Sheavy

Alex Newman
MMA Special Collaborator · Honorary Collaborator
Registered more than 2 years ago · Last visit 9 hours ago

Favorite Metal Artists

All Reviews/Ratings

93 reviews/ratings
GIGANTIC BRAIN - World Grindcore
METALLICA - Master of Puppets Thrash Metal
DEEP PURPLE - In Concert Hard Rock
PSYOPUS - Ideas Of Reference Mathcore
AC/DC - If You Want Blood You've Got It Hard Rock
ANTHRAX - Among The Living Thrash Metal
BLACK SABBATH - Black Sabbath Heavy Metal
BLACK SABBATH - Paranoid Heavy Metal
DEEP PURPLE - Machine Head Hard Rock
DEVIN TOWNSEND - Terria Progressive Metal
EDGAR BROUGHTON BAND - Sing Brother Sing Proto-Metal
SIGH - Imaginary Sonicscape Avant-garde Metal
MELVINS - Hostile Ambient Takeover Sludge Metal
ALICE COOPER - Killer Hard Rock
BETWEEN THE BURIED AND ME - The Great Misdirect Progressive Metal
DARK ANGEL - Darkness Descends Thrash Metal
SPINAL TAP - This Is Spinal Tap Heavy Metal
URIAH HEEP - Salisbury Hard Rock
AGORAPHOBIC NOSEBLEED - Altered States of America Cybergrind
WHOURKR - Concrete Cybergrind

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Grindcore 14 2.86
2 Hard Rock 14 3.64
3 Thrash Metal 11 3.45
4 Heavy Metal 10 3.25
5 Progressive Metal 7 4.14
6 Proto-Metal 4 3.50
7 Sludge Metal 4 4.25
8 Metal Related 4 1.75
9 Cybergrind 3 4.33
10 Industrial Metal 3 2.33
11 Melodic Metalcore 3 3.17
12 Mathcore 2 4.50
13 Atmospheric Black Metal 2 3.75
14 Black Metal 2 1.50
15 Metalcore 2 3.50
16 Non-Metal 1 0.50
17 Deathgrind 1 2.00
18 Stoner Metal 1 4.00
19 Stoner Rock 1 4.00
20 Symphonic Metal 1 2.50
21 Technical Death Metal 1 4.00
22 Alternative Metal 1 0.50
23 Avant-garde Metal 1 5.00

Latest Albums Reviews

TOADLIQUOR Back In The Hole

Album · 2024 · Sludge Metal
Cover art Buy this album from MMA partners
Aaannnnddd the winner of most unexpected 2024 album release goes to Toadliquor. 31 years after they dropped one of the most vile, angry, and unique Sludge/Doom metal albums, the legends return with their sophomore release Back In The Hole. So what has changed in the world of Toadliquor’s sound? Not all that much. Vocalist Rex doesn’t quite hit the high, almost ear piercing, throat ripping shriek of old. It’s more of a raspy yell or scream, not quite as powerful, but still communicates Toadliquor’s angst and nihilism. The songs are also (relatively speaking) tighter, and more concise. Less prone to droning off and dropping into feedback, but don’t worry, Toadliquor have lost none of their angry, brutal, misanthropic, crushing heaviness. Every song is precipitous, monolithic Doom leaning Sludge Metal.

However, there is something new in the Toadliquor arsenal, giving this album an experimental bent at times. This being a scattering of various electronic, psychedelic, or almost Post Metal interludes or inflections across most songs. On Recained, Toadliquor delve into a trippy, psychedelic midsection, filled with synth drones and electric pulses, ponderous reverbed drumming, squealing and muted saxophone, and some drowned out vocals. The namesake song and album closer, Back In The Hole, opens with some somber, drifting and depressive Post Rock guitar and synth, before slowly transitioning into the Sludge/Doom pounding and riffing, while the almost melodic guitar parts soar above.

This is an excellent return to the spotlight for Toadliquor.

DEAD IN THE DIRT The Blind Hole

Album · 2013 · Grindcore
Cover art Buy this album from MMA partners
Hailing from the deep south of Atlanta, Georgia, and appropriately were signed to Southern Lord, Dead In The Dirt’s sole full length, The Blind Hole, is a crushing, catastrophic slab of grinding Powerviolence. DITD deal in fairly typical PV lyrically and sonically speaking, but don’t even think for a second this is meant as insult. Frequent and Extreme start and stop tempo shifts, even within the confines of 60 second or less songs, often punctuated and preceded by squalls of feedback. Downtuned growling, grinding guitars thunder away to merciless but tight Hardcore drumming and blast beating. Occasionally settling into a more metal inspired mid-tempo or thrash groove, and some songs drop entirely into disgusting filthy Sludge Metal (Will Is The War and Halo Crown). As could be guessed from the album title, nay, band name, the lyrics all tend towards the introspective and unwaveringly nihilistic, often with political or social subtext. These are handled by dual vocalists, Bo Orr, also on Bass, and Blake Connally, also on Guitar. Dual vocalists means we are treated to differing delivery styles, one a Death Metal growl, and the other a Hardcore Punk styled full on shriek. Production wise it’s all very clear and clean, none of the dirt and grime, nor aggression and rawness is lost.

A beautiful, maniacal not quite 24 minute assault.

16 Curves That Kick

Album · 1993 · Sludge Metal
Cover art Buy this album from MMA partners
16 are a Sludge Metal group that have been kicking out their own unique flavor of Sludge since the inception of the genre, playing in the not-really-recognized-as-a-subgenre of Sludgecore, basically Sludge Metal that sticks close to what it formed from. Heavy, downtuned, slow-ass Black Sabbath and Doom Metal infused Hardcore Punk. Formed in 1991 and still rolling strong today, with only a brief, few year break in the mid-noughties. 16 are a group that, IMHO, should be talked about more and in the same breath as other early sludge metallers like Eyehategod, Crowbar, Grief etc. I have suspicions this is down to their own brew of influences and sounds, 16 really don’t sound like any other Sludge band. To start 16 play at a much faster tempo than most, keeping a pace similarly to Buzzoven. They also have a healthy dose of noise rock, alt rock/metal, post hardcore, and even a tad of an early Metalcore sound I dare say, in addition to the typical hardcore influence sludge metal has. Another potential hurdle for your average metalhead is the fx ladened vocals, which are nearly drowned out in static and occasionally reverb. Lyrically 16 often stick close to typical Sludge Metal inspirations, drugs, depression, violence, and general misanthropy, but they aren’t afraid to delve into some weirdness. Check the song Amish for some Jack Kerouac beat poetry.

"The mailman comes, When I'm home, Acrobat, Undertow, The wooden door, Broken bone, Common growth, Telephone"

Or Joe The Cat, unsurprisingly about a cat (Melvins inspired?).

This debut album from 16 is everything you would want from Sludgecore. It’s all got a clearer production than most other Sludge acts of the time, but it doesn’t diminish the crackhead energy 16 have. Unwaveringly aggressive, super heavy and chunky riffs all over the place, with intermittent flourishes and breaks of guitar scrawl. The PH influence makes for some interesting song dynamics, there’s much more activity between guitar, bass, and drums, more stop and go, than typical of this style. Special mention to the bass, which is that super funky, fat, and floppy bass that was everywhere in the early 90s.

Latest Forum Topic Posts

  • Posted 21 days ago in Now -- what are you listening to? V3
  • Posted 26 days ago in The Trash Compactor
    The Trash Compactor review No.3Toadliquor – Back In The Hole   Aaannnnddd the winner of most unexpected 2024 album release goes to Toadliquor. 31 years after they dropped one of the most vile, angry, and unique Sludge/Doom metal albums, the legends return with their sophomore release Back In The Hole. So what has changed in the world of Toadliquor’s sound? Not all that much. Vocalist Rex doesn’t quite hit the high, almost ear piercing, throat ripping shriek of old. It’s more of a raspy yell or scream, not quite as powerful, but still communicates Toadliquor’s angst and nihilism. The songs are also (relatively speaking) tighter, and more concise. Less prone to droning off and dropping into feedback, but don’t worry, Toadliquor have lost none of their angry, brutal, misanthropic, crushing heaviness. Every song is precipitous, monolithic Doom leaning Sludge Metal.   However, there is something new in the Toadliquor arsenal, giving this album an experimental bent at times. This being a scattering of various electronic, psychedelic, or almost Post Metal interludes or inflections across most songs. On Recained, Toadliquor delve into a trippy, psychedelic midsection, filled with synth drones and electric pulses, ponderous reverbed drumming, squealing and muted saxophone, and some drowned out vocals. The namesake song and album closer, Back In The Hole, opens with some somber, drifting and depressive Post Rock guitar and synth, before slowly transitioning into the Sludge/Doom pounding and riffing, while the almost melodic guitar parts soar above.   This is an excellent return to the spotlight for Toadliquor.
  • Posted 26 days ago in The Trash Compactor
    These first two I'm spamming reposting from the main site.The Trash Compactor review No.116 – Curves That Kick     16 are a Sludge Metal group that have been kicking out their own unique flavor of Sludge since the inception of the genre, playing in the not-really-recognized-as-a-subgenre of Sludgecore, basically Sludge Metal that sticks close to what it formed from. Heavy, downtuned, slow-ass Black Sabbath and Doom Metal infused Hardcore Punk. Formed in 1991 and still rolling strong today, with only a brief, few year break in the mid-noughties. 16 are a group that, IMHO, should be talked about more and in the same breath as other early sludge metallers like Eyehategod, Crowbar, Grief etc. I have suspicions this is down to their own brew of influences and sounds, 16 really don’t sound like any other Sludge band. To start 16 play at a much faster tempo than most, keeping a pace similarly to Buzzoven. They also have a healthy dose of noise rock, alt rock/metal, post hardcore, and even a tad of an early Metalcore sound I dare say, in addition to the typical hardcore influence sludge metal has. Another potential hurdle for your average metalhead is the fx ladened vocals, which are nearly drowned out in static and occasionally reverb. Lyrically 16 often stick close to typical Sludge Metal inspirations, drugs, depression, violence, and general misanthropy, but they aren’t afraid to delve into some weirdness. Check the song Amish for some Jack Kerouac beat poetry. The mailman comes When I'm home Acrobat Undertow The wooden door Broken bone Common growth Telephone   Or Joe The Cat, unsurprisingly about a cat (Melvins inspired?).   This debut album from 16 is everything you would want from Sludgecore. It’s all got a clearer production than most other Sludge acts of the time, but it doesn’t diminish the crackhead energy 16 have. Unwaveringly aggressive, super heavy and chunky riffs all over the place, with intermittent flourishes and breaks of guitar scrawl. The PH influence makes for some interesting song dynamics, there’s much more activity between guitar, bass, and drums, more stop and go, than typical of this style. Special mention to the bass, which is that super funky, fat, and floppy bass that was everywhere in the early 90s.The Trash Compactor review No.2Dead In The Dirt – The Blind Hole     Hailing from the deep south of Atlanta, Georgia, and appropriately were signed to Southern Lord, Dead In The Dirt’s sole full length, The Blind Hole, is a crushing, catastrophic slab of grinding Powerviolence. DITD deal in fairly typical PV lyrically and sonically speaking, but don’t even think for a second this is meant as insult. Frequent and Extreme start and stop tempo shifts, even within the confines of 60 second or less songs, often punctuated and preceded by squalls of feedback. Downtuned growling, grinding guitars thunder away to merciless but tight Hardcore drumming and blast beating. Occasionally settling into a more metal inspired mid-tempo or thrash groove, and some songs drop entirely into disgusting filthy Sludge Metal (Will Is The War and Halo Crown). As could be guessed from the album title, nay, band name, the lyrics all tend towards the introspective and unwaveringly nihilistic, often with political or social subtext. These are handled by dual vocalists, Bo Orr, also on Bass, and Blake Connally, also on Guitar. Dual vocalists means we are treated to differing delivery styles, one a Death Metal growl, and the other a Hardcore Punk styled full on shriek. Production wise it’s all very clear and clean, none of the dirt and grime, nor aggression and rawness is lost.   A beautiful, maniacal not quite 24 minute assault.

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