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:
  • DippoMagoo
  • Necrotica

progressive metal top albums

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HAKEN The Mountain Album Cover The Mountain
HAKEN
4.53 | 44 ratings
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AYREON The Source Album Cover The Source
AYREON
4.66 | 17 ratings
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DREAM THEATER Images and Words Album Cover Images and Words
DREAM THEATER
4.41 | 205 ratings
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ANUBIS GATE Horizons Album Cover Horizons
ANUBIS GATE
4.56 | 20 ratings
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JOHN ARCH A Twist of Fate Album Cover A Twist of Fate
JOHN ARCH
4.62 | 15 ratings
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TOOL Lateralus Album Cover Lateralus
TOOL
4.37 | 115 ratings
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MESHUGGAH I Album Cover I
MESHUGGAH
4.43 | 39 ratings
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AYREON The Human Equation Album Cover The Human Equation
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4.36 | 87 ratings
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DEVIN TOWNSEND Ziltoid The Omniscient Album Cover Ziltoid The Omniscient
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4.36 | 96 ratings
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OPETH Still Life Album Cover Still Life
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4.33 | 171 ratings
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PAIN OF SALVATION The Perfect Element, Part 1 Album Cover The Perfect Element, Part 1
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RIVERSIDE Anno Domini High Definition Album Cover Anno Domini High Definition
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4.35 | 71 ratings
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progressive metal Music Reviews

DREAM THEATER The Astonishing

Album · 2016 · Progressive Metal
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Uknowntoall
Ok...I know there is a lot of confliction about this record and people have their different opinions on its execution, but I am one of those who is not afraid to admit that I quite liked this record...I'm not saying that its a bad album or a great album, I think it sits somewhere in middle ground along with albums like 'Falling into Infinity' and 'When Day and Dream Unite', which in turn weren't really Dream Theater's strongest moments or that's what I think. Getting back to the album itself I found that this had a different curve on the music as it seems to be more dominated by Piano, Keyboard and orchestration rather than the extreme guitar and synth work Dream Theater is better known for, I'm not saying different is a bad thing though as bands tend to change music styles to suit a particular audience to attracted new fans while trying to keep old fans interested and coming back for more, but it seemed that this lighter approach put off a lot of old DT fans sadly. The only thing I was disappointed with was John Myoung's bass lines couldn't be heard and Mike Mangini's druming was a little too simplistic in places, but I enjoyed the concept of the record, I will say that when you first listen to it you really need to have the lyric book open so you know which character James LaBrie is portraying in turn and you really need to have alot of focus/concerntration for this record due to the duration of it...131 minutes worth of music and lyric content over 2CDs...glad I did have focus for this album...I would only say listen to this if you have the time and patience for it.

TESSERACT Sonder

Album · 2018 · Progressive Metal
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DippoMagoo
Out of all types of metal, one genre I’ve long struggled with and only managed to enjoy in quick bursts over the years is djent, a particularly rhythmic, repetitive and at times overly harsh sounding offshoot of progressive metal, which of course is one of my favorite genres. The band many consider to be the pioneers of the genre, Messhugah, have certainly never impressed me, while other famous bands like Periphery and Textures have managed to hook me in on occasion, but never entirely. So far, the one band in this style that has managed to keep me interested over the course of multiple albums is British band TesseracT, who I first discovered with their excellent second full-length release, Altered State, in 2013. Their next release, Polaris mostly eluded me, though I did eventually give it a listen and quite enjoyed it as well, so while their upcoming fourth full-length album, Sonder, wasn’t one of my most anticipated releases the year or anything, I was interested to see how it would turn out. In the end, if their previous albums hadn’t already won me over and convinced me that djent can work on a consistent basis when done correctly, then Sonder surely would have been the one to do it, as it manages to be equal parts accessible, hard-hitting and atmospheric, and it’s easily the most engaging and consistently impressive release I’ve heard from TesseracT to date.

One aspect of djent I tend to not be too fond of is the constant use of repetitive chugging guitars, which can grate on my ears badly if done the wrong way, with even a band such as Periphery sometimes falling into that trap. Thankfully, TesseracT have always been good at knowing just how far to take their heaviness, without pushing it to the point where it gets irritating, and they also do a great job of letting the guitars and drums settle into a nice groove, that allows the atmosphere and vocals to take and over and really push the songs to the next level. Which brings me to one aspect of the genre I do enjoy, and another thing TesseracT does amazingly, and that is the contrasts between the rough, aggressive sections, and the dark but rather calm and atmospheric, sometimes even ambient, sections. On Sonder, TesseracT have really perfected that side of their music, with almost every track seamlessly switching from loud and violent to calm and more introspective seemingly out of nowhere, and they handle these transitions perfectly. There are many extended softer portions on this album, where the electronic elements are used nicely along with more melodic guitars to add atmosphere to the music, and this goes along nicely with the lyrics, which deal with themes of insignificance, and it is definitely a very emotional album, with very strong performances all around. At the same time, fans looking for the more aggressive side of the band’s music still have a lot to look forward to, especially on tracks like “King”, “Juno” and “Smile”.

Another aspect I often struggle with is the vocals, as djent is a genre often known to use a ton of screaming, metalcore style vocals, and those are the kind of thing that can often grate on my nerves if done poorly, which I sadly find to be the case a lot of the time. Thankfully, that is yet another trap TesseracT manages to avoid, as vocalist Daniel Tompkins only uses screams in quick bursts, often during some particularly intense and powerful sequences where that kind of approach is necessary. When he does use them, he sounds fittingly intense, but certainly never grating or irritating. For the most part, he uses clean vocals and he is certainly one excellent singer, seamlessly going from high notes to low notes within the same sentence, with his lower range especially sounding very smooth and really fits the atmosphere of the music, though his high notes are also very nice, of course. He sings very calmly during the soft parts but can get his voice to sound rough and intense without screaming during some of the heavier parts, and this is used to great effect throughout the album. Overall, he simply does an excellent job and puts a ton of emotion into his performance, which helps to enhance an already great album even further.

One last area where djent can often be hit or miss is in the songwriting, as I find there isn’t really that many bands can do while sticking to their overall sound, so often times the songs will blend together, with few standouts. This is again an area in which TesseracT delivers, as while there is a consistent feel to the whole album and everything flows together perfectly, each track can definitely stand on its own, and it certainly never gets boring. Opening track “Luminary” does an excellent job of setting the tone, opening with some brief atmospheric electronic effects, before the dissonant guitars kick in, and then the music calms down again and Daniel enters in on vocals. It’s a great track which does a great job of briefly showcasing the heavier side of the band, while overall being a very melodic and surprisingly accessible track, with a very strong chorus, and a great use of atmospheric sounds throughout.

The first big standout is “King”, the longest track on the album at just under 7 minutes, and it’s a mammoth track, entering in with some very overpowering riffs that set a dark and ominous tone right out of the gate, and this is one of the tracks where Daniel showcases his screams, seamlessly mixing them in with his various types of clean vocals, with everything sounding perfect, of course. The track is definitely one of the heaviest on the album, getting especially intense during a screaming section in the second half, though it still manages to throw in a ton of calmer and more atmospheric moments both in the middle and ending of the track, and it has another strong chorus. After that is the interlude track “Orbital”, a brief but very nice ambient track, which uses some nice electronic sounds in the background, while Daniel sings very softly. It manages to be an emotional track, while also being very quiet, and despite being only 2 minutes, it is quite memorable. The next full song is “Juno”, which starts out heavy before settling into a nice groove, with some pretty nice guitar work as well as some cool electronic beats, that add a nice rhythm to the track throughout. This is one of the grooviest tracks on the album, for sure, and it moves along at a nice pace and manages to represent somewhat of a middle ground between the heavier tracks and the calmer tracks, and it does so quite wonderfully.

The second half begins with “Beneath the Skin”, a very dark and mostly soft track, which has an extended atmospheric section early on that uses minimal sounds very effectively, creating a thick atmosphere with very few sounds used, and it is quite the interesting track overall. It does get heavier as it goes on, with the typical djent chugs and grooves kicking in later on, though it’s still one of the slower and more melodic tracks on the album, with some wonderfully smooth clean vocals from Daniel, as well as an excellent chorus, once it shows up in the second half. Another soft track is next in “Mirror Image”, which is the closest this album comes to having a full ballad. It’s another track which uses some nice electronic effects and vocals to create a dark atmosphere, and it’s certainly one of the most vocal driven and melodic tracks on the album, with another very emotional and powerful performance from Daniel. It gets slightly heavier in the second half, and the guitar work towards the end is amazing, but it’s definitely a surprisingly calm and beautiful track overall. The last real heavy track on the album is “Smile”, which again starts with some dark and heavy riffs before settling into a nice groove, with a nice use of electronic effects to set the tone for the music. It’s somewhat similar to “Juno”, except a bit darker and more intense, with a very sinister feel to it, and the guitars have a very aggressive, alternative metal feel to them throughout the track, which is somewhat on the rest of the album, but it’s especially noticeable here. The screamed section towards the end is extremely intense and epic, and overall it’s definitely one of the highlights of the album. After such an intense track, closing number “The Arrow” is a suitably mellow and atmospheric track, with haunting vocals and very dark lyrics, as well as some beautiful but twisted sounding melodies. It has a slight heaviness to it but is another surprisingly soft and calm track for this style of metal. While it’s one of the shortest tracks on the album, it’s also one of my favorites, due to the vocals and lyrics working together so effectively with the music.

Overall, Sonder may be the best djent album I’ve heard to date, and while that’s not saying a whole lot, it definitely is an excellent album in its own right, with an excellent mix of heavy, punishing guitar work, a great use of atmosphere, and some very powerful vocals. Fans of the band are sure to be pleased, and anyone like me who has previously found this genre to be a bit too rough on the ears to handle may be pleasantly surprised, this is a very nicely balanced album that certainly has some excellent melodic and calm portions, to go along with the expected intense bursts. I was expecting to enjoy this album, but it greatly exceeded my expectations and become one of my favorites of the year so far, and I’ll definitely be looking forward to hearing anything else TesseracT does in the future.

originally written for myglobalmind.com: https://myglobalmind.com/2018/04/21/tesseract-sonder-review/

THE QUIET ROOM Introspect

Album · 1998 · Progressive Metal
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martindavey87
‘Introspect’ is the 1998 debut by American progressive metal group The Quiet Room. I came across this album on eBay back in its heyday (do people still shop on there?), when searches would often have it come up, being advertised by sellers as similar to prog metal pioneers Fates Warning. That was enough to pique my interest, and to be fair, the similarities in their sound are uncanny.

However, the one resemblance they don’t share is quality. Following the typical prog metal blueprint of ambitious song structures with extended musical passages and wailing, high-pitched vocals, The Quiet Room don’t really offer anything that hasn’t been done better by someone else.

The musicianship is fantastic, and these guys are all more than capable at playing their instruments, but sadly not so much at song writing. Everything seems pretty jarred and disjointed. Oftentimes songs wonder off into aimless territory, twisting and turning in ways that lose my interest instead of engaging me. It’s a shame, because the album starts off pretty strong, with opening tracks ‘A Different Scene’ and ‘Grudge’ being respectable enough, but anything after struggles to keep my attention longer than a couple of minutes.

No doubt progressive metal was still mostly an underground subgenre at this point, and with only a handful of bands breaking into the mainstream, The Quiet Room are one of many lost causes that were destined to become obscure, forgotten hopefuls.

PERIPHERY Periphery III: Select Difficulty

Album · 2016 · Progressive Metal
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Kingcrimsonprog
Of all the Djent bands, Periphery are undoubtedly the biggest and most well known. Since 2005 they have been innovators boldly carving their own path through progressive and tech Metal styles, inspiring many in their wake.

Taking influences from mathy bands like Dillinger Escape Plan and Sikth, harder bands like the ferocious Messugah, the crushing parts from Iowa-era Slipknot, as well as taking the flowing guitar solo techniques from the likes of Dream Theater and mashing it together with the general sounds and clean/heavy dynamics of modern metalcore bands, putting that over the top of the bounce from the heavier Nu Metal bands and even peppering it with electronic and ambient bits that wouldn't feel out of place on a Nine Inch Nails record, the band manage to meld all these disparate styles into one cohesive and entertaining whole.

I know some people get uppity about anyone using the word 'Djent' and argue its either not a real subgenre and its just Prog Metal or else its just a lot of people copying Messugah but both of those sentiments are reductive and inaccurate and time has shown this to be a legitimate and true subgenre (just look at the number of bands who do it now, or the amount a websites devoted to it). You know; In the same way Doom is a real subgenre and not just a load of people copying Black Sabbath and that Power Metal is not just Traditional Heavy Metal.

If you like bands like Tesseract and want something heavier, if you like bands like Monuments and want something catchier, if you like bands like Uneven Structure and want something bouncier, you also really need to check out Periphery. If you like Periphery, this is a particualrly must-have album and not one to pass over or miss out on.

Periphery III Select Difficulty, is, confusingly, Periphery's fifth studio album (due to the Juggernaut Alpha & Omega albums which preceded it not being numbered). It was self produced and released in 2016. The music is a great mix of complicated awkward rhythms, soaring commercial choruses and spicing it up with shimmering guitar lines and the odd bits of electronics here and there. You get some great moments like clean singing over blast beats. There's violins and trumpets and choirs too. Its probably their most diverse album overall.

There are a few awesome heavier tracks like 'The Price Is Wrong,' 'Motormouth' and 'Habitual Line-Stepper.' The band also try stretching their wings a little bit. There are a few newer ideas and more quiet moments, like the superb closer 'Lune' with its beautiful backing vocals, or the catchy and commercial 'Flatline' which could be on the radio as well as the Faith No More influenced 'Reamain Indoors.' There's some great lyrics too. I've worked a lot in hospital and held a lot of people's hands as they die in front of me, and the lyrics to Flat Line are pretty affecting. I particularly like the hook 'He says send an angel to pull me from the hell below. This weight is far too much to own and this body doesn’t feel like home.'

I feel like maybe Periphery II This Time Its Personal is probably their best album overall for sheer impact and creativity at the time, and for how it broke them to a bigger audience, but for me this is a damn close second and their most cohesive and listen-to-on-repeat album to date. I like to leave this album on in the car and just play it end to end, over and over again. There isn't one song on this I wouldn't want to hear live and there are a lot on here that demands to be in compilations and play lists.

I also feel like this is also a great introduction point for people who don't know the band or the subgenre. If you like A Perfect Circle or Cog or Rishloo 'Lune' is really likely to hit you. If you like Slipknot when they go a bit Morbid Angel influenced 'Habitual Line Stepper' is worth checking out. I  even feel like fans of Nu Metal and Rap Metal bands like Incubus and P.O.D and (Hed) PE might even get in on the bouncy bass driven 'Catch Fire.'

Overall, this album is pretty superb and deserves to be heard by more people. If you like any of the bands or ideas I've mentioned above, take a shot and give it a listen. I doubt you'll regret it.

XANTHOCHROID Of Erthe and Axen Act II

Album · 2017 · Progressive Metal
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Warthur
This is the second half of Xanthochroid's two-part concept album, the two between them detailing the origin myth of their homebrewed Dungeons & Dragons world (I think). As previously, we're in a blackened progressive metal territory here, with folk touches and an overall concept which seems to combine the storyteller's theatricality of the Decemberists with the fantasy worldbuilding of Immortal. To my ears, it sounds like it has a bit more fire and fury than its predecessor, in keeping with being the exciting climax of the story. On the whole, the two-album set was an ambitious project to undertake, but it has at least paid off in terms of prompting a maturing and development in Xanthochroid's sound.

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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