Enon - Grass Geysers...Carbon Clouds (Touch and Go)
3/5
By: Chris O'Toole
Since their inception, Enon have never stayed on the straight and narrow. They are a musical chameleon - undecided about their place in the world. Are they a glass-vowel, top-draw pop band, or are they something dirtier, something more - a rock band with delusions of grandeur? Their style flits wildly between the two - at points they shatter windows with bulldoze riffs and hysterical screaming, at others they perform choreographed dances for an audience of millions they are unlikely to ever see. They are a quixotic musical oddity - amusing, baffling and unnerving.
Here though, with their fourth album - the first since Hocus Pocus in 2003 - they appear to have looked for the stars and aimed straight for them. This is their chance at the big leagues. No more small, dingy backrooms for Enon. This time they are all mirrors and credit cards, stadiums and legions of adoring fans. Some of the kaleidoscopic variety has been sacrificed in favour of more straightforward rock style. It's a little dance-punk, if that ever existed, a little straight out rock and delightfully carefree.
Toko Yasuda's voice is once again to the fore - following earlier experiments the group have decided to play their ace and give her pride of place - and her contribution defines the album. Sounding like a scorned, sultry vixen her vocals add the sugar to the mix of surreal guitar, vigorous, strident bass and relentless tidal waves of synth. 'Peace of Mind' reminds of The Eighties Matchbox B-Line Disaster. Really, It does. Everything is up front and confrontational. The group sneer at their doubters, answer all questions with a toss of the head and head for the sunset. 'Law of Johnny Dolittle' is more in keeping with their past form - hectic, scattergun riffs spraying into the room, a careening train out of control on the track with the band cackling at the controls.
Comparisons would stretch to Blonde Redhead and some of the less insular His Name is Alive. Its all flowers on the surface, but inside this is a band that wants to let go and rock. 'Mr Ratatatatat' displays their ability to fill a dance floor with people who may just be about to overdose while Sabina may also require the host to call for an ambulance. There is real depth here, but it is hidden behind the sunglasses and radio ready choruses.
While 'Grass Geysers...Carbon Clouds' is the group's most accessible album to date, it is the most disjointed and slightly unreflective of their unique style. The group have lost some of their warped charm in favour of a more straightforward and glimmering pop. Vocals sill soar, bass still hits like shrapnel and the group still perform with verve and attitude, but it seems the group have lost a little of their love of life and are now just in it as a job.
Stream 'Mirror On You' from Grass Geysers... Carbon Clouds HERE.
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