Twenty years ago, no one dreamed that there would be a huge audience for an ethereal female vocalist singing pseudo-classical airs with misty mystical overtones-and Enya remains the genre’s only practitioner. 10 on the Billboard album chart, is a reminder that Enya is one of the savviest operators in the music business and, well, an original. And why should they? Enya broke through to a mass audience with Watermark (1988) and has gone on to sell 65 million records worldwide. But Enya and the Ryans haven’t altered their basic musical template one bit. The production values have been refined in the years since, with a synthesized string orchestra sound replacing the debut album’s garish keyboard gusts. Rising over the music is Enya, or rather, Enyas-her voice multitracked into what sounds like a Gregorian choir on helium. A synth bassline provides a gentle throb a major key melody swells, crests, recedes, and swells again. On the opening song of Enya’s self-titled debut album, “ The Celts,” this potent formula is already in place.
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