Review: Greatest Hits - Little Big

I’ll be very honest in starting this review, and admit that I partially just wanted an excuse to talk about Little Big. This certainly isn’t a standard album or EP, the likes of which I usually discuss, and whilst I’ve written about compilations in the past (see Sleaford Mods’ All That Glue), this collection is even more unusual in that it’s a vinyl-only release. Nevertheless, Little Big are without a doubt one of the most interesting acts of the present day, with their fusion of punk, rave, and pop giving them a completely unique style that sounds something like the Prodigy-meets-AronChupa-meets-Die Antwoord. With an absolutely tremendous following in their native Russia, it’s genuinely quite hard to fathom just how popular they are. For context, on YouTube – where they seem to have the biggest presence – six of their songs have over 100 million views, with the highest viewed approaching half a billion. Their Greatest Hits, stylised as “Ungreatest Shits” showcases 16 of their most-loved songs.

The first track is ‘Uno’, which was in fact due to be performed as Russia’s entry to the 2020 edition of Eurovision, before the show was cancelled. Demonstrating their recent transition to a more pop sound, ‘Uno’ is sheer joy. It’s ludicrously catchy – due largely to the simple motif repeated throughout, but this is all that’s needed to create the mood of 100% enjoyment. ‘Give Me Your Money’ follows, featuring frequent collaborator, rapper Tommy Cash. With its Russian sounding melodies, and traditional vocals in the chorus, here the band are signalling their origins, whilst also showcasing their own distinctive sound. Cash’s vocals add an interesting element, although it’s singer Ilia Prusikin’s voice that stands out the most. The title of ‘Punk’s Not Dead’ signals the genre that this track will largely focus on, with very heavy elements of both punk, and EDM too – certainly reminiscent of the Prodigy. This specific sound is definitely a strong signifier of their early style that brought them initial fame. And then ‘AntiPositive’ continues this feeling, again including elements of traditional Russian vocals like in ‘Give Me Your Money’. A live recording, it was a good idea for the band to include this, as it really demonstrates the sheer ridiculous amount of energy it holds, with inspiration from both punk, and drum ’n’ bass.

Next up is ‘Skibidi’, one of their best-known tracks – not only for the dance craze it inspired, but also for just how fun the song is, with its nonsensical lyrics, samples of animal noises, and the unstoppably bouncy backing track. This is Little Big at their best, particularly so for their more recent, pop-based pieces. ‘Faradenza’ then really manages to bridge the sound from their earlier, heavier dance music to their modern pop releases. One of their few songs not to be sung in English, this again features the bounciest backing track one could wish for – it’s as catchy as anything and will certainly get a crowd moving. ‘LollyBomb’ is probably the track with the least influence of punk rock: with no real heavy elements at all, this is pure EDM. Whilst it may take a few listens to really appreciate, there’s a lot to enjoy here once it’s cracked you, and it’s another that could easily get stuck in your head for days. And then side A ends with ‘To Party’ – featuring more traditional Russian influences mixed with the heavier end of dance music – similar to ‘AntiPositive’. The bounce is as explicitly prevalent as possible here, and whilst there are some slightly questionable harmonic choices – with certain parts that don’t really work – there’s no denying that the energy is as high as it could conceivably be.

‘Go Bananas’ opens Side B – on a similar level to ‘Skibidi’ in terms of silliness. As the title exemplifies, this isn’t a remotely serious song, and the whole piece is just an outlet for as much nonsense as possible. When recognising the piece in light of these intentions, it’s fantastic. And then we have ‘Life in da Trash’, one of their earliest songs; like ‘Punk’s Not Dead’, this is the sound that made Little Big what they are. Some of the vocals found here are really quite disturbing, and the band are very effective at creating this disturbing feel whilst still ensuring that the music is enjoyable – with various classic EDM clichés used completely unironically. ‘Voice of Hell’ is definitely one of their lesser known pieces, managing to include some hip hop elements, in both the beat and the vocal flow – at least in the verses. It’s only subtle, but noticeably there. Whilst other parts are comparatively minimal, the chorus brings us back to the unstoppable energetic heights familiar from other tracks – in fact, it’s one of the most energetic choruses of them all. And then ‘AK-47’ is a little unique, in that it seems to fuse this relentless energy of the earlier songs with the silliness of their later style. Like ‘Faradenza’, this is definitely a transition to the poppier tracks, with elements of modern R&B thrown in as well.

‘Rock-Paper-Scissors’ is a real highlight – one of their rockiest numbers, whilst still keeping the very recognisable elements of EDM that has defined their sound. Again, it’s extremely catchy, and I’d be tempted to place it as their best song. It’s certainly up there, though there’s undoubtedly very strong competition – which is a testament to how many memorable songs Little Big have produced. ‘I’m OK’ will likely be the most preferable to regular readers of this blog, as it really demonstrates that big band ’n’ bass sound. With some of the most genuinely hilarious lyrics I’ve come across, this is a solid drinking tune, and will go down brilliantly in clubs. Towards the end of the release, ‘Hateful Love’ has a seriously unique sound – definitely standing out as being somewhat different to every other track found on this collection. Fusing various styles from the heavier end of EDM – including elements from both drum ’n’ bass and hardstyle – the harshness of the sound is reflected in the lyrics as well, which are absolutely brutal. But the song is genuinely great, and if you’re into this kind of heavy styling, it’s one of their best. And finally, ‘Big Dick’ presents some of the most juvenile lyrics ever composed, which to be honest – are awful – but that’s exactly what they’re intended to be, so it would be worthless to be critical of them. Again, this is a reminder that Little Big don’t take themselves seriously at all, and perhaps that’s why they’ve chosen to close with this one – as a blatant reminder not to overanalyse the band.

Little Big really have a knack for making the catchiest music possible. Not taking themselves even remotely seriously, their music doesn’t contain any sort of depth whatsoever, and that’s entirely intentional. It’s just plain fun and enjoyment – and there’s certainly a lot of enjoyment to be had here. From their earliest recordings with their strong punk influences, through to their latest pop offerings – always with a strong element of various EDM styles mixed in – Little Big’s music is typified by its unique memorability, and the fact that it’s impossible to listen to them and not have a smile on your face. Across their whole catalogue, they’ve created a genuinely distinctive sound – which is a difficult task in the 21^st-century. Having experienced astronomical success across Russia, it’s a wonder that they’re not bigger elsewhere – a consideration which is demonstrated perfectly by the level of entertainment found throughout this collection.