DISCLAIMER: English is not my native tongue so please be tolerant to my grammar. It is also clear, that Nothing is true and Everything is possible. It's just my reflection.
There is one big problem with both the entire album and many of the songs separately - running out of itself. Nonsense? Let me try to explain.
Example 1: we have extremely cool "modern living..." lyrics- andDISCLAIMER: English is not my native tongue so please be tolerant to my grammar. It is also clear, that Nothing is true and Everything is possible. It's just my reflection.
There is one big problem with both the entire album and many of the songs separately - running out of itself. Nonsense? Let me try to explain.
Example 1: we have extremely cool "modern living..." lyrics- and composition-wise. It is creative, its 1st verse is really well compiled. What could have gone wrong? There is no 2nd verse. Instead, "We are Apocaholics..." chorus goes over and over again... Lyrics end at this point (1:15/2:53). The whole magic of the song disappears as its "statement-ness" turns into expanding the length through chorus repeat.
Same could be said about "Waltzing off the Face of the Earth (I. Crescendo)", "the pressure's on.", "Marionettes (I. The Discovery of Strings)", "Marionettes (II. The Ascent)" and "satellites* *". Each of these songs is amazing in it's idea, overall concept and... until the second half starts.
Example 2: let's start from the very beginning, February 11, 2020. "{ The Dreamer's Hotel }" releases and it's fantastic. Quite simple but still catchy and with it's message between the lines. Then - "thē kĭñg", my favourite song of the record. Same virtues and flaws but old-school and with a small tale inside. "T.I.N.A." and "THE GREAT UNKNOWN" to follow - also remarkable tracks.
And here we are, April 17. Having great and inspiring preview for an album with 4 fresh and driving tracks, we acquire the album:
- sometimes pop-ish, sometimes old-school or even causing Déjà vu from the "Common Dreads". It doesn't feel as compositionally whole as "The Spark" was;
- pretty straight-forward messages having a lack of metaphors (at least after 3 times listened);
- Featureless "Crossing The Rubicon", especially after "THE GREAT UNKNOWN", which sets an emotional tone this composition just can't match;
- constant lyrics failing in second half of the songs.
Can you see it too? It all started so promising, back in February, but result fell short. Songs start to capture your mind every single time, but there is not enough power, they just run out of it.
Nature of the record is all in "Elegy For Extinction"'s tone. Brightness, happiness, alacrity. It gives you an inspiration for what's to come. But there's only extinction. Extinction of expectations for the next real breakthrough, like "The Spark" was.
I love Enter Shikari. I adore "The Spark", I hope to hear "The One True Colour" live (I wanted it so much I came to another country 2 weeks past backbone surgery back in 2015; sadly they didn't play it).
And I still like "Nothing is True & Everything is Possible". It should be 8,5/10, (if rating music makes any sense at all). It's just my greater hopes that don't let me rate the album higher than 6.
The album is half-ideal for me, so the score corresponds.… Expand
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