Metal fans are a fickle lot aren’t they really, let’s be honest…I mean go on social media and browse through the comment sections of any established music outlet. Pick an article, any article, and I can guaran-damn-tee you’ll stumble across any number of elitists proclaiming [Insert Band Here] are not metal enough or, they aren’t metal at all, or they sold out. Some of the memes can be funny don’t get me wrong, but for a collective of supposedly like-minded people, putting specific genre’s to one side for a moment, rock and metal fans can be some of the most narrow-minded and often childish music fans in the world…and this brings us, to BRING ME THE HORIZON.

Formed in Sheffield back in 2004, Oli Sykes and the lads have been raising more eyebrows than The Rock since their debut “Count Your Blessings”…their early energetic deathcore assault was ambitious, and their youthful vitriol and intensity was applauded, but the recklessness and inexperience that came with it drew criticism. Over the years that have followed however, BMTH have gradually toned down their initial brutality, becoming a household name in UK metal in the process, and also one of the fastest rising bands in recent times…but there’s only so far you can really get in metalcore; so in 2015 the band decided to split opinions even further. “That’s The Spirit” was a total departure from their original sound as they’d now started incorporating more electronica and pop production…alienating some fans and metal purists, but finding themselves riding high in the UK charts. Some people don’t like change, but the band are now bigger than ever as they continue down this path, releasing their latest album “amo”…the Marmite of the UK metal scene, or under-appreciated genius? Let’s find out…

The album opens up with an appropriate forewarning entitled “I Apologise If You Feel Something”, and while already a well-executed anti-ballad, it also doubles down as an ironic jab at their critics. A case of sorry / not sorry as they continue to explore new sounds and arrangements, moving further away from their heavy roots, emphasised by the soft, echoing synths and hushed vocals; a cleverly confrontational start. This though is followed up by lead single “Mantra” and the lads are back on anthemic form. Keeping in line with the previous albums sound, the vocals are clean, there’s all of the groove and an incredible hook through the chorus. Despite the heaviness of the lead riff and the pounding percussion at times this is polished with a rich pop production quality and it sounds HUGE.

It’s this type of production that upset so many metal fans last time around, and unluckily for you things haven’t changed a bit this time round either…”Medicine” is oozing the influence that LINKIN PARK had Oli growing up as it blends rock and electronica with a subtle R’n’B vibe, it’s easy to imagine Mike Shinoda guesting on this one. “Sugar Honey Ice & Tea” returns to a more guitar driven core sound but retains the accessibility of the bands recent musical direction, and though while ironically “Heavy Metal” again has some surging guitars it’s far from abrasive.

The majority of this record is comprised of a band happy to experiment and explore; with the album unafraid to shake things up stylistically. With the sweeping, elegant string sections of closing track “I Don’t Know What To Say”…the trance / hard house qualities of “Nihilist Blues” bringing out your inner raver, and the dark, low-fi grime influenced street ballad that is “Why You Gotta Kick Me When I’m Down?” all take the band on different musical directions and it makes for a roller coaster of a listen. Even though on face value BMTH have stayed on this, mainstream path, the evolution is still there for all to see…they have no shame in trying new things, toying with new styles and crossovers and frankly that’s how it SHOULD be. Too often we’re hypocritical of the current scene we’re meant to uphold…band does the same thing over and over? Boring, stagnant, dull…band changes up their sound as they grow as artists? BOOOO traitor! You sold out! You’re meant to be a rock band! Bring Me The Horizon in their current guise might not be for everyone, I totally get that, but what’s wrong AT ALL in one of our own going out there and fucking owning it? Nothing, that’s what…well done lads, shots have been fired. [7]

Those of you who know me or follow this blog kind of grasp that, without beating around the bush, I’m not too up on my rap game. Sure I listen to the odd record for diversity’s sake (A bit like how Steve Hughes goes from Slayer to Enya) but ultimately my rap knowledge and awareness is sub-par at best…thinking about it that’s actually generous, I mean shit did you SEE my rapped review for the newest EMINEM record? HA! It never stops me checking out new music however and thanks to my latest reader’s poll, it was suggested that I sample some Posty…sadly I’m not on any illegal substances and this isn’t about to become the weirdest review of Postman Pat you’ve ever seen…we’re about to delve into the world of POST MALONE.

The New York born rapper has had an interesting  journey into the music industry it has to be said; one of the few rap artists who can pull off not only a fun, rock ‘n’ roll aesthetic, but remain relatively down to Earth about everything while at it, all while sustaining multi-platinum status as a rapper. I mean it’s not often you hear a rapper cite Guitar Hero and emo icons like MY CHEMICAL ROMANCE as a musical influences growing up, but despite this, Posty is now one of the biggest names in modern hip-hop and the recent mumble-rap explosion. Hammering home this point, here we have his most recent album “Beerbongs & Bentleys” highlighting both aspects of Post Malone’s crazy success story…let’s check it out…

We open up this 18-track monster of a record with “Paranoid” and for the most part it’s your typically low-fi, melodic, pop-infused hip-hop track; the slow, smooth rhythm and minimalistic instrumentation, coupled with the auto-tune laced vocal leads this to pretty standard radio-friendly stuff. The autobiographical lyrics speak of his circumstances since finding fame, always watching his back, wanting that normality but when those cheques came; people changed, and despite his accomplishments it’s given him anxiety; an interesting, character building start. The level of self-awareness continues through “Spoil My Night” too, which focuses on the opposite side of the coin, knowing he can use his new found wealth and fame to get the girl with the ‘beautiful boobies’…and that’s a QUOTE I shit you not. While not entirely bragging, he’s aware enough to know the behaviour is toxic and to a degree there’s a level of morality layered within the lyrics.

With over an hour’s worth of music to mull over there’s plenty to talk about here, and we have to talk about some of the collaborations on this record for sure…and this includes the lead single “Rockstar” featuring 21 SAVAGE. The mumble-rap qualities are all the more prominent and it’s easy to see how the modern Soundcloud rap movement helped shape artists like Post Malone. Another minimalist, trap-based track, it really benefits from the less-is-more approach with a slick beat and down-tempo groove, although 21’s vocals couldn’t possibly be any flatter…honest to god he’d better avoid Sweden, Ikea will try to sell him off as a fucking shelf unit that’s how flat he is! Another single “Ball For Me” featuring NICKI MINAJ delivers too with some sickly-sweet retro synths and benefits from Minaj’s more up-tempo lyrical pace and tone, she’s been on form in 2018 taking into account her album “Queen”, they work well together and the track compliments them both.

Posty likes to shake things up a little bit now and again mind and examples of this here are “Stay”, which is honestly a decent little acoustic-based ballad, highlighting his ability as a song-writer, while “Over Now” despite retaining the more guitar driven style, has a more subtle, alternative indie-rock feel to it, channelling those early influences. If there’s anything negative to be said here really it’s simply on a matter of consumption; there is so much to digest here and there are times where you can’t help but feel going over the hour mark was at the very least excessive. For the most part, despite the aforementioned tracks, he CAN come across as a little vocally one-dimensional and it seems he’s quite content with his overall formula…I mean it’s working for him don’t get me wrong, but 18 cuts is a couple of beerbongs too many to be honest, I’d be more inclined to call an Uber than get in the Bentley in this condition. Nevertheless, it’s an enjoyable album for the most part and I’m happy to learn that Post Malone isn’t some terribly named new sub-genre, unless he claims it as his own…I really wouldn’t put it past him. [7]

Now as you’re probably very aware by this point, I don’t really cover much (If any) rap music within these pages, so you’d be right to assume that, it’s not an area I have a great deal of expertise in. I see and hear artists like DRAKE who just mumble their way through life delivering THE most boring tracks you could hear outside of shoegaze and stoner doom metal…seriously how is he so popular? Forget “Hotline Bling” I’d rather block your number AND make myself deaf just to be safe. KANYE WEST is just Kanye West there’s no real explanation for that man, words genuinely evade me, and then there’s guys like 6IX9INE who look like they’ve held fucking Picasso at gunpoint and demanded “Make me famous!”…not even Bob Ross could find happiness in that shit…it’s like he fell asleep and a kid drew on his face in permanent marker and he hasn’t realised yet.

Anyway I’m getting of track now…on my last reader’s poll, despite my lack of knowledge of rap both musically and culturally, you voted for me to check out “Kamikaze”, the surprise new album by EMINEM…and this got me thinking. How am I going to fairly review an album with my own sense of conviction when I have absolutely no idea how to approach it in the first place? The answer is, truthfully, I can’t…but what I can TRY and do is be creative with it. So with that in mind, and forgive me for what you’re about to read, I’m going to attempt to write a RAP, about Shady’s new record and use that as my review. I may or may not pull this off, I don’t even know if this has been done before, but, here we go…somebody give me a sick beat…

“Don’t call it a comeback, it’s more like a revival…that was the plan at least but like a priest he only prayed for survival; cast out out-cast and left in the shade, Shady was left in the dark, like a shadow of his former self and the contrast was stark…you can take your Skylar Grey’s and your Beyonce’s and all collaborations…all your Ed Sheeran’s and your Pink’s and think Marshall tried a bit hard to get over, too many over estimations? High expectations? You could say we had plenty but the feedback on the last tracks left Shady’s blood boil fucking higher than 4:20. It was slim pickings for positives with critics shitting on legacies putting slim way past his prime and about as relevant as any of Kim’s last pregnancies…all these new kids on the block they were part of the issue; grandpa Mathers didn’t matter no more his new material was more like old scar tissue…Lil Pump, Post Malone, Cardi B, on the throne; a new generation of hip-hop was now on-top and wouldn’t throw him a bone but this got under his skin, he’s got a bone to pick with EVERYBODY; if there’s anyone it’s NO ONE who can claim to call him nobody and so with that in mind, you can all go fuck the revival…he’s in the cock-pit cocked back kamikaze aimed straight for his rivals…

We open up with “The Ringer” but he aint dead, there’s no love-lost for no one, there’s only one Shady and he’s brighter than ALL those that think that they outshone THIS rap god; lyrically spitting bars like a machine gun but don’t mention Kelly, “Shots Fired” but didn’t even hit the mark on this album, that’s how relevant YOU are son…with a slow beat and a stop start to the tracks pace Slim puts you ALL in your place and this is just song ONE, unlucky for you we got thirteen to get through we’ve only just begun. “Greatest” is an oxymoron; as he raises the bar with his own  bars and his blistering lyrics, but musically this loop is just lazy and just encourages cynics…making his point on the poorest of choruses, but that’s the whole point that he’s making; his songs slaying even with beats weaker than osteoporosis. “Stepping Stone” is much bigger on melody and humble beginnings, the have’s and the have not’s and why with hindsight that he’s swinging for the young blood, who all swung at him first, this aint about cheap heat like he had with the Moby’s and the Fred Durst’s…he’s learned from his mistakes and he’s making amends but Eminem equals longevity while you’re nothing but trends.

Elsewhere you’ve got a title track bordering on cartoonish but to overlook his statements just makes you look every bit the more foolish; it’s kamikaze for a reason kid and he’s nose-dived, nose to nose with his foes and there’s no remorse as his rap thrives…more Oompa Loompa than Oompah though musically insane it harks back to “The Eminem Show” guess who's back, back again, but if you don’t want the nonsense then he's no longer Mr "Nice Guy", until Jessie Reyez wraps her vocal chords around this rap and you think THAT was your best try? Honestly man it's like she autotuned herself so sound like that time when her own fucking cat died... 
The album in general though is militant, and these millennial rappers just got Court Martialed by Mathers and the message is fucking simple you don’t fuck with the rap god…form is temporary but class is far more than some gold plated iPod, you material rappers couldn’t rap your way out of wet paper bag and honestly? That’s odd; you make comments on the condition of Em’s relevance, lacking any understanding and any sense of benevolence but you’re just wasting time just as much as you’re wasting his oxygen, Slim Shady’s the grand oak tree and your no more than an acrogen...the disdain is toxic like a stain on all rap, a bit like “Venom” at the end of the album coming straight off of the soundtrack…it lacks a purpose or conviction, and legit don’t belong, leave that shit for a B-side or just the special edition, there’s no marvel to THIS song…overall I'd give the record a score above six but that's a bit strong." [6]

Over the past decade or so the UK has properly stepped up in terms of the whole culture surrounding underground urban music, ranging from hip-hop to rap, grime and alternative R’n’B with everyone from THE STREETS to LETHAL BIZZLE and recently STORMZY, all contributing to what is now a flourishing scene up and down the country. You may be wondering why I’m talking about this as I rarely if ever touch rap and it’s many umbrella terms, but, it didn’t put today’s artists off getting in touch with me via email…and being the open minded fellow that I am I decided to swap the breakdowns for the beats and broaden my musical horizons; allow me to introduce to you TOO MANY T’S. The London-based duo (Consisting of Ross Standaloft and Leon Rhymes) have been described as the UK’s answer to THE BEASTIE BOYS and have had several high-profile endorsements from the likes of ROB DA BANK and WU-TANG already, and not too long ago they released their hotly anticipated debut album “South City”…the lads asked me to check it out so the question is, how many T’s is too many? Let’s find out…

We open up with “South City Court” and it’s not long before we’re taking a nostalgic trip down memory lane (If memory lane was a dark city side-street in the wrong part of town)…this is very much drawn from old-school hip-hop with its swagger, tinny percussion and overall tone, it’s so easy to understand where the Beastie Boys comparisons come in to play it has to be said. With its crisp production yet simplistic approach it starts the album off really well. Follow up track “Sixty’s Ford” again opts for a less-is-more mind-set with a primarily percussion lead piece, with subtle electronic elements filtered through sparingly…the vocals are slick and stylistically here they’ve gone for a more jungle-infused grime track, coming off as slightly deeper, slightly darker.

There are several strong cuts spaced out over the course of the album in all fairness showcasing a variety of influences, highlighting the level of quality the UK has been churning out in recent times, “Diamond’s Gold (Ice, White & Black)” for example utilises a strong melodic hook during the pre-chorus that channels artists such as GORILLAZ while the rapping quality has an attitude to it that would appeal to fans of say, KANO or PROFESSOR GREEN…elsewhere then trilogy completing “1992 pt.3” (Which you may recognise from Camden Hell’s lager adverts) is an upbeat, brass infused piece that has a strong DIZZEE RASCAL vibe layered throughout. New single “Tearing Us Apart” is a much softer, rich, R’n’B ballad type piece that has a genuinely infectious groove, showing further diversity, before closing track “Start The Fire” rounds things up with a bold, brassy, pulsing, techno-heavy number, gradually coming down to an almost TWENTY ONE PILOTS inspired piece of alternative pop.

It’s not all bloodclart  quality though yeah you understand me fam? The ‘skits’ here are utterly pointless and serve the album no merit whatsoever, even on an artistic standpoint; “Sira’s Biscuits” and “FM Mangal” respectively as mundane as each other, if anything just highlighting the down-to-Earth mentality of the two but that’s scraping the barrel, other than that it’s a well delivered, diverse hip-hop album. Not my usual cup of ‘T’ (I’m sorry that really is one too many T’s) but definitely a recommended listen. [7]