Vim Fuego

Patrick Stott
Forum Admin Group · Death, T/S/G, Grind, VA Teams
Registered more than 2 years ago · Last visit 2 hours ago

Favorite Metal Artists

All Reviews/Ratings

1472 reviews/ratings
MORBID ANGEL - Altars of Madness Death Metal | review permalink
PUNGENT STENCH - Been Caught Buttering Death Metal | review permalink
CATHEDRAL - Forest of Equilibrium Doom Metal | review permalink
BRUTAL TRUTH - Extreme Conditions Demand Extreme Responses Deathgrind | review permalink
FIGHT - War of Words Groove Metal | review permalink
ANNIHILATOR - Alice in Hell Thrash Metal | review permalink
DARK ANGEL - Darkness Descends Thrash Metal | review permalink
CARNIVORE - Retaliation Crossover Thrash | review permalink
EXODUS - Fabulous Disaster Thrash Metal | review permalink
HOLY TERROR - Mind Wars Thrash Metal | review permalink
CARCASS - Symphonies of Sickness Goregrind | review permalink
CARNIVORE - Carnivore Crossover Thrash | review permalink
DARKTHRONE - Soulside Journey Death Metal
DEICIDE - Deicide Death Metal | review permalink
DESTRUCTION - Sentence of Death Thrash Metal | review permalink
BAD NEWS - Bad News Heavy Metal | review permalink
EXHORDER - Slaughter in the Vatican Thrash Metal | review permalink
8 FOOT SATIVA - Season for Assault Thrash Metal | review permalink
TERRORIZER - World Downfall Deathgrind | review permalink
TWISTED SISTER - Stay Hungry Heavy Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Thrash Metal 263 3.99
2 Death Metal 164 4.12
3 Heavy Metal 154 3.73
4 Hard Rock 83 3.22
5 Grindcore 81 3.99
6 Black Metal 48 3.39
7 Hardcore Punk 47 4.50
8 Crossover Thrash 45 4.16
9 Non-Metal 45 2.57
10 Groove Metal 43 3.59
11 Industrial Metal 40 3.85
12 Alternative Metal 37 2.53
13 Glam Metal 31 3.31
14 Melodic Death Metal 22 3.30
15 Progressive Metal 20 2.60
16 Sludge Metal 19 3.58
17 Technical Death Metal 19 3.87
18 Goregrind 18 4.25
19 Gothic Metal 16 3.66
20 NWoBHM 16 4.03
21 Metalcore 14 3.54
22 Power Metal 14 3.75
23 Stoner Metal 13 3.62
24 US Power Metal 12 4.04
25 Nu Metal 11 1.77
26 Folk Metal 11 3.95
27 Metal Related 11 3.73
28 Deathgrind 11 4.23
29 Heavy Alternative Rock 10 3.70
30 Proto-Metal 10 3.80
31 Symphonic Black Metal 9 3.72
32 Funk Metal 9 3.00
33 Brutal Death Metal 9 3.61
34 Cybergrind 9 4.17
35 Death 'n' Roll 8 3.00
36 Symphonic Metal 8 2.44
37 Speed Metal 8 3.75
38 Stoner Rock 7 3.50
39 Pornogrind 7 3.93
40 Avant-garde Metal 7 3.36
41 Deathcore 7 3.07
42 Death-Doom Metal 6 3.50
43 Doom Metal 6 4.42
44 Atmospheric Black Metal 6 2.42
45 Technical Thrash Metal 6 2.83
46 Atmospheric Sludge Metal 5 4.80
47 Melodic Black Metal 5 2.00
48 Rap Metal 4 3.00
49 Traditional Doom Metal 4 4.00
50 Mathcore 3 3.50
51 Drone Metal 3 3.33
52 Depressive Black Metal 2 4.75
53 Crust Punk 2 4.75
54 Melodic Metalcore 2 2.50
55 Heavy Psych 1 0.50
56 Viking Metal 1 3.00

Latest Albums Reviews

INTERCEPTOR Thrashing Violence

Demo · 2022 · Thrash Metal
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Landmarks in your life can bring on bouts of nostalgia (I’m writing this the day before my 50th birthday), and can get you reminiscing about things you enjoyed from the past missing from the current day. If you can be bothered doing the maths you’ll see I was 17 when the 80s ticked over to 1990. The small thrills from those days are often the hardest to rediscover - the wicked thrill associated with underage drinking (started age 14 when the legal drinking age was 20), the buzz of a first cigarette (age 15, and can genuinely say I enjoyed it), the forbidden treasure of naked women in slightly sticky girlie magazines (with pubic hair!), and the visceral delight of discovering a new band.

These days a quiet beer with dinner is still nice but is no longer illicit, I feel sick for a couple of days after if I smoke so that’s out, all forms of human nakedity and perversion are only a few mouse clicks away (and I’ve been living with a genuine, real-life beautiful woman for more than a quarter of a century anyway), and most new thrash metal bands sound like variations on a Municipal Waste-based template.

And then I discovered Interceptor’s “Thrashing Violence” demo, and I felt the thrill of 17 again.

“Thrashing Violence” is genuine, grass roots thrash metal, done for the fun of it by a young trio from a dead-end town. (That’s another thing about being 17 – whatever town you’re from seems like a dead-end town). The first thing that hits you with this demo is that it’s rough and raw, and gloriously under-produced. This isn’t the forced rough/raw pose of black metal deliberately trying to sound tr00 kvlt and grymdark. This is the genuine rough/raw of “OK, we don’t really know what we’re doing, we don’t have a lot of money, let’s just plug shit in and record what comes out”.

The guitar sound doesn’t have a lot of bottom end, but here’s the thing – this allows the riffs to shine through, nimble and sharp. Go back and listen to those old early albums from thrash metal’s big names and they sounded the same. “Kill ‘em All” sounds sharp. Exodus’ “Bonded By Blood” is their least heavy album, but has their speediest riffs. “Thrashing Violence” sounds closest in character to Megadeth’s “Killing is My Business…and Business Is Good” – the riffs are choppy rather than chunky, which helped define thrash metal’s early sound.

The title track’s opening riff is reasonably memorable, but doesn’t seem like much to write home about, but then the band put their heads down and absolutely thrash! Stereo separated guitar lines, a throbbing bass line underpinning the guitar, and then a throaty melodic shouted vocal. It’s all you could hope for in a thrash song. And it isn’t limited to that. There’s some almost Death Angel-esque screams, a barked refrain of the song’s title, and a tasty but unindulgent solo. The lyrics aren’t particularly deep and meaningful, being about a love of metal and moshing, but remember that just about every band wrote songs like these back in the day – Rattlehead, Hit The Lights, Bonded By Blood, Metal Command, Hammerhead…

“Hatred” seems a bit darker and a little slower, adding a touch of Possessed or perhaps Celtic Frost to the mix. “Into The Hellmouth” has a military radio intro and outro, and is an outright martial headbanger. When the guitars back off preparing for a solo, the bass and drums really shine through Sodom-style.

And that’s it. Three tracks in just under 12 minutes. There’s nothing here that hasn’t been done before or been done better, but you know what? That doesn’t matter. This is simply the music these guys want to play, and it’s done will skill and conviction. And it’s exactly what an ageing headbanger going through a mini mid-life crisis wanted to hear.

MANOWAR Highlights from the Revenge of Odysseus

EP · 2022 · US Power Metal
Cover art Buy this album from MMA partners
It’s been an epic journey. There have been many times when the battle looked lost, but the Kings of Metal triumphed. The final swansong, Manowar’s Armageddon, the ultimate final confrontation approaches. How will these mighty warriors fare?

To unnecessarily answer a rhetorical question, fuck knows. And at this stage, how many metal warriors still care? Manowar knows not and cares not, and on they soldier in the fight for metal!

OK, enough cliché and war themed metaphor. Let’s get down to plain talking. Manowar are nearing the end of their musical career. There’s one more album coming. There’s a song on it about the Greek hero Odysseus, which promises to be over 30 minutes long. “Highlights from the Revenge of Odysseus” is supposedly a sample from the song.

Achilles was afforded the same treatment in 1992 in “Achilles, Agony and Ecstasy in Eight Parts” on the album “The Triumph of Steel”. “Achilles…” is a sprawling but flawed progressive power metal operetta, incorporating both bass and drum solos, and overblown theatrics. How has Odysseus fared?

Not particularly well on first appearances.

First track “Athena’s Theme” is a quasi-operatic, over-dramatic intro”. It follows into the clichéd stormy night and ominous horns of “Telemachus, Pt. 1”. It sounds like a rehashing of “The Warriors Prayer”. Except it’s in fucking Greek. If you don’t speak the language you’re buggered without a translation. It segues into a power ballad duet (“Where Eagles Fly”) so sappy even Meatloaf would have been too ashamed to sing it. Yes, Eric Adams still has a great voice, as does Chiara Tricarico of Italian symphonic power metal band Moonlight Haze, but metal fans want to hear him belting out massive war anthems, not warbling away in limp pseudo-operatic insipidity. And then there’s another Greek interlude called “Odysseus and Calypso - The Island of Ogygia”, which sounds ever so dramatic, but is still meaningless if you don’t speak the language. It’s enough to make frustrated Mano-warriors hang up their rusty battleaxes and dented codpieces.

But then Manowar do what they’ve done for their entire pompous, pretentious, unintentionally self-parodic 40+ year career. These arrogant, self-important bastards make all the bloated theatrical bullshit worth wading through by knocking out an anthemic, monstrous blast of good old fashioned heavy fucking metal with final track “Immortal”.

Ominous, ethereal choir? Check. Thundering Drums of Doom? Check. Relentless militaristic guitar riffs? Check. Joey De Maio’s unbelievable bass gymnastics? Check. Eric Adams calling brothers to arms? Check. The recipe is all there, all laid out plain and to see. It should sound tired and rehashed because this is a 40-year-old recipe, but it doesn’t. It still feels crisp and vital as it did when “Battle Hymns” first blasted out of speakers worldwide in 1982. It’s comfortingly metal without being over-comfortable. It’s over-blown without being overbearing. It’s just quintessential Man-O-fucking-War.

Whether the rest of the forthcoming album lives up to the standard set by this EP remains to be seen. And that’s exactly what this is supposed to do – pique curiosity and set out expectations. So fuck you Manowar, for who you are, you arrogant grumpy old bastards. But also thank you Manowar, for the music which has been, and possibly for what remains to come. There’s still a bit of wear left in the old codpiece yet.

FLOURISHING The Sum of All Fossils

Album · 2011 · Technical Death Metal
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Metal Music Archives Reviewer's Challenge: June 2022

Death metal got disconnected somewhere along the line.

When the genre first spawned from bands who found thrash metal wasn’t extreme enough for them, the focus was mainly on big riffs and brutality. Like thrash before it, there was a certain melodic groove to it, albeit buried under layers of monstrous guitars, thunderous drums, and bestial vocals.

Fast forward to the 21st century and for some strange reason, new death metal bands don’t seem to have anywhere near the same focus on musicality. Instead, it seems technical prowess, off-the-wall time signatures and arrangements, and headache-inducing discordance are the flavour of the time instead. The old bands realised death metal is still music, while the newer ones don’t.

A bit of dissonance and discordance, and brutal technicality can be great to listen to, but such things need to allow room for the underlying music to breathe, otherwise you may as well listen to Merzbow demolish buildings with decorated amplified white noise. Enter Flourishing, who connected things back up again.

“The Sum of All Fossils” has the groove and expressiveness so beloved by death metal’s founders, while incorporating the brutal technicality and clashing disharmonia so ever-present in today’s death metal. This is undoubtedly a death metal album, but thrown in are elements of Neurosis-like post-apocalyptic guitar scrapes, Skin Chamber’s industro-death blown throat dual vocals, and some big sludgy chunks of Crowbar. Imagine a harder edged Gojira partnered with pre-prog Pestilence, and Disharmonic Orchestra overseeing it all with bleak surrealistic cyberpunk lyrics.

There’s nothing as conventional as intro/verse/chorus/verse/chorus/outro songwriting here. The music, like the lyrics, seems to be stream of consciousness, but at the same time seems precise and rehearsed rather than loose and improvised. While the music is compelling and hard to break from, the lyricism seems dense and impenetrable. Observe “Fossil Record”: “Rates increase all the time and embrace all of these thoughts. So lost. Photographs fade in every era. Left with their solitude. Reasoning dulls. Voids become deep. Alarm. They plant seeds of high purpose. Mortals drone on.” It’s a bleak but powerful vision of… what? It seems left to the listener’s interpretation.

This is an album-sized exercise in brutality and beauty to be consumed in it’s entirety, rather than trying to pluck song from song, as it is a singular vision viewed in eight parts rather than a collection of eight songs squeezed together and called an album. “The Sum of All Fossils” fills a missing link between two divergent, distantly related metal sub-genre which share a common ancestor, but long ago branched in different directions.

LAST DAYS OF HUMANITY Horrific Compositions Of Decomposition

Album · 2021 · Goregrind
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Goregrind – invented by Carcass, perfected by Regurgitate, and pushed to the absolute limit by Last Days of Humanity.

Everything Last Days of Humanity (LDOH) has ever produced has been extreme, pushing the boundaries between brutal uncompromising music and formless noise. This is what endears the band to it’s fans, and also deters potential new listeners. Just look at the band’s previous album covers. Gory pictures are the norm among goregrind bands, but LDOH’s album covers take the revulsion to new depths. Human bodies aren’t just mangled but are also decomposing, with images so visceral and disgusting you can almost smell the putrefaction and trigger your gag reflex. This music isn’t something which can just be explored casually.

And the music. It’s fast, distorted, guttural, and really fucking heavy, but often it dissolves into an indistinguishable blur. It’s a nasty, gut-punch kind of a blur, and quite satisfying in it’s own right, but it’s hard to tell where bass, guitar, vocals, and drums all start and end. There have always riffs lurking just beneath the surface, but like the Loch Ness monster, they have proved to be elusive up until now.

Right from the first few seconds, “Hematopoietic System Tissue and Lymphoid Fail” opens with an absolutely massive riff which wouldn’t sound out of place on Carcass’ first two albums, except that it’s crystal clear and monumentally heavy. It seems like for almost the first time in their career LDOH actually had a production budget.

However, the more things change, the more they stay the same. Hans Smits’ vocals still sound like a clogged drain in a pathology lab. Clearer production aside, this is still the familiar trademark micro-blast songs, sometimes lasting only a few seconds but run together so it’s often hard to know where one song ends and the next begins. Let’s face it though, this isn’t the sort of music you listen to for individual songs. Other than with the opening track, the only other time this matters is with a suitably mangled cover of Fear of God’s “Running Through The Blood”. Sometimes music emerges from the crimson maelstrom. Otherwise, this album is glorious, gory cascades of shredded, decaying human tissue.

So… is LDOH breaking new ground? No. Is LDOH still pushing the limits? Yes. Is this a contradiction? Maybe. Is “Horrific Compositions of Decomposition” any good? Yes.

COFFIN FUCK Rockin' Around the Christmas Tree

Single · 2021 · Black Metal
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Ho, ho, fuck...

Yep, it’s Christmas time, so the world’s most (only?) Christmassy death metal band Coffin Fuck have made their annual trip to the studio somewhere near their home base of Hopatcong, New Jersey. COVID played the Grinch in 2020, the first time in a decade a Coffin Fuck Christmas single didn’t eventuate, so the three lads in their silly sweaters are making up for lost time this year.

But something has changed.

Yes, it’s the usual three self-professed dorks mangling a Christmas song in a so-bad-it’s-good completely unproduced metal manner. Yes, the lyrics are mostly inappropriate and silly. And yes, the artwork to this year’s offering “Rockin' Around the Christmas Tree” looks to have been hand drawn using Microsoft Paint.

But therein lies a clue: there’s a rough hand-rendered version of the most famous image in black metal history. No, not Dead’s splattery “excuse the mess” farewell. No, no! Not Count Grishnakh posing with the over-sized butter knife. The OTHER most famous image from black metal. You know, Abbath and Demonaz in full battle dress and badger make-up ready to shovel snow with their guitars from the cover of “Battles in the North”.

Yep, Coffin Fuck have passed over to the dark side. This year’s Christmas single is... black metal!

And actually, it’s not half bad. Well OK, it is pretty bad, but that’s the point. It’s standard-ish black metal with fast, reedy sounding guitars, and blasts and snare drum flurries like you’d expect, but it’s the funny little foibles which make Coffin Fuck such fun. The tuneless vocal tuning at the start of the song. The clunky solo mid-song. The stupid lyrics – “You will get a detrimental feeling when you hear/heathens screaming, worship Santa” and “Have a Misanthropic day/Everyone glaring evilly/In the most trve nekro way”.

Yep, it’s dumb as fuck, but that’s why it’s fun. Merry Antichrist-mas!

Latest Forum Topic Posts

  • Posted 1 day ago in Recently Watched Films
    Zulu is still regarded as a great movie, this isn't. This covers the battle of Isandlwana, which occurred a few hours before the battle at Rorke's Drift, and in this case the British army got massacred. The battle scenes are excellent, but they are somewhat unfocused, because it's hard to know where all the main players and forces are actually situated. The movie has a very strong cast, although there was criticism levelled at casting Burt Lancaster because he was shit at accents. I think this is thought of as the far lesser movie because Zulu is so fondly remembered, and in this one the British lose. Also, they are portrayed as less sympathetic to the Africans which is more realistic but might be hard to stomach.
  • Posted 1 day ago in Recently Watched Films
    Strange little movie. I saw it when I was a kid and remembered the ballad. Jane Fonda didn't want to do it and thought it would be crap, but was contractually obliged. It ended up nominated for 5 Oscars, with Lee Marvin controversially winning best actor, and making himself a name as a Hollywood drawcard at the same time. There's some great trick horseriding, and it features Nat King Cole as one of the balladeers, but the story is a bit lightweight. Other than Cat, Kid Shelleen, and the surprisingly culturally aware Jackson Two-Bears, the rest of the cast are basically cardboard cut-out Western characters. Vim Fuego2022-10-01 17:44:17
  • Posted 1 day ago in Recently Watched Films
    The second Pink Panther film which isn't really a Pink Panther film. Released only three months after The Pink Panther, this was based on a French play "L'Idiote". Inspector Clouseau is finally fleshed out fully, with his silly accent now in place. And it's Peter Sellers in full comedic flight, so well worth a watch for slapstick physical comedy and a big dose of absurdity.

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