•
Rating: Passes "the holidaymaker with dark glass eyes," (cit) a cocktail, this album at full volume, and off to lose oneself in the Montefeltro countryside. The sun in March is very rude, fortunately, there are dense clouds that arrive in ten minutes to kill it! San Marino stands before, a place of illusions and secrets, which do not escape its very few inhabitants!
On the way back, still caressed by Tanqueray, the endorphin release, and the brisk hill air, I have to write in the dark of my room!
It's impossible to talk about Lisa Gerrard without mentioning Dead Can Dance, perhaps one of the most unique, fruitful, and interesting musical partnerships from the 1980s to today.
To understand and be able to read the music of the "Dead Can Dance," a book was gifted to me a few years ago. It's called "Musica Eterna, the story of Dead Can Dance" published by Tsunami. More than a biography, it's a necessity for their fans. Their story of life and music is so complex, twisted, and mysterious that one must start from the beginning.
Lisa Gerrard and Brendan Perry are two Australian musicians, singers, and multi-instrumentalists who left Melbourne in the early 80s to seek fortune in England. They were almost immediately signed by the label 4AD with which they produced most of their albums. They are also a couple. Despite the separation during the recording of "The Serpent's Egg," they continued to work together.
Upon arriving in England, they were so poor that Lisa had to have a sheet draped over her to get on stage. From then on, they became citizens of the world. Their music is influenced by peoples, instruments, present and past.
No album is the same as another but part of a whole, live an experience.
Lisa Gerrard's collaborations are numerous, but the most interesting is this one with composer Patrick Cassidy from 2004, among my favorite and precious CDs in the collection.
Where we were used to hearing her elegant and ethereal voice interspersed with tracks like "The Ubiquitous Mr. Lovegrove" or "Black Sun" sung by Brendan Perry. In this album, we find a blend of ten tracks perfectly connected to each other. Each piece varies from a Celtic poem to a song in Aramaic, but linked by sound sometimes imperceptible, sometimes almost pompous as it guides us through the darkness and the night.
Lisa's voice magically traverses the entire album, but the theatrical sounds, even if they span different cultures and languages, remain homogeneous, and the contamination is crystal clear.
An album to listen to in headphones for a mental and physical journey.
Loading comments slowly
