The Ubiquitous Mr. Lovegrove 3. The Carnival Is Over 5. Ariadne 6. Saldek 7. Towards The Within 8. The Spider's Stratagem Emmeleia One of the most intriguing albums I have recently delved into, 'Into the Labyrinth', catches the listener by surprise. Beautiful melodies give their place to ethereal vocals and eastern traditional folk music passages.
Psalms and dark keyboards open the way to this album, followed by a captivating eastern beat Truly a 'Spirit Dance'. Perry's dark vocals are introduced in 'Ubiquitous Mr. Lovegrove' where modern indie rhythms keep up this 'ancient Babylon' feeling. The voice of Lisa Gerrard then changes completely the feeling with 'The Wind that Shakes the Barley', which sounds like a traditional Irish folk story; a track that consists only of a beautiful female voice without the need of a musical background.
Inspiring keyboard melodies flow throughout 'The Carnival is Over' and Perry once again dresses the track with melancholic, bluesy vocals. This track shows the diversity in the album, which perfectly combines folk and indie rhythms with more modern sounds. Indian drumbeats and folklore psalms compose 'Towards the Within' where influences from Mediterranean, Middle East and Africa mix with obscure keyboards.
Electronic sounds and medieval keyboards are introduced in 'Tell me about the Forest' and 'The Spider's Stratagem' where Perry's strong gothic tone in the first alters with Gerrard's ethereal melodies in the second.
Vocal forces combine in beautiful 'Emmeleia', an interval that sounds like a melancholic prayer. Perry reminds as 'How Fortunate the Man With None', a perfect ending for this album with a charming melody, leaving the listener skeptic with its strong lyrics.
Stories about true love and death, nature, pride and greediness lay on a musical background of deep breath. This is not progressive rock but has all the elements that would intrigue a progressive music fan. Out of the deep background, a long plaintive voice hesitating between Spanish lament, Arabian prayer and opera style slowly rises out of synth layers, before tabla drums definitely take over and the chants take on a definitive mid-Eastern slant over a jungle animals background and oboe.
There is almost a new age feel to Yulunga, partly introduced by the jungle noises, but also the slow monotonous chants and mid-East slant of the music itself, but if all new age music was so eventful, I'd probably be a fan. The following few tracks only go on to confirm the ethnic direction of the album, with the exception of the short Wind That Shares Babies and Tell Me About The Forest, sounding Celtic and medieval respectively, such as Mr Lovegrove with its tabla and sitar hinting at India and Ariadne and Saluck hinting at Maghreb music.
As the album moves on, you'll find more of the same hesitations between occidental and oriental realms. Of a lesser interest to medieval prog folk freaks, although developing another of its facet ethnic folk , this is exactly the kind of album that got purist of all kinds angry with DCD, and most musicologist would agree that Labyrinth is indeed a good exercise of "batardization" of several genres all meddled into one music as to allow uneducated masses to get into them; a bit like those Nights of The Proms do the same, but called vulgarisation for that cause.
In either case, this Labyrinth album is still rather interesting for most into adventurous music, but demanding progheads will not find their happiness. Into the Labyrinth is quite the interesting Dead Can Dance album to my ears.
Two of those four mentioned tracks have a couple of borrowed lyric lines from Joy Division songs, which of course further strengthens Dead Can Dance ties to the darker early eighties UK music scene.
The instrumentation on the tracks are as usual a mix of various organic percussion, traditional ethnic instruments and synths. The mix works excellent here. There is a longing, nostalgic and melancholic feeling in that track that greatly appeals to me. The sound production needs a very special mention too as this is an absolutely brilliantly produced album.
The sound is crystal clear but never looses its organic qualities. A very hard balance to strike yet the group manages to do this to perfection on this self-produced affair. Lisa comes in after 2 minutes. Drums and other sounds follow.
Good song. Lovegrove" is very ethnic sounding. Brenden comes in vocally before a minute. This sounds too catchy to be a DCD song. Vocals only on this one. The tempo picks up before a minute as the sound changes. Male vocals as it settles again.
Orchestral-like music joins in later. Not a fan. It blends into "Ariadne". We start to get a beat then Lisa comes in. A catchy ethnic sounding track. Very cool lyrics to this my favourite track. Yulunga is an entrancing opener, full of dark strings, Lisa's Arabesque vocal mannerisms and subtle percussion. Lovegrove is Perry's answer to Lisa's ethnic stylings, it's a singer songwriter oriented psychedelic piece that shows his grown interest in the psychedelic music of ' Lisa continues with an 18th century Irish traditional.
Gerrard sings in a self-created wordless vocal technique similar to glossolalia on tracks 1, 5—7, 9— Tracks 3 and 10 were performed a cappella. The title alludes to the classic legend of Greek mythology about Theseus going into the Labyrinth against the Minotaur. While not necessarily a concept album , this link adds some conceptual cohesion to the album.
This theme is reflected in several song titles: "Ariadne" the legendary Ariadne giving her clew to Theseus ; "Towards the Within" of the Labyrinth, the Minotaur being at the centre ; "The Spider's Stratagem" waiting at the centre of her web like the Minotaur waiting at the centre of the Labyrinth—but also a Bertolucci film adapting a Borges short story from Labyrinths : and "Emmeleia" the Greek dance of tragedy. They were the two earlier bonus tracks from the compilation A Passage in Time , and they were collected again on Dead Can Dance Instruments include: bongos on 9 , sitar on 2, 7 , tabla on 7, 9.
From Wikipedia, the free encyclopedia. This article is in list format, but may read better as prose. You can help by converting this article , if appropriate. Editing help is available. August Dead Can Dance. S promo. Retrieved 18 May Christgau's Consumer Guide: Albums of the '90s. Martin's Press. ISBN Entertainment Weekly : Archived from the original on 25 April Los Angeles Times. Q 86 : November Butters made a transcription but couldn't go further, then asked about it on the American Dialect Society mailing-list but received no answer.
Link to Butters' post with transcript at AmericanDialect. Butters' transcription could possibly be the basis for all the current "Emmeleia lyrics" pages, but because the lyrics pages are much more precise, it is possible that the original Gerrard script was published somewhere or provided to fans.