With the combination of multiple layers of voices in harmony, expert sound management, and extremely original music which employs many facets of both classical and Celtic folk music, an exciting sound is achieved. (See her website where her studio is described.) (Enya 2008) Her trademark sound is achieved by layering her voice as much as eighty times. almost all sounds of her pieces are created by a synthesizer, specifically the Roland D-50. Her vocals are clear and almost haunting, a frequent characteristic of Celtic music.Įnya performs all percussion, instruments, and vocals in her pieces unless specified…. The voices, all of which are Enya, sound like a rich choir, but the volume ebbs and flows like organ music as the performer increases and decreases pressure on the keys. However, the lyrical rhythm and the interesting melody remind one of the actual ways in which water flows, and some of the instrumentation even sounds like cascading water, especially the harp and keyboard. The music is reminiscent of Celtic folk crossed with religious chorale. If thinking of this when listening to the lyrics, we get the distinct feeling that the “me” of the song is nature or maybe the waterways of the world, or even the whole connected tapestry of life.Įnya writes her music and plays multiple instruments plus a keyboard, recording all the parts herself, with some help in production and lyrics from Nicky and Roma Ryan. This idea even fits well with the music, which has a catchy rhythm from the beginning and harmonies which enchant. She then moves to mentioning places by name, some of which no longer exist, allowing these lyrics to transcend time and place. Let me reach, let me beach far beyond the Yellow Sea.

Orinoco flow