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

SWANS The Seer Album Cover The Seer
SWANS
4.78 | 9 ratings
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PENDRAGON
4.62 | 13 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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ELOY Ocean Album Cover Ocean
ELOY
4.44 | 17 ratings
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MEAT LOAF Bat Out Of Hell Album Cover Bat Out Of Hell
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4.45 | 15 ratings
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4.50 | 12 ratings
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ZZ TOP Tres Hombres Album Cover Tres Hombres
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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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SPOCK'S BEARD Brief Nocturnes and Dreamless Sleep Album Cover Brief Nocturnes and Dreamless Sleep
SPOCK'S BEARD
4.47 | 12 ratings
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4.48 | 11 ratings
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SPOCK'S BEARD The Light Album Cover The Light
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4.43 | 12 ratings
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ALICE COOPER From The Inside Album Cover From The Inside
ALICE COOPER
4.25 | 25 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

CHROMA KEY Graveyard Mountain Home

Album · 2004 · Non-Metal
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UMUR
"Graveyard Mountain Home" is the third full-length studio album by US ambient/atmospheric pop/rock artist Chroma Key. The album was released through InsideOut Music in November 2004. The same year as main man behind Chroma Key, Kevin Moore had also earlier in the year released two albums under his own name. It´s the first Chroma Key album since the release of "You Go Now" from 2000, but Moore had kept busy writing and recording the first OSI album during 2002-2003 titled "Office of Strategic Influence" (released through InsideOut Music in February 2003), so it was indded busy years for Moore.

Stylistically "Graveyard Mountain Home" continues the ambient/atmospheric pop/rock style of the preceding Chroma Key releases. Predominantly instrumental music using samples and effects to create melancholic atmospheres rather than vocals. There are sporadic effect laden vocals on the album, but they are often low in the mix and very subtle, adding texture to the tracks rather than dominating them with lead melodies. I´m somtimes reminded of post-rock like Tortoise, although Chroma Key aren´t as rock oriented. It´s slow, introvert, and thougthful music, which works just as well as pleasant background music, as it works as music that you spend a little more time analyzing.

The album subtitle: "In his loneliness and out of his longing, an idea occurred to Andrew. if he could fix his mother´s radio, perhaps he could bring her back to life" perfectly fits the generally melancholic and longing atmosphere of the album and almost tells the story of how this album sounds better than any reviewer´s words can ever do. A 3 star (60%) rating is warranted.

MINISTRY With Sympathy

Album · 1983 · Non-Metal
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UMUR
"With Sympathy" is the debut full-length studio album by US synth pop (later industrial metal act) Ministry. The album was released through Arista Records in May 1983. It was released in Europe under the title "Work for Love", featuring an alternate tracklist, replacing "What He Say" with "Do the Etawa" (which is not featured on the US version), and featuring a different running order of the tracks.

Ministry was founded in Chicago, Illinois in 1981 by producer, singer and instrumentalist Al Jourgensen. Jourgensen had been active in the Chicago post-punk underground scene with various artists since he moved there from Denver in 1978, but he opted to form his own band in 1981 and started writing material using an ARP Omni synthesizer, a drum machine, and a reel-to-reel tape recorder. A shifting cast of musicians were in and out of the band in the formative years but when it came time to record the material for "With Sympathy", the band were down to the duo of Jourgensen (Vocals, Keyboards) and Stephen George (drums).

"With Sympathy" is an interesting release to review, as most people coming to the album today, are fans of Ministry´s later industrial metal sound, and the material on "With Sympathy" is arguably as far removed from that sound as it can be. People will have very different expectations and prerequisites when listening to and experiencing "With Sympathy". Stylistically this is synth pop greatly influenced by contemporary UK artists like Depeche Mode, Japan, and New Order. The influence is so great, that Jourgensen even adds a faux British accent to his vocals, which is a bit funny as he is an American, but it actually works pretty well within the band´s synth pop sound. His vocals are otherwise well performed and he has a suiting voice for this type of music (again far removed from his future raw self). While he can sing melodic and mainstream oriented, he does sometimes add a slightly more aggressive touch to his singing style, which reminds me a bit of Jaz Coleman from Killing Joke. It´s not that he distorts his vocals, but more the attitude and his delivery of the vocals.

"With Sympathy" is a well produced 80s release, featuring a detailed and professional sound production. The material is quite catchy and well written too, and it´s interesting that Ministry weren´t more than moderately successful with the release of "With Sympathy", as there is definitely enough quality songwriting and performances here to equal at least the early releases by some of the above mentioned artists. Moderately successful shouldn´t be understood as if Ministry didn´t have any success though as the album did break into the middle part of the Billboard 200 album chart, and they landed themselves the supporting gig for The Police during the North American leg of their "Synchronicity" (1983) tour. Jourgensen however soon became dissatisfied with the label support from Arista Records and also the fact that he felt he was pressured into creating more commercially appealing versions of the songs that he had written and imagined otherwise. Add to those reasons, that he simply became more interestered in raw music styles like hardcore, and it´s only natural that "With Sympathy" ended up being the only mainstream oriented synth-pop album released under the Ministry monicker (although their next album is also an electronic synth pop/rock album it´s a much harder edged and darker release). It´s still a worthy release to fans of the genre though (and probably sadly forgotten by most) and a 3 - 3.5 star (65%) rating is warranted.

KILLING JOKE What's THIS For...!

Album · 1981 · Non-Metal
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UMUR
"What's THIS For...!" is the second full-length studio album by UK post-punk/industrial rock act Killing Joke. The album was released through E.G. Records in June 1981, only little over half a year after the release of the band´s eponymously titled debut full-length studio album from October 1980.

There was no reason to wait any longer to release new material though, as the material on "What's THIS For...!" is a natural succession of the post-punk style of the debut album, and in regards to the quality of the material it´s on the same high level as the material featured on the debut album. Killing Joke already had a rather distinct sound this early on. An energetic hypnotic groove, busy basslines (although a completely different sounding artist, I´m hearing references to the bass playing on Japan´s releases), powerful almost tribal influenced drumming, jagged distorted guitar riffs (twisted punk riffs), and Jaz Coleman´s distinct sounding voice and intense shouting vocal delivery. Synths are used too, but only on occasion to enhance atmosphere. An atmosphere that is predominantly bleak. This isn´t happy music and you´ll most likely leave depressed.

Like the debut album "What's THIS For...!" is a self-produced affair, and Killing Joke have managed to create a powerful sound which suits their material perfectly. The hypnotic repetitive nature of the music can sometimes feel a little tedious, but it´s a means to an end and helps build the above mentioned bleak atmosphere. While the tracks aren´t exactly hook laden, there are still catchy moments here and there, which make "What's THIS For...!" an engaging listen throughout. A 3.5 star (70%) rating is deserved.

CHROME HOOF Crush Depth

Album · 2010 · Non-Metal
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siLLy puPPy
Following in the hoofsteps of its crazed sophomore album “Pre-Emptive False Rapture” which hoisted them into the greater world stage, CHROME HOOF followed its P-Funk infused modern mix of Parliament / Funkadelic meets electronica, jazz, mutant disco and progressive pop with its third album installment CRUSH DEPTH which continued their experimental chamber orchestra excesses presumably while wearing their famous aluminum foil regalia! Following three years after its predecessor, the band returned with a nine member lineup only this time invited a whopping seventeen instrumentalists and vocalists to the HOOFian party pad!

More diverse and less disco-y then “Pre-Emptive,” CRUSH DEPTH comes across as a mutant experiment gone wrong where the B-52s meet George Clinton at a chamber rock’s cameo with an avant-metal band! Yep, CHROME HOOF may have morphed its focus but CRUSH DEPTH remains in the realms of alien space orchestra turf and al the better for it. In many ways the 13 tracks on CRUSH DEPTH that will swallow up a precious hour’s worth of your life force is more streamlined and noticeably less reliant on the metal guitar heft and excessive brutal prog bombast of “Pre-Emptive.” Likewise there’s a bit more of a jazzy flair with some moments of pure fusion finding its way into the mix.

Where the metal, prog and punk have been exorcised like demons from a serial killing psychopath, the band brings some serious synth funk to the forefront with a militant zeuhl-ish continuity interpolated into the avant-prog weirdness and post-rock cyclical processions. Less energetic and bombastic and more chilled with a greater ambient approach that nurtures psychedelic atmospheric constructs, CRUSH DEPTH. And living up to their name as chamber orchestra (a claim that is hard to swallow most of the time), this album even features true chamber rock splendor in the form of tracks like “Witch’s Instruments and Furnaces” which actually serves as one of the highlights with its herky jerky unorthodox rhythmic drive and trippy neo-psychedelic atmospheric weirdness. Even the vocals are less frantic and more based on weird. However none that prevents some heavy guitar thumping to burst in also making this one of the heavier tracks on board.

CHROME HOOF is really a unique act and hard to believe it was formed by bassist Leo Smee of the stoner doom metal band Cathedral along with his brother / drummer Milo Smee. This band crafts a unique mix of crafty psycho-pop mixed with chamber metal disco, punk funk and schizoid proggy cacophony. While i don’t find CRUSH DEPTH to be quite as addictive as “Pre-Emptive False Rapture,” it’s a much different and varied release that showcases the band’s ability to craft unique textures, tones and timbres without the excessive bombast. Some would even call it more mature but i just call it different. It’s clear that the musicians are well seasoned veterans who can navigate hairpin turns like a swarm of bees en masse and while the prog, metal and punk aspects have been toned down a bit, they still erupt unexpectedly on CRUSH DEPTH when you least expect them to!

SPOCK'S BEARD The Light

Album · 1995 · Non-Metal
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UMUR
"The Light" is the debut full-length studio album by US, California based progressive rock act Spock's Beard. The album was independently released in late 1994. Spock's Beard was founded in 1992 by brothers Neal- and Alan Morse. Both relatively experienced musicians who had played in other projects during the 1980s. While Spock's Beard was initially created to be a duo project, the two brothers soon assembled a full band lineup. The material featured on "The Light" was recorded during 1994 and the recordings were financed by the band themselves. It was during an early 1995 live performance that Spock's Beard were discovered an given the opportunity to release their already recorded and independently released album through a label Giant Electric Pea (an associated label to Inside Out Music).

"The Light" was recorded by the quartet of Neal Morse (lead vocals, keyboards, acoustic & electric guitars) and Alan Morse (lead electric guitar, cello, additional keyboards, backing vocals), Dave Meros (bass, french horn), and Nick D'Virgilio (drums, percussion, backing vocals). Keyboard player Ryo Okumoto was however soon hired for live performances and would be a permanent member of the band from then on.

"The Light" is quite the ambitious debut album featuring only 4 tracks and a total playing time of 57:01 minutes. The title track is 15:33 minutes long and "The Water" is even longer with a 23:14 minutes long playing time. "Go the Way You Go" is also quite long with a playing time of 12:03 minutes, while the shortest track on the album is the 6:11 minutes long closing track "On the Edge". So there is not much catering to anyone but a hardcore progressive rock audience on this debut release in terms of shorter vers/chorus structured tracks.

Stylistically Spock's Beard combine all sorts of different European- and Amerian progressive rock influences and also influences from other genres, to make a sound of their own. Morse has a strong voice and a recognisable singing style, able to sing both slightly hoarse hard rocking vocals but also fully able to deliver beautiful melodic singing (often complimented by harmonies and choirs). In some ways Spock's Beard are comparable to Kansas, because Spock's Beard aren´t afraid to include an AOR friendly soft rock chorus or other mainstream pop and rock elements if they feel at song prospers from it. That part of their sound isn´t that dominant on "The Light" though and it´s predominantly "On the Edge" which leans in a more mainstream oriented direction (while still obviously being a progressive rock song). The two longest tracks on the album are both divided into sub tracks, and while there is coherence between the parts, I still think it´s obvious that all sub tracks were composed separately and then put together to form a longer epic. I can´t be sure of course, but to my ears it sounds like that was the compositional method used.

While "The Light" features a decent sounding production, it is at times audible that this is a self-financed release and it lacks a more organic and full sound. It´s not a major issue and as the tracks are quite intriguing and the musicianship is on a high level on all posts, "The Light" is still a good quality debut release from Spock's Beard. A 3.5 star (70%) rating is deserved.

non-metal movie reviews

PENDRAGON Past And Presence

Movie · 2007 · Non-Metal
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Warthur
Pendragon's Past and Presence captures a very special concert put on by Pendragon in celebration of the band's history. Recorded in Poland as a special treat for their very appreciative Polish fanbase, the concert saw a host of past members of the band making special guest appearances - with all the current and ex-Pendragon members present taking to the stage for show closer Stan and Ollie (a good call, since the song was essentially written as a goof-off piece to round off the band's sets with a happy party number, much like Marillion's Margaret).

Aside from 2AM from Kowtow (present as one of several encores), the songs here are all vintage Pendragon from their very earliest days - you have all the tracks from The Jewel and the Fly High Fall Far EP here, plus some delicious rarities otherwise only available in inferior versions on the Once Upon a Time In England compilations. Two decades have come and gone since the band recorded the versions of the songs we're most familiar with, and the additional experience really does show. Many of the songs here blow the original studio versions out of the water - even songs which sounded pretty decent on the original recordings, such as The Black Knight.

I'd go so far as to say that this show is, perhaps, the best way to experience Pendragon's material from before The World came out. Certainly, I would strongly encourage people to pick up the limited edition version which comes with a 2CD audio version of the show, because the audio stands up really well on there and I actually find I listen to the CD more than I watch the actual show. The main limitation here is that the material in question is a bit rough and naive, but the band couldn't really fix that without abandoning the idea of a nostalgia show.

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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