Tracks like the title track, “OneTwoThree” and “Double Edge” hit hard when they stand alone. After a while, you can see yourself repeating it, but you really only want to return to a couple of sights along the way. It’s exciting at first, but eventually gets dull when experienced all at once.
Played from beginning to end, “Blow the Roof” is like a long car trip. While “Double Edge” is a raucous exercise for both producer and MC, it doesn’t sound like either artist is enjoying himself on “Do or Die”. His smooth, cheeky flow doesn’t quite fit with Flux Pavilion’s sweeping instrumental backdrop. On the flip side, Childish Gambino’s appearance on “Do or Die” feels strangely hollow.
Flux Pavilion’s syncopated backbeat is the grimy environment that the MCs deserve as they lay down their verses. The guests that litter “Blow the Roof” provide excitement at times, as in the case of P Money and Sway’s appearances on “Double Edge.” Sitting second on the album after the rather forgettable “The Scientist,” “Double Edge” is as raw and abrasive as they come. Flexing an entirely different muscle than he did at the beginning of the album, Steele proves his ability to explore different styles with ease in the closing track. The eighth track and opposite?booked, “Starlight” provides a melodic groove that compliments the brash, dub?heavy tracks that precede it. As the first song on the album, it is able to maintain the momentum that a single would. Opener “OneTwoThree (Make Your Body Wanna)” is chock?full of enough whomps and whistles to keep it entertaining while still toying with the dense Flux Pavilion sound. However, when Flux Pavilion is doing what he does best, “Blow the Roof” delivers. Even after the first listen, it is clear that not all of the material here is prime. “I Still Can’t Stop” – surely a tongue?in?cheek inclusion – is merely a chopped and screwed version of Flux Pavilion’s most popular track, 2011’s “I Can’t Stop.” Tracks like this fall flat and ultimately lend themselves to the use of the skip button.
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With a run time of five minutes and 13 seconds, “I Feel It” loses steam somewhere around the 2:15 mark and only regains it with a double?time section two full minutes later. The buildups are extensive and the bridges meander through both melody and dissonance. Taken as a whole, “Blow the Roof” feels much longer than its 30?minute run time. Between his broad back catalog and his nationality, Flux Pavilion’s connections to the roots of dubstep run deep. It is in that context that British producer Flux Pavilion (Joshua Steele) released his 8?track album “Blow the Roof.” As one of the better?known names in the genre, Steele has garnered attention in a number of ways, from having his work sampled by Jay?Z and Kanye West to working alongside Doctor P, Major Lazer and Nero. Popular dubstep is the exclamation point of the electronic music scene, and most of the time it thrives in that role. This is consistent with the aesthetic of the genre, which is based more on shock factor, temporal excitement and emphasis than longevity and subtlety. With so much of the genre’s fame and success based on singles and remixes, full?length offerings get minimal attention. The album format is a bit of an anomaly in the world of dubstep.
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