siLLy puPPy

MMA Special Collaborator · Avant-garde Metal team
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Favorite Metal Artists

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973 reviews/ratings
THOUGHT INDUSTRY - Songs for Insects Technical Thrash Metal | review permalink
THOUGHT INDUSTRY - Mods Carve the Pig: Assassins, Toads and God's Flesh Technical Thrash Metal | review permalink
NOKTURNAL MORTUM - Lunar Poetry Symphonic Black Metal | review permalink
CARACH ANGREN - Where The Corpses Sink Forever Symphonic Black Metal | review permalink
KING CRIMSON - In The Court Of The Crimson King Proto-Metal | review permalink
MEGADETH - Rust in Peace Thrash Metal | review permalink
QUEENSRŸCHE - Operation: Mindcrime Progressive Metal | review permalink
INFECTIOUS GROOVES - The Plague That Makes Your Booty Move... It's the Infectious Grooves Funk Metal | review permalink
BEHEMOTH - Demigod Death Metal | review permalink
KYUSS - Welcome To Sky Valley Stoner Metal | review permalink
METALLICA - Master of Puppets Thrash Metal | review permalink
METALLICA - ...And Justice for All Thrash Metal | review permalink
SLAYER - Reign in Blood Thrash Metal | review permalink
DARKTHRONE - A Blaze in the Northern Sky Black Metal | review permalink
BROCAS HELM - Black Death US Power Metal | review permalink
BROCAS HELM - Defender of the Crown US Power Metal | review permalink
BUMBLEFOOT - Ron Thal / Hermit Progressive Metal | review permalink
BUMBLEFOOT - Ron Thal / The Adventures Of Bumblefoot Progressive Metal | review permalink
EDGE OF SANITY - Crimson Melodic Death Metal | review permalink
BUMBLEFOOT - Hands Progressive Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Non-Metal 143 2.95
2 Alternative Metal 118 2.94
3 Avant-garde Metal 75 3.92
4 Progressive Metal 75 3.96
5 Hard Rock 69 3.34
6 Metal Related 54 3.43
7 Black Metal 51 3.52
8 Heavy Metal 48 3.78
9 Technical Death Metal 33 4.02
10 Thrash Metal 30 3.53
11 Death Metal 22 3.93
12 Proto-Metal 19 3.79
13 NWoBHM 13 4.15
14 Glam Metal 13 3.62
15 Industrial Metal 13 3.81
16 Folk Metal 10 3.70
17 Atmospheric Sludge Metal 10 4.25
18 Funk Metal 10 4.10
19 Power Metal 10 3.70
20 Symphonic Black Metal 10 4.20
21 Technical Thrash Metal 9 4.11
22 Sludge Metal 8 3.75
23 US Power Metal 8 3.63
24 Atmospheric Black Metal 8 3.81
25 Death-Doom Metal 8 3.38
26 Hardcore Punk 8 3.44
27 Metalcore 7 4.00
28 Brutal Death Metal 7 3.64
29 Groove Metal 7 3.50
30 Doom Metal 6 4.08
31 Melodic Black Metal 6 4.17
32 Grindcore 6 3.33
33 Gothic Metal 5 3.50
34 Neoclassical metal 5 3.40
35 Stoner Metal 5 4.00
36 Symphonic Metal 4 4.13
37 Speed Metal 4 3.38
38 Heavy Alternative Rock 4 3.50
39 Drone Metal 4 3.38
40 Deathcore 3 2.83
41 Melodic Death Metal 3 4.17
42 Mathcore 3 4.00
43 Heavy Psych 2 4.50
44 Goregrind 2 2.50
45 Funeral Doom Metal 2 4.25
46 Stoner Rock 2 4.25
47 Traditional Doom Metal 2 3.75
48 War Metal 2 4.00
49 Rap Metal 1 1.00
50 Nu Metal 1 2.50
51 Depressive Black Metal 1 3.50
52 Crossover Thrash 1 5.00
53 Crust Punk 1 2.50
54 Melodic Metalcore 1 4.00
55 Metal Related Genres 1 4.00

Latest Albums Reviews

SKYGLOW Thousand Years Of Terror

Album · 2018 · Technical Thrash Metal
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In recent years there has been a prolific output of technically gifted musicians from behind the former Iron Curtain with Russia leading the way. Metal vocalist Alexander Mokin, having been raised in the city of Saratov found a connection with myriad extreme metal bands ranging from the classic era of In Flames, Be’Lakor and Metallica along with the more technically gifted wizardry on display with bands like Death, Dissection, Dark Tranquility, Necrophagist and The Chasm.

Mokin started to write his own music in 2012 and four years later was joined by long time friend and guitarist Vlad Kudryavtsev to form the band “Eyes Of Skyglow,” later shortened to SKYGLOW. Once Sergey Stepenenko from Excruciation By Silence replaced Kudryavtsey and handled both guitar and bass duties, the lineup was almost complete with drummer Dmitriy Kim filling the last spot.

In 2017 the band released a short two track demo called “Curse Of The Butterfly” and in 2018 they see their debut THOUSAND YEARS OF TERROR cast its shadow over an unsuspecting world. After a brief virtuosic performance of acoustic classical guitar leading the way, the music bursts into the full pyrogenic fury of technical thrash metal. These guys are riff monsters with a clear Vektor type of fury on display with a youthful energetic bombast, yet with a seasoned flare for dynamic shifts, alternating tempos and dramatic displays of neoclassical virtuosity strewn about.

The inspiration behind the theme of the album lies in Mokin’s analysis of government corruption that tells the tale of a millennium of the horrors of Russian history. While the music is firmly based in unrelenting tech thrash metal, there are health doses of Western classical music in the form of guitar and keyboards that crank out pleasant melodies that develop into fully formed thrash fury. While fitting well into the technical thrash crowds, this is melodic thrash metal that utilizes the lush compositional structures of classical music.

While the world is saturated with a gazillion metal bands as we approach the third decade of the 21st century, very few stand out amongst the ever increasing crowds. SKYGLOW is quite a different story altogether. This is a band that means business and pulls of the chops to accomplish their goal of the tech thrash metal soundtrack of Russian history in all its ugly regalia.

While a mere fledgling in the metal universe, SKYGLOW sounds like a seasoned band around for decades as THOUSAND YEARS OF TERROR not only exceeds in lyrical continuity but bedazzles with virtuosic prowess of the highest degree. The production is also noteworthy as it sounds like a bona fide professional release.

Fueled by shapeshifting time signature rich thrash metal riffs, choppy blastbeats meet jazzified percussive pummelation and brilliant classically rich intermissions accompanied by top notch thrash vocals, SKYGLOW is a band to look out for. On this debut album they display a maturity few bands muster up in a whole career. While the band claims The Chasm as their closest metal relative in stylistic terms, i hear a whole lot of Vektor inspired technicalities that show off their chops in perfect unison.

This is no clone band here. These guys really deliver one brutally satisfying track after another. So far, one of my favorite metal releases of 2018. Perhaps not quite to the level of finding a totally unique sound of their own, but they nailed the traditional classically infused thrash metal sound perfectly. Recommended.

BUDGIE Budgie

Album · 1971 · Heavy Metal
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If you’re serious about diving into the origins of heavy metal you will no doubt tackle the usual suspects such as Black Sabbath, Led Zeppelin and Deep Purple, but in the early gestation years of the late 60s and the fully formed heavy rock bands that provided the antecedents of the greater metal universe, there were quite a few contenders that didn’t quite attract the same level of success as the big three. The Cardiff, Wales based BUDGIE was one of the earliest such bands that was a seminal influence on the NWOBM scene that would emerge at the tail end if the 70s. While formed in 1967 under the less-than-metal moniker Hills Contemporary Grass, they changed their name to Six Ton Budgie before finally truncating it to the more known BUDGIE which is an informal term for “budgerigar,” an Australian parakeet which would become their mascot. This power trio of Tony Bourge (guitar), Tony Shelley (bass, vocals, mellotron) and Ray Phillips (drums, percussion) chose this name as a diametrically opposing term in relation to their bombastic bluesy rock bravado.

While Black Sabbath was in 1971 the heaviest band in existence, BUDGIE wasn’t too far behind. Their eponymous debut released the same year as “Master Of Reality,” followed the trends of the more successful bands and could be generalized as heavy rock straddling in between the heavy Sabbath riffing with Led Zeppelin inspired compositional constructs as well as Shelley’s Robert Plant inspired vocal style. The Sabbath inspired parts come to the forefront with the opener “Guts” which is a little too close to Sabbath’s own “Hand Of Doom” which sounds like a good case for plagiarism to my ears but the album quickly drifts off into their own unique middle ground between the great Sabbath and Led Zep. Many have cited as BUDGIE being the first version of the Canadian band Rush since they are a power trio and deliver a tight and compelling band sound out of only three musicians. On this debut they do indeed have that heavy rock gusto that Rush would unleash on their first two pre-progressive albums. Likewise BUDGIE, while rooted in ballsy blues rock with a more bombastic approach, did engage in progressively tinged compositional constructs.

While BUDGIE may have borrowed a lot from Sabbath and Led Zep, they have also been the influencers as well with tracks like the whimsically titled “Nude Disintegrating Parachutist Woman” a clear antecedent into Golden Earring’s hit “Radar Love” which also displays Shelley’s unique bass slapping style with a little funk technique and heavy rock groove with Phillips pounding out the supporting percussive drive accompanied by Bourge’s guitar antics. Very heavy stuff for 1971 indeed and progressive as it clocked in at 8:41 and meandered through a series of clever musical moves not common in the bluesy rock world of the day. “Rape Of The Locks” allows Bourge to show off some of his guitar tricks with a series of flashy solos before erupting into a boogie rock style that would become the staple of bands such as ZZ Top in the coming years. Tracks like “All Night Petrol” find Shelley doing his best Robert Plant vocal exercises but alongside a Sabbath inspired doom laden riff in a mid-tempo groove. “You And I” shows a mellower side with a short acoustic ballad.

BUDGIE created a very interesting sound for sure and although they didn’t quite have the over-the-top performance charisma that Black Sabbath and Led Zeppelin delivered to the world, they provided a unique glimpse in between the musical sounds where those two bands existed. While parts of BUDGIE’s debut are clearly inspired by certain tracks from their influences, somehow they polish it out with their own unique stamp. The blues oriented hard rock riffing is more akin to 60s bands like Cream with Sabbath overtones (due partly to Sabbath’s producer Rodger Bain in the picture), but they crafted their compositions completely differently with more complex constructs that meandered into more unexpected territory. In other words less calculated and more free. While destined to be more of a footnote of history for providing the blueprints of heavy metal riffing that would be fully realized by bands like Metallica in the next decade, BUDGIE are well worth checking out in their own right. The synthesis of heavy rock with progressive touches makes this more than a historical artifact.

OZZY OSBOURNE Scream

Album · 2010 · Heavy Metal
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By the time the second decade of the millennium hit, OZZY OSBOURNE had more or less settled into a career of constant touring as well as America’s favorite deviant dad on the reality TV show The Osbournes. Despite it all, he still found time to head into his own home studio to record one more album, his tenth overall. Originally intended to be titled “Soul Sucka,” it was changed to SCREAM and was released in the summer of 2010 and to date remains his last solo album as he would hook up with his old buddies Geezer Butler and Tony Iommi to reform Black Sabbath (without Bill Ward). Jumping on board is newbie guitarist Gus G who replaced OZZY’s longest lasting guitarist Zakk Wylde who would focus on his Black Label Society. Also departing was Faith No More drummer Mike Bordin who would be replaced by Kevin Churko who also served as producer, engineer and mixer as he did on the previous release “Black Rain.” As Wylde also played keyboards on previous albums, Adam Wakeman, son of Yes’ own Rick Wakeman joined the crew to take over that part.

Despite OSBOURNE’s metal creds diminishing over the decades as more extreme forms of metal had long taken root and grown into veritable monsters, OSBOURNE still remains quite popular and his album hit #4 on the Billboard album charts. Part of OSBOURNE’s continued endurance is not only due to his reputation as the godfather of metal but a brilliant marketing strategy with SCREAM being promoted by downloadable content for the Rock Band video game series as well as public stunts at sports events. While not biting off heads of bats any longer, OSBOURNE proved he still had a knack for getting the word out. OZZY learned a while back that outside forces in the songwriting department were the breath of fresh air that he needed to spruce up his musical charm and therefore all eleven tracks were written by OSBOURNE and producer Kevin Churko with four of them finding extra help from Wakeman.

Stylistically SCREAM pretty much continues what OZZY began in the 90s with “Ozzmosis,” namely a blend of his 80s classic metal that utilizes heavy metal guitar riffing, bass and drums with a more down-tuned sort of 90s alternative metal approach finished off with OSBOURNE’s signature poetic vocal style. One thing about SCREAM that differs from previous albums is a more distinct use of industrial electronic effects especially on tracks like “Let It Die” and “Let Me Hear You Scream.” Gus G proves to be a more than suitable replacement but isn’t allowed to really shine in his own way as OZZY’s musical cast is more of a brand name at this point and the individuality isn’t allowed to let loose however he does shine a bit with a classical guitar intro on “Diggin’ Me Down.” Generally speaking, the emphasis of guitar solos that were prevalent in OZZY’s earlier years has been replaced by heavy thrashy riffing with the Zakk Wylde squeals still in play. In fact, i’d never know that this was a different guitarist if not for the credits.

Whether you can appreciate SCREAM depends on how well any of the albums after “No More Tears” worked for you. There is nothing substantially different and SCREAM is very much an OZZY-by-the-numbers affair with a few electronica additions that stand out. The tracks consist of the usual catchy melodic guitar hooks rooted in 80s classic metal and the production is bass laden with a continued alternative metal feel. Guitar solos do occur but are rather brief and there are more bridges and slower paced segments which add some needed contrast. Once again OZZY delivers a fairly decent album but certainly will never go down as his crowning achievements either. It does seem at this point OZZY was growing rather stale and despite mustering up an album’s worth of material, it was becoming apparent that it was time to move on to something new so when the Black Sabbath reunion took place, it was the perfect time to do so.

PYRRHON Fever Kingdoms

EP · 2010 · Technical Death Metal
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Tech metal is one of those nebulous areas of music that i still find very difficult to figure out why some bands totally work for me and others don’t despite all the tech chops being checked off like clockwork. While bands like Deathspell Omega and Gorguts have soared to the top of the charts for their innovative and creative avant-garde take on established sub-genera of the metal universe, others sorta fall between the cracks. PYRRHON is one such band that despite cranking out all the expected techy aspects in abundance, sorta fail to inspire beyond a certain level and that is no more apparent than on their debut EP release FEVER KINGDOMS which came out in 2010.

The band was founded all the way back in 2008 when guitarist Dylan DiLeila and bassist Mike Sheen met by happenstance on a subway platform and then found drummer Alex Cohen to join the crew. Along the way they found Doug Moore to join in as vocalist. While PYRRHON has in recent years upped their game and joined the ranks of the more known ranks of the tech death metal universe alongside other surreal noisemakers such as Portal, Ulcerate or Mithras, on FEVER KINGDOMS they take a rather generic sounding approach with a sound that somehow finds itself somewhere between death metal with the gutteral growls and frenetic angular riffs but with more of a mathcore in yer face grind that churns on relentlessly in full extreme metal fashion.

While these elements are not that bad within themselves, this EP unfortunately lacks any sort of variety or attention grabbing ideas. And along with that, i find the drumming style of Alex Cohen a little lackluster for the type of tech death they are trying to capture. Another band that is similar is Gigan who master the surreal and detached psychedelic metal sound that they strive to create. In their case the musicians are bombastic and unapologetically ferocious and have the chops to pull it off as well as an imagination that allows a flexibility that is needed for the cosmic metal ride. FEVER KINGDOMS seems to just plod along predictably with each of the five tracks sounding alike with the same riffs recycled.

What it boils down to with PYRRHON’s debut is that something is woefully missing to give this sonic noise parade some sort of spirit. It plods along checking off all the boxes of extreme tech metal but doesn’t deliver in anything that is very satisfying. In the tech death universe where sonic maelstroms can easily resemble any other, the differences are very subtle and the tight wire act between something outstandingly original and woefully cliche and lackluster can be a very small margin of differences and in the case of PYRRHON’s FEVER KINGDOMS falls short of the interesting mark and leaves me quite unsatisfied especially after experiencing their more mature albums first.

DEATH Scream Bloody Gore

Album · 1987 · Death Metal
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When it comes to metal music legends, the story of Chuck Shuldner’s epic journey with his influential band DEATH has to be one of the most enduring as Schuldner is not only regarded as the godfather of the entire death metal subgenere but one of the most innovative musical influences in the entire metal genre period ( . ) with each album in his all too short career taking massive leaps of evolution over what came before. When it comes to the origins of death metal, the endless debate will surely revolve around who really created it and the answer will forever exist in the morbid murky nebulous annals of history and the idiosyncratic definitions of when and where the death metal sub actually split off from its parent thrash metal. I have developed my own take on this and instead of assigning a clearcut definition, i prefer to view it from a rather biological evolutionary perspective since musical developments occur in much the same manner as do animal and plant species. One species clearly could not exist without branching off of another and each slight differentiation may or may not constitute a relabeling of its characteristics and corresponding nomenclature.

In the case of death metal, there can be absolutely no doubt that the underpinnings of the sub originated with the English heavy metal pioneers Venom whose macabre and bantering din laced with the first vociferations of harsh shouted vocals would ultimately blossom into what would later be called extreme metal. In the beginning Venom was in a metal limbo or rather a somewhat embryonic extreme metal stage where thrash, black and death metal were all nestled within the very DNA of the caustic sonic waves that emerged from their baleful expressions of societal contempt and verbal vitriol wrapped up in distorted decibelage and breakneck speed outbursts. Out of this primordial cesspool sprang forth other early degenerates such as Celtic Frost, Slayer and Kreator as they began to diversify the intensity and focus of their bombastic approaches. These could be considered the proto-death metal bands that not only launched the nascent beginnings of the thrash scene but also were ultimately influential for the evil contorts of Bathory which would hatch the wretched spawn of black metal, death metal’s evil twin.

The next phase in the development of death metal is undoubtedly the Bay Area’s own Possessed who took Slayer’s extreme speed and demonic gore to even greater extremities with lightning fast blitzkriegs of thundering riffing, bantering percussive drive and Jeff Becerra’s guttural vocals, a style that to many, defines the very essence of the death metal sub entirely, however musically Possessed were very much still a thrash metal band as they hadn’t quite taken that final step into low-tuned tremolo picking riffing accompanied by the double kick blastbeat drumming that utilized the ugliest aspects of minor keys, atonality and wicked chromatic chord progressions. They were still a few baby steps away from what we would call death metal today, but personally i find them to exist in that crucial phase 2 development of death metal much like a tadpole (which would be Venom and friends) would development limbs (the Possessed phase) but still not quite the frog that is free of its fully aquatic features and thus keeps it from being a full fledged amphibian, the completely liberated death metal stage.

Chuck Schuldner’s DEATH is where that very amphibian phase of death metal finally came of age. Schuldner had been unleashing his sonic terror onto the world with his many demos (released under the moniker Mantas as well as DEATH) but these too were somewhere in the Possessed camp of proto-death with thrash leanings. Always the visionary even at the young tender age of seventeen, Schuldner set out to evolve his own brand of extreme metal into something even uglier, taking his primary metal influences of Possessed and Slayer to the next level. In the search for the musical talent to take him to this new level, Chuck had one helluva time finding anyone to fill these roles and after moving from his native Florida to the San Francisco Bay Area and then to Canada and then back to the Bay Area. After placing an ad or two, Schuldner finally found promise in the 17-year old drummer Chris Reifert but was unsatisfied with the music scene as nobody else fit the bill to fill the shoes of his new musical vision.

Undeterred, Schuldner opted to record his debut DEATH demo “Mutilation” completely by himself with only Reifert along for the ride, therefore Schuldner performed all lead and rhythm guitars along with bass and vocals. Although John Hand had briefly joined the band, he didn’t play on any recordings or participate in any live settings either. “Mutilation” proved quite the hit on the underground cassette trading community and caught the attention of the fledgling extreme metal label Combat Records which enabled Schuldner and Reifert to record their full-length debut SCREAM BLOODY GORE. The process proved to be more trouble than expected as the album was recorded once in Florida and then by record company demand had to be re-recorded once more in California with Rnady Burns as the producer. While many tracks such as “Infernal Death” and “Baptized By Blood” had appeared on prior demos, half the tracks on SCREAM BLOODY GORE were completely new and therefore the album has an interesting range of primal to more sophisticated, albeit nowhere near as complex and crazy as DEATH would become with each subsequent release.

Point blank, SCREAM BLOODY GORE was a shout out to the metal universe that something new had emerged and that something was the equivalent to a nuclear bomb being dropped at a Bon Jovi concert turned horror movie where audience members’ body parts rained o’er the blood stained lands. And so it was. Death metal was born on 25 May, 1987 as SCREAM BLOODY GORE made its debut to an unsuspecting public that while unheard by the masses has only gained its legendary status as the following decades ensued. Like many metal fans, i myself had only come to experience the magic of DEATH in a posthumous Chuck Schuldner reality. Despite being the DEATH album with the least finesse, there’s a certain rawness and assured certainty in the powerful delivery that infuses the ethos of hardcore punk with the provident shock and awe for an entire branch of the metal universe to spiral off of. SCREAM BLOODY GORE has to be one of the most ferocious sonic attacks of all the 80s, taking the frenetic bantering of Slayer’s “Reign In Blood” and adding a sense of brutality and offensiveness never heard before. Much of the subject matter was inspired by horror movies such as “City Of The Living Dead,” The Beyond” and “Zombie” and Schuldner pummeled the senses with a sense of sonic horror hitherto unmatched.

When all is said and done, one can only bow down to the metal god that was Chuck Schuldner and pay reverence to his pivotal role in the great big bang of the death metal scene. Perhaps other acts such as Morbid Angel or Obituary would have eventually reached similar musical conclusions, but it was Chuck Schuldner who relentless strived to exercise extreme creativity that would ratchet every single album he touched into higher levels of musical expression in his ceaseless reach for the stars and beyond. While no one could ever conflate the magnanimous progressive achievements of albums such “The Sound Of Perseverance” with DEATH’s earliest offerings, there is also no denying that no one quite dished out the old death school charm like Schuldner did on SCREAM BLOODY GORE with not only its landmark old school death metal cover art but also with the pummeling guitar riffs, the frenetic skin punishing percussion or the grim growly gusto of Schuldner’s vocal style.

While this debut may not be the my first album of choice for repeated listens out of the septet of DEATH’s canon, it is clearly the one that deserves the most respect for paving the way for everything death metal related to follow and remains as enigmatic today as it must’ve sounded all those decades ago. THIS is truly one of those “must hear before you die” sort of albums not only for its immortal legendary status of ushering in one of the most popular metal styles of the 90s but must be experienced for its punishing ear assaults that crank out one addictive mutilated groove after another. After recording SCREAM BLOODY GORE, Schuldner would move back to Florida leaving Reifert behind as he would opt to remain in California to create his own band Autopsy. And so the tradition of a new lineup for every album was born along with an entirely new subgenere that continues to evolve in a post-Schuldner world but still carries on his musical DNA in the tapestry of every fiber of the death metal universe.

Latest Forum Topic Posts

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    Both lame bands overall but Van Halen had a few great ones in their early years. The first Bon Jovi album is really good too. Eddie Van Halen was a major force in metal so i'll choose Van Halen.
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