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When I was fourteen, in 2001, nu-metal appeared. Well, no, it had been going for some time before that but in 2001 it EXPLODED. Linkin Park were the biggest band in the world, no one was even embarrassed about liking Papa Roach and I bought a Staind album without realising this purchase would haunt my trust of my own ability to listen to good music for the rest of my life thus far.

The upshot of all this rap metal appearing, though, was that despite considerable evidence that everyone could get along and Snoop Dogg was happy appearing in Korn videos and Eminem getting love from everyone, a line was drawn in everyone’s mentality: either you were on the side of rock or you were on the side of rap and there was NO IN-BETWEEN.

Never mind that hardly anyone adhered to that concept, the line was there and any deviation was automatically filed under ‘dangerously rebellious’ and therefore ‘cutting-edge’.

Now, some people, like Zane Lowe, still play up to that idea today and it's hard to say whether that's perpetuating the attitude or trying to break it down, but you have to admit there's something weird going on when people are still fascinated with the idea that rap and rock can, y'know, NOT HATE EACH OTHER, let alone co-exist in someone's music collection.

Now, before everyone just jumps on my head and demands to know what the heck this has to do with Lethal Bizzle and can't I just review the song, for God's sake, etc. I would like to point out what 90% of the writing I have uncovered about the Bizzle says at present:

1. OMG, he did a gig with Babyshambles!!!!
2. OMG, he has indie influences which are showing through on the new album!!!!!
3. OMG everyone, he's hip hop and GOOD!!!!!!!
4. Him and Wiley don't hate each other anymore.

Now, #4 is perfectly legitimate statement and good on the pair of them. The rest, though, makes me sigh a bit inside.

Musical genres do like to spend their time shutting doors on other types of music in order to define themselves as THE BEST GENRE EVER, but the idea that Lethal B performing with Doherty, P. has in some fashion legitimised him and NOW it's OK for white indie kids to like him because he's been acceptably brought into the fold…well it sucks.

Still, let's temporarily forget all that unsavoury business, because Chartblog readers know better than that, ChartBlog being a place where all musical genres hold hands and everyone agrees that different stuff is good. Yes? Smashing.

The song itself is a furious tirade at British politics and society, from railing at both major parties and leaders (or former leader in the case of Blair) and their lack of attention to the wild and desperate ‘outskirts’ of society, propelled by seething beats and sirens. It's brilliant: two minutes forty of fury and worry, urgent and intelligent without being pretentious.

And this man is supposed to be made ‘acceptable’ by a self-obsessed drug addict who hasn't even managed to bring out a record in ages? O RLY?

The following points are important about Lethal Bizzle:
- He's fantastic
- This song is fantastic
- Your music taste is fantastic, therefore, you should like both this song and Lethal Bizzle and it doesn't MATTER what music you're into ‘normally’ or who you are or what you look like.

All of this stuff is just what happens when open-minded young people get together to make music, and if you'll let that shock you then you really haven't got out much recently, have you?

Download: Out now
CD Released: June 18th

(Hazel Robinson)

NOTE: This is released as a double A-side with the equally brilliant 'Bizzle Bizzle'.