Described by the band themselves as progressive metal riffs to plowing 90’s grunge grooves, there is quite a lot more to this impressive debut from Enma. Very heavy in parts, always thoughtful, with a mix of blues, psych, post rock, this is an enjoyable album.
Enma is a band hailing from Tilburg in The Netherlands, and I was pleased when vocalist Alex Schenkels contacted me following my review of Inhalo’s extremely impressive album, Sever (they are friends and have performed together). The Dutch scene is as strong as ever, and the line-up is completed by founder, guitarist, and composer, Tom Adams, Wessel Speelman also on guitars, and Yoeri van Helvoirt on bass guitar. Drums are provided by Yuma van Eekelen.
The band have released their debut album, Apathy Awakened, and this is available via Electric Spark Records at https://www.electricsparkrecords.com/ and on Bandcamp at https://enmaband.bandcamp.com/album/apathy-awakened They describe their music as containing progressive metal riffs to plowing 90’s grunge grooves, from introspective melancholia to fierce outbursts and for fans of Tool, Opeth, Alice in Chains, and Katatonia (whose last album, City Burials, was class and have a new album, Sky Void of Stars, coming out in January 2023).
So, some heady comparisons – does the music add up to them? Certainly, thematically, I deeply appreciate the political and social undertones present here as a commentary on some extremely worrying illiberal trends in our modern democracies.
Well, matters get off to a crunching start with Enigma, and this is a good description of a track which talks of suspicion as a tool to confiscate your mind and resurrecting our fragile ancestry. The pace describing a classic power struggle is relentless throughout and there are some very satisfying riffs, with a fresh sounding guitar solo immediately prior to a more industrial denouement.
On this, and all else which follows, you are struck by just how good it all sounds.
The title track follows. The scorching pace continues, with a deeply dark guitar riff to introduce us before the volume and the track proper begins with an introspective passage. The track explodes when the lyrics talk about this apathy being our worst enemy, and, indeed, looking around at the state of world politics and economics, the shocking ignorance displayed by many people accepting any old populist nonsense is deeply concerning, and I take this very thoughtful track as adding to that legitimate concern. van Eekelen’s thumping drums accompanying the startling riffs of van Helvoirt, and the guitars overlaid above all of this are deeply impressive, and when the piece progresses, the post rock sensibilities of this band are pushed to the fore. For those of you who like their rock at turns extremely heavy, but also thoughtful and rooted in the real modern world, you could do a lot worse than giving this a spin. The video is embedded below – enjoy.
Debita Nostra follows, translated into English literally as our obligation. The introduction to this track is again extremely heavy, and the rhythm section shines. The track talks about burning the flag and Schenkels provides us with a (far heavier) lyrical modern-day demagogue in the vein of Waters guiding us and living through him. There is a passage two thirds of the way through which is clearly influenced by latter day Rush, and it is a joy, but the overall feel of this track which includes a heavy Latin choral interlude and a dystopian guitar riff as we move towards the close is one of anger and rejection. It is very impressive.
Augury is up next, and the title refers to the Ancient Roman practice of interpreting omens from the behaviour of birds. Devotees would “take the auspices” and the result would determine whether it was a good, or bad, day to attack, or to provide the Gods with a suitable sacrifice. The track opens with a deeply thoughtful set of guitar chords underpinned by drums. The expansion which follows is a little bit misleading, because this track is, at its heart, a blues number, and very modern blues in its execution with nods to heavy rock in the 70’s heyday. I get the impression that much of this is rather personal and the closing guitar solo reinforces that with feeling.
The Elusive follows and is a somewhat dark affair with our sanity being washed away. The track talks and riffs against doctrine, and, from my perspective as an old trade unionist, it is reassuring to note that away from the dross that passes for much modern culture, there is still a sense of anger out there, and if there is, our sanity will remain. This is an exceptional piece of music, and the post rock sensibilities reassert themselves very strongly at the close with some wonderfully strong chords and riffs belting out in your ears before they fade out.
Moira follows and the opening passage is quite dreamy and psych in its execution and this immersion in the self is mixed with far heavier interludes. The softly spoken parts of the saviour of our time are menacing.
The Insatiable opens with a wonderful bass riff underscoring all else. The guitar riffs are brash but, again, the introspective parts in between impress. Two thirds in, we get a huge wall of sound and as good a chugging grunge metal piece as you are likely to hear this year before that brash, but cleaner, guitar reasserts itself at the close.
In Greek mythology, Hemera was the personification of day, and Hemera’s Call relates to the dawn of the day. The track talks about the nocturnal, shades of our shadow, and wondering into the dusk clearly awaiting the release of dawn. The opening is talking of that moment in the pitch black just before dawn, combining the earthly and the celestial. The instrumental passage led by a huge guitar riff is moving and the vocal effects which follow this leading into the explosion of the dawn are very clever.
Transient Endeavours closes the album. I believe that this is the track which inspired the album cover. She enters and the distant light strikes. The track talks of the past and perfect chronicles and as the theme develops there is a delightful guitar rising above. When Schenkels states that through the night, she greets him, the piece rises to a different plane and the ringing musical chorus accompanies her bleeding. This is a very impressive close to what I have found a very strong album.
A word about the album cover. It is stunning, and was produced with illustrator Maarten Donders, who has worked with Opeth (see his Facebook page at https://www.facebook.com/Maartendonders/ ) and web designer Arno Frericks.
Highly recommended.
