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
4.21 | 78 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 | 68 ratings
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TOUCHSTONE Wintercoast Album Cover Wintercoast
TOUCHSTONE
4.47 | 7 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.10 | 56 ratings
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KATATONIA Last Fair Deal Gone Down Album Cover Last Fair Deal Gone Down
KATATONIA
4.15 | 25 ratings
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SWANS Filth Album Cover Filth
SWANS
4.34 | 9 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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RUSSIAN CIRCLES Enter Album Cover Enter
RUSSIAN CIRCLES
4.11 | 27 ratings
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ALCEST Souvenirs d'un autre monde Album Cover Souvenirs d'un autre monde
ALCEST
4.09 | 28 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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metal related Music Reviews

RUINS Ruins - Hatoba

Album · 1994 · Metal Related
Cover art Buy this album from MMA partners
siLLy puPPy
While the unhinged drummer Tatsuya Yoshida is often referred to as the Japanese version of Christian Vander for his avant-garde crazed and adrenaline fueled take on Magma's zeuhl contributions to the musical world, on this particular early collection of recordings (1991 - 1993) where he hooked up with experimental and psychedelic noise rocker Omoide Hatoba, he created a very, very strange and bizarre album that will surely leave anyone who dares to enter these realms with the lingering question of if most of this could actually be called music! While zeuhl rhythms dominate the majority of RUINS releases, on this one it is the pure essence of noise rock laced with the extreme and utmost experimental features that could leave the uninitiated running away in sheer terror. On this release there is no doubt that RUINS (sometimes referred to as RUINZHATOVA) runs side by side with label mates the Boredoms in creating the most bizarre and extreme sonic expressions possible all the while maintaining a humorous journey through the unexpected. If you think RUINS in general produces some of the most asymmetric angular bizarreness in the experimental rock world on their "normal" albums then you really need to check out this freak-a-zoid world of the oblique and free form psychosis rock that equally eschews the norms at every step similar to the early Boredoms albums while worshipping the cult of unconventional and placing pandemonium on center stage with a crown royale gracing its riotous presence.

This album is (for the most part) a series of short attitude filled with short punk (in attitude) mode tracks that come and go rather quickly most lasting less than a minute but some reaching the unthinkable three minute mark. Sometimes some thrash metal is added, sometimes weird sound effects, but always highly unstructured musical creations that offer glimpses into the musical ward of an insane asylum but somehow always finding a glimmer of resolution. Graced with ridiculous track titles like "Macrocosmic Microcassette," "We Are All Frozen Stiff," "United States Of Stink Bug," "Geeg Geeg Geeg," the short but sweet post-punk meets avant- prog tracks that deliver all kinds of bizarre twists and turns ranging from funk guitar to chanting to heavy distorted punk / thrash guitar to acoustic psychotic folk that makes me think of Tiny Tim during an acid trip. Everything about this album is meant to be jarring as one idea simply harpoons the previous down. While not quite to the level of early Boredoms where things change by the second, this callithump of creativity at least has the decency of staying somewhat stable for enough time to grasp what is going on.

While the first 25 tracks are an interesting sonic rotisserie of one bizarre idea after another, the true test of the listener's patience comes from the very last track "Rock + 1 (Challenge Your Face)" which lasts a staggering 24 minutes and 51 seconds! This is a true shocking contrast to the in-yer-face punk fueled shorter tracks that make up the first half of the album. The last track could possibly qualify as the most unlistenable piece of, a hem, "music" ever recorded down to tape (as it was in 1991 when this was recorded). This long and surprisingly LOOOOONG track is nothing more than a totally bizarre and wild a cappella ride that has the pseudo-form of creating melodies that has many vocal parts delivering the most bizarre interpretations of monkeys, dog wining and chicken clucking. It goes on for a staggering 20 minutes adding counterpoints and occasionally bizarre and weird echo effects. It's the kind of stuff you can't believe you are hearing! After those 20 minutes, it actually does some weird instrumental things and then turns into the first track of the first album by Italian avant-garde jazz fusionists Area ("Luglio Agosto Settembre Nero")

Just when you think it will never end, it does. This album is definitely a 10 out of 10 on the experimental bizarre-omater. It challenges all notions of what music is. It disturbs the senses like an atheist at a sacred religious ritual. It is Copernicus to the Catholic Church. It's just wild. It all sounds like a fun-fueled event that was caught on tape and subsequently released to the public. Everyone on board is having a very good time as evidenced by the laughter on board. This is free form rock of the highest degree with a healthy dose of Zappa humor on board despite the desire to utterly eschew every orthodox rule of established rock ethics. This is a must hear but will hardly be something that demands repeated listening, however there is something subtly addictive to this if you are an adventurous music lover and i would highly recommend this for everyone to at least check out once. While hardly essential, it is nonetheless strangely satisfying for those seeking out the most bizarre and heterodox musical creations to be heard.

RUINS II

EP · 1987 · Metal Related
Cover art Buy this album from MMA partners
siLLy puPPy
RUINS released their second EP a year after the first and doubled the length by upping the time length to over 20 minutes! They also changed up their sound quite a bit. This begins totally different as it has a mix of melodic bass lines that have a rather subdued effect although the drums are chomping at the bit for a major energy explosive release. After the short opening “Human Being” which belies their true nature, the appropriately titled “Entropy” unleashes the full RUINS effect with Kimoto Kazuyoshi abusing his bass and Tatsuya Yoshida going wild on his retrospective drum kit. Both men scream and holler like animals being violated in test labs and the mix of chaotic zeuhl rhythms and avant-punk chaotic dissonance destroy the musical landscape like a tsunami erasing entire coastal villages.

The main difference between the first EP and RUINS II is that this one has more moments of reflection and contrast in the form of straight forward melodic and rhythmic intros and snippets of sanity between the free-for-all noise rock meets avant-prog and zeuhl rhythms although they are short and to the point but at least recalibrate the listener’s perception before taking the chaotic train to nowhere. The slower parts are much more in line with noise rock bands like Sonic Youth or The Jesus Lizard despite the wild and unhinged vocals but when the duo jump into the swirling eddies of brutal avant-prog they create a maelstrom of time sig tornadoes and unrelenting brutality that the listener finds difficult to believe that only two guys are creating. RUINS II is a step up from the debut in that it has more layers of sound, more diverse musical approaches and is slightly more accessible but still would be deemed extreme noise by the uninitiated who happened upon this.

Although origianally a 10 track EP, it has been released on CD with 19 extra tracks under the titled "Ruins II & 19"

RUINS Ruins

EP · 1986 · Metal Related
Cover art Buy this album from MMA partners
siLLy puPPy
Although intended to be a power trio the Japanese band RUINS (there’s an Australian band of the same name) ended up as consisting of only two members: drummer/vocalist Tatsuya and bassist of which there have been four in the history of the band. On this debut EP that to date has only been released on 7” vinyl finds Kawamoto Hideki handling bass duties. Therefore there is no guitar to be heard but rather a cacophonous noise rock production that utilizes the Magma inspired zeuhl rhythms as inspiration but at this point these guys were into free improvisation with highly distorted bass tones, frenetic brutal prog workouts and screamed, shouted and screeched lyrics that were created in their invented language (the Magma connection runs deep).

On this short but sweet debut release that came out in 1986 they manage to cram six tracks into a 10 minute and 17 second release. The whole thing comes off as an avant-punk type of sound actually as the bass gallops so fast that it sounds like a guitar frenzy at times and some of the rhythms remind me more of a Dead Kennedys on speed than anything Christian Zander pumped out however the Magma influences are quite pronounced in the vocals even if the blatant instrumental aspects hadn’t quite conjured up the sophistication to evoke their favorite prog superstars. RUINS is the logical beginning of this band that has always been about speed, distortion and avant-bravado. This EP was never released on CD but is on YouTube and many of the tracks are on the compilation “1986-1992” however “Crisis,” “Catastrophe” and “Nocturne,” half the EP is missing. This is decent but nothing totally unexpected or overly different than their more easily obtainable 90s releases.

LEPROUS Malina

Album · 2017 · Metal Related
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siLLy puPPy
The name LEPROUS isn’t just made up gibberish in an Elvish language or anything of the sort. It is in fact an English word that in the biological world means having or consisting of loose, scurfy scales (as well as the meaning of ‘having leprosy.’) “Scurfy” is a term that denotes a loose scaly crust coating a surface and you know what? That kind of describes the music of LEPROUS. No denying that their mere five album career has been an interesting one since the band jumped to the top of the list of the progressive metal world with “Tall Poppy Syndrome” and has been changing things up slightly ever since. Eight years after their highly esteemed debut they release their fifth album MALINA which at this point seems almost like a totally different band. Except for that scurfy thing. Yes, the surface with a loose scaly crust. What the f.u.c.k is he talking about? - you ask.

The music of LEPROUS may differ stylistically from album to album but one thing has remained a constant, that being the melodic powerful vocals of Einar Solberg whose tender and affectionate operatic antics have always been the focus and in the limelight and therefore the “surface” of the band’s style and sound. The jittery glitch guitars, the bouncy fretless bass slides, symphonic, electronic touches and the myriad styles of drumming that accompany Solberg are ever changing in dynamics, tempo, time signatures and delivery and count as the “loose scaly crust” which sounds like its flaking away from the lyrical delivery. I swear i’m not tripping as i write this. In short, the music is the wild card as it gravitates around the vocal performances.

On MALINA, Norway’s masters of jittery staccato hyperactivity have toned things down a bit as they continue to pull an Opeth and down the path of de-metalling their sound. While the first couple of albums were chock full of a smorgasbord of sounds, riffs and styles from the metal universe including ferocious death growls and spastic thrash fury, MALINA is surprisingly placid and sombre and only has two tracks that have even a fraction of the intensity and drive as their earlier albums. But this hasn’t come as a shock as “Coal” and “Congregation” both began the de-metallization process and instead LEPROUS have continued to ratchet up their progressive rock leanings. Likewise MALINA takes the next logical step on this trajectory by creating more elaborate compositions, more clever melodic developments, cleaner and sharper production values and a slicker overall sophistication that once all the metal defenses are withdrawn reveal some of the band’s original influences. Personally i have always viewed LEPROUS as more of a sophisticated art pop rock band that just happened to add healthy doses of metal to the mix, so i for one am not shocked that they would tackle a fairly metal free expression of their inner world.

The number one culprit in the inspiration pool is clearly Radiohead and that has never sounded so true as it does on MALINA. Solberg is a dead ringer for a Thom Yorke only Einar just happens to have a larger vocal range and sounds classically trained. Add the sombre electronic atmospheres that surround every note that slinks and slides around like a slithery snake as well as the electronic beats that bring their trip hop influences Massive Attack and The Prodigy to the forefront as well that they seamlessly blend in with the rock instrumentation and you have quite the eclectic mix of sounds although these accoutrements are usually banished to the background of the sonic stage except for intros and moments of contrast. MALINA also sees a shift to a more symphonic sound as Raphael Weinroth-Browne joins the cast and crafts some mean cello and string sections that add a classical touch to certain tracks (such as the rock-free zone on “The Last Milestone.”) Likewise there has been a change of the guard on guitar as Robin Ognedal replaces Øystein Landsverk however the gravitational style of the LEPROUS sound has indoctrinated Ognedal as a dead ringer for a replacement.

Like many a progressive metal band that sheds a layer of their more hardened epidermis to make room for more of the soft underbelly of their layers, MALINA will surely divide fans into the usual two camps of those who dislike new directions especially down the unthinkable path of de-metallization and those who are quite eager to follow the band into any musical pastures in which they graze the yumminess of their musical harvests. LEPROUS remains true to their art pop rock instincts that have been present from day one and despite new ways of delivering their inner tributes to Radiohead, trip hop and bands like Porcupine Tree, they still adhere to the same idiosyncratic sound that got them noticed in the first place. MALINA is yet another powerful musical expression from LEPROUS that careful balances their progressive and math rock tendencies with clever and catchy melodies and possibly qualify this as some sort of indie pop rock.

Of the eleven tracks (twelve if you have the one with the bonus “Root”), only two “Captive” and “Coma” have the instrumental heft of a true metal song in energetic delivery but even these are built in a strange out-of-sync fashion with Solberg’s vocals being rather calm in response to the musical hurricane around him. For those who have always felt LEPROUS was too proggy or artsy for their own good might find MALINA a more suitable listen while metalheads who deem anything else a sellout should steer clear. For those with a more eclectic palette, MALINA is an excellent power indie pop prog run for its entirety run with one strong, addictive track after another showing a more subdued and intricate way of weaving their distinct tapestry of sound. Yeah, i do agree that this is not the best they have to offer but it is by no means a throwaway album that shows the band looking for a retirement home. I could easily see a future release jumping back on the metal bandwagon but in the meantime i’m loving this one a lot.

DARKHER Realms

Album · 2016 · Metal Related
Cover art Buy this album from MMA partners
Necrotica
One thing I've always loved about album art is how it reflects the music within. Of course the music should also speak for itself, but album covers can still give a taste of what's to come when done correctly. So, reader, I make this request: just look at the art for Darkher's debut album Realms. A woman with a black cloak looks down, as if in grief or simply melancholy, as she's enveloped in different shades of gray encompassing both the sky and the ground. A mass of storm clouds can be seen up above, and there's an aura of bleakness to the overall picture. After giving Realms repeated listens, I can certainly say that it lives up to its album cover in every way.

To clarify things, here's the deal: Darkher is considered the alias of a singer-songwriter known as Jayn Wissenberg, hailing from Yorkshire, England. In actuality, Darkher are currently a trio, the other members being guitarist Martin Wissenberg and drummer Shaun "Winter" Taylor-Steels (according to Facebook, at least). However, Jayn is definitely the heart and soul of this project; she's the vocalist, the primary guitarist, the producer, and the lyricist, so it's fair to say that she's the driving force. When you get to the music itself, Realms is a gothic experience with elements of doom metal, folk, post-metal, and ambient music; the atmosphere ranges from deeply melancholic to eerily unsettling, and there never seems to be an uplifting moment to be found. By far, the best aspect of the record is Jayn herself. Her vocals are simply wonderful, with a haunting and almost operatic quality to them, and they're layered over the music with a large amount of reverb. This works especially well in songs like "Hollow Veil" and "Wars," in which her evocative voice clashes with the metallic doom-laden guitars just perfectly.

Despite a consistently dark and grim atmosphere, there's still variety and genre-bending to be found. Realms happens to be one of those records in which the metal elements don't necessarily outweigh the softer moments. In fact, the intro "Spirit Waker" and the interlude "Buried Pt. 1" rely entirely on dark ambient instrumentation to establish the desired atmosphere; the latter is especially effective because of how Wissenberg's drawn-out vocals meld with the dreary soundscapes. Needless to say, it's a great fit for a song called "Buried." Of course, there's also "Buried Pt. 2," which builds on its predecessor with more frequent dynamic shifts and murky electric guitar riffing mired in incredibly slow tempos. But unfortunately, the one big problem I have with Realms has to do with the tempos in general. As much as the slow riffing and long instrumental buildups assist in enveloping the listener in the album's world, it also causes the record to be slightly homogeneous after a while. For instance, "Foregone" mostly relies on one particular motif as it builds and builds into a clangorous climax of pounding guitars and drums, but the sluggishly paced buildup feels a bit tedious and dull. At the very least, the track probably shouldn't have been the longest on the album at over 7 minutes. Regardless, the record still ends on a strong note with the fittingly-titled "Lament." It's one of the strongest pieces on the album because of its softer dynamics, and the acoustic guitar balladry is beautifully combined with Jayn's droning vocal performance. Ending Realms with something more somber and folk-influenced was a nice change in pace after the doom/post-metal material preceding it.

Honestly, as a debut, this is extremely impressive. It's gorgeous, intense, doomy-as-hell, and it takes pride in engulfing your ears in incredibly thick layers of darkness. Again, much of the album's quality comes from Jayn Wissenberg's sheer talent and charisma, especially behind the mic. Between her hypnotic vocal performances and the post-metal-oriented instrumental work, Darkher have proven that establishing a strong atmosphere and focusing on subtle songwriting shifts are among their strongest talents. The downtrodden beauty is really something to behold, and it'll be interesting to hear how they follow it up next time around.

metal related movie reviews

PORCUPINE TREE Arriving Somewhere...

Movie · 2006 · Metal Related
Cover art Buy this album from MMA partners
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
Cover art Buy this album from MMA partners
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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