Jaiya | Invocation: Songs for a Sacred Earth

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Dead Can Dance Enya Loreena McKennitt

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New Age: Spiritual New Age: Healing Moods: Spiritual
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Invocation: Songs for a Sacred Earth

by Jaiya

Sacred songs and chants dedicated to the Earth Spirit; for healing, celebration, abundance and peace. Recommended if you like Enya, Loreena McKennitt, Dead Can Dance
Genre: New Age: Spiritual
Release Date: 

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Tracks

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time
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1. Invocation
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4:14 $0.99
2. With Open Heart
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3:47 $0.99
3. Earth Spirit Prayer
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4:27 $0.99
4. Turning Gyre
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3:54 $0.99
5. Here, Now
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5:54 $0.99
6. Om Namah Shivaya
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5:00 $0.99
7. I Am All
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3:54 $0.99
8. Dona Nobis Pacem
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3:13 $0.99
9. Serenade
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2:46 $0.99
10. Earth Spirit Prayer (Instrumental)
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4:25 $0.99
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ABOUT THIS ALBUM


Album Notes
Invocation seems to be our most meditative album yet. The album includes five of Jaiya’s original chant lyrics, as well as our new musical settings of the traditional Navaho Earth Spirit Prayer, the ancient Sanskrit mantra, Om Nama Shivaya, and Dona Nobis Pacem, a Christian prayer for peace. Each song is a hymn to life, expressing what the Dalai Lama calls “the yearning for harmony, with oneself and with others, with nature and with the spiritual and sacred within us and around us.”
(L. Whitehead)
The spiritual nature and themes of Invocation led us to multi-layer our two voices into a blended choir-like “One-voice”. The end result is an ethereal yet warm and most restful sound. The female vocals (leaning toward Enya-like) are supported by Miranda’s Celtic harp, Kim’s bell-like Rhodes piano and lyrical accordion along with Lael’s soaring penny whistle. We’ve brought it back to earth with a selection of hand drums and percussion combined with some grounding electric bass from our great friend and studio mix-master Peter Mann. (M. Brown)


Reviews


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Jesse Edward Thom

"Always Here. Always Now."
Jaiya’s new album is nothing less than a total call to human presence – a gentle invitation to the listener to attend to her senses, to the depth-quality of life, to the sound at the window – to her own fragile heartbeat.

The album is overwhelmingly moving, melodically inventive, terrifically haunting, and arranged as if by a kind of magically trained wood sprite with 12 arms and 18 sets of ears – Bach’s equivalent in the faery realm perhaps. But even more impressive is the record’s curious ability to immediately establish a “Centre” of presence, unpacking from there to fill the room with a living, palpable aura that is modern, fresh, and unexpected.

Specifically, the album draws from an unlikely line of influences, including Indian mantra, Irish and Welsh folk, American jazz, North American First Nations’ traditional music, with even a notable hint of Sub-Sahara African flavour. Invocation truly seems to mark a new era for sacred music, even boasting a rare and bold combination of instruments (where else might you hear the unique and somehow secret beauty of a penny whistle mixed with accordion and rhodes piano?).

From track to track, we find ourselves free to grow to infinity or shrink to invisibility, even simultaneously: to re-cognize our own self-brightness, and emerge as full witness. All this upon a silky warmth of tone that carries an unmistakable message to the listener: “you can relax – you’re finally home.”