The third album from Enter Shikari is sure to divide opinion. They aren’t exactly the followers of any trends or a band that would ever be pigeon-holed (their brand of electronica tinged punk metalcore is unlike anything else in modern music), but even for established fans of the group, ‘A Flash Flood of Colour’ really is something different. The quintet have progressed with their sound and clearly have no intention of slowing down the experimentation, as the songs on this release prove. The record is angry and passionate, driving a message at us without the need to water it down, which is refreshing to see and convinces us that Enter Shikari have staying power.
Album intro ‘System…’ is a metaphor laden and imaginative battle cry with thought provoking lyrics over synths and strings. It builds perfectly into ‘…Meltdown’ which pushes the tempo with urgent shouts (“This is gunna change everything”). The purpose of the album is clear from the get-go, the band have a message to deliver, and it ranges from their thoughts on the state of the economy, the world in general and their decision to ‘take no shit’ anymore. Electronic beatdowns, driving and jolty riffing and a sample soaked undercurrent provide a perfect canvas for the social commentaries (“Stand up, it’s not too late”).
‘SSSnakepit’ switches the album into overdrive, providing a bouncy dance intro that’s heavy on the bass that changes to thrash guitars and deadly screams. It’s fast and ferocious with a big sing-along chorus, and as soon as vocalist Rou Reynolds states “Yeah, yeah we’re nice guys… until we’re not!” a stripped back breakdown tears along before a final punchy chorus. ‘Search Party’ is a killer melodic and anthemic track, styled similarly to the more subtle songs Brit counterparts Architects have recently put their hand to. Vocal hooks and uplifting guitars are layered with elaborate ideas that shape into an effective track that explores powerful subject matter. The heavier parts fit well, providing a changing platform for the vocals.
‘Arguing With Thermometers’ is brutal, sweeping and snappy, putting the social commentaries centre stage with a relevant rant amongst the chaos. Enter Shikari aren’t happy with the stage of affairs in this country, and who can blame them? 2011 was a definitive year for it to be made clear that not all is well in UK society, and what better a way to vent fury that with this track? It touches on governmental problems, global warming and oil, without sounding like a series of moans arranged into a musical piece (“Yeah, we’re all addicted. Yeah, we’re all dependant”). ‘Stalemate’ is a drenched with politics, and it’s a softer take on a powerful message. Soaring vocals, delicate guitars and technically fantastic drums build into a towering chorus before a beautiful piano outro (“And I’ll live out this fantasy”).
‘Gandhi Mate, Gandhi’ contains more irate rants against the system combined with crazed dub beats, colourful riffing and frenetic rhythms. It’s a fun song that creates a wall of sound and contains some great quotable one liners (“Yabba dabba do one son”)! It’s the Shikari of old with a brand new twist. ‘Warm Smiles Do Not Make You Welcome Here’ starts with jaunty guitars and a jumping beat before falling into the standard mould of Shikari song that is catchy and straight forward. It isn’t the best track on the album by far, but the subtle messages, innovative changes in pace and shifting gears are enjoyable. ‘Pack of Thieves’ shows the unwavering creative spark of the band as the record refuses to slow down. It’s an exciting and intense song with a festival shout-along chorus. Imagine laser shows as the dazzling keys, sub drop breakdowns with a dubstep mix and rapid spat vocals come full force.
‘Hello Tyrannosaurus, Meet Tyrannicide’ delivers the message of ‘empires always fall’ with efficiency and a dastardly edge. There is belief behind the words and the riffs are darker. The electro parts and aggressive breakdown as the chant/scream of ‘empires always fall’ rings out is rousing. Macabre chords finish the extreme experience. ‘Album closer ‘Constellations’ is thoughtful, soothing and a definite call to arms after all of the madness, allowing the messages of the album to sink in and be put into context. Spoken words over an imaginatively built delicate instrumental (including layers of strings, keys and picked guitar) grow as vocals become yells. The positive message is clear, and it’s enriching and rewarding.
‘A Flash Flood of Colour’ is an accomplished release from a band in their prime, but it is a risk none the less. Some fans will see this as an attempt to be accepted entirely in the mainstream, while others will see it as an experimental and monumental achievement for a band that are getting bigger and better by the day.
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