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A. Peppiatt (Derbyshire England)
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Take To The Skies
Take To The Skies
Offered by best_value_entertainment
Price: £4.06

1 of 1 people found the following review helpful
5.0 out of 5 stars Stand Your Ground, This is Ancient Land!!, 7 July 2008
This review is from: Take To The Skies (Audio CD)
When Frankenstein wnet grave-robbing and slammed all of his corpses together in an unholy abination, we all thought - 'Wow, that really should never of happened...'
And we were right. It shouldn't. As it turned out, Frankenstien's Monster ripped open many of Frankenstein's family members. So fusion isn't always a good thing.
But with Enter Shikari (Shikari meaning 'hunter' in Japanese) fusion is a good thing. A very good thing, indeed. It should never work; on paper, it sounds... wrong. Rave, dance, metal, hardcore, rock. All slammed together in one genre. This amalgamation seems... unnatural. But it works. And so very well.
The interludes can get a little annoying if your iPod or MP3 is on shuffle; they lull you into a false sense of securtiy - you expect the song to come up that it eases you into, and then plays some God-awful Phil Collins. Not pretty. Aside from that, their is no fault in the album.
Every track is immense in its own way, from the unashamedly brash opening lyric of the album (when you hear it, you'll know what I mean) to the dying, album-wide refrain at the end, Take to the Skies is something that cannot be debated in its splendour.
Even the less raucous tracks (I.e; Today Won't Go Down in History and Adieu) have a spell-binding edge that speaks serenity and musical mastery. Mothership, Enter Shikari and Labyrinth stand out to me, purely for the raw energy and panache they convey. Keyboards are utilized well, as are synths, beats and a mix of harmonic and violent vocals.
Unfortunately, the God-of-all-musical knowledge that is NME magazine have referred to the most acknowleged single of the album Johnny Sniper (a by-word for condom, no less) as 'the worst song ever released by any band, ever'. This, oddly, is true, and yet because of that, that song has an ironic, unbeatable edge that is both cathcy and enigmatic.
Enter Shikari began as a Myspace hopeful, and as their talent permeated the walls of cyberspace, so we all came to know them. This album - despite some unlucky choices of interlude songs - is consistent, edgy, and a veritable recreation of Frankenstein's monster... albeit it doesn't go around ripping children limb from limb.

It get's you to do that.
Comment Comments (2) | Permalink | Most recent comment: Apr 10, 2015 1:31 PM BST


Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow
Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow
Offered by nagiry
Price: £5.73

5.0 out of 5 stars Space-Prog Rock Opera? No Way!!, 7 July 2008
Being a fan of Coheed for a good 4 years, I have grown to know a lot about them. And when I read in Kerrang! magazine, (prior to release) that the album/songs from it qualify as a 'Space Prog-rock opera' and are 'over-the-top' I can't help but feel... unclean.
There is a backstory to the Coheed saga, and this gives all the songs a passion that is both touching and fantastic; frontman and creative genius Claudio Sanchez lends his vocals so well to every song, you quickly 'get over' his high-pitch voice (I know this has put a lot of people off Coheed's music.)
Travis Stever (guitarist) lashes the songs with smooth licks of his guitar and some catchy and beautiful riffs. (Catchy; Feathers. Beautiful; Mother Superior).
The whole album screams with oozing talent and pure, mesmerizing melodies. If looking for a genre, you would probably settle on Prog-Rock (or the controversial'New-Prog) but this album rather defies classification. Every song is differnt. You have the acoustic, disturbing hauntings of The Reaping to open, heavy metal guitar solos galore in Gravemakers and Gunslingers, progressive stylings in Mother Superior and what can only be described as Jazz-come-Blues-come-Rock-come-Shredding in the End Complete V: On the Brink to finish it all off.
This album (coming in at exactly an hour long) if fifteen tracks of pure heaven... though I won't lie to you - a Foo Fighters fan I'm not, and (this could make it or break it for you) Taylor Hawkins hasn't made a decent job on the drums that I think new drummer Chris Pennie would. This isn' bad drumming, don't get me wrong, but compared to the sheer power of Pennie... But that's just me being a fanboy. It's a good album, aside from that one flaw.


Avenged Sevenfold [Explicit Version]
Avenged Sevenfold [Explicit Version]
Price: £5.01

0 of 1 people found the following review helpful
5.0 out of 5 stars True Musical Majesty, 7 July 2008
You know when you have a great album; it's one that grabs you by the short and curlies and refuses to let go. No album has a record of 100% perfection on every song, but this... this gets very close.
It throws you in at the deep end; Critical Acclaim is quite a typical A7X song (in my opinion, more hardcore fans may argue); it's in-your-face, well-written and has a very traditional A7X edge. The next few tracks are good, but nothing that special - (I suppose Scream has a few gooseflesh enducing moments). Afterlife, for me, was a poor choice of single; there was much better to choose from on the album; Gunslinger, for example. This is an epic, a true example of what Avenged can achieve, and shows off their genre-defiance well. Unbound (The Wild Ride) is a good track, if only for its working name "Disneyland Acid Trip" - I think that sums the song up fantastically. Lost is another decent track, if not a little let down by the ending...
But now we come to the centrifuge of the album's driving force; A Little Piece of Heaven. If Tim Burton and Andrew Lloyd Webber had a baby, and that baby grew up in a slaughterhouse with a well-trained ochestra, he would have made something not-quite-as-good-as this song. For me, it stands out as the best piece of work A7X have ever done, trumping even their genius City of the Dead album's better tracks. Frontman M.Shadows flaunts his vocal stylings with vigour and skill, the guitars work harmoniously together and the ochestra backing is beautiful. Work this into a truly epic baroque/twisted love story, with a lashing of fantastic sound effects and voiceovers, and you have yourself an 8-minute masterpiece.
Dear God wraps things up nicely with a country-twinged sound, with heart-felt lyrics and superb backing vocals from Shanna Crooks.
Overall, a fantasic album. Unfortunately, though I still listen to Afterlife and Lost these are two of the weaker tracks that would otherwise grant this album my full favour.


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