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
4.44 | 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 263 - Glacier
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Pike 257 - Blank Slate
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Pike 254 - Woven Twigs
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Pike 253 - Coop Erstown
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Scatterbrain
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The Refix
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Pike 250 - 250
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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 Pike 263 - Glacier

Album · 2017 · Alternative Metal
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 263 - Glacier / 20th release of 2017 / All instrumental / Contains 5 tracks / Clocks in at 30minutes 57seconds / everything played by Buck-buck-buckethead

“Glacier” (13:50) slowly begins things with a nonchalantly unfolding guitar riff that becomes joined by bass and drums and then the riffing becomes a bit heavier. All stays mid tempo but after a while a cool echo effect takes over for a bit but reverts back to the alternative riffing that is punctuated by slower clean guitar segments. Melodically this track doesn’t change it up too much and is remnant of countless other PIKEs that have come before but the dynamics are mixed up a bit with riff changes and tempo shifts. Nothing is jarring with this one and all is smooth as silk with riffing segments, soloing and predictable chord changes. One of those tracks that’s perfectly listenable and unobtrusive but at the same time has been done many times before and has absolutely no luster to loose not to mention it becomes quite repetitive and outstays its welcome. Nice but not outstanding unless this is the first BUCKETHEAD track you’ve ever heard

“Relic” (4:03) begins soft and sensual sounding like a new wave guitar track but with also sounds a little flamenco in guitar strumming with a little surf guitar style mixed in. Sort of a new sound for BH actually. All stays subdued with clean guitar and a little Spanish guitar flair but never bursts out into anything energetic. The percussion remains light and fluffy and just when it all sounds like it’s ready to burst into a full-fledge production, it steps back and becomes super mellow. Nice track though

“Food” (5:19) completely shifts gears and immediately pumps out blistering adrenaline fueled metal riffs at light speed. The riffs are a bit thrashy as they gallop along with alternative grungy distortion turned up. Between the gallops is a little dance of progressive licks but never hang around too long and jump back into the steady stream of metal madness. Nice melodic development that combines heaviness with a heady flow. Nice track

“Evaporate” (4:06) begins with clean guitar and ambient background. As the melodic flow unfolds it morphs into different riffs and then picks up steam after a while by incorporating a more energetic percussive drive but the ambience remains thick and the clean guitar tone never changes. It never picks up past mid tempo and then slows down again. Pretty mellow track and fairly average actually

“Plate” (3:39) jumps back into metal with jittery riffs and a bouncy rhythm. Sounds like something from the 80s hard rock scene but i can’t put my finger on exactly what. Maybe a tad Van Halen but not quite. The riff dances around for a while and then a sizzling solo takes over until it derails and then the bouncy riff is back. Nice track but nothing OMG original

This is an average PIKE. Lots of nicely delivered tracks with a little bit of originality but for the most part rehashes of ideas already well covered on previous PIKEs. Nice to listen to but not one that compels me to return for future listens. Well played and good but nothing more

PRIMUS Frizzle Fry

Album · 1990 · Funk Metal
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martindavey87
It would be an absolute understatement to say that Primus is an acquired taste. Their music is incredibly obscure, with some of the most random musical passages and the most quirky lyrics you could think of. And so it is, that their debut album is a convoluted mess of ideas thrown together with no real sense of direction, other than being random for random's sake.

While the musical ability between all the members is of a high caliber, especially bassist, singer and all-round main man Les Claypool (story goes that he was once turned down to join Metallica for being "too good"), the general compositions seem rather unfocused and boring. Nothing really stands out in this 52-minute smorgasbord of random guitar riffs and vocal melodies, which usually are delivered via something more akin to talking or just completely random noises.

If I really had to pick out any notable highlights, 'John the Fisherman', 'Too Many Puppies' and 'To Defy the Laws of Tradition' could be considered alright, but honestly, this album as a whole just gets rather boring and repetitive fast. I'm sure there are people that love songs that randomly go into renditions of 'Humpty Dumpty', but to me, it's just not cool, it's not funny, and it's not really all that clever either.

RAINBOW BUTT MONKEYS Letters from Chutney

Album · 1995 · Funk Metal
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aglasshouse
Among the gimmick-ridden 90's, bands and music were usually either hit or miss. You'd have the most unlikable individuals crawling from the woodwork begging for attention, but the problem was they'd be mixed in with the geniuses and pioneers. Therefore, you had to have a name or title that made you stand out from the rest, one that not only characterized you but also gave you individuality. This spread mainly in the uncouth metal scene of the decade, with the rising popularity of shock rock with artists such as Marilyn Manson and Burzum taking the spotlight. You'd have bands like Pissing Razors easily waving around their titles with ease, and one such Ontario-based band constructed themselves in a similar manner, albeit in a manner that doesn't evoke as painful of imagery.

On the surface, embroidered with three women riding goofy, red-and-yellow tractors as the cover, Rainbow Butt Monkeys' 1995 debut Letters from Chutney may seem immature and childish, and granted to a certain extent it is. But what this band brings to the table is a burly and upstanding quality that has been unsuccessfully emulated by a variety of other bands of the same nature. The sophomoric attitude of the songs such as 'As Far as I Can Spit' and 'Circles' are driven by a funk-metal (and I do me out-and-out funk metal) groove that even if it doesn't appeal to your critical senses, you may still get a kick out of it. That doesn't mean however that the metal side of Letters from Chutney isn't pronounced. 'Spiderprints' in particular is a bone-crushingly heavy gallop filled with spitefulness and anger that should appeal to even the most stern.

It should be noted that this band is quite literally the precursor to Finger Eleven, as the lineup of Rainbow Butt Monkeys remained practically static during the time between Letters from Chutney and Tip in '97, aside from RBM drummer Rob Gommerman being replaced by Rich Beddoe. I think because of this, it's safe to say that if you like Finger Eleven, you'll like RBM. On the flipside though I think the inverse is true. Yes, vocalist Scott Anderson sings in a practically identical style as he would go on to do in F11, but the overall atmosphere of the album is heavier, less melodic, and much less sophisticated than their future alternative metal works, which depending on who you are, can be either a pro or a con.

Letters from Chutney has a little bit of something for everyone, and I think this accessible quality makes it stand out from not only Finger Eleven's discography but also from much of the 90's circuit. Take a gander.

BUCKETHEAD Pike 259 - Undersea Dead City

Album · 2017 · Alternative Metal
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 259 - Undersea Dead City / 16th release of 2017 / All instrumental / Contains 6 tracks / Clocks in at 28minutes 23seconds / everything played by Buck-buck-buckethead

“Undersea Dead City” (4:09) sounds as ominous as the title with heavily distorted grungy down-tuned guitar and bass with deep growly riffs churning about like an angry ocean reclaiming land from intruding civilizations. Between the heavy riffing blurt out guitar squeals and little solos from time to time and half way through the riffs drop out to expose a deep burly bass while a solo jumps around like a freely released chicken in the wind. Decently done track

“Region Of The Unreal” (6:04) begins slow and melancholy with clean echoey guitar with bass and slight cymbal percussion but then abruptly breaks into the heavier down-tuned grungy alternative metal riff session that utilizes some off-kilter time sigs and lets little leads erupt in strange intermissions. Riffing is progressive as well with different riff styles changing it up. The different parts are recurring but unfolds in complex patterns with unique sections appearing such as the totally left field slow down towards the end that takes a guitar lick and backs it up by some sort of ska type background. Cool track

“Mangled” (4:15) begins with a funky strut but also quite distorted and the bass is so fuzzy it will surely blow up some subwoofers. The guitar begins as a lick but also becomes quite distorted when it’s in the bass zone and frenetically fast when it ratchets up to the treble range. A cool solo that has strange intervals and time signatures in some sort of alternate tuplet mode adds a freakish dimension to the already tense compositional structure. Lovin’ the deep bass parts as they feel unstable like they’re ripping the atoms out of matter

“Odor Of Book” (5:05) begins frenetically with a jittery lick / riff assault also down-tuned and heavily distorted. The riff is a bit more catchy than previous tracks but quickly breaks down into different riffing styles focused on deep bass grunge with solos added in every so often. Nice pick scrapes and changing up the mid zone riffs. This one has a nice compositional style as it changes things up just enough to make it interesting

“Moonlit Decay” (5:21) starts a bit different than the rest. This begins with a steady bass and drumbeat and a sort of funky guitar riff that is clean and restrained but then it all slows down and changes into a softer subdued sound. As expected from the “Moonlit” in the title, this remains soft and sensual with clean guitar and no distortion whatsoever but it does have more of a mid tempo speed that keeps it from getting too dreamy. Tones and timbres aside, this one is much less adventurous than the rest and is one of those by-the-numbers type of tracks but decently done. Doesn’t detract from the mood and when BH sticks to one of these tracks instead of a whole album it works much better

“Visitor From Tomb” (3:29) jumps back into the down-tuned alternative grunge attack with more jittery time sigs and heavy churning riffs. It goes down the same path as the majority of tracks on this one with the riffs alternating with licks and leads however there is a lot of time dedicated to reverb dynamics which is pretty cool.

This PIKE is pretty cool. Just “alternative” enough in all the right ways. Heavy, catchy and creative and decently accessible for those who don’t like to get too wild. A nice balance of accessible and experimental and if you love raw and filthy dirty sounding down-tuned guitar and bass action, then this PIKE is for you

BUCKETHEAD Bucketheadland 2

Album · 2003 · Alternative Metal
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siLLy puPPy
Loosely a concept album that tells the tale of BUCKETHEAD’s alternate universe with his very own “abusement” park where only grim tales of gore and woe lurk around every corner but of course they are offset by hyperactive metal outbursts and little acoustic ditties sung by a disgruntled former slaughterhouse employee (played by Albert) who laments the days when he didn’t cut the mustard in his macabre packing house career so he decides to turn away from killing cows and kill humans instead! While the original BUCKETHEADLAND album was an introduction to the alternative universe in which BUCKETHEAD provided the musical touches during the grand opening stages, BUCKETHEADLAND 2 is designed to take the listener on a tour of the park after it’s in full operation. While the listener must keep in mind this is all tongue-and-cheek experimental madness put to music, for the opened minded adventurous listener, this is indeed an exciting roller coaster ride through the fantastical world of some dude who loves chickens and wears a bucket on his head. Expect litanies of nonsense and you’ll love it! Back in these days, BH wasn’t a one man show. This album includes assistance from partners in crime Dan Monti, Brain, Dead as well as vocals heard by Bootsy Collins, Keystone Brewer, P-Sticks and Albert.

This album begins with my absolute favorite intro EVERRR! The recurring female character L’il Littles begins things with a little poem that goes like this : o

"Aboard an old pirate ship made of wet souls We plunder and pillage from north to south poles We only steal metal like guns, tanks, and toasters We melt them all down and we make roller coasters"

: P which is followed by an immediate outburst of filthy dirty metal guitars thrashing like there’s no tomorrow but the avant-garde tendencies come quickly displaying a theme that is prevalent throughout the entirety of the near hour length BUCKETHEADLAND 2 experience, that is different genres of guitar music such as funk, blues and folk guitar often accompanied by electronic effects of some sort playing away while the cast of characters recite some sort of mantra about BUCKETHEAD, BUCKETHEADLAND or something totally wacky and crazed (often involving corpses!). These musical skits are surrounded by some serious progressive thrash metal workouts that focus on blistering riffs, heavy distortion on full adrenaline mode with the chicken lover’s full arsenal of guitar techniques including unleashing the tuplet factory to the max. When the metal occurs it’s some of the heaviest of BH’s earlier days and the sizzling solos are off the chart in smokin’ scorchin’ magnitude.

This is indeed a very strange album that is unlike anything you’ve heard before even within the massive BUCKETHEAD discography as scorching metal sequences can change without notice to a folk guitar ditty from Albert where he does his best demented Arlo Guthrie obsessing over dead bodies, murders and other gruesome activities. While the heavier sections are well-grounded in melodic traditional meets alternative styles of thrash metal, the acoustic sections have a truly demented feel as the guitars are often out of tune and and supplemented with irregular, oft-kilter riffs that give a truly bizarre feel between the frenetic deliveries of the metal meets industrial aggressiveness. The result of these alternating sequences is that it’s impossible to become bored with any particular section since these short segments never last more than a minute. In fact only a very few tracks on the album extend past the two minute mark at all.

BUCKETHEADLAND 2 is such a strange album that i initially wrote it off as irritating. It does require some time invested into sorting it out into digestible packets before it eventually coalesces into some sort of “musical wholeness.” The lack of any particular continuity is the first roadblock for instant access as the music and skits stumble by like a schizophrenic wino meandering aimlessly down the sidewalk with seemingly little relating to anything else and to be fair, i’m not entire sure it all does! Nevertheless, after not listening to this one for a few years i was surprised how much more i liked it when i revisited it recently. Somehow this one had deposited its eggs in my brain and the maggots have recently hatched and reprogrammed my DNA to worship its existence! While this one will unlikely dethrone other chicken lover highlights in my musical world, i have come to the point where i recognize the genius that has been under appreciated in this one since i first heard it. Now that those eggs have hatched and led me to the promised coop, i am in sheer admiration of BUCKETHEADLAND 2 and can’t get enough of it as of late. However despite my new found adoration for this wacky Zappaesque musical fantasia, some of the skits and moments of weirdness surely could have been trimmed down a bit and more musical segments could have likewise been extended. Still though i’m finding much more to like about this one than i ever thought possible. Wow.

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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