“From day to day, my journey,
The long pilgrimage before me.
From night to night, my journey,
The stories that will never be again”
The above lyric is the English translation of the part of Enya’s Book of Days sung in Irish Gaelic.
The first time I heard this song on TV in 2004, even though I was a Christian, it resonated deeply with my sense of aesthetics. Four years later when a Christian friend introduced me to his Enya collection, I dived into them like an excited dolphin. I couldn’t get enough of her music.
Sometimes when I listened to Orinoco Flow, I felt a strange sensation in my spirit, like I was immersed in a body of water.
From experience, I knew what that implied, and I began to check out her lyrics. Right from the first one I read, I could figure out the deep witchcraft codes embedded in them and I made a clean break.
Enya Patricia Brennan is more than just an Irish singer and songwriter born into a musical family. To unwary Christians, Enya’s music is a potpourri of classical, church and folk music with poetic, nostalgic and calming sensations.
To the uninformed, Enya is simply a liberal Irish Catholic who, at most, beautifies her faith with mysticism. But to the discerning, she is on a journey; a long pilgrimage on the Old Ways: witchcraft.
In this article, which is a sequel to the one I wrote four years ago, I will be unraveling more occult connections in Enya’s music, showing that those who identify her as a New Age/occult singer, are not mistaken by any means.
According to a reference work, New Age music emerged in the midst of “the advent of all manner of self-awareness and higher-consciousness trends and fads floating about in the 1970s, and the increasing popularity of non-traditional ideas regarding health and well being.” 
New Age stores not only also sell occult books, ‘healing crystals’ and pagan artifacts, but also New Age music – relaxing music that serve as aural companions for whatever occult technique the customer is seeking. It all fits together.
In occult circles, guided meditation is often practiced, in which the practitioner connects with the spirit realm and the spirits therein through the aid of mantra, occult music or drugs.
This occult meditation is aimed at different purposes: relaxation, for pagan breathing exercises, inducing trances, healing and preparation for spell work and witchcraft.
The relaxing music is aimed at fostering mental passivity and mind control which are necessary conditions to get yoked to the demonic realm.
During a spell work, a witch/magick practitioner must be able to use his/her mind to visualize and direct his/her psychic powers to its destination. Thus, they need pagan/occult-themed music to stimulate their minds.
Such music genre could be classical, jazz, or ethnic (such as Celtic), but they are music composed by the initiated and for the initiated. One occult organization even described them as “music of the spheres.” Indeed, the spheres of darkness.
A few examples of such music are Ave Maria by Origen, Mystic Spirit Voices by Lesiem, A Place Without Noise by Wayne Gratz, a number of Yanni’s music and of course, Enya.
Many of Enya’s song weren’t relayed in English language. She also employed back masking so folks who don’t know about the occult wouldn’t notice that she was onto something sinister.
1. Afer Ventus (English translation: African wind) says:
Sea of the Clouds, Umbriel
(Each to their own. Each to it’s own)
Sea of the Rain. Ariel
(Me, myself. Each to their own is dear)
And we go to the stars …
Sea of the Tides. Io. Vela…
African wind. Zephyrus
(Each to their own. Each to its own)
(Me, myself. Each to their own is dear).
Umbriel and Ariel, though names for moons of Uranus, actually refer to specific demons. Umbriel is an earth demon often depicted with black wings, while Ariel is a demon of the air.
In Satanism, Ariel is a fallen angel called the “archon of wings” and is said to connect the adept to other elemental spirits.
Io is the name of a female water spirit worshipped in ancient Rome . It’s no accident that Enya says that she moves with the tides of the sea.
Vela is the name of a constellation. It also means “sails (of a ship)” in Latin. Vela represents the sails of the Argo Navis ship which was constructed by the goddess Athena and consecrated to the Roman sea god, Poseidon. 
Zephyrus is the Greek deity of the west wind. He has strong ties to Zepar, another deadly demon that is invoked in Satanism, especially by men who seek to bring women under the slave of lust.
Volturnus is the Roman god of the Tibre and is probably regarded as the god of all rivers. He also belongs to the class of Anemoi and is equivalent to the southeast wind. 
Africus is the Greek deity of the southwest wind. Estesiarum is a term describing the north winds of the Aegean Sea and Eurus is the Greek deity of the East wind.
So, in this music alone, Enya invokes several “big guns” to take over the listener.
2. Exile (chorus)
I’ll wait the signs to come.
I will find a way
I will wait the time to come.
I’ll find a way home
My light shall be the moon
And my path – the ocean.
My guide the morning star
As I said home to you
Who then can warm my soul?
Who can quell my passion?
Out of these dreams – a boat
I will sail home to you.
You will notice that Enya keeps singing about being on a “path” or “journey.” Modern Witches believe their religion is the old path; and right from their initiation, each step taken upon this path leads towards a greater understanding of the natural world and the divinity that purportedly lives within them.
In witchcraft, the moon, through its phases and faces, is said to guide witches through the mysteries of life. It regulates nature and magick, and when they draw down the moon at their esbats, they are tapping into the pure white mystical light of the moon.
The “morning star” or “torch bearer” epithet is used for their goddess Hecate, Diana/Artemis, and in the Bible, it refers to Lucifer/Satan (Is. 14:12). So, the message Enya was conveying there is loud and clear.
Angels answer me, are you near if rain should fall? Am I to believe, you will rise to calm the storm?
For so great a treasure words will never do. Surely, if this is, promises are mine to give you
Mine to give you …
Angeles, all could be
Should you move both earth and sea
Angeles, I could feel all those dark clouds disappearing … Even as I breathe comes an angel to their keep…
This lyrical content appears to be a conversation that is carried on with one seeking a guardian angel and promises (pacts) to cement the relationship.
In Wicca and the New Age, they regularly contact their “guardian angels” using altars, candles, oils, incense, crystals, beautiful fabric and statues. Of course, these are demons pretending to be angels.
A former satanist had this to say:
“These spirits of the air known as sylphs are the higher class of elemental forces that take the form of angels and deceive those that are in spiritual [occult] churches. When properly invoked by occult prayer, they could easily compel the lesser demon to evacuate the victim’s body for them to occupy. But as time goes on the victim continues to develop series of problems.
“These sylphs are in categories; some of them are attracted by white candles while others are attracted by coloured candles … These spirits … easily send visions to the mediums concerning governments, nations and people. They disguise themselves like angels of truth, often quote scriptures from the Bible, when the medium is possessed and using the name of Christ as well. Their mode of communication is by whispering in the medium’s ear or meeting them in their realm.” 
Occult meditation is the key to contacting these fallen angels and Enya’s reference to an angel visiting the listener as he/she “breathes” in sync with the calming sensation of her music is quite understandable.
4. Smaointe… (Thoughts…)
Listen to me, so sad forever
I am lost without you and your wife
The great love in your life
She guided me. Both of you, be with me always, day and night.
I cry at the great loneliness, tears so sad, and you sleeping in the quiet, green grave. In deep peace. There was happiness but it went away
You followed your husband, the great love in your life. He guided me. Both of you, be with me always, day and night.
From the lyrics, it’s clear that the song is directed to the “Lord and Lady” of witchcraft.
Many Wiccans are duotheists – believing in an eternal mother Goddess who rules over the earth, moon, sky and the sea and her consort, a Byronic Horned God who presides over the sun, hunting, sexuality and vegetation.
In Pagan myths, the horned god dies and is reborn each year, while the goddess descends to the underworld to mate with the Dark Lord. These themes are observed in Wiccan feasts and sabbaths:
“In mainstream Wicca mythology, the Autumn Equinox marks the time of the descent of the Goddess into the Underworld. With her departure we see the decline of Nature and the coming of winter. This is classic ancient mythos also reflected in the Sumerian myth of Inanna and the ancient Greek and Roman legends of Demeter and Persephone.
“In modern Celtic Wicca/Witchcraft, the Autumn Equinox also bids farewell to the Harvest Lord who in the mythos of some traditions was slain at the time of Lughnasadh (a festival marking the beginning of the Celtic harvest season).” 
Thus, non-initiates might not grasp the full meaning of what Enya was singing (and it’s not even in English language). Her lyrics also sound a lot like a chant seen on a popular Wiccan website:
“Goddess my shield, my encircler,
Each day, each night, each dark, each light … In my lying, in my standing, in my watching, in my sleeping. Goddess be my strength everlasting.”
5. China Roses
Who can tell me if we have heaven,
Who can say the way it should be;
Moonlight holly, the Sappho Comet,
Angel’s tears below a tree.
You talk of the break of morning
As you view the new aurora,
Cloud in crimson, the key of heaven,
One love carved in acajou.
One told me of China Roses,
One a thousand nights and one night,
Earth’s last picture, the end of evening
Hue of indigo and blue.
A new moon leads me to
Woods of dreams and I follow.
A new world waits for me;
My dream, my way.
This appears to be poetic, but even at that, she brings in some codes which her Pagan or Wiccan listeners can fully decipher.
The two archetypal forms of the horned god of witchcraft is: the Holly king and king Oak. In some traditions, the Holly king represents the bright form of the horned god.
“A thousand nights and one night” is an expression based on a Tarot emblem which typifies death.
Witches believe colour blue stands for devotion, harmony or love while indigo stands for wisdom, insight or spirituality.
Also, they believe the new moon signals new openings or beginnings. So, when Wiccans sight the new (crescent) moon, they begin their spells geared towards new pursuits.
6. May it Be
May it be an evening star
Shines down upon you
May it be when darkness falls
Your heart will be true
You walk a lonely road
Oh, how far you are from home
The evening star is a code for their goddess. She is also symbolized by the five pointed star or pentagram. A New Age and occult researcher, Deanna Conway, wrote:
“Pentacle, pentagram: five pointed star with one point up; symbol of the Goddess in all Her forms. In ancient Egypt, it was the star of Isis and Nephthys; in the Middle East, that of Ishtar. To the Celts it was the sign of the Morrigan. A sign of the Earth Element in Tarot … Repulsion of evil; protection.” 
7. La Sonadora
I; the autumn
I; the evening star
I have been an echo
I shall be a wave
I shall be the moon
I have been everything, I am myself
I; the summer
I; the ebony
I am the dreamer
Even though this was sung in Spanish, when you compare its English translation to a track titled “Deity” sung by Wendy Rule – who openly admits to being a witch – you can see the similarities.
I am the maiden
I am the mother
I’m the crone
I am the sea
I am the sky
I am the blood
I am the moon
Though this music is entirely instrumental, its title indicates who it was dedicated to.
Epona is the name of one of the dark forms of their goddess. Witches praise her as “the white mare, spirit of the wild” whose “hoofs beat on the sand.” A Wiccan scholar notes that:
“Among the Irish, a red horse signified death. Horse deities such as Epona, Medb (the goddess mare) of Tara, and Macha of Ulster (protector of horses) are chthonic divinities of the dead.” 
Many Christian fans of Enya – I expect – would argue that since they do not subscribe to pagan beliefs and their use of New Age music is only for the benign purpose of relaxation, these occultic influences can’t affect them. After all, Enya also has a song in which she made references to “God the Father”.
This line of argument may sound fine in theory, but practically, it is false and misplaced. Even in the light of the above evidence, such thinking is muddled and in denial.
The Bible expressly forbids the practice of enchantments (keshaphim) and trafficking in spirits in Deuteronomy 18:10-13.
The rendering of the Hebrew keshaphim is “muttered spells” or “incantations,” rendered “sorceries” in Isaiah 47:9 Isaiah 47:12 , i.e., the using of certain formulae under the belief that men could thus be bound.
God’s Word also forbids sorcery (Greek: pharmakeia) which includes physical objects or magick that impacts the human senses. Enya’s music (and the others like hers) are geared towards controlling people’s minds and bringing them in touch with the demonic.
 Rachel Alexander, Myths, Symbols and Legends of Solar System Bodies, Springer: 2014, p. 190.
 Brian Campbell, Rivers and the Power of Ancient Rome, University of North Carolina Press 2012, p. 141.
 “I Refused Hell” transcript of Monday Romanus Ekeocha’s testimony. Christian Alive vol. 2 no. 14, (2006), p. 2.
 Encyclopedia of Wicca and Witchcraft, Raven Grimassi, Llewellyn, 2000, p. 37.
 Deena J. Conway, Maiden, Mother and Crone, St. Paul, MN: Llewellyn, 2003, p. 179.
 Encyclopedia of Wicca and Witchcraft, p. 225