Metal Related

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Metal Related is a term used on Metal Music Archives (MMA) to describe artists and releases that, although not metal enough to be placed under any of the MMA metal sub-genres, still contain a reasonable amount of metal elements.

While this tag will often be applied to releases by artists who do indeed have more fully-fledged metal releases such as Opeth's Heritage or most releases by A.C.T. after their debut, the site will often take in artists that have no releases in metal sub-genres, as Metal Related artists due to the metal elements on some or all of their releases. Examples of such artists are Neal Morse for his 2007 album Sola Scriptura, Galahad for their later releases and Beardfish for their 2012 album The Void.

As such the actual music on releases with the Metal Related sub-genre can vary greatly, both in terms of the main style and the metal elements that flavour the music.

- Written by adg211288 (August 2015)

Sub-genre collaborators:

The Metal Related team is always the same as the standing admin team. Currently:

  • adg211288
  • Bosh66
  • 666sharon666
  • Vim Fuego
  • Nightfly


Click for Full Sub-Genre Chart

metal related top albums

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

SPOCK'S BEARD V Album Cover V
SPOCK'S BEARD
4.89 | 9 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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NEAL MORSE One Album Cover One
NEAL MORSE
4.62 | 14 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.36 | 75 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.34 | 91 ratings
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RIVERSIDE Second Life Syndrome Album Cover Second Life Syndrome
RIVERSIDE
4.32 | 94 ratings
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KATATONIA Last Fair Deal Gone Down Album Cover Last Fair Deal Gone Down
KATATONIA
4.40 | 32 ratings
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THE NEAL MORSE BAND The Great Adventure Album Cover The Great Adventure
THE NEAL MORSE BAND
4.76 | 8 ratings
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COHEED AND CAMBRIA The Afterman: Ascension Album Cover The Afterman: Ascension
COHEED AND CAMBRIA
4.54 | 12 ratings
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TRANSATLANTIC The Whirlwind Album Cover The Whirlwind
TRANSATLANTIC
4.38 | 22 ratings
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RIVERSIDE Shrine of New Generation Slaves Album Cover Shrine of New Generation Slaves
RIVERSIDE
4.26 | 56 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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ARENA The Theory of Molecular Inheritance

Album · 2022 · Metal Related
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lukretion
UK neo-proggers Arena have been around for nearly three decades now, guided by founding members Clive Nolan (keyboards) and ex-Marillion Mick Pointer (drums). The line-up soon coalesced around the two musicians as well as guitarist John Mitchell, and the trio together wrote and recorded most of the 10 full-length albums that currently form the band’s discography. The line-up on their latest LP, The Theory of Molecular Inheritance, is completed by bassist Kylan Amos (now at his third album with the band) and singer Damian Wilson (ex-Threshold, Headspace, Ayreon), who joins Arena for the first time here.

The curiosity for Damian’s debut was high among fans of the band as well as the broader progressive rock/metal community, who recognizes in Damian Wilson one of the most significant voices in the genre. Unsurprisingly, the singer steals the scene here with a stellar performance that is worthy of all the accolades he has received over the years. Switching with ease between powerful, high-pitch belting and mellow singing, Damian is a perfect fit for Arena’s eclectic sound. The Brits have always balanced their neo-prog roots with a penchant for heavier and more metallic atmospheres, at time even close to the classic Iron Maiden sound. The new album is no exception, as it alternates softer melodic moments with heavier sections, which at times even approach the stylings of modern prog metal acts like Haken (“Twenty-One Grams”). Elsewhere, Arena usher in subtle hard-rock/AOR influences, like on the chorus of “Pure of Heart” or in the gloriously melodic coda of “Life Goes On”. The end result is a satisfyingly varied collection of songs that navigates a vast universe of prog-adjacent styles with taste and class.

Surprisingly given their considerable duration, the 11 songs of this LP are fairly compact and chorus-centric, favouring a streamlined form with repeated verse/chorus sequences rather than more elaborated and extravagant structures. The arrangements tend to vary over the duration of a song, although many tracks share a common template in the alternation between soft, sparsely arranged verses and heavier, fuller choruses. After a while, this approach becomes slightly repetitive, which is why a song like “Field of Sinners”, with its upbeat tempo and weird James Bond movie soundtrack vibes, feels so fresh and welcome. Arguably, more injections of diversity in the songwriting and arrangements would have done good to this record, which at over 60 minutes of length tends to plod ever so slightly as it enters the second half.

Despite these misgivings, I’d lie if I said that I have not been spinning The Theory of Molecular Inheritance madly since I got hold of the CD. With its utterly addictive melodies, this is one of those albums that naturally call for repeated listens, not only as a way to fully appreciate its content, but also for the pure pleasure of listening over and over again to a great set of tunes, performed excellently and sung by a phenomenal frontman.

[Originally written for The Metal Observer]

PORCUPINE TREE Closure/Continuation

Album · 2022 · Metal Related
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siLLy puPPy
While it may have been assumed that PORCUPINE TREE called it quits after the lackluster response to their 2009 album “The Incident” and the robust solo career of Steven Wilson (and other projects) that launched soon thereafter, it was indeed the case that Wilson, Gavin Harrison and Richard Barbieri had been planning the next chapter of PORCUPINE TREE all along only kept the project under lock and key leaving the fans to wonder if such a thing would ever materialize. Everyone had to wait until 2022 some 13 years later but finally it has become a reality that PT has indeed decided to carry on by releasing the band’s 11th studio album with the rather clumsy title CLOSURE / CONTINUATION.

Unfortunately bassist Colin Edwin didn’t participate in this reunion so the band carried on as a trio with Wilson picking up the bass part as well as handing guitars, vocals, mixing and role as band leader. Despite Wilson projecting his new dedication to his solo career, Blackfield, No-Man, Bass Communion, God and Storm Corrosion (does the guy ever sleep?), PORCUPINE TREE had been working behind the scenes on this album for the last decade whenever everyone had a free moment. The results of all this behind the scenes resulted in a rather standard PORCUPINE TREE affair that sounds as if the band never went away and that the ensuing 13 years were a mere two or three.

The band launched the single “Harridan” early as far back as December 2021 and whetted the appetite for rapid PT fans in hopes of another “In Absentia,” “Deadwing” or “Fear of a Blank Planet.” The hype was heavy but when the album finally was released in June 2022 the enthusiasm sort of fizzled out with complaints about the lack of growth that was deemed necessary to launch PT into the next chapter and well let’s face it, the fact CLOSURE / CONTINUATION sounds more like the solo material of Wilson than PT at their peak. The album features the typical rockers and ballads all in atmospheric space prog form however the crossover metal aspects of the band’s early 2000’s have been tamped down considerably and replaced by some of the electronic wizardry of Wilson’s solo efforts.

“Harridan” was an excellent teaser single with jittery firm bass groove that offers everything a PORCUPINE TREE fan could hope for. Lengthy prog workouts that revolve around Wilson’s subdued vocal style accompanied by just enough rock heft to craft the proper contrast, the song featured strong hooks and was instantly likable with only the occasional complaints of overtly too complex for its own good keeping it from greatness. Actually it was those very complexities that made it more attractive as PT has been decidedly and often too accessible for its own good at least for the tastes of true prog stalwarts who love the entire arsenal of proggy tricks and trinkets to be implemented. The fans would have to sample a series of singles before the actual release with “Of The New Day” and “Herd Culling” pacifying the fans before the actual album hit the scene.

CLOSURE / CONTINUATION features seven tracks with the deluxe edition featuring three extra. In all honesty i can see why many feel let down by this album as it sounds like business as usual without any significant developments in the band’s overall sound. The extra layers of complexity make it a bit more alienating and more difficult to get into upon first listen unlike past glories. The hype raised expectations and the album sort of hums along just like any old PT album of the 21st century. The usual suspects of mopey ambient drenched slow parts followed by heavier rocking upbeat moments is by now the PT playbook. There just aren’t enough surprises or magic moments to be found on this one but at the same time this one is much more engaging than the nadir of the band’s career “The Incident.”

I think it’s agreed that CLOSURE / CONTINUATION will probably not go down as anyone’s favorite PT album but after several attentive listens i’m actually quite enthralled with this album and its subtle intricacies. Perhaps it’s the sappiness of the second track “Of The New Day” that derails the momentum early on for many (as it did me at first) but beginning with “Rat’s Return” this album is successful in delivering ample doses of everything PT is known for and in good form. Certainly no instantly sing-along songs here with repetitive motifs but this is by no means as inaccessible as anything in the rock in opposition camp. This is simply PT stretching its boundaries and putting its feelers out as to ascertain a new path to forge in the 2020’s. Personally i’m loving this album even if i agree that it doesn’t live up to the hype or compare with the greatest albums of the past. After all even a weaker PT album is light years ahead of what many lesser bands can conjure up. BTW the three bonus tracks are excellent and actually better than some of the material on the official album.

CHAT PILE God's Country

Album · 2022 · Metal Related
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BitterJalapeno
Chat Pile is an Oklahoma based noise rock/sludge metal quartet who's debut studio album "God’s Country" became available to the masses in the summer of 2022 after having been the subject of much hype in alternative music circles. After the initial listen, one feels like a corkscrew has been inserted into each ear and violently twisted. What has one just experienced? The answer is a savage and exasperated assault on a broken western society, transported to the ear canals with unprecedented levels of rage. While lyrical content concerning the failings of society is a well-trodden path with each new endeavour having potential to project yet another rehashed and redundant message, God’s Country does anything but.

You might ask what prevented God’s Country from falling into the rehash trap. It all comes down to the earnestness with which the message is delivered – no generic “fuck the government” material can be found here. Vocalist Raygun Busch launches a wide-ranged and carefully calculated attack on several aspects of modern American society which is both unapologetically scathing and depressingly accurate with its content. Amongst the themes of homelessness, mass meat production and the disgraceful condition of the environment are pockets of truly harrowing material in relation to the ongoing mental health crisis but rather than giving off the impression of wallowing, the overall message is one of downright rage, giving the record authenticity and ultimately, lyrical relevance.

While there is nothing overly complex musically speaking, the genre-fusion on offer here more than compensates for those who crave something less simplistic. Ferocious sludge and noise rock form the base of the musical palate, supported by touches of post-hardcore and the occasional groove-laden, angular nu-metal passage. The heavier portions of the musical fabric are juxtaposed by the inclusion of gothic and 80s post-punk elements which add a sense of gloom and if that wasn’t enough, the whole experience is shrouded in a cold industrial atmosphere.

A grotesque and blood-curdling release, God’s Country brings something new to the party without straying too far from its sludge roots. Unique yet familiar, harrowing yet humbling, Chat Pile have produced something truly special.

ENCHANT Tug Of War

Album · 2003 · Metal Related
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Warthur
Tug of War would be the last Enchant studio effort before a fairly long hiatus, which would be broken over a decade later by The Great Divide. It's not that they outright split or everything - it's just that they stopped making studio albums, despite having kept up a fairly frequent output over the preceding decade.

Perhaps it was high time for a break; I'd thought the album prior to this, Blink of an Eye, was rather forgettable, in part because the departure of original drummer Paul Craddick meant that the band's pool of songwriters suddenly got shallower, with Douglas Ott and Ted Leonard taking on all the songwriting duties when previously they had been shared between more hands, leading to an album with a rather samey sound.

This time around, other hands contribute more - Ed Platt has some credits, as does new keyboardist Bill Jenkins - but Leonard and Ott still shoulder most of the burden, and it feels like the creative well is running dry here. Whilst it has a few more prog flourishes than Blink of an Eye did, this like that album is often painfully generic at some points, and once again I find myself missing the Rush influences which were more evident on their run of albums from Blueprint of the world to Juggling 9 Or Dropping 10.

Just as Blink of an Eye felt like a rehash of Juggling 9 Or Dropping 10, with just a bit less sonic diversity, so too does Tug of War feel like a rote rehash of Blink of an Eye - again, it's pleasant, but it's not memorable. Maybe the band's earlier works had their shakier aspects, but they at least had more personality than this. Taking a good long break to recharge those creative batteries might be just what the doctor ordered.

ENCHANT Blink Of An Eye

Album · 2002 · Metal Related
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Warthur
Enchant's sixth album, Blink of an Eye, comes amidst a time of changes for the band. For their first five albums, their lineup had been fairly stable; bassist Ed Platt had, for reasons I've not been able to track down, not been involved in the recording of Break, but he was back in the fold for Juggling 9 and Dropping 10 - at which point longstanding keyboardist Michael Geimer departed, followed by drummer Paul Craddick a while after that.

This release would see Sean Flanegan take over at the drumstool, but the band did not yet have a permanent replacement keyboardist; Douglas Ott filled the gap for the time being, with guest Phil Bennett stopping by to add a few extra touches here and there. (Subsequent to this release, Bill Jenkins would join to take up the keyboard post long-term.)

Of course, musicians join and leave bands all the time - it's par for the course. However, as well as being their original drummer Craddick was also one of Enchant's key songwriters, making extensive contributions to all their prior albums on that front. In fact, he'd get at least a co-writing credit on the majority of the songs on more or less every previous album except Break (where he still wrote music for four of the ten songs).

As such, losing him didn't just mean losing a drummer - it also meant the band lost a key creative mind, and whilst Flanegan seems entirely competent behind the drumstool, he doesn't step in to fill the songwriting gap here. (He wouldn't get credited with any songwriting on the followup, Tug of War, either, but would get cowriting credits on four songs on the reunion album The Great Divide.)

I don't say this as a slam on Flanegan - if you're the new guy coming into a band which has just lost a couple of long-standing measures it can be sensible to hang back a little and get a sense of the group's internal chemistry before you start pushing your own ideas. However, the upshot of Craddick leaving is that only Douglas Ott and Ted Leonard get any songwriting credits on this album, making it the Enchant album with the least number of distinct individuals contributing to the songwriting. (The songwriting pool would widen again with Tug of War.)

That might explain some of Blink of an Eye's issues. In some cases, narrowing down the range of people contributing to songs can be a smart move; it can help to focus your sound and hone in on a distinct creative vision, rather than sprawling to try and accommodate everyone's ideas. In other situations, however, losing someone from a songwriting team is a net negative: what you might gain in some respects you ultimately lose through the simple fact that you have one less person throwing ideas into the pot.

In Enchant's case, I would say the latter situation applies. Enchant's sound prior to this was based on a smorgasboard of influences - neo-prog like Marillion, IQ, and Jadis, prog metal and heavy prog like Dream Theater or Rush, and from Break onwards an increasing influence from melodic alt-rock. That's at least two distinct flavours of prog, plus influences from outside of prog, all representing distinct strands in their music; you can see how it would be a challenge to come up with musical ideas which cover all those bases at once.

By comparison, to my ears the sound of Blink of an Eye feels like it's just a little bit blander than usual. Little musical development over Juggling 9 Or Dropping 10 is evident, and for a band which had made an admirable show of significantly developing and shifting its music from album to album that's unfortunate. To the extent there is a change, everything sounds a little bit more same-y than it did before - which is not a positive development -and it feels like the Rush influence that had cropped up frequently has been dialled back a lot. (If Craddick was responsible for a lot of the Rush-isms, that might be why - he'd hardly be the first drummer to look up to Neal Peart, after all...)

Don't get me wrong, this isn't flat-out horrible - you don't put it on and think that Enchant have suddenly lost all ability to play their instruments. It's nice, entertaining melodic rock with heavy touches here and there and some prog sensibilities... but it's one of those albums where I can sit here and listen to the entire thing start to finish, and when the final track ends I cannot remember a single goddamn part of it. It's pleasant enough in the moment, but there's nothing here which'd stay with you, and as such it feels like a comparatively lukewarm effort by Enchant's standards.

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NEAL MORSE Morsefest! 5015

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

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

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

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

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

PORCUPINE TREE Arriving Somewhere...

Movie · 2006 · Metal Related
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Warthur
Focusing on the more metal-oriented material from Deadwing and In Absentia - though notably steering it back in a more rock-oriented direction in order to allow this material to sit a little more comfortably beside the "indie prog rock" stylings of Stupid Dream, Lightbulb Sun and Recordings (picks from all of which surface here). Fans of their earlier psychedelic and space rock styles might be disappointed that those aren't represented, but on the plus side there's a liberal sprinkling of rarities here such as the glorious Buying New Soul as well as Revenant, So-Called Friend and Mother and Child Divided, those three songs having only appeared on various special editions of Deadwing. Not the definitive Porcupine Tree live experience, but a pretty decent one nonetheless.

RIVERSIDE Reality Dream

Movie · 2009 · Metal Related
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progshine
My polish girlfriend gave me this DVD on my anniversary in May, I really didn't know what to expect of the band live cause I only knew their studio recordings. Like I always do, I watched the bonus DVD first, I like to see backstage footage, interviews and extras much more than the proper live presentations on most of the time (maybe the only exception is Live At Wembley by QUEEN).

The first DVD is the show itself, and it's a very good recording, both audio and video, and seeing them live male me wonder how good is Mariusz Duda, cause as a bass player myself, I know how hard is to play some lines while you sing, Mariusz dows a fantastic work live, as the whole band.

I think it's a great buy for any prog rock fan, this polish band deserves more light on our '70's' world.

NEAL MORSE Live Momentum

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

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

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

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

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

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