In a different but also personal way like Kay Hoffman (see review next page), Kwannon interprets her music, melodically mostly like a somewhat improvised medieval music, filtered through a contemplative sphere of a calmly performed ritual. Some slightly echoing instruments like hammered dulcimer together with berimbau, bodhran, buibal tarang, Celtic harp, chest-beating, chimes, doumbek, ektara, frame drum, gopichand, kantele, mountain dulcimer, psaltery, rainstick, singing bowl, sistrum, synthesizer, tinwhistle, valiha, percussion instruments, and zils. All these instruments provoke the association of ancient times and of respectful rituals in dedication to some of natures' aspects. Kwannon’s voice has a slightly operatic soprano feeling, in a calm way this is not the most technical correct musical creative interpretation, but is just perfect as to create the respectful mood, as I described before, from a potentional priestess. The music works very much like a hypnotic dance to bring you into the right trance and mood. Jenne used, besides self-penned inspirations, also some texts from Robert Graves, John Keats, Shakespeare, and one from the 'Carmina Gadelica'.
