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
4.46 | 122 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.39 | 100 ratings
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DEFTONES Ohms Album Cover Ohms
DEFTONES
4.73 | 7 ratings
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TOOL Ænima Album Cover Ænima
TOOL
4.21 | 98 ratings
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DEFTONES White Pony Album Cover White Pony
DEFTONES
4.29 | 24 ratings
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SYSTEM OF A DOWN Toxicity Album Cover Toxicity
SYSTEM OF A DOWN
4.18 | 102 ratings
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KATATONIA The Fall Of Hearts Album Cover The Fall Of Hearts
KATATONIA
4.27 | 23 ratings
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NOTHINGFACE Violence Album Cover Violence
NOTHINGFACE
4.52 | 8 ratings
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LIVING COLOUR Stain Album Cover Stain
LIVING COLOUR
4.33 | 14 ratings
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MUDVAYNE L.D. 50 Album Cover L.D. 50
MUDVAYNE
4.24 | 21 ratings
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SOUNDGARDEN Badmotorfinger Album Cover Badmotorfinger
SOUNDGARDEN
4.14 | 71 ratings
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TREMONTI All I Was Album Cover All I Was
TREMONTI
4.50 | 7 ratings
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alternative metal online videos

alternative metal New Releases

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Pike 294 - War Threads
Live album
BUCKETHEAD
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Pike 293 - Oven Mitts
Live album
BUCKETHEAD
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Quarantine Chronicles Vol. 1
EP
FROM ASHES TO NEW
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Hyperdialect
Album
HACKTIVIST
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Garbage Band Kids
Album
GREEN JELLŸ
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Видения
Album
ПСИХЕЯ
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Pike 292 - Galaxies
Album
BUCKETHEAD
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Serpentine
Single
PURITY (NV)
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Animus
EP
PURITY (NV)
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Intercorrupted
Album
RA
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Anchored
Album
THIS SURRENDER
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Anchored
Single
THIS SURRENDER
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Perfectly Preserved
Album
LOVE AND DEATH
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Evolve
Single
DREGG
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All in Caskets
Single
JYNX
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Niratias
Album
CHEVELLE
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Give The People What They Want
Album
THE WEIGHT OF SILENCE
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For Those That Wish To Exist
Album
ARCHITECTS
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Self Destructor
Single
CHEVELLE
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alternative metal Music Reviews

BUCKETHEAD Pike 294 - War Threads

Live album · 2021 · Alternative Metal
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siLLy puPPy
With the release of “Pike 293 - Oven Mitts” BUCKETHEAD entered new territory as far as the never-ending PIKE series is concerned. It was the first LIVE album to emerge from the coop and in the process opened the doors to a ceaseless supply of such recordings. While the possibility was that it was a one-off, with the fast following PIKE 294 - WAR THREADS it is apparent that the chicken lover plans on releasing a series of LIVE albums under the banner of the PIKE series.

To be honest live albums are not my favorite. Especially for solo artists who don’t put on the best live shows and that includes BUCKETHEAD however these PIKEs do capture a different aspect of this strange musical wonder. Somehow he has bridge the immediacy of 90s alternative rock with the more experimental realms of guitar wizardry. The audience participation adds another element as well and thankfully he culls the vast stockpiles of arsenal to offer tracks that were once really good.

Jordan live - this track has only appeared on the Guitar Hero II video game and therefore makes its debut on an album. Usual stuff but showcases BH’s virtuosity and considered expert level on the video game itself.

Flare live - from “Pike 95 - Flare” Night of the Slunk live - nice live performance from one of my fave albums “Monsters and Robots.”

Fountains of the Forgotten live - another experimentally wild classic from “The Cuckoo Clocks From Hell” album.

The Redeem Team live - an ok but not outstanding track from the “Albino Slug” album

Nottingham Lace live - which comes from the “Enter The Chicken” album is another excellent classic BH trick

Overall it’s a nice break from the incessant mediocrity of recent PIKEs to hear some of the classics in a live setting. While it’s cool they still don’t match their studio counterparts but definitely a worthy listening experience for those indoctrinated into the chicken club. I’d call this a decent PIKE for sure but it does make me wonder if a hundred more of these PIKEs will soon emerge as live recordings. No indications as to where each of these tracks were recorded either.

BUCKETHEAD Pike 293 - Oven Mitts

Live album · 2021 · Alternative Metal
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siLLy puPPy
Needless to say, the phenomenon known as BUCKETHEAD continues to sally forth into the future as if the bucket on his head has given him some mysterious powers of longevity although at times when ideas are recycled ad nauseam one begins to wonder if the batteries need changing.

I think i get the strategy now and that is crank out a plethora of mediocre but ok albums in the PIKE series and then throw a curveball in from time to time and at long last we have received a hatched egg that has down just that.

PIKE 293 - OVEN MITTS has arrived in the month of July 2021 and is a first in the world of PIKEs, that being that it is a LIVE album! Yep, no recycled ideas of past PIKEs that seem to have run out of steam but rather a collection of live performances which haven’t yet been disclosed as to the location of recording.

Live recordings can be a curse and a blessing but in this case it’s the latter. As someone who has sat through and reviewed EVERY single BUCKETHEAD album i have to say that it requires the utmost patience to get through some of the dry spells of creativity even though nothing is inherently bad or anything of the sort. It’s just that i have an insatiable appetite for music and mediocre retreads just don’t cut it in my world.

Despite BH’s over 340 studio albums, he’s actually released almost no live performances officially at least. Live In Buckethead land merged in 2019 but that’s been about it. If you want to hear the chicken lover live then you gotta go see him. I have and honestly was quite disappointed but everyone has a bad night so i suspended my disdain.

PIKE 293 - OVEN MITTS is actually a nice mix of old and new. The tracks range from some of the earliest tracks such as “Welcome To Bucketheadland” from the early 90s along with “Soothsayer” also from the same decade to “Siege Engine” from “Albino Slug” of 2008. The only PIKE track is “Ghosts of Broken Eggs” from “Pike 101 - In The Hollow Hills.” “Toystore Live” comes from 2019’s live album and the only new track is the title track.

Basically this live album of old material only cements the fact that BH’s most recent PIKEs have grown fairly stale as the material here still has some life in it but it’s not surprising that when quantity rules over quality that this should be the case. Unfortunately even the chicken lover was not hatched at the same caliber as Amadeus Mozart or Johann Sebastian Bach who could crank out magnificence like a production line. Nice return to form. Hoping new material will follow suit.

RAGE AGAINST THE MACHINE Rage Against the Machine

Album · 1992 · Rap Metal
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siLLy puPPy
Although rapping to metal music had started as a novelty as far back as 1984 with an all but forgotten dude named the Lone Rager, the possibilities really seemed to take a life of their own when Anthrax shocked the world with their unique thrash metal / hip hop hybrid song “I’m The Man” but the world pretty much wrote it all off as a joke and wasn’t quite ready for the musical collaborative efforts of a perceived black’s only style of music with the predominant whiteness of metal music. Part of that problem was the fact rap music hadn’t gone mainstream yet and it wasn’t until RUN-DMC released its cover of Aerosmith’s “Walk This Way” which featured both Steven Tyler and Joe Perry that the world finally realized that rap music was a major force in the world of music. While still considered somewhat of a novelty once Fatih No More hit the top 10 on the Billboard chart with its 1989 rap metal hit “Epic,” it seemed that it was destiny that this cross-pollination was here to stay.

While rappers like Ice-T and funk rockers like the Red Hot Chili Peppers were becoming heavier, it wasn’t until the LA based RAGE AGAINST THE MACHINE released its self-titled debut in 1992 that the world of rap metal really became an international phenomenon. While the antecedents of this hybridization had hinted at the possibilities, this band that consisted of Zack de la Rocha (vocals), Timmy Commerford (known as Timmy C on bass), Tom Morello (guitar) and Brad Wilk (drums, percussion) really set the world on fire much like the self-immolating Thích Quảng Đức who was the Bhuddist monk who famously went down in history for that famous photo of protesting the Vietnamese war by sacrificing his own life. What a perfect album cover for a band that focused on political revolution and absolutely nobody has done the rap metal thing better than RAGE AGAINST THE MACHINE did on its first album.

Part of what makes this album so ridiculously awesome is that all four members were extremely dexterous in how they hybridized hip hop and heavy metal namely by emphasizing the strengths of both and not forcing rap lyrics into some incongruous style of metal music. With the emphasis on the lyrical content, RAGE AGAINST THE MACHINE benefited by Zack de la Rocha’s superb poetic prose that he delivered with a vocal precision of the most gifted of rappers along with the extreme vocal angst of what metal offers. Graced with a strong bass funk driven groove section with heavy distorted guitar riffs and crushing percussive drive, the band was also lifted by Tom Morello’s uncanny ability to interpret DJ oriented music and channel it through his guitar offering some of the most unique soloing techniques in all of metal history, a style as distinct and unique as this band proved itself to be.

The other factor that makes this debut so utterly brilliant is that each of the 10 tracks has its own developed personality with a diverse array of melodic grooves that provided the perfect backdrop for De la Rocha’s hot on the mic passion and hunger for a more just world. While the grooves provide the basic funkified groove, RAGE AGAINST THE MACHINE excelled at creative breakdowns, unexpected interludes and a firm sense of command for diverse dynamics. Add to that Morello was uncanny in how he could exploit the guitar to create sounds hitherto unthinkable. He truly had a gift of interpreting guitar playing in a way that absolutely nobody before had considered and although new ideas may be interesting they don’t always result in a satisfying experience. Not the case with RAGE AGAINST THE MACHINE despite the fact these youngsters had only begun their career. This album sounds like a group fo seasoned professional as far as the musicianship is concerned only with the fiery punk fueled passion of youthful discontent.

This one was really love at first listen and even now after i pull it out every so often i’m reminded at how intense and absolutely perfect this album is. While it’s rare for a young band to totally come out with a completely new genre of music, it’s even rarer when that first release was already taken it to its logical conclusion. Yeah, RAGE AGAINST THE MACHINE is blamed for the entire nu metal scene (by the haters) that followed and for wankers like Limp Bizkitt to follow but one can’t condemn any band for inspiring inferior imitators after all. IMHO, this debut album remains the best example of rap metal to have ever existed and it seems unlikely it will ever be improved upon. A true gem of hip hop, funk, metal and political fervor as scorching hot as the album cover suggests. An ALL TIME CLASSIC!

GREEN JELLŸ Garbage Band Kids

Album · 2021 · Alternative Metal
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siLLy puPPy
GREEN JELLŸ is one of those bands that’s hard to believe actually existed but had its day in the limelight back in 1993 with its huge claymation video hit “Three Little Pigs.” The band actually started out with the moniker GREEN JELLÖ but was predictably sued by the Kraft Corporation for using the name of their profitable squishy food-like substance. The band scored as well with the “Cereal Killer Soundtrack” which displayed a diverse mix of comedy punk and alternative metal but like all novelty acts pretty much fizzled out as quickly as it caught the world’s attention. While they started out as a video only band due to the success of the single quickly sold out their weak morals and released actual albums.

After the unexpected success of “Three Little Pigs,” GREEN JELLŸ released the followup “333” in 1994 but lacked the ridiculous comedic effect and sounded like a very cheap garage band trying to emulate punk rock. That should’ve been the end of GREEN JELLŸ due to the fact that the members Danny Carey and Maynard James both went on to form the mega-selling band Tool but main man Bill Manspeaker seemed to have found his calling adding a sense of levity to the world of metal and continued on. While written off and all but forgotten GREEN JELLŸ reemerged in 2009 with a brand new album “Musick To Insult Your Intelligence By.” Well, all i can say is that the title was fitting and i assumed that this band would never resurrect from the abyss again. Ooops. I was wrong.

Of all the bands to release a comeback album in 2021, GREEN JELLŸ was not on my radar but here we are with the band’s fifth studio album GARBAGE BAND KIDS with an album cover that emulates everyone’s favorite comical trading cards that depict kids with abnormalities, deformities, misfortune and just plain twisted grossness! While a a real group project in the past, GARBAGE BAND KIDS seems to be a mystery as to exactly who is playing on it since Manspeaker is the only one who gets credit however there is a guest appearance by Weird Al Yankovic via a recorded phone message and another message by the 20th century game show host Wink Martindale. Backing vocals are performed by the Trailer Park Boys which includes members of Suicidal Tendencies, Fishbone, The Dwarves, Piledriver and Kittie. LOL.

If it wasn’t a curve ball enough that another GREEN JELLŸ album has emerged in 2021 it came as even more of a surprise that this one doesn’t totally suck. I did very much appreciate the efforts of the “Cereal Killer” soundtrack but after that GREEN JELLŸ really dropped the ball with their unique brand of potty mouth punk metal. After a little investigation it actually shouldn’t be too surprising that this band has emerged again. Manspeaker has appeared on Psychostick albums and in 2017 GREEN JELLŸ released a new music video and single, "Fr3tö F33t” with another titled “Silence Of The Sponge” in 2019 which was a parody to the theme of SqongBob SquarePants. I guess i just wasn’t in the know!

GARBAGE BAND KIDS seems to be a return to form at least if you consider this band to have ever had one. What i mean is that what made the “Cereal Killer” soundtrack so good is that the basic songs were catchy and creative and the lyrics were actually funny even if ridiculously over the top. Topics range from the expected album cover art themes with the opening track “Pukebox” to the hilariously absurd with “Punk Rock Pope.” “Silence of the Squarepants” continues the SpongeBob tribute and the band even pays tribute to the past with a song titled “333” in reference to the album and a re-recording of the band’s classic “Three Little Pigs” but in all honestly seems a little unnecessary as it doesn’t really add any new ideas and reeks of milking past glories. The masturbation song “Beat My Meat” though is primo material!

While i was hardly chomping at the bit for a new GREEN JELLŸ album i am pleasantly surprised that this one is actually a bit of fun. The tracks are all catchy and have that same pop punk quality that “Cereal Killer” featured and the lyrics are actually pretty funny however this isn’t going to win any awards or anything either! For those brave enough to actually buy this they will be treated to beautiful packaging with colorful artwork that was created by the makers of those sicko 80s trading cards! Once again novelty metal makes it mark and to everyone’s surprise the crazy potty mouth punk of GREEN JELLŸ has reared its ugly head once again. This one actually has return value to it however at over 56 minutes long may be a bit too much in one sitting.

LOSTPROPHETS TheFakeSoundOfProgress

Album · 2000 · Nu Metal
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martindavey87
It’s the summer of 2001 and nu metal is at its absolute peak. Thanks to Kerrang TV, which had debuted in the UK a few months prior, there was an absolute abundance of bands soaking up the airwaves with hit after hit. Most of these bands wouldn’t be around for more than another year or two, but every now and then a group would come out with a bit more hype around it than others, which would see them survive a bit longer than most.

Similarly, out of nowhere, came ‘Shinobi vs. Dragon Ninja’, by Welsh rockers Lostprophets.

With its punchy yet melodic guitar riffs, powerful vocals and an apparent knack for a catchy hook, this band immediately had their foot in the door and garnered a strong fanbase. Follow-up single ‘The Fake Sound of Progress’ displayed a similar level of songwriting abilities, and it wasn’t long before Lostprophets (and that’s “lostprophets”… one word only), were on the rise above the flailing nu metal genre.

Of course, then their album came out, and it became a bit more obvious that, while the band certainly had a lot of talent and potential, we’d already heard the best two songs that they’d written.

The rest of ‘The Fake Sound of Progress’ is a bit hit-or-miss. There are some good songs on here that make the album worth a listen, in particular ‘’Five is a Four Letter Word’ (lame song title, though), ‘For Sure’, ‘Awkward’, and especially ‘A Thousand Apologies’, but there’s also loads of filler material that date this album squarely in 2001 where it belongs amidst the countless other bands that never made it past 2003.

In short, ‘The Fake Sound…’ is a typical nu metal album of its time. Some would argue its punk, hardcore and emo sensibilities, but ultimately I hear a 2001 nu metal album. There are some good songs that make it worth a listen, but it’s not an album I intend to come back to very often.

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
Cover art Buy this album from MMA partners
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
Cover art Buy this album from MMA partners
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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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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