Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

Album: Rudimental - Ground Control

Latest from London dance-pop quartet is half bland but half bangin'

share this article

Robocop's mate ED-209 gets a dancehall refit

To coin a cliché, the fourth album from London pop-dance success story Rudimental is a game of two halves. The first is off-putting and dull but halfway through, the band seem to wake up. There are 16 songs on the album. The eighth, “Handle My Own”, is the first one to make the ears prick up, and from track 11 on we’re in continuous business.

A decade ago, the coming together of an unknown EDM trio, Rudimental, and a super-hot producer looking for a project, Amir Amor (who soon joined them), resulted in the chart-topping “Feel the Love”, featuring John Newman. The group encapsulated a moment when the clubland sounds of the previous two decades, notably drum & bass, were finally and fully co-opted into daytime radio chart-pop. Their sound was fizzy fun, school disco meets Notting Hill Carnival, and two more UK No.1s followed, as well as multiple other hits. Along the way they collaborated with everyone from Anne Marie, whose career they launched, to Ed Sheeran.

Ground Control exemplifies a delicate balancing act between hip mall background and something tastier. Nothing is memorable about the first seven songs, an over-smooth alcohol-free cocktail of suburban sports bar vibes and garage-tinted Radio One chug. This despite a bunch of collaborations, the most notable of which is the awful “Be Somebody” with airy-voiced singer-songwriter James Vincent McMorrow.

But arrive at “Handle My Own”, featuring 2012 X Factor alumna Ella Henderson, and you can safely crank things up. It’s a creditable funk-house floor-filler. From here (aside from the forgettable Skream hook-up "So Sorry"), it’s a mixture of ragga-rudeboy garage-grimey cuts such as the persuasively foul-mouthed “Instajets” featuring The Game, D Double E and Backroad G (“All these rappers on Instagram spending 30K on these jets/keep fuckin’ round, then fuck round, you’re gonna fuck around and be next”) and the insouciant party time bullishness of MORGAN on D&B banger “Hostess”; these are balanced beside 4/4 garage-house dance tunes, concluding with the gospel-juiced Balearic festival-stormer “Keep Your Head Up”, featuring the rich soul vocal of should-be-star star Hamzaa.

So… all’s well that ends well.

Below: watch the video for "So Sorry" by Rudimental featuring Skream (apologies, none of the good ones are on YouTube yet!)

Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
It's a delicate balancing act between hip mall background and something tastier

rating

3

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

The return of a punk-era landmark of British art rock
With a danceable rock feel she displays her burgeoning creativity
The garage rockers don't do themselves justice on new album
Andy Dragazis’ musical alter-ego offers nods to legendary arranger and producer Charles Stepney
The welcome return of a foundational album of electronic minimalism
Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed