Rocker (feedbot)
Gold Member
Post-punk can be a difficult genre to get into as a listener. But for Bristol sextet Knives, it’s the perfect place to categorise them. Still a band in their infancy, it’s been 26 months since their first single release but with the release of their debut album, ‘GLITTER’, and a spate of successful tour support slots, can they make the most of their unique sound?
Opening with ‘THE DAGGER’, you’ll know within 45 seconds whether you’re onboard for the ride – rumbling guitars, thick bass lines and drumming that is deceptively fluid, the impact is immediate. Couple that with the saxophone flourishes and the vocals like barked orders, they’ll rapidly become a must listen. Within its aggressive delivery, it’s a song that pointedly derides the extremist right-wing culture in this country, and its despicable treatment of immigrants.
Politics plays an important part in ‘Glitter’, with Knives firmly (and correctly) leaning into inclusivity of all groups, both within diversity groups and the LGBTQ+ communities, and standing up for those minorities. Fighting against the injustices and creating a safe environment.
‘RHINESTONE COWBOY’ isn’t as saccharin as Glenn Campbells, it’s more like finding the remains of a bejewelled shirt in the mud; grotty, unsightly but utterly captivating, it’s the (slightly ironically cowboy-theme named) Ben Marshall’s bass lines that stand out. Thunderously dexterous, with quicker hands than John Wayne in a standoff, they lead the melody through most of ‘GLITTER’, but none more-so than here.
Standout single ‘PHD’ highlights the toxicity of the music industry, with Jay Schottlander bellowing the line “you owe your success to me!” being a direct quote from someone within the industry. Aside from adding harmonies, Izzi Allard’s saxophone sticks out throughout the song adding delicious seasoning and a meticulous middle finger to said industry slug. It’s one of the more accessible tracks in the record, so the perfect song to use as an introduction to Knives as a whole, encapsulating both their pop-punk and hardcore elements.
‘PUBLIC JUICE’ opens with a catchy riff that’s then harmonized by Allard’s sax before descending into pure carnage between the verse and chorus. It’s the sort of chaotic instrumentation Viagra Boys lean into often, but fits here appropriately.
‘CHROMA’ features a rumbling bassline like a the vibrations of a high speed train while ‘EAT THY NEIGHBOUR’ is held tightly by Erin Cook’s sensational drumming. Every member is unbelievably tight, managing to keep a balance between chaos.
Closing track ‘I SEE THEM ALL’ takes a bit of a different step from the preceding track, both in terms of length (the only one to last longer than three minutes) and style; far more atmospheric, its acoustic guitar, meandering saxophone and droning ambients lays the base for Schottlander to stride over. It’s the first time we get a real view of his singing voice, and his delicate, near whispered delivery is Mark Lanegan esque. Just as you think it’s about to explode, it double downs, maintaining the same vibe in a freer fashion. It’s a wonderful palette pleaser that almost catches you by surprise.
As mentioned, post-punk is a tricky genre. Aside from being relatively unapproachable to non listeners, it’s also a genre starting to become more full of bands trying their hand at successfully breaking into, and subsequently, out of it. Luckily, Knives are exactly the sort of band that rises to the band. Sonically, they’re powerful and interesting; lyrically, they’re impassioned. It’s that balance between explosive yet insightful that will help push them to the top of a crowded genre. ‘GLITTER’ exemplifies this as a unique, punchy and, most importantly, outstanding debut release.
ANDY JOICE
Opening with ‘THE DAGGER’, you’ll know within 45 seconds whether you’re onboard for the ride – rumbling guitars, thick bass lines and drumming that is deceptively fluid, the impact is immediate. Couple that with the saxophone flourishes and the vocals like barked orders, they’ll rapidly become a must listen. Within its aggressive delivery, it’s a song that pointedly derides the extremist right-wing culture in this country, and its despicable treatment of immigrants.
Politics plays an important part in ‘Glitter’, with Knives firmly (and correctly) leaning into inclusivity of all groups, both within diversity groups and the LGBTQ+ communities, and standing up for those minorities. Fighting against the injustices and creating a safe environment.
‘RHINESTONE COWBOY’ isn’t as saccharin as Glenn Campbells, it’s more like finding the remains of a bejewelled shirt in the mud; grotty, unsightly but utterly captivating, it’s the (slightly ironically cowboy-theme named) Ben Marshall’s bass lines that stand out. Thunderously dexterous, with quicker hands than John Wayne in a standoff, they lead the melody through most of ‘GLITTER’, but none more-so than here.
Standout single ‘PHD’ highlights the toxicity of the music industry, with Jay Schottlander bellowing the line “you owe your success to me!” being a direct quote from someone within the industry. Aside from adding harmonies, Izzi Allard’s saxophone sticks out throughout the song adding delicious seasoning and a meticulous middle finger to said industry slug. It’s one of the more accessible tracks in the record, so the perfect song to use as an introduction to Knives as a whole, encapsulating both their pop-punk and hardcore elements.
‘PUBLIC JUICE’ opens with a catchy riff that’s then harmonized by Allard’s sax before descending into pure carnage between the verse and chorus. It’s the sort of chaotic instrumentation Viagra Boys lean into often, but fits here appropriately.
‘CHROMA’ features a rumbling bassline like a the vibrations of a high speed train while ‘EAT THY NEIGHBOUR’ is held tightly by Erin Cook’s sensational drumming. Every member is unbelievably tight, managing to keep a balance between chaos.
Closing track ‘I SEE THEM ALL’ takes a bit of a different step from the preceding track, both in terms of length (the only one to last longer than three minutes) and style; far more atmospheric, its acoustic guitar, meandering saxophone and droning ambients lays the base for Schottlander to stride over. It’s the first time we get a real view of his singing voice, and his delicate, near whispered delivery is Mark Lanegan esque. Just as you think it’s about to explode, it double downs, maintaining the same vibe in a freer fashion. It’s a wonderful palette pleaser that almost catches you by surprise.
As mentioned, post-punk is a tricky genre. Aside from being relatively unapproachable to non listeners, it’s also a genre starting to become more full of bands trying their hand at successfully breaking into, and subsequently, out of it. Luckily, Knives are exactly the sort of band that rises to the band. Sonically, they’re powerful and interesting; lyrically, they’re impassioned. It’s that balance between explosive yet insightful that will help push them to the top of a crowded genre. ‘GLITTER’ exemplifies this as a unique, punchy and, most importantly, outstanding debut release.
ANDY JOICE