Non-Metal Music

Today is a Roland Kirk day.  I just finished I Talk With the Spirits.  I like its childlike approach, almost like a bedtime story told through music.  The jingles of the first half greatly outweigh the second half.  83.  Now I'm starting Volunteered Slavery and it's starting off great.

Merzbow - Metalvelodrome

Genres: Harsh Noise

On my noise ventures I found myself mostly driven by the challenge of finding truly artistic music from the more extreme variants: harsh noise and harsh noise wall. And I've found some that I've liked, but mostly when it plays with other genres like a Uboa album. But this 4-hour Merzbow album is at the top of the RYM harsh noise charts. Was that a good sign, or is this an album that only the ones who would listen to four hours would finish anyway, thus allowing less people who see problems with it to even rate it in the first place? Since I have the capacity to enjoy noise music and am mostly a rocker, I felt I had to say something.

And this is what I have to say: it's definitely the latter. If Merzbow, a man who had been doing noise albums for 15 years up to that point, wanted to make a 4-hour behemoth of ugly sound, then he should've done more to play with the sound. By this point, the vast majority of noise tricks pulled in these four hours can be done by literally anybody if you ask me. I've heard imitators that were much more intriguing. It starts out cool, but the entire first half is just generic noise music at this point. Now a lot of wacky and cool ideas are played in the 45-minute track, Another Crash for High Tide. The weird sounds, the vocal effects, it's all pretty cool. But there's so much packed into it that most of these ideas only get about 20 seconds of album time. And the worst part? THIS SONG STARTS AFTER THE FIRST TWO HOURS ARE OVER. In other words, it's two hours of generic noise before creativity has a say. Why the hell didn't Merzbow flesh all of these ideas out into better songs throughout the whole? That's pretty infuriating, especially since it goes back to generic noise for the rest of it, mostly.

This four hour behemoth needs a serious re-evaluation on RYM by more serious and diversified explorers. This is a pretty standard noise album for most of it with some creativity attached, going into unholy lengths to get 1 job done for three out of the four hours. Merzbow would do much better in the close-by following years, so while this album shouldn't need to be heard, historically speaking, it doesn't deserve to be the highest rated harsh noise album on RYM at all, let alone any website that covers noise music. If you wanna hear REAL Merzbow music, try Electric Salad.

52

Jeff Buckley - Grace (1994)

Genres: Alt-Rock, Singer/Songwriter, Art Rock

I'm looking forward to an opportunity to catch the new Jeff Buckley documentary on Prime, but it's been way too long since I checked out any Jeff Buckley.  Truth is, I had been so bent on checking out and discovering albums since I first heard this in my first year of album logging that I haven't heard this in 13 years.  Poor guy only met his dad Tim once, but that made all the difference.  This guy clearly listened hard and smartly, not only to the works of his father, but to all the classical and rock artists that influenced him.  You can hear mild bits of the Mozart and even Siouxsie influence in his singing and his melodies.  But in the end, the many ingredients that make this album all become the Jeff Buckley identity, nothing short.  Hell, even when Dream Brother practically sounds like a cover of a Siouxsie song, it's still a Buckley song.  This is rock at some of its most gorgeous and heartfelt.  His singing has a falsetto range even beating Thom Yorke, and his ability to go from soft and folksy to rough and noisy is some of the most carefully constructed and carefully flowing transitioning I've ever heard.  Hell, he's the only one who can sing Hallelujah and make me think "Buckley" instead of "Shrek."  God, I wish he didn't drown.  One album into his career, he proved that he was a musical genius.

I tend to spin this record about once a month and this recent remaster of The Gits' classic 1992 "Frenching the Bully" album is an absolute beauty so my vinyl order has just gone into Amazon. This is one of my all-time favourite US punk albums, up there with Bad Brains first, DK's Fresh Fruit and The Ramones "It's Alive". This remaster has given it a sharp cutting edge and cements it's place as a punk rock classic. The murder of singer Mia Zapata, apart from cutting short the life of a vibrant young woman, robbed the world of one of the best punk singers ever committed to tape. RIP Mia...

While I am on the subject, here are my top ten Punk Rock albums:

1. The Stranglers - Rattus Norvegicus (1977)

2. Dead Kennedys - Fresh Fruit for Rotting Vegetables (1980)

3. Ramones - It's Alive (1979)

4. The Gits - Frenching the Bully (1992)

5. The Clash - The Clash (1977)

6. Bad Brains - Bad Brains (1982)

7. Misfits - Earth A.D. (1983)

8. Suicidal Tendencies - Suicidal Tendencies (1987)

9. Subhumans - From the Cradle to the Grave (1984)

10 Discharge - Hear Nothing See Nothing Say Nothing (1982)

Lustmord - "Lustmørdekay (Live Evil)" (1982)

I wasn't a fan of the Welsh dark ambient legend's self-titled debut album but this obscure cassette is less palatable again, being more experimental & weird. There are a couple of enjoyable tracks included but on the whole it can feel pretty isolating & insignificant, particularly through the back half of the tracklisting.

For fans of SPK, Sutcliffe Jugend & Zero Kama

2.5/5

N.W.A. - "Straight Outta Compton" (1989)

I find N.W.A.'s debut album to be a little bit overrated to be honest. It certainly kicks off in fine fashion with the first couple of tracks (particularly the opening title track) being iconic gangsta rap anthems but the rest of the record is a little inconsistent. It's still definitely worth exploring but I feel that "Straight Outta Compton" is far more culturally important than it is musically essential with earlier releases from Public Enemy, Eric B. & Rakim & (to a lesser extent) Ultramagnetic MC's being superior.

For fans of Ice Cube, Public Enemy & Geto Boys.

3.5/5

Tenhi - "Maaäet" (2006)

The third full-length (or fourth if you include Harmaa's "Airut:aamujen" album from 2004) from these Finnish dark folk leaders is arguably my favourite release from the whole movement. I find it's stripped back post-rock-inspired vibe to give it a deeper & more introspective feel which appeals to me greatly. The vocals aren't quite captivating enough to see me reaching for my higher scores but "Maaäet" is still a really strong & consistent release that never fails to engage with the patient listener.

For fans of Forndom, Kauan & "The Mantle"-period Agalloch.

4/5

Jan Jelinek - "Loop-Finding-Jazz-Records" (2001)

This debut album was huge for me during my 2000's electronic music obsession & still holds up beautifully today. I'd describe it's sound as sitting somewhere between glitch & microhouse with layers of intricate blips & bleeps being interwoven to create a deep, dubby atmosphere that proved to be perfect comedown material after a big night out dancing.  I even played a few of these tracks in some of my opening DJ sets over the years (see "Rock in the Video Age", "They, Them" & "Tendency"). It's pretty much impossible to identify that the vast majority of the samples were taken from old jazz records because they sound nothing like traditional instruments. "Loop-Finding-Jazz-Records" is an unmitigated electronic classic that I can't recommend enough.

For fans of Rechenzentrum, Farben & AOKI takamasa.

4.5/5

Osamu Sato - "Transmigration" (1994)

The second full-length from this Japanese electronic producer features two tracks from the "Eastern Mind: The Lost Souls of Tong-Nou" video game soundtrack. You can expect a combination of downtempo IDM & dancefloor acid techno with the quality levels generally being very high. Closing track "Tong-Nou (Esoteric Mix)" is an absolute belter & caps things off beautifully too. This is well worth seeking out.

For fans of Ken Ishii, PilotRedSun & Soichi Terada.

4/5

Bobby Prince - "DOOM" (1993)

A bootleg of the original soundtrack to the "DOOM" video game. I've been absolutely infatuated with the 2016 Mick Gordon version of "DOOM" for a number of years now so I thought it was about time that I checked out the original but the experience has left me sorely disappointed because this is nothing like the incredible blend of techno, dark ambient & djenty metal that took a three-pronged approach to encapsulating my closest musical passions. Instead, we receive a cheap, home-made MIDI backdrop that sounds every bit as you would expect from an early video game. Fuck knows how two thirds of those voting for genre-tagging on RYM could possibly associate this release with metal. Those people clearly no fuck-all about what constitutes a metal release. The more eerie & atmospheric numbers are by far the most effective & I have to admit that I've got a bit of enjoyment out of them but the ones that try for a rockier feel inevitably fail to engage. It is worth mentioning that the attempts to cover bands like Pantera & Slayer in a synthesized format are fucking hilarious though & are worth hearing simply to enjoy how conceptually misguided they were.

For fans of ZUN, Ian Taylor & dai.

2.5/5

Massive Attack - "Blue Lines" (1991)

Here we have the debut album from one of my all-time favourite artists, an act that very much changed the course of my life for the next decade during the late 1990's. And while it may not be the Bristol trip hop legends' finest hour, there can be denying the impact that "Blue Lines" had on the global music scene with the chillout movement pretty much exploding off the back of it. It's an absolute stormer of a record too, it's tracklisting being littered with seriously mature & impeccably produced classics that were just as heavily influenced by dub, EDM & hip hop. The three-track run that contains "Five Man Army", Unfinished Sympathy" & "Daydreaming" is utterly earth-shattering & would challenge any trio of songs from the subgenre overall. I'll always prefer later releases like "Mezzanine" & the incredibly underrated "100th Window" but "Blue Lines" is an undeniable classic in its own right too.

For fans of Portishead, Tricky & Air.

4.5/5

We’re talking about two different things Rex. You’re talking about music production. I’m talking about clubs & DJing. It’s certainly common for EDM producers to make 10+ minute tracks. It’s not as common as you think for DJs to play those tracks in clubs to their full length as they’re looking to fully showcase their taste palate & also give the audience plenty of variety. Those tunes take up a large chunk of your set when the majority of DJs are playing 1-2 hour sets. They also leave you standing there looking like you’re doing very little for a long period which isn’t what clubbers come to see. They create more risk for the DJ too as if the crowd isn’t digging it you have to try to bale out mid-track. At least that’s my experience from having spent a good decade DJing in clubs. I will say that I used to drop long tracks if I needed to take a toilet break mid-set though.

Gary Moore - "Blues for Greeny" (1995)

Our father got really into this Irish guitarist through his 1990 ninth album "Still Got the Blues" which was a huge commercial breakthrough for Moore who had spent the majority of his career in hard rock up until that point. That record was played on repeat around our house & in our car for many years & saw Dad also picking up this Peter Green (Fleetwood Mac/John Mayall's Bluesbreakers) covers album on cassette five years later. While it certainly wasn't as strong as "Still Got the Blues", Gary's one of the most talented blues guitarists I've ever heard so I've always maintained a soft spot for this release, even if it is a bit inconsistent in its appeal for this ol' shredhead. I tend to enjoy the more atmospheric & stripped back numbers over the groovier blues stompers but there's certainly enough to keep me interested here, even if I can't necessarily see myself returning to "Blues for Greeny" in the future.

For fans of Peter Green, Eric Clapton & Stevie Ray Vaughan.

3.5/5

Lustmord - "Paradise Disowned" (1986)

The second studio album from this Welsh dark ambient god sees Brian Williams returning with a similar sound to his 1981 self-titled debut album which was very much a dark ambient/industrial hybrid, only this time Williams leans more heavily towards the dark ambient sound & with a greatly improved result. This record is often overlooked in the Lustmord back catalogue & I'm gonna suggest unfairly too as "Paradise Disowned" is a high-quality record in its own right. It's somewhat of a tale of two halves as the A side is jam-packed with excellent dark ambient music while the B side is covered in industrial noise which is something that you have to have a taste for so I'm not surprised to see a lot of Brian's ambient fans struggling a bit with this release. But if you can stomach the abrasive nature of the early industrial movement then there's plenty of good shit on offer here, particularly "Dreams of Dead Names" which is an undeniable classic of the dark ambient genre.

For fans of raison d'être, Kammarheit & Robert Rich's "Stalker".

4/5

Cocteau Twins - "Sunburst & Snowblind" E.P. (1983)

This short four-song E.P. makes for an excellent accompaniment to the Scottish dream pop/ethereal wave acts "Head Over Heels" album from the same year & shares its excellent opening track "Sugar Hiccup" with that release. The other three songs are all worth hearing too though, particularly the very solid "Hitherto" which utilizes Elizabeth Fraser's powerful vocals really well. "Sunburst & Snowblind" comes highly recommended for metalheads who fancy themselves as a closet goth.

For fans of This Mortal Coil, Dead Can Dance & early Slowdive.

4/5

Calamalka - "Shredders Dub" (2004)

The debut album from this Canadian producer is one of my favourite dub records ever. I picked it up on CD shortly after release & it subsequently received many plays at stoned come-down gatherings at my unit when I was going through the height of my clubbing/DJing period through the mid-2000's. The drums & basslines are nothing short of spectacular here & you'll rarely find a release that can put you into a more blissful state of numbness.

For fans of Burnt Friedman & the Nu Dub Players, Rhythm & Sound & Massive Attack.

4.5/5

Hvile I Kaos - Lower Order Manifestations (2025)

The cello is my favourite classical instrument.  Capable of creating such slow, haunitng and melancholic sounds as well urgent and oppressive timbres as well, I find a versatile and always pleasing instrument.  Hvile I Kaos deploy the cello alongside guitar, frame drum and bass to create 'dark chamber music'. This has been on a few nights as I have laid in bed with the lights out ready to get into a peaceful slumber.  Full of mystique and dark terrors, the descripton from the Bandcamp page sums it up perfectly:

Quoted Vinny

Nice tip Vinny. I have listened to this a couple of times. I'm not sure I would find it conducive to a peaceful slumber - but it's great stuff. I gave it a 4/5 as well, probably just over 4, not quite reaching 4.5 status (maybe on more listenings)

Now Playing

Alessandro Stefano - "Alessandro "Asso" Stefana" (2024)

One of my favourites and probably most played from last year. Ambient Americana from Italian multi-instrumentalist that repurposes the voice of Appalachian folk musician, Roscoe Holcomb. Produced by PJ Harvey and on Mike Patton's Ipecac imprint. The first 5 tracks are laid back, soothing americana invoking images of the desert and lonesome highways, then Holcomb's haunting voice from the past come in for 3 tracks before ending with the longest and most ambient tracks on the album. It's when Holcomb's vice comes in from nowhere on track 6 that really make this album for me, and is a surprise on each listen.

4.5/5

Tubeway Army - "Replicas" (1979)

The debut album from a London act fronted by the legendary Gary Numan who would release his first solo album later the same year. I would describe the sound of "Replicas" as new wave-infused synthpop with Numan dominating through a charismatic performance behind the microphone. The influences of David Bowie, Kraftwerk & the "Blade Runner" soundtrack are all obvious. The highlights are absolutely sublime (see "Are 'Friends' Electric?" & "Down in the Park" in particular) but the tracklisting is very inconsistent & fades noticeably at the end. Despite that, I do feel that the best material is strong enough to carry this record.

For fans of Gary Numan, Ultravox & The Human League.

3.5/5

I'm a country guy. I was born and raised on a farm on the Kansas-Nebraska Border. This is the music of my people and I love it almost as much as my metal. 

I find this to be an excellent piece of music:


A blend of contemporary country with a lot of bluegrass. Great song writing. 

Selected listening: "Gin, Smoke, and Lies", "Before the Devil Knows We're Dead", "Good Lord Lorie", and "Wrecked"

Andrés Segovia - "The Segovia Collection, Vol. 3: My Favorite Works" (1988)

A compilation CD I purchased back in the 1990's when I was absolutely obsessed with guitar technique & wanted to hear the best the world had to offer. Segovia certainly delivers in terms of Spanish classical guitar too with all ten tracks on offer showcasing his incredible abilities in solo performances that sound to the average listener as if there are multiple instrumentalists contributing, given his unparallelled skill in managing disparate basslines & melodies simultaneously. I enjoy this as relaxing background music more than anything these days.

For fans of Julian Bream, Narciso Yepes & David Russell.

3.5/5

Elliott Smith - "Either/Or" (1997)

I don't mind this American indie folk singer/songwriter although I do have to admit that I can't see why he's quite as revered as he is. I don't think he has enough depth to his music for that but I can still appreciate the appeal of these short-&-sweet folk songs.

For fans of Bright Eyes, Daniel Johnston & Sufjan Stevens.

3.5/5

Bobby Bland - "Two Steps from the Blues" (1961)

The highly regarded debut album from this soulful Texan rhythm & blues singer that I find to be a little too inconsistent & (perhap unsurprisingly) bland for my liking.

For fans of Syl Johnson, Freddie King & Little Milton.

3/5

8. Frank Zappa
Genres: Exp. Rock, Jazz-Rock, Jazz Fusion, Comedy Rock

When I was first getting into albums, Freak Out was my first venture into experimental rock, and I loved every effed-up second of it. That raw level of boldness in Zappa's music is justified by his absurd personality. The guy knows how to write what's potentially the worst music on Earth, and make it more fun than a drunken night out on the town. And why? Why did we need Zappa? Simple. Sometimes, we just need to let loose.

Freak Out!: 100
Hot Rats: 100
Apostrophe: 100
Over-Nite-Sensation: 99
Joe's Garage, Act I: 97

Score: 99.2 / 5
Staying Score: 100

Didn't you say that you were separating Frank Zappa's solo work from the Mothers of Invention releases Rex? "Freak Out!" was the debut album from the Mothers & I'm pretty sure that "Over-Nite Sensation" is also considered to be a Mothers release.

There's the "Rule of Names."

Before I post this, I must note that there has been an update to the rules that I forgot to mention. Because certain bands like say "Tom Petty and the Heartbreakers" are also counted as part of an artist's main career, there will be a "namesake rule" that states that a solo act can count their time with a band as part of their major career, especially since some bands continue without their frontman, and can still be two separate entries, such as the difference between The Mothers of Invention and Frank Zappa. Thus, the band and the frontman can have two separate entries. This does not count for duets like Simon and Garfunkel, but for a frontman and a named band sharing album title credits.

The Mothers of Invention are also known all over the internet as "Frank Zappa and the Mothers of Invention."  This rule is based on the notion that the band itself is just as relevant to the solo artist's career under his name.  This means that Zappa can count his time with The Mothers under his slot, and Tom petty can do so as well.  But this is only true if extra credit to the frontman is established by name in the fanbase or the album releases.  Nobody really refers to Petty's band as just, "The Heartbreakers."  Alice Cooper could do the same thing had he made it, and "The Alice Cooper Band" would have a separate entry as well.  RYM does this, too, and it was pretty obvious why.

Cool list, Rex! Though if I make my own list in this thread, it would all just be metal, and I wouldn't have to write my top 20 when it's already in the "top 20 releases" feature.

Personally, I'd be down to play there knowing what I know now, but my vocalist is a much less forgiving about these kinds of things. We are going to compare notes at practice, explain points of view and make a team decision.

Cool tune and I like Album cover too. Delightfully goofy! Quiet Riot 2 Was only released in Japan, so I always associated "Slick Black Cadillac" with Metal Health Album-they re-recorded it for that. 

So I went back to investigate, and yes the Quiet Riot II version is balls. It's not worlds different but it's weaker than the Metal Health version by a significant amount.

I've going to opt to replace Plasmatics' "The Damned" as I've never had much time for it & are going to nominate Randy Holden's "Fruit & Iceburgs" from the former Blue Cheer & The Other Half guitarist's debut solo album "Population II". It was one mean motherfucker of a psychedelic doom metal monster for 1970 in my opinion.

1. Three Dog Night "Momma Told me Not to Come"

2. Pentagram "Be Forewarned

3. Alice Cooper "Desperado"

4. Randy Holden - "Fruit & Iceburgs"

5. Holy Moses "Satans Angel"

6. Savage Master "Queen Satan"

7. Satyricon "Black Crow on a Tombstone"

8. Venom "Witching Hour"

Hi, Ben. Thanks for adding those Blue Stahli albums I've requested. Now for one more thing... It seems you've overlooked my earlier request to add Celldweller's non-metal album Offworld to bridge the gap in their discography. Could you please add that soon? Thanks again!

Totally respect that. Crunkcore is among my least favorite genres of all time, but I'd be totally open to hearing an album in the genre that is actually enjoyable. Maybe I'll give it a shot just for fun.

I actually love it when one of my least favorite genres features an album I find amazing.  Nadja helped me explore some more of my least favorite metal genre: drone.

Vinnie Moore - "Meltdown" (1991)

I picked up Vinnie Moore's third album on CD shortly after it was released given that I was a big fan of his 1986 debut album "Mind's Eye". "Meltdown" saw Vinnie changing direction a bit with a record that's a lot more hard rock than it is metal but it still made quite an impact on this young shredder as there's little doubt that Moore understood the art of song-writing as well as any in his craft i.e. instrumental guitar shred. Time hasn't been as kind to "Meltdown" as I'd hoped though & I see it as a step down from "Mind's Eye" these days but it's definitely still worth a listen if you're into this sort of thing.

3.5/5

I'm sure the genre is not for all metalheads, but I'm certainly attracted to it, if only as background music. Thanks for the recommendations, as I haven't delved into it as much as I probably should have. Just listening to Old Sorcery now.

Lemme know what you think when/if you feel like you've got a good amount of them down.

Kensuke Ushio - "Ping Pong" The Animation Soundtrack (2014) 2 x CD bonus disc edition

Over two hours of music taken from a Japanese animated television show. It spans a huge wealth of electronic subgenres including techno, trance, progressive house, drum 'n' bass, IDM, downtempo, ambient, etc. There are a few really great tracks included, particularly the techno & ambient material which is most closely aligned to my taste however there's simply far too much filler here & I find the cheesy trance & quirky IDM stuff to be pretty hard going.

If any of you are thinking of bands that started as gothic death-doom but slowly (d)evolved into alt-prog rock, here are a couple of them; Anathema and The Gathering. While both of these bands disappoint heavier fans by not having their darker metal sound anymore, you know who might like their lighter rock sound? MY MOM!! Seriously, my mom's never really a fan of metal, but she's OK with softer rock sounds.

Unlike Daniel, I stopped really enjoying Anathema's work quite some time ago. I've always had time for The Gathering though, at least I did while Anneke was still part of the band. I think I listen to their non-metal albums more than the metal ones, simply because they can be played while the family is around.