Michael Cretu's formula of weaving old and new world sounds through
new age atmospherics and dance rhythms has resulted in four
Enigma discs that have straddled the line between brilliance and self-indulgence. The plodding bombast of 2000's
The Screen Behind the Mirror seemed to signal that
Enigma had stretched itself to a point where an explosion of pompous musical goop was imminent. So what's to be done when the bubble's about to burst? Simply ease up, let out some of the stuffy air, and allow for some space to breathe -- and that is what
Cretu has done with
Voyageur. Utilizing a lighter production style, his compositions benefit from the lack of themes,
chants, and assorted ethereal voices that began to plague his discs while still retaining the essence of
Enigma. Once again, the songs are seamlessly merged together into a flowing river of music in which there are moments of calm as well as sections that have a swift undercurrent of beats. The mandatory introductory passage,
"From East to West," stretches further than on previous discs as its lightly rolling beats and simple melody suggest a move toward
ambient electronica. The following title track reinforces this theory as the danceable beat propels the
electro-guitar strums and backing organ like a hit song from a car commercial.
"Incognito" expands the experiment a bit more by tentatively treading into
Chemical Brothers territory and, as if to say he's getting back to basics,
Cretu throws in a couple of
"Sadeness" samples from
Enigma's groundbreaking debut disc. Rounding out the excellent first half of the program is the single-worthy
"Boum-Boum," where the
pop sounds of
*NSYNC exist happily within an
Alan Parsons Project world. Although the beats continue with
"Look of Today," the second half of
Voyageur tends to lose focus as tracks like
"Weightless" and
"The Piano" sound as if they are lost in some kind of
new age netherworld. However, with its strong opening and scaling back of theatrics,
Voyageur is one of
Enigma's more successful recordings and sheds new light on an old formula. ~ Aaron Latham
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