REVIEW: KNIVES - GLITTER

Bristol is a city that’s proud of its punks. The likes of The Cortinas and The X-Certs built the scene, paving the way for IDLES to host 10,000 people on the Downs, supported by a swathe of Bristolian bands who followed in their wake. It is entirely possible that KNIVES’ founders, Jay Schottlander and Erin Cook, were inspired by the city-wide joy of that day, as their band exploded into the university campus bars across the city soon after. 3 years on, their debut album GLITTER attempts to take that frenetic energy and fuse it with wide-ranging influences, from hardcore to experimental jazz. All too often, though, these efforts get bogged down by a dogged commitment to the same monotonous song structure, creating a largely unrewarding and ear-fatiguing listen.

GLITTER opens with by far its best shot, as ‘The Dagger’ excellently combines the crunchy guitar tones of Kid Kapichi with shout-rapped vocals that wouldn’t seem out of place on a Rage Against The Machine album. Each instrument is given space to flourish within the mix, whilst all complimenting Schottlander’s commentary on the rise of the far-right. It’s a total home run of a track, which makes the drop off that follows it all the more baffling.

On ‘The Dagger’, KNIVES prove that they can structure a track to be musically and structurally captivating. For much of the rest of the album, they try their utmost to make you forget that fact. There are a handful of highlights – ‘Eat Thy Neighbour’ builds well with its abrasive drumming patterns, and ‘You Think You Know’ features fun interplay between the guitars and vocals – but for the most part, GLITTER is stymied by the same formulaic structure that the vast majority of tracks rigidly stick to. A promising melody runs through the first verse, which then inevitably gives way to a chorus which is little more than a wall of noise. The song then grinds to a halt for a quietened, spoken word pre-and-post-chorus, before the final chorus erupts once more. This framework is fine (if nothing special) on a single, but hearing it repeated time-after-time grows extremely tiresome, and makes a relatively short runtime feel unending.

It is perhaps overly cynical to critique a punk album for being repetitive; after all, repetition is a staple of the genre. However, KNIVES pride themselves on their incorporation of far-reaching inspirations into their sound. Frustratingly, glints of this expansiveness are in fact sprinkled throughout the record. ‘PhD’ pairs the lead guitar line with Izzi Allard’s sax in a surprisingly dynamic manner, whilst Ben Marshall’s bassline shines at the beginning of ‘Chroma’. These are the two most notable – but far from the only – times that a sonically interesting element springs up in a song, only to be trampled by a stiflingly busy chorus. They consistently drown out everything distinct in the songs’ makeup, including its lyrics.

Jay Schottlander is clearly trying very hard in his vocal performances. When discernible, his lyrics are evidently painstakingly crafted and passionately delivered, much like the aforementioned Rage Against The Machine, who the band have previously listed as one of their biggest touchstones. However, when listening to this album, you find yourself asking if “some of those that work forces, are the same that burn crosses” would’ve hit nearly as hard if you couldn’t hear Zack de la Rocha over the instrumental. The Rage frontman himself would have struggled to be heard on these songs, and with respect, Schottlander’s voice does not have the power nor the ferocity of his inspiration.

KNIVES are not a band without potential. Though GLITTER is a largely aggravating experience, it is bookended by two extremely effective tracks. The latter of these, closer ‘I See Them Fall’, is unlike anything else on the album. An eerie, finger-picked acoustic guitar track that plays with the preset expectation of relentless noise, but wisely chooses to stay the course and close the record on a refreshingly disconcerting note. Like on the opener, KNIVES exhibit here that when they show restraint, they can capably conjure up a great song. If they are able to do this more often, building on the glimmers of potential amongst the earsplitting tedium, then their next offering will consign GLITTER to a mere growing pain.

Score: 3/10

GLITTER will be released on May 2nd 2025 via Marshall Records.

Words: Ali Glen

Photos: KNIVES