Virtual Riot
Christian Valentin Brunn, better known by his stage name Virtual Riot, is a German DJ and electronic music producer. He has released seventeen extended plays and one studio album, most notably his 2016 EP Chemistry, which peaked at 20 on the Dance/Electronic Albums charts, he was signed to the independent music label Disciple Recordings in 2014. Brunn has had numerous Beatport chart hits including "One For All, All For One" with Razihel and "Cali Born" with Helicopter Showdown. Other electronic music outlets, such as Your EDM, have called his music "non-traditional" and "edgy", comparing him to artists like Savant. Prior to producing under the alias "Virtual Riot", Brunn produced ambient dubstep and future garage music under another alias, Your Personal Tranquilizer. Brunn has released several EPs including his charted EP, Chemistry, he produces in genres such as future bass, future garage, electro house and both bass-heavy and melodic dubstep
Drum and bass
Drum and bass, is a genre and branch of electronic music which emerged from rave and jungle scenes in Britain during the early 1990s. The style is characterised by fast breakbeats with heavy bass and sub-bass lines, sampled sources, synthesizers; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. Drum and bass incorporates a number of styles. A major influence on jungle and drum and bass was the original Jamaican reggae sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcore, ragga jungle, darkstep, neurofunk, ambient drum and bass, liquid funk, jump up, drumfunk, sambass and drill'n' bass. From its roots in the UK, the style has established itself around the world. Drum and bass has influenced many other genres like hip hop, big beat, house, trip hop, ambient music, jazz and pop. Drum and bass is dominated by a small group of record labels.
The major international music labels had shown little interest in the drum and bass scene, until BMG Rights Management acquired RAM in February 2016. Drum and bass remains most popular in the UK although it has developed scenes all around the world, in countries such as the United States, the Netherlands, New Zealand, Canada, the Czech Republic and Australia. In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style in the rave scene, which combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and samples of music and effects from films and television programmes. A faster subgenre was known as "hardcore" but from as early as 1991, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain.
It is important to note when discussing the history of drum and bass that prior to jungle, the music was getting faster and more experimental. Professional DJ and producer C. K. states, "There was a progression. Anyone buying vinyl every week from 1989 to 1992 noticed this." By 1994, jungle had begun to gain mainstream popularity and fans of the music became a more recognisable part of youth subculture. The genre further developed and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, complex edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's aggressive or menacing sound and themes of violence. However, this developed in tandem with the positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.
By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass. As the genre became more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance, it began to split into recognisable subgenres such as jump-up and Hardstep. As a lighter and jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep which drew greater influence from techno music and the soundscapes of science fiction and anime films; the popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles.
Speed garage shared high tempos and heavy basslines with drum and bass, but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/producer C. K. says, "It is forgotten by my students that a type of music called "garage house" existed in the late 1980s alongside hip house, acid house and other forms of house music." He continues, "This new garage of the mid 90s was not a form of house or a progression of garage house. The beats and tempo that define house are different; this did cause further confusion in the presence of new house music of the mid-1990s being played alongside what was now being called garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Chase & Status and Australia's Pendulum
Chicane
A chicane is a serpentine curve in a road, added by design rather than dictated by geography. Chicanes add extra turns and are used both in motor racing and on roads and streets to slow traffic for safety. For example, one form of chicane is a short, shallow S-shaped turn that requires the driver to turn left and slightly right to continue on the road, requiring the driver to reduce speed; the word chicane is derived from the French verb chicaner, which means "to create difficulties" or "to dispute pointlessly", "quibble". On modern racing circuits, chicanes are located after long straights, making them a prime location for overtaking, they can be placed tactically by circuit designers to prevent vehicles from reaching speeds deemed to be unsafe. A prime example of this is the three chicanes at the Autodromo Nazionale Monza, introduced in the early 1970s. At Le Mans, chicanes were placed alongside the 6‑km Mulsanne Straight in 1990 in order to slow down Le Mans Prototypes, which with Group C Prototypes went to speeds as high as 400 km/h.
Some tracks, such as the Yas Marina Circuit in Abu Dhabi, feature optional chicanes. Faster cars will take the chicane, but slower cars may avoid the chicane because they are not capable of reaching high speeds on the straights; such chicanes are used at Watkins Glen International and Circuit de Barcelona-Catalunya, where there are separate chicanes for cars and motorcycles. Another example is the Tsukuba Circuit in Japan. A chicane was added after Turn 7, creating a right turn, followed by a left; this chicane is used only for motorcycles. It was implemented to divert motorcycles from taking Turn 8, a high speed long sweeping left corner. Turn 8 was deemed to be unsafe for motorcycles, as following this is a slow right hairpin corner; this means riders may still have been leaning to the left when being expected to begin braking for Turns 9 and 10. The term is used in other types of racing, such as bobsleigh, to indicate a similar shift in the course or track. A slower driver or vehicle that delays competitors is sometimes disparaged as a mobile chicane or moving chicane.
In some cases they may not move out of the way enough to allow competitors in higher positions past, despite repeated showings of blue flags. This can cost competitors valuable championship points; this same term, applied to traffic calming, can refer to the usage of portable devices to create a chicane configuration. Chicanes are a type of "horizontal deflection" used in traffic calming schemes to reduce the speed of traffic. Drivers are expected to reduce speed to negotiate the lateral displacement in the vehicle path. There are several variations of traffic calming chicanes, but they fall into one of two broad categories: Single-lane working chicanes, which consist of staggered buildouts, narrowing the road so that traffic in one direction has to give way to opposing traffic Two-way working chicanes, which use buildouts to provide deflection, but with lanes separated by road markings or a central island. Limited accident data for chicane schemes indicate changes in injury accidents and accident severity.
A pedestrian chicane is a kind of permanent fence used at a railway crossing to slow pedestrians down and to force them to observe both directions before crossing the railway tracks. While passing the chicane, one has to turn to the left and to the right, increasing the probability of seeing an approaching train. A similar arrangement is sometimes used at the entrances of parks to impede car access. Crowd control barrier Media related to Chicanes at Wikimedia Commons The dictionary definition of chicane at Wiktionary
MusicBrainz
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
The Bloody Beetroots
The Bloody Beetroots is an Italian electronic dance music group established in late 2006 by Simone Cogo, known professionally as Sir Bob Cornelius Rifo. The name the Bloody Beetroots is both used as a pseudonym for the solo projects of Sir Bob Cornelius Rifo, as well as his formation with ex-member Tommy Tea & various musicians on rotation; when performing as a group, they are referred to as The Bloody Beetroots LIVE. The group are well known for the black mask, reminiscent of comic book characters, Spider-Man and Grendel, that various members have worn during performances and other public appearances. Since 2016 Rifo performs with the "NO" mask, the meaning of the latter is still hidden; the leader of the band, Sir Bob Cornelius Rifo, was born in 1977 in Bassano del Italy. He lives in California, he is a classically trained musician, but gained reputation for producing music with styles ranging from punk rock to the new wave of the 1980s. His identity remains anonymous. In fact, the only identifying public feature he has is the year "1977" tattooed across his chest, the year of his birth, that coincided with the year punk-rock was born.
Rifo, a music producer, DJ and photographer uses the pseudonym. Sir Bob Cornelius Rifo gained the support of Etienne De Crecy, Alex Gopher, Dim Mak's Steve Aoki with his early singles "Warp 1.9" and "Cornelius", In 2008, his EP Cornelius was in the Top 100 International iTunes downloads. In 2009, the Bloody Beetroots released Romborama; the album is a complete art project composed of music and fashion. The Bloody Beetroots DJ Set had a short tour of the United States in early 2008, alongside DJ Steve Aoki. During this period, members of the group wore Spider-Man black variant masks, red masks. In 2009, Sir Rifo worked on Rifoki, a hardcore punk collaboration with Steve Aoki. Bloody Beetroots DJ Set played many notable festivals including Stereosonic Festival in Australia, Ultra Music Festival in Miami and Rock Werchter in Belgium. During his 2010 Live Tour, Sir Rifo labeled himself and the live band the Bloody Beetroots Death Crew 77 and introduced drummer Edward Grinch. Tommy Tea was in charge of effects and sampling in the live band.
In 2011, Grinch left the replacement drummer Battle took his place. In 2011, during the Church of Noise tour, vocalist Dennis Lyxzén of the punk band Refused joined and provided vocals for a few songs. With the new live show they continued playing various festivals across the world, including the Solidays Festival in Paris, MELT! Festival in Berlin, Extrema Festival in Eindhoven, Tomorrowland in Belgium, HARD Fest in Los Angeles, Electric Zoo in New York City, headlined the 2011 New Year's Eve show at the Together as One festival in Los Angeles. "Church of Noise" featuring Dennis Lyxzén, released in late 2011. In 2013, the Bloody Beetroots released the album Hide; the first single, "Rocksteady", was released in early 2012 along with two remix EPs. The second single, "Chronicles of a Fallen Love" was released in December 2012 with the two-part remix EPs. In February 2013, Bob Rifo announced a third single "Spank", as well as an accompanying music video. Sir Bob Cornelius Rifo collaborated with Paul McCartney on the single "Out of Sight" on Ultra Records.
It was released in June 2013. For the entirety of 2012, Rifo and Tommy Tea toured the world as Bloody Beetroots DJ Set, including performances on festivals such as Tomorrowland, Ultra Music Festival and HARD Fest New York. At the beginning of 2013, Sir Bob Cornelius Rifo re-introduced the live crew under the new name the Bloody Beetroots Live, which debuted in Australia in January; the mask Rifo wears on stage has been re-designed as well – now featuring wearable LED lights on the Venom-shaped eyes, which are controlled remotely via MIDI. The rest of the band wears new masks, though they do not light up like Rifo's; the live band consisted of Sir Bob Cornelius Rifo and Edward Grinch. However, in Australia, Grinch was replaced by member New Mad Harris on drums. Since the beginning of 2013, Tommy Tea has dedicated himself to other personal projects. In 2013, Rifo announced and released a new social media platform called "the Real Church of Noise", a "safe haven for like-minded individuals to share and collaborate".
The platform incorporates sharing services such as Soundcloud. Shortly after the Chaos and Confusion tour, Rifo began to DJ across the world under the pseudonym SBCR, he released one EP titled SBCR & Friends, Vol. 1 on Dim Mak Records and began a tour around the world performing DJ sets. On April 9, 2015, Rifo released a statement to the Bloody Beetroots Facebook page announcing the end of the Bloody Beetroots and announcing the beginning of SBCR, a dramatic change from the sound design of his former projects. Sir Rifo stated that "SBCR is the name of this evolution, it's a new era and a new mask, with new aesthetics and it will allow us to reshape the future of'the Bloody Beetroots.'" He went on to clarify the next day that the Bloody Beetroots has not ended, but SBCR will be his main project for future releases. In 2017, Rifo released two new songs under the Bloody Beetroots name: a collaboration with Australian band Jet titled "My Name Is Thunder", a solo song titled "Satan Bass City Rockers".
Rifo announced the songs would be included on his third album, The Great Electronic Swindle, to be released on October 20, 2017. The Bloody Beetroots h
Esperance, Western Australia
Esperance is a town in the Goldfields-Esperance region of Western Australia, on the Southern Ocean coastline 720 kilometres east-southeast of the state capital, Perth. The urban population of Esperance was over 10,000 as at the 2016 Census, its major industries are tourism and fishing. European history of the region dates back to 1627 when the Dutch vessel Gulden Zeepaert, skippered by François Thijssen, passed through waters off the Esperance coast and continued across the Great Australian Bight. French explorers are credited with making the first landfall near the present day town, naming it and other local landmarks while sheltering from a storm in this area in 1792; the town itself was named after a French ship, the Espérance, commanded by Jean-Michel Huon de Kermadec. Espérance is French for "hope". In 1802, British navigator Matthew Flinders sailed the Bay of Isles and naming places such as Lucky Bay and Thistle Cove. Whalers and pirates followed, as did pastoralists and miners, keen to exploit the free land and cash in on the gold boom in the gold fields to the north.
The area of the Esperance townsite was first settled by the Dempsters, a pioneer family of Scottish descent, in the 1860s. The Dempster brothers, Edward and James, were granted 304,000 acres of land in the area, first settling in 1864, they brought sheep and horses overland from Northam, but in 1866 they shipped stock to the Esperance area from South Australia. They built Esperance's first landing, but only one ship made the Adelaide to Esperance voyage in the first year. Once other settlers started taking up land on the Esperance coastal plain, a small settlement developed, serving as an important link in the Overland Telegraph between Albany and Eucla. A telegraph station was opened in 1876, although the formal gazettal of the townsite did not occur until 1893; the town jetty was built through the 1890s, following the discovery of gold in the eastern goldfields region. At this point, Esperance became the "gateway to the Goldfields."The population of the town was 985 in 1898. After visiting the town in 1898, Western Australian Premier John Forrest pledged to construct a railway line between Esperance and the Goldfields.
However, due to a perceived threat that Adelaide merchants would take Goldfields trade away from Fremantle merchants via the Esperance port, Norseman was connected by rail to the Goldfields and Fremantle, but the line was not extended to Esperance. A railway line between Coolgardie and Esperance was completed in 1927; the Mallee area 100 km north of the town began grain production in the 1920s, by 1935 the construction of a second jetty, tankers jetty, was completed. After a rail link had been established between Salmon Gums and the Esperance port in 1925, the wheat harvest rose from 1471 tons that year to 4376 tons in 1929 and more than 15,608 tons two years later. Large-scale agriculture was introduced to the Esperance sand plain by an American syndicate, in partnership with the state government, in the 1960s following the discovery that adding superphosphate fertilisers containing trace elements to the poor soils made them suitable for cropping and pastoral activity. Despite early difficulties, the project became a success and large areas of land were cleared during this time.
The population of the town in 1968 was 2,700. In 1979, pieces of the space station Skylab crashed onto Esperance after the craft broke up over the Indian Ocean; the municipality fined the United States $400 for littering. The fine was paid in April 2009, when radio show host Scott Barley of Highway Radio raised the funds from his morning show listeners, paid the fine on behalf of NASA. Skylab's demise was an international media event, with merchandising, wagering on time and place of re-entry, nightly news reports; the San Francisco Examiner offered a $10,000 prize for the first piece of Skylab to be delivered to their offices. Seventeen-year-old Stan Thornton scooped a few pieces of Skylab off the roof of his home in Esperance, caught the first flight to San Francisco, collected the prize. In January 2007 Esperance experienced a storm with wind gusts of up to 110 km/h which brought 155 mm of rainfall within 24 hours, causing significant flooding. More than 100 homes were damaged, several boats were destroyed, trees were felled, 35 m of bridge on the South Coast Highway, was washed away, power was cut from thousands of homes.
The Western Australian Government declared the area a "natural disaster zone". At least 37,000 sheep were killed in the storm. There are five primary schools in the region: Our Lady Star of the Sea Catholic Primary School, Castletown Primary School, Esperance Primary School, Nulsen Primary School and Esperance Christian Primary School. There are two secondary schools: Esperance Senior High School and Esperance Anglican Community School; the Anglican school won an appeal in December 2009 against a State Government condition that limited it to grades 8–10. South Regional TAFE has a campus in the town. Esperance is at the southern end of the Coolgardie–Esperance Highway and the eastern end of the South Coast Highway, both highways forming a part of Australia's Highway 1; the town is connected by public transport to Perth and Kalgoorlie via Transwa coach services GE1, GE2, GE3 and GE4. Regional Express Airlines has daily flights to/from Perth and departing from Esperance Airport; the Esperance-Perth route was serviced by Virgin Australia Regional Airlines and Skywest Airlines.
The Esperance airport is used for general aviation. The Esperance Branch Railw
Knife Party
Knife Party are an Australian electronic music duo comprising Rob Swire and Gareth McGrillen, two members of the drum and bass band Pendulum. Knife Party were placed at #53 on Top 100 DJs poll, #22 on thedjlist and #9 based on 2013–14 data by Topple Track and JustGo Music; the duo have worked with other artists such as Swedish House Mafia, Steve Aoki, MistaJam, Foreign Beggars, I See MONSTAS, Tom Staar, Pegboard Nerds and Tom Morello. The duo met and performed music since 2002 in various different bands and music projects forming drum and bass band Pendulum. Two of the three original members created Knife Party as a side project, although it evolved into their primary project. On 25 May 2011, Swire released a short preview on SoundCloud entitled "Not Pendulum"; the name is derived from a Deftones song of the same name—which caused consternation at first, as it implied that they supported knife crime—although Swire stated that "...we’re not advocating any type of knife-related crime any more than Swedish House Mafia were advocating organised crime."
Knife Party's first EP, 100% No Modern Talking, was released digitally through Warner Bros. Records on 12 December 2011; the EP was to feature "Back to the Z-List" but was replaced with "Destroy Them with Lazers" as the duo had decided to abandon the track. The EP title refers to the lack of "Modern Talking", a wavetable in the software synthesiser NI Massive used to create "talking" basslines, their second EP, Rage Valley, was released digitally through Big Beat. Rob tweeted a screenshot taken on his PC showing three of the four final Rage Valley tracks, captioning the photo "3 down, 1 to go", referring to the mastering of the final track "Sleaze"; the title track "Rage Valley" was named "Fuck Em" but the title was changed "for secret shady reasons you will never know" according to Rob. "Sleaze" was re-titled, the original being called "Until They Kick Us Out". Rage Valley was set to be released before the end of April 2012, but due to multiple setbacks the release was delayed for four weeks.
It was made available for purchase on Beatport and iTunes on 27 May 2012. The song "Bonfire", released on this album, was featured on an episode of AMC's Breaking Bad in the fifth season and in the video game WWE 2K15; the EP was Knife Party's first entry on the Billboard 200, peaking at #75. Their third EP Haunted House, was released on 6 May 2013 digitally through Big Beat. A last minute change was made to the EP and where "Baghdad" was replaced with "Internet Friends". Rob announced the approximate release date for the new EP, the week of 22 April, with iTunes on 29 April. Rob announced the final release date would be 6 May due to issues beyond his control; the EP was leaked on 29 April and uploaded in its entirety on Knife Party's YouTube channel on 5 May as well as a trailer video for the EP. The EP entered into the iTunes Top 10 Albums Chart and peaked at #3, it hit number 1 Electro House Album on Beatport. The EP was Knife Party's first Top 40 entry on the Billboard 200, peaking at #37. Rob Swire stated that he will be taking a six-month hiatus in July from live performances in order to record new music.
A month Swire released a statement that along with an announcement of a new Pendulum album, Knife Party will be recording and releasing their debut studio album. In May 2014 Swire stated that the debut Knife Party album was near completion and that they were in their final stages of finishing it. In June it was announced that the album would be titled Abandon Ship, however it was explained that its release date will be announced once the album itself is finished. On 6 August 2014, Rob Swire released a teaser from the forthcoming album. On 15 August 2014, the release of a single titled "Resistance", was announced, to be released for free on 25 August 2014 through SoundCloud, with the album to follow shortly after. On 22 August 2014, the album was announced, scheduled for release on 24 November 2014. On 22 September 2014, "Begin Again" was released as the second promotional single from the album; the song entered the UK Singles Chart at number 183. On 7 November 2014 iTunes leaked the whole album.
Knife Party's Rob Swire mentioned in a tweet that he was happy with the album leaking, but that he felt it made "months of arguments about release dates and watermarks pointless." Evidence of a possible new EP made itself known during their performance at Ultra Music Festival 2015 where they debuted three new tracks: Parliament Funk, PLUR Police and Kraken ft. Tom Staar. On 3 June Knife Party tweeted they would be announcing their new EP within the next few days. On 24 July Knife Party tweeted their new EP "Trigger Warning" would be released within 6 to 8 weeks. On 13 November Knife Party tweeted on their official Twitter page that they will be releasing the EP along with Plur Police on 20 November 2015. At Kingsday Festival 2015 they premiered a brand new song featuring Tom Morello of Rage Against The Machine fame, they announced the song would be included on what was to be the Trigger Warning EP. However, after the announcement that the Jauz Remix of PLUR Police was the final track of the EP, Rob replied to a fan asking that the song would be on Tom Morello's upcoming solo album.
On the final day of Ultra Music Festival 2016, Knife Party closed the festival out with Tom Morello with a live performance of the ID, named "Battle Sirens". They played a new pair of VIPs: LRAD and Bonfire, the latter of, accompanied by Tom Morello playing guitar. On 5 September 2016 Knife Party posted a GIF with the words "Coming Soon" on top of a static background; this was followed up on 7 September with another GIF of a cartoonized Tom Morello in shad
