Groove Metal

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Groove metal is also known as neo-thrash, post-thrash, or power groove, groove metal consists of slow or mid-tempo and down tuned thrash riffs, bluesy guitar solos, greatly emphasized drum work and harsh vocals. Pantera is considered the most important groove metal act and very much revolutionized the thrash metal genre, and were followed by other influential acts like Machine Head. So great was the impact on thrash metal by groove acts like Pantera and Machine Head that already established thrash metal acts changed their style in a more groovy direction. For example, speed metal veterans Overkill took a more groove metal oriented direction on "I Hear Black", as did Exodus on "Force of Habit" and Sacred Reich on "Independent". While these would quickly return to their roots, other bands, such as Anthrax, continued to explore groove metal to the extent that their music was not even considered as thrash metal anymore. In their exploration of groove metal on "Chaos A.D." and "Roots", Sepultura gave rise to the sub-subgenre of tribal metal, whose central feature is primitive and groovy riffage. Many alternative metal bands, especially those belonging to the nu metal wave, would draw on groove metal, and perhaps that is why many post-1993 releases by acts like Anthrax and Sepultura are considered alternative metal releases. Groove metal also found its way into death metal, giving birth to the subgenre of death 'n' roll, which is included under death metal on the MMA.

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

PANTERA Cowboys From Hell Album Cover Cowboys From Hell
PANTERA
4.20 | 103 ratings
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SEPULTURA Machine Messiah Album Cover Machine Messiah
SEPULTURA
4.40 | 12 ratings
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MACHINE HEAD Burn My Eyes Album Cover Burn My Eyes
MACHINE HEAD
4.21 | 27 ratings
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PANTERA Vulgar Display of Power Album Cover Vulgar Display of Power
PANTERA
4.06 | 71 ratings
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LAMB OF GOD Ashes of the Wake Album Cover Ashes of the Wake
LAMB OF GOD
4.08 | 23 ratings
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LAMB OF GOD Sacrament Album Cover Sacrament
LAMB OF GOD
4.10 | 19 ratings
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CAVALERA CONSPIRACY Inflikted Album Cover Inflikted
CAVALERA CONSPIRACY
4.20 | 11 ratings
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SOULFLY Conquer Album Cover Conquer
SOULFLY
4.21 | 10 ratings
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LAMB OF GOD Resolution Album Cover Resolution
LAMB OF GOD
4.15 | 13 ratings
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WHITE ZOMBIE La Sexorcisto: Devil Music, Volume 1 Album Cover La Sexorcisto: Devil Music, Volume 1
WHITE ZOMBIE
4.07 | 17 ratings
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CHIMAIRA The Impossibility Of Reason Album Cover The Impossibility Of Reason
CHIMAIRA
4.19 | 9 ratings
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SOULFLY Prophecy Album Cover Prophecy
SOULFLY
4.13 | 11 ratings
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And Justice for None
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FIVE FINGER DEATH PUNCH
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Catharsis
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MACHINE HEAD
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groove metal Music Reviews

ANTHRAX Stomp 442

Album · 1995 · Groove Metal
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Unitron
"RANDOM ACTS OF SENSELESS, RANDOM ACTS OF SENSELESS, VIIIIIIIIOLEENCEE"

Take one look at that album cover. It's pretty obvious what kind of album this is going to be when it's just a massive ball of heavy metal that towers over the lone man standing right by it. While most known for his work on the many legendary covers that graced all the Pink Floyd classics, Storm Thorgerson did his fair share of metal album covers. This may be his best album cover for a metal album, as this album is so damn colossal just as the ball that stands right in the center.

Stomp 442 is an interesting album in Anthrax's discography, in the sense that it blends together some of the band's most crushing moments with some of their most melodic. Opener "Random Acts of Senseless Violence" is one of the most pumped up openers I've ever heard, it immediately makes you want to kick some ass. John Bush's vocal performance is the biggest part in giving this song so much fucking attitude. The main riff helps too, but Bush's spitting lines and the infectious snarling of 'RANDOM ACTS OF SENSELESS, RANDOM ACTS OF SENSELESS' is really what makes this a perfect song for getting all that built up rage out. In fact, this album might include Bush's best vocal performances with Anthrax. The pre-chorus scream of 'SUCK IT' in "Riding Shotgun" is one of the most badass sounding things out there.

Scott Ian and guest guitarist Paul Crook's riffs are crunching and crushing, while contrasting the meaty sound with screeching and face melting bends. "Drop the Ball" is a spiral of crazy soloing and a riff that pounds your face into the ground like a hammer on a nail. Dimebag guests on "King Size" and "Riding Shotgun" for a couple delicious solos. The latter also has Frank Bello's basslines getting some shine time. You know those 90's music videos where the camera is just spinning out of control, going all over the place? That's what can be imagined while listening to "In a Zone", and it's absolutely amazing.

Despite the majority of the album being an explosive groove-thrash fest of brutality, "Nothing" and "Bare" are a couple of the most melodic songs the band has done. While I would say that these are the weaker songs on the album, they're still great and give the album a good contrast of sounds. "Bare" in particular sounds like it came right out of one of Alice in Chains's mellow/acoustic EP's.

Stomp 442 was an album that went under-promoted and forgotten, when it should have become regarded as one of the best albums groove metal had to offer. Along with Vulgar Display of Power, this is one of the best albums for getting all that built up anger out and also when you just want to bang your head right off. Along with We've Come For You All, this is the best of the Bush albums, and one that no fan of groove or thrash metal should miss.

https://thewickednest.blogspot.com/2018/04/anthrax-stomp-442-review.html

ANTHRAX We've Come For You All

Album · 2003 · Groove Metal
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Unitron
Anthrax is easily one of my favorite bands, and one that I've grown up listening to for much of my life. Some of my earliest memories of hearing the band come from both first hearing Spreading the Disease and being blown away by the sheer speed and fury of songs like "Gung-Ho", which to this day I still think represents thrash metal at its most pure form of crushing aggression, as well as We've Come For You All. This album has a great variety of all the elements that makes Anthrax one of the greatest bands out there as well as a couple well-placed experiments.

Anthrax is the only one of the big four that has never made a bad album, and when you look at what the other three bands were doing at the time, We've Come For You All easily wipes the floor with them. With a relentless combination of groove and thrash metal, as well as melodic traditional heavy metal and a little bit of death metal (yes, you read that right), We've Come For You All ended the John Bush-era of the band on an excellent note.

If there were any doubts of Charlie Benante deserving to be mentioned alongside Dave Lombardo and Gene Hoglan as greatest metal drummers, one listen to "What Doesn't Die" should get rid of any doubts. Just really take in the blistering speed and pounding blasts, it's amazingly tight without sounding too calculated. Benante is a master at his craft on all of the band's albums, but I think it really stands out on this record especially. "Black Dahlia" is another track with some spectacularly fast drumming, sometimes reaching death metal levels of intensity. Benante's drumming combined with the guitar riffing in parts of the song is what brings in the slight death metal element.

This is an album dominated by massive grooves and addicting hooks a plenty. Name almost any song, and you'll get a punch in the gut that immediately gets your head banging. "Superhero", "Refuse to be Denied", "Nobody Knows Anything", the thrash anthem of a title track, and the aforementioned two songs are just so fun to listen to. John Bush vocals are a huge part of what makes these songs so addicting. I could not imagine any other voice screaming in such a badass fashion. Obviously the grooves wouldn't be there though if it wasn't for Rob Caggiano and Scott Ian's riff wizardry and Frank Bello's killer basslines. Blended with Bush's delivery of 'Is that too much to ask?' on "Superhero", you just have to get into the groove.

As far as the more melodic tunes go, I've always loved "Cadillac Rock Box" and "Think About an End" the most. The former is one of two songs on the album that feature Dimebag Darrell contributing, the other one being "Strap It On". Another guest star was The Who's Roger Daltrey on "Taking the Music Back". Pretty impressive guest list if you ask me.

While It doesn't quite beat Stomp 442 as best of the John Bush-era albums, it's a very close second and the one that I have the most nostalgia for. If you want to hear groovy thrash with a melodic edge done at it's best, this should be an essential listen.

https://thewickednest.blogspot.com/2018/04/anthrax-weve-come-for-you-all-review.html

PRONG Zero Days

Album · 2017 · Groove Metal
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Kingcrimsonprog
There's an argument to be made that a lot of bands put out their best material on their first to fifth album, or before they turn 40 years old. Think about all the bands who were better when they were newer. Of course, there are exceptions. Notable among those exceptions are New York's mighty Groove Metal Veterans, Prong.

Tommy Victor, who basically is Prong in the way that Dave Mustaine basically is Megadeth or Trent Reznor is Nine Inch Nails or Jeff Waters is Annihilator, has arguably only been getting better and better the more he works. Especially since the band really hit their new stride with their 8th studio album, Carved Into Stone in 2012. Basically, ever since then, everything the band touch has turned to gold. Great production, great tone, great vocals, great choruses, great riffs. Absolutely consistent, basically no filler, no drop-off from album to album.

You may have guessed already from that introduction, but I like Prong's newest album, 2017's Zero Days. I like it a lot. It is Prong's 11th full-length studio album (not counting remixes, covers albums and compilations),  and it is an absolute gem.

It follows that perfect formula of the past three studio albums perfectly, delivering more of that fantastic modernized Groove Metal with small hints of the different parts of their career all refined and with a lot of chug, pace and groove balanced out with catchy but not saccharine melodies. 'Bad Ass' are really the best words to describe their current sound.

Combining the crunchy, crushing riffs of a Pantera, the eerie melody and mechanical sensibilities of a Fear Factory, the hardcore-influenced groove of a '90s-era Sepultura and muscular power of a Machine Head, but with an updated sound and masterful production job; Prong batter the audience with a perfect blend of styles as easily enjoyable by a Black Label Society fan as a Five Finger Death Punch or a Pitchshifter fan.

Highlights include the speedy Hardcore influenced 'Force Into Tolerance' with its bouncy floor tom drive, opener 'However It May End' & also 'Interbeing' with their fat bouncy '90s riffing, as well as 'The Whispers' which seems to be a hark back to their classic single 'Snap Your Fingers, Snap Your Neck' but with a much more melodic chorus that sounds like it should be in a pro wrestling event.

Just because they've been going a while, doesn't mean Prong aren't putting out some of the best material of their whole career. This album is a superb blend of tooth-kicking riffage and sweet but uncommon melody. It has all the advantages of Nu Metal without all the questionable drawbacks. Its fun, its bouncy and its accessible, but it still has ferocious riffs, impressive guitar solos and a direct through-line to beefy hardcore, classic thrash metal, and the slightest hints of industrial lurking deep in the background. If any of that sounds good to you, check this album out and check the three studio albums that preceded it too. You won't be sorry.

PANTERA Vulgar Display of Power

Album · 1992 · Groove Metal
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martindavey87
If you're a metal fan, you're no doubt gawking at this three-star review and seething with anger, and nothing I say will justify my views in your eyes. So let me just say, to Pantera; I'm sorry.

Pantera were one of the first metal bands I got into way back in the day, and I'm sure there was a time when I first purchased this CD that I thought it was awesome, even though I'd never really heard it enough times to familiarize myself with it. As a result, years of neglect and seeing absolutely nothing but the highest reverence for it has set the bar very high. Too high, in fact, as 'Vulgar Display...' has failed to live up to my expectations.

It's not a bad album, but it's very much the same as its predecessor, 'Cowboys From Hell', in that it's a good record with its fair share of filler songs, but it hasn't been helped by the expectations set by the countless fans who treat it like an absolute masterpiece. I mean, c'mon now... 'By Demons Be Driven' and 'No Good (Attack the Radical)' are incredibly forgettable.

But when Pantera do get it right... oh boy! 'Mouth For War', 'This Love', 'A New Level', 'Regular People (Conceit)' and the legendary though slightly overrated 'Walk' are all ballsy songs that are heavy as hell and groove-laden to the brim, with enough attitude and energy to make up for the albums shortcomings.

And the performances are all-round pretty good. Guitarist Dimebag Darrell shows off all the skills that would validate his countless accolades as one of the genres all-time greats, and vocalist Phil Anselmo screeches passionately with pure disdain at the world. While not every track is to my liking, there's no denying the chemistry between everyone.

In conclusion, 'Vulgar Display...' is one of the most influential metal albums from the 90's, and while it's reputation may be justified, I don't think it's stood the test of time too well. Perhaps it's one of those things where "you had to be there" to truly appreciate it.

MACHINE HEAD Catharsis

Album · 2018 · Groove Metal
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Kingcrimsonprog
To say this album is controversial is an understatement. To understand it, you really have to look at the psychology and recent history of the band and it’s frontman, Rob Flynn. When Machine Head first arrived on the scene in the early ’90s with their almost universally loved debut album and its follow up they were the hot new thing. By taking Thrash Metal, slowing it down, adding in lots of groove and Hardcore they ended up creating something unique that genre pedants still can’t agree on (Groove Metal or Post Thrash or just a weird version of Thrash, the arguments are endless). After that, when Nu Metal was popular and still new and exciting, the band who had always been talking about Hip Hop and Rap since their early days introduced Rap and Hip Hop elements into their music and changed the production and guitar styles, in so doing they made something altogether different that garnered both huge success and then huge backlash for their next two albums. After the backlash and all the constant criticism, the band almost broke up and their popularity plummeted drastically, but instead of throwing in the towel, they changed paths again and then released what can only be described as four of the best albums in the entire history of Heavy Metal… their stellar run from their return-to-glory Through The Ashes Of Empires to Bloodstone And Diamonds are four straight up faultless masterpieces, crowned by their beyond-popular The Blackening which is hailed as a classic by more people than there is time to list.

For the two albums after The Blackening though, even though they were incredible, it did not get the band the Festival Headliner status they justly deserved. Furthermore, after touring the material from those four albums, most of which is so lengthy and diverse that it absolutely ate up all the time they would get on festival slots thereby letting them only really play 4 or 5 songs… the band decided to start doing ‘An Evening With Machine Head’ shows where they could play multiple hour sets (often without a support act, although I’ve seen them twice, once with support bands and once without).

When doing those ‘evening-with’ shows and now having room to play more than just 4 or 5 of the newer era songs, they were able to drop in material from all over their career. Even tracks from the Nu Metal period that many people claimed to hate, but which the band are now getting nostalgic for and people seemed to be loving live.

So here we are in 2018; after four albums of absolute perfection, melding progressive flair, blistering thrash, flashy technicality, beautiful dual guitar melodies, and diverse mixtures of fast, slow, sludgy and groovy… the band needed to try something else to make a play for their absolutely-earned but frustratingly elusive festival headliner status. Full of nostalgia for the Nu Metal era and feeling no reason to be tied to a formula that isn’t giving them the success they deserve, Machine Head entered the studio and came out with Catharsis. The name has been explained as describing the writing process. Instead of having to hide away new ideas like incorporating poppy keyboard sounds that Rob is listening to on the radio, or delving back into the in their eyes unfairly overlooked Nu Metal stuff was cathartic for the band. Even though it is superb, they don’t want to just repeat The Blackening fifty times. It wouldn’t be fun as musicians. So back come the bouncy riffs and street-level lyrics, and newly incoming are the Jordan Fish sounding keyboard sections. That gets mixed in with the successful formula from the previous four albums, and the resultant mixture is what we have here on Catharsis.

Now; there’s two things that can make a certain time of metal fan do a spit-take. One of them is a Heavy band going Nu Metal. Another is anything that sounds like Bring Me The Horizon. So naturally; there has been a hell of a lot of negative reaction to this album. Not helping that is the world being so much more right wing now, people are complaining constantly about the socially conscious lyrics of this as if its a new thing. As if they weren’t singing about this all the way back on Burn My Eyes. As if the universally praised The Blackening didn’t have ‘Slanderous’ on it. As if Metal fans haven’t been praising bands like Anthrax and Nuclear Assault for being socially aware all the way back in the ’80s. As if music fans haven’t been praising bands like Dead Kennedys and Rage Against The Machine and the hundreds of other bands (I mean, there are so many more left wing or liberal rock and metal bands than its even worth counting, why is this even a topic of discussion?). I mean, its not as if Rob Flynn has ever guest starred on an Earth Crisis album or something is it? Oh wait…

Ok. So that’s the broad strokes out of the way. On to the specifics. It is almost an album of two halves (its almost two albums its that long, over 70 minutes… how does that compare to Unto The Locust getting pettily criticized for being too short?). The first half shows off the more experimental stuff. Songs like ‘Kaleidoscope,’ ‘California Bleeding,’ ‘Triple Beam’ and the album’s centerpiece ‘Bastards’ is where the real diversity and controversy lies. If you haven’t heard it or about it yet, ‘Bastards’ has been described as a folk song; four chords that have been around hundreds of years etc, and it climaxes with a shuffly drum beat that could be Flogging Molly or Dropkick Murphies. It is a very surprising move from the band and sounds like nothing they’ve done before. ‘California Bleeding’ has that same style of lyrics that the much criticized ‘American High’ off of Supercharger had. ‘Kaleidoscope’ and the Title Track have touches of keyboards that have that Jordan Fish BMTH sound. There is a slight Slipknot influence on opener ‘Volatile.’ ‘Triple Beam’ despite having an absolutely brutal sledgehammer riff in it, is much-hated by people for being a very clear Nu Metal nostalgia moment. I think bands like Cain Hill and King 810 coming out, and bands like Coal Chamber reuniting, as well as fans at ‘Evening-With‘ shows enjoying the Burning Red material so much can explain this. This type of music was important to the band at one point and it must feel fun to write like this again and not have to feel ashamed of it. (Well, until now when the inevitable backlash came).

The rest of the album however is a bit more traditional. Its nothing you’ve heard before but if you really think about it, it is within expected limits of Machine Head. I mean, this whole album’s titular catharsis was them rejecting and pushing against those limits and that’s why the first half is the way it is. So of course, sure there is a bit of diversity in the second half too, with ‘Hope Begets Hope’ having a slight System Of A Down influence in the quiet guitar parts, and the odd melodic pre-chorus on the Motorhead tribute ‘Razorblade Sigh’ are a new addition but its all within the limits of a between-albums jump in their last four albums run. They were never four exactly identical albums and there was a reasonable jump between each, but the second half here is very much suitable for anyone who has loved the band’s renasiance period. Don’t let people who don’t like all the change in the first half let you miss out on the quality stuff at the end. There are riffs as crushing as anything on ‘Locust or ‘Diamonds, there are guitar solos as good as the stuff on The Blackening and there are vocals as good as anything on ‘Empires. I mean ‘Heavy Lies The Crown’ opens up with violins, but so did ‘Now We Die.’

Even though the heavier moments are what we all come to Machine Head for, one of the highlights is ‘Behind A Mask;’ a semi-ballad that sounds like a superb mixture of ‘Darkness Within’ and ‘Descend The Shades Of Night’ but with an almost Bon Iver backing vocal, some tasteful electronic snare sounds, and absolutely and a stunningly simple but beautiful guitar solo.

Now; I don’t think this album is anywhere near as deserving of criticism as it is getting. (Really?! Your review was so impartial thus far, how shocking!). That being said, I do have some personal-preference issues. I for one am not a fan of the lyrics. Not the political stuff, I actually like that. Its the poor-taste vulgar stuff that feels out of place. I don’t want to hear ‘sucking dick’ or ‘getting head’ or ‘eating pussy’ or ‘a boner for miles’ from the same band who wrote the excellent lyrics to ‘Locust’ and ‘Clenching The Fist Of Descent’ …that is not to my personal taste. I also am not a fan of the weird effects on the drums at times. Sometimes, the music will cut out and Dave will be about to drop a really powerful drum fill but the production job will put an effect on it and make it sound strange and toy-like and detract from the impact. I also don’t like the decision to use less rhythm guitar and do the dual leads over only bass. It sounds a bit empty compared to previous albums some how. Lacking a certain power. Not album ruining but a little niggle worth pointing out.

Is it going to topple Unto The Locust as my own personal favourite Machine Head album? No. Is it going to topple The Blackening or Burn My Eyes as the band’s most known and loved classic album in the public opinion? No. That being said; It is the travesty people have been hyperbole-gushing about? Hell no. Is it a return to Nu Metal? Not really no, there are tiny amounts only. Is it a betrayal? No, don’t overdo it now guys. Is it even a bad album? No.

There are a few aspects that aren’t to my taste, there are a few aspects that will have more militant bullet belt wearing fans crying foul. The majority of the album however is still the same thing Machine Head always do: Unique drums. Heavy riffing. Interesting solos. Rob Flynn’s voice. There is an absolute load of good moments on the album, and the lesser moments have been greatly blown out of proportion.

PS. Another really great reason to check this album out? The bonus disc! If you get the right version you get a full length ‘An Evening With’ show live in San Francisco in 2015. It has 21 entire songs performed superbly and well captured. It has all the MH livery and banners and the good light show. The band are firing on all cylinders. The crowd seem pretty into it. The camera work and editing aren’t annoying or distracting like some concert DVDs. Heck; The DVD is good enough to be a full price release on its own merit. I highly recommend you check it out. Even if you’ve heard ‘Kaleidoscope’ or ‘Bastards’ or something and are skeptical about the new album, how can you argue with live renditions of tracks like ‘Game Over,’ ‘Aesthetics Of Hate,’ ‘Imperium’ and the like?

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SEPULTURA Sepultura - Live in Sao Paulo

Movie · 2005 · Groove Metal
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Kingcrimsonprog
Sepultura have a good few options if you are into live material. There is the Chaos DVD with the Under Siege video on it with the band touring Arise and playing all their Thrash era songs. There is the Under A Pale Grey Sky cd with the last ever gig of the Max Cavelera line-up on it, playing a lot of material off of Roots and Chaos AD. There is the newer Rock In Rio DVD with the Les Tambors Du Bronx percussion group augmenting them. There’s also plenty of live material on bonus tracks and compilations.

Best of all however, is Sepultura Live In Sao Paulo. It was the first video album with the Derick Green line-up, the first time you got to see and not just hear live versions of material from Roots and Chaos AD and its the only place to hear straight up unaltered versions of material off the Derick Green albums. It was released in 2005 when they were touring Roorback, back when they were still a Gold-selling band.

You get to hear an amazing blend (21 songs!) of material all the way from their earliest EPs and albums with early material like ‘Necromancer’ and ‘Troops Of Doom’ beside the mega-hits from the ’90s like ‘Territory’ and ‘Roots Bloody Roots’ mixed in with more modern gems like ‘Choke’ and what has to be one of the band’s best ever songs in ‘Sepulnation.’ (For me, its in the top 5 songs they ever recorded, any era).

Visually, the album is great. Its really well shot and edited, with no fancy distracting weird camera angels or lenses and no too-fast music video style choppy cuts. The stage set up and tasteful circle of lighting around their tribal ‘S’ logo banner looks really great, and the soundjob and mix are perfect. Sometimes the guitars or the vocals can be too quiet in a live recording, or some times the drums have way too much reverb, or sometimes you can’t hear the crowd’s energy; but here everything is perfectly balanced hear and it all sounds thick and chunky.

The band’s performances are excellent and it really shows off what great musicians they are. I never ‘got’ how good a drummer Igor is until I saw this! I didn’t much care for Derrick Green as a frontman before I saw this an it utterly changed my mind.

It looks great, it sounds great, the tracklist is great and the band play great. What more could you possibly want? Oh well, if you still do want more there is an absolute tonne of extras, with music videos, more live songs, a short making of documentary and biography, a bigger documentary about the band from 1998–2005 and other stuff as well (photogalleries etc.)

Overall; this is a damn strong release from a very important band, and there’s so much on it its great value for money. If like me you were skeptical on them without Max in the band, go on youtube and check out live versions of tracks like ‘Chaos AD’ and especially ‘Sepulnation’ off of this and just try not to be converted! If you are new to the band altogether this is a great starting point blending the best parts of all the eras together.

LAMB OF GOD Walk With Me In Hell

Movie · 2008 · Groove Metal
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Kingcrimsonprog
Walk With Me In Hell is a fantastic DVD for fans of Lamb Of God, full of honest and informative interviews, storming live performances and footage from all around the world.

The DVD features four and a half hours of content; including The main feature, the 117 minute documentary `Walk With Me In Hell ,' as well as six entire live songs from various tours that were featured in the documentary. The Second disc features the fantastic 77 minute `Making of The Sacrament,' documentary,' and an entire 40 minute Set from Download and lastly the music video for Redneck.

The main documentary is brilliant, following the band from just having finished recording their fantastic Sacrament album and embarking on a world tour full of interesting encounters, mishaps and mild adventures. Interviews unravel a tale of ups and downs, of bad luck and of increasing success and really give you an idea of what life is like for a touring metal band. From adjusting to foreign food, being cut of from your family and living in a cramped bus with band and crew members for months on end to photo shoots merch signing sessions and radio interview obligations.

The band are both really candid and entertaining, giving honest impressions of situations and not being afraid to look bad, while also cracking many jokes or playing a few childish pranks that never fail to raise a few laughs. Where some band DVDs may over emphasize the comedy aspects, Walk With Me In Hell is very tasteful and has the balance just right. The whole documentary is full of Lamb of God music, both recorded versions playing over footage of busses or set ups, and snippets of excellently shot concert footage that can last up to a minute or two.

Redneck, Again We Rise, Walk With Me in Hell, Now You've Got Something To Die For, Blacken The Cursed Sun, and Pathetic can be seen in full from these various performances featured in the documentary, a nice way to augment Killadelphia without repeating it.

`Making of The Sacrament,' documentary is of the same very high standard, and features a lot of the decision making processes, actual song writing and much footage of practicing and perfecting songs that would eventually make up the album. The band also talk a lot about their place in the world of metal, their music and how each album differs from the last, very interesting stuff for a fan to watch.

The Download set is a real highlight here, the excellent audio and visual quality and extremely energetic performance by the band make for an amazing show. The track list is: Laid To Rest, Again We Rise, Walk With Me in Hell, Pathetic, Now You've Got Something To Die For, Blacken The Cursed Sun, Redneck, and Black Label.

Overall this DVD is highly recommended to fans of the band, featuring tones of content, really interesting documentaries and very well shot, edited and performed live material focusing heavily on The Sacrament album so as not to just repeat the band's previous two DVDs.

LAMB OF GOD Killadelphia

Movie · 2005 · Groove Metal
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Kingcrimsonprog
Killadelphia is a fantastic DVD that captures Lamb Of God in 2005 just as they were really breaking into the big time, with a mixture of documentary segments and a sixteen track concert that has a total playtime of almost two hours.

The concert is of very high quality, the band deliver music from New American Gospel in a clear and professional way and give tracks from Ashes of the Wake an energy and rawness that improves them similarly. The band are brilliant performers and know how to command an audiences attention, when to play up to the crowd and also crucially when not to, in order to preserve the spirit of the written songs.

Randy is the type of singer who you may expect might not be able to pull it off live, given the intensity, speed and complexity of what he delivers on record; but in reality his live performances are astounding, if anything better than on record.

Performance is only one quality on which a live concert stands or falls, and thankfully a very strong performance is not the only thing which Killadelphia has to offer, the sound is terrific, with a very clear drum and vocal sound, heavy guitar tones and a good clear mix which gives each instrument a fair chance to shine without sacrificing much in the way of heaviness.

Furthermore, the camera work, direction and editing, in addition to the lighting and stage show are excellent bringing a real excitement to the video without having to resort to cheesy wipes or frequent quick cuts like other concert DVDs sometimes do, but which only ever give the illusion of energy.

On top of all this, the track list is excellent with tracks from each of the band's early albums together and performed to the highest quality. Then as if the concert wasn't interesting enough (and there is an option to play only the concert, plus a CD copy of the concert for added value) you get a really candid and informative set of documentary segments which are of the same tone as those on the band's Walk With Me in Hell DVD, and include the infamous fist fight which fans always seem to love.

Overall, Killadelphia is a brilliant DVD, honestly one of the best metal DVDs on the market and an absolute must buy for Lamb Of God fans.

MACHINE HEAD Elegies

Movie · 2005 · Groove Metal
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Kingcrimsonprog
Elegies was the first live DVD from Machine Head; recorded, just like their Hellalive album at the Brixton Academy in London, three years later in 2004 and released in 2005.

Like with Hellalive, the band play a mixture of material from all of their studio albums up until that point to an excited british crowd, but this time the band were riding high on the critical success of Through The Ashes Of Empires. Their performance is very strong indeed, with new guitarist Phil Demmel giving the band an additional edge. The dual guitar sections from Through The Ashes Of Empires sound amazing on this DVD, they really take on a life of their own in the live environment.

The tracklisting is excellent, presenting the very best of Machine Head, new songs like ‘Imperium,’ and ‘Seasons Wither,’ sound fantastic alongside the all time classics like ‘Ten Ton Hammer,’ and ‘Davidian.’

The band aren’t afraid to drop some of the more emotional, sophisticated music like ‘Descend The Shades Of Night,’ and the title track from ‘The Burning Red,’ confidently bringing the evening to a chilling standstill, before returning to the blistering metal that made them famous.

Visually and in terms of audio, the DVD is pretty great. I personally would’ve preferred if the film grain filters hadn’t been used so often and that the concert was shown in a straight beginning to end session, without the non-live footage in between songs, but ignoring that, the look and sound is great and when you add that to the incendiary performance you have a really great concert recording overall.

The extras feature a short but interesting history on the making of Through The Ashes Of Empires in addition to some music videos.

To summarize, the Elegies DVD is a must have release that no Machine Head fan should be without.

SOULFLY The Song Remains Insane

Movie · 2005 · Groove Metal
Cover art Buy this album from MMA partners
Kingcrimsonprog
Soulfly’s DVD The Song Remains Insane from 2005 is a pretty strong release; consisting of all the bands music videos, assorted live footage from various sources, an entire concert and a fantastic documentary about the band.

The music videos are nice to have, but not what anyone would buy this for and the assorted live footage (featuring a cameo apperance from Biohazard during a tribal drum solo) is a great addition which contains host of songs not in the main concert and a DVD-highlight where Chino Marino joins the band on stage to perform ‘Pain,’ from the band’s ‘Primitive,’ album.

The main concert is well filmed, but unfortunately the sound is out of synch with the video and it is therfore pretty annoying, but if you just listen to it in the background the concert is still fantastic, this out of synch problem is a pretty large disappointment for the real meat of the DVD. If you want a full length pro shot Soulfly concert from the Prophecy era that is properly synched, one is available with Digpak editions of the band’s sixth album Conquer.

Thankfully this DVD is saved by an excellent Documentary, which is informative, interesting and well edited. The DVD is still a real good buy at the price, and would be worth five stars if the audio in the main concert was in synch with the video.

Even with that flaw in the main feature, the collection of music videos, a great documentary and the other excellent (and in synch) live material are well worth the interest of Soulfly fans. It may not wholly stand up visually to modern metal DVDs but is still worth exploration for fans.

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