Industrial music reviews

When I saw Marilyn Manson in concert, I was not very impressed. Nevertheless, I picked this album up, expecting great things (it is Manson, after all!) But, unfortunately, these songs don't do much to persuade me about his live show, either.

"The Last Tour On Earth" was recorded in Cleveland (perhaps) and Grand Rapids, Michigan, when Manson was on tour in support of his then latest release, 1998's "Mechanical Animals." But Manson probably would have been better to wait a few years, until after "Holy Wood" was released, because then he could have played some tunes (i.e. "The Fight Song") which were sure to get the mosh-pit swirling. But, as it is, most of this disc isn't all that exhilarating or even entertaining. The songs range from un-hooky ("The Reflecting God") to flat ("Great Big White World") to forgettable ("Lunchbox") to unspectacular ("Sweet Dreams/Hell Outro") to, well, boring ("Get Your Gunn"). Even track twelve, "Irresponsible Hate Anthem," fails to stir up much excitement.

"The Last Tour On Earth" isn't a complete throw-away, however, as there are some bright spots. "Rock Is Dead" has explosive choruses, making it probably the most irresistibly catchy song on here, and "Antichrist Superstar," and "The Beautiful People" are both finely executed, though the latter sounds somewhat rushed.

Next, there are a few OK tracks. The very creepy and ominous introductory song, "Inauguration Of The Mechanical Christ," "The Dope Show" (which is worth mentioning just for the mid-song interlude where Manson sends "a greeting" to the police), and "The Last Day On Earth" are all decent, but far from great.

The last live song worth mentioning on here is "I Don't Like The Drugs (But The Drugs Like Me)." This song is somewhat hooky, but it's utterly ruined by a ridiculously moronic and overly drawn-out intro where Manson tells the crowd (who cheer after every sentence) about a dream he had where drugs became God. He also informs us that, in his dream, the police pulled him over but didn't arrest him; instead they did something obscene to Manson (something which I'm sure Amazon won't let me post, here.)

The very last song, track fourteen, "Astonishing Panorama Of The Endtimes," is a pretty good song/b-side. Some hardcore fans may want to buy this album just to get this song.

With all that said, be careful what you buy. This C.D. is far from being great, but it isn't terrible, either. Thus, it's only recommended to hardcore fans. And for everybody else, "The Last Tour On Earth" serves a purpose; it reminds us that Marilyn Manson sounds awesome...in the studio.

If you are a Manson fan and have not experienced the band live this is a very smart buy. It provides a 1st-hand account of the main artist's larger-than-life and no-holds-barred behavior that wonderfully complements the misanthropy and anrchistic visions of his studio work. Ad libs of the traditional song lyrics, thunderous cheers and chanting from the live crowd, and darkly humorous intros like the "Ihad a dream last night" skit pull this whole thing together. It's the next best thing to being there, and it's cheaper.

If you are a MM fan, then you probably already own this disc. If you are not a MM Fan, do yourself a favor, buy this disc and understand what a Great Live Disc should sound like. 5 stars!!!!

When I saw Marilyn Manson in concert, I was not very impressed. Nevertheless, I picked this album up, expecting great things (it is Manson, after all!) But, unfortunately, these songs don't do much to persuade me about his live show, either.

"The Last Tour On Earth" was recorded in Cleveland (perhaps) and Grand Rapids, Michigan, when Manson was on tour in support of his then latest release, 1998's "Mechanical Animals." But Manson probably would have been better to wait a few years, until after "Holy Wood" was released, because then he could have played some tunes (i.e. "The Fight Song") which were sure to get the mosh-pit swirling. But, as it is, most of this disc isn't all that exhilarating or even entertaining. The songs range from un-hooky ("The Reflecting God") to flat ("Great Big White World") to forgettable ("Lunchbox") to unspectacular ("Sweet Dreams/Hell Outro") to, well, boring ("Get Your Gunn"). Even track twelve, "Irresponsible Hate Anthem," fails to stir up much excitement.

"The Last Tour On Earth" isn't a complete throw-away, however, as there are some bright spots. "Rock Is Dead" has explosive choruses, making it probably the most irresistibly catchy song on here, and "Antichrist Superstar," and "The Beautiful People" are both finely executed, though the latter sounds somewhat rushed.

Next, there are a few OK tracks. The very creepy and ominous introductory song, "Inauguration Of The Mechanical Christ," "The Dope Show" (which is worth mentioning just for the mid-song interlude where Manson sends "a greeting" to the police), and "The Last Day On Earth" are all decent, but far from great.

The last live song worth mentioning on here is "I Don't Like The Drugs (But The Drugs Like Me)." This song is somewhat hooky, but it's utterly ruined by a ridiculously moronic and overly drawn-out intro where Manson tells the crowd (who cheer after every sentence) about a dream he had where drugs became God. He also informs us that, in his dream, the police pulled him over but didn't arrest him; instead they did something obscene to Manson (something which I'm sure Amazon won't let me post, here.)

The very last song, track fourteen, "Astonishing Panorama Of The Endtimes," is a pretty good song/b-side. Some hardcore fans may want to buy this album just to get this song.

With all that said, be careful what you buy. This C.D. is far from being great, but it isn't terrible, either. Thus, it's only recommended to hardcore fans. And for everybody else, "The Last Tour On Earth" serves a purpose; it reminds us that Marilyn Manson sounds awesome...in the studio.

If you are a Manson fan and have not experienced the band live this is a very smart buy. It provides a 1st-hand account of the main artist's larger-than-life and no-holds-barred behavior that wonderfully complements the misanthropy and anrchistic visions of his studio work. Ad libs of the traditional song lyrics, thunderous cheers and chanting from the live crowd, and darkly humorous intros like the "Ihad a dream last night" skit pull this whole thing together. It's the next best thing to being there, and it's cheaper.

If you are a MM fan, then you probably already own this disc. If you are not a MM Fan, do yourself a favor, buy this disc and understand what a Great Live Disc should sound like. 5 stars!!!!

Listening to this album reminds me of flipping through the pages of an old "Famous Monsters of Filmland" magazine. When I hear Rob Zombie, I hear echos of a man enfluenced by Horror Films, Aurora Monster Models, Old "Creepy" and "Eerie" magazines from the 1970's, "The Munsters" and all the old stuff that pop culture threw at kids growing up in the 1960's and 70's. His music contains all those elements mixed up on his palet and comes up with some really interesting and entertaining stuff. The only way I can describe Rob Zombie's music is if you take: Kiss, ZZ-Top, Frank Zappa, Tom Waits and Alice Cooper, through it in a blender, mix it up and then pour it into a skull shaped mug.
I consider Rob Zombie to be a really fresh and exciting talent that we are going to see alot of quality material come out of in the years to come. He is not only a musician but a film maker, comic-book writer and actually a gifted comic artist.
This album is a definite must for any Heavy Metal "Head Banger" or Horror Film "Geek".
I love the DVD included also. Rob is an outstanding Music Video director and is just bursting with imagination and creativity.
I cant recommend this album enough. Buy it and play it LOUD!

This is the difinitive Rob Zombie collection. You get all his greatest hits,including solo material and material from White Zombie.Plus,you get the videos to all his best songs. Who could ask for anything more.

If you like Rob Zombie,(even a little bit), you've got to get this cd. It's a great balance that delivers his current hits, and allows you to enjoy his older hits. Awesome!

This Bowie album soars to great heights primarily because it flies UNDER the radar. Somebody switches off the rock star spotlight and Mr. Bowie, being a nocturnal type, calls for the murkier and shyer elements of his personality to venture to the surface. Murder, dismemberment, torture occur INSIDE (in the dense physical world), not OUTSIDE. The music is outside. God is also outside, adjusting the radio hum, tending the celestial fires and so forth. Lunacy, the female, the moon: compared to the inane arsons going on inside, "Outside" is quite sensible and liquid. Mr. Bowie and company are merely arranging flowers and wrapping gifts as it were. This dimension of the album can easily be missed.

Unlike Rupert Hine's crisp but bleak "Immunity," "Outside" respects the presence of a loving goddess somewhere. Not all witches are wicked. Some are though. A church-inspired organ on "I'm Deranged" holds my hand, lest I succumb to Ramona, an emotional vampire who would make Gustav Klimt consider going into accounting. "Outside" is both infatuated with and terrified of the female, and for good reason: Ramona is having a bit more than a "midi (?) life crisis." She's nuts. (I believe the proper English is "deranged.")

Mr. Touchshriek's eery cameo appearance could pass for a Ginger Baker senior moment, but, no, it's just Mr. Bowie pulling our chain. And, on "Wishful Beginnings," the background vocal sounds like Brian Eno being stretched out on a rack. Maybe it is.

Despite its grim allusions, this album is actually very upbeat, very much about keeping a stiff upper lip, even if the lower one is quivering. Moreso than ever, Mr. Bowie is game. We can't just avoid or regret the world; we also have to live in it. If we agree to stick around, Mr. Bowie will turn on a night light, even if it is a spooky moon.

Bowie's mafioso impersonation is ridiculous and provides the perfect setup for the lunar winds of "I'm Deranged." Actually, the first few notes of "I'm Deranged" have much in common with the riff repeated in "Tell The Truth." The impersonation distracts your mind but your body remembers the riff, and, subliminally combined, the song really takes off. I don't know, maybe I'm just deranged too.

Fittingly, the last song ("Strangers When We Meet" on my CD)is a love song, all beat up and muddy, recalling with great fondness and regret the twinkle-twinkle of a receding little star.

I can see why this wasn't a hit, but it has some legitamately moody pieces and would have to be my favorite bowie album after Station to Station just because it sounds so unreal. After this came Earthling which sucked ass, but Outside stands as a great album and I'm Deranged and Strangers When We Meet are among Bowie's best songs.

I've been meaning to write a review on this album for some time now. I was in middle-school when this album came out. My cousin, who is a huge David Bowie fan, bought this CD and we listened to it in the car while driving home. I was absolutely blown away. Sadly, this was the first time I really ever heard David Bowie (boy was I missing out). I ran out right away and bought my own copy and I've not been able to put it down since. This album is responsible for opening countless doors for me in the music world. Before this I was stuck in a rut of listening to whatever was on the radio but this album showed me there is so much more out there.

David Bowie is a true artist. This album is a work of art. Every song takes on its own personality, and between the songs are creepy monologs of characters that accent the music. I love every track on this CD. Some of the tracks are very hard and industrial-like, and some are more upbeat and dance-like. I agree with another reviewer in saying that the album is quite bipolar; great analysis. This album is nothing like his previous works or his following; but then again, when are any of his albums similar to one another. David Bowie is forever changing with the times. That's why he's been one of the top musical artists for so long.

for that guy to somehow play off that industrial has some sort of formula thats more tired than any other form of music is frustratingly ignorant. the guy obviously just doesnt like industrial and is about as qualified to review an industrial album as my grandfather is to review an outkast album. industrial didnt die off because the formula grew tired, its in my opinion that industrial has much more room to evolve than heavy metal or punk or goth. it died off because there are only a handful of bands that knew what it took to make a good industrial album and 50,000 lame bands that had no idea how to handle the technical side of industrial the way that trent reznor, cevin key, and raymond watts do. but i still give this band and album 3 stars because the band is just decent. and not from lack of effort i feel there is at least some honesty there but the lyrics are a bit whiny and very cliched. thats definately my biggest complaint about it. theres definately some good high points and good writing there. but its definately short of being a life changing album. but its trapped in one mood and doesnt really go anywhere.

This is pretty solid effort from beginning to end (except for Slipping Away), but except for Shame (which is probably THE best song on the album), Falls Apart and So Wrong the album lacks a lot of the lyrical quality and intensity that Ungod and DD contain. While "What DO I have To do" may have been an MTV buzz clip, I've always thought that the song was somewhat overrated. IS it a good song, yes, but anyone saying that that song is Stabbing Westward's crowning achievement is selling the band short.

Starting an album off with "I'm such an @$$hole" may or may not be a good idea, but if you do, then you better back it up. WBB&P falls short. The lyrics to this album are almost all internally focused. Why talk so much about lyrics? Because that is what really sets SW apart fron other bands..

Yeah the music is good, but it is the lyrics that really make this band.

You won't be dissapointed in buying this album, unless you bought it instead of Ungod or Darkest Days.

I was impressed by the coalation of vibrant, aggressive, intence sound of this album, as well as the previous ones.


Any jackass that doesn't appreciate this type of music, or thinks that disco will outlast it; is probably suffering delusions from all the crystal meth they snorted off a urinal while some disco freak was bouncing their ass!!!

Sure, since MDFMK, they have become probably one of the most revered industrial bands out there; but this is a personal favorite of mine, pre-MDFMK. Recognized the first track, "Ultra," right away when I saw a trailer for Manga and just had to start dancing. "Disobedience" has to be my favorite track on the album - truly unique for KMFDM's style, but certainly a treat, accompanied by brass instruments and an amazing guitar riff that knocked me flat on my back. If you like KMFDM and have not yet heard this album, I would highly recommend it. It's worth its money.

this is definately among my top industrial albums...that i have heard. the other kmfdm cds being out of print really doesnt help a curious mind at all. if you want this album cheap, go get it on ebay. i don't think there are any over 20 dollars. i have yet to get angst, symbols and the other out of print kmfdm albums, but im going to end up getting them.

is it just me, or is all the good music going out of print and STAYING there?

oh well, it only makes kmfdm's old stuff seem like a delicacy which is a good thing.

This is not as dark as some reviews say it is. Well at least its not as dark as some of the music I listen to, but it is definantly awsome. It kind of picks up where angst left off with the guitars, but on this cd Ramond Watts is in the mix. This is probably the most popular KMFDM cd. Especially with Hits like Juke Joint Jezebell.
Ultra 6/10 At first I thought this song was awsome but overtime it got boring
Juke Joint Jezebel 8/10 This is the song that gets most people into KMFDM. I think its a good song but I can think of about 25 other songs from them Id rather here. Dont get me wrong this one is fun, but when I think of KMFDM I think of songs like,Flesh, Glory, Dogma, Anarchy, Free your hate, apathy and stray bullet.
Flesh 10/10 speaking about flesh this is the first great song on this cd. Watts does an excellent job on the vocalls and the guitars just kick ass. This one should definantly be one of there more popular songs.
Beast 9/10 I really like this one. Its got fun lyrics and great music
Terror 10/10 Great beat and great lyrics. Really catchy. The first time I heard this one I couldnt get it out of my head all day
Search and Destroy 10/10 Another of my favorites. It is really fast and energetic. Great lyrics "will we close our eyes and fall for their lies, or will we make the conclusion that this lifes a dilousion.
Disobediance 9/10 When I bought this cd I never would have thought that I would like this song. But it grew on me and now its one of my favorite songs on here. If your not used to horns give this one time and it will make a fan out of you.
Revolution 8/10 Beautiful singing from Darona. She is my second favorite KMFDM female vocalist after of course the sexy Lucia.
Brute 10/10 Another hard song. once again watts is the man . The guitars ar really good.
Trust 8/10 this one reminds me of brute and beast in a way. Pretty good song to close out the cd.
This is one of the most important cds to buy. If you can find it under 15 dollars pick it up right away. Its out of print. I bought it at 25 and it was worth it, but the day after somebody was selling it for 10$. F$%k!

"Edges of Twilight" being the other. Very underrated band where I'm from. Their Led Zeppelin influence shows heavily in their use of blues and Eastern music (Jim Morrison seems to be an influence the the lead singer, as well). They also have an industrial sort of edge, though nothing like NIN. They mix those together very well to form a sound that's unique.

This album doesn't just hold a bunch of songs that are all the same either. Each song has a different feel and presentation. Very well done and easily as listenable now as when I first heard this album years ago.

I've noticed over the years since I first bought this CD, people have bad mouthed Tea Party to no end. I never understood why because this is the only album of their's that I have ever owned.. and come to think of it, it's quite odd I never bought another since I love this one so much - I'll blame it on the fact that I love this CD so much that I wouldn't want to ruin my view of Tea Party by listening to something of lesser quality.

Truth is, every single song on this album is constructed and produced in such a way, that even with its rough and industrial-like sound, its extremely catchy. The one aspect that really did it for me though is the influence of Middle Eastern music. They pull it off so well (...also listen to songs 'Awake Sister (Remix)' and 'Walking Wounded'). It's an incredible blend of melancholy rock music, industrial rhythm and world music.

Ignore the critics, and the bad-mouths...This album is so far before its time, that people just don't understand it. Do not start at the beginning of their career, and do not get their greatest hits album (Tangents). To experience Tea Party at their best (and truly best) simply buy Transmission. From beginning to end, it's a rock classic.

This album is brilliant. Tea Party is able to combine aggression with thoughtfulness, melody with metal's noise. I bought this cd after hearing "Temptation" once on my college radio station and it didn't disappoint.

The whole album is good for what ails ya--cathartic in ways few artists can manage. Who needs therapy? Like Korn's "Issues," this album takes you through your deeper, darker, unexpressed emotions whether you want to or not. "Temptation" has an honest, earthy sexuality you can't express with any pallid love song. "Gyroscope" and "Army Ants" are the perfect anthems to rev you up for a challenge. "Transmission" and "Babylon," taken together especially, bring you first through the feeling you get when someone isn't listening and then that you don't care whether they listen or not. The song arrangement was done really well; taken as a composition, the album leaves you feeling satiated because it brings you up and down, heats you and cools you.

Jeff Martins vocals at first reminded me of Jim Morrison with their dark, resonant quality. However, the lyrics are so much more satisfying. You can tell from the multi-layered sound (that comes from the many instruments this band experiments with) and the complicated lyrics that one band, at least, actually spends some time on their craft. You will find yourself resenting the fast-food substance on the radio after spending some time with Tea Party.

This is the first album that really gets back to the "Ministry" sound since "Psalm69" back in '92. "Filthpig" was a bit of a well known misfire, "Darkside Of The Spoon" good but more akin to incredibly dark mood music than the "Ministry" everyone loves and "Sphinctour" was a fairly good live album. It's here where big bad Al and his partners in crime start to get back some of there trademark fire. First track "Animosity" is the sonic equivalent of being battered around the head with a bile soaked rusty iron bar and is a good statement of intent for the whole album. One of Al Jourgensen's best talents is being able to create excellent songs whether they're stomping industrial behemoth's or slow and menacing and there are both kinds found here. The drug reference's of "Shove" sample lyric "Woke up confused in a place I didn't know" and album closing instrumental work "Leper" are both examples of good quality "Ministry". This album also includes long time live favourite "The Light Pours Out Of Me" a cover of a song by Magazine.

ministry is one of my favorite bands that i've never had the pleasure to see,yet anyway.al jourgenson is an individual who always pleases this mind and always has the right things to say,plus it doesn't hurt that the music kicks a**.i have yet to hear a ministry album that i haven't liked,even from the early days.if you like industrial/metal than you should be able to apprecite this.check out "the light pours out of me" especially on the headphones.get this album and blast it in your car with the windows down.let's piss off all the bassers.

I really believe that this is up there with their earlier work. This is definitely hypnotic. But not in the way of bands such as Sunn 0))) or 0-l even..This is a different type of Hypnotic. Repetitive in a small way, but if you are already a fan of Ministry, i doubt you could hate this record.

This album starts off with a crushing riff, and it just gets better and better. Animosity, Unsung, Piss, The Light Pours Out of Me (Especially "hypnotic" when the drumming hardly changes a beat), Shove, Stolen and Leper are my personal favourites on this album.

The whole album is very loud. Just like their newest album, Houses of the Mole, is loud too. And it being loud is a good thing, obviously. Ministry are very influential, and combine crushing riffs that sometimes repeat themselves over and over again, with eerie, sometimes shouty, vocals..All in all, look no further than this band for THE definition of Industrial Metal.

This album should not be overlooked for any reason. It is easily up there, like i said, with their earlier work..And every fan must, and probably does by now, own this. The final song Leper, is just an example of what i mean by hypnotic..As it goes for 9:05 mins. And the ending riff, that goes for just about 5 mins, will stay in your head for a long time after you hear it. This album deserves respect. 5/5

Rammstein remain one of the most bizarre and highly entertaining live acts to ever grace the stages. Lead singer Till Lindemann sets himself on fire at almost every show, and the stage props, antics, and set-up are unbelievable. Rammstein were just as passionate on stage as they are on record, and LIVE AUS BERLIN (come on, you know what that means) captures the band's relentless and superb live show, and over 79 minutes, you too will be enthralled by their music and the audience who chants and sings along.

Live versions of "Du Hast" and "Seamann" are given even more power than possessed on their album version counterparts. You can feel the rush when the band members (you all know them by now, but if you must: guitarists Paul Landers and Richard Kruspe, bassist Oliver Riedel, drummer Christopher Schneider, keyboardist Doktor "Christian" Lorenz (or "Flake") and vocalist Lindemann) are in full swing, and they get the crowd going with such spirit on songs like "Engel" where you actually feel like you're among the attendees. Every song on here is given new life in the live setting, and songs like "Wilder Wein" and "Seamann" do have their hushed parts but remain stomping metal anthems for a new generation. The superb versions of "Wollt Ihr Das Bett In Flammen Sehen" and "Spiel Mit Mir" are pure evidence that in a live setting, Rammstein truly mean business. Every guitar line; every drum fill; every keyboard flourish; ever 'r' rolled off Lindemann's tongue; every bass line...they are all here on grand display for your listening pleasure.

So while I'd highly recommend catching them live, LIVE AUS BERLIN is the perfect way to introduce you to their live sound if you haven't already had the chance. While the visuals of the show are not on display here (you need to see them at least once in your lifetime to understand), the music presented here is powerful and as a live act, they are one of the most powerful. Without a doubt, one of the best live albums in metal...period.

As any fan would tell you, Rammstein's live shows are mayhem extravaganzas, so releasing a live DVD would be a lot of fun. But a live C.D. isn't necessarily as good of an idea, because the listener can't see Rammstein's exciting shenanigans (fire explosions, sexual props, etc). Fortunately, "Live Aus Berlin" (which is this industrial metal band's fourth release, and their first live album) rocks! Strong, usually churning guitars, atmospheric keyboards, and snarly vocals make for many of the songs (i.e. "Asche Zu Asche") sound tailor made for headbanging, and these songs are delivered as effectively as when they were recorded in the studio. The crowd noise is kept to a very bearable minimum, and the German concert attendees actually seem to help to boost Rammstein's morale. The band members seemingly build off of the crowd's mounting energy on songs like "Weisses Fleisch," and when singer Til Lindemann trades of vocal parts with the crowd (in songs like track four), it doesn't kill the song's momentum. Rammstein open the show with "Spiel Mit Mir," a very creepy, crunchy and ominous number, but most of the rest of the album is much faster. "Bestrafe Mich" and "Bueck Dich" are very catchy songs, with rhythmic, churning guitars, cartoon-like synthesizers, and nearly danceable drum beats. "Sehnsucht" is a very catchy track with a nice shout-along, and the aforementioned "Asche Zu Asche" is a speedy neck-snapper, with heavy chug and churn riffs. "Du Hast," Rammstein's biggest hit single (which was almost solely responsible for the band's success in America), shows up fairly late (track nine). But this song is perfectly executed, and it even includes some creepy, added laughter at the beginning. The melodic moments of this concert are few and far between, but they are also executed flawlessly. "Wilder Wein" is a slower track (a monotony breaker), with light, aquatic-sounding guitar strumming and a distant drum beat; Rammstein do a great job with the whistling and female backed vocals on "Engel"; and, finally, the cleanly sung ending track, "Seemann," is actually pulled off pretty darn well. At fifteen tracks, "Live Aus Berlin" is kind of long. But it sure is an entertaining way to spend an hour and twenty minutes!

While I've never had the privilege to see this band either live or on DVD (entirly my loss). I simply must say that even though the release of this is after only 2 albums is not only a very bold move it also worked. Giving fans and would be fans a chance to bare testimony to how good this band is live is quite ingenious. The wonderful mix and transition from album and song respectivly makes for a killer show. Songs like Wilder Wein (Wild Wine) and Seemann (Seaman) give the audience and the group and much needed break from songs like Engel (Angel) and Asche zu Asche (Ashes to Ashes) that cause the entire cd's electricity and energy to only rise. I can see why this wouldn't have worked for many state side based bands however Rammstein is simply building off the momentem that Sehnsuct created when it landed in multiple countries and becoming one of the best interlingual selling albums this Live CD is not only a promise of things to come but can really make someone like me who has never been to a show really make me get off my but and buy tickets to the next show that could very well change my perspective of how live music is meant to be done. I can only say that if you haven't purchased this album and are a fan or a would be fan then why are you reading this instead of buying it?

I saw these clowns play in support of this album (I forget who they opened for, someone equally terrible). This band is a joke, go to [...] and check out some of their guitar tabs, a chimpanzee in some Hot Topic gear could play these tunes. Sucky mallrat numetal-poop. At least they don't suck as much as their pals Murderdolls/Wednesday 13. I'd give them a zero if I could. When people complain about crappy nu-metal, Dope should be the first act they think of. Derivative, tired, cliched, all these adjectives are an understatement. If these guys spent as much time on their music as they do their clothes and hair, they might have something. I can think of a 100 other bands in this genre more deserving of your money...Bozo Porno Circus for one, they blow these guys away.

i bought dope's first album on a whim and was stunned at how talented and angry they were. not just talented, and not just angry, but both, which is a rare find in heavy metal music. i don't understand the comparisons of edsel dope and marilyn manson, because let's be honest here: most heavy metal singers sound that way. what really got me on their music was their great beats and riffs, and edsel's fun-yet-violent lyrics. the key was the lyrics.
without the good lyrics, they released a second album. i listened to it once and threw it away (i didn't give it away or sell it or anything, i really threw it away.) dope is one of those bands who put all their talent into one album, and after that they have nothing left. the music sounds like a bad cover band trying to play dope songs, and the lyrics are simply pathetic. what happened to the anger? now he's singing about how you can be whatever you want to be as long as you give it your best shot. what the heck happened? the anger is gone, and with it goes the interest. after their first album, they simply had nothing to say so they were reduced to meaningless feel good stuff. and when they do try to generate some anger, like on "die mf die," it sounds lame and forced.
i love their first album, but this one was just pathetic. i haven't heard any of their third album, but the thought of doing so gives me the shivers.

This is a good metal CD at a time when they are hard to find. Someone who actually sings instead of growling and howling, good guitar riffs and melodies with the right dose of metal aggression. I'm not familiar with their first CD but "Life" is good throughout. My favorites are the back to back "Thanks for Nothing" and "Die MF Die". This leans a little bit to nu-metal as there isn't a lot of soloing, but at least its not rap-metal which I hope has soon run its course.