Since their earliest emergence, Dutty Moonshine Big Band have been a curious and undefinable animal. Originally inspired by the big band aesthetic of the 1930s, the group have continuously looked to drive their direction firmly into the 21st century, giving their sound a more club-friendly feel that incorporates elements of bassline, hip-hop and electronica throughout their work. But while their previous material was easier to distinguish that merging of genres, their sophomore full-length 'City Of Sin' sees them almost ditch the more organic elements in exchange for something far more artificial.
Similar to what became of Major Lazer under the sole guidance of Diplo, 'City Of Sin' sees much of their formative ideas and more brass-led focus as an afterthought as it looks to focus itself on the electronic fanfare of big beats and EDM-esque progression. While there are still plenty of examples that bring in more of that "big band" feel that many of us were hoping for on this new collection, Dutty Moonshine Big Band seem far more concerned at creating a party record that will blow their fans away at any of their explosive live shows, something that we can't really knock them for doing.
While it may not be the most cohesive and succinct album we have heard this year, 'City Of Sin' still has a flurry of creativity running through it, and tracks like 'Outlaws', 'Fall From Grace' and 'The Arrest' manage to aid a strong and diverse exploration of sound throughout them, even if that does mean cracking out the odd dubstep wobble at times.