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Average Customer Review: 4.65 out of 5 stars
Audio CD (01 October, 1996)
list price: $18.98 -- our price: $13.99
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Editorial Review

With its heavy-duty distortion, weighty rhythms, and cynical lyrics, Tool is a heavy metal band for the '90s. Rather like Metallica circa ...And Justice for All, the sound is focused heavily on texture, with vocals and guitars layered one atop the other, and heart-pounding drums underlying everything. There's not a whole lot of variety on Tool's second full-length album--most of the songs start off fairly low-key, kicking into high gear for the chorus, and repeat--but Maynard James Keenan's distinctive voice, the prog-rock stylings over a heavy metal base, and a supremely unhealthy dose of vitriol make this the perfect album to bang your head to. --Genevieve Williams ... Read more


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Reviews (875)

5-0 out of 5 stars excuse me?
I read a review a bit down criticizing Tool for playing the same chord in every song in different time signatures, and it just struck my intellectual gag reflex.

No, Tool is not a time signature-obsessed Blink 182- in fact, Adam Jones is probably one of the greatest riff architects of the modern day. At least, that's what not only pretty much every guitar magazine seems to think, but also most of Jones' peers in the industry (Morello, for instance). But hey, it's good to criticize someone for drifting too far away from what's happening in the rest of the narrow-focused modern rock world.

I hear again and again people shunning Aenima for sounding "too uniform" and I just don't see it. I guess they were disappointed there weren't any tambourines..?

Aenima's subject matter is dealt with and presented in a masterful manner. The subjects, often oblique, often vague, always with a multitude of interpretations, have generated a multitude of discussion groups on the Internet. The songs, as a whole, deal largely with cultural evolution and spiritual enlightenment.

All in all, I very much recommend Aenima as a hard rock/metal CD to anyone looking to expand their minds. Lateralus has digressed lyrically from this style, but has matured beyond Aenima to a stratospheric level in terms of musicianship.

2-0 out of 5 stars It could have been better.
The cover is a perfect example of the promise this album carries. It's eerie, unpedictable, and mysterious. (I personally believe that the holographic design will date it in a few years, but oh well.) A strange, swirling, smoky black box against a black background with floating eyes. Nifty. But the music inside...well...bleh.

To be honest, "bleh" is too strong a word. "Hurm" would be more appropirate, or maybe "oh...okay." It's just that this album could have been one of the greatest prog-metal albums ever made, but retreats to formula just when it edges into greatness.

The problem is that the band relies to heavily on their image to suscessfully create music without pretention. "Aenima" would have been a masterpiece if it was more inventive, unpredictable, and willfully innovative. It would have been more than enough to just blend elements of the Sonic Youth and King Crimson, with a dash of "Freak Out!"-era Zappa and Zeppelin, keeping the sound industrial as always, but never limited to it. Tool could have created a world that was frightening, darkly humorous, nihlistic, pioneering, and cynical all at once. So what went wrong?

Tool stays within their own limitations, as if they can't exceed them, but feel like they have something to prove anyway. Songs are longer. More stop-start rhythms. More profanity. Thicker production that only clouds the musical variety. Flavorless songwriting. Tighter performances, but little character put into the effort. Too many throwaways, too few songs that maintain consistency. Tinny vocals.

Those are the main flaws with the record. It's an intriguingly under-realized record, but fascinating nonetheless. The promise it carries is bogged down by having little to fufill. "Hooker with a P**is is fairly decent, but after five or six songs about genetics and messianic hypocrisy, what is this "Get in the Ring" rewrite doing sandwiched in? And the title track suffers from some jaw-droppingly bad lyrics that bog down a concept that could have rivaled "The Trial" in Pink Floyd's "The Wall." What's with "Some say Armageddon will come/ I certainly hope it does"? With all of the mystery Tool strives for, that's awfully straightforward.

The Bill Hicks sample in "Third Eye" is distracting, and "Message to Harry Manback" is a waste that belongs on a b-side. By misplacing the concepts and the ambitions, Tool has created one of the classic shoot-and-miss albums of the decade. How unfortunate on have so much talent, and to not know how to use it.

5-0 out of 5 stars Think for yourself...question authority...
I know no one will ever read this. I don't care. This is my favorite cd EVER aside from Pink Floyd's Animals. Those two NEVER leave my changer. Tool, I fear, will never make another cd like this, much like the Deftones will never make another Adrenaline. Unfortunate as this thought is, it is made "all better" by the fact that this great recording is made immortal through the blessing that is the compact disc. Tool is most excellent...they are, I feel, the Pink Floyd of this acursed generation, melding their album art with the music. Cam De Leon is now one of my favorite artists, along with, Giger, Dali, Escher, and none other than Tool's own Adam Jones. In short, Tool's ultimate opus lies in this album. Most excellent. ... Read more

Asin: B00000099Y


Dreaming Neon Black
Average Customer Review: 4.53 out of 5 stars
Audio CD (26 January, 1999)
list price: $16.98 -- our price: $16.98
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Reviews (60)

5-0 out of 5 stars Possibly My Favorite Metal Album of all Time
...Perhaps I should rank it up there with the best ever because the songwriting, production and musicianship on this album is incredible. There are more good riffs on this album than many bands put into 10 albums. Each song is a work of art, with pieces that fall into place. Everyone contribute's to the feel of the songs. Warrel's vocals are strong and his lyrics are top notch. Tim Calvert and Jeff Loomis are excellent complements to each other on guitar. There are so many good tracks, many with Warrel's powerful, yet sometimes haunting voice stealing the show. Van Williams and Jim Shephard do an admirable job holding the ship together. My personal favorite tracks are "Poison GodMachine" with its fast attack and furious riffing, plus the lyrics about the media really do make sense and "Dreaming Neon Black" with the acoustic and electric guitars mixing for atmosphere. Warrel's vocals on "Dreaming" are some of the best that I have ever heard. The band hits on all cylinders on this release and I think that it will be hard for them to ever top this effort. If you are a heavy metal fan or just like great music with lyrics that make you think, these guys are for you.

4-0 out of 5 stars Quoth me: This album rocks
Nevermore has always been a somewhat difficult band to categorize. They occupy a niche of their own, somewhere between the catchy melodicism of Iron Maiden, the aggression of early Metallica, and the grandiosity of Dream Theater. What results may not be something you can describe with an easy tag line, but "Dreaming Neon Black" is unquestionably a potent slab of modern, very heavy metal. I've heard some heavy music in my time, but for pure aural oppressiveness few, if any, bands can match Nevermore. On vicious tunes like "The Death Of Passion," "The Fault Of The Flesh," and "Poison Godmachine," Nevermore serve up a punishing array of uber-complex riff structures, maniacal drumming, and basslines so loud they make the mirrors in my car vibrate (or maybe I just need new tires). Warrel Dane, while not technically as skilled a singer as Dream Theater's James Labrie or Symphony X's Russell Allen, really pours his heart out in the songs, too. The emotion in his delivery is unparalleled, even if he does overdo it a bit sometimes. Nevermore also intersperses some softer stuff into the mix, with the title track, "The Lotus Eaters," and "All Play Dead" veering towards ballad territory. Warrel doesn't really have the voice for ballads, but these songs still have an undeniably epic feel that makes them work. I don't think the slower songs are as good as the heavy stuff, but they do break up the album nicely. While I am, apparently, one of the few Nevermore fans who prefer "The Politics Of Ecstasy," "Dreaming Neon Black" is still an essential part of any good metal collection.

5-0 out of 5 stars ONE OF THE BEST ALBUMS OF THE 90's
I remember buying this disc in January 1999 and it was the first big opus of the year and I immediately knew that it was going to make my Album of the Year list and become an indispensable record to my collection. Steering only slightly away from the highly technical musicianship they have been known for, Dreaming Neon Black takes you on a metal journey filled with an array of emotions, melodic hooks and heavy grooves, the instantly recognisable and unmistakeable vocal deliveries of Warrel Dane, and of course the astonishing guitar work of Jeff Loomis and Tim Calvert.

There is a slight line-up change on DNB, guitarist Pat O'Brien left the band in order to fulfill his dreams of playing in Cannibal Corpse and was replaced with long-time friend and ex-Forbidden guitarist Tim Calvert whose performance is outstanding. Needless to say Calvert breathes new life into the band and his thrash-rooted articulation combined with Jeff Loomis' ultra-diverse style embraces a wide range of soundscapes. Calvert's influence is also eminent in the songcraft writing-wise, especially in the songs "Beyond Within", "Deconstruction" and "Cenotaph". Any Forbidden fan should easily hear Calvert in these tunes.

Jeff Loomis is out of this world. I can't believe how anyone so diverse, talented and gifted is so underrated by the metal community. Loomis' musical background ranges from classical to jazz to death metal and he's one of the most technically advanced guitarists around. However what makes him and Nevermore so special is without question his songwriting abilities. Loomis has always been the main driving force behind Nevermore and together with Dane's one of a kind vocal melodies and intriguing concept story they have released a timeless classic.

The album was produced by Neil Kernon who is currently among my favourite producers. His work with Queensryche, Judas Pries and Spiral Architect is stunning, but I believe Dreaming Neon Black is the peak of his entire career. I've hardly heard another perfectly produced album as Dreaming in my life. Sonically everything is so meticulously arranged; the pounding rhythm from 1996's The Politics of Ecstasy and the brooding melodic pieces from its preceding EP In Memory have both been tapped for Dreaming. Warrel Dane's vocals are morse centred yet a million times more heartfelt. The closing song "Forever" is his testament to emotion in its purest form.

As stated previously in other reviews, Dreaming is a concept album written by Dane. It is about an old girlfriend of his whom he hasn't seen for over 10 years and suddenly he begins having these recurring nightmares about her. He sees her drowning in a pool calling out his name (also portrayed on the album cover by Travis Smith) and this goes on for quite some time. It gets to the point where Dane can't take it anymore so he decides to write this album. He has stated that once he got it out of his system, he stopped having these dreams and was feeling considerably better. Whether this is true or not is beside the point in my opinion. I would still think it's very intriguing if this was just a made-up concept since the Nevermore guys do a great job getting their messages across both musically and lyrically. This is far from an album about the loss of a loved one, there is merciless criticism on the media, politics and drugs used to brainwash people to have them on their sides.

Until Dreaming came out, the growth of Nevermore from release to release was readily apparent. I highly recommend everyone should check out their pre-Dreaming catalog if you haven't already. So many of their fans consider Dead Heart their finest moment but I personally like TPOE and even the self-titled debut slightly better. I on the other stand by what I said and claim Dreaming Neon Black their ultimate masterpiece and this disc will surely please the palettes of long-time fans and followers. Nothing else can touch it on pure raw emotion and no one can emulate the unique approach to songwriting. It's one of those rare albums that refuses to get old and stale, and only reveals its inner depths when you give it your full concentration. ... Read more

Asin: B00000GWYS
Sales Rank: 77315


Average Customer Review: 4.74 out of 5 stars
Audio CD (29 September, 1992)
list price: $11.98 -- our price: $10.99
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Editorial Review

Alice in Chains were initially tagged with the "grunge" moniker, when in fact their haunting, ponderous sound was far closer to the progressive rock of Queensryche. Their second album, Dirt, is a moody, portentous affair, filled with occasionally inspired riffing from guitarist Jerry Cantrell and hair-tossed wailing from singer Layne Staley. Perhaps the band got lumped in with Generation X because their lyrics focused upon depression, death, and drugs. Certainly, titles such as "Down in a Hole," "Junkhead," and "Hate to Feel" didn't leave much room for doubt as to Cantrell's perspective. The quartet did have a slightly lighter, almost poppy side to them, though, as "God Smack" and "Hate to Feel" indicate. Ultimately, Dirt is classic angst rock. --Everett True ... Read more

Reviews (245)

5-0 out of 5 stars An Essential Rock Release
1992 was a great year in music. Dream Theater had "Awake". Stone Temple Pilots debuted with "Core". Megadeth changed things up with "Countdown to Extinction". And maybe most importantly, Alice in Chains hit it globally with "DIRT". This is truly a great album... an easy top 5 pick of mine from the entire 90's decade. It captures all the raw tormented emotions of Staley and Cantrell. More or less, the heroin-addicted Staley, with Cantrell playing his demonic chords in the background. Mike Starr continues his wizardry on bass, as Sean Kinney plays an often times complex drum kit. Lyrics are dark & twisted (death, depression & drugs dominate)... would you be expecting something else? But from these tortured souls come brilliance. I put "DIRT" up there with those other manditory/legendary rock & roll releases like Deep Purple's "Machine Head", Aerosmith's "Rocks", Boston's 1976 debut, Pink Floyd's "Wish You Were Here" or "Dark Side Of The Moon", STP's "Core", Kiss' "Alive!", Van Halen's 1978 dubut, etc. With the exception of maybe Aerosmith's "Rocks", never have I heard 6 songs put together back to back on an album before that were just incredible. Listen to the start of the cd; "Them Bones", "Dam that River", "Rain When I Die", "Down in a "Hole", "Sick Man" & "Rooster". All classic "Alice"! Throw in "Angry Chair" and "Would?" and this is practically a 'Greatest Hits' package. While Alice In Chains will forever be lumped in the Seattle 'Grunge' category with Nirvana, Soundgarden and Pearl Jam... AIC remains the heaviest of the bunch. "DIRT" remains essential and timeless... and AIC will always be one of the most original rock & roll outfits in a world full of cheap imitations. Rest in peace Layne and hopefully good things will come to Mike, Sean & Jerry in the years to come.

5-0 out of 5 stars Dark. Haunting. Beautiful.
From the second that the jarring guitars and drums hit you in the first track, the brilliant, anguished "Them Bones", you get a good idea of what you're in for when you listen to this CD: a dark, heavy, unpretty view on the life of someone in their own private hell. And that's what makes it such a great album.

After the success of "Facelift", the late Layne Staley and company knew they had to work hard to create a worthy follow-up. And so they did. Sadly, Layne was struggling with a crippling drug addiction (which, unfortunately, would go on to claim his life). Thus the theme of the album: despair, depression, anger, etc. Some standout tracks include "Them Bones", "Dam That River" (which has a great riff), "Rain When I Die", "Sickman", "Rooster", "God Smack" (which inspired another great band's name), and "Would?" (which, IMHO, is a brilliant song).

Alice In Chains was a great band, and Layne's legacy will live on through their music. Rest in peace, Layne, and thanks for everything.

5-0 out of 5 stars brilliant
dirt was one of the best alternative rock albums from this great band from seattle and was one of the most succesful grunge albums ever along with ten by pj and superunknown by soundgarden and nevermind by nirvana.this album was succesful due to the presence of classics like them bones,rain when i die,rooster and the titanic down in a hole.go and buy this great cd.very very highly recommended. ... Read more

Asin: B0000028M7


Skeleton Skeletron
Average Customer Review: 4 out of 5 stars
Audio CD (12 October, 1999)
list price: $16.98 -- our price: $16.98
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Reviews (22)

2-0 out of 5 stars Not Good
I love Tiamat. I enjoyed every album from Sumerian Cry till A Deeper Kind of Slumber. I liked the progression from album to album ending with Deeper.

What I really love about Tiamat, is the atmospherics (esp. on the Astral), mixed with guitars, in the earlier works, to Slumber and Wildhoney, where more elements of Floyd could be found. I hold Tiamat as possibly my favorite artist. In order of stars, let me give you my opinion on all of their work: Sumerian Cry: 3 stars The Astral Sleep: 5 stars Clouds: 4.5 stars Wildhoney: 5 stars Deeper: 5 stars

which brings me to the new album.....frankly I don't like the progression....the atmospherics are all gone, and the guitars now sound like pop. In fact, this album is more pop rock, than anything to do with Trance/Death/Doom/Atmospheric/Gothic. If you like rock, I guess you can buy it.

I DO NOT RECOMMEND THIS ALBUM, esp. if you are a Tiamat fan till date. This will spoil it for you. At times, it gets monotonous and boring. Please, let the memory of a progressive and outstanding Tiamat remain, and avoid this album at all costs........

5-0 out of 5 stars Excellent follow-up to "Deeper Kind of Slumber".
I first heard this band with their last album, and remember telling a friend to listen to how great the music was and forget about the annoying singer. On this new release, group leader Edlund uses his strange, baritone vocal style to much greater effect, on an album that improves upon their gothic, moody sound. Much more focused and better produced than the last album, Skeletron should appeal to anybody into the Type O Negative/Eurogoth scene. The album goes from heavy, guitar-oriented riffing to moody keyboard intervals, usually in the same song. I could have done without their Rolling Stones cover (although it's better than most cover songs) and with the loss of their lead guitarist, the guitar solos are basically non-existent. Nevertheless, Tiamat have produced an excellent, mature album with a style much their own. That in itself makes it better than 90% of all the other crappy hard rock/metal out there now. Worth a listen!

4-0 out of 5 stars Unmistakably Sisterian
After the gorgeous "A Deeper kind of slumber" this is with ease the best Tiamat album allthough opinions on this are bound to differ.
Whichever the case, this LP is obviously the band's tribute to their most dominant influence: the Sisters of Mercy. Through and through you can hear the unmissable Sisterian aura this album has, and there are a couple of songs in particular where, bar the vocals, you'd swear you're hearing Eldrich's musings.

But it's the overall result that matters and in that respect " Skeleton Skeletron" is an absolute charmer. Gothic to the bone, melancholic and dark to its core, it might have basically one extended atmosphere it is based on but it's one that doesn't tire you but rather mesmerise you.

More to its credit is the strong closing of the album with the beautiful "Sympathy for the devil" cover version and the 2 very rocky songs that follow it.

If it's flawed somewhere then that would be the lyrics which at certain points drift to naivity. I'd dare say that were this purely instrumental it would be a classic. Do get it. ... Read more

Asin: B000021XSU
Sales Rank: 135211


Believe in Nothing
Average Customer Review: 4 out of 5 stars
Audio CD (26 February, 2001)
list price: $35.99 -- our price: $35.99
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  • Import
Reviews (9)

5-0 out of 5 stars Another masterpiece...
First of all, I just have to ask once again how this band never managed to break through in the US. I don't know about everyone else, but I was a little ticked about having to order both "Believe in Nothing" and "Host" from Japan (each of which have great bonus tracks, so snag them if you can). The real tragedy is that "Host" was, in my opinion, hands down the best album of 1999 and "Believe in Nothing" is poised to be the best album of 2001. The only explanation I can come up with is that a band like Paradise Lost can't really be catagorized in any one genre. Each album has seen the band's sound evolve and "Believe in Nothing" continues this trend. After the somewhat radical stylistic departure of "Host" (although if you really listen to "One Second," you can see where "Host" came from) I was curious to see what they could possibly do to make "Believe in Nothing" take that next musical evolutionary step. But by mixing elements of both "Host" and "One Second," they've managed to do just that and produce yet another landmark album that mainstream America will probably NEVER hear. The songs strike a perfect balance of classic Paradise Lost themes of darkness, despair, and anger/frustration. "I am Nothing" is probably my fave track but "Fader" really caught me by surprise in the same way as the title track from "One Second" did because it's sound is just so unexpected. Without exception, all of the songs are extremely well written. The musicianship is superb and most of the tracks feature some of Nick Holmes' best vocal work. If you liked his clear, strong vocals on "Host" then you will love the way he sounds on this album. Do I miss the heavy thrashing and growling of their earlier albums? Yes, at times. But you know what, if they still sounded like that we all would have gotten tired of them a long time ago. Good bands come and go, but truly great bands grow and change with the times, eventually transcending their genre. "One Second" and "Host" took the first steps towards that destinction and "Believe in Nothing" has achieved it. All in all, this is an amazing album from what I consider to be THE best band of any genre in the last decade. Alas, if only American audiences could unplug themselves from the insipid ramblings of no talent hacks long enough to notice bands like Paradise Lost (you would think the name would be enough to garner some sort of attention, but maybe it reminds them a little too much of their dreaded high school reading lists).

5-0 out of 5 stars classic paradise lost
i love everything paradise lost have released...... through every major style change, i have followed. there is not a single disappointing paradise lost album.

for the first time listener who wants to buy a paradise lost album, the question is 'which genre of rock/metal do you like most?'..... because most likely there is a paradise lost album that would fit neatly into one of these genres.

the album of discussion here is believe in nothing, paradise lost's most recent masterpiece. the heavy guitars have returned, but not in the classic metal style of 'draconian times'. rather, believe in nothing is more of an ode to modern rock while retaining the epic melody and ingenious lyric that defines paradise lost

3-0 out of 5 stars hmmm...
Can't hate it, can't love it either.

Yes, this is heavier than host (not better) but still something is missing... what happen with the lead guitars?!?!?!, they are average at the most... another thing i don't like is the bass drum, sounds like a box of cookies been hit it by a child!! seems they can't match the gothic beauty of one second (the best for me), or the so long ago new and unique sound of draconian times (the best for the majority).

they have added more guitars but still i think host is better than this one, because it was more shaped and defined into thecno (metal heads scream!!!!!!)and then had more personality.

Don't get me wrong, this is better than all the nu-metal... of this days, but I think PL can, and hope they will, do it much more perfect... we have to wait till next time... ... Read more

Asin: B0000521P5
Sales Rank: 243652


Average Customer Review: 4.45 out of 5 stars
Audio CD (19 October, 1999)
list price: $13.98 -- our price: $13.98
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Editorial Review

Antipop, indeed. Primus, led by mad genius/bassist/vocalist Les Claypool, enjoyed past radio success with "Jerry Was a Race Car Driver" and "Wynonna's Big Brown Beaver." And on Antipop, Primus's usual staccato freneticism and rhythm-propelled tunes are as compelling, demanding, and provocative as ever. Like Mr. Bungle, another oddball Northern California outfit, Primus's humor is omnipresent, though not in a Weird Al way, despite the fact that Claypool's nasal delivery is not unlike Mr. Yankovic's. Most of Antipop is patented Primus funk-pop, what with a song about "sniffing paint since the seventh grade" ("Lacquerhead") and the autobiographical title track("I am the Antipop / I'll run against the grain 'til the day I drop"). Still, there are a few departures. The spacey, seemingly deliberate Pink Floyd homage "Eclectic Electric" is cool, as is the very Tom Waits-like "Coattails of a Dead Man." --Katherine Turman ... Read more

Reviews (91)

4-0 out of 5 stars A New Side Of Primus
Well, what can I say. I feel in love with this album as soon as I put it in my Cd player and turned up Electric Uncle Sam. However, compared to earlier primus albums, AntiPop takes on a heavier more serious side. For the most part Les Claypool's voice is not as squeaky and fun as it is in say the brown Album or Pork Soda. Still, the bass is enough to shake the cd player right out of your hand, and this is classic Primus. The band lashes out on "Electric Electric" feauturing Metallica's James Hetfield, who I require you turn up your headphones for on his solo midway through the song. The "Antipop" is another brilliant song. "Mama didn't raise no fool" has Morello from Rage let lose riffs as Claypool repeats "mama didn't raise no fool" in his typical Les Claypool voice. Overall, this is a new side of Primus, and I really like it. I'm looking forward to their next album, and can't imagine what that will sound like.

5-0 out of 5 stars PRIMUS returns to their roots
With albums like Tales from the Punchbowl and the Brown Album Primus seemed to be heading further and further away from their roots of funk bass lines and sudden impact dynamic changes. However Antipop is a return to the sound of albums like Sailing the Seas of Cheese and Frizzle Fry. Claypool's bass, as always, is at the heart of the music. Tracks like Antipop, Laquerhead, and Electric Uncle Sam rank with Primus' best work. Coattails of a Dead Man, a collaboration with Tom Waits, is in my opinion one of Primus' most daring and interesting pieces ever. Waits' influence is definitely noticeable. Also, as a little treat for older fans, The Heckler is included as a hidden track at the end of the album. Overall, this is classic Primus. Buy it now!!

5-0 out of 5 stars ONE OF THE BEST
This is a brilliant album for all primus fans. They go more mainstream in this album but the tunes are tight, the drums are technically amazing, and the most defining thing about Primus is Les Claypool. I swear he has added more fingers on to his hands surgically because he is no doubt the best bassist the world has ever seen! Amazing speed and grace over a bass. ... Read more

Asin: B000028TV7


Still Life
Average Customer Review: 4.71 out of 5 stars
Audio CD (27 February, 2001)
list price: $12.98
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Reviews (78)

5-0 out of 5 stars I shudder in awe.
The fact that I usually hate death metal vocals but love Opeth is a testament to their brilliance, I think. I am so impressed by this band's unparalleled sophistication, their originality, and the sheer beauty of their music. Most people wouldn't call them progressive metal, reserving such a distinction for a band like Dream Theater or Symphony X. However, Opeth is progressive in every meaning of the word. They are earnestly pushing the boundaries of style with each of their releases. They are entirely unique, blending myriad styles into their complex web of incandescent, ingenious compositions. There's many so-called progressive metal artists (who shall not be named) who seem to say, "Let's throw in random changes and styles to be esoteric and weird." Opeth's approach, however, seems more discriminating, meshing everything together so naturally and seamlessly without any adverse effect to the music's evocative flow.

More than any previous Opeth record, Still Life attains a greater balance between the vocalist Mikael Akerfeldt's aggressive, bowel-wrenching growls and his chilling clean vocals. There is also a wealth of vocal harmonies during these clean sections, supplementing the melody and the vibe. The songs "Benighted" and "Face of Melinda" are delivered entirely with the clean vocals, and they are paralyzing in their beauty. The growling vocals seem more vicious, powerful, and even emotional. Akerfeldt also enunciates extremely well when growling.

Just as the variance exists in the vocals, this is one of Opeth's most musically diverse records. The reams of acoustic sections seem more informed by a folk influence than before. The heavier riffing is less brutal than on My Arms, Your Hearse, and tends to be more melodic. I think I heard a bit of a Rush (!) influence on "Moonlapse Vertigo." The average song length is about nine minutes, and involves many unpredictable changes between the heavy sections and the acoustic passages. "Benighted" is the "simplest" song on the album, relying on the acoustic guitar throughout (though the solo is on electric), but it's absolutely exquisite. The opening track, "The Moor," is 11 minutes of such striking dynamics it scares me. It begins with a lengthy introduction of haunting guitar creating a haunting atmosphere. Then, after a brief-but-stunning acoustic section, the vengeful heaviness crashes through the ambiance. "Serenity Painted Death," with its tuneful riffing, creates a groove so infectious it could hook almost anybody. "Face of Melinda" is one of the band's finest songwriting moments, being largely acoustic but building to a crippling electric finale. The sheer punctilious fullness of Still Life is almost intimidating, but it ensures long-term appeal. I was blown away on the first spin, but it takes indefinite listens to grasp its magnitude.

Like My Arms, Your Hearse, Still Life is a concept album with a somewhat nebulous story. Akerfeldt is telling the tale of an exiled man, who returns to his home after fifteen years to find the woman he loved. It's a powerful, but tragic, love story. I'm pretty sure I get the gist of it, but I must confess that the poetry is extremely complex and not always easy to understand. This challenge, however, highlights the intelligence of Akerfeldt's lyrics. Very rarely does a Swedish band offer such brilliant poetry in English. There is some brilliant imagery and diction here, especially on the harrowing opener "The Moor" and the gruesome "Serenity Painted Death." "Benighted" has pleasant -- almost romantic -- lyrics.

The word "masterpiece" is tossed around rather carelessly, it seems. It is a title that should be reserved for albums such as this. For 62 minutes and 7 songs, your world belongs to Opeth.

5-0 out of 5 stars A True And Honest Masterpiece
Opeth's 'Still Life' is pure genius. Plain and simple. Through their music and voice, they have crafted beautiful and lush sonic landscapes that engulfs you almost instantly. The shockingly strong mix of prog, death metal, and black metal (but only a small bit) is just purely amazing. The song structure throughout the album differs, they do not go by the average intro/verse/chorus/verse/chorus/bridge/chorus structure. The songs meander through one another and just create an amazing atmosphere. I know that it is hard to say which of Opeth's albums are their best (though I vouch for 'Morningrise'), but the lyrics, vocals, and music on 'Still Life' truly make for an excellent listen and is definitely amazing. The choice tracks for me are "The Moor" and "White Cluster" (they are the most extreme tracks on the album). I honestly don't know what to say more about this album, it us just "that" good. 'Still Life' is a great addition to anyone's album collection (not to mention in my top five favorite albums of all time), and is a complete and utter MUST HAVE to all music fans. BUY THIS NOW!

5-0 out of 5 stars My second favourite Opeth album
Having read many of the reviews already posted I see that there is no point in me writing yet another review gushing about how amazing this band is so I'll try and keep this one short.
I personally rate this album as Opeth's second best after Morningrise. It represents the peak of the style that sounded a little unrefined on "My Arms Your Hearse" and a little tired IMO on "Blackwater Park". Some of the melodies and riffs on this album are just breathtaking (sorry I know I said I wouldn't gush ;) )
I would like to also make a response to the reviewer who states that Opeth are good at "microcomposition" and not "macrocomposition" as I believe that this is a somewhat valid point. I do sometimes feel that on some of their songs Opeth have difficulty moving between radically different passages with ease but that is a criticism that I would level more at some of their other albums as I feel that they do so very well on here. Moonlapse Vertigo is one of my very favourite Opeth "songs" (as in from start to finish) and is beautifully crafted. Although this "disjointed" problem does prop up occasionally on all Opeth's albums I feel that it is a small price to pay for the excellent style that the band has developed and for the most part I think that it is this wandering style that many people like about the band and why so many put "Morningrise" (which has next to no repition) at the top of their list as the band's best. I personally feel that it does not detract from my enjoyment of their music very much at all.
At the end of the day anyone who is a fan of metal should at the very least give this one a few spins. ... Read more

Asin: B000050IE6
Sales Rank: 80166

Serpent's Egg
Average Customer Review: 4.79 out of 5 stars
Audio CD (15 February, 1994)
list price: $17.98 -- our price: $13.99
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Reviews (24)

5-0 out of 5 stars DCD continues to evolve, and the results are surprising
Coming two years after their perfect WITHIN THE REALM OF A DYING SUN, Dead Can Dance's 1989 album THE SERPENT'S EGG shows the band continuing to evolve. Here, Dead Can Dance reached an interesting turning point. Lisa Gerrard's vocals begin to show the ethnic influence that would come to the front in 1993's INTO THE LABYRINTH, while the interest in older musical instruments foreshadows the renaissance-themed AION.

This album is especially remarkable because it departs from the use of orchestral musicians and lush atmospherics to give a more personal glimpse of Lisa and Brendan's partnership.

THE SERPENT'S EGG opens with "The Host of Seraphim," which may be their finest song ever. Featuring Lisa's pious wailing over the backing vocals of David Navarro Sust and Brendan Perry's drums, this song is literally heavenly.

As with much of Dead Can Dance's output, individual songs can be noticed as either Brendan's or Lisa's, such as the half-and-half split of WITHIN THE REALM OF A DYING SUN. Here, it's obvious that Brendan has provided "Severance," "In the Kingdom of the Blind...", and "Ulysses." Lisa clearly is the creator of "The Writing on My Father's Hand," "Song of Sophia," and "Mother Tongue."

Nonetheless, for the first time here are several tracks where Lisa and Brendan are equal, such as the aforementioned "The Host of Seraphim," as well as "Orbis de Ignis" and "Chant of the Paladin."

While not Dead Can Dance's best album, which is arguably WITHIN THE REALM OF A DYING SUN, this album should not be the last you purchase if you are a fan of this unique duo.

5-0 out of 5 stars Exquisite
This release follows DCD's "Within the Realm of a Dying Sun" and continues the journey into the mystery that is Dead Can Dance. Serpents Egg is arguably their most beautiful, poignant, and haunting release. "The Writing on my Father's hand" is one of Lisa Gerrards best ever! Her vocals tantalize you and make you weep with joy and sorrow. This album also contains some of Brendan Perry's best vocal and lyric offerings since "Spleen and Ideal". A definate must have for any lover of exquisite music.

5-0 out of 5 stars Splendid!
Hypnotic! Grows in your head like a mind virus. ... Read more

Asin: B000002MQ8
Sales Rank: 25267


Average Customer Review: 4.6 out of 5 stars
Audio CD (23 January, 2001)
list price: $17.98 -- our price: $17.98
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Reviews (20)

5-0 out of 5 stars Give this a try, It's impossible to not like.
Anathema is such an amazing and diverse band I wonder how I didn't discover them earlier. With Judgement, they make some of the most beautiful and inspiring music i've heard in quite some time (along with their other releases, of course). You probably won't "get" the entirety of this album right away, it takes a little while. The musicianship and production are probably Anathema's best on this album. The opening track "Deep" is a very bleak however refreshing and upbeat song... kind of hard to explain but it's a perfect song to start the album. There are some very emotional songs, especially the moving "One Last Goodbye", and the short but very sweet "Parisienne Moonlight" which also includes some beautiful female vocals and piano melodies. the title track seems a little strange and experimental, but thats what Anathema does best. That song has a doomy, stressful feel with an unexpected ending. There is much keyboard/piano melodies found, but no violins such as on Alternative 4. Also a lot of great acoustic guitar work. Also the album is a good length and not drawn out or extended with filler tracks. There are some instrumental tracks and they are done excellently. An unforgettible album, it will most likely be turn out to be one of the best albums in your collection reguardless if it's you first or last by Anathema.

2-0 out of 5 stars hyped AOR
though most would disagree judgement was certainly a huge disapointment. what made it worse was members being so comfortable with their work that they had to slag their earlier and better albums and other bands off . For most of the people this was the album where anathema truly reached the musical godhead and made their masterpiece. It's kinda ironic that when bands state that they've found themselves and that they have ignored the strict limitations of metal genre they start to make ordinary rock music that's been done thousands of times before. Songs on offer aren't fresh or exciting."the silent enigma" and "alternative 4 " owed a lot to "pandemonium"-era celtic frost (TSE) and pink floyd (A4) but they were still great albums full of good songs, memoarable passages and interesting lyrics.
there's nothing that wrong with this album but i think it lacks anykind of emotional power or sincierity. there's a song about every single human failure or problem like alcoholism, broken relationships, loneliness. If they really are sinciere it seems that their way to deal with these topics is as deep and heartfelt as that of mariah carey's. i'm sorry for the lads not getting that commercial breakthrought they hoped for with this album because there's not much else they could have achieved with it.

3-0 out of 5 stars Is there something wrong with me???
I don't really care for this CD. Don't know why, I just don't. I was fairly impressed when I heard the song "Deep" as a sample, and I like that song a lot, but nothing else on the album really struck me. There's no really crappy songs on it; nothing that makes me want to vomit after hearing it, it's just that I can't really get into it. Everything is at about the same pace, same tempo, same everything. Normally, that doesn't bother me too much, but this time it did. I'm reading a lot of good reviews, and thinking to myself, 'I should be giving this five stars too, but I don't like it.' Well, I've always been accused of having bad taste in women, could that be filtering over to my taste in music??? I hope not. Anyway, I advise taking my review for what it's worth, but concentrate on the other reviewers' comments. ... Read more

Asin: B000055X3U
Sales Rank: 42165


Coal Chamber
Average Customer Review: 4.05 out of 5 stars
Audio CD (11 February, 1997)
list price: $17.98 -- our price: $17.98
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Reviews (134)

3-0 out of 5 stars Coal Chamber's best effort
I usually do reviews on more recent stuff that I listen to, but recently I've been reviewing CDs that I used to listen to but don't much anymore. Coal Chamber happens to be one of them.

When I was 12 years old, I bought this CD, and I thought the world of it. DEEP, Distorted, Downtuned guitars with freakish vocals and low end screams. I was a fan of metal and really hard rock then. I never really looked into the lyrics, creativity, and construction of the music that I was listening to.

Now that I look back on this CD, I realize that many of the songs are rather plain and sound the same. There's a few songs that stick out above the rest (Bradley, Oddity, Clock), but I've noticed that many of the songs just lack definition, as well as reasonable lyrics and songwriting. I've heard other reviewers complain about the lyrics being bland, and I couldn't agree with them more. Many of the lyrics linked together just don't seem to make sense at all, like Dez was writing whatever words came into his head.

Like the title says, this is, in my opinion, Coal Chamber's best effort. Chamber Music was nothing special, and Dark Days seems like a repetition of what they've always been doing. Unfortunately, Coal Chambers' best effort only gets three stars from me. This album isn't as amazing or rock solid as many people think.

If you're into senseless screaming and downtuned distorted guitars, maybe this is for you. If you're into something with depth, reality, essence, and creativity, it might be a good idea to skip this one.

5-0 out of 5 stars Does anyone realize how STUPID these lyrics are?
... I mean, seriously is screaming "Clock, tick tock, tick tock, TICK TOCK!" at the top of your lungs cool? Didn't think so. Dez does that on this CD. Oh, and we can't forget "SUE! These letters at Christmas are driving me crazy! They're driving me so ... crazy! They're making me SO ANGRY!" and "Somebody better come and drive me! BIG TRUCK!". Note that all these words are screamed in an extremely angry fashion. I suppose I should give Coal Chamber some credit, though, cuz Dez's new band DEVILDRIVER's words are even worse ("Let's get one thing straight..I wish you were dead. DIE AND DIE NOW!").

You probably noticed I gave the CD 5 stars. Actually, yes, this CD is good, but only because the music is so awesome. This is a CD you laugh at AND headbang to (Limp Bizkit is like that too). Some of the songs don't have dumb lyrics and the rest are pretty good anyway. Here's what I think...

1) Loco (9/10) Lyrics make no sense (Steamroller rolling through my head? Latch the generator on?) The riff is Kornish. Think they made a video for it.

2) Bradley (10/10) YEAH! In this song, Dez says "Bradley, that name sounds so familiar!" Some people don't realize that Dez's first name IS Bradley. OF COURSE IT SOUNDS FAMALIAR! Pretty cool guitar.

3) Oddity (10/10) This is the way it's got to be... He like to crawl beneath dirty ground.

4) Unspoiled (11/10) There's actually no particularly lame lyrics here. Best track on the album, sounds EXACTLY like 1st album KoRn, especially when he screams "STAY!!!!!".

5) Big Truck (8/10) OH YEAH! THIS IS HILARIOUS! If you like hearing a metal singer scream about how he's a big truck and he want someone to drive him while mindless repeating the title, this song is for you! Typical nu metal riff.

6) Sway (9/10) You KNOW he thinks he's cool when says "The roof, the roof, the roof is on fire, but we don't need no water let the ...burn!" in a menacing whisper.

7) First (9/10) Slower, pretty cool, lyrics don't make sense but they aren't that bad.

8) Maricon Puto (10/10) Cool instrumentalish track.

9) I (10/10) Love the riff. Dez kinda raps on this. Good chorus.

10) CLOCK! (10/10) Where did the time go? What do I have to show?

11) My Frustration (10/10) I like this. Quite good. Funny intro (where was i when god had shown, how to make a HAPPY HOME!)

12) Amir of the desert (100000000000000000000/10) YEAH! You know, I think they actually meant this to be funny. A drumbeat with Dez trying to sound like someone he knows named Amir from the desert.

13) Dreamtime (10/10) Slower, and pretty good too. Lyrics I like, though they're nothing special (Who'll save me, YOU WILL!)

14) Pig (7/10) This style is starting to get old by the end of the album. Similar to sway. DEZ OINKS LIKE A PIG AT THE START OF THE SONG! IT IS SO AWESOME! THAT'S SO HARDCORE!

You might as well get this. Cool music and very funny.

PS- For all that have played it, Dez's screaming voice sounds EXACTLY like Magma Dragoon from Megaman X4.

5-0 out of 5 stars THIS CD IS SOOO (...) AMAZING!
ok, so slipknot's new cd just came out and i enjoyed it quite a bit. its better than old slipknot.

so, back to Coal Chamber... the cd is now, like 8 years old and it still sounds like the new metal you hear nowadays, its simply amazing to hear in a quiet room with no one else around to hear the screaming and stuff coming out of you speakers.

i definately give this CD a 10/10 man, all the (...) way, the lyrics, though they dont always make sense, are still kept together by the amazing vocals of the lead singer.

here is seperate reviews of each aspect of the band's performance

Vocals (11/10)
The lead vocalist of the band, though he doesnt really show off his singing skills, but rather his screaming skills. he takes it to extremes throughout the entire cd. does an amazing job at what he does. he also does this static-y voice that he uses quite a bit and sounds awesome.

Guitars (9/10)
awesome, simply awesome... the electric guitar doesnt sound like something youve never heard before, and the bass guitar sounds quite a bit like the bass guitar from korn, with the same tapping noises. together though, they DO sound like something youve never heard on this planet.

Drums (7/10)
the lowest score on the review because dont almost all drummers sound the same? except for joey from slipknot of course

The Whole Band (11/10)
Coal Chamber all the way man! put it all together and you get a band that totally knows how to set the roof on fire then rip it completely off your house! ... Read more

Asin: B000000H52
Sales Rank: 11261


Average Customer Review: 4.52 out of 5 stars
Audio CD (11 October, 1994)
list price: $13.98 -- our price: $13.98
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Editorial Review

Combining the stop-start rhythms of Helmet, the hip-hop assault of Rage Against the Machine and the brooding vocals of Faith No More, Bakersfield, California band Korn concocted a golden formula that would reanimate the dormant corpse of heavy metal. The band's self-titled debut is a teenage-fantasy-endorphin-rush--a subversive noisefest as angry and hostile as Slayer but with a propulsive groove perfect for skateboarding, vandalism, or jumping up and down until you're nauseous. Songs like "Blind," "Clown," and "Shoots and Ladders" blend dark, bleak riffs with head-spinning guitar effects and scream-and-response choruses. But even at their most vitriolic, Korn imbue their blustery music with a cathartic element of fun.--Jon Wiederhorn ... Read more


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Reviews (595)

5-0 out of 5 stars This CD Kicks...
KoRn's self titled debut is hands down, not only KoRn's best but THE BEST CD OF ALL TIME! On this album Jon lets his feelings out to the whole world more than any other album, and mixed with the crushing guitars, throbbing bass and pounding drums you've got one kick... CD
Here are my track ratings:

1.Blind: Exellent opening track, starts out with David's cymbals and then the guitar and bass start to kick in until the explosion with the challenge "ARE YOU READY" 10/10

2.Ball Tongue: Nice song, has Jon's scatting like hell 9/10

3.Need To: Lots of screaming and "I HATE YOU"s on this one 9/10


5.Divine: Fastest track on the CD, also the shortest one 9/10

6.Faget:GREAT SONG very open, not homophobic (not that i care), another one of my favorites along with clown 11/10

7.Shoots and Ladders: awesome song with bagpipe solo at the begining then the guitar, bass and drums kick in 9/10

8. Predictable: 2nd worst song on the album, kinda like creed 8/10

9.Fake: Another great song, and one of my favs but not as good as faget or clown 10/10

10.Lies: Worst song on the album, but anything from korn is still good 7/10

11.Helmet in the Bush: Creepy song, jon's mostly whispering, set's the mood for the closer Daddy 9/10

12.Daddy: This song is not for the faint of heart, about Jonathan Davis getting abused by someone when he was young but his parent never believed him, the song ends with Jonathan crying (literally), the most emotional song in the history of music 10/10

5-0 out of 5 stars Not Clowning Around
Korn has had a solid twelve year career built on heavy touring and a fanbase. This album recieved little or no attention from critics, MTV, or radio. The reason? Because it dared to step over the line, to go a little bit farther than the rest dared to go. People were scared of such a brave attempt. And what comes out from this explosive album is pure brilliance.

Blind - What a perfect intro for a CD. The quiet cymbol provided by David, and the signature line from Jonathan Davis: "Are you ready?!" And some of you may not be, most people weren't.

Ball Tongue - A great opening riff of heavy distortion. Jonathan's words are hardly audible, including a chorus where he sings nothing but gibberish.

Need To - At first a real dissapointment but as the song goes on, Jonathan basically saves the attempt.

Clown - With an avalanche of razorblade guitars and the first melodic moment on the CD, this is definately one of Korn's best songs.

Divine - Nothing but pure fast-paced heaviness. Awesome song

Faget - Jonathan gets emotional about his childhood on this beautifully crafted song. The sharp, heavy opening guitar riff is followed by tension that keeps you on the edge of your seat throughout the rest.

Shoots and Ladders - A surprise fade in from a pair of bagpipes played by none other than Jonathan Davis is met with a heavy repitious riff with pounding bass and drums. Jonathan spurts out some popular nurshrey ryhymes, with a chorus caiming: "Nurshrey rhymhes are said, verses in my head...look at the pages that cause all this evil" Definately one of the best on the CD

Predictable - The only big dissapointment, this song really ....

Fake - Great guitar hook at the end with weird vocals throught. Awesome

5-0 out of 5 stars best korn cd
This is an awesome debut by Korn, and in my opinion their best album. The music is so aggressive and fearless and I just love their signature sound.
Here are the best songs:

Blind- great opener and hit that started it all. Are u ready?

Clown- great guitars and overall kick ass song

Divine- great chorus and vocals and overall just awesome, possibly my favorite along with clown

Shoots and Ladders-nice change with the bagpipes, and i love the end with the thrashing guitars and drums

the other songs are all very good too, but i just mentioned these few because they are just awesome

Overall: this is a great cd with almost no flaws, that started a revolution in music ,new metal, too bad present day stuff isnt as good as this.

Buy this cd it is a classic! ... Read more

Asin: B000002AUU


Average Customer Review: 4.05 out of 5 stars
Audio CD (07 September, 1999)
list price: $13.99 -- our price: $13.99
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Reviews (22)

3-0 out of 5 stars Love it or hate it.......
I think Samael took that "change the style of our music every album" too seriously. They've changed way too much to this from "Passage", and it's not quite for the better. There are lots of clean vocals on it, and there is a more techno pop beat to it, but that's not the bad part. The production however makes the guitars less noticeable, and less heavy, and ti was guitars were what made that band heavy. Songs like "Together" and "Us" are love songs......not quite what I was looking for when reading the lyrics in a new Samael cd. Though, when I listen to the cd, it sounds great, especially when I believe that it is not Samael. It's not their best stuff, and I am one of the few who does not completey like the new change....it could be better. However, when they played their new songs live, it rocked, that's because the guitars were loud, the vocals were heavy and all that, if it were recorded like that, I would rate this album much higher. I don't dislike this album, don't get me wrong, in fact, the more I hear it, the more I'm starting to like it, it just needs more time. But, I will never truly believe that "Us" or "Together" came from the same guys who do "Baphomet's Throne" or "Jupiterian Vibe". It's hard to believe that this is the same band who once wrote the classic "Blood Ritual". Oh well, I still love this band......and the cd is worth the purchase if you are a diehard Samael fan.

5-0 out of 5 stars doom + electronic + black metal
This has got to be one of the most unique black metal bands out there. This is not true techno mixed with black metal like And Oceans, but there are some electronic elements heard in this music. Also, you'll find keyboards used like crazy, making this a very atmospheric album. The vocals are certainly that of black metal, but not as extreme as what you would hear by Cradle of Filth or any other of those type of bands.

More about each song... you'll feel like you're watching the exciting end of a movie or fighting the last boss of a video game. Especially tracks 2 and 6 sound like that. Each song is only about 4 and a half minutes long, but trust me, an epic would not be able to be written for music like this.

There really is no band to compare this music to. If you can combine Tristania's "World of Glass" album with keyboards like in Stratovarius's song "Lord of the Wasteland", you might come something close to Samael.

So exactly how good is this album? I find this comparable to And Oceans so... here we go. On the And Oceans CD "Allotropic...", we hear 8 songs with on and off blastbeats and then an all-techno song at the end of the album. Each song is 5 to 6 minutes. On their CD "Cypher", it is more death metal with some techno elements. Songs on Cypher that use electonic elements to replace keyboards is the best I can come up with to give you an idea of how good the techno + black metal combination is in Samael's hands.

Also, this would be an extremely good CD for beginners to black metal - it was for me. This is a great band to get use to the growling without yet giving up the keyboards. After getting use to this sound, you can move to serious black metal like God Dethroned. Other recommendations for starters to the genre would be Summoning and Rotting Christ.

Overall this is a great CD for anyone, even if you don't even want to get into black metal and just like the atmospheric part of this album. Do me a favor and please say if my review helped you or not - all it takes is a little click if you are a member of amazon! Thanks!

5-0 out of 5 stars great album
Ok, I have read all of the reviews so I will keep this short. I have been a Samael fan since 1992. Yes, this album is VERY different from Blood Ritual, and Ceremony of Opposites, but if you call yourself a true Samael fan BUY THIS ALBUM. Everyone goes through changes. Think of how much your music taste has changed in 10 years. This is an unreal album like all of the rest. ... Read more

Asin: B00000K06P
Sales Rank: 81933


Hidden Stash, Vol. 2 : The Kream of the Krop
Average Customer Review: 4.89 out of 5 stars
Audio CD (09 October, 2001)
list price: $17.98 -- our price: $17.98
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Editorial Review

The Kottonmouth Kings' output--five albums in five years--is enough to make you question their status as ganja-happy slackers. Where 2000's High Society covered their love for the weed from every angle, Hidden Stash, Vol. 2 gives us a Kings eager to self-mythologize their staying power and roots ("Welcome to the Suburbs" attempts a "Straight Outta Compton" for Orange County) while acknowledging a lack of new things to say about pot.

To be sure, this is still the same hip-hop-hardcore-reggae outfit that once snagged High Times' Band of the Year award. But on Hidden Stash, Vol. 2, the Kings seem more committed to their general outsider ethos than ever, with grass just the biggest staple in their diet. Still, those seeking green-thumb anthems won't be disappointed by "All About the Weed," "Grow Room Jam," and the pulsing "Family Trees." However, all but the terminally baked will question the wisdom of a Kottonmouth rewrite of the Geto Boys' rap-noir classic, "Mind Playing Tricks on Me." --Rickey Wright ... Read more


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Reviews (18)

5-0 out of 5 stars Taking it to a new level
KMK came out with Royal Highness and blew every stoners mind with their blend of funk, punk, rap, reggae and whatever other music they felt would better the album. High society took that to a higher level and blew KMK fans away once again. With Hidden Stash 2 out, The Stoner crew have proven themselves to everyone, once again taking their own sound to a newer level. Even though Saint Dog left, Johnny Richter more than fills in his shoes, he creates his own line of running shoes, sandles and flip flops. Each song blends wonderfully with the next song and keeps you wishing it was a double CD with twice as many dope tracks. Once again KMK never ceases to amaze their fans and disprove thier detractors.

5-0 out of 5 stars Best KmK album
My friend bought Hidden Stash 2, i wasent a big fan of kottonmouth kings, i used to have Royal Highness but was only able to find 2-3 songs i liked, and they died down on me quickly.
So my friend got Hidden Stash 2 and played "All About The Weed" and it was awesome. So i asked to borrow the album and i was amazed on how good it really is, wire to wire, just awesome.

Killa Kali-10/10 Great track, Judge is awesome and the flow and lyrics are greatness
Welcome to the suburbs-10/10 Great Chorus, great flows and good beats.
Tell Me Why?-5/10 one of the weaker songs on the album, but tolerable
Dyin Daze-8/10 Very fun song, and the beats go well with their flows and the punk rock parts are fun
Life rolls on-9/10, good melody, good chorus, good flows, definetly a must hear on the album
Paid Vacation-6/10 not to high on this song, but i ussually dont skip it when im listening to the album.
Things I Do-10/10 funny song, and music on the chorus is fun as hell and Richtor is awesome.
Bi-Polar-3/10 Definetly not feeling this song, this is one i skip most of the time
New Destinations-11/10 very trippy song, great melody, good beats, good flow, really has it all.
All About The Weed-10/10 song that got me curious about the album, so i love it and great flow and good chorus.
Family Tree-7/10 pretty good song, but i seem to always find myself forgetting about it, but good song.
On The Run-11/10 Maybe my favorite on the album, i love the reggae and the melody,chorus, and flows, top notch track, i just love it.
Mind Playing Tricks on me-9/10 cover song, nice job, like the lyrics kottonmouth threw in there.
Grow Room Jam-10/10 Just great, not really a song but caught my attention, very funny.

anyway, 5 stars, get this album

5-0 out of 5 stars kmk rock my world
I love the kmk. i was 13 when i first heard them and i've been hooked ever since.LThis was the first cd i ever heard and i think the best. they are so good in concert i am about to see them again on aug 16 and cant wait. another great plus to liking the kmk is all the cute guys that like them too. great plus!!well to all the kmk fans peace not greed! ... Read more

Asin: B00005Q39W


Felons & Revolutionaries
Average Customer Review: 3.61 out of 5 stars
Audio CD (21 September, 1999)
list price: $11.98
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Editorial Review

From the band name to the album title of their dozen-song debut, it's clear Dope don't shy away from controversy. In fact, the quintet embraces discord with songs like "America the Pitiful" and "Pig Society" that posit the band as a more angry and political (if less dramatic and provocative) Marilyn Manson. Modern metal melds with techno touches on the majority of the carefully wrought songs of Edsel Dope, who, along with real-life brother Simon Dope, formed the band. While they're not all that incendiary (though they deserve a parental-advisory sticker), Dope have nonetheless made a powerful debut. From the irresistible kick of "Sick" to the Ministry-meets-Rob Zombie "One Fix," to vocal effects on the cool groove of "Kimberley's Ghost," the album fits right into the Ozzfest Nation's aggro consciousness. --Katherine Turman ... Read more

Reviews (51)

4-0 out of 5 stars melodic,indusrial metal
I would definately not say this is a genre defining album.It is basically the average industrial metal album.Yet;the main aspect of this album,that keeps me listening to the disc,is the instant melodies and hard hitting grooves.In my opnion,it actually does not matter,whether the music i listen to is genre defining or not(and trust me this disc is not),i enjoy music with enjoyable grooves and melodies.Dope's:"felons and Revolutionaries",combines the furious industrial metal of classic white zombie,with instant sugary guitar hooks,of many alternative rock bands operating on the scene today.The lyrics are somwehat anti establishment and should appeal to teenagers that do not have jobs,or have a dislike for school and authority. Dope basically,are angry so called-drug dealers that hate the system for personal reasons and enjoy letting the entire world know about this.I am not saying that their message is negative,i'm just implying that it is a tad cliched.Well,to conclude;the music makes up for this slacker like rage.If you enjoy your industrial metal brutal yet melodic at the same exact time,in a present moment(with a little rapcore rantings)then purchase Dope's:"felons and revolutionaries"from amazon.com now!

5-0 out of 5 stars Hot new metal band from NYC
Dope is an up-and-coming new metal band from NYC, with a sound that's comparable to Marilyn Manson before he made his "pop-rock" crossover. I saw Dope perform live at The Palace in Hollywood in September, 1999 and they put on a very energetic show. It was really a great performance! The drums are awesome, and the guitar riffs are excellent. They have a very industrial sound mixing in a lot of synthesizer tracks with other grooves. Once you listen to the songs 3 or 4 times, you'll start to understand the words and will be truly amazed at the talent exemplified by the great beats in these songs. Most, if not all of the songs have explicit lyrics, though...so watch out if you're easily offended. This fresh, young band is comparable to Rob Zombie, Korn, Nine Inch Nails, Kid Rock, Marilyn Manson, Fear Factory, Static-X, and Orgy, to name a few. Catch them on the Family Values Tour during the Fall, 1999, and they'll be touring with Limp Bizkit too!

4-0 out of 5 stars The Definitive Review
OK, I actually purchased this album several years ago, but recently I decided to go back and read the reviews to figure out what others thought of what I consider to be one of the last real rock bands. I must say I was shocked by some of the responses given. I must have read the word rip-off atleast 10 times, and all I have to say to that is this: What band these days isn't, atleast in some form, a rip-off of another band? This band just happens to pull it off better than most I have heard in the past. I also believe that by putting their own twist on the style that they define themselves as one of the best bands to emerge during the late 90's. Yeah, you might say that raging against the system is nothing more than a cliche now, but atleast they make it sound good. I went on to read one review where it was said that the lead singers voice was "terrible." This to me just says that America has gotten so far into a mainstream perspective that it can't handle when someone comes out and changes things up a bit. I'll get off my soapbox, but all in all this is one hell of an album. If you find yourself getting tired of the regurgitated garbage coming from bands like Limp Bizkit and Korn, you might want to pick this up and give it a listen. I consider it to be a ray of light in hoping that maybe actual metal isn't quite dead. ... Read more

Asin: B00000K4I6

Average Customer Review: 4.16 out of 5 stars
Audio CD (23 May, 2000)
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Reviews (19)

4-0 out of 5 stars Pretty good extreme metal.
If you enjoy black metal with a more melodic approach, you may enjoy this. Borknagar use pretty standard thrash style guitars, laced with keyboard/synth music, and fast rhythmic drumming. On this album the band seems to wind in and out from sudden bursts of chaotic noise to dark melodies. Borknagar do not stay on one musical path, you don't know what to expect on the next song or even the next chorus. You can here the "old-school" influences but they have an original take on black metal. The album goes in all directions! One problem with the album I found was that the vocals strayed to almost ridiculous at some points (kind of like a whiny six year old with mucous in his throat), but they have superb vocals through out most of the album. The band does not stick to one vocal style, there are clean vocals, black metal vocals, and average heavy metal vocals. The lyrics are excellent and poetic, the music is complex and varied. My favorite songs are "Colossus," and "Revolt." I'd say that if you are into Agathodaimon, EmpEroR, CoF, Dimmu Borgir, or maybe Gorgoroth, or even some who are into melodic death metal would probably want to check this CD out!

5-0 out of 5 stars We are Legion!
After having heard "Oceans Rise" off of the Identify Five compilation, I knew that I had to purchase anything by Borknagar! I was unable to find "The Archaic Course" album at my local music stop, but managed to get my hands on "Quintessence". I am very pleased with this album. I enjoy the differences in each of the songs (yes, there are differences!), especially the changes from black metal vocals to death vocals to "normal" singing. As everyone else has mentioned, "Rivalry of Phantoms", "The Presence is Ominous" and "Colossus" were all very entertaining songs, but I find myself drawn to "Genesis Torn" with its haunting, we-are-legion chorus! After listening to this album on a near-constant basis, I eagerly plan to hunt down the other releases by this band.

At least Simen Hestnaes (ICS Vortex), I did. He's got a great voice. If only the synths, guitars and his vocals were more prominent. If I wanted to hear those crazy demonic vocals and supbar production, I'd listen to a superior and much more aggressive black metal band like Emperor.

More Vortex, less demon vocals. ... Read more

Asin: B00004TDX9
Sales Rank: 60620


Get Some
Average Customer Review: 4.77 out of 5 stars
Audio CD (27 May, 1997)
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Reviews (104)

5-0 out of 5 stars Buy this now
This Cd is nothing short of amazing, they put Limp Bizkit to shame. Im not even gonna try to pick a favorite song, they are all so good. If youre a fan of the hip-hop metal style, this is the Cd for you. Its too bad their singer, Lynn Strait, died in a car accident. They were so close to becoming huge. Thankfully, the former members are doing other projects. Mikey Doling and Sonny Mayo, the guitarists, are in Soulfly and Amen, Tumor the bass player is also in Amen, and Jaime Miller, the drummer is in Hero. Too bad that none of these groups come close to sounding as good as Snot. Do yourself a favor and get this Cd right now, because it will become one of your favorites, and you'll see what a great band they were and how good Lynn Strait was. R.I.P.

5-0 out of 5 stars Brightest flame burns quickest
Snot were the best of the new metal bands. Their album almost captures the furious intensity of their live shows, but it could never fully substitute for seeing the boys live. Songs like "Joyride" and "Deadfall" showcase their amazing musical talent (as well as Lynns f-ed up sense of humor) at high-speed velocity, while "Get Some" is a grim trip into the creepy depths of self-doubt.

We all will miss Lynn and Dobbs forever... people who are Snot fans NEED to go to loudside.com/snot and see the next album that's coming out. "Get Some" is better than both of Limp Bizkit's albums combined, and the more people we tell about Snot, the more Lynn and Dobbs will live on in our hearts.

"Tecato" recounts Lynn's struggles with heroin, something he beat before fate took him from us. Put this disc in your player, crank it to 11, and rock the f**k out one more time for Lynn. And even if Amen aren't as good as Snot was, buy the record anyway. Support Mikey, Sonny, Tumor, Jamie and Fed.

Lynn, we miss you.

5-0 out of 5 stars GOOD Nu-metal
Looking back on Snot's short history (due to the death of front man James Lynn Strait), one can realize that they did the impossible, they made actual GOOD nu-metal. At the time, Limp Bizkit was a small chord-rock (yes, it's true, hard to believe isn't it?) band who were just starting to make waves, and Korn was well on their way to becoming a house hold name. Following right behind the two was Snot, a band who deserved even more fame than Korn & Bizkit acheived.

Lynn Strait was a great front man and an amazing live performer. The band, in particular Mike Smith were some of the most talented musicians in the metal scene at the time. They had all the potential in the world to be something huge.

(...)"Get Some" starts off with the heavy "Snot", a model for modern hard rock, or "nu metal". Only this song is good. It's something Limp Bizkit might have made, had they not become soul-less corporate rock puppets. "Stoopid" and "Joy Ride" both keep up the fast pace, the latter being the better of the two, with lyrics that are kind of eerie, given how Lynn died.

"I Jus' Lie", "My Ba!!s", "Mr. Brett" and "Get Some" are all fun-loving heavy metal anthems. Which is the best part of the CD, they never really took themselves serious (as they'd explain whenever they were asked where they got their name from) and instead just made music because they enjoyed playing. The charm of that rubs off on you as you listen and made this quite possibly the best nu-metal album ever. ... Read more

Asin: B000000OW6
Sales Rank: 24869


L.D. 50
Average Customer Review: 4.04 out of 5 stars
Audio CD (29 August, 2000)
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Reviews (342)

5-0 out of 5 stars pure metal
this is the best math-metal ive heard. The singer can scream and sing the second after. the bassist is currently one of the best metal bassist and the drummer is very good too. the guitarist is good too, but the melody is more played by the bassist.

1. Monolith: an intro...
2. Dig: a classic (for me), 1st single
3. Internal Primates Forever: this track is... special .. it talks about being addicted to drugs. one of my favorite on the album
4. -1: good track, a lot of screaming/singing
5. Death Blooms: very poetic.. 2nd single
6. Golden Ratio: interlude
7. Cradle: very cool song, my favorite with internal primates forever, nothing to gein and severed
8. Nothing To Gein: very good bass playing in this one
9. Mutatis Mutandis: interlude
10. Everything and Nothing: bof.. i dont like this track but theres a bass solo if you have the courage to listen to the entire track
11. Severed: Wow, there a lot of emotions into singing ! (a little bit like "(Per)version of a truth" in the new album)
12. Recombinant Resurgence: interlude
13. Prod: ...like Everything and Nothing, but there's no bass solo
14. Pharmaecopia: a song about drugs
15. Under My Skin: a kind of rap... but Chad isnt a good rapper so... isnt a very good track, there's a bass/drum solo in the middle, pretty good
16. (K)now F(orever): The longtest track on the album (approx. 7 mins), its good
17. Lethal Dosage: Lethal Dosage=L.D., 50=50%, L.D.50= Lethal Dosage 50%, and thats means the quantity of something to kill 50% of specimens...

5-0 out of 5 stars Not perfect, but damn near it
When I first listened to this cd, the only track I really liked on it was "Dig." After a few listens though, I began to appreciate the entire cd as a great original work of art. Although some songs sound similar to Slipknot, the excellent production (and the fact that there are only 4 band memebers) gives Mudvayne a cleaner sound that's just as heavy. The lyrics on L.D. 50, however, are unlike anything from Slipknot. "The overall theme of the album reflects and embodies ideas about the evolution of consciousness, transformation, and the risks involved in experimenting with things that can change a person's point of view, internally and externally," Just go to their website and read the words to the songs and you'll see that they're more than just the aggressive screaming that's become a trend in hard rock music. As for the music itself, Kud manages to flow smoothly from melodic singing to harsh growling while Ryknow and Gurrg hammer out some brutal bass and guitar lines to complement, and sPaG is awesome on drums. It all totals out to be an amazing, original masterpiece.

5-0 out of 5 stars A cd worth buying
Okay, this album rules. It's my favorite album by any band by far. "L.D. 50" follows a theme of evolution throughout the entire album and covers some events that we as people go through in our lifetime. Some events are addiction (internal primates forever), neglect (cradle), rights to suicide - a song about Chad's (KuD) grandmother (death blooms), bad relationships (severed), people who are always acting negative toward you(-1), and then there are some other things thrown into the mix. Like "Nothing to Gein", a song about the grave robber Ed Gein, and a "scary story" of the world coming to an end in "Prod." By far the most interesting lyrics on the album goes to the song "Everything and Nothing," a song that for the most part doesn't make any sense but it comes across as a pretty brilliant song. "(k) Now F (orever)" a song about eternal time, and "Pharmaecopia" which is a book that lists certain drugs (by seeing two songs on this album dealing with drugs you would think that they're a bunch of crazy musicians that have sampled every drug in the book; but they're probably far from that - they were going for the overall theme of addiction and allowing foreign substances to enter your body.) Then we have the two brutal songs in "Dig," a song about people trying to change you and "Under My Skin," a song about people sticking their nose into your business and getting under your skin. From start to finish this album is the best i've ever heard and it's just about 70 minutes long so it's worth it to buy it.

Many people compare MuDvAyNe to Slipknot, which is a little unfair since they're both two really different bands and sound nothing alike. Slipknot is also a great band and friends of MuDvAyNe but if you think they sound the same, listen to L.D. 50 and you'll change your mind.

At first listen MuDvAyNe is a hard listen, they even say it themselves. So listen to this album a few times through and read the lyrics because Chad (KuD) writes some really deep lyrics with a lot of emotion and if you ever get the chance to see them live, do it. I saw them three times in one year and they were the best shows i've ever seen. ... Read more

Asin: B00004WK3A
Sales Rank: 26168


The Fragile
Average Customer Review: 4.52 out of 5 stars
Audio CD (21 September, 1999)
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Editorial Review

Trent Reznor took five years to record this monstrous double-CD set, wielding a perfectionist's touch in the production and the subtlety of a chainsaw in the musicianship. The result is uncompromising, full of hysterical noise and yet utterly accessible. Somehow, someway, this is one of the best pop records of the year. --Matthew Cooke ... Read more


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Reviews (963)

2-0 out of 5 stars broken before it's out of the box...
It took Trent Reznor five years to realize his prominence within the mainstream rock scene had stagnated, and his limited range had become predictable. At one time, the mainstream hack presses lauded him as "the savior of rock n'roll," a tag that's a bit extreme considering his music has and continues to rip off superior artists that have been forgotten in this attention-deficit era (Ministry? Skinny Puppy? Who are THEY?).

For an album that's 2 discs and 100 minutes long, "The Fragile" is a surprisingly hollow amalgam of ambiguous music and the usual, vague, self-loathing lyrics (although it's closer to self-pity) that now, more than ever, feel phony and contrived. Isn't it obvious that Reznor is pandering to the same unproductive black-clad Goths that bought his previous albums? (And I'll admit, "The Downward Spiral" is a masterpiece.)

Tool had a similar 5-year absence from the spotlight, and upon initial inspection, "Lateralus" was disagreeable and pretentious, but upon repeated listens turned out to be complex, intelligent, and satisfying (I was admittedly a harsh judge of their return.) "The Fragile," however, is nearly 3 years old and I can't transcend my indifference toward it--yes, there are some good songs ('Somewhat Damaged,' 'The Great Below,' 'Where is Everybody?' and several others), but most of the album is mellow, directionless pulp. Reznor's music would be far more exceptional if his lyrical palatte were more diverse.

To hear "The Fragile" without actually listening to it, all you have to imagine is Pink Floyd's "The Wall," minus the social, political, and religious commentary. What you're ultimately left with is the bloated bastard child of Trent Reznor's five-year vacation.

4-0 out of 5 stars Very good, but could use a little trimming
There seems to be two main schools of thought to The Fragile. Many praise it for it's gargantuan scope, immaculately crafted music and soundscapes, and polished production. Many others feel the album is too over-indulgent, and that it gets lost in a sea of texture and instrumentals. I agree with both. All of NIN's musical and lyrical themes have matured in the five years since The Downward Spiral. Trent Reznor's magnificent compositional and atmospherical gifts are candy for the ears; however, at times they are used to mask sub-par songwriting. Some tracks on this album are gold. "Somewhat Damaged" is a primitive hard rocker, with a more organic feel of acoutic guitars contrasting the record's focus on electronics. "The Day The World Went Away" is beautiful, and one of the few ballads in the band's repitoire. "The Wretched" bends pulsating techno-metal through a haunting filter. "The Fragile" askews Reznor's normal lyrics about loathing and sadness in favor of an extremely positive message. The first disc ends with the beautifully serene "The Great Below", and the second disc pciks right back up with the fuzz-soaked rocker "The Way Out Is Through", the amazingly well written "Into The Void", and the rap-influenced "Where Is Everybody?". "I'm Looking Forward To Joining You, Finally" practically sounds like "Piggy", Pt. 2. As far as the instrumentals go, some are a waste of time, but there are some good ones. "The Frail" is a simple piano piece, "Complication" is a amped-up techno track, "The Mark Has Been Made" is subdued ambience, and the album-closing "Ripe (With Decay) is vintage Nine Inch Nails eerieness. There are some instrumentals and even full-fledged songs that seem to just take up space, making this one of the few NIN albums that I tend to skip through. Still, the good more than outweighs the bad, and the album contains the most polished and mature music the band has ever crafted.

5-0 out of 5 stars a musical masterpeice
Trent Reznor is an extremely talented singer and song writer. His writing is perfect, music is mezmerizing and wonderfully crafted. He has a message that should be heard: the world is not all daisys and fairytales. In my opinion, his music is not intended for the mainstream pop culture. It is simply intended to tell a story that in in is mind. The music has an appeal to the deepest parts of the soul. In my opinion, this is the perfect album to sit back and reassess the thoughts and views of such a horrible time we live in. ... Read more

Asin: B00001P4TH


Darkest Days
Average Customer Review: 4.67 out of 5 stars
Audio CD (07 April, 1998)
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Reviews (163)

5-0 out of 5 stars The epitome of industrial strikes again
Darkest Days is my only album by SW, so I'm not jaded by fandom. They're a great industrial band, they represent the genre wholly. This album is crammed with works of art.All you people who say NIN is real industrial can go out and buy dance albums. NIN is techno. You want industrial, get the real thing, which is, of course, Stabbing Westward. Also, don't be cautious because of their big hit from this CD, "Save Yourself". That is NOT the best song on the CD, though it is catchy.Darkest Days is quite moody, and they seem somewhat depressed. (At least, the lead singer does.) He sounds very anguished, and goes along perfectly with the roaring, masterful guitar work. The little samples that pepper various songs lend to the mood very well.The difference between SW and many other modern bands is that SW incorporates actual songwriting into their music(gasp!). Unlike many bands that are just speed-noise, SW is sometimes fast, sometimes slow, sort of mood-shifty. This is a great album to listen to when you're pissed/depressed. Highly recommended.

4-0 out of 5 stars Solid guitar-based industrial rock.
Of the crop of industrial rock acts that appeared after Nine Inch Nails broke the genre into the mainstream, Stabbing Westward was probably the most successful (musically speaking). Their third album, DARKEST DAYS, takes the harsh industrial sound associated with NIN and builds upon it, making Stabbing Westward rather distinctive.

As the title implies, this is a gloomy, emotional album, both lyrically and musically. Christopher Hall's voice has always been Stabbing Westward's most valuable asset (I'm a die-hard NIN fan and even I'll admit he's a much better singer than Trent Reznor) and here he uses it perfectly. His delivery is both melodramatic and ironic at turns, giving an amazing sense of power and emotion to lyrics that would be laughable in the hands of a lesser vocalist.

The electronics on this album are equally impressive; unlike some bands who would throw in electronic effects simply to sound interesting, the production tricks on DARKEST DAYS do a superb job of adding to the overall effect.

In short, DARKEST DAYS is an ideal album to pick up if you want to expand your interest in industrial beyond Nine Inch Nails, but aren't quite ready to make the jump to more underground acts like Skinny Puppy or :wumpscut:.

A final word of warning: If you like this album, and decide to check out the rest of Stabbing Westward's repertoire, keep in mind that their fourth (self-titled) album is a radical departure from the rest of their work.

1-0 out of 5 stars Safety in Mediocrity
Darkest Days is pretty bad. I've spent a couple minutes here staring blankly at this pulsating screen trying to come up with an opening statement a little smarter sounding than that, but alas, it'll serve it's purpose. The only thing more discouraging than this band's total lack of originality is the apparently bloated following it's recieved. Bloated, in fact, can be applied to this album in a number of different ways. First, the lyrics, which I would consider bloated with hot air. Like a balloon. A big, angsty, self-absorbed balloon. Honestly, nothing here transcends the level of drama you'll see on an episode of Dawson's Creek. There's no symbolism (at least none worth mentioning), no creativity, and, here's the kicker, no sincerity. Quite a few popular rock bands manage to complain about failed relationships and the amount of suckage involved with life (suckage usually brought on by said relationships) over the same number of tracks Stabbing Westward do. It's not deep, it's not moving, it's not romantic. It's dumb and trite. Not unlike the music, which plays out like really lame sounding, cookie-cutter industrial. Or really bad sounding Nine Inch Nails. Which, essentially, is what this band is, a poor man's Nine Inch Nails. Take away the talent, the lyrical integrity, the complex song arrangements, and the diversity, and you might get something akin to Stabbing Westward. And I'm not the type of person who thinks every modern electro-rock act is an NIN ripoff - I think Orgy are far from it, and extremely talented - but the boys in Westward are just too obvious to get away with it. Spare yourself the mediocrity and look someplace else. ... Read more

Asin: B0000062GE
Sales Rank: 33425


Average Customer Review: 4.55 out of 5 stars
Audio CD (06 May, 1997)
list price: $11.98 -- our price: $10.99
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Editorial Review

Only Rush could have pulled this off, and only in the '70s. 2112--the title suite of the band's 1976 breakthrough album--is a comically pretentious, futuristic rock opera written by a nerdy drummer and sung by a whiny-voiced geek. It also happens to be a great piece of rock & roll that lifts the listener through a variety of moods and textures from genteel acoustic ("Oracle") to thrilling metal ("The Temples of Syrinx"). Perhaps realizing that they had taken conceptualism about as far as it could go, even these guys backed off on the epic hero stuff for later releases. 2112 still stands as one of the great signposts of the prog-rock era. --Michael Ruby ... Read more


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Reviews (194)

5-0 out of 5 stars AWESOME
Though Rush had 3 albums before 2112, this is the one where their true sound and what would make the band in the coming years comes together. It is raw Rock & Roll refined. Rush experiments with new sounds and ideas. Buy it! The album may take a three or four times it to get used to it, but after that, you won't put it down.
The Rush fan community believes Rush's best albums are 2112 through power windows. They are all good but those are the ones fans believe everyone should have. For your info, the album orders are as follows: Rush, Fly by night, carress of steel, 2112, All The Worlds A Stage(live), A farewell to Kings, Hemispheres, Permenant Waves, Moving Pictures, Exist Stage Left (live), signals, grace under pressure, power windows, hold your fire, A Show of Hands (live), Presto,(chronicals released)Counter parts, Roll the Bones, Test For Echo, a final (3) disc live album. And a new Studio disc set for release in May 2002

A warning, if you buy this and enjoy it, Rush is addicting and as you can see. . . they have alot of albums.

"and the meek shal inherit the earth." N.P. 2112

4-0 out of 5 stars Back When The World Listened More Than Once
These days, 3 seconds seem like an eternity for the gullible masses who don't even bother if there's no simple hook to get perpetually drilled into their heads right from the get-go. I always knew there was a lot of substance to Rush. I just had the problem that many tend to have, that being with Geddy Lee's voice. Given that I am simply enamoured of Axl Roses's whinings and shriekings, that hardly seems fair, especially for such an intricate band such as Rush. Nonetheless, things are the way they are. For anyone who "respects" but can't "get into" Rush, make sure you understand that ESPECIALLY by today's standards, they may be somewhat of an acquired taste. And it's easy to look the other way...

But I've always WANTED to love Rush. They represent everything that is to be hailed about music; brains, talent, hard work, complex arrangements, and they ROCK. I knew I had to just buy an album, lock myself in a room, and listen to it over and over and over, and not come out until the epiphany.

It took forever, but allow me to gear myself towards prog/rock fans with similar issues: it's worth it.

2112 is a good starting point, as it is like listening to a symphony, a musical journey, more than just a collection of songs ready for radio. Thus, your mindset in the first place is much more open for a work like this. 2112 was made like some early Pink Floyd albums - one epic and a few songs to fill out the time. However, I don't call them "filler" - indeed, such tag-along-songs are more often than not, golden nuggets in and of themselves. Allow me to highlight the wonderful gem, "Tears." A wonderful, creative, and haunting melody floats over a very uniquely atmosphered soundscape. Tender, yet dark. For the most part, the other non-epic tunes here are general classic rock songs (not a bad thing).

But epics have a way of outdoing "general classic rock" - and so let us return to the nucleus of the review (and the album!). 2112 is a brilliant composition. The band really gels as musicians, with Alex Lifeson's thoughtful guitar playing being a perfect compliment to Neil Peart's unbridled sense of storytelling (oh and btw he plays drums PERFECTLY and may frustrate you to want to quit-fortunately I'm not a drummer). And what's scarier, the thematic events of "we have no need for ancient ways" /... "it doesn't fit the plan" have come into dangerous fruition with regards to the music industry's recent suppression of substance.

The most important concept in this review (which is one of the most important concepts about music, if I may be so bold), is that sometimes, patience is rewarded. I wanted in, so I listened over and over. If you give it a chance, you'll get lost in its world of greatness. If you dismiss this after a few spins, you never gave it a chance to stick in the first place.

So to end where I began, I'll skip the in-depth analysis of the music, simply because that's been done elsewhere many many times. What I can offer is the perspective of someone who didn't "live through" the 70's and had to get into prog backwards (Dream Theater and Queensryche are my roots). 2112 is a can't-fail album for anyone - the ["controversial"] singing doesn't even begin until a full length instrumental overture has revealed the piece's many themes. It's plenty of time to absorb the music and become involved. Once the vocals hit, they seem more like any other contributing instrument to a well-blended band, as opposed to a dominant force you just wish would "get out of the way" so you can appreciate the rest of it.

Regardless, there's much to appreciate. It's an understatement to say that without Rush/this album, much greatness would not have been able to draw influence from said entity. And although commercially, prog has seen better days, right here is why there's any hope at all.

5-0 out of 5 stars The big breakthrough for Rush
In March of 1976, Canadian rockers Rush released their fourth album entitled 2112. This album was seen as their make or break disc after the disappointing results of its predecessor Caress of Steel. When initially released, it was the first Rush album to crack the Top 100 but would not go Gold until the success of its successor A Farewell to Kings a year later as would the live disc released in 1976 All The World's a Stage. The epic 20 minute plus title suite kicks off the album. It tells the Brave New Worldish story of one man's quest to find change. One day, he discovers a guitar and shows it to the evil priests but they destroy the guys creation and then the guy takes his own life at the conclusion of the track over dejection and despair. Bassist/vocalist Geddy Lee's work on this track is amazing. Guitarist Alex Lifeson wails on this track and drummer Neil Peart is on fire. Also of note, this was the first Rush track to feature synthesizers on the intro. The second half features two more Rush composed tracks A Passage to Bangkok(a live staple for the next few years) and The Twilight Zone. Alex Lifeson's Lessons follows and is a great tune. Geddy's ballad Tears is beautiful and poignant with Hugh Syme on keyboards. The concluding Something for Nothing is a great track and reminds us that we have to work for success and don't get things handed on a silver platter. Highly recommended! ... Read more

Asin: B000001ESF


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Music - Rap & Hip-Hop - Experimental Rap - reflect myself. part, I.   (images)

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