MoaningsPosted by Roadbloc Fri, September 04, 2015 12:33:58
I remember the days I used to like Muse.
During their first four albums actually. Starting off as some weird Radiohead
clone and releasing a solid album called 'Showbiz', the band evolved into the
awesome progressive/alternative rock three-piece that created 'The Origin of
Symmetry,' without a doubt one of my favourite rock albums of all time.
Evolving their songs more with added synths and new harmonies, they went on to
do 'Absolution' and then 'Black Holes and Revelations', both excellent and very
different albums in their own right.
Then the inevitable happened. The other two
members of the band crawled up Matt Bellamy's arsehole and died. Not content
with their own awesome sound and legacy, Matt went about stuffing his head up
the arseholes of Freddie Mercury's and Michael Jackson's corpses. 'The
Resistance' was released, a wishy washy weak effort to be something they're
just not, literally and shamelessly copying the vocal harmonies of classic
Queen and recycling riffs and endless arpeggios of the previous albums.
Complete pretentious crap. I hated it.
Things didn't get better. 'The 2nd
Law' wasn't any better. Their Olympic Games ceremony song sounded like they
were trying to summon some sort of demon and the rest of the album seemed
intent on making the same mistakes 'The Resistance' had made. The band really
needed someone to knock Matt Bellamy's head in and tell him he cannot just copy
the music of dead artists and expect to be recognised positively.
Their seventh studio album, called 'Drones'
was apparently going to set things straight once again. Supposedly returning to
their roots (hah yeah right), this new album was meant to aid the band in
reconnecting to who they really were. So far so good right? Well… no.
'Drones' begins off with something that
sounds like it's off Queen's 'Hot Space' album called 'Dead Inside'. In fact,
they still haven't stopped using Queen's vocal harmony, which everyone is going
to still recognise as Queen because IT SOUNDS LIKE FUCKING QUEEN. I don't think
we're stupid Muse, and I'd like to think that you don't think we're stupid.
When we hear them high pitched harmonised screeches, we think of Queen, not
Muse. Come up with your own vocal harmony. Minus two points.
After a cringe worthy skit, things begin to
improve. 'Psycho' has a catchy and solid riff and manages not to copy anything
off anybody else. It sounds a bit like a few other Muse songs however, such as
'The Uprising' just without all the synths and the army soldier dude yelling
in-between the verses is kinda pretentious. Minus two points.
'Mercy' sounds a lot like 'Map of the
Problematique' from 'Black Holes and Revelations'. They synthy piano keys and
background arpeggios that they appear to stick into many tracks are beginning
to sound samey. Minus two points. The next track, 'Reapers' is actually very
good, despite the guitar solo being a bit monotonous and boring, so I'll give
them plus two points for that.
As we get into the middle of the album,
things get interesting. For one track at least. 'The Handler' reminds me of
'Citizen Erased' off 'The Origin of Symmetry' album and despite the lack of
real climax in the song, it sounds great. Plus two points.
Minus two points for every track after that
because they're just fucking boring. This is strange because on paper, 'Drones'
sounds like it has everything I want from a Muse album. A healthy balance of
new and old, whilst still sounding like Muse and not some other artist who is
infinitely better and infinitely more dead.
Lyrically, Bellamy appears dead set on
themes of futuristic war and inner struggle, nothing really new there since
that is the exact vibe 'Black Holes and Revelations' had. Musically however,
the band appear dead set on boring me. And it isn't because they've stripped
away most of the synths and effects and full blown orchestra's they had in their
last two efforts, it's just because the music is boring. 'The Origin of
Symmetry' had a similar sound and production to 'Drones' but is infinitely
better because it isn't as clean cut. There is spontaneity throughout, passion
and anger, love and hate and an awesome cover of 'Feeling Good.' 'Drones' is
too safe, too clean cut. It's the boring pop songs of 'The Resistance' and 'The
2nd Law' just without all of the studio effects and added synths.
There is nothing here that screams 'we spent two fucking months perfecting this
song,' just music that could have been thought up in an afternoon. Minus two
Maybe I'm being harsh. Well, actually I am
being harsh. There are some redeeming values of 'Drones.' The fact that is
better than their last two efforts is probably the biggest one. It isn't their
worst album by a long way, that would go to 'The Resistance.' There is just
nothing new here, it's a mediocre mix of old and new Muse with a generous
helping of Queen thrown in there. It's a big shame, I hoped much better of this
album. Minus two points.
I think Muse have probably evolved into
something I can never like again. Which is a shame, but their early works are not
going anywhere and no matter which dead artist this band chose to rape next, nothing
is going to stop their first four albums from being good. We will see in the
future if Muse can pull something out of the bag I can like again, technically,
with 'Drones' they're halfway there.
But I swear to God if they don't stop
copying the vocal harmonies of Queen then I'll never forgive them. It's not
big, it's not clever, it isn't even a remotely intelligent move and I'll never
ever understand why they decided to do it. Minus two points.
MoaningsPosted by Roadbloc Thu, September 03, 2015 10:03:06
I quite like Alien Ant Farm. Especially
their first album, 'ANThology'. (Go fuck yourselves 'Greatest Hits' fans, it's
a fucking demo or EP at best.) Thirteen awesome tracks that feature a unique
blend of rock and nu-metal, with a terrific cover of Michael Jackson's 'Smooth
Criminal' to put the cherry on the cake. All in all 'ANThology' was a nice
debut cake, one even Mary Berry would be proud of. However, their 2nd
and 3rd attempts at an album were kinda… meh out of ten. Both
'TruANT' and 'Up In The Attic' featured some solid tracks such as 'Drifting
Apart' and 'Bad Morning' but failed to reach the brilliance heard on
It turns out during and after the creation
of their 'Up In The Attic' album, Alien Ant Farm went through some rather major
disputes with their record company, Geffen. Geffen appeared to be under the
impression that promoting Alien Ant Farm was a bad move and the releasing of
their third album took pretty much a whole year from creation to be released,
the band handing out bootleg copies of their work to fans in the meantime. They
split in 2007 after 'Up In The Attic' sold poorly, most likely due to Geffen's
OCD to ensure AAF remained a secret.
Anyway, it's 2015 now and the band have
finally got their arses into gear for a 4th album. Nearly the
original line-up too, only the bassist deciding that he'd rather help Limp
Bizkit's bassist on tour instead.
'Always and Forever' starts off well. From
the start, it is unmistakingly AAF. Dryden Mitchell's high pitched vocals
pierce over the music from what sounds like is going to be a slightly heavier
album than usual. 'Simpatico', the second track re-enforces the vision of a
heavier album with a heavy and complex riff, albeit, repetitive lyrics. From
there however, things change.
The introduction of synths and drum loops
is a curve-ball. But a welcome one. From the dawn of time, even with
'ANThology,' AAF albums start off strong and slowly lose momentum as they go.
This attempt to keep tracks sounding fresh plays out well, however it doesn't
really stop the slow losing of momentum throughout. It keeps it going longer
than both 'TruANT' and 'Up In The Attic' but eventually by the time we get to
'Homage', my ears are losing interest and the songs begin to bleed into one
And this is one of the things I'll never
forgive AAF for. They can come up with some brilliant tracks, but no matter how
much they try, their albums always seem to devolve into boringness. To give
them their credit, they do try in 'Always And Forever,' but it isn't quite
enough. Too many songs towards the end of the album sound similar or, like 'American
Pie' are just plain fucking boring. It's as though they become disinterested
with their own work as thy go along, not that I'm suggesting they make their
tracks in order, but if they did, it'd make a lot of sense.
One good thing. Well two actually. The last
two tracks 'Better Weather' and 'Dirty Bomb' do pick it up… a bit, for a nice
satisfying ending. Maybe I'm expecting too much or being a bit harsh, but I
don't like it when artists don't evolve. Bands like Iron Maiden and AC/DC that
literally make the same album over and over again. It feels like AAF are
encroaching on this territory, even though I know full well that they have
touched a wide rage of genre's in their time. But it feels like AAF don't have
a comfortable home except the few true nu-metal-ish tracks at the start of
their albums and the tepid shit they provide after that. Their genre-dipping
remains mostly ignored, at least in my ears.
But I digress. Is 'Always And Forever' a
good album? It is. Almost on the lines of very good like 'ANThology'. But not
quite. Don't get me wrong, it's much better than both 'TruANT' and 'Up In The
Attic', but it doesn't quite beat their first afford. Still, a new AAF album
after all this time is very welcome, and AAF fans will most likely rate this
album. For everyone else, get yourself a copy of 'ANThology.' You won't regret
MoaningsPosted by Roadbloc Mon, August 17, 2015 12:23:01
I like Dr. Dre. Even if it seems like he's
spent the past decade doing naff all and the decade previous making only two
albums. Yeah, yeah, I know, he signed Eminem too and at some point told someone
to make him some headphones and sell them to Apple. Either way, it has been
fourteen long years since his last album, '2001' probably one of the best rap
albums ever. No wonder it took over a decade. I bet he was quietly hoping the
world would forget who he was because '2001' is a damn hard album to top.
I was under the impression his next album
was to be called 'Detox.' I'm certain both Dre himself and Eminem had mentioned
the name, but when I got my CD it said 'COMPTON – a soundtrack by Dre.' I guess
this new movie thing that I couldn't give two shits about that Dre may or may
not be affiliated in, no idea, because I couldn't give two about it, could have
tempted him into doing an album. Or a soundtrack for it. What the fuck is this?
A movie soundtrack or a Dre solo album? I'm just gonna assume a Dre solo album
because I'm never going to watch that movie, regardless if it is good or not.
After a first listen, I thought it
revolutionary. A Dre album in which Dre hardly appears. Not far from the truth
either. All except one track is featuring some other set of rappers, Kendrick
Lemar, Ice Cube, Eminem, Snoop Dogg the list goes on. After a long intro and an
annoying electronic vocal based chorus, Dre drops a verse in track two. He
sounds different. Every rapper except Eminem sounds quite different on
'Compton.' It took me a few listens to 'One Shot One Kill' to realise that it
was Snoop Dogg rapping. This makes for a surprisingly fresh album.
People expecting more of '2001' will be
disappointed. Like 'The Chronic' before it, 'Compton' is a very different
album. It's also a very good album. As always in Dre's productions, the beats
are simply top notch. They're fresh, catchy and even very experimental at
times. The bass in all of the tracks sounds fucking sexy. Out of a decent
speaker that is. Nobody is getting turned on with this playing out of an iPhone
Despite this, 'Compton' feels kind of safe
too. It's all 'motherfuckers' this and 'niggas' that which I don't mind at all,
but as far as the lyrics go, I don't feel many verses. Maybe it's just me, but
the auto-tuned choruses start to get irritating too.
This album is going to be like Marmite. Dre
fans like myself will most likely love it and I do love it. People not into rap
will probably not rate it much. Captain obvious strikes again, but I really
think this will be the case. 'Compton' has some great tunes and a couple of not
so great ones that can be overlooked. As an album it flows very well, no track
really feels out of place and even if there is a certain lack of Dre verses as
guest rapper after guest rapper takes the mic, there is no changing the fact
that 'Compton' feels like a Dre album through and through. Defiantly different
from '2001' but defiantly a Dre album too.
So yeah, fuck it, I like it. I've heard
this is meant to be Dre's last album and to be honest, this is a damn fine
final bow. I'm still giving '2001' the edge if I must order the albums in terms
of greatness, but despite a couple of duff tracks, 'Compton' is a fantastic
album for Dr Dre fans.
Now if only he got someone talented to
design his headphones.
MoaningsPosted by Roadbloc Mon, May 11, 2015 15:42:43
"What ya gonna do today Ninjy,
huh?" Perhaps a question we don't want answering.
Die Antwoord have always amused me one way
or another. Their debut, '$O$' was something I really rated despite low quality
production and some really dumb tracks. When you pushed through the issues and
immaturity however, the album was filled with intelligence, creativity and some
really interesting lyrical themes, no doubt based on their life in South Africa
which I cannot begin to comprehend as someone who lives in the middle of
fucking nowhere in England.
To my delight, the raving, rapping trio
were signed and they eventually released a follow up album called 'Ten$ion' an
effort that felt much better produced and slightly more mainstream, but also
digging themselves into a hole of immaturity. Maybe that was the point? Who
knows with these guys? They're the most bizarre group I've witnessed in my
life. I have no idea what to take seriously about them.
Anyway, not long ago they released a third
effort called Donkey Kong or something, so I have it a listen. And here is my
synopsis. It's shit.
Don't get me wrong. There are some good
tracks within and throughout, but they are few and far between. 'Happy Go Sucky
Fucky' is probably my favourite track, which judging the title, doesn't say
much for the rest. The album has major issues. It feels confused and lazy. And
despite it being the best produced album of the lot, the lyrical content alone
makes 'Donker Mag' a poor effort. My cousin mentioned that the album reminded
him of I.C.P and I realised he was right. They're on the verge of being Insane
Clown Posse, which is never a good place to be. 'Raging Zef Boner' is an insult
when compared to their previous songs like 'Babies on Fire' 'Fish Paste' and
even 'Fatty Boom Boom' which all seemed immature but also had an underlying
message that brought a more mature spin on the entire thing. I do not want to
hear about Ninja's fucking boner. It's a cop out. It isn't even funny like The
Funkoars 'The Phallic Menace' which is pretty much the exact same song but much
Then there are the skits. Way too many of
them and most of them nonsensical, they are there only to pad out the album.
Pointless, not complementary. A waste of time. I get the horrible feeling that
Ninja and whatever we're meant to call that girl-thing he's with are resting in
their laurels. Simply saying stuff to be deliberately provocative. Its began to
feel like they no longer give a fuck.
There is one member of the band I've yet to
comment on, and that is DJ Hi-Tek. Who will no doubt 'fuck me in the ass' after
this review. Well, hopefully not because I actually have some nice things to
say about him. You see, their debut $O$ sounded like it had been recorded and
produced on a Windows 98 PC running Audacity. The tracks were kinda dodgy, the
so called 'creativity' could easily have simply been limitation. When we get
onto 'Ten$ion' Mr Hi-Tek must have been given some better hardware, maybe a mix
desk, some real DAW software and perhaps a better PC. Three albums in and now
Die Antwoord clearly have enough '$' DJ Hi-Tek really is high tech, probably
with a studio of his own filled with plenty of audio hardware and fruit branded
computers. What I'm trying to say here is that the music is one thing that has
consistently improved with each album and 'Donker Mag' is no different. It's
great to see actual improvement somewhere in their crazy evolution.
Unless you're a die hard Die Antwoord fan,
I cannot recommend 'Donker Mag.' It feels like a half arsed effort. And whereas
the music is better than ever, the lyrics lie low in the pit of shock explicit
sex and anarchic slurs, with little thought or context. The overall flow of the
album feels off and somewhat forced. It isn't good. Hopefully, the band will
agree and maybe focus on being a little less tacky and a little more genuine in
the future. And stop it with the fucking skits, they're not needed!
MoaningsPosted by Roadbloc Thu, May 07, 2015 11:48:52
don't know what to say. I never thought I'd enjoy manufactured music so much.
For those who don't know, Babymetal is a Japanese pop and metal mashup, the
group itself mainly focused on three Japanese teen girls as some dudes in white
robes and face paint do all the head banging talent in the background. An
interesting mashup but one that seems to work very well.
the airy choral synths of the intro of the first track (which is like an intro
in itself), the album makes very clear it is here to stay. First we get the
heavy binary strumming as the track itself basks itself in its own victory
build-up. And then there is the drop. A face-melting guitar riff combined with
a mature and classy electronic production style (almost like Nine Inch Nails)
makes the first impressions of this album exceptionally good. Then the rest of
the track pounds away heavily, serving the listener a real thrash metal
until the second track we get to hear the voices of the girls actually do some
singing, really bringing the Japanese pop element into the mix for good. It's
an odd combination, especially when the vast majority of the lyrics are in what
I'm assuming to be Japanese. But it's a mix done with sensibility, relying on
proved techniques of the two genres and bringing them together in a way that
complements each other. The result is actually something that sounds heavier
than Rammstein despite having a more pop focused influence. The girls can sing,
that cannot be doubted, even if I have no idea what they're on about.
album tears on and you get through tracks such as 'Gimmie Choko!!' and
'Midnight', it is very clear that whoever was in charge of this album was
having a lot of creative fun, playing around with many genres and styles and
just throwing them into the can. Unlike early Limp Bizkit however, it isn't a
chaotic mix. It's a clean and clever mix, demonstrating both subtly and
sledge-hammery as it clever mixes metal with an ever growing rich history of
musical styles. 'Line!' even includes some rap elements, which sound kinda
token and almost mocking of stereotypes as the girls repeat the word 'yo!' over
an entire verse, but I'll give them the benefit of the doubt here and say it
was done with good intensions rather than a poke of fun. One minute you'll be
head banging, next you'll be bopping to some reggae or a poppy chorus or even
dubstep, which has quite a prominent appearance in one of the tracks. The album
has enough flavour to keep you listening, probably quite amazed that such a
work of art even exists.
isn't all good obviously. The lyrics are practically none-existent as far as
I'm concerned. I don't know Japanese and whereas I understand some of the
themes as English phrases and words are slipped in occasionally, it's mostly
nonsense to me. And on top of that, after a while the girl's voices get
irritating. Some parts have too much singing for my liking, which may be a fact
attributed to that I have no idea what the fuck they're on about, but it's
still a thing.
there can simply too much going on in a song. I understand the producers were
probably having a wail of a time creating Babymetal, but maybe they were a
little too enthusiastic at times to push things in. After a while your ears
feel like they're drowning in noise, there is no room to breathe through the
endless amounts of sonic guitars and poppy synths and girly vocals. More breaks
and quieter moments would have been appreciated.
One of the
most important things to note is that Babymetal is completely manufactured. It
probably doesn't have a sincere bone in its body, which is something I'd
usually criticise with an album. Even the name Babymetal alone screams cash-cow.
It's usually the manufactured bollocks I gave a hard time on this blog and yet
to call Babymetal manufactured bollocks would be a complete lie. It's
manufactured, but it isn't bollocks. Its actually really bloody interesting
stuff. The producers in charge here were the creative ones, really trying to
push boundaries of manufactured music. And don't think that just because it's decent
manufactured music that Babymetal is about the music. They're not. It's the
money. "One for the money, two for the money, three for the money. Money,
money, money, money!" the girls sing in 'Onedari Daisakusen', probably
their longest English verse. It's all for the money and don't you forget it.
Babymetal are here to milk the Japanese metal fans of their walking, head
banging wallet of cash and that is the sole reason this album was made.
manufactured isn't a reason to be hated. The reason I hated manufactured music
previously was because it was boring. Box ticking, predictable, boringness.
Babymetal could have been box ticking, defiantly as far as genre inclusion
goes, but it's still fun to listen to. It's a manufactured I can tolerate, because
it actually tries to be new and inventive. It isn't the same four by four beat
as synths and triangle waves float in a sea of auto tuned bollocks written for
horny 14 year olds. I really think the entire pop industry can take a leaf from
Babymetal's album and make an attempt to be inventive and unpredictable for
Babymetal the best, I really do. It's a fun album and maybe one day I'll have
fun watching the girls perform live. This is the cash-cow I'm happy to give
money to. Now imagine that pop industry. Imagine a product that people actually
WANT to buy rather than just being force fed until they assume there is no
other choice. What a crazy notion, eh?
vote and shit kids cos you know, the future and all.
MoaningsPosted by Roadbloc Mon, April 13, 2015 15:49:54
Slipknot had a peculiar start. 'Mate. Feed. Kill. Repeat'
didn't exactly set the world ablaze and listening to it, there is no wonder
why. A weird mix of metal and jazz, the band prefers to see this as a demo
nowadays instead of a full album release. But Slipknot isn't quite Big Brother
yet and you cannot rewrite your history just because your band has moved on
from the early days (he says knowing full well that I've actually released
three books, not just two.)
The self-titled album, Iowa and Volume 3: The Subliminal
Verses were all top form. Especially the self-titled. A lot of noise, anger,
genre merging and face-melting guitar riffs. In fact, it was beginning to look
like Slipknot could do no wrong until 'All Hope Is Gone' was released, which
was probably the worst Slipknot album ever made in my opinion. It felt like it
had just been tossed out on a weekend, bland and unexciting in comparison to
their previous efforts. Sulfur and Psychosocial will always be good tracks, but
they will always be on a dire album that seemed to lack the get-up-and-go
energy I loved from Slipknot. All hope was certainly gone.
A lot has happened since Slipknot's last album. I saw them
live at The Download Festival 2009, I completed adolescence, studied at college
and began a writing career, continuously broadening my tastes as I did so.
Would I even be into Slipknot anymore?
Well that answer would be yes. There is still a place in my
heart for Slipknot. I listened to some of their classics and found myself
wondering why I hadn't listened to more. I don't give a fuck who disagrees,
Eyeless is a fucking awesome track.
Dot Five, The Gray Chapter appears to be a homage to their
late bassist, Paul Gray, who died one year after I witnessed their amazing
performance at Download 2009. From the start it is clear the album is following
the footsteps of Vol 3: The Subliminal Verses. The album structure is
remarkably similar. First track is a lengthy introduction that shows off Corey
Taylor's vast vocal range. Then tracks two and three enter with something hard
hitting and fast paced. Track four is a little bit more mainstream. Finally we
have two more hard hitting tracks before the album starts becoming all
pretentious and emotional with the occasional hard hitter slipped in for good
measure. Following your own footsteps is a dangerous game as you risk becoming
stale and sounding samey. But with the knowledge that their previous album
didn't follow any Vol 3 steps and still sounded stale and samey, reverting to
an older equation seems like a good idea.
Overall, Dot Five is a good album. The guitar riffs are
great, they're actually making use of all the percussion in interesting ways
again and Corey is a solid vocalist without a doubt. Again, I feel it lacks in
a bit of energy that their previous works had, however, it is without a doubt
miles better than All Hope Is Gone. There is also a feeling of hollowness with
this album, as though there is a guitar or just something missing from the mix. But it isn't always a bad
thing, some of the faster paced tracks feel much more full of energy and
bounciness without having to carry a full set of noise to the ears. In fact,
I'm certain that quite a lot of the tracks here feature some of Slipknot's most
interesting work. AOV, The Devil In I, Skeptic, Killpop and The Negative One
are fantastic tracks.
Not all good however. I'm probably going to get a lot of
hate for this but some of the songs sound kinda… gay. Not in a homophobic way,
there's just a lot of Corey singing and not much else going on in some of the
tracks such as Goodbye and Normadic and The One Who Kills The Least. They sound
like filler and even though they're meant to be more emotional based tracks,
they sound token and without genuine feeling. One of the best feeling to
capture within angry music is frustration and they regretfully don't even come
close. They're good and have their own merits within themselves, but turns the
album dramatically from Slipknot to just elevator music at times. All wishy
washy without any real substance.
Dot Five feels confused. Like there is something pulling the
band in two different directions and they're attempting to go in both. But
continue like this and the band will be ripped apart. There's an obvious lack
of focus over what they wanted to achieve with Dot Five, and whereas diversity
is good, the day you find One Direction performing metal tracks is certainly a
day you think 'What the fuck?' And that is exactly the case with this album. It
just can't decide which path to take, so it meanders around them all but never
fully committing to one. Which is a huge shame since there is clearly huge
potential in the album and on a playing level, they sound tighter than ever.
Would I recommend Dot Five? Yes I would. Despite my
complaints, I still think it is very almost on a par with the Self Titled, Iowa
and Vol 3. And it is most defiantly better than All Hope Is Gone that's for
Perhaps what amazes me the most is that despite getting
through being a greasy teenager, I still like Slipknot's music. So I wish the
band all the best and look forward to their next album, maybe when that fucking
insane clown finally pegs it.
WritingsPosted by Roadbloc Mon, April 13, 2015 09:03:19
A bit morbid, but one week ago I was dying. If it wasn't for the NHS, I'd be dead right now. People love to bitch on the NHS and claim their apparent uselessness, I heard plenty of it from other patents in the hospital. But in reality, despite their flaws and lack of funds, I think they're doing an amazing job.
People who critizise the NHS annoy me. Sure, there are issues, things that can be improved, mistakes that slip through the cracks, there always will be. But I would like people to bare in mind next time they think of slagging off the NHS that pretty much no other country has such an awesome system as this. The NHS fixed me up and I didn't have to pay a single penny. That wouldn't happen in most developed countries, America especially, who are still flipping out over the whole Obamacare thing. We are lucky to have the NHS and honestly, with all the abuse it seems to get, I'm not sure if we fully appreciate it. I'd go as far as to say, maybe, we don't deserve it.
My point is, NHS cannot and probably never will be perfect. Not with the current state of the economy and the ever spiraling costs of healthcare. If you're that concerned of your health and feel the NHS aren't doing you justice, go private like the rest of the world HAS to. Be grateful that we have at least the choice state provided healthcare. The majority of the world are not so lucky.
That is all. I'll return to ranting about musics and vidya gamze soon. :)
WritingsPosted by Roadbloc Fri, March 27, 2015 09:44:20
I owe followers of this blog an apology, an update has been long overdue. Rest assured that I haven't given up on it but rather focusing more attention to my books. However, it is about time I manned up and starting next week I will be updating this blog more often. There is still a load of albums for me to rip into. Here is just a few to come off the top of my head.
Slipknot - 0.5 The Gray Chapter.
Babymetal's Self Titled Debut.
Foo Fighters - Sonic Highways.
Funeral For a Friend - Chapter & Verse.
Eminem - Shady XV.
Amongst others. I need to make more time for trashing musician's hard work. :)