Fashoda Crisis
Gig Seeker Pro

Fashoda Crisis

Southend-on-Sea, United Kingdom | Established. Jan 01, 2005 | SELF

Southend-on-Sea, United Kingdom | SELF
Established on Jan, 2005
Band Alternative Rock

Calendar

This band has not uploaded any videos
This band has not uploaded any videos

Music

Press


"MIschief Of One Kind And Another Review"

Awkward trios hotwiring Fugazi, Shellac and/or McLusky get a fast track into our Myspace roundups, and so it is with Southend's Fashoda Crisis. These are very much the children of Falkous, what with their love of a cutting aphorism, opaque lyrics with politicised undertow, bass that'd power a village for a fortnight and wall of distortion guitar. Their currently available mini-album Mischief Of One Kind And Another spits its righteous fury from inside a seal-packed environment of their own - Sweeping The Nation


"More Mischief Reviews"

The bass rumbles and drives, the thrashing guitar is full of melody and they have a great line in well-hollered intelligent sloganeering. - Sounds XP.Com


"More Mischief Reviews"

Fashoda Crisis certainly do a great job of standing out from their British contemporaries on their self-released debut album Mischief Of One Kind And Another. Containing the kind of jerky stop-start rhythms that make Shellac so appealing 'What God Meant To Say' kicks matters off in typically furious style, while the adrenaline fuelled 'If Charlie Simpson Ruled The World' catches the band at their most pissed off and self-righteous. - Rock Midgets.Com


"More Mischief Reviews"

from the vocal inflections to the melodic twangs in the slabs of guitar and the crowbar drums, this could be Steve Albini at his best (with a pinch of Rage Against the Machine spoken agitation in the middle 8). Insistent, uncompromising, demanding to be heard – isn't it time you got up to some mischief? - R*E*P*E*A*T Magazine


"More Mischief Reviews"

Fashoda Crisis deliver seven cuts of sarcastic, twisted indie rock as only they know how on this début (mini) album proper. Fusing jarring guitars, thudding bass lines, lashings of noise and a wealth of ear-splitting screams/deranged mutterings in equal measure thanks to confrontational singer/guitarist Sim; this is music to get angry – nay – psychotic, to: sit and listen in a dark room at your own risk. 'Land of the S.O.P' is a Daily Mail reader-baiting ditty that mixes dark humour with a touch of disco funk – and yes, it works marvellously. You won't find a more caring – or angrier - band - Noisy Magazine


"Swedish Review"

De engelska gycklarna i Fashoda Crisis har på sitt senaste släpp "Mischief Of One Kind And Another" ramat in sig själva i en hårddragen men välljudande perfektion. Det är kantiga melodier med markerande trummor och en sång som känns rakt in i benmärgen. Med smarta samt kreativa texter som genererar eftertanke skapar killarna en stadig grund för både sig själva och lyssnaren. Ibland vandrar de över till rena metalriff, men oftast håller de sig till rena rockgitarrer som rent ut sagt kräver ditt beaktande. Lika viktigt som musiken är texterna som lyckas med konstarten att vara politiska utan att för den skull vara påtryckande. Det finns en stor dos ironi som döljer sig i varje stavelse och därför krävs det en hel del av lyssnaren för att budskapet ska träffa där det var tänkt. De klara referenserna är band som McLusky och man kan utan tvekan säga att aktiva McLusky-spinoffen Future of the Left har fått sig en trovärdig konkurrent i Fashoda Crisis. Med träffsäkra låtar som "Land of the S.O.P.", där bandet kritiserar Amerikas krig mot terrorn och hur det påverkar gemene man, och "What God meant to say" som ger skivbolagen en känga för sitt tidslösa agerande mot kopiering av musik. Fashoda Crisis har härmed landat, och de har ett världsherravälde i sikte. 8/10" - Lukinzine, Sweden


"Echoes and Dust Almost Everyone Review"

First and foremost, Fashoda Crisis don’t sound like System Of A Down (long story - Ed.). They never did, and they never will. What they sound like is an alternative soundtrack to a mashup of Clockwork Orange and Nineteen Eighty-Four, and they’re exhilarating.
Almost Everyone Is Entirely Average At Almost Everything is an angry juggernaut of an album. It’s the sound of a tentacled monster thrashing about inside your head, desperate to escape, flinging viscera about in its wake. It’s your exploded skull, discarded in a pool of brain jelly, topped with a comedy red nose and a squirting flower.

As with Fashoda Crisis’ previous album, Him Make They Learn Read, the centrepiece here is Sim’s lyrics; biting social satire delivered through the mind of a lunatic. ‘Amnesiac Electorate’ opens the album, chastising us for walking headfirst into a bastard Tory government;
“Amnesiac electorate as we walk through the valley of the shadow of death, forgive us our trespasses and deliver us from Jeremy Hunt”
The government baiting continues on ‘Hey Pauper’;
“Hey Pauper! Why don’t you eat your children, like animals do?”
This is the social commentary we deserve; biting, sarcastic, accusatory. As I type this, UKIP have just increased their presence in UK politics, social apathy and the worst form of xenophia have led to our society being nasty and jaded. These same little-Englanders come in for a beating in ‘Orwell’, ending with a bellowed;
“This is what you wanted. What you asked for. What you begged for.”
“Fuck you all”, Sim is saying. Fuck your narrow minded bullshit, your insular lives, your refusal to partake in your community. We got what we deserved. In the end, Sim’s response is surprisingly measured.
All of this unhinged rage is perfectly framed by Matt’s viscous, oozing bass and Simon battering the drums like a man possessed. Discordant noise, coalescing into something insane, something oddly beautiful.
Or, in the words of my girlfriend, “It’s all just shouting.” - Echoes and Dust


"Almost Everyone Reviews"

We’ve praised Fashoda Crisis before for their muscular metal-weight rhythmic hardcore screamology. Because they’re damn good at it. And on this latest effort they prove that they’re getting better. They’ve amped up the theatricality and added a few more variations to their sound – à la Future of the Left. They’ve honed their political edge (though it’s still the sledgehammer rather than the rapier, but none the worse for that)*. And when they unleash it hits more forcefully. So a bitter sense of humour abounds and songs like Orwell and Billericay build into a truly scouring noise attack. Indeed, totting it up, our finest statisticians can conclusively prove that with this album Fashoda Crisis comfortably exceed the national average. Which probably means they’re shit at skateboarding or something to balance it out. At least I hope they are.


*By the way, I’ve banished uncharitable accusations of preaching to the converted for 3 reasons –
1. It’s good that there’s anyone doing it.
2. In a word where ‘alternative’ is a code word for ‘anything with guitars’, doing something that isn’t immediately going to grace the 6music breakfast show is a statement in itself and
3. There’s never actually been a shortage of small ‘c’ conservatives in the (post-)hardcore audience and a proper focus for the ranting is to be applauded. - Sounds XP


"Almost Everyone Reviews"

Here are the highlights: Reminds me of Mclusky, good range of sounds, sometimes the lyricism needs work, but you’ll have that.

What really matters is why this album is on the list. At times I do find moments that are miss in some of these tracks, but I think tracks like “Postanova” and “A Eulogy of Sorts” showcase this bands potential. Also, I can make a pretty similar statement for Mclusky too. Despite this, the songwriting is just really well done and Futures of the Left should take notes. - Procurement Records Top Ten Noise Albums of the Year


"Almost Everyone Review"

>> Early this month we had an editorial powwow with Mr. Charlton about the then-new Hard Left single and the discussion turned to our increasing disappointment with the lack of political engagement in contemporary indie rock. During the exchange we grasped for examples of bands doing such work these days (in addition to Hard Left, of course, which has since announced a second, equally potent single). We did come up with a couple of course, but for some reason we didn't recollect at the time one of the strongest exemplars: the mighty Southend-on-Sea, England-based agit-punk concern Fashoda Crisis. The trio Monday released its third long-player, a brawling yet sophisticated 11-song set of filth and fury titled Almost Everyone is Entirely Average at Almost Everything. We recall an article in the Philadelphia Inquirer about the surprising popularity of Jane's Addiction (this was around the time of the release of Nothing's Shocking), and that the article included a fan quote dubbing Jane's "thinking man's metal" or some (gender-insensitive) such. Well, Fashoda Crisis certainly qualifies as "thinking man's punk." Its thrilling collection commences with the incisive line "amnesiac electorate you have relapsed and left us with a system that worships television politicians," and proceeds from there scooping out satire, manifesto and social criticism to any takers. Fronter Sim Ralph characteristically berates the objects of his white-hot ire in a vitriolic voice not unlike that of Black Francis at the Pixies-man's most unhinged. Mr. Ralph is no slouch when it comes to "unhinged," either: Fashoda Crisis' "Everything: The Musical," a highlight of the new album, features the comically bizarre, syncopated lyric "don't question my version of events, I'm wearing pajamas." Underpinning the anger and weirdness of Almost Everyone is Entirely Average at Almost Everything are tight, dynamic performances and intelligent songwriting. It makes the set indelibly refreshing, not only because it dares to rouse some rabble, but because it is so well-executed and well-conceived. Almost Everyone is Entirely Average at Almost Everything was released digitally by Fashoda Crisis Monday, and will be issued on vinyl later this year; fans who purchase the digital download receive a £7 discount on the LP when it is ready to ship. The set is on offer now in various bundles via Bandcamp, with added inducements coming in the form of t-shirts and posters and badges for the discerning punk fan. Fashoda Crisis are slated to perform July 5 at The Ace Hotel in Shoreditch, London, and Aug. 28 at Gwidhw, Cardiff, for those of you reading these words from the opposite side of the Atlantic. In the meantime, soothe your savage breast with the sounds of Almost Everyone is Entirely Average at Almost Everything via the embed below. We last wrote about Fashoda Crisis here in late 2012. - Clicky Clicky Music


Discography

Fashoda Crisis have been performing live in various dingy buildings around Europe since April 2005. They have self-released three albums Almost Everyone is Entirely Average at Almost Everything (2014), Him Make They Learn Read (2011) & Mischief of One Kind and Another (2009) as well as a number of E.Ps, most notably The Jowls of Justice (2012).

Almost Everyone is available on vinyl from their BandCamp page.

All material is available through Bandcamp or via iTunes or any number of music streaming sites.

Photos

Bio

Southend based DIY rabble rousers Fashoda Crisis have been venting their spleens at the state of society and popular culture for nigh on a decade now. Along the way they have picked up a small (but loyal) following of right-thinking people who are quite happy to hear a man (who is more than old enough to know better) ranting about wearing the skin of Vernon Kay to a backdrop of furious feedback-drenched guitar, pulsating bass and pounding drums. 
Steeped in blood, sweat and viscera, ‘Almost Everyone is Entirely Average at Almost Everything’, is their first full length album, although previous releases ‘The Jowls of Justice’ (2013), ‘Him Make They Learn Read’ (2011) and ‘Mischief of One Kind and Another’ (2009) all managed to wangle their way on to album of the year lists for the likes of Echoes & Dust and Sweeping the Nation anyway.
Partly funded by a successful, albeit tiny, Kickstarter campaign (disproving the adage that you need a crowd to crowd fund), it was mixed, mastered & engineered by Tom Donovan (whose credits include Dingus Khan’s album ‘Support Mistley Swans’). The album features eleven tightly wound tracks of brutal satire and beautiful cover art by Stewart Allan of Edinburgh Art-rockers, Black International. A collaborative project of sorts, individual artwork has been created for each track by Stewart Allan (again); Czech Artist, novelist and poet, Tomas Pridal; Dingus Khan bassist and cartoonist Tom Armstrong; Fine Art Graduates Chrissy Cochrane and Dan Meikle and musicians Simon Bellamy (ex- Baddies) and Michael McCann (His Naked Torso).
Fashoda Crisis love you. But would never cheapen the sentiment by saying so to your face.