Here is the third and final part of my interview with The Enid.
Here is the second part of my three-part interview with British progressive rock band, The Enid.
Nearly 40 years ago The Enid came into existence as Robert John Godfrey joined guitarists Stephen Stewart and Francis Lickerish and drummer Dave Storey in a new project, following his exit from Barclay James Harvest. He embarked on what has become a wonderful musical journey. Four decades on and with three generations in the band, The Enid lives as a truly remarkable musical entity today, comprised of Godfrey, long-time drummer Dave Storey, bassist Nick Willes, guitarist Jason Ducker, keyboardist/vocalist Max Read and newest addition to the band, keyboardist/lead singer Joe Payne. Since reforming in 2007, The Enid have released two studio albums – the second of which, ‘Invicta’, features Payne’s stunning vocal debut for the band and marks yet another progressive shift into new musical territory. As they come off the back of an outstanding UK tour earlier in the year, they look towards their next release (working title ‘Reset’). In a three-part interview, Calum Robson travels to the band’s base at The Lodge Studios in Northampton, to find out more from Robert John Godfrey, Max Read and Joe Payne.
Enochian Theory embarked on a number of UK tour dates with The Enid and TesseracT this month. The talented trio are set to release ‘This Aching Isolation’ as a single on May 8th– from last year’s impeccable second album ‘Life…And All It Entails’. The Portsmouth band have been steadily gaining fanbase after the album widely impressed anyone with a penchant for prog, alt rock, metal and ambience in equal share. I interviewed the three-piece before the opening show of their tour with The Enid at The Cluny, Newcastle to find out more on the album’s impact, the band’s influential themes and their diverse demographic.
Whilst Britain enjoyed a healthy influx of intelligent bands following the birth of progressive rock music in the ‘70s, there was another equally talented force brewing over the water.
The Gentlemen’s Club Of A Forest Of Stars stepped back into our lives from the darkness of last release ‘Opportunistic Thieves Of Spring’ to blow us away with third album ‘A Shadowplay For Yesterdays’. The northern act increased their membership, carved an altogether different proposition and took it onto the rickety dirt-road to entertain hordes of adoring punters. SoundShock found them in cheerful mood before their Newcastle show to chat about tackling a concept album, changing membership and how they came to adorn themselves in that fine Victorian attire.
Let’s face it, when broadly speaking about ‘metal’, ‘avant-garde’ is a term far too easily thrown around. Either self-tagged by bands looking for a hook or lazily prescribed by writers to those with a few (slightly unpredictable) sonic tricks up their sleeve – it’s an exhausted description with a ‘boy who cried wolf’ complex. But when it comes to The Gentlemen’s Club Of A Forest Of Stars, you begin to believe there’s still genuine application for such a prestigious title to be used, especially when experiencing third record ‘A Shadowplay For Yesterdays’.