Rising Toronto- based hip-hop hopefuls Grand Analog have been shaping their craft for the past six years. In 2007 the outfit’s debut LP Calligraffiti boasted the initial exhibition of the Canadians’ signature melting-pot of hip-hop, soul and dub; sampling and taking inspiration from sibling frontmen Odario and Olfield Williams’ father – who cut his teeth on reggae as a DJ in the 80s.

Two years later the Williams brothers and their bandmates, Warren Bray (Bass), Alister Johnson (Keyboards/Engineer) and TJ Garcia (Drums/Vocals) released their breakthrough record Metropolis is Burning, which catapulted them to national fame. Modern Thunder takes the ideas; sounds and soul of everything Grand Analog have done thus far and re-imagines it with focus to create a smorgasbord of vastly different animals from track to track.

The outfit set out to start afresh with their latest effort – it adds groove, modernism and guitar led distortions to create a collection of upbeat genre-sweeping tracks. It is an amalgamation of brilliant east coast rap, Black Eyed Peas circa Elephunk and the slurs of contemporary south side rap; one minute it’s all deep, rusted and biting NY shapes, the next more feel good afro-centric styled-pop. The album’s charming schizophrenic tangents and heavy use of live instrumentation point to Grand Analog as one of the most diverse hip-hop tribes of the last few years. This is an album which will appeal to all pallets at some point throughout its course, but one which will inevitably fall short at levels for everyone for the same reason – its contrasting shades.

The album begins with rusty banger “Rap Sheet (This Day On)”, which pops with the vinyl crackles and grit of classic hip-hop. It leads a handful of tracks which take swathes of inspiration from the same era. “Wild Animal Print” inhabits the polar opposite, however – this is club friendly dance rap, a la Will.I.Am, which echoes the hook “We pumped up for the weekend, we go down on the weekend” among trumpet infused dance pulses – student nights at Oceana watch this space.

“Howl (Like Wolves)” offers more pop sensibilities, but this time it’s the laid back delivery of the Williams’ vocals and dub influences which creates a sense of feel good pop abandon. “Gorgeous Jane” this time dips in the well of soul to compliment its hip hop, producing another sun soaked track for the spring. “The Great Rhyme Dropper” again exhibits the sometimes downplayed lyrical and stylistic skill of both Odario and Olfield; as does “Cassettes”, one of the most exciting tracks to drop from the LP if you’re a classic rap freak.

Ending the album is “Magnifico”, which plays out more like a psych rock track fused with smatterings of dub than a something from a hip-hop record – it exhibits the vast differences weaved into the LPs sound.

Throughout the album’s 13 tracks it moves, expands and changes shape from start to finish, offering a flavour for everyone. However, sometimes a jack of all trades disappoints more than pleases, as inevitably some things will fall short of our expectations. There are hints of greatness within the album, but some tracks grind sonically. It will no doubt do very well, but offers itself in fractions to a smorgasbord of differing stylistic preferences, thick and rich as it is.