The 2016 LP version is a repress of the original release. On their eponymous debut album, originally released in 1984, Dead Can Dance successfully harnessed a ''bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. If the range of the group is staggering, then so too is their disciplined economy, no song lasting more than four minutes or degenerating into formless cacophony. With the ve group members continually interchanging instruments, only the vocals of Lisa Gerrard and Brendan Perry remain as a constant focus''.
The 2016 LP version is also a double LP like the original release, but comes with brand new cover artwork and an altered track sequence. Into The Labyrinth (1993) is Dead Can Dance's sixth album, one of their most successful releases. Its title is a reference to the Greek legend of Theseus going into the Labyrinth to slay the Minotaur. It came when Brendan Perry and Lisa Gerrard had embarked on more individual personal paths, now writing their songs independent of one another, and on separate continents. Engineered and produced by Brendan at his Quivvy Church studio in Ireland, the album is an audiophile benchmark and also noted for being their first without any guests, instead they played all the instruments.
The 2016 LP version is a repress of the original release. Dead Can Dance's second album, Spleen And Ideal (1985), saw them experiment more with instrumentation, abandoning guitars in favour of cello, trombone and timpani. Widely acclaimed, there was now a richness of uni cation between voice and music, lyrics and structure, showing they had a concrete sense of the aural ideal they were striving towards. It's title was taken from Spleen et Ideal, a collection of poems by 18th century French poet Charles Baudelaire.
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