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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

4.32 | 3298 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
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4.31 | 3235 ratings
IMAGES AND WORDS
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4.25 | 1894 ratings
SECOND LIFE SYNDROME
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4.25 | 1304 ratings
REMEDY LANE
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4.24 | 1228 ratings
OPERATION: MINDCRIME
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4.23 | 1353 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.22 | 1443 ratings
ANNO DOMINI HIGH DEFINITION
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4.20 | 1329 ratings
OUT OF MYSELF
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4.20 | 1256 ratings
THE HUMAN EQUATION
Ayreon
4.16 | 2219 ratings
SIX DEGREES OF INNER TURBULENCE
Dream Theater
4.16 | 2369 ratings
AWAKE
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4.38 | 88 ratings
LET THE TRUTH SPEAK
Earthside
4.15 | 826 ratings
INTO THE ELECTRIC CASTLE
Ayreon
4.15 | 802 ratings
V - THE NEW MYTHOLOGY SUITE
Symphony X
4.16 | 457 ratings
A PLEASANT SHADE OF GRAY
Fates Warning
4.36 | 82 ratings
STRANGERS
Scardust
4.14 | 657 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.17 | 293 ratings
TEMPLE OF SHADOWS
Angra
4.15 | 424 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.15 | 331 ratings
THE FULLNESS OF TIME
Redemption
4.13 | 476 ratings
PERFECT SYMMETRY
Fates Warning

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Latest Progressive Metal Music Reviews


 Parasomnia by DREAM THEATER album cover Studio Album, 2025
3.98 | 120 ratings

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Parasomnia
Dream Theater Progressive Metal

Review by yarstruly

5 stars This is one I have been looking forward to doing since last October, when the song "Night Terror," was released: Dream Theater's "Parasomnia." The album was released less than a week ago as I type this (One week exactly when it is posted) , and this will be my first listen, other than "Night Terror." Of course, this album marks the return of original drummer and co-founder Mike Portnoy to the band after his departure in 2010. His return was announced in late 2023, along with the departure of Mike Mangini, who had taken over the drum throne in the ensuing years. Portnoy's last appearance on a DT studio album prior to this one was 2009's "Black Clouds and Silver Linings." DT released 5 studio albums with Mangini. The rest of the line-up includes original members John Petrucci on guitar and John Myoung on bass, as well as long-time members James LaBrie on vocals, and Jordan Rudess on keyboards. For a more comprehensive look at DT's history, see my #scottsspotlight issue on the band, which I will link below the review. The songs on "Parasomnia," are based around the title, which refers to a broad range of sleep disorders.

Let's dig in!

Track 1 - In the Arms of Morpheus

The track fades in with wind sound effects and the sounds of a city. A door closes behind someone walking into (presumably) their home, and shortly thereafter, we get the impression that they are going to sleep. By around 50 seconds an eerie keyboard part begins. It is replaced by what sounds like a string section playing a spooky pizzicato (plucked) melody. There are some cool panned sounds that lead up to the band fully clicking in, just before the 2 minute point. A sinister riff is accompanied by spectacular Mike Portnoy drum fills. By 2:40, Petrucci starts playing a metal riff by himself then the band kicks into the new groove. Not to take anything away from the incredibly talented Mike Mangini, but NO ONE plays drums like Mike Portnoy, and he has brought his heart and soul back into Dream Theater with passion. A wonderful bass fill from Myoung leads us to a synth solo by Rudess at 3:30. Just after the 4 minute mark, the band goes into a slower, more melodic section. I am beginning to feel that this is an overture for the album, introducing themes that we will hear again. DT has used this technique on earlier albums, so I think it is likely to be the case. Petrucci proves to be one of the greatest modern guitar soloists again and again on this track. Rudess' piano accompaniment is beautiful underneath, and Portnoy and Myoung lay down a solid foundation. Great track that ends on an unresolved chord that leads to?

Track 2 - Night Terror

Eerie synth sounds carry over from the final chord of track 1. There is a brief, quiet, clean guitar part, then heavy power chords take over. More fabulous Portnoy drum fills happen during the intro. The band locks into a groove at around the one-minute mark. Then there is a short yet incredible drum break that leads us to another great guitar riff, which the rest of the band soon locks into. LaBrie's first vocals on the album come in at around 2:15, which is nearly 8 minutes into the album as a whole. A tight riff accompanies him. Harmony vocals come in at around 3 minutes. Shortly after, a keyboard break leads to the chorus. The main riff of this song is absolutely insane! They slow it down and make a variation of it at around 3:50. We go into a shifting set of odd meters here. I love the vocal harmonies in this segment. The music is heavy but not harsh. Another odd-metered riff enters at around 5:30, then Rudess joins with a countermelody. An organ solo follows. We are in prog-heaven here during the instrumental breaks. Holy crap!! The guitar part just before 7 minutes is absolutely unbelievable! This band is so freaking tight! The chorus returns around 8:45. The main riff returns to close out the song. Amazing! An instant DT classic!

Track 3 - A Broken Man

This one starts suddenly with a fast chaotic riff. They lock into a different groove by 45 seconds into the track, with what sounds like radio transmissions in the mix. The underlying groove changes to a more moderate tempo and by 1:30, the music is simply glorious. It turns heavier again to lead the vocals in. There is a contrasting section that follows that is mellower and more melodic. The playing all around is nothing short of spectacular, as one would expect. The "radio transmission" voices return between verses. The sections cycle through again, then at 4:50 there is a keyboard solo. There are lots of little time shifts and short pauses from the band that underline just how tightly they play together. Just before the 6 minute mark there is a slightly funkier jazzy riff that hits out of the blue; unpredictable as always. Petrucci's solo is on this riff which soon double-times for some truly jaw-dropping displays of guitar skill. By 6:35, we get heavier again. I love Portnoy's use of roto-toms leading into the next vocal section. A syncopated riff with insane drum fills leads us to the end of the track. Incredible song!!

Track 4 - Dead Asleep

This one fades in with the sound of several voices softly talking all at once and a synth chord sustaining with a clean electric arpeggio on top of it. A (synth) violin melody emerges over the top of the tune. Another melody then takes over and becomes the main riff as the band kicks in with a heavy riff. The riff has a number of rhythmic twists and turns. Portnoy makes nice use of a flanger effect. Next up, there is a slower melodic section with Petrucci playing lead. The heavier riff returns afterwards, and Portnoy and Rudess lock in on a double-bass-drum beat. The vocals begin at around 3:15. It's a heavy groove, but still melodic. Fantastic vocal harmonies hit around 3:45. The song seems to be about someone who murders someone while sleepwalking. The verse and chorus cycle around again then there is a bridge. Following the bridge Petrucci takes a guitar solo and a keyboard solo follows. Petrucci and Rudess are the prog metal equivalent of Howe and Wakeman, IMHO; simply impeccable players. I like the gothic keyboard tones around 9:15. The groove is slammin' towards the end. This album is shaping up to be one of DTs finest! Amazing track!

Track 5 - Midnight Messiah Mellow synth and clean guitar arpeggios begin this one. A snare roll brings the rhythm section in. Spoken word dialogue joins in part of which says "?I mean I want to wake up for real?" A slow 6-8 riff takes over with ghost-like vocals. The music then builds up then the tempo increases. They lock into a heavy riff by 1:50, before LaBrie starts singing. The chorus is fast and heavy, with an almost Anthrax-like feel to it. There is a cool odd-meter section just before the 4 minute mark. The bridge at 4:50 eases off the heaviness a bit and Rudess' piano becomes prominent. A Petrucci guitar solo follows. There is a great duet between Rudess & Petrucci that begins at around 5:50. I like the riff as the song nears its conclusion. It's a good track, with a few cool parts, but I don't like it as much as the first 4.

Track 6 - Are We Dreaming

This is by far the shortest track at just under a minute and a half. It begins with eerie sounds and church bells in the distance. A somber organ takes over. I can barely hear some whispering voices, but can't tell what they are saying. I believe this just serves as a connector between tracks.

Track 7 - Bend the Clock

Petrucci kicks this one off with a mostly clean (slightly crunchy) electric guitar that sounds like Hendrix's ballad style (aka "Little Wing," or "The Wind Cries Mary"). LaBrie joins in by the 45 second mark. Rudess joins on keys, and then Portnoy plays a cymbal roll and acoustic guitar begins strumming. A distorted riff starts around 1:30. Then the band locks in on it with some odd-meter fun. This song is more ballad-like, but DT ballad. Petrucci plays a nice melodic solo prior to the bridge. The sound just after 4:00 is beautiful. I love the layers of sound. Great harmonies at 4:35. Petrucci takes another less-melodic solo at around 5 minutes. The solos in this song remind me of how Gilmour did the solos in "Comfortably Numb," with the first being melodic and the second being more improvisational. The song fades-out to a close during the second solo. Great track!

Track 8 - The Shadow Man Incident

Here is that hallmark of many great prog albums?the closing epic. This one is 19 and a half minutes long. Let's buckle-up and check it out! Night sounds fade in, and a music-box gets wound up and plays an unsettling tune. A heavy, almost Sabbath style riff comes in very abruptly. Portnoy joins with a double bass-drum groove along with the rest of the band. By 2-minutes, there's a Morse code style riff with sustained keyboard parts on top of it. Myoung slides a note down the bass and a new riff that reminds me more of Iron Maiden comes in. The tempo shifts at around 3:35 to a slower tempo and a more melodic feel. Petrucci sustains a note to usher in the verse section with a phasey clean electric arpeggio pattern setting the stage for LaBrie to enter just before the 5 minute mark. His voice has an effect on it as though it is breaking through from a different plane of existence. A few jazzy chords transition us at around 5:10 to the next part of the verse. A deeper voice (apparently Portnoy) doubles LaBrie before sounding alone saying "Embrace the Shadow." The guitars get heavier and LaBrie goes to a higher register, with every other line doubled by Portnoy's lower voice. Just after 7 minutes a fast riff takes over, and Portnoy says some creepy things before letting loose a maniacal laugh. At around 7:30 Rudess has a short keyboard break. Another one follows between vocal phrases a bit later. At around 8:13 the feel changes slightly and becomes more hopeful sounding. Portnoy's deep voice returns a bit after the 9 minute point. At the 10 minute mark, the groove changes again. There are harmonized guitar lines with a subtle gallop rhythm below. The drums get more prominent with a tom-tom pattern underneath. Then everything drops out momentarily except sustained harmonized guitars at around 11-minutes. A fast odd-metered riff takes over. Then the tempo slows by 11:30 Rudess is featured in all his glory. This is a classic DT instrumental section with more meter and tempo changes than you can shake a stick at. There are some rapid fire unison runs that start at around 12:45 and really become mind blowing by 13-minutes. Holy crap this is amazing. Another fantastic Rudess piano solo follows over a syncopated rhythm bed. Petrucci takes over with some whammy bar madness and finger tapping after the 14 minute point. Seriously good shredding in this solo?meaning that not only are the notes played quickly, but the note selection is interesting and musical. They bring the tempo back down after the 15 minute point with some amazing Portnoy drum fills. LaBrie's vocals return at around 15:45. Petrucci takes back over at 16:50. There is an amazing guitar run at 17:45 or so. The tempo slows even more just before the 18 minute point. A terrific drum fill takes us to sustained synth effects that fade out with about 45 seconds remaining. Wind fades back in shortly afterward along with other sound effects. A voice then whispers "wake-up," then an alarm clock rings. Wow, what an incredible track!!

OVERALL IMPRESSIONS:

While DT never really went anywhere, Portnoy's return seems to have energized the band. The music is very heavy on much of the album, but never harsh or growling; it's very prog though. This album only has one track (discounting the short transitional piece) that isn't quite as strong as the others IMHO, and even it isn't terrible; it just seemed a little more forced in it's composition. Otherwise, this album stands shoulder-to-shoulder with the likes of "Images and Words," "Awake," and "Metropolis Part 2?Scenes From a Memory." The only member that isn't featured enough is Myoung, who is one of the world's greatest bassists, I'd like to see him stand out more. But Portnoy, Petrucci and Rudess are in top form, and LaBrie's vocals are amazing. I'll give it a 4.75 out of 5?it's not quite perfect, but it's damn close!

Clicked 5 even though it isn't quite there, it's close enough.

 Parasomnia by DREAM THEATER album cover Studio Album, 2025
3.98 | 120 ratings

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Parasomnia
Dream Theater Progressive Metal

Review by Xeroth

3 stars The "debut" album to Portnoy's return. Over the last decade and a half, Dream Theater has released several albums with Mangini. A Dramatic Turn of Events was a refreshing album, departing from the Avenged Sevenfold-esque directions of Systematic Chaotic and Black Clouds and Silver Linings. Still, the subsequent albums resulted in bland consistency to outright cringy and I dropped off listening to the band I had obsessed over in High School. When they announced the return of Portnoy, my interests peaked, especially when they said the style would be along the veins of the Scenes from a Memory to Black Clouds and Silver Linings. I was hopeful to get something similar to Six Degrees or Scenes, but the the album art released as a dark paranormal theme and I knew we were getting content more towards Portnoy's predeparture. I anticipated something good, but likely not to my personal tastes.

Therefore, I say this with regret, the album came as a disappointment to me. It contained the generic, bland compositions of the Mangini era splashed with Portnoy's drumming and gothic themes. This made the songs hollow and infused with cheesy lyrics. They heavier style does displace the last decade or so, but each song contains the same tone and pacing. The compositions still hold quality, so each song is distinguishable but they don't feel like they have their own identity. Night Terror through Midnight Messiah are more or less the same making the album feel like a slog, redeemed only by this band's incredible musicianship. In fact, the album was difficult to focus on until the last two songs, Bend the Clock and The Shadow Man Incident. Up until those songs I was ready to give this a 2-star rating and toss it in with the last four album releases. They are the only songs I enjoyed on the album. Bend the Clock had good emotion and musicianship that caught me from start to finish. Shadow Man Incident, though silly in lyrics, has playful compositions and fun progression only marred by some jarring synthesizer choices Rudess made in the first half; and yet, it still surpassed Count of Tuscany and In the Presence of Enemies.

The two songs saved the album for me, to a degree, but whenever I start it I get through the first song, sometimes halfway through the second, and move on to something else. If I listen to the album again in the future, I may skip to the final two songs, enjoy those, then call it good. I was hoping Portnoy would rejuvenate the blandness I felt from Dream Theater over the past decade and a half, but unfortunately, the album felt formulaic and emotionless. It's a decent addition to their discography, so hopefully with Portnoy back in the mix they will compose fresh, emotional, and creative content moving forward. I loved how from Scenes from a Memory through Octavarium each album had a theme, personality, and emotion making that my favorite era. Personally, I hope they move away from the gothic, occult, and paranormal content exhibited in Systematic Chaos, Dark Clouds and Silver Linings, and now this Parasomnia. Until then, Dream Theater is good enough to give a listen and find enjoyable, but if you pass over this album, I'd understand.

 The Forgotten Tales by BLIND GUARDIAN album cover Boxset/Compilation, 1996
3.65 | 61 ratings

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The Forgotten Tales
Blind Guardian Progressive Metal

Review by martindavey87

3 stars 'The Forgotten Tales' is a 1996 compilation album by German power metal band Blind Guardian. Rather than a retrospective look over their five-album career (at that point), this gathers up all the loose ends, in particular, singles b- sides and bonus tracks from various different releases, but of course, there's a number of new recordings too. Varying from covers, acoustic renditions and live recordings, it's quite a mixed bag, but it's very definitely Blind Guardian through and through.

The covers in particular, are all pretty fantastic. Paying homage to the likes of the Beach Boys, Mike Oldfield, Queen, Little Richard and Uriah Heep, these are unlikely artists to cover, but the Germans have stamped their sound all over them, and truly made these songs their own.

There are also live and orchestral versions of some Blind Guardian classics, and again, these work wonderfully. Especially considering the themes of the music, they really add a new depth to the bands writing and ability to tell stories.

Overall, this might be a bit hit-or-miss for casual listeners, but for die-hard Blind Guardian fans this is an absolute treat. Tracks like 'Surfin' USA', 'Mr. Sandman', 'Barbara Ann' and 'To France', as well as new renditions of 'Bright Eyes', 'Mordred's Song' and 'Lord of the Rings' are all excellent reasons to get this album. And while the band would delve into more ambitious, progressive territory after this release, this works as a great bookend at that point of their career.

 Endless by DGM album cover Studio Album, 2024
4.09 | 26 ratings

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Endless
DGM Progressive Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars OK, now this is getting ridiculous. When I reviewed 2020's 'Tragic Separation' a year after it was released, I said I could not believe it had taken ten albums for me to come across them, as here was a band approaching the genre from AOR and with a heavy appreciation of Stratovarius. I put the review on ProgArchives and was amazed to see it was the only review of the album there. Fast forward to 2023's 'Separation' and when I placed that review on the site, I noticed there were still no reviews for the former album, and none for this one either. Now here we are with what is probably their best album I have come across and yet again no review for this one yet, and still none for the others, what is going on?

Imagine if you will an Italian prog metal band who are not taking any influences from their own country but instead are taking the metallic approach of Stratovarius and then blending it with classic Spock's Beard and Kansas to produce something which is simply stunning. This is the sixth album with the same line-up, stretching all the way back to 2009's 'frAme', with Mark Basile (vocals), Simone Mularoni (guitars), Emanuele Casali (keyboards), Andrea Arcangeli (bass) and Fabio Constantino (drums). This is their first concept album where they tell the story of one man's journey through life and asks the question about what would have happened if he had taken a different path. The first part of the album represents the protagonist's self-reflection on his current circumstances, the middle looks back on pivotal moments and imagines what could have been and what may have been missed out on, then at the end he looks back and asks 'why?'.

This never sounds Italian, as the American approach to melodic metal combines with classic prog influences to create something which is highly polished with far more emphasis on crunching guitars and harmony vocals than one would expect from RPI. They have a thundering rhythm section, while keyboards and guitars interplay, providing support, duetting or soloing and then at the front is the power of singer Mark Basile who is a real find. This is great stuff, as they have lifted the game again from the last two albums, which I also really enjoyed. Hopefully by the time I come to write about the next one more people will have realised that here is a really class act.

 EVOS12 by AURORA PROJECT, THE album cover Studio Album, 2025
4.00 | 1 ratings

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EVOS12
The Aurora Project Progressive Metal

Review by tszirmay
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Gazing through our prog telescopes, searching for new frontiers whilst evading a slew of unhealthy contemporary asteroids of formulaic garbage, the perennial focus is on finding new stars that perhaps may inhabit the possibility of life. This Aurora Project did show up before on the Rogue radar, but it was a faint signal that quickly vanished in the hyper complex confines of space. Thanks to Bad Dog Promotions, the blip is back (as Elton John almost sang once)! The onus is clearly on the lead singer's rather talented voice, a vibrant and passionate delivery, the ideal platform for a seasoned crew featuring dual guitarists Remco van den Berg and Alex Ouwehand, Marcel Guijt on keyboards and the perennial high quality Dutch rhythmic team composed of bassist Rob Krijgsman and drum beater Joris Bol. The style is the harder edged neo-prog with punchy overtones, two windmills away from The Gathering, Arena, Pallas, IQ, Drifting Sun etc? Lead vocalist Dennis Binnekade does take the cake and devours the material with fantastic clarity.

A certain brawniness from the get-go on "Slave City", unshackling the irons like Spartacus revolting against the Roman senators, the bass-led main melody is immediately attractive, the chorus magnificent, the ripping guitar riffs announcing the revolt of those who will die in glorious battle for a freedom that begs to be conquered. Marcel lays down some stimulating synth shields, as Joris pummels like a gladiator possessed, no surrender within the defiant words shouted with outraged valor. Excellent first salvo. Linear and expansive, "The Movement" is all about the groove, a magic carpet ride of straightforward sounds, woven with a firm thread, the insistent vocals somewhere between Michael Sadler and Paul Manzi, commanding both ends of the vocal spectrum. The tectonic mellotron swaths add much muscle to the cause, and the arrangement does dip and climb with unending adventure.

The next track really came as a total surprise, as "Have Some Tea" initially emits a strong Robin Trower wah-wah guitar sliver that enthralls the nodes, as well as supremely enchanting, hushed vocal that lathers up quite a brew during its nearly 11 minutes+ of grey atmosphere and cardamon adventure, with Floydian segments of uncluttered psychedelia. The screeching guitar blades slice through the mellotronic body armor with hostility and resentment. The second segment gets heated and intense, a sweltering demonstration of space rock, hovering like a winded hawk over the neighboring asteroid belt. The dreamy parts are sibilant solar flares shining in the deepest voids. Slides right into the best epics of 2025 list, for sure.

Weary after such a thrilling journey, "The Traveler" is an anthemic segue, armed to the teeth with 'unbelievable' melody, gut-wrenching guitar concoctions, with the ongoing thematic of liberation, freedom and discovery. The inspirational lyrics are set to rekindle the escape from a once-seemingly perpetual inner prison of endless oppression, with Dennis putting on a microphone clinic of the highest order. Another meaty track finale, "Freedom of Thought" serves as an all-encompassing essay on the infinite ability of progressive rock to express a wide range of sounds and emotions, from the buzzsaw dual guitar wrath, to celestial mellotron string symphonics, to depth charge blasting drums and heat-seeking bas torpedoes, all stringed together with unhinged determination. Freedom does come with a cost, and in the astute words of Polish General Witold Urbanowicz: "Because we do not beg for freedom, we fight for it".

An exceptional example of how attention to details in melody, contrasts, lyrical content, believability and instrumental prowess can take the relatively compact prog-metal style and lead the listener into an intricate journey of emancipation.

4.5 Distant orbs

 Parasomnia by DREAM THEATER album cover Studio Album, 2025
3.98 | 120 ratings

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Parasomnia
Dream Theater Progressive Metal

Review by Kirksamus

5 stars This is my first PA review! I've been using the site since around 2005 when my love for progressive music bloomed. I'll start by saying I'm a DT fanboy and they are my #1 band since 2005 when i first heard the itunes preview for The Root of All Evil and was instantly hooked and acquired all their albums.

When Portnoy left the band I literally cried from the loss. Mangini was an excellent replacement and his output with the band was fantastic. His technical and inventive drumming has kept the Portnoy sadness away. Then in late 2023 the news broke that Portnoy would return to the band. I was a bit shocked and thought poor Mangini with all his hard work to get the boot. Well that melted away when I thought how much Portnoy brings back to the fold after all these years and albums later. His many albums when he was out of the band really show he is a legend.

After hearing the singles I knew we were in for a real treat. The heavy vibes of the songs and the lyrical content checked all the boxes. The album was released at midnight and I immediately buckled up with headphones and was treated to a really cool intro setting the stage for the music to unfold.

The album is a masterclass in progressive metal and the sequencing of the tracks is great. I feel like Mikes input was well utilized, though I'm surprised he didn't co produce with Petrucci this time. Nonetheless Mike's backing vocals and song writing prowess are in top form.

The whole production of the album is top notch and just sounds so meaty. Everyone is at the top of their game as always and James brings it all together with his mostly lower pitch singing and emotional performances.

Album opener In The Arms of Morpheus is super cool and Petrucci's 8 string is on fire here. A great overture for the album and bombastic. Then we get two singles back to back and the flow of the tracks and overall heavyness is welcomed.

Dead Asleep is a really heavy track dealing with a sleep walking murder so for sure a bit grim but the music pushes it along with a great pace. What a great track.

Midnight Messiah is a banger and the chorus is catchy and thrashy. All the Portnoy lyric callbacks are cool.

Are We dreaming is a segue and I love the sound effects on the voices.

Bend the Clock starts off so chill and tenderly and James sounds amazing here. I really like this mostly ballad of a track and the heavy guitar classic rock riffing is welcomed. Really strong song with great melodies.

The epic long track The Shadow Man Incident is chock full of DT instrumentals at their best and the story's it shares are all about a really terrifying entity. Really makes me think back to being a kid who was scared of the dark. The ending carries on the narrative from the start of the album. Wake Up!!!!

I will conclude with my final thought.

Is it the best thing they have done? No. Since their discography is jam packed with gold thats hard to top. But what this album brings is a renewed spirit for the band and Portnoy's return is heard and felt all over the album. What you get is superb musicianship as always, an amazing final mix/master, imaginative lyrics and a strong sense of purpose with the subject matter. All the little nuances and sound effects/sampled word passages only add to the overall effect of this album.

Going to go with 4.5 stars. The only thing holding me back from a higher rating is I've always wanted DT to try something out of the comfort zone and really experiment! All in all a fantastic release that only gets better with each listen. Rock on!

 Inner Dislocation by NEW HORIZONS album cover Studio Album, 2018
3.33 | 16 ratings

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Inner Dislocation
New Horizons Progressive Metal

Review by A Crimson Mellotron
Prog Reviewer

3 stars New Horizons is an Italian prog metal band that released its debut album 'Inner Dislocation' in February of 2018 through Revalve Records and the music is fairly reminiscent of some major contemporary acts of the genre like Dream Theater, Symphony X, Haken and Headspace, which are certainly among the influences here. The band's debut album is a promising and expansive release that follows a relatively familiar path of composing prog metal in the 21st century - there is some great attention towards the riff and the build-up of the compositions as well as a fine prevalence of melodic choruses.

The album features both shorter and longer songs as well as a few instrumental sprinkled across but what seems to be the finest moment on here is the delightful interplay between the guitars and the keyboards. This album is also one of the rare cases of LPs having a very strong second part and a more forgettable first half, with tracks like 'Inhuman Wrath' and the two-part suite 'Borderland' leaving a pleasant impression. But what the album lacks in terms of originality, it compensates with technicality and feel; as passionate as the music can get on 'Inner Dislocation', one could not forgive its predictable nature. However, this is a promising first introduction to this band and with some refinement in the songwriting department, they could achieve really fine results.

 Parasomnia by DREAM THEATER album cover Studio Album, 2025
3.98 | 120 ratings

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Parasomnia
Dream Theater Progressive Metal

Review by jackerpanner

4 stars The first album since the return of the legendary drummer Mike Portnoy, Dream Theater did not disappoint with their 16th double LP "Parasomnia". I never saw it coming, but this album turned out to be a concept album, not just a theme, but an obscure but interesting story. I was one of the general masses that did not dig the singles (Especially "Midnight Messiah") very much when they were released, it just seemed like "copy and paste" from past records and the lyrics just seemed very? generic? But when I listened to the whole album, all the songs just came together and I enjoyed every moment of it, and that is because the album is musically very connected with many tracks bringing up melodies from others, with the most notable being the chorus from "A Broken Man" brought up in almost every song except the singles and two others. The album starts with the interlude - "In The Arm Of Morpheus", it is an amazing preview of what we are going to experience in the rest of the album with it connecting musical phrases from the other songs, and then it transitions to the first single "Night Terror". "Night Terror" is in my opinion the song with the best chorus, and it is also said that this song was the first one they made after Portnoy returned. "A Broken Man" starts with a Rush-like 5/4 riff, and also ends with it. When I first saw the lyrics of this one, I thought it was another generic song about the trauma of war, but after listening in the context of the whole album, it gets more interesting because we now see that it is a nightmare. "Dead Asleep" was the song that almost made me "Dead Asleep", definitely the most boring song on the album, the nightmare's story's pretty good though. "Midnight Messiah" is the only track where Mike Portnoy writes the lyrics, and you can really see that by phrases like "Strange Deja Vu", not really sure about the transition from the 6/8 verse to the 4/4 chorus. "Are We Dreaming?" is a one-minute track of people saying "Are We Dreaming?), which paved the way for "Bend The Clock". It is another one of those slow Dream Theater ballads that are kinda slow and boring at the start but still win you over with that amazingly emotional Petrucci solo at the end.

The ending 19-minute epic "The Shadow Man Incident" can be considered to be one of my favourite songs from Dream Theater. It starts with a creepy musical box intro with a goofy riff cutting it off, but later in the song it just transcended into an epic orchestral riff. My favourite part of the song has got to be the Jordan Rudess piano solo (probably his best) in the middle, I rocked so hard to that part on my first listen that my head nearly fell off. It has several musical references to Metropolis Pt. II - Scenes From A Memory (my favourite Dream Theater album) like in the interlude, they used the classic synchronized marching rhythm with Portnoy's kick drum doing 4/4 quarter notes in the back, and in the end, you can voices saying "wake up" which can be connected to "open your eyes" in SFAM, and interestingly, at exactly 19:28, there is a male voice saying the phrase, potentially referencing the song "Overture 1928" in SFAM, coincidence? I think not. It is also the song that sorta explained the connections between the other songs.

Speaking about the story, I won't spoil too much but it is basically songs about several nightmares and a man trapped in slumber to experience them, and if its story is actually connected to SFAM, then I think the man trapped is the "Sleeper", and the "Shadow Man" is the spirit of the "Miracle". All in all, I would say this might be my favourite Dream Theater album since Octavarium which was exactly 20 years ago, it's very well done and might be the best album of 2025 yet. (And I have a shimmer of hope that their next album will be Metropolis Pt III.)

Rating: A

Fav Tracks Musically: The Shadow Man Incident Fav Tracks Lyrically: The Shadow Man Incident Worst Tracks: Dead Asleep

 Parasomnia by DREAM THEATER album cover Studio Album, 2025
3.98 | 120 ratings

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Parasomnia
Dream Theater Progressive Metal

Review by Grumpyprogfan

3 stars Mike Portonoy left Dream Theater because he thought they were writing the same music over and over again, and he suggested a break. The other band mates didn't share his opinion and went forward to make five additional albums with Mike Mangini. Fifteen years later Portnoy is back and guess what, the music sounds pretty much the same as when he left. So, I guess the break didn't help too much.

"Parasomnia" is an okay album. The three singles released before the album came out were all meh for me. We've heard it before folks. For me, the highlight is "The Shadow Man Incident", but is that a riff from Metropolis I hear? Anyway, this is the longest track on the album, gives light and dark shades, holds my interest and is a really good tune.

As for the production. I hate it. Portnoy's drums are mixed really loud and they don't sound good. It hurts my ears if I listen too long. Pay attention to the cymbals... why do they sound like hitting a metal trash can lid, and where is the natural decay? I much prefer the triggered drum sounds used on Images and Words (Portnoy hated them) to these. Again, you have to strain to hear Myung's bass lines. Why?

Overall, this is a decent release, but I don't see myself returning to this often.

 Parasomnia by DREAM THEATER album cover Studio Album, 2025
3.98 | 120 ratings

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Parasomnia
Dream Theater Progressive Metal

Review by Floyducci1967

5 stars WOW FINALLY THE GREAT RETURN OF DREAM THEATER WITH THIS LONG-LONGED-FOR ALBUM!!!!☺ ...HERE IS MY TRACK BY TRACK REVIEW:

1. In the Arms of Morpheus: a good aperitif on what we will taste in the continuation of the album-instrumental-vote 9/10

2. Night Terror: a mix of almost everything that DT can do vote 9/10

3. A Broken Man: great vocal line and theme that we will hear again in the rest of the album, great solo by PETRUCCI (LTE style) vote 9/10

4. Dead Asleep: for those who like songs with an acoustic guitar intro (like me) this is a gem, splendid prog metal song- vote 10/10

5. Midnight Messiah: great METAL song (old style but very welcome to METALLICA, JUDAS PRIEST) - vote 9/10

6. Are we dreaming? : interlude for the pearls that are about to arrive - rating none

7. Bend the Clock : passion in every element of this song but legendary guitar solo by a MAJESTIC PETRUCCI - rating 10/10

8. The Shadow Man Incident : and we have arrived at the emotional peak of the album ... can I exceed the limit of 100 words? NO? then I will only use the most obvious: MASTERPIECE ... authentic PROG METAL song, many tempo changes, fantastic piano solos (FINALLY JORDAN) excellent guitar solos by PETRUCCI, great bass work by a tireless MYUNG, a monster on drums PORTNOY, and a LABRIE who does his job well - RATING 11/10

We are lucky to have groups like DT who cheer up all those hungry for progressive metal music of such quality ... See you soon and PROG ON from ITALY.

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