Although Lisa Gerrard released numerous albums in the form of soundtracks and collaborations after her 1995 debut, THE MIRROR POOL, this 2007 outing (issued earlier on iTunes) marks the former Dead Can Dance vocalist/multi-instrumentalist's second official solo record. With its moody, minimal keyboard-driven arrangements, THE SILVER TREE leaves plenty of space for the Australian singer's powerfully emotive voice, which can project both sadness ("Devotion") and serenity ("The Valley of the Moon") with equal conviction and intensity.
Lisa Gerrard is an Australian musician, singer and composer who rose to prominence as part of the music group Dead Can Dance with music partner Brendan Perry. Since her career began in 1981, Gerrard has been involved in a wide range of projects. She received a Golden Globe Award for the music score to the film Gladiator, on which she collaborated with Hans Zimmer on such songs as "Now We Are Free." Gerrard released her third solo album, The Black Opal, in October 2009. The album included collaboration with Michael Edwards, Patrick Cassidy, Pieter Bourke and James Orr and was the first release to come from Gerrard Records.
Original soundtrack to the 2013 TV miniseries composed by Hans Zimmer, Lorne Balfe and Lisa Gerrard. The five-part docudrama is created and executive produced by Mark Burnett (The Voice, Survivor) and Roma Downey (Touched by an Angel) and will cover the Bible from Genesis to Revelation, including stories from Noah's Ark and the Exodus to Daniel in the Lion's Den to the crucifixion and resurrection of Jesus.
Lisa Gerrard was so indelibly and obviously a part of what made Dead Can Dance what it is that it's little wonder that The Mirror Pool feels essentially like a continuation of that band's haunting, vast atmospheres. Without Brendan Perry's deep, rolling voice as a contrast, Gerrard's sky-sweeping abilities transform the entire recording into a truly mystical experience. The use of Australia's Victorian Philharmonic Orchestra on many tracks continues the tradition of strong arrangements in Gerrard's work, thanks to the abilities of John Bonnar, who conducts as well as performs at other points.
In collaboration with Brendan Perry, Lisa Gerrard is half of the duo Dead Can Dance, which started releasing arty goth rock on the 4AD label in the mid-'80s. Gerrard began her solo career with the 1995 release The Mirror Pool, which contained a lot of work that wouldn't fit comfortably into the DCD oeuvre. Combining these fragments with music that she composed and arranged digitally before reconfiguring them into scores that could be performed, it also draws on a composition by Handel and traditional Iranian music.
Scarcely three decades old, the enduring appeal of novelist Stephen King's horror oeuvre has already begun to foster remakes of the films and TV productions already based on his most popular works. This cable TV redux of King's 1975 tale of a small hamlet beset by vampires features an ominous, brooding orchestral and choral score that's a winning collaboration between newcomer Christopher Gordon and former Dead Can Dance mainstay cum film scorer Lisa Gerrard. The gothic seasoning she imparted to her previous collaborations with Hans Zimmer (most notably Gladiator) comes to the forefront on this score's haunting title aria (composed by Gerrard and partner Patrick Cassidy) and tracks like "Bloody Pirates" and "Free in Spirit".
This ex-Dead Can Dance member imparts her own mixture of the ethereal, the worldly, the emotionally abstract, and the purely beautiful to all of her projects. She's been universally recognized and acclaimed for her body of work: she received a Golden Globe and was Oscar-nominated for the "Gladiator" soundtrack. She has also worked on such high profile movies as "Ali" and "The Insider". This release is a soundtrack for the New Zealand indie film "Whale Rider", already the biggest grossing film in New Zealand ever. Gerrard's music, combined with the motion picture, provides an experience of profound power and spiritual enlightenment.
After the success of Gladiator, it wasn't unusual to see director Ridley Scott turn to Hans Zimmer again for the score to Black Hawk Down, his fierce adaptation of Mark Bowden's account of the tragic 1993 American military intervention in Somalia. What was more surprising was the schedule Scott imposed on the German-born composer: 15 days to write, arrange, and record the film's nearly two hours of music. The results of Zimmer's miraculous two-week musical campaign not only belie those constraints; they instantly take their place alongside The Thin Red Line as some of the most compelling music he's produced. The gambit here is simple–portray the combatants as two warring tribes, with their native musics locked in a tense dance for domination.
Duality is at once sacred and playful. It is both dark and light, organic and refined, masculine and feminine. Dead Can Dance's Lisa Gerrard partners with Pieter Bourke, formerly of Aussie band Eden, to create this compositional dance of partnership that is classical, ancient, and thoroughly modern. Gerrard's voice is multitracked at times, conjuring a cathedral choir and the droning chants of monks. Drums and synth snake from desert to brilliant stormy sky to shaking earth and the bodies that inhabit those spaces. There are lush multiple layers of strings, bagpipe drone, and, quite literally, the laughter of children. The vocals sans "real" words and multicultural instrumentation will be familiar to Dead Can Dance listeners. Yet there is something more exclusive, more womblike about the music of Bourke and Gerrard; rather than two distinct bodies making music, like mother and in utero child sharing blood and breath, they are mutually dependent.