siLLy puPPy

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1187 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 154 2.94
2 Alternative Metal 121 2.94
3 Progressive Metal 100 3.97
4 Avant-garde Metal 93 3.93
5 Hard Rock 87 3.48
6 Black Metal 68 3.67
7 Metal Related 60 3.42
8 Heavy Metal 53 3.73
9 Technical Death Metal 45 4.01
10 Proto-Metal 33 4.00
11 Thrash Metal 31 3.55
12 Death Metal 31 3.94
13 Atmospheric Black Metal 19 3.76
14 Folk Metal 16 3.91
15 Glam Metal 14 3.61
16 Power Metal 14 3.79
17 Technical Thrash Metal 14 3.79
18 NWoBHM 13 4.15
19 Industrial Metal 13 3.81
20 Funk Metal 12 4.17
21 Atmospheric Sludge Metal 12 4.17
22 Death-Doom Metal 12 3.75
23 Brutal Death Metal 10 3.65
24 Hardcore Punk 10 3.55
25 Symphonic Black Metal 10 4.20
26 Sludge Metal 10 3.75
27 Doom Metal 9 4.11
28 Metalcore 8 3.75
29 Neoclassical metal 8 3.69
30 US Power Metal 8 3.63
31 Groove Metal 7 3.50
32 Stoner Metal 6 4.00
33 Mathcore 6 3.92
34 Melodic Black Metal 6 4.17
35 Gothic Metal 6 3.67
36 Grindcore 5 3.40
37 Drone Metal 5 3.50
38 Speed Metal 5 3.50
39 Symphonic Metal 4 4.13
40 War Metal 4 4.00
41 Depressive Black Metal 4 3.75
42 Deathcore 4 3.13
43 Heavy Alternative Rock 4 3.50
44 Melodic Death Metal 4 4.00
45 Traditional Doom Metal 3 3.33
46 Stoner Rock 2 4.25
47 Pagan Black Metal 2 4.50
48 Nu Metal 2 3.25
49 Heavy Psych 2 4.50
50 Goregrind 2 2.50
51 Crossover Thrash 2 4.75
52 Funeral Doom Metal 2 4.25
53 Electronicore 1 2.00
54 Crust Punk 1 2.50
55 Cybergrind 1 3.50
56 Death 'n' Roll 1 3.50
57 Deathgrind 1 3.00
58 Melodic Metalcore 1 4.00
59 Nintendocore 1 3.50
60 Metal Related Genres 1 4.00
61 Pornogrind 1 0.50
62 Rap Metal 1 1.00
63 Trance Metal 1 1.00
64 Viking Metal 1 4.50

Latest Albums Reviews

КРОДА Поплач мені, річко...

Album · 2004 · Pagan Black Metal
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The Ukrainian black metal scene has been quite prolific since the dawn of the nation’s independence from the Soviet stranglehold that ended in the early 90s. While bands like Nokturnal Mortem, Drudkh and Lutomysl may be the most recognizable names of the scene, there are literally dozens more that are lurking in the underground of one of Europe’s most prolific regions outside of Scandinavia. The Lviv based KRODA has been around since 2003 and in that time span has produced some fine high quality epic folk infused Pagan black metal with catchy melodic hooks that takes the listener into the darkened Pagan ritualistic lands of the Carpathian mountain range.

Formed by Eisenslav (vocals, bass) and Viterzgir (guitars, bass, folk instruments, keyboards), the moniker KRODA ( КРОДА ) was chosen and taken from Old East Slavic language which means “The Fire of Burial Bonfire” which refers to the point when the souls of deceased warriors were set free through the burning process. At this stage the band was only a duo. This debut release Поплач мені, річко... (Cry To Me, River...) was released in 2004 on Stellar Winter as a cassette that only found 1000 copies being recorded but has since found its way onto both CD and vinyl along with bonus tracks on a variety of record labels.

Поплач мені, річко... (Cry To Me, River…) was not an early demo release but rather a full-length album that contained eight tracks and a running time of 48 minutes. Similar to other atmospheric black metal bands, KRODA implemented the standard black metal goods such as hyperspeed tremolo guitar riffing, blitzkrieg blastbeat drumming and the expected raspy vocals buried beneath the pummeling resembling more the croaking raspiness of Inquisition rather than the frenetic screams of the Norwegian scene. The uniqueness of the band however comes from the beautiful Ukrainian folk melodies brought forth by the keyboard runs that add the gloomy mysterious fog of atmospheric cloud covers. Adding to the folky flavors are the flutes which exude the Pagan ritualistic vibes that act alone or with the addition of the metal bombast.

While all the instrumentation is performed by just Eisenslav and Viterzgir, the album has a full-band sound where all the elements are perfectly fused together much like neighboring Negura Bunget’s stellar contributions with its own brand of Pagan folk black metal. Despite being an early album by a duo that had only been together for a year, the album sounds well seasoned with excellent compositions that find the somewhat new age flute runs and the orotundity of the black metal coexisting in an unthinkable truce. The production is perfectly crafted as well with only the occasional keyboard run sounding a bit cheesy but overall they keys are integrated quite well and create the perfect murky backdrop to the stampede of the galloping guitar riffs. Add to that the bass is actually audible as well, which is fairly good thing for a muddy distortion-fest like this. Also the drumming is not only frenetic and relentless but is also quite varied which gives the album an even greater intensity.

The band’s tracks at this stage are all in the native Ukrainian language but the themes primarily deal with heathenism, history, nature, traditions and the favorite subject of black metal, anti-Christianity. The album is uncanny in that it pretty much has two distinct things going on. The Pagan folk is always fluttering around in the background while the black metal creates a counterpoint around it but the flute and keys have moments when they are allowed to pierce the veil and become the emphasis whereas mostly the metal parts are the dominant force. This is an excellent debut by one of the Ukraine’s more talented metal bands and a great beginning for a lengthy career that continues. While other bands like Nokturnal Mortem use folk music as a flavor to wrap around the metal, it seems as if KRODA do the opposite and craft the black metal riffs around the folk melodies. A perfect example is the instrumental Hypocrisy cover “Apocalypse” that ends the album with a slowed down symphonic cooling down with only guitar chords that eschew the freneticism of the album’s prior tracks. Great album!

OPPRESSOR GOD Mechanical Manslaughter

EP · 2018 · Technical Death Metal
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Joining the ranks of a gazillion new bands in the demanding technical death metal world comes OPRESSOR GOD which formed in 2014 in Kingman, Arizona, USA and so far has released this one EP titled MECHANICAL MANSLAUGHTER which came out in 2018. The band consists of Justin Brown (guitar), Gage Vickers (vocals), Tyrel Sanders (bass) and Kevin Wadley (drums).

This band delivers a punishing brutal mix of demanding technically infused death metal with elements of goregrind most notable in the piggy squeals that emerge in between the death growls. This short 21 1/2 minute blistering workout finds the band layering rampaging guitar riffs over hyperspeed blastbeat drumming workouts and an accompanying galloping bass. The subject matter is the expected sci-fi camp and stylistically speaking the band checks off all the required modern day tech death boxes in perfect form.

The atmosphere and production remain eerie while the relentless metal assaults assault with no mercy. The tracks remain melodic but not too sugary sweet with the galloping riffs providing the pace for the melodies to wrap around instead of the other way around. Unfortunately at this point OPPRESSOR GOD despite a noble effort and an undisputed mastery of this demanding style of metal workouts fails to inspire and sounds rather generic as this type of tech death is quite common in the 2010s.

Compared with newer tech death bands like The Zenith Passage and The Faceless, OPPRESSOR GOD delivers a cold and calculated display of tech wizardry but in the end none of these tracks really rise above the glut of similar bands emerging these days and at this point gives no indication that the band will evolve into anything unique. Still though, all is excellently executed and the production job is as good as you could hope. This EP simply lacks memorable compositions that make me want to return.

YOB Elaborations of Carbon

Album · 2002 · Stoner Metal
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The chiefly British slang term YOB refers to a rowdy, aggressive or even violent young man but in the musical world of metal it refers to the Eugene, Oregon based band that was founded in 1996 by vocalist / guitarist and band leader Mike Scheidt who would undergo a few lineup changes over the two decade plus career that is still going strong. Crafting a sound that fits perfectly with the bad boy moniker, YOB has been instrumental in creating a unique fusion of the triumvirate of traditional doom, stoner and sludge metal with the extra elements of psychedelic space rock and occasional progressive elements.

After a short eponymous EP released in 2000, the band signed to 12th Records in Spokane, WA and recorded and released this debut ELABORATIONS OF CARBON which finds the trio of Mike Scheidt (vocals, guitar), Lowell Iles (bass) and Gabe Morley (drums) cranking out a stomping slo-mo stampede of metal fury that delivers an abundance of slow plodding doom ridden guitar riffs with all the peachy fuzzies of an entire orchard decked out with an interesting decorative display of creativity in action. The album contains only six tracks that stretch out just over the 70 minute mark with the monstrously long “Revolution” sneaking over the 17 minute mark and the insomnia inducing “Asleep In Samsara” which is just shy of 17. This is a band in no hurry as the members nonchalantly exhibit their miscreancy in high decibalage.

Through this parade of darkened thick doom riffs that plod along in a detuned defiance, YOB creates the ultimate paradox of hypnotic repetition and head banging uproar and includes Black Sabbath darkened doom, Neurosis infused slamming sludge and Sleep inspired stoner steadfastness. Scheidt’s vocals almost sound like a higher version of Ozzy Osbourne’s nasal articulations as well as some of the riffs imitating the great Tony Iommi’s. Between riffing rampages however there are often slower less distorted segments that exhibit an atmosphere setting sometimes with vocals spoken or sung and sometimes just an instrumental interlude with clean echoey guitars to cleanse the palette of the grimy build up of the incessant chug-fest. Sometimes it just gets truly weird in a psychedelic haze.

While YOB is much better known for its more sophisticated albums to come, ELABORATIONS OF CARBON is nevertheless a decent beginning and although it lacks the production value of the Abstract Sounds years, it more than makes up for it in the DIY rawness of a primeval metal band getting its feet muddy in the mucky murky sludge and at this point YOB already had a firm grasp on its evolution and doesn’t sound like the legions of stoner rock / metal bands that exploded onto the scene in the 90s and beyond. YOB is certainly not a technical type of band but rather provides a viscous soundscape as to get lost in even if it at times its brutality is as heavy as hell especially heard on outrageous bombastic tracks such as “Pain of I” which sounds like an early Neurosis having a hissy fit. All in all, an awesome debut that points the band in the right direction!

FLESHGOD APOCALYPSE Veleno

Album · 2019 · Death Metal
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Perhaps more than any other extreme metal band on the scene the Rome based Italian band FLESHGOD APOCALYPSE has been the most instrumental in keeping the symphonic branch of death metal in the spotlight and three years after the release of the band’s previous album “King,” returns with a brand spanking new slab of molten technical infused death metal along with the expected piano, choral vocals and operatic symphonic touches. VENENO (Italian for “poison”) is the band’s fifth overall full-length release and it carries on exactly how one would expect, that being an equal rich tapestry of classical music components that scanned the horizons of the past and channeled the compositional fortitude of the masters such as Paganini, Bach, Mozart and whoever else the trio led by Franceso Paoli could incorporate. Of course, for us brutal death metal lovers, it is the bombastic roar of the guitar, bass and drum that created the harsh counterpoints that was the draw with the orchestral parts providing Dr. Jekyll aspect while the Mr. Hyde metal created a neoclassical death metal firestorm.

While VENENO follows suit, what’s instantly noticeable is how the orchestral parts have been tamped down a few notches and take a backseat to the fiery metal fury as heard on the opening “Fury” which completely eschews the long-winded orchestral classical build ups and just gets down to business with heavy crunchy death metal guitar riffs pummeling along at breakneck speed. In fact this is the album that emphasizes the orchestral parts the least of FLESHGOD’s decade long string of albums as they don’t really become a major tour de force until the fifth track “The Praying Mantis’ Strategy” which is a short intermission and respite from the distortion fueled metal that dominated the soundscapes prior with only faint background traces. The symphonic elements carry over to “Worship And Forget” and then slowly retreat to the backdrop again however careful listening reveals that these classical elements are always lurking in the background and the main impetus for constructing the melodic flow, it’s just that on VENENO they are suffocated by the pummeling death metal aspects which gives this album a different feel than its predecessors.

Another aspect that differentiates VENENO from the past is that album hosts a couple of guest musicians with Veronica Bordacchini on vocals and newbie Fabio Bartoletti on more guitars with Francesco Ferrini handling piano and orchestrations, newbie Paoli on vocals, guitars and drums and Paolo Rossi on bass and the sporadic clean vocals that pop up. Once again FLESHGOD creates an album that is graced with the perfect production job that allows the beautiful clean aspects to reverberate perfectly with the filthy raw bombast of the death metal that doesn’t sound too polished. Perhaps it comes off as a little muddy at times, especially in the opening tracks but i think that’s what the band was going for this time around. A full string quartet, a classical percussionist and a Baroque choir provide the symphonic touches and once again seamlessly meld with the death metal. Perhaps the biggest surprise of the album is the closest thing to a ballad the band has ever created in the form of “Pissing On The Score” which starts off as an opera with Veronica Bordacchini’s diva tenor vocal talents taking the lead and then turns into a beauty and the beast duet. The track sounds more like something from Phantom of the Opera and never integrates the death metal. Hmmm… could these be a new phase? If so i don’t like it but it’s not bad as a one off for contrast.

All in all, VENENO is yet another exciting chapter in the FLESHGOD APOCALYPSE universe that continues the band’s now rather infamous mashup of death metal and classical elements and tweaks them into a slightly different sounding album. VENENO is by no means going to win over any fans who have already fled the growly vocal fueled bombast of the death metal paradigm but neither will it offend those who have already signed up for the fan club. VENENO delivers all the expected goods and despite a feeling of the recycled riffs and overall feel of been there done that, VENENO cranks out enough spontaneity to keep my interest while retreading the rather lonely niche of performing extreme bombastic death metal with a full symphonic orchestra integrated. The performances on VENENO are top notch and although the ballad is the one track i could live without, the album is chock full of beautiful melodies and ugly brutality all swirled together like a copulating yin yang sign at the circus and for me that’s good enough. While the actual album ends with the Chopin inspired title track which is mostly a piano workout, some albums include two bonus tracks including the Rammsteain cover of “Reise Reise” which is quite an interesting take on the German industrial band’s 2004 song from the album of the same name. VENENO is yet another great album from FLESHGOD!

XUL Malignance

Album · 2012 · Death Metal
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The metal universe continues to evolve and then splinter off into new sub-genera but then these distinct styles often cross-pollinate and a completely new distinct style emerges from the unholy union. There’s power this, symphonic that and then voila symphonic power metal! Well, same thing happened with black and death metal. While early death metal bands were distinguishing themselves from thrash, bands like Sweden’s Dissection were adding the blackened elements of Bathory and Mayhem to their punishing death metal compositions and a new (unofficial) genre was gestated into existence. Even within the blackened death metal scene there are two distinct styles. There’s the fusion where the black metal elements reign supreme and this style is referred to as war metal (also war black metal or bestial black metal) and the other being melodic black death.

Of the most recognizable blackened death metal bands of the melodic variety in the noughts has been Poland’s Behemoth whose distinct tirade of black metal suddenly crossed over into death metal turf starting with its 1999 album “Satanica” and continued rampantly up to 2009’s “Evangelion.” Another distinguished band that has perfectly mastered the Behemoth sound of this era and made it their own is the Vernon, British Columbia based XUL, whose name is a dead give away as to its primary influence is as the moniker is derived from the title which is a track off of Behemoth’s landmark 2005 album “Demigod” which featured the bands most aggressive and technical vital performances of its career before slowly drifting elsewhere due to Nergal’s health problems. XUL is one of those bands that REALLY delivers the goods with its 2012 debut album MALIGNANCE. The album was originally self-released and then found a much more fitting remastered re-release in 2015 on Redefining Darkness Records complete with completely different cover art.

XUL formed in the backwoods of Vernon, British Columbia, Canada in 2008 with the lineup of Marlow Deiter (bass), Lowell Winters (drums), Wallace Huffman (guitar), Bill Ferguson (guitar, vocals) and Levi Meyers (vocals). XUL deliver a no nonsense style of bombastic blackened death metal much like Behemoth dished out on “Demigod” with all the rampaging energetic drive, outstandingly sharp dueling guitars with sizzling uncompromising riffs and melodic squeal laden solos. The bass and drums provide the frenetic rhythm section with a ferocity reserved only for the most ambitious adrenaline seekers making to Possessed’s “Seven Churches” or the albums from Dissection as well as the aforementioned Behemoth era. The vocal rage of Meyers is a dead ringer of Neural at his most blackened and deathly and although the Behemoth comparisons convey a lot of the band’s overarching goal, XUL succeeds and sounding like more than a mere Behemoth clone. The compositions are similarly structured but engage more melodic bursts of rhythmic drive and frequent calming down effects of acoustic guitar segments.

The original 2012 album contained eight tracks but the remastered 2015 re-released offered the bonus track “Venomous Inquisition” which was re-recorded from the demo. All the tracks are monstrous powerhouses with none really standing out over the others. The flow of the album is as debilitating as the best of the old school death metal classics and the musicianship is as good as it gets. The melodic touches keep the tracks accessible but this is some of the most brutal sort of death metal you can experience however the blackened touches definitely give this a raw and underground feel. I’ve experienced both the original album as well as the remastered second coming and the newer one is definitely of a more professional production quality without sounding too polished. For anyone who loves the relentless blackened death metal of Behemoth’s “Demigod” era, then this will be right up your alley. It’s almost like the album they never released and redone by a band in another dimension. Faithful yet not a complete clone. Personally i love this sound. It’s catchy and dramatic for the entire ride.

Latest Forum Topic Posts

  • Posted 9 days ago in Any 2019 albums to recommend?
    I'm woefully not checking out too much new metal this year.So far i like....Deathspell Omega - The Furnaces of PalingenesiaWaste of Space Orchestra - SyntheosisBatushka - PanihidaGloryhammer - Legends From Beyond The Galactic TerrorvortexFunereal Presence - AchatiusArch / Matheos - Winter EtherealPossessed - Revelations of OblivionHelium Horse Fly - HollowedPensees Nocturnes - Grand Guignol OrchestraAmon Amarth - Berserkerhave heard a few more and probably forgetting some but basically i'm finding metal is somewhat of a slump and i much prefer exploring the bands and albums that i've missed from the past.
  • Posted 12 days ago in Black Metal drop-in centre
    ^ that's cool. I wasn't blown away by his first album. I guess he and Immortal are in competition now!
  • Posted 21 days ago in Now -- what are you listening to? V2
    ^ i did an Enslaved marathon a few months back. I was sick of them by the time i got to Riitiir 

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