Lisa Gerrard : Represented Artist
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Random Audio Sample: Salem's lot : orchestra by Lisa Gerrard, from the CD Salem's lot |
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Artist website: http://www.lisagerrard.com
Lisa Gerrard has become a much sought-after composer of
soundtracks. In many ways this has been a logical progression as
much of her earlier work with the Dead Can Dance duo had a
cinematic quality that led to the group's music being used in the
cult movie Baraka, TV commercials and even a car chase
scene in Miami Vice.
Among the many films and documentaries she has scored or
contributed to are Gladiator, Insider,
Whale Rider, Black Hawk Down, Heat,
Ali, King Arthur, Tears Of The Sun,
The Mist, Salem's Lot, A Thousand
Roads, Ashes & Snow, Layer Cake,
El Nino de la Luna, Balibo, Henry Poole Is
Here, Solo, Playing For Charlie and
Ichi.
Gerrard has received Golden Globe nominations for
Insider and Ali, Oscar nominations for
Gladiator and four international awards for Whale
Rider.
Over a career that takes in almost two decades, Gerrard has
established herself as one of Australia's most groundbreaking and
in-demand artists. Singer, composer and actress in El Nino de
la Luna (a film which she also scored), Gerrard brings a
vision that is both precise and all-embracing to everything she
does.
Gerrard's musical journey began in the early 1980s when she and
fellow Australian Brendan Perry formed Dead Can Dance. With
Gerrard's otherworldly voice counterpoised by Parry's mellifluous
tones, from the outset, they thought nothing of setting
discordant electric guitars and dark, rolling bass lines against
cellos, trombones and timpani. Over nine albums between 1984 and
1995, the duo's musical canvas expanded with every release to
take in a timeless mix of world music influences, medieval
chants, folk ballads, baroque stylings, Celtic flavours,
electronics, samples and anything else that took their fancy.
In 1995 came her first solo album, The Mirror Pool on
which she was accompanied by the Victoria Philharmonic Orchestra.
Again, it was an album that defied categorisation. One impressed
but perplexed reviewer described it as 'ambient, orchestral, folk
and new age all at the same time'.
Duality, a collaboration with Pieter Bourke followed in
1998 and again transcended musical eras and genres. Next came the
stunningly beautiful Immortal Memory, a collaboration
with the Irish composer, Patrick Cassidy which further explores
the boundaries of Gerrard's musical ambition.
Her recent album, The Silver Tree, again shifted into new territory; an album in every way sentient and ethereal.
Nick Comeau and James Orr — current to October 2011
Analysis & Media
Book: Women's Music for the Screen : Diverse Narratives in Sound / edited by Felicity Wilcox.