Sarah Brightman
Harem
Angel
Release date: June 10, 2003
By Shawal Ras
Follow @shawalrasBack when I was fourteen, when peers my age were still popping pimples and gushing over everything they've read about human genitals in science-related textbooks, I came across an article in Galaxie about an opera chanteuse who was about to release her first mainstream album, a "classical crossover" it said. The photo accompanied the profile piece had her on the floor, surrounded by petals, and her shining black hair was placed onto her bosom. It was a glorious still from 'Beautiful', the first offering from Sarah Brightman's opus, Harem.
Infatuated, I was.
My comprehension in English back then was rather abysmal but I knew the article was well-written and I decided that I need to have the album. And I did. The moment I put it in my Sony Discman, I quickly came to regret my decision. There's nothing to like from the album; I don't understand her howling, I can't seem to grasp what she's singing about, and I certainly don't like opera.
My comprehension in English back then was rather abysmal but I knew the article was well-written and I decided that I need to have the album. And I did. The moment I put it in my Sony Discman, I quickly came to regret my decision. There's nothing to like from the album; I don't understand her howling, I can't seem to grasp what she's singing about, and I certainly don't like opera.
But, since the CD already cost me a hefty amount from my monthly allowance, I forced myself to listen to the whole album, to go through the booklet, and to dive into the esoteric music. Surprisingly, I enjoyed it and I simply need to acknowledge Harem as the foundation to my eclectic taste in music today.
The album, at 13 tracks long (excluding bonus tracks), was a very cohesive aural literature about the love for the world, the nature, music, and the journey of our lives. Heavily infused with Middle Eastern composition with a little mix of Indian and African music, Harem was a glowing testament about the beautiful cultures existed beyond the wall of the western world and Islamophobia in the years following 9/11.
"Sing for me, the song of life's visage / Sing for me, a tune of love's mirage."
The first half of the album covered the topics of love and the idea of embracing the gifts of nature given by God and the Earth. From the opening track, you'll get that sense of wanting to be in the Sahara Desert, to be blown by the soft wind overlooking the blue sea while being embraced by the love of your life. I have a very active imagination and Harem painted a beautiful landscape across it.
But the second half of the CD is where the album lies its breathtaking and well-produced music onto you. From 'The Journey Home', 'Mysterious Days (feat. Ofra Hoza)', to 'Beautiful', 'Arabian Nights, 'Stranger in Paradise', and 'Until the End of Time', Brightman sings to you her longing to be loved, to travel the world, and to be excited of the many journeys to come. A clearly unique cut from this part of the album is 'Arabian Nights', a distinctive nine-minutes track with five acts over a story of a person's voyage to utopia. Downtempo at first, the track slowly picks up the pace in the subsequent four acts, giving you, the listener, an actual story to experience.
Every time I revisit this album, I can't help but to cry a little bit, especially at the soundscape that opens 'Until the End of Time' as she croons, "Around the world in eighty days we sailed the seven seas / A thousand nights and one and forty more in fantasy." The track perfectly captures the essence behind the album, giving me goosebumps, hence why it remains as my favourite from the album.
Harem successfully blended classical with world music and new age pop, was lauded by contemporary critics following its release, and to me, thirteen years later, the album is still a well-made and hauntingly beautiful record. Listen below.