Buy Now
| Buy on |
|
- Critic score
- Publication
- By date
-
The WireJul 13, 2018One moment she comes on like a pure music box turnaround MC, the next like a spitting cat, her delivery sits perfectly on the fucked up thud and South London hissing spherics conjured up in the mix. [Jul 2018, p.61]
-
Jul 13, 2018K.O. is their most successful collaboration so far, and a flat-out thriller above all else.
-
MojoJul 10, 2018Hyper-tense, but worth it. [Aug 2018, p.91]
-
Q MagazineJul 10, 2018This is nervy, restless music for turbulent times. And all the better for it. [Aug 2018, p.113]
-
Jul 10, 2018Opener ‘Shock Out’ illustrates a playful approach that floats on the periphery of danger while ‘Slay’ sees her really flex her lyricism complete with a wavy flow. As is to be expected, The Bug’s production floats in the oxymoronic universe of heavy and atmospheric that is both haunting and devastating.
-
Jul 10, 2018By tackling the mediocrity of a chart-topping genre head-on and infusing every track with genuine polemical anger, Miss Red and The Bug have created a record that is as thrilling as it is timely.
-
Jul 16, 2018On K.O their ideas are rendered in higher fidelity, and while not every track on here leaves a lasting impression, the album as a whole certainly does.
-
UncutJul 19, 2018"Shock Out" and "Money Machine" are straightforward exercises in the sort of hellfire dancehall The Bug does so well, but there's a restraint here too, best seen in the haunted heartbroken "War." [Sep 2018, p.35]
-
Oct 8, 2018Despite the album's distinct musicality, it's hard to shake the feeling that Miss Red is culturally appropriating Jamaican dancehall. She is clearly devoted to the history of dancehall, and her music is endowed with the cultural and musical themes that are the hallmark of the genre. But at times Miss Red's style is too archetypal such as in "Dust" and "Come Again" where her vocal affect sounds manufactured and trained.