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

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ALICE IN CHAINS Dirt Album Cover Dirt
ALICE IN CHAINS
4.51 | 108 ratings
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FAITH NO MORE Angel Dust Album Cover Angel Dust
FAITH NO MORE
4.40 | 89 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
4.22 | 64 ratings
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TOOL Ænima Album Cover Ænima
TOOL
4.18 | 87 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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KATATONIA The Fall Of Hearts Album Cover The Fall Of Hearts
KATATONIA
4.30 | 18 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
4.09 | 76 ratings
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alternative metal Music Reviews

LACUNA COIL Black Anima

Album · 2019 · Alternative Metal
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Kev Rowland
Lacuna Coil are back with their ninth studio album and I for one am very pleased indeed. There has been another change in line-up, in that drummer Ryan Folden has departed after four years in the seat to be replaced by Richard Meiz (Genus Ordinis Dei). His role, along with that of guitarist Diego "DD" Cavallotti and Marco "Maki" Coti-Zelati (guitars, bass, keyboards, synths) is to provide the musical backdrop and muscle for the two people at the front of the band, namely Christina Scabbia and Andrea Ferro. Along with songwriter Marco they have been there since the very beginning of the band in 1997, and they just seem to be getting better and better.

When there is a need for a song to become bombastic, epic and over the top, then it is there in spades, but there are also times when they are more reflective, but t often doesn’t last too long. The bottom end builds a foundation which would allow a double-height Burj Khalifa to be built on it, with guitar, bass and drums combining to create a solid wall of sound. The keyboards sometimes provide additional lightness and melody, but there are others when they too join in the fun to create a sold slab of metal which may only be lightened by the contrast of Christina. There again, it may just be a force for Andrea to show he is never going to play second fiddle and that it is the mix and combination of the two very different singers that makes this band what it is, combined with the epic songwriting and performance of Marco and the others.

They shift from maelstrom to beauty, back again, or off in a new direction, and all the listener can do is smile. The very first time I played this I started to think this may actually be their best release yet, even better than the first three albums (which are all classics in their own right). Scabbia says: “This record was really written around our live performances. The songs we enjoy playing live the most are the heavier ones. So, when we started writing, the songs naturally were heavier. We have more growls (for Andrea) and epic parts (for me), too.” Epic, awesome, totally essential.

KXM Circle of Dolls

Album · 2019 · Alternative Metal
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Kev Rowland
KXM is comprised of dUg Pinnick of King’s X on vocals/bass, George Lynch of Lynch Mob/Dokken on guitars while Korn’s drum maestro, Ray Luzier, rounds out the powerhouse trio. The band takes its name from the combination of the member’s other projects: K from Korn, X from King’s X and M from Lynch Mob. KXM formed in early 2013 when dUg, George and Ray spoke about trying to jam together, and this is now the third full-length album since then. I must confess that I really enjoyed this, much more than I ever thought I would, and I am sure this is down to a combination of the soulfulness of dUg’s vocals, the darkness of the overall sound and the commercial lightness and hooks thrown into the mix.

I have never really been a fan of Korn, they didn’t do much for me, have never heard much Lynch Mob (although have been a fan of Dokken over the years) and it did take me quite some time to get into King’s X, but this release really is something which easy to listen to and get inside of, while also having many layers of depths and all of them are dark. It is edgy, with a refusal to conform to anyone’s expectations, and comes across as alternative and interesting. While all the musicians are on good form, as one would expect from people who have toured incessantly, it is the vocals which really make this stand out, combined with Lynch being far more restrained than I have heard him before – he is certainly not being the shred in your face master I had come to expect. This release may well surprise a few people, it certainly surprised me.

KORN Untouchables

Album · 2002 · Nu Metal
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Unitron
Untouchables is faced with that unfortunate fate of such an ugly album cover that it took a while for me to actually listen to this album. That was unfortunate for me, because it's an incredible album and among my favorites of theirs.

It continues from the depressive gloom metal of Issues, but with even more chugging grooves to contrast with the sadness. I love albums where every song immediately gets my head banging as soon as it starts, and Korn does that all the while tugging at my heartstrings. It's such an interesting contrast, but they always manage to pull it off like no other.

Here to Stay, Blame, Bottled Up Inside, Thoughtless, Hating, Embrace, and the Ministry meets NIN-esque industrial metal of Wake Up Hate are all among my favorites and nail the aforementioned sound I described perfectly. My absolute favorite though, and maybe among my top five Korn songs, is Beat Me Upright. I don't think I've heard any song that sounds as fucking massive as this, even the beefiest Obituary, Meshuggah, or even other Korn albums haven't made my speakers boom with bass as much as this!

A fantastic balance of heaviness and melody, be careful of whiplash!

PRIMUS Sailing the Seas of Cheese

Album · 1991 · Funk Metal
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Unitron
Here Come the Bastards!

Sailing the Seas of Cheese in ways epitomizes funk metal, yet also Primus has such a unique sound that nobody else has managed to emulate them (at least not to my knowledge).

It's wacky, heavy, funky, it's everything that most of the best funk metal is. The whole album may as well serve as a best of for the band, there's just bop after bop after bop. The classic Jerry Was a Race Car Driver has one of metal's best breakdowns, and other classic Tommy the Cat has some of the most instantly catchy and insane bass riffs.

Some of the best stuff the band's ever done however comes in the deep cuts, particularly Sgt. Baker, Eleven, and Those Damned Blue-Collar Tweekers. Les Claypool is well respected for his bass skills, but I'd say his ridiculous vocals are just as important. There's so much personality coming from his vocal performance, especially on the aforementioned Sgt. Baker and Tommy the Cat. Eleven shows how great the band can be when they get more melodic, and Those Damned Blue-Collar Tweekers is such a heavy stomp of a song.

All the 90's Primus albums are classics in my book, but this stands above the rest as the best of the bunch.

SLIPKNOT (IA) Slipknot

Album · 1999 · Nu Metal
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Unitron
A lot changed after Slipknot's debut Mate.Feed.Kill.Repeat., some possibly questionable lineup changes and change in sound. It doesn't sacrifice many of the experimental qualities of the debut though, rather switches things up. It's not as raw, and some of the influences are different, but it all works out. There's more electronic influences, not as many funk influences, the death metal elements pronounced in more specific ways like with the drumming and a few riffs here and there, as opposed to the more overall rawness and groove of death metal on the debut.

Some of the songs are reworked from songs on the debut, such as (Sic) being somewhat of a reworking of the song Slipknot, but instead of a noisy death metal track, it becomes a busy nu metal banger with blastbeats. Tattered and Torn and Only One were both on the debut, and honestly haven't been changed too much. They were screeching noise metal on the debut and they sound like that here as well.

The highlight of the album is easily Eyeless, intense nu metal blends with drum and bass perfectly, even before Psiheya did it more within a whole album context a few years later. Spit It Out is another electronic influenced song, with a mix of nu metal grooves, alt metal melodies, a short rap section, and short but effective breakbeats. Diluted, rap-heavy No Life, and the screeching Surfacing are other highlights.

If more funky and jazzy bass sounds better, go for the debut, if more noisy guitars and electronics does, go here.

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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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