to unravel, look no further. I enjoy unrelenting, fast, violent music, but I also love mellow, meditative music like this. Enchanting.
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Format: Audio CD
It is interesting that opinions on this release are so polarised between either highly congratulatory or greatly disappointed. As with any music that exhibits such an individual character, the ingrained likes and dislikes of the individual listener are a larger deciding factor than usual. Many 'rock attuned' listeners prefer the more 'singular' focus of Aion or The Serpents Egg, The Goth/Dark wave set (predicably) err in favour of Dying Sun etc.
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'.
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Format: Audio CD
INTO THE LABYRINTH, released in 1993, was Dead Can Dance's biggest success, selling over 800,000 copies at last count. For many people, including myself, it was the first exposure to Dead Can Dance and seemed indeed a fascinating album. However, after having collected every release by DCD, it is apparent that INTO THE LABYRINTH is the least of their albums.
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.
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Format: Audio CD
This CD was recommended to me years ago by Clive Barker during a promotional signing for his (rather blah) Razorline comics. The recording floored me back in '93, but not until the past few months have I become equal to its breadth and design. I'd like to take a moment to try and understand why it took me seven years to "thread" this extraordinary sonic achievement.
*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.
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