Everybody's Enemy

Everybody's Enemy

"Enter The Enemy"



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Everybody's Enemy

http://www.everybodysenemy.com/




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Minor Threat's, Dead Kennedy's and Circle Jerks' far-reaching exploits continue to infiltrate throughout the endless waves of sweat-inducing discontent as is evident in Tokyo's cross-bred Everybody's Enemy. The same could also be said of the tireless popularity of martial art films and of the infusion of their elements into this lasting scene. In their uncompromising 10-cut, 17 minute trans-Pacific flavored debut 'Enter The Enemy,' this unlikely 1 part Canadian and 3 parts Japanese outfit clearly seek to and succeed in honoring both guards in establishing their own mark amongst others in the latest punk wave breaking in the Kill Bill generation.

From start to finish, Everybody's Enemy lay out their very own "shock and awe" campaign that pummels away, kicking confidently, defiantly and proudly. "Welcome To Our World" opens matters relentlessly as a call-to-arms is unleashed by the prophetically determined vocals of Montreal-raised David whose rallying cries can surely stir the masses as Kouta's guitar piercingly skewers circularly amidst Def's bouncing bass to the tight high-hat poundings of Sou's. Ensuring the continual body launches onstage and an even further fevered mosh pit, their under a minute frantic screamer "Blue Blood II" follows that ends with an instrumental barrage and concluding group yell, surely echoed live to 11.

Showing their hardcore, old school wide-minded roots, Enemy press hard for accountability and ethics in their incorporation of the political hotbed of Iraq and media's hand in the distortions without losing either music or message on their inaugural disc. From the bass-led, machine-gunning "(Don't) Kill The Children" to the high-stepping, swirling "Mad Media Disease," Enemy keep it simple, smartly avoiding the pitfalls of trying to satisfy all as well as chucking in any debilitating sad bastard material as well.

Ending their first recorded assault with the rising vocal communal affirmation of "This Is Not The End," this quartet intuitively knows their punching and kicking weight,but more importantly know that they are far from finished. With such shared strength between themselves and their founding fathers throughout, Enemy's multiple roundhouse modus operandi fittingly portrayed in its cover art of a yellow and black track suited, skull-faced black-shagged man in full fever as his follow through sends his foe reeling makes for an accurate portrait. Not Enter The Dragon worthy, but they're up there with Fists Of Fury and coming soon to a dojo near you!
review by michael
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