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:

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
4.42 | 96 ratings
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MUDVAYNE The End of All Things to Come Album Cover The End of All Things to Come
MUDVAYNE
4.52 | 12 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.24 | 75 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.48 | 12 ratings
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COHEED AND CAMBRIA Good Apollo I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness Album Cover Good Apollo I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness
COHEED AND CAMBRIA
4.25 | 41 ratings
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SUICIDAL TENDENCIES The Art of Rebellion Album Cover The Art of Rebellion
SUICIDAL TENDENCIES
4.46 | 12 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.19 | 88 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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SOUNDGARDEN Badmotorfinger Album Cover Badmotorfinger
SOUNDGARDEN
4.16 | 53 ratings
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MUSHROOMHEAD XX Album Cover XX
MUSHROOMHEAD
4.61 | 6 ratings
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RAGE AGAINST THE MACHINE Rage Against the Machine Album Cover Rage Against the Machine
RAGE AGAINST THE MACHINE
4.13 | 65 ratings
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KING'S X Gretchen Goes To Nebraska Album Cover Gretchen Goes To Nebraska
KING'S X
4.22 | 22 ratings
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Pike 249 - The Moss Lands
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Pike 246 - Nettle
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alternative metal Music Reviews

BUCKETHEAD Funnel Weaver

Album · 2002 · Alternative Metal
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siLLy puPPy
Long, long ago before the infinite series of PIKEs became the new reality for BUCKETHEAD, there was a time when the chicken lover released only one album per year. However that trend did not begin with the PIKE series. Oh no. It started back in 2002 when a whopping four albums were released and BUCKETHEAD’s 7th album “FUNNEL WEAVER” was the first of the year which would spark a trend that would never let up and in fact only exponentially increase as time elapsed. To be fair BH was involved in many side projects and with other bands like Praxis, so to say he was merely sitting on a nest hatching his own eggs would be erroneous.

Right from the beginning it was apparent that BH had a love for DJ electronica as much as his passion for classic metal riffing and although the electronica had always been a part of the music, on “FUNNEL WEAVER” it becomes a key element of the it. This album is very strange in that it consists of an hour long play list of 49 tracks with each hovering around one to two minutes in length and the longest only a mere 2 min 54 sec. Despite the number of short tracks, they all share the same theme. These instrumental tracks are mostly based on heavy metal guitar riffs, licks and occasional solos revolving around electronic samples and drum machine loops with a few vocal samples dispersed randomly throughout.

Some of these are pretty cool with clever riffs spliced up with house beats and bizarre samplings of sound effects but i have to say that 60 minutes of it gets a little tiresome. On the plus side is that no track outstays its welcome since its a constant parade of guitars and electronic beats mixing it up. Overall this one presents lots of interesting ideas but in the end it all feels a little hollow like these are all demos for developing other tracks that never went anywhere. Not one i listen to often but occasionally break it out just because it takes me to a strange musical world that only BH could have come up with.

BUCKETHEAD Pike 257 - Blank Slate

Album · 2017 · Alternative Metal
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 257 - Blank Slate / 14th release of 2017 / All instrumental / Contains 6 tracks / Clocks in at 30minutes 19seconds / everything played by Buck-buck-buckethead

“Blank Slate” (5:54) starts with a cheery anthemic guitar lick and a beefy bass and drumbeat and then ups the ante with some serious distortion and alternative metal riffage. The main gist is the less distorted intro lick inserts itself into the more distorted grungefest from time to time and the two styles switch off. After a while it picks up speed a little more and has a bridge type of change-it-up. Not a bad track. Has some good songwriting on this one

“Opened To The Air” (6:57) begins with a cleaner more subdued guitar and subtle cymbal action. It stays warm and cozy for a while as a melody takes its time to slowly unfold. After a long two minutes of warming up the drums get a little excited but then NOTHING! Well nothing new that is. It reverts back to cute and cuddly lullaby time again. Was hoping for some dynamics shifting around but this one stays in the clouds with no earth, wind or fire to be found. Well some electric guitar work does finally make an appearance at the end but too little too late and this one is waaaay too long

“Wind Of Hollow” (3:30) begins suspiciously close to the last track only this one is more ethereal with ambient swirls of sound swishing around in the background. The tempo is slightly more upbeat but still in the land of lollygagging. Still though, the atmosphere is more Floydian and therefore a space rock vibe complete with Waters and Gilmour guitar worship in action. Tempo remains fairly mid-paced at the peak of things

“Task In Trunk” (3:30) is another on clean guitar and slo-mo mode. Drums seem a little too strong for the light and fluffy stringed instruments. Melody seems to be canned as it sounds like a gazillion other tracks in the PIKE series. Meh

“Solar Staple” (7:31) offers a much needed uptempo step up from the dreamy filling of this PIKE. It begins with a feisty drumbeat and bass accompanied by a jittery guitar riff and then some power chords kick in. It continues a receptive chord sequence that eventually allows the lead guitar to take the stage to solo around. Another predictable and overdone style of PIKE track at this point. Meh

“Lockun" (2:57) totally goes against the grain and cranks out some ferocious thrash metal with staccato chord and blistering blitzkrieg riffs that remind me of classic Pantera before turning into a spidery guitar lick that slips in between thrashy riff sections. While not the most brilliant track of BH’s career, this IS the best track on this PIKE but too little, too late to save this PIKE from being a cold turkey. At least there’s one track that i truly love and this is it!

This PIKE is totally pleasant but unthrilling suitable for background music but pretty ho hum and uninspiring. Nothing original, just recycled PIKE ideas that weren’t really needed to be repeated

BUCKETHEAD Pike 256 - Meteor Firefly Net

Album · 2017 · Alternative Metal
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 256 - Meteor Firefly Net / 13th release of 2017 / All instrumental / Contains 4 tracks / Clocks in at 29minutes 42seconds / everything played by Buck-buck-buckethead

“Image From The Void” (5:53) enter the slow and echoey guitar with a slight distortion and joining it is a bass and drum that weaves a melody and steady rhythm that maintains a somewhat slow pace as a lead guitar embellishes the melody even more. After a slight slow breakdown the melody picks up steam and the distorted chords hold for a while as the other instruments take a break. Nice guitar work but predictable chord progressions and nothing remotely surprising. Nice track but nothing outstandingly interesting either “Mountainous Mine” (7:08) begins slow and sweet with twangy clean guitar, intermittent bass and cymbals with an ambient backdrop but then abruptly changes into a mid tempo rocker with somewhat of a swinging sensation as the power riffs rock and roll. The track has all the traditional song fixings as it has somewhat of a chorus / verse / bridge type of construction although the main emphasis is on the melody and the guitar licks, fills and solos that embellish it. Ultimately it ends up wearing out its welcome despite an ok way of kicking things off

“Meteor Firefly Net” (9:56) also begins with a slow and almost folky type of clean guitar with an ambient backdrop albeit the bass and drum slowly ooze in early on. The guitar then breaks into some sort of rockabilly type riff before erupting into metal riffs and screeching solos. The chord progressions make interesting melodic build ups that change keys and time sigs occasionally as well. Everything builds to a frenetic crescendo and then suddenly changes back to the soft and serene elevator folk that began the track but of course, this is a BH PIKE and not for long. It erupts full fire into blistering metal riffs and guitar wankery once again but then has some progressive changes where it keeps the monotony at bay and the interesting mood enhancing elements fresh and exciting. Once again the fury is extinguished by placid dreamy clean guitar interludes with floating ambience before inevitably, you guessed it! Back into the moshpit where dragons bang their heads in the dead of night. This title track is by far the most sophisticated on the PIKE and despite having an oft dreaded lengthy time length has more than enough oomph to keep this one on full attention alert throughout its entirety. Excellent track!!!

“Nail Bridge” (6:45) starts with an unusual heavy riff that sounds like a progressive metal version of a cartoon theme song and then alternates the heavy riffs with higher register licks. After a bit of energy is expended it slows down and does a little melodic dance with clean guitar, bass and less frenetic drums. Of course nothing lasts long in BHland so as you probably guessed, IT GETS LOUD AGAIN!!! This one is pretty cool and it’s all because of the strange exotic musical scale that is utilized to give a rather bizarre feel to the whole thing. Another winner!

This one is a mixed bag. I find the first two tracks rather mediocre but not horrible either. The last two tracks are quite creative and deliver a musical punch. Very nice indeed and a rare glimpse into BH’s ability to deliver pleasing melodies with unorthodox creativity turned up to the max. I wish the whole PIKE was like these two finales. Since together they constitute almost 2/3 of the PIKE i’ll give this one a 3 but it would be higher if the first two excited me in any way

BUCKETHEAD Pike 255 - Abominable Snow Scalp

Album · 2017 · Alternative Metal
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 255 - Abominable Snow Scalp / 12th release of 2017 / All instrumental / Contains 7 tracks / Clocks in at 29minutes 20seconds / everything played by Buck-buck-buckethead

“Abominable Snow Scalp” (4:10) begins with a heavy metal epic riff sounding like something from the 80s with a similar type of melodic march incorporating crunchy chops with solos and fills. Very decent but would sound better with vocals as it seems like the missing dimension. Near the two minute mark it slows down with some nice arpeggiated guitar work and then picks up steam again with some ruff-and-tumble riffage. Very traditional metal sounding here

“Floorascents” (3:02) after a huge pause between tracks, this one finally jumps in with a similar 80s style classic metal sound complete with the melodic crunch of the riffs and nice fret work that has a rather epic style of flavor. It also has a rather 70s hard rock with bluesy touches as well that is amplified by a bluesy solo

“Headless Reflection” (6:32) begins with a rather Hendrix inspired sound effect but quickly jumps into heavy metal riffs with some jittery Van Halen type runs all peppered with quirky BH styled solo runs. This one has some nice changes and makes a nice mix of classic 80s metal with 90s industrial and alternative type styles

“Pluriverse” (3:22) is mellower than previous track with an anthemesque type melodic development and then changes it up between softer and harder passages. Another nice track that focuses on the melody instead of acrobatics

“Crator Ridge” (5:29) is a harder and heavier 90s grungy sounding alternative metal track with some more focus on classic 80s metal melody. It has a nice run of lead guitar. Towards the middle a nice slide and slower passage that really adds some variety to the track. The chord progression is slightly progressive and sounds a bit jazzy at times. One of my favorite tracks

“Door Along the Wall” (1:58) is a short little heavy metal rocker that has nice riffs but ultimately comes off as unnecessary filler

“Pincushion” (4:47) is even more upbeat with heavy riffs and sizzling solos and keeps up a frenetic pace with hyperactive riffs throughout its entirety. Nice melodic delivery and changing of riffs, licks and solos. Very well done

This is a well done PIKE that shows BUCKETHEAD’s mastery of traditional metal styles and focus on the melodic aspects of music with nice counterpoints to keep it interesting. While many of his PIKEs are rather by-the-numbers or extremely experimental this one shows how well he can pull out the classic tricks as well. I’m loving this one and one of my faves of 2017

BUCKETHEAD Pike 254 - Woven Twigs

Album · 2017 · Alternative Metal
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 254 - Woven Twigs / 11th release of 2017 / All instrumental / Contains 9 tracks all titled “Twigs” / Clocks in at 30minutes 02seconds / everything played by Buck-buck-buckethead

“Twig 1 (3:10) begins with a quickened brooding bass line with a guitar creating textures above it while a drum slowly joins in and then the guitar becomes heavy metal riffage before breaking into a sizzling solo and alternates between creative riffs and solos. The guitar parts are quite interesting as it changes up the general melodic patterns with different time signatures, tempos and patterns. The weak part is that the drums sound canned from a machine. As it goes on funk guitar enters the picture as do those clean echoey arpeggiated fills against a silent backdrop. Towards the end classical guitar even enters the soundscape

“Twig 2 (3:30) as with many of these PIKEs that use a single title for all the tracks, these run together imperceptibly and could qualify as one continuous album run. “Twig 2” simply continues the change-it-up approach as this one enters funk territory, blues licks and heavy metal riffs with hyperactive solos. As time elapses, the styles change up more often and sometimes metal riffs are accompanied by clean funk guitar or squealing solos

“Twig 3” (2:54) although imperceptible as a new track does begin with a heavier riff and then starts changing around with clean sections alternating with heavier ones. The usual suspects as heard previously only mixed up in different orders and new creative touches with soloing and time frenzied tempos

“Twig 4” (2:13) likewise bursts back into metal riffs with some clean guitar licks filling in the cracks. This one is short but has some amazing guitar workouts with speed-of-light solos accompanying jazz guitar chords and tripped out licks that come and go

“Twig 5” (2:48) also changes the previous track into a heavy monstrous crusher of metal and then floats on with a rather ordinary riff but abruptly turns to funk with some grungy slide guitar behind it. Of course nothing plays out too long anymore so after a few measures it’s time for some slower doomy type of metal only with some frenetic solos along for the ride and then time for some clean freaky echoey guitars again and so on and so forth

“Twig 6” (3:24) continues the tradition of beginning the track with a return to metal riffs but soon becomes rather progressive with all kinds of guitar antics whizzing around like a decapitated beast in the throes of battle. It continues with funk, blues, metal and slinks around like a caffeinated cobra in a tent filled with vermin

“Twig 7” (3:23) continues as slow creepy echo guitar with some pick slides for extra tension. It picks up steam but remains dark and mysterious until it erupts into metal riffs with some funk chords thrown in and then solo time! Towards the end the different guitar styles play together and then plays chameleon again often

“Twig 8” (4:19) continues as a heavy stomping riff monster with the same cheesy drums but then turns into a solo and then changes into the echo guitar thing and then changes again and again and again! This one is nice as it changes the melodies, the tempos, dynamics and everything

“Twig 9” (4:21) continues as a heavy metal rocker with those same cheese drums and i think you can safely assume by now that things change it up and often! And you would be correct to do so and this last segment of the “Twig” tales predictable follows the unpredictable with all the usual suspects juxtaposed into twisted tales of sonicity.

This is the type of album i love most by BH as he displays his guitar playing skills and why he is in the top of his game however this one has particularly annoying drum machine percussion that really needed some attention paid to the dynamics and playing for that matter since the guitar parts are well executed as is the bass with some creative tricks oozing out as well. My favorite type of BH style PIKE but not balanced enough to get the highest honors

alternative metal movie reviews

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 · Alternative 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.

KORN Korn: Steal This DVD - The Unauthorized Biography

Movie · 2006 · Nu Metal
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Larry Sakin
Documentaries about rock bands work on a formula. First, we have the all important formative years of the band, where we learn how the group struggled to learn their craft. Interviews with the band members, record company hacks, managers and DJs that cleared the way for eventual superstardom follow, giving the viewer a portrait of the turmoil, joy, and excesses that come with success. And finally, we have the where-are- they-now or what’s-to-happen with them sequence, which is supposed to answer the all important questions fans are supposed to have.

Steal This DVD, an unauthorized biography of the band Korn, is another in a long line of heavily formulaic views of a band that changed the rock world forever. But there are some differences here. At least with the other documentaries, you can listen to the bands music while the grand story unfolds, and possibly hear early interpretations of the songs that catapulted the band onto rock n’ roll radio. But because of some sticky licensing problems, viewers of Steal This DVD won’t even attain this modicum of satisfaction. The background music is eerily similar to that of Korn, but is just another copycat band grinding away.

So what we’re left with is a cut-and-paste production of other people interviewing the band, a lot of still photos of individual group members, and a great deal of detail on growing up in Bakersfield, California.

I’ve been to Bakersfield, and believe me, it’s no mystery why a group of guys from that dusty Central Valley area would produce the intensely angry funk-metal chords Korn is known for. Still, it occurs to me that major fans of Korn would already know how the damaging effects of a conservative California city impacted these superheroes of nu-metal. In fact, it’s hard to imagine there is any content on Steal This DVD that might illuminate Korn fans any more about the dark mystique that surrounds the band.

And if you don’t know very much about the group and their humble beginnings, maybe the time is right to really listen to singer-songwriter Jonathan Davis’ lyrics, because everything you need to know is right there. Davis has joined the ranks of songwriters who willingly split open their veins and bleed their madness onto an empty page, much like Kurt Cobain before him.

So I’m not really sure who the producers of Steal This DVD are looking to market this documentary to. Maybe they think there are enough die-hard fans out there that obsessively collect anything with the Korn brand on it, or that there are even more naive kids so unfamiliar with what makes Korn the brilliant band they are and need some kind of instructional DVD to help them “get it.” Whatever their direction may be, I think the producers are in for a huge surprise.

It would be so much better if the people who pumped these damned things out really thought like real fans do. They’d actually produce some interesting and entertaining packages that music lovers would appreciate. But unfortunately, the entertainment business too often conforms to the “biggest bang for a buck” theory, and cashes in by promoting anything that has a big-named group attached to it.

Consider this a caveat emptor, Korn fans. This trashy documentary won’t satisfy you until the next Korn release. Save your money, and listen to Life Is Peachy instead.

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