In a landscape smothered by algorithmic sterility and suffocating overproduction, Knives’ debut album tears through this idle fabric with grounded intent and scathing delivery. GLITTER is a larger than life, theatrical production of chaotic, punk-forward soundscapes, peppered with jazz and metal influences that catapult the band from fledgling noise-makers into a self-assured force to be reckoned with. The album’s production refrains from over-indulgence and carefully brings their intricate layers to the forefront when appropriate.
Their debut EP, ‘Newshound’, saw Knives burst onto the Bristol alt-punk scene, crafting a sonic palette that nods to the raw energy of Ditz, Black Flag, and IDLES. They delivered punchy urgency laced with a clear experimental edge. Their follow-up release ‘What We See In Their Eyes’ develops on this foundation and sees a band that are building up their confidence within their sonic identity that you would struggle to avert your eyes from. Like a glimmering disco ball in a dingy warehouse, Knives have firmly made their mark in the scene through their electric live shows-blending commanding stage presence, sharp crowd interaction, and the kind of dynamic performance you’d expect from a far more seasoned band; demonstrating a striking level of confidence and cohesion at such an early stage in their journey.
Within its undeniably fun, groove-laden riffs and raucous vocal delivery, GLITTER is a fearless detonation of sound that confronts cultural complacency head-on and pulls up a chair for those too often silenced. The venomous, THE DAGGER, unpacks immigrant scapegoating, opening with disjointed guitar stabs and unfolding into a riot-inducing, crunchy lead riff that sprawls into an almost nu metal-esque mid-section. Jay Schottlander and Izzi Allard’s back and forth vocals are infectiously fun on tracks, ‘RHINESTONE COWBOY‘ and ‘CHROMA’ that additionally utilise restraint through sudden instrumental dropouts and isolated vocal lines that serve to further accentuate the lyrical themes explored and distinctively personal delivery. ‘CHROMA’ is chewed open by jagged distortion, driven by a thick, sinister lead riff that only tightens its grip on each listen.
“Innovatively unpredictable and calculated in their chaos, Knives embody the vibrant potential of the UK’s upcoming, alternative music scene”
The inclusion of Izzi’s saxophone weaves seamlessly into Knives’ sound, never feeling like a gimmicky grab for quirkiness. Instead, it amplifies the band’s measured disarray-most notably on the ecstatically unhinged ‘PUBLIC JUICE’. This track along with the deliciously snarky, ‘PHD’ inject irony and delirium through off-kilter jazz-punk, utilising dissonance to poke holes in the shiny veneer of curated self-image and exposes those who turn a blind eye to the very people who paved the way for their success– “You owe your success to me.” ‘PHD’ also features a thick, bass-forward sound in the mix that accentuates the album’s driving momentum further. This mid-album trio hits like a sledgehammer, and alongside ‘RHINESTONE COWBOY’, distils the essence of Knives’ sound into its most potent form.
Towards the latter side of the record, the tempo drops on ‘SLOW MACHO‘, which features a pulsating lead riff that swaggers with biting confidence-the track deconstructs toxic masculinity with razor-sharp wit and serves as a refreshing change of pace within the record. This change in pace, although notably different, doesn’t prepare you for the closing track, ‘I SEE THEM FALL’, which completely subverts expectations and turns the record on its head through beautifully haunting acoustic guitar interlaced with sombre vocal delivery that produces a tangible gothic atmosphere.
Innovatively unpredictable and calculated in their chaos, Knives embody the vibrant potential of the UK’s upcoming, alternative music scene, clearly poised to take their sound in any direction they choose next.
Photo Credit: Ben Hunt