Alternative Metal

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Alternative Metal, or Alt Metal for short, is a sub-genre of metal music that has it's roots in the mid-1980s. It's sound comes from the mixing of metal with elements that are uncharacteristic to the metal genre, such as funk and hip-hop, but not in such an experimental way as to be considered Avant-Garde Metal. Some of these alternative metal fusions gave risen to some distinct sub-genres of it's own, with Nu Metal being a notable metal movement from the mid-1990s.

Alternative Metal Sub-Genres

Funk Metal

Nu Metal

Rap Metal

Sub-genre collaborators (+ Child subs and Heavy Alternative Rock):

alternative metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

ALICE IN CHAINS Dirt Album Cover Dirt
ALICE IN CHAINS
4.51 | 105 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.40 | 87 ratings
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LIVING COLOUR Stain Album Cover Stain
LIVING COLOUR
4.48 | 12 ratings
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TOOL Ænima Album Cover Ænima
TOOL
4.20 | 82 ratings
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SOUNDGARDEN Badmotorfinger Album Cover Badmotorfinger
SOUNDGARDEN
4.17 | 63 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.15 | 94 ratings
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KATATONIA The Fall Of Hearts Album Cover The Fall Of Hearts
KATATONIA
4.29 | 16 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.28 | 16 ratings
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KATATONIA Viva Emptiness Album Cover Viva Emptiness
KATATONIA
4.14 | 32 ratings
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FAITH NO MORE The Real Thing Album Cover The Real Thing
FAITH NO MORE
4.08 | 74 ratings
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TREMONTI All I Was Album Cover All I Was
TREMONTI
4.50 | 6 ratings
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DEFTONES White Pony Album Cover White Pony
DEFTONES
4.19 | 18 ratings
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alternative metal online videos

alternative metal New Releases

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SIGIL Soundtrack
Boxset / Compilation
BUCKETHEAD
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Trauma
Album
I PREVAIL
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Howdilly Twodilly
Album
OKILLY DOKILLY
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I, the Mask
Album
IN FLAMES
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The Sun Burns Black
Album
MIRRORS OF TIME
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When The World Becomes Undone
Album
A PALE HORSE NAMED DEATH
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Vultures
Single
A PALE HORSE NAMED DEATH
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Resist
Album
WITHIN TEMPTATION
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alternative metal Music Reviews

BUCKETHEAD SIGIL Soundtrack

Boxset / Compilation · 2019 · Alternative Metal
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siLLy puPPy
BUCKETHEAD has been rather low key in the last couple of years as he’s probably kicking back in the Bucket-Cave after exhausting himself from the explosive frenzy of activity during the earlier part of the decade when he released something like 300 albums in a few short years. Or maybe he’s just recharging his batteries! Brian Patrick Carroll is of course not only a chicken loving eccentricity but is without a doubt an extremely versatile and talented musician who has inspired many far and wide with his mold of William Shatner’s Captain Kirk mask and signature KFC pale upon his head.

One of his biggest fans has been John Romero who created the classic 90s video game Doom which in the year 2019 is celebrating it’s 25th anniversary. In honor of this landmark occasion, Romero has decided to go all out and create a deluxe boxed set that adds on new levels to the Doom game in the form of SIGIL which will surely please fans with eight new regular levels, one new bonus level, an epic boss fight and the most difficult episode yet to emerge. Of course all of this needed a new soundtrack and as he has spent countless hours programming code to the music of BUCKETHEAD, which Romero deemed the perfect sort of sounds to exist side by side with his masterful classic video game extensions.

The SIGIL SOUNDTRACK isn’t exactly a custom made score for the Doom universe’s latest installment but rather is a compilation of tracks from the massive PIKE series with the sole exception of the opening track, “Romero One Mind Any Weapon” which is the only new track to be featured. Romero’s hope was to introduce BUCKETHEAD to a wider audience and although many have heard of this mysterious legend, many still probably have never been exposed to his music, therefore this SOUNDTRACK is more like an introductory compilation of sorts.

“Romero One Mind Any Weapon” (9:04) -The only new track displays the avant-garde metal intensity of BUCKETHEAD’s earliest albums when he emerged in the 90s on such albums as 1992’s “Bucketheadland.” This track conveys a standard classic metal approach with lightning fast metal guitar riffing that keeps a “normal” metal groove in place but with a BH track creeping past the 9 minute mark, you’re bound to get a pocketful of electronic weirdness, progressive off-kilter breakdowns and a mix of sizzling solos and ambient mood enhancers. And of course there’s a touch of funk! This track is sort of a tribute to BUCKETHEAD as it has a dash of this and a dash of that which makes up the chicken lover’s lengthy career. While the track isn’t unusual from anything from his past, i can understand why this makes a wickedly cool addition to the SIGIL experience.

“13th Floor (7:15) from PIKE 118 - Elevator - I can understand why this track was chosen. It’s a heavy rocker that has a marching into battle drive to it. The track goes through a series of nice emotionally charged passages with elegant soloing and an epic feel. A great choice for SIGIL.

“Buildor 2 (13:43) from PIKE 224 - Buildor - This track utilizes a Pink Floydian Gilmour type of space rock guitar lick before being joined by another distorted power chord guitar and then it totally mellows out back to a space guitar lick, ambient background and very slow drumbeat. This tracks basically goes on and repeats the riff, adds solos, takes breaks with ambient passages and follows the traditional PIKE playbook but has found its true calling on SIGIL.

“The Patrolman” (7:30) from PIKE 8 - Racks - This track starts out with a clean guitar lick and more energetic drum beat joining it. It lets the melody gently unfold but this is one of those tracks that doesn’t really go anywhere. It is predictable and by the books without any improper freakiness. It’s too much like something off of the “Electric Tears / Sea” albums and sounds like a leftover track or something. OK as an active listening experience but perfect for the multi-tasking of video game playing.

“Cold Frost Part 6” (5:10) from PIKE 205 - 2 Days Til Halloween: Cold Frost - This is a snippet of the dark ambient releases from 2015’s Halloween countdown. Now this is prime video game music as it has a Twilight Zone feel with icy darkened atmospheres and spooky chilling effects. While many didn’t like these ambient releases, i find the electronica of BUCKETHEAD to be some of the most refined and interesting of all.

“Melting Man Part 2” (6:38) from PIKE 10 - The Silent Picture Book - This track is one of those distorted and mellow ballads which also is not very engaging actively but is a nice chill pill for intense video game action.

“Far 5” (10:41) from PIKE 266 - Far - This track begins with an atmospheric ambience and begins immediately with heavier guitar riffs along with the space rock sounds. A guitar solo is finally allowed to erupt into a sped up bluesy frenzy. Although this one has more of rockin’ feel, it still is nothing more than a repetitive loop of a few chords that continue on with soloing over the main rhythm.

“Poseidon 4-6” (16:56) from PIKE 264 - Poseidon - Like the PIKE from which these three tracks are stitched together here, they seamlessly transition together. A nice mix of heavy rock with crunchy riffs, licks and solos with some downtime for ambient sections and other deviations from the norm.

“Fastpass” (7:03) from PIKE 231 - Drift - This track starts out slow and mellow with a synth, a slow guitar and it sounds like it’s gonna be one of those Pink Floyd slow tempo bluesy guitar tracks. Yep. Continues as the same style and doesn’t really go anywhere interesting. Nice tones and does have chord changes but BH has done this much better before. OK but not OMG

At a running time of 84 minutes, this one might be a little too long for many as an active listening experience but as a series of musical experiences in conjunct with the SIGIL playing it is perfect! I think many of the PIKEs were too simply constructed for active listening experiences but make perfect background music for a multi-media project such as this. BUCKETHEAD Pikes have found their calling at last and Romero has expressed interest in incorporating more of the chicken lover’s music into his future projects. All in all this is a decent introduction to anyone unfamiliar with the PIKE series but personally i enjoy the more adventurous and experimental sector. For those not so adventurous as i, this is a decent PIKE 101 stepping stone into the greater universe but for true fans this will be of little interest with only the first track providing new material.

FAITH NO MORE We Care A Lot

Album · 1985 · Funk Metal
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martindavey87
What can truly be said to accurately sum up Faith No More’s 1985 debut, ‘We Care a Lot’? It’s a complete smorgasbord of styles and influences, all mashed up together in a brief 34-minute flurry of experimentation.

And yet, while it’s a little rough around the edges (okay, maybe more than a little), there’s an interesting charm about it that shows a band who, underneath all the random madness, knows what they’re doing. The low-budget production gives the album a very rough sound, at times making certain instruments indistinguishable, and sometimes the vocals can be a bit jarring, but overall, there’s a lot of potential here for what the band can achieve.

Songs like ‘We Care a Lot’ (which will be re-recorded on the bands next release), ‘The Jungle’, ‘Arabian Disco’, and the hidden gem, ‘As the Worm Turns’, are all decent tracks that, while inferior to the bands later output and somewhat hindered by vocalist Chuck Mosley’s repetitive style, show a band that are not following any particular blueprint or trend.

Blending rock, metal, funk, punk, hip-hop, synthpop, and anything else you can throw into the mix, it sounds like this should be a complete mess, but the Californian five-piece do manage to string it all together. And while the compositions are very raw and unpolished, you can already hear just in this short release that the band can, and will, improve over time and go on to release much stronger albums.

NUCLEAR RABBIT Vicuna

Album · 1997 · Funk Metal
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siLLy puPPy
The metal version of the Easter bunny with rancid eggs, hehehe! This album seemed appropriate for this review on Easter Sunday, the 21st of April 2019. Not only for the obvious RABBIT connotations but also because this band was formed in Novato, CA which is the first destination i moved to in the San Francisco Bay Area and have ended up living there many times over my restless Bay Area living experience. How in the world did i not know about this band for so long when i’m definitely one who craves the most weird and demented expressions of the metal world? Well, that is no longer the case and NUCLEAR RABBIT has become more than a curiosity in my world but a band that delivers some far out funk metal weirdness taken to the n-th degree. And when i say weird, i totally mean it!

Not only does this band resonate with me on the aforementioned levels but ironically the founder and virtuoso bassist Jean Baudin has become one of the Bay Area’s foremost underground bassists with his classic 11 string bass guitars and is often seen playing video game tunes at the Santa Clara based California Extreme event where classic 80s arcade video games congregate en masse for a larger than life retro experience where Pac-Man, Berzerk, Centipede, Donkey Kong and a gazillion other unknown games are ready for one to take a trip back to the 80s / 90s timeline. Whoah. While i digress, this actually applies to NUCLEAR RABBIT’s debut album VICUNA as well. Funk rock / metal was all the rage in the 80s and 90s with bands like Red Hot Chili Peppers, Fishbone, 24/7 Spyz, Extreme, Primus, Living Colour, Faith No More and of course Mr Bungle were rocking out wit da funk turned up to 11!

While the band was created in 1989 by Jean Baudin who wanted to create music that wasn’t confined to any particular genre, it seems that the funk and ska thing won out. While Baudin started out as the vocalist / bassist along with Pat Garner (guitar) and Steve Sigaty (drums), the true magic started once vocalist Greg Parrish joined the cast and NUCLEAR RABBIT started to develop its own weird persona that would propel them into one of the Bay Area’s most revered cult metal acts that still persists to this very day. While clearly following in the footsteps of the first Mr Bungle album’s goofy take on potty mouth immaturity married with prog rock sophistication, NUCLEAR RABBIT took a harder edged cue from the thrash metal infused energetic approach of Infectious Grooves, the solo project of Suicidal Tendencies frontman and lead vocalist Mike Muir. Add a bit of over the top Zappa antics and a touch of indie pop inspired Ween weirdness and voila!!! The perfect recipe for some Dr. Demento styled metal all funked up 2 da max.

While VICUNA is technically the debut album by NUCLEAR RABBIT, it is in reality it is a compilation of tracks from the four demos: “Poo Factory (1990),” “Bowling for Midgets (1991),” “Utensil Extravaganza (1992)” and “Spork 2000 (1993)” which is the reason this album despite its 1997 release sounds very much grounded in the funk metal paradigm of the early 90s. However since the demos were never really released, this is a bona fide album that marks the debut of one of the Bay Area’s most bizarre bands and that’s saying a lot in these parts! While Baudin is famous for his 11-string bass guitar, on these earliest recordings he simply abuses a 5-string Ralf bass and it is his outstanding virtuosic playing that makes this one helluva roller coaster ride despite the clear influences on the band’s sleeves. They really take things to the next level and VICUNA truly delivers in not only the absurdity department but really excels in some of the most off-kilter progressive takes on funk rock, metal, ska, punk, jazz as well as ethnic influences from all over these freaky planet.

Other than Baudin’s brash bravado on the funkified bass with unique techniques of tapping, slapping and popping the strings, the next star of this show clearly belongs to vocalist Greg Parrish who not only mimics Mike Patton of Mr Bungle, Frank Zappa as well as the singer Mike Silverman from the long forgotten band The Fabulous Hedgehogs as well as the mastermind behind That 1 Guy, but also delivers some of the most eccentric vocal antics that actually exceed anything Mike Patton has conjured up in his lengthy career. Parrish not only takes yodeling to a new level of weirdness but also delivers some highly bizarre vocal styles that i’ve never heard anywhere else. The tracks are all generally silly and mock the consumer culture such as on the hilarious tracks like “Supermarket,” “The San Francisco Treat” and “Parkay.”

VICUNA is clearly for those who don’t take music too seriously but then again it is totally for those who take music seriously! This dichotomy and attitudes in opposition is what makes this appealing. Generally speaking, the tracks are based on funky bass lines that deliver an instantly addictive groove with ridiculous subject matter and then turn to left field by taking things in a totally opposite direction often with off-kilter time signature freakouts and musical insanity with hardcore technical wizardry. The attitude is clearly rooted in punk rock with most tracks exhibiting a brevity but a few like “A Little Squirrel And His Crack Pipe” taking many twists and turns and extending to much longer lengths. This compiled debut represents the first phase of the band’s career. Soon after the release Pat Garner left the band and was replaced by Jason Brandon. The band enjoyed minor success after touring with Green Day, PUYA, Grip Inc., Deftones, Mighty Mighty Bosstones, Melvins, MDC and the Skankin' Pickle but lost momentum by taking several years to craft a followup. While not as OMG brilliant as Mr Bungle, this is definitely the next best thing and not to be missed by freaky avant-garde metal lovers on the funkier side of the spectrum.

LIVING COLOUR Stain

Album · 1993 · Funk Metal
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Warthur
Like the preceding Time's Up, Living Colour's Stain doesn't quite deliver up a standout song on the level of the anthemic Cult of Personality, and like Time's Up it adds even more thrash metal influence to the band's funk and jazz-tinged metal foundations. In fact, the dial on the harder-edged and darker influences is dialled up enough to elevate the album above Time's Up somewhat - whilst there's no smash hit on there, there's also a substantially higher level of quality overall, and in terms of the heaviness and complexity of the material involved they aren't quite as enamoured of technical complexity as jazz-death outfits like Atheist were at the time, but they wouldn't be embarrassed sharing a stage with them either.

DOWNSIID The Evolution of Ghetto Rock

Album · 2007 · Rap Metal
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martindavey87
Fancy that, a rap-rock band in 2007. Career suicide right there. If 2004 saw the nu metal subgenre clinging on for dear life as new musical trends preceded it, then by 2007 it was well and truly dead and buried. And while many of the bands who’d had some level of success over the genres peak years had enough name value to at least stagger along comfortably, bands like Downsiid were screwed from the outset.

Which is a shame, actually, as 2007’s ‘The Evolution of Ghetto Rock’, the debut album by Texan five-piece rap rockers Downsiid, isn’t a bad album, and showed that even though nu metal was dead, there was still plenty of bands out there blending rock with hip hop and using simple song arrangements to produce some great music.

With a variety of hard-hitting raps, shouts and singing, along with heavily de-tuned guitars and plenty of groove, ‘...Ghetto Rock’ is a throwback to those nu metal bands that were always a step below the upper echelon of groups, but had a decent hit or two that gave them some level of success. In particular, Sevendust and Nonpoint come to mind. There’re plenty of electronic effects used to give the music some flavour, and a nice mixture of heavy, pumping songs with softer, acoustic ones.

Unfortunately however, with no notable hits or career milestones, you’re not likely to stumble across these guys unless it’s by accident (in my case, I saw this CD for £1 in a second-hand shop and took the gamble that it looked like something I’d enjoy), which is a shame, because songs like ‘No Rain’, ‘Texas Get Up’, ‘Grab the Cash’, ‘I’ and ‘Take Out the World’ are all pretty good, and show that the genre was still alive and well, even if it wasn’t the mainstream juggernaut it once was.

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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