Getmusic

No more Idols, the sophomore effort from London based electronic production duo Chase & Status (that’s Saul Milton & Will Kennard respectfully to their parents) is ironic in nature, as it is in fact choc full of guest vocalists, for the duo have employed the services of a wide variety of different artists, from many different styles of music.
In a departure from their beat driven debut, 2009’s boombastic drum ‘n’ bass LP More Than A Lot Chase & Status have decided to take the Simian Mobile Disco approach and have brought in a group of powerful voices to sing over the duo's flawlessly tight dub step foundations.
Ceelo Green, Dizzee Rascal, Plan B and even UK rock outfit White Lies are just a few of the names that you’ll find peppered throughout the release. Other names like Mali, Liam Bailey, Delilah Claire Maguire and Maverick Sabre may not be as familiar to you, though they are equally as talented, and one of the first things you notice as you’re listening to No More Idols is how each singer’s vocal tone and qualities are perfectly suited to their respective song.
Long time friend and collaborator Plan B lends his services twice on the record, firstly as vocalist on the awesome End Credits, the first official single from the album, and inclusion to the Harry Brown soundtrack (a film that he also acted in) and Fool Yourself, which is a rollercoaster of a sonical experience, as it starts of as a Eurhythmic inspired ballad before just exploding into a dub step sound cloud.
Ceelo Green pops up on Brixton Briefcase, perhaps in his most unconventional performance yet; think Gnarls Barkly meets 90's street reggae. Dizzee Rascal gets to nod back to his pre dance anthem roots with the gritty Heavy, whilst White Lies vocalist Charles Cave lends his soaring dark vocals to Embrace, a track where Chase & Status understate their sonic delivery, allowing the space between beats to really add to the overall atmosphere of the haunting track.
Other highlights include Let You Go with vocal powerhouse Mali; most recent single, the euphoric Blind Faith featuring soul singer/songwriter Liam Bailey; Time, a 90’s inspired dance floor anthem, thanks to the vocals of Delilah and Midnight Caller, in which Clare Maguire turns in a Toni Childs inspired performance.
No More idols impressed me, Chase & Status have developed into master sonical craftsmen, For they know exactly when to let loose with their iconic drum ‘n’ bass hooks, and exactly when to hold back, reigning in the punch of the beats in order to allow their vocalists to soar. There is a great sense of atmosphere infused throughout this album. This is music designed for speakers, I strongly recommend putting Chase & Status in, on, and turning yours up.

There are a few things about Chase and Status that would probably surprise some people.

Since the release of their debut album, More Than A lot, the London twosome have not only signed to Jay-Z’s Roc Nation, but have also produced tracks for the likes of Rihanna, Alexandre Burke and Snoop Dogg. Not a bad portfolio of artists by anyone’s standards.

With that firmly tucked under their belts, Saul ‘Chase’ Milton and Will ‘Status’ Kennard are now back again with their second offering, No More Idols.

With a slightly different, more mainstream feel than their debut album, many critics have been quick to attack No More Idols, criticizing the fusion of various genres, and the use of a-list collaborators including Dizzee Rascal, Plan B and Cee-Lo Green.

While the list of featuring artists is impressive, if not excessive, the way in which they are utilized on the record is outstanding, and the tracks bump and jolt along with a purposeful depth and variety, thrilling the listener with every bass drop, twist and change of pace.

‘No Problem’ sets the scene emphatically, making use of an African tribal sample and vocals, and a heavy bassline and trance-inspired production. While ‘Let You Go’, ‘Midnight Caller’ and ‘End Credits’ all make use of soulful, emotionally charged vocals, ravers will not be disappointed, with ‘Fire In Your Eyes’, ‘Fool Yourself’ and ‘Hocus Pocus’ all offering dirty stinking basslines that would offend even the most liberal of nan’s.

As well as the trademark bass associated with the London boys, they do have a tendency to go and ‘get a bit grimey’, and bring in the likes of Dizzee on ‘Heavy’, Tinie Tempah on ‘Hitz’ and Tempa T on the aptly named ‘Hypest Hype’, while none other than Cee-Lo Green appears on the ridiculously massive Brixton Briefcase with a West-Indian accent. Absurdly brilliant.

Combining dubstep, indie, drum and bass, soul, reggae and pretty much every other relevant genre and sub-genre that currently exist, Chase and Satus succeed in making an absolutely refreshing, innovative and frankly, interesting album.

I’ve heard about Chase & Status for awhile but not entirely sure of why or how until I heard their sophomore album ‘No More Idols’. It’s a crazy mix of electro beats that somehow just work. This funky duo sure knows how to create a scene on the dance floor with ‘Let You Go’ leading the way. Elements of all genres of music are submerged somewhere in the album without disrupting the flow. For me a bit too heavy handed at the start the better tracks are the latter ones. There is certainly no shortage of guest appearances on the album with heavyweights such as Cee-Lo Green and old pal Plan B to add a vocal lightness to the heavy synths and beats. My favourite tracks ‘Embrace’ and ‘End Credits’ probably the most likely culprits of turning them ‘mainstream’ to the loyal fans but more palatable to the curious. It’s hard to find a song to hate on the album. They all have a place and purpose. All in all I’m surprisingly very impressed.