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

JIMI HENDRIX Are You Experienced? Album Cover Are You Experienced?
JIMI HENDRIX
4.62 | 28 ratings
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WISHBONE ASH Argus Album Cover Argus
WISHBONE ASH
4.59 | 20 ratings
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QUEEN Queen II Album Cover Queen II
QUEEN
4.45 | 56 ratings
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TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.61 | 15 ratings
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JIMI HENDRIX Axis: Bold As Love Album Cover Axis: Bold As Love
JIMI HENDRIX
4.49 | 23 ratings
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NEAL MORSE Sola Scriptura Album Cover Sola Scriptura
NEAL MORSE
4.44 | 26 ratings
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THE WHO Who's Next Album Cover Who's Next
THE WHO
4.47 | 21 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.33 | 73 ratings
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PORCUPINE TREE Deadwing Album Cover Deadwing
PORCUPINE TREE
4.32 | 62 ratings
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RIVERSIDE Second Life Syndrome Album Cover Second Life Syndrome
RIVERSIDE
4.29 | 82 ratings
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MOTORPSYCHO The Death Defying Unicorn Album Cover The Death Defying Unicorn
MOTORPSYCHO
4.74 | 7 ratings
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SWANS The Seer Album Cover The Seer
SWANS
4.80 | 6 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 New Releases

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In Cauda Venenum
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OPETH
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Gypsy Voodoo
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THE CRAZY WORLD OF ARTHUR BROWN
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Scintilla
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CATACOMBE
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Drone Activity
Live album
ULVER
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Passage of Mind
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ICE DRAGON
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The Woods
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A SWARM OF THE SUN
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Sower Of Wind
EP
ROSETTA
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metal related genres Music Reviews

THE CRAZY WORLD OF ARTHUR BROWN Gypsy Voodoo

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.

CYNIC The Portal Tapes

Boxset / Compilation · 2012 · Non-Metal
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UMUR
"The Portal Tapes" is a full-length studio album by US progressive metal act Cynic. The album was released through Season of Mist in March 2012. It´s not really a Cynic album though and it was probably only released under the Cynic monicker to capitalize on the wave of success that Cynic were riding after their comeback in 2006. The material featured on "The Portal Tapes" were originally recorded under the Portal monicker after Cynic disbanded in 1994. Although Cynic split-up Paul Masvidal (guitars, vocals), Sean Reinert (drums), and Jason Gobel (guitars) opted to continue playing together and formed Portal with Cris Kringel (bass), and female vocalist/keyboard player Aruna Abrams. Portal recorded enough material for a full album, but the project ended up shelved until 2012 when Season of Mist picked it up and released it under the Cynic monicker.

Stylistically there are many similarities between Cynic and Portal, but there are also some fundamental differences. First off Portal features female clean vocals as well as male clean vocals, and no extreme distorted vocals. Next there are no hard edged riffing or anything remotely aggressive about the music. The material on "The Portal Tapes" is a dreamy atmospheric/new age type of music with fusion oriented rhythms as the foundation (maybe new age fusion isn´t the worst description). There´s an almost ethereal spiritual quality to the proceedings, which song titles like "Karma´s Plight", "Cosmos", and "Mirror Child" also suggest.

The musicianship is on a high level on all posts. Aruna Abrams is a skilled vocalist, and Paul Masvidal´s sedated dreamy vocals compliment her well. It´s all very pleasant sounding and relaxing but by no means simple or easily accessible. You´ll have to dig for hooks and the tracks aren´t instantly easy to tell apart either. The latter is a slight issue to my ears, and the songwriting could have prospered from a bit more variation and more catchy moments. The album is very well produced, featuring a clean, clear, and detailed sound, which suits the atmospheric music well. So while the music doens´t make as much impact as it could have, "The Portal Tapes" is still a pretty interesting release for fans of atmospheric music with fusion rhythms and clean female/male singing, and the high level musicianship and professional sounding production pull in a positive direction too. A 3 - 3.5 star (65%) rating is deserved.

SILBERBART 4 Times Sounding Razing

Album · 1971 · Proto-Metal
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Straddled between the peak years of prog rock and the heavy psych 60s, Germany’s Varel (by the North Sea) based SILBERBART (Silverbeard) was formed in 1969 by guitarist / vocalist Hajo Teschner who spent the latter half of swinging 60s in a band called Tonics which to his dismay resided on the commercial end of things which pleased him not. After his Tonics bandmates jumped ship and joined the James Last band, Teschner decided to pursue a more adventurous route in the nascent Krautrock years and after combining forces with percussionist Gerd Bäker and bassist Peter Bahrens the newly founded SILBERBART resorted to playing cover songs by Deep Purple, Grand Funk Railroad, Led Zeppelin, Jimi Hendrix and the band whose sound was most vital to SILBERBART’s future independence, Cream.

Once Bäker departed and was replaced by the jazz drummer Peter Behrens, Teschner was finally allowed to nurture his latent inner freak and the true SILBERBART unfolded into the mysteries that composed the early 70s in all its avant-garde majesty. While accelerating towards the future, the trio remained anchored to the heavy psych rock antics of the past and in the process created one of the stranger albums to come out in the early years of the Krautrock scene. While never really finding an audience outside of Northern Germany, SILBERBART nevertheless quickly gained a reputation as one of the loudest bands in the world for their brash proto-metal guitar stomps laced with fuzz and adrenalized distortion that were perfectly accented by a heavy percussive bombast and independent bass lines which accented the band’s unique fascination with atonality between instruments.

SILBERBART recorded its one and only album 4 TIMES SOUND RAZING in April 1971 live in the studio and despite the intentions of only recording demos in reality was recording the four tracks that comprised the full-length debut. These experimental demons were based on the early 70s blues rock and heavy metal but found no problem in engaging in complete musical meltdowns, freeform nosedives into the farthest extremes of psychedelic trips and bizarre noise based chaos that generated atonal clusters of sound that were bound together sole by the rhythmic drive of the drums. I do believe SILBERBART actually prognosticated the New York based no wave movement of the late 70s but i somehow doubt that any of those bands could have been exposed to these stylistic deviations presented on 4 TIMES SOUND RAZING however the album did appear on the Nurse With Wound list in 1979 so who knows.

4 TIME SOUND RAZING has four goofily named tracks and although it begins like a typical blues inspired hard rock album of the era on the opening “Chub Chub Cherry,” the band introduces oddball insertions into the status quo but don’t really let the freak flags really fly until the second and longest track “Brain Brain” which at 16 minutes plus, begins as an airy falsetto driven slow atmospheric psychedelic groove that sounds like a throwback to the Summer of Love but then after a few verses and choruses totally freaks out at makes a hairpin spin into a high tempo chaotic swirl of bombastic noisy heavy metal that sounds like a herd of elephants stomping over a concert of rock musicians but the band regain control and channel it into a more familiar Amon Duul II styled Krautrock jam. The track continues to jump all over the place and reminds me a lot of Gnidrolog’s debut album “In Spite of Harry’s Toenail” which wouldn’t be released for another year and in England. I think it’s the atonal independence of the instruments that makes this connection. But then again Alice Cooper’s debut “Hello Pretties” fits the bill as well.

The 10 minute “God” is more of a heavy psychedelic metal rocker and probably is the most “normal” sounding track but still goes left field into warm fuzzy guitar sequences, Ginger Baker sounding drums, Led Zeppelin-esque guitar solos with Guru Guru heavy feedback with freeform jamming added for good measure. While Teschner’s vocals are fairly reserved on this album compared to the crazy instrumental workouts, at times as in the middle of “God” he hurls some blood curdling screams out of the speakers enough to scare the bejesus out of you the first time you encounter this sonic exorcism! The track then totally derails and starts to zigzag all over the place. The track ends with an assault of heavy guitar chords, bluesy slides and atonal riffs running amok.

“Head Tear of the Drunken Sun” ends the album and saves the weirdest for last! It immediately takes that honor as it enters with a series of ferocious guitar slides and then enters blues rock territory with Teschner doing his best Creedence Clearwater Revival vocal tribute. While the guitar riffs begin more like something off of Deep Purple’s “In Rock” complete with sizzling guitar solos, it eventually breaks down into an ethereal Comus like freak folk with echoey clean guitars and spooky haunting sounds in tandem including what sounds like chimes or bells of some sort. The freakiness builds in intensity with guitar sounds sliding and whizzing like the LSD has kicked in. Is this Can’s “Tago Mago?” Wow. Sure sounds like it but this is more metal oriented and one of the earliest examples of what could be truly called psychedelic metal which could rightfully be compared to the bizarre funeral metal antics of England’s modern day Esoteric at least instrumentally speaking. After completely switching gears back into sober heavy rock, the track finishes in the bluesy rock style which it began with.

This is a wild ride for sure and utterly unique for its simultaneous intensity on two completely different levels. While many bands were pushing the heaviness and others were going full force into psychedelic, SILBERBART somehow found a way to incorporate both aspects into their sound without sounding forced. It really does sound like a band that went to practice but dropped some acid before the set however the lysergic influences only intermittently affect their playing and the result is 4 TIMES SOUND RAZING. Too weird for even the proggers of the era, this band didn’t last long at all and broke up soon after. While remaining a complete mystery for decades, the 2012 reissue finally added some liner notes to give some important history. This is a must for any adventurous Krautheads who love both the heavy rock strains as well as the psychedelic trippy ones. You can think of this as the most psychedelic band that took the late 60s along for the ride and in many ways lives up to the potential of the sounds that were never fully realized by bands like Cream, Blue Cheer and Iron Butterfly. This is a delicious and demented album but a ridiculously fun one at that!

KING CRIMSON Larks' Tongues In Aspic

Album · 1973 · Proto-Metal
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There are many existential quandaries that the universe teases us with on a daily basis so it can be quite unnerving when your favorite musical artists create some more for you! I speak of KING CRIMSON’s lauded fifth album LARKS’ TONGUES IN ASPIC. If you were like me upon first exposure to this eccentric and innovative album then you were wondering what in the world is ASPIC? Well, culinary types may know the answer but in reality the word has two actual meanings. Firstly it is a clear jelly typically made of stock and gelatin and used as a glaze or garnish or to make a mold of meat, fish, or vegetables and secondly we have to put on our botanist’s cap to realize that is either of two species of lavender, Lavandula spica or L. latifolia, that yield an oil used in perfumery. So which of these does this bizarre title refer to? I am eternally striving to figure this out but i digress before i even start.

KING CRIMSON is one of the most revered bands in all of the progressive rock playbook and one of the reasons why this band could do no wrong for many during the first leg of this band’s career is that Robert Fripp and whomever he was collaborating with would consistently crank out one album after another with little or nothing in common. One of the biggest reasons for this is that the lineup changed often and as a result pretty much every album in the beginning featured a completely different musical cast and Fripp as the de facto band leader wisely molded any particular album’s thematic underpinnings to the strengths of whichever cast members were in the KING CRIMSON show at any given moment. While members came and went since the debut “In The Court Of The Crimson King,” the band completely melted down after 1971’s “Islands” leaving only Fripp to carry on the name and create a new band from scratch.

Fripp was a magnet for talent and had no problem recruiting a new batch of veritable prog stalwarts eager to play with the already legendary band that single handedly launched the big bang of prog in 1969 with the lauded debut. The lineup that appeared on LARKS’ TONGUES IN ASPIC would result in being a wise choice as it would prove to be a fairly stable lineup until the band’s first dissolution after “Red.” Bassist / vocalist John Wetton joined the team after having previously played with Mogul Thrash, Gordon Haskell and Family. Violinist David Cross made his debut here and fresh out of Yes, drummer Bill Buford found a new home in one of prog’s early powerhouses adding his extraordinary drumming talents and taking KC into new music territories. Also joining ranks was percussionist Jamie Muir of The Music Improvisation Company projects (with Evan Parker, Derek Bailey and Hugh Davies) who only played on this one album. While the only one of the team who didn’t continue on with KC, it was his interest becoming a Bhuddist monk that led him to leave the music world for a monastic lifestyle.

For once Fripp took a little more time to craft the next phase of the KC’s career. After stuffing four extremely demanding albums into a three year timespan, Fripp was more than ready to take a deep breath and plan the next move carefully. The new incarnation of the band crafted yet another masterful album that got back to the band’s progressive rock origin’s after “Islands” ethereal space music. LARKS’ TONGUES IN ASPIC may have been more rockin’ but still as eclectic as ever with lots of inspiration of both Easter and Western European classical traditions, jazz and free improvisation. LARKS’ TONGUE is also unique in that it has two full time percussionists with Bill Bruford handling drums, timbales, cowbells and wood blocks and Muir adding different styles of ethnic percussion and a wealth of assorted items not normally associated with music. The result was an interesting mix of more accessible elements mixed with avant-garde strangeness much like the debut album.

The original release of LARKS’ TONGUE IN ASPIC consisted of only six tracks with the opener and closer creating a two part suite of sorts that was interrupted by the creamy filling in between. The two title tracks would ultimately continue on to other albums. “Part III” would emerge on “Three of a Perfect Pair” and “Part IV” on “The Construction of Light.” “Part I,” the longest track on the album is the most intense as well as it starts with a series of metallic clangs and what sounds like those wind chimes before the track shifts into a series of varied passages that showcase Robert Fripp’s angular guitar antics along with David Cross’s virtuosic violin playing. While the many shades of percussion are many, the driving force of both parts is clearly the heavy metal guitar riffing that provides a groove to latch onto before Fripp dives headfirst into the world of avant-prog weirdness. Another thing i have noticed about the LARKS’ suites is how the main percussive drive seems to have inspired the modern day drumming style of sludge metal with its sparse percussive bombast that punctuates certain rhythmic timings.

The mid-section is just as varied as the title track suites themselves. Of the four tracks, John Wetton provides vocals on “Book of Saturday,” “Exiles” and “Easy Money.” The first track which is perhaps the most accessible track with an easy to follow vocal melody backed up by jazzy psychedelic meandering but obviously crafted into some sort of avant-groove. “Exiles” while starting out in the clouds and venturing through murky atmospheric turbulence ultimately lands and creates another vocal led number that alternates with the orchestrated space effects. In some ways, this track is the only track that resembles what appeared on the preceding “Islands.” The track “Easy Money” bursts out some of the best guitar tones in the entire KC canon with grungy hisses emerging in fully distorted power chords while Wetton does some sort of vocal dance around the pounding bass and heavy percussive drive. The track which is about the antics of a snake oil salesman finds a way to incorporate a funky rock beat within a greater jazzified complexity with somewhat lighthearted lyrics that keep the album from drowning in darkness. In all honesty, the vocal tracks have always proved less compelling but add the human touches to keep this album from drifting out into space.

My favorite track has to be the excellently packaged “The Talking Drum” which masterfully weaves together tribal percussion with Eastern violins and a mean dirty avant-counterpoint of the guitar that dances around the dominant groove which hypnotically ratchets up the tension with a frenzy of sounds growing ever louder until the track merges with the second LARKS’ TONGUE suite that takes the album out with a bombastic metal guitar, screeching violin and incessantly caffeinated percussion that climaxes in a purely cacophonous din. Wow. What did i just hear? This album is not the easiest listen for sure. In fact it’s taken a long time for me to appreciate it. While some tracks stood out at first, others took their sweet time gestating in my soul but after a ridiculous number of listens, the complexities of KC started to settle and make themselves at home in the musical rolodex in my mind. This is a very weird and charming album to say the least. Inspirational for jazz, metal, prog and the avant-garde noise rock bands to come. Fripp had already shown his true genius at this stage but on LARKS’ TONGUES IN ASPIC he clearly showed that there were no limits in its sheer magnanimous nature. Jelly or lavender? I still don’t know. Knowing Fripp and his KC project, it will remain an eternal mystery just like how this album came to be. Maybe the LARKS know.

PENDRAGON Kowtow

Album · 1988 · Non-Metal
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While PENDRAGON’s debut album may have landed without crashing, it didn’t exactly land on two feet as it was a mix of AOR dross cross-pollinated with high class Marillion inspired 80s neo-prog. The sophomore effort which came out three years later in 1988 found the band completely wiping out altogether. Despite the band starting to gain some momentum with the neo-prog sounds that would emerge in the 90s on the debut, on KOWTOW the band made a complete retrograde and in the process dumped its weakest albums of its career much less the neo-prog universe in general. This was the first album to see the debut of keyboardist Clive Nolan who had only worked with a band called The Cast at this point and while Nolan has been one of the bigwigs in the world of symphonic prog ever since, on this debut one could hardly guess that fact in any way, shape or form.

Not only did Nolan replace keyboardist Rik Carter but Nigel Harris was also replaced by percussionist Fudge Smith who would also stick around for the next eighteen years up until 2006. Pretty much considered PENDRAGON’s absolute worst effort, KOWTOW went off the rails and created the ultimately bad AOR infused album with only a few progressive moments. While everyone knows neo-prog is in the pop oriented sector of the prog supermarket, KOWTOW takes things to the ultimate extreme and dishes out a bunch of sappy overweening tracks that fail to take into account that good AOR music requires two vital elements. Number one: catchy well crafted pop hooks which are woefully missing from every track included here and number two: a competent vocalist that can focus the attention on the lyrical content. Neither are present here and while Nick Barrett would improve his vocal talents, here he falls woefully flat.

While the album is primarily a batch of irritating crappy pop tracks that are rich in tinny keyboard sounds and lifeless drum programming, the album’s saving grace is the decent but yet unremarkable “The Haunting” which hints at the more sophisticated epic themes that would emerge on the next album “The World.” There are also the occasional jazzy touches (by session musicians) with on “I Walk The Rope” and “2 AM” that unfortunately remind me more of Kenny G than Miles Davis. Barrett’s vocals have a very strange quality of sounding like a mix between a less talented Geddy Lee mixed with the Clash’s Joe Strummer at times and at other times hint at achieving some sort of deliverable goods but doesn’t quite cut the mustard leaving behind an unfulfilled promise where all the proper fluffing was delivered but no climactic resolution.

There are only so many ways to express how bad an album is. While i can understand why neo-proggers would want to craft some commercial success after once great legendary prog bands like Yes and Genesis were tearing up the pop charts and supergroups like Asia were raking in the bucks off their popification of prog, someone forgot to explain to PENDRAGON at this point that the songs would have to be irresistibly infectious and in the case of KOWTOW it is exactly the opposite. This is a difficult listen and i’m a very tolerant music lover to be fair. While i try to find any redeeming value in any given album i experience, KOWTOW is truly one of those absolute worst of the worst and a true burden to sit through for this review. Soulless and as plastic as Barbie’s bosom, KOWTOW is as bottom of the barrel as any album with the prog tag could possibly sink. To be avoided at all cost and a useful torture device for your enemies. Their heads will explode like the aliens on the movie “Mars Attacks!”

metal related genres movie reviews

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 · 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
Cover art Buy this album from MMA partners
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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