Dead Can Dance
Into The Labyrinth

THE REVIEW

It’s 1993, following the earlier collaboration with Hector Zazou on his Sahara Blue, where one can find the premises for this new introspective work (which in turn recalls the dark and obscure atmospheres of the first, characterized by a sound often Arabic and always full of emphasis), two of the greatest contemplative experimenters in music from the last decade and now from the last two decades return.

The then actual couple Lisa Gerrard and Brendan Perry (extremely refined and as if that weren't enough, also beautiful) better known to the public as Dead Can Dance have always been musical researchers of emotions expressible through sounds that starting from the pure new wave of the 80s become experimental, electronic, difficult to interpret to which they often also have parallel projects of equal intent such as the one named This Mortal Coil which led to the realization of 3 stunning albums (or at least the first two) to which Our artists made the greatest contribution.

This work of theirs appears even more ambitious than the previous ones: the mentioned Labyrinth in which they lead us is a vortex of melodies frankly not fully appreciable at first listen precisely because they are different from the usual ones.. said like this it sounds trivial, but it is not, their music is never so, it is neither obvious nor predictable from episode to episode.

Moreover, I believe I can say that the purpose of this work is to accompany the listener in an oblivion of stimulating and soothing sensations and reflections towards which Brendan's warm, soft and deep voice and Lisa's eclectic vocalizations seem to guide us. So, I was saying, it's an ambitious work that demands attentive listening for it to be rewarding.

Among the treasures “The ubiquitous Mr. Lovegrove”, “Ariadne” and the wonderful “The carnival is over” in which a mix of styles, atmospheres, sounds matured from new wave into new age, acoustic guitars, and spectacular synthesizers take the lead. The music opens borders, reaching even the African continent where it takes rhythms not without rock reminiscences. For refined palates.