On long drives through Ireland, which treated my childhood like bouts of the flu, my father played songs from a small pool of classic albums. Many of these would be familiar to any Irish person of the time. The cheerful Ribaldry of the Dubliners, Christy Moore’s “Live at the Point” and the earnest, heartwarming confessions of Eleanor McAvoy and Mary Black line our winding journeys through the endless specimens of green that constitute the Irish countryside. did the soundtrack. But none of those actors struck me quite like my father’s personal favorite, Ana.
My father’s attraction to Anya was mysterious. His music wasn’t like anything else he’d heard, but again, it’s not as much music as anyone else makes. Enya’s music is filled with an aura of mysticism, so vague that it borders on the occult; Yet it enthused one man so much that Catholic he would interrupt family holidays with joyous visits to Marian shrines. The global success of this melange of Irish traditional music and new-age electronica was unlikely given that in Ireland at least, the wall of its fandom looked like my father’s: the traditionalist ranks entering the Middle Ages, some of whom counted. The key would be heavy reverb in the synthesizer, arpeggiated strings or any other aural reference.
I, a young devotee of ambient music, loved Enya for her place in the canon of that genre. I was mesmerized by the folding synthscape “Caribbean Blue” Or “Sumiregusa (Wild Violet),” Which struck my childhood ears like a probe from a far-off planet. His tunes were repeated and interwoven; Her vocals shimmered and sparkled, at once new and old, foreign and familiar.
I was confused to see my father walking like this. After all, even Apex Twin’s most enjoyable ambient works often got him unplugging my CD player, such that his non-traditional musical forms can damage our strings. How, then, could Anna make this man shed tears?
It helped that she was local. As a child, Athene Brennan grew up in one of the most prestigious families in the history of Irish traditional music, not far from my home, the Mullen. She left the Brennans band, Clannad, At an early age, she became involved with Japanese synths and created a strange musical form that was her own. By the time I was a teenager, Clannad’s shy little sister had become one of the best-selling recording artists on earth.
There’s excitement and pride within the spiraling melody of ‘Aldebaran’, as well as some dread coming through.
When I was a teenager, Anna was extremely famous but never particularly cool, at least not among people my age. I loved Ana for the world of sound she created for her listeners: full of pomp and grandeur, yes, but also rivers of deep and profound wonder. I found in his music that listening to the same pinch of infinity I felt “An Ending (The Climb),” by Brian Eno Or “Polynomial-C” by Apex Twin. Yet when I tried to introduce him as a companion to those artists, the eyes I got were empty and pitiful. The images emanating from Ana’s album cover and video were all solemn, as well as campy and too serious to be camp. For all her peculiar complexities, my classmates wrote Enya the equivalent of panpipe muzak, for easy listening.
This suspicion was probably due to the mythological visual style that Ana had built around her: she lived in a palace, rarely giving interviews or performing live. Her videos present her as a supernatural being, surrounded by 400 lit candles at all times, wearing a wardrobe bequeathed to her by a fairy queen who had many velvet hats lying around and watching them go to waste. hated it. This fantasy made Anna a world for herself.
nothing type it more than my favorite ana track, beginners “Aldebaran.” It first rose to prominence as part of the musical soundtrack for the BBC documentary “The Celts”, a 10-episode series that told the story of the Celtic people from prehistory to 1987. Featuring Irish-language vocals delivered from Anna’s most breath-taking, “Aldebaran” marries Irish past to future through a fascinating tale of intergalactic travel. The production is unrivaled and always winding, a coreskating, arpeggiated Surrounded by riffs that collide through major and minor chords in a cycle of atmospheric commotion. Within its spiral melody there is excitement and pride, as well as something approaching (she dedicated the song to Ridley Scott). Beneath the song’s melodious melodies and melodious voices, an alien undercurrent has smuggled itself in—a reminder that, in space, no one can hear you sing.
Enya’s music has other unique attractions. If you visit her Twitter page, you can be recommended not only to Phil Collins and Tina Turner but also to Bob Ross: even Algorithm knows his work is reflective and therapeutic. Intro to Enya — The Angelic Wash of Reverb, ASMR-ready Vocals; Her deep textures and layered synths – were soothing to me on long trips as a kid. They still provide a portal to long-dead worlds and distant stars, but there’s also a city that’s only a few miles away from my own.
nowadays when i Especially recommend Enya, and “Aldebaran”, the ears are not as deaf as they once were. The universe will now be listening to his whispers to wake him, whether he knows it or not. I hope she does, and somewhere, while dressed in velvet, Ana plays “Aldebaran” sometime. Bringing another candle to the other window, can she look out from the stone walls of her palace, and once again turn her face to the stars?