There is no evolution without mutation.
Taking heed of the lesson taught by Darwinism, the four Albion fellows offer us a musical reinterpretation of the experiments conducted a couple of centuries ago by Abbot Mendel: luckily for us, this time it’s not various species of peas (!) being crossed, but several musical genres, specifically emo-metal-core and euro-techno-trance.
The result of this "experiment" is what you will find within this "Take to The Skies", an album that deserves to be (re)discovered by anyone who shows at least a minimal interest in both aforementioned sounds and is at the same time open to a fusion of the two.
If you identify with this description, you will hardly be able to resist true dance-pit anthems such as "Sorry, you're not a winner", "Ok, time for plan B", and "Anything can happen in the next half hour", even if all the 17 tracks comprising the platter (13 not counting the interludes, much to the dismay of bad luck...) are worthy of your attention.
For those who have not yet had the pleasure of approaching the band's sound proposal, it is also likely that you have heard of it as a new sensation (freak show) on My Space or because they have been the only band without a contract (besides The Darkness) capable of doing a sold out at the Astoria in London or again as yet another new sensation inflated artificially by the increasingly nationalist English press...
All true, for sure, but in the end, what matters is always and only the music, music that, as previously emphasized, in this case, not only does not disappoint the expectations set on the eve but indeed manages to revive a genre affected by static immobility like the "core" scene.
Then, whether within the grooves of this optical disc lie the harbingers of a new path to metal-emo-core or whether, on the contrary, it was just a flash in the pan, only time will tell us (assuming that anyone cares to know the answer)...in the meantime, all that is left for us is to lower the window of the Uno Abarth, polish the fuzzy dice hanging from the mirror, and turn up the radio "to the max" while the speakers pump the building beats of the title track....AND STILL WE WILL BE HERE STANDING LIKE STATUES!!
The unusual mix of '80s synthesizers laid thickly on solid metalcore/post-hardcore foundations guarantees the band’s success.
Praise to Enter Shikari for managing to build their success on one good idea.
The synths with the tacky riffs are absolutely terrible!!!
Digesting over an hour of heavy guitars + synthesizers + various other strange influences is a formidable feat that definitely exceeds the limits of my abilities.