Non-Metal

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Not every band on Metal Music Archives exclusively plays within a metal or metal related sub-genre. Some start as such only to later leave their old sound behind, others become relevant to the site later in their careers. Some bands like to release one-off experiments. The Non-Metal tag on MMA is used to cover releases that are completely removed from metal music in style, so in a sense is a catch-all sub-genre for releases that don't fit anywhere else.

Sometimes, artists will be added under non-metal exclusively due to being related to the metal genre and scene by association with metal artists, such as the symphonic prog act Transatlantic who feature the former Dream Theater drummer Mike Portnoy, the ambient project Neptune Towers by Darkthrone's Fenriz or the folk band Fejd, who have members who are/have been with a couple of different metal bands. Such artists are typically covered by the metal media due to this association with the scene, and are as such included on MMA for the same reasons.

Mostly however this tag will be used for releases belonging to other genres by metal (or other metal related) artists, such as Opeth's progressive rock albums Damnation and Pale Communion or Elvenking's folk/folk rock album Two Tragedy Poets.

- Written by adg211288 (August 2015).

non-metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 60 min. caching

RED HOT CHILI PEPPERS Blood Sugar Sex Magik Album Cover Blood Sugar Sex Magik
RED HOT CHILI PEPPERS
4.69 | 10 ratings
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SWANS The Seer Album Cover The Seer
SWANS
4.96 | 6 ratings
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ALICE COOPER From The Inside Album Cover From The Inside
ALICE COOPER
4.19 | 21 ratings
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ZZ TOP Tres Hombres Album Cover Tres Hombres
ZZ TOP
4.49 | 7 ratings
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MOTORPSYCHO The Death Defying Unicorn Album Cover The Death Defying Unicorn
MOTORPSYCHO
4.65 | 5 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.18 | 15 ratings
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KAYO DOT Coyote Album Cover Coyote
KAYO DOT
4.30 | 9 ratings
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KAYO DOT Coffins On Io Album Cover Coffins On Io
KAYO DOT
4.26 | 10 ratings
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KILLING JOKE Night Time Album Cover Night Time
KILLING JOKE
4.51 | 5 ratings
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ELOY Ocean Album Cover Ocean
ELOY
4.26 | 9 ratings
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KILLING JOKE Killing Joke (Debut) Album Cover Killing Joke (Debut)
KILLING JOKE
4.49 | 5 ratings
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ANATHEMA We're Here Because We're Here Album Cover We're Here Because We're Here
ANATHEMA
3.98 | 41 ratings
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non-metal Music Reviews

KING CRIMSON Discipline

Album · 1981 · Non-Metal
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martindavey87
My introduction to King Crimson came through hearing the song ‘Red’ which I found incredibly boring and repetitive. Such a shame, that King Crimson, one of the most famous progressive rock bands of all time, would turn out to be such a letdown. Fast forward a few years and I'm at my local, trusty car-boot sale. We all love a bargain, and when I saw someone selling this CD for 50p, I knew it was time to jump in and give the band a proper chance.

Well, they won me over, because 'Discipline' turned out to be a pretty good record.

Consisting of musically intelligent and creative individuals, these guys know how to write some totally different and unique songs. My personal faves, 'Elephant Talk' and 'Thela Hun Ginjeet', both have lyrical themes that are certainly unlike any others I've heard before. Both interestingly show how musical inspiration can come from anywhere.

Despite these two highlights though, at times it feels like the rest of 'Discipline' just kind of plods along. The songs aren't terrible, in fact, each song by itself is good and very easy to listen to, but I find myself getting bored trying to listen to the whole album in one sitting. In that regard, whilst this release may have converted me into a fan, it's still not something I'm likely to rant and rave about any time soon.

I guess I'm all talk.

BUCKETHEAD Octave Of The Holy Innocents (with Jonas Hellborg & Michael Shrieve)

Album · 1993 · Non-Metal
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siLLy puPPy
The album OCTAVE OF THE HOLY INNOCENTS (which is a mixing of two Christian biblical accounts - “Massacre of the Innocents” referring to the infanticide of Herod the Great and the term OCTAVE which refers to the eighth day after a feast) is a crossroads for the three distinct musical careers passing for a brief blip in time. The album was constructed and initiated by the Swedish jazz-fusion bassist JONAS HELLBORG who after working with the likes of Shawn Lane, John McLaughlin and a whole list of others decided to put together an acoustic trio of performers to cross-pollinate his jazz-fusion style with other musical talents.

On drums is the veteran percussive talent of MICHAEL SHRIEVE, the percussionist extraordinaire who helped usher Santana to worldwide fame when he wooed a new generation at Woodstock as the youngest performer in the entire event. Also on board was some new blood in the form of the strange chicken loving guitarist BUCKETHEAD who after only one album under his belt was already making waves in musicians’ circles. This is in fact only the second album he played on in 1993 at the tender age of 24. Instead of releasing the album under a solo billing, HELLBORG democratically gave the album credits to all three participants.

OCTAVE OF THE HOLY INNOCENTS is an all acoustic instrumental affair with five lengthy tracks clocking in over the 42 minute mark. BUCKETHEAD plays exclusively acoustic guitar whereas HELLBORG plays acoustic bass and adds keyboards occasionally. SHRIEVE sticks to a traditional drum set and steers clear of any of the Latin rhythms of his Santana days. The music on this one is primarily set within the context of HELLBORG’s style of jazz-fusion progressive chording and virtuosic bass slapping techniques. The tracks are well constructed jazz-fusion pieces that allow extended jamming sessions to let all three instrumentalists strut their stuff.

The fifteen minute opener “Rana And Fara” swallows up a whole third of the album and runs the gamut of extreme placid tranquil build ups that peak and trough and ultimately cede into more technical and energetic workouts. The true technical prowess is displayed on “Death That Sleeps In Them” where all three performers engage in jazz-fusion workouts that are literally melting strings and skins alike and display the newbie BUCKETHEAD more than able to keep up with the big kids on the block. “The Past Is A Different Country, I Don’t Live There Anymore” is a much more reflective piece that stretches out to over nine minutes and reminds me of some of Mahavishnu Orchestra’s more serene moments which obviously rubbed off on HELLBORG during his days with John McLaughlin.

“Child King” is probably my favorite track on the album as it traverses through flamenco meets jazz type workouts with a touch of Classical Hindustani in the mix. SHRIEVE exercises some of his most adroit drum and cymbal action on this one. “Kidogo” is an energetic closer that shows an exciting tension in the contrast of HELLBORG’s bombastic bass compete with the drums while BUCKETHEAD creates atmospheric slide effects and other mind-bending riffage. OMG! This is truly an album of top notch professionals at the helm and they all perform with each other spectacularly. There is not a shred of ego to be felt and each musician perfectly complements the other for the entirely of the album’s run. A very exciting stripped down piece of musical art here.

BUCKETHEAD Left Hanging (with Travis Dickerson)

Album · 2010 · Non-Metal
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siLLy puPPy
Yet another collaborative effort of BUCKETHEAD in 2010 and the fifth overall with TRAVIS DICKERSON. While this one is primarily a DICKERSON album, the chicken lover has received equally billing. This one is mostly a bunch of unreleased tracks from previous sessions of the “Dragons Of Eden” and “Population Override” albums as well as sessions from the other musical collaborations of the bands Thanatopsis, Axiology and Gorgone sessions. Because of the different sessions involved, this one has many drummers credited. BUCKETHEAD handles bass and guitar, DICKERSON plays keyboards and the drum duties are divided up between Brain, Ramy Antoun and Pinchface.

LEFT HANGING follows in the footsteps of the other BUCKETHEAD & DICKERSON collaborative effort that also included Brain (who is on this album but receives no equal billing) in that it continues the jammy jazz-fusion psychedelia of the “Dragons Of Eden” album. Back are the jazzy chord progressions and the psychedelic 70s mellotron sounding organ runs as well as the fusion bombast of the three respective drummers on board. Noticeably absent from this one is the haunting chamber rock cello added on “Dragons” which gave that a more distinct and unique sound. LEFT HANGING sounds more like a typical jazz-fusion outfit from the early to mid-70s at the zenith of the prog rock heyday.

Unfortunately this one isn’t quite as interesting because it sounds too traditional compared to “Dragons.” Everything is played excellently with BUCKETHEAD not only delivering some mean guitar workouts but some funky slappin’ bass runs as well. DICKERSON dishes out some nice contrast of mellotron drenched organ runs along with more funky keyboard runs a la Herbie Hancock’s “Headhunters” era. Despite sounding like this is some long lost artifact from the 70s, it sounds authentic and organically constructed as all the musicians seamlessly jam and play off each other with ease. Despite the fact these tracks were all recorded during different sessions, they all connect fairly well and actually add more flavor to the overall feel of the album.

As someone who is well versed in jazz and jazz-fusion of the 60s and 70s, LEFT HANGING is by no means a top notch sort of album in that rich field of cross-pollination however this is a very engaging album that is excellently performed, nicely produced and elegantly retro to boot. Jazz-fusion is a type of subgenus that has a varying spectrum with some leaning heavy on the jazz side and other on the rock. I would say that BUCKETHEAD & DICKERSON are definitely closer to the rock side of things on LEFT HANGING with tight steady rhythms that for the most part are absent of strong syncopation and other overtly aspects of jazz. However the chord progressions and some of the dynamics are definitely out of the jazz playbook. The percussion is more of a simple rock beat and fails to engage in a jazz context. This is a fun album to listen to but i’m not as fond of it as “Dragons Of Eden” however there are a few surprises that will shock you!

BUCKETHEAD Captain EO's Voyage

Album · 2010 · Non-Metal
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siLLy puPPy
After a reference to CAPTAIN EO on the album “A Real Diamond In The Rough” titled “The Return Of Captain EO” which refers to the 3D sci-fi film by Michael Jackson, BUCKETHEAD revisited the idea with a whole album, his 29th, titled CAPTAIN EO’S VOYAGE with lots of references to Jackson’s life. This album also begins the trend of releasing albums first digitally and then following them up with a physical format at a later date. The album also signified a departure from the TDRS record label and is performed only by BUCKETHEAD on guitars and Dan Monti on bass, drums and production. Yep, that even appears to be Michael Jackson on the album cover. The movie was associated with Disneyland which is another weakness for BUCKETHEAD whose whole idea for BUCKETHEADLAND was constructed. He has been purported to spends lots of time in the Magical Kingdom and on this release he pays tribute to both artists and theme park in one shot.

This one is on the mellower side of things but sustains a fairly strong drumbeat. Overall CAPTAIN EO’S VOYAGE is a rather psychedelic rock type of album with echoey guitars, snail’s paced bass lines and intricate compositional developments that go beyond the usual mellow BH album styles of simple repetitive chord progressions that outstay their welcome. This one has more variety between tracks as well as dynamic shifts between the mellower aspects of BH’s music and the more rockin’ out however nothing on here approaches metal whatsoever. This is strictly a slowed down form of rock with psychedelic and even post-rock elements along with the occasional funk bass line. The tracks are instantly catchy and melodic while the guitar licks and solos are on the bluesy side of things. This one is cool in that the guitar, bass and drums seem to be happy existing in their own world instead of simply following a leader.

This one is pretty cool in the fact that it adds new ways to incorporate the clean echoey guitars and keep the tracks sounding distinct from each other. Whether it has any connection to the actual movie is beyond me since i’ve never seen it (and most likely never will) however this album has a playful feel to it and somehow it seems to fit with the theme. While this will never go down as my favorite BH album by any means, this one is a pleasant roller coaster ride, albeit a gentle one for those who get motion sickness too easily. Despite these mellower ones not topping my BH faves list, i have to admit that they are a nice recalibrating effect to put the others in perspective therefore even the ones i like lesser seem to have a purpose. This one may not excel beyond the original “Colma” album in performance but it’s not a bad try.

BUCKETHEAD Brain As Hamenoodle (with Brain)

Album · 2010 · Non-Metal
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siLLy puPPy
While BUCKETHEAD was releasing more albums under his own name exclusively he was also continuing to release collaborative efforts as well. In 2010 he and his friends Bryan “Brain” Mantia on drums and Melissa Reese on keyboards unleashed three collaborative releases. Two of these were massive boxed sets where all three got equally artist billing whereas the third one is only attributed to BUCKETHEAD and BRAIN since it doesn’t feature Melissa Reese despite it fitting in with the other “Kind Regards” boxed sets. The album titled BRAIN AS HAMENOODLE is yet another experimental album that focuses on minimalistic bass and drums. I have no idea what the title refers to although i suspect it has something to do with the fact that previous albums were titled “Chicken Noodles” and the HAM part refers to Brain’s personality in some way. This is pure speculation.

The album starts out with some girl uttering gibberish that ends with the term HAMENOODLE and then the funk session begins. This whole album is basically BUCKETHEAD slapping away on the bass and BRAIN pounding on the drums. Surprisingly despite the limited instrumentation this one has a lot of differing styles. While the opening “Meet Hamen” has a clear funk vibe, the following “Brad P” is more laid back with a slow groovin’ bass that lets the percussion to have a hyperactive spastic attack. All in all this one reminds a bit more of the band Ruins only more on valium and without the zeuhl. After all that band has done many albums with nothing more than bass and drums and constantly finds new ways to invent that sound. Unlike that band there are no vocals to be found here. Only progressive rock meets funk workouts where some segments work better than others.

The comparison to Ruins is more than just a fleeting feeling. The extended jams that range from calm and placid to full-on freak outs is exactly the kind of freaky stuff that Tatsuya Yoshida would come up with. This album allows BUCKETHEAD to fully raise his freak flag on the bass and he nails it doing the craziest things as he does on guitars. BRAIN is equally competent on the drum set and is a master of changing things up. He has been rather reserved on many of his collaboration albums but on this one he really lets loose with a nonstop series of rhythmic assaults that seamlessly meld with the bass. While this isn’t quite energetic enough to be considered metal there are energized moments that pass as heavy rock but for the most part this one remains in funk rock mode with other excursions into the avant-garde and beyond. Better than it sounds but not the kind of stuff i’m going to seek out many repeat listens either. Unlike a typical Ruins album, it doesn’t quite have the zany zeal and over-the-top aesthetics that make their albums so much fun.

non-metal movie reviews

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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