DEAD CAN DANCE's second album, Spleen And Ideal (1985), saw them experiment more with instrumentation, abandoning guitars in favour of cello, trombone and timpani. Widely acclaimed, there was now a richness of uni cation between voice and music, lyrics and structure, showing they had a concrete sense of the aural ideal they were striving towards. It's title was taken from Spleen et Idéal, a collection of poems by 18th century French poet Charles Baudelaire.
Review
With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination. Calling it "haunting" and "atmospheric" barely scratches even the initial surface of the album's power. - All Music 5/5