Dead Can Dance

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…

Today, Brendan Perry announces the reissue of his 1999 album, Eye of the Hunter, expanded for its first ever repress to now include a bonus live album Live at the I.C.A., recorded during 4AD’s infamous 13 Year Itch residency at the storied London venue in 1993.

There's an old saying that one is only as good as the people with whom one collaborates. Judging by the list of musical contributors to Hector Zazou's Sahara Blue, Zazou is quite good indeed. Among many others, those adding their own touch to Zazou's album include Bill Laswell, Dead Can Dance, John Cale, David Sylvian, Ryuichi Sakamoto, and Tim Simenon. Zazou devised the album as a mix of musical styles set to lyrics/vocals taken from the pen of Arthur Rimbaud. While it might appear like a pretentious undertaking on paper, the album is a cohesive slice of eclectic music-making. Jazzy spoken word songs such as "Ophelie" intermingle with throbbing dance-oriented numbers like "I'll Strangle You" and quiet, peaceful piano-based meditations such as "Harar et les Gallas." Dead Can Dance duo Brendan Perry and Lisa Gerrard work their particular magic on "Youth," exchanging vocals, and on "Black Stream," where Perry's dark, somber synth weeps around Gerrard's stunning vocals and yang chin. Zazou himself mostly stays in the background, providing production and electronic sounds, allowing the players to showcase their abilities.

Issued in 2007 on the 4AD label, THE BEST OF LISA GERRARD collects many of the finest tracks by the former Dead Can Dance vocalist/multi-instrumentalist. While the compilation includes a few tracks by that revered act, most notably the mystical "Yulunga (Spirit Dance)," a song that showcases Gerrard's striking voice, it primarily focuses on her solo work and film compositions, which both draw from music across the globe. On these pieces, Gerrard often collaborates with fellow Australian native Pieter Bourke, as on the passionate "Swans" and the expansive "Sacrifice," the latter from the INSIDER score. Although this anthology is a mere fraction of Gerrard's recorded output, it does serve as an excellent introduction to her impressive catalogue.