Spleen and Ideal (1985)
1985 signalled the release of the bands second album, ‘Spleen and Ideal’, with a little more fanfare than the S/T release. At just their second album, Dead Can Dance had evolved their sound that bears little resemblance to the first album save through the vocals and name. Rather than the goth-rock style with a hint of tribal, the sound now reflects greater levels of ethnic fusion, intense neoclassical framework and a greater level of experimentation in general. The title from the album is from an 18th century poem, and it refers to “the conflict between sinning flesh (spleen), the struggle to realise the idea.” The albums lyrics were based on poetry by Charles Baudelaire and Thomas de Quincey.
De Profundis (Out of the Depths of Sorrow), even its name, represents the passionate and haunting lyricism that is present throughout the album. The listener, abused by a wall of sounds created by a classical choir and organ combination is directed into Gerrard’s performance, a majestic one partially relying on glossolalia and some words. The album could not possibly get off to a better start. The song speaks for itself.
De Profundis (Out of the Depths of Sorrow)
The listeners are given a little treat in
Ascension, with a horn/brass based instrumental with a smidgen of choir work in the second half, creating a atmosphere of melancholy that matches the album beautifully. Nothing amazing, the song is perfect for its place in the album.
We knew that Gerrard could produce a stunner; however, the real question was how it would be followed up by Perry. Needless to say, he has stepped up his game big time. The undemanding songs and poor productions are replaced with Perry becoming the focal point carrying a sense of grace and civility, evident in
The Cardinal Sin. He is supported by a neoclassical brass backing mixed with a basic beat from the drumming with the occasional burst of keyboard.
The demeanour of the album changes from melancholic to menacing for a short time with the beginning of
Circumradiant Dawn, string instruments resonate a harsh and squealing pitch. Gerrard’s beautiful tonal work is once again present, stretching her voice to the point of breaking time.
Mesmerism is another Gerrard focused piece, and it picks up the pace considerably, a tribal rock fusion sound dominating proceedings. Her ability to not only match the pace but improve upon it is sublime. With only a short amount of lyricism, the balance is unique and fragile, and she pulls it off. The line
“For you have been… mesmerised” is particularly fitting for the bands work in general, sung over a dramatic and powerful beat, making it one of the albums best works.
The mannerisms of
The Cardinal Sin is replicated in
Enigma of the Absolute, which begins with a simple acoustic sound before pounding of war drums and violin work take over with Perry’s best vocal performance from the album. He delivers a sermon like performance that increases in dramatic nature as time continues.
Advent follows Enigma with another Perry vocal performance, although nothing spectacular, is a nice piece, but by now it feels bit similar style wise to his previous songs.
Avatar is its ‘sibling’ (purely due to name similarity and proximity), and is yet another great performance by Gerrard. It stands out, similarly to
Mesmerism, due to its frenetic pace, but Gerrard’s vocal progression is also a treat.
Avatar (Live 1987 performance, okay quality from a bootleg)
As well as the album kicks off, it ends with a similarly high note with
Indoctrination (A Design For Living), introducing the most distinct electronic sound of the album. The two halves rely on each other, and they both do it well.
The transition between the first album and Spleen is amazing quite frankly. Gerrard is as astonishing as advertised, developing her vocal work from the first album, whilst Perry has caught up, offering his own distinct brand of dramatics which work well in conjunction with the albums style. This is a great starting point for anyone interested in Dead Can Dance, as it offers the first high end production point, as well as offering a place to compare the bands future evolution appropriately.
De Profundis,
Mesmerism,
Avatar and
Enigma of the Absolute all stand out in their full glory.
Indoctrination (A Design For Living) (Live 1987 performance, okay quality from a bootleg)
De Profundis (Out Of The Depths Of Sorrow) (4:00) Soprano Vocals - Andrew Hutton
Ascension (3:05)
Circumradiant Dawn (3:16)
The Cardinal Sin (5:28)
Mesmerism (3:53)
Enigma Of The Absolute (4:13)
Advent (5:18)
Avatar (4:35)
Indoctrination (A Design For Living) (4:15)
In a Few Words: Its where to start your journey.
Best track/s:
Avatar
Running time: ~38 minutes
Favourite Lyrics:
“The insatiable thirst for power has made idols out of mortals, gods into clay, soldiers into heroes,
Children into slaves of damned desire, their hopes betrayed.”
Rating – A top end 9.5/10