Sepultura's love-it-or-hate-it album. Thrash purists didn't want anything deviating much from Beneath the Remains, while others loved that the band went all out in their tribal influences and obviously what better way for that to thrive than in a nu metal album. Personally I love this album, the grooves of Arise and Chaos A.D. are here but there's so many unique percussive embellishments, vocal experiments, and Brazilian instruments to enhance the hooks. Attitude is especially exemplary of it with throat singing and a variety of instruments blending with screeching nu metal guitars.

The likes of Roots Bloody Roots, Ratamahatta, Straighthate, and Born Stubborn are massive and catchy. Max would take this sound further with Soulfly, but this is still where it was done first and overall best.

"My only gun control is a steady hand"

Have more badass words ever been spoken on an album? I don't think so. While Snappin' Necks showed how good rap-thrash could truly be, Stuck Mojo went all out with aggression and a new atmosphere with Pigwalk.

Pigwalk is like Strapping Young Lad meets The Prodigy with Bonz's no holds barred vocal attack that is like Busta Rhymes on crack. This is an album of industrial machinery, ominous breakbeats, and some of the most aggressive rapping put to record. What reminds me of Strapping Young Lad could come from Devin Townsend being at the producing helm (with a couple vocal screams too), which definitely gives Stuck Mojo's crushing sound an extra electronic bite.

Mental Meltdown, (Here Comes) The Monster, Only the Strong Survive (which the opening lyric comes from), Violated, and the chugging mosher of Down Breeding are my personal favorites, though the whole album is great. Inside My Head is an interesting break in the metal, being an ominous ambient breakbeat track.

The following album Rising is my favorite Stuck Mojo album, but this is a close second.

Take a Look in the Mirror is a bit of a weird album in terms of how it places in Korn's discography. Instead of acting as a branch between the moody and trip hop inspired Issues and Untouchables to See You on the Other Side's industrial crunch, there's nothing electronic at all. It does have some of the melody of Untouchables, but a rawness more in line with the first couple albums. There's even a rap metal song in the middle of the album like Life is Peachy, this time with Nas instead of Chino.

This is one of their albums that I've listened to the least, but it's really only because of how amazing what it sits between. While it's not as consistent as its two predecessors or two following albums, there's some favorites of mine on here. Did My Time opens with a sludgy riff right out of a Floor album, and a beautifully haunting bridge. Everything I've Known and When Will This End follow suit. The sarcastic middle-finger Y'all Want a Single is a classic jumpdafuckup banger. Fieldy's bass rattles like crazy on this album, yet the tone is so deep.

An underrated album that I should listen to more often.

After taking doom to its droning breaking point, Earth joined in with the likes of Fu Manchu and Kyuss in perfecting the art of desert rock. The whole album just bathes in warm, raw, and gravely riffs, and it's no better on display than on the classic Tallahasse.

This album couldn't have had a more fitting cover. It sounds like a roaring motor, one that's old and worn, yet never gives up and with care lasts you through any blazing heat. All I see when I listen to this album is driving this sweet green ride across the desert, but it breaks down every so often. I have to keep getting out to get the engine purring again, but it's all worth it for the experience and the sound.

While Faith No More gets the respect they deserve for being one of the most groundbreaking bands in metal, unfortunately the albums before Mike Patton joined are often forgotten in that. Introduce Yourself does just what the title says, and Faith No More introduces themselves as a band like no other and one that couldn't care less about fictional genre boundaries and just wanted to combine everything they liked into an incredible unique sound.

This is basically nu metal for the 80's. Funky bass, synthscapes right out of Kraftwerk, thrash metal riffs, post-punk/new wave melodies, rapping, and whatever else they could throw in there. Original vocalist Chuck Mosley is both underrated and underestimated, unfairly compared to Mike Patton. Both are great vocalists but in very different ways, Mosley is like the sound of the album if it was a person. He's too much of a beatnik for the punks, he's too thrash for the beatniks, he's too new wave for the thrashers, he's just who he is. No song better exemplifies this than Death March, with his beatnik meets skater rambling. Also, anyone wanting proof that Faith No More would've continued experimenting and expanding their influences even if Patton never joined, just check out Mosley's post-FNM band Cement.

Everything on the album sounds so gigantic, and combined it's just ethereal. Jim Martin's meaty riffs hit so damn hard, every slap and pop of Billy Gould's bass is felt, Mike Bordin's drums are hammers on an anvil, and it's all wrapped up in Roddy Bottum's grandiose synths which might be the most underrated part of Faith No More's sound. It creates an atmosphere like no other metal album at the time.

We Care a Lot!