The Serpent's Egg

( 2 )

Editorial Reviews

All Music Guide - Ned Raggett
Perry and Gerrard continued to experiment and improve with The Serpent's Egg, as much a leap forward as Spleen and Ideal was some years previously. As with that album, The Serpent's Egg was heralded by an astounding first track, "The Host of Seraphim." Its use in films some years later was no surprise in the slightest -- one can imagine the potential range of epic images the song could call up -- but on its own it's so jaw-droppingly good that almost the only reaction is sheer awe. Beginning with a soft organ drone and buried, echoed percussion, Gerrard then takes flight with a seemingly wordless invocation of power and worship -- her vocal control and multi-octave range, ...
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Editorial Reviews

All Music Guide - Ned Raggett
Perry and Gerrard continued to experiment and improve with The Serpent's Egg, as much a leap forward as Spleen and Ideal was some years previously. As with that album, The Serpent's Egg was heralded by an astounding first track, "The Host of Seraphim." Its use in films some years later was no surprise in the slightest -- one can imagine the potential range of epic images the song could call up -- but on its own it's so jaw-droppingly good that almost the only reaction is sheer awe. Beginning with a soft organ drone and buried, echoed percussion, Gerrard then takes flight with a seemingly wordless invocation of power and worship -- her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. Nothing else achieves such heights, but everything gets pretty darn close, a deserved testament to the band's conceptual reach and abilities. Slow plainsong chants such as "Orbis De Ignis" mix with the harpischord and overlaid vocals of "The Writing on My Father's Hand" and the slow build and sweep of "In the Kingdom of the Blind the One-Eyed Are Kings." Two of Perry's finest vocal moments occur here. The first, "Severance," is a slow, organ/keyboard led number that showcases his rich, warm vocals exquisitely -- it's no wonder that Bauhaus chose to cover it some years later on its reunion tour. "Ullyses," the album's closing track, makes for a fine ending as much as "The Host of Seraphim" did an opening, Perry's delivery almost like a reading from a holy book, the arrangement of strings and percussion rhythmic, addictive and lovely.
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Product Details

  • Release Date: 12/9/2008
  • Label: 4ad / Ada
  • UPC: 652637270921
  • Catalog Number: 72709
  • Sales rank: 39,976

Album Credits

Performance Credits
Dead Can Dance Primary Artist, Primary Artist
Lisa Gerrard Vocals, Voices
Brendan Perry Vocals, Voices, Hurdy-Gurdy
Tony Gamage Violin, Cello
David Navarro Sust Vocals, Voices
Rebecca Jackson Violin
Andrew Bessley Viola
Alison Harling Violin
Sarah Buckley Viola
Rebecca Jackson Violin
Andrew Beesley Viola
Technical Credits
Dead Can Dance Producer, Audio Production
Lisa Gerrard Composer
Brendan Perry Composer, Insert
John A. Rivers Producer, Audio Production
Vaughan Oliver Insert
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Customer Reviews

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( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Posted October 1, 2010

    nice

    I purchased the cd for a particular cut and wound up liking it all together.I would buy more music from this artist.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 8, 2008

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews