Zarko

Released 2 years after the majestic “The Serpent’s Egg” in 1990, Aion had rather large shoes to fill. By this time the previous neoclassical and melancholic tone had been well developed to its peak by the band, and it was seeking a fresher road to travel. Aion signals the introduction of a much wider medieval and folk-ish style, filled to the brim with quick songs that do their part and then breeze off into the sunset. A rapid departure at times from the ethereal Serpent’s Egg, it manages to captivate in a vastly different way. The album cover comes from the well-known Hiëronymus Bosch painting, ‘The Garden of Earthly Delights’, which the band had previously alluded to, naming its first EP ‘Garden of the Arcane Delights’.

The band indicates the direction they will be heading with The Arrival and the Reunion, one and a half minutes of medieval chanting, which is spectacular and powerful on high volume. Saltarello follows this up, which is an instrumental dance from Italy, going back to the 14th century. The frenetic pace and folk sound/instrumentation makes this a favourite from the album, as it lifts the spirits. A short interlude follows, Mephisto lasting less than a minute, yet is beautiful in its subtlety and repetition.

The first hearty song comes with Songs of the Sibyl, again capturing the more classical and harmonious side of medieval type music, with Gerrard leading the proceedings. It creates the imagery of a vast church, filled with onlookers, Gerrard captivating them as the procession begins, and is another modern interpretation of a tradition song (Catalan, composed in the 16th century). Fortune Presents Gifts Not According to the Book introduces Perry vocal-wise to the album, and he happily agrees the invitation. Beginning with minimal acoustic plucking of a guitar with a mysterious haze throughout, John Bonnar joins in on keyboard, with a whole manner of percussion building depth. The lyrics are almost read, story-like, outside of the chorus, when Perry repeats, “When you expect whistles it's flutes,
When you expect flutes it's whistles”. The song screams simplicity is often the better form of elegance.

As the Bell Rings the Maypole Spins is similarly structured, an instrument beginning in isolation (This time Gerrard’s voice) before other elements are bought in, of particular strength are the bagpipes. Despite its occasional domineering moments, the song maintains its sense of remoteness and gloominess, the basic beat and base percussion maintaining a deep beat and tone. The song has multiple small elements that are easy to pick out yet make the song all the better. These two relatively long songs are followed by The End of Words, which reaches a measly two minutes in length. It once again introduces the deep choral work, used throughout the album already, however guest vocalist David Navarro Sust is used well.

This is all a lead up to the best song on the album bar none, in Black Sun. Aggressive, fast-paced, wild, the instruments are released. Pounding drums introduce the track before hard-hitting trumpets bellow from bellow at majestic pace. Basic percussion adds amazing depth as Perry sings over the top, “Like having a black sun, in a white world.” Every factor works to perfection as Perry slowly builds up his song before entering its peak. It all goes too fast in comparison to some songs on the album.


Wilderness is yet another intermission type of heavy orchestral/Gerrard vocal work. The Promised Womb uses an combination of bass and tenor violin to create an interesting and dynamic backing to Gerrard’s most focalised performance on the album. The Garden of Zephirus is a treat, despite it being a rather short one. Summoning recollection of Satyr tales in my memory, it’s a simple and short frolic through the plains. The album’s finale comes with Radharc, in yet another sensational album ending. It uses various small woodwind instruments well to create the most unique sounds on the album that take centre stage before Gerrard enters the piece in my favourite performance of hers on the album.

Aion was quite the change from their previous albums. It took a few risks, some that paid off and some that didn’t. The album, however, is interesting in its lack of creating some standout songs in my opinion. The album works well as a whole, yet there are few shining moments that are ‘must listen to’ on their own, save Black Sun, Saltarello and possibly Radharc. The album is also relatively scarce of individual vocal performances, another interesting twist from their previous works. I did have a problem with the relative shortness of songs. Few were allowed to develop, and rather hit hard from the get go with less development. This isn’t bad when used in moderation, but in this album it is used far too often, and becomes a major detriment.
In a Few Words: Best appreciated in its entirety
Best track/s: Black Sun, Saltarello and Radharc
Running time: ~36 minutes
Favourite Lyrics:
“Murderer!
Man of fire.”

Rating – A collected 7/10

nimmysnv

Hi,

Exactly, it is so well appreciated and it is a very nice album no doubt, I simply like this album and I am true fan of this.

The songs takes me to the different world of music.


Thanks!!

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Zarko

Dead Can Dance released Into The Labyrinth in 1993, however at this point in time there were some key factors in their personal lives that affected the creation of the album. Given the pair had separated pre-Aion, they were no longer writing music together. Perry worked his craft in Ireland, having recently purchased Quivvy Church and converting it into a recording studio whilst Gerrard went home to Australia. The duo moved from a heavy medieval influence seen in their previous albums to a more tribal and ethnic influence. The album runs for over 55 minutes, unlike the normal ~35-45 minutes due to the increased popularity in CDs rather than LPs.

As per normal, the dup kick off proceedings with a Lisa Gerrard epic, this time in Yulunga. Dark and ominous is its early minutes, Gerrard’s elongated tones open up the world to a mixture of ethno-percussion and instrumentation, emoting a seductive, snakelike substance. Perry follows this up with what was to become one of DCD’s very very few radio hits, The Ubiquitous Mr Lovegrove, one of my personal favourites. Popular with the alternative/gothic crowd of the early 90’s, Perry summons a slow beat, mixed with worldly instruments and sounds. Perry’s deep basslines control proceedings along with an assortment of Indian wind instruments and tribal drums, with fantastic lyricism sprawled throughout.


The mood is quickly changed with a Gerrard interpretation of a traditional folk song, The Wind That Shakes The Barley. Calm and collected, the result is one of sadness and isolation, in one of my favourite Gerrard songs away from glossolalia. The Carnival Is Over is yet another Perry track, this time recollecting memories of his childhood and a carnival. Light string plucking accompanied by a string ensemble lead the way with Perry’s poetic voice calling upon emotions of magnificence, splendour, amazement and yet, sadness in yet another great track. Some may also note a homage of sorts to Joy Division in the lyrics.


The song leads into Ariadne, a short song using a basic level of percussion and Gerrard’s vocals the change the tone to one of hope. It is followed by an even shorter track in Saldek, which encompasses the ethnic style of the album best from the album so far, as Gerrard produces high pitched and paced tribal vocals. Towards The Within sees both performers offering their vocals, initially chanting leading into Gerrard’s glossolalia high points. Middle-Eastern percussion springs forward sporadically, lush drumming ever present. Gerrard begins a subdued solo roughly half way through the song before various whimsical sounds and percussion become more prevalent to create a fleshed out world.

Tell Me About The Forest has some quiet tendencies throughout with some occasional outbursts vocally from Perry, as well as some horns and brass, not yet seen in the album so far. The Spider’s Stratagem carries a funky groove throughout for a Dead Can Dance track led by tribal drumming and flute work, with Gerrard’s ethereal and haunting vocals overlaid, the result is a fairly passive track that doesn’t really do much.

Emmeleia is a poignant vocal track by the duo, light echoing vocals existing in an empty space for two minutes. The album ends with a grand nine minute track, How Fortunate The Man With None. Using the translated words of famous German lyricist Bertolt Brecht, Perry ends the album on the perfect note that words don’t do justice to.

Into The Labyrinth symbolled some dramatic changes in the band, both on a personal level and on a stylistic level. Swept with grandeur, the recurring themes of sadness and distrust make it a reflective album, much more so than previous albums. Sometimes its duration can be a bit much in comparison to their earlier LP creations, but unlike its earlier compatriots, the album is full of songs that can be taken as single doses and still be fully appreciated. In the end, it is one of the Dead Can Dance albums that can either sit on top of the pile consistently. It is a must-experience album as far as I am concerned.


In a Few Words: Top of the pile material
Best track/s: The Ubiquitous Mr Lovegrove, The Carnival Is Over, The Wind That Shakes The Barley, Emmeleia and How Fortunate The Man With None
Running time: ~55 minutes
Favourite Lyrics:
“Dream on my dear
And renounce temporal obligation”

Rating – A ‘Returning to form’ 9/10

Bulldog

I said before in this thread that Into the Labyrinth was the first DCD album I ever got, and I had it for months without ever listening to it (such is the flaw of downloading from blogs like some kinda junkie eh). I'm really glad I did eventually though, as it's an absolutely spectacular album (spot-on review, as per norm). It's a testament to the sheer talent of Perry and Gerrard that they can take a new artistic turn of sorts and make such a beautiful album out of it, which is something a very precious few manage to do successfully.

I'll admit Into the Labyrinth wasn't quite the slap in the face the Serpent's Egg was for me (at least not on the first listen), but it's still an album I've grown to really love since. Although I'd add Tell Me About the Forest to them, I agree with your picks of album highlights too - How Fortunate the Man With None is a stunner!

Cheers for the review anyways. Top stuff, as always.

Zarko

It's why one got a 10 and one got a 9 Both top of the line stuff, its just dependent on how much it knocks you off your feet.

Danke btw

The first paragraph is half the reason I just haven't been 'into' music for the last month. Too much, got sick of scrounging for new stuff and just decided to crank the classics I love for a while (Which then encouraged me to make this thread). Still DL the occasional album though, should have a few interesting reviews later on, after I get the base of this done (Plan to go through some solo stuff and bootlegs/live albums)

BTW, totally friggin' awesome to see I converted someone to such an extent

Zaqarbal

It's based on a poem by Quevedo (1580-1645) one of the most notable Spanish-language writers of all time. And by the way, with a deep social criticism:


I think that's why there are some reminiscences of Baroque music in that song.

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Zaqarbal

¡Oh, sorry! It's Góngora, not Quevedo. I've mistaken the writer for his worst enemy (they both loathed each other). That's unforgivable.

Fortune Presents Gifts Not According To The Book Lyrics by Dead Can Dance

Both Baroque, anyway.

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