Epic, expansive, big. Just three words that only begin to describe Enduring Days You Will Overcome, the second album from London-based Anglo-Greek Electric Litany. The band is made up of Alexandros Miaris (vocals, guitar, piano, synths, cello), Richard Simic (drums, percussion, electronic percussion), Benjamin Prince (synths, percussion, vocoder, samples) and Alex Deligiannidis (Bass). Alexandros Miaris is from Corfu, Richard Simic is from Devon, Benjamin is from Cumbria and Alex Deligiannidis is from Kavala, Greece.
From the opening bars of Intro, you know you’re in for something special. Languid atmospherics are created by the guitar of Miaris which complement his heartfelt croons. As the song nears its end, the song reaches heights that slip perfectly into the first proper track, Silence. Everything seems to centre around Miaris – normally you could argue that when this happens, it’s to fuel and sustain an ego. Not in this case. Whilst everything is moulded around him, Prince, Simic and Deligiannidis are free to do their own thing. minimalistic beginnings segue into a complex piece of music which breaks down into a refrain of “silence makes me ill”. This is when Electric Litany come into their own. They soar like they own the skies, and it is a joy to listen to.
The soaring takes a break with Hold Fast To Dreams, a mid-pace multi-layered ballad of a track. As you progress through the album, you start picking up on the numerous layers present in each song. Some are more obvious than others – Name is a prime example of this. It starts off as one song, and ends as another. It also happens to be the first song I gave five stars to in iTunes. With The Soul Remembers Everything its eastern scale adds a slight hint of darkness to what is primarily a light album.
The title track is the opus of the album, over seven minutes of aural brilliance. The layering, the way every note and every drum beat come together to create a spectacular example of imagination beautifully realised. Feather of Ecstasy and Empty Sea turn the album on its head by adding a pace and a breathlessness you don’t really expect at all. The spoken bits at the start of these two songs also add, to my ears, a touch of the experimental.
It’s a strong contender for the title of album of the year, and we’re only in March. Go get it, you won’t be disappointed!