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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: (9/10/2023)
Gordy
Cristi
Sebastian (Kempokid)
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

4.31 | 3242 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
Dream Theater
4.31 | 3170 ratings
IMAGES AND WORDS
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4.25 | 1870 ratings
SECOND LIFE SYNDROME
Riverside
4.24 | 1206 ratings
OPERATION: MINDCRIME
Queensrĸche
4.24 | 1290 ratings
REMEDY LANE
Pain Of Salvation
4.23 | 1340 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.22 | 1425 ratings
ANNO DOMINI HIGH DEFINITION
Riverside
4.20 | 1307 ratings
OUT OF MYSELF
Riverside
4.20 | 1244 ratings
THE HUMAN EQUATION
Ayreon
4.16 | 2179 ratings
SIX DEGREES OF INNER TURBULENCE
Dream Theater
4.16 | 2318 ratings
AWAKE
Dream Theater
4.15 | 816 ratings
INTO THE ELECTRIC CASTLE
Ayreon
4.15 | 793 ratings
V - THE NEW MYTHOLOGY SUITE
Symphony X
4.16 | 452 ratings
A PLEASANT SHADE OF GRAY
Fates Warning
4.14 | 649 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.37 | 78 ratings
STRANGERS
Scardust
4.15 | 420 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.17 | 284 ratings
TEMPLE OF SHADOWS
Angra
4.37 | 73 ratings
LET THE TRUTH SPEAK
Earthside
4.21 | 175 ratings
PARADOX
Royal Hunt

Progressive Metal overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Progressive Metal experts team

WALKING ON H20
Mind's Eye
BEYOND THE STARS
Ivory Tower
THE GREAT DIVIDE
Ice Age
THE EDGE
Eternity X

Latest Progressive Metal Music Reviews


 Binary Dreams by TURBULENCE album cover Studio Album, 2024
4.02 | 13 ratings

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Binary Dreams
Turbulence Progressive Metal

Review by alainPP

4 stars Turbulence with a very good 3rd album.

'Static Mind' minimalist intro, Leprousian synth, oriental air, a little electronic to set the stage with a refined vocal before 'Theta' tumbles in, yes that's the word with a djent riff; Omar's haunting vocals and nervous shredding paired with the complex melody; this mixture of softness and brutality is stunning, the ambient break before the return of synths and guitars which squirt, which swell; the slap launching 'Time Bridge' and its provided instrumental, between djent riff and violins; the suite fusing metal with oriental sounds is pure joy; 'Manifestations' follows with Alain and Mood setting fire to the guitar and keyboard in staggered fashion; complex, varied, energetic piece between Dream Theater and Haken for a modern prog metal full of musical amphetamines including a dreamlike jazz-metal sequence; airy, robotic, aggressive final break before starting again with captivating choirs and letting 'Ternary' close this Dantesque introduction in 5 phases; Omar returns smoothly on soothing crystalline guitar; warm choirs, pleasant guitar solo and the final crescendo on Morgan's pads which take it to a stunning musical level.

'Binary Dream' eponymous title in memory of a musical theater; heavy sound, heavy bass in mid-tempo, Hakenian air, we hear Woody; fresh, young, captivating piece, smelling of oriental, powerful djent; the stacked breaks give a swirling synth solo before another oriental full of sensitivity, on the Balkans; a jazzy moment then the sound returns to the intimate vocal-keyboard climate, it regains strength with a velvety Floydian sound before the finale, slap. 'Hybrid' modern electro intro, bass, energetic drums and shredding for a nervous, heavy track; ambient break and his guitar solo from 1001 nights. 'Corrosion' for the ballad of the album, orientalized acoustic guitar with moving spleen; reminiscence of a slow Scorpions, an Eagles intro; Omar takes it up a notch by offering a Purplenian hard rock mantra. 'De Erosion' for the happy ending instrumental, crystal clear sound of an Oceansize to settle down.(4.5)

 Wrath of the Gods by BLIND ILLUSION album cover Studio Album, 2022
4.00 | 1 ratings

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Wrath of the Gods
Blind Illusion Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars "Wrath of the Gods" is the third full-length studio album by US, San Francisco based thrash metal/hard rock/heavy metal act Blind Illusion. The album was released through Hammerheart Records in October 2022. Itīs been 12 years since the release of the bluesy hard rock/heavy metal oriented 2010 comeback album "Demon Master", which took a lot of fans off guard, and although a pretty good quality album in its own right, wasnīt exactly the triumphant comeback that Blind Illusionīs fans had hoped for. The "2018" EP (released in February 2019) showed promise and signs that Blind Illusion were moving toward playing thrash/heavy metal again, but it wasnīt until the release of pre-"Wrath of the Gods" album single "Straight as the Crowbar Flies" in September 2020 that the fans began to feel that magic was in the air again.

So does "Wrath of the Gods" deliver on the promise that the "Straight as the Crowbar Flies" single showed? Yes and more so is the answer to that...with the exception of former Death Angel drummer Andy Galeon who joined in 2020, the remaining members of the band have been together since 2017 and itīs audible that they are now a tight playing unit and they donīt only deliver sharp and heavy thrashy riffs and rhythms, they deliver them with great passion and conviction. The songs are generally well written, intriguing, and effectful, featuring sharp riffs, blistering melodic lead- and harmony guitar work, and the raw yet still melodic inclined vocals of Marc Biedermann. Sure he doesnīt have the most powerful or the most distinct sounding voice, but he is a good example of getting the most out of what youīve got.

Stylistically Blind Illusion strike a good balance between thrash metal and heavy metal which artists like Megadeth, Death Angel, and Flotsam and Jetsam (and sometimes Testament) also excel in. So the hard-edged parts are always followed up by something a little less harsh and typically more melodic. "Wrath of the Gods" features a well sounding production job, and all instruments and vocals are audible and well balanced in the mix. So upon conclusion this is the "real" comeback release for Blind Illusion, and one can only hope they continue to travel down this road and deliver more high quality releases along the way. A 3.5 - 4 star (75%) rating is deserved.

(Originally posted on Metal Music Archives).

 Straight as the Crowbar Flies by BLIND ILLUSION album cover Singles/EPs/Fan Club/Promo, 2020
3.05 | 2 ratings

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Straight as the Crowbar Flies
Blind Illusion Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Straight as the Crowbar Flies" is a single release by US, San Francisco based thrash metal/hard rock/heavy metal act Blind Illusion. The single was independently released in September 2020 to promote the forthcoming release of Blind Illusionīs third full-length studio album "Wrath of the Gods". It would be over two years before "Wrath of the Gods" saw the light of day, so "Straight as the Crowbar Flies" existed out there is a teaser for a long time.

"Straight as the Crowbar Flies" is a one-track digital single and the version which appears here is exactly the same version, which appears on "Wrath of the Gods", as the opening track on the album. Itīs a powerful, intriguing, and both hard- edged and melodic thrash/heavy metal song, and it sounds very much like the material on Blind Illusionīs 1988 debut album "The Sane Asylum". So the fans who werenīt satisfied with the bluesy hard rock/heavy metal style of Blind Illusionīs 2010 comeback album "Demon Master", will most certainly find much more to appreciate here. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

 2018 by BLIND ILLUSION album cover Singles/EPs/Fan Club/Promo, 2019
3.00 | 1 ratings

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2018
Blind Illusion Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "2018" is an EP release by US, San Francisco based thrash metal/hard rock/heavy metal act Blind Illusion. The EP was indpendently released in February 2019. Itīs the follow-up release to Blind Illusionīs 2010 comeback album "Demon Master". "Demon Master" was the bandīs first release in 22 years as they disbanded in 1992 after releasing their debut full-length studio album "The Sane Asylum" (from 1988).

"Demon Master" wasnīt a thrash metal comeback album though and instead features a bluesy hard rock/heavy metal style, but in 2013 lead vocalist/guitarist Marc Biedermann met other like minded musicians from the 80s thrash metal scene who convinced him to return to his thrash/heavy metal roots, and "2018" is therefore a much more thrash/heavy metal oriented release than "Demon Master" is.

Itīs still not full-on aggressive thrash metal...actually far from it although Blind Illusion have re-recorded both "Metamorphosis of a Monster" and "Vengeance Is Mine", which both appeared on "The Sane Asylum". So stylistically this is an eclectic blend of hard rock, blues rock, heavy metal, and thrash metal. Itīs a pretty adventurous EP and the overall sound is relatively unconventional. To my ears it works rather well though and as the sound production is decent too, this is a good quality EP release from Blind Illusion, fully showing how diverse they are in terms of their songwriting and performances. A 3 - 3.5 star (65%) rating is warranted.

(Originally posted on Metal Music Archives).

 Heart of Sun by HEART OF SUN album cover Studio Album, 2007
3.37 | 16 ratings

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Heart of Sun
Heart of Sun Progressive Metal

Review by Mellotron Storm
Prog Reviewer

3 stars It seems like a long time since I've spent some time with a Prog-Metal record so I decided to do that with Italy's HEART OF SUN. A five piece including keyboards and two of them add programming. I really like the album cover art. The music though just doesn't do it for me overall despite being a little different at times from the norm. Some crazy synths at times and the guitar style on the opener reminds me of some jazz/fusion guitarists surprisingly. After that he's all metal though.

The drumming bugs me, I just feel like it has that power-metal style where your getting hammered into submission. The singer does remind me of James LaBrie at times, not the strongest voice and an accent. Now after saying those negative things about the singer and drummer they are both from TIME MACHINE a band from Italy I really like. It's also a band that has had many lineup changes and my favourite album by them "Eternity Ends" has a different singer and drummer than the two on here. Also, everyone mentions DREAM THEATER when describing this record so there's that.

I did find this entertaining but I'm not huge on the vocals and there's those predictable tracks where every box is ticked. This seems to have been a one-off and they're from Italy! Anyway a good album with some talented folks but not a 4 star record.

 Demon Master by BLIND ILLUSION album cover Studio Album, 2010
3.00 | 1 ratings

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Demon Master
Blind Illusion Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "Demon Master" is the second full-length studio album by US, San Francisco based thrash metal/hard rock/heavy metal act Blind Illusion. The album was independently released in July 2010. Blind Illusion was formed in 1979 and although it took until 1988 before the band were able to release their debut full-length studio album "The Sane Asylum", they are widely recognised as an important and influential San Francisco thrash metal act. Blind Illusion werenīt able to secure a new label deal after the release of "The Sane Asylum", and after releasing the 1989 "Psychodelic Symphony" demo, they slowly faded away and finally disbanded in 1992.

It wasnīt completely over for lead vocalist/guitarist Marc Biedermann though, and after a long break he opted to reform Blind Illusion in 2009. On "Demon Master" he is joined by drummer Robert Nystrom and bassist Danny Harcourt, making Blind Illusion a trio on the album.

Stylistically "Demon Master" donīt exactly pick up where "The Sane Asylum" took off. There are zero thrash metal riffs and rhythms on "Demon Master" and instead itīs a bluesy hard rock/heavy metal album with Biedermann singing instead of shouting/snarling like he did on "The Sane Asylum". So this probably came as a big surprise to the original fans of the band, who had been waiting for a follow-up album for 22 years. But changes arenīt always bad new, and Blind Illusion actually pull off playing this new hard rock/heavy metal style pretty well. Biedermann is still an excellent guitarist and his new rhythm section keep things organic, energetic, and powerful. I was pleasantly surprised to learn that Biedermann can actually sing too, so all in all "Demon Master" is a pretty good quality hard rock/heavy metal release and a 3 - 3.5 star (65%) rating isnīt all wrong.

(Originally posted on Metal Music Archives).

 The Dungeons Are Calling by SAVATAGE album cover Singles/EPs/Fan Club/Promo, 1985
3.21 | 41 ratings

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The Dungeons Are Calling
Savatage Progressive Metal

Review by Warthur
Prog Reviewer

3 stars This was recorded at the same sessions that yielded Savatage's debut album, Sirens, which in practice means it's much of a piece with it (especially given the fairly tight schedule they were on). It's pretty engaging, but as with Sirens we don't really get that much of what would make Savatage truly stand out coming through here; they're still rooted in NWOBHM- ish trad metal, and the power metal and progressive elements that would eventually be hallmarks of their sound are mere whispers on the wind at this stage. Not bad, but anyone with a decent range of early 1980s metal in their collection has already heard plenty of stuff like this.
 The Sane Asylum by BLIND ILLUSION album cover Studio Album, 1988
3.33 | 20 ratings

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The Sane Asylum
Blind Illusion Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The Sane Asylum" is the debut full-length studio album by US, San Francisco based thrash metal act Blind Illusion. The album was released through Combat Records in 1988. Blind Illusion was formed in 1979 and although it took until 1988 before the band were able to release their debut full-length studio album, they are widely recognised as an important and influential San Francisco thrash metal act. Blind Illusion released no less than six demo tapes in the years 1981-1986, the last one being "Slow Death" from 1986 (actually their second 1986 demo). "Slow Death" finally got them signed to Combat Records for the release of "The Sane Asylum".

Blind Illusion went through several lineup changes in their career, but the lineup who recorded "The Sane Asylum" are Marc Biederman (guitars/vocals), Les Claypool (bass), Larry Lalonde (guitars), and Mike Miner (drums). Itīs a well known "secret" that Kirk Hammett of Metallica produced "The Sane Asylum", although he isnīt credited on the album (who knows...maybe he was afraid of how James and Lars would react to him working outside Metallica). Hammett is of course not the only interesting name mentioned above as Lalonde came from a stint with Possessed where he played on the legendary 1985 album "Seven Churches" and on the other Possessed releases until that band split-up on 1987. Both he and bassist Les Claypool would find considerable commercial and artistic success in the 90s with alternative rock/metal act Primus.

Stylistically the material on "The Sane Asylum" is thrash metal but with strong ties to traditional heavy metal. So this has more in common with the heavy/speed metal tinged and often melodic inclined material of Megadeth than it has to the brutality and aggression of the contemoporary material by artists like Dark Angel and Slayer. Itīs obvious that Blind Illusion are a gifted bunch of guys. The vocals arenīt that exciting (being pretty standard shouting/snarling thrash metal vocals), but these guys can play and there are some pretty tight and adventurous sections on the album (for the latter take a listen to "Kamakazi") and some well played lead guitar work. Sometimes it even borders technical thrash metal because of the many rhythm changes and the complexity of some of the riffs (just take a listen to "Death Noise" for proof of that), but then again Blind Illusion arenīt exactly Watchtower.

Less will do though and as "The Sane Asylum" also features a (for the time) well sounding production, which suits the material well, itīs a good quality debut album from Blind Illusion. I wouldnīt call it something way out of the ordinary for the genre, but itīs certainly entertaining while it plays. 3 - 3.5 star (65%) rating is warranted.

(Originally posted on Metal Music Archives).

 The Fish Who Wanted to Be King by LALU album cover Studio Album, 2023
3.89 | 26 ratings

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The Fish Who Wanted to Be King
Lalu Progressive Metal

Review by alainPP

4 stars A group under the control of a French musician, you have to stop there and see what the substantial progressive marrow is made of. A group that had struck me favorably with its 'Oniric Metal' from almost 20 years ago; the penultimate with Damian yes the one who has tasted a number of groups and projects, the one who landed at ARENA, always present here in vocal session but who I would dream of seeing live. A fresh, recent album, 2 large pieces of more than 10 minutes, a prog metal sound on the edge between the progressive of the 70-80 dinos including YES yes Damian pulling on that of Jon; the YES of the 80s which tried syncopated and more direct rhythm; a soft prog metal sound, one of those which gives energy without showing the display of scales linked together at a hundred miles an hour... but which leaves a musical clairvoyance; a bit of DREAM THEATER, especially RUSH in the progressive excesses.

A fresh and quickly accessible album, whether you're a fan of Damian's voice or not. For the trouble I went back to his discography with LANDMARQ and THRESHOLD, and if we mix a little of the two, we arrive somewhere at the LALU sound, stamped melodic ambient prog metal. Melodic but progressive attention with breaks, intimate cinematic atmospheres and energy to spare. In short, a very good album of which I do not dissect all the titles one by one, not having seen the short hour of composing the different titles go by. Ah the final bass on 'The Wondering Kind' with this hint of a flagship GENESIS title still made me raise my ears just when I realized that it was the end, proof if it I needed this album to flow naturally. on 'Is That a London Number? ' TOTO reminiscences emerge to bring a fresh style that I spoke to you about from the start. Good for the eponymous title 'The Fish Who Wanted to Be King', apart from the sound of 'Talk' by YES which made me look for the resemblance, I could not fail to point out that the guitar riff of SAGA, you know the one syncopated, gripping, which spurts throughout the titles, well I found it and got up to put the replay on before continuing with the next title; Joop's solo is incidentally one of the most beautiful on the album in this track; in short, an album to (re)discover in today's progressive world.

 By Design or By Disaster by FOR ALL WE KNOW album cover Studio Album, 2024
3.73 | 6 ratings

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By Design or By Disaster
For All We Know Progressive Metal

Review by alainPP

4 stars "Forced to Be Free" begins with an XTC sound, yes new wave? go keyboard and prog synth now, confusing in 20 seconds; a pop rock dance rhythm, fresh to disturb a little more; bass and guitar break like Crichton from SAGA, lag time and a too short, dark ending causing you to miss it, because this final riff reminds me of a group that I love. "Lifeline" percussion bringing a captivating air, metallic becoming airy during the chorus; evolving and innovative with this electro-dark break which swells and gives freshness with the heavy riff in the back; metal rock with dark new prog reminiscences, the pleasure of being surprised by this modern sound that reaches far and wide. "This Hell We Know" drum machine for a typical 80s sound, Billy IDOL for example on one side, KATATONIA on the other; the keyboard leers on the sound of SIMPLE MINDS while the nervous bass catches up with hard FM, surprising and explosive, yes I dare; atmospheric piano and keyboard break, drum roll, another slap in this variation; the opportunity to verify that Wudstik has a very beautiful voice; latency of the piece which flows like a waterfall; surprising explosion with a growl as if James from DREAM THEATER found his voice; third track and third surprise for a decidedly inventive album; the ending too predictable on the other hand again. "The Future that Came Too Soon" with Marco's piano bringing the metallic air, bordering on djent, eyeing HAKEN; the proven sweet verse, the high, expressive chorus on a contained prog metal riff, I find the sound of the 80s there, like there was something good in that decade. A DREAM THEATER-TOTO fusion for the choirs, a musical shock; Léo sets a sustained rhythm, I think I hear PAIN OF SALVATION; angelic chorus and a long melodic variation to finish. "All We Did Was Hide" acoustic guitar launching the contemplative ballad, cutesy, marshmallowy, predictable in fact but with a nice final rise; back to the soothing guitar.

"Hush" as an interlude, dark air, spleen, contemplative, warm choirs to meditate. "Remind Me to Forget You" returns to this electro prog metal sound eyeing festive, dancing rock, plaintive guitar solo ā la QUEEN; the chorus and the choirs bring a modern synth prog atmosphere, the prog of 2020. Fateful moment where the group stands out "Flaws" arpeggio piano and plaintive guitar, PAIN OF SALVATION in the distance; an introductory ballad which launches a heavy riff in very significant stereo and a nod to DREAM THEATER and for the voice, the guitar and the range; Wudstik's voice on Kristoffer's bass is just enjoyable, imprinting the chorus in your heads; the evolution is intended to be hard, animal before giving way to a melancholic solo, the beauty of Ruud's solo which has more fun here than with the precise symphonism of WITHIN TEMPTATION. "Guide Me in Getting Lost" has the band's signature sound, flirting with a musical reminiscence and then grafting it on to create a singular sound; difficult to find the taste, the color of this group, an energetic fusion sound like the SONS OF APOLLO. "Ghosts of Summer's Past" continues by offering this atmospheric, symphonic, contemplative prog metal track; the sounds of alternative groups from the 90s are striking. The gripping chorus that comes to mind, the soft and screamed voice, all the ingredients to be addictive. "Goodbye" yes the last one, piano arpeggio and Wudstik singing on a wire; choirs, a guitar bringing out a few tears, a plaintive air to consume the listener.

FOR ALL WE KNOW offers a resolutely modern sound, groove, metal flirting with djent, a musical melting pot; by design or by catastrophe yes the title is well named, in any case. (Initially on Profilprog 4.5)

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Progressive Metal bands/artists list

Bands/Artists Country
5R6 Ukraine
7 MONTHS United States
7DAYS Sweden
A-Z Multi-National
AAXSKFG Italy
ABANDONED STARS United Kingdom
ABERRANT VASCULAR Finland
ABODEAN SKYE United Kingdom
ABOVE SYMMETRY / EX ASPERA Norway
ABSOLACE United Arab Emirates
ABSTRAKT Poland
ABYDOS Germany
ACCOMPLICE United States
ACHING BEAUTY France
ACID RAIN Argentina
ACID RAIN Serbia
ACID RAIN Spain
ACOLYTE Australia
ACUTE MIND Poland
AD ASTRA United States
ADAGIO France
ADHARA France
ADRAMELCH Italy
ADVOCACY Denmark
AEBSENCE Hungary
AEOLUS Netherlands
AEON ZEN United Kingdom
AEONS United Kingdom
AETHERIUS United States
AFASIA Italy
AFFECTOR Multi-National
AFTER FOREVER Netherlands
AGE OF NEMESIS Hungary
AGHARTA Netherlands
AGNESIS Australia
AGNOSIA Greece
AGNOST DEI Russia
AGORA Mexico
AINA Netherlands
AKASHIC Brazil
AKRIBI Sweden
ALARION Netherlands
ALCHEMY ROOM Italy
ALCHEMY X United States
RAY ALDER United States
ALETHEIAN United States
ALEVAS Japan
REESE ALEXANDER United States
ALFA PROG Italy
ALHENA Poland
ALHMA MATER Spain
ALITHEIA United States
ALKEMYST France
ALKIMYA France
ALL THINGS FALLEN Sweden
ALL TOO HUMAN United States
ALOGIA Serbia
ALPHA GALATES Canada
ALPHA ZENTRADI United States
ALTERED SYMMETRY Colombia
ALTESIA France
ALTONA Turkey
ALTURA United States
ALY Mexico
AMARAN'S PLIGHT United States
AMARYLLIS Poland
AMASEFFER Israel
AMAZE KNIGHT Italy
AMERICAN HOLLOW United States
AMORPHIS Finland
ANABASIS United States
ANACHRONOS Chile
ANACRUSIS United States
ANASAZI France
ANAXES Brazil
THE ANCHORET Canada
ANCIENT CREATION United States
ANCIENT CURSE Germany
JONATHAN ANDERSON United States
ANDRAGONIA Brazil
ANDROMEDA Sweden
ANGRA Brazil
ANGUISH Germany
ANIMA TEMPO Mexico
ANIMATE Poland
ANIMATIONS Poland
ANNON VIN Germany
ANOMALY Netherlands
ANOTHER APPROACH Switzerland
ANOTHER LIFE Sweden
ANOTHER WORLD Switzerland
ANSATA Brazil
ANTALGIA Spain
ANTHRIEL Finland
ANTHROPIA France
ANTI CLOCK TOWER Germany
ANUBIS GATE Denmark
ANURYZM United Arab Emirates
ANVIL THERAPY Italy
ANVISION Poland
FARAZ ANWAR Pakistan
APHELION Italy
APPEARANCE OF NOTHING Switzerland
ARABESQUE Netherlands
ARASHK Iran
ARCH / MATHEOS United States
ARCH ECHO United States
JOHN ARCH United States
ARCHETYPE United States
ARCTIC PLANT Germany
ARECIBO United Kingdom
ALEX ARGENTO Italy
ARITY United States
ARK Norway
ARKAZA United States
ARKENTYPE Norway
ARKHE' Italy
ART AGAINST AGONY Germany
ART OF ILLUSION Poland
ART OF SIMPLICITY Greece
ARTEM ILLUSIO Switzerland
ARTENSION Multi-National
ARTIFICIAL LANGUAGE United States
ARTIFICIAL SILENCE United States
ARTIKON Bulgaria
ARTILECT United States
ASCENSION THEORY United States
ASHENT Italy
ASHLER Ecuador
ASMODEUS Czech Republic
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