Progressive Metal

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Progressive metal, more commonly know as prog metal, is characterized by genre transgression and instrumental virtuosity. Its signature features are guitar driven songs that have complex time signatures and very intricate playing.

Progressive metal as a genre is associated with acts such as Dream Theater, Fates Warning and Queensrÿche, who had their heyday in the early 1990s, but progressive elements have been fused into metal virtually since the inception of metal. For instance, on their early releases, Black Sabbath would incorporate jazzy passages into their compositions, while also drawing on other genres, and many proto-metal acts also had backgrounds in progressive rock and heavy psychedelic rock. In the early to mid 1980s, some NWoBHM groups, such as Iron Maiden would find direct inspiration in progressive rock acts like Genesis, Yes, and King Crimson and incorporate progressive elements, such as complex song structures, twin guitars and changes in time and tempo into their style, while the cult band Mercyful Fate were known for blatantly disregarding the conventions of composition in popular music, opting for complex and unusual song structures.

So, progressiveness was a part of metal since the inception of the genre, but it was not until the late 1980s and mid 1990s as bands like Watchtower, Fates Warning, Queensrÿche, Psychotic Waltz, and Dream Theater that progressive metal became established as an independent subgenre. These bands would draw both on previously established metal genres, like NWOBHM, and progressive rock acts of the 1960s, 70s and 80s. Especially Dream Theater would become iconic of the genre, and their instrumentation, which includes prominent keyboards, became the blueprint for many progressive metal bands to follow. The music that came out was very diverse and even symphonic at times. Not all of it was overly technical, though some bands such as Dream Theater were very technical, while others, like Fates Warning and Watchtower emphasized odd time signature. Psychotic Waltz incorporated psychedelia into their sound, and Queensrÿche began to operate with complex lyrical themes.

After progressive metal had been somewhat popular for some time, it began to take on more extreme forms such as progressive death metal, and so on. Bands such as Edge of Sanity and Atheist took prog metal to greater heights with their infusion of prog and death metal. Atheist also added a jazz/fusion sound to their music to make it true progressive death metal, as did Pestilence on their jazz-influenced Spheres. Also during this time, bands such as Opeth and Voivod changed their style to a more progressive sound. While Voivod changed in the early 1990’s, Opeth became a more progressive metal band in the late 1990’s which was probably an effect of the progressive metal movement that was going on at the time. Some already established metal acts in other genres would similarly cross over into progressive metal territory, such as Savatage, who - although having a background in traditional metal and power metal - released several progressive metal albums. In parallel with the development of progressive extreme metal genres, many power metal acts would take their music in a more progressive direction, resulting in the subgenre of progressive power metal (which is included under power metal here at the MMA) some of which, like Kamelot and Savatage, would eventually become fully fledged progressive metal acts.

Most bands in the progressive metal genre have their own unique style; whether it is more spacey, more symphonic, or more technical while others follow the Dream Theater configuration to a smaller or greater extent (these are sometimes referred to as 'traditional progressive metal' bands), but they all have an equal balance between the influences. Over the years progressive metal has gained the title of having longer songs then regular metal, and while this is mostly true, it isn’t always.

These bands are here because they are different, in a sense, than regular metal bands because they not only include metal but different genres as well, such as jazz/fusion, prog rock, and classical music, and put them all together to make an enjoyable sound. Bands and releases who include progressive elements in their music, but whose central sound is more firmly anchored in another genre are placed in that genre - for instance, Enslaved, whose style is progressive and experimental but still quite firmly based in their black metal roots, are placed in the black metal category, while mathcore and progressive metalcore bands are placed in metalcore.

Sub-genre collaborators (shared with Avant-Garde Metal):
  • siLLy puPPy
  • DippoMagoo
  • Sisslith
  • adg211288

progressive metal top albums

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progressive metal Music Reviews

ARCH / MATHEOS Winter Ethereal

Album · 2019 · Progressive Metal
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siLLy puPPy
WINTER is coming. Oh, wait! It has already come! Emerging seemingly from nowhere in 2011, the early Fates Warning pioneers of prog metal, vocalist John ARCH and guitarist Jim MATHEOS took the world by storm after releasing the stunning collaborative effort in the form of “Sympathetic Resonance” under the moniker ARCH / MATHEOS which in many ways found resolution to the long lost continuation of what Fates Warning would have sounded like had they continued well into the 21st century with ARCH’s vocal prowess still in command. With a classic prog metal sound that was clearly crafted for the modern world, the duo constructed six stunning tracks that took the early prog metal attributes of operatic vocals, heavy zigzagging guitar riffs and compositional complexities and married it all with the darker down-tuned realities of the 21st century.

While the project was never to be intended to be a permanent one, the obvious chemistry that was presented begged prog metalheads far and wide to ponder the possibilities of whether there could be the remotest possibility of a second edition to what would provide the next chapter in this project of such technical wizardry coupled with emotional outpourings. Due to other commitments, particularly on the side of MATHEOS who to this day remains a vital member in Fates Warning’s modern prog metal excellence, no pressures were in play but lo and behold eight long years later and the duo has found themselves releasing the long awaited second coming with WINTER ETHEREAL which finds the dynamic duo in cahoots once again with bassist Joey Vera (Fates Warning, Chroma Key), drummer Bobby Jarzombek (Fates Warning, Spastic Ink) and guitarist Frank Aresti.

And this time around even more musicians came to the party which includes ex-Cynic bassist Sean Malone and two additional drummers, Matt Lynch (Trioscapes) and Thomas Lang (John Wetton, Stork, Paul Gilbert, Eric Gillette) as well as Steve Di Giorgio (Death, Testament, Charred Walls Of The Damned) and bassists Joe Dibiase and Mark Zonder. The guitar distortion is turned up to 11 and the musicians were chomping at the bit to unleash a new slab of highly technical metal that takes the ARCH / MATHEOS to the next level. While the Fates Warning comparisons are inevitable, once again this project finds a way to make the music its own despite the clear throwback to the long lost days when progressive metal existed as a mere collaboration between 70s prog rock and 80s classic heavy metal. And best of all, despite the decades that have elapsed, it’s utterly amazing how well Mr. ARCH’s glass shattering vox box has held up. Is this man fucking immortal or what?

WINTER ETHEREAL cranks out nine hard driving prog metal tracks rooted in the previous century but clearly designed for 21st century consumption. A bit longer than the previous one and clocking in at about 108 minutes, this album bursts into the scene with the crushing “Vermillion Moons” which delivers the expected labyrinthine guitar riffs while taking a few breathers with some slower passages. Clearly on display and man of the hour vocalist ARCH shows off his high capacity pipes in an ever daring feat of vocal majesty which never fails throughout the album’s lengthy parade through the progressively imbued compositions that seem to tackle the usual prog metal melodramatic lyrical esoterica in the fullest sonic regalia. Despite the plethora of musicians on board this time, the album comes off as a tightly woven musical experience with all eyes on the prize, that meaning the overall feel of consistency in this high quality musical sector of the prog metal universe.

Perhaps my only complaint of this dynamic powerhouse of unbridled prog metal passion is that despite the army of newbies in its midst, it doesn’t deviate significantly from the majesty of “Sympathetic Resonance,” as the tones, timbres, dynamics and songwriting techniques follow suit in much the same business as usual. Perhaps the creative aspects could’ve shined a bit more instead of making a second installment of album #1 however if a similar approach is what you’ve been salivating over then WINTER ETHEREAL will not disappoint one little bit as it tackles all the prog sophistication and ethereal nuances that the first ARCH / MATHEOS experience delivered so well. While overall i don’t find this to be the perfect prog metal specimen that came before, it is nevertheless a high quality release that finds these elder statesmen of the genre not losing one bit of their musical mojo, in other words - this is some outstanding modern day prog metal delivering ALL the goods.

ARCH / MATHEOS Sympathetic Resonance

Album · 2011 · Progressive Metal
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siLLy puPPy
Progressive metal had its origins in the early 80s when heavy metal was a fairly homogenous genre that featured operatic, high pitched vocals with aggressive guitar driven riffs accompanied by a solid bass and drum rhythm section, However certain bands were a bit more adventurous than the status quo and coupled these attributes with the more complex and layered arrangements that were established in the progressive rock that came before. Early on bands like Watchtower and Aslan soon to be Psychotic Waltz were crafting some amazingly brilliant mixes of the best of what the 70s prog and 80s metal scenes had to offer. Amongst these early pioneers included Fates Warning whose earliest albums didn’t quite muster up the technical workouts styles that the prog metal of Watchtower was conjuring up, yet it was still a few steps ahead of the rest of the pack.

Existing on the melodic side of the progressive metal nascency, Fates Warning was considered one of the big three of the genre along with Queensryche and Dream Theater in terms of popularity. The band was formed in 1982 by vocalist John Arch, guitarists Jim Matheos and Victor Arduini, bassist Joe DiBiase and drummer Steve Zimmerman in Hartford, Connecticut. While the debut “ Night on Brücken” displayed blatant unbridled Iron Maiden worship, the band quickly jumped into gear and evolved exponentially on the following “The Spectre Within” where the band developed not only its own distinct sound but found more progressive elements that culminated on the epic length “Epitaph.” Followed by “Awaken The Guardian” Fates Warning only continued to ratchet up the intensity and was poised to break into the mainstream much as Dream Theater would in the early 90s however just as the band was reaching a new apex of the progressive metal paradigm, John Arch left the band.

While Fates Warning would continue, the band jumped into ever greater complexities and as the metal universe splintered into the thrash, death, black and power metal worlds, some of the most adventurous bands incorporated the progressive metal elements that had emerged in the 80s. By the 90s however progressively infused metal albums were all over the placed with bands like Tool existing in the alternative side of the genre whereas bands like Atheist, Gorguts and Ved Buens Ende taking things in the more extreme depths of darkness laid out by Bathory and Morbid Angel. The traditional sounds laid out by Fates Warning and Dream Theater were giving way to more experimental approaches and the more extreme reaches of the metal universe. Fast forward nearly 30 years after Fates Warning was founded, JIM MATHEOS successfully convinced JOHN ARCH out of his musical hibernation and the two began work on a new project together mostly due to the fact that a new Fates Warning album had been put on hold.

The new project simply called ARCH / MATHEOS actually began on ARCH’s 2003 EP “A Twist of Fate” where the chemistry was reignited and the duo knew that a full-length album just had to happen. The result was the 2011 release SYMPATHETIC RESONANCE which inserted itself into the 21st century and brought and with it brought the classic progressive metal styles of the past back into the limelight. The duo accompanied by drummer Bobby Jarzombek (Riot, Halford), Joey Vera (Armoured Saint, Fates Warning) and guitar soloist Frank Aresti crafted an excellent display of retro prog metal delivered with all the fiery passion that accompanied some of the early examples of the genre. Despite three tracks which included "Neurotically Wired", "Midnight Serenade" and "Stained Glass Sky" initially intended to appear on the next Fates Warning album, they were redesigned to fit in with this new project and all the better for it since they fit the style presented here perfectly.

SYMPATHETIC RESONANCE consists of six well-constructed tracks that display the classic operatic vocal style of ARCH who hadn’t missed a beat in his multi-decade absence from the music scene. His lyrical delivery resonates in divine splendor while the music artfully mixes the expected technical workouts with a well balanced emotional performance. The classic prog metal melodic approach infuses the ambitious compositional workouts with all the softer and heavier dynamics falling into place. While the album consists of fairly standard length tracks, the mid-section that consists of “Stained Glass Sky,” “On The Fence” and “Any Given Day (Strangers Like Me),” all exceeding eight minutes in length, takes things full force into the prog-o-sphere with not only extremely heavy guitar riffage but highly demanding compositional approaches that wend and wind through many movements.

No one was expecting this one but when it emerged it took the metal world by storm and reminded a much more diverse metal universe what the classics sounded like and with SYMPATHETIC RESONANCE both ARCH and MATHEOS simply nailed the perfect flow of progressive metal excellence on par with the parent band Fates Warning who had long moved on from this stylistic approach as well as putting some of the young whippersnappers to shame. While rooted in the past, ARCH / MATHEOS were paying attention to the new reality of metal music in the 21st century and in the process eschewed a tinny high pitched production job that plagued many 80s releases. Instead the music sounds dark and downtuned and exists in a murkier world than that of the earliest Fates Warning albums. The music is just perfect as it delivers the perfect mix of excellent musicianship that serves the greater good of a strong emotional connection. Sometimes it takes the masters of the past to remind the world how to make a consistently brilliant flow of music that doesn’t believe in filler tracks and with SYMPATHETIC RESONANCE they did just that.

LOINCLOTH Demo

Promos, fans club and other releases (no bootlegs) · 2003 · Progressive Metal
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UMUR
Loincloth is an US technical/progressive metal act formed by members of Confessor and Breadwinner. The band was formed in 2000 after Confessor disbanded and released this demo in 2003. 2 of the 4 tracks on the 11:46 minutes long demo are also featured on the "Church Burntings / New Jersey" single also released in 2003. Those two releases were the only releases by the band for many years as bassist Cary Rowells and drummer Steve Shelton returned to Confessor and focused their energy on that band. Loincloth never officially disbanded though and they finally released their debut full-length studio album "Iron Balls of Steel" in January 2012. The album features the same lineup as this 2003 demo. In addition to the above mentioned rhythm section the lineup also includes guitarists Tannon Penland and Pen Rollings. None of the four tracks featured on the demo appeared on the tracklist for "Iron Balls of Steel (2012)".

Stylistically the music on the demo is instrumental technical/progressive metal played by four very skilled musicians. The rhythm section is on fire, delivering varied and powerful technical playing, and the two guitarists follow suit. There are times when the music sounds like 90s Confessor without Scott Jeffrey´s distinct sounding high pitched vocals in front, but this is slightly more focused on technical playing and not as doomy as Confessor. The demo is very well produced, featuring a sharp, powerful, and detailed production, which suits the material well.

The material is well written although not instantly memorable as there are very little in the way of melody featured on the compositions. It´s pretty cold and clinical in that way, which also provides the material with a gloomy futuristic atmosphere. There´s no doubt it´s fascinating and intriguing music seen from a technical point of view, but to those who prefer hook laden or melodic oriented music, this could very well turn out to be a hard challenge. For the style this is a quality release though and considering that it´s a demo, this sounds surprisingly professional. A 3.5 star (70%) rating is deserved.

BEYOND TWILIGHT For the Love of Art and the Making

Album · 2006 · Progressive Metal
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martindavey87
After two incredible albums of high-quality progressive metal, Danish band Beyond Twilight shoot themselves in the foot by getting a bit too artsy and fancy with 2006’s ‘For the Love of Art and the Making’. The clue is clearly there in the title. At 38 minutes in length, and featuring 43 tracks, each barely a minute long, the idea behind this release is that the tracks can be played in any order and, depending on how you listen to it, it supposedly can bear different meanings each time.

Yeah, alright.

Can anyone truly say they listened to this more than a couple of times without losing interest? Just as you start to enjoy one segment it skips straight to the next. And everything is so disjointed, no matter what order you play it in. In fact, I tried it a couple of times in random orders, and nothing flows smoothly at all. Additionally, it’s near-impossible to really understand any of what’s going on without actually knowing the lyrics. Bugger that!

It’s a huge shame, as Beyond Twilight’s previous two releases, 2001’s ‘The Devil’s Hall of Fame’ and 2005’s ‘Section X’ are genuinely fantastic albums. These guys are amazing musicians and have an instantly distinctive sound of their own. And while the idea behind ‘For the Love...’ is interesting and massively ambitious, they just weren’t able to make anything substantial come out of it.

I give the album two stars simply because there is some great musicianship and performances, and there are a couple of moments that are pretty neat (if, by pretty neat, you don’t mind songs that last barely a minute). But overall, this album is a huge disappointment, and at the time of writing this review the band haven’t done anything since. Coincidence? I doubt it. Art for art’s sake? Art over substance? Whatever. This album sucks.

FATES WARNING FWX

Album · 2004 · Progressive Metal
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martindavey87
Released in 2004, ‘FWX’ is the tenth studio album by progressive metal pioneers Fates Warning, and much like previous releases ‘A Pleasant Shade of Grey’ and ‘Disconnected’, it shows a band who are continuing to develop and experiment, with more focus on a heavier sound and more traditional song-structures.

Unlike its predecessors, there’s only a minimal use of keyboards and sequencing here, which is a shame as I felt on the last two albums that the band had a great and well-rounded sound, and I was hoping they’d continue in that vein. Especially as, instead of relying on tried and tested prog metal traits such as excessive flashy guitar solos, there was a heavy emphasis on atmosphere, and a fantastic interplay between guitars and keyboards, working together instead of trying to out-perform each other in shredding competitions.

However, this is still a good release, and Fates Warning’s “less is more” approach works well for them here. Sole guitarist Jim Matheos can write some incredible and compelling riffs, Ray Alder’s powerful vocals suit the heavier style of the album, and the simpler arrangements make the songs easier to digest. The polished production gives the music a loud and vibrant sound too.

Overall, ‘FWX’ is far from Fates Warning’s best album, but tracks like ‘Heal Me’, ‘Simple Human’, ‘Crawl’, ‘Stranger (With a Familiar Face)’ and the haunting and melancholic ‘A Handful of Doubt’ are all worth checking out, and given time, this album can grow on you, it just depends on whether you have the patience to let it or not.

progressive metal movie reviews

DREAM THEATER Breaking The Fourth Wall

Movie · 2014 · Progressive Metal
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rdtprog
It seems like it was just yesterday that the Luna Park DVD was released. Now it's another one from the Boston Opera House less than a year later. The show is divided in three acts. The first act is tracks from the last two albums and the song "A Trial of Tears" from "Falling to Infinity". The second act is 5 songs from the "Awake" album to celebrate his 20th anniversary and the third act is the encore celebrating again "Scene from a Memory" with his 15th anniversary. On those 2 albums, the band use the same pattern by starting to play the technical, fast and heavy songs like "The Mirror", "Lie", "Overture 1928" and "Strange Déjà Vu" and finishing with the slower and emotional songs like "Lifting Shadows Off A Dream", "Space Dye Vest" and "Finally Free".

"The Illumination Theory", the most progressive and the epic song of the last album is played with an orchestra in the second act which is the perfect fit with this song that contains an irresistible classical break in the middle. The picture is crystal clear and the camera work more satisfying than the "Luna Park" DVD. As for the sound, I had to crank up the volume very high to get the full sound. Again, I wish we could hear John Myung louder, but that's what happens on live recording, it rarely match the sound quality of a studio release. James Labrie's voice is in nice shape as well as all others members. It's another nice addition to your Dream Theater collection. 3. 8 stars.

DREAM THEATER Dream Theater - Score: 20th Anniversary World Tour Live with the Octavarium Orchestra

Movie · 2006 · Progressive Metal
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AtomicCrimsonRush
I always look forward to putting this DVD on as I know I am going to get the best of both worlds; symphonic orchestrated music and full on Dream Theater prog. I agree with some reviewers that the setlist is not exactly mind blowing but it nevertheless spans the 5 year history. It is interesting the way the orchestra blends into the metal sound, similar to the Metallica S&M concert, or indeed Kiss Alive IV. It is always of interest when metal meets symphony. The DVD "Score" is very well produced, sharp editing throughout and excellent sound quality. There is nothing wrong with the visuals at all, with the band members sharing the spotlight, but the problem lies in the setlist itself. There are too many omissions and some opportunities wasted in the early part of the concert.

It opens with some deadset oddities such as The root of all evil, I walk beside you, Another won and Afterlife. It isn't until Under A Glass Moon that it really takes off showing the power of that brilliant track and Petrucci's amazing guitar solo. Later we are treated with The spirit carries on and the entire suite of Six degrees of inner turbulence; absolutely flawless and indispensable on the live stage. After an ovation the band belt out Vacant, The answer lies within, Sacrificed Sons and the masterpiece epic Octavarium that is quintessential to the band. The Encore: Metropolis Pt. 1 is a brilliant way of ending the concert to a rapturous crowd.

Disc 2 is packed with some hit and miss Bonus material including a mammoth 20th Anniversary Documentary, that has some fascinating info on the band and the way that not everything goes to plan on a tour. Portnoy has too much to say and now it is a bitter taste now he has scarpered and been replaced. The Octavarium Animation is terrific, and the live performances are always a treat including Another Day (Tokyo - 1993), The Great Debate (Bucharest, Romania - 2002) and Honor Thy Father (Chicago - 2005).

The DVD comes with high recommendations due to the visual quality, and overall package. Ignore the early part of the set and just enjoy DT at their absolute best in the middle half of the concert accompanied by masterful orchestration. A must for all DT fans and one of the best DT DVDs available to this point in time.

DREAM THEATER Live at Budokan

Movie · 2004 · Progressive Metal
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AtomicCrimsonRush
One of the first DVDs I saw of Dream Theater before the onslaught of DVDs that have come since. This is an early performance and of considerable interest as a result. These were the glory days of Dream Theater ramming prog down the throats of the hungry Budokan fans. It is an incredible performance best seen than heard though the audio experience offers much as a type of Dream Theater concoction of the best of the earlier years. The CD is good listening but the visual persentation is incredible. There are a few odd surprises scattered in the mammoth set list but the classics are here and played to perfection. Beyond This Life is a huge epic clocking 19:37, and with some dynamic lead guitar from Petrucci. The Test That Stumped Them All is always a killer track live and sounds fresh and powerful with huge bass runs of Myung and Portnoy's slamming percussion.

Endless Sacrifice is an 11 minute gruelling journey into prog excess with a wild keyboard section from Rudess. The Instrumedley to follow features some awesome musicianship. LaBrie is in fine form on soaring vocals, and shines on such compositions as the 14 minute Trial Of Tears and New Millennium. It is always a pleasure to experience a Jordan Rudess keyboard solo and it is as inventive here as ever. There are some amazing songs such as Solitary Shell, Stream Of Consciousness and quintessential Pull Me Under. The set closes with epic 16 minute In The Name Of God. So overall this is a great set with power metal and tons of instrumental breaks. It is progressive and packed to the gills with mind bending virtuoso solos and material from some of their best albums. It was the "Train of Thought" tour so there is plenty from that album as well as "Six Degrees" and "Images and Words" among others.

The special features are wonderful featuring 'Riding The Train Of Thought" a Japanese Tour Documentary of about half an hour, and John Petrucci Guitar World segment, Jordan Rudess Keyboard World, and a Mike Portnoy Drum Solo clocking 12 minutes. The Dream Theater Chronicles - 2004 Tour Opening Video is okay showing the video the crowd saw in the opening, and Instrumedley with multi-angles is lots of fun. Overall it is a fantastic DVD concert, and all Dream Theater fans must have it.

DREAM THEATER Metropolis 2000: Scenes from New York

Movie · 2001 · Progressive Metal
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Dellinger
Since this DVD is a live interpretation from the studio album of the same name, and the source material is great, of course the concert is also a great experience. Of course, having the plus of seeing the band perform is a great advantage for this release, specially given that watching this guys play is a great experience. However, one big disapointment from this release is that it misses many other songs that are included on the CD release of this live album, which I really wanted to see them perform. The performance of the songs is really great, with everyone in fine form... except perhaps LaBrie who at times can't keep to his studio performance. My favourite songs are "Overture 1928 / Strange Deja Vu", "Fatal Tragedy", "Home" and "Finally Free". Now, the video from this concert has many acted scenes from the story inserted throughout the performance, which is kind of nice for it helps to keep track of the story... however, on "Fianally Free", this scenes got extra annoying, and blocked the performance of the band throughout the whole murder part, which is perhaps one of the strongest parts of the album and one I would have loved to see them performing (well, at least the second time they play a very similar section near the end of the song we can actually see the band playing it, but still it is annoying). "Beyond this Life", is also a very cool song, specially at the beginning, but then it kind of drags on and loses some of it's spark. "The Dance of Eternity", however, is one song I still can't get into, just a bit too messy and full of fast and technical playing just for the sake of it.

On the other hand, what usually draggs this bands albums are their ballads. The one ballad I actually liked on the studio album was "One Last Time", though something kind of doesn't work so well on this release... I guess it's the vocals and backing vocals, which are kind of weaker here. However, "Through her eyes" and "The Spirit Carries On", are really upgraded here, with extra vocals from Theresa Thompson and gorgeous guitars from Petrucci.

From the extra songs, I was never a big fan of the "Mind Beside Itself" set of songs, but "Learning to Live" and "A Change of Seasons" are both among my favourite DT songs, and having them on video here is a great thing.

TOOL Vicarious

Movie · 2007 · Progressive Metal
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Earendil
Many descriptions and reviews on the internet are misleading about the content of this Vicarious DVD, and for that reason I didn't purchase it until recently. What a mistake to wait! This DVD is essential for any Tool fan and an excellent find for anyone who likes the surreal, psychedelic, and strange. The main feature of the DVD is the Vicarious short film, which is Tool's first completely CGI video. Adam Jones and Alex Grey are the two main artists behind the video, and it's a really cool experience to see their ideas merge. Anyways here are the full DVD contents:

1. Vicarious music video (9 minutes)

2. 2 overdubs of the music video with actor/comedian David Cross making hilarious commentary (18 minutes)

3. Vicarious documentary (40 minutes)

4. Footage of the storyboards from Alex Grey and Adam Jones (1 minute)

5. Footage of Alex's art gallery COSM and him talking about it (4 minutes)

Rating: 8/10

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