Following up albums ‘Take to the Skies’ and ‘Common Dreads’, Enter Shikari return seemingly more determined than ever to puncture our ear holes once and for all, with bellowing bass lines and brain rattling rifts. ‘Common Dreads’, released in 2009, was an insight into the minds of the quartet, with political poetry and anti-war cries sprinkled throughout the record, and they have carried on in the same vain.
The opening to ‘Flash Flood of Colour’ takes us nicely from past to present, with the same instrumental backdrop used to open both albums, only this time no echoing call of 'We Must Unite'.
This time we are taken calmly through the mind and thoughts of Rou's narrator role, before we drop back into the beautiful mayhem that is Shikari's dub-step influenced break downs. The bass continues into first single off the album 'Sssnakepit', where we are hear what is sure to be a crowd favourite, with an almost 'OK Time For Plan B' esque crowd chant of 'Yeah yeah, were nice guys, UNTIL WERE NOT' guaranteed to be screamed by adoring fans up and down the land.
There is no rest during the first half of the album, as we are thrown and flung around in a mish mash of preaching, singing and teachings courtesy of Mr Rou Reynolds and co, and no song better represents this than 'Arguing with Thermometers.' The listener is swiftly led into a false sense of calm, as track six takes us on to the popular slower acoustic aspect of Enter Shikari's brand of music. With the strong political stance of the band shining through, with lyrics such as “Money is made as bombs are dropping in Afghanistan, and white phosphorus falls in Palestine.” The teachings of Reynolds carry on into second single and former Zane Lowe's hottest track in the world 'Gandhi mate, Gandhi' and takes us back into the controlled explosion of a genre that Enter Shikari have created.
Track eight, 'Warm Smiles Do Not Make You Welcome Here' has a distinct 'Juggernauts' feel to it, with the anthemic lay out to the song destined to see crowd surfer's come out in force during the bands tour in March 2011. We are guided nicely through to Constellations, the final track on the album, a slow narrative that sounds like some of Shikari's early B-Sides, along the lines of 'Acid Nation.'
It’s a calming Outro to an album that batters every musical sense, but an album that does it in the way only Enter Shikari can. For all the loyal Shikari fans out there (and there are a lot of them), they will be delighted to have a new batch of weirdly wonderful songs to construct human pyramids to. These four gentlemen know how to please their fans, and they have done it again with album number three.