In the realm of musical innovation, few projects have left a more prominent mark on the landscape of New Age music as Enigma. Emerging in the early 1990s, Enigma, the brainchild of Romanian-German musician and producer Michael Cretu, revolutionized the genre by blending electronic soundscapes, sample-heavy world music and spiritual themes. The project’s first three albums, released between 1990 and 1996, not only defined “the Enigma sound”, but also played a pivotal role in redefining New Age music in the coming decade.
The early 1990s was a time of significant change in the music industry. The rise of electronic music production techniques (for instance, Cretu pioneered music recording to harddrives), coupled with a growing interest in world music, created a fertile ground for innovative musical projects. It was in this context that Enigma emerged, offering an intriguing sound that resonated with listeners seeking something beyond traditional pop and dance music.
Enigma’s approach was unique in its ability to bridge the gap between the meditative, often instrumental nature of traditional New Age music and the more structured, beat-driven expectations of mainstream audiences. Different versions of techno and club music dominated the charts at the time. By incorporating recognizable elements such as Gregorian chants, tribal rhythms, and nature sounds into electronic compositions with pop sensibilities, Cretu and Frank Peterson created a sound that was both accessible and exotic. The single for Sadeness (Part 1), released in October 1990, reached number one in the charts in 14 countries.
Enigma’s first three albums, released in the early and mid 1990s, established the project as a pioneering force in New Age music, blending electronic, world, and ambient elements into a unique and commercially successful sound. MCMXC a.D. (1990) was Enigma’s groundbreaking debut, combining Gregorian chants with atmospheric synthesizers, hypnotic beats and erotic whispers. This album introduced a new sound to mainstream audiences, fusing spiritual and sensual elements in tracks like the above mentioned Sadeness (Part I) and Principles of Lust. The album topped charts in over 40 countries and went multi-platinum, bringing New Age music to a wider audience.
The Cross of Changes (1993) built upon the success of the debut, replacing Gregorian chants with ethnic and tribal chanting. This album further explored spiritual themes and self-awareness, maintaining the atmospheric and hypnotic qualities of its predecessor while incorporating more developed beats and lyrics. It featured the single Return to Innocence, which became another global hit for the project.
The albums was both a critical and commercial success. It debuted at No. 1 on the UK Albums Chart and spawned several hit singles, including Age of Loneliness (Carly’s Song). These tracks, along with others like The Eyes of Truth and I Love You… I’ll Kill You, showcased Enigma’s ability to create atmospheric, emotionally resonant music that appealed to a wide audience. The album’s impact on New Age music was significant, helping to bring the genre further into the mainstream and influencing countless artists in the years that followed, especially in Europe.
Le Roi Est Mort, Vive Le Roi! (1996) continued Enigma’s exploration of world music elements, incorporating Sanskrit and Vedic chants alongside the now-familiar Gregorian influences. While not as commercially successful as the first two albums, it further cemented Enigma’s position in the New Age genre. The title translates to “The King Is Dead, Long Live the King!”, and the album blends the atmospheric elements of its predecessors with a more modern and futuristic sound.
Cretu described the album as the offspring of the first two albums, symbolically referring to the first as the father and the second as the mother. The album features a mix of ethereal vocals, electronic beats, and innovative sampling. Notable tracks include Beyond the Invisible and T.N.T. for the Brain, which became popular singles. The album also includes Third of Its Kind, a 19-second track that metaphorically represents the album’s lineage. Le Roi Est Mort, Vive Le Roi! was, like the two above mentioned albums, recorded at A.R.T. Studios in Ibiza (see the below video). Its innovative sound design, combined with the evocative artwork by Johann Zambryski (the plastic cover had a special feel to it), who was also nominated for Best Recording Package, further cemented Enigma’s influence in the music world.
I have been asked why Enigma can be considered New Age music. Here are some key points, most of the already mentioned above:
- Fusion of electronic and world music elements
- Many spiritual and mystical themes
- Atmospheric and meditative qualities
- Use of nature sounds and ethnic instruments
- And perhaps most importantly: Focus on creating a mood or ambiance rather than traditional song structures (as defined by Steven Halpern)
When reflecting on Enigma’s first three albums, it becomes clear that these works represent far more than just a collection of successful musical releases. They stand as a testament to the power of cultural fusion and spiritual exploration in music. They mark a pivotal moment in the evolution of New Age music in the 1990s. I believe it is safe to say that they also helped the genre win more acceptance in mainstream culture.
Enigma’s first three albums effectively redrew the boundaries of what could be considered New Age music. By infusing electronic beats and world music elements – and Cretu’s incredible pop sensibilities – into the traditionally ambient and instrumental genre, Cretu and his collaborators created a new sub-genre that was both accessible to mainstream audiences and true to the meditative, transcendent qualities of New Age. This fusion opened doors for other artists to experiment with similar combinations, leading to a rich and diverse expansion of the New Age genre throughout the 1990s and beyond. “That Enigma sound” is still an expression to this day.
Video in German showing Michael Cretu and Sandra on Ibiza in 1992, including A.R.T. studio:
The global success of these albums, particularly the two first releases, brought New Age music to audiences who might never have encountered it otherwise. Enigma’s music became a cultural touchstone, its sounds permeating everything from dance clubs to meditation retreats. The project’s ability to bridge cultural divides through music reflected the growing interconnectedness of the global community in the post-Cold War era, making Enigma’s work not just musically significant but culturally relevant as well.
Enigma consistently engaged with spiritual themes, reflecting and perhaps even encouraging a growing interest in alternative spiritualities and Eastern philosophies in Western society. The music provided a soundtrack for personal introspection and spiritual exploration, contributing to the broader cultural shift towards more individualized and eclectic spiritual practices. It might not be true today, but so was the case in 1990.
The commercial success of these albums demonstrated that there was a significant market for music that blended spiritual themes with contemporary sounds. This realization led to increased industry support for similar projects, opening up new avenues for artists working in or adjacent to the New Age music genre. The success of Enigma paved the way for a more diverse and commercially viable New Age music scene. Another similar, sample-heavy 1990s success is the music of Deep Forest.
So what came after Le Roi Est Mort, Vive Le Roi!, you might ask. Enigma’s fourth to eighth albums showcase the project’s continued exploration of electronic and New Age music. The fourth album, The Screen Behind the Mirror (1999), incorporated elements of Carl Orff’s “Carmina Burana” and featured the hit single Gravity of Love. Voyageur (2003), the fifth album, marked a departure from Enigma’s signature sound, focusing more on pop-oriented tracks.
The sixth album, A Posteriori (2006), returned to a more ambient style with a concept centered around the universe. Seven Lives Many Faces (2008), the seventh album, continued to blend electronic and world music elements. The eighth album, The Fall of a Rebel Angel (2016), was released after a long hiatus and explored themes of self-discovery. These albums, while not achieving the same level of commercial success as Enigma’s earlier works, demonstrate the project’s commitment to innovation and its enduring influence of New Age music.
Returning to today’s topic, the first three albums, Cretu’s innovative use of sampling, particularly of Gregorian chants and world music elements, pushed the boundaries of what was possible in music production. It is hard today to understand just how groundbreaking this was in the early 1990s. The seamless integration of samples with electronic beats and atmospheric synthesizers created a template that many other artists would follow. This approach to production influenced not just New Age music, but also had ripple effects in electronic, ambient and world music genres in the 00s and beyond.
Enigma might not be as enigmatic today as it once was, but believe me: it is never too late to become an Enigma fan!
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