Enya - watermark album flac

Watermark is the second studio album by Irish singer, songwriter and musician Enya, released on 19 September 1988 by WEA Records. After the release of her previous album Enya (1987), she secured a recording contract with Warner after a chance meeting with chairman Rob Dickins, who had become a fan of her music. Her contract allowed her considerable artistic and creative freedom, with minimal interference from the label and no deadlines to have albums finished.

Watermark is an album by the Irish musician Enya, released on September 19, 1988. Featuring her first major hit, "Orinoco Flow", Watermark was Enya's breakthrough album release, and is considered a seminal example of New Age music, although Enya herself does not consider her work to be of that genre. Two versions of the album were released. In 1989, an extended version of Watermark included "Storms in Africa Part II" (as sung in English), which had been released as a single. Some later reissues of Watermark once again omit this track.

Album · 1988 · 12 Songs. See All. And Winter Came (Deluxe Version). The Very Best of Enya (Remastered).

Opening Enya’s second studio album, Watermark is a piano-based melody flowing over layered vocalisations that act like strings. Despite not actually having lyrics, the title does comes from a poem by lyricist Roma Ryan: With Watermark came from a poem I had written. The rhythm of the poem actually seem to flow with the melody that Enya and Nicky had written and arranged, but we still felt the piece was meant to be an instrumental, so we never adapted the poem to lyric.

Since the ambient avant-pop album Watermark, released thirty years ago, Enya has cultivated a unique, virtually devotional connection with her listeners, even to those she might never have anticipated reaching - those whose moms played her CDs in the kitchen; those who may have caught an impression of Enya’s signature sound in one of eighty-odd film and television soundtracks; those fo. Enya needs only one name. And this name conjures a profound and intimate recognition, a rare, nearly religious kind of relationship between artist and audience. Ironically, that emotional response is in large part technological.