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Insanely ****ing heavy doom from this year that incorporates elements of crust punk and drone. It addresses themes such as mental illness and gender dysphoria. It's very, very, very good. |
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This is no Crossover or Full Speed Ahead, but man does that massive groove of "Acid Rain" kick it off with a bang. The bass is very audible too, which I always love. "Target" is great, and sounds like it could have fit on Full Speed Ahead. |
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Great way of keeping fans happy while waiting for new music, and makes it easier to get these hard to find bonus tracks and unreleased stuff. Also, makes it so where you don't have to get a best-of album for the greatness that is "Fizgig": |
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This **** slaps. Literally. Mudvayne haters can join me in the arena.
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I seem to remember that being a lame album so I guess I qualify.
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Most of the criticism aimed at Mudvayne generally boils down to "they're cheesy/their presentation is cringy and lame" but these same people will say Slipknot is great which is hilariously hypocritical. Creatively and talented wise they were on-par with and much of the time rungs above even Deftones, the internet hipster's favorite nu-metal band.
And seriously, Martinie is one of metal's best bassist. Even RYM troglodytes know that. |
Both L.D. 50 and The End of All Things to Come are two of the best metal albums of the 2000's. Seriously, it has the lyric of "Down to the river of kool-aid". How can you not love it?
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Have you heard Slipknot's disowned debut?
I don't like Slipknot either, but MFKR's good s**t. Anyway, now I'm listening to The End of All Things to Come: https://img.discogs.com/iyJVCWZU3Svl...-3064.jpeg.jpg EDIT: Now I'm wondering why I forgot to put this on my top 40 album list. It had been way too long since I've listened to this masterpiece. |
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