Since forming in 2004, Ennui have taken on a number of lineups and styles, while still keeping the core songwriting and production of Jim Doutrich. One of the earliest incarnations frequently drew comparisons to the piano-pop found in Coldplay, while a recent trio of Doutrich, Daniel Burgun, and Christopher MacDonald (of Cuddle Magic) focused the group on shifting electronic pop, resulting in the heavily-produced The Myth in Which We Live. The current version packages up elements from all Ennui eras and adds a number of new tricks.

Opener “The Battle I’m In” takes a cue from the stadium sounds of U2 and Coldplay before delving into a low-key dance vibe with arpeggiated synths. Languid vocals enter and are soon joined by a lite-funk bass that straightens out on the chorus. It is an effective opener that balances dynamics, provides a number of strong hooks, and introduces the washed out guitars and keys that characterize the album‘s production.

Rhythm is an odd hero on this record. This is due in no small part to the new studio lineup, which includes keyboard-master Sam McUmber from Mariage Blanc, bassist Joe Rusnak, formerly of the jazz/dance/fusion band, Omega Love, and drummer Luke Savage. Take “We Are Young” – an insistent beat is joined by three separate synth lines all playing off of each other. Elsewhere, reverbs are used to create upbeats as on the introduction to “Lights.”

On a strictly local level, the “ballad” is basically ignored unless it is dressed up in folk tatters or created in an R&B setting. Here, Ennui, capitalize with the gorgeous “Walk (Heaven Slow).” Slightly phased synth patterns introduce a simple verse that is all the better for the start-stop chorus that follows. It is an example of how certain songs are perfectly balanced. Others do not fare as well. At six minutes, “Ralph” is too slow to carry momentum through its four-part cycle, despite changing arrangements. “Balance and Motion” teases. Musically, the warped doo-wop is alluring, but without a strong vocal center the song fades off without leaving the mark that it could.

A noticeable difference between this album and previous material is the sole use of a falsetto voice. Nearly every song keeps to the higher register. While this is effective on the first few tracks, songs that stand well by themselves are weakened by the album’s lack of definition in the vocals.

Much of the Ennui’s earlier electronic impulses have been replaced with physical instruments. Live drum kit and warm synths (Moog Opus 3, Roland Juno 6, Saturn 09, etc) provide a natural integration of the dance and rock tendencies. Many of the songs are instantly catchy. “Coconino” oddly captures the appealing parts of The Strokes, but changes the scenery to California.

While this album does have a new feel for Ennui, there is a good chance the band will take it in another direction in the next phase. This is one of the things that makes Ennui fun to watch – a drive to change. Some of the music does fall within current and former trends, a bit of chillwave, a bit of brit rock, a bit of post-rock, but the mixture does make for an interesting listen.