Credit: Nomark
Fight! Fight! Fight!
[By: Two Fingers]
Genre: Halftime
Rating: 85
Cohesiveness: 55
Track quality: 78
Beginner-friendly? eh sure
Published 2026/07/24
Amon Tobin once again proves himself to be a rhythmic alchemist under his experimental bass alias 'Two Fingers'.
Having had three decades of experience in producing under a smattering of different monikers, Tobin is a veteran genius of electronic music, and in Fight! Fight! Fight! it shows. There's a distinct inspiration from the older schools of electronic music, a sound signature reminiscient of scenes like dubstep and drum n bass through the early 2000s, but with a halftime DnB wrapping around it. Of course, Fight! Fight! Fight! does not sound dated - far from it. Much of the writing, and, indeed, much of the sound design, seems to derive itself from these older scenes, but Tobin's knack for it still sounds excruciatingly sharp.
But it is ultimately the eclectic rhythms that sell Fight! Fight! Fight!. This should come as no surprise, given that five out of eleven tracks are explicitly dubbed as "Rhythm" tracks, but nevertheless the way in which Tobin springs these grooves together is nothing short of impressive. And they're all different - "LALA Rhythm" is a little more spaced-out and dynamic, whereas "Boss Rhythm" and "LED Moon Rhythm" sound more straightforward and more kempt - meanwhile, "Nuff Swizz Rhythm" is perhaps the tightest of the five, and also the most percussion-driven. Of course, the other tracks offer their own rhythmic blessings too, whether it be the viscous and murky "Zero Face" or the arrogant crescendoes of "You Ain't Down".
The longevity of Tobin, and his commitment to the experimental electronic scenes, has given him a particularly unique style. On Fight! Fight! Fight! there's always a curious sense of anticipation of the next mindbending idea he might implement; there's always some uncertainty in the composition that keeps you on edge. The club rhythms that have historically defined the Two Fingers alias - perhaps when it was still a duo, and for some time after - are still present, but the material that Tobin presents here is, first and foremost, ingenious. It may, undeniably, be intense and energetic, but the experimental inclination remains firmly in control. The club feeling is married with a hip-hop sensibility - Two Fingers has always had one of its fingers soaked in the beatmaking styles of hip-hop, and it is not lost on Fight! Fight! Fight!.
There is an argument to be made that the sounds here, in a vacuum, are not necessarily new. Perhaps Tobin tried them before himself, perhaps his contemporaries did. That sentiment does very little justice to the proficiency of Tobin's compositions.
The writing on Fight! Fight! Fight! is compelling in the uncanniest sense. It does not bombard you with attention-grabbing lasers or other dopamine-inducing sonic stimuli (that seem so common in the EDM scene at present). Tobin does not bother to stoop to that level. In fact, the halftime beats strip away much of the pacing that traditional drum n bass would have otherwise had, leaving the tracklist to dwell upon its slower, more methodical approach. Tobin's compositions crawl up your spine and rattle your bones; his grooves flow fluidly and freely, unrestrained by any linear song structure. It could almost be called fun if it wasn't so formless, and yet despite its formlessness Fight! Fight! Fight! is really rather tight. In percussion and in sound design, Tobin keeps the sonic signature of the record highly technical, but he allows the rhythm and songwriting to wander freely.
Tobin describes the Two Fingers alias as his "dedicated outlet for heavy bass music". Perhaps this is misleading, when considering the connotations of "heavy bass music" today - one might think of the rowdiness of festival dubstep, or a jump-up DnB rave - but it is nevertheless true; Two Fingers does, in fact, deal with bass music that sports a dash of heaviness to it. Fight! Fight! Fight! handles that task in an almost sneaky way, but it's got a little bit of a bite, a venomous bite that strikes from behind the enthralling attention to detail that Tobin has mastered.
Listen on Spotify here.
Fight! Fight! Fight!
Tobin kicks off this album with the title track, a chunky track with a thick bassline and a mantra-like accompaniment, with a clean synth breakdown. It's fluid and moves in a very compelling manner, constantly changing yet adamantly sticking to its main motifs.
You Ain't Down
Just like the one the track before it held, "You Ain't Down" begins with its own lead, before the thundering bassline kicks in and the track's seemingly progressive nature begins to take effect. The mix is very intense, and only gets more intense as the track broils and broils nicely before eventually rumbling to a stop.
Razzy Beat
w/ Ivy Lab
As the abrasive lead is introduced, Ivy Lab bring an experimental percussive flair to "Razzy Beat". The track then plays with its food a little, with a crisp beat and a heavy-handed approach to its lead sound, before that lead is taken away and replaced with some springy sound design. Through the rest of the track, though, it remains largely present, guiding it with surprisingly clean control.
Rockyou Feelit ⭐
"Rockyou Feelit" brings the first coherent vocal sample to the album, and it makes this cut something of an... earworm? With the experimental nature that Tobin brings, it feels difficult to call it that, but the feeling remains. And it's orchestrated masterfully by the push-pull dynamic between the emptier sound-design-forward parts and the industrial sustain that dominates the mix when it comes on.
ZX Rhythm
The first of the 'Rhythm' tracks, "ZX Rhythm" seems uncertain in its first 20 seconds but quickly resolves itself into a very driven sound. It shuffles around a lot, but the focus on sound design through the early midsection means it loses its strong groove, and when it finds the groove again the lustre is somewhat dulled, even with the extra shuffly elements added.
Zero Face ⭐
w/ G Jones
This one begins with some clangy percussion before an eerie ambient atmosphere takes over. The echoey elements enhance the ambience really well, and the reintroduction of the clangy percussion seems almost haunting, before the track switches to a very viscous drop. G Jones' experimental trap flair certainly shines through here - the collaboration proves to be clinical.
LED Moon Rhythm
Lead-wise "LED Moon Rhythm" might be one of the more loyal tracks to its main sound. It's distorted and manipulated heavily, but never really abandoned, though that manipulation can make it a little awkward in places. When it comes out in full, it's very funky, but when Tobin tries to change it up it falls short and a little weak.
LALA Rhythm ⭐
The third of five 'Rhythm' tracks, "LALA Rhythm" is pretty much what it says on the tin - until it isn't. There's a whole host of different melodies that each get their own space in the composition, pausing between each whilst the rhythm maintains structural control. It's slower and more spacious, but there's so many spontaneous things going on that it's difficult to get bored of, yet it still feels crafted and carefully planned out.
Nuff Swizz Rhythm
Rolling percussion kicks off this track, with a couple of big bass hits over the top. The drums progress nicely, and though the track gets repetitive the incremental sound design (and occasional bass hit, to keep you on your toes) keeps a solid sense of progression going.
Boss Rhythm
Another coherent vocal sample (wow!) is the driving force of "Boss Rhythm". It lends it a brashness that is not afforded by many of the other tracks, with the thumping rhythm and stolid bassline only accentuating that brashness. Tobin constantly chops the sample and then chops his sound design - the interplay is wonderfully done.
Unknown Trauma ⭐
w/ Little Snake
The finale, "Unknown Trauma", is a little longer than most of the other cuts, and rightly so, because it opens up into a meaty, potent, and quite honestly absurd concoction of sound design. The liquified amalgamation of sounds continues on its own for a while before a frantic beat joins it, and then the beat takes over and the track completely deconstructs. Absolutely wild ride of a closer.
- Zero Face w/ G Jones ⭐
- Unknown Trauma w/ Little Snake ⭐
- Rockyou Feelit ⭐
- LALA Rhythm ⭐
- Fight! Fight! Fight!
- You Ain't Down
- Boss Rhythm
- Razzy Beat w/ Ivy Lab
- Nuff Swizz Rhythm
- ZX Rhythm
- LED Moon Rhythm