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 | Lisa Gerrard/Pieter Bourke:Duality (4AD - 1998) You don't have to be a Dead Can Dance-head to appreciate the hypnotic loveliness of Duality. Veteran DCD songstress Lisa Gerrard and sometime DCD contributor, Pieter Bourke have spent the last year together recording in harmonious synchronicity. |
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The listener won't find anything vastly different from the sounds Lisa has created before, i.e. a wide range of lovely vocal stylings, wordless lyrics, ethnic percussion and instrumental embellishments. But of course, when you're reaching for a glass of vintage wine, you don't want to be surprised by the strange taste of some fizzy pop concoction...
A low, dusty drone is soon overcome by Gerrard's "melismatic" wails, wordlessly intensifying, with string accompaniment... then in a rush, flavorful Middle Eastern percussion and flute join her call... Shadow Magnet grows even stronger. (This opener is also the long running track at 7:54.) Forcefully pounding drums are counterpointed by Gerrard's initially calm intonations in Tempest, though soon enough, her vocals, too, resonate. This track captures many various levels of Lisa's voice, as well as stringed strumming. Electronic bird chirps, shakers and an underlying drone accentuate multi-tracked chantings in the ethereal Forest Veil A capella pitches shift and interweave to form the short (1:26), but serene, The Comforter, a chorus of almost monastic quality. Similarly, The Unfolding layers multiple voice tracks, at first without instrumental backing; midway through, orchestral strings swell and rise as does Gerrard's operatically oscillating voice. Depending on the listener's mood, this track could be perceived as being absolutely sorrowful, or resoundingly joyous... or both. Plucked strings and bass drum underpin Pilgrimage of Lost Children, in which Lisa creates both a rhythmic background chant and an overriding melody, which sounds somewhat oriental. The Human Game stands out as the most "different" track, opening with children's laughter, distant waves, steely music-box strings (and of course, our vocalist's long moans), it begins with a kind of spooky tone. Soon, a throbbing bassline, bongo beats and vibraphone kick in, and Ms. Gerrard's words become strangely recognizable as English... this comparatively contemporary track sounds as if it were pulled from some forgotten James Bond flick. Whether it's just a lark, it's wonderfully done with typical coolness. Back to the ethereal otherworlds... The Circulation of Shadows is another short, soft union of intermingling vocals. Is that Bourke's voice in there too, or just Gerrard singing low? Sacrifice is another opera-like piece... ringing, passionate wails soar alongside lush string arrangements. The track is heart-achingly beautiful. The disc closes on a rather perky note; Nadir (synchonicity) boasts a lively rhythm section and Gerrard's vocals have an extra, sparkling lilt. We hear a couple of fly-bys from a plane and the track fades away... which brings me directly to my only complaint about Duality... at less than 46 minutes, it's just too short. My apologies if I seem to overlook Pieter's contributions; his backing is no doubt essential to this project, providing a most artistic framework to contain Gerrard's sonic masterpieces. He's contributed to Gerrard's previous solo work, The Mirror Pool and performed live with DCD on their Spiritchaser tour, as well as being one half of Soma. I'm interested in hearing more of his ethnic flavorings. |
| I'm giving Duality Both Thumbs. One thumb for a very nice piece of work, and the other because I'm a fan and a sucker for this kind of sound. Lisa Gerrard has her own web site which you may want to visit for more info. |  |
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