This 1984 release set the pace for the band's career, helped define the tone of the 4AD label, and opened the door for a genre that includes Delirium, Deep Forest, and Enigma. While much less dense and textural than more recent DCD, this album begins the group's study of combining global rhythms and instrumentation from various musical eras with contemporary sounds. Here they explore the somewhat Gothic electronic and rock instrumentation of post-punk European pop. Featuring the lush, sonorous vocals of Brendan Perry and Lisa Gerrard, this is a dark, mysterious, and compelling release. Fans of later works will not be disappointed; newcomers will find this groundbreaker a good place to meet Dead Can Dance. --Andy Stevens
Review by Ned Raggett
Early punk backgrounds and the like behind them, Perry and Gerrard created a striking, dour landmark in early-'80s atmospherics on their first, self-titled effort. Bearing much more resemblance to the similarly gripping, dark early work of bands like the Cocteau Twins and the Cure than to the later fusions of music that would come to characterize the duo's sound, Dead Can Dance is as goth as it gets in many places. Perry and Gerrard's wonderful vocal work -- his rich, warm tones and her unearthly, multi-octave exaltations -- are already fairly well established, but serve different purposes here. Thick, shimmering guitar and rumbling bass/drum/drum machine patterns practically scream their sonic connections to the likes of Robin Guthrie and Robert Smith, but they still sound pretty darn good for all that. When they stretch that sound to try for a more distinct, unique result, the results are astonishing. Gerrard is the major beneficiary here -- "Frontier" explicitly experiments with tribal percussion, resulting in an excellent combination of her singing and the rushed music. Then there's the astonishing "Ocean," where guitar and chiming bells and other rhythmic sounds provide the bed for one of her trademark -- and quite, quite lovely -- vocal excursions into the realm of glossolalia. Perry in contrast tends to be matched with the more straightforward numbers of digital processing and thick, moody guitar surge. The album ends on a fantastic high note -- "Musica Eternal," featuring a slowly increasing-in-volume combination of hammered dulcimer, low bass tones, and Gerrard's soaring vocals. As an indicator of where the band was going, it's perfect.
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