Limited edition of 1500 copies. Housed in a white cardboard box, containing another black velvet box and all albums and the EP, re-mastered on hybrid stereo SACD in vinyl replica sleeves. SACD mastered at Mobile Fidelity Sound Lab…
Long before No Doubt brought back ska and Big Bad Voodoo Daddy resurrected swing, Lisa Gerrard and Brendan Perry were making music that recalled an earlier time. How early? Try the Renaissance. Everything old–really old–is new again on Aion, the band's fifth and arguably finest album.
"A Passage In Time is DCD's first compilation. By the time of its release, DCD had already made five albums that covered a wide range of styles: starting from eerie goth rock, purifying that into gothic church music, and evolving towards pagan medieval songs and ethnic renaissance. This compilation focuses on the last two albums with just a few tracks from album 2 and 3 and none from the debut. It also features two tracks that were recorded specially for this collection, "Bird" and "Spirit," both of which subsequently turned up on the vinyl version of the band's next studio album, 1993s "Into The Labyrinth".
2010 release, the second solo album from Brendan Perry, formerly one-half of Dead Can Dance. Recorded in his own studio in Ireland, Ark is truly a solo album, Brendan playing every instrument, writing all the lyrics and being the sole creative force across the eight tracks. All of the instrumentation on Ark is derived from samples and synthesizers and, in its creators own words, is predicated on a theory of creating 'a neutral electronic soundscape which would in turn mirror a world that is becoming increasingly more dependent upon machines to perform tasks for us'.
Perry and Gerrard continued to experiment and improve with The Serpent's Egg, as much a leap forward as Spleen and Ideal was some years previously. As with that album, The Serpent's Egg was heralded by an astounding first track, "The Host of Seraphim." Its use in films some years later was no surprise in the slightest – one can imagine the potential range of epic images the song could call up – but on its own it's so jaw-droppingly good that almost the only reaction is sheer awe. Beginning with a soft organ drone and buried, echoed percussion, Gerrard then takes flight with a seemingly wordless invocation of power and worship – her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. Nothing else achieves such heights, but everything gets pretty darn close, a deserved testament to the band's conceptual reach and abilities.
Dead Can Dance is the debut studio album by Australian musical act Dead Can Dance. It was released on 27 February 1984 by record label 4AD. This album differs greatly from later Dead Can Dance releases in its incorporation of post-punk and gothic rock musical styles. AllMusic commented on the album's sound: "Bearing much more resemblance to the similarly gripping, dark early work of bands like the Cocteau Twins and The Cure than to the later fusions of music that would come to characterize the duo's sound, Dead Can Dance is as goth as it gets in many places."
With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination. Calling it "haunting" and "atmospheric" barely scratches even the initial surface of the album's power. The common identification of the duo with a consciously medieval European sound starts here – quite understandable, when one considers the mystic titles of songs, references to Latin, choirs, and other touches that make the album sound like it was recorded in an immense cathedral.
Their reputation growing by leaps and bounds, including a huge underground following in the U.S. – they were able to tour there even without one domestic release available, while at one point Dead Can Dance was the biggest selling band in 4AD's history – Perry and Gerrard once again did the business with Aion. Its cover taken from Bosch, Aion's medievalism was worn more openly than ever before, with songs adapted from centuries-old material. The beautiful, entrancing "Saltarello," with lead performance by what sounds like an old wind instrument, comes from an Italian dance of the 14th century, while the mysterious moods of "The Song of the Sibyl" derive from 16th-century Catalonia. The group's command of not merely recording possibilities – witness the exquisite layering of vocals on the opening "The Arrival and the Reunion" – but of musical traditions, instruments, and more from around the world was arguably never stronger. Gerrard's vocals in particular have an even stronger, richer feeling than before, not merely able to command with its power but softly calm and seduce.