Control by Chase & Status Feat. Slaves – A Raw, Genre-Bending Ride That Sticks With You
If you’re looking for something that punches you in the gut while also making your feet move, Control by Chase & Status featuring Slaves is worth a spin. This 2016 release isn’t just another album; it’s a collision of worlds—electronic beats meet punky rock vibes, with techno and dub sprinkled on top like seasoning on an already spicy dish. It’s raw, unapologetic, and kinda chaotic—but in the best way possible.
The UK-Europe connection feels strong here, thanks to labels like More Than Alot Records and Virgin EMI Records backing this beast. And let’s not forget the crew behind the scenes: Isaac Holman, Laurie Vincent, Saul Milton, and Will Kennard. These guys didn’t just write songs—they crafted experiences. The tracks hit hard because they come from real places, y’know? Like someone poured their soul into every beat and lyric.
Now, onto the music itself. There are three versions of “Control” on the record, but I’m gonna focus on two—the Original and the Radio Edit. Both slap, but for different reasons.
The Original version hits you right away. It starts off all brooding and mysterious, like walking into a dark room where you can feel the tension in the air. Then BAM! The bass drops, and suddenly you’re caught up in this whirlwind of energy. What makes it unforgettable? Probably how the vocals from Slaves cut through everything else. They’re raw, almost shouted, like they don’t care what anyone thinks—and honestly, neither do you when you’re listening to it. It’s rebellious as hell, and it pulls at something primal inside you. You want to scream along, even if you don’t know why.
On the flip side, the Radio Edit smooths out some of those rough edges. It’s still got attitude, but it’s more polished, easier to digest. If the Original is a wild night out, the Radio Edit is chilling with mates after the party. Don’t get me wrong—it’s still powerful, but it lets you breathe a bit. The balance between Chase & Status’s production skills and Slaves’ untamed spirit works wonders here. It sticks in your head long after it ends, which is probably why radio stations loved it so much.
What I love about Control is how unpredictable it feels. Just when you think you’ve got it figured out, it throws you a curveball. One minute you’re vibing to pulsing electronic rhythms, and the next, you’re headbanging to gritty guitar riffs. It shouldn’t work, but somehow it does. Maybe that’s why it stays with you.
At the end of the day, Control isn’t just an album—it’s a statement. It says, “We’re done playing by the rules.” Listening to it feels like being part of something bigger than yourself, like you’ve stumbled into a secret club where everyone gets it. Weird thing though—every time I hear it, I find myself wondering…what would happen if these guys ever decided to make a full-length rock opera? Yeah, random thought, I know. But hey, stranger things have happened in music, right?
