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Lost Marbles and Exploded Evidence - BONUS DVD
Released: Feb 22, 2005
Label: N\A

With a track listing that spans six years and several different band lineups, {$Enon}'s singles, B-sides, and rare tracks collection {^Lost Marbles and Exploded Evidence} could have been too... Continue[+]

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With a track listing that spans six years and several different band lineups, {$Enon}'s singles, B-sides, and rare tracks collection {^Lost Marbles and Exploded Evidence} could have been too scattered for its own good, but it's actually one of the band's most enjoyable releases. There's something endearing about the twists and turns the band take as their music evolves from {^Believo!}'s post-{$Brainiac} spazz {\pop} into the more stylish (but just as quirky) sounds of {^High Society} and {^Hocus Pocus} (the comp's liner notes give a playful nod to this evolution, marking the earliest tracks with eggs and tadpoles and the later songs with full-grown frogs). The try-anything approach on the whole collection -- even the tracks that don't entirely work -- holds it together and keeps it from sounding <I>too</I> exploded, despite the fact that the album gathers songs as disparate as {&"Marbles Explode,"} a skronky, {^Believo!}-era artifact, and {&"Raisin Heart,"} a delicate, almost loungey track from a 2001 7". Some of the best tracks were "Songs of the Month" on the band's website: {&"Knock That Door"} is quasi-{\Shibuya-kei} that's as charming as anything by {$Takako Minekawa} or {$Kahimi Karie}, while {&"Adalania (Not So Fair)"} is a piece of {\chamber} {\synth pop} that's kissing cousins with {^High Society}'s title track. These songs, along with the space invaders duet {&"The Nightmare of Atomic Men,"} {&"Tilt You Up!,"} and the gorgeous, bittersweet {&"Kanon,"} are as good as {$Enon}'s proper album tracks. Short bursts of sonic mischief like {&"Below Infinite Ways"} and {&"Making Merry! Merry!"} fill out the album, adding to its sugar-buzz-like rush. Given that it's an odds-n-sods collection, there are a few "off" tracks and a slightly random feel overall, but {^Lost Marbles and Exploded Evidence} revels in its eclectic eccentricities and ends up being all the better for it. The first edition of the comp comes with a bonus DVD that includes the most complete collection of {$Enon}'s videos to date, as well as live performances from the {^Believo!} and {^Hocus Pocus} tours and candid footage of the band. The videos are the real draw, celebrating the band's eye-popping visual flair with clips like {&"Daughter in the House of Fools,"} which looks like illustrations come to life, and the live-action anime of {&"In This City."} The {&"Mikazuki"} and {&"Murder Sounds"} clips suggest that {$Enon} could very easily do a video album -- especially since this collection and its bonus material make such a fun, creative package. ~ Heather Phares, All Music Guide

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Hocus Pocus
Released: Sep 9, 2003
Label: N\A

Arriving just over a year after the excellent {^High Society}, {^Hocus Pocus} is {$Enon}'s attempt to sum up where it has been on its previous albums and strike out in new directions at the same... Continue[+]

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Arriving just over a year after the excellent {^High Society}, {^Hocus Pocus} is {$Enon}'s attempt to sum up where it has been on its previous albums and strike out in new directions at the same time. These contradictory impulses result in an album that's a musical tug-of-war: while many of {^Hocus Pocus}' tracks sound like pleasant but not especially distinctive reworks of {^High Society} songs, there are almost as many that suggest {$Enon} is moving in some intriguing new directions. While there's nothing inherently wrong with {&"Spanish Boots"}' good-natured {\indie rock} or {&"Shave"}'s atmospheric, Asian-influenced {\new wave}, it tends to sound like slight variations on {^High Society}'s {&"Window Display"} and the band's breakout hit {&"In This City,"} respectively. Unfortunately, this problem plagues a good portion of the album: songs like the pretty but vague {&"Monsoon"} and the meandering {&"Storm the Gates"} sound underdeveloped, like outtakes from {^High Society} with all of that album's tension and weirdness removed. {^Hocus Pocus} also suffers from some strange sequencing: most of its quieter numbers are placed near the beginning of the album and the louder tracks are dumped anticlimactically near the end. Compounding the problem is the album's somewhat subdued production, which gives an overly detached feeling to potentially powerful tracks like {&"Litter in the Glitter."} Still, {^Hocus Pocus}' best songs make it a difficult album to dismiss entirely; and, as with the previous album, {$Toko Yasuda}'s bright, fresh-sounding vocals are at least partly responsible for some of its most distinctive moments. {&"Daughter in the House of Fools"} is one of {$Enon}'s best songs to date, with junkyard percussion and flitting electronics providing a bouncy, playful showcase for {$Yasuda}'s vocals. Likewise, {&"Mika Zuki"} is equal parts beauty and whimsy, a mix of traditional Japanese music, {\electronica}, and a bit of {\exotica}. They're different than anything {$Enon} has tried before, suggesting a new realm of possibilities for the band. Other {^Hocus Pocus} tracks offer more subtle innovations: the swooningly romantic {\new wave} duet {&"Candy"} and the title track wander into love song territory, while the sleek, creepy {&"Murder Sounds"} reveals a newfound flair for the dramatic. Meanwhile, songs like {&"The Power of Yawning"} and {&"Starcastic"} bookend the album with the immediacy and bite that is largely missing from the rest of the album. As promising as it is inconsistent, {^Hocus Pocus} may not be {$Enon}'s strongest album, but it's still a fairly interesting one. ~ Heather Phares, All Music Guide

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In This City
Released: Jun 3, 2003
Label: N\A

{^In This City} takes one of the most alluring tracks from {$Enon}'s breakthrough album, {^High Society}, and gives it the deluxe treatment, offering three different versions of the song, including... Continue[+]

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High Society
Released: Jun 4, 2002
Label: N\A

{$Enon}'s second album, {^High Society}, is something of a homecoming for the band. {$Dave Sardy}'s {@See-Thru} label issued their debut, {^Believo!}, but for their follow-up, the group moved to... Continue[+]

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{$Enon}'s second album, {^High Society}, is something of a homecoming for the band. {$Dave Sardy}'s {@See-Thru} label issued their debut, {^Believo!}, but for their follow-up, the group moved to {@Touch & Go}, the home of {$John Schmersal}'s former band {$Brainiac}, as well as that of {$Blonde Redhead}, of whom {$Toko Yasuda} used to be a member. Similarly, {^High Society} sounds like a more focused combination of {$Brainiac}'s spastic geek-{\rock} and {$Blonde Redhead}'s more delicate, poppy moments. Though they may be more focused, {$Enon} will never be straightforward, but that's one of the band's, and album's, strengths. In the first four songs alone, {^High Society} spans the driving, garagey {\rock} of {&"Old Dominion,"} the weirdly brooding {&"Count Sheep,"} {&"In This City"}'s sleek {\synth pop}, and the jangly cuteness of {&"Window Display,"} which sounds like a cross between {$Preston School of Industry} and {$Magnetic Fields}. {^Believo!} was also admirably eclectic, but {^High Society} is both more versatile, and more successful in its versatility, than {$Enon}'s debut. A large part of this is due to the addition of {$Yasuda}, whose voice and synths add a new dimension to the band's sound, particularly on showcases like the pretty, and pretty weird, {\new wave} buzz of {&"Disposable Parts"} and {&"Shoulder."} Solid songwriting also anchors {^High Society}'s sonic trickery effectively, making it interesting decoration instead of the album's main attraction; relatively poppy tracks like {&"Sold!"} and {&"Natural Disasters"} sit pretty comfortably next to the wigged-out {&"Native Numb"} and {&"Pleasure and Privilege,"} which should satisfy any {$Enon} fans looking for a fix of {$Brainiac}-like freakiness. Equally impressive, though, is the album's title track, which gives a playful nod in the direction of {$the Left Banke} and {$the Kinks} at their chamber-poppiest. Just as expansive and experimental as it is streamlined and melodic, on {^High Society} {$Enon}'s contradictory style makes perfect sense. ~ Heather Phares, All Music Guide

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Believo!
Released: Mar 14, 2000
Label: N\A

{$Enon} are a group that are truly of the transition from the 1990s to the early 2000s. They dress their eccentric pop-rock songs with the kinds of noises, samples, and bashing oddball percussion... Continue[+]

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