Lisa Gerrard |
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Lisa Gerrard Biography |
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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. Recorded and produced largely at her home in rural Australia, it extends the world music inclinations of recent Dead Can Dance albums by featuring bouzouki, tablas, and camel drums; though the somber, orchestrated pomp of Dead Can Dance is also present in her operatic, often wordless vocals, and string/woodwind passages (some of which were performed by Australia`s Victorian Philharmonic Orchestra). Gerrard released her second album, Duality, written and performed with Pieter Bourke, in the spring of 1998. Gerrard composed the score for director Niki Caro`s Whale Rider in 2003, followed by Immortal Memory, a collaboration with Irish composer Patrick Cassidy in 2004. Another collaboration followed in 2005, this time with composer Jeff Rona for the soundtrack to the Native American drama A Thousand Roads.
Biography Credit: allmusic.com/cg/amg.dll?p=amg&sql=11:gbftxq85ldse~T1 |
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Trivia and QuotesQuotes Years ago I sang on a track using that voice and someone asked, `Who is that terribly depressed man?` ... But Patrick loved it. He said, `You sound like a young boy, like a child, like an old woman, like an old man,` and really, we all have all of those things inside of us. I don`t do any vocal gymnastics to make the voice better as I age. If it comes out rougher, then it`s true to what`s happening. Singing is who I am. I didn`t train for it, any more than I trained for anything else I did. I probably should take better care of myself physically, but it goes against the grain. (Performing live) invigorates you, but life on the road wears you down. The frequencies hitting your ears and the volume can tire you, but you`re so elated onstage you don`t notice it. The next morning you implode. You do five gigs in a row, have a day off, then seven in a row, day off -- it`s a strange kind of torture. You love it, but it destroys you. Is this working OK? I feel I can never make it work in interviews. I feel like I`ve just been rambling. At the end of the day, success has nothing to do with money, We had a telephone conversation, and we were talking about the various pieces of what we`d done. There was nothing calculated. We had a couple of conversations, and because we could rebuild our friendship, it became a logical conclusion that we should do some concerts. About half the set is new stuff. We save the older pieces for the encores, if we get them. We haven`t written together in a while, but we`ve both brought in things we`ve written on our own. We don`t know if there will be a new album yet; we`ll have to wait and see how Brendan is feeling at the end of all this. | ||
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