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3323 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 - South of Heaven Thrash Metal
SLAYER - Seasons in the Abyss Thrash Metal
DØDHEIMSGARD - 666 International Black Metal
DØDHEIMSGARD - Supervillain Outcast Industrial 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
ATHEIST - The Collection Technical Death Metal | review permalink
BURST - Prey On Life Metalcore | review permalink
ARCH / MATHEOS - Sympathetic Resonance Progressive Metal | review permalink
MESHUGGAH - obZen Progressive Metal | review permalink
PORCUPINE TREE - The Incident Metal Related | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Death Metal 748 3.46
2 Thrash Metal 468 3.55
3 Progressive Metal 287 3.70
4 Technical Death Metal 180 3.69
5 Heavy Metal 152 3.55
6 Black Metal 129 3.38
7 Melodic Death Metal 97 3.76
8 Hard Rock 90 3.47
9 Technical Thrash Metal 73 3.76
10 Brutal Death Metal 69 3.61
11 Non-Metal 58 3.46
12 Sludge Metal 57 3.59
13 Stoner Metal 57 3.60
14 Grindcore 55 3.26
15 Doom Metal 52 3.63
16 Death-Doom Metal 49 3.50
17 US Power Metal 48 3.68
18 Crossover Thrash 47 3.41
19 Alternative Metal 46 3.43
20 Metal Related 45 3.67
21 Power Metal 43 3.65
22 Groove Metal 41 3.62
23 Gothic Metal 38 3.51
24 Atmospheric Black Metal 30 3.38
25 Atmospheric Sludge Metal 30 3.77
26 Avant-garde Metal 30 3.62
27 Death 'n' Roll 28 3.25
28 Metalcore 27 3.57
29 Industrial Metal 26 3.62
30 Hardcore Punk 24 3.69
31 Melodic Black Metal 20 3.48
32 Symphonic Black Metal 19 3.37
33 Traditional Doom Metal 16 3.81
34 Speed Metal 14 3.25
35 Deathgrind 14 3.54
36 Goregrind 12 2.79
37 Proto-Metal 12 3.75
38 Stoner Rock 10 3.90
39 Crust Punk 9 3.44
40 Deathcore 8 3.50
41 Depressive Black Metal 7 3.43
42 Glam Metal 7 3.21
43 Heavy Alternative Rock 6 3.58
44 Mathcore 5 3.40
45 Cybergrind 5 3.80
46 Symphonic Metal 5 3.40
47 NWoBHM 5 3.60
48 Drone Metal 4 3.50
49 Folk Metal 3 3.33
50 Funeral Doom Metal 3 3.67
51 Heavy Psych 3 3.50
52 Neoclassical metal 3 3.33
53 Melodic Metalcore 3 2.67
54 Rap Metal 3 3.50
55 Nu Metal 2 3.00
56 Funk Metal 1 3.50

Latest Albums Reviews

DEICIDE Overtures of Blasphemy

Album · 2018 · Death Metal
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"Overtures Of Blasphemy" is the 12th full-length studio album by US, Florida based death metal act Deicide. The album was released through Century Media Records in September 2018. It´s the successor to "In the Minds of Evil" from 2013 and features one lineup change since the predecessor as guitarist Jack Owen has been replaced by Mark English.

Lineup change or not, very little has changed in the world of Deicide, and the listener is as always exposed to a fast and aggressive blasphemous/anti-Christian themed old school type of death metal, with Glen Benton´s raw growling vocals in front. Deicide have become slightly more melodic over the years (and the music also features more heavy mid-paced sections), but "Overtures Of Blasphemy" is still a full-on death metal assault from the opening notes of "One With Satan" to the closing notes of "Destined to Blasphemy". The band are well playing, and the tracks feature many memorable riffs, melodic leads, and powerful drumming. The growling vocals by Glen Benton aren´t however anything special anymore. Benton was one of the premier league growling vocalists of the early 90s, but it´s like he has either worn out his voice and is now relying on effects to produce his growling vocals, or he just isn´t up to it anymore. His vocals on "Overtures Of Blasphemy" are pretty standard (mostly unintelligible) one-dimensional growling vocals. There´s little aggression or passion left. He gets the job done, but that´s about it.

"Overtures Of Blasphemy" features a fat, heavy, and detailed sound production, which suits the material well. Upon conclusion "Overtures Of Blasphemy" is more or less what I expect from a Deicide album these days. Their heyday is long gone, but they still produce decent quality death metal, and while I´m not jumping upon and down in excitement a 3.5 star (70%) rating is still deserved.

SIKTH Death of a Dead Day

Album · 2006 · Metalcore
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"Death of a Dead Day" is the 2nd full-length studio album by UK, Watford based progressive metal/metalcore act Sikth. The album was released through Bieler Bros. Records in June 2006. It´s the successor to "The Trees Are Dead & Dried Out Wait For Something Wild" from 2003 and the sextet lineup who recorded the predecessor is intact here. Sikth were originally active from 2001 to 2008 and released two full-length studio albums in that period. They reunited in 2013.

Stylistically the material on "Death of a Dead Day" continue the technical/progressive metal of "The Trees Are Dead & Dried Out Wait For Something Wild" (2003). SikTh´s brand of progressive metal features elements of mathcore, NU-metal, alternative metal, and hardcore, and a combination of the sound of artists like The Dillinger Escape Plan and System of a Down is a relatively valid description, although Sikth definitely have a sound of their own. While their songwriting is clever and effective, I´m predominantly blow away by the high level musicianship found on "Death of a Dead Day". The complexity of the material is pretty high, but it´s the natural organic way that said material is performed and the way the many different vocal styles (clean, screaming, aggressive, schizophrenic lunatic babbling) compliment the often manic instrumental parts of the music, which make this a spectacular release. You´re definitely in for at ride with this album...

Featuring a detailed, powerful, and very well sounding production "Death of a Dead Day" is also a treat on the ears in terms of every instrument and vocal parts sounding great in the mix. The fact that it´s a self-produced affair bears witness to how skilled SikTh are. They aren´t just clever composers and well playing musicians, but also competent producers. Upon conclusion "Death of a Dead Day" is a high quality sophomore album by SikTh and a 4 - 4.5 star (85%) rating is deserved.

KING CRIMSON The ConstruKction Of Light

Album · 2000 · Non-Metal
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"The ConstruKction of Light" is the twelfth full-length studio album by UK progressive rock act King Crimson. The album was released through Virgin Records in May 2000. It´s the successor to "Thrak" from 1995. The band at this point consisted of Adrian Belew on guitars and vocals, Robert Fripp on guitars, Trey Gunn on bass, touch guitars, and baritone guitars, and Pat Mastelotto on drums. Fripp was never satisfied with the way the album turned out, feeling the band had rushed into the studio without letting the compositions develop in a live environment before recording them in the studio. Therefore a remixed and remastered version of the album titled "The ReconstruKction Of Light" appeared in 2019. In addition to remixing and remastering the album Mastelotto also re-recorded his drum parts for the 2019 version of the album.

Stylistically the material on the album is experimental/progressive rock. Demanding as ever as the notes are often played in unusual succesion (chromatic runs and unconventional scales/choices of notes) and twisted in innovative ways. "The ConstruKction of Light" is unmistakably a King Crimson album. No one really sounds like them. The music is dark (which you would probably have guessed from looking at the bleak cover artwork) and at times pretty complex too. Tracks like the instrumental "The ConstruKction of Light (Part One)", "Larks' Tongues in Aspic, Part IV (Part One)", and the insanely complex "FraKctured" are arguably among the most challenging compositions King Crimson have ever produced. The latter should actually please fans of technical/progressive metal as parts of the song could be compared to the most technically focused acts in that genre. The heaviness and harshness of the track too.

The album features some great tracks with vocals too. "Into the Frying Pan" features some delightfully dark harmony vocals that remind me of some of the dark and twisted vocal parts on Alice In Chains eponymously titled third album from 1995. Bleak as hell and a real treat. "ProzaKc Blues" isn´t a personal favorite track (because of the silly low growling vocals) but it´s a solid composition, completely twisting the conventions of a blues. "The ConstruKction of Light (Part Two)" is one of the highlights of the album (of the tracks featuring vocals).

The production is thick, heavy, and dark (slightly less on the 2019 version). The way the bass sounds on the this album is heavier than heavy. What a treat. The drums feature such a powerful and meaty sound too. The sound production is overall of a great quality. "The ConstruKction of Light " is one of King Crimson´s heavier albums and maybe that´s why it often receives such harsh criticism from progressive rock fans. Coming from a background in metal this doesn´t bother me at all though and I find it to be an excellent and very focused album in King Crimson´s discography. It´s not their most groundbreaking release, but it´s solid and enjoyable. A 3.5 star (70%) rating is deserved.

WEREWOLVES From the Cave to the Grave

Album · 2022 · Technical Death Metal
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"From the Cave to the Grave" is the third full-length studio album by Australian death metal/deathgrind act Werewolves. The album was released through Prosthetic Records in June 2022. It´s the successor to "What a Time to Be Alive" from January 2021. Since forming in 2019 Werewolves have been quite prolific in terms of output, releasing an album every year since. The trio lineup of drummer David Haley, guitarist Matt Wilcock, and lead vocalist/bassist Sam Bean who recorded the preceding album are intact.

Stylistically the material on "From the Cave to the Grave" is pretty much more of the same too. It´s highly energetic, brutal, and technically well played deathgrind, with both death metal, grindcore, and the occasional thrash/black metal element thrown in for variation. The vocals vary from higher pitched aggressive snarling to brutal death metal growling. The sound production is clear, brutal, and detailed, suiting the material well. "From the Cave to the Grave" is well performed too by a cast of seasoned musicians (known for their involvement in acts like Psycroptic, Abramelin, The Antichrist Imperium, and The Berzerker).

So "From the Cave to the Grave" is overall a good quality deathgrind release, but when that is said the 9 track, 34:41 minutes long album isn´t loaded with memorable tracks. It´s the kind of album that´s enjoyable, effective, and powerful while it plays, but doesn´t leave much of a lasting impression when it´s done. A 3 - 3.5 star (65%) rating is warranted.

ANNEX Powers That Be

Album · 1990 · Progressive Metal
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"Powers That Be" is the debut full-length studio album by US, Point Pleasant, West Virginia based US power/progressive metal act Annex. The album was released through Powergame Records in 1990. Annex was formed as far back as 1976 by guitarist/lead vocalist Jeff Wamsley. It wasn´t until 1987 that Annex released their first release which was the "Breaking Ground" EP. "Powers That Be" is up until now their sole full-length studio album, although Annex have never officially disbanded.

Stylistically this is not surprisingly late 80s influenced US power/progressive metal, and it´s artists like Fates Warning, Crimson Glory, Queensrÿche, and similar acts from that time, which are the most valid references. Annex are not quite as technical and their use of keyboards definitely provide their music with a progressive edge, which is a bit different from the mentioned artists and often sounds more like progressive rock instead of metal. Annex can still play some pretty sharp and at times even thrashy riffs though, so this is not soft progressive metal. But of course the first couple of minutes of a track like "Shining Prize" could probably have fooled most listeners into believing that this was an 80s synth pop album, so yeah there are moments on the album which aren´t that hard edged.

"Powers That Be" features a decent sounding production job, although it´s a bit rough around the edges considering that this is a 1990 release. The relatively unpolished and raw sound of the instruments is actually an asset to the album, as they work as a counterweight to the more polished keyboard heavy moments. Wamsley has a decent voice, and can hit the high notes when needed, but his vocals are often slightly subdued or maybe just a bit low in the mix or underproduced.

So upon conclusion "Powers That Be" isn´t what I would call a forgotten US power/progresive metal gem, but it´s still worth a listen for fans of the genre, and it´s definitely created by skilled musicians and composers. Had Annex been given the opportunity to record the album with a major budget and a producer who could have guided them, I´m sure they could have produced an even better release. As it is a 3 star (60%) rating is warranted.

Latest Forum Topic Posts


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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