In an age of the Lady Gaga’s and Katy Perry’s, it should prove challenging to keep artists like Sara Bareilles or anyone else interesting. But perhaps being different has always been the key to an artist’s breakthrough. Different yet believable that is, which Simon Cowell has preached at every American Idol season. And that is what Bareilles has done on her second studio album, Kaleidoscope Heart. Unpretentious songs that are an easy listen but never boring. They strike a balance between radio friendly and unabatedly Sara.

‘King of Anything’, the new single is as bold as Bareilles’s Grammy-nominated hit, ‘Love Song’. To turn things up, a horn section is built in for a big band vibe. And ‘Gonna Get Over You’ is shoulder-shrugging catchy, playing call-and-response which is often heard throughout Kaleidoscope Heart. Piano ballads, Bareilles’s forte is never obscure on this album. Tracks like ‘The Light’, ‘Hold My Heart’ and ‘Breathe Again’ remind us why Bareilles - though hardly ever donning out of this world costumes and broadcasting sneaky remarks for the public eye - is worth listening to. ‘Basket Case’ stands out, calling to Bruce Springsteen’s ‘I’m on Fire’ which Bareilles has covered on stage previously.

Bareilles fits perfectly into the singing-songwriting league that artists like Fiona Apple and Eva Cassidy have retired from. She continues to possess a voice that gets under your skin just by the sound of it alone. The story telling is just an added bonus. While hip-hop newbies and rock/pop and country tweens are topping the charts, Bareilles seems to be letting success rain on her terms. To quote the opening track, she sings, “Everybody has to get their hands on gold/And I want uncharted.”

http://www.sarabmusic.com/us/home

- Sandy Tan Chiaw Huei

Oliver Jones aka Skream is possibly Croydon’s finest export since Nigel Reo-Coker or Ikea bed frames. At just 24 he has achieved more than many producers do in a lifetime. His remix of La Roux’s In For The Kill was 2009’s crossover dance anthem, pervading genre boundaries and being played to death in some of dance music’s most elusive hotspots.

Trance heavyweight, Tiesto played it weekly in his Monday night Ibiza residency at Privilege and it was all over Radio 1 playlists during the summer. Moreover, he pioneered the dubstep scene from its humble beginnings at Big Apple Records to the worldwide phenomenon that it has become today. Therefore, ‘Outside The Box’ was released amidst a huge amount of expectation. However, has it lived up to the hype?

Being famous for ripping the face off even the most seasoned dubstepper in his live shows and DJ sets, Skream would have been forgiven to release an album full of the classic wobble wobble dubstep that made him famous. Instead, the album starts with a refreshingly mellow blend of soundscapes and spacious synths, making an introspective beginning that lives up to the title of the album. ‘8 Bit Baby’ utilizes the sharp rhymes of LA’s Murs to compliment Skream’s processed, syncopated beats, ultimately creating a promising start to the record.

‘Where You Should Be’ is a an electropop, vocoded synth ensemble that plucks at the heart strings, pushing Annie Mac to state, ‘I wanted to break up with my boyfriend just to listen to that song for 5 minutes and then get back together with him.’ It’s not until Track 9 that Skream drops a veritable frenzied bomb in the form of, ‘Wibbler’ that will keep the bass junkies happy. La Roux features on, ‘Finally,’ an epic synth ballad, which has surely satisfied festival goers all summer.

Overall, the album is a collection of tracks that mellow; only ‘Wibbler’ and ‘The Epic Last Song’ really got my blood boiling in the way that I usually react to Skream’s music. I can only assume that this is his attempt to present himself as a serious artist, rather than a dubstep bass heavyweight. To an extent, he has pulled it off; he has proved himself as a credible producer, who has a more diverse musical palate and capability.

I can’t help thinking, though that this album was an attempt to stop dubstep stagnating like drum & bass did a couple of years ago. Yet, with so many dubstep artists thinking ‘Outside The Box,’ at the moment, it would probably have been more original to think inside it (the hypothetical dubstep box, that is), and to stick to what he does best.

http://www.myspace.com/skreamuk

Nathan Jonas Jordison otherwise known as Joey Jordison has made a stamp on this world as being the best drummer in the world according to “Rhythm” magazine poll. Even drumming legends such as Dave Grohl, Phil Collins and Travis Barker could not top the force that drives Slipknot.

Jordison born April 26, 1975 in Iowa first joined “The Pale Ones” in 1995 which would later be known as Slipknot creating the next generation of Metal music. Originally approached by Paul Gray (R.I.P. May 24, 2010) when Jordison lacked direction in life, Slipknot would become an exciting project for Jordison and a career defining moment for him.

In 2004, Joey Jordison starting his producing career with “Roadrunner United” and would go on to produce the “9.0: Live” Album from Slipknot.

Just listen to the first song on the first disc named “The Blister exists” and you will understand the genius of his producing. The song starts by an announcement disappointing fans that the gig has been cancelled which is shortly followed by protesting, groaning and shouting by the crowd. Suddenly whilst the crowd has been toyed with for some time, the moustrous drums kick in with the roaring guitar.

Joey plays the drums with such vigor and passion worthy of recognition from just the first 30 seconds and anyone who has heard this record will know what I’m talking about. Capable of kickstarting someone’s day or just letting out raw aggression; Joey Jordison truely knows how to produce Metal. For an intro to Joey Jordison’s work, the self titled Slipknot album would be a good place to start.

Oscar Sum