Kingcrimsonprog

Jimmy Neeson
MMA Special Collaborator · Honorary Collaborator
Registered more than 2 years ago · Last visit 14 days ago

Favorite Metal Artists

All Reviews/Ratings

812 reviews/ratings
MASTODON - The Hunter Progressive Metal | review permalink
MASTODON - Crack The Skye Sludge Metal | review permalink
MASTODON - Blood Mountain Sludge Metal | review permalink
MASTODON - Leviathan Sludge Metal | review permalink
MASTODON - Live At The Aragon Sludge Metal | review permalink
AMON AMARTH - With Oden on Our Side Melodic Death Metal | review permalink
AMON AMARTH - Twilight of the Thunder God Melodic Death Metal | review permalink
AMON AMARTH - Wrath of the Norsemen Melodic Death Metal | review permalink
AMON AMARTH - Surtur Rising Melodic Death Metal | review permalink
ANNIHILATOR - Live at Masters of Rock Thrash Metal | review permalink
ANTHRAX - Worship Music Thrash Metal | review permalink
ARCHITECTS - The Here and Now Metalcore | review permalink
BRING ME THE HORIZON - Suicide Season Metalcore | review permalink
CARPATHIAN FOREST - We're Going to Hollywood for This Black Metal | review permalink
CHIMAIRA - Chimaira Groove Metal | review permalink
CHIMAIRA - The Infection Groove Metal | review permalink
CHIMAIRA - The Dehumanizing Process Groove Metal | review permalink
CHIMAIRA - Coming Alive Groove Metal | review permalink
CLUTCH - Live in Flint, Michigan Stoner Rock | review permalink
CLUTCH - Blast Tyrant Stoner Rock | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Heavy Metal 102 4.00
2 Thrash Metal 89 4.22
3 Hard Rock 62 3.65
4 Power Metal 60 4.12
5 Groove Metal 55 4.36
6 Stoner Metal 39 4.19
7 Nu Metal 36 3.85
8 Death Metal 34 3.74
9 Stoner Rock 32 4.39
10 Progressive Metal 31 4.21
11 Metalcore 30 4.35
12 Alternative Metal 27 3.87
13 Heavy Alternative Rock 26 4.00
14 Melodic Metalcore 25 4.28
15 Industrial Metal 24 3.94
16 NWoBHM 18 3.72
17 Sludge Metal 14 4.54
18 Melodic Death Metal 11 4.41
19 Metal Related 10 4.40
20 Non-Metal 9 3.72
21 Hardcore Punk 8 4.13
22 US Power Metal 8 3.94
23 Glam Metal 7 3.36
24 Gothic Metal 7 3.14
25 Proto-Metal 6 4.00
26 Rap Metal 5 3.70
27 Black Metal 5 3.90
28 Doom Metal 5 4.40
29 Atmospheric Sludge Metal 4 3.38
30 Speed Metal 4 3.00
31 Symphonic Black Metal 4 3.00
32 Melodic Black Metal 3 3.67
33 Grindcore 3 1.83
34 Death 'n' Roll 2 4.50
35 Heavy Psych 2 3.75
36 Crossover Thrash 1 3.50
37 Funk Metal 1 3.50
38 Deathcore 1 3.50
39 Technical Death Metal 1 4.00
40 Technical Thrash Metal 1 2.50

Latest Albums Reviews

HELLOWEEN United Alive

Movie · 2019 · Power Metal
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Imagine a Judas Priest show with both Tim Ripper Owens and Rob Halford singing together. No wait… Imagine a Sepultura show with both Max Cavelera and Derick Green singing. No wait, that’s not even it. I’ve got it… Imagine an Iron Maiden show with Paul Dianno, Bruce Dickinson and Blaze Bailey all singing. Well, maybe, if Dickinson had left after four albums and Blaze had been there ever since. Ok, Now swap out the zombie mascot for some comedy pumpkins and you’re approaching the situation here. Helloween, one of Germany’s biggest and most important bands, one of the most iconic Power Metal bands in history, with one of the most impressive family trees (Gamma Ray, Masterplan, Freedom Call, Unisonic, Iron Savior etc) make one of the most anticipated decisions in the history of the genre.

Who is your favourite Helloween singer? Is it Kai Hansen, the heaviest singer and the original? Is it Michael Kiske, the most technically accomplished and the one from their most iconic record? Or is it Andi Deris, their best frontman and the singer on the most albums? – Turns out, now you don’t have to choose. United Alive, the live video from the Pumpkins United tour sees all three join the stage together, cracking out a career spanning mixture of material from the earliest thrashiest material to the modern gems, with all the iconic genre defining masterpieces from the peerless Keepers’ era sprinkled in too.

There are over 20 tracks here (some are intros and solos, and some are medleys/combinations, but still…) that’s a lot of Helloween. All three singers take it turns to sing. Sometimes not even a song each, but rather dividing it up section by section inside each song, or all at once. It is very welcome to hear them back on some of their own tracks like ‘Heavy Metal Is The Law’ after not hearing it on the other live videos, or ‘Dr. Stein’ after having heard only Deri’s take on it previously. Conversely it is very interesting to see Kai or Kiske sing on some of the big commercial ‘90s/’00s hits like ‘Perfect Gentleman’ or ‘If I Could Fly.’

There are often 7 members on stage at the one time (or 8 if you count the keyboardist, Eddy Wrapiprou). There’s Weikath and Grosskopft on guitar and bass as always. Sascha Gerstner and Daniel Löble on guitar and drums like the last several albums. And the three aforementioned singers (with Kai also playing guitar).

There’s a mix of footage, ranging from headline shows in Madrid, Spain to festival appearances at Wacken and in Brazil. Sort of like they did already on their previous ‘Legacy World Tour 2005/2006 DVD.

Normally I really prefer a concert DVD to come from one single show, rather than complied from a series of different dates in different places with different lighting, sound and camera work, but given that the band itself is now a compilation of past and present members and some of the songs included are medleys, I don’t know why but it just works here.

The band put on a great show. There’s a lot going on. There’s video screens, a big pumpkin stage set piece around the drum kit (which has 4 kickdrums for some reason, just to add to the over-the-top feel of it all), a light show, and a few cheesy moments like members coming out dressed in a top hat and cane, or raining pumpkin balloons.

Deris, ever the consummate front man is great at revving up the crowd, and then the different members get spotlights for certain tunes and join up on others, there’s prolonged solo segments, a tribute to late drummer Ingo Schichtenberg, its all very diverse and entertaining. They even do a stripped-down bare bones version of the ballad ‘Forever And One’ straight after a super heavy Walls Of Jericho/EP medley, which pretty much shows both polar opposites of the band’s varied discography.

There’s multiple different ways you can buy it. DVD, Blu Ray, combinations thereof. Versions with CDs. The version I got it two Blu Rays. One with the concert and one with a load of extra footage. There’s a few extra songs (Including the underrated ‘Kids Of The Century’ from the oft maligned Pink Bubbles Go Ape album). There’s a bunch of behind the scenes footage looking at various aspects of the tour and production. It comes in a nice shiny digi-book with some brief liner notes and a glossy photo booklet. You know, just as if it wasn’t value for money enough already with an almost three-hour concert of a Helloween fan’s wildest fantasy line-up.

As a concept you really have to hand it to them; its quite a clever move to reuinite with past members without losing current members as some fans never got over Kiske leaving the band or only ever even tried the Keepers albums. Some fans really love the Kai era and you never get to see Helloween play much material from it anymore (you only really get the chance if he chucks one in to a Gamma Ray show some time). Its a great idea to reel them back in and show them how great the Deris era can be too. Come for ‘Halloween’ and ‘Future World’ but stay for ‘Sole Survivor’ and ‘Power’ then learn to love the Deris era if you don’t already.

Thankfully though, its not just the concept that’s good. The whole package is good. The sound, footage, editing and bonus material. Most importantly though, the performance. It doesn’t come across as a novelty cash grab, it really feels like a jubilant celebration. As they say in the opening track ‘Halloween’ ”There’s magic in the air.” This may be cheesy to say (but hey, if you like Helloween, you better be used to cheesy) but it really is a heavy metal dream come true. Buy it!

OVERKILL W.F.O.

Album · 1994 · Thrash Metal
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W.F.O (Wide Fucking Open) is the seventh full-length studio album from the East Coast Thrash Metal legends, Overkill. It is an interesting bit of history for the band.

Their first five albums are all absolute classics of Thrash Metal, their sixth album was a diversion into Stoner/Groove Metal territory, but this seventh album is a quick return back to Thrash again, and yet, as it came out in 1994, it still has some Groove to it. It is their return to Thrash and yet it also isn’t pure Thrash all the way through.

The album is pretty damn good. There’s a good mix of fast and slow, modern and old school, familiar and variety. There are some real memorable songs, like ‘Fast Junkie’ ‘Supersonic Hate’ ‘Gasoline Dream’ and ‘Where It Hurts.’ Some of these ended up on the band’s later live albums. There’s also a weird bonus track where they jam out a few cover songs like Voodo Chile and Heaven & Hell.

Interesting fact; the third track uses the same ‘Here comes the pain’ sample that Slipknot use on their debut album.

The downside of the album however, is it has a really weird production job. It has a very loud clunky bass tone, muddy drums, muffled guitars and vocals too low in the mix. Some people can’t get past it. I don’t really notice it when listen to the album on its own, but if you add the songs to a playlist or hear them on shuffle amongst other albums, then it really does stand out as sounding quite unusual.

It isn’t an absolutely essential album like their first five albums are, but I would still recommend it to any warm blooded Thrash fan (or Fast Junkie), who is looking for more.

KILLSWITCH ENGAGE Atonement

Album · 2019 · Melodic Metalcore
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2019’s Atonement is the 3rd album since Jesse Leach rejoined the iconic metalcore band, Killswitch Engage. I’ll skip to the end right away and say this album is no disappointment. There are a bunch of new songs fit for any future KSE live sets or compilations.

The sound, performance and production are all top notch. More or less similar in quality to the past two albums. Sonically; it is crystal clear and perfectly produced. As classy as you can get without tipping over into overproduced. The band pound away with the same ratio of aggression and contemplation, and nail it perfectly.

Unusually for Killswitch, there is a guest vocal performance from an outisder, from Testament’s Chuck Billy. They add him over one of the thrashier songs (‘The Crownless King’) and he really suits the music. Also; in contrast to the outsider guest spot, and in a nice mirror to Jesse Leach’s guest vocal performance on The End Of Heartache, during the time that Howard Jones was the singer, now that Jesse is the singer, Howard Jones pops up here for a guest vocal performance, on the track ‘The Singal Fire.’

I’m not just saying it due to the above fact, but the best song on the album is definitely ‘The Signal Fire.’ Next time I see Killswitch I really hope they play it live.

Other highlights include the opener ‘Unleashed’ and ‘I Can’t Be The Only One’ (which I imagine will become a single and a live favourite). I am also rather fond of ‘Know You Enemy’ which channels Dimebag at times in the riffs, and the album closer ‘Bite The Hand That Feeds’ which is arguably the fastest and heaviest one on this album. There’s plenty of new songs to get excited about, and very little if any in the way of filler.

Initially I was a bit sceptical about this album before getting it, as they said it was their most diverse album to date, and then the first song they released from it, ‘I Am Broken Too’ wasn’t exactly a big rager like ‘In Due Time’ or ‘Strength Of The Mind’ or ‘This Is Absolution’ …and I feared that they might be loosing their touch. Luckily the album is not all in that style anyway. And furthermore, do you know what? The more I listen to that song, the more I like it. It may be a bit mid paced and overly earnest, but dammit if that chorus doesn’t sound better and better each time I play it. As long as there are ragers there too, it doesn’t hurt to have a calmer moment to break things up.

Overall; this is a very strong album and a welcome addition to the Killswitch catalogue. If you don’t like Killswitch already, it won’t change your mind, for all the media talk of it being their most diverse album, it pretty much sounds like modern Killswitch and nothing else for the majority of its duration, but if you like modern Killswitch you shant be disappointed, as it is an expertly performed, produced and written modern Killwitch album, and that’ll do just fine.

FLAW Vol. IV Because Of The Brave

Album · 2019 · Nu Metal
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I really enjoyed the 2001 debut album Through The Eyes from Kentucky Nu Metal band Flaw, they were always one of the more underrated bands from that particular subgenre and the quality of their debut is up there with any of their more famous peers. I saw them live in 2002 and they were really good. Maybe the market was just saturated, at the time, maybe they didn’t get the right exposure, who knows? Maybe the manager didn’t land them the right tour…who knows? All I know is it sure as hell wasn’t for lack of brilliant songs that they aren’t as big as they should be. The follow up, Endangered Species was pretty good, but it came out when Nu Metal was falling off the map and hardly anyone heard it. I wanted it but didn’t ever find it in any music stores at the time, and this was before the internet was an obvious way to get albums. I’m sure you could, but I didn’t think of it yet.

Cut another 15 years forward to 2019, the band have gone through line-up changes (Wikipedia lists 19 ex-members, that’s up there with Cradle Of Filth and Annihilator for turnover), solo albums, a self-produced album and a reunion/comeback. The second album since their comeback, Vol. IV Because Of The Brave is now out, and it reminds me once again what a solid and dependable band Flaw are. It reminds me what an excellent vocalist Chris Volz is. It reminds me how entertaining Nu Metal can be when its done right.

It’s a decent album. 35 minutes, doesn’t overstay its welcome. Fair production job. Good solid songs. A typically excellent vocal performance from Chris Volz. There’s also a few surprises. ‘Wake Up’ for example sounds a bit more like Korn than Flaw. The album closer, ‘Lest We Forget’ is pretty interesting too. Its sort of mid paced alternative metal with spoken word kind of reminds me a tiny bit of what Queensryche were doing on American Soldier.

Highlights include the opening one-two punch of ‘Persistence’ and ‘Walk The Line’ as well as single ‘Conquer This Climb’ (which seems to be a bit more modern and almost slightly Djent flavoured for the first few seconds before it turns to the classic Flaw sound – but with a rather tasty guitar solo).

If you have any inclination to check out Flaw for the first time, then obviously, go for their by now classic debut first. This is good but its not as good as the first two albums. But if you are a fan you can relax knowing the band are still here, still putting out music, and aren’t disappointing. Overall; A welcome addition to the Flaw catalogue, if you are into that sort of thing (which I certainly am).

SLIPKNOT (IA) We Are Not Your Kind

Album · 2019 · Alternative Metal
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I’ve said it before, but I don’t think in my life I have listened to any album more than Slipknot’s 1999 debut. I got into the band my first year of high-school and for my generation they were the biggest and most important band in the world, the way Metallica and Maiden were for people starting school in the ‘80s, or Pantera were for people starting school in the ‘90s, or Zeppelin and Kiss were for people starting school in the ‘70s.

Slipknot were more than a band; they were so much more in my mind. I can’t count on two hands the number of pictures I drew of them, or discussions I had with school friends about them or magazines I bought just because they were in it. The first time I saw them live, on the Iowa cycle at Belfast Odyssey Arena, is one of the most memorable concerts I have ever been to. I don’t want to throw around terms like life-changing in my old and cynical age, but if I was to apply such an epithet to any band, Slipknot would be the one.

To some extent I like everything they have ever done. I am a bit of a lifer and so this review isn’t exactly going to be impartial or unbiased. But I am not 100% blind and unwilling to think critically either so I’d like to say you can trust what I say. I will admit All Hope Is Gone is not as good as the others. I’ll be happy to admit that there quite a few lyrics I dislike and sometimes Shawn’s video projects are a bit too arty and pretentious and that maybe a straighter take might do the band more favours. I’ll even admit that some songs I like have choruses I dislike even if the rest of the song is enjoyable. (‘Sulpher’ for example has a chorus I always seem to resent, as it represents the band going a bit too far away from what made me like them in the first place). I did get a bit sceptical when a few too many clean vocals started creeping in and what were amazing and refreshing moments of clean (‘Me Inside’) amongst the heaviness became the norm and it started to seem almost every song had to have a radio chorus.

A lot of people aren’t so keen on the band’s last two albums, All Hope Is Gone and .5 The Gray Chapter, so you can expect the reviews for this will all certainly feature some kind of ‘return to form’ or ‘best since’ line or two. Now; as I said, I like every album Slipknot have ever made (and probably every song too, its just some parts I am not keen on)… but I both can and can’t see why this ‘return to form’ thing is going to be so prevalent.

Now; I think The Gray Chapter is brilliant. I’ve been reading a lot of negative things about it online in the build up to We Are Not Your Kind’s release. I don’t agree with the narrative that it was a rushed or undercooked or too much like Corey’s other band Stone Sour. Tracks like ‘Custer,’ ‘Sarcastrophe’ and ‘The Negative One’ are rabid and savage, and even though I sort of resent them, I can’t deny the radio moments like ‘The Devil In I’ are damn catchy… However; In the same way I initially hated ‘Psychosocial’ when I first heard it for the big clean radio chorus that felt like a change in what the band was trying to be and what they represented, I can see how the cleaner moments on the Gray Chapter would put people off. I mean in isolation I like almost every one of them anyway, but I just wish on principal that on the last three albums there were a few more ‘Disasterpeice’ and ‘Metabolic’ style choruses and a few less ones like those of ‘Dead Memories’ and ‘Before I Forget.’ I reckon a lot of other older fans feel the same way.

We Are Not Your Kind seems to be blowing a lot of people’s skirts up for its heaviness and brutality. There is plenty of it on here. ‘Orphan,’ ‘Red Flag’ and ‘Nero Forte’ all connect like a haymaker to the face. Corey did say in interviews while it was being written that it reminded him of Iowa and on these songs you can sort of see why he might have thought that if they were the ones he was working on at the time.

But this album has plenty of clean moments too. Hell; the first real song (track 2) on every other Slipknot album is always one of the fastest, heaviest, most brutal ones on the record, and yet here, track two is the big single ‘Unsainted’ with its absolutely huge radio chorus and festival sing-along intro. So the public’s different reaction to ‘Gray Chapter and We Are Not Your Kind can’t just be about heavy vs. clean.

One thing that is clear is that the songs on this, their sixth official studio, album are just really good. It might be that simple. The first distorted verse to ‘Unsainted’ is fierce as honey badger and the drums throughout are really impressive and energetic. The way Jay flails sideways into the china cymbal at unexpected times reminds me of what made the band’s debut so damn exciting.

You know what else makes this album so good? (Now; I’m not saying it wasn’t there on the last two albums, but…) on this album the amount of time given over to the band’s extra members and how high they are in the mix seems to be higher on this record. Lots of Sid’s DJ scratches. Lots of additional percussion from the two extra percussionists. Lots of samples and sounds from the mysterious Craig. It feels like this album really goes out of its way to justify having all nine members and revels in what makes Slipknot unique… After the massive success of Vol. 3 and its radio singles and ballads, it felt like on the follow up, All Hope Is Gone that the band were trying to be more of a ‘normal’ band instead of celebrating their uniqueness. Here they seem to shine a spotlight on them more often.

What else is great is that the band aren’t afraid to do new things. ‘Birth Of The Cruel’ for example sees the band discover ‘90s Groove Metal, and lean into the sort of riffs and drum beats that would fit on Burn My Eyes or Chaos Ad at times, with bendy riffs, and stomping jarring rhythms. Obviously through a Slipknot filter, but still…

I think the best thing about the album though might well be the fact that Corey isn’t holding back with his vocals so much. On the first album he screamed his head off so much that we were told he wasn’t allowed to talk between shows so he could rest his voice. By the time Vol. 3 came around he had to find a way to scream without damaging his voicebox and came up with the new voices that he has been using on that and all subsequent albums. It feels at times though that on this album (and maybe ‘Custer’ off of the last album… because as I said, I don’t get the hate for that one) that Corey is back to shredding his throat to pieces like back in the glory days. Some of the vocals on ‘Red Flag’ and the start of ‘Orphan’ could be straight out of ‘People = Shit’ or ‘The Heretic Anthem’ and that is the sound I fell in love with all those years ago. That was a big part of the initial magic that hooked me in and made me such a lifer for this generation defining band. Corey howling himself hoarse is just one of the best noises in all of heavy music and its nice to hear it so much again.

The production is also good, it keeps the mix clear without losing the frenzied and chaotic feel too much on the heavier tracks. You can hear each beater on the kick drum, you can hear the bass under the vocals, but you can also tune out and just be swept away in the energy of the whole thing. It doesn’t feel like the edges have been sanded down too much.

One little minor niggle against the album is the exclusion of the track ‘All Out Life’ (which was separately released back around Halloween 2018, but it contains the title line ‘We Are Not Your Kind’ repeatedly chanted). Admittedly; There was one bit I didn’t like in it, where they slow down and there is the spoken word ‘‘I will not…’’ section that was a bit similar to the intro of ‘Pulse Of The Maggots.’ Otherwise however, that track was quite a rager. I really love how driving the first verse is and when he sings that ‘’the horizon is coming like a hellbent killing machine’’ you really feel this sense of urgency and momentum. I have just added the track in as number 15 on my iTunes and phone so I get to hear it every time I hear the album (which has been pretty much non-stop since release). If you want it on CD though, you’d have to buy the special Japanese bonus track edition. Bit of a shame though that everyone doesn’t just get it as standard, because it’s a great song that I’ve really grown to love and it fits into the album well.

I feel it’s a bit weird to leave it out, as the biggest complaint I have about The Gray Chapter is that it needs just one more heavy song to balance the album out. It’s a bit frustrating to see them make the same decision again. I mean don’t get me wrong; I like ‘A Liar’s Funeral’ and ‘Not Long For This World’ and their atmospheric build ups. (Slipknot have always been the master of that, with the likes of ‘Gently’ and ‘Skin Ticket’ in the good old days, and ‘If Rain Is What You Want’ recently). But what right-minded metal fan wouldn’t want the majority of a Slipknot album to be flailing double kicks and gnarly riffs?

Now I don’t want it to be exclusively speed and power. Slipknot’s diversity is as big a draw as their ferocity. The band have always had a creepy experimental side (often driven by Shawn) to balance out Joey and Mick’s love of Deicide and Morbid Angel. All the way back to ‘Tattered And Torn,’ ‘Frail Limb Nursery’ and ‘Scissors’ from the debut and evolving into things like ‘The Virus Of Life’ and ‘Danger Keep Away (Extended Version)’ they have been balancing out the aggressive songs with nightmarish moments. They have also been experimenting with clean and subtle moments on recent albums like ‘Killpop’ and ‘Goodbye.’ So you can sort of see the legacy and evolution there and so it isn’t a total bolt out of the blue, when this album takes the cleans and mixes them with the creepy to come up with a new sound. I have read a lot of reviews of this record saying this record is dominated by experimentation. You can sort of see why. The album is full of creepy nursery rhyme-meets-experimental electronic tracks. ‘Death Because Of Death,’ ‘What’s Next,’ ‘My Pain’ and ‘Spiders’ for example come across at the same time as being both something that the band has never done before but also as a continuation in their long line of broadening the scope of their albums by adding in something more esoteric.

This album is certainly diverse; you have the four aforementioned quiet creepy ones, you have the two above-mentioned atmospheric ones, a selection of ragers as discussed prior, the huge big radio single with the surprisingly heavy verses and great drumming to open the proceedings. There’s also ‘Critical Darling’ which toes the line between radio and rager with its chorus reminiscent of Alice In Chains’ track ‘God Smack,’ and then there’s the album closer ‘Soloway Firth,’ which is a sprawling, strangely structured and winding song that goes in many different directions and which requires a good few listens to even pin down and follow what’s going on. Its not prog, but its certainly not three-chord trick, verse-chorus-verse, rock either.

All in all it is a very interesting listen (even without adding in ‘All Out Life’ for heaviness sake). I don’t want to go and say ‘’The best album since…’’ because I am really fond of all their albums, but it is certainly really good. Really, really good in fact. As a bit of an over eager fan it certainly satisfies, but objectively it is a damn fine record with a good flow, a good balance of different directions, a good sound and fantastic vocal performance. It not only meets my high expectations but exceeds them.

Latest Forum Topic Posts

  • Posted more than 2 years ago in MMA's Top Stoner Metal Albums
    Shit, that's hard. Three-way-tie for me between Welcome To Sky Valley, Blast Tyrant and Deliverance.
  • Posted more than 2 years ago in Helloween Albums (Updated 2016)
    Keeper 2, Then 1, Then Oath, Then 7 Sinners, Then God Given Right.
  • Posted more than 2 years ago in People's reaction after finding out you like metal
    I got nothing but grief for it in high school. Constant teasing, people shouting in the street from moving cars, people squaring up and starting fights, always having people talk shit behind my back. I even remember going up to a bar once and the non metal guy at the bar just looked pure hatred into my eyes and said 'get out of my face you're making me fucking sick.' That was a small, backwards town full of racists, homophobes and general idiots anyway though. In university it was just a bit more like, oh, well, I'll not be your friend but I won't actively be a dick about it. Nowadays as an adult, people just look at me like 'Why?' My stock answer is either 'Some people like horror films, if music was film, metal would be horror.' Or 'Not everyone can eat really spicy food, but that doesn't mean no-one can.' I generally don't bring it up. Recently, one of my co-workers noticed a motorhead pin on my backpack, and decided to throw the horns at me instead of greeting me for the next month or so, but not in a mean spirited way. 

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