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2608 reviews/ratings
PSYCHOTIC WALTZ - Into The Everflow Progressive Metal | review permalink
METALLICA - Master of Puppets Thrash Metal
METALLICA - ...And Justice for All Thrash Metal
SLAYER - Reign in Blood Thrash Metal
SLAYER - South of Heaven Thrash Metal
SLAYER - Seasons in the Abyss Thrash Metal
MEGADETH - Rust in Peace Thrash Metal
MEGADETH - Countdown to Extinction Thrash Metal
NEVERMORE - Dead Heart in a Dead World Thrash Metal
DØDHEIMSGARD - 666 International Black Metal
DØDHEIMSGARD - Supervillain Outcast Industrial Metal
CARCASS - Necroticism: Descanting the Insalubrious Death Metal
MOTÖRHEAD - Overkill Heavy Metal | review permalink
OPETH - Watershed Progressive Metal | review permalink
ATHEIST - Jupiter Technical Death Metal | review permalink
MORBID ANGEL - Blessed Are the Sick Death Metal | review permalink
ENSLAVED - Vertebrae Progressive Metal | review permalink
FATES WARNING - Parallels Progressive Metal | review permalink
FATES WARNING - Inside Out Progressive Metal | review permalink
CATHEDRAL - Forest of Equilibrium Doom Metal | review permalink

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Metal Genre Nb. Rated Avg. rating
1 Death Metal 576 3.46
2 Thrash Metal 359 3.55
3 Progressive Metal 221 3.71
4 Technical Death Metal 139 3.72
5 Heavy Metal 124 3.51
6 Black Metal 107 3.38
7 Hard Rock 83 3.46
8 Melodic Death Metal 70 3.72
9 Brutal Death Metal 56 3.55
10 Technical Thrash Metal 52 3.76
11 Stoner Metal 50 3.59
12 Doom Metal 45 3.61
13 Grindcore 45 3.13
14 Non-Metal 41 3.56
15 Death-Doom Metal 39 3.40
16 Sludge Metal 38 3.59
17 Alternative Metal 37 3.42
18 Groove Metal 35 3.60
19 Power Metal 34 3.69
20 Metal Related 33 3.59
21 Crossover Thrash 33 3.41
22 Avant-garde Metal 32 3.61
23 Atmospheric Black Metal 29 3.38
24 US Power Metal 29 3.64
25 Atmospheric Sludge Metal 25 3.76
26 Metalcore 24 3.60
27 Industrial Metal 24 3.63
28 Gothic Metal 22 3.43
29 Hardcore Punk 20 3.60
30 Death 'n' Roll 18 3.31
31 Symphonic Black Metal 17 3.29
32 Traditional Doom Metal 16 3.81
33 Melodic Black Metal 14 3.36
34 Deathgrind 12 3.50
35 Goregrind 10 2.65
36 Speed Metal 10 3.40
37 Proto-Metal 10 3.70
38 Stoner Rock 8 4.00
39 Glam Metal 7 3.21
40 Deathcore 7 3.50
41 Depressive Black Metal 6 3.50
42 Heavy Alternative Rock 6 3.58
43 NWoBHM 5 3.60
44 Mathcore 4 3.25
45 Melodic Metalcore 4 2.63
46 Drone Metal 4 3.50
47 Crust Punk 4 3.25
48 Cybergrind 4 3.75
49 Folk Metal 3 3.33
50 Neoclassical metal 3 3.33
51 Heavy Psych 3 3.50
52 Rap Metal 3 3.50
53 Symphonic Metal 3 3.17
54 Nu Metal 2 3.00
55 Funeral Doom Metal 2 3.50
56 Funk Metal 1 3.50

Latest Albums Reviews


Album · 2019 · Death Metal
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"Entity" is the 2nd full-length studio album by US, Chicago based death metal act Nucleus. The album was released through Unspeakable Axe Records in June 2019. It´s the successor to "Sentient" from 2016 and features the same four-piece lineup who recorded the predecessor.

Stylistically the material on "Entity" is old school influenced death metal featuring sci-fi lyrics. It´s a well performed and relatively well produced album, and the sci-fi themed lyrics and imagery create a futuristic atmosphere to the album. The songwriting is of a good quality too and Nucleus certainly understand how to write an effectful death metal song with both a decent number of tempo changes, brutal riffs and heavy rhythms, atmosphere enhancing lead guitar work, occasional use of dissonance (which imply a slight Immolation influence), and a solid growling vocalist in front.

The word solid actually comes to mind often when listening to the album, which is of course great as it´s a word which spells quality, and Nucleus are definitely a quality death metal act. I´m a little less inclined to use the word excellent here though, as I still think the band are lacking a few things to enter the premier league of death metal. First of all the material could have been a little more catchy/hook laden (and it´s got nothing to do with variation, because considering the core music style here, there is actually a decent amount of variation on the album) and secondly a more distinct sounding growling vocal style could also have enhanced the overall impression of the album. A 3.5 star (70%) rating is still well deserved though and Nucleus can rightfully be proud of what they´ve achieved with "Entity".

HATRIOT From Days unto Darkness

Album · 2019 · Thrash Metal
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"From Days Unto Darkness" is the 3rd full-length studio album by US thrash metal act Hatriot. The album was released through Massacre Records in July 2019. It´s the successor to "Dawn of the New Centurian" from 2014 and features a couple of lineup changes. Hatriot was originally formed by (at the time) former Exodus lead vocalist Steve "Zetro" Souza and his two sons Cody Souza on bass and Nick Souza on drums plus guitarist Kosta V.. When Steve "Zetro" Souza was invited back to the Exodus fold in 2015, he had no other choice than to quit Hatriot, as he could not handle the commitments of two bands. There have been a couple of other lineup shuffles on the second guitarist position, but on "From Days Unto Darkness", the band settled on Kevin Paterson. A worse issue was of course to replace a legendary and distinct sounding lead vocalist like Steve "Zetro" Souza but bassist Cody Souza stepped up to the challenge, and performs vocals on "From Days Unto Darkness" in addition to his bass duties.

A change on the lead vocalist spot is always serious business for a band, but upon initial listening to the opening track "One Less Hell" I actually thought that "Zetro" had helped out and done session vocals on the album, because that´s how similar a voice and vocal style Cody Souza has to his dad (it´s almost too easy, but I can´t resist the temptation to quote the Exodus song title "Like Father, Like Son"). Listening a bit more closely there are some differences though and the longer you get into the album, the more the young Souza comes into his own. He also performs some vocal styles (like occasional semi-death metal growling) that his father would never do. The Exodus comparison is of course inevitable though, and it´s not only because of Cody Souza´s voice sounding very similar to his fathers ditto, but the general music style is also US, Bay Area influenced thrash metal through and through. The riff style, the guitar solos, the drumming, and how the vocals are delivered are all trademarks of that particular brand of thrash metal.

So Hatriot won´t win any contests if the goal is to have an original sound, but they will definitely be contenders for the title of being one of the most powerful and convincing acts on the scene. The musicianship is high class on all posts and Hatriot are also skilled composers who know how to write an effectful and memorable thrash metal song.

"From Days Unto Darkness" features a punchy and powerful contemporary sounding production job, which suits the aggression and power of the music and the performances well. So it´s an album for fans of a slightly updated Bay Area thrash metal sound with clear influences from the classic 80s acts from the area. The lack of a more original sound is a slight issue, but only a very small one, as the music is as well written and well performed as it is. A 3.5 - 4 star (75%) rating is deserved.


Album · 1994 · Progressive Metal
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"Promised Land" is the 5th full-length studio album by US power/heavy/progressive metal act Queensrÿche. The album was released through EMI Records in October 1994. Queensrÿche had a relatively lengthy recording break after the release of the multi-platinum selling success of "Empire (1990)", but they returned on "Promised Land" with the same lineup and a new ‌inspired concept.

"Empire (1990)" was a fairly accessible and commercial oriented release, which provided Queensrÿche with great success and worldwide recognition. Following up a release like that was always going be a difficult task (just as it was a daunting task following up the artistic achievement of "Operation: Mindcrime (1988)"), but Queensrÿche took the bold and adventurous path, instead of releasing "Empire (1990)" number two. "Promised Land" is generally a much more progressive and experimental release than it´s predecessor, although progressive in this respect shouldn´t be understood as if the band have now have started playing long instrumental sections or that they focus on odd time signatures. It´s an experiment within the confines of their own sound, and overall they succeed pretty well. Stylistically this is still at it´s core heavy metal/rock with only the occasional progressive metal leaning.

"Promised Land" is a bit of a fragmented release though, featuring quite a few different atmospheres and music styles. Tracks like "Damaged" and "disconnected" are both dark and very heavy songs. The former probably features THE most heavy riff ever on a Queensrÿche release and it´s an absolutely brilliant composition. But then there are also tracks like "Out of Mind", "Bridge", "Lady Jane", and "Someone Else?", which are power ballads (in the case of the latter it´s a pure piano and vocal ballad, and probably the weakest and least interesting track on the album. It´s definitely not a good way to close the album), and tracks like "I Am I" and the title track are of a more experimental nature, both featuring middle eastern music influences, and the latter featuring saxophone. "My Global Mind" and "One More Time" are rather forgettable heavy rock tracks, which don´t stand out much. To my ears the album is frontloaded with the best material, and especially the last three tracks on the album leave you with the impression that the quality has dropped markedly since the high quality opening to the album. For all the greatness of tracks like "Damaged", "Out of Mind", and "Lady Jane", "Promised Land" simply features too many tracks which aren´t remarkable enough.

As always the musicianship are on a high level on all posts. The instrumental work is delivered with great skill and with an adventurous spirit, and Geoff Tate also delivers a strong vocal performance. "Promised Land" features a dark and heavy production job, which suits the material perfectly, so it´s in the songwriting department and overall tracklist flow, that the album doesn´t score perfectly in my book. It´s actually a bit hard to rate an album, which maybe features some of the best material written by Queensrÿche, when said material sits among some of the most lacklustre and uninspired material written by the same artist. Despite these issues I still find "Promised Land" highly recommendable, although I almost always skip around 30% of the album, when I give it a listen (including the way too long intro track "9:28 A.M."). A 3.5 star (70%) rating is deserved.


Album · 1990 · Progressive Metal
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"Empire" is the 4th full-length studio album by US power/heavy/progressive metal act Queensrÿche. The album was released through EMI Records in August 1990. It´s Queensrÿche´s most commercially successful release selling 3 million copies (triple Platinum status in those days) and spawning a top 10 Billboard charts hit in "Silent Lucidity". While "Operation: Mindcrime (1988)" was the band´s big breakthrough on the heavy metal scene, "Empire" was their mainstream breakthrough...

...and listening to the album it´s obvious why that is. "Silent Lucidity" is a Pink Floyd influenced power ballad, which resonated well with hard rock audiences in the early 90s, but the rest of the material on the album are also predominantly mainstream oriented heavy rock/metal tracks, which could easily have been played on the radio. Tracks like "Jet City Woman", "Another Rainy Night (Without You)", and "Hand On Heart", are almost ridiculously catchy and obviously aimed at the most heavy rock loving AOR audience. Queensrÿche flirt a little with progressive ideas on "Best I Can" and on "Anybody Listening?", but it´s only an influence and not a dominant trait on the album. Compared to the slightly more hard edged and dark themed predecessor, "Empire" is generally a more light-hearted release, and the only track on the album with a really dark atmosphere and heavy riffs is the title track. Not that tracks like "The Thin Line" and "Della Brown" doesn´t feature serious lyrical subjects and darker moods, but overall "Empire" is a fairly accessible release with a focus on "regular" vers/chorus structures and quite a few lyrics dealing with love and romance.

It´s a polished release with a pretty sterile and clear sounding production, courtesy of Peter Collins, who also produced "Operation: Mindcrime (1988)". The album could have prospered from just a slight organic touch, but it is still arguably a well produced release. As always the musicianship are on a high level on all posts. A tight playing rhythm section, plenty of great guitar work, and a well singing Geoff Tate in front.

Featuring 11 tracks and a full playing time of 63:23 minutes, "Empire" ends up feeling a bit too long for its own good. Many of the tracks feature similar structures and compositional ideas, and not enough of them stand out as particularly remarkable although there of course are some standout tracks like "Silent Lucidity", the title track, "Della Brown", "Best I Can", and "Jet City Woman" (damn that is one catchy chorus). So upon conclusion af 3.5 star (70%) rating isn´t all wrong.

QUEENSRŸCHE Operation: Mindcrime

Album · 1988 · Progressive Metal
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"Operation: Mindcrime" is the 3rd full-length studio album by US power/heavy/progressive metal act Queensrÿche. The album was released through EMI Records in May 1988. It´s the successor to "Rage For Order" from 1986 and as something new in the band´s repetoire at the time, it´s a concept album/rock opera, telling the story of the recovering drug addict/political activist turned brainwashed hitman Nikki, who becomes involved in a revolutionary group lead by the mysterious Dr. X. It´s a story of questionable morality, political corruption, abuse of religious authority, exploitation of the weak, love and murder. While Queensrÿche were already relatively successful before "Operation: Mindcrime", this was the album which turned them into a highly commercially successful act too...

...and it´s obvious why that is when listening to the material on the 15 track, 59:14 minutes long album. There´s so much quality in all departments of "Operation: Mindcrime", that had the album, and the band, not achieved the high degree of the success that it did, it would have been a near crime.

Stylistically the music is US power/heavy metal with the occasional progressive leanings. It´s predominantly the 10:41 minutes long and highly impressive "Suite Sister Mary" (featuring female vocal contributions from Pamela Moore, a choir, and orchestration), which can be applied the progressive metal label, but there are other sporadic moments throughout the album, where that label also apply. Mostly this is US power/heavy metal though, featuring hard rocking riffs, melodic lead guitar work, a powerful and tight playing rhythm section, and one of the most powerful and skilled vocalists of the era in front. There are no words big enough to describe Geoff Tate´s vocal contributions on the album. Not only does he possess a powerful and distinct sounding voice, he is also an incredibly pathos filled singer. His delivery is commanding and every word of the lyrics are performed with conviction and great passion. He is also quite the versatile singer in the respect that he can sing both deep and really high notes with a natural ease.

The album is structured so there are short interlude samples, effects, or narrative attached to many of the "regular" length tracks, and there are also a couple of shorter atmospheric interludes/intros, which function as individual tracks. "Operation: Mindcrime" features many great rockers like "Revolution Calling", "Speak", "Spreading The Disease", and "The Needle Lies", epic tracks like "The Mission" and "Suite Sister Mary", but also more melodic and accessible material like "Breaking the Silence" and "I Don´t Believe in Love". The heavy title track also deserves a mention as one of the highlights of the album. So the material is relatively varied, although there is a clear stylistic thread throughout the album.

"Operation: Mindcrime" was produced by Peter Collins who had recently produced the two Rush albums "Power Windows (1985)" and "Hold Your Fire (1987)", and he has put his audible mark on the sound of the album (especially the drums feature a very characteristic sound). The sound production is powerful and detailed, and considering that it was recorded in 1987 and released in 1988, this is a very well sounding heavy metal release.

So upon conclusion this is a perfect release by Queensrÿche (and to my ears the peak of their career). The concept story works, the songwriting and the tracklist order are varied and keep the listener intrigued throughout, the musicianship is outstanding, and the sound production is professional and brings out the best in the material. There´s not a single sub par moment on the album and a 5 star (100%) rating is deserved.

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Please login to post a shout
martindavey87 wrote:
more than 2 years ago
Hey Jonas! How are ya man? Every where I post reviews, either here, Progarchives or RYM, whenever I go to post one I see you've posted one on that album too. It's cool comparing them! Was actually gonna message ya on here just to ask what your name is lol. Hope you're well and rock on! \m/ \m/
more than 2 years ago
Thanks! I will be slowly importing reviews that I have done for my website over here, but that will take awhile. For now, I will just be posting new reviews that I am publishing on my website. Cheers! \m/
mjayeh wrote:
more than 2 years ago
Thanx again for the shout out !!!! \m/


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