The Gateway

Inspired by Chris Van Ettan splitting hairs over which genre an album from a different clan has (thrash or speed metal, death metal or grindcore, power metal or trad metal and sludge vs. stoner vs. doom), I decided to continue the DIS vs DAT activity with an interesting twist; instead of voting on which album has the greater edge, we do it with genres from one of the clans instead. Single-genre clans (like The Gateway and The Sphere) would be divided into hidden subgenres that some of us have heard of but are never listed in the site (for example, alternative metal vs nu metal, industrial metal vs neue Deutsche härte). This should be a nice interesting challenge for Chris and other members of the site. Got two or three albums from a different genre in the same clan and same release year but can't decide which one has the greater edge? Share them here!

There are some interesting opinions here which is what makes these monthly feature releases such fun. Personally, I think "Lateralus" is an amazing record & Tool's best work but it's not perfect. Unlike "Aenima", I don't think there are any weak inclusions however tracks like "Mantra" & "Faaip de Oiad" definitely aren't as engaging as the better material. "Aenima" isn't far behind as far as overall quality however I do  find tracks like "Intermission" & "Die Eier von Satan" to be pretty hard going. Minor faults aside though, they're both classic releases as far as I'm concerned & I've never placed their other albums (with the exception of the horribly underrated live release "Salival") into that category. 4.5/5 each from me.

Primus' debut record is about everything you would expect out of Primus, from the technical but downright funky Les Claypool bass lines to the overall weird atmosphere this album gives off. From an objective musical standpoint this album is incredible, with the guitar, bass, and drums playing very complex and well written passages that have incredible coordination with each other. I've obviously listened to Primus before, but I've never sat through an entire album of theirs, and while their gimmicky weirdness does start to wane after a few songs, I was surprised at how much I ended up liking this album. There are a few duds, but no one does heavy, funky, and nasty slap bass lines quite like Mr. Claypool in this kind of genre. Obviously slap bass gets used in Jazz to similar and even more outrageous effect, but it's refreshing to hear bass used so well in Alternative music like this. I feel like this record could grow on me even more, so I'm going to throw a 4/5 on it. 

As for the discussion that's going on above me, it's a very interesting one for this album. I'm in agreement with Daniel's toolbox analogy; a Metal release should be judged on how many Metal elements it consistently uses. But that can come down to musical theory as well as overall composition. The more I write and figure out my review style, the more I wish I studied a little bit more music theory, because that sort of knowledge helps in being more objective about music, for better or worse. Metal tends to have much more dissonance than Rock/Hard Rock, and that all depends on the types of chords and scales used, which give Metal its signature dark/evil/grating sound. Obviously other genres that aren't metal use minor scales, but couple that note choice with a lot of gain from your gear, crank that volume up, and suddenly you have something that sounds like metal. Frizzle Fry does have those dissonant chords plus driving and loud riffs, especially on the signature track "John The Fisherman", but I agree that it's hard to definitively say that it's distinctly Metal. While you can call it "Funk Metal", it can easily be called "Progressive Hard Rock With Slap Bass". Funk Metal itself doesn't have much ground to stand on in my opinion, especially since upon further research the main bands for it are apparently Red Hot Chili Peppers, Jane's Addiction, Rage Against the Machine, Faith No More, and of course Primus. I'm guessing people felt the need to distinguish bands that used slap bass or bass heavy elements from other Alternative Metal/Rock bands? Because I wouldn't really call any of those particular bands as mainly "Funk Metal". 

In any case I'm also with Saxy in that I never want to be one of those people who judge an album based on how much gain the band puts on their guitar. It's silly to judge albums on genre placement alone, even though it can be a fun discussion for these kinds of albums that sit on the edge of many, many genre classifications. If I was able to cast my vote in the Hall, though, I'd have to say this belongs in non-metal. 

I'll cast another vote for Dirt. Angel Dust is an interesting album, but it never really clicked with me. But Stayley's great vocals and Cantrell's outstanding riff-smithing work wonderfully together.

Dirt 2 - Angel Dust 1

Hashed out a review for this one as well even though I've never been a KoRn fan whatsoever. I have a pretty...aggressive opinion at the end that was very hard to write in a way that didn't call fans of KoRn out, but I still stand by that this album just feels like more of a personal project for singer Jonathan Davis than anything. 

Sometimes you just gotta yell into a creative void to help you get over your problems, and his experiences just happened to resonate with a large group of younger people at the time. I honestly really dislike KoRn, but I can't act like the start of Nu-Metal wasn't an important stepping stone to the other...questionable modern metal trends that have popped up from the 2000's onward. 

1.5/5

Threw up a review as well. I listened to The Battle of Los Angeles a lot many years ago, but never checked out this full album. 

I think what bumped up the score (4 out of 5) for me was the amount of creativity in this compared to Battle of LA. Rage has been and always will be pretty monotonous with their one-note choruses and overused buildups, but this one has a ton of neat solos, sound effects, and bass lines that keep it much more interesting than any of their other albums for me. Plus this is probably the most angry de la Rocha has sounded on any of their albums. 

This was, surprisingly, my very first look at Deftones, I don't think I've ever heard a single song by them unless there's one from White Pony. I can't say I'm a massive fan but there's definitely something here for me with the noisy and punky riffs they throw down. I listened to a lot of Chevelle a few years ago and after checking this out I can definitely say that Chevelle are budget Deftones. These guys do what Chevelle and other bands like them want to do, but just don't quite get to the level of something like this. The...intimately evocative vocal style sort of puts me off after a while but it does fit with the noisy aspect of the album, so maybe I just need to give it a few more listens to really nail down the overall feel of the album. Definitely going to have to check out White Pony sometime in the next couple of days to get the full story here.  

I got into rock/metal in 1999, at the age of 12, so kinda grew up during the heyday of nu metal when Kerrang TV was new and metal bands were topping the charts! 

Post you clan-specific top 10 lists for 2019 here.

I'm with you Xephyr. I always wanted to like this album as I'm a huge fan of Faith No More. But it doesn't come close to the genius that follows, and the vocals are a big reason for that.

I can't see them doing it purely for the money. I mean they've likely been offered a ridiculous amount of money over the years but have always turned it down.... until now. Hhhmmm… it doesn't reek of financial desperation to me. It seems more like unfinished business.

Tell us which Gateway-related bands & releases you regard as either heavily overrated or cruelly underrated.

Here's some information I stole from The Blast:

Ex-KORN drummer David Silveria has countersued the group, claiming his former bandmates owe him almost a million dollars. 

The 46-year-old musician, who left KORN in late 2006, sued his former bandmates in February 2015, claiming that his exit from the group was merely a hiatus and that he was rebuffed when he tried to return to the band in 2013. Silveria said he still had ownership interest in KORN and asked a judge to force the band to reveal how much money they've made since he left so that he can get his rightful share. KORN countersued and the two sides reached an agreement in 2016 that called for Silveria to give up his rights to KORN royalties going forward in exchange for a lump sum. 

But Silveria now claims his 2016 agreement with KORN "omitted any reference to the 2003 agreement between the partnership and SoundExchange," which administers royalties from non-interactive streaming recordings. "The Settlement Agreement was also silent on the issue of how SoundExchange royalties were to be apportioned." 

KORN sued Silveria last month, claiming that he contacted SoundExchange in July 2018 saying he was entitled to his cut. The band said they informed Silveria that this was in direct violation of the settlement agreement he reached and to withdraw his claim to SoundExchange. Silveria apparently did not do so, causing SoundExchange to place a hold on all payouts related to KORN.   

In his countersuit, Silveria claims he was unaware the band had been receiving money from SoundExchange since 2003 and alleges KORN's deal with SoundExchange was entered into without his knowledge. He claims the band concealed the deal and the payments from him and now he is after what he believes he is owed. 

He is suing for breach of contract, among other things, and is asking for damages in excess of $750,000.

Slipknot vocalist Corey Taylor has flat out denied the claims that he's defrauded Chris Fehn of money that was rightfully his. Taylor made the denial on Twitter, responding to a fan who responded to the news of Fehn’s ousting by calling Taylor “dickish.” Taylor replied:  

“You think that’s dickish, try being wrongfully accused of stealing money from someone you cared about, and having a lot of your fans believe it.” 

In a second, since-deleted tweet, Taylor replied: “Fuck I Would LOVE that”  to a suggestion that they get original Slipknot frontman/percussionist Anders Colsefni back in the band.

Maynard tweeted this update on the new Tool record this week:

“Update- Midway through mixing. Most likely be a few recalls. Then some arguing. Then Mastering, Artwork, Video, Special Packaging, etc. Best Ballpark Guess- Release date somewhere between Mid May and Mid July. More focused updates to follow as we progress.”