Sludge Metal

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Sludge metal generally combines the slow tempos, heavy rhythms and dark, pessimistic atmosphere of doom metal with the aggression, shouted vocals and occasional fast tempos of hardcore punk.

Post Sludge / Atmospheric Sludge metal This metal movement takes influences from post-rock as well as from sludge metal. While it is in many ways similar to post-rock, post-sludge metal tends to include lower-tuned guitars, darker themes and tones, and heavier drums. Post-sludge stresses emotion, contrasting the ambiance of post-rock with the weight and bombast of metal. Vocals are deemphasized or non-existent, and lyrics tend to be equally abstract: often thematic or philosophical in nature. It was originally a largely American phenomenon, but also included in its development some Japanese bands. Bands like Neurosis, Isis, Cult of Luna, and Pelican write lengthy songs (typically five or six per album) that can range from light and guitar-driven to extremely heavy, drum and bass-driven.

Atmospheric Sludge Metal

Post-metal as with atmospheric sludge is a genre that uses metal music to create a sound that draws heavily on atmospheres and textures.

This approach was used by many sludge metal bands including ISIS, Neurosis and Pelican, combining post-rock techniques with sludge metal. Bands in other genres including black metal and doom also combined those styles with atmospheric elements to create metal best described as atmospheric black metal or atmospheric doom metal (or atmospheric folk metal etc). Those bands are listed in MMA under atmospheric sludge metal, atmospheric black metal, doom metal or whatever core style best describes them.

A number of bands originally rooted in those styles moved away from their original sludge (or other) metal roots, increasingly focusing on the post-metal elements of their sound. Others were never based on those styles of metal and took their influences directly from post-rock, adding metal elements to create a more abrasive and expansive sound. These bands are listed as post-metal.

Post-metal is captured as a child-sub of sludge metal on MMA to reflect the stylistic origins of many post-metal bands in atmospheric sludge metal, albeit those origins have largely been left behind.

Sub-genre collaborators:
  • Bosh66 (leader)

sludge metal top albums

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CULT OF LUNA A Dawn To Fear Album Cover A Dawn To Fear
CULT OF LUNA
4.74 | 10 ratings
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CULT OF LUNA Mariner (with Julie Christmas) Album Cover Mariner (with Julie Christmas)
CULT OF LUNA
4.79 | 8 ratings
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NEUROSIS Souls at Zero Album Cover Souls at Zero
NEUROSIS
4.48 | 22 ratings
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CROWBAR Sonic Excess In Its Purest Form Album Cover Sonic Excess In Its Purest Form
CROWBAR
4.62 | 9 ratings
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NEUROSIS
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CROWBAR Broken Glass Album Cover Broken Glass
CROWBAR
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ISIS Panopticon Album Cover Panopticon
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MASTODON Crack The Skye Album Cover Crack The Skye
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JULIE CHRISTMAS Mariner (with Cult Of Luna) Album Cover Mariner (with Cult Of Luna)
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ISIS Oceanic Album Cover Oceanic
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sludge metal Music Reviews

IRON MONKEY Spleen & Goad

Album · 2024 · Sludge Metal
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siLLy puPPy
The filthy as fuck sludge metal band from the ugly underbelly of the 90s that nobody in a million years thought would’ve arisen from the ashes due to the unfortunate passing of lead singer John Paul Morrow who passed away in 2002 leaving IRON MONKEY’s two 90s cult classics to stand on their own two feet but hey in the world of metal music one should expect the unexpected and even sacred cows sometimes find new a new form of life in an altered yet somewhat familiar form. While simmering in the sludgy underground, this 90s sludge metal band that followed in the footsteps of the Louisiana scene that found Acid Bath, Eyehategod and Grief forging a new ugly style of metal that chipped off strands of DNA from the world of stoner metal and doom metal and crafted a new ugly Frankenstein brother.

While not the first to engage in the rageful vitriol and distortion-fueled din that classic sludge metal rammed down your ear canals with impunity, IRON MONKEY was certainly one of the pinnacles of the hate fueled reverb-soaked sludgery that possibly caused Morrow’s death from choking on his own hate-filled vocal chords while screaming up a storm. Despite written off and left for dead, the MONKEY escaped captivity from whatever experimental lab facility locked them away and returned to the scene in 2017 with its comeback album “9-13” which found guitarist James David Luke Rushby (now simplified to simply Jim) accompanied by original guitarist Dean Paul James Berry (now truncated to Dean) who swapped out guitars for bass. With no viable replacement of the once great vocalist to be found, Jim simply stepped in and honed his own hateful bile spewing from his vocal chamber and called it good. With the addition of drummer Brigga, the MONKEY was back for the attack like Cesar planning an overthrow of humanity on The Planet of the Apes.

Following in the footsteps of the band’s 2017 comeback, SPLEEN & GOAD proves the resurrection was no one-off and although drummer Brigga has been replaced by Ze Big, this album that emerges seven years later very much sounds like “9-13” as IRON MONKEY left behind all those doom metal glacial moments of sustained feedback and oozing out effect of distortion of pain and focused more on the hardcore punk aspects that were in the band’s plans all along before the great implosion that left the MONKEY broken down and disbanded before a third album could ever emerge. Gone are all those smoke-filled stoner rock moments and also gone are the looming doomy passages that slink and slither like a serpent in the Garden of Eden. The new IRON MONKEY has the need for speed and that is exactly what it delivers with an adrenalized procession of downtuned sludge metal riffing sessions that offer a bit of boogie rock flamboyance to its simian swagger.

A modern day album with a retro throwback approach, SPLEEN & GOAD hosts nine tracks at 53 1/2 minutes and an incessant rampage through its battlefield stampede more focused on the quickened galloping pace of groove metal than the sludge on simmer of the past. The results vary as any veritable IRON MONKEY fan cherishes those classic moments that find the guitar sustain tweaking and freaking all over the place one of the band’s primary charms, lead vocalist Morrow’s unfathomable vocal rage excepted. The new IRON MONKEY in many ways sounds more like Amoebix or the 80s crust punk bands than it does its former self but then again the new IRON MONKEY is only half of the equation and any expectations of past endeavors should be firmly quashed. The new balls to the wall approach of IRON MONKEY 2.0 now finds as many albums under its belt as its original run but there’s little doubt this new rendition will ever eclipse the legendary status the original lineup has earned as one of 90s metal’s best kept secrets for so many decades.

The opening “Misanthropizer” pretty much sets the stage of quickened hardcore riffing frenzies with Rushby’s best Morrow imitation that comes close but delivers no cigar but then again taken on its own the new IRON MONKEY does not disappoint in its mostly Sabbath-free, stoner-free agenda either as the highly adrenalized agenda certainly offers a compelling filthy raw mix of primeval sludgery laced with the more rambunctious leanings of 90s alternative metal. The band retains an obnoxiousness that is guaranteed to piss off all but the true sludge fans out there and has lost none of the frenetic misanthropy as the album charges on like the band never left its sludge metal paradise and despite the mostly punk-fueled procession, occasional deviations do occur such as the rare Sabbath sounding track “The Gurges” charges forth and breaks up the monotony with angry stomps that would find Morrow’s harrowing approval. While i do wish the album was a bit more diverse in its approach, i cannot deny than i’m a sucker for this unbridled raging filth of a musical style and therefore soak it in like a sponge. Overall the classic IRON MONKEY is in no danger of being dethroned by the new but for anyone saying these guys never should’ve reunited misses the point of reviving classic sludge metal in a genre that seems to have gotten too progressive and experimental for its own good at times.

IRON MONKEY Our Problem

Album · 1998 · Sludge Metal
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siLLy puPPy
Following the grime of the trench pit sludge metal experience that was the 1997 self-titled debut, IRON MONKEY quickly followed with its punchy sophomore release simply titled OUR PROBLEM, a title that belies its caustic excesses that if played loudly in public would make it everyone’s problem! The band’s second offering has been referred to as the ultimate bar fight music with its vicious anger raging across its 45 minute tantrum induced time length. Once again inspired by the New Orleans scene despite hailing from Nottingham, England, IRON MONKEY shifted gears on OUR PROBLEM and added a more musical element, namely a bluesy Southern metal shuffling effect that gravitated more towards Acid Rain this time around rather than the excess torturous displays of pain and anguish as heard from Eyehategod.

Graced with a better production job this time around thus lifting the album out of the lo-fi claustrophobic swamps of the 8-track debut, OUR PROBLEM was a much more professional sounding album on the Earache label and found the band showered with rave reviews and favorable acceptance although i feel the debut’s lo-fi filth and grime approach were quite appropriate for this style of iconoclastic sludgery. Given the greater emphasis on simple rhythms and melodic shuffles, the reliance on extreme feedback and distortion from the bowels of hell, while still creeping in at strategic spots, was deemphasized for a more Sabbath / stoner metal / Souther metal emphasis thus making OUR PROBLEM a bigger hit with those attached to such musical requirements but in the process lost a lot of the evil as fuck characteristics that made the debut stand out amongst the competition. Despite the hype the band didn’t exactly become the next Alice In Chains and remained a cult favorite for a few more decades.

Despite the more groove oriented leanings, lead vocalist John Paul Morrow had lost none of his demonically possessed vocal style and screams up a storm across this album’s run while the twin guitar provide a sludgy wall of sound and amplification without interfering with the audible bass bantering. Of course the melodic touches also dictated the more favorable drumming practices rather than the savagery of the debut that simply called for the most extreme bombast wherever possible. Falling in line more with popular tastes of the era, OUR PROBLEM was much more raved about than the over-the-top debut which took depressive nascent sludge metal to its most execrable extremes. While lacking the diverse motifs that the debut offered, OUR PROBLEM’s songwriting oriented tracks did allow for the use of dynamic shifts with fast groove based sludgery ceding to slower guitar-free bass moves and doomy time outs from a rather quickened pace that gave the album a bit of an alternative metal meets grunge feel as the underpinning of the song structures.

Fortified with ample doses of feedback noise and excessive crushing riffs with the occasional squeals and other tricks of the trade, OUR PROBLEM is considered a major step up in terms of quality from the self-titled debut but it really depends on your perspective now, doesn’t it? Personally i actually prefer the less musically inclined and more noise-centered debut but that does not mean for a minute that i dislike OUR PROBLEM in any way. Both albums simply take on a different emphasis with this one being more in line with the tastes of the public. Unfortunately IRON MONKEY would encounter personal and band tensions which led to its implosion shortly after this album even though a new lineup was attempted but with the untimely passing of Johnny Morrow in 2002 it seemed the band’s chances of a comeback were nil. However to everyone’s surprise the band resurrected in 2017 and has released two new albums as the new IRON MONKEY thus making the new incarnation currently as productive as the first.

On a personal note, IRON MONKEY was my gateway drug into the greater world of sludge metal and totally by chance. I simply loved the grim artwork and took a chance and fell for its raw grime upon first listen. If you wish to purchase IRON MONKEY’s debut as well as OUIR PROBLEM,” the most highly recommended way is on the combo pack of the 2009 compilation “Our Problem / Iron Monkey” which features both albums in their entirely as well as several bonus tracks for each albums and well worth it because the bonus tracks are every bit as dynamic as the albums themselves. As far as i’m concerned, IRON MONKEY’s debut is the pinnacle of the most extreme expressions of 90s sludge metal and remains one of my faves in the since diversified subgenre that splintered off the hardcore punk and doom metal hybridization wagon way back in the 1980s. The bonus tracks are quite different from the album proper with the feedback and fuzz laden “Omozu (Wisdom of Choking)” sounding much more like the early drone metal of Washington’s Earth.

IRON MONKEY Iron Monkey

Album · 1997 · Sludge Metal
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siLLy puPPy
While sludge metal had been a totally American thing first emerging from the Washington state scene and then picked up and developed in the state of Louisiana, by the early 90s it was slowly trickling across the pond and picked up by bands looking for a way to escape the speed traps of the ever-increasing tempos of neoclassical and death metal which pretty much dictated the majority of metal styles of the early 90s. One of the first regions to pick up on the sludge scene was Nottingham, England, first with Fudge Tunnel and then followed by IRON MONKEY who released two excessively caustic yet well regarded albums in the latter half of the decade. While the band only existed for five years from 1994 - 1999 in the first run, founding members guitarist Jim Rushby and bassist / guitarist Steve Watson reformed the band in 2017.

With the original lineup of Justin Greaves (drums, ex-Bradworthy), Johnny Morrow (vocals), Jim Rushby (guitar, ex-Ironside, Wartorn), Steve Watson (guitar, ex-Cerebral Fix) and Doug Dalziel (bass, ex-Ironside), IRON MONKEY recorded its lo-fo self-titled debut on an eight track in 1996 before catching the attention of Earache records which released it as a bonafide album in 1997. Inspired by the heaviest and filthiest sludge metal bands that came before, IRON MONKEY was majorly influenced by not only Eyehategod, Crowbar, early Corrsion of Conformity and Grief but also adopted the sludge metal tendency of hybridizing doom metal into its heavily distorted cacophonous procession through slow cantankerous tracks that offered subject matter as bleak as the collage art on the album cover depicts.

Dripping in heavy sludge riffing with more distorted feedback than should be allowed by law, IRON MONKEY’s debut is a powerhouse of pure unadulterated sludge metal showcasing the style in its most raw and primeval form before the new strains of atmospheric sludge metal a la Cult of Luna and Isis steered it in a more more progressive direction. While the band’s second release “Our Problem” featured more grooves in the vein of stoner and Southern metal boogie rock, this debut eschews any sort of melodic underbelly and only exercises the most extreme form of sludgy metal riffing that offers Black Sabbath inspired doom with serious amplifier abuse with the album culminating in the heaviest display of feedback known to man on the closing moments of “Shrimp Fist.” While the original release featured only six tracks at about 38 minutes of playing time, the later releases featured a sludged out remaking of Black Sabbath’s classic “Cornucopia” which also offers one of the most extreme feedback fuzz outros ever.

In addition to the barbaric amplification that must’ve destroyed more than an amp or two, the highlight is the savage vocal display of John Paul Morrow whose violent screams are the lyrical equivalent of fingernails on chalkboards and the lo-fi production offers the same filthy murk that early black metal had utilized to their advantage. The slow undulating doom metal riffs alternate with faster mid-tempo sludgery in the vein of Eyehategod and Grief but despite the obvious slight degree of separation from the sludge metal acts that preceded, IRON MONKEY offered a more pungent and violent form of the musical style that still to this day sounds like the pinnacle of the heaviest form of sludge. The addition of the excess feedback that squeaks, squeals and shrieks randomly throughout the album’s run is like candy for extreme metal enthusiasts. The band’s debut is the real deal and the one i prefer most even though the sophomore release has its own distinct charm.

On a personal note, IRON MONKEY was my gateway drug into the greater world of sludge metal and totally by chance. I simply loved the grim artwork and took a chance and feel for its raw grime upon first listen. If you wish to purchase IRON MONKEY’s debut as well as “Our Problem,” the most highly recommended way is on the combo pack of the 2009 compilation “Our Problem / Iron Monkey” which features both albums in their entirely as well as several bonus tracks for each albums and well worth it because the bonus tracks are every bit as dynamic as the albums themselves. As far as i’m concerned, IRON MONKEY’s debut is the pinnacle of the most extreme expressions of 90s sludge metal and remains one of my faves in the since diversified subgenre that splintered off the hardcore punk and doom metal hybridization wagon way back in the 1980s.

ACID BATH Paegan Terrorism Tactics

Album · 1996 · Sludge Metal
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siLLy puPPy
It occurred to me as i was revisiting ACID BATH’s lauded 90s masterworks recently that this Louisiana band that latched onto the sludge metal scene (but was so much more), REALLY was equivalent to a musical funhouse of everything scrumptious and endearing about what 90s hard rock and metal scenes had to offer. While this band that was founded in Houma in 1991 only lasted a mere six years before the death of bassist Audie Pitre which caused the band to break up, ACID BATH has attained a legendary status as one of those bands that did it all right but was pretty much ignored during its heyday. PAEGAN TERRORISM TACTICS emerged two years after the band’s eclectic 90s mishmash of styles “When The Kite String Pops” and continues the potpourri of influences from hardcore punk, alternative metal, grunge, stoner metal as well as bluesy southern rock as well as a few sprinklings of thrash and death metal to be heard.

Also following in the footsteps of the debut, ACID BATH displayed the artwork of yet another controversial figure, this time Dr. Jack Kevorkian who was tagged Dr Death for his assistance of over 130 patients to commit suicide. The clever artwork pretty much sums up the dark subject matter of lead singer and primary songwriter Dax Riggs and his fasciation with all things morbid, nihilistic, violent and manic. Once again ACID BATH delivered a second offering that was equivalent to a classic double album’s worth of material with 12 tracks adding up to just over 72 minutes but adopted the irritating 90s trend of adding wasted minutes of silence before a hidden outro, in this case nearly 17 minutes. So musically speaking that leaves a more digestible 57 minutes or so of musical morsels to devour. As with “Kite Strings,” PAEGAN TERRORISM TACTICS is like a roller coaster of everything 90s all existing on one wild ride of top notch sludgy alt metal with a nod to various 90s bands and genres.

The album is all over the map with the first two tracks, “Paegan Love Song” and “Bleed Me An Ocean” starting things off more as a mix of pure sludge metal mixed with the grooviness of the same style of bluesy alternative rock / metal brought to the masses by bands like Alice In Chains and Soundgarden. ACID BATH certainly be accused of musical monotony because after two sludge-fests comes the Alice In Chains inspired “Graveflower” and “Diäb Soulé” that offer some bluesy alternative metal slowed down a bit with Riggs’ signature soulful singing style but the beauty of Riggs’ style and ACID BATH in general is that they don’t stick to one style for too overly long and heavy sludge riffing and demonic growly vocals are never far away. While all the musicians deserves kudos for maintaining a consistency within the context of whatever style they’re tackling, drummer Jimmy Kyle stands out for his inventive drumming accompaniments which always keep the tracks from sounding like any 90s contemporaries.

After a short foray into the fastest track, the thrashy metal blitzkrieg of “Locust Spawning,” ACID BATH shifts gears once again with a trippy psychedelic poetic prose in the form of “Old Skin” which while brief, offers a bizarre intermission and ushers in the more Soundgarden influenced “New Death Sensation” and “Venus Blue” which slow it all down and offer those ridiculous catchy melodies that really make ACID BATH addictive upon a single exposure. But wait! There’s more in this funhouse. Oh hell yeah! “13 Fingers” returns to the “deathened bluesy alt metal with sludge metal dressing and followed by speed sludge ferocity of “New Corpse.” In fact this is the most hardcore punk-like track except with those demonic screams that Riggs belts out with ease. The closing “Dead Girl” is really just a 7 1/2 minute track padded with unwelcome silence and a short poetic prose that reprises the “Old Skin” dialogue. This track is akin to the unplugged phase of Alice In Chains with bluesy acoustic guitars offering Riggs’ soulful vocals to soar.

While everyone has their favorite of the two albums ACID BATH released ( i slightly prefer the debut), there’s no doubt that this neglected band of its era released two powerhouses of 90s hard rock / metal that have managed to surface in the modern era as the excellence that they are. Unfortunately this was the end of the road for ACID BATH due to the fact bassist Audie Pitre was killed by a drunk driver. While the band easily could’ve carried on given that Riggs was the primarily player, for whatever reason this band couldn’t fathom losing a brother and in his honor retired never knowing if the band’s two albums would ever catch on to a wider audience or not. Luckily for everyone involved, both albums indeed have received a belated classic status and deservingly so. While many could easily view ACID BATH’s albums as inconsistent, what makes them so damn brilliant is that despite the many styles on board, these guys perfectly nailed everything they touched. There is no bad track on here. None. Quite an achievement and despite all the easily identifiable influences, Riggs’ dark subject matter kept the band from reaching the mainstream despite the catchy tunes that could’ve taken them far. Second masterpiece for ACID BATH and sadly the last but at least they made their short time really count.

ACID BATH When The Kite String Pops

Album · 1994 · Sludge Metal
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siLLy puPPy
ACID BATH was one of those 90s metal bands that was too eclectic for its own good and despite existing from 1991 to 1997 released two groundbreaking albums that mostly fell on deaf ears during the band’s existence but has slowly but surely attained the status of best metal bands of all time after three decades of retrospect. Forged out of the ashes of the two bands Dark Carnival and Golgotha, ACID BATH was born in 1991 in the small city of Houma, Louisiana situated southwest of New Orleans. The band’s career might’ve taken off however the death of bassist Audie Pitre in 1997 from a car crash pretty much ended any aspirations of continuing. Despite it all, ACID BATH’s two albums have become modern metal classics.

Best known by some as that metal band that used the artwork of serial killer John Wayne Gacy and suicide proponent Dr Jack Kevorkian for its cover art, ACID BATH has been typically lumped into the world of sludge metal for its Melvins inspired sludge metal riffing and Eyehategod bleakness, ACID BATH was so much more with influences from the contemporary world of grunge, alternative metal, stoner metal and even death metal. The debut WHEN THE KITE STRING POPS emerged in 1994, right at the time when grunge bands and their metal hybrids were ruling the roost in the world of popular metal and hard rock. Possibly stunted by not emerging from the Seattle scene, ACID BATH’s debut may have gone mostly unnoticed but was one of those silent revolutionary albums that mixed various musical styles seamlessly.

In many ways ACID BATH was the quintessential 90s band that encompassed many of the trends that were dominating the music world. As “The Blue” opens this lengthy album of 14 tracks that add up to 69 minutes of playing time, the tripped out feedback reminiscent of stoner metal bands like Kyuss add spice to the sludgy downtuned bass and guitar riff driven grooviness. Alternating between a heavier sludge metal style of Eyehategod with obnoxiously screamed vocals and less intense clean vocal segments that evoke the Jethro Tull inspired singing style of Psychotic Waltz’ Buddy Lackey, WHEN THE KITE STRING POPS can’t be accused of being tedious as it consistently shape shifts from pseudo-death metal inspired aggression to Alice In Chains inspired melodic and soulful alternative metal grunge. The all acoustic track “The Bones of Baby Dolls” is right out of the Alice In Chains unplugged playbook.

Despite the myriad stylistic approaches throughout WHEN THE KITE STRING POPS, the most ubiquitous feature of ACID RAIN is the strong dueling guitar effect with one guitarist delivering strong alt metal grunge riffing while the other accents with contrapuntal grooves, licks and occasional lead outbreaks. The star of the show has to be vocalist Dax Riggs who displayed a firm command of the soulful grunge vocal style and was on par with the greats of the era such as Chris Cornell of Soundgarden or Alice In Chains’ Layne Staley. Throughout the course of the album Riggs animates the sludgy stoner grunge metal with a diverse roster of screams from the world of sludge metal, shouts courtesy of hardcore punk, sensual clean vocal styles sounding like a dead ringer for Psychotic Waltz as well as emulating Alice In Chains itself yet while displaying obvious influences ACID BATH managed to craft something totally of its own making.

Perhaps the only downfall of WHEN THE KIT STRING POPS is that of its unwieldy playing time and despite not hosting a single turkey of a track, can be a bit to sit through in one go as the tracks do tend to feature recycled motifs and musical processions however when music is this fantastically good it’s also a treat to simply get more! This is one of those grower albums because after the first listening experience i failed to get all the hype behind it but after the strong melodies and subtle arrangements began to sink in it really got under my skin. My experience is probably the same of many others as by the end of the 90s the album had only old a mere 37,000 copies in the USA but since then has become one of the most revered metal albums of the entire 90s. The band only released one more album, the equally revered “Paegan Terrorism Tactics” two years later before disbanding but the band’s two albums were of such high quality that it guaranteed a slot in the highest ranks of metal history for time immemorial.

sludge metal movie reviews

ISIS Clearing The Eye

Movie · 2006 · Atmospheric Sludge Metal
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Triceratopsoil
Probably only really for fans of ISIS (I mean, who else would buy a concert DVD than a fan of the band in question?), but an absolutely great experience. Witness an incredible band at their peak. The main feature here is the full 70 minute performance from Sydney Australia in 2005. Great cinematic camera work, a relaxing and overall fantastic performance of some of the best songs ISIS ever wrote. Top notch. No complaints here, though I'm a giant fanboy so take my opinion with a grain of salt or 10.

Most of the other live videos are curios, though they are quite good - not the same professional sound and video quality as the Australia concert.

I made my mom buy me this for Christmas a few years ago, ahaha

MASTODON The Workhorse Chronicles: The Early Years 2000-2005

Movie · 2006 · Sludge Metal
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Kingcrimsonprog
The Workhorse Chronicles is a must have for any fan of the band. Period. The DVD contains a huge documentary, their first four music videos and live performances of just about every song the band had written up until the touring for Leviathan. The documentary is incredibly informative, with details on how the band formed, inter band relationships, the witting process, touring, their personal lives and what inspires them. Footage from their old bands, their earliest shows and backstage is mixed with candid interviews to let you in on just about every aspect of the band you could think of.

The dvd displays just what a down to earth collection of musicians Mastodon are, never acting like rock stars and always feeling honored to be where they are. While the dvd is completely serious and professional, fans of the band will already know what a humorous bunch of guys they are and will revel in the joking, sarcasm, unusual dreams and even an interview conducted in the shower.

Then you get the live performances taken from several sources, One concert while the band was still a Five Piece playing material off of the then upcomming LifesBlood EP which is recorded by the audience so isn’t of high audio/visual quality. Another Concert is from The Leviathan Tour is a sold out club, with higher Audio/visual quality and a career spanning track listing. Then there are several professionally recorded one off performances for television with superb sound and looks, With songs like ‘Workhorse,’ and ‘Mother Puncher,’ played to the highest standard with crystal clear audio. Finally the music videos which are welcome. Overall this dvd is a must have; with a superb documentary, four videos and an astonishing 29 live songs.

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