It would be both unkind and untrue to regard this band as anything but a cohesive collective of five musicians. However the fulcrum of their sound is undoubtedly the beguiling voice of Enza Durbin. Although a comparative newcomer to the ensemble she is a jewel of a recruit. The band themselves cite diverse inspirations engraved in the ledger of influential giants, from Elvis Costello and Pink Floyd to more esoteric contemporaries such as Sigur Ros and the utterly superlative I am Kloot. It’s evident they pick and choose from far and wide with one criteria – excellence.
In actuality Enza’s vocals are redolent of Annie Haslam from Renaissance – an exquisitely strong performance characterised by sustained notes delivered with classical grandeur and passion. The compositions are also of that ilk – musical fables that split their skills between simple constructs and more lavish aspirations. Enza could easily have auditioned for the likes of Nightwish or Lacuna Coil but the Gentry tends to veer to the softer frontiers of music rather than metallic options.
Their first EP, Tonic for a Nation, set the ball rolling with a blinder of an opening track which deliciously balances a sweet little conversation between acoustic guitar and electric guitar – one of those numbers that has the head uncontrollably nodding along in time. ‘Down come the rafters’ not only displays Enza’s vocal talents but understated and mood enhancing contributions on organ and piano, also in evidence on the slower ‘Sit & watch & wait’. This debut platter concludes with the melodic and somewhat folky ‘Fort on Bare Island’, a dreamscape of a song that has one being led away by Enza like a pied piper on the recorder.
‘Tonic’ has just been augmented by the ambitious follow up, ‘Little Sparrow’, which offers four new songs to corroborate their prowess. The title track enters with a simple lilting piano which quickly evolves into a more complex piece that confidently and competently presents and substantiates the band’s ability. The number moves through styles and changes with ease and grace and the product is a mini-opus that soars and wheels, and aloft such musical thermals flies the mellifluous wings of Enza Durbin’s larynx.
The second track, ‘Embers’, continues to demonstrate these lush currents and eddies of production that sees it bubbling along like a vibrant fresh-water river. Dramatic lyrics are cast across the score with grand gestures and conjure up heroic images in the mind - I read those lying lips through the tone in your voice, through the violent night the flaming skies ignite and spark my fears, until the morning came and were tamed like lions in their cage. Courageous writing indeed, but it avoids pretension through the sheer conviction of the music.
Then, to snap the listener out of complacency, ‘Encourage a spark’ leads off with a much stronger vibe that rocks along with Luke Hollingsworth’s drumming and John Twinn on bass, while the hallmark voice still swoops and weaves through the groove set up by guitarists Jay Fox and Dave Twinn. ‘Kathy’ winds things down and takes leave with a gentler tempo, both smokey and smooth. All in all a remarkable sequel. Their compositions can only be described as a blurring of crafts – between song-writing and needle-work. Lyrics and music are woven into tapestries that play like tableaux to the ear and invite the listener to interpret as literally or figuratively as they wish.
Such aptitude is also manifest on their new single, ‘Winter Blue’. Admittedly it may not have the commercial viability of Justin Bieber but it’s certainly a tour de force. A sizzle of cymbals begins another emotionally charged delivery of evocative words from the diva endorsed by some beautifully empathetic fretwork from the boys. Perchance now it’s time for these stalwarts of genuinely good music to remove their cloak of invisibility and be seen as the high profile aristocracy that they deserve to be.
Review by Peter Heydon
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