Day Without Rain [CASSETTE] [Import]

A Day Without Rain has a fuller, richer sound than early works like Watermark but otherwise follows the established pattern. If you're new to Enya you may want to investigate The Best Of first, although such is the homogeneity of her albums there's really no need.

Suffice to say everything is present and correct: stirring mid-tempo tracks, achingly slow and beautiful ballads, lush instrumentals. The only wrong step taken here is the ubiquitous latin chant. They seem to slip onto every album in one form or another, fine considered alone but a bit of a mood spoiler shuffled between Only Time and Deora Ar Mo Chroi. However, forget this momentary blip and try not to be moved by the rest of the album, particularly the heartbreaking Fallen Embers or thunderous The First Of Autumn.

What tends to be forgotten is that, with few exceptions, every sound you here is made by Enya herself. All the voices and instruments - every single track is individually recorded, up to 100 of them forming each song. In that light, taking several years to create an aural soundscape of such beauty and depth seems forgivable after all! I have no hesitation in recommending this album to anyone. Perfect for chilling out, background music while working or meditation. In fact, perfect full stop.

This CD contains what I think will be a lot of classic Enya tracks, especially in songs like Wild Child, Only Time, Flora's Secret, One By One and the uplifting Lazy Days, not to mention the breathtaking Fallen Embers in which you really get to hear the pure emotion and beauty of Enya's voice.

And yes, we know its only 37:33 minutes long,(yawn) (just 2.5 minutes shorter than Watermark), but one of Enya's albums is worth at least two of anyone else's, so does it really matter?!!

Personally, my favorite has always been "Shepherd Moons", followed by "Watermark". This new album is an improvement on "The Memory of Trees", but as others have stated, there is nothing new here.

Not that that is altogether a bad thing. "Wild Child" and "Flora's Secret" are wonderfully hummable and infectous. All of the cuts have Enya's particular and unique brand of synth-harmonics and "regal mysticism" that seem to touch listeners so deeply (albeit somewhat lightly here).

My only real complaint is that the disc is simply not very long. The CD clocks in at just under 35 minutes.

The relative brevity of the CD may be alright from an artist's viewpoint of making a complete statement, no matter the time limit, and the work is finished. But I personally would not have minded another cut or two after five years.

Still, the disc is a keeper. After all, whether Monet paints a wall mural or a postcard, it is still a Monet. This work is lighter than Enya's previous efforts, more like a bright sunny Spring day.

The disc cannot help but be popular. I do not believe that Enya has listeners, or even fans. She has followers. Her creations that resonate so deeply with so many different people call to mind the timeless, the historical, the magical, the depth of longing, a touch of melancholy, and tales of kings, queens, castles and dragons. In short, that's what "regal mysticism" is all about, and Enya produces it with music.

Such gifts are rare.