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| Into the Labyrinth [Re-Mastered] | ![Into the Labyrinth [Re-Mastered]](http://ecx.images-amazon.com/images/I/31%2BirN%2BCMaL._SL160_.jpg)
 enlarge | List Price: $19.99
Buy New: $14.99
You Save: $5.00 (25%)
Buy New/Used from $14.49
Avg. Customer Rating:  (based on 63 reviews)
Sales Rank: 14904
Category: Music
Artist: Dead Can Dance
Publisher: 4ad Records
Studio: 4ad Records
Manufacturer: 4ad Records
Label: 4ad Records
Format: Hybrid Sacd, Original Recording Remastered
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 652637271133
EAN: 0652637271133
ASIN: B0015YFOHY
Release Date: July 22, 2008
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Yulunga (Spirit Dance) | | • | The Ubiquitous Mr. Lovegrove | | • | The Wind The Shakes The Barley | | • | The Carnival Is Over | | • | Ariadne | | • | Saldek | | • | Towards The Within | | • | Bird | | • | Tell Me About The Forest (You Once Called Home) | | • | The Spider's Strategem | | • | Spirit | | • | Emmeleia | | • | How Fortunate The Man With None |
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| Editorial Reviews:
Product Description
This 1993 release saw Brendan Perry and Lisa Gerrard embark on individual paths. While this record of all new material was considered a commercial breakthrough (it was 4AD's best-seller at a million copies worldwide and counting), it was also their most divided. They both wrote songs independent of one another, on separate continents.
Amazon.com
Their goth-sounding name and dour visual image aside, the prolific duo of Brendan Perry and Lisa Gerrard produce wildly eclectic but utterly unique music. Their painstakingly crafted albums encompass numerous arcane genres, from European classical music to ancient Celtic and Middle Eastern folk styles, often employing authentic antique instruments to achieve their ambitious, emotive soundscapes. The 1993 effort Into the Labyrinth found Dead Can Dance mixing their medieval leanings with more exotic Eastern influences on "Saldek" and "Yulunga," while exploring Celtic balladry on the traditional "The Wind That Shakes the Barley" and theatrical songcraft in their interpretation of Bertolt Brecht's "How Fortunate Is the Man with None." --Scott Schinder
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| Customer Reviews: Read 58 more reviews...
 Fantastic Re-Master SACD September 4, 2008
The SACD remastered by MFSL is amazing. In fact, after receiving this disc I promptly went Into The Labyrinth where I'm still lost to this day. Luckily it has WiFi and I have a laptop with a body motion charger so I can still write reviews. Although it will be tough to give Amazon my address when ordering from now on. Of course I'm probably gonna die of starvation anyway. Bummer.
 Not my favorite DCD March 23, 2008
This album is less compelling for me than some of their others. The tracks are mostly spacey vocals, and I miss the duo's fine instrumentals.
 Into the Labyrinth October 6, 2007
I'm relatively new to Dead Can Dance's music. I have heard only a couple of their albums. I can't really say I became a massive DCD fan but I certainly have enjoyed their music from what little I have heard. I recently found a copy of INTO THE LABYRINTH at my library and decided to check it out. I am very glad that I did get the cd. I felt like I was in another world whenever I listen to the cd. The Middle Eastern influences certainly gives the music an international flair. The production is immaculate. I can hear every single word that comes floating out of Lisa Gerrard and Brendan Perry's voices. There is also a live vibe. I almost feel as if I am in the recording studio watching the duo sing. While I do enjoy Brendan Perry's vocals, I have to admit I like Lisa's vocals a bit more. Her vocalizations often reminds me of one of my all time favorite sings, Loreena McKennitt. I liked most of INTO THE LABYRINTH. The only track I wasn't too keen on was "The Ubiquitous Mr. Lovegrove". I didn't particularly care for the melody or Brendan's vocals. Overall, INTO THE LABYRINTH is a lush soundscape of Middle Eastern melodies suitable for listening after a long day at the office.
5 stars! May 22, 2007
0 out of 1 found this review helpful
This is a great CD...go get it if you are into Dead Can Dance! This is their greatest album.
Their commercial breakthrough, but not their best April 15, 2007
2 out of 3 found this review helpful
After an absence of three years which saw the release of a best of collection, Dead Can Dance achieved their commercial and U.S. breakthrough as well as yet another stylistic shift with this, their sixth studio album. Unlike previous albums which featured backing musicians, this one saw the DCD duo of Brendan Perry and Lisa Gerrard handling all the instruments and vocals themselves in their new private studio. While this mostly works, occasionally the synthesizers sound a bit thin and one wishes they had employed musicians playing actual instruments for certain passages.
Stylistically, DCD moved on from the medieval arrangements of their previous album, Aion, towards more middle eastern influences alternating with dreamy pop sounds. This album also marks an increasing estrangement of the duo's individual musical styles. Lisa's dramatic opener, Yulunga, sets the tone with her chilling multi-octave wordless singing over building percussion, followed by what was to become one of the unlikelier alternative radio hits, Brendan's The Ubiquitous Mr. Lovegrove, a bitter rebuke to an unfaithful lover delivered over a crisp background of tablas and period bagpipes. Lisa then startles longtime fans by delivering the next track, the Wind That Shakes the Barley, an actual traditional song with lyrics (as opposed to her usual wordless glossolalia). Brendan's song of dreamy nostalgia, The Carnival Is Over, was another minor hit thanks to its being featured as the theme of MTV's Real World, and is as close as the group had come so far to mainstream pop. Less successful is his third original song on the album, Tell Me About The Forest, which lyrically strays into preachiness and musically provides little interest. His closing piece on the album is an arrangement of Berthold Brecht's How Fortunate The Man Who Has None, which achieves a kind of gloomy dignity musically but strains to sustain interest throughout its full nine minute length.
The rest of the album is heavier on middle eastern and eastern European influences. Lisa's Ariadne is a brief but lovely piece featuring multitracked vocals over organ, while her even briefer Saldek sounds like it came straight from a National Geographic special on traditional Bulgarian music. The title track is a meandering and ultimately not very interesting set of passages of middle eastern styled singing and drumming with synthesizer; the similar Spider's Strategem features the same musical elements but actually comes together as a more interesting and compelling whole. The medieval a capella choral piece Emmeleia sounds like an outtake from Aion.
This album marked a watershed in several ways for the group, and for many fans was their initial introduction to DCD and hence defined their sense of the duo's musical identity, but I can't give it more than three stars. Though it features some terrific songs, much of it sounds like filler, and the stripped production pales in comparison to their best earlier work. To get a sense of what this duo is really capable of, find a copy of Within the Realm of a Dying Sun, Spleen and Ideal, The Serpent's Egg, or Aion.
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