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

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ALICE IN CHAINS Dirt Album Cover Dirt
ALICE IN CHAINS
4.39 | 132 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.37 | 105 ratings
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TREMONTI Cauterize Album Cover Cauterize
TREMONTI
4.75 | 6 ratings
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NOTHINGFACE Violence Album Cover Violence
NOTHINGFACE
4.52 | 10 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.19 | 104 ratings
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DEFTONES White Pony Album Cover White Pony
DEFTONES
4.27 | 24 ratings
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KATATONIA Viva Emptiness Album Cover Viva Emptiness
KATATONIA
4.22 | 39 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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DEFTONES Ohms Album Cover Ohms
DEFTONES
4.44 | 10 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
4.20 | 23 ratings
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MUSHROOMHEAD XIII Album Cover XIII
MUSHROOMHEAD
4.55 | 6 ratings
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alternative metal Music Reviews

STRATA Strata

Album · 2004 · Alternative Metal
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siLLy puPPy
One of the San Francisco Bay Area’s alternative rock / metal bands that got a late start formed in the year 2000 in the city of Campbell next to San Jose beginning as Downside with vocalist Eric Victorino, guitarist Ryan Hernandez, bassist Hrag Chanchanian and drummer Adrian Robison before changing its name to STRATA and releasing the “Sleep EP” in 2001. The band never rose to the top of the alt rock / metal world but found good company on tours with other local bands like Alien Ant Farm and Dredg. STRATA was just one of many California bands that jumped on this downer alt metal style that began in the 90s and continued into the 2000s.

Similar to post-grunge bands like Trapt, Hoobastank, Stone Temple Pilots and a gazillion others, STRATA added a heavier alt metal heft in the vein of Deftones, Incubus, A Perfect Circle, Team Sleep and even Tool with a groove-based mix of heavy alternative metal, fuzzy shoegaze and a less aggressive form of alternative rock more in the vein of grunge. Also a bit of nu metal in the vein of Korn can be detected. This band officially released a self-titled full-length in 2004 which featured 12 tracks and clocked in just over 44 minutes.

If you ask me, STRATA was most going for the Sacramento based Deftones sound and in that regard succeeded quite well. The tracks are somewhat lazy with a nonchalant drummer keeping up with fuzzed out guitar chords turned up to 11 along with Eric Victorino’s passionate vocal style breaking through the noisy din. The tracks are really right out fo the Deftones playbook and that’s probably why the band never really took flight due to the fact they never really achieved the originality factor unlike local homeboys Dredg which did find a larger audience beyond the local scene.

This is a decent album if you like that really laid back grungy alternative metal style where the guitars are distorted as much as possible and the lazy beat keeps it all humming along in a nonchalant manner. The strongest aspect of STRATA is the singing style of Victorino who nailed it with his near Stone Temple Pilots perfection however the problem with STRATA is that despite going through the motions and crafting listenable alt rock / metal tracks, none of them are very memorable either. It’s all rather sterile and middle of the road songwriting skills at hand here. These guys get the job done but never really pull out any surprises or take the tracks into new moods or styles. It’s pretty much a rewriting of one style of track with the focus on differentiating the melodies.

STRATA only lasted until 2008 with another album to follow but this debut exemplifies what was missing in STRATA’s sound, namely songs that actually invite you to revisit them. Not a bad beginning but unfortunately this band never really developed the style into its own and considering this style was the hottest thing in 1995-99, the band arrived just a little too late to the alt metal party for the world to pay attention. If this would’ve come out a decade prior, STRATA would’ve really gained some momentum but unfortunately too little too late. Too bad because the band really had potential but even living in the Bay Area for most of my life, i’d never heard of these guys until rather recently so obviously they are a mere footnote in history rather than a memorable contributor to the Bay Area metal scene.

SYSTEM OF A DOWN System of a Down

Album · 1998 · Alternative Metal
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SilentScream213
System of a Down Top Alternative Metal album of 1998 System of a Down were one of the first Metal bands I really got into, and as such they were a pretty influential act for me. Even at the time, I never worshipped them or anything, but I did find them to be pretty great with some absolutely stellar songs. As I’ve matured, I find myself listening to the self-titled debut all the way through for the first time in… God, maybe 10 years? And it’s really not aged well. It’s still got two fantastic songs on it, but there is sooo much filler. Not to mention, it gets substantially weaker near the end.

The album is lacking in just about every department except for creativity and uniqueness. Riffs are simple and forgettable, with few leads at all, mostly relying on standard rhythm guitarwork. System of a Down have an amazing rhythm section in both Shavo and Dolyman, each having a very unique style that get tons of focus. Except, here, they didn’t have that style yet. They just sounded like run of the mill rhythm musicians.

The album feels way too long, but it’s only 40 minutes. No doubt thanks to most of the 13 tracks being unmemorable, outstaying their welcome and meandering nowhere. Some of the lyrics are alright, but there’s also a lot of cryptic word-salad and goofiness (not that they ever outgrew that).

Overall, it’s just not a great record. It’s fine. But the years have not been kind to it in my ears. I feel like this one gets way too much credit just because of the band’s legacy and because it’s “quirky.”

MORDRED In This Life

Album · 1991 · Funk Metal
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UMUR
"In This Life" is the second full-length studio album by US, California based thrash/funk metal act Mordred. The album was released through Noise Records February 1991. It´s the successor to "Fool's Game" from 1989 and features one lineup change since the debut album as guitarist J. Taffer has been replaced by James Sanguinetti.

Mordred continue the rather distinct sounding funk/alternative metal tinged thrash metal style of the debut album, but add even more funky slap bass parts, talking/rapping type vocals, funky beats, and scratch/turntable sounds to their music. There are still thrash metal guitar riffs and rhythms featured on the album, but they aren´t always a dominant part of the band´s sound. One of the greatest assets of the music are the many well played, powerful, and melodic guitar solos. They are in a similar style to what Rocky George produced on contemporary releases by Suicidal Tendencies. The most alternative output by the latter mentioned is actually a valid reference point when describing the music on "In This Life" as well as the Infectious Grooves side-project.

"In This Life" features a decent sounding production, and the musicianship is also strong, although lead vocalist Scott Holderby is probably a bit of an aquired taste. He doesn´t often sing raw but instead delivers a vocal style which sounds like a combination of Mike Muir (Suicidal Tendencies) and early Mike Patton (Faith No More), but without possessing as distinct sounding a voice or as powerful a delivery as any of those two. A 3 star (60%) rating is warranted.

THREE DAYS GRACE Three Days Grace

Album · 2003 · Alternative Metal
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martindavey87
‘Three Days Grace’ is the 2003 self-titled debut album by Canadian three-piece rock band, Three Days Grace. With nu metal dying down and with bands like Nickelback gaining mainstream superstardom, it was a natural process that the next big thing was all this guitar-driven hard rock, often cited as “post-grunge” (whatever the hell that means).

Three Days Grace were one of the more prominent bands of this next trend. They were young, good looking, wrote emotional (or “whiny”) songs and were tailor-made for radio.

But what I didn’t realise back then (it took me a while to get into this group), is that frontman Adam Gontier and co. have a great knack for some catchy, memorable hooks! Is this album repetitive? Yeah. Does it tick every radio-friendly box? Yeah, pretty much. But is it easy to listen to, and memorable enough to make me sing along, even when I don’t think I actually know the lyrics? Damn right!

Don’t get me wrong, this album is nothing new, fresh or unique. But why does it have to be? This is just some good, catchy, inoffensive radio rock, heavy music for people who may not like heavy music. Songs like ‘Let You Down’, ‘Just Like You’, ‘Burn’, ‘Home’, and smash hit ‘I Hate Everything About You’ are all good enough tracks to warrant checking these guys out, and bearing in mind their youth when this came out, it’ll certainly be interesting to see how they might improve with age.

LIMP BIZKIT Three Dollar Bill, Yall$

Album · 1997 · Nu Metal
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martindavey87
It’s crazy to think that somehow this album would spurn an upwards momentum that would lead Limp Bizkit to, at one point, being the biggest band on the planet. Released in 1997, ‘Three Dollar Bill Y’all$’ is the debut album of the Florida-based nu metal outfit. They weren’t the first band to fuse rock and rap, in fact, bands like Stuck Mojo, Body Count, H-Blockx and Clawfinger and countless others were already worldwide names by this point. But for some reason, ‘Three Dollar…’ was one of the earlier albums that helped usher nu metal into the mainstream. I just can’t see what people saw in it!

Now, I should point out, I’m not a Limp Bizkit hater. In fact, I really like them! They’ve released some absolute bangers, and, let’s face it, was the soundtrack to my (and everyone else’s) teenage years at the turn of the century. But that still doesn’t explain to me what people back in 1997 saw in this album.

Overall, it’s very forgettable. The guitar riffs are quite messy, and Fred Durst’s blend of rapping, singing and shouting just aren’t really cutting it. At least not yet, anyway. Then there’s the cover of George Michael’s ‘Faith’ which was an early hit for the band, but again, does nothing for me. But if I had to pick, I guess ‘Pollution’, ‘Counterfeit’ and ‘Stuck’ are all okay.

But only okay. Nothing more.

It’s amazing that the band would go on to absolutely conquer the world, because if any bands released a debut this lacklustre and generic today, they’d be doomed. Still, the band are headed to bigger and better things, so skip this album and get the next one.

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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