For those unfamiliar with Lisa Gerrard, either as a founding member of Dead Can Dance or as a solo artist, it's easy to lump the singer in with the the mystic lite of Enya and Yanni. Gerrard is a master chanteuse who combines elements of opera, ethnic, classical and pop to forge an expressiveness which resonates on primal, universal levels.

On "Duality," in stores last Tuesday, Gerrard teams up with Soma member Pieter Bourke to create rich landscapes of emotion, from the sultry, ululating "Shadow Magnet" to the vibrant and earthy bounce of "Nadir."

Her collaboration with Bourke has given Gerrard's solo work, previously heard on her 1995 album "The Mirror Pool," a new vibrancy. His percussion gives "Forest Veil" its exhilirating sweeps; his subtle string constructions on "Sacrifice" set the tone for Gerrard's plaintive vocals.

"Human Game" is sung in English -- a rarity for Gerrard, who prefers to communicate in tones rather than words. The wily melody of the song, laced with Gerrard's Yang Ch'in (similar to the hammered dulcimer), blends perfectly with lyrics like, "I will dare to come disguised/In the night of human eyes/As we begin to unravel the veil/Of visions vivid and pale."

Gerrard's unearthly voice is the basis of her music's magic, but it may take a while for American ears to welcome it. The popularity of Loreena McKennitt's latest could open doors for Gerrard and Bourke, whose "Duality" is easily one of the best albums of the year.

-- Beth Winegarner

This article was originally published in the San Francisco Chronicle.