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 | 11 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 | 17 ratings
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alternative metal online videos

alternative metal New Releases

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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

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.

FISHBONE Give a Monkey a Brain and He'll Swear He's the Center of the Universe

Album · 1993 · Funk Metal
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siLLy puPPy
FISHBONE really stepped things up with their 1991 classic “The Reality Of My Surroundings” by adding stealthy doses of alternative metal to their already electric palette of ska, punk, funk and soul which allowed the band to experiment in myriad directions beyond the hyperactive funk ska of their earlier years. The band experienced minor success with that album which reached as high as No. 49 on the Billboard album charts, but sadly FISHBONE didn’t quite break free from their cult status as one of the sharpest badass fusion bands that delivered the social commentary of gangsta rap dressed up with the goofiest sense of humor and outstandingly brilliant compositions played by seven of the dopest musicians in the entire rock scene.

Two years later they followed up with the fourth full-album GIVE A MONKEY A BRAIN AND HE'LL SWEAR HE'S THE CENTER OF THE UNIVERSE which gets my vote as one of the coolest album titles in all of rock history. Stylistically FISHBONE continues expanding their musical tentacles into the furthest reaches of what they had been known for but also crafted a darker more inauspicious lyrical delivery with biting critiques of society and life under the perpetual thumb of the US empire. Unlike the smooth delivery of the previous album, GIVE A MONKEY with its incessant delivery of disparate musical styles proved to be too much for the fanbase and the album despite its utter brilliance got panned by the critics and went over the heads of the fans despite the fact that the metal was more metal, the funk tracks were funkier than ever and the humor while tamped down was still lurking under every cadence in a less in yer face manner.

It is so true that the album lacks the cohesiveness of its predecessor and instead GIVE A MONKEY exercises a series of mood setting units. The album slaps you in the face with the two heaviest tracks “Swim” and “Servitude” with the thundering grunge distortion and frenetic metal riffing with pummeling percussive drive dripping with snarling attitude. Considered the heaviest tracks of FISHBONE’s entire canon, they deliver an unexpected douse of heavy metal that nothing on “The Reality Of My Surroundings” even came close to. However, after the two headbangers, the freneticism cools off a bit with “Black Flowers” providing more of a transitory metal ballad type of energy despite the darkened lyrical content free of any cliche love song antics. The track provides some stellar church organ as well as ending with a sort of “Hey Jude” type of outro that loops around for a lengthy time. After these three heavy guitar units rear their ugly heads, the band surprisingly reverts back to their origins with the hyperactive ska funk track “Unyielding Condition” which also hosts stellar vocal tradeoffs.

The Funkadelic and Parliament funk rock influenced prowess continues on the sarcastic “Properties Of Propaganda” but the band throws another curve ball with the return to the heavy metal in “The Warmth Of Your Breath” but also breaks out some serious off-kilter funk riffs which makes this the ultimate funk metal track of all time IMHO. The album turns sombre with the funk and horn sections in “Lemon Meringue” and “They All Have Abandoned Their Hopes,” two tracks that are upbeat in sound but provide downer lyrics as does the guitar driven “End The Reign” which drops the funk and ska and focuses more on a standard hard rock sound in mid-tempo. The strangest track on the album is clearly “Drunk Skitzo” which features a funky groove and some completely unhinged vocals that leads to a frenetic jazz section with guest musicians Branford Marsalis providing a sultry sax freakout. The ending is augmented by atonality, weird sound effects and a dip into the truly surreal.

The album ends with the return to a nice mix of the church organ, rock guitar and bass and funky groove underbelly with the two closers “No Fear” and “Nutt Megalomaniac” which after a playing time of over 64 minutes always leaves me wanting more. This album may have been a let down at first following the perfection of “The Realities Of My Surroundings,” but in time this one has emerged to be just as prophetic and utterly addictive. The melodies are infectious, the compositions are divine and the performances are outstanding. The lyrics are tantamount to a brilliant hip hop album only dressed up in rock / funk / ska / metal clothing. Not to mention the mesmerizing album cover that folds out into one of the coolest astrological art scenes in music history. This album doesn’t have a bad track on it and although it doesn’t flow as perfectly as it should, the collection of disparate tracks is a perfect one and while certain tracks may hook you instantly, they all will if you give this album enough spins. Somehow, some way, this one has weaseled its way into my top 100 albums of all time.

Sadly the album failed to generate the momentum that carried FISHBONE to the next level and fizzled out at No. 99 on the album charts. The album was simply misunderstood and lacked the instant connection factor that so many modern music fans require. The financial frustrations of carrying on were too much for several members and the two primary songwriters guitarist Kendall Jones and keyboardist / trombonist Chris Dowd would leave the band after this album. The band continued in name but the magic had been lost as starting with the following “Chim Chim’s Badass Revenge” having much simpler song structures that were clearly trying to generate a pop hit or two. This is the end of the line for the classic FISHBONE era and together with “The Reality Of My Surroundings,” GIVE A MONKEY A BRAIN AND HE'LL SWEAR HE'S THE CENTER OF THE UNIVERSE is a bona fide masterpiece of musical accomplishment. Woefully underrated this one is. I simply cannot understand why others don’t find this to be one of the greatest rock albums of all time.

BABYMETAL Babymetal

Album · 2014 · Alternative Metal
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siLLy puPPy
Metal is an interesting genre of music indeed. Despite its nearly half century of expanding its sonic tentacles in virtually every direction of the musical spectrum, it has nevertheless for the most part managed to keep itself confined in a self-imposed box of sort. With very few exceptions that are more regarded as “novelty” rather than “true metal,” the genre has remained steadfast in the darkened section of the music store and although the paranoia and social outrage of early Black Sabbath has expanded into the more extreme arenas of Satanism, murder and suicide, the genre has pretty much followed the general trend of remaining a slap in the face for those unaccustomed to its ugly characteristics molded into various shades of palatability.

Then every once in a while, some act dares to break these unspoken conventions and finds a polarizing effect of utmost praise for its original and fresh approach as well as gag inducing condemnation for crossing those nebulous invisible barriers a tad too far. While one gimmick seems to work for a certain band, the next may fail to walk that precarious tightrope act and have a completely different outcome. Such is the case with Japan’s BABYMETAL who emerged in 2014 after gaining independence from serving as a sub-unit of the Japanese idol group Sakura Gakuin. With the idea that the metal market is saturated with not only the old school acts still in existence but countless new strains of the genre, the band was marketed just as was sushi which delivered something completely new to the multi-decade paradigm.

While BABYMETAL is fronted by a mere trio of female teenagers looking more like the next candidate for a tween pop band blasting on headphones far and wide through Japan’s youth, the band is in fact consists of a multitude of musicians and lyricists which creates a more varied sound than would be possible if a mere small group of artists were in charge. BABYMETAL started the trend of taking the unlikely companions of heavy metal and J-pop and mixing them together which means cute cuddly girl vocal pop with serious metallic bombast along for the ride. While tagged in some camps as “trance metal,” a sub-genre that mixes clean melodic styles with melodic death metal, silky smooth symphonic elements and electronic dance music, BABYMETAL delivers a more specialized sound that is known as “kawaii metal,” also known as “idol metal” or “cute metal” on their self-titled debut album which invaded the metal scene in 2014.

This little sub-sub-genre of “kawaii metal” specifically refers to the fusion of heavy metal bombast with J-pop melodies that incorporates everything from hip hop and dance music to bubblegum pop and dubstep. The metal aspects can range from death and industrial to speed, power and classic 80s. Despite the utter contempt heaped upon this band from the old school metalheads who don’t fancy crossing those invisible lines into the world of “cuteness” in their metal, BABYMETAL nevertheless has been quite successful with this debut selling over 100,000 copies in Japan alone and finding a larger audience around the world. These high school age girls have already embarked on many world tours and whether you love em or hate em, BABYMETAL is a band that has managed to capture the attention of just about every metal fan out there, a rare unifying factor almost unheard of in the 21st century.

Yes, BABYMETAL is a gimmick for sure but so is pretty much everything out there. It’s a given that when certain bands whether it be My Dying Bride, Overkill, Pantera or Metallica break free from the style that brought them to the world’s attention find visceral reactions against the sudden change and more often than not revert back to their true and tested style that the fanbase loves to much. Musically this is metal through and though. The bombast of the incessant guitar riffing, death growls, percussive blastbeats and general orotundity pays homage to the world of extreme metal perfectly however it will be the cutesy attack of J-pop melodies and clean girlie vocal charm of Su-metal (Suzuka Nakamoto), Yuimetal (Yui Mizuno) and Moametal (Moa Kikuchi) that will leave the old schoolers shaking their heads in disbelief.

Despite all the downright disdain casted toward this style of music, BABYMETAL in reality cranks out a rather innoxious form of pop metal that while not the cream of crop of pop infused metal hooks is by no means as bad as it’s made out to be. While not exactly my preferred style of metal, i can’t help but find this a refreshing addition to the mostly testosterone fueled metal universe. Cute cuddly J-pop melodies snuggle up with hardcore metal fury. Now that’s not something you won’t hear everyday! Perhaps we should call this “Hello Kitty metal!” A few factors of this debut do keep its originality dampened. Firstly, the tracks tend to start sounding the same as the album approaches the one hour mark. There could have been more variation to keep my interest as many of the tracks start sounding samy. So in the end, i won’t pretend that i have joined the fan club and am anxiously awaiting the next BABYMETAL tour since this is in the same camp as say Dethklok, but it’s certainly no throwaway metal either. The J-pop meets metal possibilities need some more work but offer a new slice of the metal universe to expand upon.

SLIPKNOT (IA) All Hope is Gone (10th Anniversary Reissue)

Boxset / Compilation · 2018 · Alternative Metal
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Necrotica
The 10th anniversary re-release of All Hope is Gone is strikingly deficient of extra content, especially given Slipknot’s penchant for giving fans a wealth of new rarities and goodies with prior reissues. For comparison’s sake, Iowa’s re-release saw the 9-piece provide an entire film of music videos and interviews, new artwork, and live audio of the Disasterpieces DVD. Meanwhile, the reissue of All Hope is Gone simply features new cover art (which is quite pisspoor compared to the original cover) and a live disc featuring the band performing at Madison Square Garden. That’s pretty paltry, but I suppose it’s not entirely surprising when taking the band’s views on the record into consideration.

After all, they themselves (minus a few members) often consider All Hope is Gone to be the most disappointing record in their short discography. Guitarist Jim Root once stated that “it felt a little rushed” and went further to blast producer Dave Fortman by saying he “wasn't able to get nine people together on the same page and, to me, that's the most important thing in making a Slipknot record." And if there’s anything I can at least agree with the album’s detractors on, it’s Root’s comment about not being able to stay on the same page. Yes, All Hope is Gone is very obviously a stitch job. Many disparate flavors are blended together without much forethought into what the outcome would be. Many elements of Stone Sour, in particular, creep almost uncomfortably into Slipknot’s sound to offset some of the outfit’s heaviest moments.

And yet, that last statement is often more of a strength than a weakness to my ears. I understand that many people found the album sorely lacking in the anger and brutality of previous records (which amuses me, considering how soft Vol. 3 was on many occasions), but it’s not like the band’s unique brand of groove-inflected alt metal has dulled all that much here. “Gematria,” “Sulfur,” “Wherein the Lies Continue,” “This Cold Black,” and the title track are all imbued with the same manic energy and intensity that Slipknot built their empire on, and they should prove to be highlights to fans who flocked to their most furious and hard-edged moments. Some of the moments where the Stone Sour influences rear their head also prove to be highlights, such as the way “Sulfur” combines a thrash-like fury in the verses with a fusion of catharsis and clarity in the groove metal chorus. “Gehenna” is another strong point, using the softer elements to throw the listener into a host of creepy guitar and sampling effects while Corey Taylor delivers one of his most effective performances yet.

Speaking of Corey, All Hope is Gone may actually be the strongest showing of the man’s versatility on the mic. Growling, screaming, gentle crooning, mid-range singing (with a bit of rasp for good measure), creepy low vocals that almost pass for spoken word, and forceful gang shouts are all given a chance and are more equally distributed on this album than on any other by the group. Even for non-fans of the band, one has to admit that there’s a lot of power and charisma whenever he takes centerstage. However, true to this album’s spirit of inclusion, most of the other members step it up quite a bit too. Guitar-wise, expect to hear a lot more shredding and traditional death/thrash-influenced riffs than on previous outings; the solos in particular prove to be some of the best bits on the songs that include them, like “Psychosocial,” “Butcher’s Hook,” and “Gematria.” Joey Jordison, meanwhile, remains a powerhouse on the drums and does a nice job of combining brutality and force with a strong ear for tasteful and varied dynamics. The only real disappointment here is that some of the more extraneous members, such as keyboardist/sampler Craig Jones and DJ Sid Wilson, have a lot more time on the sidelines because of the band’s shift toward a more traditional metal sound.

Truth be told, I find the weakest moments to be found in the softest moments. “Snuff,” while very nostalgic to return to, simply doesn’t hold up well anymore (hell, one could argue it didn’t hold up very well in the first place). It’s an overly saccharine piece of melancholic alt-rock fluff that doesn’t really fit too well in the band’s discography as a whole. Perhaps if it was one of the ballads on a Stone Sour record - in the same vein as “Bother” - it would have found a better home. The same could be said of “Dead Memories” to an extent; despite some decent lead guitar work from Mick Thompson, the heartbroken lyrics (Corey was going through a divorce at the time) prove to be too melodramatic and are quite hard to take seriously. Also, some of the pacing is a bit startling; did anyone really expect the title track to appear right after “Snuff,” for instance?

All Hope is Gone is a strange record. It’s a mishmashed, disjointed metal album with a severe identity crisis. Joey Jordison once stated that it’s the sound of the band breaking at the seams, and that’s probably the best way to explain the lack of control and cohesion regarding the project. Still, I can’t deny that I found some of the band’s best material to be present here. The heaviest moments remain a force to be reckoned with - just as on past Slipknot records - and the moments that integrate the mix of heavy and soft dynamics are often quite effective too (with a few exceptions; the chorus to “Butcher’s Hook” is absolutely miserable). All Hope is Gone definitely works better on a song-by-song basis than as an entire experience, but there’s still a ton of good stuff here if you’re willing to hit the “skip” button once or twice.

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
Cover art Buy this album from MMA partners
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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