Album per day: Day 25

Artist: Fall Out Boy

Album: American Beauty/American Psycho
Released: 2015

It's the old chestnut of an artist that makes surprising, and somewhat drastic changes to their music. Do they do it for the shock factor? Or do they do it because they are bored of their old style? Fall Out Boy, the former stalwarts of the emo trend, hit us up with their sixth album American Beauty/American Psycho at the start of this year, an album they wrote whilst on tour with Paramore. An attempt at making a more cohesive album than their previous efforts followed, but the problem with this is it sometimes takes away the artists identity as they intend on replicating what's currently popular.
Irresistible was one of the tracks I was familiar with beforehand, with its somewhat humorous music video where the fellas get their asses handed to them at basketball. It was, and still is, my least favourite of their singles. You just wouldn't think this is the same band that added tonnes of weight to Beat It or wrote The Carpal Tunnel Of Love. The title track is a step in the right direction; poppy hooks with a rock beat, and whilst Centuries doesn't carry that description on, it still sits high because it's just too damn catchy to simply forget. It also reminds you that Patrick Stump can kick it with the big boys when it comes to his voice. I'd love to see him perform this live just to see if he can manage the chorus vocals for the entire song. The Kids Aren't Alright takes it down a notch, and even manages to sample Motley Crüe, complimenting the sombre guitar riff and echoed vocals.
Uma Thurman, like Uptown Funk, is one of those songs I just have to dance to every time I hear it. Surf guitar alongside bouncy piano chords ensure feel-good vibes all around. The powerful chorus of Jet Pack Blues is just about enough to make it stand out, otherwise I feel it would be one of the more forgettable tracks on the album, and Novocaine has that infectious disco feel that The Phoenix had, but it almost seems like a lazy rip-off. Fourth Of July could've been a sub-par Katy Perry single, and Favorite Record (yes that's how it is spelled; I know it hurts me too, but remember where they're from) mixes elements of Snow Patrol and The 1975 to form an indie stomper. Immortals is another uplifting and memorable pop song, and just like that, the album finishes on Twin Skeleton's (Hotel in NYC), and with the guitar work on this album being a little threadbare, it's refreshing to be able to swoon over the riff in the chorus. It's a fitting end, and what will be another reminder of just how far these boys have come from Grand Theft Autumn.
I didn't dislike this album, I just... found it boring at times. There are some songs on it I'd definitely have on my playlists, but when some of the filler is, well, exactly that, it's hard to rate the album so highly. The guys are growing up, and you knew that they would never want to rely on their pop-punk forever, but Save Rock N'Roll was risky business as it is. For someone who has seen them put on a terrific rock show twice, this was just a bit too much for me to get my head around. It could be a grower, but for a band who have incredible instrumentation skills, this album felt like it could have all been produced by lifeless machines. Were it not for Patrick Stump's pipes, you'd be forgiven for not having a clue who wrote this album.

Rating: 6/10
Recommended songs: Centuries, Uma Thurman, Twin Skeleton's (Hotel in NYC)

Album per day: Day 24

Artist: Justin Bieber
Album: Purpose
Released: 2015

When I started this trainwreck of a challenge, let alone this blog, I never thought that I'd find myself so desperate to review the new record by Canadian troublemaker Justin Bieber. From humble beginnings on YouTube, to poisoning eardrums worldwide, whilst infatuating many others, his rise to stardom has been well documented as a cacophony of troublesome behaviour and having to grow up very quickly. His fourth studio album Purpose, which features a wide range of artists providing their input in both musical and production duties, dropped last month, and sees the 21 year old venturing into the more mature territories of EDM and R&B, mixed in with his usual brand of teen pop. Will his more mature image alienate his hordes of obsessed fans, or will he win over the haters with an infectious new sound?
Mark My Words starts things off short and sweet, with Bieber falsettoing over a vocal loop. Ever since this guys balls dropped, his vocals have definitely become a lot more appealing, jumping so effortlessly between falsetto and a more tender tenor vocal. This continues on I'll Show You, a track produced by none other than Skrillex, who you will hear a lot more of on this album. A slow dance number perhaps inspired by the likes of Ne-Yo, it's got quite a romancing hook. Recent single What Do You Mean? follows, which sounds like a classic club anthem with repetitive lyrics, but even more recent single Sorry is, honestly, a tune. I would much rather hear this in a club than What Do You Mean?, and beyond that, the lyrics are actually quite meaningful and are sure to touch a nerve. Love Yourself is a simplistic song that fans of acoustic music will gush over, and it's no surprise that this was co-written with Ed Sheeran; it wouldn't be out of place on either + or x.
Company only really gets going in the chorus when the bass drops, no matter how lightly it does drop. I'm noticing that the chorus' are now filled with more instrumentals rather than what we're used to hearing from JB: a typical 4/4 pop chorus with simple rhyming lyrics. Big Sean makes an appearance on No Pressure, another chilled out track with a delivery that reminds me a little bit of more recent Mariah Carey tracks, but then Big Sean comes in. The man that gave us the delightful internet anthem I Don't Fuck With You then suddenly goes all lovey-dovey on us to contribute a throwaway verse. The contribution of Travi$ Scott to No Sense was a little more prominent, but involved a lot of autotune, thankfully not detracting too much from the surprisingly complex musical arrangement of this track. American singer Halsey appears on This Feeling, a track that compliments both vocalists well, and is a rather impressive pop song overall.
Life Is Worth Living had me stand to attention as soon as the first grand piano note sounded, and is at this point in the record, a curveball. Behind the carefree, pretty badboy image, Bieber can write very meaningful songs, and this is an important one for anyone having doubts about their life. Where Are Ü Now brings things back, and you will surely recognise this one from over the summer. Skrillex and Diplo team up to churn out a floorfiller, but still to this day I can't decide if the hook in the chorus is downright irritating or incredibly catchy. I'm sure a lot of you reading this have a pre-drinks playlist, well Children should probably be on there somewhere, a statement that could almost be applied to the majority of Purpose, and now the pop electronics give way to the solemn title track. Justin Bieber can do ballads, and it seems he can do them well. I think he's ended this record the right way, admitting his misgivings in both song and interview form, as a recorded statement from JB plays over the final minute of the song.
I've read a lot about this record, and funnily enough, not one of the statements I've read has been negative. I've seen the jokes ("would Bieber like some mash with all of these bangers?"), and I was intrigued to say the least. It's never nice to see child stars go down the pan, and there are times when the whole world wanted Bieber wiped off the face of the Earth, but if you ask me, he's matured in a way that a lot of other fellow child stars have failed to do. I remember watching his roast on Comedy Central earlier this year, hoping to see him get ripped to shreds, and he was... but you know what? I respected him after that. He took the abuse well, and even made a few wisecracks himself. There's no reason to condone his destructive behaviour in his personal life, but I'm no psychologist; I'm only here to give my thoughts on this album. And I never thought I'd write this on what is a public page, but I enjoyed it. Bieber has found a healthy mix of contributors that offer a lot to the album, even if the structures of the songs and typical three minute lengths are a little predictable. He hasn't won me over, but this year has seen me change my opinion of him. I hope he doesn't fall into the trap of completely losing it a la Miley Cyrus, but this is a step in the right direction. Now, if you'll excuse me, I am off to go and break some ribs at The Prodigy. And they say I don't have a diverse taste.

Rating: 7.5/10
Recommended songs: Sorry, This Feeling, Life Is Worth Living

Album per day: Day 23

Artist: Sia
Album: 1000 Forms of Fear
Released: 2014

The Australian poster girl for individualism, Sia has had trouble adjusting to fame throughout her career. Penning hit after hit for artists such as Beyonce and Rihanna, it was a fear of fame that led Sia Furler in the direction of songwriting over performing. Last year, she released sixth album 1000 Forms of Fear to a mixture of awe, confusion and disgust. Now, I'm an advocate for artists that stir up these sorts of reactions; they're making noises and stirring things up a bit. Sia though, does not intend to be particularly groundbreaking with her music, but more with her image and her more tangible art. There's a fine line between being pretentious and being secretive, but I think she treads that line with plenty of dignity. She's been through some shit in her life, so I herald her before even giving this album a listen.
If you haven't heard Chandelier, you must have been living under a rock these past couple of years. It really is modern electropop at its finest, and was arguably my favourite song of 2014. The powerful chorus soars like the bird in the night that she croons about, and with its infectious melody it was always going to be a smash hit from the get-go. In one of the most low-key musician feuds of all time, Sia attacks Fergie's claims that Big Girls Don't Cry by writing... Big Girls Cry. Okay, this isn't a diss song or a response to Fergie's 2007 take on mature songwriting, but you can't help but feel touched by Sia's words, especially when you read into her life experiences. Definitely an album highlight. Burn The Pages is a little sombre in comparison, a more generic take on contemporary pop, while Eye of the Needle takes things back to the top. You can just imagine Glee getting their mitts on this one.
Hostage cranks it up a little more with electropop cloaked in indie rock guitars. It wouldn't sound too out of place on a Florence and the Machine record. Sia's vulnerability becomes clearer with each song, and the aptly named Straight for the Knife spells out her ordeal over fuzzy guitar and wobbly keyboards. "Give me your wallet and your watch", demands Sia on Fair Game. No, she has not suddenly gone all Cockney pickpocket on us, but she still bloody means it. She may want to play a fair game, but what game is fair when she adds in a xylophone solo for good measure? There aren't many who can get away with that. Perhaps better known for a music video that exposed us to a little too much of Shia Labeouf, Elastic Heart had to follow Chandelier as a single, which was no easy task. Still as incessantly catchy as the latter, yet with a more basic approach to the instrumentation, you will find yourself singing along by the final chorus.
It's not really until the chorus of Free The Animal that my interest is peaked, sounding something like a Miley Cyrus side project. The rest of the song is kind of forgettable though, save for the looped vocals at the end. What usually happens when we make Fire Meet Gasoline? It doesn't take a scientist to work out that it usually ends up in a lot more fire, with a chance of explosions. Whilst the song is somewhat enjoyable, it feels like Sia's voice can only give a song so much individuality. There are no explosions, only sparklers I'm afraid. Cellophane begins with a hint that it'll grow into a monster, and whilst it does grow, it's more like a blossoming flower. Final track Dressed In Black shakes things up further, with abstract chord changes and a prolonged outro that seems to be the only fitting way to close an album this convoluted.
I went in with hopes that Sia would not take on the form of any other artists out there, that she would just be herself. She is clearly a vibrant and creative talent, but the air of mystery surrounding this persona that she refuses to display doesn't quite add up to the hype. It's hardly Blue Man Group or Slipknot; those two acts have brought something new to the table in their respective genres whilst hiding behind so called "gimmicks", but this album doesn't feel like anything new to me. Don't get me wrong, there are some good songs on here, some that are very good as a matter of fact. However, I remember first hearing Chandelier and subsequently struggling to listen to anything else for the next couple of hours, not just because of the songs quality, but because of how massive and exciting it was. 1000 Forms of Fear didn't quite recreate the emotions I felt that day, but it does suckerpunch when it wants to.

Rating: 6/10
Recommended tracks: Chandelier, Big Girls Cry, Elastic Heart

Album per day: Day 22

Artist: Fightstar
Album: Behind the Devil's Back
Released: 2015

I'm going to see if I can talk about Fightstar without mentioning frontman/heartthrob Charlie Simpson's turbulent past in teenage trio Busted... well that went tits up didn't it?
Anyway, even while he was still playing with Busted, Simpson was flirting with the heavier side of music, as he was practicing with Fightstar in his spare time. Then came the news that nowadays would  be like comparing Zayn's departure from One Direction: Charlie Simpson had left Busted to pursue alternative musical paths. The band combine the brutality of British hardcore usually heard when trawling through Hell Is For Heroes and early Biffy Clyro, with an atmospheric, sometimes soothing rock sensation more reminiscent of Nine Inch Nails or Deftones. After three albums and a five year hiatus, they returned to the live circuit this year (check out the review I did of them at Download Festival here). And now, they have a new album out, but is it a welcome return, or are they not showing the promise they used to? We'll see.
Beginning in slickly produced guitar riffs, Sharp Tongue is a promising start. Dual vocals are shared with guitarist Alex Westaway, whilst Simpson provides his trademark scream. I'm not afraid to admit that he possesses one of my favourite voices in music at the moment; the way he can transition between death growls and the cleanest of voices is incredibly enviable. If Twitter has taught me anything recently, it's that Fightstar have a lot of "bros", including, but not limited to, Bring Me The Horizon and You Me At Six. You can definitely hear the influence from the former on Murder All Over, a track based around electronica samples and a pulsating hook. The vocals from Behind The Devil's Back calls to mind the more recent output from Biffy Clyro, combined with the technical musical performance of Deftones. The Blackest Of Birds seems like a fitting title for a track that resembles the more mature side of Slipknot, given the fact that Slipknot used to sniff jars of dead crow before their gigs to get them into the appropriate frame of mind. Melodies take flight, and... lay eggs in your ears? I tried bird puns, and I quailed... or fowled?
Overdrive's punky nature is mashed with what sounds like left behind 80's synth from a Journey record. If there's one thing Fightstar can do, it's rope people back in who may have been scared by songs like Deathcar. More Human Than Human picks this up, albeit with deeper tones, and a bass that could wobble the unwobbled. Animal starts like a pack of lions on the hunt, and then flutters between a colourful parrot and a herd of galloping gazelles. This could well be the anthem of the record. The gargantuan Titan is as massive as its title suggests, and I'm practically circle pitting around my dining room table and typing this letter by letter per rotation.
Sink With The Snakes prolongs the metallic elements of this band, with gruff vocals aplenty. The production values are exceptional, but one thing I've noticed is that Fightstar appear to be making more impressive verses than choruses, a quality seldom picked up when it comes to other acts. Culminating in the shoegazey Dive, Charlie Simpson's falsetto voice over power chords calls to mind a tormented Thom Yorke crooning over what would easily have been the heaviest Radiohead song ever released. It's not anti-climactic, but it's not an epic ending.
Bands return from hiatus because they have explored life away from their original routine, but soon come to realise that what they had was too good to step away from. Reforming can sometimes be pointless and disastrous, but in most cases, they are exciting times for fans and bands alike, with the new lease of life unleashing a breath of fresh air on the music industry. And whilst Behind The Devil's Back will hardly leave the music industry quaking in its fragile boots, it will no doubt make a loud enough noise to be noticed. It's a solid album, applying a similar formula to the one that spurned Fightstar to originally tackle the rock and metal scene ten years ago, but with an added maturity. They're currently on a UK tour, playing my hometown tomorrow, and I am even more tempted to now turn up at the door.

Rating: 8/10
Recommended tracks: Sharp Tongue, Animal, Titan

Album per day: Day 21

Artist: Bring Me The Horizon

Album: That's The Spirit

Released: 2015

My relationship with Bring Me The Horizon goes back a long way. I remember spotting them in an old issue of Kerrang! Magazine, and thinking "what the fuck do they look like?!". I then heard Diamonds Aren't Forever, and thus dubbed them "metal for pussies", because you see, I was such a testosterone-fuelled jock back then... Nowadays the quintet from Sheffield are more civilised and, having outgrown their old style of angsty deathcore, they have left behind the days of being bottled off stage when supporting Machine Head or Killswitch Engage, and have now swapped it all to be festival headliners-in-waiting. They have set about becoming the UK's answer to Linkin Park. This year, they released their fifth studio album entitled That's The Spirit, which displays even more of a shift in dynamic. The transition over their last three records nowadays favours a more diversified, mainstream rock sound, with frontman Oli Sykes industrially cleaning his vocal cords with some sort of toilet brush.

Now, the opener, Doomed... Doomed starts with what sounds like two people engaged in what can only be described as "the dance with no pants". It starts off a bit Imagine Dragons, but once it builds, it sounds like something that could come straight off of Linkin Park's album Minutes To Midnight. I heard Happy Song the day it came out, and I still think it's a fucking monster. Clearly inspired by American metal along the lines of Deftones, the riff in this is just what I was looking for. It's the kind of progression that I am very happy to hear from BMTH, and Oli even manages to scream a little. Throne had also been released to the masses before the album release, and it has everything the band could want from a single; a mix of clean and gritty vocals, looped synths and a powerful rhythm section. True Friends picks up where Happy Song left off, but doesn't quite display the same energy. Oli's lyrics seem heartfelt though and the way he shouts his way through the verses could be a hint at his personal experiences.

Follow You begins and wait, have I just shuffled to Blank Space by Taylor Swift? Oh wait, of course not, I'm listening on Spotify! The song's smooth, ambient tones fill me with a lot of questions. How desperate are these guys to shake off their early noise? Based on this effort, the answer is rather. What You Need may as well be a You Me At Six song (not a bad thing); maybe Oli really enjoyed working with them on Bite My Tongue. It's just one of many sounds that the group have taken inspiration from on the album. The chorus smashes it, mind. As That's The Spirit plays on, you begin to understand just how much of a change keyboardist Jordan Fish has brought to proceedings since he joined the band before the release of Sempiternal. Avalanche's orchestral synths over detuned guitars are becoming a little predictable, but it's usually a winning formula for their new style of anthems.

Run is nothing like it's Snow Patrol namesake. The only similarity is the quiet-loud-quiet-loud dynamics between verses and chorus. Here is another one that could have been a Chester Bennington brainchild. NEW Drown? Spotify, what ever could you mean? I warmed to this song very quickly after it was released, after some initial scepticism about what this meant for their future direction, and bar a couple of added guitar reverbs and piano keys, it's the same beast it was when it was released in time for their Wembley Arena show last year. A dark Blasphemy, with its bluesy guitar solo and infectious chorus, becomes a truly standout moment for me in this record. Culminating in Oh No, the longest track on the album, it is tailored to feature on Made In Chelsea at some point, playing over multiple shots of posh, Instagram-filtered London. Perhaps more akin to Two Door Cinema Club than Bring Me The Horizon, you can just picture Oh No playing soundtrack to a small room full of teenagers jumping and smiling whilst colourful balloons fall from the ceiling. A strange, yet brave finale.

Seeing BMTH at Reading Festival 2013 shone a whole new light on them for me. I was adamant that they were going to be crap, but that gig changed my opinion completely. They smashed it, tore it up, threw it away, and then smashed it some more; they blew my fucking head off. Now I regularly keep up to date with them, and from time to time dig into their back catalogue. How does That's The Spirit rank? I'd imagine that there are A LOT of furious fans from the Count Your Blessings/Suicide Season era who have watched their idols sell their souls for a shot at commercial success. I'm okay with this though, it's a good change. This album has had to follow Sempiternal, one of my favourite records of the last few years, and it matches up to it most of the time, save for a few repetitive song formulas. The mind can only wander as to how much more experimental BMTH will go for album number six.

Rating: 8/10

Recommended songs: Happy Song, Drown, Blasphemy

Album per day: Day 20

Artist: And So I Watch You From Afar

Album: Gangs

Released: 2011

I'll be honest and say that instrumental music is not necessarily my forte. If I do listen to instrumental stuff it's usually ambient and chilled. Nevertheless, I've stumbled across a lot of praise for ASIWYFA on various music websites and social media platforms. For anyone who isn't familiar, they're a four-piece band from Belfast, and so far they've released three studio albums, with a fourth effort coming later in the year.

Opening with a song entitled BEAUTIFULUNIVERSEMASTERCHAMPION sets me up for what could be the most pretentious sounding record I've encountered, but I found the song NOTBADATALLQUITEENJOYABLEACTUALLY. This is followed by what sounds like Dragonforce on tranquillizers, fading into a grunge breakdown halfway through and wading through various other genres like nobody's business. This is the monster we call Gangs (Starting Never Stopping). Search:Party:Animal metals things up again after a lighter end to Gangs, and 7 Billion People All Alive At Once introduces the gang vocals of ASIWYFA into the fray over an uplifting tune.

Think:Breathe:Destroy sounds all too familiar, but still awash with beauty. Homes - Ghost Parlor KA -6 To... is arguably the weirdest song title I've heard, and the song takes a noticeable dip in quality to what has already been on display on this record. The fact that it lasts under three minutes long is a clear anomaly in an album bursting at the seams with five minute opus'. Luckily, the riffs are heavy and the amps are volcanic on Homes - ...Samara To Belfast, which is a most welcome change from the first part of the song. It's also here that you realise why the previous two songs are titled as such... still can't grasp the need for all these "wow look at us being so alternative" style song titles though. Is there meaning behind them or is it a fashion statement? For all the tongue in cheek jibes I get for, allegedly, being a hipster, I can't get on board with it. But I digress. Closing track Lifeproof is an album highlight chock full of hooks, and is one of the most straightforward tracks on the album to bring the listener back to Earth after listening to the two-part song beforehand.

The musical emotions exuded on Gangs diverts between the joy of pogoing, uplifting hooks and grandiose, crushing riffs. When a band can find the right balance with all of these qualities and not make it sound overcooked, then you're onto a winner. When a band can do that without a lead vocalist, then full credit should go to them. Have ASIWYFA achieved it on Gangs? I don't think so, but that should not take away from the skills this quartet possess; people should know just how unappreciated this band are, and then do something about it.

Rating: 8/10

Recommended songs: Gangs (Starting Never Stopping), Search:Party:Animal

Album per day: Day 19

Artist: The White Stripes
Album: White Blood Cells
Released: 2001

Brother and sister/husband and wife/brother and wife/husband and sister duo The White Stripes mixes Meg White's somewhat basic drumming with Jack White's songwriting prowess and fuzzy distortion. Emerging during the time that nu-metal was at its pinnacle, one would wonder how a band as such as The White Stripes came to be so big. Garage rock wasn't cool then, but it's a lot cooler now.
Beginning with Dead Leaves And The Dirty Ground, a minimalist rock track that mixes dirty riffs with clean melodies, it's a pleasing start to the album. It is then followed by a short acoustic number called Hotel Yorba, that mixes rock drumming with a country boogie. I'm Finding It Harder To Be A Gentleman adds a piano into the mix, and compliments Jack White's power chords very well. Hit single Fell In Love With A Girl has all the grit of indie rock, and in the process makes Jet sound like mere mortals; I just wish it lasted longer, but this tends to be the case with a lot of the songs on White Blood Cells.
The Union Forever slows the pace down a bit more, with Jack White ringing out on the chords and quoting Citizen Kane. This could be the most "experimental" track on the record, so to speak. The radiant beauty of Jack White's voice shines through on The Same Boy You've Always Known, which tugs at the heartstrings, whilst the album hits a curveball on We're Going To Be Friends, a tender acoustic song about, well, love really. This is all before turning the amps back up to seven on Offend In Every Way and I Think I Smell A Rat, the former a soft, yet loud blues tune, and the latter a proto-punk song with fire in its belly; the chords are loud and the guitar scales are delicate. For a track that is basically two minutes of dysfunctional noise that sounds like its coming out of a guitar that is being rubbed up against a door, the annoyingly titled instrumental Aluminum strangely works.
Catchy alt-rock prevails on I Can't Wait, and the pace picks up again on Now Mary as it's over before it has even begun. Climaxing in what sounds like a John Lennon number, This Protector is short and sweet on the ivories, with Jack White pouring his heart and soul into its deep message.
For an album that lasts around 40 minutes, but with 16 tracks, this album isn't exactly made up of magnus opus'. There are catchy numbers, and not necessarily a disappointing song in sight. They would go on to bigger things with Elephant, and would headline festivals around the world. This isn't the sound of a band reaching their peak, but it is the sound of a band who are comfortable in what they're doing. This album will never go out of fashion, and we should continue to bathe in its relevance.

Rating: 8/10
Recommended songs: Hotel Yorba, Fell In Love With A Girl

Album per day: Day 18

Artist: Public Enemy
Album: Yo! Bum Rush The Show
Released: 1987

The rap/rock crossover has caused quite a stir since acts such as Public Enemy began to broadcast their confrontational political messages. For those of you that know me well, you'll know that Rage Against The Machine are one of my all time favourite bands, and it is one of my top wishes to see them live before I, or they, kick the bucket. After hearing them heaping so much praise on Public Enemy as an influence on their hybrid genre and lyrical content, I needed to learn about the roots of their sound, so I turned to their debut record Yo! Bum Rush The Show.
You're Gonna Get Yours and Sophisticated Bitch lay the groundwork for an impressively stylistic album, with the former applying gang vocals to raw drum sounds, and the latter showcasing impressive lead guitar work that calls to mind the work of Tom Morello mixed with Kerry King's contribution to Beastie Boys' anthem No Sleep Till Brooklyn. Miuzi Weighs A Ton's use of samples is in the chorus is catchy and memorable, again coupled with the trademark rapping style that Chuck D has come to be known for. Too Much Posse is true hip hop, calling out all the rivals that Public Enemy were to generate over the years.
The turntable game is strong on Rightstarter (Message To A Black Man), and the infectious beats just keep on coming, with the inner city aggression progressively flowing through each track. Public Enemy No.1 is surprisingly monotone during the verses, with Chuck D backed by what sounds like a bumblebee, but he does save it a little with his repetition of "one" in the chorus, whilst forming a formidable partnership with Terminator X on lead scratch. The album's title track applies a similar drum beat to what we have heard before, but during the chorus what sounds like a crashing piano chord and a whistle accompanies the gang vocals.
Raise The Roof allows Terminator X to shine that little bit more with some scratching solos, but it does drag its heels a bit and should probably have been cut down. Chuck D and Flavor Flav collaborate again on Megablast, but its minimal approach slightly misfires. We close with Terminator X Speaks With His Hands, and whilst it isn't the best album closer in the world, it is short and spunky. Funk guitar and inventive sampling make for an entertaining two and a bit minutes.
Chuck D and Flavor Flav are one of the best duos out there, and their lyrics actually have meaning, which isn't often the case in modern mainstream hip hop. Another impressive debut that I urge all fans of crossover genres to check out. At the time it hit the Earth like a comet of new ideas, and from this current time, it opened up my ears to notice the influence of Public Enemy on a load of different modern artists, in conjunction with The Beastie Boys. Back in 1987, this was one of the most controversial records out there, but nowadays, you will probably find a lot more that's worse. It's time to educate yo'self and kick back and relax; make yourself Public Enemy's best friend.

Rating: 8/10
Recommended songs: Sophisticated Bitch, Rightstarter (Message To A Black Man)

Album per day: Day 17

Artist: Pearl Jam
Album: Ten
Released: 1991

Appreciated, but often overlooked for the role that they played, grunge kingpins Pearl Jam are next on my challenge list. Recognised by many as part of the group of heroes who came out of Seattle with a mission of making hard rock music, their legendary status is not as a result of being overhyped. I love Nirvana, and I can appreciate bands like Alice In Chains and Soundgarden, but Ten is the album that seems to make critics swoon, so step up Eddie Vedder and co.
As an album opener, Once showcases Eddie Vedder's scruffy vocal style perfectly, and is a perfectly good rock song. Even Flow is regarded as one of the bands classics, with its mainstream rock appeal and memorable vocal rhythm. Vedder croons like Robert Plant, and Mike McCready lets rip on his axe of doom. The volume remains, but with a smoother delivery bordering on the "ballad" tag, Alive sounds like the sort of stuff Nickelback would put out, but then get lambasted for it. However, because this is Pearl Jam, I don't need to be looking over my shoulder whilst I praise it. Poignant lyrics about death and guilt paired up with improvised lead guitar make for an impressive number. I don't know what it is about Black that has me thinking of James Hetfield, with vocal and lead guitar melodies that the Metallica man wouldn't turn away from. It's not what you'd expect from a so-called "grunge band", but the dynamics of Black make for an album highlight.
The song Jeremy is another anthem of the nineties. It's hardly a bright spark of Ten but it has a hook that I'm finding difficult to ignore. Oceans makes use of vocal effects and a clean guitar tone, before giving way to Porch, a hard rock number. Ten is wrapped up with Release, a nine minute journey split into what seems like two songs, culminating in a fairly pointless three minute instrumental outro.
An often celebrated album created by five young men filled with ambition and hope, Ten is the thinking man's Nevermind. It is the sort of album that fans of any genre of music would enjoy, and even though Nevermind is an incredibly popular and brilliant record, it doesn't cover as many bases as Ten does. Mike McCready is a very different guitarist to Kurt Cobain, and in some ways different to Jerry Cantrell, but he is one of the highlights of the band for me, without overlooking the rest of the group. It would be lazy to pigeonhole this with all of their fellow grunge bands, because there is so much more to it than angst and fuzzy guitars. You can hear the influence from these guys in a lot of more recent rock bands, so no matter what you think of them, they're inspirational, and from this album, I can understand why.

Rating: 8/10
Recommended songs: Even Flow, Alive, Black

Album per day: Day 16

Artist: Beartooth
Album: Disgusting
Released: 2014

If you remember Attack Attack!, well done. Well they're now defunct and Caleb Shomo is now fronting Beartooth, a Ohio band that mix punk and metal to create a sound of grizzly proportions. Having just opened the Kerrang! Tour around the UK, big things are said to be on the horizon for these guys, so I thought I'd see if their bite really is as strong as their name suggests.
Starting off with The Lines, with screams of ferocity and downtuned sludge riffs aplenty, there is a catchy chorus that culminates in a bone-breaking ending. Whilst Body Bag is the name of a song on this LP, it seems fitting as that is exactly what you may end up leaving a Beartooth concert in should you touch the mosh pit. I find myself drawn to the introductory vocal hook from In Between when noticing its familiarity to Sweetness by Jimmy Eat World, and then the chorus just screams A Day To Remember, so amidst all of the modern punk/metal tendencies, there is a pop sensibility that will strike a chord with a wider audience. The guitar lines shine in Relapsing, with a chorus that channels Sacramento metallers Deftones.
So far there isn't much on this album that makes it easy for me to distinguish Beartooth from a lot of American bands plying their trade at the moment on the Warped Tour circuit. I haven't tracked down that distinguishable quality yet.
I have a problem... but enough about me, I Have a Problem is a powerhouse of a tune. It's the loser anthem to end all loser anthems, and Shomo delivers the message as loud as he possibly can. Keep Your American Dream is your typical 4/4 "fight the power" song, and Shomo sounds more like Jeremy McKinnon with every passing word. The extremity of Beartooth's sound is there for all to hear on Dead, a fast blast of blood and sweat. The emotion is there in Shomo's opening lines of closer Sick And Disgusting; "I just wanna feel loved!",  he screams. Its self-loathing nature, coupled with Shomo's alternative vocal style, may just be the birthmark of this band that I was searching for: the feature that makes them different from everyone else. The song is driven with such strong feelings that it sounds like Shomo is crying by the end of the song, and not just crocodile tears either.
Just like Neck Deep's album that I reviewed a few days ago, this is a debut that builds a ship for an army of young fans to get on board with. No doubt they will be on the festival circuit for the next couple of years at least, so check out their live credentials and experience this album in its full power. They're the sort of band that Kerrang! will be hyping up all up until their second album, and then the focus will either double in euphoria, or crash and burn. Honestly, there are bands who do what Beartooth do, but do it better, but that didn't stop me from liking this album. As a new band, they have to hang onto what makes them unique, and accentuate those qualities. Only then will they reach bigger heights.

Rating: 7/10
Recommended songs: I Have a Problem, Sick And Disgusting

Album per day: Day 15

Artist: Pavement
Album: Crooked Rain, Crooked Rain
Released: 1994

Who would've thought that at a moment in time, alternative rock was one at the forefront of the music world? Bands like Smashing Pumpkins and Pearl Jam reigned supreme, and similar bands were making a ruckus around the world. One of those bands was the now defunct Pavement, an American rock band who hold a somewhat cult status nowadays for leading the line of the underground indie rock movement. Their album Crooked Rain, Crooked Rain was said to define the nineties, and for a decade which has given us so many brilliant artists, I decided I wanted to see what all the fuss was about.
Silence Kit and Elevate Me Later have nineties rock written all over them, churning out distortion and melodic backing vocals all the same. It's very Pablo Honey (early Radiohead). Cut Your Hair was a moderate commercial success when released as a single, and you can see why it was chosen for release: the backing vocals designed to hook the listener and make sure they have it in their head for the foreseeable future. There was clearly a template style in alternative rock music back then, because I hear traces of Weezer and even The Dandy Warhols in here, meaning this must have had an influence on these groups, although Weezer released their debut album around the same time, which I already reviewed, so check that out! I loved the nineties, and would happily live in it as a teenager if this is what was considered to be the scene to be in.
Unfair is a balls-to-the-wall rocker, adding guitar effects to an already comprehensive wall of noise, and vocalist Stephen Malkmus leads the song to its end with his tormented wailing. Gold Soundz has a more positive vibe about it, making Malkmus sound like the polar opposite of messrs Corgan and Yorke. But whilst the music is upbeat and infectious, the lyrics are self-loathing and hard to grasp. Onto 5-4=Unity, and I feel like I've just entered a jazz club in New Orleans. This short instrumental piece puts pianos and the bass guitar in focus, and suddenly a cigarette has appeared in my mouth, and my fedora is firmly tipped (m'lady). The pop melodies of Range Life call to mind the post-Britpop of Travis, but with more aggro, and Heaven Is A Truck applies the wah-wah pedal in such a carefree, but soothing manner. Closing song Fillmore Jive is the magnum opus of the album if you can call it that, exceeding six minutes without following a typical song structure, and it brings Crooked Rain, Crooked Rain to an epic and noisy close.
The critical acclaim that this album received is easy to understand. It's a record many can put on from start to finish and not skip one song, simply because it's all killer, no filler. This doesn't mean all of the songs are brilliant, but each song has at least one quality about it that makes it distinctive and special. These Californian boys are now grown men, and I'm sure I wouldn't be alone in approving their reunion. Maybe they could show these modern indie bands a thing or two about emotion and talent.

Rating: 8.5/10
Recommended tracks: Cut Your Hair, Unfair, Gold Soundz, Fillmore Jam

Album per day: Day 14

Artist: Neck Deep

Album: Wishful Thinking

Released: 2014

Pop punk has nary been touched upon over in our fair country. When we celebrate said genre, we focus on the American heavyweights such as Blink-182, Green Day, New Found Glory and The Offspring, and other upcoming acts from the USA such as A Day To Remember. With all that, it's refreshing that with all of the cries of "pop punk will never die!", Neck Deep are proof that the industry is still spouting bands that fall into this genre.

Opening song Losing Teeth breaks you in nicely with tasty riffs that bring that sweet air of summer around, and Staircase Wit allows frontman Ben Barlow to let his guitarists shine for a minute with some heavy power chord work. Barlow can be a little guilty of overdoing his vocals, and I'm hoping later in the record that the instrumentalists can take centre stage with some big breakdowns or solos. Meanwhile, Damsel In Distress mixes it up with more intricate guitar work, and Zoltar Speaks is the circle pit song of the album: pure unadulterated punk energy.

Picking up from where Zoltar Speaks left off, Growing Pains is a bit more anthemic with its relatable lyrics about your typical heartbreak, but delivered with ferocious pace and a tight groove. Mileage, for some reason, calls to mind the sort of stuff that Simple Plan would release if they were a bit more daring. There is a slight frustration though as the song ends, as I find myself wondering how much more they could have added if they included more instrumental moments. Sweet Nothings shines brightly amongst a group that hasn't really disappointed me (much), but it's easily the most infectious song on the album, showcasing how much talents these boys possess. The soaring melodies of Blank Pages make for pleasant listening, and then BAM! You're crushed under the pummelling rhythms and angry lyrics once again. Final track Candour is definitely an anomaly, but it's beautiful all the same. It shows these guys can rally an army, but they can also weather a storm. Easily the best song on the album.

Another album I've enjoyed, and another strong major debut effort. Despite the insistence from Ben Barlow to sing like an American, and opportunities missed by not allowing the musicians to showcase their obvious talents a bit more, Wishful Thinking is a strong record; not the finished article, but strong. If you're a fan of A Day To Remember's more pop punk over metalcore moments, then this may be the new band for you. I look forward to seeing how far these boys go in an industry that is starting to welcome pop punk back with open arms, but I would also be interested in seeing how far they go across the pond. Can British pop punk invade the USA? I certainly hope so.

Rating: 7.5/10

Recommended tracks: Sweet Nothings, Candour 

Album per day: Day 13

Artist: Catfish and the Bottlemen
Album: The Balcony
Released: 2014

It's refreshing when acts placed in the indie bracket come out with new and innovative ideas. One of the newest bands looking to achieve that are Catfish and the Bottlemen, hailing from Llandudno, Wales. Judging from the suggestive album cover alone on their debut record The Balcony, I would expect something a little edgier than what previous listens have suggested, but here we go.
Opening track Homesick is no statement of intent, but it is colourful and bright, following a quiet-loud formula. Fellow singles Kathleen and Cocoon are both straight up catchy indie bangers, with Cocoon especially cranking things up a notch with guitar solos and a huge chorus. You can already see the inevitable image of 17 year old girls on their male friend's shoulders at Reading and Leeds Festival, and the guy thinks he has a shot but the girl is too captivated by lead singer Van McCann's flowing locks. It's by the time that Fallout kicks in that the resemblance to the music of The Kooks is more than apparent, in both music and vocal style. I quite like The Kooks, so I don't find myself disliking what I'm hearing, but I can get critical when similarities are more than apparent, or verging on just directly ripping off. There are also flashes of indie stalwarts The Libertines and The Courteeners, and even some early Arctic Monkeys scattered around.
Business sounds like exactly the sort of staple track I'd found played every Saturday night at my old Wolverhampton haunt, Blast Off. The last minute of Rango raises the song to great heights that it failed to hit in the previous two minutes. Sidewinder is the probably the best song on the album, simply because of the lead guitar work distinguishing it from about eight of the other tracks, and closing track Tyrants is again awash with lead guitar melodies that sound like they've come out of Johnny Marr's scrapbook.
The band's debut album, as anticipated, wasn't perfect. There's nothing new to get too excited about, but what there is is an enjoyable record if you're in the right age bracket. The quartet though, sound a bit dated for me. Comparing them to those aforementioned bands would only seek to support my claim. The death of this genre clearly hasn't reached northern Wales, because if this album had been released about ten years previously, then these guys would be riding on the crest of a wave. Sadly though, the world has moved on, and it may be time for them to move on and show some more inventiveness on album number two in an attempt to remain unforgotten. Lyrics about teenage angst and living life in the middle of nowhere will only get you so far, boys.

Rating: 6/10
Recommended songs: Cocoon, Sidewinder

Album per day: Day 12

Artist: Lightning Bolt
Album: Ride The Skies
Released: 2001

As a fan of Royal Blood, I've read a lot of opinionated views on them. Many of those who tend to find them boring or lacking innovation end up pointing readers in the direction of Lightning Bolt as a worthy of example of how being a two-piece shouldn't limit your sound. This band, composed of drummer/vocalist Brian Chippendale and bassist Brian Gibson, hail from Providence, Rhode Island and have influenced more bands than you think.
Kicking off with first track Forcefield, a four minute instrumental whirlwind of noise, it appears that listeners who are more accustomed to the authentic and refined sounds of Royal Blood might be taken aback by what is happening. There is some Muse-esque guitar wankery that is being played through the bass guitar, but there is so much going on that I am struggling to put into words what is going on. Let's just say that Lightning Bolt fit the genre "noise rock" considerably well. 13 Monsters at least incorporates some vocals, albeit extremely distorted ones, and whilst I am a fan of vocal distortion when used properly, it still isn't distinguishable. Ride The Sky is built around an odd time scale and progressively gets weirder with every bass riff. This band were definitely not meant for the mainstream.
The Faire Folk grabs my interests for its speedy and skilled bass playing, but it ends up sounding boring and repetitive. With some questionable wailing happening in the background, it is a shame that more wasn't done with the six minutes that this song had to offer. Wee One's Parade begins with what sounds like a back and forth between Kenny from South Park talking into a megaphone, and Sooty talking through a cheap microphone. Then thankfully, we get a little more going on with some heavy bass and interesting drum fills. I'm also pretty sure there are some vocals in there somewhere. Rotator finishes things off in heavy fashion, incorporating what sounds like synths from a retro Space Invaders game. The only way to describe this album is fast and furious.
I was very much looking forward to giving this album a listen, but I've ended up feeling let down. For an album that has so many elements in which it influences Muse, I don't seem to be connecting with it. This album is definitely something I can't air guitar to, or even air drum to. There is no doubt that beneath all of this noise, there is a band who amass wonderful talents on their instruments, but it did nothing for me due to a distinct lack of melody, structure and memorable moments.  I can credit Brian Gibson for his incredible skills on the bass guitar; he knows all the tricks and makes it sound like five instruments at once. I remember when I first heard Slipknot, I wondered what the fuck I was listening to, but now I bloody love them. Granted I was 13 when I first heard Slipknot, so sadly I may not get on board with Lightning Bolt right now at the age of 22, but in order to solidify my opinion I will have to check out a few more of their songs before fully dismissing them. Kudos to them for making even more of a racket than Royal Blood though with just two people.

Rating: 4/10
Recommended song: Forcefield

Album per day: Day 11

Artist: Drenge
Album: Drenge
Released: 2013

Drenge have long been one of those bands that people have recommended to me, but in my lazy, uninspired state, I continue to fall back into the welcoming arms of my favourite bands. I managed to catch a tiny portion of them at Leeds Festival, but ended up being sidetracked by whatever band I had planned to see prior to that. From what I know, they're a two-piece band of brothers who are desperate to revitalise grunge, but they bring along a touring bassist for the ride as well to add to their noise. You may think a bass guitar isn't as vital to the sound of a band, but let me tell you, it contributes more than you think. Hold on, I'm tipsy when writing this, so bare with me...
The first two tracks on this record encompass around four minutes of this debut album, and as catchy as they are, they're nothing to shout about, and I find myself hoping there will be more impressive moments around the corner. I Want To Break You In Half begins with a filthy guitar line carried on through the verses along with the angsty lyrics from Eoin Loveless that you wouldn't expect from any other duo act out there, and when the song explodes into its outro, you find yourself wishing it wasn't the end. Bloodsports, one of the better known tracks, kicks things up another gear with more complex guitar work and aggressive drumming, and at this point is just about the highlight. There's something quintessentially British about these boys, and yes, even though they are British, it wouldn't have taken a genius to work it out. The lyrics of Loveless are filled with anger and discern, and are delivered with the kind of accent that would make Alex Turner sound like he was from Jamaica.
Backwaters picks up from where Bloodsports left off, and the guitar keeps getting louder and weirder. These guys know how to tick the boxes with me, it seems. Gun Crazy recalls early Feeder with its fuzzy guitar tone, and delivers rolling punches to the eardrums with pulsating drum work from Rory Loveless - there is a real QOTSA feel to this track. Having pleasured myself so far with the brand of rock n'roll that Drenge are delivering, I defy anyone to put them in the category of "indie"; they just fucking aren't, so don't categorise them with The Libertines or The View.
I find myself humoured at Drenge's attempt to pay tribute to Muddy Waters' hit I Just Want To Make Love To You through it's antithesis I Don't Want To Make Love To You, which is a nice touch, but I thought may have fit as more of a B-side. Bye Bye Bao Bao takes up about half of it's running time with gruelling, yet delectable feedback, but then you realise it is more of an interlude to segue into what follows.
What does follow is Let's Pretend, an eight minute developing thunderstorm which calls to mind the melodic intensity that Radiohead used to treat us to. Violent screams kick in halfway through and then suddenly, the pace slows down in an attempt to rebuild what has been built. The raw element and cheap-sounding guitar pedals make the record sound less tampered with, and this less refined sound even manages to make something like Let's Pretend not sound dull. Onto Fuckabout, which I thought was Pixies at the time, and is the closest that Drenge get to a lighters-out anthem. It's a curveball of a track to finish the record on, but definitely one of the best.
There will be a new Drenge album this year, and if their lifestyle of relentless touring and a wider experience in the music industry gives them a more cohesive sound, I think they will vastly increase their fanbase, but they have certainly won my attention. In a world of infamous rock duos such as The White Stripes, The Black Keys, Royal Blood and Death From Above 1979, Drenge stick out like a sore thumb, and I think this is because there is true hate in this record, and I believe every word that Eoin Loveless sings. The instrumentation may not be groundbreaking, but there is a passion in here that is missing from some of the aforementioned acts.

Rating: 8/10
Recommended songs: Bloodsports, Gun Crazy, Fuckabout

Album per day: Day 10

Artist: Weezer
Album: Weezer (The Blue Album)
Released: 1994

In a time where the embers of grunge were dying out, along with the sad demise of Kurt Cobain, Californian quartet Weezer were conjuring up something a lot more left-field. They've come to be known as the stalwarts of emo music, even though they were hardly self-loathing. They come across as a more nerdy, college rock band, and along the way they have amassed a fanbase of relatable clever clogs. Vocalist Rivers Cuomo is a Harvard graduate, don't you know? He's a "loser" like you.
My Name Is Jonas gets things underway, and is a strong opening track for a debut album. The riffs are heavy without being too brutal for the listeners. It's this kind of pop sensibility that brings in fans of Weezer from a load of different subcultures. No One Else continues this trend, incorporating pop punk influences with its thrashing power chords, sounding a little like The Offspring. Most rock fans know Buddy Holly (the song, as well as the young and tragically lost pioneer of rock n'roll), and if you've heard it or seen the video set in the cafe from Happy Days, you already know it's a big tune, stretching out into a set of more obscure guitar sounds. Undone - The Sweater Song is supposedly the song that Rivers Cuomo is most proud of, and it's easy to see why. It has a more melodic feel to it than the previous songs on The Blue Album, ending up in a lovely mess of shredding and feedback.
Just like Buddy Holly, Say It Ain't So is another huge single from the record, with some of my favourite guitar performances in it; no matter how simple it is to play, it just sounds killer. The chorus is huge too, the kind that festival crowds would be singing along to nowadays rather than Radioactive or Pompeii. Holiday is the closest thing this album has to filler, but even so, it's not one I'd be skipping over, and halfway through briefly changes from a rock song to something resembling a barbershop group. Closing number Only In Dreams is built around another beautiful melody, incorporating the quiet-loud-quiet-loud method. It's eight minutes of alternative rock genius, which amalgamates pretty much every impressive characteristic of the rest of the songs on this album, therefore creating a fully evolved track. This is Weezer's "final form". And just like that, the album ends, and I find myself wanting a lot more, which is one of very few things I can find myself moaning about with The Blue Album.
I seriously love this album. These guys are incredibly talented, and they don't settle for that three chord bullshit. The power pop they deliver is built around odd time frames and fantastic harmonisation. Weezer made guitar solos cooler, even though you wouldn't usually put the words "Weezer" and "cool" together, but maybe they were so uncool that they were cool. In more recent times, they've never quite reached the level of fame they once had in the 90's, but their ninth album Everything Will Be Alright In The End has received strong praise, so could we be seeing an old school emo revival? Maybe they can show Vampire Weekend what college rock really is.

Rating: 9/10
Recommended songs: My Name Is Jonas, Undone - The Sweater Song, Say It Ain't So, Only In Dreams

Album per day: Day 9

Artist: Disclosure
Album: Settle
Released: 2013

Surrey dance brothers Disclosure have been brewing up a storm since the release of their debut effort Settle. They've made splashes in the UK and most of Europe, but they've also found a home across the pond; Settle was nominated for a Grammy, acknowledging their growing fanbase over there. Their music isn't particularly aggressive like The Prodigy or Chase and Status, but the chilled atmosphere created by their music appeals to a wide audience who seek out a more calming influence to dance to.
After a minute long introduction track, When A Fire Starts To Burn kicks things off. It gets annoying very quickly, with repetitive and irritating lyrics, and unfortunately, the music is no more captivating. Latch invites Sam Smith to the party on lead vocals, and considering he's been shoved in our faces over the last twelve months, I imagined I'd find myself disliking it. This was not the case though. The house influence on this track is calming, but still danceable,  and Sam Smith's voice surprisingly fits in. F For You was familiar to me from the soundtrack to FIFA 14, and it was always one of those songs that I never wanted to skip. You couldn't turn on the radio in 2013 without being exposed to White Noise, much like Sam Smith, but I didn't particularly mind hearing it, with vocals being supplied by electronic music duo AlunaGeorge. The addictive club sound combined with catchy vocals makes for a chart humper, which is the status it ultimately achieved (it hit no.2 in the UK charts).
Defeated No More called to mind the synths and claps of Deadmau5, incorporating more of a house vibe, and Edward MacFarlane matches Sam Smith's performance on Latch with his octave-bending vocals. As you can tell, there are quite a few collaborations on Settle, which makes me wonder if dance acts can't get by without guest appearances on every song. There are a few independent songs, but I would like to see Disclosure do more of them on their next record. Grab Her! may be five minutes long, but it sounds lazy and lackadaisical - it needed to be cut down.
The final four tracks all featured guest vocalists. You & Me features Eliza Doolittle, who seems to have gone off the radar recently. Nonetheless, for Doolittle's vocal talents, this song doesn't distinguish itself enough from many of the others on Settle. The same synths are used, the same vocals effects are used etc. The rest of these collaborations don't do much else to differentiate themselves from their fellow songs on this album; there is no individual stamp that the guest vocalist brings to each song. I was intrigued to hear their collaboration with London Grammar, which was one of the brighter sparks of the collaborated efforts, mixing Grammar's soothing, definitely-heard-them-on-Made-In-Chelsea sounds with Disclosure's recognisable dance-pop.
The first record for an act is never supposed to be perfect; there's supposed to be mistakes and signs of immaturity and naivety. Most of the titans of the music world never had a perfect first album, but they learned from it and saw what they could do to improve on their future outputs. I think Disclosure are a good example of that. They may not quite reach the heights of some of the other acts in their genre, but there will always be a fanbase for what they put out. I tend to think that when artists peak too quickly, there is a great amount of pressure placed on them, and they tend to crumble and not deliver in the future, ultimately fading into obscurity. Whether that happens with Disclosure remains to be seen, and I wonder if the dreaded "second album syndrome" will rear its ugly head.

Rating: 6/10
Recommended songs: Latch, F For You

Album per day: Day 8

Artist: Black Sabbath
Album: 13
Released: 2013

The first Black Sabbath album in 18 years was released to mostly critical acclaim. It was the first studio album with Ozzy Osbourne on lead vocals since Never Say Die! was released in 1978, and reunited three out of the four of the iconic Black Sabbath lineup: Ozzy Osbourne, guitarist Tony Iommi and bassist Geezer Butler, so this new record was always going to cause a stir. Add Brad Wilk of Rage Against The Machine/Audioslave to the mix to contribute drums, and you've got a rock fan's wet dream. The excitement generated by 13 caused the album to climb to the top of the UK album charts, which was their first to do so since Paranoid was released in 1970. With all of that background information on one of the worlds most illustrious metal bands, let's get this album from the Brummie Boilers underway.
You would think that a band who have gone through countless line up changes wouldn't be as tight after all this time, but if first track End Of The Beginning is anything to go by, 13 is going to be a very enjoyable record indeed. This is the sort of metal I dig: slow riffs with plenty of groove. Lead single and the Grammy-winning God Is Dead? follows, and you start to acknowledge the quality of the production that Rick Rubin has brought to this album, but is that what Black Sabbath fans want? They're used to the old fashioned, analogue approach that doesn't give songs the glossy finish - take what Foo Fighters did with Wasting Light for example, which was all recorded on analogue tapes. Nevertheless, it still sounds like Sabbath through and through, with Iommi's unmistakeable licks complimenting Ozzy's voice so very nicely.
Stripped back psychedelic acoustic surfaces on Zeitgeist, which is beautifully executed by a band who are so used to turning it up to 11. Age Of Reason is heavy as balls, but drags on towards about seven minutes, and Live Forever gallops along the low string of Iommi's downtuned Gibson SG, and Geezer Butler and Brad Wilk remain as tight as though they have been playing together for 20 years. I'm loving the blues influence that Sabbath bring to the table, and you'd be hard pressed to find a band that does it better. Dear Father is one of the later highlights, with a strong sense of chemistry being expressed. Starting off the bonus tracks is a song that starts off like Enter Sandman, but is really called Methademic, a vicious, gloomy heavy metal anthem with a quicker tempo to boot. Peace Of Mind is the shortest track on 13, and hits hard and slow, only then to turn it into a quick-fire pummelling, and then we end on Pariah, with memorable singalong lyrics, but not the most memorable pieces of music on 13.
As a man who has spent his life shying away from the bands of yesteryear, maybe favouring acts like Guns N'Roses and Queen instead of bands like Black Sabbath and The Who, it shames me that I have taken this long to appreciate anything that this band has released beyond Paranoid and Iron Man. This doesn't sound like a band that are desperately trying to cling onto whatever relevance they have, or attempting to be nostalgic in any way - they still feel like they have a message to convey, and with the way that they have been received since, they definitely still have a place in the hearts of their fans. They deserve a large amount of respect to come back and record an album after the trials and tribulations that they have been through, be it Ozzy's drug dependencies, or Tony Iommi's news that he has sadly been diagnosed with lymphoma. It doesn't matter how much reality television Ozzy sullies his reputation with; he and his Sabbath cohorts will always be one of the greats, and boy have they still got it.

Rating: 9/10
Recommended songs: End Of The Beginning, Live Forever

Album per day: Day 7

Artist: Team Sleep

Album: Team Sleep

Released: 2005

As a huge Deftones fan myself, I am surprised more than anyone else that it has taken me so long to pay any attention to Chino Moreno's shoegaze-influenced side project Team Sleep. They've only released one album, so it seemed like a good opportunity to catch up. The rest of the band is comprised of guitarist Tom Wilkinson and DJ Crook, although there are many contributors to this record, so they can't really be pinned down as a band.

In the essence of Deftones' music, it appears that Chino is the component of the group that provides an ethereal vibe to their songs, which gives them a more individual sound when compared with their 90's cohorts such as Korn and Limp Bizkit, having been tossed in under the nu-metal tag. Team Sleep was a chance for Moreno to expand his horizons and work in an environment that thrives on post-rock sounds, with elements of dream pop and more ambient music. Substituting his screaming for Morrissey-style crooning, I'm expecting Moreno to prove why he is one of my favourite vocalists.

Out of the first few tracks, the one song that stands out the most is Princeton Review, with Rob Crow leading the line on vocals. It could easily be a Smashing Pumpkins number, or even a Radiohead B-side in the style of Talk Show Host, so anyone who knows me knows that this is right up my street. Blvd. Nights could be mistaken for a pure Deftones song, so this album will still appeal to those who enjoy the heavier side of Deftones' music. Our Ride To The Rectory is your sort of soul-searching walk music - it's strangely uplifting for such a sombre number. This segues nicely into Tomb of Liegia, with vocal duties taken by Mary Timony, but it leads nowhere and ends up sounding a little bit too repetitive. I love the trip hop influence on this record, and the use of drum loops, with Staring At The Queen sounding like it could come off Radiohead's Kid A or Amnesiac, but it ends up transitioning into something completely different, with guitar reverb and a distinct lack of percussion until the end; this type of instrumentation is common on Team Sleep. It's a damn shame, for all the brilliant songs on this album, there are also some rather bad ones, as much as it pains me to say; King Diamond is an example, which totally fucked my mind, with loud male vocals (Moreno) doing a back and forth with female talked vocals once again provided by Mary Timony. It didn't do anything for me; I'm not that artsy fartsy. Live From The Stage used to be called Natalie Portman, and I can see why. Because it's hot, that's why! It's also aggressive, although a bit of a slow burner. Album closer 11/11 is alright, but not as strong as a climax as I would've expected from an experimental act that have the chance to delve into so many different sounds.

I had some hope for this album, and it delivers on about 8 or 9 tracks, but there are some songs here that are ultimately forgettable. However, the songs that do shine, shine very brightly. If you're a Deftones fan, I urge you to check this out. Also if you're into that shoegaze thing, or any of the stuff Radiohead released when they went through their "non-rock" phase. There are rumours of a new Team Sleep record coming out this year, and will I give it a listen? Based on this album, yes, but I hope they keep the numbers of tracks a little lower than the 15 they have on this effort.

Rating: 7/10

Recommended: Princeton Review, Blvd. Nights

Album per day: Day 6

Artist: Iron Maiden
Album: Powerslave
Released: 1984

Veteran metallers Iron Maiden have been putting the music scene to the sword since they released their self-titled EP in 1980. I had never given them much of a chance to impress me; I was the usual casual listener who knew the chorus to Run To The Hills. But then I saw them at Sonisphere Festival last year... it was one of the greatest shows I've ever been to, and I hardly knew any of the tunes. Characteristics like that let you know a band has still got it. I have now listened to a few more of their songs since, but I have yet to listen to an album in full. On that note I decided to give Powerslave a listen.
Aces High gets things underway with one of Maiden's biggest songs to date. Along with fellow single, and track number two 2 Minutes To Midnight, they provide the singalongs of the album, nonetheless maintaining the harmonising guitars that Iron Maiden have become so famous for. Instrumental track Losfer Words (Big 'Orra) allows vocalist Bruce Dickinson to rest his voice while Dave Murray and Adrian Smith let rip on their axes. The Duellists is a catchy number, despite the fact that it exceeds the six minute mark, although I wished Dickinson would come into the song a little quicker after the extended and overdone guitar solo.
It is at this point that I notice that most of the songs on this album  have a similar structure, with more or less matching tempos, and a lot of them make use of the same chord sequences. I won't let this completely overshadow the album though, as there is still so much more going on here, be it with the mesmerising solos from Murray or Smith, or Dickinson's operatic yapper. It's no surprise to see why this band are as wildly successful as they are, with over 85 million record sales to their name. The penultimate track, Powerslave, is full of heavy metal vigour, with a mid-section that is slightly reminiscent of Metallica's Master of Puppets. It also exceeds the six minute mark, so you have to have a bit of patience to be a fan of this band, and even though I'm not the most patient bloke in the world, I had a lot of time for this song. Ironically, we come to the final song, Rime Of The Ancient Mariner, which stands at 13 minutes and 34 seconds long. Many die hard Maiden fans have this down as one of the group's best songs, even though it is not the most commercially accessible of songs. Inspired by a poem by Samuel Taylor Coleridge, the first five minutes are typically loud and powerful, but then it goes all Tom Waits for a minute, then ending in big and bold fashion. This song is one that fits the word "epic" quite deservedly.
Every rock fan should listen to Iron Maiden more often. They can largely get overlooked by the younger generation, but I implore all of you to show Powerslave to your children when they're ready to embrace the metulz. Remember, you can't kill the metal; the metal will live on.

Rating: 8/10
Recommended songs: Aces High, Powerslave