siLLy puPPy

MMA Special Collaborator · Avant-garde Metal team
Registered more than 2 years ago · Last visit 7 hours ago

Favorite Metal Artists

All Reviews/Ratings

901 reviews/ratings
THOUGHT INDUSTRY - Songs for Insects Thrash Metal | review permalink
THOUGHT INDUSTRY - Mods Carve the Pig: Assassins, Toads and God's Flesh 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 137 2.91
2 Alternative Metal 118 2.93
3 Hard Rock 74 3.37
4 Progressive Metal 70 3.99
5 Avant-garde Metal 67 3.93
6 Black Metal 50 3.50
7 Metal Related 45 3.33
8 Thrash Metal 38 3.67
9 Traditional heavy metal 33 3.83
10 Technical Death Metal 25 4.06
11 Proto-Metal 21 3.79
12 Death Metal 20 3.92
13 NWoBHM 13 4.15
14 Industrial Metal 13 3.81
15 Glam Metal 12 3.63
16 Power Metal 11 3.73
17 Doom Metal 11 3.86
18 Atmospheric Sludge Metal 10 4.25
19 Funk Metal 9 4.11
20 Folk Metal 9 3.67
21 Hardcore and crust 9 3.33
22 Symphonic Black Metal 9 4.22
23 US Power Metal 8 3.63
24 Metalcore 8 4.00
25 Death-Doom Metal 8 3.38
26 Grindcore 7 3.14
27 Groove Metal 7 3.50
28 Atmospheric Black Metal 6 3.83
29 Brutal Death Metal 5 3.40
30 Gothic Metal 5 3.50
31 Neoclassical metal 5 3.40
32 Sludge Metal 5 3.80
33 Speed Metal 4 3.38
34 Stoner Metal 4 4.13
35 Melodic Black Metal 4 4.13
36 Drone Metal 4 3.38
37 Deathcore 3 2.83
38 Melodic Death Metal 3 4.17
39 Mathcore 3 4.00
40 Symphonic Metal 3 4.17
41 Funeral Doom Metal 2 4.25
42 Depressive Black Metal 1 3.50
43 Crossover Thrash 1 5.00
44 Nu Metal 1 2.50

Latest Albums Reviews

DAMAAR (دمار) Triumph Through Spears Of Sacrilege

Demo · 2007 · Black Metal
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So you think black metal is exclusively an anti-Christian type of bombast solely for pissed off Europeans to spout off their venom? Don’t tell Muslims who have adopted the lo-fi sacrilegious and misanthropic styled discordant furor for their very own. While not exactly conquering the Islamic world, there are a few examples of top notch black metal erupting from all over the war torn regions of the Middle East in all its chaotic distorted din. Janaza and Seeds of Iblis come from Iraq and the black metal band Al-Namrood defies all odds and emerged in the unlikely theocracy of Saudi Arabia but perhaps nobody and i mean nobody erupts in full vitriolic fury more than the war metal band DAMAAR (which means “destruction” in Arabic) from Beirut, Lebanon that released a mere demo turned EP titled TRIUMPH THROUGH SPEARS OF SACRILEGE in 2007 and then like a mirage in the sand completely disappeared leaving this sonic assault as the only evidence that they ever existed however other Lebanese black metal acts like Ayat and Veinen have certainly attempted to match this ruinous havoc.

If you think you’ve heard bombastic black metal brutality then you haven’t heard anything if you haven’t had DAMAAR erupt out of your speakers leaving war metal wimps like Teitanblood, Blasphemy (whom they cover here and blow away in the process) and Archgoat in the dust. With tracks like “Preaching For Mass Suicide” and “The Goatphoenix” this band channels all their war torn fury into an eruptive pyroclastic frenzy of raw energy that is some of the most brutal and intense sonic savagery ever committed to release and perfectly emulates the chaotic swirl of incessant violence that has plagued the region at large where they reside for time immemorial with the biggest middle finger towards the religious dogma that dictates the repressive stranglehold of a truly free society.

TRIUMPH THROUGH SPEARS OF SACRILEGE is a mercifully short sonic journey into a gun barrel as it’s being fired in successive rounds as the incessant pummeling of blastbeats of Napalm’s drumming act in tandem with the buzzsaw distortion of Nunrider’s guitar and Heathen’s bass while utterly ravaging rhythmic jackhammer approach to thoroughly deplete the listener of any possible signs of hope from eternal bondage of chaotic devastation while Heathen’s vocals provide some of the most intense rage i’ve ever heard in a black metal act and he has a greater vocal range than most. Technically this was only released as a demo but some of the best black metal comes in lo-fi underground packages and DAMAAR really stands out as one of the best. If you love the most hyperactive and brutal aspects of black metal, it doesn’t get any more punishing than this short journey into the bowls of hell.

BORN OF OSIRIS The New Reign

EP · 2007 · Deathcore
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The Chicago based deathcore band BORN OF OSIRIS had quite the difficult time choosing a name as in a mere short period from 2003-07 they chose and rejected the names Diminished, Your Heart Engraved and Rosecrance before finally settling on the Egyptian deity who was the Egyptian god of the afterlife. During that time they produced a few demos under all those names but wouldn’t release their debut studio EP - THE NEW REIGN until 2007 as BORN OF OSIRIS. Although the band started out more as a metalcore outfit they began adding more death metal elements such as the abrasive growled vocals as well as the expected rhythmic breakdowns more suited to the death metal scene however all those core elements are retained. This band somehow latched onto the progressive world as it seems to pop up as such although the progressive touches take a back seat to the brutal metal aspects in the forefront.

BORN OF OSIRIS deliver a typical death metal meets metal ore = deathcore sound with the expected death metal riffs and blast beats while retaining all those core breakdowns with all the hardcore punk infused energy and brutality, however what sets this band apart from the rest of the pack is that it utilizes atmospheric keyboards to create a backdrop of ambience and also throws in a few unorthodox sound effects on the side. Ronnie Canizaro’s vocals are nothing out of the ordinary nor are the staccato riffs of Lee McKinney however Matthew Pantelis dishes out some melodic lead guitar parts along with squeals and little tricks and trinkets to add a sprinkling of more class metal to the mix including a few solos here and there.

The percussion seems to be the weakest part as i’m not hearing the OMG drum abuse i would expect for a deathcore band, or at least not to the extend that i would prefer. Yeah, there are blast beats now and again but generally the percussive parts are fairly by the books and not overly exciting. Overall the tracks are all fairly similar with only the keyboards and lead guitar differentiating them in any significant ways. Deathcore is certainly not my favorite subgenre in the metal universe and BORN OF OSIRIS doesn’t dish out a whole lot of originality to make me change my mind on that one. This debut is a nicely delivered near 22 minute display of metal energy with some atmospheric elements thrown in but in the end it’s all fairly predictable and doesn’t even come close to blowing me away.

BORN OF OSIRIS The Eternal Reign

EP · 2017 · Deathcore
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After their short EP debut studio release “The New Reign” which appeared in 2007, BORN OF OSIRIS roughly released a new album every two years but somewhere along the way the band decided that they just weren’t happy with their debut EP and it desperately needed to be re-recorded and repackaged, retitled and released once again. Come ten years later and the newly named THE ETERNAL REIGN accomplishes this goal by taking all eight tracks back to the studio and polishing them into deathcore perfection with even a bonus track in the form of “Glorious Day” to finish it off with bringing the new playing time to a whopping 23 minutes and 50 seconds.

Well, what can someone exactly say about a brutal deathcore band trying to re-record and album. How about…. REALLY? Ok, first of all, i’m rarely a fan of any band re-recording an album because of nitpicky imperfections no matter how legit they may be due to the fact that for every inch of error is erased, so too is a pound of passion that made the album stand out in the first place. However in the case of BORN OF OSIRIS who utilize a brutal deathened core sound designed to bang your head and make your ears bleed with slight touches of sugary atmospheric keyboards to make the bitter just a little sweet, i have to shake my head and ask the obvious question: WHY BOTHER?

To the casual listener this won’t sound a bit different as all the growly screams, all the distorted guitar riffs, solos, drum blasts and metal accoutrements are pretty much following down the same path. Where this second rendition of the EP does differ is in the “extras” department namely in the ambience and keyboard effects that add new riffs here and there and stand out as more prominent features of the band sprinkled across the album but nothing added makes this a substantially better album where it counts, namely in the songwriting department where all the tracks sound just as average as they did the first time around. I have to admit that the percussion has improved over the original.

Perhaps it would’ve been a better idea to focus on new music instead. The only redeeming aspect of this album is that there is one new track titled “Glorious Day” which is the best track on the EP which only serves the purpose of showing how far the band has come in its technical prowess and ability to make tracks more interesting. Hmmm, maybe that’s the point? I dunno but this track shows a more adept ability of blending all the core elements with more classic metal sounds, more sophisticated atmospheric embellishments and even the drum parts are more diverse than elsewhere. Unfortunately it lasts a mere two and a half minutes so hardly worth tracking this down for a mere bonus track which is good but not outstanding. Nah, this is mostly a waste of time.

ENSLAVED E

Album · 2017 · Progressive Metal
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It’s always an exciting day when one of your favorite and most consistent metal bands releases an album and continues that exciting thrill of anticipation of whether they will continue their lengthy run as ambassadors of the extreme metal scene after more than two decades on the scene or the unthinkable of botching their rein and utterly teeter off that precarious precipice that they ride like a skateboarder sliding down a staircase railing. As the decade runs closer to its end Norway’s ENSLAVED took only two years to craft yet another installment into their progressive black metal universe after the release of 2015’s “In Times” which left more than a few loyal fans divided over exactly where they saw the band was heading next. While true that the album continued down the path of the expected quality material, there was still that lurking nagging feeling that perhaps ENSLAVED is just one tiny step away from completely derailing into pools of stagnation and ultimately becoming the feared and dreaded parodies of themselves. In 2017 the band emerge from their cocoon of secrecy and let loose their 14th full-length studio album E.

With an album title so truncated to one mere letter, it automatically triggers that WTF response and thankfully Ivar Bjørnson has explained this nebulous concept to smother any possible misconceptions in their nascency. E apparently has a dualistic meaning, firstly being a letter of the Latin alphabet but is also a reference to the rune Ehwaz which is depicted as our letter M (note both letters on album cover painted by long time associate Truis Espedal.) Ehwaz simply means horse and the relationship with humankind’s most endearing animal friend that celebrates one of our longest cross-species collaborations. Once you get past all the horse symbology, the title and tracks included expand further into the symbolisms of the duality of humankind and nature as well as fear and subconscious drive all wrapped up in the expected Viking imagery constructed through poetic prose in both gurgling raspy utterances as well as clean Gregorian chant inspired harmonies that exude a beauty and beast combo effect only this is bro style.

As evidenced from the sneak peak video for the first track “Storm Son,” ENSLAVED have entered new sonic arenas indeed and have once again taken all the different styles they’ve accumulated over their vast career and simply expanded them into new territory as if they take their Viking expansionist roots and simply apply those principles to conquering new musical territory. As E begins, i was expecting the immediate bombast of heaviness before meandering into softer passages of folky and ambience atmospheric touches but E takes a totally different approach than past offerings. This one begins with the sensual sounds of birds and the blowing of a gjallarhorn before horses whinny and clomp along insinuating a battle scene to come, however the track unexpectedly delivers a clean dreamy guitar riff that delivers the ultimate head scratcher making me wonder if these guys have pulled an Ulver on us and went post-rock or some non-metal direction as the repetitive riffs churn on augmented by an atmospheric ambience swirling around every arpeggiated note. Goodbye black metal ENSLAVED, hello progressive rockers who have always lurked beneath the noisefest.

Oh, wait there’s those raspy vocals on top of the clean angelic choral. (then once again the riff ratchets up in intensity but this isn’t quite the metal i was expecting) as Grutle Kjellson takes the lead with his raspy evil-as-fuck vocal style. As the synthesizers swirl around and the staccato guitar riffs pound on like Teutonic marches on Prussian plains it seems that ENSLAVED has gone Opeth on us and finally divorced the black metal aspects that have carried them this far into the 21st century minus those raspy vocals of course. But wait! This is progressive black metal and nothing happens too quickly in this world. Finally at seven minutes in the black metal guitars and bass kick in with synchronized drums and yeah baby! Oops, i jumped to conclusions. This is black metal for PATIENT fans :p After a rough start things seem on track once again although the atmospheric synths and staccato guitar riffs are totally uncharacteristic of the ENSLAVED sound. This band has decided to carry on into new even more progressive arenas. Will the fickle black metal fans like this? Probably not. As “The River’s Mouth” takes the baton, the black metal groove is back at first but alternates substantially with the progressive metal segments that sound more like something out of a post-metal sludge band’s canon than anything ENSLAVED has tackled. It doesn’t take long to figure out that this is a band always looking for parameters to overstep while breaking rules and worshipping runes and on E the floodgates have opened.

Many surprises lurk on E which is of course the key ingredient (surprise that is) to keep things spiced up. For example, “Sacred Horse” begins like a hippie dippy folk track for a few seconds but then bursts into the more familiar extreme metal sound of past glories. “Axis Of The Worlds” has a very different sort of groove than the band is used to with a much more sophisticated labyrinthine and circuitous riffing methodology that ratchets up their progressive rock aspects even further and with the mellotron organ sounds that accompany may raise the red flag for a progressive pollen attack for those allergic to the world of progressive rock but somehow once again the band walks that thin line between the black and prog worlds all the while including some bizarre electronica sputtering in the background reminiscent of electropop bands like Röyksopp whose cover they tackle with the rhetorical self-directed question “What Else Is There?” “Fathers Of Eolh” is probably the most un-ENSLAVED sounding track on E with its heightened 5/4 timing sludgy riffs, ambient shoegaze backdrop and liturgical proggy vocal styles mostly delivered in a clean, clear yet turgid display of interweaving compositional parts that are laced together in various alternating ways. “Hiindslight” is yet another progressive metal behemoth that tackles hitherto unexplored arenas as it churns out complex guitar riffs that range from brutal to sensual and graced by the raspy vocals of Kjellson. This is the track that will for sure act as the sunlight that scares the black metal vampires into their coffins as it incorporates a whirlwind of progressive features including the unthinkable use of flute and saxophone. “Djupet” is another more traditional track tacked on to appease the hardcores.

You may be wondering just how progressive can they possible get. Well before you get your knickers in a twist and cry out that they’ve totally gone Opeth on us, it should never be forgotten that ENSLAVED was always a progressive black metal band which began with their debut album “Vikingligr Veldi” and despite tamping down the progressive qualities on their next three albums, “Frost,” “Eld” and “Blodhemn” they nevertheless persisted under the surface before finally erupting once again in full pent-up fury on 2000’s “Mardraum: Beyond The Within” only to have the progressive aspects outweigh the black metal from “Monumension” and the albums that followed. The fact is that unlike Opeth who utterly abandoned their extreme metal roots to focus exclusively on progressive rock, ENSLAVED never for even a single album smothered the black metal out of their overall sound. While it’s true the black metal has taken a back seat to the progressive side of the coin, it’s more akin to the band having a new lover move in while banishing the ex to the basement only to be chained up but kept around because she’s still useful for all those chores around the house. Yeah, the black metal may be the ugly ex-wife who is forced to perform as an indentured servant but she still has a role to play while ENSLAVED’s promiscuous Hugh Hefner tendencies take on a musical libido all their own. Keep in mind that the band’s name is ENSLAVED and not “Emancipated.” Set free the black metal and we’re left with an Age of Aquarius la-la-la singalong feel good album. Now that wouldn’t be very metal now would it? While ENSLAVED has not gone Opeth on it can be argued they’ve followed in the same footsteps another fellow Norwegian and gone Ihsahn on us instead. You don’t believe me? For anyone who has kept up with Emperor’s frantic frontman as a solo artist, you will hear lots of parallels with albums ranging from “The Adversary” to “Arktis” not only in the highly complex time signature rich riffing styles but in the addition of unorthodox metal instruments with the inclusion of flautist Daniel Mage and sax blower Kjetil Møster on the tracks “Hindsight” and “Feathers Of Eolh” and also the inclusion of fellow Norwegian Einar Kvitrafn from the Nordic dark folk outfit Wardruna. OK, i lied. There is one moment of going Opeth and that is the short use of mellotron style keyboard sounds at the end of “Sacred Horse.” This is probably one of the parts of the album that doesn’t exactly sound like it’s at home here.

Ultimately i’m finding E is about contrast and tension. There are simple clean parts that are unlike anything the band has done but somehow after slow developments the band always resolves itself with heavier and more frantic dynamics delivering fairly balanced compositions that may carry on a wee bit too long at points but never entering the uncomfortableness zone. It goes without saying that ENSLAVED alienated the one-dimensional kvlter-than-thou crowds long ago when the scales tipped in the progressive metal direction and with E, the band challenges their fans once again and therefore the close-minded, musically illiterate and those who simply get complacent in a particular phase will probably piss all over this one, however if dissected like a laboratory rat in order to scrutinize the inner parts, E is actually the logical next frontier for ENSLAVED to venture into. As the band continues to mature it would be pathetic for them to linger in pastures already explored and personally i much prefer a band to delve into new arenas despite less than perfect results than stagnate in festering doldrums of inertness. E may not constitute the absolute pinnacle of the career of ENSLAVED but i’m finding this to have much more of a return value than “In Times” and offers yet another creative and excellent rung in their long ladder of musical development since their humble beginnings during the second wave of early black metal.

ORTHRELM OV

Album · 2005 · Avant-garde Metal
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The metal universe has always been about borrowing disparate ideas and methodologies from other varied musical genres from all around the world. After all, the whole genre began by taking the psych laden blues rock of the 60s and dragging it down into the darker recesses of the sound spectrum to conjure up some of the most gloomy and sombre human emotions to emerge in its wake and simply cranking up the distortion level with darker lyrics. So it’s really no surprise that as the simple blues inspirations became exhausted in the 70s that new fuel needed to be consumed for the metal machine to take musical inspiration and ignite so it will burn like a forest fire unleashing new hitherto unthinkable possibilities. ORTHRELM, the avant-garde music duo of Mick Barr on guitar and Josh Blair on drums had been leading up to this triumph of sonic glory called OV since their debut in 2001. While the metal world cross-pollinated like a lava flow smothering the fertile lands below a volcano it continued to ratchet up its complexity level and as it began to reach the unthinkable heights of the pinnacle of progressive rock, it was beginning to seem like there was nowhere left to go.

That’s where forward thinkers like Mick Barr come in. On ORTHRELM’s 2005 landmark album OV, the duo exponentially lifted themselves above the sheer math rock wankery that their earlier albums are known for. While classical music has certainly been a major part of the hard rock and heavy metal universe ever since Ritchie Blackmore incorporated it into Mark II period of Deep Purple, never before have the two extremes of virtuoso guitar shredding and the classical minimalism of artists like Steve Reich and Philip Glass ever come together until Barr and Blair released this album of polarizing extremes in the form of the OV album in 2005. Never before has an album of incredibly virtuoso shredding of guitar with the bombast of unthinkable drum abuse coalesced into a minimalistic music form that could result in a meditative practice if consumed correctly. As wild as it sounds, this album is in effect a wild ride into two musical extremes which incorporate guitar shredding with extreme minimalism simultaneously.

Despite being limited to a mere guitar and drums, Barr and Blair are veritable beasts on their instruments of choice doing unthinkable things at a million miles per second throughout pretty much the entirety of the 45 minute and 43 second single track that makes up the album OV. After several albums of pluming their feathers and ruffling them up to impress the music fans, on OV, the duo known as ORTHRELM finally delivers the promise they had been hinting at without sacrificing the intensity that they had been implementing all along. What’s cool about OV is that it goes through a series of passages that begin with a minimalistic chord progression to wail on for several minutes and seduce you into the feel of the composition and going though various changes before finally letting loose towards the end with a series of intense riffs, shredding bombast and excruciating deciblage. This is metal unlike any other and only continues the duo’s unique musical language that only they alone truly understand.

OV is a trumph in many ways. Not only does it undoubtedly indoctrinate Mick Barr into the world of fastest shredders which should not leave Josh Blair off the hook for some of the sickest drum abuse in the entire music history books but also proves that creating unthinkable speeds is not tantamount to a lack of regard for sensuality. While on previous albums ORTHRELM did seem to generate random patterns of musical intensity, on OV everything seems like the perfect cross-pollination of the most intense musical shredding session one can think of in the context of a relaxing vipassana retreat. As the single track rolls by it is engaged in a very mindful interaction between the two instruments that change up the parts ever so slightly but then without warning they divert to some new arena of musicality but always mindful of each other’s role in the overall scheme of things. OV successfully ratchets up the tension to a fulfilling climax by the end of the album where the guitar and the drums practically become one with another and take on enough roles to simulate the intensity of a full band. OV is one of those albums that must be heard to be understood. It’s simply too far removed from the context of any possible labeling.

Latest Forum Topic Posts

  • Posted 3 days ago in Now -- what are you listening to? V2
    [QUOTE=Nightfly][QUOTE=siLLy puPPy]^ not a very flattering photo of the great Led Zep singer. How's the album? [/QUOTE] Not blown away by it on first listen. A bit dull to be honest.[/QUOTE] Sounds about right. I honestly haven't been blown away by any Led Zep solo albums but there have been some great tracks amongst them :)
  • Posted 6 days ago in Now -- what are you listening to? V2
    ^ not a very flattering photo of the great Led Zep singer. How's the album? 
  • Posted 9 days ago in I think I broke the archives! (Sick Speed)
    [QUOTE=martindavey87]Tried to add an artist and the whole thing has gone to some kind of "error" screen. Probably should have taken a screenshot but didn't think of it at the time. The artist is "Sick Speed", they are listed under S, but when you click on their name it just goes to that screen. Did I do something wrong???[/QUOTE] Welcome aboard! No one feels like they really belong here until they think that they crashed the site trying to navigate through the mine field of glitches on the site BTW, great job with your reviews these days. You have gotten so much better than your earliest ones 

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