Vim Fuego

Patrick Stott
Forum Admin Group · Admin,Thrash/Death, Grindcore & VA teams
Registered more than 2 years ago · Last visit 64 minutes ago

Favorite Metal Artists

All Reviews/Ratings

449 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 Grindcore | 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 Grindcore | 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 Traditional 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 116 3.88
2 Traditional heavy metal 52 3.62
3 Death Metal 47 4.11
4 Grindcore 47 3.69
5 Crossover Thrash 18 3.97
6 Hard Rock 17 2.47
7 Groove Metal 16 3.03
8 Black Metal 11 3.68
9 Alternative Metal 11 2.68
10 Glam Metal 10 3.25
11 Technical Death Metal 10 3.70
12 Industrial Metal 7 3.43
13 NWoBHM 7 3.21
14 Progressive Metal 7 2.36
15 Power Metal 6 3.25
16 Melodic Death Metal 5 2.60
17 Gothic Metal 5 2.80
18 Death 'n' Roll 5 1.80
19 Symphonic Metal 5 1.60
20 Brutal Death Metal 4 3.38
21 Folk Metal 4 3.50
22 Sludge Metal 4 2.25
23 Non-Metal 3 2.67
24 Nu Metal 3 0.67
25 Doom Metal 3 4.17
26 Atmospheric Black Metal 3 2.83
27 Atmospheric Sludge Metal 2 4.75
28 Funk Metal 2 1.50
29 Speed Metal 2 2.50
30 Metal Related 2 5.00
31 Melodic Black Metal 2 1.25
32 Hardcore and crust 2 5.00
33 Deathcore 2 2.00
34 Symphonic Black Metal 2 4.50
35 US Power Metal 2 2.75
36 Metalcore 1 2.50
37 Stoner Metal 1 4.50
38 Drone Metal 1 4.00
39 Death-Doom Metal 1 5.00
40 Avant-garde Metal 1 4.00

Latest Albums Reviews

JUDAS PRIEST Sad Wings Of Destiny

Album · 1976 · Traditional heavy metal
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Do you remember the Atari 2600? It was a gaming console which first hit the market in 1977, and revolutionised home entertainment. A year before Space Invaders hit the arcades and chip shops of the world, the 2600 allowed you to play video games in your own home on your own TV. And the games which eventually followed were great fun to play, as many were ports of popular arcade games, the afore-mentioned Space Invaders being the killer app which really put the 2600 years ahead of the competition. It was followed by NintendoSegaMegadriveGameboyGenesis, or whatever the other wannabe consoles were, but none ever matched the 2600’s longevity, remaining in production for 15 years. Many modern day console gamers revere the 2600, because it paved the way for so much of today’s gaming innovation, culture, and methodology, but would they ever go back to playing just the 2600?

No, they would not.

Despite all it’s innovations, by today’s standard, the 2600 looks old and primitive. Look at a game like Adventure, for example. It was the first adventure/RPG available on a console. The main character is a block. Yes, a little coloured square ran around a castle and, among other things, could carry a spear which is supposed to be a sword with which he could kill a duck. Er, sorry, a dragon. Yes, the dragons looked like ducks. The mazes were blocky and reasonably simple. Compare this to the total immersion of any modern day RPG, like The Elder Scrolls or Witcher series, and it doesn’t even seem like the same technology. However, the basics are still the same- console, screen, controller.

“Sad Wings of Destiny” is an Atari 2600 album anachronistically stuck in a heavy metal PS4/XBOX ONE world. Yes, it is a thing to be admired and respected. Without it, modern metal would not exist in the form it does. It helped lay down the foundations and fundamentals of metal. But metal has moved on.

First though, the positives of this album. It is chock full of those masterly riffs Judas Priest made their career on. The first track “Victim of Changes” crashes straight into that stunning riff, and chugs away like the Little Engine who Fucking Well Could. Second track “The Ripper” is a creepy little fucker, portraying a sense of lurking evil.

A young Rob Halford is an eargasm all it’s own. His clarion call voice is crystal clear, He has the vitality and bite of someone young and ambitious who has an amazing vocal gift. His voice soars, dips, wails, emotes, and threatens. Halford adds colour and nuance, perfectly complementing the crashing metallic music of “Tyrant” or the subtle tones of a picked guitar on “Dreamer Deceiver”.

After a while though, the cracks begin to appear.

The pacing of the album is odd. “Dreamer Deceiver” is just too slow too soon after “Victim of Changes”, and really drops the album flow on it’s ass. True, “Deceiver” picks up the pace again, followed soon after by “Tyrant”, but then there’s another big flat patch with “Genocide”, which reeks of filler, followed by the piano/harmonised vocal song “Epitaph”. It sounds incredibly out of place, more like a rejected track from Queen’s “A Night at the Opera” sessions. Album closer “Island of Domination” is a rollicking rocker with a dirty groove, and just leaves the listener wondering what the fuck Judas Priest were really trying to do with the album as a whole.

The biggest problem here is it just doesn’t sound heavy enough. Volume helps, but it isn’t everything. Yes, a blasphemous thing to say, but there really is a lack of energy and punch to the whole thing which cranking up to 11 and snapping off the knob just won’t fix. Metal was still a relatively new genre in 1976, and studios, producers, and engineers often didn’t have much experience with recording it. As a result, large parts of the album are flat. Occasionally, the guitars sound like Bob Dylan’s nose was used as an amplifier.

Sometimes, time is a bitch. Back in the day, this music might have scared disco fans or the Kiss Army, but by modern standards, it’s all kind of quaint. This is an album which you really want to love, but will probably end up respecting rather than loving.

HAZZERD Misleading Evil

Album · 2017 · Thrash Metal
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Anyone with more than a passing interest in metal will know thrash metal died in the early 1990s. Why did it die? There were a number of reasons, but really, it fucking well deserved to!

It’s hard to tell exactly why thrash became so cancerously mutated. Bands started doing stupid shit, diluting the music with things like silly slapped bass and funky beats, or aiming for the mainstream with gutless power ballads. There was experimentation, social causes, a decline in pace, and a similar decline in quality. Perhaps thrash became an oversaturated market, filled with sub-standard crap. Maybe it was because the musicians involved in it lost interest as the genre had become too restrictive and straight-jacketed. Whatever the reasons, most of the big names abandoned it. Metallica, Megadeth and Anthrax all slowed down, Slayer fucked off for a long while, Exodus fell apart, Kreator changed directions, Testament released some sub-par crap, and countless other bands “discovered” their love for acoustic ballads, radio-friendly rock rhythms, and shorter hair. There was no new good stuff coming out.

A few bands like Overkill soldiered on bravely, and the odd new killer band like Strapping Young Lad, popped up, but by and large, thrash lived on mainly through its past glories, like “Reign in Blood”, “Master of Puppets”, “Pleasure to Kill” and “Bonded by Blood”. So what was a lover of hard edged metal to do? There were a couple of options. The first, and probably best, was to start exploring the now established death metal scene, or look into the emergence of black metal. There was the less enticing option of putting the brain out of gear and following the smelly sulking masses of angsty teens into the grunge market, or the even less appetising moronicism of nu-metal.

And then, here we are, almost through the second decade of the 21st century, and thrash is back with… well, not really a vengeance, but it sounds like it’s fucking well supposed to again!

Yep, so press play on Hazzerd’s “Misleading Evil”, and you instantly get a pounding thrash of drums, a crashing riff of guitars, and away you go, speeding through the first track “The Tendencies of a Madman”. It is just like it is 1989 again. This is better than 1989 though. In those days, a band needed a pretty good record deal to get even a half decent studio sound, and even then it wasn’t guaranteed. Check Dark Angel’s “Leave Scars” for a prime example. What we get here from Hazzerd is crisp, clear guitars, with the right amount of crunch and zip so you can fully appreciate the riffs, and the shredding solos. The rhythm section is tight and energetic. Drummer Dylan "Shoes" Westendorp is also the band’s vocalist, and the dude can fuckin’ sing! Imagine Megadeth if they were still a young and vital band with something still to prove, possibly with Russ Anderson from Forbidden or Bobby Blitz from Overkill on vocals. Westendorp has the right mix of melody with a rough edge.

Often a telling test for a thrash metal band was how well they could hold the listener’s interest with an instrumental. Some, like Megadeth’s “Into The Lungs of Hell” and Nuclear Assault’s “Game Over” were excellent, while others like Death Angel’s “The Ultra-Violence” and Flotsam and Jetsam’s “The Jones” just get bloody tedious after a while. Here, the title track is an instrumental, and far from being boring, it is a highlight amongst highlights. No track stands out much from the others, because all are outstanding.

If you long for the golden days of thrash metal, check out “Misleading Evil”. It is a nostalgia trip and fresh and new at the same time. It has one of those Ed Repka-esque covers (a bloke called Andrei Bouzikov deserves the credit for it). This is fun and exciting, and a bit edgy, just like thrash metal was always meant to be. Metalcore pretenders, please take note: metal and hardcore were combined decades ago. It is called thrash fuckin’ metal. THIS is how it is supposed to sound.


EP · 2017 · Grindcore
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You know what? I was going to try to review “Dirt” by Alice In Chains, but I can’t. I can’t give it an objective review in any way, shape or form. I tried to listen to it for the first time the other day, got thoroughly bored with it, so I stopped.

Age and attitude has a lot to do with it. Alice In Chains was supposed to be the more metal side of the grunge movement, but I’m too old and cynical to buy into the teen angst it embodied. Even when I was a teenager I had more important things to do than to wallow in self-pity, like working to help keep the family farm afloat, while getting myself an education so I wouldn’t be trapped trying to scratch a living from the land. Yes, “Dirt” is meant to follow the emotional descent of someone falling into the clutches of an eventually fatal heroin habit, but that world, and those emotions, are alien to me. While I understand mental illness and depression, I just don’t get self-pity and addiction.

“Dirt” may have been exotic and fresh when it was first recorded in 1992, but a quarter of a century has been unkind. What little of the music I do recall sounded flat and dull. Perhaps it is the radio-friendly imitators and mimics which have spoiled Alice In Chains’ aura, or perhaps it is rose-tinted spectacles which keep this album held in such a high regard. Whatever it is, I didn’t like it enough to listen to it all the way through, and you can’t give half an album a fair review.

Just as I was considering something drastic, like mowing the lawn or doing the dishes because they were more interesting than “Dirt”, this little gem popped up on YouTube. “The Black EP” by Grinder is essentially the antithesis of “Dirt”. It is short, sharp, and silly. What could be less serious than coffee-themed grindcore with a real, genuine grinder on vocals? Yes, Grinder’s vocalist is a coffee grinder.

For anyone outside the grindcore sphere of influence, this may sound utterly inane and childish. Perhaps it is. However, jump online and check out even just a handful of grindcore demos and the thing which strikes you almost immediately is how atrociously recorded the vocals are. Grunts, groans, shrieks, growls, and even screams can end up sounding like a gurgling drain or a boiling kettle. It seems to be a hard task to keep already tortured vocals anywhere near intelligible when all other instruments around are raging at, for want of a better expression, full noise.

So Grinder offers nothing but a fun gimmick. The song titles are completely meaningless because the vocals are nothing but the sound of coffee beans having the caffeine powdered out of them, and possibly the resulting beverage percolating in the fires of hell. The music itself though is well above average for this style of release. There is the obligatory insane drum programming, set to an inhuman tempo, overlaid with crushing guitar and bass noise. There’s a couple of funny coffee-related samples, and song titles like “Beans of Prey” and “Hot Water Death Bath”.

What does it all mean? Fuck all. Why listen to it? Pure escapism. Is it better than Alice In Chains’ “Dirt”? I think so. Will anyone else? Probably not, but fuck ‘em. They can write their own review.

METALLICA Ride the Lightning

Album · 1984 · Thrash Metal
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In the most famous of Greek philosopher Zeno of Elea’s paradoxes, the great hero Achilles raced a tortoise, who we shall call Trevor. Being a cocky bastard, Achilles gave Trevor a huge head start, figuring he would overtake him quicker than Zeus could zap a smart arsed atheist. So off they went. Achilles arrived at where Trevor had started, but of course the tortoise had moved. So quick as a flash, Achilles reached the point where Trevor had moved to, but the bugger had moved on again, so, Achilles kept on running. Each time Achilles caught up to where Trevor had been, Trevor had moved.

After a few hours of covering ever decreasing fractions, Achilles still hadn’t caught up and had pulled his Achilles. Trevor turned around and gave the limping and confused Achilles the finger, and carried on his paradoxical way, looking forward to going to the pub and telling all his tortoise mates how he’d beaten the mighty Achilles, and given philosophers and mathematicians alike a thumping headache. Unfortunately for Trevor, an eagle called Aetós thought Trevor looked tasty, swooped down and picked him up. Eagles aren’t particularly bright, but even they know a tortoise is a bit hard on the beak, so Aetós dropped Trevor on what he thought was a rock, but turned out to be the bald head of Aeschylus the playwright, killing him instantly, and allowing Trevor to escape uneaten.

And that is how Trevor the tortoise fucked philosophy, mathematics, literature, mythology, and an eagle all in one day.

If you remember back the the beginning of the story though, this is supposed to be about Metallica’s “Ride The Lightning”, and you may be wondering what the fuck a bunch of Greeks and a lucky bastard of a tortoise from two and a half millennia ago have to do with a 1984 thrash metal album. It may seem an incredibly long bow to draw, but just imagine Trevor is Metallica, Achilles is every other metal band in the world, and “Ride The Lightning” is the proof of the paradox in question. The crux of the matter is, just when other bands thought they were catching up with Metallica, Metallica had moved on to another level. No matter how far or fast those other bands moved, Metallica was still in front, even if by just a fraction.

Doing a detailed song by song analysis of “Ride the Lightning” is a bit pointless, because it’s so well known by metal fans, and if you’re not a fan, you’re probably not going to bother listening to it anyway. So instead, here’s a superficial analysis.

1. “Fight Fire With Fire” is about nuclear war, and there are claims it was the fastest thrash metal song in the world at the time. It could well have been, but there were a few underground bands playing faster in pure beats-per-minute. “Fight Fire With Fire” is a shitload better than any of those.

2. “Ride The Lightning” is about someone facing the electric chair, a little like the condemned man facing the gallows in Iron Maiden’s “Hallowed Be Thy Name”. It’s a place not to be.

3. “For Whom The Bell Tolls” is based on Ernest Hemmingway’s Spanish Civil War novel of the same title. It’s a fucking good read. Also, Cliff Burton played the intro on his bass, which is awesome.

4. The suicide note song “Fade To Black” was Metallica’s first shot at a power ballad, and they got it spot on. It showed power ballads could remain powerful (see that, Motley Crüe, Tesla, Poison, Extreme, etc?) It laid the foundation for subsequent power ballads like “Welcome Home (Sanitarium)”, “One” and “The Day That Never Comes”.

5. “Trapped Under Ice” is about awakening from a state of cryonic suspension. It was the first song on side two, when such a thing actually meant something.

6. This album is seven masterpieces, and “Escape”. It’s James Hetfield’s least favourite Metallica song. Given that the band have produced numerous musical atrocities among their bounty of metallic and hard rocking diamonds, that is saying something.

7. “Creeping Death” was inspired by the plague of the death of the firstborn, from Exodus 12:29, for those of a biblical bent. Coincidentally, the famous “Die” chant was written by Kirk Hammett while he was still in Exodus.

8. The title "The Call of Ktulu" was inspired by H.P. Lovecraft’s Chthulu, but the different spelling made pronunciation easier. The reworking of this classical influenced song was the only good track on S&M, and deservedly won a Grammy in 1999.

So yeah... “Ride The Lightning” redefined what thrash metal was, is, and could be. Metallica bettered it once, or perhaps twice, depending on how you view subsequent albums. Every other band in the genre since has either tried, and failed, to match it, or seen sense and realised they couldn’t.


Demo · 2013 · Black Metal
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THIS is the reason I listen to metal. Occasionally, just very occasionally, something is thrown at you which is so unexpected and so intense it reinvigorates your lust for metal. As a rule, I’d rather listen to a noisecore demo which sounds like someone has thrown a pizza on a turntable and then dropped the needle on it than to subject myself to almost anything from the black metal underground. Atmosphere is something to breathe not listen to, symphonies are best kept for orchestras, and the old gods are as praiseworthy as the tooth fairy.

And so I approached Monge’s self-titled demo with much trepidation, investigating only because it is a side project of Brazilian grindcore band Facada.

The acoustic intro “Descending into the Deepest Abyss of the Self and Deny the Creator of Lands and Seas” is pretty ho-hum. Silly title, competently performed, but nothing much to write home about.

But then, “The Doctrine of Transcendental Invocation” blasts out of the speakers, and “Monge” is transformed into something sublime. All preconceptions are instantly vaporised. This is red-meat-dripping-blood raw black metal, a direct descendant of early Bathory and Mayhem. As with all the best raw black metal, it has buzzsaw guitars, lightning fast drums, and throat shredding vocals. The five tracks following the intro stick strictly to this formula, but it is hardly formulaic, because it is so viciously, convincingly carried off.

The only time this formula seems to change even slightly is on “Summoning the Lords of Tragedies Storm”, which seems to veer more towards crust-tinged grind, punctuated with incredible black metal blasting, and fades out into the only atmospheric passage of the entire demo, a rumbling rainstorm.

The cover of Rotting Christ’s “The Signal of the Evil Existence” is the coup de grace. The song is a perfect choice, made all the more so as the Greek gothic black metal masters began their humble existence as a grindcore band. Monge make it their own.

These three grind freaks could teach even the most frostbitten and grim tr00 kvlt high priest of black metal that the darkness and evil can still return without the extra-curricular fuckwittery of church burning, murder, and National Socialism. This is truly inspiring, violent extreme metal.

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  • Posted 64 minutes ago in Martin Ain (Coroner) dies age 50 CELTIC FROST bassist Martin Eric Ain died yesterday (Saturday, October 21) after suffering a heart attack at the age of 50. His death was confirmed by Ain's close friend Jan Graber, who told Switzerland's 20 Minuten that Martin "suddenly collapsed when he switched to a different tram."
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    Currently listening to cricket commentary. New Zealand vs India. Getting a hiding from India as usual.
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    I took the silence as a big don'tgiveashit and added this band.


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