The Visit

Loreena McKennitt

Warner Brothers

 

Once in blue moon an artist comes on the scene with a style and talent that's unusual and difficult to pigeonhole. While listening to this album, I gazed out the window and I'll be damned if the moon didn't look blue. The Visit , is not standard record company "product." There's no way it could have been conjured up in some soulless, hype-filled corporate boardroom. No, this is unusual music from a true artist with an achingly pure voice whose songwriting springs from centuries-old Celtic roots. Musically gifted, she plays both harp and keyboards, leads a multi-talented band and produces all of her albums.

 

From Manitoba, Canada, Loreena began as a singer in small folk clubs and musical theater. In the early '80s she worked as a composer, actor and singer at the famed Ontario Shakesperean Festival. 1985 saw the release of her first self-produced record, Elemental, which sold more than 30,000 copies and was followed two years later by a collection of Christmas and winter songs called, To Drive The Cold Winter Away, a consistent seller and recently reissued on CD. The third album, Parallel Dreams, was a breakthrough; receiving enthusiastic reviews from Canada, Europe, Britain and the States, establishing her as a major artist.The Visit, her fourth album, reached platinum status in Canada before being picked up by a major U.S. label. On it, McKennitt is charting new musical directions that are open to many interpretations.She's often been compared to Kate Bush, Enya or Annie Haslam (of Renaissance), but these comparisons should be taken only as reference points, (and high compliment), for those unfamiliar with her music.

 

The opening piece, "All Souls Night," was inspired by the imagery of a Japanese tradition celebrating the souls of the dead by sending candle-lit lanterns out on the rivers leading to the ocean and the Celtic All Souls Night celebration when huge bonfires are lit to warm the souls of the departed. "I can see lights in the distance/ Trembling in the dark cloak of night/ Candles and lanterns are dancing, dancing/ A waltz on All Souls Night." It's both haunting and comforting. "Bonny Portmore," is a traditional Irish tune from centuries past mourning the destruction of old growth forests and the Great Oak of Portmore which stood on the shore of Lough Beg. All were destroyed for military and shipbuilding purposes. "If I had you now as I had once before/ All the Lords in Old England would not purchase Portmore." The instrumental, "Between The Shadows (Persian Shadows)," follows and is one of the more exotic pieces here. Originally called, "Persian Instrumental," it was later given a more enigmatic title for reasons that will become obvious after the first listen. "The Lady Of Shallott," is a masterpiece and at 11:05, the longest song on the album. The lyrics were first written as a poem by Alfred Lord Tennyson in 1843. McKennitt's music weaves around the words with an affection and respect that could not have been accomplished by any other performer. It is most certainly the focal point of the album and must be heard to be fully appreciated. My words could not begin to describe the wonder and beauty embraced within this magnum opus. Another traditional song, "Greensleeves," is also given a loving treatment and a nod to"Ol' Gravel Throat", Tom Waits, in this melancholy rendition of an English classic. Legend has it that King Henry VIII wrote the lyrics. But for which wife, we'll probably never know. Of the four remaining songs, "Tango To Evera," is an instrumental of non-verbal vocals intertwined with a wistful harp and balalaika that was conceived and recorded for the National Film Board of Canada's, The Burning Times. Both, "Courtyard Lullaby," and "The Old Ways," are originals, yet they feel like the traditional Celtic songs from hundreds of years ago. "Cymbeline," was written by William Shakespeare in 1609. Again, Loreena performs her musical magic, as though she sat by his side composing while he toiled over the words.

 

The concept of reincarnation somewhat comes to mind when listening to, The Visit. How else could you explain the engulfing Celtic soul that permeates every note and vocal. Perhaps McKennitt herself can only begin to try, " Then, of course, there are the ingrained beliefs and rituals of the Celts, built around birth and death which treated the land itself as both holy and haunted; for so many people, this life itself is a visit." And with that statement she has done a better job than I. (SC)

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