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
  • Vim Fuego
  • Nightfly


Click for Full Sub-Genre Chart

metal related top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 24 hours caching

NEAL MORSE One Album Cover One
NEAL MORSE
4.82 | 9 ratings
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SPOCK'S BEARD Snow Album Cover Snow
SPOCK'S BEARD
4.88 | 8 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.56 | 18 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.44 | 32 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.33 | 68 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.31 | 82 ratings
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SPOCK'S BEARD V Album Cover V
SPOCK'S BEARD
4.75 | 8 ratings
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RIVERSIDE Second Life Syndrome Album Cover Second Life Syndrome
RIVERSIDE
4.30 | 89 ratings
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KATATONIA Last Fair Deal Gone Down Album Cover Last Fair Deal Gone Down
KATATONIA
4.35 | 29 ratings
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AYREON The Theory of Everything Album Cover The Theory of Everything
AYREON
4.30 | 41 ratings
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RIVERSIDE Shrine of New Generation Slaves Album Cover Shrine of New Generation Slaves
RIVERSIDE
4.27 | 50 ratings
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ARENA Contagion Album Cover Contagion
ARENA
4.50 | 11 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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SHINING In the Kingdom of Kitsch You Will Be a Monster

Album · 2005 · Metal Related
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siLLy puPPy
After two albums of pure acoustic jazz that in reality resulted in competent tribute sessions to early 1960s John Coltrane and Ornette Coleman, SHINING’s mastermind Jørgen Munkeby decided to radically change the band’s musical style on the third album IN THE KINGDOM OF KITSCH YOU WILL BE A MONSTER. The musical style was inspired by fellow Norwegian band Motorpsycho who itself had transmogrified from a typical stoner rock band to a unique classically infused progressive rock band. While this stylistic shift saw the same quartet that performed on the first two albums, there was a great shakeup of instrumentation as well as including a few guest musicians that added touches of French horn, trombone, trumpet and even tubular bells.

Munkeby continued to play his usual avant-garde jazz saxophone, flute and clarinet parts but also took on the additional duties of electric and acoustic guitars, electric bass, piano, mellotron, church organ, celestra, harmonium and accordion. He also added the unthinkable sounds of drum programming which gives the album an electronica crossover feel thus bringing SHINING into the world of nu jazz which they had decided to avoid when they started out. Pianist Morten Qvenild continued with an expanded keyboard palette that included Rhodes piano, synthesizers, clavinet, celesta, mellotron and drum machine programming but clearly was not on board with these new experimental sounds and left the band before the album was even released.

Likewise bassist Aslak Hartberg would switch to electric bass and doubling on drum machines and samplers but was also not feeling Munkeby’s passion for this new weirder experimental music and left before the next album “Grindstone.” The only other member that wasn’t significantly affected was drummer Torstein Lofthus who continued to perform his technical percussive prowess and stuck around for the next several albums which experienced the band’s most successful period. After existing in the world of jazz for a few years, the band had to reinvent itself and moved to the Rune Grammofon record label which specialized in experimental and improvisational music. From this point on SHINING would never look back at its jazz origins and continue to pioneer some of the most bizarre jazz hybridization in all of the rock universe.

IN THE KINGDOM OF KITSCH YOU WILL BE A MONSTER was strongly influenced by the French classical composer Olivier Messiaen and his complex mode of limited transposition which by definition refers to musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups. Although inspired by the more avant-garde world of Western classical music, IN THE KINGDOM was more of a bizarre mix of progressive rock and experimental jazz that included moments of metal bombast, the latter of which would be fully unleashed on future releases. The album also featured a plethora of electronic noises by means of synthesizers and drum machines and sounds more like something Squarepusher would release than SHINING’s early two albums.

While jazz purists who reveled in the band’s effort to revisit the early 60s with uncanny purity may have felt betrayed, for those who long for the next prestigious example of art rock that includes an ecstatic orgy of sonic differentials, IN THE KINGDOM OF KITSCH YOU WILL BE A MONSTER is a monster indeed with avant-garde classical underpinnings teasing the sounds of acoustic jazz, industrial noise effects and progressive rock accoutrements into a spell-casting series of dreamy sequences punctuated by random sounds of cathedral organs and accordions which collectively allude to a plethora of cultural references. While this album serves more of a transition album between the jazz beginnings and the prog metal experimentalism that followed, despite existing as a unique entry in the band’s canon is an intriguing and oft exhilarating listening experience.

While retro-jazz is a satisfying tool of mastery for up and coming musicians, the wealth of classic jazz negates any true need for modern releases that don’t have something new to offer and luckily Munkeby got that memo. The decision to take the plunge into the unknown was a wise one as IN THE KINGDOM was well received by critics and caught the proper attention outside of the confines of Norway and despite tamping down the jazz still won the Alarm Award for best jazz album in 2006. This is indeed one of those extremely complex heady albums that dwells in abstractness and surreality and for those not indoctrinated into the complexities of avant-garde jazz and 20th century classical music dressed up with weird as fuck electronica, this will probably come off as a bunch of random noise for most the album’s playing time but for those who relish these rare moments of competency then this album is quite satisfying indeed. While the metal aspects are minimal at this point, the right ingredients had been sowed for a fruitful harvest that would culminate on the band’s following release “Grindstone.”

RIVERSIDE Wasteland

Album · 2018 · Metal Related
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Kingcrimsonprog
Polish Prog Metal band Riverside suffered the terrible loss of their lead guitarist Piotr Grudziński less than half a year after their superb sixth full-length studio album; Love, Fear & The Time Machine.

After the difficult decision to carry on without replacing him, their next and at time of writing newest album was released in 2018 via InsideOut Music and met with deserved acclaim (and surprisingly in this day and age, sold relatively well for a prog album, continuing their streak of gold albums in their homeland).

It can’t have been easy carrying on without such a key member of the band, who’d been there since the very start, but somehow they managed to create a beautiful, affecting, and very interesting album with no loss of quality, while also not losing their ‘sound’ or ‘spirit’. If they had understandably chosen not to continue after 2016, they would have been leaving us with a wonderful catalogue. As it stands however, on Wasteland they do a masterful job of continuing their genuinely near-flawless discography and only solidifying their legacy as absolute masters of the genre.

The actual playing and vocals are top notch. The production and mixing and have a tasteful, stripped back, classic-sounding, raw feel that perfectly suits the material and the place in the band’s discography.

The real magic of the album however, comes from the material here, which is simply wonderful from start to finish. There isn’t one track I would lose, edit or alter. Nine perfectly balanced no-fat tracks over 50 minutes and not outstaying its welcome.

Its so good all the way through it could be difficult to choose highlights, but if you like the band at their proggiest, then check out nine-and-a-half minute “The Struggle For Survival” which features a bit of a 21st Century Schizoid Man/Heart Of The Sunrise/The Necromancer vibe with a lot of instrumental muscle flexing with some brilliant bass and keyboard showing off (and Maciej Meller’s guest guitar solo is especially quite entertaining in a Fripp sort of way). If however you prefer the band just writing good songs; then the varied ‘Veil Of Tears’ and the haunting and touching semi-ballad ‘Guardian Angel’ for example are two of the best songs the band have ever released to date.

This is a record with a lot of up front charm and instantaneous gratification, but a lot of mood, atmosphere and subtle depth as well and even the tracks that don’t drop your jaw right away become favourites in time (I like “River Down Below” more every single time I hear it for example, and I do mean every single time, I can’t say that for many other bands). As with all the Riverside albums to date, I can’t recommend it enough.

MOUNT SHASTA Who's The Hottie?

Album · 1995 · Metal Related
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Unitron
Noise Rock will always be noisy, hence the name, but the levels of noise vary from band to band. Mount Shasta has much of the noise in the vocals, to the point of them being indecipherable yelling with no melody or anything whatsoever. It's best described as what Tad Doyle overdosing on crack would probably sound like. Once you get used to it, they just become part of the sound.

Those riffs though, that's where this album shines like no other. The album is an instant hook, with opener Gimp's riff catching my ear on such a primal level that I knew this was gonna be good. The riffs are of a classic grunge fashion, switching between bluesy metal riffs that Blue Cheer would be proud of and raw garage rock pounding that would make The Stooges take notice. Sometimes it'll go in a more atmospheric drawl in parts of a song to contrast with the bluesy aggression of the rest of the song, which works wonders in Near Famous Jackass and Raw Meat Lincoln Style.

Originally intrigued by the cover art that looks like some obscure 60's cartoon, I found a great riff album. Good stuff.

MARILYN MANSON We Are Chaos

Album · 2020 · Metal Related
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siLLy puPPy
MARILYN MANSON is of course a 90s rock icon with his slew of albums starting with the shocking portrayal of American values on “Portrait Of An American Family,” the irreverence and industrial metal heft of “Antichrist Superstar” and his most controversial album “Mechanical Animals” which got him accused of ripping off David Bowie’s Ziggy Stardust persona however soon after those releases and an excellent hit single in the form of the Eurythmics cover “Sweet Dreams,” Brian Hugh Warner who as MARILYN MANSON led the band of the same name seemed to run out of steam after blowing his wad on his 90s output. After the “Mechanical Animals” fiasco MANSON returned to his guitar based creepy persona for “Holy Wood” but something just sounded off on that one and insincere. I never pursued MANSON’s releases from then on and basically just ignored them as one review and critique after another simply tore them apart for being insidiously boring musical dross.

Being irrelevant for two decades seems to break many artists and send them away packing but nobody can accuse MANSON of not being persistent. While i have none of the albums since “Holy Wood” to compare this to, for some reason i felt compelled to explore a new release from MANSON and lo and behold a new album just emerged on September 11, 2020, MANSON’s 12th titled WE ARE CHAOS. Obviously things have changed since the lineup featured Twiggy Ramirez, Madonna Wayne Gary, Ginger Fish and Robin Finck who all played their parts well in the most dysfunctional band of the 90s. Many musicians have come and gone but sometime in the not so distant past MANSON hooked up with Shooter Jennings, song of the infamous outlaw country star Waylon Jennings who has taken up the task of producing WE ARE CHAOS.

Album #12 returns to the days to the concept album days of the 90s and even takes on the retro feel of an LP of yore with two distinct sides and a playing time of only 42 minutes and 27 seconds. Having cited Elton John and Bernie Taupin as a main influence, it’s no surprise that the piano plays a prominent role in crafting discernible and instinctively hooky melodies that provide the underpinning of much of the album’s run. Despite the hero worship of 70s pop, i would say that the overall melodic flow is the closest thing to 1996’s “Antichrist Superstar” that i’ve heard at least with many of those familiar returns to MANSON’s soft whispered parts alternating with angsty punk shouts and heavy metal guitar heft in tandem with crafty industrial electronica. While the album misses the mark of providing as impactful experience as his lauded multi-platinum best seller, WE ARE CHAOS is quite the surprise that it is an extremely listenable album that although dusting off old ideas for contemporary use, manages to remain engaging throughout its ten track playing time.

While the metal aspects pale in comparison to the earliest days, the return of the Goth and glam is in full regalia on WE ARE CHAOS. The familiar melodic hooks that remind me of all those classic tracks like “The Beautiful People,” “Angel With The Scabbed Wings” and tracks such as “The Reflecting God” seem more like rejects from “Antichrist Superstar” as they lack the immediacy despite the strong hooks and similar feel however this is a much more mature version of MANSON and 24 years on sounds much better than anyone could’ve ever hoped especially after a slew of extremely uninteresting specimens of musicality. While this album does tend to cast MANSON as someone who is looking back for ideas rather than innovation, in his case where the innovation of the past 20 years has resulted in dismal ennui, i can’t say that it wasn’t a great idea to focus on what made you stand out in the first place rather than something you have no business tackling.

While MARILYN MANSON has never been a favorite band, i do love the first three albums enough to cherish them as some top picks of the 90s but MANSON as a personality just rubs me the wrong way. With the accusations of Satanic pedophilia from celebrities like Isaac Kappy MANSON has been vilified once again and perhaps has brought some renewed interest in his career but judging from WE ARE CHAOS, it is doubtful that MANSON will ever match the heyday of his 90s output despite crafting a pleasant retro album that is perhaps a bit too tame for his wild image as the album’s metal heft is more on the side of “Mechanical Animals” rather than the first two albums. Still though, i’m not disappointed that i at long last have checked out a new MANSON album. The dude still has the vocal chops to pull off his wicked unique style of industrial goth rock but despite strong melodies and songwriting prowess, the album still seems a bit too tame and could use some faster more upbeat tracks to offer some needed contrast. The title track is almost pure Goth pop rock as are several other tracks. This one is decent but far from the needed comeback in the modern era. Once again i think i will ignore Mr MANSON next time around.

NEAL MORSE Sola Gratia

Album · 2020 · Metal Related
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adg211288
Sola Gratia (2020) is a progressive rock solo release by US musician Neal Morse. Believe it or not this album marks Morse's first normal progressive rock based solo album since Momentum (2012), as all progressive releases between the two have been either with The Neal Morse Band entity, which uses a different song-writing approach to a Neal Morse solo album, or was the rock opera Jesus Christ the Exorcist (2019), which I can't really consider a normal Neal Morse solo album by its very nature which also saw him giving the lead vocal role to someone other than himself. Of course though Morse has used his regular collaborators, the entirety of The Neal Morse Band, as his supporting musicians on Sola Gratia – Mike Portnoy on drums (except for the song Building a Wall where Morse plays them himself), Randy George on bass, Bill Hubauer on piano and Eric Gillette on guest guitar.

Sola Gratia no doubt immediately brings to mind Morse's earlier album Sola Scriptura (2007) with its title and that relationship is further brought into evidence throughout the release with many throwbacks to both that album's music and lyrics, effectively making this a companion album. As anyone who is familiar with Neal's music knows, he is a Christian artist and this concept album explores the story of Paul the Apostle. Compared to some of his work Sola Gratia does come across as being somewhat more overt on the Jesus theme, but as a concept album it doesn't come over as excessively preachy for the sake of being preachy, which can be off-putting to all but the most devote of listeners. And as always the music is fantastic, though more of a slow burn next to albums like Sola Scriptura, One (2004), or The Neal Morse Band's The Similitude of a Dream (2016), which is the main thing.

Speaking of the instrumental work, Sola Gratia is both somewhat familiar territory for Morse, but it also has a fresh feel to it. Despite the relationship and throwbacks this isn't really Sola Scriptura 2.0, as that album was one of the most metal influenced albums that Neal Morse has made, along with The Neal Morse Band's The Great Adventure (2019). This album I would say has some metal on it, and is certainly one of the heavier (though varied) Neal Morse solo albums, but some of that heaviness seems like Morse was as much influenced by classic hard rock as heavy metal. I would say he also relies far less on symphonic prog ideas that he has sometimes in the past and with other ventures like Transatlantic. The result is a rather varied album.

I said earlier than Sola Gratis was more of a slow burn than some Neal Morse work and that's been true for me ever since the first single In the Name of the Lord was released. But that track shows off how my perception of the whole album has been: getting better every time I hear it. I do after several listens find it an album that mostly works as one continuous piece and since the songs segue into each other it sounds like that was Morse's intention, though perhaps not to the extent of the 'it's really one long song' albums like ? (2005) or Transatlantic's The Whirlwind (2009). There are a few standouts though and I think Morse choose his singles from this well, since those are the songs I'm going to primarily name here: In the Name of the Lord, a very hard and heavy track, Building a Wall, a rather catchy memorable number (though I do wonder if Morse has been listening to a lot of Another Brick in the Wall when he came up with this one) and finally Seemingly Sincere. Seemingly Sincere, the album's longest track at 9:34 and the closest that Morse has come to an individual lengthy epic since The Neal Morse Band's debut album The Grand Experiment (2015), is basically a masterpiece unto itself.

With Sola Gratia Neal Morse has proven once again why he is one of the greatest musicians in progressive music today. I would go so far as to say that due to its varied sound and ideas the album is the strongest solo album he's made for over a decade, also right up there with the trio of excellent The Neal Morse Band releases. A strong start to a new decade for Neal Morse.

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NEAL MORSE Morsefest! 5015

Movie · 2017 · Metal Related
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adg211288
Morsefest! 2015 is a live release by US musician Neal Morse. Morsefest! shows are without a doubt the most special Neal Morse shows that a fan could attend – a two day event with a different Neal Morse set each night. Morsefest! 2015 was released on either a 2x blu-ray or 4 x CD/2x DVD package in 2017. Strictly speaking it is The Neal Morse Band playing on the release – Neal Morse, Mike Portnoy, Randy George, Eric Gillette & Bill Hubauer – but Morsefest! 2015 was released under just Neal Morse's name likely due to the event's focus on his albums ? (2005) and Sola Scriptura (2007).

While the focus is indeed on those albums, with ? played in full on night one and Sola Scriptura in full on night two, the set is varied with various extra tracks. The Neal Morse Band had released their debut album The Grand Experiment earlier in 2015 and that album also gets a fair airing across the two nights, particularly in the first half of night one with The Call, the title track and the limited edition bonus track New Jerusalem gets played, while Waterfall was featured on night two complete with some instrument changes for various band members. Three Spock's Beard songs are also brought out, Go the Way You Go on night one and At the End of the Day and Wind at My Back on night two, the latter two featuring Nick D'Virgilio first on drums then co-lead vocals. An edited version of Transatlantic's near eighty minute whole album epic The Whirlwind closes the second night, with further guest vocals by D'Virgilio and guitar by Phil Keaggy, who also makes an appearance on night one and was the support act for the event. Finally the band brings to the live stage for the first time a lesser known Neal Morse epic called A Whole Nother Trip, which appeared on his first solo album while still a member of Spock's Beard amongst what was otherwise a bunch of pop songs. There is also a cover of the song MacArthur Park, originally released by Richard Harris, which has been given the prog treatment by Bill Hubauer on challenge from Mike Portnoy. Neal Morse hates the song apparently and always swore he'd never cover it, but there you go. Hubauer sings lead on it.

The main draw to the Morsefest! 2015 live release is of course the full performance of two of Neal Morse's best known albums. ? is basically one long song in and of itself and is treated like the crowning piece of what Morse describes as a night of epics – a fair description when the shortest song is about seven and a half minutes long. For me personally the performance of Sola Scriptura is the key focal point of the two night show though. That's my personal favourite Neal Morse album, not to mention the one that really got me into his music. It's also one of his heaviest and most metal works which along with various parts of The Neal Morse Band's music gives a metallic edge to those otherwise symphonic progressive rock fuelled double concert.

Morsefest! 2015 is one heck of a show if you're into progressive rock. The scope is tremendous not just through the double show but each night's set is over two hours a pop as well. The amount of musicians on stage at one time goes far beyond the core band – far too many to recite in a review. Suffice to say there's a lot of people involved to pull this off. The sound and picture quality of the blu-ray release is excellent and you certainly get a lot of music for your money. The only fault with the set is that one listed bonus feature called Prog Jeopardy is completely missing from the release. Not sure what the story is there, perhaps it was planned and had to be cut for some reason and they forget to change the inserts before going to the press, who knows? But you weren't buying this for the bonus features anyway right?

There are several of the Morsefest shows released by the time of writing this review in September 2020 so which one holds the most appeal to each fan will of course be different. 2015 was a no brainer for me due to my particular love of Sola Scriptura. Someone else may think 2014's focus on Testimony (2003) and One (2004) or 2017's Testimony 2 (2011) and The Similitude of a Dream (2016) to be better options for them. Regardless any Neal Morse fan owns it to themselves to pick up at least one of these releases for his most special and exclusive concerts.

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.

NEAL MORSE Live Momentum

Movie · 2013 · Metal Related
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Kev Rowland
One of the disadvantages of living at the end of the world is that these days I get most of my promos as downloads, which generally isn’t too much of a pain but here I find myself reviewing a DVD set where I haven’t actually seen the DVDs! Okay, so this has been released as a double DVD (more than 4 hours), along with a triple CD set and it is the latter that I am reviewing. This recording took place on October 11th, 2012 at The High Line Ballroom, New York, and captures the band in incredible form. I have no idea how many live recordings of Neal there are in my collection, from duetting with NDV through Spock’s Beard and Transatlantic and of course his solo work, but there are one or two. I have seen him in concert with SB as well as on the ‘Testimony’ tour and have had the privilege of interviewing him a few times as well, so I guess you can say that I am a fan.

I greatly respect the way that he decided to stand up for what he believed in (even though I don’t share those beliefs), although I still regret that SB never had the chance to tour ‘Snow’ which is easily their finest work. I have never given anything that he has been involved with a bad review, and there is no reason at all to start now as this triple CD set (2 hours 45 minutes) is as close to perfection as one could hope to hear. When it came to choosing the musicians to form the band he brought in close friends Mike Portnoy and Randy George and then used YouTube for the audition process! He ought to do that more often, as during “Sing It High” he gets it right when he says that the guys are “Sick”. Adson Sodré (guitar, vocals), Eric Gillette (guitar, keyboards, percussion, vocals) and Bill Hubauer (keyboards, violin, sax, vocals) do a stunning job. Mind you, it’s handy when you have three multi-instrumentalists in a band as it does mean that you can spread the wings. Vocally they are all in fine voice as well, just listen to “Author Of Confusion” to see what I mean.

Both Adson and Eric really riff and shred as the need requires, and this is probably the heaviest that Neal has ever sounded as he works his way through material from throughout his career: this is much more than just a live rendition of the latest album. The suites from ‘Testimony’ and ‘?’ work incredibly well and it is the longer sections that really allow Neal and the guys to shine. There are four songs more than twenty minutes long and one more than thirty!

But, for me one of the major highlights sees Neal taking a back seat, literally. One of my favourite live albums that feature Neal is ‘One Night in New York City’ by Yellow Matter Custard. This was a band put together by Mike Portnoy to play Beatles’ numbers, and the line-up was completed by Neal, Paul Gilbert and Matt Bissonette. The whole purpose of that band was to provide a new take on classic numbers and have fun at the same time. Well, on “Crazy Horses” Neal takes over on drums while Mike becomes the frontman, and everyone has an absolute blast. Mike says that when he first heard the song when he was five years old that it was the heaviest song that he had ever heard, and the band certainly do it justice. I defy you to listen to this and not smile throughout. There are some people who don’t enjoy what Neal does, and feel that he hasn’t dramatically changed since he left SB, but I sincerely hope he keeps going in this vein for the rest of his very long career as I love it.

So there you have it, a five star review for a DVD set that I haven’t even seen. But to me they are just an added bonus as this triple CD set is just mindblowing. www.insideout.de

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