Opening with a soft piano motif that is soon joined by deep bass and sparse drums, headprint starts as it means to go on. Delicate and tender, etretat is ambient, atmospheric and full of emotion.
As it gently develops, blossoming in slow motion, it becomes increasingly bountiful and beautiful. Warner Mossel’s vocals remind us a little bit of a blend of Hayden Thorpe from UK cult faves Wild Beasts and Radiohead frontman Thom Yorke. In fact, the bass also has more than a touch of Colin Greenwood about it, too – shout out to Andro Ackerman.
The way the instruments blend feels almost symbiotic – like it’s impossible to ascertain where one ends and the next begins – which is by no means a bad thing. On paper, it sounds like it should be muddy or messy, but actually, it results in what feels like one living, breathing organism – pulsating and moving as one. We’d say that endive certainly knows what they’re doing and have clearly spent time and effort crafting and concocting something extremely effective.
This is followed by the EPs first single, which came out back in February. It begins like the last track, setting the pace very deliberately from the outset and establishing that it’s going to take its time. Disciplined and reserved, it feels finely balanced and very considered once again. We’re struck by the airy organic feeling created by the space between the instruments – no doubt down to producer Oscar de Jong. Imagine peak-Fleetwood Mac playing a song by Pink Floyd and produced by Brian Eno, and you’re in the right ballpark. The musicians dance around each other like leaves in the wind. Beautiful stuff.
changing of days is up next and keeps the vibe going, and in fact, ramps it up. The atmosphere is heightened – Sam van Tienhoven’s guitar is subtle but works perfectly with Marcel Ju’s drums, which become militant and urgent, and, over the course of the songs, which run for more than five minutes, the whole thing feels increasingly free-spirited, emboldened and kinetic. It ends with a rather cute rendition of Happy Birthday by a young child. Whilst the electronic components are key to the music, it’s anything but devoid of emotion. There is soul and humanity here for days.
nightfall begins with what feels like neoclassical piano. It is soon joined by soft synth padding and those same unmistakable dulcet tones – sounding a little bit like Jeff Buckley – if he reigned it in a little bit. The song builds and sprawls over time, becoming more and more scenic – like a breathtaking audio vista – one that won’t be forgotten anytime soon. The piano is the star of the show here, ending the song how the others began – centre stage and stunning.
nothing left to say is slinky and sultry. We’re immediately struck by the inclusion of an unusually dirty guitar tone, which adds a nice bit of variety to the band’s assortment of sounds (perhaps they could lean into this more going forward?) It lilts along before ramping up the tempo and intensity about a third of the way through, when it becomes ragged and almost psychedelic for a little while, then simmering back down and, in time, firing back up again. We didn’t expect to be taken on that rollercoaster ride, but we’re very glad we bought a ticket.
reflection concludes the EP and feels like a combination of Radiohead and The Postal Service as it begins. Pulsating electronic drums and tender piano are joined by synthetic strings and a prominent bass, and the vibes feel strangely celebratory and morose at once. Cinematic and suggestive, we can see this instrumental soundtracking a particularly emotional scene in a movie or a gritty TV drama. The drums we mentioned almost feel like the heartbeat of the song, while the other instruments act as the organs that keep this thing going. It’s spellbinding, striking stuff – quietly epic and gently ethereal – it envelopes you in its scope and beauty and is probably the highlight of the whole EP. Talk about saving the best ’til last!
And with that, the quartet sign off, having left an indelible imprint on the lucky listener.
Written by Kinda Grizzly
