YOUNG KNIVES - Superabundance

A muscular clatter of pulsing guitars, head spinning percussive thuds and harmonic brotherly vocals provide the backbone to their rich tales of eccentricities and angst. Their second album of angular punk-pop songs, lyrical eccentricity, and wry observations that curl an eyebrow at English society like schoolboys gazing at ants through a magnifying glass. Whereas the Young Knives' debut album Voices of Animals and Men felt like a clever spin on the skinny guitars and lurching bass of the post-punk revival bands, Superabundance feels like a bigger, deeper record, one which finds the Young Knives adding layers of guitars, parping trumpets, and orchestral trimmings to the brew. �The opening track has tweed-clad frontman Henry Dartnall intoning, "Home; home is where the house is," staccato and completely deadpan. From anyone but Ashby-de-la-Zouch's intriguing post-punk trio, it would grate - but not here. The follow-up to 2006's Voices of Animals and Men is a slick collection of darkly sketched Britpop that combines in-jokes and jagged pop riffs. Up All Night pilfers the name of a Razorlight song, while sardonically attacking everything Johnny Borrell and his ilk stand for; Rue the Days seems to sum up Blur's entire musical history. It's only on the soppy likes of Turn Tail, and Flies, that they lose their edge. Young Knives are far sharper when they make things fast and furious.�-The Guardian. �3 � stars. Superabundance us a celebratory affair--a hugely likable and intelligent pop album that sings with human warmth and, ultimately, quiet defiance.�-UNCUT. �3 stars. Superabundance is a record to treasure.�-MOJO.

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