The Prodigy "The Day Is My Enemy" (2015)

The Prodigy are a British trio of electronic musicians who need no introduction to residents of their native country. Here in the UK they are a household name, with big albums and singles like "Firestarter", "Breathe" and "Smack My Bitch Up" in the 90s they establishment a huge presences for themselves alongside the Brit Pop era of that time which saw a fair few musicians, bands and pop groups flourish with a wave of popularity. This album marks 25 years the three have stuck together and is only their sixth full length record, having slowed down their output since their most popular release "The Fat Of The Land". The group played a pivotal role in defining the Big Beat genre which mixes elements of Hip Hop and post-Detroit rave scene sounds like Jungle, Techno and Drum & Bass. The name clearly suits the genre which revolves around massive loops backed and reinforced by various styles of synthesizer leads and electronic sampling.

"The Day Is My Enemy" is a generous serving of vibrant, industrious, energetic songs that give their fans exactly what they want, more hard hitting breaks, hooks and jittery melodies to rave too. Beyond that their little thats expansive or experimental about this record, The Prodigy are writing sharp songs that meet the expectations of their niche. Through out the record there are hints and inklings of similarities to previous songs, which is to be expected. Overall it does an impressive job of keeping their sound fresh, with exception to "Destroy" which felt like an intentional throw back to the 90s, and one of the records best songs with its thumping bass kick, shuffling snares and pitch shifted hits creating one heck of a hook.

Production wise, their experience and knowledge shows. Theres very little to talk about beyond the stunning clarity and balancing of instruments in the mix, it makes for a lively record that gives you a feel for the live experience. The record very much suits a mood and apatite but with little to expand on what The Prodigy are known for it can feel all too familiar. With a lack of new ideas or moments that take you by surprise it leaves a desire for something new. Its strength is its rigidity and so is its weakness. The Prodigy stick to their guns and shoot to kill, but they could do with a new target. Great listen but very much scratches an itch thats been treated before.

Favorite Songs: Ibiza, Destory, Wild Frontier, Medicine, Wall Of Death

Rating: 6/10

Arathgoth "Book Of The Night-Legends" (2014)

American musician, presumably a one man band, "Arathgoth" has undergone considerable exploration and change of its sound through the eight releases since the bands debut in late 2012. I discovered this project through Katabaz Records and have followed it closely waiting for a record that clicked with me. In its inception the sound was a gloomy, minimalist rendition of eerie ambience's, sound scape's and Dungeon Synth that was slowly evolving before varied experimentation on "Interplanetary Travel" that led the sound towards the familiar territory of Black Metal, which is what caught my attention on Legends. I was thrown back to the time when I was exploring that world and loving the places the music could take you, it gave me a taste of that wonder again.

With its opening tracks the record establishes a settled sound that defies feeling closely linked to a particular band or style within Black Metal. Encompassing a lot of influences, techniques and familiarities the songs make for easy, traditional listening with an air of quality to draw one into its subtleties which gave it edge. Buried keys and airy synthesizers blur the guitar distortions into deep, colorful persuasions which come to life in the breakout moments that utilize rock steady drumming. The tone is dark, foreboding, atmospheric and the themes of witchery, vampire-ism and dragons bring to life an evil dimension. The record quickly steers its direction away from the black with Dungeon Synth taking over the tracks. It splits the record in half and spoils the initial attractions progression and what felt like an interlude further devolves into ambient numbers which could certainly entertain had the context not been different.

The records production doesn't suffer from any of its rough edges, as is often the case with Black Metal the raw mix, occasional clashing of instruments and low fidelity just furthers the aesthetic and atmosphere. The drum machine is well constructed, disguising itself well but in faster moments the sampling becomes obvious, at times its mechanical nature it a nice touch, at others its all too commanding and dominant, but for the majority of the opening tracks it works. Its nice to hear a record that has a spark of a music Ive grown somewhat distant too in recent years, but the records change in direction was disappointing and although i can't be critical of the second half it dispelled what the album set out to do.

Favorite Tracks : Vampiric Doll, A Penance Of God, Desert Wings

Rating: 5/10 

Marilyn Manson "The Golden Age Of Grotesque" (2003)

It took me some time to get around to this record, having got into Manson's music last year I started with the classic "Trinity" of records and my research and reading into Manson's career indicated this was the record where he "fell off" and things started to change. I finally gave it a spin and instantly enjoyed it, having now thoroughly enjoyed this record I can certainly hear its weak points but am a little mystified as to why this album wasn't received well by critics. Its everything Manson is about, orchestrated like a finely tuned weapon of blasphemy aimed at the masses, covered in glossy a deceptively approachable listen.

The record kicks off with "This Is The New Shit", a song that gives you a belly full of what the albums tone and context will be. Making a mockery of trends and pop culture through defining itself as the "next thing", Manson executes a very direct approach that gets straight to the point, at times it works great and in others the lack of depth or obscurity in the lyrics does leave much to be desired. "This isn't music, and were not a band, were five middle fingers on a mother fucking hand" from "Vodevil", the records best lyric of this style, a very blunt and aggressive statement that hits hard, unfortunately these moments are just a handful.

Aesthetically the album is ripe and potent, an infectious noisy production with fantastic distortion on the guitars that feel overdriven to hell, yet have a crisp, sharp, razor blade tone that transforms some rocking riffs into full on head banging, moshing monster riffs. The guitars are not the sole focus though, theres plenty of space for them to drop out and give a range of electronic noises and drum machines to create paranoid, dark atmospheres along with bass lines that step up the tone and distortion and make themselves an important part of many of the albums tracks. The writing is catchy and heavy on the hooks which dominate the songs, so much so, many of the tracks lack a bit of variety and depth where they repeat with the same hooks.

The album flows really well, mixing up the more aggressive numbers between the peculiar, outlandish atmospheres and style this record broods in Manson's artsy moments. The song "Para-Noir" captures the records best qualities, creating a menacing atmosphere with Dita Von Tease's domineering taunts brooding and provoking a driven response from Manson as the record explodes with ever powerful guitar riffs. The album does fizzle out with a cover of "Tainted Love" I've never enjoyed, followed by a carnival of horrors track and another atmosphere driven song that doesn't excite much, the record could of ended on a high with "Vodevil" for me. Overall its a vibrant, blasphemous rock and roll record of unforgiving attitude that has some obviously flaws but Manson clearly did exactly what he set out to do with this one.

Favorite Songs: This Is The New Shit, Mobscene, (S)Aint, Slutgarden, Para-Noir, Vodevil
Rating: 7/10

The Reign Of Kindo "Play With Fire" (2013)

It's been a while since a band has immediately grabbed my attention, having me seeking out their records based on one song, but "The Reign Of Kindo" did exactly that. One of my first thoughts was pondering if there was once a time I would of turned my nose up at this. Where I've taught myself how to appreciate more varieties of music, Ive learned to hear what the artist is expressing, as opposed to what I want to hear. Kindo's aesthetic on an initial impression is poppy, classy and far from the feast of anger and aggression I'm used to. Through that aesthetic I hear a mighty and fierce musical force of expression projected with true intensity and energy that I may of once not heard.

But enough about my experience, Kindo are an American five piece band from New York who describe themselves as "Makers of music". Their rich and illustrious songs elevated by a range of studio musicians who accompany the five, giving them an arsenal of instruments and styles to pull from at any point. Kindo will be no oddity of sound, but their style truly distorts genre boundaries and expectations despite feeling so grounded and "regular". Drawing their main structural influences from Jazz Rock, Pop and Progressive Rock, the band dazzle with an array of subtle influences that creep into the various tracks, so much so you can hear inklings of Indie, Alternative, Soul, Swing, Big Band and even Latin in the layers of instrumentation that back the core group. Whats charming is how intelligent and natural the compositions are, and how much they put into a track yet leaving a big space for singer Joseph Secchiaroli's stunning, powerful voice to fill. Its a chemistry of musical perfection, delivered with a timeless pop sensibility.

The record is a solid one, variety, flow and consistency run from start to end (almost), yet the group set a very high bar with the ferocious opener "The Hero, The Saint, The Tyrant, & The Terrorist", delivering the albums best riffs, moments, build up and exquisite vocal hooks. The rest of the record doesn't quite reach the same intensity but their is plenty to enjoy and a few calmer numbers that personally I don't think catch the same spirit and charm as the upbeat songs. The production is fantastic, so much so I had at no point given a single thought to it, every instrument is audible, balanced and mixed to give and easy listening experience that carriers a lot of weight.

The final three tracks fizzle out a little for me, "Romancing A Stranger" making a meal of an obvious infatuation and "I Hate Music", really good instrumentally but lyrically it made be wince a little, I feel its pointless to make broad sweeping judgments on pop culture and whats played on the radio. The frank and blunt lyrical delivery just furthered the lack of connection to the point of view. Great record, the band have huge potential and I look forward to hearing their next release!

Favorite Songs: The Hero, The Saint, The Tyrant, & The Terrorist, Sing When No One's Around, Feeling In The Night, Sunshine

Rating: 7/10

The Diabetic Sandwich "MunchieZ" (2015)

This short three track record is a collaborative effort between four producers from across the globe, uniting under the moniker "The Diabetic Sandwich" to create Hip Hop instrumentals with a broad range of influences from Trap to Jazz Hop and a general Alternative vibe. The group is yet to define itself beyond its stark graphical output of cut n paste photoshop, neon colors and colossal hamburgers. The debut release a short one leaving much to be desired.

"Merlot" feels like the records only fully developed track at just under four minutes. Jazzy pianos, wordless vocal leads and subtle guitars collide with airy, alien synths, Trap hi hats and deep kicks in an unusual chemistry of oddity that displays a charm. The production is a little forceful, pushing the airy synths into the compound samples it feels a little clustered but the ears do adjust. The song moves through a structure fit for verse and chorus and could really be elevated by the presence of a rapper.

"Meatsticks" has a calmer, less ambitious tone. At two minutes it has an interlude vibe as a sturdy beat sample guides a gentle strings and a graceful piano to a quiet conclusion. The production is subtle, the samples work well together and apart from some obvious clarity difference, it all works.

"Cheese Whizzz" is the records most unusal number, throwing layers of lush sound subtleties into the beat with laser firing and explosion sound effects. The drum beat is a little dry and crispy, and there isn't much of a lead sample, just lush airy noises drifting around the beat that doesn't progress anywhere in particular. At 99 seconds it feels like an unfinished beat.

Rating: 2/10

Julie Cruise "Floating Into The Night" (1989)

A dear friend turned me on to this record, it felt immediately indulgent, familiar like a recollection of memories not my own. I'd never heard of Julee Cruise before, the American singer was hailed with fair regard at the time as being an influential voice, however time has left her attached to this record through the track "Falling", the theme song from "Twin Peaks". It was her first release of four, interestingly each of them released in separate decades, her career now spanning over 25 years.

"Floating Into The Night" is a distinct record of indulgent serene melancholy. Moving at the calmest of paces we drift, comatose and detached, through gentle ethereal lullabies, hypnotized by comforting balances of emotion that sooth and flirt with an eerie undertone, almost haunting in moments, but forever feeling safe. Its a unique sound achieved through the subtle droning and repetition of light, tender instruments and glistening strum guitar chords, brooding together in an atmosphere fit for solitude and introspection. Julee's voice guides a soft and sombre path through the carefully poised ambiance that often unites both a sense of gloom, and bliss in the same space. A unique chemistry.

Perfect for the right mood but hindered by its own genius, the record as a whole is so dreamy and soft its flaws stick out like a sore thumb. Track after track of ethereal ooze leaves the underwhelming tracks spinning in the mark of their predecessors. A few bold moves to break up the spell feel rigid, "I Remember" breaks the rhythm and hits us with darker instrumentation in an obviously nightmarish moment that maybe lacks some subtleties. A saxophone breaks the tone of one of the tracks best songs and "Into The Night" includes a sudden orchestral hit that feels completely unnecessary yet it does direct a sense of reality into the track.

Julee's voice is so subtle, soft and caressing yet powerful and alluring. Her voice further exemplifies the chemistry of the instruments, adding another strange and wonderful balance of eerie and familiarity into the sleepy atmospheres these songs create. Its a remarkable record, but far from perfect. In a moment its indulgent, as a whole it stretches itself with a couple of underwhelming tracks, but either way a very niche record I'm happy to of discovered.

Favorite Tracks: Falling, Rockin' Back Inside My Heart, Into The Night, I Float Alone, The Nightingale

Rating: 7/10

Izioq "Retro Life" (2015)

Emerging from the from the year 1982 this mysterious musician "Izioq", a name that looks confusing to pronounce, brings us a dose of nostalgic bliss with a retroactive worship of childhood memories inspired by the technical limitations of early computer game consoles. The cover alone gives you a strong sense of what to expect, and behind the hood we find a dazzling production that brings the best out of the buzz-saws, sine waves and digital synths of times gone by. It is not an unfamiliar concept, but on this project the focus is on the charm of the era.

On "Retro Life" the listener can take a step back in time as these songs allure like lullabies swooning you into a simpler, innocent existence, one very familiar for 90s kids with each of the track titles referencing the culture of that time. The titles are direct and so is this music which doesn't over extend itself, yet finds a balance to develop short layered compositions with jubilant, delightful melodies that transcend the simplicity they are reflecting. The compositions are adept with the techniques used in 90s VGM and even finds moments to integrate the ambient and "power up" effects into them. These songs are deep, heart felt and meaningful, all of which is apparent on the glimmering surface of every song which has a story to tell.

The compositions have a grace thats amplified by the gorgeous production, so carefully respecting the original sounds and delivering them in layers with soft reverbs that like them ooze and meld together for a rich and polished tone that can do no wrong. The chemistry is sublime and powerful, allowing the expression to shine through. For all I love and respect about this record it does not suck me in as much as id like. These sounds and the nostalgia it worships are not one I share, but I hear it clearly, on a personal level its a charming listen, but objectively id say a very special one.

Rating: 6/10

Metallica "Ride The Lightning" (1984)

Sooner or later I knew this time would come, a day to write about "Ride The Lightning", Metallica's second record, and one that changed my life forever. It feels almost blasphemous to write about a record my words could never do justice for but in a moment of inspiration it feels like now is a better time than never. As a young teen searching for something different to MTV's narrative I found a show listing great records on VH1. Two caught my attention, N.W.A.'s "Straight Outta Compton" and this one. "Fade To Black" swept over my hears as the dark acoustic, sombre guitars evolved into a racket of furious energy controlled by Hetfield's masterful rhythm guitar and youthful, slightly out of depth voice, the track evolving into a flood of serene, pensive color as each note of Hammet's enigmatic solos fall like drops of rain. I was blown away, and couldn't put this record down. I used to play it back to back with AC DC's "Back In Black", it was always my favorite of the two, and the excitement it gave me then I still feel today fifteen years later. It posses an interesting question about the bonds you make with the music your first exposed too, but that could not dismiss the stunningly imaginative and down to earth record this is.

Now legends, then a band with a fair amount of attention releasing their sophomore album, RTL came at a time when Speed Metal was seen as a passing fad and the glory days of Heavy Metal were over, but alas this record would set them on a path to bring Thrash Metal to huge audiences but for Metallica this is an ever so important part of their evolution, shedding the Speed Metal scenes aesthetic, attitude and traits of "Kill Em All" and taking their speed and technique to a dynamic, structured dark sound met with deep and meaningful lyricism that gave their Metal music a very grounded, relevant and emotional basis to relate to, as opposed to the heavily thematic and fantasy driven styles of past. This was the first album where Hammet was involved in the songwriting, his distinct leads giving their sound a whole new dimension as well as Hetfield defining his direction as a rhythm guitarist, stepping away from the Mustaine's style so dominant on the predecessor.

Where RTL gets faster, it also broods and molds as riffs find a relation to the bigger picture. Fast and thrashy tremolo picking finds its place with slower chord driven moments to create songs with a lot of direction and meaning. As the dark, fast pounding numbers thrash onwards they create a menacing soundtrack for Hetfields apprehensions with judicial systems, suicide and biblical slaughter. His voice forceful and vibrant, yet pushing himself in ways that leave a slightly sheepish undertone in the moments that stretch his ability, its a charming performance, haunting on "Fade To Black" and one that shows he can fill big shoes.

The record doesn't loose its focus for a moment before ending with the lengthy instrumental progressive climactic "The Call Of The Ktulu" showcasing the records aesthetic through cold, punishing guitars, Hammet's lightning leads and Burton's monstrous distortion bass rocking under riffs that lead to a mighty finale fit with lightning strikes and a riff that will always leave you yearning for more. As much could be said for every track on this record which makes its mark with such unique, undefinable qualities in the songwriting and structure that have helped the band build an audience of fans who simply can't stop screaming "Die!" to "Creeping Death", a song played at practically every concert.

Although RTL feels like the perfect record, there is one qualm I always have, Ulrich, certainly not a prolific drummer, his sloppy bass pedals and sometimes struggling performances have a certain charm to them, yet there is rarely a moment where his drumming stands aloud and grabs your attention. He is far from inadequate, and compliments Hetfield well, but often leaves me wondering if someone else could of done it better. Its not a criticism, just a curiosity, and with that said I do enjoy his choices, especially the bass and cymbal thump to the punch moments of the guitar. It will forever be a record I love, and one with a true air of magic and experience that can't be expressed with words. Its cathartic for me, an album that opened me to a new world of music, one that I couldn't do without. Metallica have been massively influential on fans and musicians around the globe, and for me "Ride The Lightning" is where their genius shines its brightest.

Rating: 10/10

Lord Lovidicus "Book Of Lore Volume I" (2015)

A new Lord Lovidicus record is always an excitement, but with most of the post-2012 releases I find myself at a loss to assess what it is this album does for me. Following the current path of progression "Book Of Lore Volume I" expands with more lush folklore inspired tales and melodies that reside in the imagination for a nostalgia that blurs the lines of history and mythology, creating cultural music of vivid immersion. The book of lore is no exception but it no longer has the surprise or wonder the project once had. These qualities were what drew me to LL in its Dungeon Synth days, and now the magic is a familiarity.

The record side steps from 2014s "Wandervogel Des Waldes", dropping some of the eerie, dungeon-esq qualities for a purer, clearer arrangements that captures the brighter sides of these fantasy worlds visited through the music. The percussive elements adapt culturally with a spirited tambourine guiding Bongo-esq hand drums and atmospheric gong hits which provide a strong back bone for carefully crafted strings and leads amassing to clear, direct and vivid soundscapes that stroll through their own moments in time. "Mines Of Nargothrond" came as a pleasant surprise, a re-imagining "Mines Of Moria" in this new pallet, but it lacked the charm of the original.

The album wanders through track after track of bright vibrance that feels animated and colorful, yet the familiarity separates it from the impact it once had. There are many moments for charming leads to take hold and indulge the listener but for me its a drop in an ocean of music I feel well versed in. Its hard for me to like the same thing over and over, I like music to be adventurous and challenging and this is anything but. I still enjoy this record, it does no harm, but its become all to familiar to make any lasting mark on me.

 Favorite Track: Telperion And Laurelin

Rating: 5/10

Limp Bizkit "Gold Cobra" (2011)

Lets rewind a few years back to "Gold Cobra", the return of band everyone loves to hate, Limp Bizkit. Ten years ago they dominated the airwaves at the turn of the millennium before enduring a patchy period of lineup changes and flopped records. Their reunion with original lineup and announcement of a new record came as a shock at the time. I enjoyed this record back then but never gave it too much time. Catching Bizkit live many times since their reunion has been a true treat for the inner-child in me that loved them in my youth and recently I found myself with a hankering to listen to this one as its hooks and catchy edge swirled around in my mind these few years later.

Having reabsorbed this record I find myself with a greater appreciation for it, but I have the same qualms as back in 2011. Lets start with the positives, on "Gold Cobra" Bizkit recapture the essence of their attitude and style thats been absence since "Chocolate Starfish", but this is no nostalgic recreation, its a forward thinking record that finds the five band mates progressing as the group they once were. John Otto is keen on his kit bringing that loud slamming rock energy with a strong Hip Hop groove. At times he's a little quite but theres plenty of moments where he comes to the fore front with a massive beat. Rivers is steady and subtle as ever, rocking powerful lines under the guitars, giving much backbone for Borland's charismatic guitar style which doesn't have quite the explosive edge it once did, but he finds plenty of ways to excite with an arsenal of strange guitar noises and new rhythmic approaches.

DJ Lethal is relatively absence on this record, making his appearances in between tracks with the occasional drum sample jamming with Borland's alien leads but not bringing a lot of impact to the rest of the music with the occasional scratching and samples ringing in the background, not the same charm it once had. Fred Durst is the biggest point of contention on this record. His voice and energy is right on the mark, but the lyrical content is certainly an oddity of its own. The flow and hooks have it, but the lyrics are as tame as ever. Fred was never hailed for his lyricism, and as an adult his profanity driven attitude and basic vocabulary doesn't have the charm on me it did in my youth, at the same time there's hooks that get stuck right inside your head despite a lack of depth or connection, most the time its in one ear and out the other.

The record as a whole feels like what you world expect from and old Bizkit, theres that variety including mellower tracks reminiscent of "My Way" and "Re-Arranged", as well as some heavier aggressive numbers. "Gold Cobra" gives a fan everything they want, but its biggest flaw lies with Fred who's lyrics feel stale in a vibrant racket of energy. Great and unexpected come back record. Now I'm looking forward too "Stampede Of The Disco Elephants".

Favorite Tracks: Bring It Back, Gold Cobra, Get A Life, Walking Away, Why Try, Killer In You

Rating: 6/10

Craig Mack "Project.. Funk Da World" (1994)

Having recently discovered Notorious BIG's "Life After Death" I decided to do a little research into Big Boy Records where I found Craig Mack and his 94 release "Project.. Funk Da World". It was the New Jersey based rapper's debut and Bad Boy's second release one week after Biggie's "Ready To Die". The cover and name drew me in, it had that early 90s look and feel but as they say, never judge a book by its cover. My first listen through had me pretty settled on my opinion of this record and nothing has changed since.

Project funk the world is all style, no substance. It opens with a mediocre grimy low-fi beat reminiscent of Jeru The Damaja's "Come Clean". Craig comes in with a subdued, yet boisterous energy and gruff, slurred accentuated delivery and a tone reminiscent of Redman, the vibe is set and I was hyped for what felt like the beginning of something great, but quickly the rain put out my fire and enthusiasm for this record crumbled as the tracks droned on through a stale and dull chemistry which doesn't hold up against the better records of the era.

Firstly Craig's raps don't evolve beyond a funky fresh flavor filled braggadocio of 90s lingo and buzz words that cycle over and over, reminding us hes got the style and all other MC's don't. To be fair there's a bunch of great lines in this record, but they are far and few between. Craig drop's these lines in the midst of sluggish verses that roll through the same boasting topics over and over again. His chopped up flow and accentuated delivery build some excitement, quickly dampened by lyrics which lack substance. There's about one sniff of an interesting topic somewhere in the track listing but its too little to save the record from the bluster. 

Second, the beats, to be fair the production isn't half bad but lacks the polish and spark to stand merit on their own, and with Craig not bringing much to the table these samples and loops feel pretty stale as they cycle under an underwhelming performance. Overall its very much half and half, but with a lack of lyrical substance from Craig it becomes a disappointing and forgettable record I have little to say about.

Rating: 3/10

Fractal "Luminate" (2013)

Consisting of just three tracks, this short EP from Baltimore based DJ "Fractal" serves as chilled yet energetic amalgamation of styles that pulls from House, Drum & Bass, Dubstep and Ethereal through a dreamy ambient overtone. The tracks "Breath" and "Same Side" have a fluid, dynamic flow, sharing a comparable pallet of airy vocal leads, bright Ethereal synths and a warm robust bass that glues the Dub like snare and kick into the fold. The two share similar leads and melodies, but "Breath" steals the show with its progression and climax to an almighty moment that conveys a stunning, beautiful lead vocal that conjoins with a surreal wave of oozing Ethereal synth and pounding energy from the bass and drums that leaves one feeling unsure if they want to dance or lay down.

The records production has its instruments tightly packed together and competing for volume in a compression heavy mix that is becoming rather commonplace in post-Dubstep electronic music. Its well executed on this record and has the kicks and leads punching through the dreamy wall of synth effectively. The first track "Luminate" is a great example, a song littered with samples, noises and glittery leads that continually pound through the bass lines backing. Its a tight composition of numbers that ends before it gets going and the disappointment, as often with EPs, is the length, a lack of substance, however that can't fault the songs here which are charactered and immersible.

Favorite Track: Breath

Rating: 3/10

Grover Washington Jr "Feels So Good" (1975)

American saxophonist Grover Washington Jr was born and raised in New York City. From a young age he was taught the sax and for his musical output in the 70s is considered a pioneer in the world of Smooth Jazz. Like Return To Forever's "Romantic Warrior", this is another record from the "Jazz Classics" that quickly defined itself as a calmer, smoother, soulful record that cruises through relaxed, chilled out numbers and grooves that bring a spicy of funk to an obvious Smooth Jazz vibe led by Grover's steady leads on the sax. This record and "Mister Magic" released the same year remain as his commercial peaks on the American billboard charts.

Smooth around the edges, this record actually contains a fair amount of funk and energy between the calmer, atypical styles of Smooth Jazz. The opener, "The Sea Lion" has a powerful narration from the string section which fades in from black to brew the bolder moments, seemingly jumping it at will to emphasize the point. Never as ever present, it drifts to the background for the rest of the record which jives and jams its way through colorful themes of class and style from a now retro past. "Moonstreams" is an exception as the records sleepy number that slowly drifts down the river as a gentle lead guitar plucks a mellow, tender soul.

The last three tracks delve deeper into the Funk and Smooth chemistry as tight chunky baselines strut under soulful saxophone leads that feel their way through the jam. The drums are there throughout, accommodating the flow but feel damp and contained in a mix that gives the aesthetic a lot of clarity for the other instruments. Its a record thats engaging, but far from memorable. It suits a mood but fails to leave a melody or moment in my mind. 

Favorite Tracks: Knucklehead, Hydra

Rating: 5/10

Download Festival 2015 Top 10 Performances

I've been going to donington for nearly a decade now, and although I've missed a couple on recent years I absolutely adore this festival which proves time and time again to be an amazing and truly inspiring event. With the venues history and size its like mecca for metal heads and fans of heavy, alternative music. In recent years the direction has broadened to incorporate more rock and alternative than in previous years and the result is a diverse line up rammed with so many bands you'll never be short of something to watch!

(10) Corrosion Of Conformity

My first time seeing this band and they had one of the best sounds, everything was crisp, guitar tones where niche and the performance tight. Especially enjoyed bassist Mike Dean's groove and energy while playing.

(9) Madball

Having recently enjoyed their debut "Set It Off" I had no reason not to check them out, and they rocked a great set for a smaller crowd who were really into it. Especially liked frontman Freddy Cricien's attitude on stage.

(8) Lamb Of God

Tight, solid performance with decent sound from a band that delivered the aggression and Metal I was in the mood for. Good set, included some new songs which sounded decent.

(7) Slipknot

Disappointed the weather held me back from going down the front where the action is. Even though my hunger for this band is still strong I found myself enjoying it from a distance despite being cold and wet. They still put on a great show.

(6) Dolomite Minor

Visiting the forth stage in between bands is a must! I've discovered many gems doing this and Dolomite is one of them! This duo rocked some serious oldskool Rock / Metal grooves on Sabbath like tones, playing them over and over to great effect.

(5)  Evil Scarecrow

Was blown away by how fun this band were at Bloodstock. There was big anticipation in a rammed tent for these guys who's reputation is growing. The show and music was spot on and very entertaining. It felt like they were ready for a bigger crowd, maybe second stage next year.

(4) Suicidal Tendencies

Absolute legends, I hastily made my way from Shikari to find myself in a wild and energetic crowd that were living up every song in the tent, crowd surfing, moshing and general chaos ensued seeing out the festival in unforgettable style.

(3) Marilyn Manson

At 46 it was obvious that his performance wouldn't be quite the spectacle it once was but given my recent found love for his music this would only be fantastic. His persona was a little strange, he seemed fascinated with Ice-T who was watching but it just added to the mystique and turned out to be one hell of a show.

 (2) Body Count

Never thought id see this band. Seeing them on the bill was like a wet dream and I made sure I was there at the killing floor to watch an absolute legend perform with a band I've been listening to since I found Gangster Rap and Metal. The set was explosive, the band came out looking mean and ready for war. They rocked a hard set of classics, Ice-T hardly looked his age and gave a lot of energy, their bassist shocked me as he bare handed ripped the strings of his bass during their exit from the stage. Amazing.

(1) Enter Shikari

I wasn't anticipating much more than an enjoyable show. Got a spot right behind the barrier center stage and found myself getting totally into their performance. A few songs in I made my way to the pit and moshed the night away to a fantastic set that had me in high spirits. The mud, the weather wouldn't stop us! It was all about the music and reminded me that this is what download festival is all about, and why I will keep going.

Notorious B.I.G "Life After Death" (1997)

I can't recall how or why, but from an early age it got stuck in my mind that Biggie was a rapper I didn't like. About nine years ago a colleague turned me onto "Ready To Die" and I wouldn't denied that I really enjoyed it, despite still being a little skeptical of the New York rapper. Over time my preconceptions subsided and I grew a lot of respect for one of Hip Hops finest rappers. "Life After Death" is the first posthumous from Biggie who's fatality came two weeks before this record release. Upon recently discovering this I had to give it a listen, I had been under the impression all these years that this one was like "Born Again", a collection of outtakes thrown together without his input, but the album was completed before his death. Its almost eerie to see the cover now, the hearse, the title predicting his mortality and behind it all an absolute gem I've missed out on all these years.

Life After Death quickly makes its mark, your eight tracks deep and realizing every track is a classic. The bold formidable attitude of Biggie's raps gravitates with sleek, crisp gangster beats creating fleshed out immersible themes that dive into Mafioso Rap thanks to excellent production from Puff and a wide array of collaborators who brew a consistent, flowing record thats flexes between mob threats, to Biggie rapping over oldskool classics (Schooly D) and jumping into disco party numbers and back again with a natural flow within the diversity. Theres 110 minutes of fine Hip Hop full of beefs, drama and digs, classic verses and anthemic beats that take a leading step into the money and success bling era of Hip Hop. 

Across the record Biggie brings in a fantastic selection of features that bring their own style to his, Bone Thugs-n-Harmony bring their tuneful gangster melodics to "Notorious Thugs", Jay-Z with his champaign sipping "I Love the Dough" produced by Easy Mo Be sounding like a "Reasonable Doubt" outtake. R Kelly crafts a seductive, alpha male, 90s RnB track "Fuck You Tonight" that works despite being the most polarizing track on the record. The Lox join Biggie on "Last Day" for an East Coast gangster track reminiscent of Mobb Deep. It was a refreshing approach to collaborations and really stood out as a strength for this record, keeping the flow varied and oozing with variety as Biggie lends the spotlight to his guests to make some classic collaborations.

The production on this record is the finest Ive heard in a while, you can hear its relavence to bringing the bling era to the mainstream with sleek stylish sampling and drum programming taking a step away from the rawer, bombastic early 90s sound. Its forward thinking in the record their are some dazzling moments. "I Got A Story To Tell" rattles a sleek groove between snare claps over a guitar sample for the entire song, and its repetition is perfect for Biggie to flow a fantastic story over. "Last Day" features a slick emphasis as a rolling bass drum kick grooves under the tracks best lines. Easy Mo Bee also grabbed my attention with some fantastically crafted numbers, including "I'm Going Back To Cali" which plays of the aesthetics of  Dr.Dre's "California Love", including the memorable vocoder effects.

Biggie's raps speak for them-selfs, smooth flow, engaging and his flustered tone is easy on the ears, but trying to analyze a little deeper has always been a little difficult, hes got a charm thats hard to put your finger on, but this record has me believing its the lyrical creativity, obviously, but how its delivered through flows where Biggie drops rhymes to his own grooves thats not strictly in line with the beat. The splitting of words to match his groove is also a finesse touch, and I love his singing voice on "Playa Hater", a crude cover of "The Delfonics". Its unapologetic, humorous and enjoyable. Life After Death is a classic I can't help but love, and will be one I turn to often. My only qualms with this record is Puff throwing himself into the background of a lot of tracks, laughing and being unnecessary, its an annoyance. The second disc also has a couple of track not quite at the level of the first, but they are still great songs. Terrific record, very glad i found my way to it.

Rating: 9/10