I dunno though, can’t think of anything that happened in the late 00’s/early 10’s that maybe they’d wanna talk about… Then came third-outing A Flash Flood of Colour, and a chance to refine the vision for a new decade. There’s often the feeling brevity is eluding them, but as a point of establishment this works. READ MORE: Brooklyn Nine-Nine (Season 8) – TV ReviewĢ009’s Common Dreads didn’t dip toes, it jumped all the way in, serving as an exit point for those unprepared for a journey into the socio-political. They just didn’t particularly know what to do with it. They’d done so much work creating one of the most unique, and thus easily-recognisable sounds of the century so far. Shikari knew they were loud, explosive, genre-bending knew that this alone does not an identity make. Nothing too upfront mind how could anything be, on an album with that much vying for your attention? It was there though, and – spoilers – it was not going away. To the surprise of many, these had a little dusting of social commentary on top. Shortly after, debut record Take to the Skies did arrive, and fans got a bunch more songs exactly like the band had already released: silly, quirky, a lot of fun. People took notice… hell, Kerrang! was giving them coverage before they even had an album out. Early tracks ‘Mothership’ and ‘Sorry, You’re Not a Winner’ had Samara-Morgan’d themselves off of MySpace and into the UK charts. Long before Enter Shikari were quite as we know them today, the four-piece electronicore outfit from St.
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