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
4.36 | 128 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.36 | 104 ratings
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TREMONTI Cauterize Album Cover Cauterize
TREMONTI
4.75 | 6 ratings
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TOOL Ænima Album Cover Ænima
TOOL
4.21 | 101 ratings
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NOTHINGFACE Violence Album Cover Violence
NOTHINGFACE
4.52 | 9 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.19 | 103 ratings
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DEFTONES White Pony Album Cover White Pony
DEFTONES
4.29 | 24 ratings
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DEFTONES Ohms Album Cover Ohms
DEFTONES
4.50 | 9 ratings
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KATATONIA Viva Emptiness Album Cover Viva Emptiness
KATATONIA
4.22 | 38 ratings
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KATATONIA The Fall Of Hearts Album Cover The Fall Of Hearts
KATATONIA
4.26 | 24 ratings
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TREMONTI All I Was Album Cover All I Was
TREMONTI
4.50 | 8 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.23 | 22 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

alternative metal online videos

alternative metal New Releases

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Midnight
Album
DYING DESOLATION
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Our Last Day
Single
DYING DESOLATION
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After Us
Single
DYING DESOLATION
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Midnight
Single
DYING DESOLATION
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Rotoscope
EP
SPIRITBOX
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Pike 317 - Live Feathers
Live album
BUCKETHEAD
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Firewater Sessions
EP
FRAXURES
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Heavy Pendulum
Album
CAVE IN
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Fuckin' Up
Single
JYNX
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Rift
EP
COMMENCE
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Conspiranoid
EP
PRIMUS
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Pike 309 - Cosmic Oven
Album
BUCKETHEAD
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Kings Today
EP
SICKSENSE
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It's Not Easy Being Human
Album
ISLANDER
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Get Your Dose Now!
Album
DIRTY SHIRT
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Live At The Royal Albert Hall
Live album
ARCHITECTS
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Rakshak
Album
BLOODYWOOD
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Califas Worldwide
Album
(HƏD) P.E.
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Pike 306 - The Toy Cupboard
Album
BUCKETHEAD
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Dimorphous Display
Single
LOATHE
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Requiem
Album
KORN
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alternative metal Music Reviews

BUCKETHEAD Pike 317 - Live Feathers

Live album · 2022 · Alternative Metal
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siLLy puPPy
PIKE 317 - LIVE FEATHERS 15th installment of 2022 Not everything played by BUCKETHEAD because this is a LIVE release Total playing time 28 minutes and 51 seconds All instrumental as always! No chickens injured in the making of this recording :/

With thundering applause the latest PIKE begins with an audience ushering in the chicken lover’s guitar antics on this new trend of releasing live albums under the PIKE series. “Jordan” has always been a popular live tune with its chicken clucking guitar wailing and strange tone modulations. This one pretty much features all of BH’s more aggressive guitar playing techniques including metal riffing, crazy solos and nice hairpin turns after groovin’ it up.

This PIKE also rides the wayback machine with the classic “Welcome To Bucketheadland” which is one of Bucky’s first and best known cuts. “Soothsayer” has become a live classic too with its slow lullaby dreamy beginning and slowly ratcheting up into heavy metal ballad wankery. This is actually a great song and it’s always nice to know that musicians you listen to regularly can actually play things that they put down to a recording. Very strong solo at the end.

“Toy Store” is also a nice tune with some bitchin’ cool guitar effects that erupt over a strong bass and drum groove. This track also features a nice traditional mix of classic heavy metal and 90s alternative metal with riffs alternating with guitar licks and finally a scorching solo. “Ghosts of Broken Eggs” continues the diversity in tracks and features a nice slow groove with some bluesy guitar extravaganzas. It’s a nice jamming track perfect for a live setting and BH showcases his trippy guitar wah-wahs and guitar effects.

“Forneau Cosmique” ends this set and is a feisty alt metal rocker and to be honest the most typical style of playing within the entire 300+ PIKE series. This is BH at his most generic and to be honest i’ve heard this formula so much by now that it does absolutely nothing for me. Compare this to the exhilarating track “Welcome To Bucketheadland” and its apparent how generic BH has become in the majority of his output in the last decade or so. Of course there are exceptions but they are too weird for a live experience!

Overall not a bad set of live tracks. I have no idea if these were all recorded in a single concert or over many but my guess is selecting from various venues. I’m not a huge fan of live albums especially when they add nothing to the original compositions and in this case there’s not really a lot to distinguish the tracks from their original source but LIVE FEATHERS is a decent representation of the modern day chicken lover in action a live setting. A very good release but nothing i would even remotely consider essential.

ALICE IN CHAINS Dirt

Album · 1992 · Alternative Metal
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Necrotica
Last month, I published one of the hardest poems I’ve ever had to pen. For me, writing a new piece always starts with one difficult question: “how much do I want to reveal to the reader and how much do I want to leave up to interpretation?” From the time my alcoholism started to the time it (thankfully) ended, I always left a few breadcrumbs here and there about the subject in my poetry. It’s as if I wanted to address the problem while skirting around it at the same time; perhaps it was a mechanism to maintain some subtlety in my writing, or perhaps I was unwilling to confront the issue directly. Yet it was always there, and no amount of avoiding it would have changed the fact that I’d need to confront it directly someday. As it turns out, 2022 was that someday; I wrote everything that needed to be spelled out to the letter, and it was gut wrenching. What finally inspired me to face the whole ordeal head-on? Dirt. Alice in Chains’ masterpiece served - and still serves - as proof that being open and revealing about personal conflict can be the best form of therapy in one’s darkest moments.

It seems as though Layne Staley never had a problem expressing such frankness with his lyrics and vocals. One listen to Dirt reveals a man constantly spilling his guts and bleeding out on record, as if he had nothing to lose any time he approached the mic. Very few albums are less open to interpretation than this one, and that’s what makes it one of the best records of its era; Nevermind might have been the flagship album of the grunge movement, but nothing expressed the subculture’s dark pathos or downcast nature quite like Dirt. Even the songs that aren’t directly related to Staley’s drug abuse, such as Jerry’s Cantrell’s war-themed “Rooster” or the tribute to early grunge icon Andrew Wood that is “Would?”, are delivered with the same brutal honesty and manage to stay consistent with the album’s overall theme: personal demons. Dirt has nothing to celebrate and no one to congratulate, instead focusing on how horrifying our real-life hells can be if we let them consume us. In the case of some of these songs, the outcome of these ordeals is even more harrowing - especially on “Junkhead”, in which our narrator finally succumbs to his addiction altogether and says “it ain’t so bad”.

Of course, a big part of Dirt’s twisted magic is that the music matches the subject matter so well. Any of the 80s influence that was found on Facelift has been completely wiped away in favor of a sludgy metallic murk, perfectly conveying the desert burial on the album cover. While there are a few songs that run at a quicker pace - the off-kilter groove of “Them Bones”, the punkish tempo of “Dam That River”, etc. - their chunky riffs and oppressive atmosphere ensure that they aren’t out of place with the rest of the tracklist. As for the slower tunes, many of them approach straight-up doom metal territory: “Junkhead”, “Hate to Feel” and the title track trudge along at a snail’s pace as they leave the listener enveloped in a thick haze of despair and dread. All of this perfectly supplements the messages Alice in Chains wanted to deliver on Dirt, as well as making them one of the only grunge bands to have crossover appeal with the metal crowd. More importantly, Dirt saw the full mastery of one of Alice in Chains’ biggest trademarks: the incredible vocal harmonies between Cantrell and Staley. These were on Facelift as well, but Dirt is where they really started to shine; songs like “Down in a Hole”, “Sickman”, and “Hate to Feel” simply wouldn’t have the same impact without them, especially the former and its soft, sorrowful verses.

In hindsight, however, the most depressing aspect of Dirt - much like the self-titled followup - was how prophetic it was. Staley knew he was digging his grave prematurely with every needle, and the lyrics of Alice in Chains’ 90s output make this distressingly clear. Yet it can’t be denied that he had one of the most unique and incredible voices of that entire era of rock; the way he juggled technical ability, emotion, and - as stated before - brutal honesty was only matched by a small handful of other artists at the time. Just watch the live performance of “Love Hate Love” at The Moore and it becomes clear just how much of a loss the rock world endured in 2002 with Staley’s passing. I like to see Dirt as the American grunge equivalent of Manic Street Preachers’ The Holy Bible, in the sense that the album is every bit as much a tortured character portrait as it is a record. Cantrell, Sean Kinney, and Mike Starr might have been involved in the writing of Dirt (though the latter two only contributed to one song), but this really feels like Staley’s record first and foremost. It also remains his finest hour, serving as a foreboding message to those with personal demons: don’t let them drag you down and destroy you, or else you’ll find yourself in the grave before you can pull yourself back out.

~R.I.P. Layne Staley 1967-2002~

THERAPY? Troublegum

Album · 1994 · Alternative Metal
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SilentScream213
Therapy?’s sophomore release is an improvement on all fronts, and a bit of a shift in style. They adopt a punky feel and churn out short, simple and catchy tracks. However, this is still entirely an Alternative Metal release full of identity and various influences.

The biggest improvement here is probably in the hooks category. Every song has some memorable sing-along choruses that manage to mix punk yelling with a sense of melody. The lyrics are simple, angsty and introspective, and I can’t help but feel this was the perfect soundtrack to any troubled teenager’s life in 1994. The songs have great energy and a sense of urgency, and the drumming is way more energetic than the debut.

Across the 14 tracks, some are better than others, but it manages to be quite consistent despite the variety on display. It’s also a bit of a grower, so let those tracks sink in a bit and they’ll be in your head forever.

SEVENTY ONE SUNSET Bitter Earth

Album · 2015 · Alternative Metal
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Kev Rowland
I was working through some stuff the other day when I came across this album, which made me smile, but then had me doing some checking as surely, I had reviewed this when it was released back in 2015? A little while later I was sat back feeling rather annoyed with myself, as not only was I in the studio when this was being recorded, took loads of photos of the bands at some of their gigs, but also wrote the press release for it! I first came across 71S when they were in Red Room Studios with TeMatera Smith recording their wonderful 4-track EP ‘Mule”, for which I also wrote the press release, and then they followed it up a year later with this one. Sadly, the band are no more as lead singer Darrin Floyd now lives in Australia, although he did work with TeMatera on a different project before he left, Apostate Son.

The rest of the band were Dave Hitchcock (guitar), Elliot Pike (bass) and Dom Morris (drums), and I actually bumped into Dom at a gig last year, the first time I had seen any of the guys since the album was released. This is alt rock, with more than a hint of grunge, creating a bass heavy sound which is constructed on the rhythm section, with Dom driving it along and Elliot providing a strong melodic platform for Dave. The guitars have been multi-tracked, always heavy but with loads of space within them, and then at the front there is Darrin who was not only a great singer but a wonderful frontman. TeMatera was at the time very active in his own grunge-style band, The Symphony of Screams, and he had lots of guitars in the studio and was always suggesting to Dave to try this one or that, and to change the way he was playing. There were also many laughs during the recording process and TeMatera was keen to keep trying new things, so if you listen hard to “Inside” you will hear an uncredited trombone (from Dom if I remember rightly).

To my ears, revisiting this album after all these years, it is still something of a surprise that 71S did not make a much larger impression with this release as it is a blast and although heavy throughout it is also incredibly melodic and a damn fine listen. I may feel guilty for not reviewing it when I should have, but at the same time it has been an absolute delight going back to it. Still available on Bandcamp this is grungy monster full of hooks.

BUCKETHEAD Pike 313 - Vincent Price SHRUNKEN HEAD Apple Sculpture

Album · 2022 · Alternative Metal
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siLLy puPPy
PIKE 313 - Vincent Price SHRUNKEN HEAD Apple Scultpure 11th installment of 2022 Everything played by BUCKETHEAD Total playing time 27 minutes and 39 seconds All instrumental as always!

Whether you love him or hate him, you cannot deny that ole BUCKY has some of the most outrageously creative album titles! Here’s just the latest example. PIKE 313 is titled VINCENT PRICE SHRUNKEN HEAD APPLE SCULPTURE and features seven equally silly track names. Most find the words SHRUNKEN HEAD or have something to do with the theme. Of course with all instrumental tracks it’s just word games as the music itself has little to nothing to do with the theme but such is the life in BUCKETHEADLAND!

“Turn Apples Into SHRUNKEN HEADS” takes on a rather typical alternative metal guitar riffing style with that atmospheric backdrop that adds a smoothness to the guitar distortion. This general riffing session alternates with a heavier rock guitar heft without the atmospheric touches. Basically heavy blues rock mixed with alt metal. Nothing new under the sun in BH LAND. Generic and blah.

“Having a SHRUNKEN HEAD is Like Having Halloween All Year Round” is heavier with thrash metal chugging and accompanying bass and drum stomps. Then the guitar gets weird in a fast and furious way. Sounds like a buzzsaw gone rogue. The track keeps a Pantera-esque groove metal thrashing heft to it for the track’s entirety however there is a nice moment of the volume freaking out and the crunchiness of the guitar is overall quite pleasing.

“Apple Sculpture” starts a bunch of shorter tracks. This one is less metal and more blues rock with some funky bass grooves. Basically like a gazillion other BH tracks in the PIKE world. Nice funk guitar breakdown though.

“Create Your Own Collection of Delightful SHRUNKEN HEADS” jumps back into a heavier metal motif with aggressive guitar riffs and then a freaky distortion. This one is actually sort of clever and unlike other PIKEs. Nice freaky time signature changes. This is prog metal with the emphasis on strange knotty workouts.

“You'll Find SHRUNKEN HEAD Apple Sculpture Kits Wherever Toys and Crafts Are Sold” is a slower metal track with slower bass grooves and guitar chords but the distortion is loud and violent. Then it starts those spidery riffs that slowly build with the atmospheric backdrop adding some ambience. This could be considered a power ballad i guess. OK but less enthralling than the faster tracks it follows.

“Buy Your Kit Now and Get a Head-Start” is a short track barely over a minute but features a wild freakout of sounds and palm muted guitar riffs. Short and to the point but nothing terribly exciting.

“Vincent Price SHRUNKEN HEAD Apple Sculpture Kit” jumps into blues based hard rock / heavy metal that sounds like glam metal from the 80s. At least from a guitarist’s point of view. Would be perfect if there was a screaming vocalist along for the ride but no such luck. Not bad but also sounds incomplete.

Despite the cleverness of the PIKE titles and tracks, BH rarely lives up to the same creativity in the musical deliveries. This is an average PIKE with some great moments and many average. Overall this one is hit and miss with the strongest tracks being the most metal amongst them. After a few PIKEs that offered some insanity which i love the most, seems like BH is back to the “normal” PIKE sounds.

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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