One listen to Lisa Gerrard's The Silver Tree (originally available only digitally, then as an Australia-only import, and finally, as a U.S. release) is enough to convince anybody – who isn't already convinced – that there's a very specific reason she has been courted by directors to compose soundtracks. There are 13 tracks here full of wispy ambient soundscapes, on top of which the former Dead Can Dance vocalist places her almost otherworldly gift of a voice. Sung nearly as prayers or meditative mantras, Gerrard employs monosyllabic glimpses of other languages – and occasionally English – to create her own tapestry of dreams. Some may be tempted to call this "new age" music, but it's so much more melancholy than much of what passes for that trash, and it's nearly sacred in its approach to articulation, creating the feeling in places ("Come Tenderness," "The Sea Whisperer," and "Abwoon," to name a few) that she is actually singing inside a cathedral. In other places, such as "Wandering Star" and "Serenity," her voice offers a drone approach that is as subtle – yet powerful – as her instrumentation.
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 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.
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.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. While other musicians mostly vary their repertoire with nuances, every Klaus Schulze performance is hard to predict. His former bandmate Edgar Froese (Tangerine Dream) once needed a nice image when describing his way of improvising on stage with electronic instruments, "This is like a parachute jump where one cannot be sure if the parachute will even open." This was particularly true during the time of the unpredictable, analog synthesizers- but Klaus kept this same work method throughout the years without making any changes…
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".
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.
A new chapter is written in the history of the successful cooperation between KLAUS SCHULZE and LISA GERRARD. Electronic soundscapes of ominous beauty shimmer with energy as the delicate voice of Lisa Gerrard weaves it's magic.