Introduction by John O'Donohue: In the beginning was the music. For millennia its secret melodies blessed the earth. Streams gave voice to the silence of valleys. Rivers ferried the song of the land along. The dream of the mountains flowed out in pure wells of spring water. The waves made antiphons where the fluency of the ocean tempted the

Introduction by John O'Donohue: In the beginning was the music. For millennia its secret melodies blessed the earth. Streams gave voice to the silence of valleys. Rivers ferried the song of the land along. The dream of the mountains flowed out in pure wells of spring water. The waves made antiphons where the fluency of the ocean tempted the faithful land.

Great melodies wombed in the wind. Breezes sounded with sudden delight and celebration. And the vast loneliness of the earth rose up when the wind become a caoineadh mourning the night. While all the time beneath the earth a silent music played to stir seed and root towards the Springtime.

The music of the clay is what makes Celtic spirituality so warm and attractive. In a loud cacophonous world it offers us again a sacred space. It invites us to listen with the soul. It is there that we will hear the deeper harmony which plays secretly beneath the turgid externality of our daily routine and pressures. This is where the promise and beautify of Áine Minogue’s music lies. In these wonderful Celtic chants she coaxes our wearied attention back to the forgotten sources of refreshment and healing.

This music somehow manages to reach into the nameless silence within the soul. It is music of the soul for the soul. When you take time to listen to Celtic chants, you come into your own special and sacred place. The deep peace which lives within our clay will begin to flow through you. Your mind will calm; our body will relax - the energy and gentleness of the divine - will warm your life. This is music to bring the eternal alive within you. Áine Minogue has managed to echo the ancient music of the earth so honored in the Celtic tradition. We are made of clay and this is the music to bring us home to the house of belonging that we call the soul.

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In a concept album as large and the Island of Saints and Scholars itself, Áine Minogue explores the history of Celtic spirituality through music. The Mysts of Time: Chants and Melodies of the Ageless Celtic Lands is the result of her intense personal quest to discover the essence of the Irish spirit, with its rich and varied relationship to the divine.

"There is a large gap between Enya albums, and Áine Minogue fills it capably. She has a fragile, lilting voice that wraps around the mostly Gaelic lyrics like a gently windblown satin sheet. Lushly arranged, this mix of traditional tunes and originals is performed by some of the best players on the new acoustic music scene." BILLBOARD MAGAZINE

“This delicate and "mysty" album, subtitled Chants and Melodies of the Ageless Celtic Lands, intertwines the foggy heath with a church alcove. Aine (pronounced On-ya) interprets plainsong, traditional Celtic religious and secular as well as originals honoring Brigit.

Accompanied by guitar, cello, tabla, fiddle, oboe, bodrhan, mandolin, Irish pipes and a wonderfully rich chorus, her harp and vocal music is lush yet airy, a very lovely feast.” CD UNIVERSE

ALBUM CREDITS Áine Minogue: Vocals, harp, harmonies, percussion William Coulter: Guitar Alasdair Halliday: Vocals and harmony vocals Barry Phillips: Cello, tabla (drum), keyboards Steve Schuch: Fiddle and fiddle arrangements Patrick Hutchinson: Irish pipes, Mance Grady: Bodhrán Shelley Phillips: Oboe, English Horn Paul Machlis: Keyboards Gerry Putnam: Mandolin Klila: Unison vocal (Puer Natus and Christe Redemptor) Scott Trible: Unison vocal (Puer Natus) John Hazen: Unison vocal (Puer Natus)

All music published by Little Miller Music (BMI) for Aine Minogue.