Moya Brennan / Two Horizons
Жанр: Celtic rock
Год издания: 2003
Издатель (лейбл): Universal Records
Номер по каталогу: 980 107-0
Аудиокодек:DSD 2,0.5.1
Тип рипа: image+.iso
Битрейт аудио: DSD 2.8 MHz
Продолжительность: 58.53
Наличие сканов в содержимом раздачи: да
Треклист:
1. Show Me 04:58
2. Bright Star 04:15
3. Change My World 03:46
4. Bí Liom 04:32
5. Is It Now (Theme) 00:39
6. Falling 04:19
7. Tara 05:03
8. Ancient Town 03:46
9. Show Me (Theme) 01:09
10. Sailing Away 03:06
11. River 04:09
12. Is It Now 03:51
13. Mothers Of The Desert 03:53
14. Harpsong 03:23
15. Two Horizons 04:30
16. Show Me (Jakatta Mix) 03:37
Доп. информация: Two Horizons is the fifth solo album by Irish singer Moya Brennan. It is her first full-length release under the name Moya Brennan, as opposed to Máire Brennan. The album was predominantly recorded in her home studio in Dublin and was nominated for a Grammy award. The album was recorded between 2002–2003 and first became available on 23 October 2003. It is also Brennan’s first non-Christian album since her 1993 recording Misty Eyed Adventures. It is the most successful of her solo albums to date and the second to be Grammy-nominated.
The album marks a change of direction in production, arrangement and style for Brennan in terms of her solo career, featuring no other vocalists but herself. The album features Irish fiddle player Máire Breatnach among others. The album also features much of Brennan’s current live band.
Об исполнителе (группе)
Moya Brennan’s work away from Clannad has always suffered under the weight of comparisons to her sister, Enya. Her tendency to embrace the new age aesthetic that her sibling is so wrongfully accused of has won her as many detractors as it has supporters. On Two Horizons, Brennan embraces that tag, as well as the lush, Celtic mysticism of Enya, resulting in her finest offering yet. Taking a cue from The Red Violin, the record chronicles the history of a legendary harp used for celebration in Celtic mythology. Brennan, a devout Christian, takes a decidedly secular approach with the material, following the harp through the eyes of slave traders (“Ancient Town”) and an African princess (“Sailing Away”) to its triumphant return home to Tara in Ireland (“Harpsong”). The arrangements are heavy on the multi-tracked vocals and keyboards that have come to define the contemporary Celtic genre, but are lent authenticity by Maire Breatnach’s strings, Martin Carthy’s guitar, and Brennan’s inspired harp playing. This is melodically charged new age-progressive Celtic music at its best, and fans of Brennan’s work with Clannad will find much to love here, while those turned off by the previous descriptor would do well to distance themselves immediately.
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