If you’re rolling your eyes at even the thought of another post-punk band joining the throngs of privately educated twenty-somethings monotonously talking over off-kilter guitar lines then have no fear, Bristol’s Knives are here to revitalise the genre while dual-wielding a saxophone and a bombastic punk attitude. Already gaining a small cult following off the back of their 2023 Newshounds EP and their phenomenal live show, Knives continue to carve out their unique identity on their sophomore EP What We See In Their Eyes.
Despite flying through only five relatively short tracks, What We See In Their Eyes delivers more interesting, fully realised musical ideas than most longer releases. Opening track ‘Happiness’ is a perfect example of what Knives are capable of, flying out the gate with back and forth shouted vocals from frontman Jay Schottlander and singer/saxophonist Maddy Hill, full of sneering attitude and raw punk energy. Knives represent an edgier, more aggressive offshoot of the modern post-punk revival, closer to bands like JOHN or Heavy Lungs than some of the genre’s bigger names who seem more focused on the “post” than the “punk”.
“Despite flying through only five relatively short tracks, What We See In Their Eyes delivers more interesting, fully realised musical ideas than most longer releases.”
If you only have the attention span to listen to one track from What We See in Their Eyes make sure it’s lead single ‘Doppelganger’, a stomping, sax infused punk track that shows off Knives at their best. Throughout their work it always remains impressive to hear Knives subverting past tropes of punk and alternative music while still understanding that the appeal is all in the attitude, sliding lead guitar lines and bombastic saxophone stings add to the band’s ferocious spirit rather than distracting from it, ‘Doppelganger’ is a clear example of these elements fitting in smoothly. It’s great to hear a modern post-punk band push the boundaries of the genre while still delivering cathartic, moshable energy.
It really can’t be overstated how much Maddy Hill’s saxophone elevates Knives’ sound, adding an entire new dimension despite being used so sparingly. On the single ‘Headcase’ for example, the sax isn’t heard prominently until the final, cathartic breakdown where it’s used to beef up the guitar and bass riffs, or on ‘Doppelganger’ where Hill mainly contributes vocals but gets a moment to shine on sax with a memorable and massive sounding riff in the song’s bridge. Often adding an extra instrument to an established rock band formula can come off as gimmicky but Knives, understanding that less is more, make it sound so natural that every band without a sax seems lacking in comparison.
“Often adding an extra instrument to an established rock band formula can come off as gimmicky but Knives, understanding that less is more, make it sound so natural that every band without a sax seems lacking in comparison.”
What We See In Their Eyes ends on one final climactic hurrah in the form of ‘Sadness’, the EP’s heaviest and most complex track. Wedging more moshable breakdowns into a two and a half minute runtime than most bands can fit into full albums, ‘Sadness’ represents a wild shift in tone, from the relatively upbeat sing-along singles to a pommeling, bitter energy delivered through Schottlander’s vocals which sit somewhere between shouted spoken work and spitting rap. Knives take the idea of going out on a high note to its logical extreme, keeping ‘Sadness’ short, sweet and brutal, ending the EP on one of their career’s most exciting moments to date.
In just under 13 minutes and 5 tracks, Knives succinctly demonstrate what most modern post-punk bands still don’t understand, it’s great to push boundaries but you’ve got to stay punk. If you’re not a fan of talk-singing middle class men condescending explaining what they learned doing a politics degree at Durham but are a fan of deep, transgressive, catchy post-punk then Knives are a band to keep your eye on.