Knower - Knower Forever (2023) LP

I had initially written this review of Knower’s Knower Forever whilst feeling particularly lethargic, admitting as much in the review’s introduction. What succeeded was not a half-assed review, but a pretty basic description of the genres that the album implements. I mean, that’s basically what my Grouptherapy review was, but that review at least discussed application and influencing factors; the realness behind the music. While Knower Forever is more secretive by design, it definitely deserves more than a few empty blurbs. The album is refreshing, capable of lifting spirits in lethargy, and here’s why…
Louis Cole and Genevieve Artadi’s surges are warped and disoriented; they don’t just supply different styles amid backbones of synthesised jazz and synthesised funk (a heck of a hybrid), but wobble, pulsate and stimulate whilst doing so. If you feel yourself slipping or succumbing to gloom or boredom, Knower will entertain with cerebralism.
Humour is a mammoth factor, or at least the ability to be either outspoken or foul-mouthed. Provocation finds a tidy home in synth punk, as Artadi sings “hit record, shut the fuck, we’re filling voids in shape of us” on The Abyss, a screaming single that operates on quick-footed tempo before proving both dexterity and vastness with a slender-fingered jazz keyboard solo, like the kind of thing Domi and JD Beck would perform. Provocation finds an even tidier home on true standout I’m the President, which already sweats amid a thumping, elephant-shaped synth brass funk rhythm, arriving in style following the luxurious string quartet of the opening title track, pretty much spat at as Artadi sings “Mount Rushymore has some tits”.
The album runs at daredevil speed, broken up only by the odd slice of balladry, which includes Same Smile, Different Face and Crash the Car, each honouring the heyday of ‘90s J-Pop, capturing the triumph of Dreams Come True whilst loving strings and piano. The latter essentially serves as the album’s climax, followed only by the diminutive Bonus Track, which exhibits Knower Forever’s efforted sequencing, otherwise comprised of songs that pounce or throb.
Real Nice Moment is another lighter touch, but its kooky synth patterns distract from the conventions of balladry, initially sounding crucially diatonic, before messing with the chord progression like any real jazz artist. And shiny, embracing synth pads do find themselves on It’s All Nothing Until It’s Everything, but they’re surrounded by dubstep-like screeches and breakbeats.
I love how each song has a comparable eccentric instrumental choice, including the gruesome guitars and funk drums of Do Hot Girls Like Chords, lateral to N.E.R.D’s Lapdance. But occasionally, it is all about the style of the song; the baroque-on-jazz approach of Ride That Dolphin, or extensions of house music, jazz on It Will Get Real, hip on Nightmare.
I also played the part of salesperson in my initial review, since Knower Forever isn’t currently available on streaming services. For all I know, there may be a plan to release the album on Spotify or wherever eventually, though I’ve mainly chosen to say that so that this review doesn’t age so suddenly. But hopefully I have advertised with some effect, because Knower Forever deserves to be heard; it is some of the most unpredictably stimulating music of 2023. Believe the hype!
-- peanutbutterpope