siLLy puPPy

MMA Special Collaborator · Prog/AG Team
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1182 reviews/ratings
THOUGHT INDUSTRY - Songs for Insects Technical Thrash Metal | review permalink
THOUGHT INDUSTRY - Mods Carve the Pig: Assassins, Toads and God's Flesh Technical Thrash Metal | review permalink
NOKTURNAL MORTUM - Lunar Poetry Symphonic Black Metal | review permalink
CARACH ANGREN - Where The Corpses Sink Forever Symphonic Black Metal | review permalink
KING CRIMSON - In The Court Of The Crimson King Proto-Metal | review permalink
MEGADETH - Rust in Peace Thrash Metal | review permalink
QUEENSRŸCHE - Operation: Mindcrime Progressive Metal | review permalink
INFECTIOUS GROOVES - The Plague That Makes Your Booty Move... It's the Infectious Grooves Funk Metal | review permalink
BEHEMOTH - Demigod Death Metal | review permalink
KYUSS - Welcome To Sky Valley Stoner Metal | review permalink
METALLICA - Master of Puppets Thrash Metal | review permalink
METALLICA - ...And Justice for All Thrash Metal | review permalink
SLAYER - Reign in Blood Thrash Metal | review permalink
DARKTHRONE - A Blaze in the Northern Sky Black Metal | review permalink
BROCAS HELM - Black Death US Power Metal | review permalink
BROCAS HELM - Defender of the Crown US Power Metal | review permalink
BUMBLEFOOT - Ron Thal / Hermit Progressive Metal | review permalink
BUMBLEFOOT - Ron Thal / The Adventures Of Bumblefoot Progressive Metal | review permalink
EDGE OF SANITY - Crimson Melodic Death Metal | review permalink
BUMBLEFOOT - Hands Progressive Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Non-Metal 154 2.94
2 Alternative Metal 121 2.94
3 Progressive Metal 100 3.97
4 Avant-garde Metal 93 3.93
5 Hard Rock 87 3.48
6 Black Metal 68 3.67
7 Metal Related 60 3.42
8 Heavy Metal 53 3.73
9 Technical Death Metal 44 4.03
10 Proto-Metal 33 4.00
11 Thrash Metal 31 3.55
12 Death Metal 29 3.93
13 Atmospheric Black Metal 19 3.76
14 Folk Metal 16 3.91
15 Glam Metal 14 3.61
16 Power Metal 14 3.79
17 Technical Thrash Metal 14 3.79
18 NWoBHM 13 4.15
19 Industrial Metal 13 3.81
20 Funk Metal 12 4.17
21 Atmospheric Sludge Metal 12 4.17
22 Death-Doom Metal 12 3.75
23 Brutal Death Metal 10 3.65
24 Hardcore Punk 10 3.55
25 Symphonic Black Metal 10 4.20
26 Sludge Metal 10 3.75
27 Doom Metal 9 4.11
28 Metalcore 8 3.75
29 Neoclassical metal 8 3.69
30 US Power Metal 8 3.63
31 Groove Metal 7 3.50
32 Mathcore 6 3.92
33 Melodic Black Metal 6 4.17
34 Gothic Metal 6 3.67
35 Grindcore 5 3.40
36 Drone Metal 5 3.50
37 Speed Metal 5 3.50
38 Stoner Metal 5 4.00
39 Symphonic Metal 4 4.13
40 War Metal 4 4.00
41 Depressive Black Metal 4 3.75
42 Deathcore 4 3.13
43 Heavy Alternative Rock 4 3.50
44 Melodic Death Metal 4 4.00
45 Traditional Doom Metal 3 3.33
46 Stoner Rock 2 4.25
47 Nu Metal 2 3.25
48 Heavy Psych 2 4.50
49 Goregrind 2 2.50
50 Crossover Thrash 2 4.75
51 Funeral Doom Metal 2 4.25
52 Electronicore 1 2.00
53 Crust Punk 1 2.50
54 Cybergrind 1 3.50
55 Death 'n' Roll 1 3.50
56 Deathgrind 1 3.00
57 Melodic Metalcore 1 4.00
58 Nintendocore 1 3.50
59 Metal Related Genres 1 4.00
60 Pagan Black Metal 1 5.00
61 Pornogrind 1 0.50
62 Rap Metal 1 1.00
63 Trance Metal 1 1.00
64 Viking Metal 1 4.50

Latest Albums Reviews

THE PLADS Domine Deus

EP · 1983 · Hard Rock
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THE PLADS was an oddball band for the early 1980s. This Ketchikan, Alaska based act with little to no information to be found, strangely seems to have started off as a new wave / power pop act and released a single titled “Calling Girls” in 1982 before adopting a more heavy metal styled approach without actually leaving the new wave aspects behind. The result was a strange musical hybrid of two completely different styles of music that existed side by side but never cross-paths except as separate distinct videos on MTV.

The band’s only release was the 1983 EP 7” vinyl release DOMINE DEUS which displayed classic NWOBHM elements such as on the excellent “Domine Deus” while some tracks like “Amen” sounded more like metallic versions of Oingo Boingo songs complete with the Danny Elfman goofy voice antics. What the album lacks in stylistic consistency, it more than makes up for in super catchy hooks and nails both the metal styles as well as the new wave ones. Despite the NWOBHM tag that many put on this though, the music isn’t really heavy enough to be considered bona fide metal and by today’s standards is really just hard rock with new wave tendencies.

The overall quality of the music is really good and the band had a knack for ridiculous catchy hooks with the musical talent to back it up. Unfortunately the band disappeared nearly as quickly as it emerged like the misty fog that blankets Southeastern Alaska. This sole release has never seen a reissuing and remains an underground obscurity and commanding hefty prices for any copies that happen to end up on the market. This is definitely one i would love to see re-released with any bonus tracks that may still be lurking in the shadows. A real gem actually.


EP · 2013 · Deathcore
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AWAKEN ANTAGONIST is a band that formed in 2011 in Fairbanks, Alaska and has only so far released this one 2013 self-titled EP and a full-length follow up in 2017 titled “Shepherd of Plagues.” The lineup of Tyler Martin (vocals), Kris Larson (drums), Jesse Gill (guitar), Sean Pederson (guitar), Jacob Marcy (bass, vocals) and Mark Redinius (bass) has remained steady ever since.

This band skirts and often blurs the line between deathcore and melodic death metal. On the deathcore side of the equation, the bombastic focus is on the breakdowns and blastbeats and on the melodic death metal side there are beautiful guitar harmonies with melodic flows that keep the whole thing accessible. Lots of guitar chugging as well that has some thrash elements at times. Lyrics are grunted, shouted, spoken and also are growled in the typical death metal fashion.

Along with the core and death elements, there is also a groove element and an occasional atmospheric backdrop that adds some contrast. Basically AWAKEN ANTAGONIST is a little more varied than the average deathcore artist and this eponymous EP debut is quite the catchy little compilation of four tracks. The band makes use of staccato patterns, palm muting and while the melodic elements provide a hook, they are buried beneath the frenetic barbarity of the heavier aspects.

Deathcore is a style of metal that is very hit and miss for me but AWAKEN ANTAGONIST certainly found the right recipe for an interesting mix of different strains of extreme metal. While often debut EPs only serve as a mere demo for the full-album to follow, this one is a completely different set of tracks and is the perfect gateway drug into this rare example of an extreme metal band coming from the frosty northern regions of the US in the Alaskan city of Fairbanks.

BATUSHKA Litourgiya

Album · 2015 · Black Metal
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Times have certainly changed. Black metal emerged from the underground world in the 1980s with the first signs of life coming to fruition with bands like Bathory and Mayhem engaging in a rather misanthropic rage with a vehement emphasis on anti-Christianity. The genre quickly became known as the Satanic section at the metal supermarket but as soon as the full swing of the 90s second wave hit, bands were beginning to experiment with varying supplemental sounds and subject matter which even resulted in the ultimate paradox of Chrirstian black metal dubbed “unblack metal” first attempted by Australia’s Horde and while it would take a few years for the process to fully unfold, by the 2000s there would be as many atmospheric blackened metal bands lamenting about Paganism and ecology as there were those still engaged in the occult and black arts.

Samples from traditional Christian liturgical sounds in black metal also extends way back to the 90s when bands like Ulver juxtaposed orthodox Gregorian chants within the tapestry of the fury and bombast of black metal and once the flood gates were opened it seems that every black metal act since has been trying to find a way to make the darkness and the light dance together with some results better than others. While perhaps France’s Deathspell Omega has proven the most successful in integrating these chants into the darkened bleakness of bantering buzzsaw guitar metal, another band that has successfully integrated the two aspects surely has to be Poland’s Батюшка (BATUSHKA) whose debut album Литургия (Litourgiya) found the perfect recipe for a steady stream of Russian Orthodox Church litanies wrapped up in the usual black metal suspects of distorted tremolo guitar picking, blastbeats and raspy no fucks given vocal bantering.

While the band has split into two separate entities in recent years, this early version began in Białystok, Poland in 2015, a city that straddles the border of Poland and Belarus and contains as many ethnic Russians, Belarussians, Jews and other minorities as it does Poles. The city has always been a crossroads of sorts for immigrants and in the region has been exposed to a wide variety of traditions. BATUSHKA which consisted of Krzysztof Drabikowski [aka Христофоръ] (guitar, bass, vocals), Bartłomiej Krysiuk [aka Варфоломей] (vocals), Marcin Bielemiuk [aka Мартин] (drums) created a style of music with a passion that lay in the realms of black metal however found that the Eastern Orthodox liturgical music shared many characteristics with the more modern antithesis and set out to fuse the two as had never been successfully amalgamated before. The result was the bands debut Литургия (Litourgiya) which literally translates as “Liturgy.”

LITOURGIYA is a musical statement of contrasts. A Polish band chanting in Russian. Orthodox Christian liturgies surrounded by the suffocating subversiveness of the fiery fury of black metal. A sense of ancient timelessness in cohorts with a style of music that is clearly rooted in the modern era. While this sounds like a recipe for disaster and to be honest it really could go down in flames in so many ways, BATUSHKA carry it off with relative ease. In fact, BATUSHKA make it sound downright natural and makes you wonder why someone else hasn’t pulled this miraculous hybrid off sooner. The album consists of eight tracks with each titled “Ектения (Yekteniya)” which means “Litany” followed by a subtitle. The album begins with the dominant forces of the Christian liturgical sounds with the black metal taking a back seat and slowly ramps up the black metal dominance as the album plays on. The contrast between the clean vocal chants and raspy black metal screams trade off perfectly with each side of the equation holding its ground throughout the album’s 41 minute run.

When all is said and done the mysterious BATUSHKA represents a new paradigm within the black metal world and one that is the antithesis to its one-sided origins. The demonstrative efforts presented display the fertile cross-pollinating abilities that continue to emerge in the once one-trick pony metal sub-genre and the best thing of all is that the metal aspects of the album are in no way compromised for the sake of what may sound like a gimmicky side show. Perhaps my only complain is that the album does seem to resonate as a little samey as it plays on with the same metal riffs reemerging track after track but in the end this is a brilliant slice of black metal vs Christian liturgical chanting in the ultimate musical death match ever and in a day when it’s harder to stand out from the pack than ever before, it’s actually quite the accomplishment.

THY CATAFALQUE Sublunary Tragedies

Album · 1999 · Avant-garde Metal
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THY CATALFALQUE has been going strong now for over 20 years and continues to find new refreshing ways to reinvent itself with each subsequent album but yet retains a distinct avant-garde style that sounds like no other. The project is basically the artistic endeavors of Tamás Kátai (vocals, keyboards, guitar, bass) who has led the project through the decades with an ever-changing cast of guest musicians however János Juhász (guitar, bass) was also considered a full member during his tenure from 1998-2011. The duo formed THY CATAFALQUE in Makó, Hungary but since then the project has moved to Edinburgh, Scotland. The term CATAFALQUE refers to a decorated platform or framework on which a coffin rests in state during a funeral which is the perfect moniker for this unique darkened band that mixes filthy aggressive black metal with industrial and ambient sounds along with healthy doses of homegrown Hungarian folk.

While Kátai has incrementally increased the sophistication of THY CATALFALQUE and thus earning the project the highest plaudits within the world of extreme metal for its sheer intensity and experimentation, the band began more or less as a second wave black metal band with symphonic and orchestral touches much in the vein of early Emperor only with a unique paprika fueled Hungarian twist that included a touch of the avant-garde. This debut album SUBLUNARY TRAGEDIES displays the band at its rawest and primeval with ferocious black metal riffs engaging in breakneck tremolo picking, explosive blastbeat drumming frenzies all drenched in Hungarian folklore and rhapsodies on fire. While the black metal aspects are perhaps the most fiery and frenetic of the project’s lengthy career, the more diverse elements emerge from the extensive use of keyboards that not only provide the darkened frigid atmospheres but also includes industrial heft as well as danceable electronica.

SUBLUNARY TRAGEDIES is a powerhouse of seven tracks that creates the ultimate Jekyll & Hyde musical scenario. On the black metal side, this is frenetic uptempo fury that is unleashed and sounds like a rabid dog on fire much like the first Possessed album however there are slow contemplative atmospheric brooding sessions as well as middle of the road mid-tempo variations. While the atmospheric black metal tones and timbres are fairly standard, the underpinnings of Hungarian folk music that is infused in the musical scales gives an eerie and exotic flair that allows the compositions to feel more epic than say the standard Darkthrone or Immortal albums. The metal is brutal and raw yet the album comes off as if it were a Bartok sort of classical album in many ways. The two aspects are at war with no clear resolution as to which side actually prevails. It is the dance of darkness and light much like the universe above and around. While the metal stampedes like a standard second wave band from Scandinavia, the time signatures and progressive touches take it somewhere else completely.

While THY CATAFALQUE has become world renowned for the exemplary releases that peaked from “Tűnő Idő Tárlat” to “Rengeteg,” these earlier recordings are just as compelling provided you can appreciate the lo-fi DIY efforts of an ambitious avant-garde black metal band during its nascency. While many metalheads either love the lo-fi no nonsense approach or prefer the more polished sounds of a production job, i actually embrace both sides of the equation. Black metal is one of those genres that can sound really outstanding either way and in the case of THY CATAFALQUE i think that these early lo-fi albums resonate just as well as the slicker accomplishments that followed. After all, it’s the compositional skills that really win me over with this band and in that department THY CATAFALQUE hit the ground running with its unique folk fueled orchestral black metal sound. After all is said and done, i find SUBLUNARY TRAGEDIES to be an outstanding slab of experimental black metal that shouldn’t be missed if you have already checked out the later albums.


Album · 2014 · Progressive Metal
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Sometimes a ridiculously bad band name prevents me from exploring a said band's music and such is the case of the ghastly denominated PERVY PERKIN. I couldn't think of a worse name for a progressive metal band if i tried, however once i finally explored this band that emerged from Murcia, Spain and currently resides in Madrid, i have to admit that despite the hideous moniker and rather uninspiring album cover art for its three full-length releases that i was completely enthralled by the band's debut album INK which hit the world in 2014. This group of perves was formed in 2010 by Carly Pajar'n (drums, percussion, vocals), 'lvaro Luis (guitar, bass), Dante (guitar, bass, vocals) and Ugo Fellone (keyboards, acoustic guitar) but was soon joined by lead vocalist Alejandro Macho. Soon thereafter Fellone left the band and was replaced by bassist Pablo Aks.

About the ridiculous name. In an interview with, guitarist Dante explained that the name was derived from an interest in astronomy and as it turns out 2483 PERKIN came up as a name for a celestial body from the asteroid belt between Mars and Jupiter, which according to some is the exploded remains of the long lost planet Tiamat. The PERVY part of the equation was added to personify this asteroid who had a hatred and jealousy for the Earth so great that it designed a plan to lock its orbit into a trajectory that would ultimate crash into the planet and extinguish all life much like the theoretical asteroid that was the demise of the entire existence of dinosaurs some 65 million years in the past. While it is helpful to understand how this name came to be, admittedly it doesn't make me like in the least bit but despite the silly name, this band of young musicians is quite the talented bunch!

While the album's title INK has a mere three letters, the debut album boldly encompasses a whopping 137 minutes of listening experience which immediately pegged the band by many as being overly pompous, overweening, overbloated and much too adventurous for its own good. Those are the kinds of comments that generate my interest but to invest over two hours in a newer band that i have never heard? Well, sometimes you just have to let a few tracks flow and either you love it or leave it. Luckily for PERVY PERKIN i stuck around and despite the album's admittedly excessive use of listening time, this band has the knack to keep the active and adventurous listener intrigued as one melodic development cedes into the next all the while a callithump of musical genres perform tricks like circus animals performing on cue.

PERVY PERKIN can be thought of as one of those multi-genre juggling acts that has taken the disparate sounds of classic and modern progressive rock and mixed it all together with the more modern Dream Theater strain of progressive metal. Perhaps most closely related to bands like Haken, PERVY PERKIN tackles the seemingly impossible task of mixing and melding influences such as Dream Theater, Ayreon, Pain of Salvation, Opeth and Symphony X on the prog metal side of the equation along with a multitude of prog rock references such as Pink Floyd, Camel, Kansas, Rush and the Neil Morse projects such as Spock's Beard and Transatlantic amongst others. Add to that additional references to soundtrack music such as Ennio Morricone, Muse, Led Zeppelin, Metallica, Frank Zappa and more and you can only imagine how much went into the making of this sprawling prog rock / metal album of epic proportion. Add even more touches of jazz, electronica, folk and more and you get the drift.

There is literally too much happening on INK to adequately convey the creativity displayed on it in mere the mere writing of a review. This is a type of band that must be experienced but it does require the proper investment of time and effort to connect with it. This is hardly an album for those who take the fly by night approach of simply sampling. While the accusations of a lengthy rambling album with no cohesive design may be true in small part due to the fact that the tracks are independently designed and exist within their own continuum of things, well'. so what. Many albums are a collection of disparate tracks and there have been no claims that this is a concept album of any sort. What it does convey is how talented this collection of Spanish musicians has become in their relentless pursuit to leave no prog rocks unturned. Admittedly an idea that has been done before and nothing new but PERVY PERKIN channel all of the technical wizardry into a strong emotional connection which is what keeps the album listenable for its duration.

While it's true there are some moments of 'down time' where an idea lingers too long or the vocal performances aren't up to the standards that the music demands, the album is for the most part an instrumental exploration and reinterpretation of all the aforementioned influences along with ample heaps of creative input. While the tag metal often accompanies the works of PERVY PERKIN, the heavier parts are not as common as the more middle of the road prog rock ones. In the end, this is not a magnum opus by any means. This is the work of a young band with a fertile creative drive that at times borders on a naive charm but always executed in a satisfying manner. While it may have been wiser to release the material as two albums or even edit out some of the more meandering parts, the truth is that i don't find any material on here to be unlistenable. In fact most of it is rather refreshing and interestingly performed. With two tracks over 20 minutes and 2 hours worth of listening material, this is truly one for the prog- o-holics out there but PERVY PERKIN delivered an exciting overdose of everything prog on its debut INK.

Latest Forum Topic Posts

  • Posted 4 days ago in Any 2019 albums to recommend?
    I'm woefully not checking out too much new metal this year.So far i like....Deathspell Omega - The Furnaces of PalingenesiaWaste of Space Orchestra - SyntheosisBatushka - PanihidaGloryhammer - Legends From Beyond The Galactic TerrorvortexFunereal Presence - AchatiusArch / Matheos - Winter EtherealPossessed - Revelations of OblivionHelium Horse Fly - HollowedPensees Nocturnes - Grand Guignol OrchestraAmon Amarth - Berserkerhave heard a few more and probably forgetting some but basically i'm finding metal is somewhat of a slump and i much prefer exploring the bands and albums that i've missed from the past.
  • Posted 7 days ago in Black Metal drop-in centre
    ^ that's cool. I wasn't blown away by his first album. I guess he and Immortal are in competition now!
  • Posted 16 days ago in Now -- what are you listening to? V2
    ^ i did an Enslaved marathon a few months back. I was sick of them by the time i got to Riitiir 


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