Metal Related Genres

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Metal Related is a term used on Metal Music Archives (MMA) in regard to artists that, although they do not play metal themselves, still have a place within the metal scene.

On MMA the aim is to build up a complete picture of the metal music genre and its associated scene, and the Metal Related Genres umbrella sub allows the inclusion of related bands and side projects of metal musicians to be included in the site database, along with artists that exist on the fringes of the metal scene by including elements of metal in their music, but haven't ever made a fully fledged metal album. There are also sections for some of the more closely related genres to metal.

There are five sections to the metal related section on MMA: Hard Rock (encompasses heavy psych and heavier progressive rock and more), Hardcore & Crust (punk genres that can sometimes be metallic), Metal Related (releases with metal elements), Non-Metal (mostly a catch all for releases that don't otherwise fit, but also sometimes used for related bands and side-projects to be included on MMA) and Proto-Metal (artists involved in the early development of the metal genre). Each sub-genre is governed by its own rules and policies, some with dedicated teams and some handled by the site admins. More can be learned about each by listing their individual sub-genre pages.

Nothing is ever added directly to the parent Metal Related Genres page. It is merely an umbrella sub used to group the five child sub-genres in one place.

metal related genres top albums

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

JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
JIMI HENDRIX
4.62 | 30 ratings
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WISHBONE ASH Argus Album Cover Argus
WISHBONE ASH
4.59 | 21 ratings
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QUEEN Queen II Album Cover Queen II
QUEEN
4.44 | 57 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.61 | 15 ratings
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JIMI HENDRIX Axis: Bold As Love Album Cover Axis: Bold As Love
JIMI HENDRIX
4.51 | 23 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.35 | 81 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.36 | 63 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.34 | 75 ratings
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THE WHO Who's Next Album Cover Who's Next
THE WHO
4.43 | 23 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.32 | 76 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.40 | 27 ratings
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KING CRIMSON In The Court Of The Crimson King Album Cover In The Court Of The Crimson King
KING CRIMSON
4.31 | 76 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 genres Music Reviews

KATATONIA Tonight's Decision

Album · 1999 · Metal Related
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UMUR
"Tonight´s Decision" is the 4th full-length studio album by Swedish alternative/doom/progressive metal act Katatonia. The album was released through Peaceville Records in August 1999. It´s the successor to "Discouraged Ones" from 1998 and there´s been a couple of lineup changes since the predecessor. Bassist Micke Oretoft has left (after a short stint with the band) and hasn´t been replaced, so guitarist Fredrik Norrman handles the bass on the album in addition to playing guitar. Lead vocalist Jonas Renkse has decided to solely focus on singing and therefore the drums are played by session musician Dan Swanö (Edge of Sanity, Nightingale, Bloodbath...etc.).

Stylistically the material on "Tonight´s Decision" continue the sad/melancholic and heavy doom laden metal style of "Discouraged Ones (1998)", although an alternative rock edge has sneaked in. The album opens with the extremely depressive "For My Demons", with Renkse, singing out his soul on the chorus, with the lyric line: "You would never sleep at night, if you knew what I've been through". The man literally sounds like he is crying while he is singing and his vocal delivery is pretty surely an aquired taste. Some will find it weak and pathetic, while others will fully embrace the deeply emotional and melancholic performance. I´ve heard both opinions expressed. Personally I respect Renkse and his voice and singing style, but on this particular album he sometimes takes his approach a bit too far towards the pathetic.

"Tonight´s Decision" is otherwise a good quality release by Katatonia, featuring high level musicianship, a well sounding production, and decent songwriting. The latter could have been much more memorable though, and there are generally a few too many tracks on the album, which don´t stand out much. Highlights include "For My Demons", "Right Into the Bliss", and the Jeff Buckley cover "Nightmares by the Sea". Upon conclusion "Tonight´s Decision" is an album featuring both great moments and less appealing ones. To my ears it´s among the band´s least interesting releases but a 3.5 star (70%) rating is still deserved.

CYPRESS HILL Cypress Hill

Album · 1991 · Non-Metal
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Unitron
While Cypress Hill's debut lacks the ominous atmospheres that they would become known for, the band still already had a unique sound of their own. It's funky, not unlike a lot of hip hop at the time, but DJ Muggs is a master sampler which creates a really busy sound. B-Real and Sen Dog both have really unique voices, that I haven't quite heard elsewhere. B-Real's nasally and cocky delivery is filled to the brim with personality, and he can make gangsta lyricism fun as all hell. Sen Dog contrasts with an incredibly low and strained style, and the two play off of one another really well.

How I Could Just Kill a Man is a classic for a reason, but that's just the beginning of how many bops are on here. Light Another, The Phuncky Feel One, and The Funky Cypress Hill Shit are so damn funky that they immediately get your body movin'. Along with the aforementioned How I Could, Hand on the Pump and Hole in the Head are other songs that sound like a more upbeat version of followup Black Sunday.

While not quite the perfection of Black Sunday, Cypress Hill's s/t is a very close second and an essential hip hop classic.

HIGH TIDE High Tide

Album · 1970 · Proto-Metal
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siLLy puPPy
The TIDE comes in, the TIDE goes out. Such is the lesson of the UK’s most promising prog rock band of 1969 with the phenomenal “Sea Shanties” where the heavy prog band HIGH TIDE that consisted of Tony Hill (electric & acoustic guitars, organ, vocals), Simon House (electric violin, organ, piano), Peter Pavli (bass) and Roger Hadden (drums, piano, pipe organ) lived up to their moniker and delivered a stunning display of musical fusion that delivered an intense interplay of early heavy metal, progressive rock and psychedelia with jazzy chords that focused on the folky of Simon House’s violin screeches that traded off with Tony Hill’s hard rock bombast and weirdly designed guitar solos. Debuting in the year 1969, HIGH TIDE was one of the premier prog rock bands that developed a unique style from the getgo that sounded utterly like no other, mostly due to the ample use of violin as a primary instrument in the context of a rock band.

However, all TIDEs must recede and that’s exactly what happened with the sophomore release which was unexcitingly simply titled HIGH TIDE. The quartet tamped down the guitar heft of the debut and instead replaced it with an artier mix that included more piano, organ and acoustic guitar however the main combo pack punch of the guitar and violin were still in firm command of the musical processions. HIGH TIDE’s second eponymous album originally consisted of a mere three tracks that was just shy of the 33 minute mark with each drifting past the 8 minute mark. While “Sea Shanties” delivered scorching proto-metal performances wrapped in progressive rock compositions, this self-titled debut takes a few cues from Tony Hill’s previous psychedelic rock band The Misunderstood and lightens things up on this one in which the organ added the proper psych atmospheres to give this second coming a much spacier feel but make no mistake about it, Tony Hill still delivers some stellar guitar workouts as does Simon Hill on the violin. Overall the album focuses less on hairpin turns and progressive time signature frenzies and engages in long sprawling jam sessions most evident on the opening “Blankman Cries Again.”

The opening track signifies an immediate stylistic shift from the debut as the compositions are more accessible. The violin has more of a folky sound and at the jazzier times evokes a sense of the future sounds of Jean-Luc Ponty in the Mahavishnu Orchestra. The album is primarily string based with the guitar, bass and violin all sharing more less equal turf as Hill’s guitar dominion of the debut had clearly waned. While it could be argued that the three string sections along with the drums and organ touches deliver a more balanced approach to HIGH TIDE’s unique sound, in the end it sounds a little lightweight in the shadow of the debut’s sheer perfection. “The Joke” while exhibiting the classic HIGH TIDE touches also presents verses that sound a lot like early King Crimson which finds the band incorporating influences from the great KC that dropped their debut bombshell on the world and not so subtly announced that progressive rock was in town and was taking over the music scene for a while. Tony Hill’s vocals are quite distinct but at times he’s a dead ringer for Greg Lake’s slower singing style.

I find the third and longest track “Saneonimous” to be the most interesting and the one closest to the debut’s decked out progressive rock freneticism. While the track engages in the jamming sessions of the previous tracks, it’s allowed a bit more freedom in changing up the dynamics as well as tempo changes and more time signature shifts and at nearly 15 minutes long manages to remain engaging helped greatly by the instantly addictive melody and Tony Hill’s vocal style that fits perfectly in between the squealing violin runs and guitar and bass. Roger Hadden also deserves plaudits for a stellar percussive performance that manages to punctuate the busy polyrhythmic counterpoints of the strings. The atmospheric contributions often take a back seat but do add an artier mood during quieter passages.

As with “Sea Shanties,” the second HIGH TIDE album also has a much better remastered release than the original album. Not only is the production sharply improved but it includes a monstrous essential bonus track in the form of the near 16 minute “The Great Universal Protection Racket” which equals anything else on this album and while the remaining three bonus tracks that include two alt versions of “The Joke” and “Blankman” along with the short “Ice Age” are of lesser value, they are not throwaway tracks either. While the TIDE was HIGH on “Sea Shanties,” the sad truth was that all TIDEs must recede and therefore the second coming of this unique band was more like a LOW TIDE in comparison to the startling brilliant debut. While this second album may not be as immediate in its presentation and initially disappointing, many subsequent listens have substantially raised my opinion of it. It delivers an excellent mix of intricately designed prog rock only with the guitar heft of the debut tamped down. Unfortunately this marked the end of HIGH TIDE as Tony Hill, Peter Pavli and Roger Hadden moved on to work with Rustic Hinge as well as other acts. The band would reform in 1990 and release more albums but would never catch the magic of the early years. While the debut is superior, this is still an excellent release.

BLUT AUS NORD Thematic Emanation of Archetypal Multiplicity

EP · 2005 · Metal Related
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siLLy puPPy
Tucked away between the groundbreaking black metal release “The Work Which Transforms God” and the utter insanity of the following “MoRT,” BLUT AUS NORD dropped its first EP which would lead to a series of EP’s interspersed within the band’s prolific output of albums. While black metal has pretty much been the name of the game since Vindsval started the project as a one-man band back in the 90s, on this first EP verbosely titled THEMATIC EMANATION OF ARCHETYPAL MULTIPLICITY (SOUNDTRACKS FOR SCIENTISTS OF OCCULT SYNCHRETISM), not only does Vindsval (vocals, guitars) and friends W.D. Feld (drums, keyboards) and GhÖst (bass) scream their fascination with esoteric knowledge but take a brief respite away from the black metal world and instead focus on the industrial, dark ambient and dungeon synth sounds that fully blossomed with “The Work” album.

THEMATIC EMANATION is a fascinating procession of gloomy atmospheric stomps through five tracks that for the most part leave out the metal part altogether. The major exception is the track “Level-1 (Nothing Is)” which offers a sneak peak into the bizarre and morbidly twisted guitar torture that would be a prominent feature on the following “MoRT” which fancied the most extreme sound manipulations to craft one of the most psychedelic black metal experiences ever laid down to a recording. Other than that second track, THEMATIC EMANATION focuses on percussive beats and darkened thick atmospheres of impending dread and doom. In fact this could be called doom synth as it’s utterly snail-paced creepy. The EP is only slightly over 28 minutes long and for the most part delivers an interesting mix of variations on percussive beats and dark ambient with some guitars thrown in once in a while.

The sole exception to the dreary setting is the oddball of the bunch, the third track “Level-2 (Nothing Is Not)” which features a trip hop beat, a busy techno styled bass groove and tinny sounding drum machines. While not a bad track say if it were on a Prodigy album or another similar artist, it does sound like a fish out of water on this release although it does have a nice creepy middle section when the percussion and bass drop out. It’s actually danceable and would make a great Goth party remix of some sort!n The following two tracks take a more sinister approach. “Level-3 (Nothing Becomes)” is the freakiest. What sounds like Tibetan bells or chimes exhibit an irregular sort of oddly timed beat while a creepy drone slowly slinks in and out of tune while chanting emanates from dark places along with other styles of weirded out vocals. This actually sounds more like some the industrial band Coil would conjure up in their early years of pure demented glory.

“Exit (Towards The Asylum)” ends the EP with a deranged vocal chant and some weird industrial sounds and before you know it, the short playing time ends which is unusual for BLUT AUS NORD since most albums are close to the hour length. This is a pretty cool album actually. The metal is practically nonexistent save the one track but the band had the opportunity to display all the creepy accompaniments introduced on “The Work” album and allow them to shine in the limelight although light doesn’t actually reach this far down into the abyss. For a metal band, this trio deliver a really interesting take on dark ambient that is quite effective which is why the black metal albums sound so good as this is a vital part but even without the metal, these sounds are quite effective at evoking the bleakest emotive responses. This album is most easily found on the releases of “The Work Which Transforms God” that has this one as a bonus disc, however even if it weren’t so easily obtained as a tagged on freebie, i’d still go out of my way to track this down.

MR. BUNGLE California

Album · 1999 · Metal Related
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siLLy puPPy
Although they only released a mere three albums in a span of nine years, MR BUNGLE never repeated what came before and strived to make each album completely different than the last and in the process created three of the most daring experimental albums that the entire 90s had to offer. After four demos that saw the band grow from a bunch of deranged teenagers in Eureka, CA cranking out substandard death metal which led to the funk metal Zappa-infused potty-mouth prog of the self-titled debut, MR BUNGLE caught a complacent world of glam metal and early grunge off guard with its 1991 slap-in-the-face whack job that mixed funk, metal, jazz and even circus music with the avant-garde laced with progressive rock sensibilities. The band continued four years later with its second no limits avant-garde extravaganza “Disco Volante” which threw out all the rules and totally allowed the creative frenzy to explode into a million directions.

The first two albums gleefully flipped the middle finger to the music establishment despite appearing on the Warner Bros. label. The goal was to create unruly difficult listening music that excelled at merging the juvenile unrefined with the technical and progressively infused compositions that adopted as many music genres as possible and made them perform unthinkable acts together in broad daylight. However, with Mike Patton getting his avant-garde noise rock itch scratched not only in Mr. Bungle and Faith No More but he also released solo albums and crafted other projects such as Fantômas which meant that when it was time to record the third MR BUNGLE album, he’d let off a lot of steam and there seemed to be nothing more to prove. In fact all the band members had matured a bit. Trey Spruance had started his spinoff band Secret Chiefs 3 inspired by the track “Desert Search For Techno Allah” and had learned the art of crafting sophisticated melodies and intricate rhythms by fusing Middle Eastern and Indian folk traditions with electronica, heavy metal, surf rock and soundtrack music. Both Trevor Dunn and Bär McKinnon went along for the ride and in the process tamed down a bit.

For the band’s third album CALIFORNIA, the band minus Theo Lengyel who left after “Disco Volante” due to creative differences, decided to forge a new path and in the process created the most accessible album of the MR BUNGLE trilogy. Instead of focusing on the goal of creating a cacophonous uproar for the sake of evoking sonic terror with mind-blowing qualities, the band instead shifted gears into the world of progressive pop which crafted intricate melodies and accentuated them rather than taking them to the slaughterhouse. Keeping in line with the band’s earlier albums, CALIFORNIA carried on the by-then tradition of genre hopping and extreme fusion but this time everything was polished like the smoothest gem stone and the aim was to make irresistible pop hooks that instantly caught your attention and only then allowed the weirdness to develop organically. Gone were the excessive time signature changes and avant-garde jazz-metal gone wild with references to sexual innuendoes and potty mouth vulgarities. In were lush orchestrated sing-along compositions that included Hawaiian traditional folk, Middle Eastern music, electro-funk, doo-wop, surf rock, circus music, psychobilly, kecak, thrash metal, lounge exotica, space age pop, jazz rock, piano rock and spaghetti westerns.

CALIFORNIA focused mainly on the sounds of 60s with the vocal surf pop of the Beach Boys and Jan & Dean providing the greatest inspiration however this was more like some psychotic alternative timeline gone wrong for 60s pop music and this was MR BUNGLE of course so the brilliant madness had to find more adaptable ways to weave itself around the pop hooks and soulful vocal led lyrics. Once again, MR BUNGLE caught a loyal fanbase completely off guard and in the process alienated the hardcore crowd that didn’t appreciate this sugary sell-out music but in the process found a whole new audience who found the first two albums to be nothing but abrasive and vituperative noise. And then there are those like me who find all three MR BUNGLE albums to be beautifully designed masterpieces which when taken in their own context will impregnate the listener with musical ecstasy.

Right from the getgo MR BUNGLE startles the listener who is expecting a throwback to “Squeeze Me Macaroni” or even some spastic jazz, metal or hybrid of the two. Instead it’s the sound of seagulls, the ocean and what sounds like the easy listening music of 1960s Burt Bacharach with lush symphonic orchestration and sweet sugary melodies. OMG! What happened? one may ask! Hold on, be patient. Around the two minute mark the melodies start to morph with bizarre key changes and pitch manipulation. Doo-wop backing vocals offer infectious counterpoints and the track while perhaps the tamest on the entire album is quite beautifully designed. An odd opener for sure but perhaps it serves as an inoculation to the stylistic shift so that the rest of the album sounds more dynamic. Things pick up with the second track “None Of Them Knew They Were Robots” which picks up the tempo immediately with what sounds like rampaging zombies trying to break down the door but then morphs into country western swing music with exotica along with some surf rock and psychedelic rock organ runs. The horn section cranks out some cool big band swing while Hawaiian slack key guitar and organ runs finish the job.

“Retrovertigo” is the ballad of the album with the slowest tempo and the track that is the least affected by the avant-garde regalia that only grow in intensity beginning with the fourth track “The Air Conditioned Nightmare” which also starts out as a ballad but after a soulful performance by Mike Patton ramps up the speed and sounds like a battle between 60s Beach Boys vocal surf, the space pop of Joe Meek along with some occasional metal guitar heft and percussive drumming outbursts. The track ratchets up the morphing of various genres sharing the stage. “Ars Moriendi” begins with guitar heft and then finds a violin cranking out a Middle Eastern riff. The album is fortified with 14 session musicians who add English horn, cello, violin, viola, accordion, trumpet, harmonica, pedal steel guitar, French horn, cymbalom, piano, timpani, tam tam and bass drum. The album is extraordinarily rich in various timbres that add the extremities that make up for the lack of the excesses of the past. Back to “Ars Moriendi,” the track goes through several stages with a Mediterranean cafe styled accordion mixing with the violin, a heavy rock guitar as well as surf rock and cartoon music. A true MR BUNGLE classic if there ever was one.

“Pink Cigarette” tackles the 60s spaghetti western sound obviously inspired the soundtrack music of Ennio Morricone at first but then becomes a tender ballad sort of track with odd little sounds inserted here and there except that the subject matter tackles the morbidity of suicide which finds a horn replicating one of those machines at the hospital that show the heartbeat and ends in that “they’re dead!” sound. “Golem II: The Bionic Vapor Boy” is the weirdest track on CALIFORNIA. It begins like a futurist A.I. robot ballet version of the Nutcracker with a windup music box sound and then proceeds into electro-funk with robot vocals and interesting bouncy grooves alongside freaky musical scales creating utterly bizarre soundscapes. It’s just all so friggin cool how they juxtapose sounds to create a larger sum of the parts! “The Holy Filament” is more reflective with piano arpeggios ushering in heavenly vocals except that the musical scales are dark and ominous. “Vanity Fair” is more jocular with a bouncy old time rock and roll feel with doo-wop backing vocals and a rather gospel-like vocal performance by Mr. Patton.

One of my favorite tracks is the closing “Goodbye Sober Day” which starts out with a rock and roll style like a late 50s prom along with heavy percussion from those serrated sticks you rub. The track morphs several times, first into a slow contemplative keyboard driven kind of lounge exotica and then eventually drifts into a mass Gregorian chant that itself cedes to a thrash metal guitar accompanied by a performance of Indonesian monkey chants and then makes full circle back to the opening style before ending the album and leaving the listener wondering once again what just happened! While the first two MR BUNGLE albums were chaotic and unpredictable and often random, CALIFORNIA is cohesive with every single element existing in a logical location and cyclical loops with recurring themes and a melodic connection are what gives CALIFORNIA its magic mojo. Ironically the album was scheduled to be released on the same day as the Red Hot Chili Peppers released their album “Californication” and thus was delayed a week because of the long time feud between Mike Patton and RHCP lead singer Anthony Kiedes.

As far as i’m concerned, MR BUNGLE hit a home run three times in a row. The band is a legend and one of my favorite artists of all time. They made the impossible seem effortless as they crafted three distinct albums that all stood on their own two feet and didn’t even have to blow away the competition because there wasn’t any! MR BUNGLE existed outside of known time and space and therefore exudes an otherworldly demeanor that would make this stuff weird anytime and anywhere. The genius of these guys is that they utilized the sensual sensibilities to appeal to your emotional state while bedazzling you with artistic wizardry and unthinkable juxtaposition of styles and sounds hitherto unheard. This would be the end of the line for MR BUNGLE as they wisely chose to retire the brand name and focus on their retrospective solo careers. Trey Spruance was already finding success with the Secret Chiefs 3 and Mike Patton continued his restless pursuit of the next avant-garde sounds in dozens of other projects. CALIFORNIA is yet another masterpiece by the crazed kids from Eureka. Nobody saw that coming.

metal related genres movie reviews

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.

BLIND FAITH London Hyde Park 1969

Movie · 2006 · Proto-Metal
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stefanbedna
Blind Faith -London Hyde Park 1969 dvd. An excellent concert.Quite simple concert.A beautiful day and a hundred thousand people in London´s central Hyde Park listens Blind Faith in their first big gig.Absolutely wonderful.For me the historic value of this concert.Rating 4,0 stars for me.Concert will be held 07/06/1969.Performers lineup eric clapton lead guitar,steve winwood phenomenal vocal and keyboards, rick grech on bass and of course phenomenal ginger baker on drums.This is an example of the unique combination of two large groups of Cream and Traffic rights in the Great introducetd in London´s Hyde Park.Really very interesting concert series watch it again on dvd.I highly recommend.

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 · Non-Metal
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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

ANATHEMA A Moment in Time

Movie · 2006 · Non-Metal
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Conor Fynes
'A Moment In Time' - Anathema (5/10)

First off, might I say that the rating for this work is not based on the music itself. 'A Moment In Time' is being rated here for what it is; a piece of visual media. The songs themselves are amazing, and have been commended as such on other reviews. As far as being a vessel for such beautiful music however, this DVD really comes up short. There are so many errors that make it a sloppy creation, that could have been avoided and corrected had extra care been given.

As far as the musical arrangement goes, things are really good. As well as the band performing, there is a string quartet that plays throughout, as well as a guest appearance from a talented female vocalist. The vocal passion I generally expect from Vincent Cavanagh is a bit lacking here, but that can be forgiven. There's a nice setup here, a beautiful selection of songs, so what could go wrong?

Throughout watching 'A Moment In Time,' I find myself increasingly agitated over the camera work. The camera is fixated on the vocalist, and fails to give a visual mention to either the bass player or rhythm guitarist almost at all!

Another issue is the recording of the sound. For example, during the climax of 'Empty,' the vocals drown out completely for a few seconds. For a band that's had such a high standard of musical quality, my jaw dropped at how they could ever let a DVD release come out to the general public with that sort of negligence.

Despite it's flaws and failure as a professional DVD release however, being an Anathema fan; it's hard to not at least find some enjoyment in it, and there's an CD counterpart included as well! Two stars.

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Rating by members, ranked by custom algorithm
Albums with 30 ratings and more
Master of Puppets Thrash Metal
METALLICA
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Moving Pictures Hard Rock
RUSH
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Rust in Peace Thrash Metal
MEGADETH
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Powerslave NWoBHM
IRON MAIDEN
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Are You Experienced? Proto-Metal
JIMI HENDRIX
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New Metal Artists

New Metal Releases

Under Acid Hoof Doom Metal
ACID MAMMOTH
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The Catacombs Of Fear Death Metal
INVICTUS
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Cool Sludge Metal
JABBA
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The Wake Of Tragedy Melodic Metalcore
WRATH UPON EDEN
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A.D. Deathcore
DEALEY PLAZA
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