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

NEAL MORSE One Album Cover One
NEAL MORSE
4.83 | 11 ratings
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WISHBONE ASH Argus Album Cover Argus
WISHBONE ASH
4.56 | 27 ratings
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JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
JIMI HENDRIX
4.49 | 41 ratings
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QUEEN Queen II Album Cover Queen II
QUEEN
4.43 | 62 ratings
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THE WHO Who's Next Album Cover Who's Next
THE WHO
4.48 | 34 ratings
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SPOCK'S BEARD Snow Album Cover Snow
SPOCK'S BEARD
4.88 | 8 ratings
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KING CRIMSON Red Album Cover Red
KING CRIMSON
4.35 | 96 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
4.35 | 92 ratings
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JIMI HENDRIX Axis: Bold As Love Album Cover Axis: Bold As Love
JIMI HENDRIX
4.42 | 30 ratings
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PORCUPINE TREE In Absentia Album Cover In Absentia
PORCUPINE TREE
4.33 | 87 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.33 | 87 ratings
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SWANS The Seer Album Cover The Seer
SWANS
4.79 | 8 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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metal related genres Music Reviews

PENDRAGON Love Over Fear

Album · 2020 · Non-Metal
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Warthur
After spending the 1980s with one foot in neo-prog and another foot in poppier material, with all the stylistic shifts that such a stance implies, Pendragon would shift gear in the 1990s and establish what many think of as the "classic" Pendragon sound - a melodic style of neo-prog in which Clive Nolan's synthesiser textures create a dramatic backdrop against which Nick Barrett's emotionally resonant guitar work unfolds.

This is a style that premiered on The World, was perfected on The Window of Life and The Masquerade Overture, and in retrospect you can see Not Of This World as the close of this phase of the band. Believe, whilst it still had significant elements of this style, saw the band incorporating fresher ideas into their toolbox, whilst Pure, Passion, and Men Who Climb Mountains have all sounded very different from their 1990s material.

Now, after a long percolation, the new album comes - Love Over Fear - and I feel like in years to come we'll look at this album as the fruition of the process of musical experimentation and development the band began after Not Of This World. Not because it is the furthest they have gone from their 1990s style - but because it's the closest they have come to a return to it since that album came out.

However, don't be fooled - this is not Pendragon taking a step backwards. Rather, like the spiralling wave (with a heart at its centre, naturally) on the front cover art, this is Pendragon coming full circle whilst still moving forwards all the time. In essence, my feeling is that the intervening albums between Not Of This World and this represent a cathartic process of renewal and development that Pendragon had to accomplish before they tackled this task. The Pendragon of 2001, who'd just done Not Of This World, would not have been able to make this album - not out of any lack of musical ability, but because they needed to exercise other muscles and let other aspects of their style rest a bit to rejuvenate itself before they harvested those fields again.

And even here, there's little departures here and there; the opening track, Everything, sounds like a psych number from the 1960s in its early stages before it shifts gear into more typical Pendragon fare, whilst elsewhere the band feel happy taking moments to step back and go for a more minimalist approach (as on Starfish and the Moon). It really feels like there's nods to all the different shores that Pendragon have washed up on over the years, whilst keeping the heart of the material rooted in their classic style at least in terms of following the "melodic, emotional neo-prog" niche they had carved out for themselves, though they approach that mission statement with a greatly expanded musical palette at their disposal and so execute it with more finesse than ever before.

It took a long while for Pendragon to really find their audience - in particular, we should really thank the Polish prog scene for being such stalwart supporters of the band at a time when other markets didn't want to hear it - and I recall that when I started following prog online in the late 1990s/early 2000s, many looked down on them for following their particular style. They've proven those naysayers wrong over and over again from Pure onwards, but Love Over Fear may well be their grandest artistic statement yet.

PENDRAGON Men Who Climb Mountains

Album · 2014 · Non-Metal
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Warthur
Whilst Pendragon's Passion was - true to the title - an emotive and cathartic album, Men Who Climb Mountain finds the band in a somewhat more contemplative mode. It's a great showcase for the gentler side of Nick Barrett's guitar playing in particular; those who have listened carefully to Pendragon over the years already know that Nick is capable of evoking great emotion with his playing, on a par with peers like Marillion's Steve Rothery and inspirations like Camel's Andy Latimer, but he's very much the star player here.

Some editions of the album include a bonus disc of a solo appearance by Nick, playing an acoustic set at a friend's pub as a favour. We've had acoustic releases from Pendragon before - the Acoustically Challenged album, for instance - and it's usually had a rather transformative effect on their music, steeped as it usually is in Clive Nolan's lush keyboards and electric guitar performances from Nick.

Here, however, whilst there's no Men Who Climb Mountains material in the acoustic set itself, you don't really miss it - because translating it to an acoustic format would not necessarily change that much, since an acoustic-sounding guitar style is so prominent on so much of the album anyway. It's an interesting shift towards a gentler style after two albums of harder-rocking, darker material, and proof that the journey of constant development, reinvention, and progress that the band have been on since they said farewell to their well-honed 1990s style on Not Of This World continues.

PENDRAGON Passion

Album · 2011 · Metal Related
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Warthur
Kicking off the opening title track of this album with a sampled drum loop before Nick Barrett's lead guitar kicks in, Pendragon signal to the listener immediately that Passion, as with Pure, is going to be another wild ride into territory outside of that which we'd come to associate with the band, especially on the strength of their output from The World to Not Of This World.

Repeated motifs and lyrical phrases suggest that there's a concept going on here, but largely the album seems to be a moment of therapy for Nick Barrett, a venting of frustrations which you get the impression had been a long time coming. Now, it's the nature of such venting to include things that aren't so reasonable (come on, Nick, don't buy into the tabloid TV idea of a "war on Christmas", you're smarter than that), but maybe this is part of the point: passion, after all, is exuberant and wild and difficult to control and not exactly rational.

In interviews Nick Barrett's been pretty open about how his divorce, which occurred in between The Masquerade Overture and Not Of This World, was something of a major shakeup in his life and prompted him to re-evaluate a lot of things, and in retrospect it's easy to see how the run of albums after Masquerade Overture reflect that. Not Of This World, whilst still in the style the band had been performing since The World, included a melancholic edge to proceedings suggesting that the joyful optimism and innocence that had characterised preceding albums had been shaken; Believe and Pure found the band exploring increasingly dark material, expanding their emotional repertoire in order to give expression to correspondingly dark feelings.

Passion, then, would seem to be the culmination of that process, a cry from the heart that Nick and the band had been developing the musical and lyrical toolkit to unleash on the world, and as a result it feels like one of the most genuine, honest, and raw albums in the neo-prog landscape, expressing an honesty comparable to Fish in his finest moments as a lyricist. You don't have to agree with everything Nick is saying here to find value in that because, again, this is Passion, not Reason: one way or another, this is what's in Nick's heart, and now it's out of his heart and on the record you get the impression that a real weight has been lifted from him. Towards the end of the album things get a bit more gentle - with catharsis attained, a new beginning can be planned, and a touch of that old optimism can come back.

HEAVENS GATE In the Mood

EP · 1997 · Non-Metal
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lukretion
In 1997, German power metal band Heavens Gate released the EP In the Mood, an extemporaneous project where the band recorded stripped down acoustic versions of some of the tracks from their most recent LP, Planet E. The idea for the EP originated from a series of acoustic live shows Heavens Gate had done in 1996/97 to promote the LP. Hence the decision to release some of the re-arranged tracks in an EP. The record also includes a new song, specifically written for the acoustic EP, as well as a medley of songs from their first three albums.

With a duration just below 30 minutes and nearly all material taken from previous records, this EP is inevitably an affair for die-hard fans of the band only. The most remarkable aspect of the album is the great effort the band made to re-arrange the tracks acoustically while also incorporating a wide array of influences and styles that are normally extraneous to a power metal band. The guitars in particular experiment with many diverse styles, including flamenco, jazz, blues, folk and even reggae. The drums are replaced by groovy percussions that also add a nice touch to the songs. Instrumentally, this is a fun album to listen to, especially if you already know the original songs as it can be quite amusing to see how far the band managed to push the original tunes.

The main weakness of the EP, however, is the performance of the band’s singer Thomas Rettke. He is actually a pretty decent vocalist and his work with Heavens Gate is generally good. However, he does not have that versatility that would have been necessary to accompany the re-arranged songs. He sings like a power metal singer, no matter what the other instruments are actually playing. This simply does not work and the contrast between Rettke’s voice and the rest of the instruments is often jarring. The songs on this EP would have sounded much better if they had been sung by a more versatile vocalist. I am thinking here about the fabulous performance by Damian Wilson on the Maiden United albums, where he sung acoustically re-arranged versions of Iron Maiden’s songs, giving them a whole new life and dimension.

Alas, this does not happen here. Without a more refined vocal performance, the 5 songs of the EP do not really work as well as they could have. The track that works best is probably the medley of songs from the band first three records, mainly because here the acoustic arrangements are kept simple and devoid of too many extravagant influences, which helps reducing the contrast between the vocals and the instrumental background.

Overall, In the Mood is really just nothing more than a curio for die-hard fans of the band. If you are new to Heavens Gate, this is no point of entry and you should re-route yourself to one of their full-length albums, which are a much better reflection of the qualities of this band.

PENDRAGON Pure

Album · 2008 · Metal Related
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Warthur
It took me a surprisingly long time to warm to Pendragon's Pure. Sure, it was immediately obvious from the dark, heavy opening passages of Indigo that this was a bit of a departure for the band, and it's rather admirable how they chose to deliberately step away from the tried and tested formula which had held true from The World to Not of This World.

However, the new sound they unveil on Pure didn't grab me at first. The fact is that they are far from the first band to combine neo-prog with darker, heavier musical styles - hell, Clive Nolan's own Arena had already been there and done that five years before on Contagion - and in this case, I wasn't sure about the logic behind it. It's only after repeated listens that I realised how intricate and clever the compositions here really are, with aspects of the classic Pendragon sound still woven in and out of the compositions as one thread a much richer tapestry than the band had previously attempted. For years Pendragon had been derided as one of the more simplistic neo-prog bands - but this is the album which put the lie to all of those sneers.

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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.

BLIND FAITH London Hyde Park 1969

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

RIVERSIDE Reality Dream

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

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

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

NEAL MORSE Live Momentum

Movie · 2013 · 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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