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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THRESHOLD Legends Of The Shires Album Cover Legends Of The Shires
THRESHOLD
4.76 | 19 ratings
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OPETH Still Life Album Cover Still Life
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4.47 | 201 ratings
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DREAM THEATER Images and Words Album Cover Images and Words
DREAM THEATER
4.44 | 244 ratings
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ANUBIS GATE Horizons Album Cover Horizons
ANUBIS GATE
4.59 | 23 ratings
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HAKEN The Mountain Album Cover The Mountain
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4.46 | 79 ratings
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QUEENSRŸCHE Operation: Mindcrime Album Cover Operation: Mindcrime
QUEENSRŸCHE
4.42 | 178 ratings
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MESHUGGAH I Album Cover I
MESHUGGAH
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RIVERSIDE Anno Domini High Definition Album Cover Anno Domini High Definition
RIVERSIDE
4.40 | 88 ratings
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TOOL Lateralus Album Cover Lateralus
TOOL
4.38 | 142 ratings
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JOHN ARCH A Twist of Fate Album Cover A Twist of Fate
JOHN ARCH
4.54 | 20 ratings
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OPETH Ghost Reveries Album Cover Ghost Reveries
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4.36 | 158 ratings
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AMORPHIS Under The Red Cloud Album Cover Under The Red Cloud
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4.46 | 30 ratings
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progressive metal Music Reviews

PSICOSFERA AlphA

Album · 2015 · Progressive Metal
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siLLy puPPy
PSICOSFERA is an all-instrumental quartet that emerged in the suburb of Morón just outside the city of Buenos AIres, Argentina in 2013. The band experienced three distinct phases, the first lineup that lasted up to and included the debut album ALPHA, the second lineup that produced the sophomore release “Beta,” and the third which added a vocalist and focused more on the black metal aspects. On this debut from 2015, PSICOSFERA consisted of Gabriel Luque (guitar), Gabriel Sabatini (guitar), Juan Facundo Brinville (drums) and Juan Martin Venezia (bass, 2013-15).

This idiosyncratic band has found a way to amalgamate disparate styles of metal and offers a totally new methodology of delivering. By taking the tones, dissonance and cosmic dread of Deathspell Omega, PSICOSFERA has forged a veritable blend of djent-ish post-metal that drifts mid-tempo through 9 tracks (simply titled as Roman numerals) that add up to almost 43 minutes. While sounding like a strain of black metal, the musical procession is not anything like the torturous bleakness of bands like Germany’s Ascension or Blut Aus Nord but offers a touch of dissonant death metal in the vein of Ulcerate or Gorguts without really being death metal all the while meandering through semi-progressive game changers without truly being prog.

This album is a smooth flow of transitions although abrupt changes occur but despite heavy dissonant power chords ceding to clean guitar arpeggios and moments of respite erupting into loud frenzies of instrumental interplay, ALPHA logically connects and doesn’t deliver a strange mix of avant-garde freakery but rather a coordinated attack of instrumental prowess most resembling a typical instrumental post-rock / post-metal act. The absence of vocals gives the entire affair an abstract feel to it but the relaxed oft sludgy chords are designed to evoke philosophical reflection and human suffering. Not sure that translated well but the darkened tones and bleak overall atmosphere certainly evokes a sense of discombobulation that doesn’t resolve throughout the album’s run.

The band is skilled at playing their unique spin on proggy djent delivered in a post-metal procession however the tracks begin to sound a bit repetitive by end’s length and the addition of a wider pallet of influences might’ve served it well but as it is it’s not a bad listening experience at all and allows for a nice drifting escapism albeit a noise boisterous din of one. I always admire bands that know how to develop their own style in between the cracks of the existing genre and evoke the sense of many metal styles simultaneously without really sounding like any. PSICOSFERA has certainly achieved that lofty task but at this point the band still lacks the ability to craft enough disparate ideas to take their stylized efforts to the next level. Still though a very interesting album despite it all.

OBSOLENCE Inner Voice

Album · 2017 · Progressive Metal
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siLLy puPPy
OBSOLENCE (also stylized as ObsolencE) is an obscure metal band that comes from the eastern Polish city of Siedlce and has been around since 2014 but although still officially active has so far only released one single and this one EP titled INNER VOICE which came out in 2017.

This EP features five tracks at over 32 minutes of playing time and the band’s style is a mix of post-metal and atmospheric sludge metal along with a few death metal elements such as growly vocals and death-doom riffing. Progressive elements are also scattered throughout the mix. The music is on the slower side with a groove sort of like Tool or Incubus only with a lot more dynamics. The death metal moments remind me of Opeth’s early works.

Although the EP flows by at a very relaxed pace the moods shift from dreamy post-rock type passages with clean vocals to heavier death-doomy post-metal. All the tracks are well played but seem to revolve around the same basic idea making the EP a tad on the monotonous side however the pros are that the various tones and dynamics offer variations that are interesting.

On the positive side OBSOLENCE sounds a bit unique even though it often reminds me of some of the alternative and prog death metal bands of the 90s and the occasional reference to the death-doom sounds of Katatonia or similar bands. The band is pretty good at the mellower atmospheric parts but doesn’t deliver to my satisfaction with the death metal tidbits.

Overall this is a decent release that is somewhat unique however the music itself doesn’t really rise above average. It sort of just drifts along with some clean moments here and then some heavier there without really developing any particular song structures. While the band has all the sound effects down and the clear talent to pull it off at this point it lacks any sort of strong songwriting skills. Decent if you like deathened post-metal but nothing too overly exciting. Also i don’t find the vocalist has enough range to breathe life into the project.

IHSAHN Ihsahn

Album · 2024 · Progressive Metal
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siLLy puPPy
As one of the pioneers of symphonic black metal with his innovative band Emperor, IHSAHN together with his buddy Samoth left the 90s as one of the most influential and popular black metal bands of the entire decade. While Emperor would stop making albums in 2001, IHSAHN focused on his side project Peccatum briefly but ultimately reemerged as a solo artist in 2006 with a shift to a more progressive avant-garde metal sound that still retained the core elements of black metal. It all began with “The Adversary” and some 18 years later IHSAHN is still cranking out quality experimental metal with his latest self-titled eighth album once again capturing the attention of the world of extreme metal.

Deviating significantly from 2018’s “Àmr” which saw IHSAHN approaching a more commercial sound at times, this eponymously titled release looks back to the Emperor years and rekindles the spirit of symphonic black metal only this time he replaces the synthesized embellishments with a fuller orchestral sound courtesy of advancements in sampling technologies. While orchestrated metal albums are hardly anything new, IHSAHN delivers a anew approach that eschews a mere symphonic backing and rather features two independent musical scores laid upon each other resulting in not only a more dynamic symphonic metal approach but also by spawning a secondary release that features the orchestral side of the equation exclusively.

Almost sounding like Emperor is playing over a Hollywood blockbuster soundtrack of some sort, IHSAHN crafts his usual mix of nerdy progressive metal replete with all the avant-garde elements that makes him exist in a world of his own along with the black metal raspy vocals, thundering guitar riffs and percussion to match. The album that features 11 tracks at nearly 49 minutes is reminiscent of some of Dimmu Borgir’s later releases that offer an equal playing field for the orchestral musical score that oft soars above the black metal mania. And while the album sounds like IHSAHN has been accompanied by an entire philharmonic orchestra at times, the guest musicians only add up to three additional percussionists and a violinist leaving IHSAHN the chore of handling vocals, guitar, bass and orchestral sampling.

IHSAHN is actually quite a diverse album (would you expect anything else?) with varying tracks that features clean vocal led prog metal as on “The Promethean Spark” to full out raging black metal on such tracks as “A Taste Of The Ambrosia” but scattered throughout are tidbits of pure classical orchestration as heard on the opening “Cervus Venator” and the middle intermission “Anima Extraneae.” Tempos vary, dynamics vary and stylistic approach may but the gist of this is a mix of crunchy black metal in tandem with classical orchestrations. Tracks like “Blood Trails To Love” feature a mix of the clean vocal prog metal with the raspy more extreme black. While hinting at Emperor’s past glories, the metal on this release isn’t nearly as full throttle as such magnus opuses as “In The Nightshade Eclipse.”

Overall IHSAHN is a decent album but it’s a bit uneven with no clear stylistic approach really dominating. While that can become a good thing if the sum of the parts add up to something more profound, this album seems a bit scattered which at times reveals both the metal aspects and the orchestral ones seem to cancel each other out a bit. The novelty of orchestral metal has long worn off and the execution of this seems less than satisfying. The addition of dreadfully long moments such as the album’s 9-minute version of a ballad - “At The Heart Of All Things Broken” is actually really cheesy and i seriously would love to cut that entire track from the playing list.

The album seems to lose steam too much with half-assed percussion and metal that doesn’t get up to full force. The orchestral parts just seem to dance around and don’t really offer a very memorable experience either in a meaningful way. All in all it’s a decent album but hardly one of IHSAHN’s best. All the rave reviews about this bely it’s downsides. I was somewhat impressed on the first listen but more attentive listening sessions reveal serious flaws that i can’t shake. The patchiness of the album ruins its flow but as on all IHSAHN albums there are more than enough moments of triumphant victory. As a true fan i couldn’t imagine not owning this but it certainly won’t rank as a top contender for favorite IHSAHN releases.

TENEBRIS Alpha Orionis

Album · 2013 · Progressive Metal
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siLLy puPPy
Emerging from the city of Łódź, Poland in 1991 first under the name Solitude and then Mesmerized with a demo each under both names, the band finally chose TENEBRIS and released its first album “The Odious Progress” in 1994. Adopting the sounds of old school death metal with cheesy keyboards, the early albums sounded like a poor man’s Nocturnus and ultimately the band ended in 2002 only to resurrect in 2006 like a Phoenix and emerge as a fully developed progressive metal band without jettisoning the death metal aspects.

“Catalfalque - Comet” was immediately released but recorded from 1997 - 2002 which served as a transition album between the two phases of the band however by the time the band released its 2009 album “Leavings of Distortion Soul,” TENEBRIS had mostly shed its death metal heritage and moved more into the world atmospheric sci-fi themed prog metal that adopted all kinds of various metal styles including a nod or two to its previous incarnation. ALPHA ORIONIS, named after a star cluster in Betelgeuse, followed in 2013 and took the band even further into the world of the avant-garde and experimental with a focus on psychedelic textures, jazz influences and even zeuhl based cyclical rhythms.

ALPHA ORIONIS is a strange album that really doesn’t sound like any other. It’s a veritable mix of the spacey atmospheric sounds of early Cynic especially when the few moments of death metal come in but through the run of 9 tracks that add up to 46 minutes of playing time, TENEBRIS really dishes out healthy doses of the entire metal universe with different stylistic approaches including totally distinct vocals appearing throughout the album’s run. While mostly set to clean vocals, the occasional death growls occur during the more aggressive contrasts but for the most part this is a very atmospheric metallic version of space rock with layers of synthesizers offering subtle backgrounds and even more upfront cases of spacey keyboard runs.

The music can range from somewhat familiar progressive metal in the vein of early 90s Pestilence to very strange groove metal based sounds reminiscent of Nevermore. In addition to the sung vocals are lots of spoken vocals appearing throughout. The music alternates between heavy extreme metal, more atmospheric prog metal not unlike Porcupine Tree’s heaviest to pacifying non-metal moments with clean guitars, heavy layers of synth and dreamy atmospheres. While all these styles come and go they usually play out for a lengthy period before changing the mood dial. ALPHA ORIONIS is a true progress metal album in that excels at crafting demanding time signature workouts despite the album’s overall flow feeling quite relaxed despite the business of the heavy drum, bass and guitar workouts.

This is definitely a unique album from this Polish band and for those seeking out some of the weirdest and unorthodox extreme metal out there then this album shouldn’t be missed. It features a really nice production and a strange procession of metal and space ambient sounds that somehow keep a nice flow with some zeuhl inspired rhythms. Possibly a bit claustrophobic sounding for some and admittedly a bit busy in the atmospheric department with the vocals often low in the mix but all of this guarantees a very strange album experience that won’t disappoint those looking for something different. Personally i think this is a great album that showcases as much extreme originality as it does extreme soundscapes. Definitely one for fans of the difficult music listening section.

CONCEPTION State of Deception

Album · 2020 · Progressive Metal
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UMUR
"State of Deception" is the fifth full-length studio album by Norwegian progressive heavy/power metal act Conception. The album was released through Conception Sound Factory in April 2020. Conception disbanded in 1998 after releasing their fourth full-length studio album "Flow" (1997), but reunited in 2018 and released the "My Dark Symphony" EP (mini-album) in November 2018.

"My Dark Symphony" showed that Conception had not lost a beat in the years they were inactive as a band, and that their early - to mid-90s Queensrÿche influenced take on progressive heavy/power metal was alive and well. Stylistically Conception continue playing that style on "State of Deception" led by worldclass singer Roy Khan. They are an incredibly well playing band, which isn´t surprising as that has always been one of their many strengths, but they´ve also maintained a high quality songwriting level, and "State of Deception" is also packed in a clear, powerful, and detailed sound production, making this album a high quality release through and through.

Conception successfully balance their music with heavy riffs and rhythms and softer more melodic sections, and they excel at both. So upon conclusion "State of Deception" is another high quality release from conception and it´s a natural successor to "My Dark Symphony". Both releases displaying a mature but still hungry Conception. A 3.5 star (70%) rating is deserved.

progressive metal movie reviews

OPETH In Live Concert at the Royal Albert Hall

Movie · 2010 · Progressive Metal
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Warthur
This release captures a compelling live performance from Opeth, hailing from right towards the tail end of their metal era; Watershed had been out for nearly two years when this April 2010 concert were recorded, and the band were still some months away from entering the studio to record Heritage, heralding their stylistic shift from prog metal to a more purely prog-based approach.

In this case, the results are excellent. The band are working with songs which have had extensive road testing. Moreover, the format of the concert makes this an apt tribute to Opeth's past before they moved on to a significantly transformed future - for the concert is divided into a first act in which the entire Blackwater Park album is performed, and a second act in which the band pick out and play one song from each other their other studio albums to date in chronological order.

Blackwater Park is, of course, a stone cold classic - an album where the band's prog influences and death metal roots achieved a seamless fusion, carrying enough of their past to be an appropriate album to focus on for this journey through their career whilst also exhibiting enough of their innovations to suggest the seeds of future developments. The second half of the set allows the band to take us on a whistle-stop tour of their musical evolution, and the "one song per album" approach allows them to showcase the absolute cream of the crop, with the band erring towards epic pieces to perhaps give each album a fairly expansive showcase. (All of the songs in the second half are over ten minutes long except Hope Leaves from Damnation - and none of the songs there hit the ten minute mark.)

With the recording of Heritage a few months after this concert, an entire new chapter of Opeth's existence would begin - but this concert is an excellent summation of their previous incarnation, and will be of interest to all Opeth fans.

DREAM THEATER Breaking The Fourth Wall

Movie · 2014 · Progressive Metal
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Warthur
This came hot on the heels on the Live At Luna Park live set, which might prompt you to wonder whether Dream Theater were starting to flood the market a little with these epic-length live releases. Ever since Live Scenes From New York ended up as legendary as it was, triple album-length live workouts have been part of Dream Theater's schtick, but I'm unpersuaded.

If you're here for the visuals, then god this is a lot of Dream Theater to sit there and watch for nearly 3 hours; probably too much. This got an audio-only release on CD as well as a DVD release, at least, though the audio does reveal some issues with the mix - LaBrie's vocals are outright murky at some point, and some of the higher cymbal sounds end up coming across weird. The audience are also a little prominent in the mix - some crowd noise is nice on live albums, of course, but here it's a little more intrusive than usual.

Sure, some imperfections come with the territory, that's part of the appeal of live albums usually, but on the technical front past live releases from the band have avoided these issues. It really comes across as something knocked out and released in a hurry - particularly given how close this release was to the Luna Park one - which only contributes to the impression of Dream Theater needlessly flooding the market. Maybe I could give it more of a chance if these nagging technical issues didn't keep taking me out of it - there's nothing wrong with the performance here, if anything the band are at the top of their game - but in this case, their live recording setup wasn't keeping pace with them.

DREAM THEATER Live at Luna Park

Movie · 2013 · Progressive Metal
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Warthur
Though released in late 2013, a few months after they put out their self-titled album, Dream Theater's Live At Luna Park actually captures a 2012 residency at the titular venue hailing from the Dramatic Turn of Events tour - hence the daredevil unicyclist from that cover appearing here.

That album was, of course, largely an exercise in reassuring listeners that Dream Theater could still be Dream Theater without Mike Portnoy at the drum stool, though it managed to pull through on the strength of its material. Here, the band seem to be doing the same thing from the perspective of live albums - demonstrating to fans that we needn't worry, new boy Mike Mangini can drum for absurd amounts of time just like Mike Portnoy could. The three-CD live album had become something of a calling card for Dream Theater - though by this point in their career they tended to be coupled to DVDs - and so this seems to have been an exercise in demonstrating that the adjusted lineup could still do this.

It's not bad, on the whole, but it doesn't feel compelling necessary either. Unless you are a true zealot, there's a point where you've kind of got enough live Dream Theater, and though the focus here on material from A Dramatic Turn of Events at least means there's fresh stuff here, there's more that could have been done to shake up the set list. There's a bizarre lack of material from Black Clouds and Silver Linings, despite that they hadn't done any of their 3CD live albums since the Systematic Chaos tour, so that's an entire well of material left unaccountably untapped. Chunks of this material has already had good airings on live albums, and the strong focus on material from Images and Words and Awake makes the set list feel lop-sided - Octavarium, Six Degrees, and Metropolis also get a look-in, but there's several albums which just get overlooked entirely.

To an extent, of course, that's a testament to the strength of Dream Theater's body of work - of course you can come up with a 3 hour-plus setlist only working from a fraction of their back catalogue, they've got an embarrassment of riches to choose from! At the same time, it does make the setlist feel a bit off, and between this and them sticking fairly closely to the studio renditions for the most part it just makes the whole thing seem inessential compared to prior live releases. It comes across as Dream Theater putting out these super-long live albums because they feel an obligation to, rather than (as with Live Scenes From New York) it felt like the natural and artistically appropriate choice. If my feeling on that is correct, that's an issue; if it's not, it's still a problem, because it means the album's failed to convince me on that front.

Either way, this captures a solid performance so I can't rate it down too much, it just doesn't quite have the magic of Scenes From New York.

DREAM THEATER Chaos in Motion

Movie · 2008 · Progressive Metal
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Warthur
Dream Theater might have thought that their triple live album schtick was starting to wear thin after Live Scenes, Budokan, and Score, because for Chaos In Motion the triple CD is only actually available with the DVD set (though most of the live album - bar an intro track and a keyboard improvisation - is available streaming). I don't think they need to have worried; this live sampling of the Systematic Chaos tour absolutely cooks.

Naturally, Systematic Chaos itself is well-represented, with all but two of its songs represented (those being Repentance and Prophets of War, the latter of which I considered one of the weaker songs on that album). In the Presence of Enemies is presented as one single 26 minute song, rather than split into two halves on the album, which is interesting in itself. As far as dipping into the band's past goes, honourable mention has to go to the extended version of Surrounded from Images and Words, extending it from a five and a half minute piece to a fifteen minute workout which ends up being a medley incorporating a good chunk of Marillion's Sugar Mice, which is a fantastic interpretation of what is already an incredible song.

It's surprising to find that Dream Theater are still excelling to this level on these triple live releases at a point when you would have thought that these would start getting redundant, but I genuinely think Chaos In Motion is an overlooked and undervalued part of their discography and it's well worth a revisit... just, lads, consider a standalone CD reissue, will ya?

AYREON Electric Castle Live and Other Tales

Movie · 2020 · Progressive Metal
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adg211288
Electric Castle Live and Other Tales (2020) is a live release by Dutch progressive rock/metal project Ayreon. It is a documentation of the second run of official live Ayreon shows following the Ayreon Universe shows and was recorded in Tilburg in September 2019. While the prior Ayreon Universe was a retrospective show, Electric Castle live is a stage version of Ayreon's breakthrough album Into the Electric Castle (1998) with an assortment of songs from other Arjen Anthony Lucassen projects and one cover song.

Like with Ayreon Universe Arjen Lucassen isn't performing himself as part of the live band, but he does reprise his original vocalist role as the Hippie from Into the Electric Castle so is generally on stage more often on this live release than he was on the former. Speaking of the cast most of the vocalists from the original album have returned to their roles on Electric Castle Live; Fish (ex-Marillion) as the Highlander, Damian Wilson (ex-Threshold, Headspace) as the Knight, Anneke van Giersbergen (ex-The Gathering, Vuur) as the Egyptian, Edward Reekers (ex-Kayak) as the Futureman, Edwin Balogh (ex-Tamás Szekeres) as the Roman and George Oosthoek (ex-Orphanage, MaYaN) as one of the voices of Death. Replacement cast members for unavailable vocalists are Simon Simons (Epica) as the Indian (replacing Sharon den Adel (Within Temptation)), John 'Jaycee' Cuijpers (Praying Mantis) as the Barbarian (replacing Jay van Feggelen (ex-Bodine)) and Mark Jansen (Epica, MaYaN) as the other voice of Death (replacing Robert Westerholt (Within Temptation)). The vocalists replacements are well chosen and you'd be forgiven for mistaking them for those who original sang their parts. Of course there is one person I have no mentioned yet, the most notable of the re-casts: actor John de Lancie (best known as Q in Star Trek: The Next Generation) replacing Peter Daltrey as 'Forever' of the Stars, complete with new narration. Marcela Bovio (ex-Stream of Passion), Jan Willem Ketelaers (Knight Are) and Dianne van Giersbergen (ex-Xandria) make up a trio of backing vocalists.

Some of the stage musicians are the same as on Ayreon Universe but with some changes that were likely due to availability from their usual projects. Of course Ed Warby is there on drums and Joost van den Broek on keyboards, with a triple guitar setup of Ferry Duijsens (Vuur), Bob Wijtsma (Ex Libris) and Marcel Singor (Kayak), with Johan van Stratum on the bass. Ayreon regular Ben Mathot is on violin with cello performed by newcomer Jurriaan Westerveld. The most noted guest performer is of course Thijs van Leer of Focus, just as on the original album. He makes his entrance during Amazing Flight and continues to appear both through the album show and the Other Tales segment.

The narration change is the biggest difference that the live version of Into the Electric Castle has to the original. The songs themselves are faithfully performed, more so than much of the material on Ayreon Universe was, with minimal other changes to the flow of the album. Some other changes are the inclusion of a piano solo by guest musician Robby Valentine after Cosmic Fusion; some backing death growls on The Castle Hall and some vocal alternations to include Fish on the final song Another Time, Another Space. Nothing changed is out of place and makes the performance unique from the original. In some ways de Lancie's narration is faithful to Daltrey's original, but is a little jarring at first when you're like me and are so familiar with the original that anything else seems wrong to start with. By the time the show is over though, I've come to realise that the de Lancie narration is in some ways a improvement on the original, especially for the live environment.

The show isn't over with Into the Electric Castle though, as there is more to come. After a quick pre-recorded video introduction by Mike Mills (Toehinder) in character as Th-1 from The Source (2017), the other projects of Arjen Lucassen are worked through: The Gentle Storm and the heavy version of Shores of India (sung of course by original vocalist Anneke van Giersbergen), Stream of Passion's Out in the Real World (with Marcela Bovio on vocals), Ambeon's Ashes (with Simone Simons on vocals), Guilt Machine's Twisted Coil (with Damian Wilson on vocals), a cover of Marillion's Kayleigh (with Fish on vocals, of course), Arjen's solo album Lost in the New Real and after a speech by Lucassen and Joost van den Broek, Star One's Songs of the Ocean as an encore with Arjen on guitar and primary vocals by Robert Soeterboek (making his first and only appearance during the show), Dianne van Giersbergen, Marcela Bovio and Damian Wilson before everyone involved in the show comes out on stage for a climatic sing-alone finale. The extra songs allow some Lucassen work that wasn't featured on Ayreon Universe to also get an airing. The total show is over two and a half hours long, so there's a lot of value for money to be had here.

Where Ayreon Universe gave the overall better airing of the Ayreon catalogue in the live environment, a stage show of a complete album is where the project's music really comes to life. The main cast of singers are all dressed up as their characters, with Damian Wilson coming out in full knightly armour and wielding a sword being the best costume, while Oosthoek and Jansen don black metal style corpse paint in the role of Death. The stage is done up as a castle set, though sadly it doesn't look like the Electric Castle from the original album's cover, but that's probably for production reasons: the castle set is set up to its battlements can be used by the vocalists and musicians as well as the main stage.

So Ayreon Universe or Electric Castle Live? There's no easy answer to that question. Except perhaps to say, both. Once again this is an essential live release from the project that I once thought would never have true live releases. This is especially essential if you're as big a fan of Into the Electric Castle as I am (it's my favourite album of all time) and it's clear that more Ayreon albums deserve this kind of attention.

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