![]() ![]() There’s a lyrical apology proffered the dissatisfied listener’s way on the aforementioned final song proper: “We’ve tried to communicate, but we’ve got no patience”. These are the highlights, if you choose to classify them as such. If you’ve heard either download-only single ‘Mothership’ or the recently released ‘Anything Can Happen In The Next Half Hour’ (reworked from the band’s much-pimped demo of 2004 – DiS has a couple of copies and is taking offers), then you’ve heard everything this album has to offer.Īlthough the album’s sleeve implies there are 17 songs here, six of them are simple electronic interludes/intros/outros of the verse-chorus-verse offerings, ‘Labyrinth’ is a cheesy Euro-pop backing track shafted by the most elementary of amplified six-string workouts, complemented of course by sweet ‘n’ sour vocals (think Busted collaborating with Poison The Well) ‘Return To Energiser’ begins charmingly chaotically but ultimately slips into the band’s all-too-obvious comfort zone once the keys make their presence known and ‘OK, Time For Time B’, the album’s almost-closer, is the soundtrack from Turbo Outrun (or some other car driving game of old – DiS’s memory is a little misty these days) mangled by a Funeral For A Friend covers band. The Enter Shikari songwriting rule book extends to three essential tick ‘em off points: one, play your guitars fast and crunchy two, intersperse your singing with throat-shredding growls a la all those post-hardcore sound-alike acts of however many years ago and three, chuck a load of cheap synthesizer beats over the top of everything under the mistaken impression that you’re turning a paint-by-numbers piece into a priceless Jackson Pollock. It begins with a shrill “SHIT!” and a choir of screams, but the thrill doesn’t last: like riding even the most knuckle-whitening of rollercoasters, Enter Shikari’s much-anticipated debut album reveals itself as a wholly one-dimensional listen as early as the third or fourth song, the equivalent of the third or fourth time around said stomach-turning sequence of twisters, given that the structural schematics of each of these 17 tracks are depressingly formulaic. ![]()
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