Daniel's Forum Replies
To be fair, Cash is responsible for influencing a lot of the gothic stuff I do enjoy so he has his moments.
Yep... along with most country music outside of the gothic stuff, although I admittedly have a Townes cover album that I absolutely love.
Yay! Now I’ll know which folk records to steer clear of. ;)
Here's my review from many years ago:
After a string of four subpar albums in succession I was happy to hear a noticeable improvement on Megadeth’s 2007 release “United Abominations”. Not only was it a bit more consistent than the previous records but it was also a little heavier. There were still a few flat songs here & there but the highlights were enough to pull me through & I was left with some optimism with regard to future releases. Yet more cause for optimism could be found in various reports that 2009’s follow-up album “Endgame” was the long sought-after return to form that fans had been waiting on. I often find that my opinions don't always match up with the common concensus so I reserved my judgement & sat down to my first listen with an open mind.
My first impression was that ”Endgame” is not drastically different from the last record. In fact Megadeth haven’t made any huge changes to their sound since they bombed out completely with 1999’s appropriately named “Risk” album. Instead Dave Mustaine has chosen to make more subtle changes with each album so as to slowly improve on the weaknesses of the last. If you listen to each successive release from 2001’s “The World Needs A Hero” onwards you can hear the band getting slightly less commercial, a little bit heavier & a touch more consistent each time without ever losing focus on hooks & song-writing. It hasn’t always worked but that seems to have been the goal. Subsequently we’ve ended up with a faster & thrashier Megadeth than we’ve heard since 1990’s “Rust In Peace” but not one that sounds like they’ve made enormous alterations or taken substantial risks. The illustrious “thrash metal” label is not out place when describing “Endgame”. There are certainly a lot of thrashing riffs on offer but Mr Mustaine hasn’t let go of his commercial aspirations altogether just yet. You’ll still hear some fairly radio-friendly choruses on occasion but with a little more subtlety than we’ve seen in recent times.
I was very impressed with new lead guitarist Glen Drover’s performance on “United Abominations” so I was a little annoyed to find that he had then left the band before the recording of “Endgame”. However I needn’t have worried too much because Dave then recruited former Jag Panzer guitarist Chris Broderick & he shows that he really has some amazing chops. I’m not sure I enjoy his solos as much as Drover’s (or other Megadeth guitarists of the past like Marty Friedman & Chris Poland for that matter) as he can sound a little over-clinical & mechanical but that’s not a big complaint as I still find plenty to enjoy in Chris’ display of virtuosity. Dave’s riffs have rarely been as aggressive in recent years & the production is very solid as expected. So really all of the ingredients are there for a classic Megadeth album. The only question is in the quality of the songs.
As far as overall consistency goes “Endgame” is probably as solid an album as Megadeth have recorded since “Countdown To Extinction”. There aren’t any real clangers amongst this lot. But having said that there probably aren’t any bona fide Megadeth classics included either. The title track is my personal favourite & it’s unquestionably some high quality metal. The other songs are generally entertaining but seem to fall a touch short of the top shelf without really having too much wrong with them. I quite enjoy instrumental opener "Dialectic Chaos", thrashier numbers like "This Day We Fight!", "1,320'" &"Bite The Hand", the catchy hooks of "Bodies" & the very power ballad-ish "The Hardest Part Of Letting Go... Sealed With A Kiss" but they're also unlikely to change my life. The last three songs in particular feel a bit flat to me. So does “44 Minutes” which sounds quite a bit like a subpar track from the band's mid-90's period.
Overall, I’m not sure “Endgame” is quite the muscle-flexing return to form that Megadeth’s fan base were crying out for but it’s definitely another step in the right direction. If Dave could keep this sound together & do a bit more work on the hooks & song-writing then something more special may be just around the corner. There’s not much in it but I think I probably prefer the underrated “United Abominations” just slightly over this one. It had a couple of tracks that were weaker than anything on “Endgame” but it also had more highlights to draw me in. Regardless, it’s nice to feel like Megadeth are worth listening to again.
3.5/5
Yeah, I'm a long-time fan of this record which obviously sits right inside of my wheelhouse. Iniquity's other releases are all worth checking out too but "Serenadium" is clearly the standout in my opinion.
I tend to agree with you Vinny. I've never been much of a fan of "Noregs vaapen" & don't think any of Taake's subsequent full-lengths are a match for their first three full-lengths to be honest.
I think you'll find that if you've already rated a release & then add a review to it then it'll maintain the original date & won't be pushed onto the main page. Could that be the case here Rex? To get around that you need to delete your rating before posting your review.
Cocteau Twins - "Sunburst & Snowblind" E.P. (1983)
This short four-song E.P. makes for an excellent accompaniment to the Scottish dream pop/ethereal wave acts "Head Over Heels" album from the same year & shares its excellent opening track "Sugar Hiccup" with that release. The other three songs are all worth hearing too though, particularly the very solid "Hitherto" which utilizes Elizabeth Fraser's powerful vocals really well. "Sunburst & Snowblind" comes highly recommended for metalheads who fancy themselves as a closet goth.
For fans of This Mortal Coil, Dead Can Dance & early Slowdive.
4/5
Grief - "Dismal" E.P. (1992)
The first proper release from this Boston-based five-piece is the sort of oppressive, drug-riddled outing that only the Americans know how to create. The four songs included here are all relatively simple in their structure but the atmosphere that's created is suffocatingly dark & heavy with Grief sitting right over on the doomier end of the sludge metal scale. Second track "Isolation" is particularly gripping & is one of the finest examples of the genre I've ever encountered. I can see myself exploring more of this band's back-catalogue in the near future.
For fans of Noothgrush, Corrupted & Eyehategod.
4/5
Stereolab - "Dots & Loops" (1997)
This was my first time with this popular London artist & I've quite liked their highly acclaimed fifth full-length, even if I do have to admit that I find it to be a bit overrated. RYM has "Dots & Loops" tagged as art pop, indietronica, ambient pop & neo-psychedelia & even has it attached to the Chicago School post-rock movement but the reality is that this isn't a pop, rock or psychedelic record. I think the indietronica tag is the only one that I'd suggest has much relevance here as the instrumentation is generally electronically composed & taking influence from lounge, acid jazz & downtempo. The female vocals haven't exactly blown me away & the album succeeds mainly during the parts where the vocal melodies are strongest. I'm not sure I can see myself returning to this one but it's certainly a pleasant enough release to play as background music on a chilled weekend afternoon.
For fans of Broadcast, Electrelane & Vanishing Twin.
3.5/5
Ὁπλίτης - "Παραμαινομένη" (2024)
The fourth full-length from this unique Chinese solo act is probably his best work in my opinion. It's certainly his most ambitious & unusual sounding release to date with the six tracks flowing freely into musical territory that is yet to be attempted with a sound that I feel is best described as avant-garde/dissonant black metal. There's a wonderful energy to this material with the well-programmed drum programming & powerful bass guitar giving the music a strong basis for the thrashy guitars to work off. The production job is excellent & is one of the main selling points here too. Πτολίπορθος's last record "Ἀντιτιμωρουμένη" took a step up from the interest I found in his previous two full-lengths & "Παραμαινομένη" provides further consolidation & proof that Ὁπλίτης is somewhat of an enigma in the current extreme metal scene.
For fans of Serpent Column, Theophonos & Plebeian Grandstand.
4/5
Scott Kelly - "Spirit Bound Flesh" (2001)
I initially didn't get on with the debut solo album from the Neurosis front man when I first discovered it many years ago but its charms have slowly become more apparent to me over time & I now find myself thoroughly enjoy it. It's a seriously depressing listen which is probably why I (& most others I would imagine) struggled with it so much to begin with. You can expect a very stripped back contemporary folk sound that's largely made up of just Kelly & an acoustic guitar with very little accompaniment. You're left with his deep vocal tone & the general darkness & negativity to hold onto & it can be a tough slog if you're not in the mood for it but, thankfully, I've given "Spirit Bound Flesh" enough time to sink in now & have come to understand what it was trying to achieve. While it may not be Kelly's finest solo work, I hold it in fairly high regard these days & would recommend it to all of our folk-inclined members who share my penchant for the darker end of the genre.
For fans of Steve Von Till, Blood & Time & Mike Scheidt.
4/5
Between the Buried & Me - "Colors" (2007)
North Carolina progressive metallers Between the Buried & Me & I have had a mixed relationship over the years. I first discovered them through their 2011 "The Parallax: Hypersleep Dialogues" & 2012 "The Parallax II: Future Sequence" releases with neither of them giving me much to hold onto. Then I stumbled over their 2008 "Colors_Live" live album & my opinion on them quickly turned around. I've since returned to that record a number of times & have subsequently added 2009's excellent "The Great Misdirect" to the list of Between the Buried & me releases that I hold in high regard. Strangely though, I'd never explored the studio version of "Colors" until now but I thought I'd rectify that oversight this week & it's resulted in an interesting disparity. You see, for one reason or another, I haven't connected with it as strongly as I do with the live album. I've certainly found enjoyment in all eight songs on offer but there's something missing here that seems to give "Colors_Live" a clear edge over its studio counterpart & it's resulted in me falling just short of awarding "Colors" the four-star rating I felt certain it would receive going in. It's not a bad progressive metalcore record but I think some of the melodic exploration tends to be a little too far away from my comfort zone for me to fully commit to.
For fans of The Contortionist, The World Is Quiet Here & Persefone.
3.5/5
I've passed this nomination uncontested Andi.
High Tide - "Sea Shanties" (1969)
The debut album from this London four-piece offers an unusual take on the early heavy psych sound with the prominent use of violin & extended jazz fusion improvisation giving it a unique aesthetic. The influence of Jimi Hendrix, The Doors & the Mahavishnu Orchestra is plainly obvious however "Sea Shanties" doesn't really sound like anything I've heard before. Unfortunately, the guitar skills of Tony Hill aren't strong enough to fully capitalize on such an original concept but that doesn't stop High Tide from creating one of the more interesting releases to come out of the late 60's psychedelic rock scene.
For fans of May Blitz, Edgar Broughton Band & Blue Cheer.
3.5/5
Abhorrence - "Abhorrence" E.P. (2000)
This is the first proper release from these Finnish death metallers & followed quickly on the heels of the very solid "Vulgar Necrolatry" demo tape from earlier the same year. I've always been a big fan of this 7" E.P. as it possesses an underground feel that oozes of the early 90's tape trading scene that played such a strong role in my formative years. While it's short thirteen-minute run time is over in a flash & doesn't really present anything you haven't heard before, Abhorrence are still able to make a lasting impact through their clear understanding of what made the early death metals scene so great, even showcasing a strong affection for the early grindcore of Napalm Death in their use of blast beats. I'd suggest that most of our The Horde members should find a lot to enjoy here.
For fans of Bolt Thrower, Purtenance & Convulse.
4/5
Defeated Sanity - "Passages into Deformity" (2013)
The fourth full-length from this highly consistent German brutal/technical death metal outfit is also their best in my opinion as it gets the balance between brutality & technicality just right which, when complimented by a suitably dense & dark production job, creates a slightly more accessible, if no less savage, result. The ridiculous musicianship & chaotic riff structures are still well in effect here but they sound just a little less like they're on the verge of wildly flailing out of control while the intelligible vocals of new front man Konstantin Lühring are a little easier to tolerate for long periods than some other brutal death metal gurglers. Still... there's something that stops me from ever reaching for my more elite ratings with this band &, in much the same way as Dying Fetus who I reviewed earlier this week, I get a strong feeling of groundhog day every time I assess a Defeated Sanity record with the result invariably ending up being the same.
For fans of Disgorge, Wormed & Deeds of Flesh.
4/5
Necrodeath - Into the Macabre (1987)
The best ever thrash album to come out of Italy is probably not that well-known, but it is a super-intense blast through riffs and thrashbeats that is both wild and exhilharating. Vocalist, Ingo, has a really evil-sounding bark that gives the album even more of a dark edge. If you have listened to much South American thrash then you will feel perfectly at home here. Driving right up to the border between death and thrash metal, whilst definitely remaining on the thrash side, this takes the intensity of the Big 3 teutonic thrashers and injects it with the evil darkness of atmosphere found on Possessed's Seven Churches. In common with most people I suspet, this passed me by in the Eighties, but I am glad I stumbled upon it years later and it still carries an effective and vital intensity even nowadays. A much overlooked 80's thrash metal gem.
4.5/5
I've been a big fan of this record since way back in the day & you're 100% correct. Teutonic thrash fans should be all over it. (4/5)
Sacrilege - Behind the Realms of Madness (1985)
Because I lived in a nowhere industrial town in England's north Midlands back in the day, I had to rely on magazines and music papers to suggest new bands for me to try so I could expand my listening. Unfortunately, they only really covered already fairly well-known bands or those who had created a bit of a buzz (usually begun by industry insiders), so many great releases from the 1980s escaped my notice until much later. Seeing as the UK had very few decent thrash acts it is weird that Sacrilege never got any coverage from the music press and it also means that I almost missed out on a brilliant slab of crusty, Discharge-influenced thrash metal from my own neck of the woods. The production is crap, but this only adds to the album's crustiness and gives it a DIY air that I really love. It has the kind of energy the majority of thrash bands could only ever hope to possess. Pity they were never this good again, but, hell, to make one record this awesome is more than most manage.
As an aside, listen to "Shadow of Mordor" and tell me if you think Curt Cobain ever heard it before writing "Negative Creep".
5/5
While I certainly have a bit of time for "Behind the Realms of Madness" (3.5/5), I do have to admit that I've never found it to be as essential as other old-school fans seem to. I actually prefer 1987's "Within the Prophecy" (4/5) which I consider to be a really solid thrash record & a step up from the debut.
I've noticed that a lot of modern-day critics seem to struggle with "Dopesmoker" but I've always found it to be really solid (4/5). Could this be a product of the Spotify age where the patience of your average listener has gradually diminished? Perhaps. "Sleep's Holy Mountain" is my favourite Sleep record these days though (4/5).
Mudhoney - "Superfuzz Bigmuff" E.P. (1988)
Of all of the big name grunge bands, I would have to suggest that Mudhoney are one of the ones that appeals to me least however some of their material still offers a reasonably enjoyable listen for me with their 1988 debut release "Superfuzz Bigmuff" generally being the one I tend to reach for when I feel like giving them another whirl. This six-song E.P. was arguably the release that served as the catalyst for the entire early grunge scene &, while revisiting to it now, you can easily imagine how electric the band's live shows must have been during the late 1980's. The gnarly vocals & dirty garage rock guitar tone of front man Steve Turner are the drivers for Mudhoney's sound & are definitely the elements that draw me to "Superfuzz Bigmuff". The tracklisting doesn't start off too well though with opener "Need" coming across as pretty flat but I get enjoyment out of all five of the remaining tunes, particularly the two tracks in the middle of the release which are very solid indeed (see "Mudride" & "No One Has"). Mudhoney will likely never compete for my affections with the Soundgarden's, Alice in Chains' or Nirvana's but this stuff isn't half bad either.
For fans of Skin Yard, Green River & "Bleach"-era Nirvana.
3.5/5
The Dillinger Escape Plan - "Calculating Infinity" (1999)
The New Jersey mathcore legends' debut full-length very much defines the term "chaotic" with its jerky stop/start sound feeling almost like a novelty at times. The musicianship on display here is utterly astounding & I can still remember my face being unceremoniously ripped from my head upon Ben first playing me this stuff back in the day. Stylistically, this probably should be my favourite Dillinger record but that hasn't ended up being the case. These days, I find myself leaning towards 2013's "One of Us Is the Killer" album & 2002's "Irony Is a Dead Scene" E.P. with Mike Patton but there's not a lot in it & I still get the same sort of adrenaline rush from "Calculating Infinity" as I did twenty years ago which is certainly a feather in the band's cap.
For fans of Botch, Converge & Car Bomb.
4/5
The Cure - "Seventeen Seconds" (1980)
I don't mind The Cure's second full-length but I don't think it competes with their best work from later in the 1980's. It's a more stripped back affair with Robert Smith's guitar being much dryer & Lol Tolhurst's drumming sounding like it's programmed on a primitive drum machine. The song-writing is a little bit hit & miss with Smith's vocals being the clear focal point & dictating whether each track will be successful or not. Despite arguably being the record that the early gothic rock movement was inspired by, there's probably more post-punk here than there is genuine goth material. Still... it's not a bad listen. I just can't see myself returning to it in the future as there a clearly other Cure records I'd reach for ahead of this one.
For fans of Joy Division, The Sound & Bauhaus.
3.5/5
S.O.B./Napalm Death - "Split E.P." (1989)
This ultra-rare 7" split single is a great little grindcore release that includes ten songs, making for just nine minutes of relentless energy & aggression. While the Napalm Death material is pretty decent, it's really the S.O.B. side that commands such a high score as they throw the kitchen sink in with their exciting brand of Japanese hardcore. You can expect blast beats & psychotic screams aplenty from this lot & I think all fans of the genre will find a lot to enjoy here.
For fans of Agathocles, Extreme Noise Terror & Brutal Truth.
4/5
Dying Fetus - "Stop at Nothing" (2003)
Another Dying Fetus record, another decent (if middling) score from me. I inevitably feel very much the same about all of the Maryland brutal death metal establishment's releases in that they all offer some level of appeal for me with their relentless brutality but lose points for their style-over-substance approach to song-writing. "Stop at Nothing" (Dying Fetus' fourth full-length album) isn't their one of their strongest records but it is another very consistent one with the quality levels tending to stay very stable throughout with only disappointing close "Vengeance Unleashed" seeing my enjoyment factor dipping a little. The production isn't amazing with the drum sound being noticeably clicky which doesn't do drummer Erik Sayenga any favours. The dual vocal attack is in full effect though & I'm glad that John Gallagher & co. don't allow the practice session-style technicalities to get out of hand as I've never thought that they added a lot to Dying Fetus' sound to be honest. As always with a Dying Fetus record, their signature mid-tempo, hardcore-inspired slam riffs are a highlight &, despite its flaws, I don't think "Stop at Nothing" will lose too many of the band's pre-existing audience even if it's certainly nothing particularly special.
For fans of Suffocation, Misery Index & Skinless.
3.5/5
Talk Talk - "Spirit of Eden" (1988)
The fourth album from this London outfit represents the basis from which all subsequent post-rock was formed & is one of my favourite rock records of all time. It's subtle, fragile & deeply atmospheric sound leaves me dangling over a precipice with my emotions hanging on by a thread. If you have even a passing interest in the subgenre then you owe it to yourself to explore this absolute classic.
For fans of Slint, Bark Psychosis & Radiohead.
4.5/5
East of Eden - "Mercator Projected" (1969)
The debut album from this experimental Bristol outfit may well be the first genuine progressive rock record, despite a strong psychedelic influence which hints at a clear understanding of the recreational drug culture that was taking place all around them at the time. The musicianship on display here is absolutely top notch with the regular inclusion of violin, flute & saxophone being noteworthy. There are a couple of flat tracks included amongst the nine on offer & I wouldn't say that any of the stronger material is genuinely classic but you can't deny the creativity or focus displayed on this record which I've ended up quite enjoying, particularly the more atmospheric prog numbers like "Waterways", "Bathers" & "Moth".
For fans of King Crimson, Jethro Tull & Soft Machine.
3.5/5
Evanescence - "Fallen" (2003)
The only experience I had with this female-fronted Arkansas alternative metal outfit was through their latest album "The Bitter Pill" which I reviewed when it was our feature releases back in 2021. Not only did I find that record to be seriously underrated but I also quite enjoyed the experience so I always intended on checking out some of their more popular work at some point, if only to satisfy the unrelenting completist in me. Well, 2003's "Fallen" sophomore album is clearly the Evanescence record of choice for most fans of the band & includes a number of big hits that most metal & rock fans would know very well, even if they've never actively gone out of their way to investigate the album they're taken from. After giving it a few spins this week I've come to the realisation that it's a hit & miss record in my opinion with a good 45% of the tracklisting offering me very little appeal. Thankfully though, the other 55% is very solid indeed which gives "Fallen" enough value to see me coming out of the experience feeling quite positive, if not quite as positive as I did with "The Bitter Pill".
Evanescence's signature sound was forged with this record which champions an alternative metal sound that also draws influence from nu metal, symphonic metal & gothic metal at times. The vocals of Amy Lee are obviously the main focal point as the instrumentation isn't anything terribly interesting or creative & I was happy to find that she's well up to the task too with her tone being both powerful & pure. The incredible adult contemporary number "My Immortal" is the clear highlight of the album but nu metal super-hit "Bring Me to Life", the ultra-catchy "Tourniquet" & the stripped-back piano ballad "Hello" are all very solid & professional inclusions too. The weaker moments are generally aligned with the weaker vocal hooks though which makes it even more apparent that Evanescence lives & dies by the skills of their front woman to control the narrative.
I'm not gonna say that "Fallen" is essential listening because its creative statement is not significant enough for that but it's certainly a bit of fun that most rock/metal fans with do well not to find some enjoyment in. It's interesting that "The Bitter Pill" has been so heavily slandered in comparison because I don't think that's warranted given that I actually prefer that record over this one. I think the fact that "Fallen" is a little more obvious & immediate is what gives it the edge for most listeners but I slightly prefer the added maturity & depth of Evanescence's latest work. Regardless, it's easy to simply allow both to pass you by under the premise that they're none of your business but if that's your position then you might just find yourself missing out on an attractive hook-laden three-quarters of an hour of alternative metal.
For fans of Within Temptation, Lacuna Coil & We Are the Fallen.
3.5/5
"Lateralus" was a huge record for me during a decade-long period when I'd generally moved away from metal. My best mate at the time wasn't much of a metal fan but he became obsessed with this album so we used to get cripplingly stoned while exploring the finer intricacies of the song structures. We saw Tool twice on the tour for that release too & one of those shows was one of the most elite live performances I've ever seen in my life with everything just falling into place at the same time.
It's just a bit disappointing when there literally doesn't appear to be anything beyond a blurry 150 x 150 image that's cropped badly anywhere on the internet, which happens from time to time.
Sounds awesome. I can't wait to get this release into my Walkman so I can reach a level of superiority that sits above literally everyone while fantasizing about moving out of mum & dad's place & finally losing my virginity.
Another artist that I've never heard of that I'm subsequently placing on my to-do list. Thanks for the heads up Vinny.
Done.
I've passed "Odyssey (un)Dead" uncontested & have created this Hall of Judgement entry for "In Waking: Divinity":
I've passed this nomination uncontested Andi.
Calamalka - "Shredders Dub" (2004)
The debut album from this Canadian producer is one of my favourite dub records ever. I picked it up on CD shortly after release & it subsequently received many plays at stoned come-down gatherings at my unit when I was going through the height of my clubbing/DJing period through the mid-2000's. The drums & basslines are nothing short of spectacular here & you'll rarely find a release that can put you into a more blissful state of numbness.
For fans of Burnt Friedman & the Nu Dub Players, Rhythm & Sound & Massive Attack.
4.5/5
Nuclear Assault - "Handle with Care" (1989)
The third full-length from these Queens-based thrashers was my introduction to Nuclear Assault at the time of release & is still my pick of their discography to this day. I've always liked the band's 1980's records with releases like 1986's "Game Over" & 1987's "The Plague" E.P. receiving regular replays from me in the several decades since. "Handle with Care" is perhaps a little more consistently thrashy than some of their earlier efforts though & I think that probably helps its cause with someone like myself. It's bookended by two absolute belters in "New Song" &
Trail of Tears", both of which sit amongst my favourite Nuclear Assault tracks, & this certainly holds the album in good stead but the rest of the twelve-song tracklisting is consistently engaging too with only the confusing inclusion of the fairly redundant novelty tune "Funky Noise" failing to capture me. The gritty vocals of front man John Connelly are right up my alley while I also enjoy the hardcore edge that the band display at times. While I wouldn't go into "Handle with Care" expecting to hear anything terribly original, there are some great thrash riffs on offer & I'm surprised at the fairly lackluster ratings of our regulars thus far because I would have thought this would be essential listening for most of our The Pit clan members.
For fans of Anthrax, Overkill & Vio-lence.
4/5
Germs - "(GI)" (1979)
One of the earlier hardcore punk full-lengths & the sole album from this Los Angeles outfit. It's gone on to become somewhat of an underground classic over the years but I've struggled with it a little bit, mainly due to the fact that the weaker inclusions tend to taint the majority of the tracklisting which is generally pretty enjoyable without ever seeing me fully engaged. There's nothing you haven't heard a thousand times before here either.
For fans of Minor Threat, Reagan Youth & Adolescents
3/5
Nithing - "Agonal Hymns" (2023)
The debut solo effort from Iniquitous Deeds/Vitriol drummer Matt Kilner is a strange, noisy, yet relentlessly brutal blastathon that doesn't sound much like anything you've heard before. Kilner employs unusual guitar effects in order to try to differentiate himself from the pack & it works for the most part. The clear weakness is his vocals though as there's been no attempt to enunciate words with the delivery not even sounding like their human, instead sitting somewhere between a pitch-shifted pig & water going down a sink. Still... repeat listens saw me finding the instrumentation to be intense enough to keep me interested without focus on the vocals, despite some sections descending into a sludgy pit of noise.
For fans of Trichomoniasis, Putridity & Iniquitous Deeds.
3.5/5
Monster Magnet - "Spine of God" (1991)
I've always really enjoyed the debut album from these New Jersey-based stoner rock legends, perhaps more so than some of their more highly acclaimed records. There's a confident consistency to the nine-song tracklisting with no weak material included. It showcases a band that knew its sound really well & had clearly indulged in more than the odd drug binge together. The more psychedelic moments are the clear highlights with the epic title track being nothing short of life-changing. I particularly love front man Dave Wyndorf's masculine vocal delivery & the fuzzy wall of guitars which go a long way to making "Spine of God" essential listening for all stoner rock afficionados.
For fans of Fu Manchu, Clutch & Soundgarden.
4/5
Limp Bizkit - "Chocolate Starfish & the Hot Dog Flavored Water" (2000)
If there's one thing that most of our regulars would know about me by now, it's that I call 'em purely as I see 'em & I don't give a fuck what the general consensus is. I like to make up my own mind about things & won't be swayed by what the cool crowd thinks. With that in mind, this week I decided that I really should have an informed opinion on one of the most successful yet heavily divisive metal acts on the global scene in Florida's Limp Bizkit. I'd never heard a full record by them before as I'd always assumed that they'd be none of my business up until now but, you know what, this shit ain't half bad. These dudes certainly know how to write a catchy hook, how to play their instruments & how to create a throbbing mosh pit anthem.
I was surprised at how many of the fifteen tracks I knew as there was clearly a whole slew of hits taken from this record but it wasn't always the well-known stuff that I found the most appeal in. Another thing that I perhaps wasn't prepared for was just how good a rhythm section Limp Bizkit had at the time, particularly the bass guitar which really drives a lot of this material. I don't think there's any doubt that front man Fred Durst's personality is what turns off most metalheads & I can see why as his message can often be summarized as meathead fodder but his macho posturizing can't disguise the obvious Eminem influence in his whiny rapping which I would suggest comes across as nothing more than tolerable. In fact, the rap component in Limp Bizkit's sound is really significant (perhaps more so than most nu metal bands) & that's usually the element of the subgenre that I struggle with the most but I've somehow managed to overlook it here, despite Durst being one of the more overt exponents of the craft. And once I managed to look past his immature personality to the groove-laden music behind him, I discovered that Limp Bizkit had more creativity in their kit bag than I'd ever given them credit for.
All of the hits are pretty enjoyable to tell you the truth with "My Way" being my pick of the bunch but it's the strength of some of the album tracks that surprised me the most with "The One", "Getcha Groove On", "Boiler" & particularly the outstanding album highlight "Hold On" really getting under my skin. Unfortunately, the album is book-ended by some much weaker material though with opener "Hot Dog" falling victim to Durst's idiocy, the Urban Assault Vehicle version of "Rollin'" being a total mess & the almost ten minute "Outro" track being absolutely pointless & a complete waste of your time. The remainder of "Chocolate Starfish & the Hot Dog Flavored Water" is well worth hearing though & provides further proof that you shouldn't believe everything you read. Perhaps I won't go running out to indulge in the remainder of Limp Bizkit's back catalogue any time soon but I can honestly say that this record isn't any worse than the majority of the subgenre, even if it doesn't compete with Linkin Park or Korn's best work.
For fans of Korn, System of a Down & P.O.D.
3.5/5
Here's my updated Top Ten Nu Metal Releases of All Time list:
01. Linkin Park - "Meteora" (2003)
02. Korn - "Korn" (1994)
03. Slipknot - "Iowa" (2001)
04. Linkin Park - "Hybrid Theory" (2000)
05. Deftones - "Adrenaline" (1995)
06. Korn - "Follow the Leader" (1998)
07. Sevendust - "Animosity" (2001)
08. Dir en Grey - "Uroboros" (2008)
09. Limp Bizkit - "Chocolate Starfish & the Hot Dog Flavored Water" (2000)
10. Slipknot - "Slipknot" (1999)
https://metal.academy/lists/single/313
I revisited "Litourgiya" relatively recently Sonny & I really enjoyed it too. I can't say that I prescribe to the concept that it's a classic black metal release but it was certainly a very solid creative statement that I find to be unanimously rewarding.
I've passed this nomination uncontested Andi.
I've passed this nomination uncontested Andi.