White Goddess

White Goddess

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.
After this, The Enid as a functioning entity was effectively put on ice - aside from the occasional live perfomances - for over a decade.

1. Prelude
2. Fantasy
3. Riguardon
4. Sarabande
5. Waltz
6. Ballade
7. Gavotte
8. Chaconne
9. Gigue
10. Nocturne

Robert John Godfrey Keyboards
Grant Jamieson Guitar
Max Read Guitar, Bass, Choir
Dave Storey Drums, Percussion

Recorded, mixed and mastered at The Lodge Recording Studio during 1997
Engineered by Max Read
Produced by The Enid

“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.

Rather we must, all of us, live in that unnerving singularity where the future invades the present. Our little lives are actually a great and sometimes perilous adventure from which there is no escape and no going back. Enjoy it while you can."

1990's Albums

The Seed and the Sower

Tripping The Light Fantastic


Anarchy of 45 A-Sides

Anarchy of 45 B-Sides

The White Goddess