At the tail end of 1997, The Enid released White Goddess, their tenth studio album. Unlike Tripping...White Goddess concerned itself less with dance/house rhythms or the current sounds of the day. In a sense, it has more in common with The Spell - a return to sublime instrumental storytelling and soundscapes, though with a greater sense of maturity in its composition, and less of the playfullness of their pre-Something Wicked output. This album sees the first credit for Max Read's Choir - an impressive (though undoubtedly laborious), multi-layered vocal technique he would develop in subsequent recordings, and which would become synonymous with the sound of the Journey's End trilogy albums.
Robert John Godfrey Keyboards
Recorded, mixed and mastered at The Lodge Recording Studio during 1997
“White Goddess” is an essay by author and poet Robert Graves on the nature of poetic myth-making.
"It is 1997 and The Enid look back on a long and creative history. For our life to have a continuing purpose, not only do we need to be able to share this history with the new generation coming up, we also need to carry on composing new music. The Enid moves on recognising that we cannot live in the past even if we were to try.