Kingcrimsonprog

Jimmy Neeson
MMA Special Collaborator · Honorary Collaborator
Registered more than 2 years ago · Last visit 5 days ago

Favorite Metal Artists

All Reviews/Ratings

859 reviews/ratings
MASTODON - The Hunter Progressive Metal | review permalink
MASTODON - Crack The Skye Sludge Metal | review permalink
MASTODON - Blood Mountain Sludge Metal | review permalink
MASTODON - Leviathan Sludge Metal | review permalink
MASTODON - Live At The Aragon Sludge Metal | review permalink
AMON AMARTH - With Oden on Our Side Melodic Death Metal | review permalink
AMON AMARTH - Twilight of the Thunder God Melodic Death Metal | review permalink
AMON AMARTH - Wrath of the Norsemen Melodic Death Metal | review permalink
AMON AMARTH - Surtur Rising Melodic Death Metal | review permalink
ANNIHILATOR - Live at Masters of Rock Thrash Metal | review permalink
ANTHRAX - Worship Music Thrash Metal | review permalink
ARCHITECTS - The Here and Now Metalcore | review permalink
BRING ME THE HORIZON - Suicide Season Metalcore | review permalink
CARPATHIAN FOREST - We're Going to Hollywood for This Black Metal | review permalink
CHIMAIRA - Chimaira Groove Metal | review permalink
CHIMAIRA - The Infection Groove Metal | review permalink
CHIMAIRA - The Dehumanizing Process Groove Metal | review permalink
CHIMAIRA - Coming Alive Groove Metal | review permalink
CLUTCH - Live in Flint, Michigan Stoner Rock | review permalink
CLUTCH - Blast Tyrant Stoner Rock | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Thrash Metal 112 4.18
2 Heavy Metal 98 4.02
3 Groove Metal 62 4.32
4 Hard Rock 62 3.65
5 Power Metal 60 4.12
6 Stoner Metal 41 4.18
7 Nu Metal 36 3.85
8 Progressive Metal 35 4.26
9 Death Metal 34 3.74
10 Stoner Rock 32 4.39
11 Alternative Metal 29 3.84
12 Metalcore 28 4.32
13 Heavy Alternative Rock 26 4.00
14 Melodic Metalcore 25 4.26
15 US Power Metal 20 3.83
16 Industrial Metal 18 4.03
17 NWoBHM 18 3.72
18 Metal Related 17 4.12
19 Sludge Metal 14 4.54
20 Melodic Death Metal 11 4.41
21 Non-Metal 8 4.00
22 Hardcore Punk 8 4.13
23 Glam Metal 8 3.25
24 Gothic Metal 7 3.14
25 Proto-Metal 6 4.00
26 Speed Metal 6 3.33
27 Rap Metal 5 3.70
28 Black Metal 5 3.90
29 Atmospheric Sludge Metal 4 3.38
30 Doom Metal 4 4.50
31 Symphonic Black Metal 4 3.00
32 Melodic Black Metal 3 3.67
33 Grindcore 3 1.83
34 Death 'n' Roll 2 4.50
35 Heavy Psych 2 3.75
36 Technical Thrash Metal 2 3.50
37 Funk Metal 1 3.50
38 Deathcore 1 3.50
39 Crossover Thrash 1 3.50
40 Technical Death Metal 1 4.00

Latest Albums Reviews

HEATHEN Empire Of The Blind

Album · 2020 · Thrash Metal
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Empire Of The Blind was released in September on Nuclear Blast. Heathen are perhaps not the world’s most prolific band, having only released their fourth studio album since their 1980s inception in 2020, but when they do put something out, you can be sure its going to be good. Carrying on the general sound and vibe of their previous album, The Evolution Of Chaos, this new album sees the band once again blasting out crunchy Bay Area Thrash Metal riffs, a variety of fast, slow and mid-paced material, great melodic catchy choruses and superb melodic lead guitar lines. (Guitarist Lee Altus clearly uses Heathen nowadays as a vehicle to let out the cleaner catchier stuff that wouldn’t fit with his other band, Exodus).

The only main shift in direction from the previous record would be the amount of mid-paced or groove based parts is higher, and the number of speedy parts is a bit lower (although thankfully, without crossing the barrier into being ploddy too often).

They don’t frontload it and shove a bunch of filler at the end, it starts off restrained, opens up as it goes along, with the power-ballad just after the middle as a bit of a breather. It arguably gets better as it goes on, and also doesn’t drag on too long, clocking in at a solid 47 minutes with 10 proper tracks, an intro and an outro. The production is flawless, the vocals are remarkably good for singer Dave White’s age (holds up a lot better than many of his ‘80s contemporaries), and the overall flow of the album is just right.

Highlights include the tight and bouncy “Blood To Be Let” and the speedy “The God’s Divide” (I wish that was the album opener actually) as well as and the muscular “In Black” which feels like it could be played at sporting events, and reminds me a tiny little bit of the meatier material on Metallica’s Death Magnetic album (think “Judas Kiss” and “Broken, Beaten, Scarred”). The instrumental “A Fine Red Mist” is the real standout moment however, which balances the faster more powerful riffing with grand guitar textures and victorious mountaintop vista, sword-in-hand feel.

Kragen Lum has been handling the heavy lifting in the song-writing department, and seems to be more into creating a mood and leaving room for the singer and lead guitars to show their stuff, rather than just breaking teeth. The balance is not too dissimilar to recent Queensryche albums actually, (I don’t see how someone who loves Condition Human for example wouldn’t enjoy “Shrine Of Apathy”) although still unmistakably Heathen.

If I was to make a slight criticism, it could maybe do with one or two faster songs to keep the Thrashing up. For example just one more “The God’s Divide” would have elevated it from good to very good for me, but that’s just nit-picking and personal preference really, and Heathen have never been a Dark Angel or Razor focusing on relentless speed anyway. As long as you don’t go in expecting Darkness Descends, Reign In Blood or Pleasure To Kill however, this album is sure to satisfy and if you enjoyed The Evolution Of Chaos there’s little chance you’ll be disappointed with the quality of the songs or the performance of the musicians.

RIVERSIDE Wasteland

Album · 2018 · Metal Related
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Polish Prog Metal band Riverside suffered the terrible loss of their lead guitarist Piotr Grudziński less than half a year after their superb sixth full-length studio album; Love, Fear & The Time Machine.

After the difficult decision to carry on without replacing him, their next and at time of writing newest album was released in 2018 via InsideOut Music and met with deserved acclaim (and surprisingly in this day and age, sold relatively well for a prog album, continuing their streak of gold albums in their homeland).

It can’t have been easy carrying on without such a key member of the band, who’d been there since the very start, but somehow they managed to create a beautiful, affecting, and very interesting album with no loss of quality, while also not losing their ‘sound’ or ‘spirit’. If they had understandably chosen not to continue after 2016, they would have been leaving us with a wonderful catalogue. As it stands however, on Wasteland they do a masterful job of continuing their genuinely near-flawless discography and only solidifying their legacy as absolute masters of the genre.

The actual playing and vocals are top notch. The production and mixing and have a tasteful, stripped back, classic-sounding, raw feel that perfectly suits the material and the place in the band’s discography.

The real magic of the album however, comes from the material here, which is simply wonderful from start to finish. There isn’t one track I would lose, edit or alter. Nine perfectly balanced no-fat tracks over 50 minutes and not outstaying its welcome.

Its so good all the way through it could be difficult to choose highlights, but if you like the band at their proggiest, then check out nine-and-a-half minute “The Struggle For Survival” which features a bit of a 21st Century Schizoid Man/Heart Of The Sunrise/The Necromancer vibe with a lot of instrumental muscle flexing with some brilliant bass and keyboard showing off (and Maciej Meller’s guest guitar solo is especially quite entertaining in a Fripp sort of way). If however you prefer the band just writing good songs; then the varied ‘Veil Of Tears’ and the haunting and touching semi-ballad ‘Guardian Angel’ for example are two of the best songs the band have ever released to date.

This is a record with a lot of up front charm and instantaneous gratification, but a lot of mood, atmosphere and subtle depth as well and even the tracks that don’t drop your jaw right away become favourites in time (I like “River Down Below” more every single time I hear it for example, and I do mean every single time, I can’t say that for many other bands). As with all the Riverside albums to date, I can’t recommend it enough.

OVERKILL The Electric Age

Album · 2012 · Thrash Metal
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Overkill are one of the hardest working, relentless, dependable bands in Thrash Metal. Much like Motorhead were, they were constantly on the road or pumping out album after album, flying the flag and keeping the faith over the years (and still are) whether the media were paying attention or not.

Their first four albums are pretty indispensable Thrash Metal must-haves that I am very find of. I keep a framed vinyl copy of The Years Of Decay on my wall as decoration. I can’t claim to be their biggest ever fan, for example I didn’t give their ‘90s output as much attention as I should have until recently, but I have been slowly rectifying that, and I still have a very high regard of the band even if I don’t know every single thing they ever released. Public opinions seem to be mixed on almost everything after their WFO album, but I remember clearly when almost the whole media, fan community and internet were united in love for their 2010 album Ironbound. That was a fantastic, reenergised, retro but modern, firecracker of an album that filtered what was good about classic Overkill and modernised it, and crucially had the songwriting and performance to back up the production and brilliant formula. To make a Testament comparison, it was very much their Formation Of Damnation.

What happened after Ironbound though? Was it an anomalous high-water mark like Megadeth’s Endgame but then they slowly slipped back down from the heights? Or was it a kick up the ass that was just the beginning of a new period of great album after great album?

Luckily, it was the latter. How do you possibly follow up a career rejuvenation like Ironbound? “Easy,” said Overkill a mere two years later, and promptly issued forth another fired-up, teeth shattering, razor sharp collection of classic yet modernised tracks that give the fans exactly what they want, but somehow without just recycling old material. Stylistically, it is a continuation but also a fine-tuning of what they did on Ironbound, with a few less over-long songs, and a slight rejigging of the ratio of Thrash to Classic Metal to Groove aspects, with a bit less groove this time around and a lot more thrash.

Another superb production job with great guitar tone (and more importantly for Overkill, bass tone), another impressive Ron Lipnicki drum performance, another example of Blitz’s singing/attitude at his very best (gotta love his sarcastic sounding angry snarl) all serve to compliment that aforementioned style and add to the quality of the record as a whole.

Highlights include the single “Electric Rattlesnake” as well as the brief but satisfying “Old Wounds, New Scars” and best of all is probably “Save Yourself” which is just a perfect example of the sound, spirit and style of Overkill.

If you liked Ironbound, this is a tighter, faster, even better version of what that album achieved. If you ever liked Overkill at all, there’s practically no chance you wouldn’t like The Electric Age. Sixteen original studio albums deep into their forty-year career, it was/is pretty exciting to think that the band were/still are able to make material this good.

HEATHEN The Evolution of Chaos

Album · 2010 · Thrash Metal
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Heathen are one of the better of the underrated Bay Area Thrash Metal bands, from their melodic and catchy 1987 debut Breaking The Silence, to their dense and slightly progressive Victims Of Deception in 1991. After a long period of inactivity with only occasional appearances, they finally returned with 2010’s The Evolution Of Chaos (or 2009, if you lived in Japan).

Their guitarist Lee Altus has been making a name for himself in Exodus in recent years, and Exodus repay the favour with guest appearances on here by singer Rob Dukes and guitarist Gary Holt.

This album is very much modern Thrash done right; catchy melodies, memorable choruses, a good mixture of tempos but not forgetting to rock out and speed up, and utterly magnificent lead guitar work.

The production, from Juan Urteaga, is absolutely top drawer and equal to any of the modern Thrash releases by the likes of Andy Sneap. It sounds so clear and smooth, highlighting Heathen’s melodic aspirations really well.

In terms of direction, they do try and balance the style of both their more direct debut and their more ambitious sophomore effort, with steps into the future in the form of a whole new approach. The balance of those three key ideas has lead to a very fine record that fans of the band, and the genre at large need to check out.

If there was a slight criticism to be levelled at the album, it is quite long (68 and a half minutes!) but to be fair, there isn’t much in the way of filler either, so I guess we should just be grateful for having a lot of high quality material, even if it is hard to find the time to listen to it all in one sitting.

Here’s include the catchy “Arrows Of Agony,” the direct “Dying Season” and the varied “No Stone Left Unturned.”

Whereas some other heritage bands came back and their album was more of a step in the right direction (Forbidden) or a disappointment (Nuclear Assault), Heathen just nail it here. Well-written, well played and well produced. This set a standard for me against which comebacks can be judged (recently topped by Sacred Reich, but for the past decade, its definitely been one of the best).

DEATH ANGEL Humanicide

Album · 2019 · Thrash Metal
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Having been deeply impressed with Death Angel’s modern material after seeing them live, I rushed out and bought myself a copy of their latest album, 2019’s Humanicide. I’ve loved the band’s original output for years, but hadn’t checked out as much of their post-reunion material as I could have.

Turns out, that might have been a bit of a mistake because this album absolutely rips. A succinct and perfectly formed 10 tracks of Thrash. Fucking. Metal. Every bit as good as the latest albums by their Bay Area compatriots Exodus and Testament. Better in fact than some of the reunion albums by other Bay Area bands like Forbidden and Heathen. Heck… better even than the newest albums by most of the Big Four.

Stylistically, there isn’t too much material that you could say would fit on any of the band’s first three albums, it isn’t the youthful meathead Thrash of The Ultraviolence, nor the diverse and off-kilter Thrash of Frolic Through The Park and it isn’t the experimental restrained Thrash majesty of Act III… it is however, utterly perfect modern Thrash.

Drummer Will Carrol throws in such bouncy and creative patterns when possible amongst the relentless pounding, all four limbs flailing with powerful control. Damien Sisson is one of the more interesting bassists at this level. The lead guitars are spectacular from Rob Cavestany, even more impressive than the ‘80s output. Rob and Teds riffs are chunky and aggressive. On top of the furious musical canvas, singer Mark Osegueda demonstrates a wide array of different vocal styles, from melodic, to deep, to high, to harsh and several mixtures somewhere in between. He has a knack for memorable vocal hooks and catchy vocal rhythms.

Highlights include the utterly perfect title track, which opens the record and could be used as a study aid for modern thrash, as well as the much more diverse ‘Aggressor’ which covers a range of tempos and styles and really lets the band showcase their immense musical prowess, as well as the catchiest song on the record, the punkier ‘I Came For Blood.’ That’s not to say its frontloaded either. There is no real filler or unnecessary material here. Everything is good.

I really enjoy Jaon Suecof’s production job here. It perfectly suits the style and direction of the music. Guitars up front, vocals slightly lower than average, and a lot of presence for the drums.

Overall; this is a magnificent album, from an underrated band. Each song is a rager, it sounds good, each musician is great and the record doesn’t outstay its welcome. I’ve just been absolutely pasting it for the last week in the car and at home, can’t go a day without it. I really wish I’d gone in on it sooner.

Latest Forum Topic Posts

  • Posted more than 2 years ago in MMA's Top Stoner Metal Albums
    Shit, that's hard. Three-way-tie for me between Welcome To Sky Valley, Blast Tyrant and Deliverance.
  • Posted more than 2 years ago in Helloween Albums (Updated 2016)
    Keeper 2, Then 1, Then Oath, Then 7 Sinners, Then God Given Right.
  • Posted more than 2 years ago in People's reaction after finding out you like metal
    I got nothing but grief for it in high school. Constant teasing, people shouting in the street from moving cars, people squaring up and starting fights, always having people talk shit behind my back. I even remember going up to a bar once and the non metal guy at the bar just looked pure hatred into my eyes and said 'get out of my face you're making me fucking sick.' That was a small, backwards town full of racists, homophobes and general idiots anyway though. In university it was just a bit more like, oh, well, I'll not be your friend but I won't actively be a dick about it. Nowadays as an adult, people just look at me like 'Why?' My stock answer is either 'Some people like horror films, if music was film, metal would be horror.' Or 'Not everyone can eat really spicy food, but that doesn't mean no-one can.' I generally don't bring it up. Recently, one of my co-workers noticed a motorhead pin on my backpack, and decided to throw the horns at me instead of greeting me for the next month or so, but not in a mean spirited way. 

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