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Post by tellmeverbatim on Jun 9, 2023 0:14:41 GMT -5
I've often heard the back-handed compliment that Enya's trademark is the over use of echo and hundreds of layered vocal overlays. I've always thought this a bit of a reach by critics and reviewers because Enya does this in such a subtle way that it comes across as perfectly normal sound crafting that many artist employ, albeit with a chorus group.
Enya sings enough in isolation to dispel any notion that she can't escape the gimmick. Take Long, Long Journey from Amarantine. She sings in isolation and then adds her overlays as any performer might do with a backup group. Somehow, because she serves as the backup group also it's gimmicky.
Music critics suffer from the Hammer Syndrome. When you see your calling in life is to be a hammer, absolutely everything has to be a nail.
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Post by Carbis Blue on Oct 22, 2023 3:25:59 GMT -5
I agree with all of that. You only have to listen to Stars and Midnight Blue or I Could Never Say Goodbye to hear how raw Enya can sound and how she doesn't have to rely on the lavish production that is present in many of her other songs.
Unfortunately, music critics, at least by my observations, seem to be, to a large extent, of that view that if an act doesn't consist of a group of scruffy looking men with guitars who shout a lot then it isn't "real" music.
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