Loreena McKennitt - The Mask and Mirror

Press play and enter the world of Loreena McKennitt, where walls dissolve into thick, billowing mists as the ground beneath your feet turns to compacted earth and the sky above opens up to reveal a black cloak dotted with shimmering stars draped beneath silk-like clouds. Were McKennitt's composing and songwriting abilities lacking of any luster (as they most certainly are not), her voice would still possess the strength to hold her fifth album, The Mask and Mirror, up on its own. But the combination of this talented woman's vocal prowess and songwriting ability makes her all the more similar to her work -- ethereal and almost unbelievable in its level of quality. A mythical menagerie, The Mask and Mirror contains songs that lift the veil to reveal the soul of McKennitt's work in eight dreamlike, celtic-inspired tracks. The opening track, "The Mystic's Dream" (featured on the TNT movie The Mists of Avalon, based on the novel by Marion Zimmer Bradley), is a haunting tune that features McKennitt at her most heavenly peak as a vocalist, evoking the spirits of the instruments and Gregorian chant-like background vocals that accompany her on the track. The album excels at conjuring up mythical visions in the listener's imagination, as with the gypsy-like tune "Marrakesh Night Market," which echos of the picturesque scene the title invokes. The soul-searching "Full Circle" best exhibits McKennitt's ability to transpose the true meaning of the lyrics into her songs. Even after the song ends, the somber mood lingers softly in the air. The balalaika (a three-stringed triangular-shaped instrument), the bouzouki (an eight-stringed instrument), and the hurdy-gurdy (a stringed instrument that also has keyboard and percussion parts) are among the rare, strange instruments introduced on many of the songs, including the lighthearted, uplifting "Ce He Mise Le Ulaingt? (The Two Trees)," on which these instruments demonstrate their incredible quality and prowess. The lyrics of this track are none other than the words of the poem of the same name by William Butler Yeats. McKennitt's unique use of the lyrical words of William Shakespeare, combined with her skillful adaptation of the words to the heavenly, undulating music, make the final track, "Prospero's Speech," an inspiration in itself. ~ Kerry L. Smith, All Music Guide

Name Credits Abraham Tawfik Oud, Nai Adele Armin Strings Al Cross Drums Andy Benac Strings Ann Cutting Photography Anne Bourne Vocals (Background), Cello Bob Ludwig Mastering Brian Hughes Balalaika, Assistant Producer, Sitar (Electric), Assistant Engineer, Oud, Guitar (Electric), Guitar David Hetherington Strings David Miller Strings Dónal Lunny Assistant Producer, Drums, Bodhran, Bouzouki Douglas Perry Strings Fujice Imajishi Strings George Koller Tamboura, Bass, Cello Heinz Boshard Strings Hugh Marsh Fiddle Jeff Wolpert Engineer, Mixing, Assistant Producer Jerzy Cichocki Choir Master, Director John Naslen Engineer John Welsman Cello Arrangement, String Arrangements, Arranger Kent Teeple Strings Loreena McKennitt Arranger, Piano, Organ, Synthesizer, Voices, Producer, Keyboards, Dumbek, Adaptation, Vocals, Accordion, Harp Margo Chase Design Marie Berard Strings Mark Sabat Strings Morry Kernerman Strings Nigel Eaton ?, Hurdygurdy Ofra Harnoy Cello Patrick Hutchinson Uillean Pipes, Pipe Ravi Naimpally Tabla Richard Evans Engineer, Mixing Rick Lazar Dumbek, Udu, Drums, Percussion Russel Kearney Assistant Engineer Sharon Prater Strings Susan Lipchak Strings Sylvia Lange Strings Victoria Scholars Choir, Chorus