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ªª ªªªªªª LOVE AND RESPECT YOUR FRIENDS AND LET YOUR ENEMIES DIE !!!
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª▓X▓ P R E S E N T S ▓X▓ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªªªªªªª
ªª▓D2H▓ªª▓ Brendan Perry - Ark ▓ªª▓D2H▓ªª
ªªªªªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Ripper : D2H Army Genre : Darkwave ▓ªª
ªª▓ Supplier : D2H Army Release Date : 02-04-2010 ▓ªª
ªª▓ Source : CDDA Year : 2010 ▓ªª
ªª▓ Type : Album Tracks : 08 ▓ªª
ªª▓ Encoder : Lame 3.97 Quality : VBRkbps/44,1kHz/Joint-Stereo ▓ªª
ªª▓ Label : n/a Catalog # : n/a ▓ªª
ªª▓ Url : www.brendan-perry.com ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªª▓X▓ T R A C K L I S T ▓X▓ªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Track Title Track Time ▓ªª
ªª▓ ▓ªª
ªª▓ 01 babylon (06:08) ▓ªª
ªª▓ 02 the bogus man (06:11) ▓ªª
ªª▓ 03 wintersun (06:02) ▓ªª
ªª▓ 04 utopia (05:56) ▓ªª
ªª▓ 05 inferno (06:38) ▓ªª
ªª▓ 06 this boy (06:59) ▓ªª
ªª▓ 07 the devil and the deep blue sea (07:35) ▓ªª
ªª▓ 08 crescent (09:35) ▓ªª
ªª▓ ------------- ▓ªª
ªª▓ TOTALS : 79,5 MB / 55:04 min ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªª▓X▓ R E L E A S E I N F O ▓X▓ªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Brendan Michael Perry was born in Whitechapel, London on June 30th 1959 to Anne O'Reilly, ▓ªª
ªª▓ from Cavan, Ireland and Michael Perry, from London, England. The eldest of three children, ▓ªª
ªª▓ he was raised in a working class suburb in east London. ▓ªª
ªª▓ ▓ªª
ªª▓ "One of my earliest musical recollections was of a music box.The kind that young girls would ▓ªª
ªª▓ store their jewellery in. It had a small ballerina that turned with the mechanism as it ▓ªª
ªª▓ played. The hypnotic spell of the musical round has stayed with me ever since. Like the ▓ªª
ªª▓ sound of the ice cream van that used to come to our street every Sunday afternoon, the music ▓ªª
ªª▓ box has become fixed in my subconscious and often manifests itself in my music in some shape ▓ªª
ªª▓ or form". ▓ªª
ªª▓ ▓ªª
ªª▓ "Every morning at primary school we would sing religious hymns at assembly. It was basically ▓ªª
ªª▓ a form of religious conversion through mantra but something to which I looked forward to. ▓ªª
ªª▓ Despite the stuffy Victorian atmosphere and the Christian dogma, many of the hymns had ▓ªª
ªª▓ beautiful melodies...". ▓ªª
ªª▓ ▓ªª
ªª▓ Apart from æThree Blind MiceÆ performed on a school recorder and a short spell in the school ▓ªª
ªª▓ choir he received no formal musical education and by the age of fourteen began to teach ▓ªª
ªª▓ himself to play the guitar. He is to this day essentially still a self-taught musician ▓ªª
ªª▓ preferring to work with a hands on approach towards music, employing his ear in preference ▓ªª
ªª▓ to a written score. ▓ªª
ªª▓ ▓ªª
ªª▓ In 1973 his parents decided to emigrate, taking him and his younger brother and sister to ▓ªª
ªª▓ Auckland, New Zealand where he attended a catholic Marist missionary brothers school in ▓ªª
ªª▓ Ponsonby. It was here that Brendan received his real musical education despite the fact that ▓ªª
ªª▓ music was not officially part of St. Pauls curriculum. ▓ªª
ªª▓ ▓ªª
ªª▓ "I remember playing acoustic guitar with the Maori and Polynesian fellas at school. We would ▓ªª
ªª▓ get together during breaks from lessons to share riffs that we had learnt from records. ▓ªª
ªª▓ Sometimes there would be a circle of up to eight guys jamming away to Hey Joe or some other ▓ªª
ªª▓ standard and played with that distinctive æjingajik a jingajikÆ Polynesian rhythm. Up until ▓ªª
ªª▓ then I was what you would describe as a "bedroom guitarist", that is someone whose sole ▓ªª
ªª▓ audience usually comprised four walls and a bed. So the school sessions were a great source ▓ªª
ªª▓ of inspiration for me both on a musical and social level". ▓ªª
ªª▓ ▓ªª
ªª▓ "I auditioned for a couple of local bands when I was about 17 but was rejected because my ▓ªª
ªª▓ technique was just not up to scratch. You have to remember this was the era of the 20-minute ▓ªª
ªª▓ guitar solo where self-indulgence had become the order of the day and many potential artists ▓ªª
ªª▓ simply did not make it beyond their bedroom doors because they felt technically inadequate ▓ªª
ªª▓ in such a musical climate. Rock music had somehow become over-complicated and slick by the ▓ªª
ªª▓ middle of the seventies". ▓ªª
ªª▓ ▓ªª
ªª▓ "I had practically given up any aspiration of ever becoming a musician when I met John and ▓ªª
ªª▓ Des from The Scavengers at an after-gig party. They told me that they were looking for a new ▓ªª
ªª▓ bass player to replace Marlon Hart and although I had never played bass before I knew they ▓ªª
ªª▓ were not exactly looking for the next Jaco Pastorius so I agreed to give it a shot. Without ▓ªª
ªª▓ even having an audition I found myself performing, well, miming actually, on New ZealandÆs ▓ªª
ªª▓ æTop of the PopsÆ, called æReady to Roll,Æ to two songs the band had laid down the week ▓ªª
ªª▓ before. The following week I watched the broadcast of the show with my family and without ▓ªª
ªª▓ actually ever having played a note on a bass guitar found myself in the rather odd situation ▓ªª
ªª▓ of being a minor musical celebrity!" ▓ªª
ªª▓ ▓ªª
ªª▓ The Scavengers together with The Suburban Reptiles were Auckland's original punk bands and ▓ªª
ªª▓ soon became the focus for a burgeoning punk scene.The Scavengers even going on to start ▓ªª
ªª▓ their own club Zwines which had been previously converted from the original 19th century ▓ªª
ªª▓ Auckland Police Barracks and which eventually became a haven for all the disparate musical ▓ªª
ªª▓ entities in Auckland at the time. ▓ªª
ªª▓ ▓ªª
ªª▓ "After the media had chosen to cover the more unsavoury excesses of the punk scene it became ▓ªª
ªª▓ very difficult for any bands associated with "New Wave" music to find venues to play. We had ▓ªª
ªª▓ been banned from all of Phil WarrenÆs clubs after a fracas in Wellington and then someone ▓ªª
ªª▓ was thrown from a footbridge and paralysed outside our Auckland university concert which ▓ªª
ªª▓ effectively closed most venue doors on us. We eventually started up our own club with the ▓ªª
ªª▓ financial backing of two dodgy businessmen which at least gave us our own weekly residency ▓ªª
ªª▓ but the scene was quickly turning very ugly. Gangs were starting to earmark punks for ▓ªª
ªª▓ regular beatings and heroin had become the fashionable drug of the moment consigning friends ▓ªª
ªª▓ to prison or premature graves so it became obvious to me that it was time to quit Auckland ▓ªª
ªª▓ or drown in the negativity of it all." ▓ªª
ªª▓ ▓ªª
ªª▓ After relocating to Melbourne, Australia in 1978, The Scavengers decided to make a clean ▓ªª
ªª▓ break with their controversial past, changing their name to The Marching Girls. ▓ªª
ªª▓ ▓ªª
ªª▓ They signed a new management deal with ex-Split Enz guitarist Wally Wilkinson and Producer ▓ªª
ªª▓ Dave Russell. However, the music became increasingly more pop-orientated leaving Brendan ▓ªª
ªª▓ unhappy with the direction that the band had taken and by 1980 he decided it was time to ▓ªª
ªª▓ leave in order to pursue his own musical vision. ▓ªª
ªª▓ ▓ªª
ªª▓ "I began to teach myself percussion and began to experiment with synthesis, tape loops and ▓ªª
ªª▓ electric guitar. I was searching for a medium that would help me to convey the inner voice ▓ªª
ªª▓ of my imagination, to give it shape and form. Listening to post-punk bands such as Public ▓ªª
ªª▓ Image and Joy Division inspired me to create music that was shaped by an unfolding sense of ▓ªª
ªª▓ psychological drama wherein sound is used to create tangible emotions and atmospheres. I ▓ªª
ªª▓ wanted to paint soundscapes, to sculpt in sound and create imaginary soundtracks for films ▓ªª
ªª▓ that had never been made." ▓ªª
ªª▓ ▓ªª
ªª▓ "Melbourne had a very interesting music scene at the time which centred around The Little ▓ªª
ªª▓ Bands scene. These groups were made up largely of people who had no background or formal ▓ªª
ªª▓ training in music but who were prepared to play instruments in an experimental and somewhat ▓ªª
ªª▓ unconventional fashion often producing unique and exciting results. The sets were very short ▓ªª
ªª▓ but there would be six or seven bands on the bill often sharing the same instruments in a ▓ªª
ªª▓ kind of musical collective." ▓ªª
ªª▓ ▓ªª
ªª▓ An attempt to capture the mood of this period was made by director Richard Lowenstein in his ▓ªª
ªª▓ film "Dogs in Space" which features the Marching Girls song "True Love" on the soundtrack. ▓ªª
ªª▓ ▓ªª
ªª▓ "It was at one of these sonic happenings that I met Lisa who was performing with a band ▓ªª
ªª▓ called Junk Logic at the time. It never occured to me that we would one day collaborate ▓ªª
ªª▓ musically together because at the time I thought her music was too avant garde. I ▓ªª
ªª▓ particularly remember one song that she sang about finding a man in the park and asking her ▓ªª
ªª▓ mother if she could bring him home to keep in her wardrobe as she attacked this chinese ▓ªª
ªª▓ dulcimer with two bamboo sticks." ▓ªª
ªª▓ ▓ªª
ªª▓ Brendan Perry formed Dead Can Dance in late 1981 together with Simon Monroe (of The Marching ▓ªª
ªª▓ Girls) on drums and Paul Erikson on bass guitar. Lisa Gerrard was to complement the line up ▓ªª
ªª▓ a few months later performing electronic percussion and backing vocals. After a handful of ▓ªª
ªª▓ live appearances resulting in a solitary lukewarm review in a Melbourne music paper, Perry ▓ªª
ªª▓ decided that there was no future for Dead Can Dance in Australia. After performing a ▓ªª
ªª▓ farewell concert at The Crystal Ballroom, Melbourne on April 2nd 1982 they left for London ▓ªª
ªª▓ without drummer Simon Monroe. ▓ªª
ªª▓ ▓ªª
ªª▓ "We had no choice but to relocate to Europe in order for us to progress as artists. The ▓ªª
ªª▓ Australian music scene was to all intents and purposes a middle of the road FM hard rock ▓ªª
ªª▓ scene and the alternative music scene that did exist at that time was far too small to be ▓ªª
ªª▓ able to support groups that had any ambitions of securing a record deal." ▓ªª
ªª▓ ▓ªª
ªª▓ Once in London they set about the task of finding a new drummer and eventually secured the ▓ªª
ªª▓ services of Peter Ulrich who just happened to live in the next block of flats to Lisa and ▓ªª
ªª▓ Brendan on the Isle of Dogs in East London. A four-track demo including æThe Fatal ImpactÆ ▓ªª
ªª▓ and æFrontierÆ was sent to several independent companies in the belief that they would ▓ªª
ªª▓ retain more artistic control than if signed to a major label. and ultimately have a greater ▓ªª
ªª▓ say in the management of their affairs. To this day Brendan is still self managed determined ▓ªª
ªª▓ to maintain his independence in an increasingly corporate oriented music industry. ▓ªª
ªª▓ ▓ªª
ªª▓ Ivo Watts-Russell of 4AD responded well to their music and after meeting with Brendan and ▓ªª
ªª▓ Lisa arranged some live dates for Dead Can Dance with the then newly signed Xmal Deutschland ▓ªª
ªª▓ and Gene Loves Jezebel in June of 1983 in order to see how well they would perform in front ▓ªª
ªª▓ of a live audience. Ivo was duly impressed and immediately offered them a one album deal ▓ªª
ªª▓ which was the standard for 4AD acts at that time, and in due course they were booked into ▓ªª
ªª▓ Blackwing Studios to record their eponymous album æDead Can DanceÆ. ▓ªª
ªª▓ ▓ªª
ªª▓ Dead Can Dance released a total of nine albums including a live concert video album over a ▓ªª
ªª▓ period of sixteen years to considerable public and critical acclaim. It was whilst writing ▓ªª
ªª▓ what was to become their ninth studio album that relations between Brendan and Lisa began to ▓ªª
ªª▓ sour and it was mutually decided to end their musical collaboration as Dead Can Dance in ▓ªª
ªª▓ order to pursue separate solo careers. ▓ªª
ªª▓ ▓ªª
ªª▓ In 1997 Brendan scored the music for the film æSunset HeightsÆ by the director Colm Villa. ▓ªª
ªª▓ Set in the near future in Derry City, Ireland, it tells the story of two rival gangs and the ▓ªª
ªª▓ people who become caught up in the ensuing violence. ▓ªª
ªª▓ ▓ªª
ªª▓ Although "Eye Of The Hunter" was released in October 1999, Brendan began work on the album ▓ªª
ªª▓ while Dead Can Dance were still active û the idea was inspired, in part, by his incredible ▓ªª
ªª▓ solo performance during 4AD's 13 Year Itch celebrations at the ICA in 1993. Boasting lush ▓ªª
ªª▓ production sensibilities and a boundary-defying spirit, "Eye Of The Hunter" offered an ▓ªª
ªª▓ immediate familiarity to fans of Dead Can Dance's unique sound world. But there were ▓ªª
ªª▓ difference in the manner the music was made, and also how it was presented. ▓ªª
ªª▓ ▓ªª
ªª▓ Though Dead Can Dance employed vocals, the duoÆs goal was to express emotions beyond ▓ªª
ªª▓ language. Their recording process was also open to improvisation, Brendan and Lisa letting ▓ªª
ªª▓ the music lead them to its destination. In contrast, Eye Of The HunterÆs vignettes were ▓ªª
ªª▓ written û crafted û using a more traditional singer / songwriter process. The music, ▓ªª
ªª▓ centered around BrendanÆs thoughtful and restrained guitar playing, provided a backdrop for ▓ªª
ªª▓ his deep, gentle vocals. And while much of Dead Can DanceÆs work eluded categorisation, ▓ªª
ªª▓ Brendan embraced it, making a folk record in the truest sense: these songs û each one its ▓ªª
ªª▓ own story but each also contributing to an overall theme û were rooted in his life ▓ªª
ªª▓ experiences. ▓ªª
ªª▓ ▓ªª
ªª▓ "Eye Of The Hunter" was recorded at Brendan's Quivvy Church studio in County Cavan in ▓ªª
ªª▓ Ireland. It's a relatively isolated setting - one which allows its owner space to pursue his ▓ªª
ªª▓ interests, which range from music to astronomy and archery to arboriculture. ▓ªª
ªª▓ ▓ªª
ªª▓ Dead Can Dance's music often suggested a search for meaning and sense in the world, and ▓ªª
ªª▓ Brendan has taken up a similar journey. But instead of looking at the external world, he has ▓ªª
ªª▓ decided to explore the inner world of his own private universe. ▓ªª
ªª▓ ▓ªª
ªª▓ "People have multiple personalities which are always evolving," he says. "This record deals ▓ªª
ªª▓ with the different facets of my own personality." ▓ªª
ªª▓ ▓ªª
ªª▓ Eye Of The Hunter's deeply personal songs explore the theme of loss - both of life and love ▓ªª
ªª▓ - but they are not bereft of hope. "Saturday's Child", which opens the record, poignantly ▓ªª
ªª▓ describes the changing relationship between Brendan and his father after the latter suffered ▓ªª
ªª▓ two debilitating strokes. "Sloth" deals with time lost to anger, addiction and inertia, ▓ªª
ªª▓ preventing us from achieving our true potential. "The Captive Heart" deals with the attempt ▓ªª
ªª▓ to keep love afloat over a long distance. A cover of Tim Buckley's "Must Have Been Blind" ▓ªª
ªª▓ features one of the record's more extravagant arrangements, with layers of pedal steel ▓ªª
ªª▓ supporting Brendan's soaring vocals. An emotional centrepiece is the haunting, ▓ªª
ªª▓ autobiographical "Voyage of Bran". Brendan Perry toured Europe and North America in support ▓ªª
ªª▓ of "Eye Of The Hunter". ▓ªª
ªª▓ ▓ªª
ªª▓ Brendan's passion for percussion began to take root in the latter part of the 90's in the ▓ªª
ªª▓ form of private workshops teaching Afrocuban and West African Manding percussion styles at ▓ªª
ªª▓ Quivvy Church to international visitors. This in turn culminated in the creation of a ▓ªª
ªª▓ community based Samba School, The Salamanders, which he set up to encourage local interest ▓ªª
ªª▓ and involvement in Afro-Brasilian and Batucada rhythmic traditions. ▓ªª
ªª▓ ▓ªª
ªª▓ In April 2003 he oversaw the creation of an international Samba festival in Belturbet, ▓ªª
ªª▓ combining Capoeira and dance workshops, musical performance and cinema which helped to ▓ªª
ªª▓ cement BelturbetÆs reputation as a centre for the arts in County Cavan. ▓ªª
ªª▓ ▓ªª
ªª▓ In 2005 Brendan and Lisa briefly reformed Dead Can Dance for a final farewell world tour, ▓ªª
ªª▓ headlining at The Hollywood Bowl and Radio City, New York, accompanied by a 40 piece chamber ▓ªª
ªª▓ orchestra conducted by Jeff Rona. Two new songs were written especially for this tour, ▓ªª
ªª▓ "Babylon" an indictment of the US political war machine and "Crescent" a life affirming ode ▓ªª
ªª▓ to nature and the human spirit. Studio versions of these songs appear on Brendan's new album ▓ªª
ªª▓ "Ark" which is due to be released August 2010 as phisical and 2 months later as digital ▓ªª
ªª▓ download. ▓ªª
ªª▓ ▓ªª
ªª▓ "Ark" is simply outstanding and beautiful, so enjoy it, BUY IT or go to HELL! ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
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