Vim Fuego

Patrick Stott
Forum Admin Group · Admin,Thrash/Death, Grindcore & VA teams
Registered more than 2 years ago · Last visit 53 minutes ago

Favorite Metal Artists

All Reviews/Ratings

437 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 115 3.87
2 Traditional heavy metal 51 3.63
3 Death Metal 48 4.10
4 Grindcore 45 3.67
5 Crossover Thrash 17 4.00
6 Groove Metal 16 3.03
7 Hard Rock 16 2.59
8 Alternative Metal 11 2.68
9 Black Metal 10 3.55
10 Glam Metal 10 3.25
11 Technical Death Metal 9 4.00
12 NWoBHM 7 3.21
13 Industrial Metal 7 3.43
14 Power Metal 6 3.25
15 Progressive Metal 6 2.42
16 Symphonic Metal 5 1.60
17 Melodic Death Metal 5 2.60
18 Gothic Metal 5 2.80
19 Death 'n' Roll 5 1.80
20 Folk Metal 4 3.50
21 Doom Metal 4 4.25
22 Sludge Metal 4 2.25
23 Nu Metal 3 0.67
24 Brutal Death Metal 3 3.17
25 Atmospheric Black Metal 3 2.83
26 Atmospheric Sludge Metal 2 4.75
27 Deathcore 2 2.00
28 Funk Metal 2 1.50
29 Non-Metal 2 3.00
30 Speed Metal 2 2.50
31 Symphonic Black Metal 2 4.50
32 Melodic Black Metal 2 1.25
33 Hardcore and crust 2 5.00
34 US Power Metal 2 2.75
35 Metal Related 1 5.00
36 Metalcore 1 2.50
37 Drone Metal 1 4.00
38 Avant-garde Metal 1 4.00

Latest Albums Reviews

OPETH Still Life

Album · 1999 · Progressive Metal
Cover art Buy this album from MMA partners
Really and truly, what is the deal with this band and this album?

Opeth’s “Still Life” is fawned over almost universally, inspiring gushing reviews where critics fall over themselves in pursuit of the most lyrical platitudes. And for what? A dark concept album following a tale of unrequited love? A reinvigorating breath of fresh new life for a stale metal scene? A melodic progressive death metal masterpiece? The answer is none of the above.

What does progressive even really mean? It conjures up thoughts of widdly, boring songs which fill the entire side of an old vinyl LP, pretentious, self-indulgent musical masturbation which milks every last drop of tepid hope from a terminally bored audience. By that definition, “Still Life” is most definitely a progressive metal album.

There is the odd growl, but it’s hardly backed by death metal. Most of the time it’s hardly even metal. This album is littered with acoustic interludes and ooo-woo vocals. It doesn’t really offer much of a contrast from the metallic parts, because both are flat and grey. Even at full volume, this is still background music, inoffensive pap which slides in one ear and straight out the other. The band is castrated by it’s misguided attempt to transcend metal.

There might be song titles, but they don’t really matter, because there are no highlights. There are no bottomless depths of depraved mediocrity either. “Still Life” is just that- a flat-lined corpse.

The whole thing is just ditch water dull. And no, not a cool flooded ditch, sweeping along tree stumps and unlucky sheep with dirty, roiling depths raging down it’s course while threatening to burst it’s banks. No. This is stagnant, stinky green ditch water, so putrid even mosquitoes won’t lay eggs in it, instead looking for somewhere less torpid.

PHYLLOMEDUSA Spikeballs & Monklets (CxBxFxIxHxFxLxFxRxE Vs Phyllomedusa)

Split · 2017 · Grindcore
Cover art Buy this album from MMA partners
If a frog croaks in the swamp and nobody hears it, did it really make a noise at all? The answer to this slight rephrasing of George Berkeley’s 1710 philosophical though experiment is “fuck yeah”, but the more important question is if that croak was “Spikeballs & Monklets (CxBxFxIxHxFxLxFxRxE Vs Phyllomedusa)” would anyone really want to hear it?

There’s really only one reason most people would ever attempt listening to this split shared between CxBxFxIxHxFxLxFxRxE and Phyllomedusa, and that is to hear one of the oddest covers of Blondie’s “One Way or Another” ever recorded, distorted into a weird mass of grind, sludge, and noise. That comes later, but first, the rest of the album.

Catastrophic Blunt Force Intracranial Haemorrhage Fluid Leaking from Ruptured Eardrums, or CxBxFxIxHxFxLxFxRxE is actually a far more entertaining name than the music. Their contribution to this split seems to be their first release. “Removing the Limbs of Sacrificial Bodies, Displaying the Gastrointestinal Tract from Esophagus to Anus, Hanging in the Trees, the Skin Stripped from the Heads, Lifted Above the Leaves, Blood Dripping to the Forest Floor in Praise of the Great Beelzebufo” (and I’m not writing out that fucking title again!) is a nine minute song, of sorts. It has a comedy intro about toad breeding, before descending into a formless mush of pingy snaredrums, blown out bass, and gargled vocals. Sir David Attenborough even puts in a guest appearance. It seems like the performers are not in the same time continuum, so it’s a bit chaotic. Listening to the full track is something of a feat of endurance. If you get to the end, congratulations! You haven’t actually achieved anything, but at least the racket has stopped.

Pyllomedusa’s lone amphibiphile big frog regularly burps forth frog fancying anthems of wildly varying quality and genre, depending on the species of toad he’s been licking. A majority of his releases are noise for noise’s sake. There might be instruments, or even some element of performance involved, but who can tell. At his most awe inspiring, he spawns sludge so thick and deep it would swallow Mastodons and Iron Monkeys. And in between the two, he can be a one man grindcore battering machine. “Spikeballs & Monklets” falls somewhere between sludge and grind, a stinking swampy mess unique to Phyllomedusa. It is so DIY you can almost see the bent nails and hammer marks where big frog has knocked this all together by himself.

The biggest problem with big frog’s musical output is the lack of variety. The lo-fi recording process means the first song generally sets the tone for the album, and you are going to get several versions of the same song over and over. “Coat The Globe In Toxoid Calamity (Uninjurious To Lissamphibia)” is a thunderous sludge/grind monstrosity. So is “Spikeballs And Monklets (Ephippibane)” and “Browning Of The Bottom Right”, and the next two tracks too. Unfortunately, the tempo hardly varies, the vocals are throat-shreddingly awesome, but totally indecipherable, and the guitars too indistinct for it to matter if there are even riffs involved.

But then along comes the Blondie cover. “One Way Or Another, I'm Going To Kill You” (see what he did to the title there?) is instantly transformed from kitschy New Wave schlock rock into a psychopathic sludge serenade. The bouncy, poppy main hook of the song is hung, drawn, and quartered, becoming a mechanized torture device. Debbie Harry’s laconic vocals are replaced by the gargled, grunted roar of a t-rex with a throat infection. Forget fictional monsters like Godzilla. big frog is a real, live sociopath hell bent on the destruction of mankind for the sake of the amphibians.

This ugly, noisy mess can be listened to for free, and to be honest, it needs to be that price. It was also released on CD, limited to 50 copies, but it would be an extremely dedicated grindcore collector who shelled out for it. As a whimsical mud encrusted, distortion soaked curio though, it might be worth a listen for someone with half an hour to spare and a very open mind.

https://phyllomedusa.bandcamp.com/album/spikeballs-monklets-cxbxfxixhxfxlxfxrxe-vs-phyllomedusa

VARIOUS ARTISTS (SOUNDTRACKS) Judgment Night (Music From The Motion Picture)

Album · 1993 · Alternative Metal
Cover art Buy this album from MMA partners
If you don’t remember the movie “Judgment Night” it’s not a surprise. It was a box office bomb, combining a silly plot with some poor acting by a number of reasonably high profile stars who will be ashamed of being associated with such a dog. It’s box office receipts recouped less than two thirds of the movie’s budget. That the movie was so poor is a shame, because the “music from the motion picture” soundtrack which accompanied it was an absolute ripper.

All the songs featured here were collaborations between hip-hop and rock or metal artists, the results of which popped up a few pleasant surprises, along with a few turds. The idea of such collaborations had its roots back in the 1980s, when Aerosmith and Run-DMC, and later Anthrax and Public Enemy, pulled together the rock and rap scenes, with great results. There had always been a bit of animosity and mistrust between the two scenes, but these collaborations helped dismiss some of the animus. From a commercial point of view, it also made sense, appealing to two different markets.

Let’s be honest. A metal fan is going to listen to this album first and foremost because of the collaboration between Slayer and Ice-T. When this was released in 1993, Ice-T was still embroiled in the controversy over Body Count’s self-titled debut album, and the song “Cop Killer”. He was somewhat of a divisive figure in the metal world, where some “fans” were questioning why a black rapper was involving himself in metal. While the braindead racist minority were stewing in their own fetid ignorance, the rest of the metal world was embracing Body Count for what it was- a quality crossover thrash band with a strong message, with an outspoken, intelligent frontman. Slayer’s own troubles have been well documented too, with accusations of Nazism following the song “Angel of Death”, and the band inadvertently attracted an extreme right wing following, who would have been exactly the people who would have had a problem with Ice-T.

“Disorder” is a crossover thrash medley of three songs originally by The Exploited, played at breakneck pace, with King/Hanneman. The new lyrics, adapted from “War”, “UK 82” and “Disorder” relate to the Los Angeles riots in 1992, the state of race relations, and US politics in general. Ice-T and Tom Araya trade vocal barbs back and forth in crust punk style, getting more aggressive and angrier as the song progresses, culminating in a cacophonous finale. This is the fifth song on the album. Any truthful metal fan will have to admit skipping straight to it before starting to listen to the album in it’s true chronological order. It is worth it, and it’s fucking Slayer. The difficult thing for the rest of the collaborations on this album is trying to hold the metal fan’s attention. How long ‘til a bored metal fan skips back to “Disorder”?

First track: “Just Another Victim”

Artists: Helmet and House of Pain

Time: 4:25

Skip to “Disorder” time: 4:25 – the entire track

House of Pain’s “Jump Around” had not long since peaked at number three in the Billboard charts, and were a pretty big deal at the time. Helmet were no slackers themselves, with their album ‘Meantime’ rapidly racing toward gold status. The street-wise, tough attitude of both artists combines for a pretty damn robust track, with clipped hardcore guitars and a steady hip-hop beat.

Second track: “Fallin’”

Artists: De La Soul and Teenage Fanclub

Time: 4:28

Skip to “Disorder” time: 0:07

The first six seconds, fine. A hip-hop beat and some “woo” backing vocals. Then someone starts whining. “Disorder” time!

Third track: “Me, Myself and Microphone”

Artists: Living Colour and Run-DMC

Time: 3:08

Skip to “Disorder” time: 3:08 –The entire track

Living Colour started as a glam metal band with a few funky interludes, but after their smash hit album ‘Vivid’, their music branched off in all directions. This track combines a funky bassline, several guitar tracks, some trademark Run-DMC rapping, and a bit of well-placed scratching. It’s not full on metal by any means, but there is a satisfying groove, and is short enough boredom does not set in.

Fourth track: “Judgment Night”

Artists: Biohazard and Onyx

Time: 4:36

Skip to “Disorder” time: 4:36 –The entire track

The meeting of hardcore punk and hardcore hip-hop. This pairing had worked together earlier on a remix of Onyx’s “Slam” single. The guitars are very prominent, combining with a massive beat, and Evan Seinfeld’s yell underpinning it. The street-wise lyrics rapped over this create a tough, muscular track, which is hard, heavy, and smart.

Fifth track: “Disorder”

Artists: Slayer and Ice-T

Time: 4:59

Skip to “Disorder” time: er, this IS “Disorder”

If you don’t like this, you don’t like metal.

Sixth track: “Another Body Murdered”

Artists: Faith No More and Boo-Ya T.R.I.B.E.

Time: 4:25

Skip to “Disorder” time: um, Boo-Ya T.R.I.B.E. will gun you down in a drive-by if you try.

Both artists were well known for combining rock and hip-hop from their own sides of the spectrum, and it shows. This is probably the most natural sounding track on the album. Boo-Ya’s massive grooves and Faith No More’s crushing guitars combine for a truly compelling song. Mike Patton’s vocal insanity in the background is a particular highlight.

Seventh track: “I Love You, Mary-Jane”

Artists: Cypress Hill and Sonic Youth

Time: 3:52

Skip to “Disorder” time: 0:50

A promising start. A lethargic guitar scrape, and a hypnotic, fuzzy groove sounds a bit trippy, but then the vocals wreck it. If you are familiar with Cypress Hill, you will be familiar with their dope fuelled nasal voices. Anyone unfortunate enough to know who Steve Urkel was will know the sound. Next please.

Eighth track: “Freak Momma”

Artists: Mudhoney and Sir Mix-A-Lot

Time: 4:01

Skip to “Disorder” time: 3:30

So then, a fairly straightforward alt-rock track with Sir Mix-A-Lot (yes, he of “Baby Got Back” fame) rapping over top of it. Even though his voice is a little comical, there is something about this song which works quite well. Whether it’s Mudhoney’s nod to the psychedelic 60s, or Mix-A-Lot’s rapid fire vocal delivery, it’s not too shabby.

Ninth track: “Missing Link”

Artists: Del the Funky Homosapien and Dinosaur Jr.

Time: 3:59

Skip to “Disorder” time: 1:34, after the sweet solo, or skip to 3:13 to hear more

Dinosaur Jr’s trademark laid back sound gets loaded with bass here, and is so relaxed and effortless it would be going in reverse if at all possible. Del the Funky Homosapien’s vocals though are a bit grating, because of his slightly rough, off-kilter delivery. If you can put up with the awful rapping, the guitar under it is as good as J. Macsis ever delivered anywhere.

Tenth track: “Come and Die”

Artists: Fatal and Therapy?

Time: 4:26

Skip to “Disorder” time: Are you fucking kidding?

Quite a menacing track. Therapy?’s pounding alt-metal is given a seriously sinister edge with Fatal’s harder-than-hardcore lyrics and vocals. There are some industrial vocal effects, and a driving bass line, all the while Fatal seems to become increasingly aggravated, ending in a psychotic rant and bullet shot.

Eleventh tracks: “Real Thing”

Artists: Cypress Hill and Pearl Jam

Time: 3:31

Skip to “Disorder” time: 0:00

Best to just pretend this track doesn’t exist.

All in all, this soundtrack delivers far better value than the movie ever did. It offers far more than just a single incredible track, and finally settled the old argument about hip-hop and rock mixing like oil and water. It works well, when done properly. Dismiss ‘Judgment Night’ at your own peril.

DESTRUCTOR Decibel Casualties

Album · 2017 · Thrash Metal
Cover art Buy this album from MMA partners
The Life and Death of Julius Caesar Act 2, Scene 1

TREBONIUS: There is no fear in him; let him not die; For he will live, and laugh at this hereafter.

Clock strikes

BRUTUS: Peace! count the clock.

CASSIUS: The clock hath stricken three.

TREBONIUS: 'Tis time to part.

CASSIUS:…

TREBONIUS: I said, “’Tis time to part!”

CASSIUS:…

BRUTUS: Cassius, thou crusty botch of nature, he said “’Tis time to part!”

CASSIUS:…

BRUTUS & TREBONIUS (Shouting): Cassius!

CASSIUS (Removes something from his ears, a little surprised) : What?

BRUTUS: He said “’Tis time to part!”

CASSIUS (Angry): Thou cullionly rump-fed hedge-pigs! I was listening to Destructor on my iPod! Go yourselves, give unto Caesar that which is his, a ruddy great knife right in the squishy bits! I’m busy enjoying my anachronisms!

Cassius reinserts his earphones and walks away, gently banging his head and playing air guitar… _____________________________________________________

Apologies to the long since departed Mr Shakespeare, but he was quite fond of the odd anachronism, this being his most famous. For anyone who hasn’t quite figured it out yet, an anachronism is something which is not just out of place, but also out of time. Like Shakespeare’s infamous clock, Destructor is a band out of their correct time, and long may it stay that way.

Showing a lot of promise, Destructor’s 1985 debut album ‘Maximum Destruction’ was a tour de force of hard-hitting, gnarly mid-80s thrash. Unfortunately, circumstances conspired against the band. Bass player Dave Holocaust (real name Dave Iannicca) was murdered, and the band was passed over by the ever-clueless Island Records. Destructor seemed doomed. Founding members Pat Rabid and Dave Overkill kept things going as long as possible, but the shifting musical climate meant an incomplete second album stayed unfinished, and Destructor finally split in 1992.

For many years, ‘Maximum Destruction’ was one of those much beloved footnotes in history, which long time metalheads delight in pointing out to those who missed out, usually with the comment “they don’t make metal like this any more”. Well, now they do.

Luckily for us, Destructor reunited in 1999. German magazine Snake Pit interviewed Dave Overkill, and Overkill realised there was still interest in the band. Destructor was resurrected, and has been performing and recording ever since.

‘Decibel Casualties’ is Destructor’s fourth studio album. Showing a glorious and blatant disregard for fashion and the passage of decades, little has changed in the Destructor camp since the heady days of 1985. The studs and chains are a little rusty, but the band members still have goofy pseudonyms, and the music is still magnificently metallic. However, a few things have changed around Destructor. Production techniques and technology have advanced infinitely since 1985. Back then, the sound of metal albums often sounded shrill and brittle, or were swamped and muffled. No longer. ‘Decibel Casualties’ is razor sharp and crystal clear.

Destructor still performs exactly what thrash fans loved about the band in the first place- thrash metal. This might sound like stating the painfully obvious, but it is true. Where bands like Municipal Waste, Toxic Holocaust, and Gama Bomb have tried hard to recreate that old school spirit, Destructor ooze it from every pore. Take almost any track from the album, like “Keep the Faith” as an example, and you will find that driving “quicker-than-it-seems” rhythm, powered by massive riffs and double kick-drum devastation, overlaid with lead guitar duels and Dave Overkill’s raspy yet melodic vocals. It is not of this time, but feels timeless. It is what teenage thrash metal fans fell in love with three decades ago.

And that is basically the formula for the whole album, and Destructor’s whole career. Any attempt at probing for a deeper meaning to this music is futile. Take it at face value, because that is all there is to it. These are songs by metalheads, written for metalheads, about metal. If you don’t get it, you aren’t supposed to.

If this sounds like it will have you banging your balding head, raising your arthritic horns, and pulling muscles rather than riffs from your air guitar, then you too are a decibel casualty. Old school thrash metal does not need to be an anachronism or a nostalgia trip.

In Destructor, the old school is still here.

GENOCIDE GENERATOR III

Album · 2017 · Grindcore
Cover art Buy this album from MMA partners
At its heart, grindcore is really a very uncomplicated, honest form of music. Take an idea and some instruments, smash them together as hard as you can, and record the carnage. All too often, the result is a dreadful, tuneless sludge, as evidenced by the mountainous slagheap of unloved and unlovable demos polluting the grind scene. Yes, good on the bands for having a go and getting something out there, but some quality control would be nice.

Every so often though, the crushing weight of carbon black detritus produces a diamond. Bavarian band Genocide Generator is one such gem. ‘III’ is a fairly simple album. The bug-eyed hand-drawn zebra on the cover of this album is a welcome change from the usual grind standards of mangled internal organs and copro-perversity. This album features two guys with a singular vision, creating razor sharp, slightly metallic grindcore. The duo squeezes in the odd industrial and electronic element to churn out their self-named “grindustrial” music. Unlike many bands, these guys don’t rely on their machines for their extremity or brutality, but merely to enhance their sound, like The Berzerker minus the silly masks and most blatant death metal elements.

It all seems quite straight forward. Two Germans playing hard, fast, loud music. Grind away for a couple of minutes, finish, repeat. But just be a little careful, because these guys have a few tricks just to stop the listener getting too settled. ‘III’ is actually Genocide Generator’s second album. In keeping with the industrial theme, there are no song titles on the album. Instead, each has a two digit number. There is no human meaning to it, the numbers being the anti-musical machine’s code. But really, do individual songs matter? This is an album to be listened to in its entirety. It’s not a huge stretch, at just over 18 minutes, but it’s like an intense rollercoaster which only ever hurtles downward. It spirals and loops, without ever slowing. A drum machine gets thrown into the terminal velocity plunge, but gets left behind. There are other machines of loving gracelessness thrown in too, but where they end and the cyborg musicians begin is lost in the maelstrom.

This is sharp grind with a clear cutting sound, like Wormrot at their razorblade best. Unlike Wormrot though, there is enough of a metallic tinge for curious metal fans too. There are heavier albums, and there are faster paced albums, but many of those are to be endured rather than enjoyed. ‘III’ is one of those rare finds where it satisfies the base desire for brutality, but leaves you wanting just a little more.

Latest Forum Topic Posts

  • Posted 2 days ago in Where do you buy your music from?
    I hardly buy anything any more. I spend most of my time just listening to music off YouTube now.
  • Posted 4 days ago in Is this racist?
    [QUOTE=aglasshouse]Come the fuck on. Anyone's who's been on Metallum for one day knows they just pick and choose what is on the site based on what they deem is good. It has nothing to do with race- Body Count isn't on there probably because, like a majority bands under the alternative metal label, they don't believe they are "actual metal" by their standards.Don't jump to conclusions about race in an argument where it may not belong. It's a very dangerous horse to ride. [/QUOTE]I think you might have jumped to a conclusion there. Read the thread title again. "Is this racist?" is a question, not a statement like "This is racist". I'll put you down as a "no".For the record, I have talked to Morrigan from EM (one of the webmasters) about this band, and others, not on the site, so I know where their official line is. I was asking for other opinions.
  • Posted 4 days ago in Now -- what are you listening to? V2
    [QUOTE=666sharon666][/QUOTE] Wow! Love that cover! So incredibly tacky, yet so cool! Er, what is it?Save

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