Her 1988 recording Watermark achieved landmark success with her groundbreaking use of multi-tracking technology to fuse new age and
Celtic themes and instrumentation. The meticulous production defines her sound and achieves continuity even while weaving together tender ballads, piano pieces, massively layered vocal harmonies, and symphonic synthesizer movements. Although Enya's pristine voice isn't especially strong, her lead vocals possess a vulnerability that reflects the lyrics' sense of personal searching. From the ubiquitous, frothy single "Orinoko Flow" to the hard, bold edge of "Cursum Perficio," Enya's
style remains fresh and engaging today.

To many people, Enya has become synonymous with new age music. Her haunting voice, clear and crisp above richly woven musical arrangements and adaptations, represents some of the best in the genre. Her performances on The Memory of Trees justify the Celtic songster's
reputation. Songs like "China Roses" and "Hope Has a Place" complement the simple elegance of traditional folk music with luxuriantly layered instrumentation and highly crafted studio production. The ultimate effect is dazzling, to be sure. Whether she sings in English, Gaelic, or Latin, Enya conveys a profound, if slightly disconcerting, mix of spirituality and sensuality.

Born Eithne Ni Bhraonain, this classically-trained pianist was kid sister in the musical family that became Clannad, joining the Irish band in 1979 but dropping out amicably three years later to pursue her own muse. This music, produced in the mid-'80s as the soundtrack to a BBC series, was released as her debut in 1987 and promptly ignored--yet its mix of atmospheric soundscapes and Enya's lush, layered vocals, sung in both English and Gaelic, is the template for her subsequent global hits, beginning with Watermark the following year. Exquisitely haunting!

The success of her first international hit, Watermark, confirmed Enya
as less a singer or songwriter than a sonic architect: working with producer Nicky Ryan and his wife, lyricist Roma Ryan, the classically-trained pianist built vaulting cathedrals of sound, framed by luminous piano, shimmering synthesizer orchestrations, and, above all, the seemingly infinite layers of vocal harmonies she plied on
every song. The deeply romantic Celtic pop on its 1991 successor, Shepherd Moons, sustains the same spectrum of hushed reverie and surging, rhapsodic releases, as well as its mix of ballads, floating midtempo pieces, and forays into Celtic and Latin--and it's every bit as seductive.

Mixing a variety of styles with a Celtic base, this was Loreena's breakthrough album and remains one of her most musically interesting. "All Souls Night" begins the album, with dance-like rhythms and McKennitt's wonderful voice singing about the Celtic New Year. Other features include a musical setting of Tennyson's "Lady of Shalott" which is an enchanting listen. There's also an interesting rendition of "Greensleeves" and the Spanish-flavored "Tango to Evora", as well as the haunting "Courtyard Lullaby" and the wistful "The Old Ways".

Her travels through Spain and Morocco flavor this album with a distinctly Mediterranean tinge, from the opening "The Mystic's Dream," with its dancing percussion arrangements, to "Marrakesh Night Market," to "Full Circle" and the instrumental "Santiago." "Marrakesh Night Market" is an especially strong performance, with an interesting musical texture; the balalaika, udu drum, and dumbek are played alongside a synthesizer. As usual, McKennitt has set a poem to music, this time Yeats's "The Two Trees," with a lovely introduction on the Uillean pipes

Parallel Dreams captures harpist/vocalist Loreena McKennitt at her absolute finest. Fully immersed in the Celtic style, this London, Ontario, performer's voice is lush and layered in warm harmonies, soaring overtop equally beautiful instrumentation. Flowing between
traditional ("Annachie Gordon") and original ("Dickens' Dublin") fare, McKennitt slows down time and relaxes furrowed brows on this disc by
staying true to her Celtic roots.