Kingcrimsonprog

Jimmy Neeson
MMA Special Collaborator · Honorary Collaborator
Registered more than 2 years ago · Last visit 1 day ago

Favorite Metal Artists

All Reviews/Ratings

830 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 96 4.02
2 Thrash Metal 96 4.23
3 Hard Rock 62 3.65
4 Power Metal 60 4.12
5 Groove Metal 58 4.37
6 Stoner Metal 41 4.18
7 Nu Metal 36 3.85
8 Progressive Metal 35 4.26
9 Death Metal 34 3.74
10 Stoner Rock 32 4.39
11 Metalcore 28 4.32
12 Alternative Metal 27 3.87
13 Heavy Alternative Rock 26 4.00
14 Melodic Metalcore 25 4.26
15 Industrial Metal 24 3.94
16 NWoBHM 18 3.72
17 US Power Metal 18 3.89
18 Sludge Metal 14 4.54
19 Melodic Death Metal 11 4.41
20 Metal Related 10 4.40
21 Non-Metal 9 3.72
22 Glam Metal 8 3.25
23 Hardcore Punk 8 4.13
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 Atmospheric Sludge Metal 4 3.38
29 Doom Metal 4 4.50
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 Funk Metal 1 3.50
37 Deathcore 1 3.50
38 Crossover Thrash 1 3.50
39 Technical Death Metal 1 4.00
40 Technical Thrash Metal 1 2.50

Latest Albums Reviews

FIVE FINGER DEATH PUNCH F8

Album · 2020 · Groove Metal
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Five Flavour Fruit Punch, Five Finger Butt Plug, Nickleback For Juggalos; call them what you want, but I am an absolute mark for Las Vegas’ biggest Metal band, Five Finger Death Punch, and their Melodic chorus/Pantera-verses/Blunt-ignorance formula. It just always hits the spot somehow.

That being said; two out of their last three albums have been weaker than their usual standard, and a lot of high profile intoxication, protracted label legal issues, loss of a key member and an on-stage meltdown plastered all over the media have somewhat tainted the band’s rising-star vibe.

Its nice to say however; that their latest album, their eighth studio album, 2020’s F8 (Fate), sees the band clear-headed, sober and once again delivering the goods. You can hear singer Ivan Moody venting all that aforementioned baggage on the excellent tune “Bottom Of The Top” which is one of the highlights musically and lyrically. The quality of song-writing here is a lot stronger than their …And Justice For None record, and the performance is a little less robotic. That album had the air of disharmony about it, whereas F8 sounds like a band really gelling and coming together. For those who like the band at their faster and heavier, “This Is War” & “Scar Tissue” are the standout moments. If you prefer the band doing ballads and poppier moments, it’s the acoustic with electro-drums “A Little Bit Off” that you need to check out.

This is their first album without their key drummer Jeremy Spencer, who was such a big part of their sound, its hard to imagine the band without him. (I recently read his autobiography, and it’s a bit of a depressing tale of addiction, infidelity and recurrent erectile dysfunction that gives a good insight into the inter-band relationships, but definitely signposted that he wasn’t going to stay in the band forever!). Charlie Engen takes the drum throne this time around, and is a capable replacement, but maybe lacking a bit in personality on this particular record. I think much like Slipknot’s Jay Weinberg, it will take until the next album until we really see his potential. I don’t reckon you’d want to make too many waves on your first appearance.

I saw the band live just before this album was released, and it was absolutely glorious. I had been following them since their sophomore record had just been out and they were only starting to get noticed, and have been a day one purchaser on most of their albums to date, and it was amazing to see them not only playing arenas, but utterly captivating them. They dropped some new material from this record and it fit in perfectly with a hits-laden set. ‘Inside Out’ in particular feels like it will stay in their live set from now until retirement.

Its not hard to imagine that in the future, F8 will be looked back upon as one of the band’s better albums. Its not a Dr. Feelgood style new beginning, but it is a focusing and strengthening of the existing formula with simply better songs. (Does that mean its their Razor’s Edge? I don’t know…)

PROTEST THE HERO Palimpsest

Album · 2020 · Progressive Metal
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Canada’s Young Punk-Turned-Mature Prog act, Protest The Hero return in 2020 with their fifth full-length studio album, Palimpsest. It follow’s the creatively marketed and disturbed Pacific Myth EP from four years earlier, and is their first proper length album since 2013’s superb Volition (remember, the crowdfunded one with Chirs Adler from Lamb Of God on drums?).

PTH have been one of my favourite bands for years and years now. Their ridiculously-good debut album Kezia could well be in my top 10 albums by any band ever. I’ve seen them live a few times and utterly loved it. They haven’t released a record yet that I haven’t liked. So, you’ll have to forgive me if this review is a little biased, ok?

If you don’t know the band; they are a very techy, slightly complex, musically ambitious band focused on baffling guitar lines, awkward drum patterns, but anchored by a really emotive and varied singer who delivers their really insightful and creative lyrics with such power and personality thatI it gels into this really powerful whole that somehow seems catchy and fun despite how difficult it would be to actually play or hum along to otherwise. There’s also a sort of maturity and balance to it. It isn’t jarring mixes of styles, its all very cohesive.

As they’re such a varied band, its hard to know who to recommend them to fans of? Megadeth due to the guitar wizardry? Periphery due to the techy nature? Letlive due to the really powerful vocals and lyrics? Dream Theater due to the ambition? Killswitch Engage, as if you are the kind of person who hates anything ‘core then major aspects of the band’s sound might scare you off? All or none of the above? I don’t know.

This fifth album is both a mix of various areas they’ve tried before on other releases, and in some cases trying new things and breaking new ground.

A lot of the reviews I’ve read about this album focus on how guitar and drum parts are sort of reminiscent of the band’s first two albums, Kezia, and the ever-popular Fortress (I guess them recently touring doing Fortress in its entirety live might’ve affected their song writing – ‘Soliloquy’ and ‘Gardenias’ in particular stand out as being Fortress-like). But equally, I can hear a lot of the touches from their more recent album and EP, some of the orchestral touches like the end of ‘From The Sky’ & ‘Little Snakes’ are reminiscent of things they’ve tried on tracks like ‘Caravan’ a few years ago, and shimmering guitars from the break in ‘The Fireside’ could be on one of the deep cuts from Voltion. Most of all, some of the newer vocal styles that developed over the years wouldn’t be heard on those first two albums. There’s also parts that don’t sound anything like they’ve done before, such as the grand sweeping opening to the first track. This album is definitely more of a culmination of a whole career rather than a rehashing of the past.

My only minor flaw with the album is that it would probably be better if track eight was the closer, it has the perfect endeding with the nice little piano outro there.

Lyrically; this is a very interesting album, covering topics from the Hindenburg disaster, the plight of the Native Americans, female aeroplane pioneer Amelia Earhart and even the Make America Great Again movement from the perspective of outsiders. As always, its not even so much the topics but the balanced, intelligent and interesting ways in which they are discussed and the clever ways they’re turned into catchy lines you just want to shout out at a concert.

Highlights include the speedy ‘All Hands,’ the heavy ‘Soliloquy,’ the ambitious ‘Little Snakes’ and perhaps most of all, the feminist themed single ‘The Canary’ which is boundlessly catchy and sticks in my head for hours after every listen, (the pre-chorus is as good as the best chorus on most albums, the part where it says “7,000 miles of ocean stand between me and my destiny/Somewhere beyond it or inside it” puts chills down my spine).

Even after being out a few months, its still hard to know where to place this album ranked in the band’s discography, they’re the kind of band like Tool or Opeth that give more and more on every listen and everything they do is a grower that you don’t fully get all the nuances of on first listen, but my first impressions so far are that while it doesn’t dethrone my number one spot, it is definitely a damn fine album and in the upper half of the discography. If you aren’t a fan yet, it should be a great entry point, and if you are a fan already there’s no way you could be disappointed.

METAL CHURCH The Human Factor

Album · 1991 · Heavy Metal
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eattle’s Metal Church are an interesting band, hard to place. They can sound like a mixture between (fellow Seattle band) Queensryche and early Savatage at times, basically writing Thrash Metal at other times and writing big ‘80s Power Ballads at other times.

The previous album was a bit more serious and proggy. The one before that was their thrashiest of the early records and the one after this goes a bit stripped down. They cover a lot of ground, but I like all of their solid and diverse first five albums more or less equally.

Well, with one exception. Their fourth album, 1991’s The Human Factor is by far and away my favourite. This album is an absolute stand out. I don’t know what happened here, if it is the production, the song writing, or the performance, but this album just utterly smokes.

The album is consistent from beginning to end in a way that makes it hard to choose highlights. There is the ridiculously catchy hard rock single ‘Date With Poverty’ with memorable guitar hooks, there is the furious blood pumping Thrash attack of ‘The Final Word,’ ‘The Fight Song’ and ‘Flee From Reality.’ The opener ‘Human Factor’ has the same confidence of Symbol Of Salvation era Armored Saint.

Lyrically the album is really interesting too. ‘In Mourning’ is similar to Sacred Reich’s ‘Who’s To Blame?’ in the Metal-doesn’t-cause-suicide theme. ‘The Final Word’ seems to be a patriotic song about the good sides of America, ‘Date With Poverty’ is a socially aware track.

Musically, the album is utterly bombastic. The Marshall/Wells guitar team fill the album with a barrage of riffs and solos. The Erickson/Arrington rhythm section is on point. But the real star here are Mike Howe’s incredible vocals. The man has ‘some serious lungs on him’ as they say, an utter superstar vocal performance that elevates the record far above the competition. I mean as much as I have been big-ing up the album’s heavier moments, on ‘Agent Green’ (which seems to be an attempt to improve upon the popular ‘Watch The Children Play’ from the previous album) he sounds almost like Geddy Lee at times.

Overall; this album is great album in every way. It sounds great. The songs are great and the performances are particularly great. I would absolutely recommend this to any fan of Hard Rock, Metal.

METAL CHURCH Hanging in the Balance

Album · 1993 · Heavy Metal
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I’m sure in 1993 after Badmotorfinger, Ten and Nevermind, this may not have been the most popular album out of Seattle, but looking back at this objectively through 2020 goggles it is a damn fine follow-up to their excellent Human Factor album.

This isn’t the album that makes it into all the top-metal album lists, like their earlier work, but it is a fine addition to the discography and one not to be overlooked. It has a fantastic production, partially from Paul O’Neill who was involved in many of the best Savatage albums. Mike Howe’s powerful vocal work is simply superb (shame he would leave after this record). The lead guitar work is very entertaining, a bit bluesier than their earlier albums. The lyrics are quite interesting too, ranging from topics of racism, nuclear bombs, alcoholism, politics and change.

Stylistically; like all Metal Church albums, it sounds different from the last one, but caries something over. They really never make the same album twice. This album doesn’t have the early-Queensryche meets early-Savatage similarities of the self-titled debut, or indeed the Thrash tinges of The Dark; but what it does have is a huge upswing in the level of Rush influence. Little guitar lines here and there, vocal melodies, even a whole vibe of a song (‘Waiting For A Savior’). There’s lots and lots of Rush inspiration coming out at all angles. Its arguably the least heavy and most melodic of their pre-breakup albums. There’s a real good acoustic/electric dynamic going on a lot of the time.

That’s not to say its all Rush all the time. Tracks like ‘Conductor’ & ‘Down To The River’ are still metallic and energetic, while ‘Losers In The Game’ even goes as far as to borrow a few vocal patterns from Judas Priest’s ‘Breaking The Law.’ On the other side of the spectrum, ‘Hypnotized’ seems to be attempting a tip of the hat to Alice In Chains. Speaking of which, Jerry Cantrell provides some guest guitar work on the opening track!

If I was to make a critique of the album, I would propose that it is a tad overlong, and could do with being maybe two tracks shorter, or having a minute shaved off a few of the songs instead to tighten it up a bit, but that’s just nit-picking.

Ps. If there has ever been a case for ‘’don’t judge a book by its cover’’ then this is it. If you didn’t know about this band and saw this ridiculous album art, well, it wouldn’t inspire you just to buy it on spec, now would it? Luckily, whatever they loose in artwork taste, they make up for in musical taste.

MACHINE HEAD Civil Unrest

Single · 2020 · Groove Metal
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Civil Unrest is the new single from veteran Bay Area Metal band Machine Head. It is the third non-album single made since the controversial Catharsis album and their very public split with long term band members Phil Demmel and Dave McClain.

Some comments sections on the internet are absolutely lighting up at the moment with people shocked and appalled that Machine Head have suddenly made a political song about race relations due to current events in the news. The thing is though; Machine Head writing about racism is nothing new. Machine Head writing about politics is nothing new. Machine Head writing about current events is nothing new either.

Their last album featured the track ‘Bastards’ about the current political climate in the US, prior to that the non-album single ‘Is There Anyone Out There?’ was about feeling disbelief about and disconnected from racist musicians in the news at the time. Even on their classic The Blackening album there’s a track called ‘Slanderous’ full of anti-racism lyrics. Before that, their fan favourite song ‘Imperium’ opens with the line ‘fuck your prejudice.’ Oh yeah, and all the way back to their 1994 debut album Burn My Eyes they’ve been talking about racism and current events, like Rodney King and the L.A. Riots. Heck, on the track ‘Old,’ which is basically the title track of that album, the first thee words are ‘‘1994. Corruption. Racism.’’ That’s the current, political and racism boxes all ticked in the first 30 seconds.

In short, you really shouldn’t be surprised about it!

Now that the educational portion of the review is over, we can discuss the actual music. The first track, ‘Stop The Bleeding’ features guest vocals from Killswitch Engage’s Jesse Leach. I figure Rob must have decided to do this because the guitar itself is very Killswitch sounding. The first 30 seconds of the track could almost be Killswitch if you didn’t know any better. It’s a nice, catchy up-tempo riff, with a sort of loud/quiet dynamic. Towards the end though, it sounds classically Machine Head, slow riffs, harmonics, groove that could fit on the first two albums if the tone weren’t so bright. In the way Zakk Wylde has a signature sound, so does Rob Flynn. New drummer Matt Alston also does his best job of attempting to stay true to the established Machine Head style. Definitely not a throwaway song.

The next track on here is ‘Bullet Proof’ which is a lot heavier, dirtier and nastier. Its got a similar stock market/wall street lyrical theme as ‘In Comes The Flood’ from Bloodstone & Diamonds and musically it mixes the heavier moments from Through The Ashes Of Empires (think the ”On Your Grave I Will Stand” section of ‘In The Presence Of My Enemies’), with the clean-but-not-clean moments in the style of The More Things Change, topped off with the nice guitar solo trade-offs in the style of all the albums since and including The Blackening. Its basically a career retrospective in one song. For my money, this is probably the best individual song the band have put out since Bloodstone & Diamonds.

Overall, Civil Unrest is just two short and angry songs released spontaneously in a strange year, but if it is any indication of the future, I think maybe Machine Head should be album to find their feet again after their midlife crisis of the past few years.

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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