HMM Presents: The Best Of 2013- Track Of The Year

Over the next week, I'll be uploading several pieces on the year in music as I count down to the very first issue of Heavy Metal Mouth magazine. The online magazine edition of HMM will be an end of year annual focusing on the greatest music of 2013 and you will be able to access it before next Tuesday, 24th December. Expect plenty of artists to be named that have already been featured on the website this year as well as many more as I unveil the 25 best albums of the past 12 months. I hope that the expansive nature of this list in contrast to one year ago demonstrates the progress that has been made at HMM over the year.

To kick things off, here are my top ten tracks of the year.

10. Control/BET Awards Cypher 2013- Kendrick Lamar

Technically, neither of these songs belonged to Kendrick Lamar. ''Control'' was a Big Sean track while the BET Awards Cypher featured the entire Top Dawg Entertainment roster freestyling over the classic backing beat of ''Shook Ones Part 2''. But technicalities went out the window when Kendrick stepped to the mic on each, because quite simply, he owned them. From the rage fuelled, egomanical, Tupac inspired verse on ''Control'' that saw the Compton star declare himself king of the game and name drop every single rapper he saw as a competitor (sparking a war online that recalled the greatest days of rap as those who were named responded in turn ,while those who weren't responded anyway, attempting to prove their right to inclusion on Kendrick's list), to another hard-hitting lyrical masterpiece at the BET Awards that served to reaffirm his dominant status, 2013 saw Kendrick remain firmly in the spotlight due to the sheer power and intensity of his rap skill on a selection of outrageous guest features (for more, see ''Nosetalgia'' by Pusha T or another track further down this list). Now just imagine what could happen on another whole album.

9. Bound 2- Kanye West

2013 saw more talk about Yeezus' third single's music video than the song itself, a rarity in itself these days. Ye riding on a motorbike with Kim Kardashian at the helm to a green screened sunset backdrop was both lauded and laughed at, but the one thing that Kanye craves most is attention, and aided by an excellent parody by James Franco and Seth Rogen, he certainly succeeded. It would be totally wrong to forget the song itself though; falling in at the end of Kanye's frightening electronic nightmare on Yeezus, ''Bound 2'' seemed to be the Chicago born rap star telling his old school fans he was still there for them, with a College Dropout styled soul sample and passionate delivery that made it such a universally acclaimed finish to West's stunning sixth album.

8. Reflektor- The Arcade Fire

The title track and opener to Arcade Fire's 4th album instantly demonstrated the influence of LCD Soundsystem retiree James Murphy in the most glorious manner possible as the Canadian collective swaggered through an irresistibly funky 7 minutes, during which David Bowie stopped by for the tiniest of cameos and the band announced their return in style, opening the door to another journey that reminded us so well of the incredible power of The Arcade Fire and their epic, life-affirming masterpieces.

7. Instant Crush- Daft Punk

The obvious choice here is 2013's mega dance hit ''Get Lucky'', probably the biggest single of the year, but Daft Punk have never been about the singles and digging deeper into the French duo's albums is always rewarded with more understated classics. A long, long awaited return was marked with an album of incredible funk music that rearranged the band's electronic elements and made incredible use of a wide variety genres. On ''Instant Crush'', Julian Casablancas helped to deliver an indie dance tune that recalled both the finest work of The Strokes and smaller Punk hits, coming off somewhere between ''12:51'' and ''Digital Love'' in an emotive, yet undeniably infectious love song.

6. Rusty- Tyler, The Creator (Feat. Domo Genesis & Earl Sweatshirt)

Those of you who've followed Tyler's career over the past 5 years (and maybe even those who haven't) will be more than aware of the incredible controversy and opposition the rapper has provoked- from feminist rights groups to law enforcement and even Earl Sweatshirt's mom, Tyler's brand of shock value comedy has been criticised heavily, but his third studio album this year saw the 23 year old finally starting to mature. On ''Rusty'', the most representative song of this unprecedented growth, Tyler raps is best ever verse wit a scathing attack on all of those who ever doubted, dissed or dared to face him, accompanied by some of Odd Future's finest talent over an old school beat produced by the rapper himself.

5. Mirrors- Justin Timberlake

Justin Timberlake's return to the music industry saw him produce his best ever work as he expanded his repertoire in unexpected yet totally logical ways while maintaining the image and style that saw him originally develop into one of the world's most popular artists. ''Mirrors'' is the ultimate representation of The 20/20 Experience, retaining Timberlake's pop sensibilities and radio/chart presence wile also providing a textured, multi-layered electro love song that instantly stands alongside ''Cry Me A River'' and other classic, significant modern pop classics.

4. 1 Train- A$AP Rocky (Feat. Kendrick Lamar, Joey Bada$, Yelawolf, Danny Brown, Action Bronson & Big K.R.I.T)

1 Train is one of the most significant songs of the year not only because of it's immediate greatness (first second to last is an undiluted, raw rap attack courtesy of the some of the finest young talent in the world right now) but also for its soon to be realised context and legacy, as the cast of this 6 minute braggadocio classic go on to achieve greatness over the next decade. A$AP assembled a crew of the most exciting MC's in the game for ''1 Train'' and for evidence of eaches skill you need look no further than this, the best straight up, old school hip hop song of the year.

3. I Wanna Be Yours- Arctic Monkeys

You'd probably be more likely to go automatically towards ''Do I Wanna Know?'' or ''R U Mine?'' when picking from Arctic Monkey's exceptional fifth effort AM, but the real merit and craftsmanship of this album lies in its final track, as Alex Turner takes the mundanity of daily British life and turns it into something more beautiful and extraordinary, detailing his devotion to a potential love through a series of witty yet totally sincere metaphors.It's a fittingly wonderful closer to to the album, and one of the most affecting pieces of songwriting that the charismatic frontman has ever put to paper.

2. Hold On, We're Going Home- Drake (Feat. Majid Jordan)

Drake said that ''Hold On'' was him and long time production partner Noah 40 Shebib ''humbly attempting'' to channel Michael Jackson and Quincy Jones as they crafted a song designed to be worthy of wedding dances a decade from now. Perhaps he need not be so humble in future; the result is a stunning romantic ode that is set to stand the test of time much in the same manner as classics by pop icons like Jackson, Stevie Wonder and Prince before it. ''Hold On, We're Going Home'' is Drake defined, and a showcase for the reason behind the Canadian's continued dominance in the music world right now.

Serious credit is also due to Arctic Monkey's for their skillful cover of the original, which introduced the ballad to another society of listeners. Check out the video in Radio 1's Live Lounge for stone cold evidence of Alex Turner's transformation to sex god from the spotty teenager who first introduced the band in ''I Bet You Look Good On The Dancefloor''.

1. New Slaves- Kanye West (Feat. Frank Ocean)

Yeezus contained any amount of jaw dropping moments that grabbed hold of the listener and shook them where they stood, right from the opening wall of noise of what felt like a thousand filthy synthesisers crushing down upon you on ''In Sight'' to the soul sampling beauty of the aforementioned closer ''Bound 2'', but none came as incredible, drop dead gorgeous and mesmerising as the climax of ''New Slaves''.

Following two verses of relentless, furious rapping from Ye (the second of which he declared to be ''the best rap verse of all time'' in typical fashion) the song explodes in a wave of bliss that's carried home by Frank Ocean's angelic, spellbinding vocal. A finer sound I haven't heard this year, or perhaps even since... Well, since the same guy dropped ''Runaway'' three years ago. You're probably sick of hearing it (from the man himself, let alone the rest of us) but there's just no escaping it; Kanye is king.

Y'all can't fuck with Ye.

Next: Album Of The Year 25-21

''The Marshall Mathers LP 2'' Eminem- A Review

It's been such a long time since the real Slim Shady stood up that the general consensus seems to be he never will again. The last few years have proven as much with the disastrous Relapse and distinctly average Recovery exposing the loss of spark and energy that created the persona responsible for two of the greatest albums in hip-hop history. As tough as it is to swallow, the fact is we are never going to experience the like of Eminem's original trio of releases again, and to wallow in his previous success would only totally destroy your enjoyment of the rapper these days. So is it possible for Eminem to ever repeat his success? Absolutely not. But is Eminem still capable of creating great rap music? Well, that's a different question, and one that is set to be resolved near definitively with The Marshall Mathers LP 2, an album that sees Em attempting to find old form in his past self by revisiting his arguably greatest album and drawing from those same themes, images and sometimes even lines.

''Bad Guy'' gets LP2 underway in style with a menacing continuation of ''Stan'' that sees the protagonists little brother all grown up and out for revenge, before another LP1 classic ''Criminal'' is picked up in the short skit ''Parking Lot'', with Em clearly eager to remind his audience of past glories and use them to his advantage. It's perhaps a clever strategy, because the first time the rapper strays from the LP1 sound on ''Rhyme Or Reason'' he's found on uneven territory, delivering exciting, hate fuelled verses toward his absent father that are ultimately compromised by a clumsily executed sample which falls flat on its face at the hook. In contrast, ''So Much Better'' is the first song on the album that sounds as though it actually could have been lifted from the original album, with an old school beat and message that make it a definite highlight. Another midsection standout is the emotive ''Legacy'', a passionate meditation on Mather's influence on the rap world that almost fools you into believing that LP2 is about to surge into true form, but before you get carried away there's a series of unfortunate tracks set to cloud your mind with doubts again.

''Survival'' is another questionable production choice that interferes with Em's delivery skills, making for a strange single alongside the equally weak ''Bezerk'', two easily passable songs in the context of the overall tracklist. While he may feel differently himself, the use of guitars to back up the rapper is simply not a good fit. ''Asshole'' is perhaps the epitome of LP2's mediocrity, with a frankly annoying hook from Skylar Grey, a woefully chosen guest, which recalls past low points. All of the above examples point to the most frustrating element at the heart of this record; the fact that so many tracks feature Eminem rapping his most passionate verses in years, but over awkward, average and unsuitable backgrounds.

When things are going okay music wise, LP2 is capable of producing stronger tracks; ''Brainless'' is the exact type of rap you wish Eminem could lay down 14 times in a row nowadays, proving alongside ''So Much Better'', that while repeating stories and lines is a hit and miss process, reverting to production basics is a foolproof success. There are some nice backing tracks aside from typical Dre style beats however, with ''Stronger Than I Was'' providing a gentle piano and soft marching drums to ease the listener into Eminem's tale of Kim's reaction to her shockingly violent eponymous track on LP1. Similarly accessible is Em's reunion with Rihanna on ''The Monster'', a collaboration that makes financial sense considering the outrageous popularity of ''Love The Way You Lie'', both a commercial and critical success for the pair in 2010. While this sounds just as chart ready, it's severely lacking in the depth of meaning that made its predecessor such a triumph, and comes off as one for the label executives or for casual fans of both artists.

If there's one aspect of Eminem's ability left that can go completely unquestioned however, it's technical skill, which he exhibits in spades on album centerpiece ''Rap God'', dropping ryhmes in breackneck speed throughout, in particular during an outrageous midsection which boasts a stunning 6 per second word count, proving Mathers worthy of his self appointed title. It's roughly this far into the record 14 tracks that you begin to realize LP2 is never going to hit a run of form; you can't name three faultless songs in a row. Unlike its predecessor which mercilessly grabbed hold and never let go, the only consistent thing about 2 is its inconsistency- you can nearly see a pattern of hit, miss and hit all the way to the finalale.

''So Far'' is another better moment, featuring Em rapping playfully over a selection of instrumentals, briefly including some familiar classic samples, while the long awaited collaboration betweek Em and Kendrick on ''Love Game'' is shocking, but for reasons you may not expect. A strangely goofy track that borders on the absurd at times, this may be an enjoyable, eccentric beat on the surface but the sad fact is that it misuses the talents of both artists and Kendrick has not benefitted from associating with Mathers at this point, with ''Love Game'' easily the weakest output from the young rapper in the last 2 years. The presence of Nate Ruess, the excruciatingly whiny frontman of that  fun., is enough of a reason to avoid ''Headlights'', but if nothing else at least Em has something new to say about his Mother, documenting his reconciliation with her rather than abusing her for a change. Still it's another candidate for the worst song on the album and again this is due to a poorly selected guest. ''Evil Twin'' brings LP2 to a close on a strong note, finding Em in a braggadocio mood as he spits lines like ''Fuck top five, bitch, I'm top four/And that includes Biggie and Pac, whore, and I got an Evil Twin/So who the fuck do you think that third and that fourth spot's for''.

And so another decidedly uneven journey with Marshall Mathers comes to an end. Ultimately, it's probably true that this is the rappers best record since he returned in 2009, but that's a near meaningless statement in reality; all it goes to show is how disappointing Mathers has been the past 4 years. You'd be forgiven for believing that the title of this album is a brave choice, one that invites comparison with his earlier undisputed classic, but the sad truth is that Eminem just needed to give his fans a reason to listen. Perhaps he may be waning in power but he's no fool; Mathers is acutely aware of the fact that he can't recapture lightening in a bottle, and so the next best thing he can do is to remind listeners why they loved him in the first place. It's maybe somewhat understandable then that reactions to LP2 have been a tad exaggerated; nostalgia is a strong aphrodisiac.

In a year when Eminem has been effortlessly brushed aside by better releases from those he helped create (Earl Sweatshirt, Tyler The Creator, Danny Brown, A$AP Rocky, Chance The Rapper), you have to wonder how many more times he's going to hurt his reputation by giving us further sub-par albums. The only way is downward from here; it seems an impossibility that Eminem will ever create another album worthy of Slim Shady, and the best course of action, at least for this fan, is to call time on a career that has revolutionized rap music and allow us to bask in the legacy of the one of hip-hop's greatest artists, rather than continue to taint it with further mediocrity.


5

''Reflektor'' The Arcade Fire - A Review

                                               


For the first time in The Arcade Fire's career, small voices of dissent and disappointment were raised this past month at the release their fourth record. While perhaps these voices were heavily outweighed by the usual acclaim that greets the band, the fact remains this is the first time in the existence of the Canadian outfit that they've faced any significant amount of backlash toward their usually flawless catalogue. The reasoning for this small controversy was simple and easy to understand; Reflektor marks the point of exploration in The Arcade Fire's career that inevitably must take place after a period of domination such as the band's- alongside Radiohead, U2, and a host of other huge names (which Win Butler and co. can now count themselves among having dominated the century so far with a trio of glorious alternative rock albums), the band have surpassed the point of simply making great music they know in favour of exploring brave, uncharted new territory, signified here by the inclusion of the former brains of LCD Soundsystem, James Murphy, whose involvement as producer is indicative of their step into the electronic style sound that has previously been hinted at throughout their catalogue.

Reflektor kicks off with its title track, consisting of an irresistible rhythm section to back Win & Regine's weaving vocals, a wonderfully underplayed horn arrangement and even the tiniest of cameos from David Bowie. ''We Exist'' continues with a familiar message of band unity similar to ''No Cars Go'' but with a kickstart beat reminiscent of ''Ready To Start'', while ''Flashbulb Eyes'' feels more like the weird sci-fi sibling of a shorter piece like ''Neon Bible''. The comparisons generally stall here however as the record takes on a life of its own with ''Here Comes The Night Time'', a definite highlight of the album, revolving around an oddball piano hook that is resolved in its mournful second half. ''Normal Person'' continues this winning form next with the type of anthemic, building climax that the band specialize in so well, before ''Joan Of Arc'' introduces the straightforward guitar rock sound that has yet eluded the tracklist.

If there's any outstanding problem with these 13 songs, it's the criminal underuse of the band's secret weapon, Regine Chassange. Once again the female vocalist is relegated mostly to backing vocals, an astounding misuse considering her vocal led songs are usually counted among the band's finest work, ''Sprawl II'' and ''Haiti'' acting as evidence of this. In any case, ''It's Never Over'' is the most significant use of the frontwoman throughout the album, while ''Awful Sound'' continues the gentle second half with a lullaby conclusion before the band make use of Kavinsky style synths on ''Porno''. Reflektor comes full circle with ''Afterlife'', another clear standout which is always building towards a climax with an intense beat carrying all the way through until it's realized in a full culmination of the album's sound with a set of stunning backing vocals of a wave of rhythmic noise. It's ironic that an album which spreads its 13 tracks over such incredible length (85 minutes to be exact) ends on what feels like an unfinished note with ''Supersymmetry'', a mesmerizingly beautiful closer that leaves the listener craving more as Win and Regine put their delicate vocals to wonderful use over a slow synth backdrop.

And so Reflektor finally comes to an end. Claims of exceeding length are perhaps understandable given the extraordinary running time, but for true fans of the band these accusations will prove unfounded, with length acting as a gift rather than a curse as each sprawling piece is executed carefully and precisely with a measured pace to the very last beat. These songs may take time to build, but it's well spent time, and perhaps the biggest compliment you could pay Reflektor is the extraordinary fact that despite its epic length it's never overstated, bloated, or unnecessarily filled; every single moment is totally justified and masterfully executed.

Perhaps the band owe a certain debt to The Cure's Disintegration for several reasons; from the strangely danceable arrangements and hollow, dark themes to the exceeding song length and skilful pacing, there are more than several telling features of Reflektor that point to Robert Smith's magnum opus as a strong comparison, while U2 are also easy to credit for the band's ability to retain their melodic sensibilities throughout the experimentation process.

Admittedly, there were several things that had me dubious about Reflektor upon first listen, whether it was the previous niggling critical voices I'd heard or the daunting time, but this is a record that unfolds and opens new levels with each listen, resonating deeper each time and allowing us to discover new meanings within, exactly the way which great albums and great music should be made. With 4 albums released now and not a single mis-step, The Arcade Fire could go anywhere next but you get the feeling it'll be just as sensational as it has been since 2004. Cruicially, the band have started to realize their own greatness (there's a definite swagger on the album that wasn't here before) without letting it affect their enormous talent, and that is perhaps the most significant and impressive element of Reflektor.


9

''Old'' Danny Brown - A Review

''I made XXX with the aim of getting great reviews. And when I started making Old, I was trying to think of artists that came back from getting great reviews and made an album that was just as good– or better! The only group I could really come up with was Radiohead. So if XXX was my OK Computer, then I’d have to make my Kid A next.''

That's quite a statement, and it's telling of Danny Brown; apart from the hilarious comedic personality that comes across throughout interviews with the Detroit rapper, there's another aspect of his character buried underneath, namely his hunger for success. Brown is as ambitious as he is talented, two characteristics you may fail to notice if you're not overly familiar with the rising star due to his eccentric nature and open attitude towards drug abuse. Many heads were turned with the release of XXX back in 2011, a surprising, original and entirely unique hip hop fusion album that found it's way towards the top end of many critics best of lists come the end of the year. A follow up was always going to be risky business, but the above quote will assure you of Brown's fearlessness if nothing else.

Old is the result of half a year spent in studio before an overly long production process that frustrated Brown to the point of him threatening to release the demo version for free ahead of his label Fool's Gold. The casual 2013 hip hop fan may have more likely been found in circles patiently waiting for Yeezus, Magna Carta Holy Grail or Nothing Was The Same but if you'd kept your ear to the ground this year, alongside Earl Sweatshirt's Doris, Danny Brown's third release has been in high demand and the wave of expectation that came hand in hand with it eventually died down this month when fans were actually given the chance to finally press play and listen.

You may be misled into thinking that Old represents the 31 year old's contradictory age in the modern rap game, however it's actually referring to the style Danny used previous to XXX, which he made several large hints about returning to during the recording process, and this is made instantly clear on the opening two tracks with the title track and ''The Return'' dealing with the resurrection of the ''old Danny Brown'' (presumably what the working title of ODB stood for, apart from invoking the image of a frequent Danny comparison in the form of the Wu Tang legend).

Further on, a long awaited collaboration between Danny and Purity Ring takes place with wonderous results on ''25 Bucks'', as the unexpectedly suited pairing work to their individual strengths with Corin Roddick's soft electro beats, Megan Jones beautiful vocal and Brown's rap combining to perfection. The highest praise I could give is that 2 and a half minutes was simply not enough; perhaps only a full Postal Service style album of these three individuals would have sufficed, but Brown presses on in style, reigniting his outrageous XXX self for the first time on ''Wonderbread'', a whole four tracks in. It's the first sound of that special vocal delivery that captured an audience so vividly just two years ago, and not the only time the rapper returns to the party persona he hinted would be obsolete this time around, with the most notable examples arriving in the form of ''Red 2 Go'', ''Dip'' (featuring an excellent interpolation of Watch The Throne's smash hit ''Niggas In Paris''), ''Dope Song'' and ''Dope Fiend Rental''.

For the most part however, these type of club anthems are overrun by the prevalent darkness of the album, as songs like ''Torture'', ''Lonely'' and ''Gremlins'' showcase heavy electronic beats steeped in bleak imagery, deep contemplation and hard hitting lyrics with Danny recalling the second half of Old's predecessor but travelling further into the void. Brown is honest to the point of brutality, confronting his inner demons, issues with family and friends, depression and, most importantly, his drug habit. Throughout these 19 tracks the listener finds Brown in direct confrontation with his party image and grown up self, most effectively exemplified through the contrast between opposites such as ''Smokin & Drinkin'' and ''Clean Up'' or ''Lonely''.

It's not exactly unheard territory for an artist to place the spotlight on themselves for such trouble, but the crucial difference here is the perceived reality of it all; Brown sounds as though he is genuinely conflicted, ruthlessly examining his own identity, and struggling to figure himself out over the course of 56 minutes, with the experimental, trippy production (courtesy of DB cohorts SKYWLKR and Paul White) seemingly representing the fragilty of the rapper's mind and his bipolar nature.

As the album draws to a close, two of the biggest song highlights in  ''Kush Coma'', a previously released single that sounds great within the context of the album and features an excellent cameo from associate A$AP Rocky, before ''Float On'' ends the record with Charli's XCX's ghost-like, charming vocals whispered over Danny's ryhmes in a content, peaceful beat that stands in direct contrast to XXX closer ''30'', then the sum of all the frustration and anger that Brown had dealt with to that point.

Ultimately, Old is a daring, exceptional album that outdoes XXX for it's focus, energy, honesty, bravery and direction. Brown has ignored fans who would have been happy just to hear the funny man again and built on the talent he exposed to the public intially while drawing from the tormented soul that came before fame and fortune. The perception of Danny Brown as an outsider or wild card should now be over; he's the real deal, leading the field alongside rising modern rap stars like Kendrick, Tyler and co., and most cruically doing something in modern rap than few can match and absolutely none can emulate, making him undoubtedly one of the most exciting talents in the rap game, and music world, at this moment in time.

8.5

''The Bones Of What You Believe'' Chvrches - A Review

Synthpop isn't something you would typically associate with Glasgow, Scotland. The city has thrived on a series of straightforward, no nonsense indie rock bands in the recent past that somewhat act as a representation of it's rough personality, including but not limited to Franz Ferdinand, Primal Scream and The Fratelli's. Yet here we are in the back end of 2013 and the fresh-faced, original sound of Chvrches (that's a Roman v, not a misspelling) is captivating not only their hometown but many others around the world.

Comprised of Lauren Mayberry (lead vocals, synths and samples), Iain Cook (synths, guitar, bass, additional vocals) and Martin Doherty (synths, samples, additional vocals), the band came together in 2011 following years of individual work around their local music scene that failed to gain serious recognition. After 8 months spent working together in basement studio, the trio formed Chvrches, spelled so simply because they ''thought it sounded cool''. It all sounds rather low key, but upon your first listen to The Bones Of What You Believe, you may be taken aback by the sound these three can make with Mayberry's charming vocal over an unholy amount of synthesizers.

 Bones kicks off with ''The Mother We Share'', a previously released single prior to the album which was ranked on The Huffington Post's best song list of 2012, and it's easy to see why as the attention grabbing track acts as a mission statement for the remaining 11. It's an early standout, but it's more than backed up with similiarly minded tunes such as ''Tether'', ''Lies'' and ''We Sink''. All full of charm with substance to match, the immediate comparison drawn to mind is Purity Ring, another recent electronic sensation that came to light last year with their debut Shrines. The delicate female vocals combined with a light electronic backing are a perfect match, but there are major differences too, namely the irresistable ball of energy that flows throughout the 48 minute running time of the album. Simply put, Chvrches are fun.

Things get funkier towards the end of the album with ''Night Sky'' and ''Science/Visions'' as the pace is upped, before the album is drawn to a close with another contender for best track in ''You Caught The Light'', an experimental electro beat that winds things down to perfection, recalling another synthpop predecessor in the form of The Postal Service, a band who you get the feeling this record couldn't have been made without.

Ultimately, Chvrches have taken a range of electronic influences and created something entirely accessible and instantly enjoyable to the average pop fan. It's a stunning debut and one that promises much more if the young trio can handle the expectations that come with such a well received record. Come the end of 2013, don't be surprised to find The Bones Of What You Believe featuring heavily in many critics choice cut lists.

8

''AM'' Arctic Monkeys - A Review

It's long been said that the second time around is the hardest for an artist, or in fact anyone in an artistic or sporting field, to recreate something that captured the attention of an audience so vividly in the first place- you can count the number of film sequels that outdo their original on your fingers, 'second season syndrome' is a regular cause of disappointment for fans in the Premier League of many clubs, while the term 'sophomore slump' is thrown around the music world more than is ever necessary for countless acts that have arrived on the scene with a bang.

I'm not sure if I agree with the last one for several reasons- take a quick look at the biggest names and debut albums in rock since the turn of the millenium and you'll find The Strokes (Is This It?), Bloc Party (Silent Alarm) and Interpol (Turn On The Bright Lights) pretty high on any given list. Was it the case that these three aforementioned acts suffered a severe downfall on their second outings? Not whatsoever, with Room On Fire, A Weekend In The City and Antics proving that each could follow through on their outstanding earlier works.

The problem though, was following that. While you certainly aren't going to find the likes of these names in a ''Where Are They Now?'' article, the fact is that the work they're producing today is of sub standard quality to 5 or 10 years ago, and that right there is the damning evidence to suggest that the real factor that seperates a great band and a great album can be summarized in all of one word; consistency.In any case, the Arctic Monkeys arrived with an explosion in 2006 with one of the finest albums of the past decade, but in truth they've been rebelling against it, and the Oasis/Blur/Stone Roses successor image that came with it ever since.

AM is the Monkey's fifth effort and comes off the back of two albums that divided critics and polarized fans, namely Humbug (2009) and Suck It And See (2011) for their slower, classic rock inspired stoner rock approach and ditching of the British teen lad image that was prevalent before. It's a very interesting title, one that might be deemed lay by some, but as I've always seen it, there are only two reasons for a band to self title an album post debut- either they've churned out an indifferent, meaningless effort lacking in ideas and imagination and can't be bothered to name it anything else (see Interpol's latest for further details), or they've created a work of art that they feel defines them better than ever before. Fortunately for us, AM most definitely falls into the latter category, combining the styles and sounds of the Arctics previous four albums and some more in a wonderful pay off for fans of both early and later work.

Things kick off with two tracks the audience should be familiar with already due to the festival circuit, namely the slow burning hip-hop beats of ''Do I Wanna Know?'' and the Queens Of The Stone Age inspired ''R U Mine?'', acting as a one two punch introduction to the album that segues into a trio of  fusion rock style bangers as the band mix old styles and new to great effect, particularly on ''Arabella''. The mid section of the album is telling- the ironically titled ''No. 1 Party Anthem'' swoons it's way around the listeners ears in a sumptous blend of ''Only Ones Who Know'' and ''Cornerstone'', while ''Mad Sounds'' continues the smothering romantic theme that dominates the album. From here there are slight hitches as ''Snap Out Of It'' and ''Fireside'' (while enjoyable) hint at a High Flying Birds type influence that Turner is better than, but as we approach the close, ''Knee Socks'' makes for another highlight.

The best is undoubtedly saved for last however as Alex Turner delivers one of the finest, most affecting pieces of songwriting of his 27 year existence with ''I Wanna Be Yours''. Actingas an out and out song of love and devotion to an anonymous subject, the song represents a total emalgamation of AM and the band in general, taking the mundanity of daily life in Britain and transforming it into something more extraordinary and beauftiful: ''I wanna be your vacuum cleaner, breathing in your dust/ I wanna be your Ford Cortina, I will never rust''. It's a fittingly wonderful closer to the band's best work since Favourite Worst Nightmare 6 years ago.

Ultimately, AM captures the Arctic Monkeys in a moment of totality and completeness; content with image and sound after yearws spent searching, AM is a stellar work of music that can be built on, and cruicially, feels like it surely will. Perhaps the best thing you could say about this record is that it makes me think Arctic Monkeys will improve from here, and considering their previous catalogue, that's quite a statement to make, and a truly exciting prospect.

When asked about the title pre-release, Alex Turner replied with a knowing smile, claiming he'd ripped it from the Velvet Underground's 1985 complilation VU: ''Did we cop out? Yeah, but something about it feels like this record is exactly where we should be right now. So it felt right just to initial it.''  It's an insightful comment, and while he might be laughing at the complacency of those initials himself, in reality, it couldn't have been named anything else.

It's All Over Now, Baby Blue: Breaking Bad Series Finale ''Felina'' Review

When I thought about Breaking Bad coming to an end last night with ''Felina'', the final episode of season 5, I was filled with a number of emotions- excitement, curiosity, dread and even a little fear. Mainly I suppose these feelings stemmed from the fact that as the closing credits rolled on the greatest television product of the last decade, I expected myself to be left heartbroken at the prospect of losing one of my favourite TV series' ever, hollow with thoughts of how to fill the newly exposed void in my life and possibly (absurdly) disappointed on the off chance of an underwhelming finish. What I didn't expect to feel is the way I do right now- purely and completely satisfied.

''Felina'' ends Breaking Bad in the most triumphant, glorious manner possible by completing a full circle and executing a perfect character arc in a skilful finale that ranks alongside the very best episodes of the show's history. As we begin, Walt prepares himself for battle by entrusting his money to former friends and business associates Eliot and Gretchen Schwartz, who agree to hand the 9 million cash over to Walt Jnr. on the day of his 18th birthday under the pretence of a donation/gift, following Walt's threat to unleash the finest two hitmen in the West upon them, namely Skinny Pete and Badger in a delightful farewell cameo.

Walt continues his business by arranging a meet with Jesse and his Uncle Jack's gang of Neo Nazi's while at lunch with Lydia, before paying a visit to Skyler in an emotional scene whereupon Walt finally digs up the courage and sense to admit that the meth business had been for him all along: ''I liked it. I was good at it. And I felt... alive.'' It's a stunning, unexpected omission that I for one never figured I'd hear come from Heisenberg himself. In addition to this, Walt provides details of the burial sites of Hank and Steve Gomez, which he believes will be enough information for Skyler to trade in exchange for jail time.

As the final moments approach, the breakout that everyone had been waiting to see was put into action as audiences waited to baited breath for Walt to (ever so slightly) redeem himself by rescuing Jesse from slavery. Manipulating Uncle Jack into showing him his long lost partner, Walt dives on Jesse before executing a remote controlled machine gun attack on the gang which results in the casualties of all but Jack and the sadistic Todd, whom Jesse finishes off with a broken neck. Jack tries to bargain with Walt for more money but he doesn't want to know and simply blows the ring leader's brains out mid sentence, bringing the similarly brutal execution of Hank to mind.

It's here that things get really interesting with Walt providing Jesse the chance to end things as surely everyone wanted them to- with the ruthless Mr. White dying at the hands of the young man whose life had been destroyed so carelessly in his grip. But Jesse can't, instructing his old teacher to do it himself and retaining that sense of compassion, however flawed, which has kept him so intimately connected to fans throughout the series' run. After Walt informs Lydia that he had poisoned her at lunch earlier with the remaining Ricin, Jesse escapes in a joyful, ecstatic moment before Walt goes back to the lab to examine the equipment he used to create the man dying before our very eyes by a stray bullet wound to the torso. Amidst all the confusion, the cause of Walt's death goes almost unnoticed until a wonderful closing shot of the meth kingpin's blood on a kettle drum as he lies dying on the floor with the arriving squad of police encircling round him to the poetic sound of Badfinger's ''Baby Blue''.

And so the journey of Walter White comes to an end in the most complete manner it could, executing Walt's story to perfection without ever overstating it and bidding an incredible farewell that confirms it's status as one of the greatest television shows, entertainment products and works of fiction in history. That might sound like an overstatement the day after it's end, but in 10, 20 or even 50 years time, critics and fans alike will look back at this extraordinary visual, storytelling masterpiece that Vince Gilligan has created and still find themselves amazed, enthralled and hopelessly lost in the characters of Walter White, Jesse Pinkman, Hank Schrader, Gus Fring, Saul Goodman and many more, because Breaking Bad has surpassed the level (alongside others such as The Sopranos and The Wire before it) of being simply just a television program and attained the status of something much more- it is a story that will be rewatched, retold and remarked upon for generations to come, and for that we shouldn't mourn our loss, but be ever so grateful for it's existence. Yeah, bitch.