Best Ever Albums

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Mon, 2 Apr 2018 09:38:54 GMT

Author: Anonymous

Posted: 04/02/2018 13:38

Gangin by SOB x RBE

Behind the layers, there's something oddly reflective and pensive at the central of Gangin. If you're looking for bars to blow you away, you won't find them here. SOB x RBE sound like kids trying to impress, but with that is a fresh enthusiasm that no number of technical rhymes or lyricism can salvage entirely. The standout member here is Yhung T.O, who whips up some surprisingly singable hooks in nearly every track, and gives almost every its flavour that makes it worth going back to. But things still hold up in his absence - 'God' is Gangin' at its rawest, and Slimmy B seems to bleed his anxieties both clumsily and with complete conviction.

The beats somehow straddle a line between disco and trap, and it's amazing, for the most part. Some songs sound as though they were recorded in a different studio, feeling hazy or distant, but there's just as much capacity for the sound to twinkle as there is for it to slap hard - and sometimes both at once.

The record is too long, but that's because it's keen. It's mostly forgettable, but consistent in what it is. Fingers crossed their next album is titled 'CRYIN'.

**

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Sun, 3 Dec 2017 14:26:40 GMT

Author: Anonymous

Posted: 12/03/2017 19:26

Romaplasm by Baths

Will Wiesenfeld has lost weight, and I think he might be in love. The man who puts the pop in glitch pop has proven himself to be an exceptionally acute producer in his previous efforts - both of which shared breathlessly absorbing moments, peppered between some more dense and more mundane tracks. Cerulean and Obsidian had verses and had choruses and they were often stitched together in a way that made sense. We always knew Wiesenfelds could create songs that sounded twee on the surface, but invited you to dissect each and every musical decision - and that can be a lot of work sometimes.

In Romaplasm, Wiesenfeld finally finds his feet. While there's no particular melodies or moments you can single out here, instead the result is something that feels cohesive, that swings and sways in ways that don't just make sense, but feel entirely natural. And the remarkable thing is just how natural this record sounds, despite being electronic. The synths yawn and clack while the percussion gargles on beats that you don't anticipate, so that when strings sweep into the mix or vocal beats sits alongside the makeshift ones, there's harmony. There's nothing here to hold on to for too long, you'll hear a melody or a beat, and then it'll be gone. So instead it makes more sense to just let it flow through. Its restlessly gorgeous. No song here is wasted or lacking confidence.

Moving away from his more morose tone, something cynical in me could call this saccharine. Instead, I think it tastes a whole lot more like molasses - often overwhelming, but nothing other than genuine.

***

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Tue, 21 Nov 2017 03:49:02 GMT

Author: Anonymous

Posted: 11/21/2017 08:49

bobbyb5 wrote:

Fix-a-Flat is absolutely amazing. It's supposed to be only a temporary fix, but several times I've had a flat where I used Fix- a- flat, and drove around for the entire life of the car without ever getting the tire properly repaired. The Fix- a- flat just solved the problem permanently. Good stuff. And if I recall, it only cost $3.99 a can.

Good to know. Afraid I don't think they stock these in the UK.

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

bobbyb5 — Mon, 20 Nov 2017 16:34:03 GMT

Author: bobbyb5

Posted: 11/20/2017 21:34

Fix-a-Flat is absolutely amazing. It's supposed to be only a temporary fix, but several times I've had a flat where I used Fix- a- flat, and drove around for the entire life of the car without ever getting the tire properly repaired. The Fix- a- flat just solved the problem permanently. Good stuff. And if I recall, it only cost $3.99 a can.

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Mon, 20 Nov 2017 16:11:06 GMT

Author: Anonymous

Posted: 11/20/2017 21:11

Syre by Jaden Smith

Jaden Smith is a rapper because he wanted to be. Perhaps after he discovered that 'professor' rhymes with 'stretcher' and felt it'd be a shame if he didn't demonstrate that more than once. Dumpy affectations and shallow poetry shows that Jaden is trying to fill shoes ten times his fit, and he's never left those shoes, and it shows. 'SYRE' never sits still because its constantly redefining itself, maybe even convinced its dense and all-encompassing, but despite a 70 minutes run time the result is still arid self-reflection that might have a hard time filling a puddle. The production shifts and impresses, but does so only because it can. Its hideously clever, but never takes the time to appreciate or dwell on its own sounds or sprase concepts. I was excited to hear what the same kid who believes our 'eyes aren't real' had to offer, especially after 'Icon' presented itself as such a confident song with a crunchy beat that even Jaden could swagger over. That's certainly the record's most appealing quality: Jaden breaths confidence throughout. but by the time he's spitting spoken word at the end, you wonder whether its because no one dared tell him otherwise.

And sure, at least it is explorative, but then again - so is masturbation.

*

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Mon, 27 Mar 2017 13:30:08 GMT

Author: Anonymous

Posted: 03/27/2017 17:30

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A Crow Looked At Me by Mount Eerie

I've heard this album twice now, the second time more closely. It's a difficult piece of work to write about. Most critics online tend to frame it around how the subject of death is so common in art, and how Elverum has stripped away the layers and delivered something far more honest. It hardly takes two minutes into the record before realizing that.

So where exactly do you begin? I'm not saying that because the record is on some untouchable plane that words couldn't justice, or that this album has left me speechless. It's because this album sits uncomfortably between the others in my collection. It accomplishes different things, its purpose is different, its core is different.

And I don't think this is an album that requires more than one listen to 'get'. One second listen, even though I deliberatly paid closer attention, I recalled almost all of the lyrics (if you'd call them that). Instead I guess I just needed taking back into that space again. That space isn't entirely pleasant. It's pretty awful. As someone fortunate enough to have never lost anyone very close to me, this is the first bit of anything (music, movie, book or otherwise) that has really made me really realize just how terrible it could possibly be. On the second listen I felt a very real surge of sadness punch me in the gut at a moment when I wasn't expecting it. Not a 'I'm going to put on a Carissa's Weird album because I want to feel sad' kind of sadness, but something I really had to try and turn my mind away from.

If that profound effect this album has is how you want to measure it, then fine. Feeling sad can be a wonderful thing, and it can also be a very awful thing. Phil Elverum is expressing the latter in sometimes the most blunt and lurid way he can, and something doesn't feel right about using the album to 'feel alive' or 'reflect on my own life'.

Yes, Elverum has released an album, that's exclusively about the death of his wife, to the public for profit. And I don't think its right to immediately call that exploitative, or even attention-seeking - but it puts us in an awkward position. Is it insensitive to dismiss it? It's a beautiful album, but it is what it is. Elverum even opens the album saying death 'is not for singing about' or 'making into art'. He might be right, but I'm not sure that by being self-critical he makes then doing it okay. He's justified it by saying "I make these songs and put them out into the world just to multiply my voice saying that I love her. I want it known." But what we get isn't a love album, although is clearly a product of love. It's about his coping, and this is how he copes.

So where's the shame in poetry? Where's the craft in taking that emotional energy and shaping it into something universal, relatable, moving and calculated. Would that not do it justice? Seems Elverum thinks so.

And really this album takes my mind to all the closed doors, all those songs about lost loved ones that weren't recorded or written, and died with the moment the guitar is lent up against the wall. I'm not sure I want to hear them, most aren't made to be heard, and that's a beautiful thing.

**

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Anonymous — Mon, 20 Mar 2017 14:07:00 GMT

Author: Anonymous

Posted: 03/20/2017 18:07

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Gang Signs & Prayer by Stormzy

I get it. This album has two personalities - the gang signs and the prayers. The cover art features thugs, while also alluding to last supper. But this album isn't fusion, it tends to be one or the other. There's something disarming being thrown into Blinded By Your Grace after the first three tracks feel like a paranoid mandy trip through London's late night streets. 'Return of the Rucksack' doesn't belong sandwiched between Pt Two' and '100 Bags'. And there's something I can't take seriously about listening to the self-described 'smoochy' 'Velvet' while Stormzy on the cover is looking at me like he's about to proper mug me.

The times when Grime and R&B come together aren't bad, but feel more like a watered-down Grime than a souped up R&B, in what feels like an attempt to be Radio-friendly. Which is strange, because his most popular and successful efforts are the pure-breed Grime tracks - so why mix things up?

But if there's one thing that is consistent - it's Stormzy himself. His personality bleeds into every song here, he's constantly fresh, never repeating himself, always on his toes. He adapts and he's comfortable no matter the tone. His energy carries the album, because where the album lacks any real defining moments, it becomes defined entirely by Stormzy.

I read somwhere that this will be 'the year of Stormzy'. I hope not, because while this album is disjointed in search for a name, Stormzy clearly has his mind set on redefining his genre, so the best might be yet to come.

**

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Thu, 16 Mar 2017 05:20:25 GMT

Author: Anonymous

Posted: 03/16/2017 09:20

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Semper Femina by Laura Marling

Laura Marling's latest record manages to be both her most experimental effort yet, but also her least ambitious. I always felt Marling could be just a hair away from being a contemporary Joni Mitchell, but as I listen to more of both I see just how long that hair is growing.

Marling's music is husky and earnest. Her lyrics are thoughtful and usually poetic, but almost always boring. And where before Marling had the benefit of masking her words as discursive indie metaphor, her attempts to make it more low-key and honest reveal that Marling doesn't have an awful lot to say. Which is a shame, because the music here is nice, as it always has been. The albums bookends are its strongest entries, with more left-of-field instrumentation and rhythms, but honestly - they're the only two songs that ever held my attention.

And so I think the real trouble is Marling's voice. It's sassy, sure, but while she's exploring the sounds underneath herself, she never reflects that back. She's not a particularly strong melodist, and her voice often flatly rides over the music like an acoustic rhythm guitar would. It's difficult to listen closely to.

I'd love to hear Marling experiment with vocal sounds more - or maybe even take a back seat, bringing her voice in only occaisionly. Maybe then we'll be surprised, turn the music up, and be eager to listen.

*

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Fri, 3 Mar 2017 16:40:44 GMT

Author: Anonymous

Posted: 03/03/2017 21:40

Skinny wrote:

pls review stormzy

Definitely high on my to-listen list. I'm pretty uneducated when it comes to Grime, and I've no doubt that'd come across in a review from me. Still, I'd be happy to share some base thoughts when I get round to it.

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Skinny — Fri, 3 Mar 2017 14:51:54 GMT

Author: Skinny

Posted: 03/03/2017 19:51

pls review stormzy

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Fri, 3 Mar 2017 14:50:18 GMT

Author: Anonymous

Posted: 03/03/2017 19:50

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Rap Album Two by Jonwayne

Jonwayne doesn't look like a rapper. He acknowledges this in 'LIVE From The Fuck You', a surprisingly entertaining interlude that reminds us how Wayne really just views himself as any other guy just trying to get by. And really that's his strength. Rap Album Two is honest and energetic. Sometimes alluded to Biggie, Wayne certainly shares some of his qualities. He's the better rapper, at times, albeit without the charisma or swagger. Wayne doesn't need it.

I've shared a similar sentiment to Wayne in 'Paper', where he describes wanting to be buried so as to grow into a tree. But Wayne takes it a step further, describing how the tree would be cut down to paper, used as storybooks for future generations, or as warmth for a homeless man. It's poetic, and sometimes beautifully grotesque, and it's been a long while since I've heard such a thoughtful Hip Hop record in a way that feels humble and relatable.

The album slips in the second half. It loses focus. Experimental moments teeter into sounding like directionless filler masked as something moodal. Wayne sounds less cohesive and less concise, and featuring artists dilute the core appeal of the album. The final three-songs demonstrate Jonwayne has a vision and a direction to build the album into something more of an experience, and it works, on a surface level, but doesn't get into your gut like the first few songs do.

'Out of Sight' and 'Paper' will certainly be some of the best songs of the year, the rest is a comfortable listen showing sparks that Jonwayne will either surprise us with greater things in the future, or whether this here is the extent of his exhausted self-expression.

**

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Anonymous — Sat, 11 Feb 2017 07:04:00 GMT

Author: Anonymous

Posted: 02/11/2017 12:04

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Volume 1: Flick Your Tongue Against Your Teeth And Describe The Present. by Bedwetter

The best work in any medium speaks universal truths. It gives you something to latch onto, and own yourself. Travis Miller's latest release is so cuttingly personal that it feels like we're watching it all happen through a thin glass window. Miller offers no hope, no bittersweet truths, no connection. The problem isn't that the record is narcissistic, though it is, because at the same time it feels almost uncomfortably honest. Miller persuades us with his thickly scarring words that we've never been in the place he is now. It's a moldy bowl of pasta that time refuses to clean up.

It feels like a record he made for himself, not for me or you. And here it is, and we're listening to it. It makes you want to step in and offer a helping hand, rather than share the despair. But I can't, I don't know the guy. Instead, it makes me want to go and take a shower.

**

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Anonymous — Wed, 25 Jan 2017 11:29:05 GMT

Author: Anonymous

Posted: 01/25/2017 16:29

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I See You by The xx

Seeking a balance between Jamie xx's solo work and the band's earlier efforts, 'I See You' manages to find that middle ground, but turns out that the middle ground is like a drunken dream - it makes sense at the time, but then you forget everything in the morning. There was always an irreistable apathetic haze surrounding the xx's music, and that's been lifted at times to something much more fun. The best songs here are the one's you could put on at a party without being lynched. 'Dangerous' left me wanting more xx with brass, and 'On Hold's' sampling, while nothing we haven't heard before, is a lot of fun.

But the xx have filled the already short album with directionless filler that shifts the tone from being that friend that's in a dark place you want to help out, to that guy that sits in the corner and you ignore because he's just always miserable. The theme of the album concerns itself with the nightlife, drugs, one night stands, and not really enjoying any of it. There's nothing wrong with that. However the record either choses to scratch only the surface of that mood, either because The xx want the album to feel universal, or because they actually struggle to write anything else. It's starting to feel like the latter.

I hope they one day produce a song about much a common cold gets them down.

*

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Anonymous — Sun, 20 Nov 2016 06:02:39 GMT

Author: Anonymous

Posted: 11/20/2016 11:02

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22, A Million by Bon Iver

I've found myself fascinated by this album in just the last few weeks. After completely dismissing it on first listen, something has brought me back to it time and time again. The truth is, it's a satisfying listen. A nice beginning, a nice ending. I'm a huge advocate for shorter length records too, and this is a prime example: focused, no filler, and accomplishes what it needs to.

I applaud Vernon for always stepping into more and more abstract sounds. You can perfectly map his efforts on a scale of simplicity to complexity in chronological order. 22, A Million is an album that sounds like it took as long as it did to make. There's rarely a moment you aren't hearing something you haven't heard before. Every turn is something new, and rarely anything that doesn't work. And it's common knowledge such an album is fun to come back to. It's different each time.

The trouble is that this album is so soaked in itself, it fails to convey any kind of bigger picture, or ask any questions. How anyone could look at the album artwork, or the song titles, and think it's anything other than a pretentious mess is beyond me. It comes across and clumsy and self congratulatory. It pretends as though it's exploring themes of spirituality, mathematics, humanism, history, but it's message (if it ever actually had one) is so muddied by this thick and unnecessary jargon. It's too much. It leads me to think just how much better the album would have felt if it offered the most simple and clean song titles and artwork, that it feels as though I'm the idiot for not figuring out a kind of underlying message.

I can't turn away though. It's gorgeous. Vernon has an incredible ear, and and incredible ability to guide sounds in a way that sounds deliberate, but also very spontaneous. 22, A Million is a more developed and mature album than his 2011 release, and while even that album is teetering on the edge of pretence, it still fills you with that sense of sweeping American landscapes, locations, and scrappy postcards.

22, A Million fills me with nothing. It's baseless, with no feet on the ground. It's all just lost in Vernon's head.

**

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Anonymous — Fri, 23 Sep 2016 07:17:22 GMT

Author: Anonymous

Posted: 09/23/2016 11:17

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JEFFERY by Young Thug

I've had a fascination with Young Thug since I first heard his verse of Def Loaf's 'Blood'. He brought something new to the table - slurry, sporadic, melodic rap that consistantly surprised me. Yet almost all of his releases have left me underwhelmed, ranging from sounding aimless and rushed to borderline cringe worthy.

Yet he does something different with this record, and with it comes exactly the Young Thug I wanted to hear. Distancing himself from his moniker 'Young Thug', he makes this record eponymous, with helps give the album a much more honest sound, hiding behind no pretences. Best of all is the artwork, an almost feminine fashion piece donned by Thug himself, perfectly matches the playful, artsy tone rich in almost all the songs. The album sounds just as spontaneous as his other efforts, but as though Thug has had huge weights lifted from his shoulders, resulting in a piece that sounds effortless rather than rushed.

Above all, it's a hell of a lot of fun. Young Thug is the perfect candidate to be merging art pop with hip hop, and is bringing some really fresh sounds to the overly glossy world of pop rap. My faith has returned.

**

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Anonymous — Wed, 31 Aug 2016 05:41:44 GMT

Author: Anonymous

Posted: 08/31/2016 09:41

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Blond by Frank Ocean

2016 has been a sombre year, and perhaps coicindently (but also appropriately) we've had some of the more reflective, meloncholic albums of the decade alongside it. It's hard for me to wrap my head around the fact its been four years since Channel Orange, an album that beemed with freshly enthusiastic sounds and tunes, yet the reason we all came back to it was because there was something unrestful at its core. Frank Ocean, alongside James Blake and Radiohead, has released an immensely mature and realized album. Instead of trying to feign a repeat of Channel Orange, Ocean instead takes that sense of unrest and brings it to centre stage. As a result, the entire album feels like an uninterrupted steam of Ocean's consciousness, and as a piece of work and craft: considered to and constructed near perfectly.

Doing away with impressive hooks and catchy melodies lends itself instead to a record that rides its mood and thoughts. Ocean, like many of us, is being defined by the Western 21st century, and if there was ever an album that so perfectly captured the complications that brings with it - unconvential relationships, commercialism, inadequacy, invasive technology, global connection - then this is it. 1st World Problems? By definition. But in a world where suicide is killing young men more than any disease, perhaps its time to explore that. Ocean keeps it personal and explorative throughout.

The final moments have the repeating organ melody playing as the sounds of you, friends and family have conversations, tell jokes, ask questions, walking home from the concert at 11pm. It brings me right there, to those moments when you realize all those troubles you've been keeping inside maybe aren't such a big deal, and a thick sadness hits you when you remember that these good times won't last forever. I'm sure not everyone will get the most out of this album, but those that do will find something incredibly relatable, and very rewarding.

***

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Anonymous — Sun, 8 May 2016 06:03:32 GMT

Author: Anonymous

Posted: 05/08/2016 10:03

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Hopelessness by ANOHNI

Political bluntness can ruin the fun of music. I don't like being preached to, especially if they're opinions I already hold. In just over 40 minutes, Anohni covers almost all the ground a political record could cover - global warming, discrimination, the police state, surveillance, you name it. Heck, there's literally a song called 'Obama' and it's literally about Obama.

Anohni tackles far too much, and in a way that's far too shallow to ignore. It's a shame, because 'I Am A Bird Now' is an all-time favourite of mine, and Anohni is one of my favourite vocalists. But where her previous work was about conflict of the self, this record is about conflict of the country. It's an angry album, but accomplishes nothing more than being that. People who aren't aware of the issues raised here aren't going to be listening to Anohni to begin with, so it feels like one large preach to the choir.

With all that said there are a some thick electronic melodies here and Anohni brings her usual fluttering vocals that are very rarely boring to listen to. The musicianship here works, and it's an almost seamless collaboration. There are some spine tingling heights and even some powerful lows, 'Why Did You Seperate Me From The Earth' is an incredibly powerful ballad, but then she starts singing about killing tuna, and it loses its power.

Hopelessness has received huge praise from critics, but really I can't imagine anything different. The online music scene is and always will be liberal journalism, and so they'd be dismissing the views their target audience believe in.

There's a very solid album here underneath some unfortunate lyrics that fall flat, rather than empower.

**

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Tue, 23 Feb 2016 16:22:47 GMT

Author: Anonymous

Posted: 02/23/2016 21:22

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Malibu by Anderson .Paak

I've held off writing about this album because despite being blown away on the first two listens, I had my doubts on the third. Today, I reluctantly listened for the fourth time, because honestly I was scared I wouldn't love it as much as those first two times. The reality is that this album has almost all the ingredients to make it one of my all time favourites, but is infuriatingly just short from being perfect.

I goes without saying that Paak is charismatic, very intelligent and has some brilliant ideas to bring to the RnB table. His vocals slip into so many different registers, from soulful heights and annunciated rap that the whole experience is seamless and confident. What makes this album really special is the way he unites his listeners by reminding us that we're all part of a similar generation, and honestly this album is surprisingly one of the most humble and comforting that I've listened to. But to the point: the first half is virtually flawless - it's honestly awe-inspiring. Ruthlessly funky with the perfect amount of 'blues' to keep you emotionally engaged. Even ScHoolboy Q sounds fantastic on a nu-disco track, and and it all so effortlessly falls together. Hearing Paak sing 'sweetness of a honeycomb tree' and 'knees to he floor, scream to the lord' is like nectar to my ears, an absolute joy. 'Parking Lot' is somehow soulful, upbeat and entirely melancholic while still making me what to play it on the dance floor - you simply can't find that combination anywhere else.

The problems start with 'Light Weight', a repetitive song that goes absolutely nowhere, and a 4/4 kick drum that has zero appeal after so many fun beats before it. 'Room In Here' fails to be much more than corny, and The Game adds absolutely nothing. 'Silicon Valley' and 'Celebrate' are fine, but as soon as 'The Dreamer' kicks in, which finally shoots us back to what was so great about the first half of the album, we realize what we were missing. 'The Dreamer' does everything right, Paak is in his element, the hook is catchy and its words are a mantra, but it's all thrown away by Talib Kweli's appalling verse that honestly sounds like he wasn't paid enough to do it - bored, rushed and uninspiring. "Used to be scared of all my fears, 'Till I woke up from this nightmare" - really Kweli? Scared of all your fears? As opposed to what? What a shitty way to close such a powerful song.

I'll certainly be following Anderson .Paak, because there's a huge amount of promise here. It's certainly still my favourite album of 2016 so far, and it'll have to be one hell of a year before this gets knocked out of my top ten. Still, it's thinking about what this album could have been that holds me off from giving it that perfect score.

**

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Anonymous — Fri, 19 Feb 2016 08:47:35 GMT

Author: Anonymous

Posted: 02/19/2016 13:47

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The Life Of Pablo by Kanye West

Kanye is certainly one of the best producers of the 21st century. More than once have I loved a song, sought out who was the producer, and found it to be Mr. West himself. He's got an incredible ear for melody in Hip Hop, and is able to craft these incredible sonic landscapes (if you'll excuse the tired term) that rarely fail to send my neck hairs standing. It's that brilliant dilemma then when we all find Kanye is a spewing whale of media attention and brash ego that's impossible to escape from. Twisted Fantasy worked, because he was able to construct this bizarre, hyper-produced, cyber-celebrity world that was oddly human and tragic - his character worked in that fantasy as this confused, self-proclaimed god, that would really draw you in, but kept you comfortably distanced.

So it's 2016. Kanye could release almost anything and receive critical acclaim. So he does just that, and we get The Life Of Pablo, an album that's tracklist, artwork and name could frankly have been anything. It's a completely unfocused collection of songs, and sure - there's a certain charm to the lack of any clear train of thought, but coming from the man who compiled Twisted Fantasy, heck even Late Registration, it comes across as laziness rather than a change of pace. Kanye doesn't need to try any more, and it seems like even when he doesn't, he makes some pretty incredible stuff - and that's pretty infuriating. The Life of Pablo is often a mindless lump of an album, and it's hard not to feel like part of an ants nest that Kanye is poking with a stick out of boredom, to see how we all scatter and crawl as he raps about bleached assholes and Taylor Swift. This album is fuelled by context, it's designed for people who anticipate his every action. Listen to it without any idea who Kanye is, and who knows how it would sound. It's a train ride I wish I could get off, because no one person deserves this much attention. But here I am, and damn, can it sound good.

**

Re: Fast Dry Vulcanising Cement - Small ONLY £4.19

Anonymous — Sat, 13 Feb 2016 16:50:04 GMT

Author: Anonymous

Posted: 02/13/2016 21:50

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Northern Lights
by Allan Kingdom

A mixtape that relies too much on fashion than function. Allan Kingdom is following the footsteps of those that inspire him, but comes of feeling like little more than an imitator - a year behind while what's new has already been and gone. Even if this mixtape had been released a few years earlier, it tries to be too clever in order to mask what are, unfortunately, bland songs with little reason to return to. "Fables" is a powerful track that I highly recommend, even if Chronixx's verse is a bit cringey, and "Monkey See" is certainly catchy, but the rest are a few too many notches behind. Allan: what are you really doing by putting the Intro at song two?

*