siLLy puPPy

MMA Special Collaborator · Prog/AG Team
Registered more than 2 years ago · Last visit 59 minutes ago

Favorite Metal Artists

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1878 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 190 3.02
2 Progressive Metal 170 3.90
3 Alternative Metal 156 2.94
4 Avant-garde Metal 131 3.97
5 Hard Rock 115 3.50
6 Black Metal 106 3.75
7 Death Metal 91 3.71
8 Metal Related 89 3.58
9 Heavy Metal 71 3.76
10 Technical Death Metal 67 3.99
11 Thrash Metal 54 3.59
12 Atmospheric Black Metal 50 3.69
13 Proto-Metal 41 3.90
14 Power Metal 29 3.84
15 Sludge Metal 26 3.69
16 Brutal Death Metal 22 3.45
17 Melodic Death Metal 22 3.73
18 Technical Thrash Metal 20 3.85
19 Hardcore Punk 19 3.39
20 Atmospheric Sludge Metal 19 4.03
21 Folk Metal 18 3.86
22 Death-Doom Metal 18 3.72
23 Doom Metal 16 4.00
24 Symphonic Metal 16 3.78
25 NWoBHM 15 4.07
26 Glam Metal 15 3.57
27 Grindcore 15 3.60
28 Industrial Metal 15 3.60
29 US Power Metal 14 3.75
30 Mathcore 13 3.85
31 Metalcore 13 3.42
32 Heavy Alternative Rock 13 3.31
33 Heavy Psych 13 3.88
34 Funk Metal 13 4.08
35 Deathcore 13 3.31
36 Depressive Black Metal 12 3.13
37 War Metal 12 3.42
38 Symphonic Black Metal 12 4.08
39 Stoner Metal 12 3.54
40 Speed Metal 11 3.45
41 Gothic Metal 10 3.50
42 Funeral Doom Metal 10 4.00
43 Melodic Black Metal 10 4.05
44 Groove Metal 9 3.39
45 Neoclassical metal 8 3.69
46 Drone Metal 8 3.56
47 Goregrind 6 3.00
48 Pagan Black Metal 6 3.83
49 Traditional Doom Metal 5 3.60
50 Melodic Metalcore 5 3.10
51 Crossover Thrash 4 4.25
52 Crust Punk 4 3.38
53 Nu Metal 4 3.50
54 Stoner Rock 4 3.75
55 Rap Metal 3 3.00
56 Viking Metal 3 4.00
57 Deathgrind 3 3.33
58 Electronicore 2 2.75
59 Pornogrind 2 1.50
60 Trance Metal 1 1.00
61 Cybergrind 1 3.50
62 Death 'n' Roll 1 3.50
63 Nintendocore 1 3.50
64 Metal Related Genres 1 4.00

Latest Albums Reviews


Album · 2019 · Death Metal
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CONDESCENSION is a blackened death metal band that formed in 2014 in the city of Narva, Estonia which sits on the far northeastern tip of the nation not too far from St Petersburg, Russia. The band debuted with the “Wrath of the Skies” EP and spend the next few years touring the Baltic State nations and then found itself sharing the stage with various international artists such as Sepultura, Primordial, Batushka and others. By 2016 the band participated in the Wacken Metal Battle and in 2017 participated in the Hard Rock Laager festival in Vana-Vigala.

HELLBOUND is the band’s debut release that came out in 2019 and features the distinct album cover artwork from USA based Mark Riddick famous for his contributions with Arch Enemy, Dying Fetus, Exodus, Morbid Angel, Rotting Christ and countless others. The band has featured a rotating lineup over its 10 years existence but this album features Ivars (vocals), Georg V. (guitars), Aleksandr (guitars), Katya (bass) and Andrew (drums). The album also employs the use of four session musicians on guitars, vocals and keyboards / samples.

This band is very much into the dark occult and one look at their photo op will convey their love of Satanism and the dark arts. CONDESCENSION to my ears sounds most like Behemoth somewhere around the the band switched from the blackened death metal sound on “Evangelion” to the deathened black metal on “The Satanist.” In many ways CONDENSCENSION seems to be on worship mode of their Polish cousins with a very similar sound, style and approach which is made all the more so by the Nergal style vocals of Ivars.

Not totally a clone but a little too close for comfort for my liking. In fact if this was touted to be some lost Behemoth release i can’t say that wouldn’t sound farfetched. Nevertheless the album delivers eight tracks at just under 33 minutes and features some aggressive guitar riffing, outstanding drumming workouts, a dark atmospheric backdrop and all dressed up with very dark occult lyrics which are in English. It seems that the band has spent more time in the vast potential of promotion and marketing than crafting a unique style that stands on its own.

This is not a bad album at all but it’s a bit too close to the influential source and sort of churns on without much variation between the tracks. Perhaps it’s the kind of blackened death metal that will satisfy those in remote areas where they don’t have much access to this sort of thing but if you are an expert in the fields of black and death metal then it’s not something that rises beyond an interesting novelty from a remote region in Estonia. Gotta love that album cover though as Riddick is certainly on the top of his game. I just wish the music was of the same caliber in terms of originality.


Album · 2019 · Brutal Death Metal
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A power trio from Barysaw, Belarus, BLEEDING IGNORANCE was formed in 2013 and features Vitaliy Kitov (bass), Dmitry Orlov (vocals) and Pavel Kovalyov (guitar). These musicians are part of many other bands that extend into Russia but all focus on the most extreme limits of death metal, in this case brutal death metal.

The band has only released this one album IMAGE AND LIKENESS which came out in 2019. The album features eight tracks and is fairly short at 33 minutes. The band claims its music is for fans of Pyaemia, Suffocation and Cannibal Corpse and this album includes the Cannibal Corpse cover “Hammer Smashed Face” as the closing track.

Not much to say about this one as this is basically the text book case of generic brutal death metal with extremely fast tempos, blastbeats, brutal guitar riffing frenzies and extreme guttural growls that break into piggy squeals. There are no breaks on this one as it’s balls to the wall super speed all the way through. Unfortunately the album lacks any variations and any distinguishing uniqueness to set it apart from the gazillions of other bands that sound just like it.

Brutal death metal has to be the most difficult section of the death metal world to find a creative outlet since the style offers little room for variation but it does seem to attract those who attracted to speed above all else. I’m all on board with speed and incessant brutality but creative compositions go a long way. This one is just brutal death metal by numbers and has really nothing to offer anyone looking for something different. Average and mediocre at best.

МОЛАТ В пламени рассвета

Album · 2006 · Heavy Metal
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Молат (MOLAT) is a white power band from Orsha, Belarus that started off as the Pagan black metal band Araxia from 1998-2003 and then changed everything around completely. The band name means ‘HAMMER’ in the Belarusian language and the band has been criticized worldwide for its philosophies on white supremacy and social nationalism. It’s actually hard to believe anyone would espouse Nazi affiliations in Belarus given that this nation was one of the most decimated by the Nazi regime during the atrocities of WW2 but what the fuck, it’s a strange world out there.

As MOLAT the band has released several albums since 2006 beginning with this debut В пламени рассвета (In the Flames of Dawn). The band is also quite popular in not only Belarus but plays often in Russia and Poland. The lineup is a bit unclear due to many different sources citing different band members at various stages in the band’s history however it sounds like there are two guitarists, a bassist, drummer and vocalist. This debut features ten tracks and just misses the 45-minute playing time. The lyrics alternate between Russian and Belarusian.

While the band’s philosophies are nothing new, the music is rather different. While the following album’s drift more into folk metal based on traditional Belarusian and Slavic folk styles, В пламени рассвета is a mix of classic 80s heavy metal, speed metal and thrashy punk rock. While the melodies are clearly out of the 80s classic metal playbook, the choppy strumming and immediacy are more like a crossover thrash band that mixes elements of metal with punk. The mix of the melodic and the no nonsense political bantering makes for a compelling listen at least on the music side of things.

This was a bizarre transition point between Araxia and MOLAT when some of the band members took a leave of absence before rejoining from the debut so this album isn’t really representative of any of either band’s overall output. Not much to say about this. It’s obviously an album that is heavily focused on the lyrics and espousing certain philosophical idealism so if you don’t speak Russian or Belarusian then you won’t understand single thing. Musically it’s a very basic type of punk x heavy metal hybrid which is pleasant enough but falls more on the punk side of things overall however the melodic metal touches do make it more dynamic.

Personally i don’t care about subject matter so i can ignore the themes however the music isn’t anything to get overly excited about as it seems to be secondary in its significance. Ukraine’s Nokturnal Mortem is another one of these white power bands but at least they have talent and i love their albums despite their involvement in the Nazi crap. This album is totally listenable. I do love the singer’s passionate emphasis on each and every syllable of every word however it’s not so great that it’s a band i would want to explore further. It’s obviously a band that cranks out fairly simple and direct musical compositions to simply wrap its message around.


Album · 2016 · Progressive Metal
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SILUETLESS also sometimes written as SILUET / LESS, was a progressive metal band from Klaipėda, Lithuania and existed from 2004 to 2016. The band also stylized it’s name with the phonetic [,silu:’et] and consisted of Eugene Golobokin (guitar, vocals, programming), Artur Mamin (bass) and Vainius Česnauskas (drums).

As [,silu:’et] it released “Theory of Dream” in 2008 and then it waited eight years before releasing DRIFTING as SILUETLESS. As an unsigned band, SILUETLESS released its material independently and DRIFTING was limited to 500 copies but also readily available on Bandcamp. The album features eight tracks at about 53 1/2 minutes.

This is a highly atmospheric album with a huge reliance on keyboards and synthesized sounds to create mystical atmospheres and ambient backdrops. The guitar, bass and drums add the metal aspects and the tempo is mostly set to middle of the road. Sounding something a bit like Porcupine Tree in the atmospheric department and a heavier version of a neo-prog band on the metal side, unfortunately DRIFTING is marred by the awful vocals.

I don’t use the term awful lightly. The band’s aim and accomplishments are totally out of sync with this one. Prog metal is one of the most demanding genres of music out there and requires extremely versatile and technically skilled musicians and vocalists to pull it off successfully. Well that’s where we have a problem here. The musicians are decent but really don’t extend beyond mediocrity and the vocalist? Just atrocious.

Unfortunately Eugene Golobokin was not gifted with the best singing voice and erroneously shoots for the stars by tackling a style of music he is woefully unqualified to take on. His vocals sound strained the entire time as he struggles to hit the right notes and even his monotonic lower registers where he is most at home don’t prove to be pleasant listening.

Add to that the compositions on this are of substandard quality as well leaving little or nothing to really grasp onto. While the melodies are listenable and pretty much check off the prog metal requirements for the modern era, the music feels half baked with little or nothing to actually grab onto. Unfortunately this album offers few rewards and actually makes me cringe every time vocal parts come through. Now the instrumental parts where the guitars, bass and drums have a chance to shine is decent. Sadly this is not a very good album

LĪVI Iedomu pilsēta

Album · 1986 · Hard Rock
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One of the first hard rock and heavy metal bands to emerge in the Baltic nation of Latvia while it was still a component of the USSR, LĪVI formed as far back as 1976 and throughout many lineup changes stuck it out until 2010 but has since reformed in 2017 and continues to perform to this day. The band founded by Ēriks Ķiģelis and Juris Pavītols in Liepāja, began as a novel pop rock band and gigged throughout the late 70s and early 80s trying to find a style that really clicked but never hit upon anything until Ainars Virga joined the band in 1986 and steered LĪVI into the world of harder rock and heavy metal.

The entire period from 76-85 produced no recordings and it wasn’t until LĪVI shifted focus that their fortunes would begin to change. Inspired by 70s bands like Black Sabbath, Deep Purple, Led Zeppelin and the Scorpions, Virga was instrumental in bringing the heavier styles accompanied by guitar solos. The band was also instrumental in making the Latvian language relevant in modern music and in 1986 released its first album LEDOMU PILSĒTA (City of Imagination) and although original member Eriks ĶiĶelis played a great role in bringing it to fruition, he left before it was released.

In many ways a typical sounding hard rock album from the 1970s, LEDOMU PILSĒTA featured a rather diverse set of tracks ranging from the crossover prog instrumental opening number “Mazais sapnītis” which featured a stellar keyboard solo to the second in line “Saulgriežu rīts” which suddenly jumped into 80s metal with a beautiful guitar solo to add that authentic touch. The third track “Uz lietiem” suddenly adopts a reggae beat and the title track sounding more like a new wave act such as Missing Persons or The Cure only with a more standard rock vocal style completely in the Latvian language, a true source of pride for anyone of Latvian heritage. The band quickly became the nation’s top dog and even found itself touring Europe especially after the fall of the USSR which would come soon after this album was released.

While virtually unknown outside of the Baltic States region or perhaps anyone old enough to remember the USSR, LĪVI was one of the hottest acts during the final years of the Soviet Union and remained so throughout the 1990s. While the tracks are diverse in how they’re presented, they are all extremely melodic and capture that instant ear worm quality of music from classic rock radio stations. Any of the tracks on here could easily be slipped in between the Anglo world’s classic rock songs and nobody would probably even notice except for the language differences of course. In fact classic rock radio has become so stale it would be very cool if they were to incorporate musical groups from other parts of the world to spice things up a bit but that’s a completely different story!

While LĪVI would continue on to compose some of the very best known Latvian hard rock songs of the nation’s history, this debut album was a very important first step that exposed them to the region at large and due to the poetic lyrics and melodic guitar solos, was an instant hit. One of the band’s secrets is it knew how to embed some of the Latvian folk melodies into its heavier rock potpourri. While this debut is much more in the hard rock with prog influences camp, starting with its self-titled second album it would become a much heavier band more in par with Russia’s Aria and the heavy metal scene of the West. Still though even though this is the odd album out of the band’s canon, it’s chock filled with ingenious classic rock and hard rock tracks that are instantly lovable. It almost takes you to the time and place it was created!

Latest Forum Topic Posts

  • Posted 8 hours ago in Now -- what are you listening to? V3
    Gotta love the art work of Mark RiddickCONDESCENSION - Hellbound
  • Posted 2 days ago in Now -- what are you listening to? V3
    [QUOTE=Psydye] [/QUOTE] I saw them about 10 years ago in a San Francisco free concert park. I have really grown to love this album. Even got it signed by the band. Electroswing is some of the catchiest pop out there. This usually gets very low ratings but i'm not sure why anyone can't love the hell out of it!
  • Posted 3 months ago in Now -- what are you listening to? V3
    [QUOTE=UMUR][/QUOTE] That album cover goes PERFECTLY with your avatar!


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