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Within The Realm Of A Dying Sun
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Album: Within The Realm Of A Dying Sun (Remastered)
# Song Title   Time
1)    Anywhere Out of the World More Info... 0:05
2)    Windfall More Info... 0:03
3)    In the Wake of Adversity More Info... 0:04
4)    Xavier More Info... 0:06
5)    Dawn of the Iconoclast More Info... 0:02
6)    Cantara More Info... 0:06
7)    Summoning of the Muse More Info... 0:05
8)    Persephone (The Gathering of Flowers) More Info... 0:06
 

Album: Within The Realm Of A Dying Sun (Remastered)
# Song Title   Time
1)    Anywhere Out of the World More Info... 0:05
2)    Windfall More Info... 0:03
3)    In the Wake of Adversity More Info... 0:04
4)    Xavier More Info... 0:06
5)    Dawn of the Iconoclast More Info... 0:02
6)    Cantara More Info... 0:06
7)    Summoning of the Muse More Info... 0:05
8)    Persephone (The Gathering of Flowers) More Info... 0:06
 
Product Description
Product Details
Performer Notes
  • Dead Can Dance: Lisa Gerrard , Brendan Perry (vocals, various instruments).
  • Personnel: Alison Harling, Emlyn Singleton (violin); Piero Gasparini (viola); Tony Gamage, Gus Ferguson (cello); Ruth Watson (oboe); Mark Gerrard (trumpet); Richard Avison, John Singleton (trombone); Andrew Claxton (bass trombone, tuba); Peter Ulrich (snare drum, timpani).
  • Audio Remasterer: John A. Rivers.
  • WITHIN THE REALM OF A DYING SUN sees Dead Can Dance utilizing both string and brass instruments more than they had previously, which gives the music an organic feel. Though some synthesized effects are still present, the floating, ethereal effect that the tracks inspire is based almost entirely on the cavernous echoes that DCD incorporates into its music and on the vocals of Brendan Perry and Lisa Gerrard, who sings four songs to Perry's three (the other is a short instrumental).
  • On "Xavier," Perry's voice rises and falls amid a forest of strings, augmented by an occasional, distant trumpet. "Dawn of the Iconoclast" opens with a series of triumphal blasts and spare drum rolls, and soon settles into a sustained chord over which Lisa Gerrard's voice (tracked at least three times) weaves back and forth, before eventually ending on a swelling synthesized note. "Cantara" is arguably the best track here--built over a repeated hurdy-gurdy riff, at nearly the two-minute mark it introduces a percussive rhythm over which Gerrard intones what seem to be nonsense syllables--the whole thing comes out suggesting a village dance from the time of King Arthur and company.
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