Having disbanded in 1998, they reunited briefly in 2005 for a world tour and reformed in 2011, releasing a new album (Anastasis) and embarking on several tours.
Dead Can Dance formed in Melbourne, Australia in August 1981 with Paul Erikson on bass guitar, Lisa Gerrard (ex-Microfilm) on vocals, Simon Monroe (Marching Girls) on drums and Brendan Perry (also of Marching Girls) on vocals and guitar. Gerrard and Perry were a couple who met as members of Melbourne's little band scene. In May 1982, the band left Monroe in Australia and moved to London, England, where they signed with alternative rock label 4AD. With the duo, the initial United Kingdom line-up were Paul Erikson and Peter Ulrich.
The group's debut album, Dead Can Dance, was released in February 1984. The artwork, which depicts a ritual mask from New Guinea, "provide a visual reinterpretation of the meaning of the name Dead Can Dance", set in a faux Greek typeface. The album featured "drum-driven, ambient guitar music with chanting, singing and howling", and fit in with the ethereal wave style of label mates Cocteau Twins. They followed with a four-track extended play, Garden of the Arcane Delights in August. AllMusic described their early work as "as goth as it gets" (despite the group themselves rejecting the label), while the EP saw them "plunging into a wider range of music and style".
A shift in sound followed for the Spleen and Ideal album, with more emphasis on strings, brass and drones being used. A quasi spiritual element also emerged on this album, notably on the opening tracks "De Profundis" and "Ascension". Its worth noting that around this time Lisa and Brendan had been doing tours of European Cathedrals, absorbing the ambience which in turn was reflected in the work.
The highlights of the bands career followed with the genre defining album Within The Realm of a Dying Sun, featuring fan favorite "Cantara", which is where the bands Arabic and World music influences began to appear, and the double whammy of "Summoning of the Muse" and "Persephone (The Gathering of Flowers)." Critics at the time were undecided about the album, mainly due to the fact that the pieces were split according to the vocals. Brendan had the first side of the album, where Lisa took over for the latter half.
The Serpent's Egg was the next album and built on the premise set by the previous album, although the album is slightly uneven in quality and a short listen at around 40 minutes. The album is redeemed by the opening and closing pieces "The Host of Seraphim", and Perry's epic "Ullyses".
For the next album Aion, the band slipped back several centuries and recreated working medieval instruments such as the Sackbut, Viol and Hurdy Gurdy for the distinctly Medieval flavor. Included on the album is "Song of the sibyl" a text from 14th century Spain and now a live favorite. Another text appears in the song "Fortune Presents Gifts Not According To The Book".
Into the Labyrinth was the follow up album and was the album that saw Brendan mastering the use of samples and synthesizers and also the album that brought the band's music to American audiences selling over a million copies worldwide. The track "The Ubiquitous Mr Lovegrove" was played across on college radio and was instrumental in the albums success.
Spiritchaser was the seventh studio album for the band and brought about an abrupt upturn in musical style, instead of drawing on the historical past the band drew upon South American and African influences which gave the album a very rhythmic ambience. Considered by some to be the bands weakest album, it features highlights such as the percussive "Nierika" which was the most played track on American college radio for that year, and the epic 9 minute trance inducing "Indus".
A 3 CD retrospective simply called 1981-1998 was issued by 4AD and compiled a comprehensive overview of the bands career, and provided diehard fans with the only finished track from the Spiritchaser follow-up sessions called "The Lotus Eaters".
As a live band is probably where Dead Can Dance have gained their reputation. To put it simply, they were phenomenal. The concerts often featured many improvised pieces that to date have never been recorded in the studio. A live album entitled Toward the Within was released in 1994 and allowed fans unfortunate enough to have not attended concerts the chance to hear a few of these songs. A companion video/DVD of the concert was also released allowing people to see these highly ethereal concerts.
After Dead Can Dance ceased to be a functioning band both Perry and Gerrard embarked upon solo careers. To date, Brendan has released one solo album The Eye of the Hunter and has completed work on a new album, 'Ark', to be released in June 2010, whilst Lisa has been more prolific but with mixed results, releasing two solo albums The Mirror Pool and The Silver Tree. Lisa has also collaborated with other artists, namely Pieter Bourke of the band Soma and Irish composer Patrick Cassidy on the respective albums Duality and Immortal Memory. Lisa has also become a sought after soundtrack artist too after a wave of publicity for the Ridley Scott film Gladiator and continues to release work on a regular basis including soundtrack work on Ali, Layer Cake, and Whale Rider. Peter Ulrich, former percussionist of the band has also released two solo albums, Pathways and Dawns and more recently, Enter the Mysterium.
A series of 31 reunion concerts took place in 2005 in both Europe and North America including two memorable sell out concerts at The Hollywood Bowl and Radio City accompanied by 40 piece orchestras. Many of these concerts were professionally recorded and released as a double CD.
In late 2011, the band announced a reunion World Tour, in order to promote their new album, fittingly titled Anastasis, as it was released on August 9, 2012, 16 years after the group's previous album. Anastasis was well received by critics and is also the first album of the band not released by 4AD Records.
The name "Dead Can Dance" is often misleading. Although this group is quite popular among the goth sub-culture with the name appearing to be inspired by the Danse macabre allegory, it should instead be interpreted as 'giving life to something that was previously inanimate' as Perry said:
"The album artwork [of our self titled first album], a ritual mask from New Guinea, attempted to provide a visual reintrepretation of the meaning of the name "Dead Can Dance." The mask, though once a living part of a tree is dead; nevertheless it has, through the artistry of its maker, been imbued with a life force of its own. To understand why we chose the name, think of the transformation of inanimacy to animacy.... Think of the processes concerning life from death and death into life. So many people missed the inherent symbolism, and assumed that we must be 'morbid gothic types,' a mistake we deplored and deplore...".
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05 In Power We Trust The Love Advocated
Dead Can Dance Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
What fortune love may bring,
Back to my arms again the love of a former golden age.
I am disabled by fears concerning which course to take,
For now that wheels are turning I find my faith deserting me.
This night is filled with the cries of dispossessed children in search of paradise.
A sign of unresolved ambition drives the pin wheel on and on.
When memory bears witness to the innocents consumed in dying rage.
The way lies through our love.
There can be no other means to the end,
Or the keys to my heart you will never find.
“Sail on silver wings, through this storm, What fortune love may bring, Back to my arms again the love of a former golden age” are the opening lines of Dead Can Dance’s song "In Power We Entrust the Love Advocated," which comprises a melancholic and emotive melody. In these lyrics, the singer seeks to reconnect with a love that he had in the past. The lines represent his heartfelt desire to reunite with his beloved and rekindle their passion, which they once shared in the past.
As the song develops, the lyrics describe the singer's inner turmoil, as the current events make him feel confused and hopeless. The wheels of fate are turning, and the singer finds himself unable to decide which direction to take. The dispossessed children's cries are a metaphor for the singer's confusion as to whether he can achieve his long-desired goal by pursuing the same path he had before or seek new ventures.
The song ends by emphasizing that the only solution to the singer's search is to find their way through love. The lyrics hint that love is the key to the singer’s heart and the only means to realize the happiness that he seeks. The use of metaphor and vivid imagery, in combination with the song's melody, create a haunting and mesmerizing piece that resonates with the listeners.
Line by Line Meaning
Sail on silver wings, through this storm
Navigate bravely through difficult times
What fortune love may bring,
Hope for the positive outcomes that love can bring
Back to my arms again the love of a former golden age.
Long for the love and happiness of an earlier time
I am disabled by fears concerning which course to take,
Feel paralyzed by indecision due to fear and uncertainty
For now that wheels are turning I find my faith deserting me.
In the face of changing circumstances, lose faith in oneself or others
This night is filled with the cries of dispossessed children in search of paradise.
The world is full of suffering and longing for a better life
A sign of unresolved ambition drives the pin wheel on and on.
Unresolved desires and goals can lead to endless, repetitive cycles
When memory bears witness to the innocents consumed in dying rage.
Remember the pain and loss of innocent lives lost in senseless violence
The way lies through our love.
The path to a better future is through love and connection with others
There can be no other means to the end,
No other way to achieve the goal
Or the keys to my heart you will never find.
Without love, my heart is closed and unreachable
Lyrics © Universal Music Publishing Group
Written by: Brendan Michael Perry, Gus Ferguson, James E. Pinker, Lisa Germaine Gerrard, Peter Lawrence Ulrich, Scott Rodger
Lyrics Licensed & Provided by LyricFind