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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Song of the Dispossessed
Dead Can Dance Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
daylight comes and I want to go home.
Awoke this morning
to find my people's tongues were tied
and in my dreams
they were given books to poison their minds.
The river is deep and the mountain high,
how long before the other side.
their building bricks and their clay.
Their gold teeth mirror
both our joys and our pain.
The river is deep and the ocean wide,
who will teach us how to read the signs.
The earth is our mother
she taught us to embrace the light,
now the lord is master
she suffers an eternal night.
You blocked up my ears,
you plucked out my eyes,
you cut out my tongue,
you fed me with lies,
oh lord.
The song "Song of the Dispossessed" by Dead Can Dance is a powerful representation of the sorrow and despair felt by those who have been stripped of their language, culture, and identity. The lyrics suggest a deep longing to return home, to a place where one's people and language are not oppressed, and where they are free to embrace the light. The river, mountain, and ocean are all depicted as symbols of the obstacles that keep the singer from returning home.
The song talks about the idea that the people's tongues have been tied, and in their dreams, they are given books to poison their minds. This could be interpreted as a metaphor for colonization and forced assimilation. The singer is seeking someone who can teach them to read the signs of their surroundings, and help them find their way back home. The earth is portrayed as the mother who taught them to embrace the light, but now the lord has become their master, and the mother suffers an eternal night.
The last stanza talks about how the lord has taken away the singer's ability to see, hear, and communicate. They have been fed lies and their identity has been stripped away. The singer is calling on the lord to acknowledge the harm that has been done, taking away their identity, and causing them to suffer. It is a powerful message about cultural suppression, forced assimilation, and the need for freedom and autonomy.
Line by Line Meaning
The river is deep and the road is long,
The journey to find a sense of belonging and purpose is challenging and tiring.
daylight comes and I want to go home.
A longing for a sense of familiarity and comfort, even when times are tough.
Awoke this morning
A realization or awakening to a new perspective or situation.
to find my people's tongues were tied
The oppression and silencing of a community's voice and culture.
and in my dreams
A vision or aspiration for a better future.
they were given books to poison their minds.
A deliberate attempt to indoctrinate and control a community through education.
The river is deep and the mountain high,
The obstacles to achieving justice and freedom are immense.
how long before the other side.
The uncertainty and hopelessness of when or if liberation will ever come.
We are their mortar,
The community is used and exploited as the foundation for someone else's success.
their building bricks and their clay.
The community is seen as a resource to be used and manipulated according to another's will.
Their gold teeth mirror
The suffering and exploitation of the community is reflected in the opulence and privilege of those in power.
both our joys and our pain.
The community's emotions and experiences are intertwined and inseparable from the larger power dynamic.
The river is deep and the ocean wide,
The struggles for liberation and justice are vast and seemingly insurmountable.
who will teach us how to read the signs.
The need for guidance and leadership in navigating the complexities of oppression and liberation.
The earth is our mother
A connection and respect for the natural world as a source of life and wisdom.
she taught us to embrace the light,
The importance of embracing hope, positivity, and progress in the journey towards liberation.
now the lord is master
The way in which institutional power and oppression can override cultural and spiritual traditions.
she suffers an eternal night.
The damage and destruction inflicted on the earth and natural world as a result of unchecked power and greed.
You blocked up my ears,
The ways in which oppressive forces can silence and prevent the spread of knowledge and truth.
you plucked out my eyes,
The ways in which oppressive forces can prevent the ability to see and perceive the truth.
you cut out my tongue,
The ways in which oppressive forces can prevent the ability to speak and spread truths and ideas.
you fed me with lies,
The ways in which oppressive forces can indoctrinate and control individuals through misinformation and propaganda.
oh lord.
An appeal to a higher power or sense of justice for liberation and freedom from oppression.
Lyrics © Universal Music Publishing Group
Written by: BRENDAN MICHAEL PERRY, LISA GERMAINE GERRARD
Lyrics Licensed & Provided by LyricFind