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 (Fejd later became metal themselves, but were accepted on MMA long before that). 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 | 24 hours caching

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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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non-metal Music Reviews

MIKE PATTON Mondo Cane

Live album · 2010 · Non-Metal
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UMUR
"Mondo Cane" is the 5th full-length studio album (including a couple of soundtracks) by US rock/metal artist Mike Patton. The album was released through Ipecac Recordings in May 2010. Patton is probably mostly known for his work with acts like Faith No More, Mr. Bungle, Fantômas, and Tomahawk, and for his experiments with the human voice, but on "Mondo Cane" he goes down a quite different path. "Mondo Cane" does continue the Mike Patton tradition that you should expect the unexpected though.

This time around the singer has chosen to cover 50s and 60s Italian pop songs backed by the Filarmonica Arturo Tuscanini orchestra and choir (conducted by Aldo Sisillo). "Mondo Cane" has a pretty interesting recording history, as it was recorded live during the first three dates of an Italian tour. No performance was kept intact though, and instead the album was created from various instrumental and vocal tracks and spliced together for the final mix. All tracks feature Italian language lyrics. The idea for making the album came to Patton while he was living in Bologna, Italy, and was touched by the "older" music playing on the radio. Patton had learned the Italian language and moved to Bologna when marrying Italian artist Titi Zuccatosta, and I´ve read comments from more than one Italian fan, saying that although Patton has an American accent, he actually nails singing in Italian pretty well.

As usual a bold move that Patton more or less pulls off with seamless ease and also great conviction and passion. Patton has a strong voice and an extremely versatile vocal style and while it's only "Urlo Negro" which features some semi-aggressive vocals, we're still presented with a plethora of different "clean" vocal styles on the album. The choir backing and the orchectra work really well and provide/support the tracks with the right atmosphere but it's Patton's vocals that are the center of attention. There's a nostalgic and sentimental atmosphere to most of the tracks that really graps my attention (this is music which wears its emotions on the sleeve), but images of spies and femme fatales also come to mind during the most energetic of the tracks like "Che Notte!" and the above mentioned "Urlo Negro". The material are predominantly just a really warm and pleasant listening experience.

Although the album essentially was recorded live, "Mondo Cane" feels like a studio album (you won´t hear audience noise or talking between tracks), and a very well produced on at that. The organic and warm sounding production suits the material perfectly. So upon conclusion "Mondo Cane" is a quality release through and through. It´s one of his more easy listening releases and some fans may find it a little too safe and not experimental enough, but to those who enjoy Patton's voice and and support his eclectic mindset regarding the boundaries of music (which means no boundaries in his case), this could prove to be a litte pleasant gem. A 3.5 star (70%) rating is deserved.

MINISTRY Twitch

Album · 1986 · Non-Metal
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Warthur
Twitch is the - in my opinion sorely underrated - bridge between early Ministry and their later industrial metal form that debuted on The Land of Rape and Honey. When I say "early Ministry" here I don't mean the gothy synthpop stylings of their debut album, With Sympathy - nothing else in their discography really sounds like that - but instead the Ministry of their early singles, stuff like Everyday Is Halloween or All Day (the latter of which has a remix represented here). The album is very much on the EBM side of electronic industrial, but it's also on the harder-edged side of that - it'd just take someone picking up a guitar and matching the synth riffs on it to tip this over the edge into industrial metal.

ULVER Drone Activity

Live album · 2019 · Non-Metal
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Warthur
Ulver's musical interests bounce around all over the place - we're talking about a group whose discography ranges from the rawest of raw black metal to dark folk music to synthpop, after all - so it's nice of them to give this release an apt title to tip us off to what to expect.

Though a live album, Drone Activity consists of all-original material. Don't think "drone" in the sense of, say, Ulver buddies Sunn O))) - instead, think "drone" in the sense of some of the mid-1970s work of progressive electronic masters like Tangerine Dream or Klaus Schulze. Heck, the album is even structured like Tangerine Dream's Zeit, with its four electronic ambient pieces occupying a timespan which would, were this to get a vinyl release, have each track taking up a side of a double album.

Don't think this is a full-on pastiche of Tangerine Dream, however; the aesthetic of Ulver's vampiric cyberpunk works of yesteryear is thick on the ground here, the band simply using a Tangerine Dream-esque format as a springboard for improvisation in their own distinctive style. The end result is another compelling release from a band who are never less than interesting.

MINISTRY Twelve Inch Singles: 1981-1984

Boxset / Compilation · 1985 · Non-Metal
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Warthur
This album-length compilation is, arguably, really more of an EP with a bonus remix EP tacked onto the end, since you are presented here with four original songs - each of them a significant early Ministry single - along with four remixes of them, and to be honest I tend to stop listening before the remixes kick in.

By far the best song on here is Everyday is Halloween, a far more successful goth anthem than anything on Ministry's uncharacteristic debut album With Sympathy. (Yeah, Al and pals are still mimicing the British goth pioneers, but they do a better job of capturing the scene's attitude and producing something which might have done heavy duty on turntables at the Batcave club back in the day.) The other songs on here are more transitional pieces towards Ministry's more well-known industrial style.

SECRET CHIEFS 3 The Book Beri'ah Vol. 10: Malkhut

Album · 2019 · Non-Metal
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siLLy puPPy
Trey Spruance launched his then side project SECRET CHIEFS 3 all the way back in 1995 in the midst of the Mr Bungle years and has continued to steer this unique collective of musicians into exciting new arenas that have contributed to the evolution of this band’s sound into a veritable smorgasbord effect that is so pure and refined that SC3 sounds as if it resonates from a long lost tradition that has found its way into the modern world at the time of some sort of spiritual awakening. Having long ago mastered the exquisite alchemy of disparate genres such as surf rock, Persian traditional, Arab folk music, Indian classical, death metal, electronica and spaghetti western styled soundtrack music, the SC3 culminated its sound on 2004’s “Book of Horizons” before Spruance announced that the SC3 was actually seven satellite bands named Electromagnetic Azoth, UR, Ishraqiyun, Traditionalists, Holy Vehm, FORMS, and NT Fan.

Before SC3 jumped into the satellite band procession, the project joined ranks with none other than John Zorn as they performed compositions from Zorn’s second Masada book, “The Book of Angels” with song titles representing characters from Jewish and Christian mythology and an introduction into a new genre into the world of SC3, that being klezmer. After what seemed like a one off, SC3 released three more albums under the guise of the satellite bands that ended with 2014’s “Perichoresis” and then the band fell silent for several years with nothing to offer those who have become addictive to this unique band’s sophisticated style of musical amalgamation of tones, timbres, tempos and magnificent genre blending mashups. While seemingly dropping off the face of the Earth, SC3 were in fact working hard on the next Zorn collaboration in the form of an entire album that appeared on the 11-album installation of Zorn’s “Masada Book Three - The Book Beri’ah” which found the band in company with Sofia Rei & JC Maillard, Cleric, Spike Orchestra, Julian Lage / Gyan Riley, Abraxas, Klezmerson, Gnostic Trio, Zion80, Banquet of the Spirits, Craig Taborn and Vadim Neselovskyi.

The whopping 11-album set was released on 9 March 2018 as album #10 of the massive collaborative effort and although officially a part of the SC3 canon, was unavailable for any sort of listening pleasure outside of plopping down a small fortune to obtain the entire box set of music, which is probably not a bad thing have you, but i have not been willing to take the plunge so despite SC3 ranking high on my favorite bands list i just had to wait it out and see if someday perhaps they would release it as an individual album. Well 18 October 2019 was that day and THE BOOK OF BERI’AH VOL 10 - MALKHUT was finally released and as the album cover art of the sefirot which represents the concepts from the Jewish esoteric knowledge of the Kabbalah, SC3 emerge from its slumber only to add weave Jewish sounds to its already eclectic musical palette without sacrificing any of the sounds that came before except for perhaps the lesser sounds of the more extreme metal sounds found on earlier albums. As far as i am aware, SC3 is one of the few bands to successfully find a truce between Arabic folk music and Jewish traditional klezmer and make it sound as natural as an organic centuries long musical style.

For this album, SECRET CHIEFS 3 consists of Trey Spruance (guitars, clavinet, kinnor, analog synth pads, theater organ, extra percussion, nevel, glockenspiel, sound fx), Eyvind Kang (violin, viola), Ches Smith (congas, vibes, shakers, dumbek), Matt Lebofsky (piano, elec. piano, hammond and farfisa organ, moog), Kenny Grohowski (drums), Shanir Blumenkranz (bass), Jason Schimmel (guitar) and Ryan Parrish (kaval) who weave an intricate display of progressive fusion sounds that clearly reside in the SC3 universe and the band continues the ever growing complexities that have continued to evolve ever so slightly on every album since the debut “First Grand Constitution and Bylaws” all the way back in 1996. So in that respect, one can pretty much expect a continuation form 2014’s “Ishaqiyun” only with the addition of klezmer and Jewish traditional sounds tucked into the mix albeit with a retro review of earlier SC3 albums.

As always, SC3 scores in finding the perfect balance between timeless intricate melodies and tight knit grooves with bursts of progressive angularities and heavy rock bombast but for the most part the band wends and winds through an intricate fusion of Arabic and Jewish traditional sounds although the surf rock, electronica and other sounds are still present although providing a subordinate role. There are plenty of those parallel riffs that harken to previous albums but teased out into new directions. The album is perhaps the most traditional sounding from the band’s pre-satellite band days with those precise keyboard stabs punctuated by Middle Eastern grooves, tasty guitar workouts, electronic atmospheres all dressed up in an epic spaghetti western soundtrack grandiosity. For those who are true fans of the SC3 and have been with them since the beginning, this will be a nice overview of the band’s entire existence without too much new thrown in save the scant progressive rock anomalies such as the Goblin sounding keyboards of “Chitzonuyut” and the heavier emphasis on Jewish themes and rhythms.

Once again the SECRET CHIEFS 3 project has generated a mesmerizing or should i say “klezmerizing” musical score that evokes an epic traditional musical style of some esoteric mystery school tribe that dropped out of the world and continued underground for millennia before finally bringing its unique musical mysteries to the world’s consciousness. This album like almost every other is flawlessly designed and will delight SC3 fans for its attention to detail, addictive melodic and rhythmic flow and transcendental evocations. The band shows no sign of decline and musically speaking has never sounded better. Perhaps if i had any gripe about MALKHUT is that it is not daring enough in its explorative nature. It seems to simmer peacefully in a safe zone that never adds any startling detours such as the band’s earlier explorations into death metal and more extreme musical styles but given this was designed to work as a part of a much larger musical whole, it probably needed to exist in harmony with the intent of Zorn’s musical vision amongst friends who also contributed entire album’s worth of material. I have to say, very rarely do i hear music this good and SC3’s amazing consistency is exactly why they reside in my top 10 bands of all time.

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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