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Khaliq
MMA Special Collaborator · Industrial/Stoner, Groove/Thrash Teams
Registered more than 2 years ago · Last visit 5 hours ago

Favorite Metal Artists

All Reviews/Ratings

3418 reviews/ratings
MEGADETH - So Far, So Good... So What! Thrash Metal
MEGADETH - Rust in Peace Thrash Metal
MEGADETH - Countdown to Extinction Thrash Metal
MEGADETH - The System Has Failed Thrash Metal
OPETH - Orchid Death Metal
OPETH - Morningrise Death Metal
OPETH - Still Life Progressive Metal
LACUNA COIL - Unleashed Memories Gothic Metal
DIO - Holy Diver Traditional heavy metal
INCUBUS (CA) - A Crow Left of the Murder... Hard Rock
INCUBUS (CA) - Morning View Hard Rock
JUDAS PRIEST - Nostradamus Traditional heavy metal
JUDAS PRIEST - Sad Wings Of Destiny Traditional heavy metal
JUDAS PRIEST - Stained Class Traditional heavy metal
JUDAS PRIEST - British Steel Traditional heavy metal
JUDAS PRIEST - Screaming For Vengeance Traditional heavy metal
JUDAS PRIEST - Painkiller Power Metal
JUDAS PRIEST - Angel Of Retribution Traditional heavy metal
KORN - See You on the Other Side Nu Metal
TOOL - Lateralus Progressive Metal

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Hard Rock 483 3.92
2 Thrash Metal 467 4.56
3 Traditional heavy metal 396 4.32
4 Alternative Metal 188 4.05
5 Industrial Metal 159 4.14
6 Death Metal 140 4.38
7 Power Metal 131 4.32
8 Non-Metal 129 3.21
9 Progressive Metal 109 3.47
10 Groove Metal 102 4.25
11 Proto-Metal 72 3.85
12 Nu Metal 72 3.60
13 Stoner Metal 72 4.61
14 Doom Metal 68 4.38
15 Metalcore 65 3.95
16 US Power Metal 58 4.47
17 Black Metal 54 4.18
18 Melodic Death Metal 52 3.94
19 Metal Related 51 3.80
20 Funk Metal 46 4.41
21 Hardcore and crust 45 3.99
22 Folk Metal 43 4.52
23 Sludge Metal 41 4.56
24 NWoBHM 40 4.44
25 Glam Metal 39 3.68
26 Speed Metal 36 4.33
27 Crossover Thrash 35 4.49
28 Neoclassical metal 26 4.25
29 Technical Death Metal 26 4.23
30 Grindcore 24 4.08
31 Brutal Death Metal 20 4.10
32 Avant-garde Metal 20 3.90
33 Symphonic Metal 20 4.15
34 Atmospheric Black Metal 14 3.11
35 Death 'n' Roll 12 4.58
36 Symphonic Black Metal 11 4.41
37 Melodic Black Metal 10 4.55
38 Atmospheric Sludge Metal 9 3.39
39 Deathcore 9 3.44
40 Gothic Metal 9 4.33
41 Mathcore 6 2.75
42 Death-Doom Metal 5 3.60
43 Funeral Doom Metal 2 5.00
44 Drone Metal 2 1.50

Latest Albums Reviews

BLUE ÖYSTER CULT Heaven Forbid

Album · 1998 · Hard Rock
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The last decade of the twentieth century weren't exactly the kindest years to classic rock acts of the 70's. Albums from these bands weren't very well-received, therefore they usually fade into obscurity. I mean, not many people are talking about albums like Heart's Desire Walks On or Van Halen's Balance these days. Most of these albums are forgotten, and often for good reason. One album from a classic 70's rock band that was forgotten, but I find to be a surprisingly great album, is Blue Öyster Cult's 1998 studio album.

Being the band's thirteenth studio album and (at the time) their first in a decade, it would be expected that Heaven Forbid would just be another bland album that tries to recapture past glories. However, it presents itself as a surprisingly varied album. Of course there are quite a few stale moments that just sound uninspired, but there is thankfully an equal amount of fresh, catchy, and just plain enjoyable songs.

The album opens right up with what may be the band's heaviest song, "See You in Black", which almost reminds me of something that could be on a Metal Church album. The driving main riff is pure classic heavy metal, and is up there with the band's best. "Hammer Back" and "Power Underneath Despair" are a couple more heavy metal-oriented tracks that are among the highlights. "Still Burnin'" is a great old school hard rock track, while an oddball is "Real World". This almost sounds straight out of a Phish album, with one of the catchiest acoustic guitar hooks I've ever heard.

While it's no Tyranny and Mutation, Heaven Forbid is a pretty great album. There are some mediocre moments on the album, but that's to be expected from a 90's album from a classic rock band. If you're a fan of classic hard rock and heavy metal, this is well worth the listen. Hope you found this review helpful, feel free to comment!

INCUBUS (CA) S.C.I.E.N.C.E.

Album · 1997 · Funk Metal
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While Incubus gained a huge surge of popularity with the release of their 1999 album, Make Yourself, the band already had two EP's and two studio albums under their belt before they reached alternative rock stardom. However, if you're getting into these early releases from the band, don't expect it to sound anything like what the band is mostly known for. This is eclectic funk metal at it's finest.

Along with the equally amazing Enjoy Incubus EP from the same year, S.C.I.E.N.C.E. is, simply put, an explosion of creativity. For starters, there's an incredibly wide range of styles here. It ranges from many styles of metal, funk, hip-hop, lounge, and even a bit of trip-hop. All of these styles are blended seamlessly, always sounding like they naturally belong together. Each song stands out perfectly on its own, even if it's just with a little unique embellishment. An example of this is the slight middle-eastern influences on the opening track "Redefine".

Each musician is in absolute top form, delivering one of the best albums of the 90's. Brandon Boyd gives one of his best vocal performances on this album, especially on "Glass", "Nebula", "Deep Inside", and "Calgone". Dirk Lance earns his place among the bass gods on this album, and S.C.I.E.N.C.E. is one of the best bass albums out there. Listen to any song on the album, and you'll get some of the tastiest and funkiest bass licks available. "Glass" of course has some of the best, as does the smooth "Deep Inside". Jose Pasillas II absolutely slays on drums, displaying insane amounts of syncopation. Mike Einziger is a riff making machine, even bringing in some hooks that edge pretty close to thrash on songs like "Favorite Things" and "Calgone". Finally last, but not least, is Gavin Koppell. While some may find the turntables annoying, his electronic embellishments and turntables add a lot to the uniqueness of the album.

It's almost impossible to pick highlights due to how the album has a perfect flow and every song could be called a highlight. What I can say, is that "Glass" is probably my favorite Incubus song. "Summer Romance (Anti-Gravity Love Song)" is probably the song that stands out the most in style, as it takes a break from the metal, taking on a lounge-funk sound that is catchy as hell. "New Skin", which was originally seen on the Let Me Tell Ya 'Bout Root Beer EP from 1995, is incredibly catchy as well. The only slightly weaker moment on the album is "Magic Medicine", but even that song works within context of the whole album.

The lyrics and even the title showcase the same boom of creativity. At first the lyrics seem absurdist, after all, what else would you expect from and album title that's an acronym for Sailing Catamarans Is Every Nautical Captain's Ecstasy? However, once you look into them more, some of them can be interpreted as clever metaphors. Going back to the opening track of "Redefine", there's lyrics such as "Imagine your brain as a canister filled with ink", which don't make much sense until lines like "I'm sick of painting in black and white" come in. Even if the lyrics don't make any sense, you will still find yourself singing along anyways. Best examples for me are "Glass" and "A Certain Shade of Green". "Deep Inside" very well may have one of the greatest lines in music history, with "I know exactly where we are...the fuck are we?".

This is an album that takes multiple listens to fully sink in, and I'm still noticing different things every time I listen. Once it does sink in, this is one of the best and most eclectic funk metal albums. While Incubus would make a couple more fantastic albums later, this is a one-of-a-kind that should be essential listening for any bass and funk fan. One of my all time favorite albums. Hope you found this review helpful, feel free to comment!

SLAB! Descension

Album · 1987 · Industrial Metal
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After releasing a few singles in 1986/1987, British industrial group Slab! took their sound in a much darker, sludgier, and more dissonant direction than their more upbeat singles had shown. Mind you, this was still 1987. Godflesh hadn't formed yet, and Ministry still had no metal elements in their music. I can only imagine how jarring Slab's studio album debut would have sounded to music fans back in 1987.

Slab's Descension is adorned with a simplistic blue album cover, which seems to showcase the urban legends of giant mutated reptiles coming out of the sewers to roam the streets free. This fits, as the album has a massive sound that wreaks about as much havoc that one of these giant beasts would. Descension still showcases all of the influences that their singles featured, industrial, metal, funk, jazz, and even the avant-garde, but cranks up the industrial and the metal.

The album opens right up with the misleadingly titled "Tunnel of Love", which is one of the heaviest and most dissonant tracks. The mechanical, crunching, and crashing dissonance is contrasted perfectly with an infectiously catchy beat that immediately gets the listener grooving. This song, along with "Undriven Snow" and the misanthropic "Flirt" predate Godflesh, yet sound like they could have come straight from a classic Godflesh album.

The greatest song on the album, and one of the greatest industrial tracks is easily "Dolores", which will change the way you think about funky bass playing. The main riff is infectiously catchy industrial funk, but right after the main chorus the bass remains funky and catchy as hell yet becomes so dissonant. It's impossible to not get lost in the locked in groove. Some other highlights on the album is the jazzy "Dr. Bombay", the ominous "Gutter Busting", and "Loose Connection Somewhere".

While unfortunately Slab! remains an obscure band, Descension is perhaps the very first industrial metal album. It provides somewhat of a missing link between the early material of Killing Joke and KMFDM with the primal sound of Godflesh and Ministry. For industrial metal fans, this is essential listening. Hope you found this review helpful, feel free to comment!

SLAB! Smoke Rings

Single · 1987 · Industrial Metal
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Before Godflesh and Ministry took the metal scene by storm in 1988/1989, there was a little obscure band by the name of Slab! who started all the way back in 1982. Before releasing their debut studio album, the band had a few singles under their belt. These singles were characterized by a unique sound that I doubt anyone would expect to exist as early as 1987.

The two songs on this single are of course the title track, and Abbasloth. The title track is a catchy as hell industrial and jazzy funk metal tune, which has some of the tastiest bass licks that will ever grace your ears. There's such a gigantic sounding beat, that you can't help but stomp your foot or bang your head. The vocal melodies are infectiously catchy, and the saxophone plays off of the funky bass perfectly to bring a jazzy swing to the song.

The second song, the instrumental Abbasloth, is the song that lays on the more avant-garde side. The saxophone has little melody here, instead just sounding like it's being tortured. While avant-garde jazz fans will eat this up, I'm not a fan. What I am a fan of though in this song, is the interesting contrast. The bass remains catchy and funky, though dissonant. Both songs include fantastic screeching and discordant guitar solos which sound straight out of the cult classic 90's Adult Swim show Space Ghost: Coast to Coast.

Slab! would make their masterpiece with their debut studio album in the same year, but this is a great single with a interesting contrast of catchiness and the avant-garde. If industrial funk metal with jazz sounds cool, check this out. Hope you found this review helpful, feel free to comment!

RUSH Power Windows

Album · 1985 · Non-Metal
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Power Windows is the eleventh studio album from hard rock/progressive rock band Rush. Going further and further down the synth-rock route, Power Windows shows the band remove some of the stark ominous vibe of the previous two synth-led albums, instead opting for a more pop-oriented sound. Not that this is a pop album, but it certainly fits in with the popular music at the time.

Don't worry though, this album still has most of the essential elements of a Rush album. Geddy Lee's bass slaps are especially excellent, adding a nice bounce to some of the tracks like the single "The Big Money" and "Marathon". While Lifeson does take a bit of a back seat as far as riffs go, his solos sing with so much feeling. Speaking of feeling, Power Windows features what I think are two of the most beautiful songs the band has written. These two songs are "Manhattan Project" and "Mystic Rhythms", the melodies from both the vocals and instruments are some of the most emotive the band has done. Peart's lyrics are strong on this one as usual, "Manhattan Project" in particular.

The only real issues with the album are that the keyboards can sound very dated on a few tracks and that the album isn't as consistently good as the previous two albums. There's not really any bad songs, but only about half the album really stands out and stays in my mind after listening. As far as dated keyboards and synth goes, "Grand Designs" is a good example of that. It's a fine song, but the dated synth can get a bit grating after awhile.

If you're a fan of the previous two Rush albums and/or 80's synth-rock/new wave, this album is well worth a listen. Like Hemispheres had exhausted the band's complex progressive rock sound, this album had exhausted their synth sound. Unfortunately, the band didn't realize that and ended up producing their first dud two years later. Hope you found this review helpful, feel free to comment!

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