Necrotica

Brendan Schroer
MMA Special Collaborator · Prog/AG, Death, Alt
Registered more than 2 years ago · Last visit 36 days ago

Favorite Metal Artists

All Reviews/Ratings

1325 reviews/ratings
CRADLE OF FILTH - Dusk and Her Embrace Symphonic Black Metal
THE SMASHING PUMPKINS - Siamese Dream Heavy Alternative Rock | review permalink
OPETH - Still Life Progressive Metal
CORRUPTED - Paso Inferior Drone Metal
GOJIRA - The Link Death Metal
SYMPHONY X - The Divine Wings Of Tragedy Progressive Metal
METALLICA - Master of Puppets Thrash Metal
KREATOR - Pleasure to Kill Thrash Metal
DREAM THEATER - Images and Words Progressive Metal
THE DILLINGER ESCAPE PLAN - Calculating Infinity Mathcore
ALICE IN CHAINS - Dirt Alternative Metal
QUEEN - A Night At The Opera Proto-Metal
KAMELOT - The Black Halo Power Metal
PRIMUS - Tales From the Punchbowl Funk Metal
RED HOT CHILI PEPPERS - Blood Sugar Sex Magik Non-Metal
FOO FIGHTERS - The Colour and the Shape Heavy Alternative Rock
L7 - Bricks Are Heavy Heavy Alternative Rock | review permalink
RUSH - Hemispheres Hard Rock
KATATONIA - Last Fair Deal Gone Down Metal Related
JUDAS PRIEST - Painkiller Power Metal

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Progressive Metal 117 3.79
2 Non-Metal 113 3.50
3 Thrash Metal 110 3.73
4 Hard Rock 104 3.51
5 Heavy Metal 102 3.47
6 Heavy Alternative Rock 81 3.64
7 Death Metal 74 3.78
8 Alternative Metal 66 3.72
9 Power Metal 54 3.67
10 Melodic Death Metal 42 3.60
11 Metalcore 36 3.28
12 Deathcore 36 2.94
13 Technical Death Metal 36 3.81
14 Nu Metal 34 3.26
15 Metal Related 26 3.92
16 Proto-Metal 22 3.93
17 Technical Thrash Metal 18 4.28
18 Hardcore Punk 17 3.88
19 Mathcore 16 3.94
20 Avant-garde Metal 16 4.06
21 Melodic Metalcore 15 3.73
22 Black Metal 14 4.07
23 Groove Metal 13 3.65
24 US Power Metal 13 3.69
25 Funk Metal 12 4.04
26 Sludge Metal 11 4.14
27 Symphonic Black Metal 10 3.90
28 Grindcore 10 3.35
29 Glam Metal 9 3.44
30 Rap Metal 9 3.78
31 Symphonic Metal 8 3.63
32 Brutal Death Metal 8 3.88
33 Crossover Thrash 8 3.69
34 Industrial Metal 8 4.06
35 NWoBHM 7 3.86
36 Gothic Metal 7 3.29
37 Drone Metal 7 4.29
38 Atmospheric Sludge Metal 5 4.40
39 Speed Metal 5 4.10
40 Traditional Doom Metal 4 4.25
41 Cybergrind 4 3.75
42 Melodic Black Metal 3 4.17
43 Atmospheric Black Metal 2 4.00
44 Death-Doom Metal 2 4.00
45 Goregrind 2 3.50
46 Stoner Metal 2 4.00
47 Stoner Rock 1 4.00
48 Viking Metal 1 4.00
49 Folk Metal 1 4.50
50 Funeral Doom Metal 1 4.50
51 Doom Metal 1 4.00
52 Death 'n' Roll 1 3.50
53 Heavy Psych 1 4.50

Latest Albums Reviews

TOOL Fear Inoculum

Album · 2019 · Progressive Metal
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Tool’s fifth studio album is one of those projects that I don’t think most people had much faith in. Over a decade was spent waiting for it, getting to the point where several memes online mocked the band for their inability to stay on the same page and get the record done. I get the feeling many of us thought it would go the way of Half-Life 3 and become the musical version of vaporware, and the constant rumor mill from the band and media wasn’t convincing people otherwise. And yet… somehow, we actually made it. Fear Inoculum is out, and critics are already stumbling over each other giving the album (mostly) rapturous praise. Most of the public seems onboard for it too, giving kudos to the band for not missing a beat and swinging back stronger than ever. For the most part, I can agree with this.

Fear Inoculum is not the easiest experience to dive into; it runs at 80 minutes (86 if you’re talking about the digital version) across only 7 tracks, which means almost every song is over 10 minutes. That’s a lot to digest, and many of these songs run at very slow, almost doomlike paces. But, as usual for a latter-day Tool album, there’s plenty of dense progressive metal to sink your teeth into. You’ll find all the typical Lateralus-era stuff here; tribal rhythms, post-metal buildups and payoffs, subtle polyrhythms, and frequent dynamic ebbs and flows all make their way on this record. However, it’s important to note that the buildups are much more lengthy and detailed this time around. In fact, I’m a little shocked that the title track was able to become a charting single, given the fact that the song doesn’t really get off the ground until about halfway into its 10-minute runtime. I suppose that’s the power of hype and expectations after such a long wait from the band’s devoted fanbase! Anyway, these long runtimes work better for some songs than others; “Pneuma” and “Invincible” are fantastic examples of balancing their buildups and payoffs perfectly for emotional effect, especially in the way the latter combines triumph and resignation to flesh out the story of an “aging warrior” (see also: Maynard Keenan himself). The former presents itself in a darker and almost ritualistic manner, with Maynard repeating several lines over and over while the stuttering rhythms are constantly throwing you off in the process. Every time the heavy Drop-D riff comes in, it’s a welcome release from the tension.

The band members themselves have clearly grown over the years, and they sound even more comfortable than ever when flexing their virtuoso muscles. However, one thing that I’ve always loved about Tool over the years is that they never really beat you over the head with their instrumental prowess, instead preferring to showcase their skills in more subtle ways; Fear Inoculum definitely sticks to this. Instead of doing a giant shred solo, Adam Jones might lay down some simple guitar chords that are played in a slightly off-kilter or wonky manner, such as he often does in album highlight “7empest.” The entire song is like a giant experiment where the band members all try and see how many cool things they can do the metallic framework they’re given, and the outcome is just phenomenal. As far as vocals go, Maynard is more reserved and introspective this time around; but given the structures and dynamics of the songs here, that’s the perfect route to go. Plus, given his age, he still sounds excellent. Still, I don’t think many people are going to doubt that this is absolutely a rhythm section-centric record. Justin Chancellor and Danny Carey absolutely tear up this album, providing both an incredible backbone and an infinite stream of ways that Adam Jones could work his guitar magic over them. “Chocolate Chip Trip” might be the most inconsequential and skippable song on the album in the grand scheme of things, but I still don’t advise missing out on that sweet drum solo that Carey lays down on it. It’s one of the great highlights of his recorded output.

So what’s wrong exactly? Well, just one thing… and it’s a pretty important thing. Let me start this off with a movie analogy: have you watched an actor that you can only see as that actor and not a character they’re playing? A big example in my case is Tom Cruise. Every time I see him in a role, I just see Tom Cruise; I don’t see a character, because Cruise just kinda overtakes the role itself. It’s a really frustrating situation, because it constantly sucks me out of the immersion of a film when I can constantly see the “man behind the curtain.” And unfortunately, Tool fall right into this trap. One of the things that made Lateralus and even 10,000 Days so great is that there was always that additional instrumentation that fleshed out the atmosphere of those records. There were always Jones’ guitar pedals and a bunch of warbling industrial effects lending to the dark, eerie vibe Tool succeeded so well at crafting. Sadly, on Fear Inoculum I just hear 4 guys jamming out in the studio. The atmosphere is so empty and sparse on this album, and it doesn’t help that there usually aren’t many extra synthesizers or pedals to spice things up. That’s not to say the entire record is like this; “Pneuma” has an excellent middle section with a buzzing electronic effect alongside some beautiful clean guitar melodies from Jones, and of course the tribal drumming in the majority of the title track is always welcome. But considering this is Tool’s longest and most dense album, it would have been nicer to hear some more little touches to provide extra detail and texture to the experience.

Still, I’m really glad Fear Inoculum is finally here. I’m glad that we’re finally able to let all the old memes and jokes about Tool’s constant delays finally die. And unlike Duke Nukem Forever, we have a delayed product that’s actually incredibly solid and worth the time it took to make it. If you enjoyed Tool’s prog era, you’ll most likely love what they did here. Fear Inoculum is the logical outcome of the band’s constant flirtation with complexities and intricacies over the years, as well as how much they’d grown personally and creatively to get to this point in their lives. I can’t say that this is a better album than Lateralus - which I still consider to be the band’s gold standard - but it’s definitely my second favorite of theirs so far. There’s just too much ambition and quality songcraft here to pass up or ignore. So was Fear Inoculum worth the wait? I wholeheartedly say: yes.

NEVERMORE Dreaming Neon Black

Album · 1999 · Thrash Metal
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Even more than any other Nevermore album, Dreaming Neon Black always seemed to have a darkness and intensity that was all its own. This is some potent, dense thrash that fully revels in its progressive nature, as well as the twisted story the late Warrel Dane weaves along the way. The concept, according to Dane himself, deals with a man who gradually succumbs to insanity after he loses his lover to a religious cult. Eventually this insanity becomes all sorts of various tragedies surrounding our main character. Sounds happy, right? Believe me, though, this stuff is the perfect base for the incredibly creepy and depressing moods the music itself creates. You really feel the conviction of the band right from the opening thrasher (aside from the intro) "Beyond Within," which seamlessly blends the intense drive of Jeff Loomis' riffing with a variety of tempo shifts for every mood the song wants to convey. And there are several; from one song alone, we get rage, desperation, anxiety, and futility all in this track. Simply put, this is the most emotional album Nevermore ever put out.

And the greatest thing about this is that there's so much sincerity and even beauty lurking in the record's uninviting outer shell. If I were to pick Dreaming Neon Black's centerpiece in this regard, it's definitely the bleak title track. This is one of the rare ballads we get to hear from the band, and the doomy chorus constantly gives off the feeling of drowning in Dane's personal abyss. Even the faster numbers on the album usually exhibit some interesting experiments that further the atmosphere, such as the wonderful classical guitar leads that kick off "No More Will" or the bizarrely off-kilter rhythms and atonal guitar chugs that define how uncomfortable the mood of "The Death of Passion" is. Even more interesting are the softer segments, such as the strange note-bending in "All Play Dead" or the minimalist clean guitar that closes the album with "Forever." More traditional Nevermore numbers come in the form of the straightforward melodic thrash of "I Am the Dog" and the intricately performed media-bashing prog/thrash combo heard in "Poison Godmachine." But even then, these still serve to advance the story and inject their own form of energy into a deeply affecting piece of metal music. Dreaming Neon Black is the most consistent Nevermore album from a songwriting standpoint, and it also happens be the most emotionally resonant one at the same time. How much more could you want out of one of the most impressive metal bands of both the 90s and 2000s?

~Rest in peace, Warrel Dane. 1961-2017~

CARNIFEX World War X

Album · 2019 · Deathcore
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For anyone who’s been listening to Carnifex since the Dead in My Arms, it’s crazy how much they’ve evolved over the years. Back in 2007, you’d be hard-pressed to find someone who didn’t lump them in with either Suicide Silence or Job for a Cowboy… or basically any big deathcore band from the Myspace era. But the way the first wave of deathcore splintered off into so many offshoots is fascinating in and of itself. Job for a Cowboy now makes progressive death metal in the vein of The Faceless or Rivers of Nihil, while Suicide Silence spent their last album making “TEE-HEE”-ridden nu-metal rip-offs. Meanwhile, you have bands like Shadow of Intent bringing more credibility to the genre than ever. But Carnifex is in a bit of an interesting place as far as the deathcore scene goes.

They’re probably one of the most well-respected deathcore bands around, mostly because they’ve had such a notable evolution over the years. As every album passed, there was more of an emphasis on black metal and traditional death metal elements rather than the pure deathcore they were once known for. Sure, the deathcore is still there, but I often find that the more they stray from that genre, the better they get. So here we are at World War X, another suitably punishing and brutal effort that also experiments with a lot of the same textures and dark atmospheres that permeate the band’s later work. Not only does the finished product sound hellish and uncompromising throughout its 35-minute run, but the vibe is also incredibly depressing and hopeless as well.

For instance, you have the beautiful classical piano sections in “This Infernal Darkness,” which manage to be both unsettling and downcast at the same time. They provide a perfect contrast to the heavy riffs, which is something I can also say about Alyssa White-Gluz’s clean vocals that are scattered about “No Light Shall Save Us.” There’s something apocalyptic about the way her singing is combined with the throat-shredding growls of Scott Lewis; mix that in with some doomy melodies and chugging, and it’s all very effective in sucking you into its unique world. In general though, the melodic moments have just gotten much better than before. “Brushed by the Wings of Demons” boasts a beautiful Anata-esque harmonized guitar solo in the midst of its crushing death metal, while guest guitarist Angel Vivaldi brings a nice neoclassical touch to “All Roads Lead to Hell.”

Of course, the metal itself is still just as chaotic and intense as ever. But every album boasts more of a technical slant than the previous one, and World War X is no exception. Jordan Lockrey’s lead guitar work is getting more and more intricate - especially in regards to his solos - and Shawn Cameron continues to incorporate more elaborate tricks into his drumming. This is probably the largest amount of tempo shifts he’s ever had to plow through on a Carnifex album, and he’s absolutely up to the task. On “Eyes of the Executioner,” the musicians are called upon to switch tempos and moods almost constantly, such as immediately switching from a breakdown to an onslaught of blastbeat-ridden black metal riffs. Stuff like that is great when it comes to adding more variety into the mix. “All Roads to Hell” also taps into this nicely by getting faster and faster with every few measures to constantly ratchet up the tension before finally resorting to blast beats and thrash riffs to make their point.

However, the one downside here is that there’s still not quite enough innovation here to mark the album as a huge step forward. There’s a temptation to label the album as “just another Carnifex record” despite the abundance of great music we’ve got here. Plus, the lyrics - while dark and suitably creepy - are starting to get a bit tired and played out by this point. They fit the atmosphere, yes, but a little more effort thrown into the imagery and themes wouldn’t hurt. But hey, at least it’s better than the near-constant stream of F-bombs we were greeted with on 2014’s Die Without Hope! So I suppose that’s a good thing. Anyway, I do highly recommend World War X. Is it a huge leap forward in terms of stylistic innovation? No. But it’s just an incredibly solid slab of death metal that implements its deathcore and black metal elements in all the right places. And when you get down to it, these guys are still leaving about 90% of their deathcore contemporaries in the dust, so you enjoy the genre, you shouldn’t be disappointed in any way by this record.

KALEIKR Heart of Lead

Album · 2019 · Atmospheric Black Metal
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Kaleikr have re-ignited a question I’ve been asking for years: at what point does repetition become good or bad? Truth be told, I don’t think I’ve ever found a clear-cut answer to that question. It’s fascinating that we can praise a Sunn O))) or Lightning Bolt record for the exact same reason we harshly criticize the latest pop-rap snorefest by the likes of Pitbull. Is it because of the intent behind it? That’s probably one of the strongest answers, but I don’t think it fully illustrates the entire reason. Repetition can be used for cynical cash cows like Pitbull, but many pop and dance jams that revolve around repetition are still enjoyable, regardless of intent.

But Heart of Lead partially answered my question by offering something a bit more unique. This actually goes back to my Eleanor Friedberger review from last year; in that write-up I explained how Rebound’s hypnotic qualities are a perfect foil for more interesting experiments to crawl out of the woodwork. Similarly, Heart of Lead uses a mesmerizing brand of post/progressive black metal as a deceptive cover for the varied contents within. “Internal Contradiction”’s brutal mid-song riffage and tempo shifts are suddenly more effective when they’re clashing with more esoteric soundscapes. The title track’s explosion of screams and anguished tremolo picking is much more earned when you’ve got such a beautifully melancholic buildup to precede it. “Beheld at Sunrise” also benefits from a great buildup, using rolling drums and a mournful piano to properly foreshadow its gutting riffs and doom-laden atmosphere. It’s almost like some twisted form of cinematic grief.

The formula that makes Heart of Lead so great seems so easy, but it’s incredibly difficult to master. How many bands have tried to use this contrasting ebb-and-flow format and fallen on their asses? Luckily, much like fellow metal bands who have miraculously succeeded with these contrasts - such as Opeth and Giant Squid - Kaleikr seem up to the challenge. Much of their appeal comes from how they’re already on their way to mastering the art of atmosphere, mostly revolving around melancholy and solemn contemplation. Even at their heaviest moments, such as the dissonant breakdowns of “Of Unbearable Longing” or the downtuned doom riffs that fuel “Eternal Stalemate and a Never-Ending Sunset” (that’s one hell of a title), the umbral mood remains thick and unceasing.

But perhaps most importantly, it still comes off as very colorful and textured. There are many layers to peel back on Heart of Lead whether you’re focusing on the treble or bass end of the production; on certain moments, especially when the blastbeats and tremolo guitars merge as one single beast, there’s a strange beauty to the aggression. It often takes me back to Ulver’s early days as a black metal outfit, and that’s certainly a good thing. Heart of Lead is an album that knows how to manipulate a listener’s patience and understanding of dynamics, and I’m sure that will come in handy as they continue to evolve. So, to answer the original question: what makes this repetition good? That’s because the record immerses in its possibilities, as Kaleikr are aware that they could pull the strings and play around with the repetition as needed without compromising their sound. Quite an impressive feat for a debut album, I'd say.

THE SMASHING PUMPKINS Mellon Collie And The Infinite Sadness

Album · 1995 · Heavy Alternative Rock
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One of the best traits Billy Corgan has always had as a songwriter is that he’s incredibly skilled at making mountains out of molehills. Much like Bruce Springsteen, he has the ability to take the mundane and transform it into the most grand and sweeping thing you’ve ever heard. Back in the 90s, he took the genre of alternative rock and injected it with a sense of artistry and grace that immediately set The Smashing Pumpkins apart from the majority of their grungy, down-to-earth peers. And let’s be clear here: it’s not like the band were strangers to grunge or alternative metal themselves. Songs like “Cherub Rock,” “Zero,” and “Quiet” are all infused with a murky, dirty tone and downtuned guitar work that act as a piledriver to the ears. However, as pretentious as Corgan might have been (let’s be fair here, he was… and still is), he knew that adding a heightened level of grandeur to his chosen genre would make his band stand out. Gish and Siamese Dream were already building up to the peak of this evolution, especially the latter which would become known as a classic in its own right. And even through the group’s inner turmoil, the classic lineup remained (Billy Corgan, Jimmy Chamberlain, James Iha, and D’arcy Wretzky) to cut their second - and arguably their final - classic. But back then, was anybody really prepared for a full-blown 2-hour double disc by these guys?

I’d imagine not. Even as double albums go, 2 straight hours is a lot to ask of someone’s time - especially when hearing Billy Corgan’s nasally whine throughout that duration. So it’s quite astonishing, then, that nearly every moment has an important place in Mellon Collie and the Infinite Sadness. Granted, it should probably go without saying that - with a duration as long as this - there’s really no stone left unturned. Alternative rock, progressive rock, symphonic rock, art rock, shoegaze, psychedelia, grunge, and heavy metal are all fairly represented at different times, altogether sculpting one of the most eclectic works of the 90s. But the artistic growth of the band (or more specifically, Billy Corgan, considering he wrote the vast majority of the record) doesn’t stop there. Much like a play or a film laced with intermissions, Mellon Collie is separated by two different acts: Dawn to Dusk and Twilight to Starlight. A number of songs play into this concept as well, such as “We Only Come Out at Night” naturally appearing in the second disc to represent the twilight or the beautiful piano-driven opening title track lifting the figurative curtains to signify the coming of dawn. As for the lyrics themselves, each song acts as a specific little vignette or a small puzzle piece; this isn’t really a concept album in the traditional sense (there’s no actual arc or storyline), but rather a grand jigsaw puzzle composed of miniature stories that correlate in some way to their respective discs.

As such, the relationship between tension and release is one of the biggest draws of Mellon Collie. Because of the wildly varying dynamics, the album constantly goes back and forth with its bipolar nature like a seesaw as it traverses through every facet of the band’s experimental tendencies. “Porcelina of the Vast Oceans” and “Thru the Eyes of Ruby” like to swell and build their dynamics to satisfying conclusions in a progressive rock fashion, while tunes like “Tales of a Scorched Earth” and “X.Y.U.” present the band in its ugliest form with pummeling metal riffs and furious blasts of guitar feedback. Likewise, there are plenty of delicate ballads that help mitigate the intensity of the propulsive rockers, as one might expect on such a long-winded journey. Notably, two of these are the only songs not written by Billy Corgan himself: guitarist James Iha wrote the album’s closers, “Take Me Down” and “Farewell and Goodnight,” both of which close out their respective sides in a serene manner. But that’s not to say they’re the best ballads on offer; in my mind, the gorgeously layered dream pop number “By Starlight” easily wins in that regard. “Cupid De Locke” is another highlight, using unorthodox percussion in the form of saltshakers to propel its easygoing rhythms and flighty tempo. As I mentioned before, tension and release is what makes Mellon Collie so consistently fun to listen to. It’s all about the different yins and yangs of volume and style, all countering each other in fresh new ways. If you want the best showing of this, listen to “X.Y.U.” and “We Only Come Out at Night,” which play back-to-back and yet contrast each other in every way. The former is a brutal Melvins-esque jab of sludgy alternative metal, and the latter is a quaint ballad with a light swing rhythm. How the latter follows up the former so well, I’ll never know.

I’ll be completely blunt about this: I’m not normally a fan of double albums. With so much content to pack into one recording, it almost seems like a guarantee that you’ll encounter something that should have stayed on the cutting room floor. It’s a problem that’s plagued quite a few albums in the past, including (in my opinion, at least) The Beatles’ self-titled White Album and Genesis’ The Lamb Lies Down on Broadway. This is the way I see things: if you’re going to stuff your record with more than one disc full of material, you’d better make sure to bring your A-game and take special care in every track to make sure it has a purpose. There might be a few weaker cuts on Mellon Collie (“Love” and “Beautiful” come to mind), but there was never a time that I thought they actually crippled the album in any severe way. Considering this is a 28-track record with 121 minutes to its runtime, it’s insane to think that even the throwaways are still as well-written as they are. If you gave “Love” and “Beautiful” to an album from a lower-tier alternative rock band from that era, they might have been considered highlights; think about that.

There was once a time when I thought Siamese Dream was The Smashing Pumpkins’ true peak, with Mellon Collie at a close second. However, that opinion has been slowly reversing with the passage of time. The more time I’ve given this album to grow and cultivate in my eardrums, the more its phenomenal consistency and emotional potency have also grown. Moreover, Mellon Collie just feels important. Alternative rock needed something this grandiose and diverse, whether the practitioners or listeners of the genre wanted to dispute that or not. Such a fully-realized masterwork only comes around once in a lifetime, and you’d be wise to lend an ear to its timeless tunes if you haven’t already.

Latest Forum Topic Posts

  • Posted 6 months ago in The Beatles (Proto-Metal)
    The whole Sabbath vs. Priest debate based on blues roots reminds me a lot of the debate regarding the origins of death metal from thrash roots. I think the answer varies from person to person. I know many people consider Possessed's Seven Churches to be the first death metal record, but are those people comfortable with that answer when considering how much thrash is present on the album? I think it comes down to a difference of which artists connected the dots vs. which artists crystalized those innovative elements into a new concoction. If we're going with "connect the dots" albums, then Seven Churches is the first for me. If we're talking about "shedding the old elements" then Altars of Madness would probably be my ground zero.That goes back to the Sabbath/Priest debate. If you don't mind a little blues and hard rock still being involved in metal, Sabbath could be ground zero. But if you think the answer lies in who shed those old roots, then Sabbath would be proto-metal and Priest would be the first full-fledged metal band. Me personally, I go with Sabbath as the first one because I believe they took out enough of those old sounds to stand out as a new creation back in the day.
  • Posted 6 months ago in The Beatles (Proto-Metal)
    [QUOTE=siLLy puPPy]We need to remember that this IS a metal site after all and that all these fringe extras are selected for different reasons that someone deemed relevant. Personally i've never heard a Link Wray song that i considered metal but i'm not on expert on his music by any means, only heard a greatest hits or two.[/QUOTE] I will say, stuff like this is a big part of why I prefer MMA to Encyclopedia Metallum. Unlike Metallum, which has a much more narrow point of view and constantly fights over what's "true metal" or not, MMA is a lot more welcome to fringe artists that help round out the database in a meaningful way. Those fringe bands may not be 100% metal, but - whether by contribution to the genre or by having certain influences FROM the genre - they can still be recognized in a metal context and judged within the margins of the style and culture. Being honest, I've always been irritated at Metallum's unwillingness to include bands like Between the Buried and Me and Avenged Sevenfold (the quality of those bands notwithstanding) just because of elitists who think the bands are "ruining" their precious genre. Whether or not you enjoy those bands, it's pretty indisputable that they can be objectively considered metal bands (even extreme metal in the former's case)
  • Posted 6 months ago in The Beatles (Proto-Metal)
    lol, I didn't realize Link Wray's on the site. I'm not sure I agree with that inclusion 

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