Metal Related Genres — the ultimate metal music online community, from the creators of

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.

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

JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
4.62 | 28 ratings
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WISHBONE ASH Argus Album Cover Argus
4.59 | 20 ratings
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QUEEN Queen II Album Cover Queen II
4.45 | 56 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
4.61 | 15 ratings
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JIMI HENDRIX Axis: Bold As Love Album Cover Axis: Bold As Love
4.49 | 23 ratings
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THE WHO Who's Next Album Cover Who's Next
4.47 | 21 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
4.33 | 73 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
4.40 | 27 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
4.32 | 62 ratings
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RIVERSIDE Second Life Syndrome Album Cover Second Life Syndrome
4.29 | 82 ratings
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MOTORPSYCHO The Death Defying Unicorn Album Cover The Death Defying Unicorn
4.74 | 7 ratings
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SWANS The Seer Album Cover The Seer
4.80 | 6 ratings
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metal related genres Music Reviews

SCORPIONS Lonesome Crow

Album · 1972 · Proto-Metal
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‘Lonesome Crow’ is the 1972 debut of one of metal and hard rock’s longest running and most endearing bands, the Scorpions (or, more specifically, just Scorpions, without the “the”). Like countless others, I was introduced to this band by winds of change, being rocked like a hurricane and suffering severe blackouts, so it’s a huge surprise, and kind of an odd disappointment, to discover that the German hard rockers were something completely different when they first debuted.

Commonly referred to as “krautrock”, ‘Lonesome Crow’ is more psychedelic and progressive than what the band would go on to become known for. With a heavy emphasis on non-linear guitar solos and vocal lines that don’t really follow very clear melodies, it’s a bit of a mess of an album, especially if, like me, you were expecting the bands latter riff-fuelled sound to be present here.

Most of this falls down to guitarist Michael Schenker, who’s distinctive playing style is all over this album, but would leave the band before they could record a follow-up, which is where the group really start to develop their more recognizable sound. There is some impressive musicianship, which feels more akin to the progressive rock bands of the day, but for all the competent playing, they’re not very competent at writing catchy songs. Not yet, anyway.

I mean, if I had to really look for positives, then full credit would go to the bands technical abilities on their instruments. But I don’t really listen to albums marvelling at the musicianship if the songs themselves are pretty boring and forgettable. It’s a shame, but in fairness, these guys would certainly go on to evolve and eventually conquer the world, so dismissing ‘Lonesome Crow’ shouldn’t be such an issue, surely?


Promos, fans club and other releases (no bootlegs) · 1998 · Non-Metal
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This may be a add-on to PT's main output, but it's still PT! This is probably the most experimental, kraut rock-influenced album Wilson released under the Porcupine Tree label. As a result it's not a part of my regular musical diet; I need more structure. However many people love this aspect of PT and they should surely appreciate METANOIA. Not surprisingly, it's brilliantly played. Colin Edwin and Richard Barbieri are sometimes the unsung heroes of the band; I'm assuming they had significant input to this recording. The nature of these songs ensures that they get a well-deserved, large part of the spotlight.. I think I would rather listen to Porcupine Tree play this brand of rock than any one else. This is an enjoyable alternative to Porcupine Tree's main discography.

SECRET CHIEFS 3 Second Grand Constitution And Bylaws: Hurqalya

Album · 1998 · Metal Related
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siLLy puPPy
The debut album by SECRET CHIEFS 3 had been an all out battle over a stylistic approach with borrowings from previous Mr Bungle tracks, sneak peeks of future Bungle and a dash of Trey Spruance’s wild ass freakery from his side project Faxed Head not to mention the plethora of influences that included but not limited to Arab traditional music, Bollywood, surf rock, electronica, avant-prog, psychedelia, jazz and well a big whopping mix of pure avant-garde. With all these genres duking it out possibly with no thought into a future of this side project, not only would SC3 become Spruance’s main gig despite one final Mr Bungle album in the making, but it became a passion and on this sophomore album SECOND GRAND CONSTITUTION AND BYLAWS: HURQALYA, the project coalesced into a more stable mix of different musical elements that would become the template for which future SC3 albums would revolve around.

With Mr Bungle on hold due to Mike Patton’s commitments to Faith No More (with Trey Spruance contributing guitar work on 1995’s “King for a Day... Fool for a Lifetime”), Spruance sallied forth on the next phase of his true love which took the elements previously displayed on Mr Bungle’s track “Techno Allah” from the “Disco Volante” album and turned the idea into a veritable band project. And while the debut album was basically four members of Mr Bungle exploring Bunglish ideas into more extreme territories, on SECOND GRAND CONSTITUTION AND BYLAWS: HURQALYA Trevor Dunn didn’t return and was replaced by William Winant who covered the massive sprawl of instruments that included kanjira, timpani, snare drum, cymbals, ankle bells, hammer dulcimer. Likewise Trey Spruance increased his duties to include guitar, mandolin, bass, organ, synth, keyboards, trumpet, baglama, zither, programming, tapes, chorus vocals and Danny Heifetz expanded his percussion to include drums, tambourine, shaker, finger cymbals, dumbec.

With all these new instruments HURQALYA has an exponentially richer sound spectrum than “Bylaws 1” and that’s not all! Fellow Bungler Bär McKinnon appears as a flautist, Paul Dal Porto plays sitar, Eyvind Kang joins in on violin and erhu and there is a hauntingly beautiful vocal appearance by Laura Allen on the Arab pop meets Bollywood track “Mera Pyar Shalimar.” The album is decidedly more Middle Eastern focused with instantly catchy Arab melodies but strangely juxtaposed with Indian instrumentation, surf rock, breakcore, psychedelia, drum and bass and even a touch of trumpet mariachi style all wrapped into an Ennio Morricone styled sort of spaghetti Western type of cinematic approach. SC3’s second album in affect sounds like one of the first attempts to make a spaghetti Middle Eastern experience and in the process creates one of the most unique albums i’ve ever experienced even different from the band’s other endeavors.

The album is begins and ends in an epic fashion. “The Rose Garden Of Mystery” provides a soft acoustic guitar arpeggiated melody that builds instrumental counterpoints while setting the mood for occult practices on the Silk Road. In between the tracks are centered around surf rock with electronic effects (the “Book T” tracks) while tracks like “Renunciation,” “Jabalqa,” “Mera Pyar Shalimar” and “Jabarsa” are clearly rooted in Arabic musical styles that take the melodic approaches of traditional Arab music, add some bellydance type of grooves and fortify it with strange sound effects, breakcore and progressive time signature complexities. The result is a compelling tapestry of pan-continental styles of music that had hitherto never found themselves so intricately woven together in such perfect splendor.

While the first nine tracks are fairly accessible, the final two are the most difficult but easily skipped for those who don’t wish to take the meditative journey into the sandstorm laced noisy journey that takes place on “Beyond The Mountain Qaf” which eschews all musical traditions and unleashes the most experimental noise rock and Krautrock stylistic approaches completely with wind sounds, rain and other field recordings. The track morphs into the closing “Hurqala” which brings back an Arabic melodic and even climatic epic score. Like Lawrence of Arabia meets Ali Baba and the Forty Thieves. The track continues with variations on the main theme but then drops out leaving several minutes of silence before making a reprise with a new variation as if a final desert theme finds closure to the mystic journey that was just experienced.

SECOND GRAND CONSTITUTION AND BYLAWS: HURQALYA was not only my first experience with the SECRET CHIEFS 3 project but even to this day after untold hundreds of listens to this exquisite album still remains one of my all time favorite albums and in my book sits equally well with the following “Book M” and “Book Of Horizons.” These three albums find SC3 in perfect form with all the elements carefully crafted. The most amazing thing about this album is not only the beautifully crafted composiitons that stew the slices of disparate genres into a world gumbo but the amazing production job that creates an even more dynamic experience with no detail left to chance. The timbres, tones, dynamics and cadences all correspond to a more intricate storyline that is unaccessible but mysteriously perceived. I cannot think of too many albums that are so brilliantly designed and this will most likely rank high on my list for a very long time. Perhaps my only complain is the several minutes of wind and silence that end the album before a brief little reprise of music but it’s easy enough to push stop at any time so in no way affects my overall score. PERFECT! MASTERPIECE!

SECRET CHIEFS 3 First Grand Constitution and Bylaws

Album · 1996 · Metal Related
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siLLy puPPy
The world of Mr Bungle took the 90s by storm with a group of eclectic musicians reinventing experimental rock and metal with unthinkable fresh new paradigm shifts but in between albums they were busy with many other side projects although most of those would take place after the band broke up in 2001. Mike Patton was of course with Faith No More and Danny Heifetz moonlighted with Link Wray and Dieselhed. Trey Spruance on the other hand was the true wack job of the group with the over-the-top eccentricities of the avant-metal group Faxed Head as well as taking over the guitar spot in Faith No More for 1995’s “King For A Day.. Fool For A Lifetime.” After Mr Bungle’s second album “Disco Volante” which came out the same year, there were no guarantees that the Bunglers would release another album and the members all went their own ways to find new projects to work on.

Before SECRET CHIEFS 3 would become Spruance’s main gig, it was simply just another side project outside of the wacky world of Mr Bungle. The name SECRET CHIEFS was chosen because it referred to eclectic references to an occult spiritual hierarchy that was secretly operating the cosmos behind the scenes. Out of this moniker emerged an entire parallel universe with each album providing the soundtrack and eventually splintering off into satellite bands but on this debut album FIRST GRAND CONSTITUTION AND BYLAWS, Truance joined forces with three other Bunglers, bassist Trevor Dunn, saxist Clinton Bär McKinnon and percussionist Danny Heifetz to create the most unhinged and eclectic of the SECRET CHIEFS 3 albums. The album cover art represents the Cycle of the Nychtermeron and can be seen as the gateway into the greater world of the occult displayed through symbology and titular references.

While with the second album SC3 would become Spruance’s main project, at this stage he was just letting off steam and as a result this album is a wild eclectic mix of past Bungle, future Bungle, Spruance’s other side project Faxed Head as well as the diverse sounds of ethnic music (predominantly Middle Eastern), surf rock and other electronica that would become the main mix of styles to come. Despite the project consisting of four Bunglers, the album still evokes an epic sound with a large number of instruments and musical styles. While SECRET CHIEFS 3 has become known mostly as an instrumental act, on FIRST GRAND CONSTITUTION AND BYLAWS there are many parts with vocals only shared by Spruance and Dunn and then quite silly at that. Through the album’s 20 tracks many of the SC3 sounds that would dominate future albums debut here as well as a number of weirdnesses that would never repeat themselves.

The short intro track “Ana’I Haqq” opens with the same sort of funeral organ sounds as heard on the “Disco Volante” track “Ma Meesha Mow Skwoz” which immediately brings the Bungle vibe into the forefront but instead of Mike Patton stepping in and taming the wild crew into vocal dominated bouts of stability, the album just drifts off into various often nebulous musical world. “Adept Chamber Of The Magian Tavern” prognosticates the electro-Middle Eastern fusion sounds that would define SC3 while “Inn Of 3 Doors” dishes out some expected cartoon music sounds before jumping onto the Silk Road with Indian and exotic Central Asian musical sounds. “Breeze Of Dawn, Death’s Angel” dishes out some death metal bombast while “Assassin’s Blade” takes the opposite approach with military drumming along with more musical mirages of the Middle East.

Throughout the album are a million catchy melodies but also are bouts of pure craziness adopted from Spruance’s wild and uncategorizable band Faxed Head. Such antics are heard on “Bare-Faced Bazi” and “Killing Of Kings” which juxtapose somewhat easy listening with outbursts of insane vocal shoutings, complete musical breakdowns and sputtering insane electronic freakouts. Compared to more focused (which is saying a lot considering how eclectic all SC3 releases have been), FIRST GRAND CONSTITUTION AND BYLAWS is all over the place with no clear winner in which stylistic approach dominates the album which makes this debut the more bizarre album within the greater extended Bungle universe. Highly melodic passages and utter chaotic noise often exist side by side however when melodies do pop up, more often than not are derived from Arab sources. Add heavy progressive rock elements, jazzy touches and psychedelic organ runs and album #1 by SC3 never delivers a dull moment. Not my favorite SC3 album but the wildest ride for sure and one that hits that avant-garde spot.


Album · 2019 · Non-Metal
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siLLy puPPy
So very very much has changed in the 51 years since Arthur Wilton Brown better known as the flamboyant theatrical rock singer with a wide-range operatic vocal style in THE CRAZY WORLD OF ARTHUR BORWN hit the Billboard chart's #2 spot with a freak hit single in the form of "Fire." Forever known in the pop world as a one hit wonder for his 1968 near chart topper, BROWN has existed as a much more inventive character in the underground and one who was innovative not only in his proto-prog rock musical compositions that graced the 1968 debut album THE CRAZY WORLD OF ARTHUR BROWN but also supplied an ample supply of shock rock values that would be adopted by the future world of heavy metal with not only his outlandish stage performances that found his metal headpiece spewing out flames but also with his unique approach of belting out an aggressive multi-octave lyrical delivery.

Despite a rather prolific solo career which included several solo albums as well as a few by THE CRAZY WORLD OF ARTHUR BROWN, Mr. Brown has never topped his debut performance that managed to outstage even the wildest characters of the tumultuous 60s but come 50 years later, this dude is still cranking out the music! And now in 2019, only two days after his 77th birthday, he who is also known as The God of Hellfire has released a new worthy edition to his canon in the form of GYPSY VOODOO which is the culmination of a career's worth of ideas all woven together with a new version of THE CRAZY WORLD band which includes a total of ten different musicians and vocalists. No members from the original rendition of the band are on board here, no Vincent Crane, no Nick Greenwood, no Drachen Theaker. This is a modern day ensemble and after all this is the ARTHUR BROWN hour so who cares about all those others!

While the decades have gone by and musical styles have changed, BROWN seems to exist in his own world where time stands still. GYPSY VOODOO sounds very much like the pioneer of Theatre Shock Rock with the groovy funky vibes of his glory years along with the blues based hard rock that made his 60s and 70s run so addictively fun! With ten diverse tracks GYPSY VOODOO finds BROWN in good spirit and although his vocals haven't navigated the oceans of time completely in tact, they still don't sound too bad for the most part with only some of his attempts to hit the higher range sounding a little raggedy. However on spoken word segments such as on "Fire Poem," he sounds exactly as he once did. With a refusal to join the new sounds of the 21st century it also sounds like BROWN conjured up a new batch of tracks right after his zany revered debut over a half of a century ago when comic books were a mere 10¢!

OK, so what can one expect from a character like ARTHUR BROWN so many years after his peak years that go back so very very far? Well, pretty much more of the same. GYPSY VOODOO is very much a tribute to himself and even includes a remake of the "Fire Poem" / "Fire" tracks that made him famous in the first place but not exactly to the same effect. The good news is that if you totally dig the melodic blues rock based songs that BROWN has always dished out then you are in for a treat. This album is chock full of brand spanking new tracks that sound as if they were created long ago and only now resurrected with the miracles of modern day technology to make them sound squeaky clean and free of the analog technology's limitations and while the remake of "Fire" doesn't exactly blow the original away, it is by no means a terrible exploit of his primo material either.

VOODOO GYPSY is a mixed bag for me. One the one hand, every single track here is a worthy addition to THE CRAZY WORLD OF ARTHUR BROWN but on the other hand, there's a sense of been there / done that and the album is dripping with nostalgia albeit in a good way. ARTHUR BROWN clearly found his voice long ago and has hardly deviated from it since and has not been tempted in the least to add modern day musical influences to his tapestry of spoken word, blues rock, electronics and psychedelia. Don't expect any metal, hip hop or Beyonce making a cameo. This is ARTHUR BROWN as the God of Hellfire has always been and much the better for it however i do wish that there was some sort of upgrade to the ARTHUR BROWN sound that would connect it to the present. While in no way bad, this album doesn't exactly blow me away either. Definitely recommended for those who crave retro 60s sounds with the benefits of modern day production but if you are expecting a totally new musical paradigm from Mr BROWN then you will be woefully disappointed.

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PORCUPINE TREE Arriving Somewhere...

Movie · 2006 · Metal Related
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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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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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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 · 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.

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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