Vim Fuego

Patrick Stott
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510 reviews/ratings
MORBID ANGEL - Altars of Madness Death Metal | review permalink
PUNGENT STENCH - Been Caught Buttering Death Metal | review permalink
CATHEDRAL - Forest of Equilibrium Doom Metal | review permalink
BRUTAL TRUTH - Extreme Conditions Demand Extreme Responses Deathgrind | review permalink
ANNIHILATOR - Alice in Hell Thrash Metal | review permalink
DARK ANGEL - Darkness Descends Thrash Metal | review permalink
CARNIVORE - Retaliation Crossover Thrash | review permalink
EXODUS - Fabulous Disaster Thrash Metal | review permalink
HOLY TERROR - Mind Wars Thrash Metal | review permalink
CARCASS - Symphonies of Sickness Goregrind | review permalink
CARNIVORE - Carnivore Crossover Thrash | review permalink
DARKTHRONE - Soulside Journey Death Metal | review permalink
DEICIDE - Deicide Death Metal | review permalink
DESTRUCTION - Sentence of Death Thrash Metal | review permalink
BAD NEWS - Bad News Heavy Metal | review permalink
EXHORDER - Slaughter in the Vatican Thrash Metal | review permalink
8 FOOT SATIVA - Season for Assault Thrash Metal | review permalink
TERRORIZER - World Downfall Grindcore | review permalink
METALLICA - ...And Justice for All Thrash Metal | review permalink
METALLICA - Live Shit: Binge & Purge Thrash Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Thrash Metal 125 3.84
2 Heavy Metal 57 3.69
3 Death Metal 56 4.13
4 Grindcore 40 3.77
5 Crossover Thrash 21 3.90
6 Groove Metal 18 3.08
7 Hard Rock 15 2.63
8 Black Metal 13 3.58
9 Alternative Metal 10 2.70
10 Glam Metal 10 3.25
11 Technical Death Metal 10 3.70
12 Industrial Metal 9 3.44
13 Non-Metal 7 1.57
14 NWoBHM 7 3.14
15 Power Metal 7 3.36
16 Progressive Metal 7 2.36
17 Hardcore Punk 6 5.00
18 Melodic Death Metal 5 2.60
19 Goregrind 5 4.10
20 Gothic Metal 5 3.30
21 Deathgrind 5 3.70
22 Sludge Metal 5 2.80
23 Symphonic Metal 5 1.60
24 Stoner Metal 4 2.88
25 Folk Metal 4 3.75
26 Brutal Death Metal 4 3.38
27 Death 'n' Roll 4 2.00
28 Nu Metal 3 0.67
29 Atmospheric Black Metal 3 2.83
30 Death-Doom Metal 3 2.83
31 US Power Metal 3 3.33
32 Symphonic Black Metal 2 4.50
33 Speed Metal 2 2.50
34 Deathcore 2 2.00
35 Doom Metal 2 4.75
36 Funk Metal 2 1.50
37 Atmospheric Sludge Metal 2 4.75
38 Avant-garde Metal 2 2.50
39 Crust Punk 2 4.75
40 Pornogrind 2 4.00
41 Melodic Black Metal 2 1.25
42 Metal Related 2 5.00
43 Metalcore 2 3.25
44 Heavy Alternative Rock 2 4.00
45 Mathcore 1 3.50
46 Heavy Psych 1 0.50
47 Cybergrind 1 4.00
48 Drone Metal 1 4.00
49 Rap Metal 1 2.50
50 Technical Thrash Metal 1 3.50
51 Viking Metal 1 3.00
52 Traditional Doom Metal 1 3.50

Latest Albums Reviews


Album · 1991 · Heavy Metal
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Motörhead’s “1916” came after four years of label problems, and other bullshit with the business side of music. That wasn’t what Lemmy was about. The man just wanted to play his own mutant version of rock and roll. The band’s previous album, simply called “Rock ‘n’ Roll” was not as well received as its predecessors, so expectations for “1916” were not high.

Fuck expectations. This is Motörhead. The band had occasionally dabbled outside the blues/rock/punk/metal mix. For example, “Orgasmatron” could be considered proto-doom-death metal, but most of their albums stuck fairly closely to the old formula. First track “The Ones To Sing The Blues” threw out the formula and shattered all preconceptions. Unlike a number of other Motörhead tracks, it’s not particularly bluesy, but thunders along, powered by Philthy’s legendary double kick drums. On “I'm So Bad (Baby I Don't Care)”, the blues does raise its leery head, along with Lemmy’s clever, incisive lyrics. What seems like a song full of tall story bragging actually reveals his inspirations. “Going to Brazil” is a blues boogie road song which only Lemmy could write. It has a bit of a story behind it. The band recorded four songs with producer Ed Stasium. When Lemmy listened to a mix of “Going to Brazil”, he asked Stasium to turn up four tracks, and on doing so heard claves and tambourines added without the band's knowledge. Stasium was fired and Pete Solley hired as producer. And thank fuck for that!

And next, a big step sideways. Judas Priest had faced a civil suit in 1990, around the time Lemmy was writing songs for this album, and one of the accusations levelled at the band was that they had hidden subliminal messages in their cover of Spooky Tooth’s “Better By You, Better Than Me”. Always one who stuck up against injustice when he saw it, Lemmy deliberately filled “Nightmare/The Dreamtime” with backmasked vocals and music, which were far from subliminal, giving the song a truly eerie vibe. And what did he actually say? Even that’s open to interpretation, perhaps proving once and for all that backmasking is rather an inefficient way of conveying a message.

“Love Me Forever” is a power ballad from an era when power ballad were ubiquitous, but it’s far from typical. For a start, it’s not weepy or self-loathing, instead showing both sides of love and relationships, a black/white, all/nothing contrast.

“Angel City” is a filler when you don’t write fillers. Like the “Going To Brazil” road trip, it’s a fun descriptive song of life in L.A. at the tail end of the glam era. It’s followed by another good time rocker in the form of “Make My Day”.

Lemmy was asked why he wrote the song “R.A.M.O.N.E.S.” The answer? “’Cos I like The Ramones”. Best answer ever to a stupid question. The Ramones liked the minute and a half long song so much they covered it themselves. Basically, it’s The Ramones put through a Motörhead filter.

“Shut You Down” is an “I’m outta here” break up track, in a fashion only Motörhead could pull off, like a metal “50 Ways to Leave Your Lover”.

These ten tracks would have made a very good Motörhead album, showing some new musical facets, and more energy and drive than the previous album. But this is Motörhead. Expect the unexpected.

“1916” is unlike any song ever recorded by this or any other metal band. First, it’s not metal. Second, it is such a visceral, heart rending tale, it is more an accompanied epic poem than a song. Musically, it is part hymn, part sombre march, with simple orchestration, cello, a military snare, and Lemmy’s voice quavering with more sensitivity than you might think possible. While it is a song about World War One, it is so thought provoking and emotionally wrought it could come from any war, where young men think they are heading off for a great adventure, only to be dehumanized, ground up, and spat out by an unfeeling, unstoppable war machine. Like no other song, “1916” vocalises the true stupidity, futility, terror, and waste of human life of war.

It seems Lemmy understood how deeply emotionally and psychologically damaging war could be to those caught in the fighting. My own Grandfather fought in the Pacific Island during World War Two. In the 26 years I knew him, he spoke of the war to me only once, and then only to relate a funny tale of having to run flat out from tent to surf when going swimming, in order to avoid mosquitoes. In his last few lucid hours, he suffered nightmares and flashbacks to those days six decades before. Even though this song is of a different war, now a century past, it still makes me think of my Grandfather and the terrible things he may have seen and experienced, which are beyond my imagination and recognition. It took a special kind of bravery to have faced a mortal enemy, who was probably feeling very similar emotions and terrors, and then to return to civilization and lead a productive life, all the while keeping those horrors locked away. It may not have been the intention of this song to cause this reaction, but it does.

And so the song “1916” elevates the album “1916” from the realms of very good into great. It also secured Motörhead’s future, both financially and musically. The band finally had a decent record deal, and had explored some new musical avenues which opened new frontiers for the band to explore for the remainder of its existence. Albums like “Ace Of Spades” and “No Sleep ‘til Hammersmith” established Motörhead’s legendary status in rock and metal. “1916” cemented it.

NIRVANA Incesticide

Boxset / Compilation · 1992 · Heavy Alternative Rock
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“Incesticide” is a rare thing. For a rapidly thrown together record label stop-gap, it is actually a pretty good compilation.

“Incesticide” was made up of demos, b-sides, unreleased tracks, and other extraneous material recorded between 1988 and 1991. Released a year after the revolutionary “Nevermind”, it was intended to be a high quality version of material which was already circulating in bootleg form. Geffen Records decided not to promote it heavily, in case fans suffered Nirvana burn-out. Yeah, right Geffen, so why release the fucking thing in the first place then? Despite this, it still went platinum in the US, UK, and Canada.

So why did “Incesticide” do so well? Simply put, the album includes some of the best material Nirvana ever recorded. It shows off the breadth of Nirvana’s influences and the diversity of the band’s sound. Was Kurt Cobain a misunderstood genius or an overrated junkie slacker? Who the fuck knows. He made some interesting, noisy music, then blew his brains out, and left it up to the rest of us to decide his place in history.

First song “Dive” came from a recording session for Sub Pop which was intended to be for the follow-up album to “Bleach”, and was released as the b-side to “Sliver”. Of course, we know the follow-up didn’t come out on Sub Pop, and this song would not have fit on “Nevermind” anyway, with a feel closer to “Bleach”. The song has a fatter, warmer sound than the “Nevermind” album. Like all things Cobain, the lyrics are either cryptic or nonsensical, depending on your own interpretation.

Just to get things ass backwards, “Sliver” appears after “Dive”, even though “Dive” was the b-side to this single. Anyway, “Sliver” has the most memorable hooks Nirvana ever recorded, both in the bouncy bass line and the “Grandma take me home” lyric which constituted the song’s chorus. The lyrics are trivial, but engaging, seemingly taken from a child’s point of view, remembering an evening with grandparents.

“Stain” has a rougher edge than the previous two songs. It was originally released on the “Blew” EP. It’s a shouty punk song, with a great discordant noise solo, and is basically musical simplicity itself, both catchy and compelling.

“Been A Son” is a later song, recorded for the Mark Goodier radio show for the BBC in November 1991, with "(New Wave) Polly" and "Aneurysm" coming from the same session. It has another of those trademark vocal hooks, with Cobain slurring his vocals a little.

"Turnaround", "Molly's Lips", and "Son of a Gun", were recorded in 1990 for the John Peel Show for the BBC. “Turnaround” is a Devo cover, but is a surprisingly forgettable and unlikeable song. The next two tracks are Vaselines covers, and have a seemingly happy, bouncy feel to them, despite the reasonably grim subject matter of addiction on “Molly’s Lips”.

“(New Wave) Polly” shows the band made an excellent decision by sticking with the acoustic version of the song for “Nevermind”. While not a bad song, the shock value, and raw emotion present on the acoustic version of the song are not near as striking on this version.

"Beeswax", "Downer", "Mexican Seafood", "Hairspray Queen", and "Aero Zeppelin" all came from Nirvana’s first studio demo, recorded in January 1988. These show a young but focused band, playing like their whole lives depended on it, with a feel of determination edged by desperation. It demonstrated an early incarnation of the grunge formula of mixing garage punk with classic rock and pop sensibilities, with the added ingredient of emerging slacker cynicism. “Hairspray Queen” in particular fully demonstrated the musical weirdness which could emerge from such a mix, with a simple, yet effective three note bassline from Krist Novoselic, while Cobain’s vocals vary between Bobcat Goldthwaite rant, a subterranean grumble, and a crystal clear coherence. “Aero Zeppelin” is a straighter style rock song, and is really the first time on the album things seem to drag. While quite a powerful track, it seems too safe and mainstream compared to the rest of these demo tracks.

“Big Long Now” was recorded during the “Bleach” sessions. It would not have been too far out of place on that album, but was probably too slow paced. It is a dragging dirge, and feels like trying to emerge from a deep, deep sleep, but the grip of Morpheus is not ready to let go.

Final track “Aneurysm” combines the band’s noisier aspects with a driving punk beat. Kurt Cobain’s vocals are at their raggedy, melodic best, and the song has hooks big enough to catch mako sharks.

For such a diverse collection of recordings, “Incesticide” is surprisingly coherent. At the same time, it shows the breadth of vision of a group of young musicians, led by a reluctant mouthpiece, who didn’t care for the rules of how music should be created or sound, and wrote their own rules. Then they broke them repeatedly, and the outside world came to embrace their vision. Whether the outside world ever understood that vision then or now doesn’t matter. The resulting music speaks for itself.

MARDUK Panzer Division Marduk

Album · 1999 · Black Metal
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A black metal album with a fucking big tank on the front? Finally, someone gets it!

Actually, there’s two versions of this album, but both have a fucking big tank on them. One’s a Swedish Stridsvagn 104 main battle tank and the other is a German Panzerkampfwagen VI Tiger heavy tank used in the Battle of Kursk in July 1943. But let’s not get hung up on tanks. This is still about the music.

Marduk is one of those black metal bands, like Immortal and Impaled Nazarene, which metal fans can get into without having to swallow the whole black metal schtick. Yes, it’s fast and anti-Christian, but there’s no deeper pretence about the music being anything but metal. Forget atmosphere, melody, and non-metal instruments, just write some evil fucking tunes, and play ‘em fast as fuck until yer balls are hanging out! That is what black metal should be.

So, what we have here is a 30 minute album full of war themed songs. Some are describing real events, which others are repurposing the theme for a blitzkrieg on Christianity. The first song and title track best illustrates this with the line “Panzer division Marduk continues its triumphant crusade/Against Christianity and your worthless humanity”. Glad we cleared that up...

Run through the rest of the songs and you get “Baptism By Fire” which uses bombing raid imagery as an attack by Satan on Christianity. “Christraping Black Metal” taunts Christ on the cross. “Scorched Earth” describes tanks racing back and forth through the Losheim Gap, the main invasion route into France and Belgium for the Germans during both World Wars, and the location of a famous tank battle during the Battle of the Bulge in 1944. “Beast of Prey” and “Blooddawn” further explore the war/anti-Christianity theme.

"502" refers to the 502nd Heavy Tank Battalion, which was involved in the Siege of Leningrad. While the rolling Panzers must have been an awe inspiring (or dread inspiring, point of view is important here) sight, history has recorded what happened to this force. Despite destroying 2000 enemy tanks (according to the song - official figures put the number at 1400, plus 2000 guns destroyed) during the infamous 900 day siege, Russian forces eventually prevailed, and the Germans were sent into full retreat. The 502nd was eventually redesignated the 511th in early 1945, and continued to fight up until April 27, and finally surrendered on May 9.

The final track has the gloriously offensive title “Fistfucking God's Planet”. And as you can probably guess by now, it’s anti-Christian/pro-Satan. There’s nothing new about it, the music is still breakneck speed fast, but it’s still fun to listen to.

And that is the lasting impression of this album. It’s got bits about tanks and wars. It’s got bits about Satanism and how Christianity is bad. It’s heavy. It’s loud. It’s metal. Full fucking stop.

VARIOUS ARTISTS (TRIBUTE ALBUMS) Ronnie James Dio - This Is Your Life

Album · 2014 · Heavy Metal
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There was a time in the early 90s when Dio was a figure of ridicule and mirth. Jokes were made about his Elf-like height, his swords and sorcerers lyrics, and his over the top stage persona. Those doing the laughing had obviously never met the man.

Like no other figure in the history of metal, perhaps up until the death of Lemmy, Dio’s death was mourned by metal fans the world over. Ronnie James Dio earned respect like no one else in metal. Not expected or demanded, but earned. Why? Because he always had time for fans. He was famous for staying behind hours after shows had finished to meet and greet fans, sign autographs, talk to people about music, and just be a thoroughly decent human being.

No musician had a bad word to say about the man. He always helped out up and coming new bands. He never forgot where he came from. The proof? Every artist on this album, except Killswitch Engage, has a picture with the man himself, and he looks just as happy as the fans cum musicians he is with. And most of all, up until his death, he always, always produced incredible music. Look at the list of bands he sang with – Elf, Rainbow, Black Sabbath, Heaven and Hell, and in his own right as Dio. The proof? Just listen to this tribute.

First up is Anthrax with “Neon Knights”: from Dio’s stint in Black Sabbath. It’s a fairly faithful version, benefitting from modern production values, and beefed up a little by Anthrax, but surprisingly, Joey Belladonna’s vocals don’t quite cut it. He seems to be straining and a little out of breath. Belladonna has one of the best vocals ranges in all of thrash, so this shows how good Ronnie actually was in his heyday.

“The Last In Line” by Tenacious D has their trademark silliness mixed with their respect for metal. As usual, Jack Black’s vocals are stupidly over the top, while Kyle Gass’s recorder solo actually made me laugh out loud the first time I heard it. That they won the Grammy for best metal performance in 2015 with this cover shows how out of touch and clueless the National Academy of Recording Arts and Sciences actually is, but that’s a bit off topic here.

Adrenaline Mob’s take on “The Mob Rules” is another very faithful cover. There’s nothing new added, but then you don’t want anyone fucking with perfection anyway.

Corey Taylor and his backing band featuring Roy Mayorga (Stone Sour, Soulfly), Satchel (Steel Panther), and Christian Martucci (Stone Sour) did what always should have been done with “Rainbow In The Dark” and made the fucking thing heavier. Ronnie himself hated the song, and was ready to destroy the original master tape of the song with a razor. The rest of Dio stopped him, the song became a huge hit, and the rest is history. As for the performance here, who knew Corey Taylor could fucking sing? I didn’t, but I generally avoid his music like I avoid genital warts. Oh well, you’re never too old to learn something new.

Halestorm’s “Straight Through The Heart” is a great rendition, and Lzzy Hale’s vocals are more than ballsy enough to do the song justice.

Now, who would have ever dreamed of Motörhead with Biff Byford on vocals? It’s a match made in metal heaven, with a modern... er, old school take on the Rainbow classic. Lemmy still growls along backing up Biff, but the song is the real star of the show here.

The Scorpions are the only band in metal which could even come near to Dio’s longevity, so it’s nice to hear their rendition of “The Temple Of The King”. It’s a change down in pace. Klaus Meine does a great job vocally, and the Schenker/Jabs guitar duo has the skill and subtlety to pull off Ritchie Blackmore’s solos without losing the feel of the song.

Doro makes “Egypt (The Chains Are On)” her own, a song she claims as one of her absolute favourites. Because she has such a good feel for the song, it sounds like it was written for her, and is one of the best performances on the album.

Confession time. As much as I dislike Killswitch Engage, and metalcore in general, I have to give them credit for their version of Holy Diver. It’s pretty good… Ah, fuck it. This is a confession. It’s fucking great! Howard Jones’s theatrical vocals are a great fit for the song, and the two blokes on guitar heavy things up, and manage to hit the solos pretty near on perfect. Killswitch Engage, you are both gentlemen and bastards, first for being so respectful of one of metal’s great anthems, and secondly for making me like you.

Glenn Hughes is one of the few vocalists of Dio’s generation still going who is still able to cut it. And cut it he does, on “Catch The Rainbow”. It is a beautiful rendition of a beautiful song, ably backed by Craig Goldy, Rudy Sarzo, Simon Wright.

In 1989, Dio made waves in the metal world by replacing departing guitarist Craig Goldy with a 17 year old Rowan Robertson for the album “Lock Up The Wolves”. Long-time bass player and song writing partner Jimmy Bain also left the band. Fast forward to 2013, and the pair played together on this cover of Black Sabbath’s “I”. This seems a bit of an odd choice of a song, but that doesn’t stop this mid-pace stomping song from being a great addition to the album. It’s a strange old world...

In something of a supergroup, a union of Rob Halford, Doug Aldrich, Jeff Pilson, and Vinny Appice produces an unusual version of “Man On The Silver Mountain”. Despite all the talent and years of musical experience, this lacks the drama and feel of the original. The guitar work from Aldrich is pretty fucking good though.

Metallica being Metallica, they decided one song wasn’t enough, so they stuck together a medley of four Rainbow songs. The medley comes in at nearly 10 minutes long, but who the hell is going to tell Metallica they need to cut things back a bit? No matter, like what they did with the Mercyful Fate medley on “Garage Inc.”, this Frankensong is pretty fucking good, not dragging or seeming like it’s 10 minutes long. It’s also refreshing to hear a band doing something a bit different with the music, as in adapting it to their own style, instead of sticking faithfully to the original.

And what better way to round out a tribute to Ronnie, than to include an atypical song by the man himself? Recorded in 1996, “This Is Your Life” is an almost operatic composition, backed by piano and strings, which affords the great man’s voice the space it needs to really flourish. The purity and clarity of sound on this track is almost never heard in rock music. More than anything, it shows that the others here, no matter their pedigree, are pretenders, existing in Dio’s shadow, even from beyond the grave.

There is a bonus track to the digital version of this album, with Jasta performing “Buried Alive”. It’s a bit jarring after the beautiful Dio track. Hardcore shouter Jamey Jasta proves he can sing, and his band can play more than just metallic hardcore, and this is a great, heavy version of the song. However, the person who came up with the idea of tacking this onto the end of the album needs a punch in the throat.

Tribute albums like this can come across as a bit half assed at times, but this is the exception. Often tributes make you long for the originals. This album does not. Everyone on here was a fan, and knew and respected the man in question, and loved the music. That love and respect shows through here.

BLOOD FOR BLOOD Outlaw Anthems

Album · 2002 · Hardcore Punk
Cover art Buy this album from MMA partners
You think you know heavy? Intense? Real? Angry? Ever checked this out? If not, then no, you don’t.

Founded by guitarist and songwriter White Trash Rob in 1994, Blood For Blood took every ounce of anger, rage, frustration, and fury he ever felt and channelled it into music. It was a release valve for a man who might have otherwise exploded into pointless violence. Hardcore has always been about unity and brotherhood, and has often been a family substitute for those without, and in this case, it seems like Rob has been dealt a real dud hand. Instead of just giving in, he turned his anger into hard, brutal music.

“Postcard From The Edge” is an intro which sounds like a riot, building a feeling of impending violence. And that is exactly what is delivered. Words like “Mother dear/I will spit in your face” shows who Rob holds responsible for his shitty upbringing. The chugging riffs of the song basically set out what’s in store for the rest of the album - hard, angry music.

“Ain’t Like You (Wasted Youth II)” is a continuation of the theme of “Wasted Youth Crew” from the band’s previous album “Revenge on Society”. It’s a middle finger to mainstream society from society’s rejects, who pull together for safety and comfort.

“White Trash Anthem” is an outstanding, thought provoking song. It combines an old school oi punk feel with hard assed Boston hardcore. It’s also about as close as the band ever gets to a melody It reflects on the hopelessness of living in degradation and poverty, with little realistic opportunity available to escape, and how easily forgotten and ignored an underclass is. The song’s bridge is bleak and chilling: “Have you ever prayed to the night sky?/Under one of them cold street lights?/Watched another stolen car drive by and lost your hope and said "This is where I'll die". It is more a vulpine howl at the moon than hardcore bark.

An unfortunate consequence of the song title is that white supremacist idiots misinterpret the song as being about white power and pride. It is the opposite. It is about having pride in who you are, not what you are.

Any song which starts with the words “Fucking your pussy was like fucking the wound from a shotgun blast... With gangrene!” isn’t going to be a love song, and makes “So Common, So Cheap” the ultimate break-up song. “Some Kind of Hate” is directed at humanity in general. “Love Song” is still not a traditional love song. It is a tribute to brotherly love, and keeping an eye out for those in a similar situation to your own, and realising there is strength to be gained from it. “A Bitch Called Hope” could be a literal song about hope, or it could be a metaphor for addiction.

Musically, there’s nothing new here, but then it’s hardcore. It does not need to be new or inventive to be compelling. However, what it does do is express itself with utter conviction. The anger is real, because the injustice is real. Unlike a lot of hardcore guitarists, White Trash Rob created memorable riffs, around which a powerful rhythm section fitted perfectly. It’s not just rage and noise just for the sake of being angry and loud.

The legacy of the band has been soured somewhat by vocalist Buddha allegedly sexually assaulting a minor in 2012. He was instantly ejected from the band, and a statement was released saying such behaviour was absolutely counter to what Blood For Blood stood for. Obviously, the band lost fans for the perceived hypocrisy of a band railing against such abuse, only for a member to continue the cycle of abuse. However, those who looked into the band at anything more than just a superficial level knew it was White Trash Rob’s band through and through, and Buddha had merely been the instrument to convey Rob’s lyrics.

Most of us are fortunate enough not to have lived like this. It puts first world problems into perspective. However, it also makes you appreciate what you do have, and how fortunate you have been in your own life, even if things might not be perfect. There’s always someone worse off than you.

Latest Forum Topic Posts

  • Posted 2 days ago in Randy Rampage R.I.P.
    R.I.P. That debut is still the album I go back to most often.
  • Posted 6 days ago in Do metal fans have a political leaning?
    [QUOTE=Triceratopsoil]I seem to find myself more conservative every time I think about it[/QUOTE] If you’re not a socialist before you’re twenty-five, you have no heart; if you are a socialist after twenty-five, you have no head.- attributed to many people, but definitely not first said by Churchill! Vim Fuego2018-08-15 12:39:39
  • Posted 14 days ago in 'Core Chat
    I like their cover of Holy Diver, but their own music, not so much.


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