I suspect other, cheekier motives: an effort to deepen Enya’s reputation as a mystic and to tighten her grip on the Hobbit crowd."Yakusoku" (約束, Promise) is an image song single for the CLANNAD film by Lia originally released at Comiket 72 on August 17, 2007, produced by Frontier Works. The lyricist claims that it was necessary to invent an alternative language because “some pieces that Enya writes, English will just not sit on.” But judging by songs like “ Less Than a Pearl,” one of three Loxian numbers on the new album, Loxian is not appreciably more mellifluous than English or Gaelic or Latin or any of the other terrestrial tongues in which Enya has sung.
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Ryan has written a book about the language, Water Shows the Hidden Heart (also the title of a song on Amarantine), in which we learn, among other things, how to ask a Loxian if he’d like a cup of tea (“ Hanee unnin eskan?”). It’s to do with that concept: are we alone in the universe?” They’re looking out, they’re mapping the stars, and wondering if there is anyone else out there. They’re in space, somewhere in the night. The Loxians, Ryan told the Guardian, “Are much like us. I wish I could report that this gambit involves smoked salmon in fact, it revolves around the more banal topic of extraterrestrials. Inspired by their Fellowship of the Ring experiment with Elvish, Enya and Roma Ryan decided to create their own language, Loxian. On Amarantine, though, there’s a different kind of linguistic stunt. Roma Ryan, meanwhile, has made the churchy connection explicit, writing several songs for Enya in Latin. Naturally, it’s impossible to replicate this effect in live performance, and Enya has never mounted a concert tour, which has only added to her air of mystery. Why hire a roomful of monks when you can conjure a plainchant choir by simply overdubbing Enya’s voice to infinity? The result is a singular sound-unreal, inhuman, spooky, and “spiritual”-perfect for those who desire the mystique of medieval choral music without, you know, the medieval music or the chorus. It’s a cost-saving measure, for one thing.
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Their signature trick is the use of multitracking to create the soul-stirring lushness of a full vocal choir. There is a maxim variously attributed to Bob Dylan and Elton John-”When in doubt, write a hymn”-and Enya and the Ryans have written hymns ad nauseam.
But Enya’s real musical sources are less Old Eire than High Church.
No one has even tried to imitate her.Įnya has sold more records than any Irish artist besides U2, and she has leveraged her roots, flavoring songs with uilleann pipes, singing in Gaelic, and gesturing in other ways to Riverdance enthusiasts. Twenty years ago, no one dreamed that there would be a huge audience for an ethereal female vocalist singing pseudo-classical airs with misty mystical overtones-and Enya remains the genre’s only practitioner. 10 on the Billboard album chart, is a reminder that Enya is one of the savviest operators in the music business and, well, an original. And why should they? Enya broke through to a mass audience with Watermark (1988) and has gone on to sell 65 million records worldwide. But Enya and the Ryans haven’t altered their basic musical template one bit. The production values have been refined in the years since, with a synthesized string orchestra sound replacing the debut album’s garish keyboard gusts. Rising over the music is Enya, or rather, Enyas-her voice multitracked into what sounds like a Gregorian choir on helium. A synth bassline provides a gentle throb a major key melody swells, crests, recedes, and swells again. On the opening song of Enya’s self-titled debut album, “ The Celts,” this potent formula is already in place.
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