It’s here again, you know what we are talking about, that time when you have to warn your neighbours that you are going to be playing a new album released by one of those bands from the Italianacid-doom/scuzz scene, another one of those many Italian bands that have traded in their Sabbathian robes for a seat at the altar of Electric Wizard. The band in question this time is Milan’sWitchsnake a duo consisting of Al (guitars, bass and vocals) and Joe (drums), a duo who have already caused our neighbours collective ears to bleed with their previous releases “Witchsnake” and “Deathcult of the Snake“. The band have just released their third album “Satanas” an album consisting of eight tracks the band have dubbed as “unholy hymns carved in smoke and sulfur” further backing this statement up by describing the album as “not a journey, but a collapse, a slow, suffocating crawl through burning swamps, shattered altars, and psilocybin-drenched visions of damnation“. Sounds good to us!
Opening track “Hell Breaks Loose” is what Motorhead might have sounded like if they had chosen hallucinogens over amphetamines, it’s breathy smoked too many cigarettes, drank too much Jack Daniels Lemmy-esque vocals are surrounded by rolling filth drenched refrains and powerhouse drumming offset with occasional bursts of Hendrixian flavoured soloing, it’s a killer start but things get even better as the album progresses. Next we have “Dethroned“, the songs low slung gritty riffage, interspersed with piercing distortion drenched guitar motifs and dissonant solos, is underpinned with solid thunderous drumming over which its vocals are intoned rather than sang, the songs boasts a groove that sits squarely in low’n’slow stoner doom territory but it is a pungent form of stoner doom that reeks of disease and decay. “Witchburner” follows and jams a more stoner rock-like dynamic and also features a vocal that bears a semblance of melody but don’t start thinking that this song is any less pungent than its predecessor just because there is an element of flow in its vocals as the filthiness here is just as tangible. “Black Blood Bayou” is a demented travelogue that finds our hosts describing a place where you can witness “larvae crawling into the cracked skull” and where you can feel “the heat of death” against a backdrop of putrid thrumming proto-doom. “Ashes To Ashes, Fuck To Fuck” is a rhythmically hard driven instrumental packed to the rafters with some of the dirtiest guitar work you will witness this side of the rapture and is followed by title track “Satanas” a song that is akin to listening to Lemmy telling a bedtime story while an avalanche of giant boulders tumbles down a mountainside. Penultimate number “Demona” does seem somewhat more structured than much of what has gone before, what with its rolling refrains, punchy drumming and swirling solo’s, but it’s really hard to tell if something is structured while your ears are bleeding. Final track “Acid Hell” is a perfectly titled opus that comes out of the gate swinging and does not stop until your brain is just a jellied mush, filthy guitar solos accompanied by barely audible vocal rumblings and forceful percussion coming at you in face-melting wave upon wave of voluptuous volume.
Witchsnake have surpassed themselves with “Satanas“, those who thought this Italian duo could not possibly get any more filthier, acidic or pungent and putrid than they had done on their previous output are in for a rude awakening when this release assails their auditory canals. Play “Satanas” to your like -minded pals and you will have friends for life, play it to your neighbours and they will move home.
Funny how hearing hearing a voice can sometimes place an image in the minds eye that stays there even after seeing pictures or even meeting the owner of that voice and this is the case with Diamond Neal, singer with Canadian outfit BirdDog. In Desert Psychlist’s collective mind Neal’s voice conjures up visions of a bearded white haired dude wearing a weather beaten baseball cap, dishevelled clothes and cowboy boots, the sort of man you could imagine running a remote gas station or being one of those cantankerous cooks you often see in old westerns. Of course Neal is nothing like the picture we have painted in our heads, in fact he is the polar opposite, but it is his raw lived in ones that has placed those aforementioned images in our heads, a voice that is a little bit Earthride era Dave Sherman and a lot Left Lane Cruiser’s Joe Evans IV. Neal is joined in BirdDog by Ray Dickman (guitar) and Eric Dickman (bass), who some may remember from the band Electric Ruin, and drummer Andrew Barr and together they create a noise that is a blend of hoary stoner/hard rock, southern tinted blues boogie and thrumming proto metal, a sound you can check out for yourselves by taking their newly released self- titled studio debut “BirdDog” for a spin.
“Out Of The City” kicks things off with choppy slightly distorted guitar textures supported by low booming bass lines and solid unfussy drumming over which Neal warbles throatily on the trials and tribulations of urban living in a voice that sounds like its owner has indulged in too much of just about everything, The song features a scorching guitar solo from R, Dickman followed by another burst of vocal throatiness from Neal but then just stops dead, no fade out or lingering notes just an abrupt and unexpected full stop. We mentioned Left Lane Cruiser in the opening part of this review and if you stripped back next number “Medicine” to just voice, guitar and drums then what you would be left with would easily fit on one of that bands early albums, E. Dickman introduces next song “Lone Survivor” with a deliciously gnarly bass refrain which is then joined by some thunderous drum work from Barr around which R. Dickman layers siren like effects before adding his weight to the main riff. The songs groove settles down into something approaching proto-doomic when Neal’s distinctive vocals join the fray but its is a doom drenched in gut rot whiskey and hand rolled cigarettes, or it at least feels that way! “Feel Like A Bug” finds BirdDog staying in doomic territories but with an element of stoner/hard rock grittiness thrown in while “Nervosis” takes that stoner/hard rock grittiness and mixes it with some down home bluesy boogie over which Neal waxes lyrical about “smoking lots of cigarettes” while wishing he were “a better man“. Final song “Know Who You Are” is a rip roaring strident rocker with an ear catching, if somewhat abrasive, vocal melody, that brings to a close a thoroughly enjoyable release that pretends to be nothing other than just what it is.
Ok BirdDog are not trying to re-invent any wheels with their debut but not every release has to be about pushing boundaries or breaking through glass ceilings, we tend to dissect and examine music far too much these days and we forget that music is supposed to be an enjoyable pastime. Of course there is a place for albums and EP’s that impart messages, that challenge and extend musical frontiers but BirdDog’s studio debut is not one of them, this is a release that’s more about the groove than the gravitas and there is ALWAYS a place for that!
Funny how hearing hearing a voice can sometimes place an image in the minds eye that stays there even after seeing pictures or even meeting the owner of that voice and this is the case with Diamond Neal, singer with Canadian outfit BirdDog. In Desert Psychlist’s collective mind Neal’s voice conjures up visions of a bearded white haired dude wearing a weather beaten baseball cap, dishevelled clothes and cowboy boots, the sort of man you could imagine running a remote gas station or being one of those cantankerous cooks you often see in old westerns. Of course Neal is nothing like the picture we have painted in our heads, in fact he is the polar opposite, but it is his raw lived in ones that has placed those aforementioned images in our heads, a voice that is a little bit Earthride era Dave Sherman and a lot Left Lane Cruiser’s Joe Evans IV. Neal is joined in BirdDog by Ray Dickman (guitar) and Eric Dickman (bass), who some may remember from the band Electric Ruin, and drummer Andrew Barr and together they create a noise that is a blend of hoary stoner/hard rock, southern tinted blues boogie and thrumming proto metal, a sound you can check out for yourselves by taking their newly released self- titled studio debut “BirdDog” for a spin.
“Out Of The City” kicks things off with choppy slightly distorted guitar textures supported by low booming bass lines and solid unfussy drumming over which Neal warbles throatily on the trials and tribulations of urban living in a voice that sounds like its owner has indulged in too much of just about everything, The song features a scorching guitar solo from R, Dickman followed by another burst of vocal throatiness from Neal but then just stops dead, no fade out or lingering notes just an abrupt and unexpected full stop. We mentioned Left Lane Cruiser in the opening part of this review and if you stripped back next number “Medicine” to just voice, guitar and drums then what you would be left with would easily fit on one of that bands early albums, E. Dickman introduces next song “Lone Survivor” with a deliciously gnarly bass refrain which is then joined by some thunderous drum work from Barr around which R. Dickman layers siren like effects before adding his weight to the main riff. The songs groove settles down into something approaching proto-doomic when Neal’s distinctive vocals join the fray but its is a doom drenched in gut rot whiskey and hand rolled cigarettes, or it at least feels that way! “Feel Like A Bug” finds BirdDog staying in doomic territories but with an element of stoner/hard rock grittiness thrown in while “Nervosis” takes that stoner/hard rock grittiness and mixes it with some down home bluesy boogie over which Neal waxes lyrical about “smoking lots of cigarettes” while wishing he were “a better man“. Final song “Know Who You Are” is a rip roaring strident rocker with an ear catching, if somewhat abrasive, vocal melody, that brings to a close a thoroughly enjoyable release that pretends to be nothing other than just what it is.
Ok BirdDog are not trying to re-invent any wheels with their debut but not every release has to be about pushing boundaries or breaking through glass ceilings, we tend to dissect and examine music far too much these days and we forget that music is supposed to be an enjoyable pastime. Of course there is a place for albums and EP’s that impart messages, that challenge and extend musical frontiers but BirdDog’s studio debut is not one of them, this is a release that’s more about the groove than the gravitas and there is ALWAYS a place for that!
Austria’sLazer, Tanja “Aunty” Peinsipp (vocals); Lukas Schmidt (lead guitar); Lukas Klingseisen (rhythm guitar); Moritz Holy ( bass/backing vocals) and Dale St. Jules (drums), jam grooves that sit mostly at the lithe and languid end of the psychedelic rock spectrum but that have a tendency to shift from time to time into heavier and gnarlier territories, the band one minute gently massaging their listeners ears with lilting guitar arpeggios, shimmering percussion and funky bass passages and the next tearing those same ears to shreds with crushing refrains, thunderous drumming and growling low end. What is even more impressive is that those see-sawing dynamics are also mirrored in the bands vocals which can sway between honeyed jazzy bluesiness and demonic sludgy harshness. The band have just released “Live At Beardy Mountain” a live in the studio recording that serves as the perfect listening material for those who like psychedelic rock that occasionally bares its teeth.
Opening number “Underwater” begins with liquid-like eastern guitar motifs accompanied by a low key vocal, slowly those guitars and vocals are joined by the bass and drums in a groove that wends and winds between loose and lysergic and tight and blustering with the vocalist accommodating those shifts with tones that are bluesy and soulful in the songs more languid passages and throat shredding in the songs more intense and heavier sections. Next song “Can’t Run Away” sways between being seductive and moody and full on and feisty, vocalist Peinsipp once again switching her vocals between lush and lethal over a musical backdrop that follows a similar fey and fractious blueprint. Third track “Can’t Speak” is at its root bluesy and lysergic but because of its occasional descents into more doomic waters, and of course the vocalists penchant for sliding into harsher vocal territories, the song feels a whole lot heavier than it actually is. Final song “Go On” starts off quite quaint and dare we say “pretty” but as we have already found out “pretty” is not Lazer’s default setting and it’s not long before Peinsipp starts mixing up her ethereal tones with elements of hardcore harshness, Schmidt and Klingseisen start injecting some crunch and squeal into their guitar tones, St Jules’ drums begin to get a little more thunderous and Holy’s bass lines take on an air of growliness, its powerful stuff, a unique mix of melody and gnarliness we at Desert Psychlist are not sure many bands other than Lazer could pull off!
Swooning vocals swaying over sharded chord progressions and single notes that hang in the air for an age backed up by swinging jazz-like bass and drum grooves are only part of what you get to experience with Lazer’s “Live At Beardy Mountain” what else you get is thick reverberating refrains, basement level low end and thunderous rhythms topped off with larynx ruining vocal harshness, it’s sometimes like listening to two different bands at once but somehow it works!
Austria’sLazer, Tanja “Aunty” Peinsipp (vocals); Lukas Schmidt (lead guitar); Lukas Klingseisen (rhythm guitar); Moritz Holy ( bass/backing vocals) and Dale St. Jules (drums), jam grooves that sit mostly at the lithe and languid end of the psychedelic rock spectrum but that have a tendency to shift from time to time into heavier and gnarlier territories, the band one minute gently massaging their listeners ears with lilting guitar arpeggios, shimmering percussion and funky bass passages and the next tearing those same ears to shreds with crushing refrains, thunderous drumming and growling low end. What is even more impressive is that those see-sawing dynamics are also mirrored in the bands vocals which can sway between honeyed jazzy bluesiness and demonic sludgy harshness. The band have just released “Live At Beardy Mountain” a live in the studio recording that serves as the perfect listening material for those who like psychedelic rock that occasionally bares its teeth.
Opening number “Underwater” begins with liquid-like eastern guitar motifs accompanied by a low key vocal, slowly those guitars and vocals are joined by the bass and drums in a groove that wends and winds between loose and lysergic and tight and blustering with the vocalist accommodating those shifts with tones that are bluesy and soulful in the songs more languid passages and throat shredding in the songs more intense and heavier sections. Next song “Can’t Run Away” sways between being seductive and moody and full on and feisty, vocalist Peinsipp once again switching her vocals between lush and lethal over a musical backdrop that follows a similar fey and fractious blueprint. Third track “Can’t Speak” is at its root bluesy and lysergic but because of its occasional descents into more doomic waters, and of course the vocalists penchant for sliding into harsher vocal territories, the song feels a whole lot heavier than it actually is. Final song “Go On” starts off quite quaint and dare we say “pretty” but as we have already found out “pretty” is not Lazer’s default setting and it’s not long before Peinsipp starts mixing up her ethereal tones with elements of hardcore harshness, Schmidt and Klingseisen start injecting some crunch and squeal into their guitar tones, St Jules’ drums begin to get a little more thunderous and Holy’s bass lines take on an air of growliness, its powerful stuff, a unique mix of melody and gnarliness we at Desert Psychlist are not sure many bands other than Lazer could pull off!
Swooning vocals swaying over sharded chord progressions and single notes that hang in the air for an age backed up by swinging jazz-like bass and drum grooves are only part of what you get to experience with Lazer’s “Live At Beardy Mountain” what else you get is thick reverberating refrains, basement level low end and thunderous rhythms topped off with larynx ruining vocal harshness, it’s sometimes like listening to two different bands at once but somehow it works!
Metallica is a titan of the music world. For over four decades, their aggressive riffs, complex song structures, and powerful lyrics have defined metal for generations. Their influence is so immense that countless artists have paid tribute by covering their legendary songs. This act of homage is the ultimate sign of respect in the music industry. It shows how deeply the work of James Hetfield, Lars Ulrich, Kirk Hammett, and their bassists has impacted musicians across all genres.
This article dives into the best of these tributes. We will rank 12 of the most iconic and interesting Metallica covers ever recorded. From the cello-driven arrangements of Apocalyptica to the hard rock power of Disturbed, we explore how different bands have put their unique spin on these timeless classics. This list celebrates both the original genius of Metallica and the creative spirit of the artists who dared to reinterpret their masterpieces.
The Ultimate Ranking of Metallica Covers
Here is our definitive list of 12 incredible bands that took on the challenge of covering Metallica.
12. Postmodern Jukebox – Nothing Else Matters
Kicking off our list is a truly unique interpretation. Postmodern Jukebox is famous for transforming modern pop and rock hits into vintage jazz, swing, and ragtime arrangements. Their version of “Nothing Else Matters” is a stunning reinvention that strips the song of all its metal elements. Instead, they present it as a smoky, 1920s-era torch song. The heavy guitars are replaced by a gentle upright bass and a soulful piano, creating a completely different mood.
This cover succeeds by highlighting the raw, emotional core of the Metallica ballad. Without the distortion and power chords, the beautiful melody and heartfelt lyrics shine through in a new light. It proves that a great song can transcend its original genre. While it might not be for metal purists, the sheer creativity and musicality of this version from Postmodern Jukebox earn it a place on our list. It’s a testament to the songwriting prowess of Metallica that their work can be so effectively reimagined.
11. Dark Tranquility – My Friend of Misery
The Swedish melodic death metal pioneers Dark Tranquility took on a deep cut from The Black Album. Their cover of “My Friend of Misery” appeared on the tribute compilation “A-Tribute to the Four Horsemen”. The band infused the track with their signature sound, transforming the brooding original into something far more aggressive and intense. Mikael Stanne’s harsh vocals replace Hetfield’s clean delivery, adding a layer of ferocity to the song’s dark themes.
Dark Tranquility also injects their trademark melodic guitar harmonies, which complement the original riffs perfectly. They manage to stay true to the song’s gloomy atmosphere while elevating its heaviness. The musicianship is top-notch, as they navigate the song’s complex structure with precision and power. This cover is a fantastic example of a band paying respect to Metallica while filtering the music through their own distinct style. It’s a powerful and well-executed tribute that fans of both melodic death metal and Metallica can appreciate.
10. Shinedown – Nothing Else Matters
American rock bandShinedown delivered a powerful and emotionally charged version of “Nothing Else Matters” for the film “Jungle Cruise”. Their take on the iconic ballad stays true to the original’s spirit but amplifies its cinematic qualities. Frontman Brent Smith’s soaring vocals bring a different kind of power to the track, creating a grand, arena-rock feel. The band adds orchestral elements that swell and build, turning the song into an epic, moving piece of music.
Unlike the original, which builds from a quiet start, Shinedown’s version feels massive from the beginning. The production is polished and modern, designed to have a huge impact. This cover demonstrates the universal appeal of Metallica’s songwriting, proving that “Nothing Else Matters” works just as well as a modern rock anthem as it does a metal ballad. It’s a respectful and well-crafted cover that introduces the classic track to a new audience while giving existing fans a fresh, powerful perspective on a beloved song.
9. Steve ’n’ Seagulls – Seek and Destroy
Coming in at number nine is a truly brilliant and unexpected take on a classic. The Finnish band Steve ’n’ Seagulls has become famous for their bluegrass reinterpretations of rock and metal anthems. Their version of “Seek and Destroy”, from Metallica’s thrashy debut “Kill ‘Em All”, is arguably their masterpiece. They completely strip away the distortion and aggression, replacing it with banjos, mandolins, an accordion, and even a washtub bass. This incredible transformation turns the headbanging anthem into a joyous, foot-stomping hoedown that you can’t help but smile at. The band’s rustic look and infectious energy make the performance even more entertaining.
What makes this cover so successful is that it reveals the brilliant songwriting hidden beneath the original’s raw power. The iconic riff is so strong and catchy that it translates perfectly to folk instruments, proving the melodic genius of early Metallica. The cover went viral for a reason; it’s a masterclass in creative reinterpretation. Instead of sheer aggression, Steve ’n’ Seagulls deliver a performance full of character and charm, all while maintaining the song’s driving rhythm and rebellious spirit. It’s a fun, clever, and expertly performed tribute that celebrates the source material in a completely new light.
8. Volbeat – Don’t Tread On Me
Danish rockers Volbeat contributed a fantastic cover of “Don’t Tread On Me” to the massive tribute album, “The Metallica Blacklist”. Known for their unique blend of rock and roll, heavy metal, and rockabilly, Volbeat was the perfect band to tackle this track. They lean into the song’s stomping, groovy rhythm and inject their signature “Elvis metal” swagger. Michael Poulsen’s distinctive vocals give the track a classic rock and roll vibe that contrasts perfectly with the heavy guitar work.
Their version is fun, energetic, and incredibly catchy. They keep the core riff intact but add their own rhythmic bounce and flair, making it sound like it could have been a Volbeat original. This cover is a celebration, transforming the patriotic anthem into a joyous rock and roll party. It highlights the versatility of Metallica‘s music and shows how their riffs can serve as a foundation for completely different styles. It’s a standout track on an album full of great covers.
7. Children of Bodom – One
The late, great Alexi Laiho and his band Children of Bodom were masters of the cover song, known for injecting their virtuosic style into metal classics. They took on the epic anti-war anthem “One” from Metallica’s album “…And Justice for All”. Their version is a thrilling display of technical skill, transforming the track into a blistering melodic death metal showcase. The band infuses the song with their signature neoclassical guitar shredding and prominent keyboard melodies, creating a completely new sonic texture.
Children of Bodom expertly navigate the song’s complex structure. They maintain the haunting, clean intro but enhance it with atmospheric keyboards before the metal onslaught begins. Laiho’s signature snarling vocals add a different kind of aggression to the song’s powerful lyrics. When the track reaches its famous fast-paced, thrashy conclusion, the band pushes the speed and intensity to an extreme level. This cover is a fantastic tribute, honoring the original’s composition while showcasing the incredible musicianship that made Children of Bodom legends in their own right.
6. Disturbed – Fade to Black
Disturbed is renowned for its powerful covers, and their take on the iconic Metallica power ballad “Fade to Black” is a standout example. The original song from the album “Ride the Lightning” is a masterpiece of dynamic shifts, moving from acoustic despair to full-throttle metal anguish. Disturbed leans into this emotional journey, using their signature sound to amplify the track’s inherent darkness. David Draiman’s dynamic vocal range is perfectly suited for the song, capturing the initial vulnerability before unleashing his immense power in the heavier sections.
This cover, featured on the tribute album “A Tribute to the Four Horsemen”, successfully modernizes the classic without losing its soul. The band’s signature downtuned, rhythmic power makes the transition from clean to distorted guitars feel even more impactful and crushing. They respectfully handle the song’s famous structure, building the tension masterfully toward the climactic guitar solo. It’s a fantastic interpretation that showcases Disturbed’s ability to channel raw emotion. Their style enhances the themes of desperation and anger, making this a heavy, passionate, and memorable tribute to a Metallica cornerstone.
5. Bullet for My Valentine – Welcome Home (Sanitarium)
Welsh metalcore giants Bullet for My Valentine offered their take on a Metallica classic for a Kerrang! tribute album. They covered the iconic “Welcome Home (Sanitarium)”, and it quickly became a fan favorite. The band brought their signature sound to the track, blending melodic hooks with aggressive metalcore intensity. Matt Tuck’s vocals expertly shift between clean singing and powerful screams, adding a modern dynamic that perfectly complements the song’s themes of inner turmoil.
Furthermore, they respected the original’s brilliant structure. The haunting, clean guitar intro is present, building tension before the heavy, chugging riff kicks in with immense power. They successfully captured the feeling of confinement and rage from the lyrics, with sharp, precise guitar work and a blistering solo. Ultimately, this cover works so well because it updates the sound for a new generation of metal fans. It honors the genius of Metallica while showcasing the talent of Bullet for My Valentine, making it a powerful and memorable tribute.
4. Machine Head – Battery
When Machine Head decides to cover a thrash metal anthem, you know it’s going to be heavy. Their version of “Battery”, the explosive opening track from “Master of Puppets”, is an absolute monster. Robb Flynn and his bandmates deliver a performance that is overflowing with aggression, speed, and precision. The cover appeared on a Kerrang! tribute album, and it stands as one of the most faithful yet powerful Metallica tributes ever recorded.
Machine Head doesn’t try to reinvent the song; instead, they focus on amplifying its raw thrash energy. The guitars are incredibly tight and heavy, and Dave McClain’s drumming is a thunderous assault that drives the song forward relentlessly. Robb Flynn’s vocals are pure rage, perfectly channeling the spirit of early Metallica. This cover is a love letter to thrash metal. It’s a testament to the enduring power of the genre and a nod from one of metal’s great bands to the masters who paved the way.
3. Rodrigo y Gabriela – Orion
This entry is a complete departure from the others, showcasing the sheer musical genius of Metallica. The acoustic duo Rodrigo y Gabriela covered the instrumental masterpiece “Orion” on their self-titled 2006 album. They transformed Cliff Burton’s iconic bass-driven epic into a breathtaking display of flamenco-style acoustic guitar virtuosity. Their version is a masterclass in rhythm, melody, and technical skill, proving that you don’t need distortion to be heavy.
Rodrigo Sanchez’s lightning-fast lead melodies and Gabriela Quintero’s percussive, rhythmic playing create a sound that is both intricate and immensely powerful. They beautifully interpret all the different sections of the song, from the soaring guitar harmonies to the famous bass interlude. This cover exposes the incredible compositional depth of “Orion”. It highlights that beneath the layers of metal, Metallica created a piece of music so strong it can be reinterpreted in a completely different genre and still retain all of its power and beauty. A truly stunning tribute.
2. Apocalyptica – One
No list of Metallica covers would be complete without the band that built their career on them. The Finnish cello-metal band Apocalyptica burst onto the scene with their 1996 album “Plays Metallica by Four Cellos”. While all their covers are incredible, their interpretation of the epic anti-war anthem “One” is arguably their finest moment. They transform the song into a haunting, dramatic, and powerful piece of classical music without losing any of its original intensity.
The cellos beautifully replicate every part of the song. They capture the sorrowful clean guitar intro, the chugging mid-section riffs, and the frantic, machine-gun-like ending. The dynamic range of the cellos allows Apocalyptica to express the song’s emotional journey from despair to rage in a way that is both unique and deeply moving. This cover is not just a novelty; it’s a brilliant re-contextualization that reveals the neo-classical heart of Metallica’s music. It’s a creative and powerful tribute that continues to captivate listeners decades later.
1. Motorhead – Whiplash
Topping our list is the perfect cover from the perfect band. The legendary Motorhead covered “Whiplash”, one of the fastest and most aggressive tracks from Metallica’s debut album, “Kill ‘Em All”. This version, recorded for the tribute album “Metallic Attack: The Ultimate Tribute”, is so fitting it feels like it could have been a Motorhead original. The song’s raw, punk-infused energy is a perfect match for the band’s signature “rock and roll” style.
The late, great Lemmy Kilmister, a major influence on Metallica himself, delivers the lyrics with his iconic gravelly voice, adding an extra layer of grit and authenticity. The music is a chaotic, high-octane blast of pure energy that captures the spirit of the song perfectly. This cover is special because it represents a full-circle moment: the idol covering the students. It deservedly won the Grammy Award for Best Metal Performance in 2005. For its raw power, historical significance, and sheer perfection, Motorhead’s version of “Whiplash” is the greatest Metallica cover of all time.
The Bottom Line
This ranking showcases the incredible versatility and timelessness of Metallica’s music. From the thundering thrash of Motorhead to the classical reinterpretations by Apocalyptica, each artist on this list brought their unique vision to these iconic songs. These covers are more than just simple copies; they are heartfelt tributes that highlight the profound and lasting impact Metallica has had on the entire music landscape. Their influence is so strong that their songs can be reshaped into almost any genre and still retain their power.
This list is just a small sample of the countless covers that exist, proving that the legacy of Metallica continues to grow. These tributes serve as a bridge between generations of fans, introducing new listeners to the masters of metal while giving longtime followers a fresh perspective. The music of Metallica will undoubtedly continue to inspire artists for decades to come, cementing their status not just as a band, but as a true musical institution.
Salt Lake City heavy groovesters Hibernaut, Dave Jones (guitar/vocals); Zach Hatsis (drums); Josh Dupree (bass) and Matt Miller (guitar), blew a fair few minds with their debut release “Ingress“, ours included, musically the album sat somewhere between “DopeSmoker” era Sleep and “Children of the Haze” period Dopelord, a mix of sludge and stoner metal that also boasted prog-like elements and psychedelic essences, lyrically though “Ingress” album was in a class all of its own with otherworldly tales laid out like ancient poetry. “Ingress” was roundly praised on its release and grabbed Hibernaut a well deserved #15 place on the Doom Charts and it will come as no surprise to Desert Psychlist if the bands latest album “Obsidian Eye” (Olde Magick Records/ Kozmik Artifactz) matches that achievement or even betters it as “Obsidian Eye” is everything “Ingress” was but so much more..
The album begins with “Engorge Behemoth” a song that opens it account with dissonant dual guitars trading off against each other (especially effective through headphones) then shifts into a just shy of doomic paced stoner metallic groove underpinned with low gravelled bass and thunderously busy drumming. Vocals here are delivered gruff and bear like yet despite this retain much of their clarity, which is applaudable given how much thought that has gone into the lyrics. Next song “Venatic Rite” kicks off in a similar style to its predecessor only a touch more drone-like and murky but then a piercing guitar motif cuts through the murkiness and the band explode into hard-driven sludge meets thrash like groove around a full on and forceful vocal, on a sidenote you could almost be fooled into thinking the drums are the leading instrument here such is the force of their impact. Those drums are just as impactful on the following “Pestiferous” however they do not have it all their own way here as they have to contend with constantly swirling guitar solos, a powerfully performed vocal and a rolling bass line weightier than a ships anchor. Title track “Obsidian Eyes” rears its gnarly head next and like the songs before it this starts dissonant and drone-ish but then slams into a thunderously dark groove over which a powerful vocal tells of “sylphlike silhouettes” who stand “in shadow” and “sexless tattooed priests” with “nefarious intellect” in tones dripping with throaty contempt. By now you are probably hoping for a break from all the full on intensity and relentless furiosity but Hibernaut are not in agreement and instead plough on regardless with “Revenants” another sludgy stoner metal barn burning opus that gives no quarter, this one telling of “soupy skies” where “leviathans slither and twist“. Final number “Beset” does not bring any respite from all the heaviness but it does slow down that heaviness to something approaching traditionally doomic, the guitar work here is blistering, the bass lines boneshaking, the drumming pounding and the vocals strong and gruffly sinister.
Powerful heavy music framing powerful lyrical imagery is what Hibernaut serve up with their second album “Obsidian Eye“, a conceptual album exploring themes that include infection, resurrection and manipulation. A musical force of nature from its first note to its last “Obsidian Eye” delivers musically, vocally and lyrically and could well be one of the best albums of its style released this year (2025).
Salt Lake City heavy groovesters Hibernaut, Dave Jones (guitar/vocals); Zach Hatsis (drums); Josh Dupree (bass) and Matt Miller (guitar), blew a fair few minds with their debut release “Ingress“, ours included, musically the album sat somewhere between “DopeSmoker” era Sleep and “Children of the Haze” period Dopelord, a mix of sludge and stoner metal that also boasted prog-like elements and psychedelic essences, lyrically though “Ingress” album was in a class all of its own with otherworldly tales laid out like ancient poetry. “Ingress” was roundly praised on its release and grabbed Hibernaut a well deserved #15 place on the Doom Charts and it will come as no surprise to Desert Psychlist if the bands latest album “Obsidian Eye” (Olde Magick Records/ Kozmik Artifactz) matches that achievement or even betters it as “Obsidian Eye” is everything “Ingress” was but so much more..
The album begins with “Engorge Behemoth” a song that opens it account with dissonant dual guitars trading off against each other (especially effective through headphones) then shifts into a just shy of doomic paced stoner metallic groove underpinned with low gravelled bass and thunderously busy drumming. Vocals here are delivered gruff and bear like yet despite this retain much of their clarity, which is applaudable given how much thought that has gone into the lyrics. Next song “Venatic Rite” kicks off in a similar style to its predecessor only a touch more drone-like and murky but then a piercing guitar motif cuts through the murkiness and the band explode into hard-driven sludge meets thrash like groove around a full on and forceful vocal, on a sidenote you could almost be fooled into thinking the drums are the leading instrument here such is the force of their impact. Those drums are just as impactful on the following “Pestiferous” however they do not have it all their own way here as they have to contend with constantly swirling guitar solos, a powerfully performed vocal and a rolling bass line weightier than a ships anchor. Title track “Obsidian Eyes” rears its gnarly head next and like the songs before it this starts dissonant and drone-ish but then slams into a thunderously dark groove over which a powerful vocal tells of “sylphlike silhouettes” who stand “in shadow” and “sexless tattooed priests” with “nefarious intellect” in tones dripping with throaty contempt. By now you are probably hoping for a break from all the full on intensity and relentless furiosity but Hibernaut are not in agreement and instead plough on regardless with “Revenants” another sludgy stoner metal barn burning opus that gives no quarter, this one telling of “soupy skies” where “leviathans slither and twist“. Final number “Beset” does not bring any respite from all the heaviness but it does slow down that heaviness to something approaching traditionally doomic, the guitar work here is blistering, the bass lines boneshaking, the drumming pounding and the vocals strong and gruffly sinister.
Powerful heavy music framing powerful lyrical imagery is what Hibernaut serve up with their second album “Obsidian Eye“, a conceptual album exploring themes that include infection, resurrection and manipulation. A musical force of nature from its first note to its last “Obsidian Eye” delivers musically, vocally and lyrically and could well be one of the best albums of its style released this year (2025).
Before Facebook dominated the internet, a darker corner of the web existed. It was a digital sanctuary for goths, punks, and industrial music fans. This place was VampireFreaks. Launched in 1999 by Jet Berelson, the site quickly grew into a massive online community for the alternative scene.
It was more than just a social network; it was a cultural hub where alternative people could connect. In a world before social media was everywhere, VampireFreaks gave a voice to the voiceless. It provided a space where being different was celebrated, not judged. Many of us found our first real community there, discovering new bands and making lifelong friends. This platform’s legacy is a testament to the power of finding your tribe, even if it’s online.
The Golden Age of VampireFreaks: Cults, Covens, and Community
The original VampireFreaks website was a vibrant ecosystem of dark creativity. Unlike the clean, sterile look of modern social media, it was raw and customizable. Users could create highly personalized profiles, which were affectionately called “Cults.” These profiles were our digital bedrooms, plastered with our favorite bands, dark poetry, and moody selfies.
Furthermore, the social aspect was deeply engaging. You could join groups, known as “Covens,” to discuss everything from industrial music to gothic fashion. These forums were the heart of the community. They allowed people from small towns and big cities to connect over shared interests.
The site was also a powerful tool for self-expression. It had features for rating photos, music, and even other members. This created a dynamic and interactive experience for everyone involved. The entire atmosphere of VampireFreaks was built around its users.
It felt less like a corporation and more like a massive, underground club that was open 24/7. For many, logging into VampireFreaks was like coming home. It was a place where you could be your truest, weirdest self. You could do so without fear of judgment from the mainstream world.
VampireFreaks and Its Unbreakable Bond with Rock Music
Music was the lifeblood of VampireFreaks. The platform was an essential promotional tool for countless artists in the goth, industrial, EBM, and punk rock scenes. The site featured dedicated band pages where artists could upload music, post tour dates, and interact directly with their fans. This was revolutionary at the time, giving independent bands a way to reach a massive audience.
Consequently, it gave underground bands a way to connect without needing a major record label. Many users discovered their favorite artists right on the platform. The music section itself was a treasure trove of new sounds. For many, it was the primary way to find new rock and industrial music.
Bands like Combichrist, HIM, The Birthday Massacre, and VNV Nation had a huge presence on VampireFreaks. However, the site also paid tribute to the legends. You could find communities dedicated to classic goth rock acts like Bauhaus, The Cure, and Siouxsie and the Banshees. It was a place where the old guard of goth met the new wave of industrial metal.
Ultimately, the site’s influence helped shape the listening habits of an entire generation of alternative music fans. Because of this, VampireFreaks wasn’t just a social network. It was an essential part of the rock music industry’s underground circuit. It truly changed how many of us experienced music.
The End of an Era: The Social Network Shuts Down
All good things must come to an end. As the internet evolved and giants like Facebook and Instagram took over, niche social networks found it hard to compete. Consequently, on February 1st, 2020, the social networking side of VampireFreaks officially closed down. It truly was the end of an era for many.
The announcement sent waves of nostalgia and sadness through the community. Many decade-long members felt they lost a part of their identity. The forums filled with farewell messages and memories of friendships forged in the digital darkness. A unique and beloved online world had come to a close.
However, the VampireFreaks brand did not disappear entirely. The name and spirit live on through its online store. For years, this store operated alongside the social network, selling gothic clothing and band merchandise. Today, it stands as the primary focus of the brand.
While the community forums are gone, the store continues to serve the scene it helped build. It remains a popular destination for those looking to express their alternative style. This ensures a piece of the VampireFreaks legacy stays alive. It serves a new generation of alternative individuals.
The Alternative You’ve Been Searching For: Welcome to VampFreaks
Do you miss the community feeling of the old VampireFreaks? Are you looking for a new digital home where you can connect with other alternative souls? Look no further, because a new platform has risen from the ashes. It was built to capture the spirit of what we all loved.
We welcome you to VampFreaks. This new site is not just an alternative; it is a spiritual successor for today’s outcasts. VampFreaks is a community for freaks to be themselves, support each other, and be weirdos together. It’s a space dedicated to fostering genuine connections.
VampFreaks aims to bring back the close-knit vibe that made the original so special. The platform offers a welcoming environment for everyone in the alternative scene. This includes goths, punks, metalheads, and rivetheads. You can create a profile, join groups, and dive into discussions about music, art, and life.
The entire site is built on the idea that everyone deserves a place to belong. If you are searching for the VampireFreaks community, you will find its heart beating strong at VampFreaks. Find your tribe again and help build the future of our subculture. Join a community that understands you.
A Legacy That Never Dies
The original VampireFreaks social network may be gone, but its impact is undeniable. For over two decades, it was the central nervous system of the goth and industrial subcultures. It helped thousands of people feel less alone and connected them with music that would define their lives. VampireFreaks was more than a website; it was a movement.
It proved that a community built on shared passions and mutual respect could thrive online. The friendships made and bands discovered on its pages left a permanent mark on the alternative scene. Its story is a crucial chapter in the history of internet culture and rock music. Now, the spirit of that iconic community lives on. We encourage everyone who misses that feeling to check out VampFreaks and find your people once again.
Interview with Post Death Soundtrack | From Doom / Grunge to Absolute Eclecticism
From the ever-evolving Canadian music scene comes the chameleonic project Post Death Soundtrack, which has shifted from focused doom-grunge to a sprawling, eclectic new sound. Helmed by the singular vision of founder Stephen Moore, the project has always been a vessel for raw, uncensored expression. The new 30-track album, In All My Nightmares I Am Alone, introduces this vision; one that links industrial chaos, punk fury, and stark acoustic honesty. It’s an ambitious approach, bringing a new layer of vulnerability to the project.
Introduction: Who is behind the release In All my Nightmares I Am Alone?
With In All My Nightmares I Am Alone, Stephen Moore channels a journey of personal trauma and healing through a diverse and unflinching collection of songs. The album builds on a foundation of rediscovered recordings and new, visceral material to capture the chaotic nature of a mental breakdown. The approach serves a deeper purpose: to create a “complete breakdown in audio format” that ultimately finds a powerful breakthrough. The result is both a harrowing listening experience and a profound statement on the power of unflinching artistic honesty.
"The main thing as an artist is to tell the truth. Whether it’s dark or joyful matters less."
Full Interview
In this interview with Post Death Soundtrack, we explore an evolving force in Canada’s alternative music scene. With roots in the Canadian scene and a sound that has journeyed from doom-grunge to raw industrial and avant-garde, Post Death Soundtrack crosses genre lines with unflinching honesty. Fresh off the release of his new album, In All My Nightmares I Am Alone, Stephen Moore shares the story behind his radical shift in sound and the intensely personal nature of the record.
Stephen, thanks for talking with us. The new record, In All My Nightmares I Am Alone, is an absolute behemoth. 30 tracks. It feels less like a conventional album and more like an uncensored audio diary. What was the catalyst for creating such a sprawling and vulnerable body of work right now?
Thanks so much! It’s an honor to talk with you, especially since RiffRiot has been such a big supporter of PDS. The new record was not planned in this fashion at all. I had been starting to prepare another album with He Is Me, my other industrial doom metal project, as well as combing through riffs intended for the next PDS album. I ended up coming across 10 or so songs I had recorded between 2009-2011. Around the same time, I began using Bandlab for production and it opened up some ideas and possibilities as far as creating some new structures on top of the existing ones. It eventually led to an inspired ransom note-type of album, a whole bunch of new material and a raw approach to everything. There were several nights where I didn’t sleep and there were days where I wrote and recorded two or more songs. It was a creative streak that is still continuing.
Last year’s Veil Lifter was a focused blast of doom and grunge. This new album explodes in every direction—industrial, punk, raw acoustic, darkwave. Was this sonic chaos a deliberate choice to mirror the album’s themes, or a natural result of the creative process?
Some of it was unintentional, because several of the ‘forgotten’ songs I initially uncovered were acoustic. They were actually intended for an acoustic solo album, but I’m not much of an acoustic guy at heart. I wanted to inject this album with a lot of noise to balance it out, and also explore more darkwave, electronic, gothic and industrial sounds. The album’s sound was also shaped by recording it in my apartment. Limitation can be good for art. What I complete here will end up different than at a studio where I can scream my head off.
The album’s title is incredibly stark. Can you talk about that feeling of isolation and how it weaves its way through the record, both lyrically and sonically?
Yes, I even hesitated with this one but liked how eye-catching and direct it seemed. And strangely, it also seems true. In your dreams you’re alone, and often even when you dream of someone you know or care for, they can be hard to reach or may turn their head when you try to connect with them. The album explores depression, mental illness, addiction, mourning…a lot of the things we often avoid. So I figured, let’s go ahead and make this album extremely uncomfortable. It’s comfortable for me because I have lived with these things, but it might be shocking to others. I find it comforting to express these kinds of things or enjoy art that does. The main thing as an artist is to tell the truth. Whether it’s dark or joyful matters less.
The opener, “Tremens,” is a harrowing piece of music that reportedly captures a real-life delirium tremens episode. How important was it for you to channel such raw, personal trauma directly into the sound, and what is that process like, turning a moment of crisis into art?
I felt as if I had gone through a very unique experience that few might understand, and nobody was able to help me through it. I wanted to capture the same fear and isolation in the final mixing of the song, adding elements of chaos and even resilience. It was life-affirming to make it through that while being largely ignored and on my own.
We investigated sources that indicate that some of the material on this album dates back nearly fifteen years. What was it like revisiting those older ideas and skeletons, and how did they transform when viewed through the lens of your more recent experiences?
I really enjoyed compiling the pieces I most liked and giving them a proper home within this album. Half of the songs such as “Tremens”, “Good Time Slow Jam”, “We Fall”, “Song for Bonzai” and Reckless Fever”, I built new structures on top of them and in several cases radically changed the original song. Others, such as “Desert Wind”, “Surrender”, etc, I decided to leave completely alone aside from a quick master and maybe adding more reverb.
Amidst the industrial chaos and punk fury, there are moments of stark, haunting beauty, like the instrumental “Song for Bonzai.” How do these quieter, more tender tracks function within the album’s overall narrative of trauma and breakdown?
I feel like they all end up going together somehow. I’ve always found that interesting with art and with making music. Even if I tried my best to screw an album up or make it too eclectic, it will still sound like me. It would still probably work. So I’ve learned to remove a lot of thought from my creative process and just go. I feel like Nine Inch Nails and Pink Floyd have always had those dynamics ranging from very soft ballads to crushing pieces.
You’ve described this album as “a complete breakdown in audio format, and in that there is a powerful breakthrough.” For you, what was the breakthrough that came from this process of deconstruction?
I think part of the breakthrough was a feeling of resilience and a deeper trust in myself – surviving and persevering. It was also the deep feeling of satisfaction that comes from creating and completing something yourself.
With such a massive and emotionally draining project now complete, what’s on the horizon for Post Death Soundtrack? Are you looking to continue this eclectic, cut-and-paste style, or do you feel a return to a more focused sound, like “Veil Lifter,” coming next?
Good question! I am planning on doing both, actually. I just released a 3-song EP called “White Dove” and a single called “Call me Alice”, both of which are on the darkwave spectrum. I plan to continue releasing eclectic material as often as possible. I also plan for a more focused, consistently heavy release for PDS. Regardless, there will be a lot of material. The upcoming He Is Me album, my duo with Portland musician Casey Braunger, will be a focused heavy album and it should be coming out this year.
Finally, what do you hope listeners take away from the experience of being completely immersed in In All My Nightmares I Am Alone?
I hope they feel empowered and that they can do anything.
Conclusion
Haven’t you listened to In All My Nightmares I am Alone yet? If not, you can find it in our Avant-Garde Playlist.
Post Death Soundtrack References and Links of Interest
