Disco de Dead Can Dance: “Dead Can Dance/Garden of the Arcane Delights”

Dead Can Dance's debut self-titled album has elements of a partnership still finding voice, and the great promise of things to come. The primary refreshing element here was that the group was not afraid to experiment, and unlike many post-punk or natal-gothic bands, was not afraid of polished vocals informed by both polyphony and plainchant. In addition the band's use of unfamiliar instruments, particularly with percussion, is also a welcome departure from the narrow constraints of independent and DIY music of the early 80s.

However, fans of latter DCD, particularly "Aion," may find this original album cacophonous and discordant, for it is clear that both Joy Division and The Swans were on the turntables of Lisa Gerrard and Brendan Perry during these early years. Early Dead Can Dance fans often enjoy the first three albums in rotation with the omnipresent The Cure and the vocally similar Switchblade Sister. Latter DCD fans often enjoy a rotation with Enigma and Cocteau Twins, although I believe the band itself would eschew such bucket selections, as their own musical growth and trajectory are what made them distinct in the first place.

This is a welcome, appreciated work that may be problematic for some.

Dead Can Dance's first album, eponymously titled and released in 1984, meshed well with the industrial production and female vocal trends of the 4AD label. Nonetheless, it's different from anything the band did after and is a clearly immature effort.

Dead Can Dance's early sound was raw, nocturnal, and a product of the post-goth musical landscape of early 80's England. There are foreshadowings of the classical/baroque and world music influence that the band would later incorporate, but the album is firmly grounded in rock production.

Because Brendan Perry was the less-shy member of the team in the beginning, he is the center of several songs on the album. "The Trial," "Fortune," and "East of Eden" display his curious lyricism.

Lisa Gerrard's voice was much rawer in the early days of DCD, and the classic "Frontier" (later made a music video on the 4AD compilation LONELY IS AN EYESORE) and "Threshold" display a side she later moved past. The out-of-body experience "Ocean" is just as powerful as her later works.

Tacked onto the CD release is the four-song "Garden of the Arcane Delights" EP, which catches the band at the turning point between their first album and what came after. The first track, "Carnival of Light," is a Lisa-centered piece with vocals and fantastic yangqin playing over what sounds like darabourkas. Following are two Brendan songs. The first "In Power We Entrust the Love Advocated" is a moving song which went on to enjoy a myriad of live encarnations. The second, "The Arcane," is deep and threatening, and harkens back to the band's first album. The EP ends with more Lisa Gerrard and her yangqin on the exotic "Flower of the Sea."

Not the best introduction to Dead Can Dance, I would suggest getting their 1987 masterpiece WITHIN THE REALM OF A DYING SUN, but definitely worth picking up if you're curious about the origins of this unique duo.

Dark, rocky, and somewhat abrasive, DCD's debut is anything but the medieval ambiance many have come to expect from this band. No wonder, since Brendan made his first musical experiences in a punk band. Recalling the sound of Cocteau Twins' debut "Garlands", "DCD" is also a very sparsely produced album; thin electronic percussion, fuzzy guitar riffs, and Brendan's tired-of-life voice are the dominant components on most of the songs. Still, there are also some calm tracks with Lisa's voice, but I think the more aggressive pieces like "The fatal impact", "The trial", and "A passage of time" provide the main interest throughout the album. "Threshold" rocks harder than anything the band has ever done. After all, it ends with the wonderful, appropriate "Musica eternal". The last four tracks are taken from the EP release "Garden of the arcane delights", originally released in 1984. Here, the music is rather subdued and paves the way for DCD's subsequent album "Spleen and ideal" The densely percussive "Carnival of light" and the majestic "In power we.." are the highlights here. A must-buy for fans of the early 4AD sound.

This album is one of those rare jewels that shines from the first song to the last. It transcends time, making it ever refreshing and classic. I could listen to it over and over again, and never get tired of it. It's a wonder to me how this music is so elegant, yet so primal and wild. The voices of Brendan Perry and Lisa Gerrard soar seamlessly with the ambient atmosphere, bell percussion and tribal rhythms. From the dark and intense Fatal Impact to the haunting Musica Eternal, this album creates an ethereal tapestry that can draw you into another world.

It may be rawer than some of its successors, but personally I wouldn't have it any other way. I think that's exactly what makes this album so spirited and invigorating, in a different way from the others. That raw quality gives it an eerie power, like a look into the primordial heart of nature. If you're new to DCD, it can't hurt to start here. After all, I did, and I'm devoted.

A year and a half ago, I bought this CD. This was the first Dead Can Dance album I ever bought. I had to listen to it a couple of times to really get to appreciate it, but I have been absolutely in love with it ever since then. I have every one of DCD's albums, but this one is by far the greatest, in my opinion. I keep experimenting with other songs, other bands, and other genres, but I keep coming back to this CD. I recommend it with all my heart.