Non-Metal

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Not every band on Metal Music Archives exclusively plays within a metal or metal related sub-genre. Some start as such only to later leave their old sound behind, others become relevant to the site later in their careers. Some bands like to release one-off experiments. The Non-Metal tag on MMA is used to cover releases that are completely removed from metal music in style, so in a sense is a catch-all sub-genre for releases that don't fit anywhere else.

Sometimes, artists will be added under non-metal exclusively due to being related to the metal genre and scene by association with metal artists, such as the symphonic prog act Transatlantic who feature the former Dream Theater drummer Mike Portnoy, the ambient project Neptune Towers by Darkthrone's Fenriz or the folk band Fejd, who have members who are/have been with a couple of different metal bands (Fejd later became metal themselves, but were accepted on MMA long before that). Such artists are typically covered by the metal media due to this association with the scene, and are as such included on MMA for the same reasons.

Mostly however this tag will be used for releases belonging to other genres by metal (or other metal related) artists, such as Opeth's progressive rock albums Damnation and Pale Communion or Elvenking's folk/folk rock album Two Tragedy Poets.

- Written by adg211288 (August 2015).

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non-metal top albums

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

TRANSATLANTIC Bridge Across Forever Album Cover Bridge Across Forever
TRANSATLANTIC
4.62 | 17 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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RED HOT CHILI PEPPERS Blood Sugar Sex Magik Album Cover Blood Sugar Sex Magik
RED HOT CHILI PEPPERS
4.45 | 16 ratings
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SWANS The Seer Album Cover The Seer
SWANS
4.80 | 6 ratings
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ELOY Ocean Album Cover Ocean
ELOY
4.48 | 13 ratings
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BEARDFISH Sleeping in Traffic: Part Two Album Cover Sleeping in Traffic: Part Two
BEARDFISH
4.89 | 5 ratings
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KILLING JOKE Killing Joke (Debut) Album Cover Killing Joke (Debut)
KILLING JOKE
4.71 | 6 ratings
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TRANSATLANTIC The Whirlwind Album Cover The Whirlwind
TRANSATLANTIC
4.34 | 19 ratings
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ZZ TOP Tres Hombres Album Cover Tres Hombres
ZZ TOP
4.43 | 10 ratings
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ALICE COOPER From The Inside Album Cover From The Inside
ALICE COOPER
4.25 | 23 ratings
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MEAT LOAF Bat Out Of Hell Album Cover Bat Out Of Hell
MEAT LOAF
4.44 | 9 ratings
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KILLING JOKE Night Time Album Cover Night Time
KILLING JOKE
4.54 | 7 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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non-metal Music Reviews

BUTTHOLE SURFERS Independent Worm Saloon

Album · 1993 · Non-Metal
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Unitron
Independent Worm Saloon is a testament to the creativity of the 90's and how you never knew who could've gotten a sampling of success. This is the same band that made one of the most bizarre and dissonant cover songs with American Woman back in '86, made a sludgy and noisy 12-minute opener to an album in '88 that also has an R.E.M. style song but with the lyrics being about seeing a woman fart through an x-ray.

In comparison to much of their previous discography, Independent Worm Saloon IS a bit more straightforward, but for Butthole Surfers that still means it's weirder than most other bands. There's grunge/stoner rock, hardcore punk, noise rock, R.E.M. style alt rock, 70's style heavy metal, and even a borderline thrash song. Opener Who Was in My Room Last Night? is a bonafide classic starting the album off with high energy punky grunge and then goes alt rock with the next two songs. Goofy's Concern is the hardcore, Dog Inside Your Body sounds like the band's version of thrash, Dust Devil is intense, and the melodic and heavy Dancing Fool probably takes place as my favorite.

With production from Led Zeppelin bassist John Paul Jones, this sounds like the Butthole Surfers' version of an early 70's metal album but put through a 90's filter with the band's do-whatever-they-want ethos as exemplified by the vomit-sampling closing track of Clean It Up. Classic album that deserves more attention today beyond the opening single.

SPOCK'S BEARD The Light

Album · 1995 · Non-Metal
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adg211288
The Light (1995) is the debut full-length studio album by US progressive rock band Spock's Beard. This album sees Spock's Beard in what could almost be considered a prototype form for what was to come later. The band has most of its core line-up already at this point having made an early bassist change from John Ballard to Dave Meros, but they don't yet have Japanese keyboardist Ryo Okumoto in their ranks, so most of the Spock's Beard duties normally assigned to him are instead handled by band leader Neal Morse.

The Light only contains four tracks, most of them epics and two of them prog suites. The writing is reflective of a young band in that it's not as refined as later material, but oozes youthful passion, though also anger in a certain part of The Water that may seem out of place on a progressive rock record and certainly has since become a source of embarrassment for Neal Morse, a man who later become a born again Christian. The lyrics can also be noted for their humour, perhaps more so than any other Spock's Beard release. This is evidenced especially in the title track The Light, which became the band's signature song, where you get movements of the suite with titles like Señor Valasco's Mystic Voodoo Love Dance and The Return of the Horrible Catfish Man.

Spock's Beard has always seemed to be pigeon-holed in the symphonic prog sub-genre of progressive rock but for their most part I don't relate their discography to this style of music and associate it more with Neal Morse's prog solo work and that with the band Transatlantic. On The Light it's more appropriate, but the band would later prove to be more eclectic than they are often given credit for, with some albums being much heavier than this one, although like all Spock's Beard albums, there's at least a few moments where their heavier and hard rocking side rears its head. The Light though, remains a favourite of mine, like many fans for its title track especially. Of the two suites it is the better one, but I do like The Water as well. The FU/I'm Sorry bit, which sees Morse swearing like a madman, does indeed seem out of kilter with how the music sounds though. The other two tracks are also very good.

The Light could have stood to have been a little more polished, but it makes up for what it lacks there in charm. I cannot quite consider it a top tier Spock's Beard release because of noted faults, but it's one I'm personally very attached to and find myself drawn to more than many other, more technically accomplished Spock's Beard releases.

SPOCK'S BEARD Brief Nocturnes and Dreamless Sleep

Album · 2013 · Non-Metal
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siLLy puPPy
I am hardly a SPOCK'S BEARD fan at all. I have heard V and although I find it a decent listen it hardly blows me away. I've also heard a few tracks on internet radio leaving me with a mixed impression and never with the urge to go seek out their music. In fact I find this whole flower prog (a term I endearingly call this type of pompous symphonic prog that has the tendency to make every little idea blossom into sprawling epic proportions) a little hit and miss as well. I always find myself admiring the effort that goes into the ideas and creation of the epic music, but rarely finding myself actually loving every minute of it for it more often than not seems random and not fine tuned into a sequentially satisfying array.

Well this one caught me off guard and I have been gleefully spinning this epic behemoth and growing fonder of it after each spin. I think I have fallen for their release BRIEF NOCTURNES AND DREAMLESS SLEEP because (a) I think i'm leaning more towards liking this kind of mixture of long sprawling epics that revisits yesteryear in both a progressive way as well as with classic rock sounds and (b) it is done so very well with every passage thought out and the i's dotted and the t's crossed. It simply rocks in a way that makes you instantly like its pleasant melodies, harmonies and instrumental interplay and yet weaves in the progressive tangents without making it feel like it is there solely for the sake of checking off the prog list. There are multiple influences and all is tastefully presented.

I highly recommend the version with the bonus disc that includes 4 extra tracks that adds up to just under 30 minutes. They are just as good if not better than the main disc. They are more hard hitting and rocking than the main tracks but are just as satisfying in their delivery. I was unaware that there was a special edition version but I unknowingly bought it at one of our used music stores and am extremely happy that I did. I can't believe I love this album as much as I do but now that I am hopelessly hooked I hope that this isn't a one album deal and that the creative juices spring forth a few more like this one.

BEASTIE BOYS Licensed to Ill

Album · 1986 · Non-Metal
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Vim Fuego
Yes, dear reader, this is a rap album review, but please bear with me, for a metal story is to follow. It is an ancient tale from far back in the mists of time. It is a tale of a hero bold and brave, and not really bright enough to know any better. It is a tale of fair maidens and slain dragons (or would be, if you think of the dragons in a metaphorical sense, and the maidens... er, would you consider random pictorials ripped from 1986 Penthouse magazines to be fair maidens?)

So “Licensed to Ill”? I really fucking hate this thing. I think this album is one of the worst pieces of shit I have ever had the misfortune to hear, but in all fairness to be able to write a fair review, I had to listen to it again. So...

Nope, 30 plus years haven’t improved it in my estimation. “Rhymin & Stealin” stole shit from Black Sabbath and Led Zeppelin (hmm... maybe a little poetic justice in that?) with stupid whiny lyrics all over it, and it only get worse from there. “Slow Ride” pinches the horn riff from “Low Rider”, with something of a samba beat, and might be OK without the stupid raping over it. “Girls” is puerile, misogynistic Casio-rap. OK, the idiot party anthem that is “Fight For Your Right to Party” gets a pass. Its harmless, brainless throwaway rap/rock for white teenage boys. “No Sleep ‘til Brooklyn” is even more brainless, and shorter still on rock content, but does have quite the solo at the end. And the rest of the album, well there’s always the “skip” button. There, said it. Done. If all you’re interested in is what I think of the music, you can stop reading here.

However, I owe this album a lot. If it hadn’t been for the first rap album to go to number one in the charts, I might never have become the person I am today. “Licensed To Ill” started my quest for metal. Let’s wind back the clock to 1987. Internationally, it was the year of the Black Monday stock market crash, Ronald Reagan was slowly losing his marbles in the White House, a US politician shot himself on live TV, New Zealand hosted and won the first rugby World Cup, and Canada introduced the Loonie.

This story requires something of a cast of characters - no real names used here to protect the pathetic. There’s me, the heroic but slightly nerdy (OK, VERY nerdy) protagonist of this tale, and whose embarrassing nicknames will remain unrevealed. Next is Harry, music tragic, but the best friend you’d ever want, even to this day (See my review of Slayer’s “Seasons in the Abyss” for more adventures with Harry). Then there was Fru-Ju. The name has nothing to do with Jewish heritage or anything, It’s just his name bore a similarity to Fru-Ju ice creams. There was Nerd-gel, a ladies’ man in his own mind only. There were a few others too – Brickie or Brickman, Scummy (really unfortunate name, and given to him by someone whose own nickname was Egg), Jimmy… yeah, that’ll do before this all gets out of hand.

I was 14, going on 15, and was busy preparing for School Certificate, which were the big Year 11 exams in New Zealand, roughly equivalent to O Levels or GCSE in the UK, and whatever the US does at Grade 10. Basically, this means it’s a year where you’re supposed to work and study hard at school, but you’re starting to get interested in partying and fun. It’s that year when your parents say “the rest of your life depends on how well you do at school this year”, which generally turns out to be bullshit, but you’re not old enough to know it yet.

I had found that listening to music helped me with my studies, but I was quite puzzled trying to figure out what sort of music I really liked to listen to. I had a few Dire Straits albums, and I still rate the band to this day. I had Kevin Bloody Wilson’s “Kev’s Back”, the album with the infamous “Hey, Santa Claus” song, and I had a really badly recorded copy of Twisted Sister’s “Stay Hungry”. Otherwise, it was the radio. The problem with the radio was there was the occasional good song, followed by half a dozen shit songs, before the next decent tune. It was time to expand my musical horizons. But in which direction?

The radio wasn’t much help. I thought Michael Jackson’s “Bad” lived up to its title. U2 had lost some fucking thing they were looking for, but instead of looking in the last place they left it, wrote a song about it. Paul Simon wanted people to call him Al, but we all knew his name was still Paul. Talking Heads were on an endless road to no-bloody-where, and wouldn’t shut up about it. The song which was to Rickroll millions across the world decades later was unleashed on an unsuspecting public, who were gormless enough to make it the number one hit on 23 different charts around the globe.

A friend in need is a friend indeed, and I was a friend with needs, so I asked around. And what a useless bunch of pricks these guys turned out to be.

I started with Harry, who had the most valuable of all devices, a double tape deck. On the upside, Harry had few musical boundaries, so he gave me quite an eclectic mix tape. On the downside, Harry doesn’t have a bullshit filter. Nestled alongside gems like Quiet Riot’s “Cum On Feel The Noize”, Meatloaf’s “You Took The Words Right Out Of My Mouth” and Marianne Faithful’s “Ballad of Lucy Jordan” came turds like Kylie Minogue’s “Locomotion” and something or other by Icehouse.

Next I went to Fru-Ju. He listened to the radio more than anyone else. From him I got “Showing Out (Get Fresh at the Weekend)" and “Respectable” (which we renamed “Respectyourballs” in a show of high wit) by Mel and Kim (if you’re asking “who?”, then you’ll understand the problem), “Walk Like An Egyptian” by The Bangles, and “Venus” by Bananarama. Seems he was more interested in what the singers looked like rather than what they sounded like. On the plus side, he also recommended “All You Zombies” by The Hooters.

Brickie was a bit more promising. He suggested Europe, Whitesnake, and Bon Jovi. Scummy also reckoned Whitesnake was worth a listen. Nerd-gel was no fucking help. He really didn’t know anything about music. Jimmy was new at our school that year. He was what would be called a stoner now, but we had no idea back then. He suggested some weird shit – these bands we’d never heard of. “There’s this cool song called ‘Transvestite’ by Peter and the Test Tube Babies. The Dead Kennedys are really cool. And have you heard anything by Metallica?” He didn’t have anything by any of these bands, so I remained none the wiser.

And then Nerd-gel came up with a surprise. It was a tape with a crumpled aeroplane on the cover. Yep, “Licensed to Ill”. We’d all seen the riotous video for “Fight For Your Right To Party”, and here was the album it came from. Everyone got right into it. Except me. This shit was really stupid. It lived up to the witless label “rap crap” (yeah, not clever now, not particularly clever then) as far as I was concerned. Nerd-gel turned into a prick. First, he wouldn’t me borrow his tape. I wanted to hear it properly to see if there was something I wasn’t quite getting. I think he thought it made him special or something. Then he started adopting rap culture and language, and then so did Fru-Ju. It started with baseball caps and low-slung pants. The others weren’t quite so into the culture, but they all seemed to love this album. But I didn’t.

Then came the moment. Nerd-gel had some teen pop magazine with instructions on how to be a rap fan, and was reading it out to us in the corridor one lunch time. It had all about what to wear, what to say, and what you should and shouldn’t like. The uniform is pretty well known now. The language included idiotic words like “skeezing” (had no idea what it meant then, really couldn’t give a fuck now), and new definitions for old words, like “ill” (duh!). The shit you were supposed to like I don’t remember, but one of the things you weren’t supposed to like was heavy metal, and in particular, Deep Purple. That was the final straw for me. “Smoke On The Water” had been one of my favourite songs since I was a kid. At that moment, I rejected this fake, pretend “culture” this poser was embracing, and decided metal was what was important to me. What sort of dumb-assed trend needed a fucking instruction manual, for fuck’s sake? It was faux inner city/urban bullshit. We went to a small high school in a rural town in New Zealand. What the fuck did we know of life and culture in cities like New York or L.A.? It was about as urban as the Serengeti plains or the Amazon jungle. I’d like to think that I told Nerd-gel to fuck off, but I probably didn’t. Yeah, metaphorical dragon slain, but I was still a bit pathetic...

Almost immediately, I got Harry to get me copies of Bon Jovi’s “Slippery When Wet”, and “Masters of Metal”, one of those cheapie thrown together compilations by a record label that had heard of heavy metal, but didn’t really know what to do with it. I hammered those two albums and Twisted Sister while was studying for my exams. I passed with some excellent marks, as did everyone else, except Nerd-gel. Yep, he really wasn’t too bright.

More than three decades later, I’m still living the metal life, and still exploring and enjoying metal from the world over, while the rap/hip-hop culture proved to be a five minute fad for the others. I explored Scummy and Brickie’s suggestions further. I eventually discovered the bands Jimmy had suggested. I got a bit more metal off Harry, and gave him plenty more back in return.

Nerd-gel and Fru-Ju turned into right cunts the next year at school (quote from Jimmy: “What the fuck crawled up their asses?”), and along with Scummy weren’t around for the last year at high school. Brickie turned out to be incredibly studious, and worked flat out the rest of the time he was at high school, while Harry, Jimmy, and I enjoyed ourselves, but still did enough to pass.

So what happened to this merry bunch of nerds?

Last I saw Nerd-gel, he was working in a petrol station (that was more than 20 years ago, so he’s probably moved on from that. He was still a cunt though). Fru-Ju went off to boarding school for his final year, spent his time at university drunk, or at least he was every time I saw him, and is now a manager in one branch of his family’s business. Last time I saw him he was pissed as a fart in a restaurant with some woman (his wife, I suppose?) ranting at him.

Brickie did really well at university, and went into finance. I heard he’d had some serious stress related health problems in his early 20s. Last time I saw Scummy, he was a regional sales manager for an electrical appliance supplier. Jimmy took a gap year in 1990 instead of going straight to university like I did. He still hasn’t got there quite yet. It turns out I drive past the company where he is a manager on my way to work.

Harry and I partied too hard. Even though he did a bit better than me in our University entrance exams, he went back and repeated the final year of high school. He’s now an engineer who jets round the country, servicing high tech medical equipment in hospitals.

As for me, I went to university, and took five and a half years to complete a three year degree. I have since moved on to be an astronaut, rocket scientist, spy, and movie stuntman (what? It’s my story! Ah fuck it. I meant teacher, journalist, shop assistant, farm worker, and now technical writer). I discovered an absolute fuckton of metal on my mostly merry journey through this weird old life, and I owe so much of it to one crappy yet ground-breaking rap album.

So, thank you Beastie Boys. I hate your music, but I love what you have done for me.

BEASTIE BOYS Hello Nasty

Album · 1998 · Non-Metal
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Unitron
"One two one two, this is just a test"

Hello Nasty is like no other hip hop album I've heard, it's like an exploration in various sounds and samples but always with the Beastie Boys' fun loving attitude. Its got such a busy sound with everything going on, but it's never overwhelming even with the 22 songs on the album.

The Move, Remote Control, Just a Test, Intergalactic, and Putting Shame in Your Game are probably my favorites, Just a Test especially being one of the B-boy's most underrated songs. They've got such great flow, and their rap bravado is contrasted by fantastic moody and ominous samples, and it gives it such a cool sound. The electro-rap of Intergalactic rightfully was the album's biggest hit, and it's impossible to not love the delivery of "let the beat...mmmDRRROP".

One of the strangest parts of the album are the neo-psychedelic songs that are completely devoid of hip hop, though there's a psychedelic element throughout the album. These songs include Song for the Man, Song for Junior, and I Don't Know, and they all fit in and sound great.

Hello Nasty is a bit of a grower, but once it hit, it hit. One of the best of both the B-boy's and hip hop as a whole.

non-metal movie reviews

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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