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PROGRESSIVE METAL

A Progressive Rock Sub-genre


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Progressive Metal definition

This category represents the core movement of what is called "Progressive Metal" in the literal sense. It is a subgenre of progressive rock as much as it is a subgenre of heavy metal, and this is how its sound is defined: a blend of heavy, guitar-oriented metal music enriched with compositional innovation and complex arrangements, usually expressed through diverse instrumentation and often (but not always) with odd-time signatures. Common, but not essential to define the movement, are the frequent use of keyboards, high-pitched vocals, concept lyrical themes and tracks of longer duration. Similar to progressive rock, progressive metal draws influences from other genres, such as jazz/fusion, ethnic, classical and symphonic music.

The Origins:
The heavy sound of some of the progressive rock bands of the 70's has been one of the building blocks on which progressive metal was raised. Progressive rock pioneers such as KING CRIMSON and RUSH have often been acclaimed as the main influences of progressive metal bands. The other major influence has been the NWOBHM (New Wave of British Heavy Metal) movement, and especially the twin-guitar arrangements of IRON MAIDEN, which have left their stamp on the early stages of the genre's development.

The Pioneers:
Often (and not unjustifiably) referred to as the "Big Three" of progressive metal, QUEENSRYCHE, FATES WARNING and DREAM THEATER have set the scene of what was to follow in the movement. The defining era for the genre was the second half of the 80's, among QUEENSRYCHE's "The Warning" (1984) and (most explicitly) "Rage for Order" (1986) along with FATES WARNING's "Awaken the Guardian" (1986) and "No Exit" (1988) releases. The former evolved on their pure American power metal beginnings, while the latter refined their technical/NWOBHM-influenced metal into more progressive forms. Although producing demos since the mid-80's as MAJESTY, DREAM THEATER's first release came in 1989 with "A Dream and Day Unite". The innovative use of keyboards along with influences from American heavy/power metal and progressive rock produced an original blend which was to be further refined in 1992's "Images and Words", which until this day remains next to "Progressive Metal" definition in any musical dictionary.

Among the pioneers of the genre, but enjoying less success and popularity, were PSYCHOTIC WALTZ and SIEGES EVEN. The former were essentially playing progressive metal as ASLAN in the mid-80's and developed a highly eclectic sound in the 90's. The latter's debut classifies them among the European prog-thrash pioneers but their music evolved to more melodic patterns and heavily influenced by RUSH in the early 90's.


Progressive metal is difficult to further divide in sub-genres but a number of tendencies or movements have been critical to the evolvement of its sound.

Traditional Progressive Metal
The style developed by the pioneers was fully established in the 1990s and includes a range of bands from the two sides of the Atlantic. Good examples in this movement are SAVATAGE, who expanded their heavy metal beginnings with operatic and progressive elements in late 80's/early 90's, while SHADOW GALLERY and SYMPHONY X emerged with a unique sound, each embodying a strong theatrical, symphonic and melodic approach. In Europe, SOUL CAGES continued the legacy of SIEGES EVEN in a more artistic path.

Power-Progressive Metal (American style)
The legacy of RIOT (the counterpart of NWOBHM sound in USA) and the early releases of QUEENSRYCHE and FATES WARNING heavily influenced a number of bands that were to develop a common sound towards the late 80's. Among the well-known representatives of what is called American Power Metal (e.g. VICIOUS RUMORS, HELSTAR), a small number of bands enriched their sound with progressive and epic elements. Probably, the most obvious examples of this movement are CRIMSON GLORY and HEIR APPARENT.

Power-Progressive Metal (European style)
This category includes a broad range of bands that could sound fairly dissimilar to each other but their music is significantly influenced by the European Power Metal (primarily German) bands of the 80's (e.g. HELLOWEEN, RAGE, RUNNING WILD). The earliest examples are probably BLIND GUARDIAN, ANGRA (although Brazilian, their sound is mainly European) and CONCEPTION. Slightly later, VANDEN PLAS, ROYAL HUNT, ELDRITCH and LABYRINTH gave rise to the popularity of the genre in Germany, Denmark and Italy respectively. The symphonic and neo-classical elements (made popular by YNGWIE MALMSTEEN) also found their way through power metal with bands like RHAPSODY OF FIRE and NIGHTWISH, whose style does not qualify as being progressive for many people. Nevertheless their music is quite demanding to play and contains many elements of serious classical composition and form.

Modern Progressive Metal
The second half of the 90's and the early 00's also saw newly formed bands expanding the boundaries of Traditional Progressive Metal via a number of ways: introducing electronic/spacey elements, investing heavily in lyricality and/or syncopation and further rhythmical experimentation. Also the idea of thematically conceptual albums has returned in accord with the practices of the Progressive Metal pioneers. Well-known examples in this category are AYREON, PAIN OF SALVATION and RIVERSIDE.


--- Definition by Thanos and the Progressive Metal Team, January 2012 ---

The Progressive Metal Team are: (7/1/2022)
Kevin (Necroncommander)
Cristi
Sebastian (Kempokid)
Nick (nick_h_nz)
Brendan (Necrotica)

Progressive Metal Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Metal | More Top Prog lists and filters

4.30 | 3147 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
Dream Theater
4.30 | 3087 ratings
IMAGES AND WORDS
Dream Theater
4.24 | 1804 ratings
SECOND LIFE SYNDROME
Riverside
4.24 | 1169 ratings
OPERATION: MINDCRIME
Queensr˙che
4.23 | 1254 ratings
REMEDY LANE
Pain Of Salvation
4.23 | 1310 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.21 | 1368 ratings
ANNO DOMINI HIGH DEFINITION
Riverside
4.20 | 1225 ratings
THE HUMAN EQUATION
Ayreon
4.19 | 1248 ratings
OUT OF MYSELF
Riverside
4.16 | 2242 ratings
AWAKE
Dream Theater
4.15 | 2107 ratings
SIX DEGREES OF INNER TURBULENCE
Dream Theater
4.14 | 771 ratings
V - THE NEW MYTHOLOGY SUITE
Symphony X
4.14 | 799 ratings
INTO THE ELECTRIC CASTLE
Ayreon
4.16 | 437 ratings
A PLEASANT SHADE OF GRAY
Fates Warning
4.28 | 120 ratings
THE TOWERS OF AVARICE
Zero Hour
4.14 | 628 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.15 | 409 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.40 | 65 ratings
STRANGERS
Scardust
4.15 | 321 ratings
THE FULLNESS OF TIME
Redemption
4.21 | 167 ratings
PARADOX
Royal Hunt

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Latest Progressive Metal Music Reviews


 Paramount by SIEGES EVEN album cover Studio Album, 2007
3.92 | 194 ratings

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Paramount
Sieges Even Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Paramount" is the seventh full-length studio album by German progressive metal act Sieges Even. The album was released through Inside Out Music in September 2007. It´s the successor to "The Art of Navigating by the Stars" from 2003 and features the same quartet lineup who recorded the predecessor. Sieges Even have existed in different lineups since 1985 albeit with a couple of longer hiatuses, but "Paramount" was the last full-length studio album released before their 2008 split-up. A split-up that has now lasted 14 years (this review was written in 2022). Guitarist Markus Steffen and lead vocalist Arno Menses went on to form Subsignal, while the Holzwarth brothers (Alex on drums and Oliver on bass) went on to work on several other projects and ultimately became permanent members of Rhapsody of Fire in 2011 (and are now working on other music projects).

The material on "Paramount" continue the melodic and dynamic progressive rock/metal style of "The Art of Navigating by the Stars" (2003), but it´s a slighly more accessible release featuring more memorable vocal melodies and choruses. It´s not necessarily a less progressive release, but it´s a little less complex and instantly catchy album than its direct predecessor. Menses carry a lot of weight here and his strong voice and passionate vocals give the music a lot of power and emotion. The many backing and harmony vocals are also quite a treat. Steffen has a subtle playing style which is often non-distorted and clear, but even when he plays distorted riffs there is a nice sophistication to his playing which isn´t completely unlike the playing of Jim Matheos (Fates Warning, Arch/Matheos, OSI). I also hear a lot of Rush influences in the music. The Holzwarth brothers of course also deserve a mention as they as always deliver a varied, technically complex, and clever performance. You couldn´t wish for a more skilled and classy rhythm section.

The songwriting is intriguing, varied, and dynamic, and although there is generally a melancholic atmosphere to the album, there´s also often an uplifting and light mood present in the music. The tracks appear one after one like pearls on a string until the two closing tracks, which are slightly different sounding. "Mounting Castles in the Blood Red Sky" is an atmospheric instrumental featuring voice samples from Martin Luther King´s "I have a Dream" speech, and the almost 9 minutes long title track which closes the album is one of the more progressive tracks on the album. Every single track on the album is however a high quality composition and although the album features 10 tracks and a total playing time of 61:46 minutes it never feels that long and when it ends I want more. That´s always a sure sign of greatness.

One other asset which deserves a mention is the clear, detailed, and powerful sounding production job. "Paramount" is an incredibly well produced release, where you can clearly hear all instruments and vocals in the mix. So upon conclusion "Paramount" is a high quality progressive rock/metal release. It´s subtle, sophisticated, and clever, and often leans a bit more towards progressive rock than metal, but it does pack a bit more punch a few times during the playing time, and as mentioned above it´s both a diverse and dynamic release. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

 The Astonishing by DREAM THEATER album cover Studio Album, 2016
3.27 | 815 ratings

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The Astonishing
Dream Theater Progressive Metal

Review by Warthur
Prog Reviewer

3 stars What is it about bands continually going back to the "what if in the future the GOVERNMENT banned ROCK MUSIC" well? Rush did the definitive take on the subject on 2112 and still had a whole side of the record left to do some self-contained songs; Zappa did an exhaustive treatment of it on Joe's Garage; Styx blew themselves up when they tried it on Kilroy Was Here; the Queen jukebox musical adopted it as the plot. It's possibly one of the most overused plots in rock opera, next to "I had a bad childhood and now I have a sad" (hello Tommy, hello The Wall, hello S.F. Sorrow...).

So for Dream Theater to do a two-CD concept album about the idea, running at over two hours... it was always going to be a bit of a hard sell to me. It's just not that clever or original a lyrical concept, and seriously, since the early 1990s rock music (and the less extreme flavours of metal) have been absolutely establishment. If any musical form is about to get banned these days, it's far more likely to be rap or drill music. The mild references to music fading away because mainstream society "has no time for it" would be an original twist... except, oops, the arbiters of popular culture take exactly the same stance in Rush's 2112! Just cover that song if you want to tell that story, lads, it's a banger and you've got the chops to do it justice.

So, lyrically speaking this is worn-out old rubbish, recycling an idea which has already been rehashed far too many times since Rush made bank with it. Musically speaking, on the other hand, it's a bit of a departure. Rather than being produced collaboratively, with all the band members making contributions, John Petrucci and Jordan Rudess went into a room, wrote all the music, and Petrucci knocked out the lyrics (and therefore must take the lion's share of the blame for the crushingly unoriginal concept).

The end result is a rather simpler, smoother take on Dream Theater - there's shimmers of their usual ornate style, but much of it is more straightforward, or dips into more symphonic styles of metal than we're used to hearing from them. It's all rather accessible - to the point where it can be accused of being Falling Into Infinity 2.0.

All that said, I don't think trying something very different from business as usual was a bad idea at this stage. A Dramatic Turn of Events was very much a Business As Usual album, because with Portnoy out and Mangini in the band needed to demonstrate that they weren't about to fall apart. Fine. Then there was their self-titled album, and the whole thing felt a little TOO "business as usual" - it's not that it was bad, but none of it felt special because it was all the sort of thing we've heard from the band a lot.

So in terms of compositional approach and being a two-CD concept album, The Astonishing can't be accused of being business as usual - and sometimes you need to do an exercise like this to shake things up creatively. Even if you go straight back to the old formula, you'll often still find new ways to refine it after this sort of diversion.

What you get here, though, is 2 hours of Dream Theater taking a bit of a break from being the Dream Theater we've gotten used to. It's actually not bad - not Astonishing, despite the title, but not bad. Like many concept albums which botch the concept, it's far more entertaining if you don't even bother to try to follow the story and just let it wash over you. Nonetheless, I'd tend to sit it alongside the preceding album; it's the product of Dream Theater being in a little bit of a creative slump, but whilst the previous album saw them sliding into that fallow patch without changing course, this finds them doing something bold to try and climb out of the rut.

As a result, I think I prefer this one mildly to their self-titled album: they might be flailing a little, but at least some interesting stuff results from it, and you can't really accuse this album of sounding like yet another rehash of A Dramatic Turn of Events. If the idea of Dream Theater applying their cheesiest instincts to a sub-Hunger Games dystopian plotline sounds either entertaining or amusingly bad to you, check it out; otherwise, I wouldn't make this your first port of call in exploring their discography.

 A Heartless Portrait (The Orphean Testament) by EVERGREY album cover Studio Album, 2022
3.99 | 20 ratings

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A Heartless Portrait (The Orphean Testament)
Evergrey Progressive Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars I have been a fan of Sweden's Evergrey for more than 20 years, and although they have had quite a few line-up changes in their history, singer/guitarist Tom S. Englund has always been there while the return of guitarist Henrik Danhage and drummer Jonas Ekdahl in 2014 means that alongside Rikard Zander (keyboards) and Johan Niemann (bass) they have had the same line-up for eight years which is the longest period of stability in their existence. Recently they have also been upping their output as well, and this is the third studio album in four years. Mind you, increasing output has not seen a reduction in quality as there is no doubt, they are producing some of the finest music within their 25-year history.

Everygrey are a metal band who use keyboards to provide emphasis and more of a symphonic feel but are fully progressive in their use of intricacy in all instrumentation, complex time signatures and songs with very differing sections. They also have a strong sense of space and contrast, so while there are times when everything is hitting us at once, like a metallic sledgehammer with little in the way of remorse or let up, there are others where it is far more delicate, and the concentration instead is on Tom's vocals. This use of contrast ensures that the heavy seems heavy and the quieter sections much lighter, moving between bombast and restraint.

This is a very heavy album, yet also very commercial, which makes it a very easy album to listen to as even when played at seriously high-volume levels it makes perfect sense and never overpowers. There is a great deal of finesse within this, as well as plenty of brutality which is always tempered with a softer edge. Evergrey just keep getting better, and even if you have never come across this prog metal act before now, this is a great place to start.

 Prymary by PRYMARY album cover Studio Album, 2003
4.50 | 5 ratings

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Prymary
Prymary Progressive Metal

Review by TheReal_FatPug

5 stars Prymary was a Progressive rock/metal band from Riverside, California and I believe their self-titled debut was a solid start to their discography. Individuals who like more of the classic prog rock feel instead of the more heavy prog-metal will enjoy this album, note that four out of 8 tracks on the album surpass the 7 minute mark, a big nod to the prog rock/metal fans. Other than this album they released two other full-length albums. The reason why I seemed to enjoy this album so much was because there were a lot of different moods and feels to certain tracks. So without further ado, let's rundown the entire tracklist. The album proceeds to kick off with the epic...

Common Ground, probably my favorite song off the album, it's got such a unique instrumental to it, however, the vocalist Mike Disarro, paired with the harmonies of the other band members resembles the band "Yes" a ton! LOVE IT! It's prog sugar, a perfect amount of variety and keeps you on the hook the whole time, really glad they chose this one as the opener, this is the one to revisit once you've listened to the whole album.

Tearing Through Weakness, A hard rocker with a driving verse and chorus, a very unique and cool song, James Sherwood, the bassist, keeps it going with a tasty slap bass line. After a badass breakdown it takes it down a notch and soon fades into...

Seclusion: a quick little interlude with acoustic guitars over audio of some sort of bazaar, It fades into...

Promise: This is a one-of-a-kind track, it starts out as more of a radio friendly sounding song, but later on becomes a really proggy tune.

Remember: This song is absolutely beautiful, a tear-jerking performance by Mike Disarro who sings about loss of a loved one and eventually having to move on from it, some very melodic and beautiful guitars from Sean Entrikin, it does eventually get a little heavier but mainly keeps the overlaying theme

Tanglebox: this song is good because it's a lot more melodic and radio-friendly if you just want to put on more of a less heavy prog sound. It has a fantastic chorus.

Running To A Standstill: This is unique for sure, RTAS has some weird solo sections that make it cool, not as good as Common Ground but is still no doubt a cool song, the heartbeats at the end fade into...

Roads of Fire: The longest song on the album and also the longest song Prymary has written, a very proggy and unique song, there is even a cool spoken word section about Plato's cave, there are some melodic and slow moments and some heavier and fast-paced sections. probably the one that classic prog fans will love.

All-in-all a higher percentage of people will enjoy Prymary's other albums over this one, but at least visit Prymary's self titled at least once, you may be pleasantly suprised

 Awake by DREAM THEATER album cover Studio Album, 1994
4.16 | 2242 ratings

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Awake
Dream Theater Progressive Metal

Review by VianaProghead
Prog Reviewer

5 stars Review Nē 566

"Awake" is the third studio album of Dream Theater and was released in 1994. Much of the material for the album was written by Dream Theater under pressure from their record label to produce an album as successful as their previous studio album "Images And Words". The record label wanted the band produced a more metal oriented album. It was the last Dream Theater's album to feature their former keyboardist Kevin Moore, who announced his decision to leave the band during the recording sessions of the album, to pursue a solo career. He was substituted by Derek Sherinian to perform with the band during the live tour of the album. Sherinian stayed with in the band only on "Falling Into Infinity".

So, the line up on the album is James LaBrie (lead vocals), John Petrucci (backing vocals and guitars), Kevin Moore (vocals and keyboards), John Myung (bass) and Mike Portnoy (backing vocals, drums and percussion).

"Awake" has eleven tracks. All music was written by Dream Theater except "A Mind Beside Itself: III. The Silent" written by Petrucci and "Space-Dye Vest" written by Moore. The first track "6.00", with lyrics by Moore, shows the more technical side of the band, with plenty of strange and syncopated rhythms. It's aggressive, musically and lyrically, with LaBrie's high notes. It's warning us this isn't another "Images And Words". The second track "Caught In A Web", with lyrics by LaBrie and Petrucci, is much like its predecessor but it features very interesting keyboard effects over a nice rhythm. Probably, this is one of the most keyboard oriented songs on the album. It's another excellent song with intricate parts. The third track "Innocence Faded", with lyrics by Petrucci, is more radio friendly than the first two tracks and is almost a throwback to "Images And Words". The voice of LaBrie is more melodic and it has also a less aggressive guitar work. However, it maintains the great darker aura of "Awake". The fourth track "A Mind Beside Itself: I. Erotomania" is an instrumental track and represents the first part of a suite. This is a complex track, even by the standards of Dream Theater. It's a track with many musical changes and passages that shows perfectly well the high quality of these musicians. The fifth track "A Mind Beside Itself: II. Voices", with lyrics by Petrucci, is the part two of the suite and is one of the two epics on the album. It's another track full of changes and passages where each member shines through it. The chorus is incredible with an epic feel and the solo sections are excellent, which are probably the best on the album. The sixth track "A Mind Beside Itself: III. The Silent Man", with lyrics by Petrucci, is the last section of the suite and is the shortest track on the album. Musically it's a different song because it's all acoustic. But, it actually follows the standard's song structures. It's also a great song, but it doesn't stand out much after the epic. The seventh track "The Mirror", with lyrics by Portnoy, is about his alcoholic problems. It's one of the heaviest songs on the album. It starts with an aggressive guitar work followed by drums. What impresses me most on this song are Moore's keyboard lines, added to the hostile attitude of LaBrie when he delivers Portnoy's story of his losing battle against alcoholism. The eighth track "Lie", with lyrics by Moore, seems like a counterpoint, more melodic and technical, but still heavy and similar in tone to the previous track. The lyrics are also a counterpoint, expressing Moore's anger at being continually deceived by lovers, friends and possibly, even by his fellows of the group. The ninth track "Lifting Shadows Off A Dream", with lyrics by Myung, is a song built on bass guitar, with the other instruments providing the support. It's a sort of a break from the two last heavy songs. It's a pretty and simple ballad with an incredible atmosphere and with a phenomenal keyboard work. The tenth track "Scarred", with lyrics by Portnoy, is the album's second epic. It seems to be the most experimental song on the album and it has even more changes and passages, that are used here, than on "A Mind Beside Itself". This is one of the best tracks on the album and it became a classic track, really. The eleventh and last track "Space-Dye Vest", with lyrics by Moore, is a simple but hunting beautiful piano piece with some drumming and guitars in the back. This track is simply amazing and represents the culmination of everything that made Moore's keyboard work so great. This is a perfect closer for the album and a great farewell of Moore from the band.

Conclusion: "Awake" is a complex, experimental and varied album, with a permanent gloomy feeling to it. "Awake" is definitely another masterpiece of Dream Theater and represents really a very impressive follow up to the great previous album "Images And Words". It shows a different musical approach to a more progressive metal sound. Comparing to its predecessor "Awake" has a heavier and aggressive sound and the lyrics are more dark and impenetrable. In my humble opinion, "Awake" is probably a better album than "Images And Words" is. It hasn't any weak points and it's more expressive, inspired, honest and fresh. Sincerely, I think "Awake" is simply brilliant and a very unique album in Dream Theater's career. It's one of their best releases that will take some time to grow on you. It's highly recommended.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Breaking the Fourth Wall (Live from the Boston Opera House) by DREAM THEATER album cover Live, 2017
3.15 | 7 ratings

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Breaking the Fourth Wall (Live from the Boston Opera House)
Dream Theater Progressive Metal

Review by Warthur
Prog Reviewer

3 stars This came hot on the heels on the Live At Luna Park live set, which might prompt you to wonder whether Dream Theater were starting to flood the market a little with these epic-length live releases. Ever since Live Scenes From New York ended up as legendary as it was, triple album-length live workouts have been part of Dream Theater's schtick, but I'm unpersuaded.

If you're here for the visuals, then god this is a lot of Dream Theater to sit there and watch for nearly 3 hours; probably too much. This got an audio-only release on CD as well as a DVD release, at least, though the audio does reveal some issues with the mix - LaBrie's vocals are outright murky at some point, and some of the higher cymbal sounds end up coming across weird. The audience are also a little prominent in the mix - some crowd noise is nice on live albums, of course, but here it's a little more intrusive than usual.

Sure, some imperfections come with the territory, that's part of the appeal of live albums usually, but on the technical front past live releases from the band have avoided these issues. It really comes across as something knocked out and released in a hurry - particularly given how close this release was to the Luna Park one - which only contributes to the impression of Dream Theater needlessly flooding the market. Maybe I could give it more of a chance if these nagging technical issues didn't keep taking me out of it - there's nothing wrong with the performance here, if anything the band are at the top of their game - but in this case, their live recording setup wasn't keeping pace with them.

 XIII by SOLEDAD album cover Studio Album, 2022
4.00 | 1 ratings

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XIII
Soledad Progressive Metal

Review by alainPP

— First review of this album —
4 stars SOLEDAD was born in Metz (France) in 2016, solo project of Lola Damblant-Soler singer for a singular harmonic music provided in musical breaks, between djent and romanticism, between emotion and finesse for an intriguing creation.

'Hanging Over Me' begins with Lola, transgender voice, on a title opera or BOF 'Phantom of Paradise' pompous, intoxicating air on the solemn piano then the instrumentals which come to hang on this melanco-fruity title, delicate pop prog. 'Hex' with Suzie of Archetype title pest, eyeing the syncopated and electrified djent, leaving on HAKEN; Andalusian break, spoken vocals, nature samples then the association of voices in the middle of a musical maelstrom, sound reminding me from afar of the madness of a FAITH NO MORE. 'Migraine' as its name suggests, heavy rhythm debauchery with metallic percussion, the catchy riff, it starts on a MARYLIN MANSON; Hassan d'ANGE's twirling, hair-raising and melodic solo and a long crescendo carrying this progressive title upwards. 'Fading Sight' changes range, bucolic whimsical title stamped madness charisma; another symphonic crescendo on a delicate djent riff, yes it is possible and violins with proven spleen reinforced by the suave voice of Lola. more melodic 'Shelter I', on a waltz tune and its djent cover; the presence of Jeremy Bares distils its slide notes; piece with an expressive chorus recalling the creative madness of the theatrical baroque QUEEN with a final trumpets. 'Shelter II' connects grandiloquent on one side and melodic djent on the other; a swirling solo with a reverberating sound and the Soledad sound materializes, between HAKEN, ACT and QUEEN again and always this chorus which sinks into my brain.

'XIII' self-titled melodic track; not possible that a French group comes out of the sound so well done, I start to 'fall in love'; mid-term stunning classic break, we would hear the chairs of the spectators or the wind of the ballerinas on an idyllic 'Swan Lake' with piano and flute then the final orchestra; pure moment of musical happiness before the return of a guitar solo ā la May, sublime. 'The Spell' for the piano melody and Lola at the helm, plaintive air with classical string instruments for a disconcerting languor before the djent flight and a superb solo. 'Remedy' for the bucolic flute in intro and a title still based on the beautiful phrasing of Lola. 'Remembrance' continues to evolve with the most progressive title; air where dark light fills the ears, where Lola captures us and draws us into her musical torments; where the fusion of metal and djent is definitely closer to a HAKEN than a DREAM THEATER; bewitching solo, vocal break, military drums posing and then it goes to the cold banks where the music is lived and breathed, I relaunch the title. 'Amnesia' and the drums forward quickly assisted by this characteristic hit for a varied tune, final crucible of revision; melodic, powerful, tortured, bombastic emotion with plaintive Lola; classic break on the violin I'm starting to expect it then its piano and cello declination, Dantesque, progressive, musien; the bluffing final solo also just makes you rise to the firmament.

Soledad released the French slap of the year; yes I choose my chronicles and put good notes because all this is not random far from it; those who read me are beginning to understand... when I say it's good, it's good. Well there it is excellent and I am happy to write it to you; Lola also did the artwork, she blew me away.

 Dream Theater by DREAM THEATER album cover Studio Album, 2013
3.25 | 1055 ratings

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Dream Theater
Dream Theater Progressive Metal

Review by Warthur
Prog Reviewer

3 stars Dream Theater's second album with Mike Mangini on drums takes the ballsy step of being a self-titled album. There's basically two reasons to do a self-titled album: one is that it's your debut album, and the other is that you think it's a release which really encapsulates your sound. Doing this some 12 albums into your career feels like a big step in particular - it's not that doing this necessarily disparages the preceding albums, but it does imply a crystallisation of the thread that ran through all of them.

As it turns out, though, the choice of title is apt not for this reason, but simply this: "Dream Theater" is about a generic a Dream Theater album as Dream Theater have ever made.

It's not that it's clumsy or bad - it's just that nothing in particular stands out, the band largely continuing to plough the same furrow they'd been working on A Dramatic Turn of Events. That album, in itself, was very much a "business as usual" affair; producing such a thing after one of your co-founders have left and you need to establish you can still go like you used to is fair enough, but doing two in a row suggests the creative well is drying up.

The major exception here is False Awakening Suite, a brief under-3-minutes introductory track which sees the band dabbling in symphonic power metal territory; it's incongruous and could have probably happily been trimmed, but at least it manages to stand out. Here, Dream Theater sound like, well Dream Theater - or any other reasonably competent imitator. And we've got plenty of that already.

I wouldn't say this album is outright bad - but I'd be lying if I said it was great. It's fine to listen to in the background if you are fond of the group, but I'd never make it the first album you listen to. For better or worse, if any album in their discography can be said to sum up what makes Dream Theater, well, Dream Theater, it's Images & Words, their first true classic which set the stage for everything to follow. As for Dream Theater, by Dream Theater... well, it's Dream Theater, alright. But it's just Dream Theater, nothing more than that. And Dream Theater are able to be a better Dream Theater when they reach beyond the unambitious boundaries they set for themselves on "Dream Theater".

 Philosophobia by PHILOSOPHOBIA album cover Studio Album, 2022
4.28 | 9 ratings

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Philosophobia
Philosophobia Progressive Metal

Review by alainPP

5 stars PHILOSOPHOBIA is a progressive metal quintet formed in 2007 by Andreas and Alex who wanted to make a metal album concept but their road went farther following respectively ANNIHILATOR and Paul DIANNO. It will be necessary to wait until 2018 and the meeting with Kristoffer so that PHILOSOPHOBIA is really born. 6 of the songs come from their original works, proof that the sound is indeed timeless. They define themselves as prog heavy metal which is important to say to understand their orientation. A catchy cover and a modern sound, bewitching with the singer of WASTEFALL whose 'Soulrain' of 2021 eyed the sounds of PAIN OF SALVATION.

"Thorn in Your Pride" begins hovering, symphonic, the kind where you don't know where you're going; good prog metal ā la ELDRITCH, MOONRISE, THRESHOLD, at the start on DREAM THEATER; an orgasmic rise with the guitar of Andreas and the high voice of a Peter GABRIEL on 'Birdy', good the slap what; we are halfway through for the arrival of Domenik and his angelic voice which will go to the limit of growl later, Damien WILSON comes to put his talent in redundancy on choirs; end with a solo synth and a little rest after this dynamic musical charge. "I Am" goes on a much heavier, energetic and long intro rhythm in fact; vocal softening the air, good worked prog metal, a forward solo drums, a HARRIS-style bass, a Jon LORD-style keyboard, a heavy riff, I feel ANGRA, SUPERIOR and the common energy with Damian still in defense. "Time to Breathe" for the video title with a slow acoustic crescendo at the start; the reminiscences are varied, diffuse, it goes from MAIDEN to KAMELOT, the synth gives a more modern rendering. Andreas shows that he has an effective touch; it's time to breathe a little since the finale rises, explodes like a cry that we come out having climbed a mountain. "Between The Pines" changes register for an austere ballad of great beauty reminding me of the solo works of Kristoffer, full of sensitivity; Domenik and Damian echo each other as the oily guitar solo drips its melancholic touches; it is simple and beautiful.

"As Light Ceased to Exist" continues on the same input frame then the evolution is done on a heavy and fast rhythmic with a killer riff; the synthesized voice pushes the electro sound, the harmonic, clean title, the riff and the fat sound of the DREAM THEATER, the drums add it; the instrumental break never ends, we are caught between softness and energy, between the spleen and the heavy machine gun, surprising. "Thirteen Years of Silence" unrepeatable instrumental between prog metal, nervous prog jazz convoluted for a very pleasant experience with its break in two parts, to listen to again. "Voices Unheard" and Domenik alternating between soft and growling voices accompanied by a nasty riff; musical intensity starting on kaleidoscopic mirrors, aerial break and crystalline multi-channel research at the limit of hovering rock with its bewitching piano before the final rise and the return of the catchy chorus. "Within My Open Eyes" with cello and piano, an unhealthy and depressive entry, from MY DYING BRIDE in the background; the sequel sounds on the late ANATHEMA, it's really well done; break ā la PAIN OF SALVATION; those who like these groups a bit will be really satisfied. The final crescendo is airy, full of hope, conventional but radiating like the strength of a magnet.

PHILOSOPHOBIA, like its multi-drawer frame pouch, surfs on the elaborate prog metal trend; a concept for the plot, varied titles with alternating depressive and hovering moments, others where the rough sound brings us back to listening and the work of the different musicians who have well integrated what can be heard better today; it is young, modern, complex; it's catchy and it may appeal to the new wave of young people who want strong sounds to stand out from the sound of vintage dino bands. One of the favorites and already gone in my top metal prog 2022.

 Live at Luna Park by DREAM THEATER album cover DVD/Video, 2013
4.02 | 159 ratings

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Live at Luna Park
Dream Theater Progressive Metal

Review by Warthur
Prog Reviewer

3 stars Though released in late 2013, a few months after they put out their self-titled album, Dream Theater's Live At Luna Park actually captures a 2012 residency at the titular venue hailing from the Dramatic Turn of Events tour - hence the daredevil unicyclist from that cover appearing here.

That album was, of course, largely an exercise in reassuring listeners that Dream Theater could still be Dream Theater without Mike Portnoy at the drum stool, though it managed to pull through on the strength of its material. Here, the band seem to be doing the same thing from the perspective of live albums - demonstrating to fans that we needn't worry, new boy Mike Mangini can drum for absurd amounts of time just like Mike Portnoy could. The three-CD live album had become something of a calling card for Dream Theater - though by this point in their career they tended to be coupled to DVDs - and so this seems to have been an exercise in demonstrating that the adjusted lineup could still do this.

It's not bad, on the whole, but it doesn't feel compelling necessary either. Unless you are a true zealot, there's a point where you've kind of got enough live Dream Theater, and though the focus here on material from A Dramatic Turn of Events at least means there's fresh stuff here, there's more that could have been done to shake up the set list. There's a bizarre lack of material from Black Clouds and Silver Linings, despite that they hadn't done any of their 3CD live albums since the Systematic Chaos tour, so that's an entire well of material left unaccountably untapped. Chunks of this material has already had good airings on live albums, and the strong focus on material from Images and Words and Awake makes the set list feel lop-sided - Octavarium, Six Degrees, and Metropolis also get a look-in, but there's several albums which just get overlooked entirely.

To an extent, of course, that's a testament to the strength of Dream Theater's body of work - of course you can come up with a 3 hour-plus setlist only working from a fraction of their back catalogue, they've got an embarrassment of riches to choose from! At the same time, it does make the setlist feel a bit off, and between this and them sticking fairly closely to the studio renditions for the most part it just makes the whole thing seem inessential compared to prior live releases. It comes across as Dream Theater putting out these super-long live albums because they feel an obligation to, rather than (as with Live Scenes From New York) it felt like the natural and artistically appropriate choice. If my feeling on that is correct, that's an issue; if it's not, it's still a problem, because it means the album's failed to convince me on that front.

Either way, this captures a solid performance so I can't rate it down too much, it just doesn't quite have the magic of Scenes From New York.

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Progressive Metal bands/artists list

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5R6 Ukraine
7 MONTHS United States
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