Dead Can Dance
©4AD. UK, 1984
‟Their debut album is perhaps the most "pop" that Dead Can Dance would ever go; or, to be more precise, it's the most "pop" that Brendan Perry would ever go under the Dead Can Dance moniker. For this album is thoroughly schizophrenic, neatly split into two distinct personalities. Listening to Lisa Gerrard's songs as opposed to Brendan Perry's, it's almost inconceivable how these two people would record together under a common band name.
Brendan Perry's songs are by far the inferior tracks here; not only do they significantly lack substance or interesting melodies, they are also badly produced with that awful 1980s sheen, poorly arranged and sound horribly dated, like Soft Cell doing goth parodies.
Lisa Gerrard's songs on the other hand do not just have great melodies, they also sound significantly better (as if recorded in a different studio) and make more use of multiple musical layers, resulting in much superior songs. Gerrard's voice sometimes floats, sometimes wails, but always creates a unique atmosphere that perfectly complements her already well-textured instrumental background. "Frontier" and "Threshold" are two outstanding examples of how gorgeous this can sound. Gerrard's songs also seem to draw from a greater variety of influences, western as well as ethnic, so her songs make for some very rewarding listening.
On the Garden of the Arcane Delights EP, included here as bonus tracks, Brendan Perry manages to slightly redeem himself, but Gerrard's "Flower of the Sea" totally steals the show again, while none of the other tracks here are really a match for the better tracks on the debut LP, or any of the subsequent LPs.
A wonderful album if programmed to play without the Brendan Perry tracks, but as a whole it's unfortunately a very rocky journey through vastly inferior and superior material in quick succession‟
Lisa Gerrard's songs on the other hand do not just have great melodies, they also sound significantly better (as if recorded in a different studio) and make more use of multiple musical layers, resulting in much superior songs. Gerrard's voice sometimes floats, sometimes wails, but always creates a unique atmosphere that perfectly complements her already well-textured instrumental background. "Frontier" and "Threshold" are two outstanding examples of how gorgeous this can sound. Gerrard's songs also seem to draw from a greater variety of influences, western as well as ethnic, so her songs make for some very rewarding listening.
On the Garden of the Arcane Delights EP, included here as bonus tracks, Brendan Perry manages to slightly redeem himself, but Gerrard's "Flower of the Sea" totally steals the show again, while none of the other tracks here are really a match for the better tracks on the debut LP, or any of the subsequent LPs.
A wonderful album if programmed to play without the Brendan Perry tracks, but as a whole it's unfortunately a very rocky journey through vastly inferior and superior material in quick succession‟
Hprill
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