Ten albums everybody needs to own:

(or at least listen to once, or twice, or thrice... part 2!)


Common Dreads - Enter Shikari
Enter Shikari embody everything exciting and relevant about today’s generation of new musical talent. Common Dreads, their second studio album, was an assault on music genres worthless boundaries - they spat out a politically charged aggression with a fusion of dub, metal, and punk as they worked their way through experimental hooks, riffs, and breakdowns. This album has its own unique, and at times barbaric, sound - songs morph seemlessly from rock to electro to metal to techno to hardcore to country & western in the blink of an eye. In terms of sheer passion, and raw emotion this album can't be touched and If you think you can handle it, get amongst it! 
Favourite Track? Zzzonked. 


My War - Black Flag
My War is a loud, volatile, and aggressive album brimming with hardcore angst and true 'do-it-yourself' punk ideals. 
Alongside frontman Henry Rollins schizophrenic vocals is some stellar guitar work - riffs, and breakdowns moving from haunting to intimidating to modern pop-punk over the nine tracks.
Favourite Track? My War. 


Reign In Blood - Slayer
Is it the heaviest album of all time? Probably. Is it an undisputed masterpiece? Definitely. 
Widely thought of as a pinnacle of heavy metal, this album packs a ruthless and aggressive punch in less than 30 minutes. The lyrics violent content is mirrored in the brutal onslaught of high intensity guitar work, and lightning fast drumming, but despite the speed and hostility the precision and skill is there in abundance. Each track is as threatening and ominous as the last. 26 years on from its release this album is still stone cold classic, and as powerful and influential as ever.
Favourite Track? Raining Blood. 


Hunky Dory - David Bowie
With the release of this, now infamous, album David Bowie made his mark as one of music's visionaries. A sparkling glam-rock album infused with touches of electro, rock, and acoustic shows off Bowie's versatility and genius songwriting. 
Favourite Track? Life On Mars? 


The Marshall Mathers LP - Eminem
Eminem's penchant for bitter tirades, lyrical play, self-referential personas, and ice cold nihilism intertwine to produce a hip-hop classic, that is perhaps his greatest achievement as an artist. Lyrically exploring his twisted mind as he ploughs through his youth, pop culture, and shape shifts through his many personas. Sonically swinging from emotive and moody to compelling and uplifting. As offensive as it is genius, and full of flair and cultural poignance this is an album that belongs in everyone's collection. 
Favourite Track? Who Knew.

Ten Albums everybody needs to own:

(Or at least listen to once, or twice, or thrice...)


The Clash - The Clash 
This eponymous debut has rage and fury in abundance, and chucked everything (including the kitchen sink) in the name of punk at the world for a rock and roll revolution. With classics like London's Burning, White Riot, Police & Thieves, and I Fought The Law all on one album you can't really go wrong can you?
Favourite Track? Police & Thieves. 

Nevermind - Nirvana
An album so raw, and relentless that it changed the world, and defined a generation. Not quite as bleak, and murky as Bleach but still rippled with beautiful distortion and that unrefined quality that made Nirvana, well, Nirvana. Nevermind showcases the tormented soul that was Kurt Cobain at his very best - his songwriting skills are as haunting as ever, and songs like Something in the Way, and Come As You Are, and Lithium proved what a poet he really was. (You can read HERE about what I think of each song in depth if ya want...)
Favourite Track? Come As You Are.

Led Zeppelin IV - Led Zeppelin
To put it simply this album has it all - thundering guitar riffs, infallible drumming, effortless vocals, and stellar songwriting. They broke the mould when they made this one!
Favourite Track? Black Dog.


Pinkerton - Weezer
The album that invented, eek, emo. So love it or hate it, you cannot deny it's creativity and genius. Each song is charged with high emotion (hence, you know, the 'emo' thing) and explores a variety of moods from aggresive, dark and cluttered to care free and bright.
Favourite Track? Tired Of Sex.


Enema Of The State - Blink 182
One thing's for sure, as they point out in single 'What's My Age Again?' Blink certainly don't ever wanna act their age - and this goes for their songwriting. It's as immature as it is genius. What they lack in emotional depth they more than make up for in punchy riffs, and catchy hooks. Boys we don't want you to grow up either. Ever.
Favourite Track? Dysentary Gary. 




Oh, and guess what, you can just bloody well wait to hear the next five tomorrow... Gotta keep you on ya toes and all that! Party xo

Dead Set On Living.

Canadian hardcore giants Cancer Bats return with their fourth studio album, Dead Set On Living, with the hopes of being more 'upbeat' than on their previous three. 

Taking influences from non-metal bands such as Fleet Foxes, it is clear from tracks like 'Breathe Armageddon' that the quartet have tried, and succeeded, in fusing a number of genres together to create a new and original sound. 

From indie rock to heavy metal, the broad range of influences has not just shaped a new sound for the band but impacted on them lyrically. Frontman Liam Cormier said: "In a lot of ways we get really inspired by non-metal bands. For me, I find I really like looking at other things because I just don't want to make a traditional hardcore record lyrically."

Long time fans of the band will be pleased to know the same aggression, and seismic presence of Bears, Mayors, Scraps & Bones is featured heavily on this album, particularly tracks like 'Old Blood', 'Wolf Clan', and opening track 'R.A.T.S'. Guitarist Scott Middleton takes the glory by treating us to riffs heavier than Bill Gates' wallet and dirtier than the girl (or boy) of your dreams, as his ever tight and technical skills stand out on each track. 


Producing an album that takes risks, and pushes boundaries has set them even further apart from the hardcore scene that they've dominated for years. Dead Set On Living plays with what Cancer Bats know and love best by going back to their metal-punk roots whilst introducing new and exciting sounds: heavy metal riffs, indie rock hooks, and hardcore lyrics will keep you hooked for the full 12-tracks before hitting the repeat button, because it's just that good.
It's a release that will please their large, and loyal fan base, and see them move ever closer to the top of the game. 


Happy Listening!

Weapons

Welsh Rockers lostprophets returned to studio in May of 2011 to record their fifth album, 'Weapons'. 
Long time fans of the band might be disheartened to know that this album well and truly cements the sextet's (love that) move from alternative-metal with inspiring, passionate lyrics to soft-rock-meets-gang-chants-meets-rap. Yikes!
lostprophets have always been the masters of mixing different sounds within their tracks, but the sudden change of pace between opening track 'Bring 'em down' and ‘We Bring An Arsenal’creates a crack in the flow of the album which continues throughout. This leaves the record feeling fractured, and sloppy. 


However, all is not lost - frontman Ian Watkins' voice is as melodic as ever with support from tight guitar riffs, high-energy, and catchy drumming. (But was there any need for that rapping?) The Opening track is, actually, totally killer and if the album had continued at that pace it could have been a different story.


Back in the day when the band's first album 'thefakesoundofprogress' went double platinum they were a band who sparked excitement in their fans with inspiring lyrics and genre bending songs that suggested they were a band to be seriously excited about - and for a long while, they were. 
'Weapons' is a new sound to accommodate the new fan base the band has amassed over the years and whilst it packs little punch in comparison to their explosive first two studio albums, it is sure to be a success with radio dj's and younger fans. 
The passion is still there, the skill is still there, but there is a certain spark that seems to be missing and like the opening track declares 'oh kid I've heard this all before'... 

A Flash Flood Of Colour

With such high expectation surrounding the release of Enter Shikari's third studio album, the boys made sure they delivered something that would not dissapoint and would not be forgotten in a flash...
A Flash Flood Of Colour begins with 'System...', with opening lyrics of a beautiful metaphor comparing our dear old Blighty to a house succumbing to the eroding cliff face of it's foundation...

'There was a house in a field on the side of a cliff, and the waves crashing below were just said to be a myth, so they ignored the warnings from the ships in the docks. Now the house on the cliff is the wreckage on the rocks.'

This is a clear indication of where the albums heading, and from there on out the metaphors keep getting better, and the message keeps getting stronger.
It was clear from the band's second album, 'Common Dreads', that they were moving towards being another 'political' band with something to say - but it's frontman Rou Reynold's passion, and venom-spitting conviction with his lyrics that seperates them from the rest. Not all the glory lies with Reynolds, however, they are very much a band whose successes rely on the strength and solidarity of them as a four-piece. Their notorious live shows are packed-full of high energy, sheer passion, and madness from the word go thanks to loyal fans, and a unified band.


A Flash Flood Of Colour has been sitting on the top spot of the album charts since it's release on Monday, which sparks suggestion that they are moving toward mainstream success - however, you can rest assured this is not a band who look like buckling to mainstream pressures. They have achieved their success by sticking to their guns, and pursuing their beliefs - clearly demonstrated throughout the 11 tracks on the album.
A number one album for a band like this would be a triumph for independent music, and real music fans - fans who follow the band religiously with anticipation and excitement. Fans who buy albums, and travel around the country to secure their place in as many mosh pits as they can. Fans who feel a part of the movement.

This album is not only their angriest, and most aggresive yet but their most beautiful. Amongst the sonic barrage, there are moments of pure tenderness and poignance in songs like 'Constellations' and 'Stalemate' whilst maintaining a strong sense of purpose and direction.
Songs like 'Sssnakepit' and 'Gandhi Mate, Gandhi' seem to be steered on pure adrenaline & rip-roaring choruses as they tackle their anti-communist spiel.
From beginning to end, the album is like an assault course of experimentation, from it's electronics, classic metal-riffs, piano, brass & string arrangements to acoustic guitar, it has it all.

One things for sure, unlike their message in 'Arguing with thermometers', "you haven't thought this through have you boys?" - it is clear that they have thought this through, and in doing so they have delivered an album with brutal conviction, unrelenting energy and impressive spirit.

Albums to hear before you die.

Part 4.


It seems only appropriate to start off 2012 by talking about, perhaps, the most influential and groundbreaking album in music history. 
Ladies and Gentleman, I give you the album that changed everything...


Never Mind The Bollocks, Here's The Sex Pistols - Sex Pistols. 
Released in 1977 to a barrage of controversy from the 'obscene' album name, to the opposition over the lyrics to songs 'Anarchy in the U.K' and 'God save the Queen', Never Mind The Bollocks, Here's The Sex Pistols was to be the only album the band ever recorded and released.
Rotten's assault of angry vocals with a bitter, spit-slurring, foaming delivery was the first of it's kind at the time of release, as was his use of profanity to convey the band's message in the most impolite, and controversial manner possible. Despite the alternating between screaming, whining and growling the Pistols' managed to do what so many bands have failed to do since them: clearly present the listeners with harsh social critiques and commentaries, as loud and clear as a smack in the face, under a wall of noise and rage brought to us by the bass guitar of Jones, Matlock & Vicious and the drums of Cook. 
To merely write this album off as a bunch of ragged punk rockers recording an album of loud, grating noise, lacking in melody with a shredding vocalist would be a big mistake. 
Sex Pistols opened the flood gates for a generation of bands to rebel against society, political hypocrisy and corporate control - however none came close to the punchy, overwhelming energy and take no prisoner's attitude of the Pistols'. 
A twelve-track musical revolution with a force that shook the framework of music history forever, with an influence so profound it's unconfined to genres, or generations. 

Albums To Hear Before You Die

Part 3.

Fans of Green Day, Alkaline Trio and Offspring take note. - your fave bands might not have sounded like that if it wasn't for this band, and this album...

Suffer - Bad Religion.
Released in 1988, NOFX's Fat Mike reckons that the band's third studio album is 'the album that changed everything'. The lyrics written by the articulate, creative and scholarly intelligent Greg Graffin are clever and timeless - opening track, You Are (The Government) is as relevant today as it was 24 years ago; "Hey sit down and listen and they'll tell you when you're wrong. Eradicate but vindicate as "progress" creeps along." 
Not one of the 15 tracks exceeds 3 minutes which was either a tactful, and somewhat brilliant decision in maintaining the sharp, aggressive attack of the guitars and punchy vocals or a lucky coincidence.
Blending punk-rock riffs, hardcore hooks and powerful lyrics is what makes this album such an influence on albums like 'Dookie' and 'From Here To Infirmary' - without this 23 minute masterpiece, the future of Punk Rock might have been a very different sound.
It's raw, it's clever, it's off the wall, and it should be in your CD rack.
Favourite Track? What Can You do?

Albums To Hear Before You Die

Part 2.

There are albums that are timeless - their influence over not only their own genre, but all others is so profound that it is destined to remain as one of the greatest albums of all time, forever.
Enter Jimmy Eat World...


Bleed American - Jimmy Eat World. 
An album characterized by it's attention to detail - and by detail I mean ensuring every aspect of this 14-tracker is rocking, but none more so powerful and perfect than the lyrics - is their most accessible and consistent album yet. 
Bands like Jimmy Eat World have a talent for creating songs that inspire a generation, and transcend musical boundaries leaving them with anthems like 'The Middle' and 'Sweetness' that sound as if they were destined to be sung by crowds of passionate fans under a pitch-black sky, at muddy festivals. 
The lyrics cover a broad range of topics from self-acceptance, to falling in love to nostalgia and are all delivered with punk-rock energy and straight up rock and roll smarts. Switching from aggressive vocals, and heavy guitar riffs in 'A Praise Chorus' to melodic, soft ballads like 'Hear You Me' shows their versatility and impressive instrumentation. 
What made this album, released in 2001 to surprisingly low expectations, the overwhelmingly successful piece of musical perfection that it soon became was the songs. Seems obvious doesn't it? If you want an album to be successful then make sure ALL the songs are good - but so many bands fail to adhere to this minor detail. This is where the Arizona rockers separate themselves from the crowd. They don't sound like anyone else. 

Jimmy Eat World incorporate a punk-rock, alt-rock and pop-punk sound, infused with their own brand of angst-ridden emo, sonically creating something no other band has successfully achieved before or since. Bleed American was the launch pad for Jimmy Eat World’s commercial success as well as providing numerous hit singles. An amalgamation of gentle keyboards, bells, stirring vocals, and one of the most famous guitar riffs since AC/DC's Highway to Hell all come together to make this a masterpiece, and an album everyone should be enjoying on a regular basis. 
Favourite Track? A Praise Chorus

Albums To Hear Before You Die

There are always going to be favourite albums - you know those ones we all hold dearest to our hearts, perhaps because they 'speak to us' or just tug on the old heart strings, or they simply make damn good driving partners. Whatever the reason, it doesn't always mean that these albums are necessarily all that great... But what about those albums that are so monumental, ground breaking and influential that they must be heard by as many pairs of ears on the planet as possible?
Well, I think I know a few - so let me start with the first....

Appetite For Destruction - Guns N' Roses. 
Released in 1987 under Geffen Records, no one (not even Guns N' Roses, their record label or their fans) saw this coming... It soon became one of the biggest selling albums in the history of Rock.
It was this raw, relentless, rip roaring assault of an album that turned this band into overnight superstars and ensuring they would remain a household name forever.
Somewhere between the explicit aggresion, and the extravagant tapestry of sex, violence, drugs and alcohol is the greatest hard rock album since Back In Black. 
The opening track, Welcome To The Jungle, explodes into the air, hissing and spitting like a volatile firework with enough energy to power a city, setting the tone for what's to come.
However, what makes this album so successful is the clever decision to not attack the listener with screeching vocals, shredding guitars and monumental drumming from start to finish - they changed it up by throwing in beautifully written ballads that demonstrated the quintet's chemistry and emotional energy. Sweet Child O' Mine, perhaps the most iconic of all their songs, has an enticingly relaxed and endearing Southern Rock quality to it that proves frontman Axl Rose is not a one trick pony, but a Shire with an arsenal of talents and a an impressively equipped group of men standing beside him.
Timeless. It is simply is one of the greatest, most important and breathtaking albums of a generation.
Favourite track? Welcome To The Jungle

We all care too much about not caring enough

The most important question I should be asking here is: What musical rock have I been hiding under? How did I NOT know how brilliant this band are?

By the way, this band that I'm referring to are Deaf Havana. Their third studio album, "Fools and Worthless Liars" is 14 tracks of musical perfection. A fusion of The Blackout, We Are The Ocean and Kids in Glass Houses - but better (I think).
When I say did not know, of course I had heard of them - but not heard them. That's all changed now, thank godfather's.

Each song is better than the last, and in all honesty that is what albums should be. Every song has meaning - the lyrics are thoughtfully, and beautifully written, and packed full of raw emotion and honest passion. Dealing with contemporary issues like drug abuse, relationships and violence suggesting 'we are a self-destructive generation' they are proving they're not frightened to ruffle a few feathers, or tackle important issues in today's society.

The guitars are profound, but not overpowering. The drumming is powerful but doesn't overshadow the vocals.
The album opens with "The Past Six Years", an acoustic exploration of youth that has a soft country feel to it reminiscent of Mumford and Sons, unlike the rest of the album that stays true to their alternative/rock roots.

After listening to their previous albums, it is clear they have softened their sound, moving away from a metal-pop sound and settling down comfortably into the 'alternative' category. However they have not discarded their fierce riffs or strong hooks - this album has touches of powerful rock breaks and openings, accompanied by soft melodies which proves a successful combination. Lead singer James Veck-Gilodi impresses by morphing from strong, sharp metal style vocals to smooth, honey-like ballad style singing.
Good music should transport the listener. It should be a portal for escape and exploration. A opportunity for a journey into another dimension or world. This album will provide you with this and more. It will evoke your senses, you can get lost in the sound and drift into another place for an hour and a half.
In terms of quality, this album is one of the best releases this year. It is sharp, tight, passionate and delivered with purpose and meaning.

Worth it's weight in gold. Go to your local record store and buy it this very second! You will not regret it.

The Comeback Kids of Thrash Metal.

Let's get straight to the point; this album is fast, ferocious and fiercely powerful. It's jam-packed with theatrics, atmosphere and unrestrained talent.
Worship Music is the band's first album for eight long years. It sees the triumphant return of Joey Belladonna on vocals, pulling together the 'this feels like home' vibe just right.
The atmospheric quality of each track roars around impressively indulgent guitar histrionics and dovetails through various tempos proving the prowess and dominance of one of thrash metal's original pioneers.
The commanding dexterity of the band allows them to consistently, and drastically, change the tempo and introduce elements including theatrical violins and church bells ringing - ensuring it sounds gloriously over-the-top and just the right amount of exaggerated.
Favourite tracks include the tribute to heavy-metal legends "Judas Priest" and "The Constant" - if you weren't a fan of Anthrax before, you will be now. It's infectiously heavy with razor sharp vocals pouring out beautifully written lyrics.
The dramatic guitars, flawless vocals, military like drumming and the occasional addition of synthesized sounds work in perfect harmony making this album worth it's weight in gold.
Worship Music is the name, and Worship it is exactly what I shall do.

You seemed so sweet at the start, but the start's all wrong.

I was lucky enough to be introduced to Blink 182 at an early age when someone bought me 'Dude Ranch' at a car boot sale. I remember thinking 'I like that man's funny squeaky voice', and from that moment my love affair with a certain Mr. Tom Delonge began.
Unlike most of my friends my interest and admiration with Blink went beyond 'all the small things' and 'what's my age again?' - in fact, I've never loved those two tracks all that much. Their music was the soundtrack to my childhood, and I doubt I could ever truly dislike anything they created - but I came pretty close...

If I'm brutally and completely honest I recoiled in horror and slammed the off button within a few minutes of listening to 'Neighborhoods' for the first time.
Here's the irony of it all - the only criticism I could ever throw at this band would be that they have the tendency to be a little, shall we say, 'samey' BUT here they are doing something vastly different by offering a new sound and I'm sitting here like, 'I don't think I love it all that much you guys..." However, once I just quit acting like a hard done by 13 year old, I appreciated the quality of the music as it is, and stopped wishing it would sound like 'Take off your pants and jacket."
It's quite a strange album that smacks of juxtapositions all over the place - It seems untidy and incomplete in areas yet tight and together in others.  Some of the lyrics are beautiful, and some of them seem careless and very unblinklike.
Technically, this is a superb album - Travis Barker's drumming is better than ever, and his love of hip-hop rhythm is evident, particularly in 'Heart's all gone' and 'MH 4.18.2011', the riffs are tight and the openings are original. BUT it doesn't pack a punch in the way that anyone would expect from these pop punk masters - the sporadic, off-the-wall, slap dash and immature approach (think Dysentary Gary) seems to have been replaced by something that feels quite grown-up and mature. Put it this way, there ain't one song on this album that could be played whilst the trio run down through the streets of L.A wearing nothing but a smile (and an impressive collection of body art)...
Yes it sounds a lot like Angels and Airwaves but I'm sure that's because of the change in Delonge's voice, and the introduction of synthesized guitar.
The majority of the songs are catchy, and it's abundantly clear that the band has progressed and has become a brand new band; a hybrid of Box Car Racer, +44 and, of course, Angels and Airwaves.
'The Mark, Tom and Travis show' means something quite different now; of course, it seems only natural that this album would move away from the familiar, home comforts of their old sound now that they are in such different places in their lives; they're dads now, they're husbands (or were, in Travis' case), they each have their own side-projects and, clearly, this has been an enormous influence over this album.
It's good, it's different, it's catchy. Props to the guys for pursuing a new direction, and regardless of feedback negative, or positive this album is going to be a huge success. (I hope.)

Please refer to the subtitle of this blog for the title of this post...

(Sorry, you're not a winner.)


Incubus are one of the more ambiguous and refreshingly creative bands you could choose to listen to - think Chili Peppers meets Pearl Jam. Their debut album S.C.I.E.N.C.E is like nothing you have heard or will ever hear again - constantly switching from tender whisper-like vocals to heavy metal screams with the odd bongo drum thrown in (sounds weird doesn't it, but trust me it just works). To back that up, their second album Make Yourself  was just as inspiring and just as exciting. In fact, nearly everything that Brandon Boyd and the crew have put their name to has been gold-star worthy - they unashamedly do their own thing in their own way no matter what. However weird, it sounds wonderful - until now. 
Us Incubus fans have been waiting for five (long) years for the release of their new album and, well, it wasn't worth the wait - to say the least. If Not Now, When? is lacking punch, creativity, tight riffs, quirky lyrics, passion and all those other things that make them so damn good - I wanted to like this album. No, I expected to love this album - of course, Incubus make beautiful music.
I read a review for this album that hit the nail on the head when he said that it's 'like Coldplay without the choruses' (ha!) I would describe it as constrained - I kept expecting something to fucking happen, anything - like what is going on Brandon Boyd where's the magic? How, how, how could the same band that put such songs as 'Drive' and 'Pardon me' out there come up with this? 
I've listened to it twice now - and that's me done with it - but there are two songs on it that remind us of Boyd's ability to pen a good tune; Adolescents, and In the Company Of Wolves (actually they are both quite beautiful). 
No love lost though, even my beloved Nirvana wrote a couple of dodgy songs - but it just seems a shame that they didn't recognise themselves that releasing an almost entirely acoustic album would be kinda boring. My advice to all Incubus fans, listen to it and just hope it's a one off mistake and appreciate the two good tracks on there. And, my advice to all non-incubus fans? You might even like it so give it a go but be aware that if this is to be your first taste of Incubus, then it's not really a taste at all.. more like a lick.