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Enjoy Eternal Bliss

by

Yndi Halda

 
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Enjoy Eternal Bliss
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Avg: 4.5 (112 ratings)

Wholly unique quasi-classical post-rock.

  • We Say...

    In the world of loud-quiet dynamics — if loud is 10 and quiet is 1 — the opening to Enjoy Eternal Bliss is somewhere around minus 37. You'll need to turn it right up and lie with your head in the sub-woofer to hear it. Which is a good place to be, because when the wistful strings and drums do kick in after two minutes, you won't want to miss a second. Orchestral arrangements dominate the record, from the opening track's lone piano to the deep cello and kettle drums of "We Flood Empty Lakes." Yndi Halda hail from Canterbury in the UK, a place best known for the psychedelic prog-folk of the late 60's (Caravan, Camel, Soft Machine), although they derive precisely nothing from this heritage. In fact they rely little on anyone else at all, forging a unique quasi-classical post-rock, releasing this album on their own, and now have gone on to form their own label O Rosa, through which they hope to discover new, non-western folk. True originals.

  • They Say...

    That this mostly instrumental U.K. quintet clearly adores the strain of epic, fit-for-an-elegantly-sad-movie rock of groups such as Mogwai, Godspeed You Black Emperor!, and M83 is pretty well apparent from the start -- besides the melancholy black-and-white/smudged album art, there's the telling fact that all but one of the four songs on the album come out over a quarter of an hour long. With the scope of the band's vision delineated clearly enough, though, Yndi Halda show evident promise throughout this album; if they are still standing in the shadows of others they might yet get to somewhere more individual as time and exploration take them. Certainly they know all the right moves and don't mind adding in a twist or two along the way -- opening song "Dash and Blast" relies on a single violin rather than a massed set of strings, often playing in counterpoint to the swells and collapses of feedback and high, yearning guitar solos. Sprightlier moments also crop up throughout the piece, while the massed wordless vocals toward the song's end add a final thrilling touch. "A Song for Starlit Beaches" is the other definite standout, with a lovely title happily matched by a generally understated performance and arrangement for most of its length, making the admittedly inevitable concluding explosion-followed-by-extended-coda all that much more dramatic. A section that's just piano for some minutes is a highlight, keeping the pace of the song moving just so into a further part where violin and drums take over and complete the mood.

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