Lisa Gerrard was in fine form last night. Her hair was in an elegant upswept style, and she wore two off the shoulder gowns (one blue, the other white) and dove-gray high heels. There was no yang t’chin or podium, so she demonstrated stage presence by dramatic arm gestures that settled her into the songs. She was accompanied by a pianist and a synthesist, along with a computer/sequencer. The Silver Tree songs, which sound a little like sterile museum pieces on disc, came alive—especially her reading of “In Exile.” Other songs performed were “The Sea Whisperer,” “Sacrifice,” “The Wind That…

Subtitled "An Equestrienne in the Circus of the Falling Star" this brief song is mystical and melancholy. It is one of the most haunting pieces of music I've ever heard. Someone – Liz Fraser, Tori Amos–should cover it!

A rare track, it is Stevie at her most darkly romantic. Her voice is in fine form, her phrasing flawless. I love the folk-flavored interlude in the middle of the song. There's a will of steel beneath the willowy, billowing gowns as she lays down the law for her lover.

I wish Bel Canto would do more orchestral work like this. It's dark and majestic, and Drecker has never sounded better.

A whirling dervish guitar, pounding bass and jagged drums. The lyrics are about honor killing, but sort of loose me with the gratitious hatred of Arab culture….It's strongest when talking about the treatment of women.

A classic piece of dark folklore set to whining, echoey country music. You can hear the haunted doll crying out in that lonely room…

I've listening the Shrift and Cibelle, two downtempo chill lounge artists that feature Brazillian female singers. Shrift is more atomospheric and like Juana Molina. Cibelle has a prettier voice and her music is more song-based–she also plays guitar and electronics. Both are recommended for lulling qualities.

shrift

cibelle

Middle Eastern, ambient and ‘fourth world’ guitar noodling all combine together over a dense rhythmic bed. Ethno-ambient at its best.

Origami delicate restructurings of classical music. Twee and otherworldly on one hand, mathematical and intellectual on the other. Barthes-like essays on beauty.

How is it that I missed this album? It has some of her darkest, most haunting work. “Institution Green” is a Kafka-esque tale of urban anomie. “Predictions” is magical, about scrying. As always, there’s Vega’s precise word choice. She’s the Grace Paley of pop music