When Kill The Action released their debut album Anti-Gravity earlier this year under new label Forbidden Musical Rites, no one knew what the expect from the electro-rock act, but one thing is for sure, eight months in and out of the studio did not disappoint.
In many ways, Kill The Action have recaptured the essence of the early big beat, electronic music with their debut – a style of music made popular by heavyweights such as The Prodigy and Pendulum and defined by its reliance of drum and bass.
From the three-minute industrial-infused ‘Intro’ track, we’re left in doubt that this album carries a sense of pumping adrenaline with its uptempo drum beats, hard-hitting synths and alternative metal guitar licks – not to mention the clever and repetitive use of punchy vocal lines that are a staple in the scene.
This momentum is carried forward into the second, and perhaps strongest, track of the album – Kill It With Fire. The only track to be given the ‘Explicit’ badge by Spotify, Kill It With Fire fuses electronic rave and punk-rock with its big beats and omnipresent chorus lines that lend itself to a room full of mosh pits.
Anti-Gravity marks a new phase for the electronic-rock group who delved more into the electronic scene than the rock world with their debut album.
Drum & Bass drum loops lie at the centre of the band’s mix with accompanied by recycled drum beat to form the backbone of the album’s tracks and lay the foundation for fat synths that bounce on top of certain tracks, most prominently ‘Get Down’ and ‘Low Low Low’.
On the other hand, Kill The Action have yet to depart totally from their humble beginnings with tracks such as ‘In It For The Free Ride’ providing some room for more traditional songwriting and creativity, resulting in a rock-centric, funky track.
Songs such as ‘No Liar’, ‘Dynamite’ and the album’s namesake ‘Anti-Gravity’ fit in between the space of man and machine with tasteful hooks and breakdowns to punctuate the band’s attitude while ‘Know What You Want’ sticks out thanks to its Wes Borland inspired guitar lick.
Something has to be said about the production of the album which consists of a well-balanced mix and experimental sounds used tastefully so as to not give the album a tacky, overindulgent electronic feel.
The only feature on the album comes from Lucas Mountain who steals the spotlight on ‘We Came To Win’.
Anti-Gravity feels like a tribute to the early wave of electronic music yet it provides a fresh perspective and doorway into a world of electro-rock that the island has seldom been exposed to. With a debut album under their belt, there’s nothing stopping Kill The Action from becoming a dominant force in Malta’s underground music scene.