Alternative Metal

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Alternative Metal, or Alt Metal for short, is a sub-genre of metal music that has it's roots in the mid-1980s. It's sound comes from the mixing of metal with elements that are uncharacteristic to the metal genre, such as funk and hip-hop, but not in such an experimental way as to be considered Avant-Garde Metal. Some of these alternative metal fusions gave risen to some distinct sub-genres of it's own, with Nu Metal being a notable metal movement from the mid-1990s.

Alternative Metal Sub-Genres

Funk Metal

Nu Metal

Rap Metal

Sub-genre collaborators (+ Child subs and Heavy Alternative Rock):

alternative metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

ALICE IN CHAINS Dirt Album Cover Dirt
ALICE IN CHAINS
4.51 | 110 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.42 | 90 ratings
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LIVING COLOUR Stain Album Cover Stain
LIVING COLOUR
4.47 | 12 ratings
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SOUNDGARDEN Badmotorfinger Album Cover Badmotorfinger
SOUNDGARDEN
4.21 | 66 ratings
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TOOL Ænima Album Cover Ænima
TOOL
4.19 | 89 ratings
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KATATONIA The Fall Of Hearts Album Cover The Fall Of Hearts
KATATONIA
4.31 | 19 ratings
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CHEVELLE Wonder What's Next Album Cover Wonder What's Next
CHEVELLE
4.67 | 6 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.14 | 95 ratings
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NOTHINGFACE Violence Album Cover Violence
NOTHINGFACE
4.62 | 6 ratings
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TREMONTI All I Was Album Cover All I Was
TREMONTI
4.50 | 7 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.24 | 17 ratings
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FAITH NO MORE The Real Thing Album Cover The Real Thing
FAITH NO MORE
4.10 | 77 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

alternative metal online videos

alternative metal New Releases

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A Quiet Place to Die
Album
ALPHA WOLF
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Akudama
Single
ALPHA WOLF
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A Wonderful Life
Album
MUSHROOMHEAD
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A Dead And Aimless Hum
Album
SHEDFROMTHEBODY
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Chimichanga
Single
PSYCHOSTICK
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Christmas Live 2015 at Liquidroom Part I & II
Live album
SUPER JUNKY MONKEY
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Reburn
Promos, fans club and other releases (no bootlegs)
LADYBABY
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City Burials
Album
KATATONIA
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The Early Years
Boxset / Compilation
MANHOLE
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Flip Phone Fantasy
Album
OCEAN GROVE
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Hyperviolence
EP
OMERTA (TX)
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Mother
Album
IN THIS MOMENT
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I'm Drowning
Single
FILTH (FL)
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Rockstar
Single
FILTH (FL)
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Case File 539
Album
FILTH (FL)
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Case File 539 (2020)
Album
F.I.L.T.H.
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Case File 539
Album
F.I.L.T.H.
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Saint
EP
DEALER
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A Silent Soul Screams Loud
Album
PYOGENESIS
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Two-Way Mirror
Single
LOATHE
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Enigma
Album
THE THIRTEEN
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I Disagree
Album
POPPY
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Brazil
Album
INTERNAL RUIN
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Conduit
Album
WORLD BREAKER (MO)
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Viridian
Album
TEMPERANCE
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alternative metal Music Reviews

METALLICA St. Anger

Album · 2003 · Alternative Metal
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adg211288
The year was 2003. The place, a small town in the United Kingdom. The hero of our story is yours truly, then between fourteen and fifteen years old. His quest? To discover a taste in music that he could claim as his own. It is a strange tale of how he came to find the form of music known as metal thanks to an album that goes by the name of St. Anger, which many will tell you on a dark night, telling ghost stories by firelight, is some kind of monster. In most stories, it would be the villain. This is not most stories.

Every metalhead who ever lived has a tale about how they came to metal. Many may start with the band Metallica, but something earlier, more classic. Or perhaps more likely they'll come to metal through one of the classic British heavy metal bands of the 70s or 80s. Black Sabbath, where it all began. Or Judas Priest, who refined it. Or Iron Maiden, the kings of the New Wave of British Heavy Metal. But not so for our young protagonist, and so our story starts in that little town in the UK, where if you wanted to buy a CD, you're best bet was Woolworths.

Our protagonist came late to any kind of taste in music perhaps at first because of his parents; a Father who lived and breathed Pink Floyd and was determined to impose that band on his son above all others he listened to (if he'd gotten the Led out this tale might have taken a very different turn) and a Mother who worshipped Bruce Springsteen to the point that all other music was almost entirely irrelevant. Neither of these artists made our hero sit up and think 'yeah, that's for me!' In fact, he understood music so little that, in a rather cringe-worthy moment that was probably in the late 1990s, he asked his old man what the point of music was. Fast-forward to 2020 and that now grown up boy has recently bought his 1000th CD. But how did he get there?

It wasn't an easy journey. Particularly because it's one of those journeys that you don't really know you're even on until you get there. To understand why, we need to take a closer look at our setting. The early 2000s were dark times for any would-be metalhead in the United Kingdom. It wasn't standard in households to have satellite TV, which (at least by the time he did get access to them) had a couple of music stations that specialised in heavier music (the better one being the now defunct Scuzz), just the standard five channels where the best and only options to hear new music were the likes of Top of the Pops and CD:UK. And they only cared about three things: the charts, the charts and the charts again. And he was a little late to pick up on Iron Maiden when they came up with Brave New World and probably got some coverage at least from TOTP.

The internet wasn't an option either. In those days, even having the internet wasn't a given depending on your situation. Rich Kids (meaning kids who had rich parents, but Rich Kids was the term we used back then) had PC's and the internet. You, in your more humble background, didn't. It wasn't the thing everyone takes for granted now. It certainly wasn't on your phone. The mobile phone may have a history going back much further than 2003, but it would be a while yet before it was normal for every kid to have one and they weren't the iPhone and Androids of today. If you were lucky enough to access to the internet, it was strictly in the home. And it was probably dial-up, whose speed and constant disconnections would likely make the youth of today who are surgically attached to their phones shoot themselves. And then ask someone to shoot them again because they ain't dead yet. And even if you were lucky enough to be online, this was 2003. There was no Spotify. No YouTube. No Bandcamp. None of the websites that in later life our hero would rely on to check music out.

If you were a Brit in those times you either had to hear new music that made the charts, or hear about through word of mouth from someone you knew, or buy a magazine, the ultimate quality of which remains debatable to this day. Metal Hammer did help the boy in the following years, though Kerrang could fuck right off, and who'd think to buy a Metal Hammer when you haven't yet realised you liked metal? This was thing: how could one find metal, if one didn't know to even look for it?

Like his parents, the boys circle or friends and peers tried to enforce their taste upon him. There were a few bands of the time, all chart reaching types, that were rock bands but not metal bands, that were collectively liked by a few of these people. Blink 182. Feeder. Green Day. Red Hot Chilli Peppers (not liking the song Can't Stop by RHCP was something our hero's mates couldn't get their heads around). Possibly there were other bands, but these were the stand out names that kept being presented to our hero. Well, there was also that one friend who was all about Sum 41, but the less said about him the better. He, after all, completely turned his back on all rock music and started exclusively listening to hip-hop and adopting the culture of that music. A common issue of white kids acting and talking like they're black. These days they'd probably label it cultural appropriation. These times did get the boy two rock bands he quite liked, Nickelback and Foo Fighters. But something still wasn't quite right.

There are other stories that could be told about these people and how their music had an affect on our hero's listening life, but it doesn't pertain to his discovery of metal, so we must sadly leave that tale untold and move on.

The truth was, our hero did hear metal music before Metallica came up with St. Anger. And he didn't like it. In fact it was some the worst shit that was bothering the charts. Wait...the charts? We have to take an intermission here to give a rather sarcastic round of applause to the following bands, who almost did a damn good job of forever derailing our hero's journey into metal.

Linkin Park. Lim Bizkit. Papa Roach. Korn. Actually, not so much Korn, but they didn't exactly do it for the young mind of our hero either and honestly Korn weren't getting the airplay at the time like the likes of Linkin Park and Limp Bizkit were. But these bands were what the boy first knew of as metal.

And he thought it fucking sucked.

Salvation then, come from a source that years later seems a most unlikely one, a much maligned album by Metallica, a band that our hero was aware of, had never heard until this, and just assumed sounded like those other shitty metal bands. He'd certainly never heard the term thrash metal before. There was just nu-metal. Other metal presumably being old-metal and redundant. Lord knows there was that one guy Lewis in school who gave his own friend Karl all kinds of shit for liking Iron Maiden and Nirvana. Anyone, that Metallica album:

St. Anger. St. Fucking Anger.

And our hero's mind was blown.

But we do need to rewind slightly to get the full picture of this story, because this wasn't the first time our hero had heard metal that wasn't the awful nu-metal crap he'd previously been exposed to. But he hadn't realised that another album he'd discovered slightly before this in 2003, was actually metal as well, except no one seemed to acknowledge it at the time (or since, really). Yet in hindsight it obviously was. Alternative, yes, but not nu, and that really made a big difference. But the media just labelled it goth and Christian rock, so we can't really say that this album was our hero's real gateway to metal. Sorry Fallen and Evanescence, but a misunderstanding media make you this story's tragic character who should be more important than you actually are.

When St. Anger first blared out of his speakers, there could be no room for doubt in our hero. THIS was metal. Not that nu-metal stuff that was full of rapping and other nonsense. And our hero knew that this was it. This was his music. It was the heaviest and most aggressive stuff he'd ever come across. And it suited him like nothing else did. From that day forth, he knew one thing for certain: he had to find more metal.

This choice wasn't met with much approval. In fact, none at all. His more punk and pop based mates thought he'd lost the plot and labelled him as having become a grunger (that was how clueless they actually were about metal – this is the first and only time I've ever heard someone called a grunger). His parents were more accepting, especially his Dad, though his Mum, who did her best to make sure her son lived a very sheltered life, disapproved of the swearing in the album, but by that point swearing in the boy's music wasn't anything new. Even an ill fated exploration of techno had had the same 'problem' but the less we say about those times the better! Eventually she came around and even attended concerts of metal bands herself. As an aside, the boy also found some appreciation for her beloved Springsteen, but as far as Bruce's go, he's with Dickinson any day. He still can't stand Pink Floyd though. Sorry Dad!

But this disapproval didn't stop our hero. If anything, it added fuel to his fire. And he found what he desired. More metal. Early Metallica, starting from the beginning with Kill 'Em All was an early one on his list, which soon made him realise, although he'd played it to death by that point, that maybe St. Anger wasn't actually that great after all. An he moved on from it. Convinced himself he didn't like it at all any more for a time, and St. Anger began to gather dust.

But it didn't matter, because St. Anger had done something for him that no other album could claim, something that made him keep remembering it, which leads us to today's story and ultimate reappraisal of the album. It had made him a metalhead. And for that reason alone, he'll always have a special place in his collection for it. It might arguably be the most important album to him that he owes.

It is now 2020 and it's not many years off two decades since the album was released and at this point in time it's easy to acknowledge the problems that St. Anger objectively has. The writing is too drawn out. Most songs here could comfortably shave some minutes off. The drum sound sucks as much as every says it does and probably has harmed the reputation of Lars Ulrich for life. James Hetfield's vocals aren't what they once were. It's not the thrash metal album that people likely wanted after Load and ReLoad. It's not even a Black Album Part II. And there are no solos.

But you know what it also is? It's the sound of a long running band having the balls to do something different – to go into the studio and have Kirk Hammett not record a single guitar solo. To fuck up the drum sound because Lars Ulrich literally forgot to do something to set up his kit like he was supposed to and just rolling with it and seeing what happens. And to be honest I believe that Metallica played with a level of passion and commitment on this record that rarely comes through on a studio recording. And you know what? It's at least better than Load. Load is just boring. I'll take passionate but faulted any day over boring. I actually find myself really sorry for them that it has been thrown back in their faces so much.

Overall, today I believe St. Anger to be at least a semi-decent album. That will likely prove a controversial opinion to many who may read this. Well, I certainly have gathered quite a few of those in my strange journey into metaldom, such as believing that the idea of the Big Four of thrash is one of the biggest farces in metal. But that is another story. This one must end now and I hope it has proved enlightening in some way (or at least entertaining) and perhaps will give you pause to reconsider St. Anger. It sure as hell isn't perfect, but it could be a lot worse.

It could be Lulu.

LIMP BIZKIT Significant Other

Album · 1999 · Nu Metal
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Unitron
Limp Bizkit is one of those bands that everyone loves to hate, and it was real easy to hop on the bandwagon in my early days of browsing internet music sites before my love of music became what it is now. They went from one of the biggest metal bands of the late 90's/early 00's to one of the most hated, but along with the nu metal revival has come a slow but noticeable reversal of general opinion. I've since given them an actual chance without bias, and Significant Other is a great late 90's metal album.

It's a lot of fun and even funny sometimes, but it's metal, not classical music. It's not supposed to be pretentious or refined, at least not with my tastes. I just want well-written songs with great playing, hooks, and grooves, and Bizkit certainly delivers. Fred Durst's hilariously blunt lyrics just add to the whole badass party vibe of the whole thing. As much as I love lyrical poets like Neil Fallon, Spider One, and Karl Hyde, often a simple commanding performance can be just as good.

The two most memorable songs are definitely the classic singles Nookie and Break Stuff, and they weren't so popular for no reason. Nookie is a perfect combination of the funk metal and hip hop sides of nu metal, and Break Stuff is just a song that has to really be heard. Few songs get me as pumped, there's just so much charisma and personality in Durst's vocals and Wes Borland's riffs have such force. 9 Teen 90 Nine, the pure hip hop of N 2 Gether Now, and Trust? are a few more favorites.

Classic stuff, Jumpdafuckup and have some fun.

LIFE OF AGONY Broken Valley

Album · 2005 · Alternative Metal
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UMUR
"Broken Valley" is the 4th full-length studio album by US alternative rock/metal act Life of Agony. The album was released through Epic Records in May 2005. It´s the band´s first album release since "Soul Searching Sun (1997)". Life of Agony split-up in 1999 after both drummer Sal Abruscato and lead vocalist Keith Caputo had left the band in the previous years (Abruscato already left in 1996), but reunited in 2002 in their original lineup (Completed by guitarist Joey Z. and bassist Alan Roberts).

Compared to "Soul Searching Sun (1997)" which featured a predominantly more laidback and sedated rock style, "Broken Valley" is generally more upbeat and fresh sounding. The break seems to have rejuvenated the band, and their performances sound inspired, and the songwriting more catchy and hard rocking, then the case was on the generally uninspired sounding predecessor. A slightly more hard rocking Stone Temple Pilots isn´t the worst comparison in the world. There´s of course not a trace of the ultra depressive hardcore sound of "River Runs Red (1993)" left in the music, and the music on "Broken Valley" generally don´t sound much like "Ugly (1995)" either, it´s actually the fourth consecutive album release featuring a new musical direction, but which somehow still sounds unmistakably like Life of Agony.

The material on the 12 track, 43:39 minutes long album are generally well written and hook laden vers/chorus structured hard rock songs, featuring lyrics predominantly dealing with personal issues. The quality of the material is pretty high throughout, but there are of course some tracks which stand out a bit more than others. Some of the highlights include "Love to Let You Down", "Last Cigarette", and "Strung Out". The album features a warm and powerful sounding production, and as always the musicianship is strong and the playing organic. Keith Caputo isn´t as distinct sounding as he was on the first couple of releases by the band, but his performance here is still strong and he has a suiting semi-raw delivery.

"Broken Valley" is not a hard rock revelation or anything like that, but it´s a solid release by Life of Agony and definitely a step up from the rather tedious and unremarkable "Soul Searching Sun (1997)". It´s not always comeback albums end up being an artistic (or a commercial) success, but I´ll say "Broken Valley" pretty much fits that description and a 3.5 star (70%) rating is deserved. It´s not necessarily an album which will blow you away upon initial listen, but it grows given more spins and some of the melody lines just won´t leave your head again...

SOUNDGARDEN Badmotorfinger

Album · 1991 · Alternative Metal
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ssmarcus
Badmotorfinger is an ear-bleed inducing balls to the wall heavy trip from start to finish. Cornell pushes his vocals to the absolute limit of their range and distortion abilities. Despite being the album that brought Soundgarden into the mainstream, the song writing is better than anything else they had done as a group until then. Specifically, this album has a unique way of utilizing Cornell’s vocal leads to resolve the dissonant riffs and accompaniment.

The album’s only downside is the dated production choices which negatively affects earphone listening. But this is easily overcome when playing the album on a good stereo system.

LIZZARD Out of Reach

Album · 2012 · Alternative Metal
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siLLy puPPy
France has always been one of the more experimental nations when it comes to nurturing the arts especially in the world of music. While periods of history have seen moments of identity crisis such as the early progressive rock scene which found French bands imitating their English counterparts, this exotic nation always seems to find a way to adapt to any music trends and then take it somewhere nobody else was looking so in a way i’ve come to expect more from this nation that celebrates the arts with a capital A and implements creativity as a national pastime so when i hear a band like the Limoges based LIZZARD i’m quite taken aback but not in a good way.

This band formed in 2005 with William Knox on bass, Mathieu Ricou on vocals and guitar and Katy Elwell on drums. This trio found its first demo “La Criée” released in 2006 and then followed it up with an EP titled “Venus” two years later but wouldn’t release this debut full-length until 2012. Well, i think i’ve found France’s answer to America’s heavily popular band Tool. Despite emerging from the land that has a major sense of national pride and is one of the few nations where artists feel comfortable producing in their native French language, LIZZARD has shed all its Francophile self-worship and has literally shed any trace of its origins sounding like a counterpart of Tool in a parallel universe.

In fact this band sounds so much like Tool circa the “Undertow” era before they really took a leap of faith and went all progressive on the alt metal world. With that groovy bass centered riffage of Paul D’Amour and a somewhat similar vocal style to Maynard James Keenan with guitar heft to match, if somebody told me this album was a long lost Tool album of unreleased material that got scrapped before the band changed its style, i would believe them as there is nothing on this album that is original. In fact this sounds like the long lost bridge between “Undertow” and “Ænima” as it’s slightly more progressive than Tool’s debut album but not quite as sophisticated as what came after. It’s kind of a mind fuck because LIZZARD pulls it off so extraordinarily well that they are the best Tool clone i’ve ever heard.

Unfortunately clones of Tool aren’t really needed and due to the fact that Tool has such a distinct sound it’s almost impossible to successfully pull off a similar sound without making you think of Tool! While i find the music on this one listenable and in character with the alternative 90s, for 2012 this sounds not only achronistic but way too derivative for my liking. There really isn’t a lick of originality on this album whatsoever and that totally rubs me the wrong way. It seems alt metalheads are way too lenient when it comes to copycats and aren’t as concerned about originality as they are about a nice groove but so sorry for any fans of this band but this is waaaaaaaay too close to the source for its own good. If this had come out 20 years earlier i might be a bit more forgiving but considering this comes from one of the most artistic nations on the planet, it makes it all the more unforgiveable. Meh. Actually worse.

alternative metal movie reviews

SLIPKNOT (IA) Day Of The Gusano

Movie · 2017 · Nu Metal
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Kingcrimsonprog
***This review is regarding the single disc, UK Blu-Ray version only. Which contains the full uninterrupted concert only, with no special features or documentary footage.***

Now, you might be thinking ‘I’ve already got three Slipknot videos with concert footage on them’ if you already own Disasterpeices live in London from the Iowa touring cycle, (Sic)nesses live at Download festival 2009 on their first headline performance there during the All Hope Is Gone touring cycle, and the 2nd disc of the documentary release Voliminal Inside The Nine which had a smattering of live tracks from different dates and locations during the Vol. 3 touring cycle.

So what has Day Of The Gusano got to separate it from the others and make it worth buying as well? Well; first off, it is their first official concert video with the new rhythm section of Jay and Alex on drums and bass. Its their first ever show in Mexico City and the fans are energetic and grateful. Its their first video of a Knotfest performance and features all the associated spectacle and backdrops. It has songs from the .5 The Gray Chapter album, which obviously none of the previous videos will have had.

Comparing it to their other DVDs, there are 11 songs here that aren’t on Disaterpieces, including the rarely played ‘Metabolic’ off of Iowa, and ‘Me Inside’ & ‘Prosthetics’ off of the debut. There are 6 songs here that aren’t on (Sic)nesses at Download ’09. Compared to Voliminal‘s concert section, well, its a full length concert in a single location not just 9 random tracks from various locations, and none of it is in black & white.

So, onto ‘Gusano itself. (If you didn’t know already or bother to google that, its Spanish for ‘Maggots’ by the way, which makes sense, since y’know, they call their fans ‘Maggots’ and its filmed in Mexico). The audio visual quality of the release is really high. The picture quality, camera work, variety of shots, editing and general watching experience of the concert are the best that Slipknot have had to date. It is beautiful to look at, and there’s nothing distracting or interrupting about the editing. The performance visually has lots of pyro and fireworks and big backdrops and set pieces, fancy lighting. There’s generally lots going on up there on stage… its big and flashy and never boring.

The mix and production are very good. The only niggle is that Corey’s vocals are a bit lower in the mix than any previous live efforts from the band, but that’s real nitpicking. Otherwise, the instruments are really clear and well balanced, you can make the kick drum out clearly in all situations, and its even easier to hear Craig and Sid’s stuff than usual too which helps you notice them a bit better. If there’s a key riff or drum fill or whatever its given priority and generally its all beefy, heavy and just plain well put together.

The band themselves’ performance will always make or break a concert though. All the audio visual quality in the world, with the most expensive fireworks and lighting can’t hide a crappy performance. Slipknot have been through different phases in that regard. Old bootlegs off of the first album cycle show them as a sort of messy raw jumble. On Iowa they were a tight well-oiled million dollar perfect live-band (I remember seeing them live in Belfast on that cycle and its still one of my favourite ever concert experiences all these years later). On Volume 3 they flipped between the two but generally they were let down by Corey’s vocals (both times I saw them on that cycle and indeed both their 9.0 Live album and Voliminal DVD from that cycle all suffered from Corey’s vocals not being as great as usual). On All Hope‘ however, they came back blazing and were incredible and put in career defining performances and Corey sounded like one of the world’s greatest ever frontmen.

Luckily, here, the band are really on top form. This is a fiery, energetic, fun performance that everybody seems into. There are no complaints about the new line up and they do a great job of trying to fill some pretty massive, childhood-defining, shoes. (Heck, Jay arguably plays ‘Vermilion’ better live here than on any of the other three officially released versions of it). The veteran members are all super practiced, tight and precise. Corey is really strong here, arguably the second-best that he’s ever been on an official release next to Download ’09. (There are some minor questions about that on ‘Sarcastrophe’ and ‘Prosthetics’ maybe, which are a bit sketchy perhaps, but for the majority of it he really, really nails it). Its also nice to see him making an effort to speak Spanish which he does rather a lot and appears really humble and grateful.

The one bit where all Slipknot concerts drag is during ‘Spit It Out’ when the band get all the audience to squat down so they can all jump (the fuck) up at the same key moment. The actual process of cajoling them all to squat down can be a bit boring to watch or listen to if you aren’t actually there yourself sometimes, but luckily here it really doesn’t drag on too long and they payoff is great; the image of the gigantic Mexican crowd all bouncing in unison is really rather impressive.

So just to go through the list: It looks great. It sounds great. The band play great. The setlist is different enough from previous live releases to be worth it. That setlist itself is also pretty great, doing a good job of pleasing fans with the songs they’d expect to hear (Old fans could never see a set without ‘(sic)’ or ‘Surfacing’ and newer fans would never accept a set without ‘Duality’ and ‘Psychosocial’ for example) with pleasing them by spicing things up a bit and not just repeating themselves every time. On a personal note as well, its just so damn nice that they played ‘Metabolic’ live. I’ve been banging on for years about it and how its my favourite Slipknot song and they’ve finally put it out on something. I’m very pleased about that. Underrated song!

Anyway, that’s just personal preference. Everyone has their pros and cons to any setlist by any band. I’m sure some people are gutted ‘Sulfur’ and ‘Left Behind’ are missing considering they were big singles. I myself am kind of surprised ‘Skeptic’ is missing. With its catchy-ass chorus its absolutely built for big audience sing-alongs. I’d have thought that would be in every live set ever following Paul’s death, but I guess maybe its too personal for them lyrically or something like that.

Overall; this is a damn fine release from the band and not one to miss out on. Not even if you’ve already got a lot of live material by them already, as discussed at the beginning. Its probably their best video album on purely video terms, and its really worthy of inclusion in your collection in the other aspects like tracklisting and performance. If you are desperate to see the documentary, don’t get this version, but if you, like me, only really want the concert then this is the perfect version (at the lowest price).

GREEN JELLŸ Cereal Killer

Movie · 1992 · Alternative Metal
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Unitron
What would happen if Art Clokey, Jim Henson, and Gerry Anderson got together and created some films while on a sick acid trip?

Most likely, Cereal Killer would be created.

Green JellŸ, known as Green Jello at this time before they had to change the name, was probably one of the only bands to make a "video-music album". Yeah, you can go listen to the "Cereal Killer Soundtrack", but you really won't get the same experience. These songs don't really work unless you're watching the utterly ridiculous and zany videos along with them. The videos contain all sorts of use of claymation, puppetry, and weird costumes backed by a soundtrack blending thrash metal, hardcore punk, funk metal, classic heavy metal, and whatever else they wanted to make.

Oh, I forgot to mention that the lyrics are completely absurd along with the videos. You have their famous "Three Little Pigs", which is about a rocking pig, stoned pig, rich pig, and Rambo gunning down the big bad wolf. The title cut is about cereal mascots going to war, with the FruitLoops toucan slaughtering all the other mascots. Finally, the cover of Sex Pistols' "Anarchy in the U.K." is about the town of Bedrock from The Flintstones with the lyrics of 'Want to destroy Mr. Slate, Cause I wanna be Fred Flintstone'.

If you just want to hear some good music, there's always the soundtrack. However, if you want a good laugh at a party, invite your friends to come watch Cereal Killer. This is a hilarious metal musical for all to see.

Hope you found this review helpful, feel free to comment!

SLIPKNOT (IA) (sic)nesses

Movie · 2010 · Nu Metal
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Kingcrimsonprog
Most Slipknot fans won’t need very much convincing, a new live DVD has been released an you very probably plan t buy it, but for anyone on the fence about whether or not to get it, I highly recommend this package, on is own merits and not just out of blind dedication to the band.

‘(sic)nesses,’ is a pretty great package, documenting their 2009 headline performance at the UK’s Download Festival in front of 80,000 excited fans. Also included is a documentary (curiously on disc one, with the concert on disc 2) from Shaun ‘Clown,’ Crahan and all the music videos from the band’s ‘All Hope Is Gone,’ album cycle.

Performance wise, everything you expect to happen at a Slipknot concert is there, so don’t expect to be disappointed in that regard. One can expect to see people hanging off things, jumping off things and throwing things at regular intervals; in addition to a spinning in mid air drum kit, Different band members fretting the notes for the guitarists, different band members hitting a keg with a baseball bat, Clown and Criss’s strap-on marching drums during ‘The Blister Exists,’ and ‘Psycho Social,’ and of course Sid getting into the midst of everything, including the crowd whenever possible.

Without a doubt the entire concert is made on the strength of the crowds passionate reaction and that undefinable live energy that just makes the concert feel amazing. Seeing 80,000 plus people singing along to very heavy music is almost life affirming.

If you were dissapointed by the band’s live performances on their live album ‘9.0 Live,’ or the bonus live material from ‘Voliminal,’ specifically the mix, Corey’s vocals and the disjointed feeling caused from material being taken from various concerts and are unsure whether or not to buy ‘(sic)nesses,’ then I’d like to reassure you that it is of a much higher quality than the previously mentioned releases, the whole concert is much more impressive and intense, Corey’s vocal performance is noticeably stronger and the mix is a lot more suitable.

The audiovisual quality of the release is in absolutely no question, the tech crew behind it have done an absolutely sterling job recording, mixing, filming and editing it and the whole viewing experience is of as high a quality as you would expect from a band of Slipknot’s size, even considering that this was a festival performance which is where a lot of big bands release their weaker DVDs due to the reduced amount of control available. Put simply this DVD looks and sounds fantastic, better even than you’d expect.

The only negative things I have to say are mere nitpicking, such as a perceived shortage of material from the ‘Iowa,’ album and that the documentary is very much in the Shaun Crahan style (as seen on the main Voliminal film and the All Hope is Gone bonus DVD) which I don’t personally care for but of course, you could indeed love this style. These minor and circumstantial niggles do nothing to detract from the sheer quality of the release. It may sound cheesy, but ‘(sic)nesses,’ proves why people love Slipknot so much.

MUDVAYNE All Access to All Things

Movie · 2003 · Nu Metal
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Kingcrimsonprog
Mudvayne’s second concert DVD, All Access To All Things features performances from Metallica’s 2003 Summer Sanitarium tour; filmed across three shows at three locations, Seattle, Salt Lake City and San Francisco. The DVD features 50 minutes worth of live performances adding up to a total of ten songs as well as forty minutes of behind the scenes footage like interviews on the tour bus or in the dressing room as well as the making of their music video for ‘World So Cold,’ which is available as a bonus feature.

The performances are of a pretty great quality and the sound and visuals are of an acceptable standard. The two greatest faults are that the bass drum sound is rather poor, but this is to be expected at a big outdoor show and is made up for by the fact that the rest of the sound is very good. The other flaw is that on about three songs, the editing becomes distracting for about a minute or so when it is decided that a bunch of really quick cuts are necessary.

Apart from these two minor flaws, All Access to All Things is an enjoyable DVD worthy of a place in any Mudvayne fan’s collection. The performances are tight, the behind the scenes sections are relatively interesting, (but thankfully you are given the option to watch just the concert, which is great for repeat viewings) and the track listing is good. Matt, Greg and Ryan absolutely nail every second of the performance, playing both tightly and energetically, and Chad adds some brilliant improvised vocals at the end of ‘Nothing To Gein,’ and ‘World So Cold,’

Chad can really pull it off live, delivering the clean vocals really well and the heavier vocals almost as well with very few exceptions, chiefly on the faster songs from LD.50 where it would be impossible for anyone to sing that fast, that close together without losing their breath. On this DVD the band appear without the make up which was the trademark of their early career and are playing in daylight at big outdoor events across three different shows.

If this is not to your tastes, you may want to consider Mudvayne’s first concert DVD ‘Live In Peoria,’ which features the band wearing makeup, indoors in a smaller venue, at night and all from a single concert.

In summary; if you don’t mind that the live sections are not from one single concert and can forgive the bass drum sound, you will find a very enjoyable DVD that stands up even now.

FAITH NO MORE You Fat Bastards / Who Cares A Lot?

Movie · 2006 · Alternative Metal
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Stooge
The Brixton Academy show captures the band in 1990, just as they were beginning to explode in an “Epic” fashion. Supporting their 1989 release “The Real Thing”, the setlist contains all but “Surprise! You’re Dead!” and “The Morning After” from that album. Two tracks from the pre-Patton era are performed “As The Worm Turns” and “We Care A Lot”, both of which are a good fit with Patton’s voice. This concert is well shot, and the band performs great. It makes me wish for a more extended Faith No More show to be released in the future.

The other part of the package is mainly to showcase their promotional videos. Music video compilations aren’t normally my cup of tea, but at least they integrate some other things into the mix to keep it interesting. You get snippets of interviews, behind the scenes footage, and outtakes to bridge some of the music videos. The music videos span going all the way to the Chuck Mosely days through to Album of the Year, ranging in quality to low budget/amateur rank (“Everything’s Ruined”, the Mosely era ones) to great production values (“Stripsearch”). However, I believe there are some official videos missing from the collection (“Ricochet” comes to mind). I guess having “Greatest Videos” in the title covers their a$$es in that regard.

This is a great package for those new to Faith No More, and it has strong re-play value.

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