For people who do cock-pushups...

V.A.-Do Not Freeze Your Dope

This is a comp i made for the guys at the sludgeswamp,hope you enjoy it...and cheeto i'm gonna go with my corn in the bowl cover,even though a a picture of a nubile blonde clutching two big planters of killer weed is more preferable.

1.Tenacious D - Cock Pushups
2.Gozu - Northside
3.Blake - 12 Steps To Hell
4.Boris - Ano Onna No Onryou (I can never remember this name,so if it's wrong..)
5.Brant Bjork - Automatic Fantastic
6.Dwarves - Fefu
7.Torche - Mentor
8.Spirit Caravan - Dreamwheel
9.Turbonegro - High On The Crime
10.Mustach - Mareld

R.I.P. Dimebag Darell

Pantera - Official Live: 101 Proof

This is Pantera's only official live album,the quality is excelent and the tracklist is great.Too bad they split up..and worse,one of the greatest guitarists in the world passed away...

"Few thrash-metal bands provoke a crowd into frothing fits of rage as effectively as Pantera. The group's first live album, Official Live: 101 Proof, captures the sonic assault that sparks such hysteria. Militaristic beats, jagged riffs and tortured guitar squalls are intertwined with Phil Anselmo's rabid-drill-sergeant vocals, which can build from a staccato bark to an elongated roar. Song tempos alternate between a goose-step march ("Walk," "Becoming") and a full-tilt spring ("Strength Beyond Strength," "Fucking Hostile"), and even the slowest tracks broil with tightfisted fury. Throughout Official Live, Pantera's followers roar with approval as their messiah spews bits of betweensong wisdom like, "May you get high, may you drop acid, may you get laid and all that good shit!" For those who survive the 14 live tracks, the band draws fresh blood on Official Live: 101 Proof with two new studio cuts. Drink up!"(review from rollingstone.com)

I'll never go to Lake Bodom

Children of Bodom - Are You Dead Yet (2005)

This is not my favourite CoB album but it is still a good one,Laiho does as usual a good job with this one....

"never expected Children of Bodom to make an album like this. I doubt anyone did. It's been surrounded by one hell of a dispute, with opinions ranging from complete garbage to the coming of a new genre. I'm not here to assert my own authority or provide a final say on anything; only my opinion.

This is, like the rest of Children of Bodom's discography, an incredible album. Their first three were the pinnacle of the extreme Finnish power metal sound, fused with neoclassical elements and the meanest shredding this side of Asgard. Hate Crew Deathroll was the birth of a brand new sound - extreme brutal power metal, with the lead guitar, melodies, and keyboards coming through stronger than ever, only backed by a violent assault of riffs. Are You Dead Yet? is an expansion of that sound, delving even deeper into the land of the riff, never abandoning Alexi Laiho's affinity for melodic lead guitar.

It's this volatile mix of melody and brutality that makes Are You Dead Yet? such a worthwhile album. Trashed, Lost & Strungout was an amazing preemptive view of this new sound, featuring lightning-fast drums and blindingly technical guitar and keyboard work as usual. However, the entire album certainly breaks out of a one-track formula, bring forth a new sound for each individual song. The first single, In Your Face, is more of an anthem than a musical masterpiece. It seems to summarize what CoB is all about, making heavy, in-your-face metal. That's exactly what this track is, laden with bare-bones riffs, headbanging grooves, and powerful keyboard backing.

The songs Are You Dead Yet? and Living Dead Beat follow the led of the EP song Knuckleduster, providing more heavy ass riffs with a defined keyboard atmosphere topped with some solos that will surely turn heads. Other tracks like We're Not Gonna Fall and Bastards of Bodom are throwbacks to their Hatebreeder-era power metal days, with the dominant lead guitar driving the song and catchy melodies throughout. Others still fall between all of the extremes listed above, with Next In Line and Punch Me I Bleed providing an artful balance.

The latest Children of Bodom album is, in the longrun, a very creative album. No band has ever played a thrash/power fusion quite like this before. While fans of their older work may be caught off guard, open-minded metal fans in general should find this an enjoyable, unique romp in the valleys of weak-slaying riffs and Yngwie-slaughtering solos. CoB really did it again with this one, as, while different, an entirely worthwhile album full of excellent metal."(review from metal-arhives.com)

Back to the roots of rock...blues (actually blues-rock)

The Black Keys - Thickfreakness,Rubber Factory

This is pure blues-rock,raw and unpolished,The White Stripes would kill someone just to sound like them.This is a doublepack consisting of their second and third albums.

"How much otherworldly noise can two guys make? Patrick Carney and Dan Auerbach -- better known as the gutterstomp blues duo the Black Keys -- have the answer to this (not quite) Zen riddle: plenty. Armed only with Carney's drum kit and Auerbach's fuzzed-out guitar and scratchy howl of a voice, the Black Keys have turned in a baker's dozen of sludgy (in a good way), funky, primordial blues numbers with their third album, Rubber Factory.

So, yes, Rubber Factory was actually recorded in a rubber factory in the boys' neighborhood in Akron, Ohio. And while the obvious remark to make here is to compare Auerbach's guttural vocals to slow-moving molten rubber, it's equally apropos to note how the run-down factory-cum-studio informs the Black Keys' songs. Sonically, the album just sounds enormous: opener "When the Lights Go Out" lumbers like Godzilla somehow took a wrong turn and ended up in the Mississippi Delta, while the album's first single, "10 A.M. Automatic" could fill an empty airplane hangar.

Their sound is no more polished than the tracks were on their last album, the also-great thickfreakness, but there's an air of stronger confidence on Rubber Factory. For all of their scruffy, lo-fi, DIY-aesthetic rocking, Carney and Auerbach sound arena-ready. Auerbach calls to ear fellow white-boy blues singers like Kenny Wayne Shepherd's vocalist Noah Hunt and Bad Company's Paul Rodgers on tunes like "10 A.M. Automatic" and "All Hands Against His Own", respectively. If you hadn't realized it already, Rubber Factory clearly outlines the fact that Texas blues (Shepherd), British blues (Bad Company) and gutterblues (the Black Keys) all draw from the same blues well.

But back to the factory's influence. Stomps like "The Desperate Man", "Airplane Blues" and even the haunting steel pedal ballad "The Lengths", bespeak a weight of the world that must have fallen on those who once worked in the factory. Credit Auerbach for evolving into one of the genre's finest lyricists. He doesn't try anything fancy (think Jack White singing about acetaminophen), but he knows the value of following the formulae of his predecessors. You'd be forgiven for thinking that lyrics such as "The girl is on my mind / I try to ignore, try to unwind / But she is on my mind" (from, uh, "The Girl is On My Mind") were written 80 years ago. Hell, just because he can, Auerbach tosses in an old-school murder ballad ("Stack Shot Billy"). Given the age-old feel of Auerbach's compositions, it's no surprise then, that Rubber Factory's two cover, "Grown So Ugly" and the Kinks' "Act Nice and Gentle" fit right in with the rest of the album. On the former, Auerbach coaxes a primal howl out of his guitar as he recounts running into an old flame who doesn't recognize him because of the titular affliction. (If that's not a bluesworthy lament, I don't know what is.) And the boys clean up their act on the Kinks cover, turning in a loping, warm, alt-countryish tune. (Add the Black Keys to the growing list of garage/blues-centric artists who recognize the influence of Ray Davies [see also Holly Golightly].)

Critical praise has been showered on Rubber Factory and deservedly so. Auerbach and Carney are smart musicians who understand and love the blues to the point where they've internalized it and made it something all their own while still honoring their forebears. And if that's too heavy a reason for you, take heart in the fact that Rubber Factory is a fun album: After all, one sings the blues to chase the blues away."(review from popmatters.com)

One of my favorite bands right now

Baroness - First,Second,A grey sigh in a flower husk (split with Unpersons)

Baroness is a great progressive sludge band,so if you like Mastodon and Isis you'll definetly like Baroness.In the archive i have included the First and Second EP and the Unpersons split.I'm also going to post The Red Album and the video for Wanderlust...but until then check this out,i'm sure you're gonna love it.

"When the first time I listened to this EP I was blown away. Baroness does not play a specific type of metal such as death or thrash, but instead seems to just be metal. I can�t really find a label for them on this EP, although I guess Sludge is the most appropriate for the purpose of this review. While only 17 minutes long, this CD is one of the most enjoyable I have in my collection and I will sometimes find myself listening to it 2 or 3 times in a row. Just because these guys don�t have a full length CD out does not mean that they should be taken lightly. Baroness is for real.

The first song, Tower Falls, is probably the best song that Baroness has ever written. The song starts off with a neat little intro which is followed by some cheesy nu-metal riffs but at about the 50 second mark things definitely start to pick up. While 7 minutes in length, this song never gets old or repetitive. The song has so much going on in it that you really have to hear it to understand just how good it is.

Coeur, the second song on this EP, is definitely a letdown after Tower Falls but is still a decent song. It�s loud and full of energy like all the songs that Baroness has but other than that it is just average. It�s a short song though (only a little over 3 minutes) and things definitely pick up with Rise.

Rise is the final song and is definitely one of Baroness� better songs. The song starts off with some beautiful guitar work for the first 2 minutes or so before the vocals kick in. The rest of the song is your average Baroness but those first 2 minutes make this song one of the best that Baroness has.

This score would probably be higher if Coeur had a little more going on in it but this is still a solid effort by Baroness. Really, if you like metal than you will probably like this CD because it offers something to everyone. Even if Coeur isn�t that great of a song, I would gladly pay the 8 dollars to get this EP just for Tower Falls so please don�t pass this up, you�ll just regret it later if you do."(review from http://www.metal-archives.com)

Hit me baby one more fucking time...

Britney Spears Metal Covers

If you need a good laugh than this stuff is for you..it features some great bands like Type-O-Negative and Children of Bodom covering some of Britney's crap.

God had a Lamb once....

Lamb of God - New American Gospel (2000)

I think this is Lamb of God's second best album (the first place goes to Ashes of The Wake),so it's worth the download.

"Describing themselves at pure American metal and signed to Metal Blade Records, Lamb of God (formally Burn the Priest), came up with this ten song debut release.Is it any good? In one word yes. In two words, hell yes.

The band's sound is difficult to explain. It might be the production value on this one but, a lot of the album is drum oriented and they are out in the forefront. This isn't really a problem if you like double bass, really high symbol hits, and different snare and tom sounds. However, the drums were recorded tough, and I mean tough. A bass hit
almost sounds like a regular snare hit, and if you're listening to this album too loud, those symbol hits are pure hell as they are driven straight into your ear with no filtration. The guitars are very good and really produce a hard hitting heavy sound even though they are only tuned in drop-D. For the people who don't know notes, listen to this album, and listen to Tool - Ænima and you're listening to the same tuning. Few can bring a hard hitting path of destruction in drop-D anymore. Bass is also heard in the album which is a rarity these days. The singer (screamer) is a little different. He is loud and higher pitched for having the typical death metal style. However, either due to the production value or my patience level, I can't understand a damn thing he is saying. However, if that doesn't matter to you (since it doesn't bother me), the music that they are playing is very good. It surprises me that this is their first major release. They sound like they have been playing for decades with the tightness of their sound. There's a lot of tempo and musical changes here to help keep the album interesting. Even though it's about 40 minutes long."(review from kickedintheface.com)

Hey,this sounds like Pantera !

Stonedirt - Redneck Blues

This band really sounds like Pantera,especially on the vocal side also having a stoner influence.

(The following bio is from their MySpace):

"Before Stonedirt there was the band called Riuros for over two years. Apart from three members now forming Stonedirt (Balázs, Szilárd and Boldizsár) there was Eniko Tóth (vocalist) and Péter Ertl (guitar). After two demos (Riding The Waves - 2003, After The Storm - 2004) and a lot of concerts it slowly turned out that some of the guys wanted to play something REALLY different. That's why everything changed and soon Eniko and Péter left Riuros. After a period of trying to find a new way, a new name, and most of all a new voice, Endre Tarjányi (also vocalist of Manikin Faint) joined... and Stonedirt was born - with influences like Pantera, Down, Black Sabbath and Black Label Society. Compared to the former band it is much harder and heavier and with a kind of southern stoner taste. Our first demo (JOYGRIND) recorded in september 2005. We recorded three song in 2006. december.(Bonus Thrash, for promotional use) We recorded our first album and made our first video-clip in 2007. The album called: Redneck Blues."(ironically i took this from the sludgeswamp

New Age punk...

Refused - The Shape Of Punk To Come

Great album this is a musthave for all punk fans... this is how modern punk should sound.

"The Shape… is an album that absolutely must be listened to as one whole piece of work. The individual songs have very little initial value when separated from the body of work that is the album. Each song flows into one another through a masterfully produced string of effects. These effects range from crazy techno beats, clips from radio shows, live recordings of the band itself, and just playing around with a synthesizer.

When it comes down to it, the production of this album takes it to a whole new level. The mix is different from song to song, each song’s mix fitting it’s mood. The mix’s often vary throughout the song itself changing the texture of the sound as the sections of the song are released. A great example of this is “Liberation Frequency” which starts off as a distant, dry sound that explodes with color during the chorus. It’s one of a thousand examples of excellence in production throughout this album.

Which brings me to the next point… the music itself. From the odd beats, to the overpowering guitar chords, this album is full of amazing musicianship. Varying meters and keys keep the listeners on their toes while the harsh vocals mixed with calm talking mend it together to form a perfect harmony of clashing that just works.

I’m not sure I can explain how amazing this album is… needless to say, it is and forever will be one of the most amazing albums in my collection."(review from warspire.com)

Heavy as a fat guy...

Electric Wizard - Witchcult Today (2007)

If you haven't heard of Electric Wizard,you aren't a true metalhead...just listen to this album and you'll know what i'm talking about.

"Electric Wizard is a hallowed name in the stoner/doom underworld, producing two of the genre's true classics in Come My Fanatics... and Dopethrone, along with a handful of essential albums and EPs. Currently, vocalist/guitarist Justin Oborn is the lone founding member of the band, which now also consists of guitarist Liz Buckingham, bassist Rob Al-Issa, and drummer Shaun Ritter, who manages to capture some of the earlier Wizard feel here on his first release behind the kit. Witchcult Today was recorded in Toe Rag Studios � famed for their analogue recordings and an ever-growing collection of vintage equipment � and produced by owner Liam Watson (the engineer and mixer on the White Stripes' smash hit Elephant, from the same studio) in order to achieve an authentic throwback sound. The result is the aural equivalent of a Hammer Horror flick from the '60s and early '70s, chock-full of arcane imagery and preternatural riffs, with Oborn's banshee wail low in the mix as usual. The production creates a lush, warm analog masterpiece without any modern equipment or computers used, as the evils of ProTools are replaced with those of weed, the occult, and devil music.

The title track kicks off Witchcult Today in classic Wizard s t y l e, with a riff that sounds like it could have come from the self-titled album or Come My Fanatics..., only it is accentuated here by the second guitar. The song has a slowed-down drugged-out Mercyful Fate vibe, minus King Diamond's falsetto, as Jus' vocals are particularly anguished and the lyrics depict a goat-headed demon materializing from a cloud of pot smoke during a Satanic ritual. If that doesn't draw you in, there's the devilishly catchy riff of "Dunwich," a more uptempo rocker based on H.P. Lovecraft's The Dunwich Horror, with a groove that has a tendency to stick in one's memory long after the record is over. "Satanic Rites of Drugula" is a stoner adaptation of Hammer Films' The Satanic Rites of Dracula and may border on self-parody, but the concept (a vampire count resurrected by dopesmoke who drugs his victims before drinking their blood in order to get high) would certainly make an interesting movie in its own right. The crunching doom riff and the Sabbathy tone of the leads and solos back up Oborn's improved vocal abilities, giving the over-the-top lyrics the credibility they need.

The short instrumental "Raptus" � Latin for "rapture" � features the sitar and leads into "The Chosen Few," a tale of stoned Satanic slaves set to a heavy midtempo riff, with a Hammond organ late in the song and some lyrics ("The time has come/All the chosen, time to put down your bongs/Take up a knife, end a life/Legalize drugs and murder") that show the hatred still flickering in the resin-coated heart of the Electric Wizard. Although not as immediate as "Dunwich," "Torquemada 71" and its sing-along chorus provide the other memorable hit of the album, as the newly-paired rhythm section swings along and Oborn shines vocally again. He actually sounds better than ever throughout Witchcult Today, as he's singing relatively cleanly with an Ozzyish tone to his voice. "Torquemada 71" is inspired by Tom�s de Torquemada, who was the first Inquisitor General of Spain and the sadist responsible for the torture of countless heretics during the Spanish Inquisition, but the Countess Elizabeth Bathory is also mentioned in the song as his "necroqueen," even though he died 62 years before she was even born. They'd make a cute couple though. The riff and guitar work is stunning as Liz and Jus complement one another to provide a fuller sound.

"Black Magic Rituals & Perversions" is the oddball track here, a welcome return to the tripped-out sounds of "Doom Mantia," "Ivixor B/Phase Inducer," and "Mountains of Mars" from the past, with its otherworldly atmosphere and indecipherable chanting oppressed by a massive riff for the first half. The second half of the song gets spacey and psychedelic until it ends abruptly at exactly eleven minutes. This song had originally been announced as being 20+ minutes and I would definitely love to hear an uncut version, but I've heard that they had to cut it because playing the full track would have opened the Gates of Hell and summoned forth a legion of demons. True story, that's just how evil it is. The final track is the epic "Saturnine," and it suffers the same fate at just a shade over eleven minutes, as the hypnotic riff is suddenly cut off and leaves the listener wanting more. The stripped-down retro production by Liam Watson may not impress followers of the Wizard who consider the loud and angry Dopethrone to be the band's pinnacle, but those who prefer the earlier material should find Witchcult Today to be "mind-melting occult rock" and perhaps the band's finest offering yet." (review from stonerrock.com)