The debut record from Knife Party reinstates how we’ve felt about EDM for a while now – it’s not dead, it’s just that not many people are trying anything new anymore. Luckily Rob Swire and Gareth McGrillen are here to change all that. 

Much of the scene has been stuck on the shit but successful progressive-house templates of David Guetta and Calvin Harris lately. There’s been a bit of a rejuvenation of the underground house scene and a couple of artists trying to save drum and bass, but when it comes to full on, hard-hitting electronic chaos, we’ve been left at a bit of a loss.

Abandon Ship is a breath of fresh air in that sense, which is funny, because it’s packed so heavily with unrelenting madness that it’s unlikely fresh air will get anywhere near it when its blasted on the loud speakers.

There are a couple of songs tailored slightly more for the mainstream – single releases ‘Boss Mode’ and ‘Resistance’ unsurprisingly fit into this category – but even these are laden with the original beats and synth work that set Pendulum so far apart from anyone else in their field back in their prime.

The KP creativity shines through best on ‘EDM Trend Machine’ though, an ingenious tune that toys with various styles from the electronic world – taking classic rhythms from deep house, house, trance and more – to form something completely original and funky as hell.

To take so many sub-genres, integrate them all into one track and still come out with something so addictive is no mean feat. And it's a very apt symbol for how the rest of the album is run as well.

‘404’ plays on computer errors - of which there have been plenty in the charts of late - and soft melodies around a central, pulsating beat that’ll cause mayhem on the live stage.‘Begin Again’ is one for the old Pendulum fans meanwhile, providing a more traditional, vocal build-up piece reminiscent of 90s electronic rhythms.

Ella Eyre – If I Go     2/5

She first came onto our radar providing some sick vocals for Rudimental’s smash hit ‘Waiting All Night’, and since then things have really blown up for Ella Eyre. The 20 year old has now featured with Wiz Khalifa and Tinie Tempah, and impressive with her debut EP Deeper, which stood strong solo and lent itself to some top remixes (check out the Friend Within mix) as well.

After such a strong past year then, it must be said that debut single ‘If I Go is’ a little bit of a letdown. The track is all to generic, with the only thing lifting above the rest of the templated-instrumental beats floating around right now being the artist’s signature, and admittedly splendid, vocals.

While as impressive as always though, the strong, avid singing of Eyre is simply not enough to make this song stand out, with a routine drum beat on the verses and an underwhelming progression to the chorus, which rises to a drum and bass style instrumental beat, proving all too monotonous.

Little Matador – Reasons     3/5

A real stomper of a rock beat guides the latest single from four-piece Brits Little Matador from the second it kicks off. Strong guitar work is seen throughout and a bassline that loops throughout keeps the listener hooked.

The fuzzy vocals in this track dive up and down over a tenacious back beat, giving a raw, rugged feel to the song that compares to early work from Queens of the Stone Age. Frontman Nathan Connolly offers enough differentiation from the rest of the indie-rock and chart-rock work on offer right now to make this track entertaining, although it still would have probably done better in the charts had it been released in 2010.

JproD – We Here Now (So Much Smoke)     3/5

A simple, synthetic and progressive beat moves up and down early on to lay the way for lyrics that take a nice rhythm and hold a nice line over the continual electronic backing.

The lyrics are genuine, taking on more serious, relevant issues than you’ll find in the Flo-Rida school of nonsense that’s been floating around the charts for the past few years, and JproD seems assertive in his work, laying down his words assertively and with a seemingly experienced confidence that grips the listener.

Unfortunately, unnecessary autotune takes away from the solid work of the artist throughout the song. The autotune comes and goes during the three minute plus record, but really only gets in the way of otherwise good work rather than contributing anything of value.

Beyonce – XO (Full Crate Remix)     2/5

A chilled house remix of last year’s release from pop queen Beyonce. A sweet soothing electronic melody starts off this piece before the lyrics of Beyonce step up a notch and the beat turns into a bouncy electronic sounding which is actually rather irritating.

This circulating beat seems intrusive to the song than complimentary, and when the work reverts back to a more casual house rhythm as Beyonce slows it down, the summer-style record proves much more appealing.

Needless to say though, with the bouncing electronic feature recurring throughout the record as Jay-Z’s other half dives into her verses, this song proves more irritable than irresistible and won’t be getting added to the summer playlist.

Click here to continue and find out what our single of the week is this time around, or hit the read more button below.

Monarchy – Living Without You (MK Letting Go Remix)     4/5

The modern master of the remix Marc Kinchen brings us back to the early 1990s with his latest work – a disco remix of Monarchy’s funky number.

Dark tones of robotic keyboard bounce up and down in a flowing melody that continues to circle throughout the four minute plus song but does not bore. Whereas often MK lets his backing beat take full charge of the tune, mixing in just a single word or line from the song which he is remixing, on this occasion he lets the full vocals of Ra Black sound out from around the minute mark in his edit.

With the lyrics still accompanying and complimenting the rhythm rather than driving it along though, this tune is all about that electronic backing. And it’s truly tantalising producing from the Detroit electronic artist.

The Pierces – Kings     3/5

Sisters Allison and Catherine Pierce return with their powerful new record Kings, the second single to be taken from their upcoming album Creation to be released in September.

A basic backbeat made up from guitar and keyboard work supplies the foundations for a fast flowing vocal melody from the Alabama-born siblings that carries the number. The verses are smart and maintain interest by rising and falling nicely in tone and power through the powerful vocals on offer.

The chorus then offers a rising harmony which is barely original, and the repetition of this bracket becomes increasingly agitating as the song draws on. Good vocal work and songwriting without a distinctive edge.

Heart to Heart – Mentirosa     4/5

Heart to Heart have diverted from their previous punk-rock roots to take on a harsher, heavier tone in their music ahead of the release of their new album Dulce
– and it suits them well.

A plucked guitar twang opens up the number in intelligent manner, and this progresses nicely to introduce a heavier instrumental lay down and rough, fitting vocals before an anthemic if slightly predictable chorus.

The vocals really come into their own during the second verse as they begin to sound out over the strong instrumental backing. Breaks between chorus and verse are dealt with well so as to not invite on monotony too, with a cooled bridge leading on to subdued clean vocals late in the third verse to separate it from the previous offerings.

The lyrics could do with a little more depth and meaning but this is a neatly put together track that showcases some good work from the band.

Handguns – Sleep Deprived     2/5

American four-piece Handguns don’t hang around waiting to get their latest effort off to a quick start. Neat instrumental work heavy on riffs familiar to pop-punk play out over vocals shouting about the past woes of a lost relationship. Not much differentiating from genre conventions then, but the chorus is catchy and the chantable lyrics will work well on the live stage.

The tune is slowed down to acoustic pace for a few seconds late on before bursting back into that repeated chorus. It’s a number that will likely appease current fans and is capable of showcasing instrumental talent, but without a distinguishing selling point, it does leave you hoping that more unique efforts await when the band drop their upcoming album on 7 July.

★ RECORD OF THE WEEK ★

Kanye West – God Level (prod. By Hudson Mohawke)     4/5

Glasgow’s own Hudson Mohawke has been living the high life lately after leaving the land of Sub Club and Rubadub Records for the planes of Hawaii to turn producer for Kanye West.

Mohawke is now a full-time member of Kanye’s G.O.O.D music label, and he’s once again the producer behind the latest track to come forward from West. The track, entitled God Level, seems to be (an albeit pretty impressive) leftover, from the rapper’s coveted Yeezus, and debuted in the latest Adidas World Cup advert, featuring Lionel Messi & co.

Trap drums cue an exotic feel from the start that let you see why the track seemed appropriate for Adidas’ Rio de Janeiro-bound advertisement, all the while applying the unique obscurity found throughout Yeezus to the backing track.

This is a back beat which is continually prominent, be it right in your face and blasting your ear drums or simply smashing away in a slightly more subdued manner, but it sets the scene perfectly for Kanye to drop some traditionally Kanye lyrics.

As you can imagine, then, much of Kanye’s input here involves shouting out ‘God Level’ throughout the track around lyrics that play on the opening line (‘Provide a new coffin/You don’t see murder like this this often’) to combine with the backing to form an exhilaratingly, almost tenacious carnivalistic atmosphere.

An exciting, heavy listen coming soon to a motivational YouTube video near you.

                                                                                                                                        Stuart Kenny

Oliver $ & Alex Metric – Hope     4/5

This song is catchy as hell. Looping vocals provide a hook that gets you interested in what’s coming right from the start, and after the kicking bass gets going 15 seconds in, it’s only a matter of time till things gradually start to take place.

Bouncy synths get involved on 30 seconds that jump and thump around the constant bass, and when the minute mark arrives, we’re treated to a rhythm that ties in 90s groove with twisting synth work to make up a beat that will work wonders on the dancefloor.

This beat sees the song through its duration, and will no doubt see many a club goer through a night of intensive shuffling. The tune dips and dives out of vocals and rhythms to stop it becoming too cyclical, and while it may be a bit abstract for regular home play, it’s sure to be a number well received in the clubs.

Deadmau5 – Avaritia     3/5                

Controversial Canadian electronic music maestro Deadmau5 returns with Avaritia ahead of his upcoming album release on 17 June.

A melodic electronic flow builds up slowly before bursting into life to introduce this song with a rhythm that wouldn’t be misplaced on Daft Punk’s Tron: Legacy Soundtrack. After fading out, this is replaced with a hypnotic looping bass beat, which thumps repetitively before the original soundings begin to work their way back in.

This thumping fuzz possibly goes on a little too long however. It may have worked well as a quick bridge to lay the way for a second piece of progression or as a canvas from which to introduce some lyrics, but rather it becomes slightly monotonous in the background as it proceeds for a substantial period of the track.

When the original beat does return in subdued style in the lead up to the reintroduction of a synth which proves catchy as hell, it works well. Unfortunately the gap between the good work proves too large for the track to really impress though.

The Story So Far – Navy Blue     2/5

A short and sweet track from Californian five-piece The Story So Far. A slow, inviting acoustic guitar opens the song to the untouched, roughly provided vocals from the wonderfully named Parker Cannon, but you can’t help but feel like if the vocals weren’t hiding behind the guitar work as much, this song would have been much more accessible.

Nevertheless, it’s a sentimental effort, and one that makes for easy listening from the pop-punk group that have been known to lay down much more in-your-face, upbeat efforts in the past.

Every artist needs their slower tracks though, and the vocals on this number do show that the band is still doing good work ahead of the upcoming release of their next EP, from which this single is taken. 

Despite this remark though, it’s a little hard not to pine for a big breakdown halfway through this song which could well have made this number a cult hit and a live favourite.

The 1975 – Robbers     3/5

A slow and steady riff starts off this single before the relaxed vocals begin. With the faded nature of the singing from Matthew Healey playing out over a looping bass, it’s really the instrumentals that drive the beginning of this number, although this does change when we pass the minute mark and Healey begins to impose on the track.

A meaningful chorus follows before the looping bass again takes control of a track which relies on persistent drums and a cheeky background riff which only chips in on occasion. The more frequent recurrence of this riff could perhaps have benefited the record, which becomes increasingly bland as it draws to a close.

Solid vocal work and lyrics which tell a haunting love story should have taken more prominence than they do. This isn’t a bad record, but it could have been much more. 

Twin Atlantic – Heart and Soul     4/5

Glasgow rock group Twin Atlantic are back with a new single in the lead up to their third album Great Divide, and it’s a track that will grow on you uncontrollably until you simply can’t help but try out your best Sam McTrusty impression at near enough every opportunity you get.

Seriously, this song didn’t make the greatest impression on the JFC team when it first came out. Now we’re rocking around our respective flats yelling out the opening line like we’re going to drop dead if we stop it.

That catchy opening line (I switch the flick on the generator/So I can turn you on), comes on the back of some thumping instrumental work that gives McTrusty an anthemic introduction. The vocalist doesn’t hold back with his strong, signature sound flying out high over a number that bursts into life at the chorus. 

The Scottish rockers present us with a record full of resounding verses, smart guitar and drum work and a rhythm that is impossible to get out of your head. Good work Twin, and good to have you back.

Of Mice & Men – Would You Still Be There     4/5

There has been a lot of talk in the metal world about Of Mice & Men becoming a bit too commercialised and a little too soft for the hard-hitting fans that demand perfection from their genre.

This track is certainly not as heavy as the previous work from Austin Carlile & co. but it by no means shows signs of commercialisation from the Americans. Fighting guitar riffs play from the start before the lead guitar takes over to kick in with a killer riff that proves catchy as hell.

Clean vocals hang around the chorus and lurk in the background of verses that combine to make a very listenable track that maintains the heavy roots of the band. Instrumental work is bridged brilliantly and although the necessary breakdown is a little short, it keeps in tone with the radio-metal nature of the overall song.

★ RECORD OF THE WEEK ★

Jesse Glynne – Right Here     4/5

Impressive vocalist Jess Glynne has had massive charting success recently on electronic records including Clean Bandit’s smash hit Rather Be and house sensation My Love from Route 94, and the artist is now back with a debut track of her own as she looks to capitalise on the rise of house music currently captivating the country.

Her single Right Here is produced by British upcoming breakthrough act Gorgon City, so the singer was always bound to be off to a good start. A light backbeat serenades Glynne in the opening verse of the track, but while the pipes of the London singer float nicely over the melody serenading her lyrics, Gorgon City really steal the show on the single when their thumping bassline kicks in after 40 or so seconds.

A simple yet mouth-wateringly effective bassline moves up and down alongside a touch of brass, during the chorus, and when the subdued, funky backing returns during the chorus, the listener is really just left pining for another dose of that big bad bass at the chorus. 

Good work by Glynne here, but it is a little overshadowed by a fantastic turn out from the Gorgon City lads. Don’t be fulled though – Glynne can sing (check out her track Home for another great record), and she could well be heading for a lengthy spell in the charts.
                                                                                                                                        Stuart Kenny

Just For Culture bring you all the latest reviews from the world of music, as we tackle some single releases from the second week of May. Here's our breakdown of the latest singles out right now.

Claire – Broken Promise Land (Giorgio Moroder Remix)     3/5

Italian producer Moroder returns with a futuristic remix of Claire’s latest single. The remix begins with the artist’s vocals resounding over a slow, thumping beat accompanied by a distant synth and more prominent, bouncing electronic input. 

The opening verse flows nicely into the first chorus, which doesn’t differ much from the build up, before breaking the song down with some robotic male vocals that cement the ultramodern nature of the piece. These robotics deny the number the chance to take off into the more upbeat number that the second verse threatens to bring on, but ensure the unique nature of the remix remains. An electro effort worthy of critical praise for the intricacies, but unlikely to make for comfortable regular home listening.

Little Mix – Salute (Troyboi Remix)     4/5

The girl group spawned from X Factor hit back with another single, and when Troyboi takes hold of it the track travels in an entirely different direction. After some early vocal harmonies from the four-piece group, an absolutely massive bassline drops in big enough to blast your face off. Good work from the producer to lay down his marker on the track and turn it from a pop number into a grimey hip-hop track early on.

After the bassline has calmed down, it’s a more standard hip-hop backing that accompanies Little Mix through the remainder of the song. The fast paced nature of the chorus works well with the instrumental work laid down by Troyboi, who manufactures a song that wouldn’t look out of place in the back catalogue of Destiny’s Child. This is one to be played on big speakers in a room with slamming acoustics.

Seinabo Say – Hard Time     2/5

Faded vocals start this off in a melodic, looping chant. The vocals soon grow in power as the introductory build up is met by a strong, repetitive backing formed through keyboard and bass. After a minute or so of what feels like build up, a smooth guitar interlude brings us back to the build up before the piece finally seems to move up a notch with around a minute left on the timer. A final hook from Seinabo Say as the end draws near allows a penultimate push off into a satisfactory and memorable ending, but it does feel as though it is too little, too late for this track.

Paloma Faith – Only Love Can Hurt Like This     2/5

The spectacular vocals of Paloma Faith play out over a subdued big band backing for the first verse of this track, which transforms into somewhat of a whiny love number as it hits the chorus. The song feels like it should be playing in a movie montage as a character who has recently wronged his true love stares out a rainy window, regretting his actions and remembering the good times he had with said romantic interest. A solid track from Paloma, but nothing new and nothing particularly encapsulating. The vocals get repetitive as the eponymous lyric continues to pop up, and this does indeed feel like more of a soundtrack song than a charting hit.

CHVRCHES – We Sink     4/5

The latest single to come from CHVRCHES recently released and highly acclaimed album The Bones of What You Believe, the backing track for We Sink would not have looked out of place if providing the soundtrack to a chase sequence in the Tron series. A futuristic, fast-moving and upbeat electro beat jangles and jives around behind cool vocals from lead vocalist Lauren Mayberry. 

The backing stays strong throughout as it dips and dives into different levels of electronic elation, and the vocals on top are spread out nicely enough not to give the reader the chance to get bored of the bouncy sound. Good work from the Scottish breakthrough act.

★ RECORD OF THE WEEK ★

Oliver Heldens X Becky Hill – Gecko (Overdrive)             5/5

The day that many were dreading had arrived – Oliver Heldens has released the vocal mix of Gecko, the slamming progressive electronic track that has dominated the past year in EDM from the summer festival fields to the mountainous heights of La Folie Douce in the Alps. 

The track flows with an electronic twang reminiscent of Tchami’s innovative future house genre and twerks around so unpredictably that it would seem as though no vocals could ever be introduced without compromising the unique beauty of the track. This, however, proves to be distinctly untrue.

The Voice singer and regular Rudimental feature Becky Hill was the one charged with singing on the track, and the manner in which she takes power over the build up and drops without taking away from the backing is truly impressive. Right from her entrance, Hill‘s distinctive vocals travel well as the record jumps, while also seemingly guiding the song through its various ups and downs. A great choice of vocalist by Oliver Heldens, who alongside the wonderful Becky Hill achieves what many doubted would be a possible. 

Expect to hear this go into overdrive in clubs and on the radio over the next few months.
                                                                                                                                        Stuart Kenny

Just For Culture bring you all the latest reviews from the world of music. Here's our breakdown of the latest singles out right now - check back in next week for our following reviews...

Afrojack ft. Wrabel – Ten Feet Tall   2/5

Former-EDM favourite Afrojack returns with a progressive build up that starts off with some promising vocals with Wrabel. A fairly energetic drop follows on to the end of the artist’s introduction that promises more than the producer has been delivering with his recent material, but while the enjoyable kick in will no doubt make a big impression during festival season, the vocals do become repetitive and drain interest from the track.

Foxes – Holding onto Heaven  3/5

A slow, intricate start highlights the real vocal impression that Foxes can make when she doesn’t hide behind a big beat. The Southampton singer bursts into action with a quick drum beat and a couple of fast paced violins to get the song really going, and along with a little bit of piano holding it together, this new release is a pretty nice track. Nothing innovative but a catchy tune that will grow on many.

Lana Del Rey – West Coast  3/5

Lana is back with a smooth, subdued effort that starts off by putting some fuzzy instrumental work ahead of the artist’s vocals before slowing it down to bring that famous voice to the forefront. The transition between these two sections shouldn’t really work but actually flows nicely, although the song does leave you longing for a little bit more of that classic Lana twang that sends tingles down the spine. Good. Could be better.

Ed Sheeran – SING 2/5

The start of Sheeran’s latest effort calls back some early, funky Justin Timberlake in an instrumental introduction. In fact, with the high pitched range taking over at the chorus, this song could well have been taken from a pile of unreleased material from the man in the suit and tie. To be honest, with fast-pace and continental guitar work in the background, it would have been better if sung by JT. Go back to being Ed, Ed. It’s what you’re good at.

DJ Fresh vs. TC – Make U Bounce   1/5

The producer behind Gold Dust and Louder returns with a poor effort. The build up here feels like a computer is breaking down and with the mute button not working, you’ve been left to listen to the resulting death. After the turn, it’s a little bit more enjoyable. Some funky work attempts to make up for the previous irritation but moves to quickly to do so, and before you know it, you’re left smashing on the mute button once again.

★ RECORD OF THE WEEK ★


Clean Bandit – Extraordinary feat. Sharna Bass  4/5

A calm, organic opening sees some piano work set a chilled mood which picks up pace when the impressive vocals of Sharna Bass arrive. Violin work contributes to natural vibes, and although additional clapping removes from the progressive piano, the following kick works well to take on a Mediterranean summer feel. Things are kept fresh after the first chorus with an extra touch of bass and a change in melody. Summer time success.

                                                                                                                                                                                                                                    Stuart Kenny

You Me At Six are back with Fresh Start Fever, the latest single to be released from their much anticipated fourth studio album ‘Cavalier Youth’.

Following on from lead single Lived A Lie, the most commercially successful single release from the band thus far, Fresh Start Fever jumps immediately into fast moving verse emphasising vocal qualities over subdued guitars and restrained drums.

This verse leads into the hooking refrain, keeping the tempo high and building nicely to the kick in at the chorus, where fans are greeted by the chant-friendly lyrics: “And it’s a fresh start fever/ who would want to be here. Welcome to the future/ dream a little bigger.”

Neatly controlled guitar riffs and symbol work continues to impress between choruses and refrains, while the overall tone of the track feels built upon, or rather matured from, the the likes of previous work Loverboy and ‘Hold Me Down’ track The Consequence.

A pressing, urgent feel comes from the instrumental effort throughout, no more so than when the impressive pre-chorus enters late on, giving a sublime lead up to the exiting chorus.

An addictive number overall that shows a fresh fluidity and retains enough elements from the wonderful Sinners Never Sleep template to keep fans excited for 27 January.