Twelve years into a pioneering bass music career Kill The Noise delivers perhaps his most well-rounded release with debut artist album Occult Classic, released via Skrillex’s OWSLA.
Ten tracks in length, this is truly a proper album release in the sense that it’s diverse, sometimes surprising, and yet still a cohesive presentation that represents the unique artist that Kill the Noise has evolved into.
For those looking for traces of pure pop concessions made for the release, do note that 2014 Billboard chart-toppers AWOLNATION are here for the Express Yourself-style twerking album opener Kill It 4 The Kids, plus grooving, bruising, and breaking ballad closer All In My Head. Both of these tracks are actually aided by the skilled now-veteran artistry of the dance-meets-pop soul stirrers.
Kill The Noise’s album also benefits from the ability of the Slow Roast Records co-owner to carefully navigate the space between the underground and mainstream festival-friendly sounds. The line between the two blurs quite regularly now, and having someone skilled in being able to coax the best out of both to please all audiences is special.
Notable in this aim is the techno-styled production I Do Coke, which features Feed Me’s assistance. Aside from being the most tongue-in-cheek title on the album, it also bears a strong resemblance to the dark, driving sounds of Boys Noize and Gesaffelstein.
The festival anthems here are appropriately both massive and unique. Dillon Francis collaboration Dolphins on Wheels samples the underwater-dwelling mammals and is a hilarious hit. Australian big room dean Tommy Trash joins Kill The Noise for aggressive, main-stage bomb Louder that, like its name suggests, that hits like a freight train. On his pairing with Madsonik for Spitfire Riddim, KTN shows off his ability to bend dancehall in impressively unique directions.
Maybe the album’s best overall track gets lost when compared to the big-name collaborations and the consistent high level of talent showcased across genres on Occult Classic. The Emotions’ Don’t Wanna Lose Your Love was one of 1976’s most soulful disco jams. However, instead of partnering up and tearing down the dancefloor, this one is reimagined as Lose Ya Love, maybe the turn-up era’s most soulful champion of a sound to-date. Glitchy, filtered, and booming, it’s amazing and demands considerable rinsing.
When veteran DJs become inventive producers, the opportunity for well-delivered, sometimes fanciful, and consistently fantastic productions emerges. On Occult Classic, Kill The Noise turns left, shoots straight, and never stops scoring. As a result, this album never stops winning.