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Enter Shikari- Nothing Is True & Everything Is Possible Review

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Enter Shikari- Nothing Is True & Everything Is Possible Review

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Enter Shikari is definitely one of the more interesting bands of the last 20 years. A high-energy mix of electronica, punk, and flamboyant Luke Spiller-esque vocals, they encompass a swath of the most prominent musical trends to come out of England over the decades and mash them into an unapologetic and explosive cocktail for our current age. Their latest addition to their eclectic catalogue is Nothing Is True & Everything Is Possible, totaling a sizeable 15 tracks and following up their pointed 2017 full-length The Spark with plenty of piss, vinegar and people to douse with each.

Off the bat, Shikari comes in with an absolute banger, “THE GREAT UNKNOWN”, a merging of furious indie sensibilities and EDM slam downs. “Crossing The Rubicon” comes poppier but still heavy in rhythm with grooving, hard drums and fat bass to boot. “{The Dreamer’s Hotel}” is a hectic burst of noise and barrelling rage offset only slightly by a melodic chorus, while the boiling fury of the brass-laden “Waltzing off the Face of the Earth (I. Crescendo)” is otherwise channeled through blunt commentary on climate change and mass shootings. “modern living….” similarly swipes at modern apathy and social-media fuelled vanity, carrying over into even more epically robotic (in a good way) territory in the reprise “apøcaholics anonymous (a main theme in B minor)”.

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“The pressure’s on.” continues the streak of airy pop running parallel to the chaotic furor dominating much of the album. The interlude “Reprise 3” strikes a comparatively somber chord, leading to the Margaret Thatcher-inspired throwdown “T.I.N.A” that puts the rude in Darude. Just when you think you’ve got an understanding of the Shikari formula, guess what? Four-minute orchestral piece just because, this time entitled “Elegy For Extinction.” The dystopian groove-out resumes with “Marionettes” (I. The Discovery of Strings)”, morphing into an open challenge to the establishment in “(II. The Ascent)”.

What could be left? For starters, a commentary on modern loneliness and love with “satellites* *”, marked by rather topical lyrical matter regardless of its actual intent: “we refrain from touch, we are satellites.” Next is the most intriguing track on the record, “thē king”, at one moment another bass-dropping get down rife with medieval imagery, the next an energetic bout of shouted hardcore-esque vocals with an appropriate dose of hear-ye hear-ye horns. Closing out this journey through endless musical bounds is “Waltzing off the Face of the Earth (II. Piangevole)”, which starts as a relaxing ethereal release and weaves its way into a satisfyingly uplifting and conclusive reprise, regardless of the subject matter. With a collection of endless synths, flanged guitar, and punctual horns, “Piangevole” ends things off as a fantastic summary of everything that has transpired; leaving the listener content, contemplating, and perhaps euphoric.

From straight-to-the-point social themes to neck-breaking electro jams to everything in between, Enter Shikari is a wonderfully mixed bag and this latest record only reiterates that fact. It’s bands like this that despite having been around for a while now will prove the wave of the future and the greatest bastion of boundary-pushing time and time again. Well done on this one, the next one should be even better.

Website: http://www.entershikari.com

Instagram: https://instagram.com/entershikari

Twitter: https://twitter.com/entershikari


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Matt Derraugh

Matt Derraugh is a musician and freelance writer based out of Winnipeg, Canada. He is a lifelong drummer and avid fan of music in general and seeks to fulfill his passion for the art by writing on it as well as playing it with a series of local bands across various genres.

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