Bernard L. Parham
The Harvard Crimson, 8 December 2005
The video for her new single Amarantine raises an immediate and perplexing question: Is Enya supposed to be goth now? Maybe it’s just her jet-black dye job, ghostly pale complexion, and blood-red sateen dress throwing me off, but I swear I saw her queued for the midnight screening of Rocky Horror Picture Show last Friday. Or maybe that was her stocking up on pancake face powder at Hot Topic.
Unfortunately, all of this posturing hasn’t improved her music. She’s still peddling the same coma-inducing New Age white noise your mom and Peter Jackson seem to love. Why, oh why, was this woman allowed on the Lord of the Rings soundtrack?
The video is an apt visual complement to the song; it too is insufferably boring. As far as I can tell, the director’s premise for the shoot was “Enya putzing around in Middle Earth.”
In the video, the spritely Celtodiva meanders through a forest set, (eerily reminiscent of the Shire) singing to herself and collecting fairy dust as rain falls gently. She later climbs atop a mountain overlook and launches her dust into the heavens, where each luminescent granule is transformed into a star.
At this point, for Enya to mount a winged unicorn and fly to a castle in the clouds would not have been all that surprising, but the video mercifully ends before the director can conjure up any more scenarios cribbed from the artwork of middle-school girls.
You’d think if she was going to dabble in the goth aesthetic she might at least toss a couple of Danzig riffs into the new single. Alas, no such luck. Bela Lugosi must be turning in his grave.
Note: Transcribed by Book of Days. If you're going to snark the album, you might as well excercise some wit and, to be honest, 'Enya putzing around Middle Earth' is a good description of the emotionally cold Amarantine video. For the rest of his review, we hope Mr. Parham doesn't become a lawyer practicing in our city.