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PROGRESSIVE METAL

A Progressive Rock Sub-genre


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Progressive Metal definition

This category represents the core movement of what is called "Progressive Metal" in the literal sense. It is a subgenre of progressive rock as much as it is a subgenre of heavy metal, and this is how its sound is defined: a blend of heavy, guitar-oriented metal music enriched with compositional innovation and complex arrangements, usually expressed through diverse instrumentation and often (but not always) with odd-time signatures. Common, but not essential to define the movement, are the frequent use of keyboards, high-pitched vocals, concept lyrical themes and tracks of longer duration. Similar to progressive rock, progressive metal draws influences from other genres, such as jazz/fusion, ethnic, classical and symphonic music.

The Origins:
The heavy sound of some of the progressive rock bands of the 70's has been one of the building blocks on which progressive metal was raised. Progressive rock pioneers such as KING CRIMSON and RUSH have often been acclaimed as the main influences of progressive metal bands. The other major influence has been the NWOBHM (New Wave of British Heavy Metal) movement, and especially the twin-guitar arrangements of IRON MAIDEN, which have left their stamp on the early stages of the genre's development.

The Pioneers:
Often (and not unjustifiably) referred to as the "Big Three" of progressive metal, QUEENSRYCHE, FATES WARNING and DREAM THEATER have set the scene of what was to follow in the movement. The defining era for the genre was the second half of the 80's, among QUEENSRYCHE's "The Warning" (1984) and (most explicitly) "Rage for Order" (1986) along with FATES WARNING's "Awaken the Guardian" (1986) and "No Exit" (1988) releases. The former evolved on their pure American power metal beginnings, while the latter refined their technical/NWOBHM-influenced metal into more progressive forms. Although producing demos since the mid-80's as MAJESTY, DREAM THEATER's first release came in 1989 with "A Dream and Day Unite". The innovative use of keyboards along with influences from American heavy/power metal and progressive rock produced an original blend which was to be further refined in 1992's "Images and Words", which until this day remains next to "Progressive Metal" definition in any musical dictionary.

Among the pioneers of the genre, but enjoying less success and popularity, were PSYCHOTIC WALTZ and SIEGES EVEN. The former were essentially playing progressive metal as ASLAN in the mid-80's and developed a highly eclectic sound in the 90's. The latter's debut classifies them among the European prog-thrash pioneers but their music evolved to more melodic patterns and heavily influenced by RUSH in the early 90's.


Progressive metal is difficult to further divide in sub-genres but a number of tendencies or movements have been critical to the evolvement of its sound.

Traditional Progressive Metal
The style developed by the pioneers was fully established in the 1990s and includes a range of bands from the two sides of the Atlantic. Good examples in this movement are SAVATAGE, who expanded their heavy metal beginnings with operatic and progressive elements in late 80's/early 90's, while SHADOW GALLERY and SYMPHONY X emerged with a unique sound, each embodying a strong theatrical, symphonic and melodic approach. In Europe, SOUL CAGES continued the legacy of SIEGES EVEN in a more artistic path.

Power-Progressive Metal (American style)
The legacy of RIOT (the counterpart of NWOBHM sound in USA) and the early releases of QUEENSRYCHE and FATES WARNING heavily influenced a number of bands that were to develop a common sound towards the late 80's. Among the well-known representatives of what is called American Power Metal (e.g. VICIOUS RUMORS, HELSTAR), a small number of bands enriched their sound with progressive and epic elements. Probably, the most obvious examples of this movement are CRIMSON GLORY and HEIR APPARENT.

Power-Progressive Metal (European style)
This category includes a broad range of bands that could sound fairly dissimilar to each other but their music is significantly influenced by the European Power Metal (primarily German) bands of the 80's (e.g. HELLOWEEN, RAGE, RUNNING WILD). The earliest examples are probably BLIND GUARDIAN, ANGRA (although Brazilian, their sound is mainly European) and CONCEPTION. Slightly later, VANDEN PLAS, ROYAL HUNT, ELDRITCH and LABYRINTH gave rise to the popularity of the genre in Germany, Denmark and Italy respectively. The symphonic and neo-classical elements (made popular by YNGWIE MALMSTEEN) also found their way through power metal with bands like RHAPSODY OF FIRE and NIGHTWISH, whose style does not qualify as being progressive for many people. Nevertheless their music is quite demanding to play and contains many elements of serious classical composition and form.

Modern Progressive Metal
The second half of the 90's and the early 00's also saw newly formed bands expanding the boundaries of Traditional Progressive Metal via a number of ways: introducing electronic/spacey elements, investing heavily in lyricality and/or syncopation and further rhythmical experimentation. Also the idea of thematically conceptual albums has returned in accord with the practices of the Progressive Metal pioneers. Well-known examples in this category are AYREON, PAIN OF SALVATION and RIVERSIDE.


--- Definition by Thanos and the Progressive Metal Team, January 2012 ---

The Progressive Metal Team are: (7/1/2022)
Kevin (Necroncommander)
Cristi
Sebastian (Kempokid)
Nick (nick_h_nz)
Brendan (Necrotica)

Progressive Metal Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Metal | More Top Prog lists and filters

4.31 | 3178 ratings
METROPOLIS PART 2 - SCENES FROM A MEMORY
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SECOND LIFE SYNDROME
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4.23 | 1261 ratings
REMEDY LANE
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4.23 | 1319 ratings
THE PERFECT ELEMENT - PART 1
Pain Of Salvation
4.23 | 1180 ratings
OPERATION: MINDCRIME
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4.22 | 1399 ratings
ANNO DOMINI HIGH DEFINITION
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4.20 | 1232 ratings
THE HUMAN EQUATION
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4.19 | 1275 ratings
OUT OF MYSELF
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4.16 | 2267 ratings
AWAKE
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4.15 | 2131 ratings
SIX DEGREES OF INNER TURBULENCE
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4.14 | 807 ratings
INTO THE ELECTRIC CASTLE
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4.14 | 777 ratings
V - THE NEW MYTHOLOGY SUITE
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4.16 | 441 ratings
A PLEASANT SHADE OF GRAY
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4.28 | 120 ratings
THE TOWERS OF AVARICE
Zero Hour
4.15 | 413 ratings
THE ART OF NAVIGATING BY THE STARS
Sieges Even
4.13 | 634 ratings
THE DIVINE WINGS OF TRAGEDY
Symphony X
4.17 | 272 ratings
TEMPLE OF SHADOWS
Angra
4.15 | 322 ratings
THE FULLNESS OF TIME
Redemption
4.13 | 456 ratings
PERFECT SYMMETRY
Fates Warning

Progressive Metal overlooked and obscure gems albums new


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

PRINCIPLES OF TRANSFORMATION
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Latest Progressive Metal Music Reviews


 ID.Entity by RIVERSIDE album cover Studio Album, 2023
4.05 | 183 ratings

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ID.Entity
Riverside Progressive Metal

Review by Hokeyboy

4 stars ID.Entity is the eighth album from this renowned Polish progressive rock/metal band; their first in five years as well as the first release featuring guitarist Maciej Meller (replacing longtime original guitarist Piotr Grudziński after his sudden death in 2016). Their last LP, 2018's Wasteland, represented (certainly in retrospect) a transition moment for the band. With Grudziński's passing, Duda took over primary guitar duties (alongside bass and vocals), resulting in a more riff-heavy, metallic sounding record. Without question and by nature a somewhat different sounding record, Wasteland nonetheless represented a powerful and affecting statement from the band. "Lament" still hits me hard every time.

With the January 2023 release of ID.Entity, Riverside has not only returned with a strong new album, a new fulltime guitarist, and a world tour that kicked off in my home state (and of course I had to miss it), but also with a renewed sense of artistic purpose. Traveling along a musical spectrum that ranges from quiet, almost ballad-like nuance to explosive metal anger, with multiple stops in between, ID.Entity bleeds emotional verisimilitude amid a broad dispersion of heavy progressive melody.

ID.Entity exemplifies the themes of this record: identity in the digital era. How vision is warped and manipulated by social media. Truth becomes malleable, political discourse becomes weaponized, self-realization becomes anathematic, and the entirety of one's being becomes commerce fodder.

Heady themes indeed, and Riverside delivers them in a powerfully cohesive and engaging album. Their songs reflect these ideas in a thematic concept album that questions and challenges the new realities of this social transition.

Leading off the album with "Friend or Foe?" is a gutsy choice. For starters, the track doesn't sound like anything else on the album. Nor does it sound like a Riverside tune in general. At least, not at first. It's a synth driven 80s pastiche with pop sensibilities of a bygone (but influential) era. To my ancient ears it sounds like something a-ha would have released in their '80s North American heyday. Only when the guitars crunch in during the pre-chorus/chorus do we realize we are in other territory entirely.

So yeah, it's gutsy, but it's the meta aspect that fascinates me. The early/mid 80s was the beginning of the personal computer/online era. Although it took another decade for mass acceptance and then another for social media to take off, the mid 80s was the launching pad for the Digital Age. What a perfect stylistic metaphor for this album's opening track, which delves into the sublimation or obfuscation of self in a virtual world, and the endless parade of masks worn in online interaction.

Plus it's a total pop earworm of the best kind.

"Landmine Blast" evokes the booming, forceful immediacy of crap going sideways in social media. Be it from Cancel Culture overreacting or General Stupidity accelerating. For whatever reason, the wrong words were said at the wrong time, context be damned, and the resulting detonation of outrage rolls on exponentially, without nuance or understanding, or perhaps even with too much of both. The track opens with some country-esque riffing, moving into a strong metal power swell. Middle Eastern melodicism is woven throughout the tune, adding exotic beauty through the crunch and distortion.

You can almost forgive the band for including the cheeseball 'terms and conditions' opening to "Big Tech Brother". Good idea in theory, but in practice, it's a bit silly. Still, it's over in seconds and the keyboard-driven riffing takes over. While the synthetic horns are an odd aesthetic, the transition to Hammonds as the intro ends allow the song to take on a haunting, howling vibe. The song excoriates its title subjects as it puts the adage "when you don't pay for the product, you are the product" to powerful musical effect. The band plays with dynamics to drive their concepts with melodic precision, from quiet piano interludes to atmospheric guitars and organs to evoke an endless digital prison landscape.

"Post-Truth" laments antagonism, hatred, and division, in which the dissemination of truth and verifiable reality becomes refracted through emotion and agenda. Capitalizing on the manipulation of fear, anger, and outrage is big money.

Headline drew attention Then I lost my temper Again

The song ends with a soft piano reprise of the main melody, a plea of hope and reconciliation perhaps? Or is it a normalization of self-righteous outrage? This is the world we live in.

"The Place Where I Belong", at 13 minutes, is the album's "epic" track. In many ways it summarizes the entirety of the record, emphasizing political division, anger, insincerity, hiding identity, being forced into social conformity, and ignorance presented as defining knowledge. The slow, quieter opening erupts at around the three minute mark with a bluesy bass riff. The band briefly breaks out in a strong jam before the verses kick back in.

Duda's vocals vacillate between anger and self-recrimination as he tries to obtain the titular Westphalia, that place of individual balance, self-realization, and acceptance. His vocals, alongside Meller's shimmering guitar melodie, imbue the song with a strength, beauty, and dignity. It's not a powerful "TIME TO KICK ASS! I BELIEVE IN ME!" bit of posturing that erupts with wailing soloes and a thundering wall of rhythm section badassery. This is powerful musical reconciliation that underscores the lyrical recapitulation of self.

"I'm Done With You" takes its fuzz-bass opening and drives into full-on exorcism mode; good riddance to bad rubbish indeed. Through musical urgency the band bids a not-so fond farewell to the patronization of those who insist they have our best interests at heart.

You are not my judge You are not my God You are not my own CEO Why don't you simply shut your mouth And take your poison from my soul Far away

A powerful piece of self-determination, "I'm Done With You" pulls no punches. It segues into the more uptempo "Self-Aware", with a strong central riff, driving rhythm section, and even some elements of pop melodic construction. If anything, it makes a fine reflection of the "Friend or Foe?" opener. There we questioned who we (and others) really are; here the focus is on reconciliation. Unplugging but not disconnecting entirely. We still need that human connection. Musically the song has hints of Signals-era Rush; again bringing that mid 80s milieu back into high relief. We've come full circle in our reflection of the deregulation of human behavior in the digital realm.

ID.Entity was the first "major" prog release of 2023, and as such set the bar pretty high. It presents an exemplary collection of songs that probe the fragmentation of social and individual identity. The album doesn't proselytize, but it doesn't pull its punches either. Change, as it always does, begins with the individual. Riverside delivers this excoriation of the digital ethos in a manner both explosive and measured. ID.Entity is a different sounding album for the band, but not an entirely foreign one and ultimately an engagingly successful endeavor. Welcome back guys!

 As the World Bleeds by THEOCRACY album cover Studio Album, 2011
3.86 | 29 ratings

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As the World Bleeds
Theocracy Progressive Metal

Review by Idaho

3 stars Christian power metal with some progressive influences. Bombastic, good vocals, fast guitars, quality production, a little formulaic--as far as the music goes, this is very good but nothing unique.

What is unique is the combination of this style of music with Christian lyrics. A few other good bands deal with Christian themes on a much deeper level--Neal Morse did a spectactular job on "One," among other albums, and Savatage sometimes deals briefly yet deeply with religious themes. "As The World Bleeds," unfortunately, has a much more superficial approach. More thoughtful, meaningful lyrics would have taken this album to the next level.

Complaints about the lyrics aside, this is still great music. Recommended for fans of prog/power metal who don't mind Christian lyrics. A mix of 3 star and 4 star songs, deserving of 3.5 stars overall.

 Theories of Flight by FATES WARNING album cover Studio Album, 2016
3.95 | 306 ratings

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Theories of Flight
Fates Warning Progressive Metal

Review by Idaho

4 stars What a great album. This is similar to Fates Warning at their peak--same style, excellent songwriting, haunting lyrics, great performances. "Theories of Flight" doesn't quite match the brilliance of "Perfect Symmetry" or "Parallels"--if you've just started listening to the band, start with those albums instead--but it has a very similar sound to those masterpieces. Ray Alder and Jim Matheos--the heart and soul of the band--put forth heartfelt and technically proficient vocal and guitar work. One of the best albums of 2016--a busy year for Ray Alder, who just a few months prior had released another excellent work with his other band, Redemption.

If you buy this, check to make sure you're getting the special edition with the bonus CD. It has some nice acoustic work on it--some original Fates Warnings stuff and some covers--and it's a good listen.

Highly recommended. 4.5 stars.

 Comedia - Inferno by PERVY PERKIN album cover Studio Album, 2019
3.70 | 10 ratings

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Comedia - Inferno
Pervy Perkin Progressive Metal

Review by TheEliteExtremophile

4 stars Literary references are nothing new in the fields of rock and metal. Grim writings, in particular, have provided musical inspiration to artists ranging from metal bands like Mastodon to acts as impressively-un-metallic as The Alan Parsons Project. The Inferno section of Dante Alighieri's Divine Comedy is one of the most-referenced works in the whole of the literary canon. In spite of this, Comedia: Inferno, is an inventive, original, and enthralling album.

Each of the nine songs represents one of Dante's nine concentric circles of Hell. Pervy Perkin's music has always been heavy, but they turned up the aggression sharply here to match the dark subject matter.

"Abandon All Hope" opens the album with rapidfire tonal and tempo shifts, ranging from ethereal sound effects to screeching black metal blastbeats to bluesy grooves. Perhaps a bit unfocused, this song nonetheless effectively sets the stage for the rest of the album, demonstrating the band's versatility and creativity.

Following this is the sheer brutality of "The Tempest". Between the breakneck tempo and guttural vocals, this song's opening could have easily been on a Cannibal Corpse album. As the piece progresses, though, the music becomes more structurally complex and varied, morphing into something surprisingly melodic. "Three Throats" is one of the lighter cuts on the album. Still, it's heavy in absolute terms, and the main riff is pretty big. However, the blues and jazz flavors here add some nice contrast to the preceding aggression.

With "Open Casket", the listener finally gets a moment to breathe as Pervy Perkin tone down the energy for a few minutes. It's not a ballad, but taken in the context of this album's onslaught, this is the calmest song here. This is also where jazz tones are the most overt. After that relative idyll, "Cult of Blood" enters as a roaring piece of thrash metal that sounds like it could have been pulled off some alternate-universe version of And Justice for All (with good production). The rhythm guitars chug forward with purpose, solos twist madly, and the percussion is furious.

The sprawling "Malebolge" suite opens in familiar death metal territory with bass-heavy aggression and growled vocals, but this eventually segues into melodicism reminiscent of Fates Warning, or maybe even Queensr˙che. It's really impressive how adeptly Pervy Perkin can jump between such disparate metal styles yet make everything feel coherent.

Comedia: Inferno is an impressive work of songcraft and musicianship. The constant, churning flow of different styles prevents this 68-minute album from ever bogging itself down, but it's not so overwhelming as to be like drinking from a firehose. Pervy Perkin struck a fantastic balance of complexity, depth, and breadth, undergirded by a ton of ambition.

Review originally posted here: theeliteextremophile.com/2019/04/14/album-review-pervy-perkin-comedia-inferno/

 Distance over Time by DREAM THEATER album cover Studio Album, 2019
3.66 | 455 ratings

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Distance over Time
Dream Theater Progressive Metal

Review by TheEliteExtremophile

3 stars I must be some sort of masochist. Every other year or so, Dream Theater put out an album, and I self-flagellate by listening to and thoroughly disliking it. The last time Dream Theater put out a good album was in 2004, with Octavarium, and even that was spotty at moments. I'm pretty sure I'm still traumatized from just how bad their last album, 2016's The Astonishing, was.

Nonetheless, Dream Theater are one of the founders of progressive metal and one of the giants of the contemporary scene. From the early '90s into the early '00s they put out a string of fantastic records, including two of the most vaunted albums in all of progressive metal. So, it's with a sense of obligation that I subject myself to every new release from this band, knowing it will likely be uneven and masturbatory to the extreme.

With all this in mind, I'm pleased to say that Distance over Time, Dream Theater's fourteenth studio album, is okay. It's not a great album by any stretch of the imagination, but it sounds like the band decided to do more than just have John Petrucci and Jordan Rudess instrumentally wank off for 75 minutes. At under an hour, this is Dream Theater's shortest album since 1992. After the indigestible bloat of The Astonishing, I welcome this relative brevity with open arms.

I'd characterize this album as passably forgettable. Nothing stands out, but nothing offends, either. Their 2013 self-titled was entirely forgettable, but it was a much worse type of forgettable. I actively wanted to forget it, whereas Distance over Time merely lacks anything that makes it stand out or grab hold of the listener.

The riffs on this album are some of the heaviest Dream Theater have ever done, and the songwriting felt genuinely adventuresome at points. At other points, however, song structures were irritatingly predictable, and the chug-chug riffs began to get repetitious by the second half of the album.

James LaBrie's voice is still a glaring weak point. He frequently sounds strained, trying to reach the range of his youth. When he recognizes that his strength is mid-range, he's perfectly capable, but his attempts to be particularly intense or intimate come off as amateurish.

There's only one absolutely bull[&*!#] song on this album: the sole ballad, "Out of Reach". Even Octavarium, their last great album, had two total bull[&*!#] tracks.

Despite all this griping and back-handed praise, there are a few genuine high points. "Barstool Warrior" feels like a proper suite with its unconventional structure. "S2N" features some great drumming, and "At Wit's End" is likely the best song on the album.

This album features a bonus track. When I first saw that, I wondered, "Why not just include it as part of the album?" Then I heard it and realized why. It sounds like Dream Theater wrote a song that did not fit in with the rest of Distance over Time at all, but they wanted to release it anyway. So they called it a bonus track. I'm pretty sure it's about a car. This seems like Dream Theater's attempt to write their own "Highway Star", but they're no Deep Purple. They're not really a car-song kind of band. It sounds like they're trying to have fun but they're not entirely sure how to.

I can't really recommend this album. I won't tell you to avoid it, like I would with A Dramatic Turn of Events or Dream Theater. And I can't tell you to give it a spin out of sheer morbidity, like with The Astonishing. (That album is progressive metal's version of The Room, but longer.) Distance over Time is perfectly okay, but it doesn't have anything to differentiate itself or make it stand out.

Review originally posted here: theeliteextremophile.com/2019/03/01/album-review-dream-theater-distance-over-time/

 Hymns For The Broken by EVERGREY album cover Studio Album, 2014
3.86 | 102 ratings

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Hymns For The Broken
Evergrey Progressive Metal

Review by Idaho

4 stars One of the stronger Evergrey albums, "Hymns For The Broken" is what one expects from Evergrey--dark progressive metal that doesn't get too technical, doesn't break any new ground, yet still delivers some fantastic music. Fans of '90s style progressive metal will find a lot to like here.

The first real song here (after the very brief introductory piece), "King of Errors," starts this album out strong. Other highlights include the three last songs: the soft piano-driven "Missing You," providing a bit of contrast on an otherwise heavy album, "The Grand Collapse," a long heavy progressive piece, and "The Aftermath," a thoughtful and haunting conclusion.

Highly recommended for progressive metal fans. 4 stars.

 ID.Entity by RIVERSIDE album cover Studio Album, 2023
4.05 | 183 ratings

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ID.Entity
Riverside Progressive Metal

Review by BBKron

4 stars OK, I've never been a fan of progressive metal, but Riverside has always been interesting due to their mix of strong melodies and emotional depth that is quite appealing despite the sometimes overly heavy spots (and Mariusz Duda's great vocals are always a highlight). Riverside is lead by Mariusz Duda (vocals, bass), Michal Lapaj (keyboards), and relatively new guitarist Maciej Meller. On this album, their 8th, and with topical themes and lyrical content dealing with issues of the day, the band tries to incorporate a bit more of a commercial sound (at least on the released singles), while still maintaining their powerful Prog and Prog Metal cred, and are mostly successful in that. The opener 'Friend of Foe' has something of an '80's synth pop feel that features Duda's wonderfully smooth vocals. On 'Big Tech Brother' and 'Post-Truth' they flex more of their prog metal tendencies, which is why they are, for me at least, the least enjoyable tracks. 'The Place Where I Belong' is the longest and best track, a lovely song moving from an opening plaintive melody to a beefier prog middle section, leading to a more moody, atmospheric section, and a magnificent emotional extended instrumental outro. 'Self-Aware', the album closer, sounds eerily like some lost Rush track from the early 80's, but it works very well. Overall, a very good album, with strong vocals from Duda throughout, whether singing beautiful soaring melodies or more fierce metal ravings, but because of the lighter pop elements mixed in with the heavier metal-influenced aspects, it may not totally please either the prog metal or the more melodic prog fans. Best Tracks: The Place Where I Belong, Self-Aware, Friend Or Foe, I'm Done With You. Weak Tracks(due to metal content): Big Tech Brother, Post-Truth. Rating: 3.5 stars
 Sirius B by THERION album cover Studio Album, 2004
3.83 | 130 ratings

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Sirius B
Therion Progressive Metal

Review by Idaho

4 stars Sirius B, commonly packaged together with Lemuria, is wonderful progressive metal, where Therion creates a unique, bombastic, compelling music.

An orchestra, a choir, multiple metal and opera lead vocalists--and all packaged together with some great progressive metal. Quality-wise, Sirius B is at the same level as Lemuria. The vocals are the selling point--the mix of opera and metal vocals go extremely well together. The music is varying degrees of heavy, with the orchestra coming in much stronger in some parts than others.

If you're already a fan of Therion, you know what to expect here. Progressive metal that doesn't sound like anything else out there. Actor Patton Oswalt recently said "I love huge prog rock nonsense and I love raw-knuckle punk as long as they both OWN WHAT THEY ARE." Therion knows what it is, and it doesn't hold back. Recommended. 4 stars.

 Sanctus Ignis by ADAGIO album cover Studio Album, 2001
3.92 | 112 ratings

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Sanctus Ignis
Adagio Progressive Metal

Review by Idaho

3 stars Adagio's first album, Sanctus Ignis, is good but rather generic. Lots of great guitar playing, good but very generic metal vocals, mediocre lyrics. This is not a Dream Theater clone--it's worse. It's a Symphony X clone. Granted, there are some guitar solos that sound remarkably like Yngwie Malmsteen, so it's not a perfect clone. As one would expect, speedy guitars are prominent.

It still manages to be a good album. The musicians are all extremely talented. The music moves quickly, and even if there's not much originality, it is still enjoyable music. "Stringless Violin" is a highlight, as is the instrumental "Immigrant Song," a great creative cover of the classic Zeppelin song.

Malmsteen and Symphony X fans will probably love this. Like cotton candy, it's quite tasty. But like cotton candy, when it comes down to it, there's not much substance. 3.5 stars.

 Lemuria by THERION album cover Studio Album, 2004
3.88 | 140 ratings

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Lemuria
Therion Progressive Metal

Review by Idaho

4 stars Fantastic progressive metal from Sweden. Like Ayreon and Avantasia, Therion uses a wide variety of vocalists, which makes this a much more interesting and engaging album. Therion is heavier than Ayreon and more progressive than Avantasia. Many of the vocalists featured on Lemuria clearly come from an opera background, but some of the vocals are traditional clean metal and some are more the growl variety. The guitars/bass/drums are all skilfully done, but the real highlights are the various vocals. An orchestra, a choir, and various other instruments also factor in.

My version is the double album that also includes the album Siriux B, which is not part of this review as it's a separate album. Sadly, this version lacks a CD booklet.

Bombastic, heavy, symphonic, and just a fun album. Progressive metal fans, especially those who enjoy classical and opera elements and those who like more unique music will enjoy this. 4 stars.

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Progressive Metal bands/artists list

Bands/Artists Country
5R6 Ukraine
7 MONTHS United States
7DAYS Sweden
AAXSKFG Italy
ABANDONED STARS United Kingdom
ABERRANT VASCULAR Finland
ABODEAN SKYE United Kingdom
ABOVE SYMMETRY / EX ASPERA Norway
ABSOLACE United Arab Emirates
ABSTRAKT Poland
ABYDOS Germany
ACCOMPLICE United States
ACHING BEAUTY France
ACID RAIN Argentina
ACID RAIN Serbia
ACID RAIN Spain
ACOLYTE Australia
ACUTE MIND Poland
AD ASTRA United States
ADAGIO France
ADHARA France
ADRAMELCH Italy
AEBSENCE Hungary
AEOLUS Netherlands
AEON ZEN United Kingdom
AEONS United Kingdom
AETHERIUS United States
AFASIA Italy
AFFECTOR Multi-National
AFTER FOREVER Netherlands
AGE OF NEMESIS Hungary
AGHARTA Netherlands
AGNESIS Australia
AGNOSIA Greece
AGNOST DEI Russia
AGORA Mexico
AINA Netherlands
AKASHIC Brazil
AKRIBI Sweden
ALARION Netherlands
ALCHEMY ROOM Italy
ALCHEMY X United States
RAY ALDER United States
ALETHEIAN United States
ALEVAS Japan
REESE ALEXANDER United States
ALFA PROG Italy
ALHENA Poland
ALHMA MATER Spain
ALITHEIA United States
ALKEMYST France
ALKIMYA France
ALL THINGS FALLEN Sweden
ALL TOO HUMAN United States
ALOGIA Serbia
ALPHA GALATES Canada
ALPHA ZENTRADI United States
ALTERED SYMMETRY Colombia
ALTESIA France
ALTONA Turkey
ALTURA United States
ALY Mexico
AMARAN'S PLIGHT United States
AMARYLLIS Poland
AMASEFFER Israel
AMAZE KNIGHT Italy
AMERICAN HOLLOW United States
ANABASIS United States
ANACHRONOS Chile
ANACRUSIS United States
ANASAZI France
ANAXES Brazil
ANCIENT CREATION United States
ANCIENT CURSE Germany
JONATHAN ANDERSON United States
ANDRAGONIA Brazil
ANDROMEDA Sweden
ANGRA Brazil
ANGUISH Germany
ANIMA TEMPO Mexico
ANIMATE Poland
ANIMATIONS Poland
ANNON VIN Germany
ANOMALY Netherlands
ANOTHER APPROACH Switzerland
ANOTHER LIFE Sweden
ANOTHER WORLD Switzerland
ANSATA Brazil
ANTALGIA Spain
ANTHRIEL Finland
ANTHROPIA France
ANTI CLOCK TOWER Germany
ANUBIS GATE Denmark
ANURYZM United Arab Emirates
ANVIL THERAPY Italy
ANVISION Poland
FARAZ ANWAR Pakistan
APHELION Italy
APPEARANCE OF NOTHING Switzerland
ARABESQUE Netherlands
ARASHK Iran
ARCH / MATHEOS United States
ARCH ECHO United States
JOHN ARCH United States
ARCHETYPE United States
ARCTIC PLANT Germany
ARECIBO United Kingdom
ALEX ARGENTO Italy
ARITY United States
ARK Norway
ARKAZA United States
ARKENTYPE Norway
ARKHE' Italy
ART AGAINST AGONY Germany
ART OF ILLUSION Poland
ART OF SIMPLICITY Greece
ARTEM ILLUSIO Switzerland
ARTENSION Multi-National
ARTIFICIAL LANGUAGE United States
ARTIFICIAL SILENCE United States
ARTIKON Bulgaria
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