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Killer Mike

Killer Mike
R.A.P. Music
(Williams Street Recordings)

killermikealbumsleeveThere are a few ways of getting my attention and making me love what you’re doing – one is to be affiliated with Outkast and the other is to have El-P giving you beats – Killer Mike fits the bill with both of these and as such it was with excitement that I listened to his new album, R.A.P. Music [Rebellious African People].

The production is superb, that much goes without saying with El-P’s trademark layers surrounding the Atlanta rapper, whilst never engulfing him and stifling his lyrics and delivery. This isn’t your usual Dirty South fayre though, with opening track Big Beast laying down the gauntlet – never before have Bun B and T.I. rapped over so visceral a beat, their drawl sounding perfect alongside the Company Flow man’s beats. It’s not all dense though, there are plenty of catchy moments within the album, from the short-but-sweet Go [complete with DJ Abilities scratches], the bump-in-your-cars Southern Fried and the sing-a-long chorus of Anywhere But Here.

This album certainly isn’t just about the beats though, Mike kills it throughout regardless of the lyrical content. Bigging up himself up comes extremely easily, lyrics like “I go in, I go hard / I go stupid, oh my God / Shamalamadoomalama Shamalamadoomalama even when I ain’t saying shit”, “Ain’t I fresh, ain’t I clean / ain’t I ride through my city in the meanest machine” on some serious pimp shit, it makes sense that the rapper who seems larger than life says at much in his raps. He gets political too, breaking the light-heartedness immediately with a character assassination of a former President “I leave you with four words: I’m glad Reagan dead” and slams the police on Don’t Die, which sounds like NWA sent back from the future to smack kids listening to Drake: “I woke up this morning to a cop with a gun / who told me that he looking for a n**** on the run / I thought for a second, then I screwed my face / and asked them dirty pigs ‘why the fuck you in my place?’ / He said ‘Chill or we kill, this is a warning’ / then I told him ‘Fuck you, where is the warrant?'”

Whether he’s envoking the spirit of Ice Cube or reclining in the bask of his own Atlanta accent, Killer Mike has stepped up massively with this record. As he says himself on Jojo’s Chillin, “This album was made entirely by Jaime and Mike”, he’s always been a talent but going in so hard and with El on the boards behind him [and with a stellar verse on Butane], this is nothing short of a revelation.

Abjekt

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Cancer Bats

‘Dead Set On Living’
(Hassle)

cancerbats_deadsetonlivingWhilst it’s debatable as to whether Cancer Bats have improved with age (mainly because they’ve yet to release a less-than-great record), ‘Dead Set On Living’ shows that they certainly haven’t mellowed out. It’s amazing that they found time to record the damn thing, given their notoriously long and punishing tour schedules, but it seems that for these guys, there are no difficulties or problems – just challenges to be relished.

It seems appropriate that the Canadian quartet now moonlight as a Black Sabbath tribute band (‘Bat Sabbath’), as this record is stuffed with the kind of thunderous riff action that would surely win Tony Iommi’s approval. Opener ‘R.A.T.S.’ is a prime example; vocalist Liam Cormier unleashing the fury over a groove of seismic proportions, and it sets the tone for much of the album. In contrast, the hardcore influence is less prominent, although ‘Road Sick’ and ‘Old Blood’ would make great soundtracks to a raging circle-pit.

Would a comparison to Pantera be considered blasphemy? In terms of creating a record that’s both catchy as hell and heavy as hell, this is probably the closest that Cancer Bats have come to their own ‘Vulgar Display Of Power’. A step-up to rock’s big league surely beckons, and on this form, they’ll take it in their stride.

Alex Gosman

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Schoolboy Q

Habits & Contradictions
(Top Dawg Entertainment)

Schoolboyq_HabitsnContradicWith all the hype surrounding rappers from Danny Brown to A$AP Rocky to Mr Muthafuckin’ eXquire, it seems one has been criminally bumped to one side. Schoolboy Q is an LA rapper and part of the Black Hippy group with Kendrick Lamar, Ab-Soul and Jay Rock, having already released one album last year to some small acclaim.

But it’s with his new album that heads have been turning. A number of people were made aware of him with his stellar guest spot on A$AP Rocky’s mixtape on the track Brand New Guy but on his own album, he really comes into his own over a fantastic variety of beats, allowing him to show fun sides of his personality as well as the straight up gangster flex.

Whether rapping over Lissie samples [Hands on the Wheel], Portishead samples [Raymond 1969], alongside female R&B singers [a brilliant cameo from Jhene Aiko on Sex Drive] or the undeniable thumping Druggys Wit Hoes Again with his crew made Ab-Soul, Q showcases his ability to perform over laid back beats, bangers and everything inbetween. Whilst he might not be the greatest rapper in the world, he is definitely one to give time too.

It’s an album that might not instantly soar up any “must listen” lists, but given time, it’ll embed itself in your mind and demand attention time and again without you even realising it. Schoolboy Q, get to know about him, this dude has talent.

Abjekt

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Sharks

No Gods
(Rise Records)

In Sharks’ debut full-length, they’ve married an old-school punk spirit with a love of bands like Joy Division and Nick Cave. Creating an aesthetic steeped in punk rock influences like The Clash and The Buzzcocks but with a lighter more radio friendly feel, Sharks are definitely going to be winning over more fans this year. The band have been busy working the US hard on tour with the likes of Social Distortion. But in the UK they’ll be hitting the road with indie darlings Tribes. Their touring partners certainly reflect the flexibility of their sound and the ability for their rousing working class anthems to fit into numerous scenes and genres. Sharks also have ground in common with the likes of The Gaslight Anthem as they purvey a similarly accessible punk-infused brand of simple rock songs.

James Mattock’s earnest vocals are endearing and take turns with some pure rocking guitar riffs which are simple but wholly encompass the band’s approach – straightforward songwriting with catchy tunes and subtle instrumentation. Lead single ‘Arcane Effigies’ is a lilting number with minimal lyrical content but a charm that draws you in. ‘Luck’ features some beautiful-sounding guitar patterns that although they’re very prominent, blend perfectly into the texture of the music and exhilarate the listener in what is otherwise a fairly downbeat track.

Somewhat of an anomaly on US label Rise Records’ roster (primarily known for its championing of various metalcore bands), there is definitely something retro about Sharks. But in the best possible way. They’ll definitely have your feet tapping and before you know it you’ll be singing along with as much heart as is present in this debut from the band.

Winegums.

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Nonagon

People Live Everywhere EP

nonagonWe like it when bands reach out to us direct. No PR company spamming out releases, just straight up, direct contact to say ‘listen to this fucking record, we are putting it out ourselves’. Most bands by choice have to take this route thesedays. With major labels no longer taking risks or even knowing about how scenes develop because their A&R departments are still looking at Myspace for new artists, your average band is forced to get off it’s backside and do the right thing. Do it yourself people and knock on that door.

With Chicago being 3948.26 miles from where our office is in West London, 3-piece punks, Nonagon probably thought we were an American mag but knowing we grew up on Washington Hardcore releases and that we do have a knack of listening to everything that hits our contact page, Nonagon came to the right place this week for a review.

Made up of Tony Aimone (whose previous bands include The Blue Meanies and Taylor), Robert Gomez (Der Lugomen/Martian Law) and John Hastie (Jumpknuckle), Nonagon’s brand new EP kicks off with a crunching bassline, smashing guitars and shouty vocals remiscent of J.Robbins from Jawbox in a fight with the musicians of Bluetip. Thankfully there are no trumpets anywhere near this opening track Vikings, a-la Blue Meanies- only a look back to the good old days of the 90’s when Dischord were on fire with every release they put out. Second track Fresnal Lens offers off-beat drum prowess that slughtly touches on what Tanner were knocking out on ‘Ill Gotten Gains’ all those years back, followed by the spikyness of The Swifts which is where Nonagon’s punk spirit really lets itself loose from the chains. The tempo and winding basslines are stripped back for instrumental number Fadeout before the EP comes to a close just how this People Live Everywhere EP started, with crashing blocks of guitar and a healthy dose of frustration with a meandering crunch close to that of Barkmarket.

If you love the days of Fugazi, Girls Against Boys, Jawbox and The Holy Rollers, then this EP recorded by Justin Foley of The Austerity Program might just be a catalyst to make you get off your fat arse and re-live some of your favourite bands. Stream it in that player below and support these punks and buy the EP for just $5 from nonagonchicago.bandcamp.com

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fun.

Some Nights
(Fueled By Ramen)

Although not slated for UK release just yet, we couldn’t help but post something about indie-pop renegades fun.’s new album, especially as it’s streaming in its entirety now for all to hear (check it out in the player below).

Some Nights is the band’s second album following the dissolution of singer Nat Ruess’ much-loved former band The Format. Whilst he Format developed somewhat of a cult following in their day, fun. look set for bigger things as the lead-up to the release of this album has come to demonstrate. Lead track from the album We Are Young (featuring none other than Janelle Monae) was performed on pop culture phenomenon Glee a few weeks back, and the same track was featured on a Chevy advert screened during a Superbowl commercial break.

The album’s producer Jeff Bhasker appears to be the link to the world of the likes of Monae, having worked with artists so massively popular as Alicia Keys, Adam Lambert and Kanye West. Hopefully it stands to reason that fun. will follow in the footsteps of such artists and hit the heady heights of immense commercial success.

Some Nights is supremely poppy. However, it appeals to pop sensibilities in the most quirky of ways as title track Some Nights and its intro demonstrate. Bombastic choral flourishes juxtaposed with pulsating electronic interjections, vocoder effects and the purest of melodic vocals from Ruess, make for an eclectic and unusual album to say the least. One Foot is another standout track, with its “woooahs” punctuated by synthesized brass being particularly inviting to the listener. A jarring key-change midway through is also aurally inspiring. Despite a lot of the instrumental backing being of synthetic origin on this album, everything feels very organic and, above all, musical. Some Nights is clearly an investigation into unconventional sounds but at the end of it all, there are some massive tunes on the album. Potentially huge pop songs abound.

Winegums.

Fun. – Some Nights by Fueled By Ramen

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Pulled Apart By Horses

Tough Love
(Transgressive)

Pulled Apart By Horses have always been a thrillingly chaotic live band, but on their self-titled debut album, they often struggled to walk the fine line between twisted hardcore genius and the musical equivalent of a ‘death pint’ (i.e. great ideas mixed together in a muddled, slapdash way).

Nevertheless, the promise was definitely there, and on Tough Love they’ve served up a more convincing, confident record, without sacrificing the raw edge that made them so appealing in the first place.  Most notably, they now boast great riffs by the bucketload; the kind of filthy, thunderous riffs of which the old guard of the early 90s (Soundgarden, Helmet, even RATM) would surely approve.

For the most part, Tough Love does a fine job of capturing the unhinged energy of the band’s live shows. Those aforementioned razor-sharp riffs, the propulsive drumming, and vocalist Tom Hudson’s signature screech will all sound imposing enough on your stereo, but they’ll no doubt serve even better as a soundtrack to a throbbing mass of sweaty bodies, roaring themselves horse as they tumble over monitors, microphone cords and each other.

It’s not one great big hardcore free-for-all, though. They manage to shift down a gear for the gloriously QOTSA-esque chugging rhythms of Epic Myths, and Tom even manages to sing pretty convincingly on Give Me A Reason. The musical teeth are never far away, though, and it’s testament to the band’s confidence that they can rein themselves in from time to time and still sound unmistakeably like Pulled Apart By Horses.

The first great British rock record of 2012? Quite possibly, but – as you’ve probably gathered by now – it’s in the live setting where PABH truly shine. They’ll be touring the UK in mid-February; check www.pulledapartbyhorses.com for details.

Alex Gosman

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Common

The Dreamer, The Believer
(Warner Bros.)

Common has always been a rapper that everyone has enjoyed, he’s had his hits and he’s made a name for himself both in and out of the music world. But when he dropped his new album, The Dreamer, The Believer at the tail end of 2011, there wasn’t a great deal of hype surrounding the record. It’s a shame, as it turns out, as this is a great album, full of big production and an authoritative voice not heard from Common in quite a while.

After an opening salvo from Maya Angelou, Common and guest Nas drop bombs over No ID‘s thumping bass kicking the album off with a bang that doesn’t relent throughout. Lyrically, Common is on point, sometimes being a lot more forward that usual but always maintain his prowess with words in a voice that could only belong to him. With few guests appearing on the album [especially in this era of guests on almost every song], his vocals cut harder and with more meaning, clearly no bad thing.

Having No ID produce the entirety of the album also helps gives the record a consistency that might have been missing if the MC had cherry picked beats from a variety of beatmakers. Whether dropping a sample from ELO’s Mr Blue Sky or crafting a more intropsective beat for the track Gold or a larger epic sound to carry the John Legend guested The Believer, the producer continually finds sounds that fit Common’s delivery perfectly.

If this had been released in the middle of the year, or indeed anytime before the last couple of weeks in December, it would have definitely been in the top 10 of 2011. As it is, I wasn’t able to listen to it as much as I’d like before making my list, but don’t get it wrong – this is a fantastic album and, dare I say it, the best of Common’s already stellar career.

Abjekt.

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Section 13

Burning Bridges
(Boss Tuneage)

For a loosely termed musical genre that developed as a tougher edged take on first-wave Punk, ‘Hardcore’ has been subsequently sliced, diced, and generally misappropriated by a whole host of chancers, eager to put a credible spin on marketing their musical output, and even career aspirations. Gawd help us!

So let’s be clear, Section 13 are very much Hardcore as derived from the source, laying down 13 (what else!) bruising and whipped up blasts of anger driven music, with an attitude firmly rooted in Punk Rock. Singer Ian Murphy goes all the way back to mid-Eighties shining lights Visions of Change (from the then scene hotbed of Leamington Spa) and after time in the wilderness returned to action with S-13 a few years ago, “regrouped, reviewed, came back with strength renewed” – Hell yeah!

Burning Bridges is the band’s debut album and comes to a crunching finish a shade under 30minutes. You do the maths. This is super fresh sounding old time Hardcore, that’s screaming for a change, and banging its head against the wall. The lyrics are introspective, venting spite and frustration at personal failings and being disconnected with a world consumed by hate and division such as “I stand outside all those neat lines, not on the fence, not using that defence”.

It all adds up to fast and melodic Hardcore that keeps the true spirit alive, a reason why I am most certainly liking this album a lot! You won’t read about S-13 in glossy music magazines, they will never (ever) be Flavour of Month, endorsed by a sneaker company, or on a backpack sponsored tour. But they were never playing that dumb game in the first place. No shit, this is the real deal, and I cordially instruct you to go check it out pronto!

Pete Craven

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Eddy Current Suppression Ring

So Many Things
(Goner Records)

By all accounts 2011 was a quiet year for Melbourne, Australia’s ECSR, as they pulled up the handbrake, and retreated from the public eye. Their solitary release being a 12” (on Captcha Records) with the moody repetitive opus Walking in Unison being the only all new song. Word is that new material is in the pipeline, but in the meantime So Many Things has landed; a collection of singles, compilation tracks and general obscurities, 22 in all, and destined to plug some gaps in collections of all but the most obsessive audiophiles.

So yeah, you gotta listen to this album with its collective intention in mind, and respect that the dynamics alter from that of a straight studio album format. The levels vary and at times the fluidity gets off track but – regardless – the music is electric. You can dig that? Ok, then you’re sure as hell gonna dig this.

For me, the ECSR charm is in their simplicity, and ability to string out rocking classic numbers from the most primordial riffs, and rudimentary subject matter. They utilise the spirit of The Velvet Underground, Modern Lovers and The Stooges coupled with an injection of grubby punk attitude, that pays a debt to the likes of The Victims, Scientists and of course their hometown’s own Chosen Few, whose murder-punk staple T.A.L.O.I.G.A (as in “there’s a lot of it going around”) is executed in fine style.

You’ll also find a deconstructed reprise of Cleveland, Ohio’s Pagans (Boy, Can I Dance Good) and L.A.’s Go-Go’s good-time stomper We Got The Beat – although I preferred Poison Idea’s version to be honest. And then of course there are a slew of filthy raw ECSR originals to pollute our minds which turns up an opportunity to hear primitive versions of a few numbers that were later laid down to album – Get up Morning and Precious Rose especially (from their first LP) are stunners and the pulsating You Let Me Be Honest With You (from LP #2) is a plain rampaging stomper. It’s about zero degrees outside, but I have beams of warmth and sunshine being omitted from my speakers as this disc skips along.

To reiterate, Eddy Current Suppression Ring are possibly the greatest band in the world that you’ve never heard of. Go seek, and get your feet on the ground!

Pete Craven.