Zarko

By 1988 Dead Can Dance had solidified itself as one of 4AD’s top acts, and spared no time since ‘Within the Realm of a Dying Sun’ to release their next album, ‘The Serpent’s Egg’, released only 15 months later. The Serpent’s Egg added another notch to the bands repertoire of high end albums, improving the albums continuity (Despite the high point coming from the opening track) and consistency. I also love the album cover, minimalist that can represent a vast variety of things.

As mentioned, the indisputable high point comes early and it comes hard in the 6 minute presentation that is The Host of Seraphim. Opening with organs and heavy drumming, Gerrard harnesses all the power in her voice to climb ever higher. Filled with power and mystique, Gerrard captivates the listener, and holds your attention throughout. Words cannot adequately describe the song, with a performance than forces all those listening to take notice.

Though it would be near impossible to match the opening track, the next doesn’t necessarily attempt to, Orbis de Ignis only reaches a minute and a half in length, and is full of chanting, most obviously from Gerrard once again. For it’s length it fills the gap well. Severance is the first of many fine Perry performances, replicating the organs from the opening track, which creates an interesting repetitious vibe. Perry vocals are soft, as he delivers his lyrics poetically, whilst the overarching combination of style and sound offer a melancholic and sad resonance.


The Writing on My Father’s Hand offers an interesting mix of a harpsichord and Gerrard vocals, never really taking off from its minimalist beginnings, and is another personal favourite Gerrard vocal performance on the album. The song doesn’t match the sum of The Host of Seraphim or its grandiose nature, but Gerrard has drawn upon herself to introduce a heartfelt but also seducing tone to her songs. In the Kingdom of the Blind the One-Eyed Are Kings is yet another stunning track from Perry that hits hard and fast and offers no respite. As quickly as its high point has come, it once again falls back to earth at a very rapid pace. It also holds my favourite combination of lyrics and the recital of such lyrics, namely at the highpoint, Perry calling out, “You can see our chaos in motion”.


Chant of the Paladins offers more chanting (As the title suggests) but with some very interesting aspects, with a rich and elegant combination between old folkish percussion and disturbing yet lush vocals from Gerrard. The cyclic nature of the song lends itself well to the style. Song of Sophia is a sparse section of time in which the revel can be hypnotised by Gerrard’s vocals, pure with no accompanying factors for 87 seconds. This is followed up by yet another short song of Echolalia, which reaches only 79 seconds, yet is stunning nonetheless. The album ends with two full length songs (Both going over 5 minutes in length), the first of which is Mother Tongue, the fastest paced track from the album, which harnesses the energy produced from tribal and world percussion. Just before two minutes in length, the instruments are halted, and revert to a much slower pace, allowing Gerrard’s sublime vocals to emerge from the shadows. They still, however, take a back seat to the foreign and spiritual percussion, which forever drive the song. The album ends with Ullyses, and Perry has managed to outdo all his previous work on an epic scale, in a wonderful combination of rhythmic percussion and an odd pious lyricism telling the tale of Ullyses. Needless to say, it is a track that solidifies the album as a ‘must download’.

The Serpent’s Egg is an amazing album for many reasons. Firstly, the band has managed to develop their niche of music, despite the possibility that the idea could have been stretch beyond itself after Within the Realm of a Dying Sun. Instead, the group has changed their sound subtlety to make each new album worth visiting, but they have also developed their production values and taste with more experience. Delivering from the very first punch, the album does not let go, and the listener is forced to experience all 36 glorious minutes, and as a result is left in disbelief.


In a Few Words: Gerrard offers the standout, but Perry owns the album.
Best tracks: The Host of Seraphim, Severance, In the Kingdom of the Blind the One-Eyed Are Kings, Mother Tongue and Ullyses.
Running time: ~36 minutes
Favourite Lyrics:
“You can see our chaos in motion”

Rating – 10/10

4ZZZ

Top review Zarks and who am I to disagree with a word written. The Hosts Of Seraphim is goose bump material for those that "get it". It was the song that first attracted me to Dead Can Dance. I went to see the movie Baraka on release and this was used for this visual treat of a movie. I sat there entranced. As I have said to you before it was an amazing performance be her live when she performed it and one day I hope that you have the pleasure of a concert by her.

I have gone and got the latest Gerrard film score for the movie Bilibo. She contributes her usual atmospheric soundscapes though the album is mixed with various East Timorese folk chants and a rather interesting dub version of the old Graham Parker number Don't Ask Me Questions that the Dili Allstars turn into an anti war song with some reworked lyrics. The album is not bad though nothing to get too fired up about. I actully went and bought the soundtrack prior to seeing the movie. Caught the movie last night and from a musical point of view it was a fit.

Looking forward to you next instalment.

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Zarko

Thanks for the kind words mate. I've heard a track or two from Balibo, nothing that has gotten me excited enough to rush out and get it, but that of course is in comparison to her lofty quality.

Can only hope she comes round my ways soon.

I hope you kill the Blues this weekend as well Good luck

4ZZZ

Thanks and hell yeah I could not live with the idiocy of their supporters if we went down. They are worse than that other Melbourne mob. Think of me Saturday night as I brave the chill Gabba wind

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Bulldog

Just wrapped up a first listen of this, and I totally agree with your review, it's an absolute stunner of an album. I liked Spleen and Ideal and Into the Labyrinth (the two I already had, plus Spiritchaser which I'm yet to listen to) a lot, but I think this might just be the album that's officially converted me to an obsessive fan. There's just such a unique elegance and grace about this, to the point that I'm actually a bit ashamed it's taken me so long to find it.

Personal favourites from this album - Host Of Seraphim, Chant Of the Paladin, Echolalia and Ulysses.

Anyone who might be reading this post and has no idea who DCD are, get this album for chrissakes.

4ZZZ

Top album hey. If you ever get to see a 1992 docu movie called Baraka it made brilliant use of Host Of Seraphim. This was the first time I had ever heard the song. I went to see the film on release on the silver screen and the scene along with the song was utterly spellbinding. One of those goose bump moments that live with one forever. After that I had to explore the world of Dead Can Dance and the rest is history as they say. One thing we never mention when praising this album is the album cover. Somehow right.

If you are going to explore the world of DCD I would actually recommend that you start from the beginning in chronological order. Spiritchaser is a better album to finish with. It has something very final about it that feels correct to the hardcore fan. It could be construed as a weaker album when played side by side with Spleen And Ideal and The Serpents Egg and that would be doing it a disservice.

Also IMO Zarks is a tad harsh on Aion. I actually rate it side by side with The Serpents Egg, Into The Labyrinth and Spleen and Ideal. But then I am just a hardcore DCD fanatic so really my opinion counts for diddly squat haa haa!

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Bulldog

I think I've actually seen that Baraka clip when I was looking for Host Of Seraphim on youtube. If it's the one I'm thinking, you're right, it is a very spellbinding piece, especially when it's coupled with footage like that. I agree the cover's a brilliant piece of work too. From what I've seen of them, DCD are one of those artists who used such consistently great sleeve art throughout their whole discography (the Future Sound Of London are another one that instantly spring to mind, who sometimes I think of as a more kind of urban, English version of DCD, if that makes any sense). Makes me wish I could get hold of the 12" copies instead of scrounging around for MP3s as I have done

I did listen to Spiritchaser last night. There are some beautiful songs like Song Of the Nile and Song Of the Dispossessed on it, but I agree it seems weaker considering I heard it after getting through the Serpent's Egg twice in a row. I definitely need some more albums from this lot though, so I think I'll do as you suggest and at least fill in the gaps from them in chronological order.

And Zarko, I'll be looking forward to your next update of this, whenever you can manage it

zeppy111

I'm convinced. Just went out and bought one of their albums, the self-titled, and am listening to it now. Very impressed so far.

Top, Top thread here. Dead Can Dance have a new fan

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My Blog (album of the day): http://musicfromthesouth.blogspot.com

Zarko

Self titled ey, risky decision but one I can't fault

Grats on joining in the fun.

Zarko

Hey I love the album really, but I was trying to be objective here Don't want every review to come off as pure wank, but the ratings are probably more in comparison to each other rather than albums in general.