Enter Shikari- ‘A Flash Flood of Colour’ (16/01/2012 – Ambush Reality/Hopeless Records)

Enter Shikari are a Post-Hardcore, Dubstep, Drum and Bass, Electrocore, Rock, Trance and Heavy Metal band. Formed in St. Albans, Hertfordshire in 2003, Enter Shikari have developed and varied their sound and style through ‘Take to the Skies’ (2007) and ‘Common Dreads’ (2009); two immensely successful albums. However, ‘A Flash Flood of Colour’ is their most popular record to date, peaking at number one in the mid-week UK Album Charts.

     ‘A Flash Flood of Colour’ opens with synth style ‘System...’ that conjoins with rhythmic string sections, harsh back beats and Enter Shikari’s signature preaching lyrics, ‘They invested in a system that was beyond repair!’ With gang vocals and vocalist Rou Reynolds’ incredible coarse vocal abilities, this track blends with ‘…Meltdown’ with offers a modern addition of high pitched beeps that somehow just work, reflecting the distinctive and unique style Enter Shikari have to offer in all their music. Running into a mixture dubstep and sound effect mayhem, with great harmonies, this two part song is certainly a positive opening to a third album; a respectable blend of their old and new sounds. 

'A Flash Flood of Colour': Artwork

      The band have pinpointed a flawless combination of styles, sounds and genres and have well and truly ran with them for create this album. ‘Sssnakepit’ was released as a single on the 20^th of September 2011 as a digital download and reached number 62 in the UK Singles Chart, number 11 on the UK Indie Chart and number 1 on the UK Rock Chart. Commencing gently (for the first five seconds), this track lures the listener in with epic sound effects and decent vocals, which are very rarely found in dubstep music. Each verse builds up into a chorus that’s nothing short of epic and the comic end to the track, with references to and mimics of Louis Armstrong, the brand prove that music with a message does not have to be all serious.


     ‘Search Party’ begins as a limp club song would, but hits the listener in the face with more strong vocals and sound effects. The gang vocals on this track are perfect for Enter Shikari’s future live shows, and prove that they are considering their live sound as well as recorded. In fact, said gang vocals are nothing short of emotional and depict that beyond anything, this band have heart. ‘Arguing with Thermometers’ is rapid, yet wonderfully rhythmic and punchy and surprisingly, does not lack commercial value. With music inputs from several types instrumentation and genres (including an almost pop worthy chorus), as well as an environmental message through full on scream vocals ‘You know there’s oil in my eyes!’, this track is dazzling.

Enter Shikari's vocalist Rou Reynolds and Reading Festival 2011

     Following track ‘Stalemate’ is, in a word beautiful. It showcases Enter Shikari’s indefinite range of musical talents and their endless versatility. Somehow, they flawlessly jump from pop-style dubstep to an almost acoustic, gentle track and it just works as this album’s ‘Gap in the Fence’. But when the latter progresses into a rougher Drum and Bass style, it enhances the track and unfortunately, ‘Stalemate’ is tarnished somewhat by seemingly random bursts of background sound until it comes full circle with simplistic piano and vocals. 

     ‘Gandhi Mate, Gandhi’ jerks into action with spoken lyrics; ‘I don't know about you, but I don't think the primary purpose of your life, of my life and the entirety of the human race's is just to blindly consume to support a failing economy and a faulty system…’  until its jolts into sharp sentences, ‘We’re sick of this shit!’ Even Enter Shikari’s instrumental sections are abrasive with sound effects smashing into their controversial lyrics. The start stop motion of this song allows for the input of spoken light-hearted banter and clever lyrical techniques ‘Yabba Dabba Do one son, we don’t want your rules!’ as well as a melody that is undoubtedly that of Gorillaz’s ‘Feel Good Inc’.

Enter Shikari

      Third albums from bands or artists are notoriously known as the most difficult of their career in an attempt to please as many fans as possible and attract a wider audience, but ‘A Flash Flood of Colour’ does both admirably well. ‘Warm Smiles Do Not Make You Welcome Here’ is pulsing and although good singularly, does not represent the best that Enter Shikari can do. ‘Pack of Thieves’ with its eerie opening, calming vocals and metal style guitaring that effortlessly mixes with Dub- sounds is what this band are all about. Penultimate track ‘Hello Tyrannosaurus, Meet Tyrannicide’ begins with a Greek style sound and reflects the band’s push of messages to their listeners and showcases of what they can do, ‘But remember, empires always fall!, and even comes to a conclusion with a great string section that invites the listener to understand Enter Shikari’s softer side as conveyed in ‘A Flash Flood of Colour’s’ final offering, ‘Constellations.’ With flawless vocal harmonies, The Streets esque spoken verses and with instrumental sections worthy of 30 Seconds to Mars, this track is an emotional termination of a fantastic album. 

     'A Flash Flood of Colour’ proves how inventive Enter Shikari are with style, sound and genre and how ground-breaking their music is. They have managed to build and maintain a large fan base despite sound variations through the years and their underlying messages about the world. The energy exploded from this record is mind-blowing and the future looks bright for the most hybrid band ever to grace the Earth. 

5/5

The Fiction- ‘The Greatest Hits’ EP (05/03/2012- Populus)

     Unusually, The Fiction from Manchester, UK, have opted to name their debut record ‘The Greatest Hits’, reflecting their optimism for positive feedback. The band also chose to sell advanced copies of their EP at various live shows throughout the year to reach as many possible fans as possible, as well as streaming the tracks of the likes of Facebook and Twitter. The EP will be sold online from the 5^th March 2012 with a name-your-own-price format.

     ‘The Greatest Hits’ EP was recorded late last year in the band’s DIY studio and the band themselves have labelled it as their ‘best material so far!’, despite it being their first recording, the band appear to have grown and developed already from their early 2011 inception. The Fiction’s drummer and vocalist Aaron Stanton explained how proud the Victorian- esque threesome are of the record; ‘the response from our live crowds has already been mind-blowing!’.

'The Greatest Hits' EP artwork

     ‘Mediate’, in its wonderful acoustic form is full of charm and heart in its folk inspired style. The smooth sound fuses older and new music types and the harmonies, vocals and instrumentation are truly worthy of Bullet For My Valentine or Avenged Sevenfold’s earlier acoustic work. With a little exterior assistance with regards to lyrics, and perhaps better recording quality, The Fiction appear to have real potential to break into the industry. Even the final build up into the last chorus does not disappoint as it blends into a perfect final harmony.

     However, their non-acoustic offerings may not be as emotional, the band have a fantastic mixture of punchy and melodic tunes as well as a striking blend of theatrical and rock styles, without either overshadowing the other. ‘The Union’ has a great rhythmic beat used by the likes of The Red Hot Chili Peppers, Bullet For My Valentine’s metal edge and Panic! At The Disco’s theatrical (but not over the top) dramatic edge. The instrumentation is very strong but does not drown out the great vocal abilities of the band, and their blend of rock styles is seamless and undeniably effective.

The Fiction: Not to be Judged By Appearance  

     ‘Never Enough’ is yet another great track and although very sharp musically, some may discredit it for the lack of emotion or sentimentality. Yet the concluding gang vocals depict The Fiction’s hopeful aspirations for the future. The smooth guitaring and steady drumming make for epic metal tracks from ‘Worlds Apart’ and ‘Bragging Rights’ but with a good balance of emotion, harmony and instrumentation, these Creed inspired tracks really do The Fiction justice.

The Fiction's Logo

     However optimistic or self-righteous calling your first recording ‘The Greatest Hits’ may be, The Fiction are nothing short of astounding considering they have been together approximately one year. If this EP is anything to go by, the band has a great future in the music industry ahead of them.

5/5

Drones- ‘Mutiny’ (December 2011)- Lock Jaw Records

     Surrey-born Drones were formed in early 2010 due to an aspiration to create likeable music and significant lyrics concerning social and political issues that are often overlooked in modern music. With inspiration from the likes of NOFX, The Clash, Rancid and Anti-Flag, Drones managed to personally organise a video-shoot for single ‘Shells Fall, Pins Pulled’ with vocalist Daly George’s long-term friend Theo Marlow. This was greeted with fan-driven chaos over the internet and over 1,000 views on YouTube within one week.

     In June 2011, the trio became the first punk band to play the student music festival ‘Beach Break Live’ Drones wrote ‘Mutiny’ with an experimental drive in mind including marching snares and megaphone effects, which do not reflect the album’s overall budget of £60. Towards the end of recording in August this year, Drones were approached by Lock Jaw Records and happily accepted, helping them to organise a UK tour this month.

    The artwork of ‘Mutiny’ was created by Mitchell Thomas and depicts a character protesting against the government. The album commences with ‘Jack Won’t’, a heavy yet melodic drum and bass rock offering, in which vocals are deemed somewhat unimportant. The instrumentation in particular, is very well produced, especially for such a young band. Drones’ Rise Against style, however, does not bode well in title track ‘Mutiny’ or ‘Thursday’s A Full Moon’, as they are rather rapid, making the lyrics difficult to understand for such an issue based band. 

Mitchell Thomas' Artwork for 'Mutiny'

   

     As the album continues, it does so in much of the same format; with good instrumentation and overall 

production but sweeping vocals and emotion. ‘The Jester’ is made up of faint drumming, weak vocals and rhythmic guitar, which may be decent stand-alone elements, but do not work when blended together. ‘Spite’ and ‘Assassins of Youth’ start in much the same speedy way, but seem to speed into nothing but another weak couple of tracks.

     The band’s single that was released earlier this year, ‘Shells Fall, Pins Pulled’ is as bad and ineffective as its title, with unrythmic vocals that do not mix together whatsoever. It is definitely not the successful single bands and artists dream of. From start to finish, each track builds into nothing significant and appear to end so abruptly that it leaves the listener in a daze or resentment for the music, and ‘The Static Truth’ is no different. 

Drones

          ‘Raise The Arms’ and ‘Watch It Burn’ partner up perfectly with the skip button, despite their more gentle tone, and final track ‘Call Your Own’ is no variation on the rest of ‘Mutiny’. Overall, the instrumentation works well for minor moment, until it is utterly tarnished by useless shouted vocals and random thrashes of guitar and drumming.

2/5

Everything On Red- ‘Songs For Sirens’ (10/12/2011) Lock Jaw Records

     Everything On Red have a wide range of influences from various pop punk and power pop artists and bands that have help constructed an undefinable, individual sound. Perhaps Everything On Red being a little older than other just-starting-out rock bands has given them a massive advantage with regards to what they can actually do. The band claim to have crunching guitars, sweeping snyths and heartfelt melodies, they have a sentimentality-driven, rich and diverse sound, only some of which turn out to be true. 

     Vocal duties are split between all three band members, showcasing how talented they all are, and worthy of touring with bands such as Hadouken! and Twin Atlantic. They have also embarked on a number of headline tours around the UK themselves. Everything On Red’s debut album ‘Rotator’, which was released back in November 2009, allowed them success with their single ‘Heart’s on the Rock-based T.V channel ‘Lava’, as well as various radio stations.

Songs For Sirens: Artwork

     This Biffy Clyro, Saves the Day and Brand New inspired band has an incredibly unique style that can only be loosely linked to other artists and bands. First and second tracks ‘Welcome to the Sundown’ and ‘Pull The Pin and Count to What’ are two very stand-alone tracks. The cheery tones have not been captured so well by a decent band since HelloGoodbye’s successful days. The bright and light harmonies reflect the innocent undertone, and unfortunate harmlessness of Everything On Red’ work.

     ‘We Never Stop’ is a speedy, yet somehow dull track that depicts the band’s ability to be different, but an unfortunate lack of great music, emotion or abundance of likeable talent. ‘Tribute to Tragedy’ promises to be ‘Songs For Sirens’ token heartbreaker, yet disappoints with limp harmonies and unnecessary bleeping synths mixed with half-decent drumming. ‘Wishful Thinking’ is particularly laughable with its high-pitched synth squeaks that do not differ from demos on a Yamaha. Even final track ‘All The Best Adventures’ begins with an immature version of Yellowcard’s wonderful style and does not develop into anything decent.

Everything On Red: Promo Shoot

    On paper, Everything On Red appear to have unbreakable potential but in their desperate attempts to stand out from other bands and their own influences, they have created chirpy, emotionless babble that fails to portray any great talent. 

2/5

Always The Quiet Ones- ‘Freak Show’ EP (05/03/2012 –Self Released)

      Always The Quiet Ones are an alternative rock/metal-esque band from Liverpool who boast old school undertones and claim to have a unique sound setting them apart from other rock bands. Their sound is somewhat similar to Biffy Clyro’s earlier work with a fluid blend of vocals, scream and instrumentation. With a double A-side single set to be released from the boys in late April 2012, ‘Freak Show’ bares much importance to their musical future.

     The band has boasted to be ‘five sharp, forward-thinking individuals who began their careers supporting the likes of Deaf Havana and Mojo Fury. This enhanced appreciation from old and new fans alike, as well as praise from more underground alternative-rock based press for their unusual sound for the modern listener. With influences from bands such as Deftones, A Perfect Circle and Biffy Clyro, the dynamic fivesome make attempts throughout their EP to use these influences as lose guides, rather than falling into the common trap of recreating their work.

Always The Quiet Ones: 'Freak Show' EP artwork

     ‘Freak Show’ sets off steaming rapidly with the Led Zeppelin style ‘Sign of The Times’, which portrays the band’s natural ability to blend different types of vocals very well. Each vocal type is also very striking and yet intriguing. It is very unusual in this day and age to listen to such a young band performing old school inspired work so well, particularly in a somewhat unique manner.

     The quintet’s EP is chock-a-block with riffs, various time-signatures and nothing short of infectious melodies thrown in for good measure. ‘Valentina’ illustrates a more modern style that, unfortunately is not so successful. However, their rock-based harmonies are stunning and prove how rammed with hope their music is. Blas Barragan Jr.’s beautiful lead vocals are mesmerising and really drive the track.

Always The Quiet Ones

     Third and final title track ‘Freak Show’ conveys Always The Quiet Ones’ Deftones-style inspiration throughout, with a gentle metal introduction, leading into gentle, melodic verses and a powerful chorus with yet more wonderful harmonies.

     The instrumentation and various vocals blends throughout ‘Freak Show’ depict how hard the band have worked on it, their brilliant musical abilities and influences, and paints a painfully bright future for them.

4/5

David Archuleta – 'The Other Side of Down' (05/10/2010- Jive Records)

     Twenty-year-old David Archuleta rose to fame in the seventh season of ‘American Idol’ in 2008 when he finished as the runner-up. Archuleta grew up near Salt Lake City where he often sung in church and won several amateur awards in his younger years. His third album, ‘The Other Side of Down’ went on sale on the 5^th of October 2010 in promotion of the singer-songwriter’s tour of Southeast Asia.


          First and title track, ‘The Other Side of Down’ puts Archuleta’s gentle yet soulful tones and show from the offset. His vocal abilities are wonderful both live and on record and his songwriting skills are relevant, individual and enjoyable. Moreover, his rapidly changing vocal range is astonishing for someone who originated from a T.V talent show, as they are often severely criticised for churning out average artists. ‘Something ‘Bout Love’ was released as a single on the 20^th July 2010 and utilises modern, if a little cheap sounding voice effects. However, they do not take from the exquisite tone of David’s vocals in this chirpy, without being cheesy track; uplifting in all the right ways despite the addition of squeaky club textures towards the end.


   ‘Elevator’ was released through radio airplay on the 14^th of September 2010,and it is another well-written, soulful and joyful song. Although it follows a similar format to much of Mika’s material, that is not to be criticised. It is startling to hear such a staggering vocal range and musical ability in every single track. Even with the bouncy backbeats of ‘Stomping The Roses’, Archuleta’s remarkable talent is never sacrificed, and despite the fact that he appears to have no specific listener range in mind, the music is likeable to anyone with a good ear. One can imagine, judging from the gentle build up of songs like ‘Who I Am’, as well as nice harmonies, that Archuleta’s live shows are very well put together. The combination of his voice and light piano is nothing short of fantastic.

'The Other Side of Down': Artwork

    The pained emotion of tracks like ‘Falling Stars’ truly reflects that negative feelings make the best music; this song is stunning as sentimental, so the faint progressive drumming is unfortunate. Archuleta’s voice is strong enough to work simply with guitar or piano so some of the sweeping beats and string sections, as found in ‘Parachutes and Airplanes’ are somewhat distracting. However, tracks do need some build-up, and sadly often include poor tracks to fill album space, such as ‘Look Around’, which David’s voice cannot even save. ‘Good Place’ is a similar composition to ‘Crush’(2008) until the epic chorus hits, by which point, the constant voice echoes and repetitions have become extremely overused on ‘The Other Side of Down.’ 


     Even the artwork of ‘The Other Side of Down’ itself is somewhat generic, which is most likely not Archuleta’s intention but that of his record label and manager who want to remind listeners of where Archuleta came to be. Interestingly, ‘Complain’ is another impressive track, but is very similar in sound to James Morrison’s ‘You Make It Real’ (2008). The format of each track and the album overall is very good, which continues for the final two tracks ‘Things Are Gonna Get Better’, which is so optimistic it reflects David’s religious roots, and piano-led ‘My Kind of Perfect’ gives listeners a final, breathtaking hit of his superb talent.

David Archuleta

    ‘The Other Side of Down’ is exceedingly cheery without being too bubblegum based, and it really reveals the talent and abundance of future potential for David Archuleta.


4/5

Snow Patrol – Fallen Empires (11/11/2011- Fiction/Interscope Records)

     Snow Patrol, an alternative rock band from Bangor in Northern Ireland, came together in 1994 as an indie band. After countless tours, line-up changes, many awards and award nominations, T.V appearances, five studio albums (with sales of up to 11 million) and one greatest hits compilation, ‘Up To Now’ (2009), and worldwide success, Snow Patrol’s sixth record was released on the 11^th of November this year. ‘Fallen Empires’ marks the band taking their time to write a personal organic album, that fans all over the world have patiently waited for.

     ‘Fallen Empires’ showcases a completely different side to Snow Patrol’s music; less intensely emotional and more electronic and experimental in the best way possible. ‘I’ll Never Let You Go’ opens with a faint, progressive drum beat that wouldn’t go a loss on a U2 track, reflecting the band’s developmental aspirations, despite already having sold out several dates at the 16,000 capacity O2 Arena in London next February. Their amazing accomplishments so far have unlocked innumerable doors for them in terms of sound, yet they have retained fundamentals of their work such as dynamic light and shade and spectacular harmonies.                                         
    
    What is interesting about Snow Patrol is that they never compromise vocals for instrumentation or vice versa, which many big alternative bands tend to do; each musical element is immaculately composed and produced. ‘Called Out In The Dark’ was released as a single on the 2^nd of September this year with several bonus tracks and peaked at number 11 in the UK Singles Chart. Although nothing spectacular, Gary Lightbody’s vocals have always been mild yet remarkable. Unfortunately, the gentle tones of Snow Patrol’s sound can be a little overbearing for an entire album, although ‘The Weight of Love’ is a great blend of tender vocals and thumping drumming, as well as gang vocals that are neither Christmassy or strident.

'Fallen Empires': Artwork

     ‘This Isn’t Everything You Are’ shows Snow Patrol sticking too rigidly to their self-created format of hushed verses and powerful, yet un-anthemic or pop based choruses. Its indie gang harmonies show the band’s experimental side and potential for utterly new material such as piano based ‘The Garden Rules’ which illustrates the passion and warmth of Snow Patrol’s music, as well as their beautiful, slow-burning melodies. The input of female vocals also gives a realistic, feet-firmly-on-the-ground feel. Title track ‘Fallen Empires’ is as chirpy as Coldplay’s latest work and as likeably odd as a Mumford and Sons song. Although, the band’s constant battle to shake their dad-rock ridden image leads them to chose style over substance at times.


      Average ‘Berlin’ is ridden with overly ordinary and repetitive gang vocals, which are overused a great deal in ‘Fallen Empires’ when in actual fact, fans want to hear the band fundamentally. The soothing, lullaby style of ‘Life-ning’, a somewhat confusing song title, may reflect why some shun Snow Patrol as drab. But Lightbody’s cyclic tunes are comforting to many. ‘New York’ and ‘In The End’ are massive, consoling, yet sweeping songs until ‘New York’ progresses into wondrous string sections on a scale of the likes of Elbow. However, although much of the album is raw, some moments from ‘In The End’ actually appear off-key. 

     The emotion of Snow Patrol’s older material is what placed their feet firmly on the alternative rock ladder, but the overuse of female vocals, probably due to the success of ‘Set Fire To The Third Bar’ takes from any potential the band themselves have, along with constant vocals. ‘The Symphony’ shows them dabbling in dance beats and power-pop interludes, and is consequently a welcomed addition to ‘Fallen Empires’. It is utterly contrasted to ‘The President’, which is yet another track developing into nothing. Although instrumentals can be a great element of albums, the arrangement and placement of ‘Broken Bottles Form A Star (Prelude)’ does not quite work.

Snow Patrol

     With ballads lacking strong sentiment or real substance and more up-tempo tracks lacking arena-filling features, ‘Fallen Empires’ is disappointing and does not convey the spectacular songwriting skills of frontman Gary Lightbody, or the musical abilities of the rest of the band.

3/5