siLLy puPPy

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994 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 145 2.95
2 Alternative Metal 118 2.94
3 Avant-garde Metal 79 3.92
4 Progressive Metal 75 3.96
5 Hard Rock 71 3.35
6 Metal Related 54 3.43
7 Black Metal 54 3.59
8 Heavy Metal 48 3.78
9 Technical Death Metal 38 4.01
10 Thrash Metal 30 3.53
11 Death Metal 24 3.96
12 Proto-Metal 19 3.79
13 NWoBHM 13 4.15
14 Glam Metal 13 3.62
15 Industrial Metal 13 3.81
16 Power Metal 11 3.73
17 Symphonic Black Metal 10 4.20
18 Folk Metal 10 3.70
19 Atmospheric Sludge Metal 10 4.25
20 Funk Metal 10 4.10
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 Drone Metal 5 3.50
36 Stoner Metal 5 4.00
37 Symphonic Metal 4 4.13
38 Speed Metal 4 3.38
39 Heavy Alternative Rock 4 3.50
40 Melodic Death Metal 3 4.17
41 Mathcore 3 4.00
42 Deathcore 3 2.83
43 Depressive Black Metal 2 3.25
44 Funeral Doom Metal 2 4.25
45 Heavy Psych 2 4.50
46 Goregrind 2 2.50
47 Stoner Rock 2 4.25
48 Traditional Doom Metal 2 3.75
49 War Metal 2 4.00
50 Rap Metal 1 1.00
51 Nu Metal 1 2.50
52 Melodic Metalcore 1 4.00
53 Metal Related Genres 1 4.00
54 Crossover Thrash 1 5.00
55 Crust Punk 1 2.50

Latest Albums Reviews


Album · 2000 · Technical Death Metal
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LYKATHEA AFLAME is, or was actually, one of those many artsy tech death bands that seems to cause derision in the metal community. On the one hand you have the metal purists who find any tinkering with the metal basics of brutal, distorted essentials that separate the genre from the greater rock universe will taint the defining musical “aesthetics” and wish to install a eugenics program to keep metal from “breeding” with other musical genres. And then you have those who love the idea of a brutal tech death band that has the gall to follow in the shoes of avant-gardists like Mr Bungle by adding completely opposing musical moods and styles to the frenetic bantering of the head banging bombast which LYKATHEA AFLAME does in abundance. And of course, you have many who fall somewhere in between.

This band came from the Czech Republic and released this one well known, well loved as well as well hated album after they morphed from their previous incarnation as Appalling Spawn. While in A.S. they had already begun the process of expanding their horizons beyond the Cryptosy meets Nile death metal paradigm, on their sole LYKATHEA AFLAME release ELVENEFRIS, they really let the dog off the leash and like a randy slut at a frat party, mixes company with more styles of music than a brothel sees when a navy ship docks in Bangkok. The result is a blissful journey for the aforementioned artistic types and a wellspring of irritation for the purists who cannot comprehend the massive effort that went into this one.

ELVENEFRIS is a long beast to say the least, so it requires a major commitment to sit through this one but for any open minded tech death metalheads out there, this is on the essential listening list as it randomly drifts at hyperactive speed through a plethora of genres that meet and greet the brutal Cryptosy inspired blastbeat drumming, Nile inspired compositional drive (think Egyptian themes and thundering epic heavy metal melodies that intertwine with the chaotic death metal riffs) and a seemingly random chaotic romp through the tech death universe. What sets LYKATHEA AFLAME apart from almost every other extreme metal band of the day was that they were equally at home with long drifting ebbs and flows that delved in post-metal, classic 80s heavy metal and even metalcore, Pagan black folk metal and of course progressively infused compositional efforsts.

While bantering death growls and orotund pyroclastic aggression is the norm, LYKATHEA AFLAME provide tender moments of melodic folky sections with clean and “properly” sung vocals as well as pacifying new age passages, the longest which ends this sprawling repertoire of just over 72 minutes. It’s fair to say that ELVENEFRIS started a trend in the extreme metal world that allowed bands like Between The Buried And Me, Augury, Unexpect and others to radically expand the parameters of what was acceptable within the confines of a death metal listening experience. As with any form of extreme music ranging from punk and industrial to metal, there are those who staunchly resist such artistic liberties and others who wholeheartedly embrace it. Personally i straddle both lines of thought. I love the pure unadulterated styles of death metal but when done right, an artsy mind-blowing mix of genres is exactly what scratches that itch.

It occurred to me that the type of musical delivery that artists like LYKATHEA AFLAME offer comes from a form of musical thought. As a musician i have found my own inner soundtrack operates much like the music presented on ELVENEFRIS, that being a seemingly random parade of riffing variations decorated with various dynamic and tempo shifts that seem to drift in and out of whatever background music of the moment happens to be. Think of this sort of thought process as having a continuous spectrum of counterpoints churning in our heads where metal, post-rock, circus clown music or whatever just sort of emerges as the dominate format at any given moment. It’s sort of like a pipeline to that invisible world where creativity comes from and while that is usually the first step for an artist in crafting their works, LYKATHEA AFLAME seemed to find it adequate to utilize these random inspirations into a freeform explosive callithump.

This is very much tantamount to what some musical savants can conjure up as they can effortlessly transcribe a Mozart piece to sound like a Dixieland jazz number on the spot. So too does this occur for a select few musical minds who seem to think in music, however very few artists record their music in this astroplane sort of style. Virtuosos like Steve Vai have had tracks that utilize this process as well as other avant-garde metal artists like Maudlin Of The Well, but in the grimy pits of the extreme death metal world, this sort of thing doesn’t emerge too often since death metal by its very nature is more of a hellish beast that is firmly based on a set of unspoken rules. LYKATHEA AFLAME was paramount in taking this underground musical world into the ethereal dream state and channel the results into what would emerge as ELVENEFRIS.

Many consider ELVENEFRIS to be a masterpiece while others a complete piece of trash. Having the same sort of musical loves of never-ending musical variations and genre bending, i have to say that i fall in the camp of loving this album however at the same time, my inner critic emerges to also agree that this is by far an imperfect album. Firstly, it’s way too long and some of the meandering in certain sections, especially the lengthy post-rock and ambient parts can be way too long and little editing would’ve made this much stronger. Both post-rock and ambient can be fine in their own realms but the contrast here seems awkward and not planned out as how to integrate it into the overall mood swings of the album. As many others have stated, the ubiquitous snare drum bombast provides a rather generic percussive drive throughout the album’s run. More percussive variation would’ve gone a long way.

If only the other elements of the music were as diverse as the need for an incessant tempo change and addition of changing subdued elements ELVENEFRIST could’ve been a much better album. LYKATHEA AFLAME should have developed into a true artistic powerhouse had they recorded another album or two but even taken as is, ELVENEFRIS is a powerfully unique technical death metal experience that more often than not delivers the goods of a true extreme avant-garde maelstrom of metal madness. On the plus side, the album balances melody with dissonance quite successfully and never relies on any trick or trinket within the metal passages for too long. While not perfect in my mind, LYKATHEA AFLAME, like many bands that have emerged from Eastern Europe delivered a strong album that offered a completely new way to experience the perpetually expanding world of the death metal universe and despite the incessant complaints of the wimpy non-metal parts, this is a brutal death metal beast of an album to be reckoned with.

XHOHX Karyotypexplosion

Album · 2007 · Avant-garde Metal
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Hey extreme prog metal addicts. Can you literally NOT get enough of all musical nooks and crannies filled with every prog trick in the book? Incessant mathcore time signatures on steroids and brutal dissonant chords forced to perform tricks that should be illegal by international law? Random tempos that will make your head explode? Ping pong prog taken to the most extreme levels imaginable? Hey! We got that too. While many a band seem to layer pop hooks in slick layer of production and suave compositional layout, some bands like Belgium’s XHOHX just go for the jugular. Think of this mere duo of Ramon Ribas Coca (guitar, drum programming) and Oregolakatzor (bass) as the genetic lab experiment that mixes the DNA of Morbid Angel, Ruins, The Flying Luttenbachers and Sleepytime Gorilla Museum and then something goes terribly wrong.

This band had no intention of playing it even keel and stretching out all their ideas in a decade long career. None of that BS. This noise factory with the palindrome moniker just let it all out in one huge burst of freakifying mindfuckery in a 46 minute musical statement and then jumped back into the murky depths from whence they came and on their one and only release KARYOTYPEXPLOSION you can experience the entire history of prog attributes in this one listening experience. However, i guarantee you very well could lose your mind in the process. Well, the most chaotic and extreme moments of prog that is. No neo-prog or sweet melodies here at all.

There are literally a gazillion bands in the history of prog and metal that have branched out into a gazillion directions creating two of the wealthiest nooks of the entire rock universe, but even in this land of plenty, once in a while an artist occasionally manages to defy all the odds and create something utterly unique and virtually existing in its own little evolutionary branch of the musical universe. A scant few bands such as Mr Bungle, Unexpect, Henry Cow, Samla Mammas Manna and Frank Zappa literally went somewhere no one ever thought possible and thus charted whole new methodologies of musical construct. XHOHX follows suit but goes so far, so fast that it will takes decades for anyone to latch onto this one.

XHOHX engages in a newer form of progressive rock recently tagged brutal prog, the kind of avant-prog that Yugen took to new extremes by unapologetically increasing every aspect of the holy progginess oneness and then dialing it up to the eleventh power. This is music where chaotic dissonance runs supreme but like any really good music that delves in all the most extreme attributes you can throw into the boiling pot, XHOHX manages to smooth it all out with an underlying atmospheric presence that sort of streamlines the overall flow into an RIO / avant-prog paradigm that would be recognizable to fans of Univers Zero, Art Zoyd, Present or even Thinking Plague for that matter.

However, that’s pretty much where any comparisons to other bands stop. The rest of the equation is pure brutality. Brutal metal delivery, brutal dissonance, brutal tempos, brutal vocals, brutal brutal prog to the friggin’ max. This is truly technical music that is bleak and devoid of anything warm and fuzzy whatsoever. While the album primarily consists of bantering angular blasts of brutal metal riffs, schizoid vocals that range from insane asylum shrieks to growling grunts, this is truly a cacophonous maelstrom of the most deranged soundtrack of the insane you could EVER imagine and believe me, i’ve heard a lot of this insane maniac music. This one blows it all away. Even mathcore pigs like Psychopus and Behold…. The Arctopus would cower in fear in the shadow of XHOHX.

Point blank: XHOHX is without doubt THE MOST EXTREME MUSIC i’ve heard. EVER!!!! This is relentless and unforgiving. A tumultuous clamor and clatter of the ages. While the album generally runs on extreme mathcore mode for its first eleven tracks with the fastest and jagged angularities possible, the final track “Nukleark” breaks the trend of punkish shorter time lengths and stretches out to a proggifying near 15 minute time span, however despite remaining as unrelenting and earache inducing as the previous 30 minutes, this one actually engages in quieter moments without the heavily distorted guitar runs attacking like a bombed ammunition factory.

BE WARNED!!! This is brutal prog for brutality’s sake, however if you absolutely crave THEEEEEEEE MOST extreme type of music possible, then you cannot go another day without hearing XHOHX and their monumental masterpiece KARYOTYPEPLOSION. There is method to this madness. Careful attentive listening is a must. What doesn’t kill you makes you stronger. Listen at your own risk. Even the few piano runs are so scary that you’ll want to duck under your covers and pray for your soul to escape permanent damnation for just hearing this bantering musical blasphemy. I’m in! And find this mess irresistible when i’m really in a VERY naughty mood ;)


Album · 2006 · Avant-garde Metal
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When an artist is tagged as being recommended for fans of Mr Bungle, Secret Chiefs 3, Estradasphere, Buckethead or Primus then you got my attention. And such is the case for IDIOT SAINT CRAZY which is the solo project of Valentin Carrette who is the front man for the French avant-prog meets zeuhl project called Yolk. FLUO DEAD BOY is his debut album under the IDIOT SAINT CRAZY moniker and like the influences aforementioned, contains a bizarre and creative new mix of diverse elements that offer a totally new insight into a corner of the musical universe you never knew existed. Ah, i love the avant-garde! A term that tells you nothing about what the music is, but rather tells you what it is not and that would be an established pattern of compositional construct.

What can i say about this one? Well, weird! But not so weird you can take it in. Valentin Carette is a guitar virtuoso of sort. Not the flashy technical Steve Vai sort but rather a more elusive beast much more like a constructor of new musical paradigms and atmospheres in the way Fred Frith did in Henry Cow and his avant-prog influences carry through on this solo project as well. While i wouldn’t call IDIOT SAINT CRAZY metal per se, it contains many metal aspects much like bands like Secret Chiefs 3 do such as heavy guitar riffing, frenetic energetic tempos and extreme distortion. While some tracks are purely atmospheric, some like “The Street” use the heaviest elements of metal and wrap them around some sort of gypsy or Klezmer folk riff with cartoonish sound effects and some sort of primal tribal chanting.

FLUO DEAD BOY, a title that is as nebulous and strange as the music it contains is a very consistent album that takes the pulsating flow of Krautrock laced with electronic atmospheric sound effects and then inserts a rather cartoonish Klezmer folk riffing as the main musical scaffolding however instead of using traditional folk patterns of delivery, the music is sort of teased out into an extended post-metal sort of creeping crescendo. It sounds even weirder when Carette includes instruments like the banjo, theremin, xylophone and many others i can’t easily identify. This album obviously utilizes the many possibilities of a synthesizer as it was completely recorded in a bedroom with an SM57 digital multi-effect system on a laptop in 2006. Add to that a little Link Ray rockabilly, surf rock and screechy classical violin.

FLUO DEAD BOY is quite the brilliant slice of creative output. While there is a consistent flow throughout the entire release, the tracks vary substantially. Laced with seductive post-rock elements that lull one into Krautrock soundscapes that evolve into tribal polyrhythms, horn fueled proggy counterpoints and bouts with extreme contradictory elements signing a truce for the sake of a good instrumental, this album is quite mature in how it’s laid out, constructed and executed. While mostly instrumental, there are a few moments where vocals are used sort of as a percussive chanted effect. The electronic parts when used are very strange and decidedly brilliant and some are purely ethereal. While i would also cite the IDIOT SAINT CRAZY sound’s closest musical relative as Secret Chiefs 3 or Mr Bungle, this is by no means a clone and could never be mistaken for any other act. If you want some cool experimental rock with metal elements on board, this is highly recommended.

MIKE PATTON Adult Themes for Voice

Album · 1996 · Non-Metal
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MIKE PATTON's first solo album ADULT THEMES FOR VOICE is a bona fide journey into the avant garde. Unlike anything else in his career before or after he decided to splice and dice vocal recordings he made in hotel rooms on a mini-recorder and for whatever reason released them for the world to scrutinize. This is just his vocals and some production manipulations. With such a low rating it seems like much of the world is not in tune with Mr PATTON's strange and bizarre world of vocal shredding. This album is in the same vein as Demetrio Stratos' solo albums where Mike is simply showing us his ability to take his voice to strange unthought of places. Strange indeed. At times he screams, squeaks and moans, howls like a monkey and does things I lack the proper vocabulary to describe.

This album was inspired by his love of Japanese noise bands like Hanatarash. I have owned this for quite a while but have only listened to it a handful of times. It is basically a sonic diary of a creative vocalist spontaneously doing what he feels inspired to do and then taking it apart and sewing it back together. The result is a very mixed bag. I actually find some of this stuff highly creative and a tad interesting. This isn't however an album that one puts on often because 45 minutes of its inconsistency is a little too much. Some tracks taken on their own are downright ingenious and beyond bizarre. An interesting experiment but I would definitely file this one in the “collector's / fan” category because very few will find anything redeeming in this. I actually much prefer Mike's following album “Pranzo Oltranzista.” That is a truly bizarre avant-garde album that works for its entirety.

DEATHSPELL OMEGA Fas - Ite, Maledicti, in Ignem Aeternum

Album · 2007 · Black Metal
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It boggles the mind that a fairly nondescript black metal act named DEATHSPELL OMEGA, having only emerged in 1999 from their undisclosed crypts somewhere in France, began as an average second wave act simply regurgitating the Nordic templates that had been sewn by the likes of Mayhem and Darkthrone. After crafting two rather generic and by-the-numbers releases, this mysterious cult of undisclosed characters suddenly transmogrified from commonplace to an unabashed innovating force on the black metal scene with their 2004 release “Si Monvmentvm Reqvires, Circvmspice.” Not only did this band introduce the progressive extreme metal music world to a hitherto unparalleled sophistication in lyrical and musical content, but struck a few nerves as the rather reactionary blasphemy of the typical black metal paradigm had shifted to a highly intellectual and philosophical stance on Satanic theology and one that required careful deconstruction and erudite scholarly effort to unpack.

After releasing the supplemental EP “ Kénôse” in 2005, DEATHSPELL OMEGA unleashed their most ambitious album yet in the form of FAS - ITE, MALEDICTI, IN IGNEM AETERNUM in 2007. The Latinate title which translates into English as “Divine Law - Go Accursed, Into Everlasting Fire” coupled with the representative cover art of a blinded man eternally falling into the darkness away from the light alone are more than enough to portend a very darkened and intoxicating musical experience that lurks within the second chapter of their theistic Satanist’s trilogy. Continuing the lyrical content of its predecessor, FAS - ITE explores the poetic prowess of post-surrealist George Bataille with selected lyrics lifted verbatim from his works “Theory Of Religion” and “The Solar Anus” with purpose of teasing out the true tenets of Satanism by espousing the theory of that Satan is not the antithesis of the Christian God but rather the purified nihilism that the darkened forces are an inextricable aspect of human nature.

FAS - ITE, MALEDICTI, IN IGNEM AETERNUM eschews a quickened emergence into a bantering din of black metal but rather slowly oozes in with a dark ambient apocalyptic tone that transmogrifies into a dissonant post-metal stream of consciousness that slowly ratchets up the impending dread and despair with the opening “Obombration.” This prognosticator of doom and gloom delivers a deathly chilling mix of dreadful dissonance in the form of jangled and mangled guitar riffs with growly raspy vocals that don’t quite sing and don’t quite speak but exist somewhere in between yet in poetic prose as the triad of guitar, bass and drum patterns slowly buzz around the lyrical delivery gaining more devilish strength after each cadence until it all cedes into a quiet and pacified Christian choir after the jangly post-metal guitar sequence spooks the living daylights out of you.

After a pacifying calm before the storm, “The Shrine Of Mad Laughter” bursts out in full decibalage and suffocates the tranquility as the brutal black metal assault banters on for ten and a half minutes. Not only does FAS - ITE excel at the contrasts explored on “Si Monvmentvm” but takes them to further extremes and accentuates them at every opportune moment. The quiet parts are spookier than before with psychotic pianos tinkling around schizoid guitars and spectral voices while the aggressive outbursts develop into extreme technical workouts with buzzsaw guitars in dissonant angularity chaotically battling with the bass which in turn is at war with outlandishly jazzified drumming fills. The whole thing gives the impression of an angry swarm of locusts covering the entire atmosphere and ready for the attack of all living souls for it’s redemption day and the dark forces have won the infernal battles.

This classic DEATHSPELL OMEGA tug-of-war between the creepy dark ambient and excessively brutal blackened free-for-all zigzags throughout the album while the indecipherable lyrics dictate the philosophical diatribe. While the band has remained a virtual mystery with no official website, no photo ops and no indication that they exist in our universe in any way except for the sonic slugfest that bursts out of the speakers in rumbling minor keys with subdued guitar solos and bantering math rock in the form of black metal, they have identified a few of the members under pseudonyms. Hasjari on guitars, Khaos on bass and Mikko Aspa on vocals. The percussionist remains free of identity but is clearly the most talented member of this ensemble as the percussive one runs the gamut of tortoise speed post-rock trance inducing monotony to full-fury technical jazz wizardry outbursts that last for lengthy periods .

Holy crap! FAS - ITE, MALEDICTI, IN IGNEM AETERNUM with its mere 46 minute run tops my list as the scariest album of all time. DEATHSPELL OMEGA scoured the deepest recesses of dark psychology and implemented every possible technique both perceivable and subliminal to create a theological assault on mind, spirit and body and the effect is staggeringly effective. With the second installment of their trilogy the band continued not only to redefine black metal but in its wake ushered in a new level of experimental extreme music that took philosophical lyrical content to new unprecedented heights of left-brained intellectualism. This by far is one of the most evil-as-fuck black metal albums ever to have been recorded and despite many lower musical forms striving for such unholy perfection, DOS win the goat’s head trophy without even breaking a sweat.

While nebulous in comprehension and as jittery and non-static as the quantum world of the microverse, the overall effect of perplexity, brutal bombast and post-dissonant meandering guarantees a startling fight or flight response but like microwaves from cell phone towers that leave an intangible energetic enemy with no defenses for counterattack. And this is only the second installment of the trilogy. FAS - ITE is in short, the ultimate synthesis of black metal and progressive rock as it adopts every trick in the playbook from both disparate sides of the extended rock universe and genetically alters their DNA into a sadistic musical demon like no others had done before. This is music so brutally intense and so intellectually advanced that it in effect lays to waste all the mere mortals who have posed their way into the world of evil metal. While “Paracletus” would continue the saga, FAS - ITE, MALEDICTI, IN IGNEM AETERNUM remains the most intense chapter of this deep and darkened psychoanalysis into the greatest mysteries the universe has to offer and executed perfectly.

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