Alternative Metal

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Alternative metal is a genre of heavy metal that gained popularity in the early 1990s. Most notably, alternative metal bands are characterized by heavy guitar riffs; typically, these riffs have a pronounced experimental edge, including unconventional lyrics, odd time signatures, more syncopation than typical metal, unusual technique, a resistance to conventional approaches to heavy music and an incorporation of a wide range of influences outside of the metal music scene.

Alternative Metal Inclusive Genres:

Funk Metal

Nu-Metal

Rap Metal

Source: http://en.wikipedia.org/wiki/Alternative_Metal

Sub-genre collaborators:
  • mlkpad14

alternative metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 60 min. caching

ALICE IN CHAINS Dirt Album Cover Dirt
ALICE IN CHAINS
4.47 | 100 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.22 | 77 ratings
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SUICIDAL TENDENCIES The Art of Rebellion Album Cover The Art of Rebellion
SUICIDAL TENDENCIES
4.44 | 13 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.17 | 90 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.40 | 12 ratings
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INCUBUS (CA) S.C.I.E.N.C.E. Album Cover S.C.I.E.N.C.E.
INCUBUS (CA)
4.58 | 7 ratings
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SYSTEM OF A DOWN Mezmerize Album Cover Mezmerize
SYSTEM OF A DOWN
4.16 | 56 ratings
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MUSHROOMHEAD XX Album Cover XX
MUSHROOMHEAD
4.61 | 6 ratings
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SOUNDGARDEN Badmotorfinger Album Cover Badmotorfinger
SOUNDGARDEN
4.15 | 55 ratings
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EXTREME Extreme II: Pornograffitti Album Cover Extreme II: Pornograffitti
EXTREME
4.17 | 27 ratings
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MUDVAYNE The End of All Things to Come Album Cover The End of All Things to Come
MUDVAYNE
4.24 | 13 ratings
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MUDVAYNE Mudvayne Album Cover Mudvayne
MUDVAYNE
4.36 | 8 ratings
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alternative metal Music Reviews

THE WORKHORSE MOVEMENT Sons of the Pioneers

Album · 2000 · Alternative Metal
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Kingcrimsonprog
If you haven’t heard of this one I don’t blame you. The Workhorse Movement were really over in the blink of an eye in the grand scheme of things. If you’ve heard of them but haven’t heard the album, I don’t blame you. It wasn’t promoted or lauded enough as it deserved at the time and without them making any more albums there was no build up or cause for a new generation to get in to them.

If you have heard it, well then you know full well, this is one barking mad, fun and excellent album. How to even describe it? Eclectic, to say the least. It is a bizarre mixture of Clutch and Monster Magnet stoner rock with crazy lyrics, Sepultura on Roots proto-Nu Metal riffs, Faith No More variety (such as having additional brass instruments or latin music or funk or soul at different times). There’s even a sort of psychedelic space rock intro and a bit of that style in the verses of another song. There’s little bits of Rap Metal (well it was the year 2000 after all) but that’s far from the whole story. If that all sounds like a strange mix its because is, but somehow it works.

Its all topped off with a cheeky smile and a sense of humour. Lyrical topics include handshakes ‘Gimmie Some Skin,’ Detroit ‘Motown,’ Black Sabbath ‘Keep The Sabbath Dream Alive’ (“When I die there’s gonna be an electric funeraaaaal”) and all sorts of marijuana talk for better or worse. Lyrically its a bit silly but musically its dead serious (Again, not unlike Clutch or Monster Magnet). The experimentation with outside styles isn’t frivolous, its expertly done.

The important thing to remember is, this isn’t another generic forgettable release from the Nu Metal period. Its eclectic to the point of being progressive, its catchy as hell, its really fun and the songs themselves are really good. It not just wacky and novelty value only or something. These are really good songs. Some of those thick fat satisfying riffs are really enjoyable. Just listen to the appropriately titled ‘Heavy’ for the perfect example.

I’d like to point out highlights, such as ‘Charlie Don’t Surf,’ ‘Beotch’ and ‘Feel Like Bob Marley’ but to be honest no two songs on the album even sound the same. I mean, they fit together, and it flows well, but that diversity thing I mentioned? Yeah, that!

Hey I’m a Nu Metal apologist who can still happily listen to The Union Underground, but this isn’t that. This is like listening to King For A Day Fool For A Life Time at the same time as listening to Power Trip and The Elephant Riders, a collection of Pink Floyd B Sides and flicking through a dozen radio stations and catching fleeting glimpses of a range of music outside of rock, such as funk and soul. Then occasionally something not too dissimilar to the riff from ‘Roots Bloody Roots’ comes in and ties it all together.

If you want to hear something really fun and interesting you could really do a lot worse than Sons Of The Pioneers. Its a one-of-a-kind that’s for sure. As long as you aren’t terrified of everything that doesn’t sound like Burzum or indeed of everything that doesn’t sound like Manowar, I think you’ll really enjoy this underrated gem.

F5 A Drug for All Seasons

Album · 2005 · Alternative Metal
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martindavey87
F5 were one of many bands that popped up around that transitional period after the nu metal fad had died and everyone was trying to ditch the label and fit in with the "old school" approach that was back in fashion. Or simply put... nu metal bands were now calling themselves "alternative metal".

Still, this is an all-round good effort. They have the contemporary sound nailed perfectly, with enough melody and groove to appeal to fans of modern metal, yet with the guitar chops to please fans of older, riff-based bands. The melodic vocals suit the music perfectly, making for some catchy, inoffensive and totally unashamed metal listening.

While my interest in the band was somewhat piqued by vocalist Dale Steele, whom I was familiar with after his work on Sick Speed's 'The Way I Am' (I won't hold it against you if you've never heard of them), it was mainly bassist David Ellefson, a founding member of Megadeth, who gave this band instant credibility. However, his later return to the band he helped form would pretty much ensure that F5 would forever be nothing more than "that band Ellefson was in while he wasn't a member of Megadeth".

Standout tracks include 'Faded', 'Dissidence', 'Hold Me Down', 'Bleeding', 'Fall to Me', the title track 'A Drug For All Seasons', and an interesting cover of Eddie Brickell & New Bohemians' 'What I Am'. The album itself is fairly short, consisting of twelve tracks with a total duration of 36 minutes, leaving barely any time for any lapses in quality. It rocks from start to finish. Short, simple and effective.

CLAWFINGER Deaf Dumb Blind

Album · 1993 · Alternative Metal
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martindavey87
The early 90's saw an influx of bands that were blending rock and metal with hardcore and hip-hop influences. Rage Against the Machine were probably the most commercially successful, but there were a number of bands around the world that were also making contributions, such as Stuck Mojo and Body Count from the United States, H-Blockx from Germany, and one of the lesser known pioneers of what would come to be known as "rap metal", Sweden's Clawfinger.

While Clawfinger's music is fairly straightforward, it's the uncompromising attitude of the band, and in particular, the unsparing lyrics of vocalist Zak Tell, that makes them so endearing. The songs are energetic, with some simple yet infectious guitar riffs that aren't overly flashy but are enough to get heads banging. And Tell may not be a legit "rapper" by any stretch, but his hardcore-inspired style gives the music the exact grittiness and rawness it needs.

The lyrics are fairly cheesy at times, spouting out the usual anti-governmental hip-hop clichés that lambast war, racism, corruption, and society in general, but they're also sincere and catchy, and at times show a group that aren't afraid to be a little tongue-in-cheek. And in all fairness, the rapid-fire rhymes are actually fairly impressive when you consider that English isn't the groups first language.

'Deaf Dumb Blind' is a solid debut by Clawfinger, and while this type of music may not appeal to everyone, standout songs such as 'The Truth', 'Don't Get Me Wrong', 'Warfair', 'Rosegrave', 'I Need You' and the awkwardly titled 'Nigger' are all perfect examples of why rap metal shouldn't be so casually ignored.

BUCKETHEAD Slaughterhouse on the Prairie

Album · 2009 · Alternative Metal
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siLLy puPPy
I just love some the album titles BUCKETHEAD comes up with for his less than traditional albums. On his 23rd solo release he opted to pay tribute to Laura Ingalls Wilder’s famous book “Little House On The Prairie” and mangled it to become SLAUGHTERHOUSE ON THE PRAIRIE. This one has BUCKETHEAD handling guitar while Dan Monti is along for the ride on bass and programming (i assume the drum machines are included as the drums sound pretty canned here.) The first two tracks “LeBron” and “LeBron’s Hammer” were dedicated to LeBron James’ 24th birthday and were originally free downloads. This album also introduces the term “Pike” in the track “Pumpkin Pike” thus in retrospect possibly a clue to the endless series that would debut the following year. The year 2009 saw four solo albums with SLAUGHTERHOUSE being the first and a warmup to the prolific productivity egg laying antics of the chicken lover from here on.

SLAUGHTERHOUSE ON THE PRAIRIE is another one of those alternative metal type albums with heavy grungy guitar riffs accompanied by bass and drums. It is mostly in fast tempo and aggressively in-yer-face with plenty of BUCKETHEAD’s tricks and trinkets up his sleeves like sizzling solos, squealing licks and unorthodox riffing that take on experiment time signature deviations and are just plain weird at times. Overall SLAUGHTERHOUSE is not the most original of albums and sounds a lot like “Albino Slug” in this regard with a ton of recycled riffs from yesteryear appearing in a new packaged format. While progressive experimentalism is present as on most BH releases, this one has more by-the-numbers type of tracks and pretty much plays it safe as a nice inoffensive alt metal type of album. Some of the time sigs are cool at times though.

Like “Albino Slug,” SLAUGHTERHOUSE is a decent listen with all the tracks having distinct personalities and allowed to unfurl in their own funkiefied manner however this one has the disadvantage of sounding a little samey by the end of the playing time, however overall i like this one a bit more than “Slug,” simply because there are more interesting variations despite the timbres, tones and forcefulness remaining in the heavy alt metal zone. Favorites are “Blood Bayou” (somewhat experimental), “Don’t Use Roosts If You Raise Broilers” (more experimental) and “Robot Checkerboard” (wickedly cool experimental and funky) whereas the rest are cool but not as so. This album definitely needs more variety and is a prognosticator for the plethora of Pikes down the road that would incorporate a few killa tracks and a bunch of lesser than so. The thing that saves this album is all the weird echoey effects and fluid rhythmic drives that are surreal in many ways.

BUCKETHEAD Albino Slug

Album · 2008 · Alternative Metal
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siLLy puPPy
The only album to come out in 2008 under the sole moniker BUCKETHEAD although ALBINO SLUG was recorded with Dan Monti and Travis Dickerson as was “The Dragons Of Eden” (although they got artist credit on that one.) ALBINO SLUG is the 22nd solo album of the chicken lover and was originally only available for sale on tour but since has been made available through TDRS Music. To make things even more convoluted in one of the most ridiculously complex canons of the music universe, on 18 March 2009, a seven minute solo was added to the track “Forgotten Trail” when the album was released on iTunes. As of current date, the album will be re-released once again on 15 Nov 2017 it will be given a new title, new cover artwork and the tracks “Redeem Team” and “Siege Engine” will be re-recorded. Whew!

Unfortunately the packaging, rebranding and minutia of ALBINO SLUG are much more complex than the music that it contains. This is one of BUCKETHEAD’s more straight forward alternative metal type of albums with less emphasis on progressive elements, experimentation and wild frenetic unhinged episodes. For the most part this one is a by-the-numbers guitar / bass / drums affair with repetitive chord sequences and bluesy lead guitar solos over the grungy metal haze. The tracks are generally quite short with the eight minute plus “Siege Engine” being the sole exception and that easily could’ve been trimmed in half and then it still would’ve been too long as it has little variations and just coasts on a 4/4 parade of a repetitive riff. Tracks like “Pink Eye” offer a bit more variation in terms of surprises and time signature deviations but still retains an alternative metal approach. “Flee Flicker” is also a nice little unusual number with an unusual rhythm accompanied by the expected alt metal guitar and a sizzling solo.

While there are a few bona fide moments of interest on ALBINO SLUG, overall i just feel this to be a bit lazy in the BUCKETHEAD universe. While nothing is overtly horrible and unlistenable, neither is it refreshing, creative and innovative in anyway. This is simply BH’s techniques going through the recycling bin and thrown back out and recorded. At this stage before he was pumping out a gazillion albums a minute, his albums were much more varied and often generated more mood shifts. ALBINO SLUG just covers the gamut of crunchy alt metal chords with a few freaky things thrown in here and there to keep us from thinking this is an experimental Foo Fighters album or something. Good but doesn’t blow me away either. Luckily there is always another BUCKETHEAD album to check out!

alternative metal movie reviews

SLIPKNOT 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 (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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