A Flash Flood of Colour
| Untitled | |
|---|---|
A Flash Flood of Colour is the third studio album by the English post-hardcore band Enter Shikari. Produced by Dan Weller. The album was recorded throughout May and June 2011 at Karma Sound Studios, Chonburi, Thailand. The album was released internationally on 16 January 2012 through Ambush Reality, the band's own record label in United Kingdom and Hopeless Records in North America. The album is a follow up to the band's second album Common Dreads.
The album lyrically deals with current affairs, primarily the Great Recession. Confronting issues like the flaws in government actions to end the global recession, whilst also touching on the political situation in Israel and climate change. This album showed the band continuing to fuse influences from electronic music and rock music. The album's cover is an inverted depiction of Social hierarchy.
Upon its release, the album was given generally positive reviews from music critics, being given an average metacritic score of 75 out of 100.[4] The album debuted at number four on the UK Albums Chart, after a campaign led by the band to get the album to achieve number one. The album appeared on several end of year lists for album of the year. Since the album's release Enter Shikari have embarked on a concert tour known as the A Flash Flood of Colour World Tour.
Background
The band had taken a different lyrical direction with the release of their 2009 album Common Dreads which focused on financial meltdown, economic collapse and widespread discontent.[5] Interviews over the years have revealed how lyricist, composer and singer Rou Reynolds talks about his political views when journalist ask.[6] Some journalists, like Ian Winwood have credited the band's lyrical direction as a reaction to how politics has evolved since the released of their 2007 debut album Take to the Skies as there is now "ongoing Orwellian overseas conflicts, riots in England's major cities, endless austerity programmes the end date of which stretch years into the distance".[7] The change in lyrics started with Reynolds believing that music is a great way of getting political ideas across, and believing people are more susceptible to your message through music.[8]
The band released two non-album singles in prior to A Flash Flood of Colour's announcement, Destabilise and Quelle Surprise. Quelle Surprise which was released 19 May 2011 was initially meant to be the first single from the new album, however, it was later decided that it would stay as a stand alone track like Destabilise. Both non-album singles were included as bonus tracks on selected versions of A Flash Flood of Colour.
Writing and recording
The band wrote the music for the album in pieces to wrap round their intense touring schedule. One song which Reynolds wrote on Warped Tour 2011 he described as "it's total escapism, other-worldly and delicate in a grand way".[9] Whilst Reynolds travels on aeroplanes to different countries he composes string quartet pieces, this helps develop the sound that appears on A Flash Flood of Colour.[10] For Gandhi mate, Gandhi Reynolds used samples of work he had done outside of Enter Shikari in his electronic side project Rout. The song was produced in late 2008 and worked as the base for the development of Gandhi mate, Gandhi.[11]
The record was produced by former-SikTh guitarist Dan Weller, who helped with the production of the guitars on the band's previous album Common Dreads. The band recorded the album in a two-month period throughout May and June 2011 in Karma Sound Studios in Thailand. The recording of the album started in Weller's London based recording studio where they started the initial ideas. Weller then informed the band of how he had a friend who owned a Thailand based recording studio, it then became a running joke within the band of them all leaving England to record the album in Thailand.[12] Eventually, the band eventually decided that it was financially cheaper to record the album in Thailand[9] and also cited the busy areas of London which they had to travel through to get to the studio as a reason they moved location.[12]
The Thailand based recording studio which they recorded their album in, whom drummer Rob Rolfe described as "four walls in a little compound in the middle of the jungle" located an hour and a half drive south of Bangkok summarised it as a "fantastic studio in paradise".[12] Because the band didn't write and lyrics the band recorded the album's music before adding in the vocals, this was because Reynolds knew what themes the album would be dealing with and how it would be "uniting and empowering".[9] It was then mixed in Vancouver by Mike Fraser.
Composition
Style and themes
A Flash Flood of Colour is noted for its diverse sound rooted in its fusion of various sub-genres from electronic music, rock music, rap and hardcore punk.[12] Their music is diverse and is considered to "contain at least two or three different genres within each track"[13] by specifically fuses elements of other styles into post-hardcore[14][15][16] and metal[15][16][3] such as dubstep,[15][14][3] drum and bass,[15][3] industrial,[14][17] techno,[13][17] trance,[10] electro,[14] British hip hop,[15] grime[10] and metalcore.[10] The band's musical style is defined by their incorporation of breakdowns, heavy metal and hardcore punk influenced instrumentation, dub-inspired 'wobbles', anthemic choruses, drum and bass tempos and a contrast between rapped and screamed vocals.[3][18] The album is also seen as resembling progressive rock "with [its] rapidly fluctuating patterns that introduce new arrangements even before you've had time to get your head around the current one".[19] Some journalists have cited how the rise in popularity of Skrillex during the bands career helped bring dubstep to mainstream popularity, and in turn aided the popularity of Enter Shikari's crossover style.[16][17]
The attitude on A Flash Flood of Colour is seen as politically progressive,[10] dealing with current affairs and environmental issues and taking aim "at the failings of capitalism, the hypocrisy of modern politics and the blatant disregard of human health and happiness" and is compared to the calculated approach of the occupy movement rather than ensuing class conflict.[5][7] But despite having strong political incentive behind the album, Reynolds stresses that the album isn't actually politically motivated. "This album is anti-politics. We say that politics is an outdated system. It is time that we embrace technological developments and no longer have to rely on a rule. Our lives should develop according to scientific findings."[20] Reynolds has also described the main recurring theme of the album as "perspective" saying that the album tries to take every thing into account as "we're not trying to think subjectively."[21] The journalism of The Real News Network, Democracy Now! and journalist John Pilger are all cited as influcences on Reynolds politics.[10]
Tracks 1–6
The album opens with the trance led, long spoken word introduction of 'System...' which features synthesised string instruments,[5][22] a "battle cry" style build up to the song[18] and a track which uses metaphors to outline the lyrical themes on the album[23] by metaphorically comparing Britain's economic situation to an eroded cliff-top house.[3] The next track '...Meltdown' opens with a dubstep influenced-breakdown.[5] Both songs are seen as "surfing a plateau musically" highlighting the musical diversity featured in the album,[24] and both act as a "paean to internationalist idealism".[24]
'Ssssnakepit' mixes jungle music 'fury', thrash metal guitar riffing,[25] utilises an electro interlude and a catchy chorus[22] and is said by Reynolds to be influenced by drum and bass and hardcore punk.[23] Ryan Cooper of About.com describes the song as "raw hardcore power, dropping it on a foundation of beats that are positively anthemic, with aggressive guitars that sometimes sludge it up, and anthemic choruses".[14] 'Ssssnakepit' focuses on a party atmosphere rather than socio-political lyrics, Renyolds commenting on the writing saying: "It’s hard to write positive songs with everything going on in the world, but this track is basically one full-on party—it's about cherishing your friendships and living compassionately."[23]
Arguing with Thermometers' title specifically references to people who deny climate change.[13] The song Stalemate is a ballad focused on war profiteering,[18][22] specifically condemning Israeli use of phosphorus in Palestine[16] and how these kinds of wars 'make trillionaires out of bilionaires'[26] The song uses a combination of acoustic guitar, vocal harmonies and 'rock drumming'[22][23] which produces a 'radio-friendly hook'.[27]
Tracks 7–11
Gandhi Mate, Gandhi, a song with a "furious, anarchist edge"[5] focuses on drawing a distinction between social and economic stability and reflects on how they are not relatable[11] and summarises the current capitalist system as "a long outdated system... that does nothing but divide and segregate us".[26] The song has been seen as being like a speech for the Occupy London movement.[3] Reynolds commented on the it being a "very frustrated and confused song" and that is reflects the current Zeitgeist attitude.[11] "people know we have the resources, the creativity, and the ingenuity to do better than what we have at the moment and are struggling to come to terms with the short term love of money over the long-term stability and progression of our species." The song focus on a dual character perspectives it uses both Rou's vocals highlighting revolutionary perspective with Liam Clewlow playing the role of someone in power.[11] Gandhi mate, Gandhi incorporates unconventional lyrics for the flow of the characters; "Yabba Dabba do one, son" which Reynolds describes as a product of a drunken MC battle[28] and during the song the other band members pause the song for a few seconds and urge Reynolds to calm down.[16] Gandhi mate, Gandhi has been described by Reynolds as a "lively electro influenced dubstep"[11] and is seen as a "rap rock pileup" which is textured over "wobbly dubstep bass".[16]
Warm Smiles Do Not Make You Welcome Here is seen as interoperating a stadium rock sound into their typical style.[29] The album closes with Constellations, a majestic musical compositions,[14] that's seen as a "rallying call about the future of the human race".[22] Much like 'System...' the song uses a 'swirling' string quartet,[22] however the song has a strong anthematic feeling[25] with a post-rock inspired sound.[3]
Cover and packaging
The title A Flash Flood of Colour is seen as a description of the music found on the album, Reynolds highlights how the album is a colourful blend of different music genres and styles and how the album's cover and title's vibrancy is apt to that.[8] Reynolds also describes how the band wanted to have a title which had a "big sound" but was also positive and forward thinking, the title is derived from the lyrics in the song Warm Smiles Do Not Make You Welcome Here.[30]
The album art is a reversal of the society's hierarchical structure[31] based on Social stratification; the grouping of people based on socio-economic background. The album art was initially pitched to Enter Shikari as a set design for their live shows, but they then started to believe that it would be a 'solid symbol' for the album cover.[31] Guitarist Liam Clewlow described the cover art by saying "our society is often depicted as a pyramid, with the few at the top with all the wealth and the masses at the bottom with no wealth, but supporting the pyramid for the few at the top. Our upside down triangle represents this system being flipped on head."[13]
Release and promotion
The first single off the album, "Sssnakepit", was released on 20 September 2011. "Arguing with Thermometers" has also appeared on the band's set list for every one of their gigs since their Autumn 2011 European tour. On 5 December 2011, the band revealed the song "Gandhi Mate, Gandhi" as a preview to the album's release on their Facebook page and also on Zane Lowe's BBC Radio 1 show.[32]
On 5 January 2012 the band released the studio version of "Arguing with Thermometers" on their YouTube page. It was also played on Zane Lowe's BBC Radio 1 show in the morning as his "Hottest Record in the World".[33] The official video for the song was uploaded to the band's YouTube page on 17 January 2012. A few days prior to the song's release the band showcased a still shot of the video, seeing Rou dressed as a news reporter called "Phillis McCleaveland".
On the 4th January 2013 the band released an animated music video for "Hello Tyrannosaurus, Meet Tyrannicide" on their YouTube page.[34]
Upon its release, A Flash Flood of Colour was the only other new entry in United Kingdom's top 20 mainstream album chart, the other being from Tribes with their début Baby.[35] In the first week of A Flash Flood of Colour's release in the United Kingdom it reached number 1 half-way through the week with over 2,500 copies bought, rivalling Adele, Bruno Mars and Ed Sheeran.[36] With the announcement of the mid week charts Rou Reynolds posted on the Enter Shikari's website in a blog post calling this a victory for "independent music, for socially conscious music and for alternative music."[37] However, the album lost to 21, + and Mylo Xyloto respectively.[38] As well as this it also charted at number 1 on the UK Rock Chart[39] and number 2 on the UK independent album charts.[40]
Tour and performances
When Enter Shikari was touring around the release of A Flash Flood of Colour the band distributed leaflets featuring in-depth interviews with the bands playing about questions they aren't typically asked during interviews. The band did this to help concert goers get to know the band's playing.[30] On 12 February 2012, the band played a low key and fast selling show at The Bull and Gate, a small pub in Kentish Town for the purpose to be filmed exclusively for Scuzz. The show aired on 31 March 2012 at 5pm. The show was filmed and edited by Stand Your Ground Media.[41] The band played 3 intimate shows in the UK to celebrate the release of A Flash Flood of Colour: The album's release date 16 January 2012, The Borderline in London; 17 January 2012, The Hippodrome in Kingston; 18 January 2012, The Cockpit in Leeds. Sponsorship for the events came from HMV, Banquet Records, Jumbo Records and Crash Records where pre orders through these sources got tickets at the shows.[42]
After the release of the album the band engaged in a world tour which intensely toured around Europe, North America and Australasia. The band's touring schedule expanded rapidly across the United States, the band only toured with three band bills with the intention of performing much longer sets than before. In 2012 the band for the first time was confident enough to take production and lighting to the United States.[27]
Reception
Critical reception
| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 75/100[4] |
| Review scores | |
| Source | Rating |
| AbsolutePunk | (8/10)[18] |
| About.com |  [14] |
| Allmusic |  [3] |
| Alternative Press |  [17] |
| BBC Music | Favourable[7] |
| CraveOnline |   [25] |
| The Fly | [24] |
| Kerrang! | [26] |
| New Musical Express | [29] |
| Rock Sound | [5] |
A Flash Flood of Colour received generally positive reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 75, based on 13 reviews, which indicates "generally favorable reviews".[4] Drew Beringer of AbsolutePunk praised the album in an 8 out of 10 review saying: "The quartet has a much bigger goal than just getting kids to dance to their breakdowns, rather they focus on putting a lot of substance into each track, hoping to inspire this generation to take a stand and make change amongst the broken systems throughout the world".[18] About.com writer Ryan Cooper gave the album a glowing 5 our of 5 star review, praising in musical and lyrical content ending his review by saying "if the bands are any indication, the next politically focused youth movement will come from the UK and from this new-fangled dubstep, and not from the land of kids bopping along to crunkcore".[14]
Jon O'Brien of Allmusic gave the album a three out of five stars critically pointing out how the albums "rebellious stance rarely transcends "Beginners Guide to Politics" territory" and considered the music as a "hyperactive Wall of Sound". He summarised the song album by saying "for the most part, A Flash Flood of Colour revels in a unique, organized chaos, and while it's a demanding and often exhausting listen, it's a call to arms which the flagging U.K. guitar band scene could do with more of."[3] Ian Winwood when writing a review for BBC Music gave the album a favourable review comparing its lyrics to the album Punk & Poetry by The King Blues and saying that they [Enter Shikari] are "the only other mainstream-breaching British rock band concerning itself with the news of the world".[7] Johnny Firecloud, a writer for CraveOnline gave the album 8 out of 10 saying that "Enter Shikari have found a balance while honing a voice of rebellion – at a time where tearing down boundaries and microanalyzing the current structure is more vital and valuable than ever before in our lives."[25] Iain Moffat of The Fly magazine briefly described the album by saying "Disenchantment should always be this spellbinding."[24]
Ian Winwood, when writing for British publication Kerrang! gave the album four out of five 'K's, indicating an 'excellent' review. Winwood commented on how the music is far more upbeat than the serious message they convey by saying "this 11-song set is a good deal of fun to listen to, even if its lyrics' subject matters are the exact opposite."[26] NME writer Dan Martin gave the album a score of eight out of ten summarising it by saying"all of that surface tension lands Enter Shikari in a pretty powerful position for their third – and, as the title promises fabulously, they respond to the challenge in explosive style to deliver something like their defining statement."[29] Rocksound writer Ryan Bird gave the album a nine out of ten score, praising the band for their development emotionally, culturally and sonically. He also praised the importance of their message saying that "in a world edging ever closer to complete and utter destruction, Enter Shikari remain fearless and uncompromising leaders in a field of one."[5]
Accolades
The album earned places in some publications best-of lists in 2012. Appearing on the lists created by Alternative Press[43] Dead Press,[44] Kerrang!,[45] Ourzone[46] Rock Sound[47] and NME.[48] The album generated a popular response from Kerrang! magazine, being classed as their Album of the year and noting the album as imperative in their development into becoming 'leaders' in the British rock scene.[45]
Track listing
All tracks are written by Enter Shikari
| No. | Title | Length |
|---|---|---|
| 1. | "System..." | 1:57 |
| 2. | "...Meltdown" | 3:24 |
| 3. | "Sssnakepit" | 3:26 |
| 4. | "Search Party" | 4:06 |
| 5. | "Arguing With Thermometers" | 3:22 |
| 6. | "Stalemate" | 4:18 |
| 7. | "Gandhi Mate, Gandhi" | 4:26 |
| 8. | "Warm Smiles Do Not Make You Welcome Here" | 4:36 |
| 9. | "Pack of Thieves" | 3:58 |
| 10. | "Hello Tyrannosaurus, Meet Tyrannicide" | 3:44 |
| 11. | "Constellations" | 4:59 |
| Total length: | 42:29 | |
| No. | Title | Length |
|---|---|---|
| 12. | "Quelle Surprise" | 4:35 |
| 13. | "Destabilise" | 4:31 |
| 14. | "Quelle Surprise" (Rout VIP Mix) | 5:19 |
| 15. | "Intro/Destabilise" (Live from The Electric Ballroom Oct 2011) | 6:17 |
| 16. | "Sssnakepit" (Live from The Electric Ballroom Oct 2011) | 3:33 |
| 17. | "Quelle Surprise" (Live from The Electric Ballroom Oct 2011) | 7:23 |
| 18. | "OK, Time For Plan B" (Live from The Electric Ballroom Oct 2011) | 5:11 |
| No. | Title | Length |
|---|---|---|
| 12. | "Sssnakepit" (Hamilton Remix) | 4:52 |
| 13. | "Sssnakepit" (Serial Killaz Remix) | 5:31 |
| 14. | "Quelle Surprise" (music video) | 4:34 |
| No. | Title | Length |
|---|---|---|
| 12. | "Quelle Surprise" | 4:34 |
| 13. | "Destabilise" | 4:31 |
| 14. | "Intro/Destabilise" (Live from The Electric Ballroom Oct 2011) | 6:16 |
| 15. | "Sssnakepit" (Live from The Electric Ballroom Oct 2011) | 3:31 |
| 16. | "Quelle Surprise" (Live from The Electric Ballroom Oct 2011) | 7:13 |
| 17. | "Ok, Time for Plan B" (Live from The Electric Ballroom Oct 2011) | 5:10 |
| 18. | "System / Meltdown" (Live from the Hammersmith Apollo) | 7:07 |
| 19. | "The Feast" (Live from the Hammersmith Apollo) | 4:17 |
| 20. | "Gandhi Mate, Gandhi" (Live from the Hammersmith Apollo) | 5:11 |
| 21. | "Quelle Surprise" (Live from the Hammersmith Apollo) | 7:03 |
| 22. | "Hello Tyrannosaurus, Meet Tyrannicide" (Live from the Hammersmith Apollo) | 5:48 |
| 23. | "Stalemate" (Live from the Hammersmith Apollo) | 4:49 |
| 24. | "Enter Shikari" (Live from the Hammersmith Apollo) | 6:14 |
| 25. | "Return to Energiser" (Live from the Hammersmith Apollo) | 8:38 |
| 26. | "Sssnakepit" (Live from the Hammersmith Apollo) | 5:52 |
| 27. | "Destabilise" (Rout Remix) | 5:28 |
| 28. | "Quelle Surprise" (Rout Remix) | 5:19 |
| 29. | "Sssnakepit" (Hamilton Remix) | 4:51 |
| 30. | "Sssnakepit" (Serial Killaz Remix) | 5:30 |
| 31. | "Sssnakepit" (Rout Remix) | 4:31 |
| 32. | "Arguing With Thermometers" (Calvertron Remix) | 4:01 |
| 33. | "Arguing With Thermometers" (Goth-Trad Remix) | 5:05 |
| 34. | "Arguing With Thermometers" (Taz Buckfaster Remix) | 4:49 |
| 35. | "Warm Smiles Do Not Make You Welcome Here" (Mosquito Remix) | 4:49 |
| 36. | "Warm Smiles Do Not Make You Welcome Here" (Tek-One Remix) | 3:46 |
| 37. | "Warm Smiles Do Not Make You Welcome Here" (Azura Dub) | 4:03 |
| 38. | "Warm Smiles Do Not Make You Welcome Here" (Tyler Mae Remix) | 6:48 |
| 39. | "Warm Smiles Do Not Make You Welcome Here" (Alex Light Remix) | 3:41 |
| 40. | "Pack of Thieves" (Rory C Mix) | 6:56 |
| 41. | "Pack of Thieves" (Sgt. Rolfy's Bell End Remix) | 4:57 |
Personnel
- Enter Shikari
- Roughton "Rou" Reynolds – lead vocals, electronics, acoustic guitar, celesta, piano, brass and string arrangements, lyrics
- Liam "Rory" Clewlow – guitar, backing vocals
- Chris Batten – bass, backing vocals
- Rob Rolfe – drums, percussion, backing vocals
- Additional personnel
Chart performance
| Chart (2012) | Peak position |
|---|---|
| Australian Albums Chart | 32[53] |
| Austrian Albums Chart | 35[53] |
| Belgian Albums Chart (Vl) | 42[53] |
| Canadian Albums Chart | 75[54] |
| Dutch Albums Chart | 74[53] |
| Irish Albums Chart | 69[55] |
| UK Albums Chart | 4[56] |
| UK Indie Chart | 2[40] |
| UK Rock Chart | 1[39] |
| US Billboard 200 | 67[57] |
| US Hard Rock Albums | 5[57] |
| US Independent Albums | 8[57] |
| US Rock Albums | 19[57] |
References
- Footnotes
- ^ James McMahon, 2012 Albums Preview - Sound Of The Overground. Kerrang!, pp. 22-24
- ^ Album Review: Enter Shikari - A Flash Flood of Colour
- ^ a b c d e f g h i j Jon O'Brien (17 January 2012). "A Flash Flood of Colour – Enter Shikari | AllMusic". AllMusic. Retrieved 1 February 2012.
Produced by former Sikth guitarist Dan Weller, the album hardly sits still for one minute, lurching from demonic metal to industrial dubstep ("Arguing with Thermometers") from trippy electronica to blistering air guitar prog ("Warm Smiles Do Not Make You Welcome Here") and from wobble-heavy drum'n'bass to rabble-rousing punk ("Sssnakepit") in an appropriately blatant disregard for convention.
- ^ a b c "A Flash Flood of Colour Reviews, Ratings, Credits, and More". Metacritic. CBS Interactive. Retrieved 16 January 2012.
- ^ a b c d e f g Bird 2012, p. 75.
- ^ Harris 2012, p. 23.
- ^ a b c d Ian Winwood (12 January 2012). "BBC – Music – Enter Shikari – A Flash Flood of Colour". BBC Music. Retrieved 16 January 2012.
- ^ a b Winwood 2012, p. 51.
- ^ a b c Darren Taylor, ed. (July 2011). "Old-School Thai". Rock Sound (149). London: Freeway Press: 8. ISSN 1465-0185.
[...]it became a running joke that we'd be heading off there until we found tot was pretty much the same price, if not slightly cheaper, to make the album in Thailand rather than London.
- ^ a b c d e f Mat Ward (20 February 2012). "Post-hardcore band: 'Our generation's got to fight to survive'". Green Left Weekly. Retrieved 5 March 2012.
- ^ a b c d e Kory Grow (5 December 2011). "Enter Shikari Premier New Song "Gandhi Mate, Gandhi"". Revolver Magazine. Future US. Retrieved 5 March 2012.
- ^ a b c d "MUSIC INTERVIEW: ENTER SHIKARI: New Album, New Approach, Same Passion & Aggression from the Pride of St. Albans". Buzzine. 27 January 2012. Retrieved 5 March 2012.
- ^ a b c d Grant V. Ziegler (28 April 2012). "Enter Shikari to hunt down Dallas". News Register Online. Retrieved 13 January 2013.
- ^ a b c d e f g h Ryan Cooper (17 January 2012). "Enter Shikari – A Flash Flood of Colour I don't know dubstep, but I know I like this..." About.com. Retrieved 1 February 2012.
- ^ a b c d e Harris 2012, p. 22.
- ^ a b c d e f Ian Gittins (17 January 2012). "Enter Shikari – | Music | Guardian". The Guardian. Guardian Media Group. Retrieved 15 May 2012.
- ^ a b c d Scott Heisel (17 January 2012). "Home Reviews Enter Shikari – A Flash Flood of Colour". Alternative Press. Retrieved 25 January 2012.
- ^ a b c d e Drew Beringer (23 January 2012). "Home Reviews Enter Shikari – A Flash Flood of Colour". AbsolutePunk. Retrieved 1 February 2012.
- ^ Jesse Livingston (19 January 2012). "Hard Beats, Political Aggression, Alt-Rock Riots & Lyrical Might". Buzzine. Retrieved 13 January 2013.
- ^ "Enter Shikari is anti politiek" (in Dutch). Up Magazine. 20 January 2012. Retrieved 12 February 2012.
{{cite web}}: CS1 maint: unrecognized language (link) - ^ Harris 2012, p. 24.
- ^ a b c d e f Tom Goodwyn (12 September 2011). "Enter Shikari, 'A Flash Flood of Colour' – First Listen". New Musical Express. (IPC Media). Retrieved 5 March 2012.
- ^ a b c d Bryne Yancey (25 January 2012). "Track By Track: Enter Shikari's "A Flash Flood Of Colour"". Alternative Press. Retrieved 10 March 2012.
- ^ a b c d Iain Moffat (13 January 2012). "Review: Enter Shikari / New Album Releases / Music News From The Fly". The Fly. Retrieved 16 January 2012.
- ^ a b c d Johnny Firecloud (15 January 2012). "Review: Enter Shikari – A Flash Flood of Colour". CraveOnline. Retrieved 16 January 2012.
- ^ a b c d Winwood 2012, p. 50.
- ^ a b Ryan Cooper. "An Interview with Rory Clewlow of Enter Shikari Flash Floods and Common Dreads". About.com. InterActiveCorp. Retrieved 15 January 2013.
- ^ Kelham 2012, p. 33.
- ^ a b c Dan Martin (6 January 2012). "Enter Shikari – 'A Flash Flood of Colour'". New Musical Express. (IPC Media). Retrieved 9 January 2012.
- ^ a b Knapper 2012, p. 24.
- ^ a b Knapper 2012, p. 25.
- ^ http://www.bbc.co.uk/programmes/b017t5ln
- ^ http://www.bbc.co.uk/blogs/zanelowe/2012/01/hottest_record_-_enter_shikari_2.html
- ^ https://www.youtube.com/watch?v=TXKPYXIlv54
- ^ "Enter Shikari top official midweek album chart". BBC Music. BBC. 18 January 2012. Retrieved 5 March 2012.
- ^ "Enter Shikari Still on For Number One!". Rock Sound. 20 January 2012. Retrieved 5 March 2012.
- ^ Roughton Reynolds (18 January 2012). "A brief-ish message from Rou". Retrieved 1 August 2012.
- ^ "Enter Shikari score Number Four album with 'A Flash Flood of Colour'". NME. 22 January 2012. Retrieved 5 March 2012.
- ^ a b "2012-01-28 Top 40 Rock & Metal Singles Archive". The Official Charts Company. 28 January 2012. Retrieved 6 March 2012.
- ^ a b "2012-01-28 Top 40 Independent Singles Archive". The Official Charts Company. 28 January 2012. Retrieved 6 March 2012.
- ^ "Premiere: Enter Shikari, "Gandhi Mate, Gandhi" (Live)". Alternative Press. 29 March 2012. Retrieved 9 April 2012.
- ^ "ALBUM LAUNCH SHOW/PARTY WITH HMV". Enter Shikari. 25 October 2012. Retrieved 9 April 2012.
- ^ Brittany Moseley (10 December 2012). "AP's 10 Essential albums of 2012". Alternative Press. Retrieved 15 January 2013.
- ^ Zach Redrup (15 December 2012). "TOP 10 ALBUMS OF THE YEAR: 2012". Dead Pres. Retrieved 15 January 2013.
- ^ a b Tom Aylott (15 December 2012). James McMahon (ed.). "2012: The ultimate rock review". Kerrang! (1445). London: 44. ISSN 0262-6624.
- ^ Richard Barnes (29 December 2012). "Albums of the Year 2012". Ourzone. Retrieved 26 February 2012.
- ^ Darren Tayor, ed. (January 2013). "Top 50 Albums of the year". Rock Sound (169). London: Freeway Press: 19. ISSN 1465-0185.
- ^ Tom Breihan (27 November 2012). "NME's 50 Best Albums of 2012". Stereogum. (Buzz Media). Retrieved 16 January 2013.
- ^ https://itunes.apple.com/gb/preorder/a-flash-flood-of-colour-deluxe/id487219739
- ^ https://itunes.apple.com/ie/preorder/a-flash-flood-of-colour-deluxe/id487219739
- ^ https://itunes.apple.com/us/preorder/a-flash-flood-of-colour-deluxe/id488075518
- ^ https://itunes.apple.com/gb/album/flash-flood-colour-redux-version/id584464535
- ^ a b c d http://www.ultratop.be/nl/album/2d8e4/Enter-Shikari-A-Flash-Flood-Of-Colour
- ^ http://jam.canoe.ca/Music/Charts/ALBUMS.html
- ^ http://www.chart-track.co.uk/index.jsp?c=p%2Fmusicvideo%2Fmusic%2Farchive%2Findex_test.jsp&ct=240002&arch=t&lyr=2012&year=2012&week=3
- ^ "Enter Shikari Artist Official Charts". Official Charts Company. Retrieved 4 March 2012.
- ^ a b c d "A Flash Flood of Colour – Enter Shikari". Billboard.com. Retrieved 16 January 2013.
- Bibliography
- Winwood, Ian (14 January 2012). James McMahon (ed.). "St Albans quartet battle the future with environmental green and socialist red". Kerrang! (1397). Bauer Media Group. ISSN 0262-6624.
{{cite journal}}: Invalid|ref=harv(help) - Harris, Paul (21 January 2012). James McMahon (ed.). "2012 Albums Preview – Sound of the Overground". Kerrang! (1398). Bauer Media Group. ISSN 0262-6624.
Follwing on from their two previous albums – 2007's Take to the Skies and 2009's Common Dreads – A Flash Flood of Colour is a master class in innovation and genre-defiance as it blends dubstep, old school drum 'n' bass and very British rap with metal, post-hardcore and, in a new step for the band, moments of rare beauty and tenderness.
{{cite journal}}: Invalid|ref=harv(help) 22–24 - Knapper, Robert (20 January 2012). "Issue 11 of Stencil Mag". Stencil Magazine, Inc. pp. 24–25. Retrieved 9 January 2013.
{{cite web}}: Invalid|ref=harv(help) - Kelham, Andrew; Bird, Ryan (February 2012). Darren Taylor (ed.). "Class of 2012: Enter Shikari / Enter Shikari [9] 'A Flash Flood of Colour' (Ambush Reality)". Rock Sound (157). London: Freeway Press: 32–33, 74–75. ISSN 1465-0185.
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