By the time of their fourth studio album Dead Can Dance had reached a remarkable high point with their moodily dramatic combination of dark singer/songwriter feelings and melanges of worldwide musical instrumentation and approaches, creating a never-never land that wasn’t quite medieval or ritualistic but wasn’t anything else either. “The Host of Seraphim” started the album with shocking command, while further songs like “Severance” and “Ullyses” further underscore their abilities with their fusions.

– Ned Raggett