siLLy puPPy

MMA Special Collaborator · Prog/AG Team
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1746 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
GORGUTS - Obscura Technical Death 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

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Non-Metal 183 3.03
2 Progressive Metal 152 3.90
3 Alternative Metal 148 2.94
4 Avant-garde Metal 122 3.95
5 Hard Rock 110 3.51
6 Black Metal 98 3.73
7 Metal Related 88 3.57
8 Death Metal 80 3.76
9 Heavy Metal 68 3.78
10 Technical Death Metal 64 4.01
11 Thrash Metal 48 3.67
12 Atmospheric Black Metal 44 3.69
13 Proto-Metal 41 3.90
14 Power Metal 25 3.84
15 Sludge Metal 23 3.70
16 Atmospheric Sludge Metal 19 4.03
17 Melodic Death Metal 18 3.78
18 Technical Thrash Metal 18 3.83
19 Hardcore Punk 17 3.38
20 Folk Metal 17 3.88
21 Death-Doom Metal 16 3.72
22 Brutal Death Metal 16 3.50
23 Symphonic Metal 16 3.78
24 NWoBHM 15 4.07
25 Doom Metal 15 4.00
26 Glam Metal 15 3.57
27 Industrial Metal 14 3.57
28 Metalcore 14 3.54
29 Grindcore 13 3.58
30 Heavy Alternative Rock 13 3.31
31 Funk Metal 13 4.08
32 US Power Metal 13 3.77
33 Symphonic Black Metal 12 4.08
34 Deathcore 12 3.25
35 Mathcore 12 3.88
36 Depressive Black Metal 11 3.14
37 Stoner Metal 11 3.59
38 War Metal 11 3.36
39 Speed Metal 10 3.45
40 Melodic Black Metal 10 4.05
41 Heavy Psych 10 3.95
42 Groove Metal 9 3.39
43 Gothic Metal 9 3.44
44 Neoclassical metal 8 3.69
45 Funeral Doom Metal 8 4.06
46 Drone Metal 6 3.58
47 Pagan Black Metal 6 3.83
48 Traditional Doom Metal 5 3.60
49 Melodic Metalcore 5 3.10
50 Goregrind 5 3.10
51 Crossover Thrash 4 4.25
52 Crust Punk 4 3.38
53 Nu Metal 4 3.50
54 Rap Metal 3 3.00
55 Stoner Rock 3 3.83
56 Viking Metal 3 4.00
57 Deathgrind 2 3.50
58 Cybergrind 1 3.50
59 Death 'n' Roll 1 3.50
60 Electronicore 1 2.00
61 Nintendocore 1 3.50
62 Metal Related Genres 1 4.00
63 Trance Metal 1 1.00
64 Pornogrind 1 0.50

Latest Albums Reviews


EP · 2007 · Metal Related
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Having been released five months after the album “Fear of a Blank Planet,” the 4-track EP titled NIL RECURRING was basically the leftover tracks that were written and recorded during those same sessions but for whatever reason were not deemed as viable candidates to be included on that album. This EP is just shy of 29 minutes of playing time with each track running form the 6 - 8 minute playing time. Considering these were all a part of the larger “Blank Planet” recording sessions, it’s no wonder that these four tracks sound very much in the same stylistic approach of the third phase of PORCUPINE TREE which began with the band’s critically acclaimed breakthrough album “In Absentia.”

The all instrumental title track begins the EP and has been explained by Steven Wilson that the title was sort of a joke because the subject matter of an instrumental track can only be NIL. With the help of King Crimson superstar Robert Fripp on lead guitar the album displays a fierce dedication to meaty metal guitar riffs and progressive oddball time signatures all battered and deep-fried in Wilson’s classic psychedelic secret sauce. Featuring variations on a RECURRING theme, this track exemplifies the band’s rise to fame by upping their game as key player’s in the world of 21st century prog and the band’s uncanny ability to seamlessly mix and meld all the elements that forged the band’s unique sound.

“Normal” is the most confusing because as you first listen to it you start to have a sense of deja-vous like haven’t i heard this before? It’s like one of those Dr Strange in the Multiverse moments where you swear you’ve heard it before but yet you haven’t. This track was in reality the early working of what would become “Sentimental” on “Blank Planet” only it features parts of other tracks as well ranging from “My Ashes” and “Anesthetize.” The track is as good as anything from the band’s most lauded albums but showcases a completely written mishmash of various songs that work quite well. The track features new guitar riffs and other experimental touches while cranking out the familiar lyrics heard on the “Blank Planet” version.

“Cheating The Polygraph” is the one track that i can understand why it didn’t make it onto the original album. It’s a bit too loud, a bit too eclectic and a bit outside of the parameter of the “Blank Planet” sound however this is one of my all-time favorite PORCUPINE TREE tracks with its balls to the wall alternative metal heft and diverser than normal vocal style of Wilson. Also Gavin Harrison delivers some excellent percussive duties as he showcases both his off-kilter restraint as well as pulling out all the punches for some ferocious metal attacks. Even the guitar solo is unhinged while Colin Edwin’s bass antics whizz up and down the scale more angsty than usual. The accompanying electronic ambience and space rock effects are also in fine form. This track should’ve been the next direction of the TREE instead of “The Incident” but that obviously wasn’t in the cards.

The most indulgent of the tracks, “What Happens Now” is considered the track that most wears out its welcome due to the lengthy noisy jam that comprises the latter half. The track starts off with some tasty tribal drumming and psychedelic space rock as usual in classic PORCUPINE TREE fashion complete with Wilson’s mopey vocal delivery. Once the oscillating electronic features chime in the track becomes more lively and the contrasting dynamics and build up of counterpoints becomes quite stimulating and magical. The track engages in that delectable psychedelic noodling with cool ass production gimmicks before engaging in an all out frenzy of ratcheting up the tension with subtle tempo increases, incremental shifts in agitation and a more bombastic series of explosive noisy propositions. Many consider this one too long but personally i love how it ends the EP by just going for it with NIL a f.u.c.k. to give.

It may only be an EP and probably should’ve been tacked on to “Fear of a Blank Planet” and simply called bonus tracks but personally i find this album as essential and brilliant as anything PORCUPINE TREE has unleashed onto the world. Of all the so-called EPs that the band has released (something like 15 or so) only the 1994 “Staircase Infinities” and this one, NIL RECURRING are what i would deem as essential. Originally this was self-released in limited quantities and not so easy to find but with the band’s continued popularity always increasing the entire back catalogue has seen a resurgence of reissues with the most elaborate having been released by Peaceville. What can i say? This is an excellent album in its own right and leaves me wanting more!

PORCUPINE TREE Fear Of A Blank Planet

Album · 2007 · Metal Related
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Following in the wake of the breakthrough album “In Absentia” and the following “Deadwing,” PORCUPINE TREE was riding high as the 21st century’s newest top dog prog rock band having honed their unique blend of psychedelic space rock with progressive alternative rock and metal. The band took full advantage of their new found success and engaged in massive touring as well as continuing to crank out new material with incremental leaps of sophistication. The next in line was the 2007 release FEAR OF A BLANK PLANET which parodied the well known Public Enemy album title “Fear of a Black Planet” only instead of gangstsa woes of racial problems in the USA, this concept album tackled the desensitizing nature of having our senses bombarded with stimuli in the 21st century. The album was a huge hit and critically acclaimed across the world.

PORCUPINE TREE pretty much upped its game on this release with a greater emphasis on the progressive rock aspects of their sound but the heavier metal parts were also nurtured in a similar fashion with drummer Gavin Harrison in particular displaying a much more technically infused sophistication than on his previous two albums with the band. Pretty much everything PORCUPINE TREE had achieved on “Deadwing” was ratcheted up a few more notches all the while without sacrificing the inner core of what the band was all about, namely instantly catchy and poignant melodies that transmogrify into myriad motifs and moods and highly complex composiitons. The album also added a string and orchestral backdrop as well as King Crimson’s Robert Fripp and Rush’s Alex Lifeson delivering some cameo appearances.

With only six tracks that are just shy of 51 minutes, FEAR OF A BLANK PLANET excels on variations of a themes. Strong melodic songwriting is teased out into sprawling psychedelic excursions with periodic metallic heft and electronic fueled modernity. In a way Steven Wilson delivers what i call mope prog as his middle range voice perfectly narrates the moody dark subject matter and keeps the musical procession fairly even keel and rather hypnotic with the beefy Tool-esque bass grooves and Radiohead styled detachment. The title track begins the album with an energetic guitar arpeggio but quickly showcases the layering effect of various guitar parts along with the bass and drumming variations. While it begins like a PORCUPINE TREE business as usual proposition, the track unleashes the fully power of Wilson’s fascination with metal music as well as the cool ethereal synthesizer sounds that also make the psychedelic space rock aspects stand out.

“My Ashes,” one of the few tracks not exclusively written by Wilson showcases Richard Barbeiri’s brilliant songwriting with a more melancholic tune that allows the piano and symphonic rock backing to provide some chill time before the monstrously long “Anesthetize” plays on for almost 18 minutes, making it the longest track since Wilson’s early psychedelic years on “The Sky Moves Sideways.” This track perfectly displays Harrison’s percussive overdrive with super tight drum rolls that churn out an incessant tribal rhythm while the echoed guitars and subtle sounds slowly ooze and erupt in and out of the musical procession. The track showcases an exquisite guitar presence of Robert Fripp and navigates many mood swings while it more or less nurtures a single bass groove that maintains a consistent hypnotic spell throughout the track’s run with only the moments of pure metal madness breaking the nonchalant flow.

“Sentimental” slows things down with the by then famous piano style of Richard Barbeiri that sort of takes the rhythmic swing of a polka song and adapts it to the keyboards. Accompanied by Wilson’s downer vocal style, the lyrics narrate the psychologically drama of today’s youth but the track shifts to a complementary musical motif that is somewhat contrary to the opening piano parts which is a trademark PORCUPINE TREE style of modulation shifts that this album has perfectly mastered as the band performs these musical gymnastics without missing a beat.

The album really doesn’t lose any traction as “Way Out Of Here” takes another turn to a completely different style of playing without derailing the overall mood of the album’s conceptual theme. While most albums drag down towards the end, FEAR OF A BLANK PLANET just remains engaging until the very end as the closing “Sleep Together” delivers an ominous electronic sounding gurgle as the song slowly ratchets up into a heavy symphonic rocker while maintaining the psychedelic electronica throughout its entirety with a satisfying climax of psychedelic codeine rock splendor. Yeah this album is sort of a downer but in a good way. The music sort of navigates your mood level through the bleak subject matter and walks that usual PORCUPINE TREE tightrope between monotonous psychedelic hypnotism and active progressive rock technical workouts.

FEAR OF A BLANK PLANET displayed a remarkable maturity over the slightly inferior “In Absentia” and found the band at the top of its game. It seemed though that this was the end of the road for this third phase of the band’s existence and the band was unable to match the magnitude of this album’s perfection on the following “The Incident.” This album found PORCUPINE TREE at its most calculated cleverness where the complexities were subdued in the subtleties of every cadence crafted or prosody presented. The mope rock scene had gone full fledged prog beyond anything Radiohead achieved on “OK Computer” or Grandaddy’s indie rock classic “The Sophtware Slump.” PORCUPINE TREE had slowly but surely made it to the top of the world of modern progressive rock and in its wake left three exquisite masterpieces in the first decade of the 21st century. While i prefer “Deadwing” to this one, i have to admit that this one is not far behind. Yet another triumphant achievement from Steven Wilson and friends. Although it took a few years for this to sink in completely, in the end i have succumbed to the magnanimous monstrosity that is FEAR OF A BLANK PLANET and it has easily become one of my favorite modern prog albums of all time.


Album · 2002 · Metal Related
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Slowly but surely the solo project of Steven Wilson that began as a joke and was created simply to create music inspired by the most lysergic sounds of Pink Floyd incrementally gained steam and the momentum to reach the status of international prog stardom. After Wilson turned the project into a full band experience with 1996’s “Signify,” PORCUPINE TREE had all but set its basic blueprint of mixing 90s alternative rock with 70s psychedelic space rock made all the better with elements of progressive rock mined from various sources. In many ways PORCUPINE TREE was like the more progressive counterparts to Radiohead with a very similar approach of mixing Krautrock inspired electronica, beefy guitar grooves reminiscent of the grunge era and a propensity for Pink Floyd’s space rock set to thought provoking lyrical content.

The band’s second phase culminated with “Lightbulb Sun” which found them crafting some of the catchiest crossover prog tunes of the new millenium thus showcasing the band’s propensity for delivering strong ear wormy hooks, eerily haunting harmonies and cleverly crafted space rock contrasted with a bit of alternative rock heft however the best was yet to come as the band ratcheted the aforementioned elements up a few notches and cranked out a trilogy of what many would deem three of the greatest prog rock albums of the 21st century. The first of this string of well-crafted albums came in the form of IN ABSENTIA in 2002 and with its instantly eye-catching album cover you know immediately you’re in for something a bit out of the ordinary. This was also the first album to be released on a major record label. Lava Records may not ring a bell for many but is in face in partnership with Atlantic Records and has sold over 100 million albums, so they know what they’re doing obviously!

While the next step of PORCUPINE TREE’s inevitable ascent to the top of the prog world may have been unstoppable, a couple well known factors played a pivotal role in how the band developed and upped its game. The first was the addition of drummer Gavin Harrison who played with an impressive number of artists before landing his role with Steven Wilson and friends. His seasoned approach and technical drumming prowess were exactly what PORCUPINE TREE needed to take them to the next level of technical wizardry and take them out of the dream pop-infused sorta prog camp to the whole enchilada. Add to that, Wilson acquired a taste for the world of metal music having discovered Burzum, Meshuggah and prog metal superstars Opeth. After meeting Mikael Åkerfeldt and producing Opeth’s “Blackwater Park,” the indelible mark of metal would leave its filthy little claws in Wilson’s psyche and PORCUPINE TREE would never be the same.

The differences are noticeable immediately. While IN ABSENTIA begins with some psychedelic teasers as the album starts, the opening track “Blackest Eyes” doesn’t take long to showcase the band’s newly acquired progressive metal bombast taken to the proper level of technical wizardry with Harrison’s drumming skills. The beautiful thing about PORCUPINE TREE is that Wilson never jettisoned the old to make room for the new. Like a beautiful orchestral symphony he simply added more complimentary elements to the band’s already established sound and improved what had come before as well and IN ABSENTIA presents those standards impeccably with all the attention placed on the melodic developments first and foremost and the supporting elements simply falling where they may. The result was an amazing display of prog compositional fortitude made all the better by an immaculate production job and mixing.

For the most part IN ABSENTIA is the perfect balancing act between the art of ear wormy art rock, sophisticated prog, heavy guitar oriented alternative metal and psychedelic space rock made all the more ethereal by an excellent display of electronic musical forms such as trip hop and ambient music at key moments. The tracks all stand on their own with each adding a vital element to the band’s repertoire. While the opening “Blackest Eyes” displays the band’s new love of metal, the album spends most of the time in the space rock zone with tracks like “Trains” and “The Sound of Muzak” more in the vein of material off of “Lightbulb Sun.” At this point the metal had made its debut but was used sparingly. The heavy music is let off the leash though on the all instrumental “Wedding Nails” which displayed that the band’s fascination with heavier music was not a mere fad.

While the Pink Floyd, Radiohead and Nirvana style grunge are the key ingredients on IN ABSENTIA, on the hardcore prog side of things, there is a heavy King Crimson influence at times most prominent on the proggiest track of the album “Strip The Soul” however much of the proggier elements came in the form of production with subtle contrasts between mixing the various instrumental parts. While guitar solos erupt occasionally IN ABSENTIA was still more psychedelic space rock than anything remotely metal madness. This was controlled heavy but in a good way. What the band’s biggest achievement on this album was that it featured a keen display of various musical motifs and interesting ways of crafting a series of interconnected ideas that somehow resulted in a warm organic process. Take “Gravity Eyelids” for example. It starts off as a trip hop arty space rock song and then transitions seamlessly into a a grunge-fueled Nirvana meets Radiohead sorta track.

While many have hailed IN ABSENTIA as the first prog masterpiece of the new millenium i have to disagree that there had been some fine albums already released by Spock’s Beard, Transatlantic, Pendragon and even avant-proggers Present but where PORCUPINE TREE succeeded where they did not was in the fact that a major label offered a much larger audience and therefore IN ABSENTIA did indeed become one of the best known and best selling prog releases in the early 2000s. Although this is a prog classic indeed, personally i don’t find it perfect but nearly so. While PORCUPINE TREE had mastered the art of fusing its influences and idiosyncrasies into a seamless whole on this release, the track “Prodigal” just seems like filler to my ears. It’s not a bad track but is the one that screams Pink Floyd the loudest and ultimately comes off as totally unneeded. Same for the following “.3” which delivers a lot of psychedelic noodling before finding some true substance. It should’ve been edited to half the length or deleted altogether. The track “Heartattack in a Layby” would’ve been a perfect followup downer track to pacify the feisty metal oriented “Wedding Nails.”

Overall IN ABSENTIA truly is one of the great works of the 21st century not only in terms of prog but in the greater rock universe as well. Everything Wilson and company had been working towards came to fruition on this album and made PORCUPINE TREE one of the biggest prog acts OF the 21st century. While i may not find this album absolutely perfect i certainly cannot deny its relevance, its professionalism and the uncanny strength of most of the material presented. Yes it is a bit too long at over 68 minutes and had the two weakest tracks been nixed it would’ve made this a perfect listening experience for my ears but even as it is i can’t complain too much. I much prefer the following “Deadwing” and “Fear Of A Blank Planet” which took the approach delivered on IN ABSENTIA in sheer perfection however there’s no reason to deny this first installation of the band’s peak years of its classic status. Given my preference for the following albums i had to psychoanalyze my reasoning for listening to this one less and my conclusion is that the metal and space rock elements hadn’t quite completely integrated quite yet in addition to my already presented nitpicking. Anyways, no matter how you slice it, IN ABSENTIA is brilliant prog release that signified prog was alive and well in the new millennium.

BUCKETHEAD Pike 318 - March 19, 2020

Album · 2022 · Non-Metal
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PIKE 318 - MARCH 19, 2020 16th installment of 2022 Everything played by BUCKETHEAD Total playing time 27 minutes exactly All instrumental as always! Eggs are hatching in the coop at BUCKETHEADLAND in a steady stream in 2022 as this newest release PIKE 318 is the 16th one to be released t his year. This is a single 27-minute track titled MARCH 19, 2020. Presumably this date is significant for BH and given that it’s a slow ballad rock type of PIKE in the style of 2014’s “Hold Me Forever” it’s obviously a tribute to someone important that the chicken lover has lost or it could signify an event of some sort.

Not much to say about this one. This is one of those lullaby albums with clean guitar riffs, echoey counterpoints and soft rock percussion. BH has released dozens of these types of PIKEs and honestly there’s nothing that sets this one apart in its stylistic approach other than the fact it’s a taxing 27-minute long one track PIKE. I’m serious when i say this is an assembly line of lullaby tracks that have the same chord progressions, same tones, same dynamics, same musical motifs, same cadences, same same same.

What is unique is that the title of this PIKE is a date. Don’t think that has occurred before. This is BUCKETHEAD easy listening on chill mode and at this point in the PIKE run you either like these or you don’t and anyone who has followed my reviews is quite aware that i do not! It’s not that i don’t appreciate a good chill out PIKE now and again but these are all the same! As i already pointed out these are carbon copies! And BORING! If i was a loved one who passed i would not find this inspirational at all. Write something original you lazy bum! Stop stuffing your face at Colonel Sanders and write some original music already!

After a few interesting PIKEs lately BH always feels he has to retreat to please the codeine crowd who only tune in to listen to these nauseatingly generic PIKEs that have no dynamic shifts of any sort. It’s just the same cyclical loops presented ad nauseam. Mommy, make it stop! Ugh. You better appreciate how much i suffer through some of these to bring you these reviews so you don’t have to! Ha! I know i’m being dramatic. There’s not a lot of music i don’t like but these styles of PIKEs are definitely one of them so gotta have fun with it, right? Next…

BUCKETHEAD Pike 317 - Live Feathers

Live album · 2022 · Alternative Metal
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PIKE 317 - LIVE FEATHERS 15th installment of 2022 Not everything played by BUCKETHEAD because this is a LIVE release Total playing time 28 minutes and 51 seconds All instrumental as always! No chickens injured in the making of this recording :/

With thundering applause the latest PIKE begins with an audience ushering in the chicken lover’s guitar antics on this new trend of releasing live albums under the PIKE series. “Jordan” has always been a popular live tune with its chicken clucking guitar wailing and strange tone modulations. This one pretty much features all of BH’s more aggressive guitar playing techniques including metal riffing, crazy solos and nice hairpin turns after groovin’ it up.

This PIKE also rides the wayback machine with the classic “Welcome To Bucketheadland” which is one of Bucky’s first and best known cuts. “Soothsayer” has become a live classic too with its slow lullaby dreamy beginning and slowly ratcheting up into heavy metal ballad wankery. This is actually a great song and it’s always nice to know that musicians you listen to regularly can actually play things that they put down to a recording. Very strong solo at the end.

“Toy Store” is also a nice tune with some bitchin’ cool guitar effects that erupt over a strong bass and drum groove. This track also features a nice traditional mix of classic heavy metal and 90s alternative metal with riffs alternating with guitar licks and finally a scorching solo. “Ghosts of Broken Eggs” continues the diversity in tracks and features a nice slow groove with some bluesy guitar extravaganzas. It’s a nice jamming track perfect for a live setting and BH showcases his trippy guitar wah-wahs and guitar effects.

“Forneau Cosmique” ends this set and is a feisty alt metal rocker and to be honest the most typical style of playing within the entire 300+ PIKE series. This is BH at his most generic and to be honest i’ve heard this formula so much by now that it does absolutely nothing for me. Compare this to the exhilarating track “Welcome To Bucketheadland” and its apparent how generic BH has become in the majority of his output in the last decade or so. Of course there are exceptions but they are too weird for a live experience!

Overall not a bad set of live tracks. I have no idea if these were all recorded in a single concert or over many but my guess is selecting from various venues. I’m not a huge fan of live albums especially when they add nothing to the original compositions and in this case there’s not really a lot to distinguish the tracks from their original source but LIVE FEATHERS is a decent representation of the modern day chicken lover in action a live setting. A very good release but nothing i would even remotely consider essential.

Latest Forum Topic Posts

  • Posted 23 days ago in Now -- what are you listening to? V3
    [QUOTE=adg211288]Wrong insofar as you can say that of most if not all metal genres. You may as well put power metal under speed metal with that logic, since all (Euro) power metal actually is melodic speed metal. Thrash too, ties back to the early speed metal songs. And then groove metal would be under thrash. As would death metal. And black metal would be under that. Back up and put doom under heavy. Stoner, drone and sludge under doom and so forth. See what I mean? The RYM change of speed metal's place in the hierarchy makes zero sense. It's not only a massive double standard (and yes I know that same double standard exists very openly with the various alt metal subs and that's true of MMA too, but it's the same issue albeit one that's widely accepted for some reason), it's also only going to encourage speed metal deniers like that deathstrike character all the more and lead to incorrect thinking that albums that sound like Battalions of Fear shouldn't be tagged as speed metal, because they don't belong on the heavy metal charts (which they don't). It's bad enough they're also tagged power metal, which they aren't because they're 100% speed metal. RYM has done a few things that have lost them credibility in my eyes (and that's not even getting into some of the things the userbase votes for or against on both music and films), but this one really takes the cake. I can understand them putting USPM under Heavy since the distinction between those bands can be so small, but moving speed metal was ridiculous.  [/QUOTE] Don't agree, totally at least. Speed metal was the bridge between heavy metal / NWOBM and thrash / power metal so i guess it was the intermediate between h.m and p.m / thrash. Not sure they needed to make it a sub of heavy metal. It does deserve its own special place. Yeah, RYM not perfect. MMA not perfect. PA not perfect. We live in an imperfect universe. I've learned not to get upset about all this. The music is beautiful no matter how the data nazis need to categorize it. My point was really that it's easy enough to filter speed metal into its own category no matter if it's a sub or indie genre. I love speed metal!
  • Posted 24 days ago in Now -- what are you listening to? V3
    [QUOTE=adg211288] to RYM's 'genius' (read: hair-brained) decision to make speed metal a sub-genre of heavy metal, this now appears on the traditional heavy metal charts. [/QUOTE] I think that's because speed metal generally IS considered a sub of heavy metal. It is a direct descended of the NWOBHM. You can still easily filter any charts for just speed metal or another other micro-genre so not a biggie really. I think their charts have gotten much better over the years myself.
  • Posted 38 days ago in Now -- what are you listening to? V3
    Disharmonium - Undreamable Abysses by Blut Aus Nord


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