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.

A homecoming party is always that bit more special than your regular celebratory bash. So when notorious revelry kings Rudimental returned to London for the first time in months, it was always bound to be a messy night.

The dynamic Hackney four-piece were back in their homeland for the iTunes Festival after an extensive tour of the globe, and they didn’t waste any time easing into their return.

“We love London town,” bellowed DJ Locksmith, bounding out on the stage in front of lights blazing the name of the band around the circular Camden venue.

Accompanying him? The rest of the Rudimental boys and their famous entourage – two lead vocalists, three back-up singers, trumpets and saxophones blasting out brass madness and a crazy drummer combining to crash out the carnivalistic chaos with which the group are now synonymous.

A frantic introduction got the crowd going, and the group built on their bouncing intro with a jazzed up version of album track ‘Give You Up’ – which then transcended into the full drum and bass banger – and ‘Right Here’, the steel drum driven anthem near enough impossible not to love.

Given that the iTunes Festival is an event with free ticketing – meaning the crowd is a mix of loyal fans and those who happened to get a penny-less pass – it’s pretty impressive that the crowd were so behind the gig.

If anyone can win over an audience, though, it’s Rudimental. The sheer mass of musical madness and the hypnotic energy being churned out from the stage is scarily easy to get lost in.

Bouncing next to a group of like-minded revellers as the group unleash ‘Not Giving In’, one sweaty twenty-something shouts out ‘I don’t even know who these guys are – I’m into heavy metal music!’

It certainly doesn’t seem to have affected his enjoyment or hindered his dance moves. Even if you don’t come to a Rudimental gig as a fan, it’s more than likely you’ll leave as one.

It’ wasn’t all the same old, same old from the producers either. New material came in the form of ‘To Cool To Love Me’ and ‘Breathe’, the former a solid song lacking an addictive hook, the latter a banger that goes ballistic at the drop. Caught up in the moment, the crowd lapped it up.

Emile Sande feature ‘Free’ brought a big crowd reaction, but the piece de resistance of the homecoming set came as it began to draw to a close. When you’re in London, there’s one song you can always rely on to make the locals go wild – whatever the day, whatever the occasion.

When Rudimental dropped a cover of Shy FX’s jungle classic ‘Original Nuttah’, then, the place went wild. We were bouncing around harder than a kangaroo on a trampoline reverberating the legendary lyrics back at the stage.

Feel the Love capped the regular set off with a bang, the signature heart signs taking to the air across the crowd and Mark Crown absolute slaying his trumpet solo to make the crowd lose their minds. 

Five or fifteen choruses later and it was time for a brief break and an encore. The song the crowd had been ‘Waiting All Night’ for (Geddit?!) smashed through the speakers to end a night that can best be described as a freakin' crazy indoor carnival.

Rudimental prove once again that they deserve their reputation as one of the best live acts around. They always provide an occasion to remember and the feel-good vibes get the audience mad.

Never let it be said that drum and bass is all about a computer screen.

                                                                                                               Stuart Kenny

It’s around about five o’clock in the morning and I’m at Edinburgh airport with my girlfriend. We’re in the gate waiting to board our flight to Dublin. 

The masses have already inexplicably begun queuing despite the fact that the plane doesn’t leave for another hour. We were zoned out in a zombified state of sleep on a couple seats nearby – myself flicking slowly through a magazine and taking none of it in, my other half staring deeply into an abyss of utter confusion that only kicks in over sleep-deprivation.

Why were we there? The same reason half the other people on the plane were. To make the trip to a spectacular show from a band at the forefront of their genre. We were off to see Biffy Clyro play a one-off show at what was effectively a giant castle in Dublin. 

What better reason to get up at five o'clock in the morning?

After some naptime on arrival, a stroll around Dublin, a tour of the Guinness factory and some extended sampling of that famous local brew, it was time to head to the spectacular Royal Hospital Kilmainham for the super showdown – with Little Matador and You Me At Six providing some top support to the outdoor show made all the more killer by the blue skies and shining sun.

The Scottish trio came on with a massive bang. Lights blaring, crowd roaring, signature toplessness intact. Let's get going.

‘Different People’, from latest album Opposites, was the opening track. A welcome intro to the set, starting slow, bursting into life and eventually exploding with a kickass chorus that set the tone pretty well for the slamming showcase to follow.

The set was formed from a variation of past and present that an audience of the band has come to expect. Biffy are wonderfully renowned for the quality of their back catalogue – the days of NME slating Blackened Sky now seem a laughable past – and after getting going with a few songs from Opposites and Only Revelations, Puzzle’s ‘Living Is A Problem Because Everything Dies’ featured, followed by the likes of Blackened Sky’s ‘Justboy’ and Infinity Land favourite ‘Glitter and Trauma’.

A more surprising inclusion was ‘Questions and Answers’ from 2003 album The Vertigo of Bliss, but the song worked well in the set, slowing the pace after ‘Who’s Got a Match?’ to lead on to more recent success ‘Many of Horror’.

The passion of the band was powerful throughout the set - and essential to the success of the show. From ‘Whores’ and ‘Sounds Like Balloons’ to the wonderful ‘Woo Woo’ and ‘Black Chandelier’, the riffs were heavy, original, catchy as hell and executed ruggedly in a way that means you’re not just listening to a live set of studio recordings – you're listening to a performance packed with the passion and zeal that has driven the trio on to keep upping their game and setting the bar higher each time they take to the stage.

When the group played the heavy stuff, the crowd went wild, and so did the band. When they slowed it down for the likes of ‘The Thaw’, or for solo acoustic takes on ‘God & Satan’ and ‘Machines’ from Simon Neil, the audience turned choir to reverberate the words right back up to the stage.

It’s gigs like this that make it a shame that the whole process of the ‘encore’ is effectively ruined, because Biffy are exactly the kind of band that genuinely leave the audience desperate for more – the kind of band that would almost certainly command a rampant encore in the days when these things actually had to be earned.

Finishing off with ‘Stingin’ Belle’ and big-time anthem ‘Mountains’, it was a sensational overall performance from James and Ben Johnston alongside Simon Neil, who left the stage declaring: ‘thankyou, we’ve been Biffy fucking Clyro’. A jubilant statement to match what most of the audience will have been thinking at the time.

Biffy certainly put on a performance that makes you remember what music should really be all about – the passion, the craze and the love of innovation.

It was a concert that leaves you pining for more, and buzzing for another session with the Biff.

                                                                                                                                          Stuart Kenny
                                                                                                                Photographs: Mairi Petticrew

Sam Smith returns with his debut album ‘In The Lonely Hour’, as the British artist continues his quest to take over the current chart scene.

After winning the BRITs Critics Choice Award and topping the BBC Sound Poll, the first full record from Smith was always bound to land under the heavy weight of expectation despite the singer’s relative inexperience.

The artist doesn't disappoint in the beginning anyway, opening with massive hit ‘Money On My Mind’. The enticing, fast-paced back beat lays the perfect foundation for the artist’s highly-rated vocals, combining simple but effective electronic and instrumental producing with Smith’s signature vocal range to produce a tune which just doesn't get old fast.

‘Good Thing’ moves slowly and intricately, offering up an emotional ballad-style number from the artist that wouldn't look out of place on Broadway with its mix of emotive lyrics and a backing made up of soft guitar and piano but featuring strong strings on occasion too.

The soulful vibes continue on latest single ‘Stay With Me’, a single so slow-burning, vocal orientated and piano driven that it attracted many comparisons to Adele. These comparisons, however, are lazy. Where Adele blasts her vocals in an in-your-face manner, Smith is more subtle, driving his songs with calm but assertive vocals that reach a diverse range of keys.

This is a template that continues through tuneful old school love song ‘Leave Your Lover’ and the emotive ‘I’m Not The Only One’. ‘I’ve Told You Now’ follows on from this too – there’s a lot of slow moving songs featuring sweet vocals hitting high pitch notes and floating over calm, inoffensive backings. After a while, it leaves you wanting for a little bit more, for that extra something to make each track stand out from the next. But that extra something doesn't particularly arrive.

‘Like I Can’ picks up the pace a little with a thumping bassline driving the song to begin with, but it all gets pretty poppy and mundane again when the chorus kicks in, with the Sam Smith signature high pitched notes and hints of a choir entering in behind the vocals.

The album closes out rather unimpressively, repeating what it had offered up from the middle onwards. All impressive vocally, these are tracks that if taken out as a single may stand up well, but when listened to as a continuous record become cyclical and somewhat dull. By the time ‘Not In That Way’ and ‘Lay Me Down’ finished off the album, there was more a feeling of relief remaining than of the excitement brought forward by the first few tracks on the record.

Verdict: ‘Money on My Mind’ is a thrilling combination of cracking vocals and a fun soundtrack, but the bulk of the other tracks on Sam Smith’s debut album are repetitive, and the lack of energy in anything but the singing becomes monotonous. You can sing Sam, we get it. Now make it entertaining.


                                                                                                                                       Stuart Kenny

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.

The sixth studio album from Coldplay is made up of nine tracks, each of which has the word Gwyneth in the title and each of which makes
you want to grab an oversized tub of Ben
& Jerry’s, hide under a duvet and cry.

I’m yanking your chain of course, and yet while the breakup of Chris Martin and Gwyneth Paltrow may not be as blatantly emblazoned across the tracklist of their latest album as this article previously suggested – you have to admit, it would have given the record a unique flavour – ‘Ghost Stories’ does indeed have all the signs of an undeniable break up album.

The record is slow and features tracks packed with sluggish backings that bring a solemn tone to the overall piece. Normally we see knockout instrumental work carry the questionable writing skills of Chris Martin, but the ‘conscious uncoupling’ of the artist from Paltrow seems to have added a sincerity to his scribblings that wasn’t there before. The result is that on this album, the heavyweight instrumental work takes second place to the artist’s uptake in song-writing form.

 ‘I think of you/I haven’t slept’ admits opening song ‘Always In My Head’, as if the title wasn’t enough of a giveaway already. ‘All I know is that I’m lost whenever you go’, is found in the chorus of ‘Ink’ meanwhile, and ‘True Love’ features a line that begs us: ‘Tell me that you love me/if you don’t then lie’. These are just a few select examples from an album packed with reflective, sombre lyrics.

Subdued electronic backings, calm, melodic piano and light guitar riffs that don’t overstep their mark provide the soundtrack for these vocals, with ‘A Sky Full of Stars’ proving the only exception – the song launches triumphant electronic and piano work early on that grows to be welcomed by an electric guitar blast more typical of Coldplay’s work.

While the subject matter of the album may be a bit downbeat though, the end result is some of the most critically commendable stuff the band has come out with. With the songs now holding a bit more meaning, the accompanying instrumental work is tasked with framing and escorting the vocals rather than guiding the song, and these backings ensure the work is made into easy listening as appose to turning into material only suited to the broken hearted.

‘Magic’ floats up and down nicely in tempo without ever taking off above the restrained nature of the song, ‘Always In My Head’ provides soaring but suppressed guitar work that elevates the vocals further, and a catchy, rhythmic beat circles in ‘Ink’ before rising through synthetic work and quickly filtering back down to greet the next verse.

‘Oceans’, meanwhile, sticks to a bare bones approach. Melancholy acoustic guitar work and a repeated synthetic bang providing all the requirements needed to let Martin whine out on top successfully, and while several songs (‘True Love’, ‘Midnight’) do seem to get caught up in a repetitive strain of thinking, the bulk of the tracklist impresses. Finishing number ‘O’, for example, sees the record out on a philosophical note accompanied by piano which feels significantly more meaningful than much of the band’s past work.

Verdict: A brave move from Chris Martin and Coldplay, who divert from the pop template of their charting success to tackle a more sombre subject matter. The result is commendable work which carries weight in meaning and impresses in sections when avoiding repetition.

                                                                                                                                     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