When she’s not wailing away hauntingly with Brendan Perry and the rest of Dead Can Dance, Lisa Gerrard likes to loan her distinctive siren call to other atmospheric music makers like Irish composer Patrick Cassidy (Hannibal {2001} and Salem’s Lot {2004}).
This pretty much sounds no different to any other Lisa Gerrard work and will no doubt appear in cheaply produced tense, moody-broody television dramas and films set in rainy locations and involving despairing situations such as wearing raincoats in Washington DC or the protagonist not being able to tell people about something awful they’ve uncovered because “the man” won’t stand for it.
I think if I really want to feel depressed and out of luck, this is the album I’ll listen to.
As we finally come out of the (reduced) gothic compilation portion of the project, we see the peaks of “Greatest Hits” ahead of us but until then there are a few more albums we need to visit.
