Enter Shikari takes to the stage with no music, nor any fancy lighting. Instead Rou addresses the crowd telling them that tonight there’s no security, and that the audience has to help each other out and prove how much of a community the Lions are. This is proven throughout the night, as once “System…” closes and “…Meltdown” kicks in, the normally quiet nightclub in Kentish Town becomes a sweatbox, there’s people hanging off doorframes, crowd surfer after crowd surfer bombard the stage and mosh pits erupt all over the floor. The band themselves are in top spirits tonight, with them deciding to give free shots of Jagermeister to the squashed front row and having as much fun as possible through their onstage banter. Reynolds vocals may not be at their best tonight, however for a man that has been bed ridden all week this can easily be excused. Besides, half their set is spent with him diving into the stampeding audience, screaming in the faces of the lucky ticket holders. Shikari’s set show cases three quarters of the new album, whilst busting out the classics like “Mothership”, “Sorry You’re Not A Winner” and “Juggernauts”. New tunes like “Gandhi Mate, Gandhi” and “Arguing with Thermometers” sound huge tonight, quite a feat for a room that’s half the size of the recently played Borderline. There’s not a single person in the room tonight without a smile on their face by the time the set reaches its climax of the huge-sounding “Sssnakepit.”, the band is bombarded with flying bodies and each decide to dive into the audience themselves. Tonight shows that Shikari haven’t forgotten their roots at all, and with A Flash Flood of Colour about to catapult them into superstardom, it’s refreshing to see that a band that sold out the mighty Hammersmith Apollo are still grounded well to the floor and haven’t been carried away with an ego. Reynolds closes the night thanking the audience for their co-operation for tonight’s filmed event, and leaves the stage with a huge grin on his face. Not bad for a gig that was put together out of sheer boredom and was prepared for within a week.
Monday, 13 February 2012
Enter Shikari - The Bull & Gate
Still riding high on the recent success of third studio album, A Flash Flood of Colour, the St Albans quartet pay homage to the most diehard fans in tonight’s one off show in the smallest venue they've played since 2008. Support tonight comes in the form of Rout (Vocalist Rou Reynold's DJ persona) and guitarist Rory Clewlow's brother, PDex. The duo gets the majority of the crowd pumping, with drummer Rob Rolfe even throwing some shapes with the skankers. However once the Macs and decks have been taken off stage, that’s when it’s business as usual for the band and audience.
Enter Shikari takes to the stage with no music, nor any fancy lighting. Instead Rou addresses the crowd telling them that tonight there’s no security, and that the audience has to help each other out and prove how much of a community the Lions are. This is proven throughout the night, as once “System…” closes and “…Meltdown” kicks in, the normally quiet nightclub in Kentish Town becomes a sweatbox, there’s people hanging off doorframes, crowd surfer after crowd surfer bombard the stage and mosh pits erupt all over the floor. The band themselves are in top spirits tonight, with them deciding to give free shots of Jagermeister to the squashed front row and having as much fun as possible through their onstage banter. Reynolds vocals may not be at their best tonight, however for a man that has been bed ridden all week this can easily be excused. Besides, half their set is spent with him diving into the stampeding audience, screaming in the faces of the lucky ticket holders. Shikari’s set show cases three quarters of the new album, whilst busting out the classics like “Mothership”, “Sorry You’re Not A Winner” and “Juggernauts”. New tunes like “Gandhi Mate, Gandhi” and “Arguing with Thermometers” sound huge tonight, quite a feat for a room that’s half the size of the recently played Borderline. There’s not a single person in the room tonight without a smile on their face by the time the set reaches its climax of the huge-sounding “Sssnakepit.”, the band is bombarded with flying bodies and each decide to dive into the audience themselves. Tonight shows that Shikari haven’t forgotten their roots at all, and with A Flash Flood of Colour about to catapult them into superstardom, it’s refreshing to see that a band that sold out the mighty Hammersmith Apollo are still grounded well to the floor and haven’t been carried away with an ego. Reynolds closes the night thanking the audience for their co-operation for tonight’s filmed event, and leaves the stage with a huge grin on his face. Not bad for a gig that was put together out of sheer boredom and was prepared for within a week.
Enter Shikari takes to the stage with no music, nor any fancy lighting. Instead Rou addresses the crowd telling them that tonight there’s no security, and that the audience has to help each other out and prove how much of a community the Lions are. This is proven throughout the night, as once “System…” closes and “…Meltdown” kicks in, the normally quiet nightclub in Kentish Town becomes a sweatbox, there’s people hanging off doorframes, crowd surfer after crowd surfer bombard the stage and mosh pits erupt all over the floor. The band themselves are in top spirits tonight, with them deciding to give free shots of Jagermeister to the squashed front row and having as much fun as possible through their onstage banter. Reynolds vocals may not be at their best tonight, however for a man that has been bed ridden all week this can easily be excused. Besides, half their set is spent with him diving into the stampeding audience, screaming in the faces of the lucky ticket holders. Shikari’s set show cases three quarters of the new album, whilst busting out the classics like “Mothership”, “Sorry You’re Not A Winner” and “Juggernauts”. New tunes like “Gandhi Mate, Gandhi” and “Arguing with Thermometers” sound huge tonight, quite a feat for a room that’s half the size of the recently played Borderline. There’s not a single person in the room tonight without a smile on their face by the time the set reaches its climax of the huge-sounding “Sssnakepit.”, the band is bombarded with flying bodies and each decide to dive into the audience themselves. Tonight shows that Shikari haven’t forgotten their roots at all, and with A Flash Flood of Colour about to catapult them into superstardom, it’s refreshing to see that a band that sold out the mighty Hammersmith Apollo are still grounded well to the floor and haven’t been carried away with an ego. Reynolds closes the night thanking the audience for their co-operation for tonight’s filmed event, and leaves the stage with a huge grin on his face. Not bad for a gig that was put together out of sheer boredom and was prepared for within a week.
Friday, 24 June 2011
Enter Shikari - Camden Dingwalls
Still riding high on the success of Common Dreads, the St Albans mentalists announced a one off show in London to celebrate the birthday of guitarist Rory C. The gig, which had only 350 tickets available, sold out in an astounding time of five minutes, with over 10,000 fans trying to hold of tickets. With the band returning from Thailand with album #3 under their belts and without playing a live show in a few months, people aren't expecting miracles. Instead, they get one of the best nights of their lives.
Enter Shikari pull back no punches tonight. Despite several minor technical glitches, the band are forgiven as what they deliver ensures that everyone leaves the room with huge grins on their faces. From the synth laiden glory of Solidarity, right through to the closing screams on OK, Time for Plan B, Shikari present what can only be described as the funnest show of the year. This isn't an arena spectacular, there aren't fireworks coming out the roof or any surprises. In fact, the setlist tonight is fairly predictable ,with the exception of new song Quelle Surprise, but that's just fine. The band make all the old songs seem fresh, as if this is the first time they've ever played them. The lads themselves tonight are having the time of their lives, with Rou, Rory and Chris diving into the crowd at any given opportunity. The crowd participation is imaculate tonight as well, with human pyramids being formed during Sorry You're Not A Winner and wave after wave of crowdsurfers during the magnificant Juggernauts. Tonight is more than an Enter Shikari gig, the intimate setting produces a sense of unity between the band and the audience, as they get to say farwell to the band before they head out on the rolling beast that is the Vans Warped Tour in America. Tonight, Enter Shikari have destroyed the Dingwalls. Let's hope they keep it up for the UK tour in October.
Enter Shikari pull back no punches tonight. Despite several minor technical glitches, the band are forgiven as what they deliver ensures that everyone leaves the room with huge grins on their faces. From the synth laiden glory of Solidarity, right through to the closing screams on OK, Time for Plan B, Shikari present what can only be described as the funnest show of the year. This isn't an arena spectacular, there aren't fireworks coming out the roof or any surprises. In fact, the setlist tonight is fairly predictable ,with the exception of new song Quelle Surprise, but that's just fine. The band make all the old songs seem fresh, as if this is the first time they've ever played them. The lads themselves tonight are having the time of their lives, with Rou, Rory and Chris diving into the crowd at any given opportunity. The crowd participation is imaculate tonight as well, with human pyramids being formed during Sorry You're Not A Winner and wave after wave of crowdsurfers during the magnificant Juggernauts. Tonight is more than an Enter Shikari gig, the intimate setting produces a sense of unity between the band and the audience, as they get to say farwell to the band before they head out on the rolling beast that is the Vans Warped Tour in America. Tonight, Enter Shikari have destroyed the Dingwalls. Let's hope they keep it up for the UK tour in October.
Monday, 21 February 2011
Funeral For A Friend - London Borderline
Shows like these with Welsh hardcore bruisers Funeral For A Friend are incredibly rare indeed. The Borderline, no bigger than a teenagers bedroom, has played host to some huge names over the years, Funeral joining a list of them. However, this show is put on by HMV as part of their week long festival, the "Next Big Thing". Funeral, having been on the scene for almost a decade now, should in no way be in the shadow of this dooming title. However, with the release of "Welcome Home, Armageddon!" looming ever closer and critics going mad for it, Funeral look like they're about to make a triumphant return to their former glory days, and are about to infect the nation, no, THE WORLD, with the return of their hardcore roots.
Tonights show gets of to a slow start. A very, slow start. Up first are Spy Catcher, who are replacing FFAF associates The Blackout. The band rattle through their set with no life in them what so ever. Vocalist/guitarist Steve Sears looks a bit worse for wear tonight, and it shows not only through his stage pesona, but his voice too. The capacity of the Borderline is little over 250, and when Spy Catcher take to the stage, less than quater of the sold out audience is here. Not a great way to start the night.
Up next are Canterbury, a band who are slowly but surely making a name for themselves through their energetic live shows. Vocalist/guitarist Mike Sparks is full of energy tonight, churning outh synth filled solo after synth filled solo. Canterbury have many fans in the audience tonight, and you can see that by the time they leave the stage, they've possibly made a few more.
The Borderline has the acoustics of a cardboard box, though this doesn't effect Funeral in the slightest. With a fairly predictable setlist, the crowd doesn't expect many suprises tonight, but this doesn't snag at the specticle they're about to witness. Songs such as Roses for the Dead and Red is the New Black sound majestic tonight, and new songs are a plenty tonight in the form of Sixteen, Damned if You Do, Dead if You Don't, Serpents in Solitude, Man Alive and Front Row Seats to the End of the World. Each of these songs sound incredible tonight, and with vocalist Matt Davies encouraging circle pits and walls of death, the crowd know that this is the just the tip of the iceburg for when the new album comes out. The band themselves tonight are on top form. Newest addition to the line up, bassist Richard Bouche, fits like a glove, and you can see through the smiles on all five members faces that this is the happiest they've been with their shows AND music in a long, long time. By the time final song Escape Artists Never Die reaches it's outro, Matt has flung himself into the audience, and met by an onslaught of fan after fan.
Funeral have demonstrated tonight that they are the best at what they do. They have shown that they still have what it takes to put on an amazing live performance, without fancy lighting or stage equipment. And although the set tonight is under an hour long, Funeral For A Friend have proved that they have, and always will be, about the music.
Tonights show gets of to a slow start. A very, slow start. Up first are Spy Catcher, who are replacing FFAF associates The Blackout. The band rattle through their set with no life in them what so ever. Vocalist/guitarist Steve Sears looks a bit worse for wear tonight, and it shows not only through his stage pesona, but his voice too. The capacity of the Borderline is little over 250, and when Spy Catcher take to the stage, less than quater of the sold out audience is here. Not a great way to start the night.
Up next are Canterbury, a band who are slowly but surely making a name for themselves through their energetic live shows. Vocalist/guitarist Mike Sparks is full of energy tonight, churning outh synth filled solo after synth filled solo. Canterbury have many fans in the audience tonight, and you can see that by the time they leave the stage, they've possibly made a few more.
The Borderline has the acoustics of a cardboard box, though this doesn't effect Funeral in the slightest. With a fairly predictable setlist, the crowd doesn't expect many suprises tonight, but this doesn't snag at the specticle they're about to witness. Songs such as Roses for the Dead and Red is the New Black sound majestic tonight, and new songs are a plenty tonight in the form of Sixteen, Damned if You Do, Dead if You Don't, Serpents in Solitude, Man Alive and Front Row Seats to the End of the World. Each of these songs sound incredible tonight, and with vocalist Matt Davies encouraging circle pits and walls of death, the crowd know that this is the just the tip of the iceburg for when the new album comes out. The band themselves tonight are on top form. Newest addition to the line up, bassist Richard Bouche, fits like a glove, and you can see through the smiles on all five members faces that this is the happiest they've been with their shows AND music in a long, long time. By the time final song Escape Artists Never Die reaches it's outro, Matt has flung himself into the audience, and met by an onslaught of fan after fan.
Funeral have demonstrated tonight that they are the best at what they do. They have shown that they still have what it takes to put on an amazing live performance, without fancy lighting or stage equipment. And although the set tonight is under an hour long, Funeral For A Friend have proved that they have, and always will be, about the music.
Saturday, 5 February 2011
Chase the Sunset - Nights Like These
Chase the Sunset, like many other bands, are incredibly hard to throw into a sub category. Screaming vocals dominate over this EP, however the clean vocals also thrown into the mix are refreshing for the listener. Double bass work is magestic, yet simple beats and lighter dynamics again refresh the listener. In short, this band has something for everyone (within reason) the elements of metal mixed with good old fashioned rock is enough to suite anyone.
Title track "Nights Like These" sets the ball rolling and doesn't let up. Although the intro may be slow, don't be fooled by this slightly shakey start. The guitar work is imaculate throughout, and the upper licks used are incredibly dominating, giving this track it's own voice. Other tracks such as "Pitiful" also showcase a fresh variation on the metal/rock genre. Vocal screams vary throughout the entire record, more than what can be said for most bands within the genre. From low growls, Marilyn Manson style whispers, to strong throat shredding screams, the vocal work is immaculate.
The only criticism I have on this record is the lack of emphasis. Chase the Sunset show a lot of promise within this EP, but it feels like it's missing something, maybe it's the lack of bass, there's just nothing memorable here. The guitars are fantastic, the vocals are fresh, the drums are imaculate, but there's nothing here that will stay fresh in your mind. Don't get me wrong, what this band is doing is something rarely seen in music nowadays, they're not jumping on a bandwagon here, but there's not anything here that will stay glued on your mind.
To conclude Chase the Sunset have shown a lot of promise on this EP, and it's definitely worth a listen. However nothing really stands out, there's not exactly any memorable songs. This band has a bright and prosperous future, they just need to shake things up a little.
Title track "Nights Like These" sets the ball rolling and doesn't let up. Although the intro may be slow, don't be fooled by this slightly shakey start. The guitar work is imaculate throughout, and the upper licks used are incredibly dominating, giving this track it's own voice. Other tracks such as "Pitiful" also showcase a fresh variation on the metal/rock genre. Vocal screams vary throughout the entire record, more than what can be said for most bands within the genre. From low growls, Marilyn Manson style whispers, to strong throat shredding screams, the vocal work is immaculate.
The only criticism I have on this record is the lack of emphasis. Chase the Sunset show a lot of promise within this EP, but it feels like it's missing something, maybe it's the lack of bass, there's just nothing memorable here. The guitars are fantastic, the vocals are fresh, the drums are imaculate, but there's nothing here that will stay fresh in your mind. Don't get me wrong, what this band is doing is something rarely seen in music nowadays, they're not jumping on a bandwagon here, but there's not anything here that will stay glued on your mind.
To conclude Chase the Sunset have shown a lot of promise on this EP, and it's definitely worth a listen. However nothing really stands out, there's not exactly any memorable songs. This band has a bright and prosperous future, they just need to shake things up a little.
Sunday, 9 January 2011
Funeral For A Friend - The Young and Defenceless
Funeral For A Friend are, to say the least, the main heartbeat of the hardcore scene in the UK. Their 2003 debut "Casually Dressed and Deep in Conversation" propelled them into superstardom. From winning Kerrang awards to sell out tours, Funeral had it all before they'd properly found their feet. Back then, the band were taking bands such as My Chemical Romance under their wing as a support act. Now, MCR are selling out arenas all over the world. To put it bluntly, Funeral For A Friend are the most under rated band this genre has ever produced. It's difficult to explain quite what happened to Funeral after the release of mega album "Hours", with two key members leaving the band and albums that just didn't quite cut if with most fans, many would have expected Funeral to just disappear into the sunset with their heads held high, knowing that they had set the high ground for hardcore bands worldwide.
Get real.
2010 saw the release of four track EP "The Young and Defenceless". This 13 minute gem rekindled many a fans love affair with FFAF, and it's easy too see why this has been so popular. The message of pure bone idleness and ignorance in this EP screams out at the listener, and Matthew Davies lyrics showboat a thoroughly pissed off man indeed. The mental imagery that songs like "Vultures" produce for the listener is enough to just turn the record off and walk away, laying back in the comfort of your own bed and throwing on a bit of JLS to forget about it. But Funeral are a band with a message, and they're going to scream it until their vocal chords are nothing but dust.
EP opener "Serpents in Solitude" is not only lyrically brilliant, but one that was definately made for the mosh pits. Ryan's throat shredding vocals dominate the track, and just emphasize Matt's point. Lyrically, the song is basically a huge "Fuck you" to everyone who sits on their arse day in, day out. With first line "Question, nothing will come of them", dominating the entire song, Matt has outdone himself on the lyrical side of things. Musically, this song is perfect for the pit and head banging. Ryans double bass work in the opening riff along with Gav and Kris' guitar work and Rich's chugging bass riff create such a beat that it's impossible not to bang your head just thinking of it, even if you're in a room with your grandparents.
Second track "Vultures" starts off with an almost mellow bass riff and a repeating drum pattern, however the song does get a lot heavier. Maybe not continuing the feel Serpents left you with, but it's a damn good song to put on the EP. The imagery given to you through Matt's lyrics, particually "Sacraficial lambs, led to the slaughter. We eat the shit, they feed us every day" doesn't exactly lighten the mood set earlier on, but again, this record isn't one that's going to make you feel great about life. Funeral wants you too take a stand about what is going on in the world today, and this is the perfect song to make anyone stand up and question just what the fuck is going on in the modern world.
"Damned if You Do, Dead if You Don't" is quite definately the highlight of the EP. A song that feels so thrash you might forget it's a Funeral For A Friend record and makes you question if they threw Metallica on there for the hell of it. Matt's lyrics do not differ much throughout the entire record, but they certainly stick out a lot more on this song. Maybe it's the interesting vocal change in the build up to the chorus, or the chants of Damned if You Do, Dead if You Don't in the chorus itself, but the message feels a lot clearer throughout this track. A bridge in the middle of the song makes the listener imagine a wall of death spreading out at a concert, and you know that when this track is played live, many a body will be flying over the barrier.
Last song "Sixteen" doesn't disapoint, however it does feel out of place. There's almost a, dare I say, pop element to it. It may have to do with the higher pitched guitar riff at the end, or the fact that this is the only song on the EP that doesn't feature Ryan's screams. It does feel like this is a song that rightfully deserves a place on this four track gem, but not as a closer. A song that doesn't let up once throughout, "Sixteen" definately shows Funeral's ability to write powerful songs, and shows that they're not a band made up of breakdowns or aggression. Once you hear the soaring guitar towards the end, it feels like this is the bands way of celebrating their return onto the map of rock music.
Funeral may have been overseen over the past few years, but if this EP is just a taster of what the new full length album (titled Welcome Home, Armageddon), then it won't be long before Funeral For A Friend rightfully claim back their title of the worlds best hardcore band.
Get real.
2010 saw the release of four track EP "The Young and Defenceless". This 13 minute gem rekindled many a fans love affair with FFAF, and it's easy too see why this has been so popular. The message of pure bone idleness and ignorance in this EP screams out at the listener, and Matthew Davies lyrics showboat a thoroughly pissed off man indeed. The mental imagery that songs like "Vultures" produce for the listener is enough to just turn the record off and walk away, laying back in the comfort of your own bed and throwing on a bit of JLS to forget about it. But Funeral are a band with a message, and they're going to scream it until their vocal chords are nothing but dust.
EP opener "Serpents in Solitude" is not only lyrically brilliant, but one that was definately made for the mosh pits. Ryan's throat shredding vocals dominate the track, and just emphasize Matt's point. Lyrically, the song is basically a huge "Fuck you" to everyone who sits on their arse day in, day out. With first line "Question, nothing will come of them", dominating the entire song, Matt has outdone himself on the lyrical side of things. Musically, this song is perfect for the pit and head banging. Ryans double bass work in the opening riff along with Gav and Kris' guitar work and Rich's chugging bass riff create such a beat that it's impossible not to bang your head just thinking of it, even if you're in a room with your grandparents.
Second track "Vultures" starts off with an almost mellow bass riff and a repeating drum pattern, however the song does get a lot heavier. Maybe not continuing the feel Serpents left you with, but it's a damn good song to put on the EP. The imagery given to you through Matt's lyrics, particually "Sacraficial lambs, led to the slaughter. We eat the shit, they feed us every day" doesn't exactly lighten the mood set earlier on, but again, this record isn't one that's going to make you feel great about life. Funeral wants you too take a stand about what is going on in the world today, and this is the perfect song to make anyone stand up and question just what the fuck is going on in the modern world.
"Damned if You Do, Dead if You Don't" is quite definately the highlight of the EP. A song that feels so thrash you might forget it's a Funeral For A Friend record and makes you question if they threw Metallica on there for the hell of it. Matt's lyrics do not differ much throughout the entire record, but they certainly stick out a lot more on this song. Maybe it's the interesting vocal change in the build up to the chorus, or the chants of Damned if You Do, Dead if You Don't in the chorus itself, but the message feels a lot clearer throughout this track. A bridge in the middle of the song makes the listener imagine a wall of death spreading out at a concert, and you know that when this track is played live, many a body will be flying over the barrier.
Last song "Sixteen" doesn't disapoint, however it does feel out of place. There's almost a, dare I say, pop element to it. It may have to do with the higher pitched guitar riff at the end, or the fact that this is the only song on the EP that doesn't feature Ryan's screams. It does feel like this is a song that rightfully deserves a place on this four track gem, but not as a closer. A song that doesn't let up once throughout, "Sixteen" definately shows Funeral's ability to write powerful songs, and shows that they're not a band made up of breakdowns or aggression. Once you hear the soaring guitar towards the end, it feels like this is the bands way of celebrating their return onto the map of rock music.
Funeral may have been overseen over the past few years, but if this EP is just a taster of what the new full length album (titled Welcome Home, Armageddon), then it won't be long before Funeral For A Friend rightfully claim back their title of the worlds best hardcore band.
Tuesday, 5 October 2010
Enter Shikari - Common Dreads
Common Dreads is the second full length album by post hardcore British mob Enter Shikari. The album itself boasts a huge new chapter in Enter Shikari's short, but certainly fruitful, career. Here's a very detailed, over view of the album that propelled Enter Shikari to super stardom.
Opening track "Common Dreads" sets the tone of the whole album. Political vibes from the opening song ring throughout this entire album, and the chant of a dozen different languages repeating the phrase "We must unite" set the no no nonsense, political bar very high. Singer Rou Reynolds phrase sung at the end of the song runs freely into the listeners mind, and is strong enough to close the album there and then. With Rou's haunting opener over with, it's time for the rest of the band to show their colours. And they do. Oh, they do.
Second track "Solidarity" doesn't allow the listener to breathe, not for a second, and a swarm of synth flies freely. Then the rest of the band kick in, and a heavy drum beat followed by a strong bass pattern gives Common Dreads the musical kick that this album craves for. Rou's voice and lyrics are so powerful, that listening to the album without any accompanying music would have still made it strong. However, when Rob's drum beat, Chris' bass groove and Rory's guitar riff is as powerful as showcased in "Solidarity", you can see why Rou is not just a solo act, and that Enter Shikari are not just a one trick pony
"Step Up" follows immediately after with a synth bridge. This song strongly shows Shikari's political awareness, and with lyrics as powerful as
"Sometimes I do wish apples were our currency, so the hoarded millions would rot in their vault" you can instantly see that this album wasn't a quick creative scrape around to get a quick release. The synth bridge in this is one that will have you bobbing your head, or bouncing around your bedroom. Either way, it's one hell of a bridge
Colossal hit "Juggernauts" steps up to the plate, and although the song is about a giant Tesco's being built in the bands home town of St Albans, the tone to this song is like a beam of sunshine on a very bleak and dark tone set earlier. Everything from Rou's chants of "crushing all in it's path" to Rob's drum beat is perfect in this song. It may not bear the screams of earlier songs, or the heavy beats of songs yet to be reviewed, but the song puts a smile on the listeners face, and you can't help but feel a warmth inside when the acoustic conclusion marks the end of the song
"Wall" is probably one of the weaker songs on the album. The song itself is quite dull, and it feels like it was just thrown in their to bridge "Juggernauts" to next song "Zzzonked" now, don't get my wrong, it's still a great song. It just feels almost out of place, maybe if it was put in later in the album it would have fitted better than what it does, but initial reactions make the song stick out like a sore thumb, for the wrong reasons.
"Zzzonked" is a song that you wouldn't want to listen to with a headache. Rou's screaming vocals and a heavy dubstep beat are enough to make you take a couple of Nurofen and hope your ear drums are strong enough to take this music onslaught. The song is the heaviest on the album and, when the song reaches it's climax, a barrage of drums, synth, bass and guitar batter your mind, and simply leave you either
A. Astounded.
B. Petrified to continue with the rest of the album.
"Zzzonked" is made for the die hard Shikari fan, and should not be taken for granted.
Next in proceedings is part one of the "Havoc" duo. "Havoc A" is, a light dubstep song with not much going on for itself. The song seems quite laid back and Rou's vocals towards the end seem almost lazy. But it's a suitable way to bridge "Zzzonked" with "No Sleep Tonight" and works quite well.
"No Sleep Tonight" was another giant hit off of Common Dreads. Again, the song is very similar to "Juggernauts" as it gives the listener a smile and has an almost pop like tone to it. The vocals are very anthem like, and a chant of "You're not, getting any sleep tonight" rings through the listeners head for quite a long time. A brass fanfare marks the end of the song, and by going up an octave, the song almost turns into a celebration of sorts. A great song, with a giant political message.
Hidden gem "Gap in the Fence" allows the listener to sit back and relax. Mainly acoustic, the song is a sigh of relief in an album full of crushing beats. The ending "Woah's" suit the song perfectly, and although many Shikari fans may view the song as quite weak, it's a perfect way to re cooperate after the oral onslaught from the first 8 songs.
Part two of the "Havoc" series follows, and is a lot better than it's predecessor "Havoc A". A LOT better. "Havoc B" boasts a heavy dubstep beat, and Rou's screams send shivers down the listeners spine. Chris's bass line in the song is strong, and doesn't let the listener loose for a second. Rob's snare hits are snarling, and feel like a punch in the gut. The ending chant of "Shut down the war machine" again show Shikari's political stance, and show that this is a band who aren't afraid to show their true colours.
"Antwerpen" is predominantly, a guitar based song. Without Rory's guitar riff towards the end of the song, it would feel like quite an unnecessary song in the album. However, the song works beautifully thanks to the guitar, and the bridge midway is one of the better musical parts on Common Dreads. Rou's vocals are slightly cleaner than most of the other songs, but this doesn't make them any less aggressive, and by the use of questions used within the song, the band create a strong bond between band and listener.
Next up is "The Jester". This song is one of the golden moments on Common Dreads. Although starting as a very quiet and flute based piece, a scream from Rou (which the listener is by far accustomed too by now) kick starts the dark and twisted song. The background screams to the line "throw it up" sound almost tortured, and paints an eerie vibe in the listeners mind. There is but one let down to this song, and that's an epic build up that falls flat, and returns to a dead basic beat. However, with this aside, "The Jester" is a warped piece of music, one that defines Common Dreads to a tee.
"Hectic" has the potential to be a club smash. The dance breakdown half way through the song is enough to get anyone moving, and the repetition of the chorus is planted firmly in the listeners head. Rou's spoken word verse creates an intimate portrait for the listener, and reminds you that Enter Shikari are still a bunch of young, fun loving guys. Although Common Dreads is a politically based album, this song is just purely for fun, and its a light relief for the listener.
Album closer "Fanfare for the Concious Man" is by far the most politically based song on the album. It takes the bar set earlier by "Common Dreads", snaps it in two, and replaces it several notches higher. Rou's shout of "Our gracious Queen should cross the crown, and take a good fucking swing at Blair and Brown" leaves a bitter taste in the listeners mouth, but for all the right reasons. The chanting chorus is also a great sing-a-long anthem, and closes the album with a sense of unity between fan and band.
Overall, Common Dreads sets the bar high for Enter Shikari. Whether it be heavy dub breakdowns, screams of political banter, or just plain fun songs, at least one song on this album will touch a listeners heart. If you like aggression, "Zzzonked" is the track for you. If you like pop tinged anthems, you'll love "No Sleep Tonight". There really is something for everyone. Let's hope the next album is just as good as Common Dreads, and causes a Fucking Havoc!
Opening track "Common Dreads" sets the tone of the whole album. Political vibes from the opening song ring throughout this entire album, and the chant of a dozen different languages repeating the phrase "We must unite" set the no no nonsense, political bar very high. Singer Rou Reynolds phrase sung at the end of the song runs freely into the listeners mind, and is strong enough to close the album there and then. With Rou's haunting opener over with, it's time for the rest of the band to show their colours. And they do. Oh, they do.
Second track "Solidarity" doesn't allow the listener to breathe, not for a second, and a swarm of synth flies freely. Then the rest of the band kick in, and a heavy drum beat followed by a strong bass pattern gives Common Dreads the musical kick that this album craves for. Rou's voice and lyrics are so powerful, that listening to the album without any accompanying music would have still made it strong. However, when Rob's drum beat, Chris' bass groove and Rory's guitar riff is as powerful as showcased in "Solidarity", you can see why Rou is not just a solo act, and that Enter Shikari are not just a one trick pony
"Step Up" follows immediately after with a synth bridge. This song strongly shows Shikari's political awareness, and with lyrics as powerful as
"Sometimes I do wish apples were our currency, so the hoarded millions would rot in their vault" you can instantly see that this album wasn't a quick creative scrape around to get a quick release. The synth bridge in this is one that will have you bobbing your head, or bouncing around your bedroom. Either way, it's one hell of a bridge
Colossal hit "Juggernauts" steps up to the plate, and although the song is about a giant Tesco's being built in the bands home town of St Albans, the tone to this song is like a beam of sunshine on a very bleak and dark tone set earlier. Everything from Rou's chants of "crushing all in it's path" to Rob's drum beat is perfect in this song. It may not bear the screams of earlier songs, or the heavy beats of songs yet to be reviewed, but the song puts a smile on the listeners face, and you can't help but feel a warmth inside when the acoustic conclusion marks the end of the song
"Wall" is probably one of the weaker songs on the album. The song itself is quite dull, and it feels like it was just thrown in their to bridge "Juggernauts" to next song "Zzzonked" now, don't get my wrong, it's still a great song. It just feels almost out of place, maybe if it was put in later in the album it would have fitted better than what it does, but initial reactions make the song stick out like a sore thumb, for the wrong reasons.
"Zzzonked" is a song that you wouldn't want to listen to with a headache. Rou's screaming vocals and a heavy dubstep beat are enough to make you take a couple of Nurofen and hope your ear drums are strong enough to take this music onslaught. The song is the heaviest on the album and, when the song reaches it's climax, a barrage of drums, synth, bass and guitar batter your mind, and simply leave you either
A. Astounded.
B. Petrified to continue with the rest of the album.
"Zzzonked" is made for the die hard Shikari fan, and should not be taken for granted.
Next in proceedings is part one of the "Havoc" duo. "Havoc A" is, a light dubstep song with not much going on for itself. The song seems quite laid back and Rou's vocals towards the end seem almost lazy. But it's a suitable way to bridge "Zzzonked" with "No Sleep Tonight" and works quite well.
"No Sleep Tonight" was another giant hit off of Common Dreads. Again, the song is very similar to "Juggernauts" as it gives the listener a smile and has an almost pop like tone to it. The vocals are very anthem like, and a chant of "You're not, getting any sleep tonight" rings through the listeners head for quite a long time. A brass fanfare marks the end of the song, and by going up an octave, the song almost turns into a celebration of sorts. A great song, with a giant political message.
Hidden gem "Gap in the Fence" allows the listener to sit back and relax. Mainly acoustic, the song is a sigh of relief in an album full of crushing beats. The ending "Woah's" suit the song perfectly, and although many Shikari fans may view the song as quite weak, it's a perfect way to re cooperate after the oral onslaught from the first 8 songs.
Part two of the "Havoc" series follows, and is a lot better than it's predecessor "Havoc A". A LOT better. "Havoc B" boasts a heavy dubstep beat, and Rou's screams send shivers down the listeners spine. Chris's bass line in the song is strong, and doesn't let the listener loose for a second. Rob's snare hits are snarling, and feel like a punch in the gut. The ending chant of "Shut down the war machine" again show Shikari's political stance, and show that this is a band who aren't afraid to show their true colours.
"Antwerpen" is predominantly, a guitar based song. Without Rory's guitar riff towards the end of the song, it would feel like quite an unnecessary song in the album. However, the song works beautifully thanks to the guitar, and the bridge midway is one of the better musical parts on Common Dreads. Rou's vocals are slightly cleaner than most of the other songs, but this doesn't make them any less aggressive, and by the use of questions used within the song, the band create a strong bond between band and listener.
Next up is "The Jester". This song is one of the golden moments on Common Dreads. Although starting as a very quiet and flute based piece, a scream from Rou (which the listener is by far accustomed too by now) kick starts the dark and twisted song. The background screams to the line "throw it up" sound almost tortured, and paints an eerie vibe in the listeners mind. There is but one let down to this song, and that's an epic build up that falls flat, and returns to a dead basic beat. However, with this aside, "The Jester" is a warped piece of music, one that defines Common Dreads to a tee.
"Hectic" has the potential to be a club smash. The dance breakdown half way through the song is enough to get anyone moving, and the repetition of the chorus is planted firmly in the listeners head. Rou's spoken word verse creates an intimate portrait for the listener, and reminds you that Enter Shikari are still a bunch of young, fun loving guys. Although Common Dreads is a politically based album, this song is just purely for fun, and its a light relief for the listener.
Album closer "Fanfare for the Concious Man" is by far the most politically based song on the album. It takes the bar set earlier by "Common Dreads", snaps it in two, and replaces it several notches higher. Rou's shout of "Our gracious Queen should cross the crown, and take a good fucking swing at Blair and Brown" leaves a bitter taste in the listeners mouth, but for all the right reasons. The chanting chorus is also a great sing-a-long anthem, and closes the album with a sense of unity between fan and band.
Overall, Common Dreads sets the bar high for Enter Shikari. Whether it be heavy dub breakdowns, screams of political banter, or just plain fun songs, at least one song on this album will touch a listeners heart. If you like aggression, "Zzzonked" is the track for you. If you like pop tinged anthems, you'll love "No Sleep Tonight". There really is something for everyone. Let's hope the next album is just as good as Common Dreads, and causes a Fucking Havoc!
Monday, 4 October 2010
Enter Shikari - Preston 53 Degrees
Enter Shikari. An acquired taste too say the least. Some people think you've got to be some kind of a mentalist too listen too them, others think the hardcore lads are the best thing since sliced bread. Whatever you think of Enter Shikari, their live shows are second to none.
The atmosphere outside the venue before doors have even opened is electric. With chants of Aqua's infamous "Barbie Girl" and the theme tune from Family Guy and Spongebob Squarepants being sung up and down the que, everyone is in high spirits for tonight's performance. When doors finally open, people scramble to get their place at front barrier. Security guards wait at the wings, more than likely knowing that after the two support acts, all hell will break loose on their part.
First to the stage is punk mob Tyler Mae. Their unique blend of synth/dub beats with sheer punk rock aggression sets the crowd off with the first circle pits of the night. Vocalist Matt Lafferty spends more time at crowd level than on the stage. The band are certainly a great choice to open for the likes of Shikari, and when the audience start chanting back the chorus of "Socialite", the band know that they've done their job well.
The King Blues are next up, and although their ever growing fame means they could probably headline the 53 Degrees themselves, they remain close friends with Enter Shikari, and look more than happy to be opening for them at the 1,500 capacity club. New song "Holiday" and fast growing hit "Headbutt" go down a storm with the crowd, and the cemented hits such as "My Boulder" and "I Got Love" ring around the club, and Johnny Fox dives into the crowd without a second thought. Again, The King Blues have not only the hits, but the potential to headline this venue by themselves. Almost every member of the audience knows each and every song like the back of their hand, one crowd member even declares his love for Johnny at one point, but The King Blues know that this isn't their show, and in about 45 minutes, the headline act will tear through 53 Degrees like it's just another day in the office.
The sound man for Shikari sparks a bit of excitement when he starts playing the intro to mammoth hit "Juggernauts" on Rou Reynold's equipment. Other than that, the crowd waits eagerly for the British mentalists to step to the stage. To give some representation on how big Enter Shikari are, the backdrop for the show was too big for the stage, and as Chris Batten declares later that night, for one night only, Enter Shikari are known simply as "Enter". The lights dim on the smoky stage and the screams of a sold out crowd echo across the room. Opening track "Common Dreads" plays out. All goes silent, and the man of the hour takes to the stage. Rou screams the first lyrics of the night like they're his last. And the words are enough to give everyone in the room goosebumps. Opening synth to "Solidarity" bounce around the walls, and the rest of the band dive onto the stage and blast into the main beat. Enter Shikari have a live energy that simply cannot be matched. Rory C's guitar trickery wow's the audience, Chris' stage antics are insane, and at one point he trips and face plants the wooden stage, resulting in a sympathetic cry of "awww" from the audience. Drummer Rob plays like there's no tomorrow, and songs like "Zzzonked" and "Return to Energizer" sound incredible thanks to the sticksman. Rou is, as per usual, on full form tonight, diving into the audience five minutes into the set and screaming the lyrics to firm fan favourites such as "Kickin' Back On the Surface of Your Cheek" and "The Feast". Crowd participation is incredible tonight, and the crowd surfers don''t stop all night. The sheer insanity of Shikari's live show is beyond brutal, and when the band pauses for breath with acoustic jam "Gap in the Fence", the audience calms down. But this really is just the eye of the storm, and new song "Destabilise" follows. The song showcases Shikari's dubstep hearts, and the breakdown is, simply put, incredible. The encore tonight comes in the form of Enter Shikari's two biggest hits, namely "Sorry You're Not A Winner" and "Juggernauts". The infamous "clap clap clap" in Sorry You're Not... runs around the room, and sounds incredible when this sheer amount of people do it in unison. "Juggernauts" main synth riff shows an almost pop genre to Enter Shikari, but still remains a firm fan favourite. The dubstep remix halfway through maybe doesn't work as well as intended, but as a set closer, it's still absolutely incredible. All in all, everything from the setlist to the bands energy astound the audience tonight. And when a ticket leaves you only £10 out of pocket, you really cannot go wrong. Here's to the next album, and above all, the next tour
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