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 | 24 hours caching

PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.37 | 56 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.36 | 68 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.44 | 26 ratings
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RIVERSIDE Second Life Syndrome Album Cover Second Life Syndrome
RIVERSIDE
4.29 | 78 ratings
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KATATONIA Last Fair Deal Gone Down Album Cover Last Fair Deal Gone Down
KATATONIA
4.35 | 26 ratings
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RIVERSIDE Shrine of New Generation Slaves Album Cover Shrine of New Generation Slaves
RIVERSIDE
4.27 | 43 ratings
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ARENA Contagion Album Cover Contagion
ARENA
4.58 | 8 ratings
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TOUCHSTONE Wintercoast Album Cover Wintercoast
TOUCHSTONE
4.62 | 7 ratings
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PORCUPINE TREE Fear Of A Blank Planet Album Cover Fear Of A Blank Planet
PORCUPINE TREE
4.19 | 68 ratings
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BORIS Flood Album Cover Flood
BORIS
4.33 | 15 ratings
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GALAHAD Empires Never Last Album Cover Empires Never Last
GALAHAD
4.31 | 9 ratings
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MR. BUNGLE Disco Volante Album Cover Disco Volante
MR. BUNGLE
4.07 | 54 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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Kill Screen
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CRASHIE TUNEZ
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metal related Music Reviews

SWANS Young God

EP · 1984 · Metal Related
Cover art Buy this album from MMA partners
siLLy puPPy
SWANS emerged in the short-lived New York City no wave noise rock scene with their debut album “Filth” and earlier eponymous EP but in 1984 they not only released their second album “Cop” but also an extended play (EP) that didn’t really have a title at the time. It consisted of only four tracks and has been referred to “Raping A Slave” and “I Crawled” (both album tracks) but is officially referred as YOUNG GOD which is the title of the longest track, therefore it has pretty much gone down in history under that title. The fourth unfortunate track that it hasn’t been named after is “This Is Mine.” Once again SWANS dishes out a strange concoction of punk infused energy, metal tones and timbres all parading in a drone drenched stripped-down minimalism and avant-garde outrage.

Following in the bleakness and brutal nature of the “Cop” album, YOUNG GOD takes the stylistic approach to even more extreme measures offering a glimpse into the mind of the serial killer Ed Gein. The EP takes the no wave, no frills droning percussive march into even more bombastic territories as it even utilizes a chain against a metal table offering a bleaker industrial feel than “Cop” ever dared explore. Likewise, the tempos are even slower and it genuinely sounds as if the sounds that emerge evoke the darkest, most abstract and utterly violent musical offerings possible with an abrasive surreal minimalistic barbarity unlike anything ever conceived.

YOUNG GOD contains only a mere four tracks that don’t even add up to the half hour mark but in their wake leaves a barrage of emotionally bereft hypnotic parades of industrial bleakness and surreal surrender of everything familiar in musical trends of the day. Melodies are replaced by jagged torturous textures of jarring guitar distortion, arhythmic percussive drives that churn along like heart palpitations and the bleakest sewer rat perspective of sado-masochistic sonic torture sessions that incorporate downtuned dread with utter hopelessness.

While the overall effect is equivalent to “Cop,” YOUNG GODS is even more surreal and hypnotic as the guitar parts are more uniform whereas the Michael Gira’s vocals are much more emphatic and take on a more diverse repertoire of tortured prowess. The main effect of YOUNG GOD is one of disbelief as the grimy filth of the guitar and bass distortion churn along with the atypically timed rhythmic flow of the percussion. This one has been cited as a major influence to bands like Nirvana, Neurosis and Godflesh. The Swiss band The Young Gods even named themselves after it. This is about as subversively sinister as music can get before it totally becomes irregular formless noise.

This is the last bout with sheer musical bleakness for SWANS. After YOUNG GODS they would incorporate Jarboe into the band and her influence would forever change the band’s course into more diverse arenas. While the EP was never officially released beyond the initial vinyl pressings, the four tracks that appeared on it can easily be found on modern compilations of the early works. YOUNG GODS takes the unique musical lexicon that SWANS crafted in their earlier years and fleshes out only the bleakest possibilities. So intense is this stuff that more than four tracks of it and it may have caused death. Include this on the “scariest tracks of all time” list.

SWANS Cop

Album · 1984 · Metal Related
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siLLy puPPy
While many will claim that the 80s were one of the worst decades for music but i must disagree wholeheartedly since some of the most original thinking musical entities emerged from this period. On the aggressive side of the musical equation, the punk and metal that had been gaining steam in the late 70s and early 80s really took off during this period. While punk and post-punk had splintered into a gazillion subgenera, metal on the other hand was only starting to see the potential of different styles emerging from the hard rock that had developed it a decade before. Out of all this craziness came SWANS whose unique style to this day is unclassifiable as they exist in their own musical universe but was even more the case in their beginning days. This NYC band led by Michael Gira existed in a strange gray area between punk and metal although they were technically part of the short-lived no wave noise rock movement.

Their debut album “Filth” set the tone for their abrasive unrelenting assault on melody with undulating waves of distorted noise grinding in a jarring rhythmical fashion like a thousand jackhammers pounding the city streets in unison and only slightly deviating from each other until a true cacophonous din results. On their second album COP, the band of four continues this aggressive assault and takes it even further with even heavier bombastic drum and bass beats accompanied by screeching downtuned and dissonant guitar riffs along with Gira’s tortured soul vocalizations that preceded the world of black and death metal by several years. It’s no wonder that early SWANS have been cited as one of the major influences for the heavy down and dirty approach of sludge metal because the thick guitar riffs that buzz to infinity create one of the loudest albums of the early 80s as if the band recorded this in a deep industrial bunker in the darkest recesses of the cockroach filled underbellies of a post-apocalyptic world.

While many comparisons have been made with doom metal and i can honestly see those connections, i find COP is more of a unique fusion of snarling punk attitudinal posturing with heavily cranked up adrenaline inducing distortion from the guitar and bass akin to the early extreme metal of Venom and Hellhammer with a bombastic drone-like march of a souless percussive drive that hypnotizes by sheer brutal force. Part of the allure is the ambiguousness of the subject matter at hand with lyrics flirting with scenes of sexual domination in unseen corners in dimly lit dungeons. The tempo on COP is much slower than “Filth” which adds a sense of valium laden dread to the abrasiveness of the fuzzed out guitar tones grinding the eardrums into audio submission like the morbidly obese woman on the cover depicts in utter despair. COP took the art of ugliness to perfect heights as the holy trinity of audio, visual and emotional impact impaled the listener from all angles.

COP is almost universally deemed SWANS’ most brutal album and i doubt anyone could disagree once encountering this seductively repulsive sonic terror. If the guitar dissonance and vocal anguish wasn’t enough, the drum and bass experience a hypnotic repertoire that is jagged with off-kilter time signatures that succeed in disrupting melodic flow in every way possible. Both “Filth” and “Cop” as well as the two EPs of the same era are cited as a major influence on bands like Godflesh, The Young Gods and the 90s sludge gods Neurosis with an almost tribal rhythmic drive gone horribly wrong into arhythmic sado-masochistic sonic torture sessions. This is not one for the faint-hearted by any means. After this album, Gira would incorporate the feminine charm of Jarboe to the band’s sound which would change the band’s style and sound drastically. However on COP, these guys pumped out one of the most monstrous and tenebrous death marches of all the early 80s. While bleak, this stuff is morbidly beautiful in its own way as it creates its own musical lexicon.

ENCHANT Wounded

Album · 1996 · Metal Related
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martindavey87
Enchant's debut, 'A Blueprint of the World', caused a bit of a stir in the prog world when it was released back in 1993. With a combination of good songwriting and solid musicianship, catchy hooks and a sound that would appeal to fans of old progressive rock or the rising progressive metal scene, expectations were high for its follow-up.

Sadly, they're expectations that I feel the band couldn't live up to.

Now, don't get me wrong, I love Enchant, but 'Wounded' has always been that little hiccup in their discography where things just don't click for me. As before, the musicianship is impeccable and Ted Leonard's vocals are fantastic as always, but the songs just "aren't happening" as they were before.

There are a few highlights, though. Tracks like 'Below Zero', 'Pure', 'Hostile World' and 'Missing' are all good, and in fact, none of the songs are bad, but they're just not overly memorable either, especially when compared to the bands later material.

Enchant are one of my favourite groups, and it pains me to say this, but 'Wounded' is just an all-round forgettable release.

BUCKETHEAD From The Coop

Album · 2008 · Metal Related
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siLLy puPPy
Technically the third “special” release of the prolific career of the eccentric BUCKETHEAD but in reality nothing more than the early demo tapes that were recorded in 1988 while a young Brian Carroll was a mere maggot of 19 years old, however even at this stage he was possessed by aliens or something and already had amassed supernatural guitar playing powers. Even on these earliest of recordings his techniques are quite developed as he callathumps down the genre highway pumping out his famous shredfests, country bluegrass pickings (covers from Lester Flat and Earl Scruggs), techno dominated guitar jams, classical meets flamenco (Tarrega covers) and good old fashioned metal and rock.

While the production is fairly primitive as to be expected from just a mere simple recorder of the era. The tracks are basically just snippets of practice sessions with only a couple reaching four minutes. This compilation was released by popular demand on CD exactly 20 years after the tracks were laid down to tape. This is definitely one for the fans who want to dig into the vaults and hear how BH had already set in motion all of the familiar styles and idiosyncrasies that had made him the freaky rock star that he would become including all those two-handed arpeggios and solos.

I certainly wouldn’t call this essential listening but for a mere collection of demos, it is obvious even at this early stage that he who wears a BUCKET on his HEAD was quite the accomplished musician already seamlessly fusing funk with rock, electronica with jazz, classical with flamenco and the avant-garde with the OMG! A very worthwhile listen indeed. BH handles all guitar, bass and drum machine duties. Many of the ideas presented here will be quite recognizable for anyone who has sampled even a fraction of the BH canon. Nothing will come as a shock except how good he was at a young age.

RUINS Ruins - Hatoba

Album · 1994 · Metal Related
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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.

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
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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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MMA TOP 5 Metal ALBUMS

Rating by members, ranked by custom algorithm
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