Knife Party – Abandon Ship

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There are two ways to view this album, both of which are related. There’s an attempt to follow the blueprint for every good dance album. Artists that follow this blueprint make sure that first and foremost their tracks bang, and then surround them with quirks and amusing ideas to make them memorable. There’s also an attempt at a statement-making album. Knife Party tells us they are beyond the Bass Music scene. Why would they try to go beyond it is a mystery. It’s a scene that spawned LAXX, Skrillex, Excision, MUST DIE! and Barely Alive. Unlike the bland European house that Knife Party borrows from them a bit, Bass Music artists actually understand how dance music works.

Either way, this statement is a failure. Knife Party’s version of being ‘experimental’ is merely avoiding Brostep. Many of the ideas they replace the Brostep with are not only less original, but are not worth exploring. “Red Dawn” relies on a Middle Eastern melody, and this one-note idea makes it sound like a DJ tool by some Martin Garrix clone. The melodic “Kaledioscope” is just a less progressive Orbital, and “Begin Again” is Hardwell or Avicii with better vocals. “EDM Trend Machine” doesn’t add anything to the modern Deep House formula. The snippet of Brostep and Big Room before the drop doesn’t change much. It’s barely a second, so it doesn’t leave any effect. This idea was later improved on by Getter’s “Dubstep Is Dead”, who used this structure much more effectively. He also added a Hardstyle drop.

Another problem with these songs is that Knife Party operates in an area they don’t feel comfortable with and show little understanding of it. “Going soft” seems radical for an artist as aggressive as Knife Party, but the aggressive tracks sound much more inspired. It makes you wonder if Rob Swire only churned “Kaledioscope” just to say that he can do more than make noise, but why would he avoid making loud noises if this is where he’s most inspired? “404”, “Micropenis” and “Boss Mode” are just as aggressive as anything by Excision, and this time the quirks actually work. There’s a chiptune breakdown in the middle of “Micropenis” that sounds jarring at first, but actually fits in such overblown music. “Boss Mode” is a Drumstep track masquerading as Twerk. “404” is pure mayhem. The melodic build-up is the only thing stable about. Error sounds, glitches and a Big Room drop that takes the genre to its extreme. Even their attempt at Disco in “Superstar” sounds like they added a little funk to “404” instead of borrowing their ideas from Daft Punk. Disco never had such hard drums.

Rob SWire’s attempts at originality failed, but it barely harms the quality of Abandon Ship. As a dance album, it’s fantastic. Every single track here is a banger. The aggressive tracks are much stronger than the softer ones, but even the soft ones are good enough to not let the album down. It’s a testament to Knife Party’s talents that “Begin Again” is as a good as it is. Give it to Hardwell or Avicii or Armin Van Something, and you’d get white noise. In the hands of Knife Party, this style of melodic house sounds like it has a future. It’s not just Rob’s vocals. When the drop comes, it’s focused more on an uplifting atmosphere, and it doesn’t rely just on its drop anyway. The drop in “EDM Trend Machine” is being done to death, but there’s still a great bassline there. Only “D.I.M.H.” is bad. It’s a bland, melodic track that is supposed to be ‘traditional’. If it is, I’m glad Leftfield and Underworld destroyed that trash. There’s no way the people behind “Give It Up” made such a shoddy production job.

Once you get over the pretense that this album is more original than its peers, it’s a great dance album that gets everything right. Knife Party’s transition to album should’ve come earlier. Abandon Ship actually feels too small. It could definitely use a few more tracks, perhaps an actual drum and bass one or another moombahton. Despite Rob Swire’s attempt, Abandon Ship belongs to the Bass Music section and another example of how exciting and underrated that genre is. Just forget about “D.I.M.H.”.

3.5 abandoned ships out of 5

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The Prodigy – The Day Is My Enemy

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If your main gripe with The Day Is My Enemy is the lack of new ideas, maybe you should reconsider your status as a Prodigy fan. Maybe, all these years, they just weren’t for you. You thought they were, because they were brilliant. They were just brilliant in a field that’s less important to you. If you want to hear how far Electronic Dance Music can be pushed and still be banging, maybe you should try MUST DIE!, Jack U or Chemical Brothers.

The Prodigy’s sound is not original and never was. People were simply too stupid to notice the common ground between Dance, Rock and Hip-Hop. No classic Prodigy song is great because of its uniqueness. The Prodigy’s music always had one aim. It wanted to bang. It’s no different than early Skrillex. They found some variety in their sound, but the heart never changed. Even when they went from the Rave of Experience and Jilted Generation to the Big Beat of Fat of the Land, the music function in the same way.

The closest thing to a new idea in The Day is My Enemy are the few very rock-based tracks, the drumless “Beyond the Deathray” and the House-influenced title-track. Only “Beyond the Deahtray” is actually new territory. It’s an instrumental that’d be much more at home in Nine Inch Nails’ The Fragile. Their music already flirts with rock, so when they shift the focus to the guitars and the vocals in “Medicine” and “Wall of Death” it’s logical progression. As for the title-track, there’s something unique in its house-inspired rhythm and how it sounds like it was recorded from a battlefield.

All the rest sees Prodigy revisiting old ideas, with various degress of success. The few experiments they did in Invaders Must Die are chucked away. Everything here is driven by aggressive breakbeats, lots of noises and shouting. Every track can fit an old album. “Destroy” is from The Fat of the Land. “Roadblox” brings back the fast pace of Jilted Generation. “Rok-Weiler” is from Always Outnumbered. “Wild Frontier” with its melody (and some of the best sounding breakbeats ever) can fit in Invaders Must Die. Even Flux Pavilion can’t add anything new. On “Rhythm Bomb” he just adds some wobble noises to typical Prodigy rhythms.

You don’t even need to get over the feeling of Deja vu. Almost every track here is a winner. “Ibiza” is the only track that could be left off and the album won’t be worse off. I understand the guys are pissed at the modern EDM scene, but the track only has a decent break and someone ranting over it with a heavy accent. Everything else here explains why nobody else pursues that sound. It will be very hard to beat Prodigy in their own. We’ve heard tracks like “Medicine”, “Roadblox”, “Wild Frontier” and “Destroy” before, but these tracks are just as good as the old ones. Prodigy’s discography isn’t too big yet, so as long as they’ll keep revisiting the same ideas with the same brilliance I’ll keep listening. The old sound of The Day is My Enemy isn’t the sound of old people lagging behind the times. It’s old masters coming back to explain why the sound was so popular in the first place.

3.5 roadblox out of 5