Nu Metal

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Nu metal is a genre which stemmed from alternative metal that emerged in the 1990's. Like it's parent genre, it also draws in different sounds previously not mixed with heavy metal. It takes heavy influence from groove metal, funk metal, hardcore punk, grunge, and other late 80's/early 90's genres. Also like alternative metal, nu metal often showcases off-kilter, syncopated guitar sections, usually with little-to-no guitar solos and unusual time signatures. What differentiated nu metal greatly from other metal subgenres however was it's hip-hop elements, such as sampling, turntablism, and electronic infusions. This hip-hop influence can also put rapping at the forefront, but nu metal can also showcase clean singing, screaming, and growling.

The creation of nu metal came with the New Wave of American Heavy Metal, along many other genres such as groove metal, metalcore, and industrial metal. One of nu metal's biggest breakouts onto the scene was with Korn's self-titled debut in 1994, which is often considered to be one of the most important records in the development of the genre. Other acts continued to emerge following Korn's debut, such as Slipknot, Nothingface, Mudvayne, Coal Chamber, Staind, and others later in the 90's and continuing into the 2000's.

Although many consider nu metal to be a reasonable facet to metal music, many bands labeled as such have gone on to reject it as a sort of cultural misnomer. Many bands such as Staind and Korn recognize "nu metal" as a mark of inadequacy that people use do discredit the music that they make. Others like Coal Chamber and Limp Bizkit stand by the label, expressing that they believe nu metal to be something that "broke musical ground", as Coal Chamber vocalist Dez Fafara said. To this day, the legitimacy of the mark of nu metal is one still debated heatedly throughout the metal world.

In the 2010's a hybrid fusion of metalcore and nu metal came with bands like Atilla and Issues, as well as albums from previously established metalcore acts like Suicide Silences's The Black Crown (2011) and Of Mice and Men's Restoring Force (2014). These albums and acts incorporated metalcore vocals along with aforementioned nu metal characteristics like turntabalism.

- Biography written by aglasshouse.

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nu metal top albums

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NOTHINGFACE Violence Album Cover Violence
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KORN Untouchables Album Cover Untouchables
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NOTHINGFACE An Audio Guide to Everyday Atrocity Album Cover An Audio Guide to Everyday Atrocity
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STAIND Tormented Album Cover Tormented
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LINKIN PARK Hybrid Theory Album Cover Hybrid Theory
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KORN Life Is Peachy Album Cover Life Is Peachy
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KORN Follow the Leader Album Cover Follow the Leader
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nu metal Music Reviews

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.

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!

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.

KORN Follow the Leader

Album · 1998 · Nu Metal
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Unitron
With Follow the Leader, Korn once again creates a unique album different from the last. In some ways, it does follow the noisier Life is Peachy, but more ideas make it sound like a transitional album. It's On! fittingly opens the album with a great 'jumpdafuckup' banger, and then it's anything goes from there.

Successful singles Got the Life and Freak on a Leash are almost dance metal, bringing to mind certain goth-new wave songs of the 80's, while most of the second half follow a different sound. They mix the screeching and noisy groove of the previous two albums with a moodier and depressive sound that would take complete form on the fantastic album that would follow.

Reclaim My Place, Justin, Seed, My Gift to You, and hidden track cover of Earache My Eye, these all strike that great transitional sound. Seed especially balances a dark Cypress Hill-esque sounding production with a fantastic chorus, perfectly blending crushing heaviness with some of the band's best melodies. My Gift to You sounds like a doom metal song, done in the style that only Korn can do. It's a great finale to the album, before the hidden track. The cover of Earache My Eye has always reminded me of Cathedral but with the Korn bass sound, whoever's doing vocals has a similar exuberance to Cathedral's Lee Dorian.

Unfortunately there are a couple songs that I'm not a fan of and feel out of place. Rap metal battle All in the Family and Children of the Korn, the latter with one of the most laughably bad intros I've ever heard, courtesy of Ice Cube. I don't want to spoil it, listen to it yourself and have a good laugh.

While the weakest of Korn's classic 90's albums, it's still an excellent album. Cut out some of the filler, and this would be as fantastic as the rest.

APARTMENT 26 Music for the Massive

Album · 2003 · Nu Metal
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Unitron
It's a shame that Apartment 26 called it quits after this album, because there's some serious untapped potential displayed on Music for the Massive. The beginning of the new millennium was when electronic artists were rediscovering old school jazz and swing music, between the nu jazz scene and artists like Eat Static (and Merv Pepler's other projects at the time), DJ Food, and the Propellerheads among others making heavy use of horn samples and swing rhythms, it was old world meets new world in full swing (no pun intended).

So why is this relevant to a relatively obscure forgotten nu metal band? Apartment 26 was an electronic influenced metal band from the start, but Music for the Massive shows an influence from this new trend in the realm of electronica. The infectiously catchy opener Give Me More displays this with jazzy piano rolls and finger snapping beats (literally, at the start) combined with metal guitar crunch. 88 follows suit with an occasional horn sample. I can only assume that these guys were following what was going on in the electronic scene at the time.

Where it fails, is that the band doesn't consistently utilize this sound. Most of it is just semi-industrial pop metal, and they do a decent job at it, but it helps their sound so much whenever any jazzy beats and melodies come in. It doesn't help that they start the album with the two best songs, and you're just waiting for them to give you more of Give Me More. Book (Be My Friend), Axel Off, and the beginning of 5 Day Rental is the rest of the extent they go with the unique twist they start off with.

Who knows if Apartment 26 will ever come back, and who knows what they'd even sound like if they did, but it's a shame as I can't see this kind of musical combination coming back, anytime soon at least. It's not like 2003 today which was the prime time for it. Right time, right place, but not the best execution unfortunately. Still recommended though for mostly the first two songs and just to get an idea of how great this sound could be, but it could've been even better.

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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).

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.

KORN Korn: Steal This DVD - The Unauthorized Biography

Movie · 2006 · Nu Metal
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Larry Sakin
Documentaries about rock bands work on a formula. First, we have the all important formative years of the band, where we learn how the group struggled to learn their craft. Interviews with the band members, record company hacks, managers and DJs that cleared the way for eventual superstardom follow, giving the viewer a portrait of the turmoil, joy, and excesses that come with success. And finally, we have the where-are- they-now or what’s-to-happen with them sequence, which is supposed to answer the all important questions fans are supposed to have.

Steal This DVD, an unauthorized biography of the band Korn, is another in a long line of heavily formulaic views of a band that changed the rock world forever. But there are some differences here. At least with the other documentaries, you can listen to the bands music while the grand story unfolds, and possibly hear early interpretations of the songs that catapulted the band onto rock n’ roll radio. But because of some sticky licensing problems, viewers of Steal This DVD won’t even attain this modicum of satisfaction. The background music is eerily similar to that of Korn, but is just another copycat band grinding away.

So what we’re left with is a cut-and-paste production of other people interviewing the band, a lot of still photos of individual group members, and a great deal of detail on growing up in Bakersfield, California.

I’ve been to Bakersfield, and believe me, it’s no mystery why a group of guys from that dusty Central Valley area would produce the intensely angry funk-metal chords Korn is known for. Still, it occurs to me that major fans of Korn would already know how the damaging effects of a conservative California city impacted these superheroes of nu-metal. In fact, it’s hard to imagine there is any content on Steal This DVD that might illuminate Korn fans any more about the dark mystique that surrounds the band.

And if you don’t know very much about the group and their humble beginnings, maybe the time is right to really listen to singer-songwriter Jonathan Davis’ lyrics, because everything you need to know is right there. Davis has joined the ranks of songwriters who willingly split open their veins and bleed their madness onto an empty page, much like Kurt Cobain before him.

So I’m not really sure who the producers of Steal This DVD are looking to market this documentary to. Maybe they think there are enough die-hard fans out there that obsessively collect anything with the Korn brand on it, or that there are even more naive kids so unfamiliar with what makes Korn the brilliant band they are and need some kind of instructional DVD to help them “get it.” Whatever their direction may be, I think the producers are in for a huge surprise.

It would be so much better if the people who pumped these damned things out really thought like real fans do. They’d actually produce some interesting and entertaining packages that music lovers would appreciate. But unfortunately, the entertainment business too often conforms to the “biggest bang for a buck” theory, and cashes in by promoting anything that has a big-named group attached to it.

Consider this a caveat emptor, Korn fans. This trashy documentary won’t satisfy you until the next Korn release. Save your money, and listen to Life Is Peachy instead.

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