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.
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.
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.
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.
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.
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.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. In September 2009, Lisa Gerrard and Klaus Schulze performed another tour in six European cities - Warsaw, Berlin, Amsterdam, Essen, Paris, and Brussels. This tour coincided with the release of Come Quietly, a joint project between Gerrard and Schulze that was released during the tour.
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".
On August 4, 2007, Klaus Schulze celebrated his 60th birthday. Most electronica providers of 2007 and 2008 were not as old as Schulze, but then, Schulze is someone who - like Brian Eno and Kraftwerk - was using synthesizers before they were truly in vogue and before many of today's electronica artists were even born. Thankfully, Schulze hasn't run out of ideas after all these years, and on Farscape, he fulfills a longtime ambition: collaborating with Australian singer Lisa Gerrard (of Dead Can Dance fame). This two-CD set is best described as an extended piece that lasts 153 minutes; that piece, which is titled "Liquid Coincidence," is broken down into seven parts…