Dead Can Dance’s seminal 2nd album stakes out their transition from goth rock and post punk to much farther flung coordinates. It’s a classic of 4AD’s now-legendary era, and has influenced a lot of musicians ever since.
Effectively they ditched the guitars for a more classicist array of cellos, violins, timpani and trombone to match the dramatic delivery and feel of Brendan Perry and Lisa Gerrard’s voices and lyrics; a rich mixture of shared Irish heritage, references to French poet Charles Baudelaire (the title itself is taken from his magnus opus, Les Fleurs du Mal), and a full spectrum of worldly, classical inspirations.
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Dead Can Dance’s seminal 2nd album stakes out their transition from goth rock and post punk to much farther flung coordinates. It’s a classic of 4AD’s now-legendary era, and has influenced a lot of musicians ever since.
Effectively they ditched the guitars for a more classicist array of cellos, violins, timpani and trombone to match the dramatic delivery and feel of Brendan Perry and Lisa Gerrard’s voices and lyrics; a rich mixture of shared Irish heritage, references to French poet Charles Baudelaire (the title itself is taken from his magnus opus, Les Fleurs du Mal), and a full spectrum of worldly, classical inspirations.
Dead Can Dance’s seminal 2nd album stakes out their transition from goth rock and post punk to much farther flung coordinates. It’s a classic of 4AD’s now-legendary era, and has influenced a lot of musicians ever since.
Effectively they ditched the guitars for a more classicist array of cellos, violins, timpani and trombone to match the dramatic delivery and feel of Brendan Perry and Lisa Gerrard’s voices and lyrics; a rich mixture of shared Irish heritage, references to French poet Charles Baudelaire (the title itself is taken from his magnus opus, Les Fleurs du Mal), and a full spectrum of worldly, classical inspirations.
Dead Can Dance’s seminal 2nd album stakes out their transition from goth rock and post punk to much farther flung coordinates. It’s a classic of 4AD’s now-legendary era, and has influenced a lot of musicians ever since.
Effectively they ditched the guitars for a more classicist array of cellos, violins, timpani and trombone to match the dramatic delivery and feel of Brendan Perry and Lisa Gerrard’s voices and lyrics; a rich mixture of shared Irish heritage, references to French poet Charles Baudelaire (the title itself is taken from his magnus opus, Les Fleurs du Mal), and a full spectrum of worldly, classical inspirations.
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Dead Can Dance’s seminal 2nd album stakes out their transition from goth rock and post punk to much farther flung coordinates. It’s a classic of 4AD’s now-legendary era, and has influenced a lot of musicians ever since.
Effectively they ditched the guitars for a more classicist array of cellos, violins, timpani and trombone to match the dramatic delivery and feel of Brendan Perry and Lisa Gerrard’s voices and lyrics; a rich mixture of shared Irish heritage, references to French poet Charles Baudelaire (the title itself is taken from his magnus opus, Les Fleurs du Mal), and a full spectrum of worldly, classical inspirations.