The rise of grime has arguably been the most vibrant, relevant and exciting musical movement of the last few years in the UK, so it was only a matter of time before some numpty chucked a load of distortion and guitars into the pot to see what colour the water turned. The One Hundred could have been numbingly, predictably awful (hip hop and metal have never been the easiest of bed fellows after all), but as it turns out, the belligerent attitude that underpins this uniquely British rap subgenre lends itself rather well to the thundering rhythms of metalcore. In many ways a modern version of Senser, the band exists in much the same sphere as Hacktivist, ditching the tech/djent thing for a more straightforward hardcore sound, with some of the less lumpheaded elements of nu-metal thrown in for good measure, as if Linkin Park grew up in Hackney on a diet of jellied eels and lager rather than Californian sunshine and kale. Debut album ‘Chaos + Bliss’ does a solid job of replicating the culture-clash carnage and spiky excitement of their live show, and when it hits the mark it does so with the power of a steroid gorilla, the band at their best when they combine metal and grime in equal measure and throw every fibre of their being behind it. Disengage in particular shares as much with Skepta’s ‘Shut Down’ as it does with Of Mice & Men’s ‘Bones Exposed’, and is as bombastically exciting as that sounds, but when the band veers from the path of total onslaught, adding clean vocals and clear breaks, they lose footing. ‘Dark Matters’ and ‘Black Jack’ are great songs for example, the former riding high on serious Qemist vibes, but in both cases the momentum is killed and the air sucked out like a bursting balloon by the sudden unwanted arrival of a poppy vocal break. There is much to be said for adding light and shade to an album, but when the meat and potatoes is so substantial, it can also act as a unnecessary distraction, and while less is often more, in the case of The One Hundred more is most definitely more.