the unlikely return of Nu-Metal

these are strange, uncertain and occasionally exciting times for the music industry.

the market growth and profits of major labels is not the issue at hand as far as i am concerned right now.

more so, it is the cross pollination of genres that sparks my interest.


although the liberal borrowing from a thriving genre is certainly not a new idea, it is certainly churning out some polarising efforts and unlikely collaborations from those striving to remain relevant.

riding on the coattails of the inescapable wave of dubstep that swallowed whole continents in 2011, we now see bloggers' favourites turning their hands to production duties for returning icons from a bygone musical age.

writing this specifically with Korn's most recent effort in mind, their tenth studio album most prominently featured collaborations with flavour of the month Skrillex, as well as a number of other electronic producers in an attempt to re-tool a tried and tested formula for a new generation.

and now it is the turn of Cypress Hill to foray into the realms of pulsating bass as they team up with Mad Decent alumni Rusko for a dubstep EP due out in April, having found their way from Hip Hop and through the other side of Nu-Metal, an incredible 21 years since their breakthrough single 'How Could I Just Kill A Man' was released in 1991.

i am still yet to cast aspersions on the whole of the new Korn album and whether all this band wagon jumping is manipulated by shady puppetmasters wanting to sink their teeth into new trends, or whether this is genuine re-invention spurned on by a passion for dabbling in exciting genres that are now growing out of their infancy.

but with the rap-metal fusion that both influenced and was influenced by Nu-Metal some ten years behind us, and given the cyclical nature of music trends that keep coming back around, will these collaborations inspire another attempt at returning to the mainstream by the floundering Limp Bizkit, this time on an album helmed by Caspa, or perhaps even Papa Roach teaming up with the filthy warped bass monster Borgore.

while at first the very idea of it sounded unlikely and a rather desperate attempt to be 'down with the kids', personally, i feel that Korn's  Narcissistic Cannibal is something of a revelation for me from a band that has been drifting slowly out of favour and has also created something new that is infused with the ever-more integrated dubstep sound, creating a hybrid Nu-Step which is just as abrasive as the first parent-upsetting and face-shredding riffs of Nu-Metal that hit our shores over a decade ago.

The Twisted Hearts

as a fine purveyor of Enfield's local music scene, i was proud to have a physical copy of The Twisted Hearts' debut EP hand-delivered to my door by their drummer.  i had seen the band a few days prior at a charity fundraiser in Palmers Green, where the band had breezed through a blistering set that was short and sweet and all for a good cause, and had been promised a copy of the release would be heading my way very soon.

we stood there on the doorstep, making small talk, when it was noted that the cover of the CD was cracked, i was asked not to mention it in the review, i made no promises, but insisted that it would not reflect badly on my opinion of the music contained there-in (sorry Tom)

so let us concentrate on the music then!

the EP kicks off with a short 'Introduction' scheduled sensibly at the beginning, as if to whet our appetites, teasing lovers of the genre known as 'Rock' with an acoustic strumming that gives way to an electric guitar that swirls and soars before careering into the start proper of The Last Breath, that pulls no punches with its upfront riffs, pounding drums and grandstanding guitar solo.

© Annelie Rosencrantz 2011  http://www.anuli.co.uk/   

and as their debut progresses, we are shown a young band that are almost a step out of time with current trends, keeping with a traditional Rock n Roll sound that carries with it a bluesy garage stomp that features more than just a tip of the hat to the reverred sound of Jimi Hendrix and a mild case of psychedelia as evidenced on Paint Me Red.

with the exception of the down-tempo laid back funk of Chemistry, every track present seems to be more expansive than the small backroom venues that the band have been playing recently, equipping their garage-rock with an arena sized scope, especially with the revival of 80s hair metal guitar solos and power ballads in Walk To The Light that seems firmly aimed at Wembley and the lighters aloft tenderness of A Thousand Steps.

This isn't to say that there isn't room for improvement, with the recordings occasionally sounding a little rough around the edges, but The Twisted Hearts have clearly found their own niche and are revelling in it right now, with more gigs upcoming and a convincing statement of intent in the form of their debut EP, they have marked themselves out as a local act to keep an eye on.


stream: Walk To The Light by The Twisted Hearts
from the EP, The Twisted Hearts EP



credit where it's due:
photograph © Annelie Rosencrantz 2011  http://www.anuli.co.uk/  

BBC Sound of 2012

in an exercise of self-fulfilling prophecies, BBC's sound of 2012 has just announced London soul singer Michael Kiwanuku as being at the pinacle of acts that they are tipping for the top this year

UK based 'tastemakers' are polled for their favourite acts that look ready to break though in the upcoming 12 months, yet it hardly seems surprising that most years have seen these people plump for those that are already riding on a considerable amount of hype

the voting system that it is founded on is basically a glorified popularity contest, with those topping the pile being the acts that are increasingly harder to avoid come November as record label's PR's must have become increasingly savvy to the elevated profile that the poll has garnered in recent years, and the timing of their client's game-plan will no doubt be scheduled with this in mind.

perhaps it is cynicism or the fact that the record industry is becoming more transparent with it's business activities, but in many cases it only serves to heap more hype on an already hyped act and sealing their fate of chart supremacy with that little extra nod.

with that said, perhaps we are looking at the most leftfield choices yet that seem to skirt some of the more obvious radio fodder

with genres bouncing around from the cool electro-pop of Swedish trio, Nikki and The Dove to the smack-in-the-face screeching dubstep of Skrillex landing at fifth and fourth place respectively, and the lurid rhymes of the already much-hyped Azealia Banks in third, we seem to have quite a mixed melting pot ready to be served to us this year.

 stream: Avicci - Levels (Skrillex remix)

second placed Frank Ocean is personally my favourite of the listed acts announced, the best thing about Odd Future, who were themselves heaped with unfathomable hype last summer, Ocean has been operating under the rader writing for Beyonce and John Legend, and made a transitional shift with his productions on Jay-Z and Kanye West's Watch The Throne following on from his own unique nostalgia,ULTA mixtape that i have not been able to get enough of and have had on repeat in the months when the sun still shone, after delving deep and finding it languishing unheard on my generic mp3 player.

which brings us to the 'winner', Michael Kiwanuku, who i must admit to being rather ignorant of until december just past, and although he may not be as abrassive as Azealia Banks and Skrillex, nor as innovative as Frank Ocean, i can't help but like him.

perhaps i am mellowing as time passes ever faster, but Kiwanuku's music that i have heard so far is soothing and evocative, and a welcome change of pace from dance-hip-hop hybrids that clog the airwaves and a real 180 degrees about face from last years winner, Jessie J's upbeat urban-pop



musically, Michael Kiwanuku sits somewhere between Jack Johnson and Damian Rice in terms of style and may signal a revitalised male singer-songwriter presence in the mainstream, following on from the success of Ed Sheeran and wrestling attention away from the dominating female forces of previous winners Adele and Elle Goulding and 2009 runner-up Florence and the Machine.

releasing his music via the Communion label that was set up by Mumford and Sons' Ben Lovett (who were inescapable in 2010) and having supported Adele on tour in 2011, Kiwanuku will surely be on the right track for replicating the track records of both of these acts in 2012.

looking forward: 2012

the last big hurrah/biggest let down (delete as applicable) of the year is almost upon us, and once the clock has struck midnight on 31st December 2011, we shall all of a sudden find ourselves engulfed in 2012 for a whole twelve months.

traditionally, most blogs and websites will be telling you what were the best things to have been listening to in the year just gone, and also informing you of who you will undoubtedly be listening to in the new year fast approaching.

i'll only touch on the latter briefly, with more pressing concern on sharing good music with you, no matter what current trends on social practice may dictate.

and there are a couple of collaborations that are helping to wave off the soon departing MMXI AD in a rather twee fashion before we get too far ahead of ourselves

there must be thousands of these type of videos sprawled all over youtube, you know the ones, bedroom, webcam, guitar, but not many of them feature the delightful pairing of Zooey Deschanel and Joseph Gordon-Levitt melting hearts with their hipster pleasing duet




and another team-up in the form of Frank Turner, who has gone from strength to strength this year, hooking up with country singer and past collaborator, Jon Snodgrass, for a little ditty that was knocked out together in about half an hour, and was shared by Turner via his soundcloud

 download: Frank Turner and Jon Snodgrass - Happy New Year

now we look towards the future

a lot of anticipation is building to see what The xx will deliver when they release their second album after creating a slow building buzz with their emergence and praised debut which carried with it a new wave of electronic-shoegaze in it's wake.  early clues from the band hint at a more upbeat direction, yet this teaser demo, for two and a half minutes at least, suggests otherwise

 download: The xx - Open Eyes (Demo)

also making a return in 2012 will be Scissor Sisters, who provided a sleazy assault on the senses when they burst onto the music scene, but have since seemed to have lost their way a little.  perhaps in an attempt to induce some shock tactics, they have teamed up with Azealia Banks for the single 'Shady Love' that will debut on January 2nd 2012.

The name Azealia Banks should not be new to anyone by now, being one of the most hype-inducing artists of previous months and featuring highly in many websites tips for 2012, including the highly debated BBC sound of 2012 poll.

She will no doubt continue splitting opinion throughout the new year if she continues in the same way she started.

Merry Christmas from Desperately Seeking Susan Boyle

it's the most wonderful time of the year (or so the song goes) and although i hate the fact that the first smattering can be heard as early as late October some years, i genuinely love Christmas songs

there have been occasions where i have been driven to the brink of losing my sanity as the same songs repeat over and over and over by the 24th of December, but with enough ducking and diving through the festive period, it is possible to get through it mentally unscathed.

i'm still filled with joy when i hear the likes of The Waitresses, Wizzard and Wham (and other festive favourites that have not been brought to us by the letter W) but my coping mechanism over the past few years has been to invest in a couple of alternative Christmas albums (i would suggest James Brown's Funky Christmas for a rather chilled one, or the rather rare xfm cool cool Christmas compilation), compile my own seasonal playlists and to have a good hunt around for any other jolly holiday records that are unlikely to see as much airplay as Mariah Carey and Slade.




i've even had a stab at recording my own Christmas single in 2008, taking a rather cynical stab at all the things that seem to make up our modern vision of what Christmas is to so many people in our current culture.

but this year, i do decree that i have found two absolute crackers (please forgive me for the awful pun, it just comes so naturally this time of year) that stand up to the kind of repeated plays that as all the old standards that get trotted out each year, just don't expect Radio 2 and office parties to pick up on these at all, we're keeping it pretty niche.

first up is an artist that i make no secret of being a fan of, Akira The Don, who joins the likes of Michael Buble this year by releasing his own Christmas album which could be dropping down your digital chimney before Santa is doing his rounds tonight.

yes, it is true that i get a shout out over the outro of the release, but there is no bias when i recommend the tongue in cheek auto-tuned romp of Sexmas featuring Envy, which turns up the heat while it is cold outside, stuffed with some rather ludicrous innuendo yet utterly irresistible with it.

 stream: Sexmas ft Envy by Akira The Don
from the album, Saturnalia Superman

and pushing the limits of what is acceptable in a Christmas song even further is a free download from L.A duo, The Connects, who take the absurd and crank it up to 11 with an anthem that should by all rights be heard all the world over, but under no circumstances is it a suitable stocking filler for young children or easily offended grandparents.

 download: Christmas in the Club by The Connects
from the free EP, How The Connects Stole Christmas

Worst Case Scenario

in a band?

broke?

don't worry about it.

shunning expensive studio time, Worst Case Scenario show local bands how it should be done, self recording and self releasing their debut EP.

'Lost In The Element', available through iTunes, is a clear indication of a D.I.Y ethos prevailing and proving how a clear talent and determination can shine through and give hope to other bedroom musicians.

Formed in 2005, Worst Case Scenario have garnered six years of experience performing live and becoming a well respected act amongst Enfield's musical community, and it is these years, along with a recent roll-call shake-up that has lead to the long overdue recording of 6 tracks, that were released in late October.

A laptop with Cubase was set up, a microphone was borrowed, £10 was invested in a pop-shield, a mic-stand was improvised by taping the microphone to the side of a door, and some friends and family were roped in to provide shouted vocal takes that were recorded onto a phone before being added to the final mix

and yet, aside from the EP's interesting and inspiring creation, the music speaks clearly for itself.

Mostly a mid-tempo affair with a number of crowning flourishes, the tracks featuring on 'Lost in the Element' connects the dots between a number of disparate influences, touching on the sounds of Red Hot Chili Peppers, Paramore and KT Tunstall amongst others.

As the EP plays through the opening 'Intro' and into 'Point of No Return' the band lay down their wares as a serious band with considerable talent, showcasing a tooled-up acoustic sound that permeates throughout the release.

with 'Save Myself' and 'This Is Your Truth' the strength of these mature songs, belying the youthfulness of the band, holds strong, whilst the musical direction simmers down until it reaches the stripped back, yet overwhelming, stand-out track, 'Whole Again'.

The EP seems to hinge on 'Whole Again', taking in the listener as the the pace has eased through four tracks out of six, only to be hit by a breathtakingly beautiful track that is all the more fragile through the sliding contrasts that have lead to that very point.

leaving us with only the closing salvo of 'Throw It Away' to once again kick things up a notch and round out an accomplished EP that signposts a promising future for Worst Case Scenario.

It may not have the professional sheen that these songs are clearly deserving of, but this is only the cherry on the top of a very pleasing cake that is missing,  it is still a powerful set of songs recorded and released in a manner that is a testament to one young band's capabilities and conviction.

 stream: Worst Case - Whole Again

The Stone Roses

so, y'all heard the news right?

after 15 years, and many repeated denials that it could or would ever happen, the Stone Roses have finally reformed.

and to be honest, i couldn't really care less.

now i realise that this is a music blog and perhaps i should be praising the higher powers that be that such a revered indie band are returning, but this is my music blog, which means you shall be afflicted with my opinion.

I'm certainly aware of Stone Roses standing within the history of modern music, and that is simply what they are to me, just a part of a rich history, and they were before my time.

When i was at an age when music became a revelation to me England was in the thralls of the heady wave of Brit-Pop that was dominating the charts and the pages of Smash Hits.

and even though the shadow of the Stone Roses and Madchester looms large across the likes of Oasis and their contemporaries, the fact remains that the release of Second Coming in 1994 (along with Oasis' own Definitely Maybe) was not at all on my radar, and wasn't until my musical awakening with (What's The Story) Morning Glory? that bands and albums even began to matter to me, by which time the Stone Roses had been firmly usurped and their split in 1996 went completely unnoticed by me.

This is not to take anything away from the band, their fans and their legacy, but aside from singing along from a handful of singles that still get spun on Xfm from time to time, i just can't claim to hold them very dear to my own heart.


 Download: Stone Roses - Fools Gold (SmoochGroove Stoned Fool Re-Edit) by Victor Berghmeister