Kingcrimsonprog

Jimmy Neeson
MMA Special Collaborator · Honorary Collaborator
Registered more than 2 years ago · Last visit 6 days ago

Favorite Metal Artists

All Reviews/Ratings

863 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 113 4.19
2 Heavy Metal 100 4.01
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 19 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

GAMA BOMB Sea Savage

Album · 2020 · Thrash Metal
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Since being a teenager, my favourite subgenre of Metal has always been Thrash Metal. However, for some bizarre reason, when the New Wave Of Thrash Metal started, and lots of younger bands started making top quality Thrash, I utterly slept on it, not exploring it at all, or sometimes I even outright dismissed it.

This year I’ve been rectifying that, giving bands like Hazzerd, Harlott, Hyades, Havok, Power Trip, Lich King, Mosh-Pit Justice and Municipal Waste their fair shot and being won over time and time again.

The one exception to my New Thrash blind spot has always been Gama Bomb, maybe its because they’re my fellow countrymen, maybe its because they strike the right balance of humour and fun without descending into parody, maybe its just because they write the most memorable songs, but even when I had a “1980s or GTFO” attitude towards Thrash, I’d still find time to listen to Gama Bomb, recommend them to people, and I was even lucky enough to see them live (remember concerts guys?) when a guitarist I knew gave me a free ticket and transport (good guy!) back before I went to concerts regularly or was able to drive.

Many years since I first went in on the band with their Tales From The Grave In Space record, Gama Bomb have now released what I believe to be not only their best album to date, not only one of the best NWOTM albums I’ve heard, not only an album as good as what the ‘80s bands can put out nowadays, but one of the straight-up best Thrash albums I’ve heard to date from any era.

You heard that right. This album is their best one yet. This album can stand proudly up to the best things Slayer or Anthrax have been putting out since the ‘00s, and this album can stand up happily to some things Death Angel or Heathen were putting out in the late ‘80s. Never mind simply holding its own; this album is actively better than most of the output Thrash bands put out in the ‘90s and arguably better than some (if not a lot) classic Thrash and Proto-Thrash albums of 1983-1985 too!

I was a week one buyer (December 2020) after getting mega hyped by the pre-release singles, but it has taken me this long to write a review simply because I wanted to make sure how hard I like it wasn’t just hype or a sort of bubble-gum scenario where the flavour will go away really soon kind of thing. However, a few months later and I still think this record is a damn masterpiece of Thrash.

Songs like “Miami Super-Cops,” “Sea Savage,” “Ready, Steady…Goat!” and “Sheer Khan” just get stuck in my head for days. I have so often been on a walk these days and been unable not to sing aloud “Down, down, town!” during “Miami Super-Cops” when I had otherwise been walking in silence, sometimes leading passers-by to look at me like I am a lunatic. I don’t care, its so catchy it is irresistable!

Alongside top notch, catchy as hell tunes, everything else works perfectly. The production is tight, the playing is brilliant, the vocals just get better every time you hear them (some of those crazy Agent Steel-style screeches are so catchy) and the mixture between serious traditional Thrash music but goofy lyrics just works so well (but importantly, without being comedy music, which is always a turn-off for me). For example, when they go into “What shall we do with a drunken sailor” in the middle of the title track, it comes across as really clever even though it probably shouldn’t.

In summary, if you like Thrash Metal and can get over the fact that the band are not from the 1980s, you absolutely need this album in your collection, no questions asked.

ROB ZOMBIE The Lunar Injection Kool Aid Eclipse Conspiracy

Album · 2021 · Industrial Metal
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2021 sees the release of the seventh full-length studio album from the horror and sci-fi obsessed industrial tinged larger than life rock icon Rob Zombie. Cumbersomely named; “The Lunar Injection Kool Aid Eclipse Conspiracy” sees Rob Zombie continued his tradition of excessively titled albums, but perhaps not topping his most OTT choice from a decade ago with his fourth record “Hellbilly Deluxe II: Noble Jackals, Penny Dreadfuls And The Systematic Dehumanization Of Cool.”

It was released on Nuclear Blast and follows up the very well received “The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser” album from 2016, which the general consensus around reckoned was one of Zombie’s best albums to date, but for me it was actually a bit of a let-down after my favourite album to date, Venomous Rat Regeneration Vendor from 2013. Warlock had its highlights for sure, and I appreciated the attempt to be lean, succinct and have a big personality, but fell a bit flat a times in the song writing department of the deeper tracks.

As such, I approached this new album with a bit of trepidation, but luckily ‘Kool Aid really knocked it out of the park in my opinion, as it seems to fuse the best elements from ‘Venomous (Catchiness, hooks, better song-writing) and ‘Warlock (immediacy, character, eccentricity).

This is the second album to be produced by Christopher “Zeuss” Harris. It doesn’t have as clean nor big a sound as the old Scott Humphrey produced albums of yore, but it does has a lot of energy and seems to be going for a bit of a slightly punkier vibe than a typically industrial or even stadium sound.

The band line-up is also the same as last time around. Former Marilyn Manson member turned solo virtuoso John 5 has been in the band for years and years now, but his influence is particularly notable on this record, with all the little funk asides and effects laden guitar parts. I feel like he has been allowed to shine much more than say Educated Horses for example. I would argue that in terms of sheer guitar playing fun, this is definitely one of the most colourful Rob Zombie records to date. Its also the third studio with former Marilyn Manson drummer Ginger Fish on board. Now that Manson’s career is looking to be fast going downhill, its great to see some of the members from the iconic Holywood line-up are still out there making an impact.

There are a lot of damn fine songs to be found here. From the single “The Triumph Of King Freak” and “The Eternal Struggles Of The Howling Man” to the much talked about country tinged “18th Century Cannibals, Excitable Morlocks and a One-Way Ticket on the Ghost Train.” The real highlights for me personally are the stompy “The Satanic Rites of Blacula” and the groovy “Shadow of the Cemetery Man” as well as “The Ballad of Sleazy Rider.” I’d already rank it higher in the discography than Hellbilly Deluxe 2 or Educated Horses and in fact there is certainly a much higher hit to miss ratio than ‘Warlock on the deeper cuts. It hasn’t been out that long so its probably too early to tell, but already I’d estimate that this is in at least the top half of his discography.

Its not all glory though. There are 17 tracks here, totalling 42 mins, but there is a bit of fat that could be trimmed. Six of the Seventeen tracks here are effectively intros or interludes and this cumulatively makes up a full five minutes of the record. Zombie has never been a stranger to intros and interludes, the classic debut Hellbilly Deluxe certainly has its fair share, and the platinum selling follow up The Sinister Urge had a couple, and while I appreciate that one or two can add flavour and break things up, I think this record has perhaps the most extracurricular activity outside the main songs, which may affect the flow a little bit (its not a deal breaker or anything, but I’ll probably find myself skipping them a lot in the future).

To summarise; it has a silly name and a lot of interludes, it doesn’t sound as huge as the early records sonically, but it is consistently chocked full of strong and memorable songs, has some variety and in terms of quality it is even better than its much hyped predecessor. Well worth checking out.

TODD LA TORRE Rejoice In The Suffering

Album · 2021 · Heavy Metal
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[Warning: My most listened-to artist of the past 12 years by a large margin according to statistics from Last FM is Queensryche, so if you expect a review without mentioning Seattle’s finest, you may have to look elsewhere].

Rejoice In The Suffering is the debut full-length studio album by Todd La Torre, the man most famous for being the singer on the past three Queensryche albums (and drummer on the latest one too!) and who was in Crimson Glory before that.

It was released on Ratpack records and self-produced, but with help from bassist/guitarist/keyboardist Craig Blackwell, with mixing and mastering duties capably handled by Chris “Zeuss” Harris (Chimaira, Hatebreed, Shadows Fall, Overkill, Heathen, and the past two Queensryche records).

Now obviously, the first question you may be wondering is, “does it sound like Queensryche?” And the answer is a non-committal “sort of, a bit, in places, but also no.” Having the man who has been the revitalising force in the band and voice of their records for the past decade will obviously draw some comparison, as will tapping Zeuss who worked on their albums. That being said, the album feels like Todd wanting to use all the ideas he has that don’t quite fit in the Queensryche formula, or that might be too much of a departure if he did. This is not a Hard Rock record, this is not a Prog Metal album. This is a Metal album with a capital M.

The album is heavier, harder, faster and less progressive than 90% of the Ryche’s output, and because Todd doesn’t have to fit in with an established sound, his voice is much less like Geoff Tate’s than it is on Ryche records. While still sounding like himself, he really shows off all different sorts of voices here, from Rob Halford Screeches to that Bruce Dickinson/Ian Gillian talk-sing, to Chuck Billy melodic bark, to a few death growls and at one point an almost Dani Filth style creepy storytelling voice blended with a Johan Hegg roar, on one of the bonus tracks (“One By One”). Don’t let me dropping all those names capsize the boat or deflate your enthusiasm though, this is not to say the album is Todd-does-karaoke, Todd himself would probably be shaking his head if he were ever reading my comparisons; its just my limited language skills describing how broad the range of styles he covers is, he has his own unique spin on all of these voices.

What about the music? Where does that fit in with? Well, to be honest, it reminds me a lot of the newest Andy Sneap-helmed albums by Accept, Saxon and Priest at times, but some songs on the other hand (like “Critical Cynic”) are a little more punchy and staccato with that crunchy guitar sound that modern Prong albums have, but also wouldn’t be out of place on a Five Finger Death Punch album, the sort of thing you get when you take Fear Factory’s mechanical style and make it more organic.

The semi-ballad “Crossroads To Insanity” on the other hand is exactly the sort of thing Queensrcyhe have been doing lately, and probably the one to try first if you aren’t into heavier material. I feel like this one could have just sat happily on The Verdict. Its not really representative of the whole album though, if you want to get sort of the average sound of the record, listen first to the crunchy mid-paced title track, and then to the speedier, thrashier “Vanguards Of The Dawn Wall” which is probably the hardest, heaviest number and closer to Testament than Queensryche. This song shows me why Todd deserves a solo album, as he utterly nails this track, but it would never have fit on The Verdict or Condition Human. Now imagine something mid-way between the two and you’ll get a ballpark idea for where the album sits most of the time.

Todd handles the drums himself and does a great job (he was a drummer since a young age), mixing in a bit of flare with also not overplaying and aforementioned Graig handles the riffs; doing a very solid job of it, serving the songs well. There are some brilliant guitar solos too, particularly on the album closer (not counting bonus tracks) “Apology.”

Good production, check. Good stylistic direction, check. Good music, check. Good vocals, check check check check check.

I don’t know if the album will still be listened to and talked about in 5, 10 or 20 years. I don’t know if Todd’s solo career will be an ongoing thing, or if this is just a one time pandemic-era release of steam while Queensryche can’t tour. I don’t know if I am just unduly fond of it due to being a massive Toddryche fanboy, but I do know that in and of itself, this album is well worth your time right now, and a stirling showcase of a master vocalist demonstrating a broader range than he gets to in his day job. Being selfish, I hope it doesn’t interfere in Queensryche in any way, but other than that one caveat, I have nothing but good things to say about this.

ACCEPT Too Mean to Die

Album · 2021 · Heavy Metal
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If someone asked me to define pure classic heavy metal, the first thing that comes to my mind is the German band, Accept. Their classic run of 1980s albums is still fresh and entertaining to this day, and their reunion era with the new singer Mark Tornillo is somehow just as good, or even better (very few heritage bands can say that, maybe only Kreator are making better albums nowadays than in the 80s). For example; Their 2012 album Stalingrad was one of my albums of the whole decade, and the follow up to that Blind Rage is just as good.

In 2021 the long running band have put out their sixteenth full-length studio album, and the fifth of their modern Tornillo-era. Like the other albums from this era it is released on Nuclear Blast, and boasts an absolutely banging production job from Andy Sneap (who has done some great work with the best Saxon, ‘Priest and Testament albums of the modern era).

There has been some line-up shifts in recent years, as essential members Herman Frank and Stefan Schwarzmann left before the previous album, The Rise Of Chaos, and now iconic bassist Peter Baltes has departed too. I can imagine a few fans being worried about how that will affect the sound and direction.

Luckily main-man Wolf Hoffman is still going strong, and the Tornillo/Sneap dynamic over Wolf’s signature style ensures a sense of continuity. Christopher Williams on drums and Uwe Lulis on guitar are still here from the previous record (and the live album before that) and both of those guys are pretty dialled into what Accept should sound like anyway, which also helps it all still feel like Accept should feel.

If you have heard any album since Blood Of The Nations, you will know stylistically what to expect here. They’ve settled into a specific style and are pretty much just fleshing out every variation of that theme they can think of without straying too far, kind of like how Motorhead did for their final five or six albums, or what Saxon have been doing on their three or four most recent records. There are fast, medium and slow paced variations. There are melodic, blunt and medium intensity variants. There are rocking and metallic stylistic variants. Some songs may have a bit of a neoclassical section here, or a singalong section there. But at the end of the day, they’ve hit upon an excellent formula and they’re working it to maximum effect one album after another now; There’s lots of speed metal, lots of hard rock and a few tiny tinges of thrash and power metal in small doses for flavour now and again.

If you want to know what this album (or indeed the last four albums sound like), check out the brilliant tracks “Not My Problem,” “No One’s Master” or the title-track “To Mean To Die.” Plenty of good tunes here to keep existing fans happy. This stuff is exactly what I love about the band.

For the band’s more rock, less Metallic side, “Overnight Sensation” is a blast, and the amusing lyrics about social media influencers kind of serve as a spiritual sequel to the previous album’s “Analogue Man.” If you like the band when they add a bit of classical music into the mix, then “Symphony Of Pain” is also worth checking out.

How does this album fit into the band’s catalogue overall? Well, it isn’t my number-one favourite, but it is no disappointment either. I think of words like “solid” or “dependable” which may sound like damning with faint praise, but that isn’t the case. They have released better albums, that’s just the burden of being a brilliant band with a stellar catalogue. There may perhaps be one or two songs that come across as filler, and furthermore because they’ve used this formula for several albums now nothing feels particularly wow-ing or fresh which can sometimes have an impact when ranking records, but as a whole it is just another damn solid set of songs in a style I’ve come to love for the last decade, and still as well produced and performed as ever. If it was a Deep Purple album, it would be Who Do We Think We Are. Still awesome, but maybe not the one that makes it into all the lists.

Will it make my album of the decade list like Stalingrad did? Maybe not. Will it be my number one album of this year? Possibly not either. But do I still recommend you buy it? You bet I doa. If you liked Rise Of Chaos, you’re going to like this, it is as simple as that. At least half the album I can’t wait to add to playlists or see on live albums.

[Ps. As a side note, every time I look at the green album artwork with a pissed off looking serpent and a lightning forked-tongue, I always wonder if it was originally made for Overkill, like maybe the single art for Electric Rattlesnake? Kind of like how Obituary’s Cause Of Death album cover was originally either made or at least suggested for Sepultura’s Beneath The Remains].

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.

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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