ANAEL
Language of the Soul

(p) (c) 2000 APSIS Music
10tks/54mins

Anael comes again! Renewed and refreshed, she returns with her new album Language Of The Soul, an even deeper artistic statement yet still charmingly-feminine. This new gift is a mirror of her being, almost a very piece of her heart. Her sincerity and open feelings touch you from the very beginning of the composition Come Raggio di Soleil and don't leave until the last chords of Crastina Die, plunging the listener into an unbounded ocean of feelings, where tenderness, sweet sadness, deep trust and joy of unconditioned love all melt sweetly together.

What can be said about this album? Her third solo album is her masterpiece. Definitely a step forward, it reveals a new side of of the diamond that is Anael's music. It is also a beautiful exploration of aesthetics, each aspect a perfect example: Anael's performance, the refined arrangements by Bradfield, the beautiful cover. Linguistically, Anael presents the songs using 5 languages: Hebrew, Italian, Latin, French and English.

We should also consider the texts of the songs. They are an organic part of the art of Anael and Bradfield. The original lyrical poetry of Bradfield is interwoven with various other sources; in Crastina Die, the words are taken from the Catholic Liturgy, in Chir Haschirim; the Hebrew poetry originates from the Song of Songs by Solomon and in The Tower Of Babel, there is a clever mix, with the story of the creation and destruction of the Tower of Babylon mixed with Hebrew prayers and chants. Each of the original texts by Bradfield would seem to be in harmony with a common theme, they are all deeply spiritual. In Lingering Stratus, Anael calls us to return to the Kingdom of God, in A Kindred Light, she inspires our hearts. The strongest, overflowing with energy but at the same time deeply touching is certainly the initial composition Come Raggio di Soleil (words by Antonio Caldara, adapted and reworked by Bradfield).

As a whole, all of Anael's vocals and music constitute an organic unity, where no part can be separated. Language of the Soul honors this same approach. Anael's singing has something in common with Enya, but Anael doesn't repeat Enya, she penetrates deeper into both our feelings and the mystical world of exalted dreams. And she does it in her own way, remaining earthly, real and tangible. It is this combination of Anael's belonging here with her heavenly spirit that create a special mood, a very individual music, an inexpressible melody of soul.

One simply has to listen this music, to plunge into it, to be one with it. A subsequent return into our ordinary but yet quite different world finds us able to appreciate other beauty, each of which Anael has helped us to feel more profoundly.

Serge Kozlovsky

P.S. I would like to express my gratitude to Andrew Karatkevich for translation of this review.