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

SPOCK'S BEARD V Album Cover V
SPOCK'S BEARD
4.91 | 10 ratings
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WISHBONE ASH Argus Album Cover Argus
WISHBONE ASH
4.56 | 33 ratings
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JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
JIMI HENDRIX
4.48 | 46 ratings
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THE WHO Who's Next Album Cover Who's Next
THE WHO
4.48 | 39 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.48 | 36 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.55 | 23 ratings
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QUEEN Queen II Album Cover Queen II
QUEEN
4.42 | 67 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.38 | 102 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.37 | 93 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
4.36 | 101 ratings
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NEAL MORSE One Album Cover One
NEAL MORSE
4.62 | 14 ratings
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JIMI HENDRIX Axis: Bold As Love Album Cover Axis: Bold As Love
JIMI HENDRIX
4.43 | 34 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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COLD WIVES
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Foreign Matters
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COLD WIVES
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Unwashed And Misunderstood
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COLD WIVES
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Indulgence Remixed
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WANDERER
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Melodies of Atonement
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LEPROUS
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EP III
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SOFTEN THE GLARE
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Revoking The Standard Of The Nobles
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FIRE FROM HEAVEN
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Save Me From Myself
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VALAINA
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Unmasking My Truth
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ARCHITECTS
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Wish I Never (Stripped)
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Aftermath (Stripped)
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Burden
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War.
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Venetian Blinds
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COILGUNS
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BARATRO (LOM)
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Fountains Beneath Hell
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Thirst
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Eye Flys
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metal related genres Music Reviews

MESSAGE The Dawn Anew Is Coming

Album · 1972 · Non-Metal
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siLLy puPPy
MESSAGE was an early German Krautrock band that was founded by bassist Horst Stachelhaus in 1968 in Düsseldorf. The band is mostly compared to Nektar for its two British members: Allan Murdoch (guitars) and Tommy McGuigan (sax and vocals) as well as appearing on the same label Bacillus which specialized in early German psychedelic bands. MESSAGE was a shapeshifting band with different career moves that unfortunately kept it from finding any particular success outside of its homeland unlike the more internationally successful Nektar. THE DAWN ANEW IS COMING is somewhat of anomaly in the band’s canon since it is more remembered for its darkened heavy rock second album “From Books And Dreams” before turning to a more chilled style of brassy jazz rock on future releases.

The band also suffered a unstable lineup throughout its existence that lasted up to 1981 after releasing seven albums. THE DAWN ANEW IS COMING is the only album to feature the lineup of Tom McGuigan (vocals, sax), Billy Tabbert (guitar, spinet, vocals), Allan Murdoch (guitar), Horst Stachelhaus (bass) and Gerhard Schaber (percussion, vocals) along with James Allan Freeman who added extra mellotron and vocals. While comparisons to Nektar may ring true on the second album, this debut is less psychedelic and rather delivers a mix of more energetic rock that alternates with slower folk inspired motifs with English Tom McGuigan’s vocals sounding a bit like Jethro Tull’s Ian Anderson in the way he enunciate’s his lyrics. The composiitons are somewhat complex with intricate chord changes and unpredictable meanderings into lengthy jamming sessions especially on the 8 1/2 minute title track and the near 10-minute “Heaven Knows.”

While the opening “Changes” features some psychedelic elements, “When I’m Coming” and “Evil Faith And Charity” are more akin to more straight forward English hard rock. Despite being British dominated, THE DAWN ANEW IS COMING still evokes a sense of German Krautrock in its looser delivery system and heavy use of mellotron. Although lead singer Tom MCGuigan is a native English speaker, he still delivers somewhat of a faux broken accent of some kind however the British presence left an indelible mark on the band’s sound making it sound like a hybrid of some sort which it clearly was. While the music itself isn’t nearly as colorful as the beautiful album cover art work, the band was amazingly competent in its instrumental interplay and the album is an interesting collection of five tracks although the album is rather on the shorter side at only 33 1/2 minutes of playing time. Like many classic albums of the era, THE DAWN ANEW IS COMING features bonus tracks on various reissues.

While some could write off MESSAGE’s debut as a somewhat generic representation of hard driving rock from the early 1970s as it lacks an abidance of progressive elements at this stage, the performances are still rather unique and most importantly pleasant. Tom McGuigan delivers passionate performed vocals that sound rather unique and the album sounds like a strange chimeric beast that slipped in between the world of British organ-driven hard rock from the likes of Deep Purple, Black Widow and hints of Van der Graaf Generator along with the German sounds of early Eloy, Birth Control and Wind. The occasional saxophone embellishments further add a bizarre sense of lack of direction as the album does feel a bit scattered as it progresses from beginning to end but overall i find this to be a very addictive mix that is tied together by strong rhythms, brilliant melodic songwriting and bet of all McGuigan’s animated vocal style.

DEVIL DOLL The Girl Who Was... Death

Album · 1989 · Metal Related
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When thinking of one of the most eccentric frontmen in the entire history of rock music, your mind may gravitate towards Alice Cooper or Arthur Brown for their over-the-top stage performances and shock value horror rock appearances. Or perhaps the unhinged insane asylum escape antics of Jim Morrison or GG Allin. The freakishly outsider ethos of Tom Waits or Frank Zappa even? Well, the award may very go to one of the lesser known enigmas to haunt the progressive rock underground, namely Mr Doctor who bedazzled the world with his Italian-Slovenian band DEVIL DOLL. Enigmatic and mysteriously anonymous for decades, Mr Doctor only publicly revealed his legal name as Mario Panciera in 2008. With a penchant for the controversial and excessively theatrical, Mr Doctor’s eccentric behaviors included recording a debut album titled “Mark Of The Beast” in 1987 and only pressing a single copy retained by the good Dr himself which has remained utterly out of reach of his cult-based fanbase ever since.

Named after the 1964 British horror film, Mr Doctor delivered a musical experience every bit as frightening and strangely demented. Add to his unorthodox ways, the good Doctor started two totally different versions of DEVIL DOLL, one based in Venice, Italy and the other in Ljubljana, Slovenia (then Yugoslavia) however after Slovenia was invaded in 1991 the two bands were merged. And that’s not even getting to the music itself which featured Mr Doctor’s wildly articulated experimental vocal style accompanied by a strange mix of symphonic prog, modern classical, folk music, gothic rock, dark cabaret, neoclassical darkwave, heavy metal and a theatrical operatic delivery system more akin to Andrew Lloyd Webber’s “Phantom Of The Opera” than anything out of the rock paradigm playbook. With an abundance of instrumentation, the effect is bold, pompous and filled to the brim with sounds from guitars, keyboards, violins, bass guitar, drums and even a harp and tuba.

The band DEVIL DOLL released five of its albums from 1989 to 1996 however it has been claimed that many more were recorded and never intended for release thus adding an extra layer of bizarre eccentricity to the mix. With albums that primarily feature album long tracks that take wild rides through various musical genres, DEVIL DOLL emerged as and remains one of the most unique musical forces ever to exist. The first album available to the public, DEVIL DOLL’s debut album, THE GIRL WHO WAS… DEATH itself found an unusual way of being released. Originally pressed into 500 copies, only 150 were handed out during a live performances and then afterwards the remaining 350 LPs were set aflame. Now how’s that for erratic, eccentric and perhaps even a tidbit wildly acentric?

With a musical theme based on the television series “The Prisoner,” THE GIRL WHO WAS… DEATH traversed through an ever-changing musical rotisseries of varying themes and melodies with captivating metaphorical lyrics and of course Mr Doctor’s erratic and oft jarring vocal performances. While the running time displays 66 minutes and 6 seconds, the sole title track is in reality closer to 39 minutes followed by 25 1/2 minutes of silence and then as a hidden closing surprise, a sampling and reinterpretation of the theme song from “The Prisoner” TV series. The title track opens with a dark gloomy piano run and spectral vocalizations from The Devil Chorus and then goes full on dramatic. Histrionic build ups and militant percussive drive revs up the tension with a thundering crescendo of an introduction before Mr Doctor begins his draconian vocal gymnastics that admittedly are an acquired taste.

Sounding something like a mix of King Diamond and Current 93’s David Tibet, Mr Doctor’s vocals are unlike any other and unfortunately a roadblock for many to delve into the world of DEVIL DOLL. Musically the album features alternating mood swings that engage in accompanied piano rolls to fully fueled heavy metal bombast. The most metal leaning of the DEVIL DOLL canon, THE GIRL WHO WAS… DEATH is the loudest, heaviest and delivers the greatest contrasts but even during the metal madness moments Mr Doctor delivers bizarrely processed vocal contributions which is exactly what you would not expect. Lush orchestrations contrast greatly with prog and metal moments and church organs with creepy liturgic harmonies courtesy of the Devil Choir burst in unexpectedly. Violins come and go and well the only thing to expect here is the unexpected.

DEVIL DOLL delivered some of the most demanding genre-bending works of the late 80s and 90s and even at this stage in 2024 remains utterly unique, unapologetically idiosyncratic and timeless in its unorthodox approach to just about everything it unleashes. Despite all these wild rides into the unknown though, the music is melodically accessible and logically composed. Like a classic opera of the ages, Mr Doctor wove a tapestry of intricately designed cadences and motifs fortified by an arsenal of instrumentation and legion of musicians and vocalists to support an overarching theme. While the proclivities to take everything into the world of extremities is rampant from beginning to end, the music is composed in a traditional classical manor while the time signatures and hairpin turns and musical curveballs are more out of the progressive rock paradigm.

No doubt about it. Mr Doctor really is one of the most oddball eccentricities of the rock universe and only a single exposure to any DEVIL DOLL album will easily convince you of that argument. I’ve been a fan of this bizarre musical act after i picked up “Sacrilegium” some years back but all five of the albums are of the finest quality with this debut being no exception. Beautifully designed and deliciously even devilishly executed, THE GIRL WHO WAS… DEATH is a top notch release with a feisty spirit that delivers the most far-reaching expressions of the musical universe where a whole cauldron of influences is pieced together in a wild array of eclecticism that comes off as epic, enigmatic and utterly mind blowing. While whacked out of his mind in so many ways, the good Dr is a mad musical genius unlike any other. Sure the 25 1/2 minutes of silence is ridiculous but hardly a blemish on an otherwise perfect album.

SWANS Time Is Money (Bastard)

Single · 1986 · Non-Metal
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By 1986 SWANS was starting to evolve past its origins out of the no wave scene that briefly took New York City by storm and was splintering off into new arenas of experimentalism. While many of these groups would simply just fade away after leaving their mark, SWANS was one of the few to continue on to the present day by constantly reinventing itself without losing that initial impetus of making bleak noisy minimalism. One of the first significant changes emerged on this short EP (some call it a single) titled TIME IS MONEY (BASTARD) / SEALED IN SKIN.

This marked the debut of Jarboe who had left the swamps of Louisiana to engage in the world of experimental rock and stage music in New York City. She had been a fan of SWANS since the “Filth” album and contacted Michael Gira who recognized the band needed to move past its origins and evolve into something completely new. This EP / single features three tracks. TIME IS MONEY finds the band jumping into the world of industrial rock in the vein of Come, early Big Black and Alien Sex Fiend only SWANS retained the bleakness and dread of its no wave albums “Filth” and “Cop.”

The second track SEALED IN SKIN features a slowed down return to the no wave form only less abrasive without the guitar distortion and grunge that made the first two albums so abrasive. This track finds Gira’s vocals sound like a moaning mummy as he monotonously bellows baritone vocals alongside a monotonous dirge-like motif that offers little variation from in terms of musicality. The EP / single ends with a remix of TIME IS MONEY (BASTARD) which features a beefed up percussion and more echoey guitar presence. Not as industrial sounding as the first track but offers a glimpse of what Alien Sex Fiend would adopt as its sound once it evolved out of its deathrock routine.

At this point Jarboe’s duties were limited to merely screaming on the album but it helped her establish a connection with the band that would allow her to expand her own musical talents and ideas into the world of SWANS. Of course this band, especially the earlier 80s releases are an acquired taste that many find too harsh, too monotonous or just too weird but personally i find the magic is in the hypnotic effect of the bleak tones and timbres, the mesmerizing rhythms and the simplistic procession of it all. It’s an entirely different way of perceiving music but one that ultimately works to a satisfying level for my ears. Gira did an excellent job of nudging SWANS along into new arenas and not just jumping headfirst into a new style completely. These songs never appeared on any SWANS album so you have to hunt these down separately but i personally find these as essential as any of the earliest caustic SWANS releases.

SWANS Greed

Album · 1986 · Non-Metal
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The year 1986 was the busiest year of SWANS’ existence as it was undergoing a transmogrifying event to emerge from the New York City no wave underground as a truly inventive source of musical bleakness. The year opened with its stand alone single “Time Is Money (Bastard) / Sealed in Skin” which introduced SWANS fans to a new fascination with industrial rock. The single also was the first appearance of Jarboe who while limited to mere screaming on this release, established a connection with the band that would significantly alter SWANS’ style up to her departure in 1997. Her contributions were essential for the next stage of SWANS which proved to expand their sound exponentially into various arenas of experimental rock.

It was also a fruitful time of rediscovery as the GREED / Holy Money recording sessions that lasted from June 1985 - January 1986 produced enough material to release not one but two albums in ’86 and then the year was topped off with a massive tour and the first SWANS live release “Public Castration Is a Good Ideal.” But wait! THere’s more! The band ended the year with yet another EP titled “A Screw.” It was the year of the dollar sign since every one of these releases featured a prominently artistic variation of the $ sign all of which signified the biggest changes in the entire history of the band’s long run as an established experimental rock act. Together these $ releases seemed to collectively express a total disdain for the world of power and wealth obtained through the financial fraud the world has been overtaken by.

GREED was the first album to emerge after the “Time Is Money” single and therefore the first album to feature Jarboe as a permanent member of the band only this time her backing vocals are more prominent than mere background screaming. Her wordless vocals provide a new form of instrumentation to add to the overall depressive atmosphere of GREED which found the band shedding its no wave origins and blossoming into a strange no wave / industrial rock hybrid. Fortified by two bassists and THREE drummers, GREED is percussion dominated powerhouse that finds SWANS moving on from the caustic guitar driven angst of the first two albums and instead finding a new form of depressive despair as its main emotional outlet.

Brilliantly continuing the essential aspects of no wave that avoid melodic motifs like the plague, GREED maintains that abstract detached feel of the first two albums only adds implied melodies carried out through atonality and dissonance. The plodding percussive drives make this album sound like a funeral procession and i wouldn’t be surprise if funeral doom metal was inspired by this stage of SWANS’ career. GREED is a rather bleak affair with seven tracks that add up to almost 38 minutes of nihilistic and ominous repetitive processions through some of the darkest musical tones and timbres you can experience. The album has been compared to a bizarre religious cult ritual soundtrack but i find it more like a form of oozing anarchy.

The opening “Fool” offers something completely new to the SWANS playbook, namely a demented piano that does indeed offer a somewhat melodic approach however this tactic restrains itself and allows the cyclical loops to let the dark atmospheres to play around. Gira’s vocals have moved on from raging angst to a more contemplative and depressive tone. His droning vocal style of yore actually sings on this opening track and thus the new SWANS is born however the opening track only ushers in the new era as the album continues in a similarly minimalist approach that the no wave years employed. The album also features samples, tape operations and other sound effects as well as Jarboe’s blood curdling baking vocals and the aforementioned piano parts.

The name of the game with GREED is pure dissonance and atonal counterpoints that all conspire to craft one disturbing melancholic march through complete musical alienation and sparseness. The incessant flow of percussive beats on steroids is punctuated by moments of silence, the abrasive guitar and bass lines that accompany and the contrapuntal effect of Gira’s downer vocal style along with Jarboe’s nails on the chalkboard vocal approach. The album is incessant in how it ratchets up the tension until the more caustic than thou grand finale “Money Is Flesh” which just pummels away with staccato tom drumming and atonal guitar freakery. This is true industrial bleakness bliss! This particular track sounds unique compared to the others as it has some sort of bellowing sample sound that wails away.

While many consider this period one of SWANS’ weakest, i have to say that i love this album quite a bit as it delves into some of the most barren soundscapes possible and yet finds ways to subtly offer some of the weirdest and strangest alienating results. While the angst had been channeled to despair, it makes a full comeback by the end of the album and it ends with a barren bang. So many adjectives can describe GREED: discouraging, bleak, dismal, gloomy, hopeless, dreary, sombre, raw, desolate, harsh, severe but most of all this album is tempestuous as it has an unresolved uneasiness about it that works so well! Obviously this sort of extremity is an acquired taste and i have no idea how i acquired it but if you accept what the band is going for on its own terms then you can’t deny that SWANS did an absolutely excellent job of conveying what it aimed for. You may not like it but you can’t deny that the results of its sweltering banter is not effective in what it sets out to achieve which i guess is engage is musical sado-masochism!

SWANS Holy Money

Album · 1986 · Metal Related
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The year 1986 could be thought of as the pupa state for the transformation of SWANS from a noisy and even brutal no wave hardcore caterpillar to the experimental powerhouse butterfly that mixed gothic rock with post-punk, industrial rock, neofolk, post-rock and an endless supply of experimental touches all without ever totally jettisoning the no wave ethos that gave life to that short wave New York City movement in the late 70s and early 80s. This was the busiest year of SWANS’ long lasting career which resulted in the release of one non-album single that some consider an EP, the band’s first live album, another EP and two full album’s worth of material.

The “Greed” and HOLY MONEY sessions were fruitful and yielded two albums worth of material. The first studio album of 1986 was “Greed” which found the band slowly morphing from the caustic noisy no wave abrasiveness to a more diverse array of stylistic approaches that incorporated more instrumentation, focus on the atmospheres rather than brutality and the debut of vocalist Jarboe who would stick around for several albums and add a feminine touch to the testosterone fueled rage-fest that the no wave albums exuded with abundance. HOLY MONEY was basically the double album companion that was released a month after “Greed” and ratcheted up the band’s evolution a few more notches. This album was the first to find Jarboe contributing lead vocals on “You Need Me” as well as offering the first taste of acoustic moments such as on the near 8-minute track “Another You,” however even this track is noisy and dissonant as water is wet.

While still retaining the bleak dirge-like processions of “Greed,” HOLY MONEY also featured fleeting elements from the blues by adding select harmonica moments as well as allowing more contrapuntal elements to accrue for a greater atmospheric approach. While the opening “A Hanging” exhibits a throwback to the no wave era, “A Screw (Holy Money)” offers a more pure industrial rock approach only set to the doomy gloomy monotony that SWANS had made all its own. Michael Gira delivers a similar vocal approach to “Greed” with a dreadful downtuned moaning style that borders on mumbling and mimicking a mummy from some Hollywood film. In tandem all the elements on board keep the dissonant and atonalities humming along with jangly guitar chords sustaining over thunderous percussive and bass drives.

On many tracks it sounds like no wave style of SWANS has totally merged with some of the industrial rock bands of the 80s such as Foetus, Big Black, Helios Creed or even Einstürzende Neubauten. Far from accessible, the changes on HOLY MONEY compared to “Greed” are subtle and minor additions but nevertheless showcase a whole plethora of new approaches that would allow SWANS to emerge from its cocoon and emerge as the butterfly that it would become on the following “Children Of God” which found the band coming of age as a totally newly reincarnated act. Basically HOLY MONEY is a companion album to “Greed” and the two have since been released together albeit with track order differences. There is nothing on HOLY MONEY that will convert SWANS haters if the idea of caustic dissonant and molasses slow dirging processions aren’t your bailiwick.

This is some of the bleakest musical expressions ever to have emerged and SWANS had knack for delivering the goods in a way that kept the no wave detachment relevant all the while crafting a more post-rock generated delivery system. Personally i love this caustic stew of creative torture. It’s totally unique and even though these transition albums seem to be some of the least loved albums in the vast canon of the world of SWANS, i find them endearing and just as relevant as the no wave albums that proceed as well as the more ambitious art rock sounds that follow. A niche market for sure but for those who have acquired the taste, HOLY MONEY is a beastly delectable morsel of experimental industrial / no wave brilliance.

metal related genres movie reviews

PORCUPINE TREE Anesthetize

Movie · 2010 · Metal Related
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Warthur
Porcupine Tree's live performances in the wake of Fear of a Blank Planet are pretty well-documented - as well as this live release you also have live albums like Atlanta, Ilosaarirock, and We Lost the Skyline from this era - but Anesthetize deserves to stand head and shoulders above all but Atlanta, which is close to the same standard but a mite shorter. Released both as audio and as a DVD of the performance, it's a stunning performance which sees them offering a host of compelling tracks from what at this point was a very rich repertoire indeed. After this would come the Incident and then the hiatus, but for my money this perhaps represents the peak of what Porcupine Tree were doing in the 2000s.

PENDRAGON Past And Presence

Movie · 2007 · Non-Metal
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Warthur
Pendragon's Past and Presence captures a very special concert put on by Pendragon in celebration of the band's history. Recorded in Poland as a special treat for their very appreciative Polish fanbase, the concert saw a host of past members of the band making special guest appearances - with all the current and ex-Pendragon members present taking to the stage for show closer Stan and Ollie (a good call, since the song was essentially written as a goof-off piece to round off the band's sets with a happy party number, much like Marillion's Margaret).

Aside from 2AM from Kowtow (present as one of several encores), the songs here are all vintage Pendragon from their very earliest days - you have all the tracks from The Jewel and the Fly High Fall Far EP here, plus some delicious rarities otherwise only available in inferior versions on the Once Upon a Time In England compilations. Two decades have come and gone since the band recorded the versions of the songs we're most familiar with, and the additional experience really does show. Many of the songs here blow the original studio versions out of the water - even songs which sounded pretty decent on the original recordings, such as The Black Knight.

I'd go so far as to say that this show is, perhaps, the best way to experience Pendragon's material from before The World came out. Certainly, I would strongly encourage people to pick up the limited edition version which comes with a 2CD audio version of the show, because the audio stands up really well on there and I actually find I listen to the CD more than I watch the actual show. The main limitation here is that the material in question is a bit rough and naive, but the band couldn't really fix that without abandoning the idea of a nostalgia show.

NEAL MORSE Morsefest! 5015

Movie · 2017 · Metal Related
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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.

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.

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