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It's funny that not a single one of the "thousands of readers" you have "everyday" is voicing any support for you or your review. Are you trying to claim that the same person is making all the same comments on this page? How pathetic.
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Your website does not allow users with the same IP address to comment more than once in a week without subscribing. My guess is that you didn't even listen to the album and just wrote a bias-fueled tripe. Oh my god she's being soooooooooooo repetitive." There are, however, several other new elements which you conveniently glossed over - including the male choir in I Could Never Say Goodbye, the very prominent bass in Even in the Shadows, the freestyle singing in Dark Sky Island which brings out a very low vocal range from Enya never heard before, just to name a few. You might as well say, "Enya sang in English in her last album, and she's singing in English AGAIN on this album. And frankly, there's nothing wrong with using the same language, and I don't know why you're picking at it as a "repetitive" element. The very title of the 10th track, the Loxian Gates, implies so, Mr. " Matthew, you clearly did not bother to check the press releases and interviews that JUST preceded the release of this album before doing a review, did you? Please go back to journalism school. "And what, please, is a “Forge of the Angels”? The airiness of angels and the clanking metalwork of a forge seem mutually exclusive, however you look at it, and the chanting soundtrack casts no light on the matter. In the words of Former Warner UK CEO Rob Dickins, "She's isn't the type of artist who needs development. And she has done so while being extraordinarily consistent - a difficult task, considering she is already as polished as she is. There're several new elements in all aspects - vocalization, instrumentation, production technique, etc. "Booo she's actually making the same music with different titles bla bla bla, let me repeat myself, Enya is making the same music again bla bla bla."Īnyone who has actually listened to her previous albums will tell you that this album is markedly different from anything she has done in the past. The trouble with stupid critics, is that they all set out to make the same click-baity, boring, tired, recycled commentary about how Enya supposedly doesn't deviate from her formula, and succeed. The trouble with Dark Sky Island is that it sets out to be a faded copy of earlier work, and succeeds. It’s not that it sets out to be exciting and passionate – like Cheryl or Justin Bieber – and fails annoyingly. There’s a case to be made with Watermark, but now, 25 years on, her approach is the same, just less energetic. Attempts are sometimes made to elevate some of Enya’s earlier albums as innovative, even forward-looking in their generic cross-fertilisation. And what, please, is a “Forge of the Angels”? The airiness of angels and the clanking metalwork of a forge seem mutually exclusive, however you look at it, and the chanting soundtrack (admittedly in Loxian, Roma Ryan's made-up language) casts no light on the matter. “Sancta Maria” is just those two words repeated over a bland waft of a tune and some opportunistic key-changes. Which brings with it, for much of the album, an inescapable sense of fatigue. The sheen of Enya’s electronic sound hasn’t changed at all over the years, and is now not so much evocative of new age, as old age. The rest rely on repetition – one person’s mesmeric is another person’s stultifying – and sound-painting. Only the title track and “Echoes In Rain”, the first single, have any narrative, and that’s a bit fortune cookie-ish. Unfortunately, with this, Enya’s eighth solo album, she is not so much looking at a new, far-off galaxy, as she is in the mirror, at her last seven albums. Nearly 30 years after her solo debut, Dark Sky Island is apparently inspired by Roma Ryan’s poetry about the Channel Island Sark, a so-called “dark sky island” – one good for viewing the stars, that is. The composing now happens in a castle, but otherwise artistic vision and personnel remain unchanged. The sheen of Enya’s electronic sound is now not so much evocative of new age, as old age Using multi-tracking, a shimmering electronic sound, and melodies that had a similar relationship with Irish folklore as an O’Neill’s pub, they created in the 1980s a style of soft-focus electro-folk so earwormingly catchy that “Orinoco Flow”, on her second, 1988 album Watermark, parked itself at number one for three weeks, and became the song Alan Partridge sings to himself.