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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 | 3268 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
Dream Theater
4.31 | 3199 ratings
IMAGES AND WORDS
Dream Theater
4.25 | 1884 ratings
SECOND LIFE SYNDROME
Riverside
4.25 | 1299 ratings
REMEDY LANE
Pain Of Salvation
4.24 | 1220 ratings
OPERATION: MINDCRIME
Queensrÿche
4.23 | 1347 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.22 | 1434 ratings
ANNO DOMINI HIGH DEFINITION
Riverside
4.20 | 1318 ratings
OUT OF MYSELF
Riverside
4.20 | 1252 ratings
THE HUMAN EQUATION
Ayreon
4.16 | 2199 ratings
SIX DEGREES OF INNER TURBULENCE
Dream Theater
4.16 | 2342 ratings
AWAKE
Dream Theater
4.15 | 822 ratings
INTO THE ELECTRIC CASTLE
Ayreon
4.38 | 84 ratings
LET THE TRUTH SPEAK
Earthside
4.14 | 794 ratings
V - THE NEW MYTHOLOGY SUITE
Symphony X
4.16 | 455 ratings
A PLEASANT SHADE OF GRAY
Fates Warning
4.37 | 79 ratings
STRANGERS
Scardust
4.15 | 421 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.13 | 651 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.17 | 288 ratings
TEMPLE OF SHADOWS
Angra
4.15 | 329 ratings
THE FULLNESS OF TIME
Redemption

Progressive Metal overlooked and obscure gems albums new


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

THE EDGE
Eternity X
LA VOZ DE LOS BOSQUES
Viuda Negra
STRONGER THAN HATE
Memories Lab
THE BUTCHER'S BALLROOM
Diablo Swing Orchestra

Latest Progressive Metal Music Reviews


 The Law of Augmenting Returns by OMNIFIC, THE album cover Studio Album, 2024
3.95 | 3 ratings

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The Law of Augmenting Returns
The Omnific Progressive Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars I was quite intrigued when I saw this, as while I have not previously come across Melbourne-based trio The Omnific before, any band with two bassist (plus some guest bassists) are certainly worth hearing, especially when they say their musical style is prog metal. Matt Fack (bass, programming), Toby Peterson-Stewart (bass) and Jerome Lematua (drums) have returned with this their second album after touring with The Hu, and all I can say is I need to hear a lot more from these guys. Mind you, I was quite confused at the beginning as it commences with a barbershop quartet by Tim Waurick, and excerpts from Luke Taylor of Australian alt-metalcore upstarts Heartline. There is obviously not enough bass on the album so they invited both British YouTube sensation Charles Berthoud, and exhilarating Australian newcomer Kai den Hertog to guest on the title track, as why not?

Keyboard player Rohan Sharma (I Built The Sky) appears throughout the album, but for the most part this is often just two bassists and a drummer, yet one soon loses all sense of what is going on and instead fall into the symphonic and deep masterpiece which is this release. They are determined not to take themselves too seriously so we do have some almost comical interludes here and there, which means that when the trio get down to business the intensity is compelling. I kept having the thought that of Beethoven was alive today this is the band he would be composing for as it is complex, deep, somehow orchestral and symphonic all at the same time. I would think they are more brutal live without the keyboards to provide the contrast, and one can imagine them sitting happily alongside mathcore legends such as Protest The Hero as they can be quite brutal when the mood takes them. Somehow this is far more varied and enjoyable than one might imagine, and their inventive approach makes for intriguing listening. These guys are taking prog in a very different direction indeed.

 Disconnected by FATES WARNING album cover Studio Album, 2000
4.10 | 398 ratings

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Disconnected
Fates Warning Progressive Metal

Review by Stoneburner

5 stars A Warning Disconnection

During the work with producer Terry Brown, Fates Warning made their best record. They finally found what they wanted to share, and their musical vision became more accessible to a regular listener, as their previous records were hard to understand. Now, the music and concept come together. Unfortunately, the record was somewhat underrated.

Disconnected blends their progressive metal roots with a heavier use of electronic elements. This album is often seen as a departure from their earlier, more guitar-driven work, weaving a darker and more atmospheric soundscape.

"Disconnected (Part 1)" introduces an unsettling ambiance that runs through the entire record. The eerie electronics and minimalist structure set the tone for an album that feels more introspective. The opener transitions smoothly into "One," which showcases Ray Alder's vocals with a mix of emotional delivery and tension, underscored by Jim Matheos' outstanding guitar work.

The album's centerpiece, "Still Remains," is a nearly 16-minute epic that encapsulates the album's strengths?rich layering of guitars, electronic touches, and Mark Zonder's tight, precise drumming. The song evolves slowly, building atmosphere before moving into heavier, riff-driven sections. This contrast between tension and release drives Disconnected.

I was never a fan of Kevin Moore's keyboard style, but on this record, the atmospheres he creates with Jim Matheos are truly amazing and immersive.

Disconnected explores themes of isolation, technology, and emotional distance, matching the cold, almost sterile sound of the electronics. Alder's delivery is often melancholy, reflecting the album's introspective mood. Songs like "Pieces of Me" and "So" balance human emotion with a sense of detachment, fitting the album's title perfectly.

There is a clear influence from Tool in some of the atmospheric and rhythmic choices. Tracks like "Still Remains" build tension slowly, using hypnotic, repetitive rhythms and intricate layering. However, while Fates Warning incorporates some of these atmospheric elements, they retain their distinct progressive identity. The album's electronic touches and reflective tone set it apart from the raw intensity often associated with Tool, giving Disconnected a more detached, futuristic feel.

I believe the main influence here is the great work with Terry Brown. Something similar happened with Voivod?both bands worked with him on previous records, and after that, they made masterpieces. Disconnected stands out. It's a record that grows with each listen, its atmosphere deepening the more time you spend with it.

 Shadows and Flames by RIVERWOOD album cover Studio Album, 2022
4.03 | 11 ratings

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Shadows and Flames
Riverwood Progressive Metal

Review by alainPP

4 stars 1. The Dragonborn Comes (Dovahkiin) to set the tone, growl from OPETH or early EPICA, a symphonic tune from the Far East, it's fresh, it looks at familiar territories; so nothing new but an already captivating tune 2. A Haunting Lullaby for the atmospheric cinematic interlude, proven sweetness 3. Blood and Wine with the double or triple pedal, in short it rocks hard; the basis of 1001 nights, extreme prog metal with progressive drifts on the climate, a bit of a rehash of the 90s but very well done 4. The Shadow second prog interlude like MERCYFUL FATE, dark, evil, invasive musical spirit, enjoyable 5. Sands of Time ... flute from over there, the tambourine that stirs the snake, yes; a long symphonic crescendo with its heavy riff that takes hold of the body, a keyboard solo by Omar that causes confusion, yes we can be musical in prog metal; the flight of Arab violins delivers the final blow: it's good. The break at 7 minutes returns to the initial climate, oriental latency, prog blood before the growl that must be tamed 6. Queen of the Dark with the queen in the person of guest Annie Hurdy GURDY playing among others with ELUVEITIE; his solo thrown after the growl brings sensuality, sensitivity and emotionality, in short a magnificent rhythmic ballad that makes you regress into the depths of the genre

7. Babylon (بَابِل) with the Babylonian intermission, on a tune of MYRATH, how small the world is sometimes 8. Dying Light returns to the fundamentals, an Egyptian progressive metal with a folk tendency with these melting sounds of 1002 nights, yes in metal time liquefies and gives that little extra; the break with flute and phrasing calms the ardor and allows to appreciate even more the melting solo of Mahmoud, in short another long title around 10mn, an instrumental space 'exciting' to the OPETH of yesteryear 9. Lustful Temptation continues and amplifies the dark side of the sound of the group, the voice screams, violent, the pads come out of the speakers, aggressive, the vocal duo sung-growl disconcerts but the oriental folk synths keep the melodic framework; piano with a refreshing break, symphonic flight of synths, crystalline guitar arpeggio then slow final drift with a last guitar solo that takes you to the guts, simple and melancholic at the same time, a delightful musical oxymoron 10. Another World for the last piano and violin interlude, between oriental, bucolic measure, castrato voice, we get closer to Olympus 11. Rise of the Fallen follows, always the same metal atmosphere, with the bonus of a surprisingly fresh synth solo, as if we finally arrived at an oasis after several hours of walking in the middle of the desert 12. The Flame for a folk instrumental space to hypnotize the listener who is not yet subjugated 13. Solitude with the marshmallow melodic piece, to settle down gently after more than 70 minutes of extremely innovative progressive delirium. The length can explain the redundant side of certain titles, to see to cut the listening. (3.5)

 Dominion by KAMELOT album cover Studio Album, 1997
2.80 | 62 ratings

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Dominion
Kamelot Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Dominion" is the second full-length studio album by US power metal act Kamelot. The album was released through Noise Records in April 1997. It´s the successor to "Eternity" from 1995 and features the exact same quintet lineup who recorded the predecessor. It would however be the last album to feature lead vocalist Mark Vanderbilt and drummer/founding member Richard Warner.

Stylistically the material on "Dominion" is very similar to the power metal sound of "Eternity (1995)", which actually isn´t that odd as some of the material was written in the early 90s along with the material featured on the predecessor. The Queensrÿche influence is still pretty strong (especially in some of the vocal parts), and at this point Kamelot weren´t the most unique sounding act on the scene. The album also features influences from European power metal and from traditional heavy metal. There are for example a couple of galloping rhythm sections, which remind me of Iron Maiden. Again not the most unique stylistic element. They are however skilled performers and the songwriting is also of a relatively high quality. I write relatively, because overall the quality and memorability of the songwriting are slightly lower here than on "Eternity (1995)", which is a bit unfortunate considering that "Dominion" is a sophomore release, where an artist typically aims at defending won territory and also claim new land.

I´m not sure new land was conquered with "Dominion", and as the sound production is also slightly less powerful and well sounding than the sound production on "Eternity (1995)", it´s hard not to see "Dominion" as a step down in quality compared to the preceding album. The songwriting is consistent enough, but there aren´t many highlights to mention from "Dominion". Hard-pressed I´d probably mention "Birth of a Hero" as one of the standout tracks. A 3 star (60%) rating is warranted.

(Originally posted on Metal Music Archives).

 Global Warning by JON OLIVA'S PAIN album cover Studio Album, 2008
3.46 | 28 ratings

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Global Warning
Jon Oliva's Pain Progressive Metal

Review by Alxrm

4 stars This is my favourite post-Savatage album Jon Oliva has put together under any other band and it could stand among Savatage's catalogue as one of their best. The Mountain King decided to experiment with his band and the quality of the musicians allow for that. This becomes evident right from the opening track which is more like an overture which segues seamlessly into Look at the World which goes back to the Avatar days. Adding the Cost is more driving and the lyrics still deal with the situation of our world. Before I Hang is a combination of two older Savatage songs that never made their way to an official release. It would be interesting to hear how they sounded because the updated version makes me think that there is no way that the original would sound better. In the liner notes Jon points Firefly as his possible favourite of the album. By the way, you should definitely read the notes because they are full of information. It oozes with emotion, both lyrically and musically. Master is perhaps the most experimental track Jon has done so far that slips into the industrial territory and it's really heavy. It's amazing how such different songs make up such a coherent album. The musicanship is totally at another level. For instance the transition to The Ride is so smooth which features a beautiful hammered dulcimer performance. O to G is the band's farewell to the late Greg Marchak - their up till then producer and sound engineer. It's less than 2 minutes still it sounds as a fully-fledged song, but then again we could take this and Walk Upon the Water as one. It ranks among my favourites with its mesmerising melodies, the wonderful bridge and chorus, an absolute highlight right from the first time I got to listen to it. If someone would listen to the first notes of Stories without knowing the band would immediately ask if Savatage have released a new album. The song dates back to the Power of the Night days and once again I'm curious to know if the original track sounded any better. Things calm down once again in Open Up Your Eyes but this is the first song that sounds not as good to my ears. It isn't bad of course. You Never Know is a leftover from the Gutter Ballet era (OK, this one makes sense!) and it is truly a Savatage song. Someone / Souls is a song made of two of totally different nature and the acoustic Souls appeals to me a bit more.

In conclusion, Global Warning is one of my favourite metal/rock/prog/experimental albums (which category does it fall into?) and it would be one of my ever-favourites if the last couple of songs were more agreeable with me. Listen to it carefully, admire the artwork and read the lyrics.

 Brave Murder Day by KATATONIA album cover Studio Album, 1996
3.75 | 84 ratings

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Brave Murder Day
Katatonia Progressive Metal

Review by sgtpepper

3 stars On their third album, Katatonia didn't leave any stone unturned despite staying largely within the same atmospheric feeling. Slight change was in the loss of epiqueness, romantism despite the morbid, depressive and heavy feeling kept in tact. One of the greatest decisions made was inviting Opeth's mastermind to contribute vocals to cut the most brutal album vocally. The second great decision was to how two guitars are combined, creating heavy but also mournful feeling. Guitar are masterful and essential in creating the level of bleakness on this record. Two points of criticism, non-essential ones to me: intentionally simple 4/4 beat drumming on the first three heavy tracks. Directly linked to this is the level of repetition which is unlucky from the music perspective but I can understand it for that kind of mood - doom metal bands often use slow repetitive patterns, the same goes for post- rock. I divide the album into three track categories - straightforward gothic/death represented by the first and second track. "Day" is an excellent light weight 90's alternative rock track, fragile yet well constructed. Warmer than anything else on the album, obviously. The third, most voluminous category are tracks 4-6. "Rainroom" starts as a straightforward gotic number but turns into a more slow doom number. The deceivingly mellow repetitive part is alternated by a death/doom ominous motive which then replaced by a straightforward chilling death metal. "12" is a fantastic doom number with great guitar tandem riffing on a different octave. The slow death metal quite Opeth- like motive follows and then very quiet section with clean guitar comes. Another great doom metal riff kicks in before a mellow motive repetition. What comes out of the blue is the last very powerful and evil misanthropic doom riff greatly propelled by the deamonic Akerfeldt to the deepest depths of misery. Astonishing atmospheric moment. "Endtime" has a similar structure to "12" just that it starts with what is the final section of the previous track - quiet instrumental guitar intro which then develops into a similarly sounding doom moment. The melody is simple yet devastating. Vocals are brutal and seem to be duplicated in their loudest part "Here is my darkness". This is Katatonia at their most influential stage setting the scene for further doom/death metal acts to follow. Katatonia would never leave the feeling of sadness yet this was their last matching to brutality. I recommend acquiring this album with the EP "Sounds of decay" which contains 3 similarly designed tracks with Akerfeldt on vocals.
 The Crucible by HARPAZO album cover Studio Album, 2024
4.00 | 1 ratings

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The Crucible
Harpazo Progressive Metal

Review by alainPP

— First review of this album —
4 stars HARPAZO prog power opera, futuristic metal with a dystopian, technological story taking place in three places, Rome, Jerusalem and New York.

"Ichor" and the sound of AYREON, big prog metal with the recognizable voice of DC Cooper; SHADOW GALLERY tune for the orchestration and melodic choirs, the tone of a neo-classical MEAT LOAF, progressive mid-tempo. "Legion Program" spatial instrumental interval with its electric guitar coulis launching "I Am God" for Niklas' heavy pads reinforcing the melodic metal; a violin accentuates the opera metal tune with a Solomon supposed to save our world with AI. The gothic anthem emerges from it for a while before the classical guitar solo. "Golden Crown" acoustic guitar at the start before the rise merging metal and baroque opera. The stripped-down piano break, the acoustic guitar, various choirs, the female vocals, everything overlaps. The medieval tune with Lee against DC; a pleasant whiff of AVANTASIA emerges. "The Crucible" arrives with Michael on vocals, solemn, pompous, enhanced by Mark's drums. AYREON-style metal for the powerful, catchy and evolving side; the rhythm guitar amplifies the base while the lead guitar brings the heavy breaks, Gary's keyboards eyeing SHADOW GALLERY. A complex title that seems shattered but brings a serene power to this musical fresco. "Two Witnesses" with a stunning melodic intro sliding on a solemn piano arpeggio; plaintive vocals, invasive vocals with the feminine first; the air advances like a saturated torrent, it swirls symphonically speaking, it is worthy of a musical velvety. Halfway through and the guitar solo, collapsing on a latent moment worthy of IRON MAIDEN. The heavy riff goes on wild musical knots, the tempo swells, Gary letting his fingers loose on the guitar and keyboards; a hard 80s sound arrives before going solo; return to the grandiloquent chorus.

"Change of Heart Pt. 1" concept sequence of the album; futuristic cinematic intro with siren noises; voices dialogue on a symphonic and majestic air. The US hard prog in filigree; dynamic, rhythmic, heavy, uncompromising heavy metal opera that does not hesitate to lay down its scales becoming punchy rock, avoiding the machine-gunning of notes. A modern melody with a rhythmic keyboard embellished with moving choirs. "Ultimatum" with a heavy, heavy air, between SHADOW GALLERY, AYREON, HAMMERFALL and ROYAL HUNT, a zest of PRETTY MAIDS; big classical orchestration with this strong text to pull or not the trigger. "We Are Weak" interlude with notes coming from an old wooden piano, a music box. The orchestration is Dantesque, medieval, folkloric, with a flight of violins and the cinematic air of 'Pirates of the Caribbean'. Between neo and prog metal ultimately atypical. "Small Price to Pay" heavy calibrated air with the pregnant synth and a vocal duet between DC and Christian; consensual Hollywood metal with a cinematic finale. "Change of Heart Pt. 2" follows with a dreamlike introduction, guitar and divine piano. Lee poses a sound of AMBEON, slow and airy of a musical comedy; drum roll becoming nervous, the guitar which looks at those of SHADOW GALLERY. The melody goes on oriental paths with a fat synth. The harpsichord break, violin, baroque spirit, latency, grandiloquence then Lee's charming voice on the percussive and angelic finale. Wind, a cinematic rumble launching "The Book of Life" with the imposing church organ. Medieval acoustic guitar, romantic ballad with its rise leaning on MOSTLY AUTUMN. The Floydian guitar solo with the spleen feeling of fallen angels. Vocal duet with melodic, charming, invasive guitars. The voices add the grandiloquent lyricism ending in a capella. Originally on ProfilProg.

 Magna Mater by MOTHER OF MILLIONS album cover Studio Album, 2024
4.00 | 3 ratings

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Magna Mater
Mother Of Millions Progressive Metal

Review by alainPP

4 stars Band with a heavy cinematic sound, modern prog metal with rhythm, a touch of folklore for avant-garde progressive metal.

"Inside" a killer cinematic intro, a symphonic progressive intro in fact, heavy, bringing a heavy electro sound, with a leprousian voice. The delicate harmony, the invasive keyboards, the languorous choirs, the nervous guitar, hold on to the LINKIN PARK who are back, there is a bit of that in it; emotion galore for the velvety prog metal sensation with the jerky that goes with it. "Feral" with an incisive riff, a heavy tune and a dragging, languorous vocal, all in softness; the guitar flirts with djent for a while and sows a thunderous soft piece, between LEPROUS and HAKEN. Angry tune creating a vigorous tension; the jerky, sharp finale. "Magna Mater" eponymous title that arrives, evil growl, on the bewitched MY DYING BRIDE in addition to the straitjacket; Antonia brings the vocal diversity of her feminine angle, the monolithic phrasing vocal recalls LACRIMOSA. The sound becomes extreme post rock, the growl in pregnant jets, prepare for it; the break on a haunting, dark, archaic mantra; bewitching. "Celestial" always so haughty, majestic, heavy, a warrior cohort going to confront the lands of Mordor. The sound is heavy, Panos' bass vibrates with all fire while George's drums beat at a fast pace; the dark vocal can recall that of DEPECHE MODE's 'Ultra' period before intensifying to finish.

"Liminal" changes scenery with the a capella voice on a delicate piano; the musical oxymoron with the ethereal synth coming from hell, dark, accompanied by a heavy riff. The solemn piece with George's magnificent voice, bewitching complaint; ending with a drum machine throwing confusion. "The Line" screaming intro, stressful, musical paradigm; the metronomic and crystalline piano comes to flood the ears, a little OCEANSIZE in the latency. More mention to the vocal which plays with the atmosphere making you wander before the heady rhythm with the wild riff comes to sow discord in a pre-apocalyptic finale; watch out for guaranteed chills. "Halo" same genre, between celestial sweetness and thunderous zest, between moderate delicacy and weighted heaviness; redundant and refreshing however with this voice which is for many, bewitching. "Irae" changes, the day of Judgment has arrived; solemn electro, divine piano, warm vocal, calm. The drum beats and the post metal riff of the end of the world in crescendo; a monster piece given its conception that must be even more worth it in concert. The finale with the triple pedal sulphator and the voice that screams to the sky for the moment of the album with an abrupt end. "Space" deliquescent piano melting in fact; the solemn melody that will rise, rise while keeping you on your toes, bluffing.

Originally on Profil Prog. (4.5)

 Espresso Della Vita - Solare by MAESTRICK album cover Studio Album, 2018
4.35 | 8 ratings

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Espresso Della Vita - Solare
Maestrick Progressive Metal

Review by arymenezes

4 stars On most part of this review I'll analyse the album track by track. Instead of giving na overall view.

First track is entirely instrumental, harmonies are well crafted, and guitarist delivers nice phrasings. Spaces are fullfilled all the time, which prints a considerable intensity on the composition. Next track is its continuation, but this time there are vocals. Spaces are completed with less intensity, somewhere between crossover and heavy prog. I enjoyed the piano insertions. On it's end vocal harmonies become great. Here, and on most of the other tracks, drums are a little more of a support to the remaining instruments, than a creative part of the composition.

A very brazilian kind of acoustic guitar, called 'viola caipira', is on the first moments of third track. It soon gives his space to the guitar. From now on this song becomes almost prog metal, slightly heavy prog. Another interesting instrument they use here is the triangle. When the second half of this song arrives, harmonies become more rich and complex.

The rythmic proposals of next track are more smooth and a bit groovy, matching properly with the excelente vocal harmonies. As on the previous music, here the solos are almost always assumed by the guitarist.

On "Water Birds" a string orchestra executes a georgeous introduction, along with inspired vocals. Drums are more inventive and diversificated. Sinthesizers are also more versatile, even though they're on second plan. The strings come and go along the song, very precisely, with wonderful female vocalizations. The guitar solo starts with bass tones, that gradually goes towards high tones.

Next track can be denominated as a good AOR.

"The Seed" begins with a religious chorus, and a slightly spanish acoustic guitar comes along. Seems it's regretting something. This song has 15min, divided on 12 parts. Only sometimes I could identify the transitions of the suíte. When it's almost over, the instrumentation is fantastic.

Drums try to resemble, on the introduction of "Far West", to an accelerated gallop. On the resto f the song, this musician shows good versatility. And some other western sound effects are made on synthesizers.

The following track begins with a slightly blues vocals (genuinely inspired) and acoustic guitar. Drums enter calm, and delicate accents are performed on synthesizers, melodic, that prepare the mood for fabulous vocal combinations.

I can say, on this point, that the (many) secondary singers are all good, and the vocal harmonies, generally performed by the main singers, is almost always one of the highlights of this album.

"Penitência" is a delicious and powerful exhibition of progressive rock with a musical genre named mangue beat. This style encompasses essentially some folclorical musicality from Northeast of Brazil, with pop-rock influences. About the vocals, this time their absolutely perfect, and matching strong and consistently with the instrumental. It's the only track sang in their local language, portuguese, all the others are in english. IMO, the best track of this work. And there is this charming aspect that part of the vocals is sang by the grandmother of the main singer.

Penultimate track is sung in english and spanish. Nice composition, initializing with a kind partnership between the synth-almost-piano, the acoustic guitar, and the gentle cymbals. Vocals are more sober, without that tiny shouting that's on the rest of the work. More natural. Superb variations on rythmic sections, surprising synth solo, enjoyable female vocalizations, close to the tranquilizing end.

3.8 on a 5-star scale for the music. The graphic conception of all the items ? booklet, cover, CD ? are outstanding, pushing the note to a 4.1.

 Unpuzzle! by MAESTRICK album cover Studio Album, 2011
4.21 | 5 ratings

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Unpuzzle!
Maestrick Progressive Metal

Review by arymenezes

4 stars Really incredible guitar riffs are heard on the opening track. The rythmic sections are very intense, with fabulous synth interventions. Vocals, in english, are dynamic, well interpretated, rich and brilliantly distributed along the song, with no excesses at all. Some gutturals appear, briefly, on its end.

The piano and cello (I have the CD but there's no mention to this instrument on the booklet; maybe it's emulated) introduction is breathtaking, very ethereal, on next track. It's thickened by other string instruments, violins for me, piano and other instruments. On its first two thirds, almost everything fits with intelligence and criativity, specially the instrumental executions. On the end they give the listener a celebration mood. Marvelous.

On "Pescador" (Fisher) they introduce a MPB (Brazilian Popular Music) feeling, in particular the musicality developed by the region called Minas Gerais, where artists like Milton Nascimento, Lô Borges and Beto Guedes had their careers. This applies specially to its beginning, 'cause on the last two thirds of the song they deliver a miscellaneous of MPB and most of all Northeastern tradicional music of Brazil. This feature is a little similar to what they did on a song, "Penitência", from their other work, "Espresso della vita ? Solare".

The tricky use of language is made by the band on some tracks. This is one of them: "Sir kus" is a very short composition, that works like a different/singular kind of interlude.

Next track is also brief, and has, as its predecessor, a theatrical proposition. Creative.

"Disturbia" is a prog metal song. Not one of the highlights of the album. Vocals are nice, and there are some fine guitar riffs on its finalization.

The piano and vocals present on the beginning of "Treasures of the World" are really pleasent. Vocals and rythmic sections on all its extention are really exciting and/or immersive. No accelerated guitar riffs here. On the contrary, the mood is more quiet and introspective. Amazing song.

Next track is more rock and roll, making me think of a heavier expression of Grand Funk. Bass is very deep and lilting. Interesting vocal harmonies. Its second half has some expressive solos, on guitar and synths. A funky rythmic guitar gathers itself on the composition for a while.

This is the second not-so-inspired song of the album. Entitled "Smilesnif".

The following track has a funny and evolving cabaret mood. Kind of blues, kind of sensual. Vocals are interpretated very precisely according to the objective of the music. Suddenly, they change to a samba feeling. This was surprising! The execution is quite simple, but effective and charming. Its finish ir more AOR-oriented. For sure the whole composition is diversified.

The last track is a 21min song split in eight parts, which they call Levels. Guitar riffs are not so present as in the rest of the album. And the other instrumentations don't really fill this gap. Vocals are more moderate and not so intrincated. On the other hand, the last two fifths of this suíte are fabulous and apotheotic, with some of the greatest vocal harmonies, guitar executions and drum work of the disc. On its finale, they mix some psychedelic theater-like performances with a gorgeous melodic slow snippet, led by piano. I don't understand why the volume, on this part, gets so much lower than the remaining suíte; even on the remastered version.

3.7 on a five-star scale.

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