Alternative Metal

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Alternative Metal, or Alt Metal for short, is a sub-genre of metal music that has it's roots in the mid-1980s. It's sound comes from the mixing of metal with elements that are uncharacteristic to the metal genre, such as funk and hip-hop, but not in such an experimental way as to be considered Avant-Garde Metal. Some of these alternative metal fusions gave risen to some distinct sub-genres of it's own, with Nu Metal being a notable metal movement from the mid-1990s.

Alternative Metal Sub-Genres

Funk Metal

Nu Metal

Rap Metal

Sub-genre collaborators (+ Child subs and Heavy Alternative Rock):

alternative metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

ALICE IN CHAINS Dirt Album Cover Dirt
ALICE IN CHAINS
4.49 | 116 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.39 | 95 ratings
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TOOL Ænima Album Cover Ænima
TOOL
4.20 | 94 ratings
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SOUNDGARDEN Badmotorfinger Album Cover Badmotorfinger
SOUNDGARDEN
4.21 | 67 ratings
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LIVING COLOUR Stain Album Cover Stain
LIVING COLOUR
4.40 | 13 ratings
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CHEVELLE Wonder What's Next Album Cover Wonder What's Next
CHEVELLE
4.67 | 6 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.15 | 97 ratings
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KATATONIA The Fall Of Hearts Album Cover The Fall Of Hearts
KATATONIA
4.26 | 21 ratings
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NOTHINGFACE Violence Album Cover Violence
NOTHINGFACE
4.53 | 7 ratings
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DEFTONES White Pony Album Cover White Pony
DEFTONES
4.23 | 22 ratings
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TREMONTI All I Was Album Cover All I Was
TREMONTI
4.50 | 7 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.22 | 19 ratings
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alternative metal online videos

alternative metal New Releases

.. Album Cover
Self Destructor
Single
CHEVELLE
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alternative metal Music Reviews

LIMP BIZKIT Three Dollar Bill, Yall$

Album · 1997 · Nu Metal
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Unitron
At first listen, Three Dollar Bill, Yall$ is an awesome banger of a metal album with tons of great riffs and songs that get you pumped much like almost every Limp Bizkit album. More and more though, the band's unique influences and the album's songwriting style sinks into your ears.

Heavy massive metal grooves are blended with hip hop rhythms and turntables, noisy post-hardcore riffs, and atmospheric post-rock textures and melodies. Yeah, post rock influences in a metal album that wasn't Neurosis before everyone was trying to copy them. All these sounds brought together by fantastic songwriting and performances hasn't really been matched, not even by the band. Even the outros of each song have some cool little switch in sound that makes it a perfect album listening experience. (Though I'd be lying if Counterfeit isn't a particular favorite and lands on most metal playlists I make).

Fred Durst is at his most anxious and schizophrenic, rapping and screaming like a madman with a gritty rawness. Wes Borland is either delivering monolithic grooves, atmospheric melodies, or both in the case of a song like Sour. For once one of those really long songs on the end of a 90's album isn't just a bunch of silence and a hidden track, as Everything is a straight up wandering spacey post-rock epic and acts as a perfect chill down after the heaviness yet keeps the intensity. Sam Rivers and John Otto bring a fantastic rhythm section, with the former being a really underrated bassist. Bringing both funk and complimenting the quiet guitar sections, I especially love the short funky swing bassline during the bridge of Stuck.

Significant Other is the most definitive Bizkit album and more instant hit, but Three Dollar Bill is a fantastic album and keeps growing on me as my favorite with its pure rawness.

DEFTONES Ohms

Album · 2020 · Alternative Metal
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charlesthemann
Deftones is a band that grew on me ever since i was young and it will continue to do so since they’ve aged not only well but as a completely unique band. I must make a clear statement in that this album will probably go down in history as a masterpiece which will most definitely be the case since it is getting well overall recognition for being a solid Deftones album as well as a high amount of Deftones fans digging into it once and then again. What really got me into Deftones besides their uniqueness was that ethereal almost spiritual bond they have with music and its connection with us humans. Just as we are energy so are we affected by the ambient in general and in this case with vibrations from chinos vocals to Stephen carpenters guitar riffs to the rest of the band members that resonate in an almost incredible and envied way. As their ways enter us we find songs like the kick starter genesis to be a heavy yet melodically juxtaposition of how we can "reject both sides of what I'm being told" as a person. The imperative nature that gets us to question if what we are doing is fine or if we should react to a higher understanding of the truth is what makes this song explode in euphoria. Oh and don’t even get me started on the bridge... The next song ceremony has a groovier and catchy vibe to it which was meant to be to contrast that stark opening song with a more mellow and chill song that will get the viewer ready for what’s to come Urantia definitely stood out to me in that it has such a powerful guitar riff and chinos crisp voice just adds that extra layer that cements into a solid song designed by the gods in a very melodic yet surreal sort of way. Oh my Error is most definitely not one at all. It’s so good that it should be remembered as the missing link (not making reference to the link is dead) that takes the album one further or to another level and that is because of the song as a whole having all these elements that make it outstanding. The intro and verse have a catchiness and head banging groove to them that completely makes us reach the sky once it connects with the chorus. That chorus man it was good. But not good enough as the bridge is the cherry in the cake. it has some strong waves of passionate yet spellbinding aura to it that makes us enjoy every last second of it as if we were spell struck and bound to finishing with everything that makes the song good as it truly is. What a trip... The spell of mathematics is definitely a song that could be considered one of the best that ohms has to offer. So much that I would consider that it could be their third single by the time that single drops. It has haunting verses with a totally irresistible voice emanating from chino right at the chorus. As for pompeji well i can say that it is either liked by fans or disliked by people how don’t really get the song. you do feel a sudden drop into the vast sea where you find yourself hearing seagulls and waves as the chorus breaks into a nearly religious manifestation which later break into a very unusual yet captivating and haunting outro as synthwave effects cast a spell upon everything that is noise and vibration. as the last minute is mostly just 80's sort of Sci-Fi synthesized music like something out of blade runner or stranger things the listener usually goes into a state of trance. But only usually since it can be a really strong change of style for some. i personally really enjoyed that last minute and a half since it was actually something good in a wonderstruck sense. This song gives way or makes its way through to this link is dead which is a complete head banger in all its good and wild sense. This song isn’t heavy but it just manages to touch that side in a more dancy and upbeat sort of way. It captivates and keeps the listener in a very fun and edge of the seat state. Radiant city is probably my more questionable song in that I can’t find the reason why it’s as notorious as it is. Many people enjoy it yet they all have something to say about the chorus which is not that Deftones sounding I that it’s ok not that great. Still it does captivate people in general so it is a decent song and fills the void that is needed with its very fun guitar riffs (quite good actually) and its very bouncy beat Headless is a beautiful song and engages us into a darker more old Deftones state mostly associated with change from white pony. As for most songs I this record the darkness seems to be very much present yet it resounds in a romantic fashion in headless for it is quite intense and engulfing. The last song on the record is the self-titled ohms which completely fits into place after the trip that was headless in a way that the transition between one and another foment a possible gap that could’ve occurred right before ohms intro yet that’s not the case since it enters at the precise moment with the precise sound and captivates us listener at least 3 times more than when it first came out as a single. It’s something to be of noteworthy and recognition whenever we look at the good, solid job that terry date did when producing this record. The outro of this song it just great and sets the mood for a farewell to an unforgetful album since it’s so easy to just go back and relisten to it in all its glory for it has something that every artist can only dare dream of…a never-ending feel of coming back and re-listening to it and making it grow by each listen more and more as it grows on you and literally ages well even after its 100th listen (not exaggerating at all). For every Deftones fan this a must listen and as for the new fans just entering the Deftones experience I highly recommend this album and I place it a solid 10/10. Personally I had zero problems with this album and I t really grew on me the more I listened to it. It’s a classic and a keeper…for sure.

BUCKETHEAD Pike 284 - Through The Looking Garden

Album · 2020 · Alternative Metal
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siLLy puPPy
BUCKETHEAD is as predictable for releasing albums as much as his musical tastes and stylistic shifts with one year resulting in hundreds of releases and some years zilch. While 2020 hasn’t hatched the most eggs, there have been a few lately and next in the never-ending procession of the PIKE series is PIKE 284 - THROUGH THE LOOKING GARDEN and is a title i have absolutely no friggin idea what it is supposed to represent :D

This PIKE is normal in that it only plays around the 30 minute mark but unusual in that it only showcases a single title track. It also seems after the odd out of order releases of the numbering system that the PIKE series is back on track. This one is the usual instrumental affair with BH playing everything and once again no chickens were harmed in the making of it.

Despite this one sounding like dozens of other PIKEs that start slowly and then build up into alternative metal style with similar sounding riffs and by the book motifs, the PIKEs of the last year or two have gotten better in the production department with crisp clear sound effects bleeding into the overall atmosphere and THROUGH THE LOOKING GARDEN is no exception.

While the riffs and musical flavors are been there done that, this PIKE features more atmospheric counterpoints and a few more guitar slides and other tricks. The tempo ranges from slow to midrange and the album never really gets to fired up with space rock guitar solos being the most feisty moments to occur. The riffs are cyclical with a never-ending repetition of the same chord progressions and although this is long, it’s not exactly progressive.

After reviewing every single BUCKETHEAD album and the other 283 PIKEs, it’s getting harder to get excited when the albums are just variations of each other in many regards. I wish BH would be as unique and creative like in the beginning when every album was explosive and bursting with creative mojo. Like many of these, PIKE 284 just seems to be content with being one more edition in the series rather than standing out. It’s all well done and the music isn’t bad at all. Like many PIKEs this one makes great background music but doesn’t really rise above and beyond the call of duty to make a truly excellent experience although there are some great guitar solos towards the end.

JEDI SEX TRIK Jedi Sex Trik

EP · 1999 · Rap Metal
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siLLy puPPy
Once Korn dropped its innovative new style of music that would be called nu metal on the world, it was an invitation for all the angsty youth of the alternative 90s to hop on the bandwagon of a new musical trend that adopted the heavy bombast of 80s hardcore punk and metal and hybridized it with funk and hip hop. While the style would only last about 10 years and burn out completely, there sure were a lot of bands that followed Korn and while a few like Limp BIzkit, Papa Roach, Stained and Slipknot would experience unthinkable popularity, many more bands cranked out a release or two and then faded into obscurity.

Such is the case for the Riverside, California based JEDI SEX TRIK which emerged from the ashes of a band called Code 13. This nu metal band that employed hardcore hip hop rapping featured five members with connections to another Riverside alternative rock band Alien Ant Farm. There is almost know info about JEDI SEX TRICK that i can find. It seems this band came and went rather quickly and only released this one tiny self-titled EP that came out in 1999. It was released independently with very few copies so it’s probably next to impossible to find and the only trace of its existence is one fan who posted clips of the five tracks on YouTube.

As far as originality goes, JEDI SEX TRIP didn’t have much to go around. These five tracks are clearly influenced by Korn in the musical department with those distinct rhythmic bass grooves however the tempos and emphasis on heavy guitar heft is much more out of the Slipknot playbook. The most obvious influence though comes from Rage Against The Machine with the rapped vocals that dominate however there are also some dual vocal attacks with growly counterpoints. Despite the clear worship of those more popular aforementioned bands, JEDI SEX TRIK was successful in crafting a nice hybrid effect of those bands and this tiny musical specimen is not a bad listen at all and much better than some of the more popular bands like Limp Bizkitt (ugh) for example.

True that this one doesn’t warrant seeking the planet high and low to add it to your collection unless you are one of those nu metal worshippers who lives to attain every single example of the genre but of all the nu metal acts that came and went, JEDI SEX TRIK had a stylistic approach that deemphasized the irritating factors of the genre and focused on the strengths. While some will be put off by the rapped vocals, this is after all rap metal right out of the Rage Against The Machine playbook and although not nearly as innovative and accomplished as that band still cranked out a decent DIY sounding slice of this style of hardcore from at the turn of the millennium and well worth a listen or two.

SLIPKNOT (IA) Mate. Feed. Kill. Repeat.

Demo · 1996 · Alternative Metal
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siLLy puPPy
SLIPKNOT was of course one of the most successful bands to emerge from the nu metal craze that was extreme popular in the late 90s and early 2000s when artists emerged from nowhere and sold gazillions of albums virtually overnight. Despite SLIPKNOT scoring a double platinum with its first “official” self-titled release which came out in the summer of 1999, the band was formed as early as 1995 in the unlikely setting of Des Moines, Iowa by percussionist / vocalist Shawn Crahan, drummer Joey Jordison and bassist Paul Gray. Together they released an album of a completely different styles titled MATE. FEED. KILL. REPEAT. which came out in 1996 and after the success of the following album with new singer Corey Taylor was demoted by the band as a “demo,” however in reality, MATE. FEED. KILL. REPEAT. at 51 minutes in length and adequately produced IMHO truly is a bonafide album that is worthy of being considered the actual debut.

This album (or demo if you will) was the only one to feature the band’s original vocalist Anders Colsefini who was less attention getting than the overly aggressive style of Corey Taylor. Likewise SLIPKNOT at this point was following in the footsteps of Mr Bungle rather than the nu metal style of Korn (for the most part) which would propel them into the big leagues. While not exactly a clone of Mr Bungle in the stylistic department per se, at this point SLIPKNOT was very much into eclecticism where they mixed everything from death metal, industrial, funk and jazz as well as some 90s nu metal elements which makes this one of the most peculiar debuts of an extremely successful metal band ever to have emerged. MATE. FEED. KILL. REPEAT. is actually quite the mind fuck really as it delivers a series of eight tracks that when considered in their entirety will give the impression that some of the tracks were slipped in by completely different tracks.

Unlike Mr Bungle that delivered an eclectic but somewhat consistent connecting tissue via the vocal style of Mike Patton, SLIPKNOT’s debut showcases not only an eclectic roster of music genres but stellar diverse performances by Colsefini however this little artifact remains somewhat of a mystery to casual nu metal worshippers and after the band’s ascent into the international spotlight, this bizarre alter ego of a debut became a hugely sought after afterthought that was fetching some pretty steep prices due to the fact that a mere 1000 copies were created. This album is by far the most experimental of SLIPKNOT’s entire career and in many ways is very hard to believe that this is the same band that would produce the 1999 release and beyond considering there is very little to connect this phase of the band’s existence to what would propel them into the nu metal superstardom arenas. Nevertheless, MATE. FEED. KILL. REPEAT. is an interesting eclectic shit show of styles and for that reason many who loathe the nu metal style have come to appreciate this one.

Where does one even begin with this one? Well, with the opening track called “Slipknot” of course. This track insinuates that the album’s going to be a dark industrial metal album with a tortuous Godflesh inspired introductory groove that takes on the cyclical processions of a post-rock album with bleaker visions. The track forges ahead and then drifts into 80s heavy metal territory with melodic lead guitars soaring above the otherwise down-tuned alternative metal riffs below the surface. OK! Then after the five minute mark, the track morphs into a doomy death metal style that also adopts some of Pantera’s groove metal riffing. Not bad actually. This is some excellent melding of contemporary influences for sure and while all that is going on, the drumming style imitates the sparseness of both the nu metal and sludge metal acts of the 90s. “Gently” follows with a melodic arpeggiated guitar mix that sounds right out of the 80s “Ride The Lightning” era Metallica playbook although it becomes more like what the band would become and a sneak preview for the style the band would follow on their next album.

Starting with “Do Nothing / Bitchslap” the band goes bonkers with a funk metal intro that reminds me of the Red Hot Chili Peppers’ “Mother’s Milk” album but then converts it to an industrial death metal sort of sound. The metal drops often and allows some weird funky jazz interludes to completely take over. Some of the crazy trade-offs are right out of the Mr Bungle playbook with funk metal from that band’s debut and the more crazy batshit weird efforts influenced by the “Disco Volante” album. Extremely bombastic outbursts jump out at the end and periodically throughout the album. “Only One” features rap and funk guitar mixed with extreme metal which also showcases the band’s future sound in the vein of Korn but here it’s cruder and presented in a seriously raw manner. “Tattered & Torn” is right out of the Korn playbook with those classic bass lines mixed with the DJ inspired guitar counterpoints only accompanied by those extremely aggressive vocal styles SLIPKNOT is famous for.

The rest of the album continues the bizarre mix that borrowed from all the aforementioned influences in unpredictable ways with a lot of attention paid to not only funk, rap and extreme metal but also includes some disco! I can understand why many do not like this album or this band in general. SLIPKNOT and other nu metal acts were a direct slap in the face to the established 80s metal scene but in reality that style had sort of stagnated and become a parody of itself in many ways so albums like MFKRl, while not perfect were quite interesting in how they were trying to reinvent the metal world by adding all of the styles on board. “Killers Are Quiet” is also quite bizarre as it sounds like a mix of Godflesh and Neubauten Einstürzende and consists of three parts including an (annoying) 4:45 of silence.)

SLIPKNOT may have been heavily inspired by Mr Bungle at this point but did a great job not trying to sound like them.Like most bands, SLIPKNOT was experimenting and trying to find its own voice and ultimately they would follow the Korn route on their self-titled 1999 release. Personally i like this one a lot even if it has some serious flaws. This is truly a bizarre album that will piss off genre purists but will thrill avant-gardists who thrive on uncertainty, constant change and completely unhinged shenanigans that offer few clues as to the next move. Sometimes fun trumps perfection and this is certainly the case of MATE. FEED. KILL. REPEAT. MATE. FEED. KILL. REPEAT. MATE. FEED. KILL. REPEAT. MATE. FEED. KILL. REPEAT. MATE. FEED. KILL. REPEAT. MATE. FEED. KILL. REPEAT. mate. feed. kill. repeat. m…. f…. k…. r….. mtkr…blip. blip. blip. b-l-i-p….

alternative metal movie reviews

SLIPKNOT (IA) Day Of The Gusano

Movie · 2017 · Nu Metal
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Kingcrimsonprog
***This review is regarding the single disc, UK Blu-Ray version only. Which contains the full uninterrupted concert only, with no special features or documentary footage.***

Now, you might be thinking ‘I’ve already got three Slipknot videos with concert footage on them’ if you already own Disasterpeices live in London from the Iowa touring cycle, (Sic)nesses live at Download festival 2009 on their first headline performance there during the All Hope Is Gone touring cycle, and the 2nd disc of the documentary release Voliminal Inside The Nine which had a smattering of live tracks from different dates and locations during the Vol. 3 touring cycle.

So what has Day Of The Gusano got to separate it from the others and make it worth buying as well? Well; first off, it is their first official concert video with the new rhythm section of Jay and Alex on drums and bass. Its their first ever show in Mexico City and the fans are energetic and grateful. Its their first video of a Knotfest performance and features all the associated spectacle and backdrops. It has songs from the .5 The Gray Chapter album, which obviously none of the previous videos will have had.

Comparing it to their other DVDs, there are 11 songs here that aren’t on Disaterpieces, including the rarely played ‘Metabolic’ off of Iowa, and ‘Me Inside’ & ‘Prosthetics’ off of the debut. There are 6 songs here that aren’t on (Sic)nesses at Download ’09. Compared to Voliminal‘s concert section, well, its a full length concert in a single location not just 9 random tracks from various locations, and none of it is in black & white.

So, onto ‘Gusano itself. (If you didn’t know already or bother to google that, its Spanish for ‘Maggots’ by the way, which makes sense, since y’know, they call their fans ‘Maggots’ and its filmed in Mexico). The audio visual quality of the release is really high. The picture quality, camera work, variety of shots, editing and general watching experience of the concert are the best that Slipknot have had to date. It is beautiful to look at, and there’s nothing distracting or interrupting about the editing. The performance visually has lots of pyro and fireworks and big backdrops and set pieces, fancy lighting. There’s generally lots going on up there on stage… its big and flashy and never boring.

The mix and production are very good. The only niggle is that Corey’s vocals are a bit lower in the mix than any previous live efforts from the band, but that’s real nitpicking. Otherwise, the instruments are really clear and well balanced, you can make the kick drum out clearly in all situations, and its even easier to hear Craig and Sid’s stuff than usual too which helps you notice them a bit better. If there’s a key riff or drum fill or whatever its given priority and generally its all beefy, heavy and just plain well put together.

The band themselves’ performance will always make or break a concert though. All the audio visual quality in the world, with the most expensive fireworks and lighting can’t hide a crappy performance. Slipknot have been through different phases in that regard. Old bootlegs off of the first album cycle show them as a sort of messy raw jumble. On Iowa they were a tight well-oiled million dollar perfect live-band (I remember seeing them live in Belfast on that cycle and its still one of my favourite ever concert experiences all these years later). On Volume 3 they flipped between the two but generally they were let down by Corey’s vocals (both times I saw them on that cycle and indeed both their 9.0 Live album and Voliminal DVD from that cycle all suffered from Corey’s vocals not being as great as usual). On All Hope‘ however, they came back blazing and were incredible and put in career defining performances and Corey sounded like one of the world’s greatest ever frontmen.

Luckily, here, the band are really on top form. This is a fiery, energetic, fun performance that everybody seems into. There are no complaints about the new line up and they do a great job of trying to fill some pretty massive, childhood-defining, shoes. (Heck, Jay arguably plays ‘Vermilion’ better live here than on any of the other three officially released versions of it). The veteran members are all super practiced, tight and precise. Corey is really strong here, arguably the second-best that he’s ever been on an official release next to Download ’09. (There are some minor questions about that on ‘Sarcastrophe’ and ‘Prosthetics’ maybe, which are a bit sketchy perhaps, but for the majority of it he really, really nails it). Its also nice to see him making an effort to speak Spanish which he does rather a lot and appears really humble and grateful.

The one bit where all Slipknot concerts drag is during ‘Spit It Out’ when the band get all the audience to squat down so they can all jump (the fuck) up at the same key moment. The actual process of cajoling them all to squat down can be a bit boring to watch or listen to if you aren’t actually there yourself sometimes, but luckily here it really doesn’t drag on too long and they payoff is great; the image of the gigantic Mexican crowd all bouncing in unison is really rather impressive.

So just to go through the list: It looks great. It sounds great. The band play great. The setlist is different enough from previous live releases to be worth it. That setlist itself is also pretty great, doing a good job of pleasing fans with the songs they’d expect to hear (Old fans could never see a set without ‘(sic)’ or ‘Surfacing’ and newer fans would never accept a set without ‘Duality’ and ‘Psychosocial’ for example) with pleasing them by spicing things up a bit and not just repeating themselves every time. On a personal note as well, its just so damn nice that they played ‘Metabolic’ live. I’ve been banging on for years about it and how its my favourite Slipknot song and they’ve finally put it out on something. I’m very pleased about that. Underrated song!

Anyway, that’s just personal preference. Everyone has their pros and cons to any setlist by any band. I’m sure some people are gutted ‘Sulfur’ and ‘Left Behind’ are missing considering they were big singles. I myself am kind of surprised ‘Skeptic’ is missing. With its catchy-ass chorus its absolutely built for big audience sing-alongs. I’d have thought that would be in every live set ever following Paul’s death, but I guess maybe its too personal for them lyrically or something like that.

Overall; this is a damn fine release from the band and not one to miss out on. Not even if you’ve already got a lot of live material by them already, as discussed at the beginning. Its probably their best video album on purely video terms, and its really worthy of inclusion in your collection in the other aspects like tracklisting and performance. If you are desperate to see the documentary, don’t get this version, but if you, like me, only really want the concert then this is the perfect version (at the lowest price).

GREEN JELLŸ Cereal Killer

Movie · 1992 · Alternative Metal
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Unitron
What would happen if Art Clokey, Jim Henson, and Gerry Anderson got together and created some films while on a sick acid trip?

Most likely, Cereal Killer would be created.

Green JellŸ, known as Green Jello at this time before they had to change the name, was probably one of the only bands to make a "video-music album". Yeah, you can go listen to the "Cereal Killer Soundtrack", but you really won't get the same experience. These songs don't really work unless you're watching the utterly ridiculous and zany videos along with them. The videos contain all sorts of use of claymation, puppetry, and weird costumes backed by a soundtrack blending thrash metal, hardcore punk, funk metal, classic heavy metal, and whatever else they wanted to make.

Oh, I forgot to mention that the lyrics are completely absurd along with the videos. You have their famous "Three Little Pigs", which is about a rocking pig, stoned pig, rich pig, and Rambo gunning down the big bad wolf. The title cut is about cereal mascots going to war, with the FruitLoops toucan slaughtering all the other mascots. Finally, the cover of Sex Pistols' "Anarchy in the U.K." is about the town of Bedrock from The Flintstones with the lyrics of 'Want to destroy Mr. Slate, Cause I wanna be Fred Flintstone'.

If you just want to hear some good music, there's always the soundtrack. However, if you want a good laugh at a party, invite your friends to come watch Cereal Killer. This is a hilarious metal musical for all to see.

Hope you found this review helpful, feel free to comment!

SLIPKNOT (IA) (sic)nesses

Movie · 2010 · Nu Metal
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Kingcrimsonprog
Most Slipknot fans won’t need very much convincing, a new live DVD has been released an you very probably plan t buy it, but for anyone on the fence about whether or not to get it, I highly recommend this package, on is own merits and not just out of blind dedication to the band.

‘(sic)nesses,’ is a pretty great package, documenting their 2009 headline performance at the UK’s Download Festival in front of 80,000 excited fans. Also included is a documentary (curiously on disc one, with the concert on disc 2) from Shaun ‘Clown,’ Crahan and all the music videos from the band’s ‘All Hope Is Gone,’ album cycle.

Performance wise, everything you expect to happen at a Slipknot concert is there, so don’t expect to be disappointed in that regard. One can expect to see people hanging off things, jumping off things and throwing things at regular intervals; in addition to a spinning in mid air drum kit, Different band members fretting the notes for the guitarists, different band members hitting a keg with a baseball bat, Clown and Criss’s strap-on marching drums during ‘The Blister Exists,’ and ‘Psycho Social,’ and of course Sid getting into the midst of everything, including the crowd whenever possible.

Without a doubt the entire concert is made on the strength of the crowds passionate reaction and that undefinable live energy that just makes the concert feel amazing. Seeing 80,000 plus people singing along to very heavy music is almost life affirming.

If you were dissapointed by the band’s live performances on their live album ‘9.0 Live,’ or the bonus live material from ‘Voliminal,’ specifically the mix, Corey’s vocals and the disjointed feeling caused from material being taken from various concerts and are unsure whether or not to buy ‘(sic)nesses,’ then I’d like to reassure you that it is of a much higher quality than the previously mentioned releases, the whole concert is much more impressive and intense, Corey’s vocal performance is noticeably stronger and the mix is a lot more suitable.

The audiovisual quality of the release is in absolutely no question, the tech crew behind it have done an absolutely sterling job recording, mixing, filming and editing it and the whole viewing experience is of as high a quality as you would expect from a band of Slipknot’s size, even considering that this was a festival performance which is where a lot of big bands release their weaker DVDs due to the reduced amount of control available. Put simply this DVD looks and sounds fantastic, better even than you’d expect.

The only negative things I have to say are mere nitpicking, such as a perceived shortage of material from the ‘Iowa,’ album and that the documentary is very much in the Shaun Crahan style (as seen on the main Voliminal film and the All Hope is Gone bonus DVD) which I don’t personally care for but of course, you could indeed love this style. These minor and circumstantial niggles do nothing to detract from the sheer quality of the release. It may sound cheesy, but ‘(sic)nesses,’ proves why people love Slipknot so much.

MUDVAYNE All Access to All Things

Movie · 2003 · Nu Metal
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Kingcrimsonprog
Mudvayne’s second concert DVD, All Access To All Things features performances from Metallica’s 2003 Summer Sanitarium tour; filmed across three shows at three locations, Seattle, Salt Lake City and San Francisco. The DVD features 50 minutes worth of live performances adding up to a total of ten songs as well as forty minutes of behind the scenes footage like interviews on the tour bus or in the dressing room as well as the making of their music video for ‘World So Cold,’ which is available as a bonus feature.

The performances are of a pretty great quality and the sound and visuals are of an acceptable standard. The two greatest faults are that the bass drum sound is rather poor, but this is to be expected at a big outdoor show and is made up for by the fact that the rest of the sound is very good. The other flaw is that on about three songs, the editing becomes distracting for about a minute or so when it is decided that a bunch of really quick cuts are necessary.

Apart from these two minor flaws, All Access to All Things is an enjoyable DVD worthy of a place in any Mudvayne fan’s collection. The performances are tight, the behind the scenes sections are relatively interesting, (but thankfully you are given the option to watch just the concert, which is great for repeat viewings) and the track listing is good. Matt, Greg and Ryan absolutely nail every second of the performance, playing both tightly and energetically, and Chad adds some brilliant improvised vocals at the end of ‘Nothing To Gein,’ and ‘World So Cold,’

Chad can really pull it off live, delivering the clean vocals really well and the heavier vocals almost as well with very few exceptions, chiefly on the faster songs from LD.50 where it would be impossible for anyone to sing that fast, that close together without losing their breath. On this DVD the band appear without the make up which was the trademark of their early career and are playing in daylight at big outdoor events across three different shows.

If this is not to your tastes, you may want to consider Mudvayne’s first concert DVD ‘Live In Peoria,’ which features the band wearing makeup, indoors in a smaller venue, at night and all from a single concert.

In summary; if you don’t mind that the live sections are not from one single concert and can forgive the bass drum sound, you will find a very enjoyable DVD that stands up even now.

FAITH NO MORE You Fat Bastards / Who Cares A Lot?

Movie · 2006 · Alternative Metal
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Stooge
The Brixton Academy show captures the band in 1990, just as they were beginning to explode in an “Epic” fashion. Supporting their 1989 release “The Real Thing”, the setlist contains all but “Surprise! You’re Dead!” and “The Morning After” from that album. Two tracks from the pre-Patton era are performed “As The Worm Turns” and “We Care A Lot”, both of which are a good fit with Patton’s voice. This concert is well shot, and the band performs great. It makes me wish for a more extended Faith No More show to be released in the future.

The other part of the package is mainly to showcase their promotional videos. Music video compilations aren’t normally my cup of tea, but at least they integrate some other things into the mix to keep it interesting. You get snippets of interviews, behind the scenes footage, and outtakes to bridge some of the music videos. The music videos span going all the way to the Chuck Mosely days through to Album of the Year, ranging in quality to low budget/amateur rank (“Everything’s Ruined”, the Mosely era ones) to great production values (“Stripsearch”). However, I believe there are some official videos missing from the collection (“Ricochet” comes to mind). I guess having “Greatest Videos” in the title covers their a$$es in that regard.

This is a great package for those new to Faith No More, and it has strong re-play value.

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