To be still at the forefront of progressive rock over forty years since their inception in 1974 The Enid are the definition of ‘enduring’ as is their popularity with their fanbase of enthusiastic supporters.
Their unique and individualistic style of progressive rock does not appeal to all but, when you are hooked by the beauty, efficacy and intricacy of it all, you will become a lifelong follower.
The band use music as a saga teller, creating huge soundscapes and classical influences to lead you on an all encompassing musical journey that will captivate and enrapture your sensibilities.
An excerpt from the band history on the website goes on to say….
“Formed among friends in 1974 The Enid invented a school of intelligent powerful romantic popular music which is unique to them. It is now clear that over more than thirty years they have developed an exceptional approach to music creation in the sense that there are no generic limitations whatever placed on bands ability to create their music.
The Enid “school of art” for want of a better description, is free from constraints of template rock/pop where rhythm, harmony and melody are invariably dictated by the traditions, prejudices and limitations associated with style.
Under the tutelage of Robert John Godfrey, The Enid set out to avoid the obvious traps; the learned/received riff based music which distinguishes so much rock – the well trodden harmonic progressions – familiar melodic lines and stock-in-trade rhythms.
They were also the first band to be funded entirely by their fans which became the obvious way ahead after losing their recording contract with the now defunct PYE records. This was a revolutionary concept when first deployed in the early 1980’s and led to the current situation with bands as diverse as Marillion, Radiohead and Hawkwind following this lead.”
There have been many changes to the band line-up over the years, the current being founder members Robert John Godfrey (pianist, composer and mastermind) and Dave Storey (drums) , vocalist and charismatic frontman Joe Payne, Jason Ducker (guitar and lots of other stuff), Max Read (bass, keyboards and loads of other stuff) and Dominic Tofield (drums and dab hand at design).
There have been many albums down the years yet 2012’s ‘Invicta’ saw a relative resurgence for this niche, cult band. The Enid have followed this up with ‘The Bridge’, the first in a trilogy of albums which will focus on the development of members Joe Payne, Jason Ducker and Max Read.
On this release Robert and Joe wanted to further explore the classical elements of the band’s music in finer detail. The orchestral arrangements and vocals are accompanied by Jason’s symphonic guitar textures and Max’s choral arrangements. The stunning artwork is the exceptional work of drummer Dominic Tofield and gives this release an indicative gravitas as soon as you see it.
‘The Bridge’ is a collection of mainly re-imagined versions of songs from the vast back catalogue of the band and a bit of a risky one at that as it feature next to no percussive elements at all, only relying on the amazing piano skills of Robert and Joe’s impressive vocal skills to deliver the expected symphonic power.
Earthborn takes a delicate route to introduce the album with the vocals gradually increasing in force backed by the empathetic piano and wind instruments to deliver a romantically inspired opening that could have come straight out of London’s West End theatres. Gentle, humble and yet with a steely core, it captivates you with an uplifting grace. Atmospheric and almost operatic in its delivery ‘Til We’re Old is a brief but powerful piece where the voice and piano provide impressive counterpoints to each other with a slightly suspenseful and quizzical note. What it lacks in length it certainly makes up with substance.
Dark Corner of the Sky opens with a hushed piano and then Joe’s dulcet vocals join in what is a slightly sombre sounding beginning. Joe Payne’s heartfelt delivery is as seductive as it is powerful, almost beseeching you as it impacts on your psyche. Max Read’s sympathetic choral arrangement delivers an ethereal feeling, a seductive spell that you never want to break. Now to a track that seems to split opinion, Bad Men has a nervous jocularity to it with its simple (yet effective) lyrics and ever present hint of mild insanity. One reviewer who was less than impressed said: “it is a track that tries its hardest to be politically relevant to British politics, yet falls flat with lyrics.” I have to disagree, to me it has a hint of the a melodramatic Gilbert and Sullivan comedy opera to it, slightly tongue in cheek. It flows majestically in places and, in others, hammers at you like a persistent and petulant child. Not my favourite track on the album but one that rises above the merely good with its sense of humour.
The introduction to My Gravity lifts you up and takes you away to a place of pomp and circumstance and classical beauty. For all you know, you could be at the Royal Albert Hall listening to some classical masterpiece before it segues into an engrossing cinematic style that would befit a 1950’s Hollywood blockbuster. There is a vivid melodrama at the heart of this affecting song. Joe’s voice has a tender catch to it and the choral arrangements once again impress. As impressive as it is on record, this would be an almighty piece of music in a live setting as Joe reaches the heights with his fervent and earnest voice and the whole track has you committed from the first note, a superb and enduring song. Adding lyrics to previous instrumentals is the USP of this latest album and that can be seen to the best and most striking effect on Wings (a reworking of the track ‘La Rage’ from 1988 release ‘The Seed and the Sower) where Joe’s deeply moving lyrics are undeniably the icing on the cake of a wondrous track. Deeply moving and emotional, it is the highlight of this arresting record. Starting from humble beginnings, the vocals dance around you and insinuate your every pore, like a sinuous vocal dance around your aural receptors. Ardent and profound, there is a sincerity deeply ingrained in this incredibly passionate and poignant song. The musical arrangements are precise and yet flow with a allure and artistry and help deliver a profoundly stirring and moving work of musical art.
First Light takes the sophisticated choral arrangements to another level. The voices intertwining and harmonising to brilliant effect. A slow and deliberate tempo holds you in sway as the music washes over you to leave you in a musical state of grace. The whole album is composed of music that demands your attention and makes you stop what you’re doing and concentrate on what is put before you and no more so than on this singular slice of wonderment. The segue into Autumn is seamless, your trance like state retained. This time the music is just as conducive to your utterly relaxed and calm state of mind, providing a perfect foil for the beguiling voice of Joe Payne. When the song opens up and releases its full potential you are knocked back by the power and the glory in its ultimate wisdom, the ending an uplifting culmination of all that has come before.
When you listen to ‘The Bridge’ the merely good is transformed into the sublime and exalted.The Enid have delivered a set of songs that enable you to take time away from your hectic life and give you a melodic treat of great magnitude, the closest thing to a legal high, an oasis of calm in a world of chaos. Yes, it will not appeal to all with its delicate sensibilities but, for me, it is something that, once I have heard, I cannot ever do without.
Released 10th July 2015