Metal Related

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Metal Related is a term used on Metal Music Archives (MMA) to describe artists and releases that, although not metal enough to be placed under any of the MMA metal sub-genres, still contain a reasonable amount of metal elements.

While this tag will often be applied to releases by artists who do indeed have more fully-fledged metal releases such as Opeth's Heritage or most releases by A.C.T. after their debut, the site will often take in artists that have no releases in metal sub-genres, as Metal Related artists due to the metal elements on some or all of their releases. Examples of such artists are Neal Morse for his 2007 album Sola Scriptura, Galahad for their later releases and Beardfish for their 2012 album The Void.

As such the actual music on releases with the Metal Related sub-genre can vary greatly, both in terms of the main style and the metal elements that flavour the music.

- Written by adg211288 (August 2015)

Sub-genre collaborators:

The Metal Related team is always the same as the standing admin team. Currently:

  • adg211288
  • Bosh66
  • 666sharon666
  • Time Signature
  • Vim Fuego
  • Nightfly

metal related top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 60 min. caching

RIVERSIDE Second Life Syndrome Album Cover Second Life Syndrome
RIVERSIDE
4.20 | 76 ratings
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BORIS Flood Album Cover Flood
BORIS
4.29 | 15 ratings
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MR. BUNGLE Disco Volante Album Cover Disco Volante
MR. BUNGLE
4.13 | 54 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.11 | 67 ratings
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TOUCHSTONE Wintercoast Album Cover Wintercoast
TOUCHSTONE
4.47 | 7 ratings
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RUSSIAN CIRCLES Enter Album Cover Enter
RUSSIAN CIRCLES
4.15 | 27 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.10 | 55 ratings
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KATATONIA Last Fair Deal Gone Down Album Cover Last Fair Deal Gone Down
KATATONIA
4.15 | 24 ratings
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GALAHAD Empires Never Last Album Cover Empires Never Last
GALAHAD
4.34 | 9 ratings
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ARENA Contagion Album Cover Contagion
ARENA
4.36 | 8 ratings
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ALCEST Souvenirs d'un autre monde Album Cover Souvenirs d'un autre monde
ALCEST
4.09 | 27 ratings
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SWANS Filth Album Cover Filth
SWANS
4.28 | 8 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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BUCKETHEAD Pike 266 - Far

Album · 2017 · Metal Related
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siLLy puPPy
BUCKETHEAD (as Bucketheadland) / Pike 266 - Far / 23rd release of 2017 / All instrumental / Contains 5 tracks all titled “Far” / Clocks in at 27minutes 33seconds / everything played by Buck-buck-buckethead. It’s another lullaby album :O

“Far 1” (3:57) begins with a snail’s paced tempo. Echoey spacey clean guitar tones, intermittent bass notes and lazy dreamy percussion. A melody develops and a few distorted electrical guitar parts join in but this track is very much on cloud nine. It picks up again towards the end with power chords but never picks up tempo and reverts back to the space rock that it began as.

“Far 2” (4:34) picks up a similar melody with clean guitar and sounds like the track 1 with a few more guitar parts but picks up more distortion and creates a similar melody. Not too much different on this track but has a few guitar squeals here and there. Similarly alternates between the quiet passages and the more energetic segments.

“Far 3” (4:48) picks up imperceptibly and continues pretty much the same tempo, same riffing and very similar melody. It is a little more energetic as it immediately picks up steam and eventually a little tempo but remains fairly chilled out space rock.

“Far 4” (3:54) sounds like a record getting stuck on the same track. It begins with the same slow tempo clean guitar riffs but does pick up a bit with heavier riffing but the melody sounds almost identical to pretty much all the other tracks.

“Far 5” (10:40) the longest track begins similarly but more atmospheric ambience and begins immediately with heavier guitar riffs along with the space rock sounds. A guitar solo is finally allowed to erupt into a sped up bluesy frenzy. Although this one has more of rockin’ feel, it still is nothing more than a repetitive loop of a few chords that continue on with soloing over the main rhythm.

This one goes on FAR too long. It’s repetitive, it’s predictable and for me it’s quite boring. It’s one of those PIKEs that’s decent background music if you’re focusing on something else but as an active listening experience it just lacks enough variety. After my favorite PIKE of 2017, this one ranks amongst my least liked. Ah, BUCKETHEAD. You really know how to keep changing things up!

OPETH Sorceress

Album · 2016 · Metal Related
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Necrotica
Sometimes it’s hard to determine if a review is really going to sway people anymore. With a number of bands, especially ones with established fanbases, it often seems like people’s minds are set pretty quickly on a new album or project. But the real fun happens when a group has a polarizing impact on its audience; there’s an odd pleasure in watching a bunch of critics fight each other on a band’s quality or musical direction, preferably with some popcorn on standby. And since 2011, Opeth has been one of the most interesting bands to witness for this very reason. Their 2003 record Damnation might have been an interesting deviation from the typical progressive/death metal formula we know them for, but hey, at least Ghost Reveries and Watershed brought those elements back! Surely they wouldn’t switch to a different style for good, right?

Right?

Ok, so most of us know what went down after Watershed. But, for the people who aren’t aware, I’ll give the rundown. Essentially, Heritage was a major switch for a band who were mostly rooted in extreme metal at this point. Sure, the progressive rock stuff was always there from the beginning, but from Heritage onward, the band decided to abandon metal altogether to create something more rooted in the golden age of progressive rock. The title of the album was pretty apt, as it seemed like a deliberate tribute to the band’s 70s roots. What fans didn’t expect, however, was that the band stayed on this path up until the present day. Pale Communion ended up being more of a prog throwback than its predecessor, and the band started sounding more and more like a stylistic pastiche who forgot their original musical identity. So when these elements started popping up again on the new record Sorceress, many people’s minds were already set and the fanbase battlegrounds were established as usual. So what’s the point of reviewing something if that’s the case? Well, hear me out on this one.

Right from the get-go, Sorceress plays out like a long buffet of musical stylings. It’s really fun hearing Opeth go from genre to genre on this album, as the record sees them tackle folk, progressive rock, progressive metal, jazz, 70s classic rock, classical, blues, and more. This does lead to some disjointedness from time to time, but the adventurousness of Opeth’s songwriting is what anchors them here. You almost have no idea what to expect when the introductory folk number “Persephone” sets the tone, but the following title track is much more effective at giving an overview of the experience. Technical drumming marries bizarre keyboard motifs, until a doom metal riff drives the distorted guitar playing. It’s like a funeral march, but with a heightened sense of fury in Mikael Akerfeldt’s mean vocal performance. Say what you will about the musical content, but I simply can’t deny how strong Akerfeldt’s singing is on this album. From the mid-range Ian Anderson-esque performance he gives on the light folk rock ballad “Will O’ the Wisp,” to the raspy high notes he provides on the title track and “Chrysalis,” the man’s dynamics and range have improved over time.

But these aren’t the only strong points of Sorceress. Go a little deeper, and you’ll find the aforementioned “Will O’ the Wisp,” a simple acoustic guitar piece that evolves into a beautifully melodic and emotive electric guitar solo. The blues tone melds perfectly with the acoustic framework, and the rhythm work is suitably subtle underneath the great melodies. “Sorceress 2,” despite the lazy title, is also a highlight here. It’s entirely driven by vocals and acoustic guitar work, and the blend of major and minor keys creates a fascinatingly unsettling piece of music. And if there’s anything that this album has shown me, it’s to never underestimate the versatility of Opeth’s band members. Just listen to the incredible buildup and climax of “Strange Brew” (nice Cream reference, by the way), in which Joakim Svalberg’s eerie keyboards create a suspenseful vibe before anything else kicks in. The piano work keeps building and building… and the guitar work comes in briefly… and then the band just goes ***ing nuts. The playing is controlled and precise, but the discordant keyboards and Martin Axenrot’s nimble drumming create sort of an organized chaos. Eventually, the track erupts into a gloriously bluesy metal section with amazing guitar solos topping it all off. The entire song is a masterpiece of atmosphere and dynamics, and the musicianship is top-notch the entire way through. This is easily the album’s centerpiece.

But as one might imagine, not all is perfect here. First off, the lyrics have taken quite a huge nosedive from previous Opeth efforts. Remember those amazing stanzas the band would write in the old songs? Here’s a sample from 1999’s “Godhead’s Lament”:

Marauder Staining the soil, midst of stillness Beloved fraternity to an end Red eyes probe the scene; All the same Stilted for the beholder Depravity from the core Handcarved death in stoneladen aisles

And now look at an excerpt from “Will O’ the Wisp”:

When you’re tired of waiting And time is not on your side When you’re tired of hating me You no longer want to hide; Stuck to the failures of your life Marred with the sorrows of your strife

Not that simple lyrics are necessarily bad, of course, but there’s a lot of cheese to sift through on Sorceress. The lyrics tend to be both cliched (especially on the title track) and corny, which is a far cry from Akerfeldt’s previous work with the band. Also, as I stated, things do get disjointed once in a while. There probably could have been a better way for the band to transition from the beautiful folk of “Will O’ the Wisp,” to the abrupt metal intro of “Chrysalis,” or from “Persephone” to the weird groove of the title track. The album’s structure seems a bit confused and unpredictable, which proves to be both a good and bad thing in the end. While it keeps the listener guessing, it also means the record struggles to find a real concrete direction to take.

Still, part of the fun with Sorceress is the variety. It’s a true musical adventure, and while the derivative moments of Pale Communion rear their heads here and there, the diversity on this record is crucial to replaying it over and over again. This may not necessarily be the best Opeth album I’ve heard, but it’s the most fun I’ve had with an Opeth album in a long time. Many of you may have your minds made up already, but for those on the negative side of the fence, I recommend giving the record another listen. You might just find a few gems and a few surprises lurking within this glorious mess of an album.

BUCKETHEAD Population Override

Album · 2004 · Metal Related
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siLLy puPPy
Even on the earlier albums BUCKETHEAD was trying to please an eclectic crowd of music lovers. For music nerds such as myself, he would release albums such as “Island Of Lost Souls” delving headfirst into experimental nosedives into the unknown that left the uninitiated scratching their heads as to what they were listening to however with the followup his avant-garde expression, BUCKETHEAD released his twelfth album and second of 2004 in the form of POPULATION OVERRIDE which was more of collaborative effort with keyboardist Travis Dickerson and drummer Pinchface.

The album was pretty much a collection of spontaneous riffs that were floating around during the sessions of the Cornbugs album “Brain Circus” and kinda just took off as extended bluesy jams with a funky bass back support system. While originally released in 2004 with only ten tracks, it was reissued in 2014 as a double vinyl LP album that included an extra eight tracks although the extra running time only extends from 55:22 to 70:33 as the extra tracks are fairly short with most running under the two minute mark. The album has a the theme of overpopulation by means of the track titles only since all is instrumental.

The album is supposed to be a tribute of some sort to the great vinyl records of the 60s and 70s and i have to say that the first track “Unrestrained Growth” does very much remind me of something that could have occurred in an alternative universe where the Grateful Dead jammed with Sly & the Family Stone with Hendrix dropping in for some lead guitar support. The album is actually quite varied in sound with some upbeat funk rockers like “A Day Will Come” that sound like Herbie Hancock hung out with Budgie for a few sessions! Slower tracks like “Cruel Reality Of Nature” and “Earth Heals Herself” are space rock numbers bringing classic 70s Pink Floyd to mind without coming off as too derivative since there is always a slightly jazzy blues feel to many of the tracks and many sprinkled with retro mellotron and organ runs.

Overall POPULATION OVERRIDE is a very enjoyable journey into a melodic jam session that runs the gamut of heavier funk-laden rock, bluesy shuffles and space rock to contemplative slower tracks that are more ethereal. All of the tracks have catchy grooves and a sense of lament does permeate the atmosphere which in a way does contribute to the overarching theme. The extra six tracks on the vinyl re-release come from different albums actually. “Inferno,” “Braingate” and “CS-118” come from the first Cobra Strike album (side project band) and “Covert,” “Blue Crystal” and “Aluminum Clouds” were lifted off of the “Funnel Weaver” album which makes them honestly a ridiculously lame attempt at creating extra tracks for a re-release therefore rather inessential unless you must own every single issue of every single recording of BUCKETHEAD which may either bankrupt you or send you to the insane asylum. Or both.

BUCKETHEAD Bermuda Triangle

Album · 2002 · Metal Related
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siLLy puPPy
The year 2002 was the beginning of the prolific years for BUCKETHEAD as it was the first time he released more than one solo album within a 365 day period and after dipping his toes in the fertile ground of metal meets electronica cross-pollination in the 90s he finally went full force with “Funnel Weaver” which included metal guitar riffs and licks mixed with drum sample loops, sound effects and electronic accoutrements. On BERMUDA TRIANGLE he takes those ideas and evolves them from the initial stages that made “Funnel Weaver” sound like a rough draft for something greater. Add the turntable and hip hop extraordinaire Extrakd to the mix and you have a recipe for one of the coolest avant-electronica tinged metal, rock and folk this side of that scary sector of the Caribbean where planes and ships have been vanishing from the face of the Earth for eons.

BERMUDA TRIANGLE indeed has a theme going on, well at least as far as the titles are concerned which all correspond to the sea, sailors and all things associated with the mysterious sector of the inner Atlantic Ocean. Everything about BERMUDA TRIANGLE is a major step up from “Funnel Weaver.” The tracks are more developed even though not necessarily longer however a couple do top the four minute mark. Also they are more diverse in style, mood and dynamics with lots of genres being jostled around like an empty bottle of rum on the poop deck as some like “Flight” are raucous filthy metal guitar riffs with hyperbolic drum tempos while others such as “Seas Of Expanding Shapes” consist of acoustic guitar chords strumming along with twitchy glitchy electro-beats bobbing up and down like a buoy in a stormy night. Also included are wildly freaky electronic effect tracks such as “The Triangle Part 1: Extrakd” which utilize all kinds of tricks and trinkets for bizarro mondo electro-dynamics.

What’s also cool about this one is that the music consists of a diverse sonic palette as well lots of vocal samples. Out of the 19 tracks you will here metal, blues, rock, funk, folk and healthy doses of avant-garde. The creativity is off the charts on this one and despite this being highly experimental in nature has the right kind of hooks to sink in deep from the first listen. Oh, and the production is top notch as well! BERMUDA TRIANGLE remains one of my favorite early BUCKETHEAD albums since it is consistent, varied and really takes the listener on an uncharted journey. The electronic parts are just as clever as the compositions and skillfully utilized that everything seems to fall into place. With few stumbling blocks i find this to be a highly satisfying release that shows BH at his peak in the electro-fusion world. Many of my favorite early albums are when he collaborates since he tends to hook up some of the most fertile musical minds in the biz. BERMUDA TRIANGLE has it all. Plenty of mysterious, awe-inspiring freaky types of tracks and nice subdued somewhat “normal” types to pacify the listener’s jittery nerves. This one makes me want to book a cruise from Miami to Bermuda and watch episodes of Gilligan’s Island today!

SECRET CHIEFS 3 Book Of Souls: Folio A

Album · 2013 · Metal Related
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Warthur
Secret Chiefs 3's albums are generally rather consistent, Trey Spruance keeping things fresh by shifting quickly between styles (each of the component "satellite bands" representing a different genre). As such, Book of Souls is more or less more of the same, with some warped muzak for imaginary TV stations and corporations woven through the proceedings.

The big news here, mind, is that Mike Patton joins on vocals on one song, marking the first time Mike and Trey have reunited in the studio since the end of Mr Bungle. This is for La Chanson de Jacky, a piece originally by the great Jacques Brel and reinterpreted in an English-language version by Scott Walker. Both Walker and Brel's versions of the song are blended together here and fed through a Secret Chiefs 3 filter - specifically, through the style of the satellite band Traditionalists, who play Goblin-esque material suitable for Italian B-movie soundtracks.

Pairing Patton with the Traditionalists is an inspired move - not only does he have the vocal chops to do Brel and Walker justice, but also his own musical interests and that of the Traditionalists clearly converge, seeing how the Fantomas project has revealed Patton's own fondness for movie soundtracks. Will we see more Patton with the Secret Chiefs? Probably not much - were he to do a full album with Trey they might as well bite the bullet and make it a Mr Bungle reunion, after all - but hopefully we'll see more guest spots from him in the future, particularly where the Traditionalists are concerned.

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PORCUPINE TREE Arriving Somewhere...

Movie · 2006 · Metal Related
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Warthur
Focusing on the more metal-oriented material from Deadwing and In Absentia - though notably steering it back in a more rock-oriented direction in order to allow this material to sit a little more comfortably beside the "indie prog rock" stylings of Stupid Dream, Lightbulb Sun and Recordings (picks from all of which surface here). Fans of their earlier psychedelic and space rock styles might be disappointed that those aren't represented, but on the plus side there's a liberal sprinkling of rarities here such as the glorious Buying New Soul as well as Revenant, So-Called Friend and Mother and Child Divided, those three songs having only appeared on various special editions of Deadwing. Not the definitive Porcupine Tree live experience, but a pretty decent one nonetheless.

RIVERSIDE Reality Dream

Movie · 2009 · Metal Related
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progshine
My polish girlfriend gave me this DVD on my anniversary in May, I really didn't know what to expect of the band live cause I only knew their studio recordings. Like I always do, I watched the bonus DVD first, I like to see backstage footage, interviews and extras much more than the proper live presentations on most of the time (maybe the only exception is Live At Wembley by QUEEN).

The first DVD is the show itself, and it's a very good recording, both audio and video, and seeing them live male me wonder how good is Mariusz Duda, cause as a bass player myself, I know how hard is to play some lines while you sing, Mariusz dows a fantastic work live, as the whole band.

I think it's a great buy for any prog rock fan, this polish band deserves more light on our '70's' world.

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