| 1 | %% |
| 2 | %% Please add context to Administrivia/ZeroContextExamples before uncommenting them. |
| 3 | %% "X is this trope" or "X is used by this band, period" is not context. Examples must explain how they use a trope. |
| 4 | %% |
| 5 | |
| 6 | [floatboxright: |
| 7 | Primary Stylistic Influences: |
| 8 | + ProgressiveRock, HeavyMetal |
| 9 | ] |
| 10 | |
| 11 | [floatboxright: |
| 12 | Secondary Stylistic Influences: |
| 13 | + ThrashMetal, PowerMetal, DeathMetal |
| 14 | ] |
| 15 | |
| 16 | A subset of HeavyMetal which combines the musical intricacies of ProgressiveRock with the heavy, guitar/drum-driven sound of metal. Progressive Metal may also include more overt flavorings of Classical music, such as operatic vocals or symphonic arrangements; bands with modern classical leanings usually skew more towards AvantGardeMetal. As with other forms of metal, the lyrical themes tend to be DarkerAndEdgier compared to traditional prog, with more sophistication than other forms of hard rock. A concrete definition of progressive metal is hard to pin down, so the status of many bands as progressive metal can be ambiguous. Its roots trace all the way back to hard rock and early heavy metal acts who dabbled in progressive rock (namely Music/LedZeppelin, Music/BlackSabbath, Music/DeepPurple, Music/{{Rainbow}}, and Music/{{Scorpions|Band}}[[note]]as well as Uli Jon Roth's post-Scorpions work with Electric Sun[[/note]]), as well as prog acts with heavier songs (particularly Music/KingCrimson, Music/{{Rush|Band}}, Music/{{Hawkwind}}, Music/RogerWaters-era Music/PinkFloyd), and [[Music/KingDiamond Mercyful Fate]] and Music/IronMaiden were among the first acts to play traditional heavy metal with overt prog elements. Progressive metal itself is generally agreed to have solidified with Music/{{Queensryche}}, Music/{{Watchtower}}, Music/CrimsonGlory, Fates Warning, and Music/{{Voivod}}, while Music/{{Savatage}}'s burgeoning RockOpera-centric SignatureStyle and heavily showtune-influenced compositions also helped build the genre, though it is debatable whether they were a full example by the time that the others were making their mark. |
| 17 | |
| 18 | It helps that there's been an overlap between both metal and prog from the beginning since both genres were in heavy rotation on FM rock stations in America in the early '70s. |
| 19 | |
| 20 | Also, see TechnicalDeathMetal, AvantGardeMetal and the "Avant-Garde/Progressive Black Metal" section in the BlackMetal article. Another notable subgenre is Neo Classical Metal, also known as 'Guitar Virtuoso Music'. This is basically heavy metal with an electric guitar playing classical music instead of rock, and it often overlaps with either SpeedMetal, PowerMetal, or GlamMetal. |
| 21 | ---- |
| 22 | |
| 23 | !! Notable Progressive Metal bands include: |
| 24 | |
| 25 | [[index]] |
| 26 | * Music/AbstraktAlgebra (overlaps with DoomMetal and PowerMetal) |
| 27 | * Music/{{Adagio}} (also PowerMetal, later material has some djent elements) |
| 28 | * Music/{{Agalloch}} (overlaps with DoomMetal, BlackMetal, and FolkMetal) |
| 29 | * Music/{{Aghora}} (often called "Jazz Metal") |
| 30 | * Music/{{Aina}} |
| 31 | * Music/{{Akercocke}} (also classed as progressive BlackMetal, ProgressiveDeathMetal, blackened death metal, and probably a number of other things) |
| 32 | * Music/{{Alarum}} (mixed with DeathMetal) |
| 33 | * Music/{{Alchemist}} |
| 34 | * Music/TheAlgorithm (mixed with ElectronicDanceMusic) |
| 35 | * Music/{{Alkaloid}} (mixed with DeathMetal, also some [[AvantGardeMetal avant-garde]] elements) |
| 36 | * Music/{{Allegaeon}} (''Damnum'', also TechnicalDeathMetal, though they had been moving in this direction since ''Proponent for Sentience'') |
| 37 | * Music/AlterBridge (''AB III'' onward, mixed with AlternativeMetal, HardRock and occassionally SpeedMetal; their prog influences are probably at their strongest on ''Fortress'' and ''Pawns and Kings'') |
| 38 | * Music/{{Amniote}} |
| 39 | * Music/{{Amorphis}} (First album was straight-up DeathMetal, and their second album was [[MelodicDeathMetal Melodeath]]/DoomMetal. However, from their third album on, they've been prog metal) |
| 40 | * Music/{{Anciients}} |
| 41 | * Music/{{Angra}} (also PowerMetal and SymphonicMetal) |
| 42 | * Music/AnimalsAsLeaders |
| 43 | * Music/ANTIfaith |
| 44 | * Music/{{Architects}} (mixed with {{Metalcore}}) |
| 45 | * Music/{{Arcturus}} (mixed with BlackMetal on the early recordings, but this is reduced starting with ''La Masquerade infernale'') |
| 46 | * Music/{{Area 11}} |
| 47 | * Music/{{Arkaik}} (circa ''Metamorphignition'') |
| 48 | * Music/{{Atheist}} (also the trope codifiers for TechnicalDeathMetal) |
| 49 | * Music/{{Augury}} (along with DeathMetal) |
| 50 | * Music/AugustBurnsRed (mixed with {{Metalcore}}) |
| 51 | * Music/AvengedSevenfold have some minor progressive elements in most of their albums, but dived headfirst into it with ''The Stage.'' |
| 52 | ** 2016 - ''Music/TheStage'' |
| 53 | ** 2023 - ''Music/LifeIsButADream'' |
| 54 | * Music/{{Ayreon}} |
| 55 | ** 2016 - ''Music/TheTheaterEquation'' |
| 56 | * Music/{{Baroness}} |
| 57 | * Music/BattleOfMice |
| 58 | * Music/BetweenTheBuriedAndMe (mixed with {{Metalcore}} and DeathMetal) |
| 59 | * Music/BeyondCreation (also TechnicalDeathMetal) |
| 60 | * Music/BlackCrownInitiate (mixed with DeathMetal, as well as djent on ''The Song of the Crippled Bull'') |
| 61 | * Music/BlackFast (mixed with thrash and death metal) |
| 62 | * Music/BlindIllusion (mixed with ThrashMetal, also noteworthy as the band where [[Music/{{Primus}} Les Claypool and Larry LaLonde]] first played together) |
| 63 | * Blood Incantation (progressive death metal on ''Hidden History of the Human Race'', though they had flirted with prog on ''Starspawn'') |
| 64 | * Music/BlutAusNord (mixed with BlackMetal and IndustrialMetal starting with ''The Mystical Beast of Rebellion'') |
| 65 | * Music/{{Borknagar}} (later material mixed this with VikingMetal, early material was straight-up [[BlackMetal Black/Viking Metal]]) |
| 66 | * [[Music/CaligulasHorse Caligula's Horse]] |
| 67 | * Music/{{Candiria}} (also Jazz Fusion and RapMetal) |
| 68 | * Music/CattleDecapitation (also DeathMetal) |
| 69 | * Music/CellarDarling |
| 70 | * Music/TheChasm (also DeathMetal) |
| 71 | * Music/{{Chaotrope}} ([[ElectronicMusic Electronic Metal]]) |
| 72 | * Music/CircleTakesTheSquare (vaguely; also falls under ScreamoMusic, PostHardcore, PostRock, and [[GenreBusting numerous other genres]]. The "progressive" part isn't really debatable; Prog Archives has them listed as a Tech/Extreme Prog Metal band, for what that's worth) |
| 73 | * Music/CircusMaximus |
| 74 | * Music/CoheedAndCambria (also falls under AlternativeRock, PostHardcore, and AlternativeMetal, with slight PopPunk influences as well; a strange combo, to say the least) |
| 75 | * Music/{{Conception}} |
| 76 | * Music/{{Cormorant}} (also takes influences from MelodicDeathMetal, BlackMetal, FolkMetal and HardRock) |
| 77 | * Music/TheContortionist (originally djent, gradually downplayed this with each album) |
| 78 | * Music/CrimsonGlory (also PowerMetal) |
| 79 | * Music/CultOfLuna (progressive sludge metal) |
| 80 | * Music/{{Cynic}} (earliest material is more DeathMetal-oriented; modern material is more rock-oriented) |
| 81 | * Music/{{D}} |
| 82 | * Music/TheDaliThunderingConcept (also Main/{{Deathcore}}) |
| 83 | * Music/DarkAngel (mixed with ThrashMetal, mostly on their last two albums, especially the last one) |
| 84 | * Music/DarkFortress (mixed with MelodicBlackMetal) |
| 85 | * Music/DarkMatterSecret (instrumental progressive/technical death metal) |
| 86 | * Music/{{Darkwater}} |
| 87 | * Music/{{Dawnbringer}} |
| 88 | * Music/{{Death}} (the first DeathMetal band, who gradually moved towards prog metal the further along they went with the band. By their last album, ''The Sound of Perseverance'', they were most definitely a prog metal band. Schuldiner's next project, Control Denied, delved even further into prog, while reducing the DeathMetal influence to almost nil and replacing it with mild PowerMetal influence instead.) |
| 89 | * Music/DeathspellOmega (mixed with BlackMetal and AvantGardeMetal) |
| 90 | ** ''Music/TheFurnacesOfPalingenesia'' (2019) |
| 91 | * Music/DecrepitBirth (had elements of this on ''Diminishing Between Worlds'', but ''Polarity'' is where it became really prominent) |
| 92 | * Music/DefeatedSanity (''Dharmata'' EP, mixed with TechnicalDeathMetal) |
| 93 | * Music/DiabloSwingOrchestra (Also Avant Garde Metal, Swing, salsa... well they cover a wide range of styles in a single song) |
| 94 | * Music/DirEnGrey (their music is such an extreme example of GenreBusting that there are often multi-page arguments over what exact genre they belong to, but many of their songs, such as "VINUSHKA", "MACABRE -Sanagi no Yume wa Ageha no Hane-", and "DIABOLOS", unambiguously qualify as progressive metal) |
| 95 | * Music/DisarmoniaMundi (also MelodicDeathMetal) |
| 96 | * Music/{{Divine Disorder}} (Which overlaps with Orchestral, Symphonic & DeathMetal) |
| 97 | * Music/{{Dorso}} |
| 98 | * Music/DreamTheater (probably the {{Trope Codifier}}s for the genre as a whole) |
| 99 | ** 1992 - ''Music/ImagesAndWords'' |
| 100 | ** 1999 - ''Music/MetropolisPt2ScenesFromAMemory'' |
| 101 | ** 2016 - ''Music/TheAstonishing'' |
| 102 | * Music/{{DVSR}} (an unusual RapMetal example) |
| 103 | * Music/EastOfTheWall (a bit of this, a bit of PostRock) |
| 104 | * Music/EdgeOfSanity (also MelodicDeathMetal) |
| 105 | * Music/AnEndlessSporadic |
| 106 | * Music/{{Enslaved}} (also BlackMetal; prog influence is much stronger in recent material than early material, although it was always evident on most of their albums) |
| 107 | * Music/{{Entheos}} (''Dark Future'') |
| 108 | * Music/EphelDuath (mixed with BlackMetal, jazz, and a wide variety of other disparate genres) |
| 109 | * Music/{{Epica}}, one part progressive metal, one part SymphonicMetal. |
| 110 | * Music/{{Erra}} (fused with {{Metalcore}}) |
| 111 | * Music/{{Evergrey}} (also PowerMetal; notable for being one of the only bands in the genre to avert EpicRocking most of the time) |
| 112 | * Music/{{Exivious}} (mixed with jazz fusion) |
| 113 | * Music/{{Extol}} (with DeathMetal, BlackMetal, or ThrashMetal fused in depending on the album) |
| 114 | * Music/{{Exotype}} (GenreBusting example combined with {{Metalcore}}, NuMetal, {{Deathcore}}, {{Djent}}, [[{{Dubstep}} Brostep]], {{Industrial}}, Glitch, {{Trance}}, and whatever else they feel like) |
| 115 | * Music/TheFaceless (''Autotheism'', along with death metal) |
| 116 | * Music/FairToMidland (also ProgressiveRock, AlternativeMetal, FolkMetal) |
| 117 | * Music/{{Fallujah}} (''The Harvest Wombs'' onwards) |
| 118 | * Music/FatesWarning (TropeCodifier; their output with John Arch overlaps with PowerMetal) |
| 119 | * Music/{{Fen}} (mixed with BlackMetal and post-metal) |
| 120 | * Music/{{Finsterforst}} (mixed with FolkMetal and a bit of BlackMetal) |
| 121 | * Music/{{Fireaxe}} |
| 122 | ** 2003 - ''Music/FoodForTheGods'' |
| 123 | * Music/{{Forbidden|Band}} (mixed with ThrashMetal on ''Twisted into Form'' and GrooveMetal on ''Distortion'' and ''Green'') |
| 124 | * Music/FreakKitchen (overlaps with HardRock and AvantGardeMetal) |
| 125 | * Music/{{Furyu}} |
| 126 | * Music/GalacticCowboys |
| 127 | * Music/GaMetal (A project based around Progressive Metal remixes of songs from VideoGames) |
| 128 | * Music/TheGathering |
| 129 | * Music/GenghisTron |
| 130 | * Music/{{Gigan}} |
| 131 | * Music/{{Gojira|Band}} (mixed with DeathMetal and GrooveMetal) |
| 132 | * Music/{{Gorod}} (''A Perfect Absolution'', mixed with MelodicDeathMetal) |
| 133 | * [[Music/GospelOfTheWitches Gospel of the Witches]] (a GenreBusting example like Ephel Duath, its spiritual predecessor, but definitely closer to prog than to the AvantGardeMetal leanings of the latter) |
| 134 | * Music/GreenCarnation |
| 135 | * Music/{{Hacktivist}} (Overlaps with {{Djent}}, and is quite possibly the only band that can fall into this and RapMetal) |
| 136 | * Music/HammersOfMisfortune (GenreBusting example that mixes elements of this, traditional doom metal, folk metal, and traditional heavy metal, among various other things) |
| 137 | * Music/HannesGrossmann (along with DeathMetal; yes, it's a solo project) |
| 138 | * [[Music/HajisKitchen Haji's Kitchen]] (also GrooveMetal and {{Grunge}}) |
| 139 | * Music/{{Haken}} |
| 140 | * Music/{{Hexenhaus}} (also PowerMetal and ThrashMetal) |
| 141 | * Music/{{Horrendous}} (''Ecdysis'' and ''Idol'', also death metal) |
| 142 | * Music/IBuiltTheSky |
| 143 | * Music/InanimateExistence (''A Never-Ending Cycle of Atonement'' onward, mixed with TechnicalDeathMetal) |
| 144 | * Music/InterArma (a GenreBusting example that is equal parts this, [[PostRock post-metal]], [[DoomMetal sludge metal]], and BlackMetal) |
| 145 | * Interloper |
| 146 | * Music/{{Intronaut}} (combined with post-metal) |
| 147 | * Music/IronMaiden (many of their epics such as "Hallowed Be Thy Name" and "Rime of the Ancient Mariner" qualify as arguable [[UrExample Ur-Examples]] as does the album ''Seventh Son of a Seventh Son''. In modern times, they are unabashedly prog, with three songs on ''The Book of Souls'' stretching well past the ten-minute mark and the longest being just over eighteen) |
| 148 | * Music/IrreversibleMechanism (mixed with DeathMetal) |
| 149 | * Music/{{Isis}} (also TropeCodifier for post-metal) |
| 150 | * Music/{{Karnivool}}, particularly their sophomore album, 'Sound Awake'. The band has stated they try to reinvent themselves each time they go into the studio to record. |
| 151 | * Music/KayoDot (mixed with AvantGardeMusic and a wide variety of other disparate influences) |
| 152 | * Music/KingCrimson (their heavier output in the 70's was a noticeable UrExample of the genre, which they fully embraced in the late 90's) |
| 153 | * Music/KingsX (Also AlternativeMetal, FunkMetal, and HardRock) |
| 154 | * Music/{{Krallice}} (mixed with BlackMetal) |
| 155 | * Music/{{Krux}} (also DoomMetal) |
| 156 | * Music/LascaillesShroud |
| 157 | * Music/LastChanceToReason |
| 158 | * Music/{{Leprous}} (earlier material; they started to downplay the metal elements on ''The Congregation'' and abandoned every last pretense of being a metal act on ''Pitfalls'') |
| 159 | * Music/LiquidTensionExperiment |
| 160 | * Music/JeffLoomis (less so than some of his other projects, but still mixes in a lot of this in his solo material) |
| 161 | * Music/ArjenAnthonyLucassen |
| 162 | ** 1995-2013 - ''Music/{{Ayreon}}'' |
| 163 | ** 2012 - ''Music/LostInTheNewReal'' |
| 164 | * Music/MakeThemSuffer (overlaps with {{Deathcore}}) |
| 165 | * Music/{{Mastodon}} (mixed with SludgeMetal on the early recordings, but this has lessened with time) |
| 166 | * Music/MaudlinOfTheWell (mixed with AvantGardeMetal, DeathMetal, and a wide variety of other influences) |
| 167 | * Music/{{Megadeth}} (although they are mostly a straight-up ThrashMetal or HeavyMetal band, ''Rust in Peace'' is one of the most noteworthy and acclaimed examples of progressive thrash metal) |
| 168 | * Music/MekongDelta (''The Music of Erich Zann'' onwards, though they had some basic elements of this on their debut) |
| 169 | * Music/MementoMori (overlaps with PowerMetal and DoomMetal) |
| 170 | * [[Music/KingDiamond Mercyful Fate]] (mostly on ''Melissa'', though their later works still have elements of this; in any case, they have been a major influence on the genre as a whole) |
| 171 | * Music/{{Meshuggah}} (a particularly unique case when they started out, although they've since been [[FollowTheLeader widely copied]]) |
| 172 | * Music/{{Metallica}} (while, like Megadeth, they are mostly a ThrashMetal or HeavyMetal band, they flirted with this genre on ''Ride the Lightning'' and ''Master of Puppets'' and dived headfirst into it with ''...And Justice for All'' and arguably also ''Death Magnetic'', to the extent that they are considered a "Prog-Related" band on Prog Archives. As with Maiden, they could also be considered an UrExample of the genre) |
| 173 | ** ''Music/RideTheLightning'' (1984) |
| 174 | ** ''Music/MasterOfPuppets'' (1986) |
| 175 | ** ''[[Music/AndJusticeForAll1988 ...And Justice for All]]'' (1988) |
| 176 | * Music/{{Mirrorthrone}} (mixed with AvantGardeMetal and BlackMetal) |
| 177 | * Music/{{Mnemic}} |
| 178 | * Music/{{Moonsorrow}} (not so much to begin with, but their albums beginning with ''Kivenkantaja'' have begun incorporating more prog influence, and ''Music/ViidesLuku - Hävitetty'' and ''Tulimyrsky'' are undeniably prog; also FolkMetal) |
| 179 | * Music/MorbusChron (as of ''Sweven'', mixed with DeathMetal) |
| 180 | * Music/MoronPolice, a Norwegian ProgressiveMetal band with comedy rock lyrics (mixed with ProgressiveRock). |
| 181 | * Music/{{Mudvayne}} (''Music/LD50'' onward. One of the few bands to overlap with this and NuMetal) |
| 182 | ** ''Music/{{LD 50}}'' (2000) |
| 183 | ** ''Music/TheEndOfAllThingsToCome'' (2002) |
| 184 | ** ''Music/LostAndFound'' (2005) |
| 185 | ** ''Music/TheNewGame'' (2008) |
| 186 | ** ''[[Music/Mudvayne2009 Mudvayne]]'' (2009) |
| 187 | * Music/ChristianMuenzner |
| 188 | * [[Music/MurmurBand Murmur]] (self-titled onward; slight BlackMetal influence, as well as a lot of Zeuhl influence) |
| 189 | * Music/{{Mutyumu}} |
| 190 | * Music/{{Myrath}} (mixed with PowerMetal and FolkMetal) |
| 191 | * Music/{{Nagelfar}} (mixed with BlackMetal; not to be confused with Sweden's similarly spelled Naglfar, who are melodic black metal) |
| 192 | * Music/NativeConstruct |
| 193 | * Music/NeObliviscaris (mixed with [[GenreBusting a bunch of other styles]] including ProgressiveDeathMetal and BlackMetal) |
| 194 | * Music/{{Nevermore|Band}} |
| 195 | * Music/NocteObducta (mixed with BlackMetal and AvantGardeMetal) |
| 196 | * Music/{{Noneuclid}} (mixed with death metal, also some avant-garde touches) |
| 197 | * Music/{{Northlane}} (also {{Metalcore}}) |
| 198 | * Music/NothingMore (mixed with AlternativeMetal) |
| 199 | * Music/{{Obliveon}} (along with ThrashMetal) |
| 200 | * Music/{{Obscura}} (along with TechnicalDeathMetal) |
| 201 | * Music/TheOcean (with influences drawn from PostRock and SludgeMetal) |
| 202 | * Music/OceansAteAlaska (mixed with {{Metalcore}}) |
| 203 | * [[Music/OceansOfSlumber Oceans of Slumber]] (also GothicMetal, a bit of a GenreBusting example) |
| 204 | * Music/OkGoodnight |
| 205 | * Music/{{Onesidezero}} (mixed with AlternativeMetal and PostGrunge) |
| 206 | * Music/{{Opeth}} (mixed with DeathMetal, though ''Heritage'' turned them into full-fledged ProgressiveRock band for good after experimenting with that approach on ''Damnation'') |
| 207 | ** 1999 - ''Music/{{Still Life|OpethAlbum}}'' |
| 208 | ** 2001 - ''Music/BlackwaterPark'' |
| 209 | ** 2002/03 - ''Music/DeliveranceAndDamnation'' |
| 210 | ** 2005 - ''Music/GhostReveries'' |
| 211 | * Music/OrphanedLand (mixed with FolkMetal, DeathMetal, and DoomMetal among other influences) |
| 212 | * Music/PainOfSalvation |
| 213 | * Music/{{Pelican}} |
| 214 | * Music/{{Periphery}} |
| 215 | * Music/{{Persefone}} (Overlaps with Symphonic, Melodic, Technical and Death Metal, their early years also had a good influence of Neoclassical, with their recent entries having some oriental folk flavor) |
| 216 | * Music/{{Pestilence}} |
| 217 | * Music/{{Pharaoh}} (mixed with PowerMetal) |
| 218 | * Music/PorcupineTree (starting with ''In Absentia'' and getting heavier ever since; formerly ProgressiveRock / PsychedelicRock) |
| 219 | * Music/ProtestTheHero |
| 220 | * Music/ProyectoEskhata |
| 221 | * Music/{{Puya}} (mixed with jazz and salsa) |
| 222 | * Music/{{Pyrrhon}} (mixed with mathcore) |
| 223 | * Music/{{Queensryche}} (with strong traditional heavy metal influences) |
| 224 | ** ''Music/OperationMindcrime'' (1988) |
| 225 | * Music/{{Redemption}} |
| 226 | * Music/ReVamp |
| 227 | * Music/{{Riverside}} |
| 228 | * Music/RiversOfNihil (earlier material overlaps with TechnicalDeathMetal, which they almost entirely abandoned for prog circa ''Where Owls Know My Name'') |
| 229 | * Music/RoloTomassi |
| 230 | * Music/JordanRudess |
| 231 | * Music/{{Savatage}} |
| 232 | ** ''Music/StreetsARockOpera'' (1991) |
| 233 | ** ''Music/HandfulOfRain'' (1994) |
| 234 | ** ''Music/DeadWinterDead'' (1995) |
| 235 | ** ''Music/TheWakeOfMagellan'' (1998) |
| 236 | ** ''Music/PoetsAndMadmen'' (2001) |
| 237 | * Music/ScarSymmetry |
| 238 | * Music/{{Serdce}} (along with DeathMetal) |
| 239 | * Music/SeventhWonder |
| 240 | * Music/ShadowGallery |
| 241 | * [[Music/ShiningNorway Shining]] (Norway) (more than a slight case of GenreBusting, as they also incorporate elements of IndustrialMetal, BlackMetal, fusion jazz, and numerous other styles. ''Blackjazz'' marks the point where their material becomes consistently metal-oriented; before that, most of their material was acoustic jazz or progressive rock, although their live shows had always incorporated quite a lot of metal influence, and scattered songs on ''In the Kingdom of Kitsch You Will Be a Monster'' and ''Grindstone'' also qualify as metal) |
| 242 | * Music/{{Shining}} (Sweden) (started out as BlackMetal, but starting around ''Född förlorare'' and especially with ''Everyone, Everything, Everywhere, Ends'', they are undeniably a prog metal band now) |
| 243 | * Music/{{SikTh}} (also NuMetal) |
| 244 | * Music/{{Sigh}} (also BlackMetal, AvantGardeMetal, and practitioners of extreme GenreRoulette) |
| 245 | * Music/SleepytimeGorillaMuseum |
| 246 | * Creator/BrendonSmall |
| 247 | ** 2012 - ''Music/BrendonSmallsGalaktikon'' |
| 248 | * Music/SonataArctica (started as a PowerMetal band with some progressive elements, went pure progressive with ''Unia'' and fused power and progressive evenly with ''The Days of Grays'') |
| 249 | * Music/{{Spiritbox}} (SpiritualSuccessor to iwrestledabearonce, also metalcore) |
| 250 | * Music/{{Starset}} (along with electronic rock, symphonic elements, and [[GenreBusting various other styles]]) |
| 251 | * Music/{{Stemage}} (AKA the guy who does the 'Franchise/{{Metroid}} Metal' project) |
| 252 | * [[Music/DevinTownsend Strapping Young Lad]] (Also DeathMetal, IndustrialMetal, and ThrashMetal) |
| 253 | * Music/{{Sylosis}} |
| 254 | * Music/SymphonyX (crosses over with PowerMetal and SymphonicMetal) |
| 255 | * Music/{{Tesseract}} |
| 256 | * Music/{{Theocracy}} (mixed with Power Metal) |
| 257 | * Music/{{Therion}} (also SymphonicMetal and AvantGardeMetal, for both of which they are significant {{Trope Codifier}}s, as well as DeathMetal on their earliest recordings) |
| 258 | * Music/ThoughtIndustry, also ThrashMetal |
| 259 | * Music/{{Threshold}} |
| 260 | * Music/{{Toehider}} |
| 261 | * Music/{{Tool}} (also AlternativeMetal, [[DoomMetal Post-Metal]], and a [[GenreBusting large variety of other genres]]) |
| 262 | * Music/{{Tourniquet}} (also ThrashMetal) |
| 263 | * Music/DevinTownsend (mixed with DeathMetal and IndustrialMetal on some of his releases, while others are straight-up ProgressiveRock) |
| 264 | ** 1997 - ''Music/OceanMachineBiomech'' |
| 265 | ** 2007 - ''Music/ZiltoidTheOmniscient'' |
| 266 | ** 2009 - ''Music/{{Addicted}}'' |
| 267 | ** 2011 - ''Music/{{Deconstruction|2011}}'' |
| 268 | ** 2014 - ''Music/DarkMatters'' |
| 269 | * Music/{{Tribulation}} (circa ''The Formulas of Death'') |
| 270 | * [[Music/{{Tyr}} Týr]] (mixed with FolkMetal) |
| 271 | * Music/NobuoUematsu with his bands The Black Mages and Earthbound Papas |
| 272 | * Music/{{UmphreysMcgee}} (Improg) |
| 273 | * Music/{{Vektor}} (along with ThrashMetal) |
| 274 | * Music/{{Vhol}} (major case of GenreBusting, but this is one of the few things that could potentially stick) |
| 275 | * Music/VisionDivine |
| 276 | * Music/{{Voivod}} (started as ThrashMetal, then fused thrash with this before becoming straight-up prog) |
| 277 | * Music/{{Watchtower}} (also ThrashMetal and PowerMetal, another possible UrExample) |
| 278 | * Music/WhileHeavenWept (overlaps with DoomMetal) |
| 279 | * Music/{{Winger}} (along with GlamMetal) |
| 280 | * Witherfall (also power metal) |
| 281 | * Music/{{Wormed}} (along with TechnicalDeathMetal) |
| 282 | * Music/WutheringHeights |
| 283 | * Music/XJapan |
| 284 | * Music/YngwieMalmsteen ( basically '''The''' example of Neo Classical Metal) |
| 285 | * Music/{{YUP}} |
| 286 | ** ''Music/ToppatakkejaJaToledonTerasta'' (1994) |
| 287 | [[/index]] |
| 288 | |
| 289 | !!Tropes that apply to progressive metal: |
| 290 | |
| 291 | * EpicRocking: Commonplace to the point where it is very nearly a defining aspect of the genre; no less a source than Prog Archives itself notes that "tracks of longer duration" are ubiquitous. There are a few acts in the genre that don't use it consistently - in fact, Music/{{Atheist}} don't even have any songs that scratch the six-minute mark - but they are by far the exception rather than the rule. Most of the most popular acts in the genre have numerous songs that top the ten-minute mark, such as Music/DreamTheater[[note]]"A Change of Seasons", "Six Degrees of Inner Turbulence", "Octavarium", "In the Presence of Enemies", "A Mind Beside Itself", etc.[[/note]], Music/{{Tool}}[[note]]"Wings for Marie", "Reflection", "Rosetta Stoned", "Pushit", "Third Eye", etc.[[/note]], Music/PorcupineTree[[note]]"Anesthetize", "Arriving Somewhere but Not Here", "Time Flies", etc.[[/note]], Music/{{Opeth}}[[note]]"Blackwater Park", "Hessian Peel", "Deliverance", "Black Rose Immortal", etc.[[/note]]... a complete list of bands and songs would undoubtedly double the length of this article. In fact, there's a contingent of prog metal fans who would argue that if you aren't using this trope, then you aren't ''really'' a prog metal band, though it should be emphasised these fans are very much in the minority - most metal fans won't argue much if you cite Atheist as one of the founders of progressive death metal. |
| 292 | * GenrePopularizer: The first major chart success for a prog metal act was either Queensrÿche's "Silent Lucidity" (1990) or Dream Theater's "Pull Me Under" (1991), depending upon your definition. "Silent Lucidity" came earlier, but it isn't a metal song. "Pull Me Under" is. |
| 293 | %%** From Music/FatesWarning we have "Life in Still Water," which features [[Music/DreamTheater James LaBrie]] performing harmony vocals. |
| 294 | * ThreeChordsAndTheTruth: Subverted, averted ''and'' downplayed, ''all'' at the same time, given the genre is usually a total inversion to the trope. |
| 295 | * TropeCodifier: Dream Theater, in that nearly every act afterwards has been influenced by them in some fashion (even if that fashion is merely "trying not to imitate Dream Theater"). |
| 296 | %%* TropeMaker: Probably Queensrÿche or Dream Theater. Music/FatesWarning or Music/{{Watchtower}} would count if you don't consider either of them to be [[UrExample Ur example]] instead. |
| 297 | * UncommonTime: A staple of the genre; per Wikipedia, the genre is marked by "complex rhythms with frequent meter changes and intense syncopation." Nearly every band in the genre has utilised this frequently, though some are more blatant about it than others (we'll just say there's a reason that Music/DreamTheater provides the image for this trope). There are a reasonable number of listeners who simply won't consider a band to be prog metal if they don't employ this trope. |
| 298 | * UrExample: Potential contenders depending upon one's definition of the genre, going in rough chronological order: |
| 299 | ** Music/KingCrimson: "[[Music/InTheCourtOfTheCrimsonKing 21st Century Schizoid Man]]" (1969) is a particularly strong argument, between the MetalScream Greg Lake employed, the incredibly heavy (for the time) guitars, and the incredibly complex instrumentation. Website/{{Wikipedia}} notes in its article on progressive metal that King Crimson "maintained their musical innovation while incorporating a harder approach, using dissonance and experimental tones, yet still maintaining a relationship to the power chords of hard rock."[[note]]Also, from the Wikipedia article on "21st Century Schizoid Man" itself: "The song encompasses the {{heavy metal}}, {{jazz}}-rock and {{progressive rock}} genres, and is considered to be an influence on the development of progressive metal."[[/note]] King Crimson have several other tracks that can qualify as Ur-Examples, but parts one and two of "Larks' Tongues in Aspic" (both 1973) and "Red" (1974) stand out in particular. |
| 300 | ** Music/DeepPurple: Straddled the line between conventional hard rock/proto-metal and prog rock. Also known for the sheer virtuosity of it's members, with Richie Blackmore and Jon Lord basically ''inventing'' neoclassical metal, and to a lesser extent power metal, with Blackmore in particular being considered by many to be the first "shredder", a style readily adopted by progressive guitarists the world over. Also well-known for their extremely intricate, long composition, the longest of which being over ''twelve minutes'' long. Also dabbled in odd time signatures and abrupt tempo shifts, and cited as an influence on many a progressive bands. |
| 301 | ** Music/LedZeppelin: Although not typically considered a prog rock band, they did dabble in the genre occasionally, most famously with their SignatureSong "Stairway to Heaven" from their [[Music/LedZeppelinIV officially untitled fourth album]] (1971), which even Website/ThatOtherWiki lists as a progressive rock song. Other songs that could be considered to bolster their prog credentials are "[[Music/HousesOfTheHoly The Rain Song]]" (1973), "[[Music/HousesOfTheHoly No Quarter]]" (1973), "[[Music/PhysicalGraffiti Kashmir]]" (1975), and "Achilles Last Stand" (1977). Not all of these songs could be considered metal, but it's difficult to deny Led Zeppelin's influence on progressive metal. |
| 302 | ** Music/UriahHeep: A co-TropeMaker or UrExample for HeavyMetal, they also have fairly high prog cred thanks especially to their sixteen-minute epic "Salisbury" (1971), which features a twenty-four-piece orchestra; no less a source than Allmusic notes the album's "blend of heavy metal power and prog rock complexity." They are one of several cases where a band playing these styles when they had been {{Unbuilt Trope}}s makes them a potential Ur-Example for fusions of those styles. |
| 303 | ** Music/VanDerGraafGenerator are a strange case in that they manage to be as heavy as many progressive metal bands without using electric guitars much. This is accomplished in large part through the central role of brass instruments and organ (which, under the right circumstances, can have a heaviness similar to that of guitars) and Peter Hammill's ''intense'' MetalScream. |
| 304 | ** Music/{{Yes}}' live material, most notably the live performance of "The Fish (Schindleria praematurus)" on ''Yessongs'' (recorded 1972, released 1973), could sometimes have the power and intensity of heavy metal. As for their studio efforts, their otherwise divisive 1980 album ''Drama'' features heavier riffing from Steve Howe than had ever before, particularly on the opening track "Machine Messiah", a song which [[Music/DreamTheater Mike Portnoy]] cited as an influence. Bassist Chris Squire is also highly revered for his incredibly distinctive, aggressive playing, and his distortive, metallic bass tone, being considered some what of a patron saint among prog bassists. |
| 305 | ** Music/{{Queen}}'s first four albums, particularly ''Music/QueenII'' (1974), which features several suites (running about eight to twelve minutes apiece) of interconnected, complex songs that feature numerous overdubs ("The March of the Black Queen" in particular reportedly had so many overdubs that the sixteen-track tape wore thin enough to become transparent) and plenty of segments that are heavy enough to qualify as metal by the standards of the time, though not every song does so (the second half of the album qualifies more so than the first). ''Music/ANightAtTheOpera'' (1975) is a good argument for their inclusion on this list as well, particularly "Death on Two Legs" (with its neoclassical intro segueing into one of the heaviest songs on the album), "The Prophet's Song", and of course "Bohemian Rhapsody". |
| 306 | ** Music/{{Rainbow}}, primarily thanks to ''Rising'', whose B-side, consisting of the eight-minute epics "Stargazer" and "A Light in the Black", tells a high fantasy tale in two acts with highly technical playing and complex musical structures. Features Music/DeepPurple guitarist Ritchie Blackmore and legendary vocalist Music/RonnieJamesDio. |
| 307 | ** Music/{{Rush|Band}}: "Music/TwentyOneTwelve" (1976) is a particularly relevant example here, being a twenty-minute, seven-part epic with several segments that nearly qualify as metal; Website/{{Wikipedia}} qualifies it as a progressive metal album. They moved even closer to progressive metal on some of their later material, especially their swan song, ''Music/ClockworkAngels'' (2012), a complex concept album rooted in hard rock and metal riffs. |
| 308 | ** Diamond Head: A {{New Wave of British Heavy Metal}} band who served as a major influence on ThrashMetal bands like Music/{{Metallica}} and Music/{{Megadeth}}; they also created multi-part epics like "Am I Evil?" (1980) which have pretty high prog cred. |
| 309 | ** Angel Witch: Another NWOBHM act who was cited as an influence by many early prog acts, and played significantly more complex and technical material with numerous tempo shifts. |
| 310 | ** [[Music/KingDiamond Mercyful Fate]]: Danish HeavyMetal band whose sense of theatricality and long compositions were strongly influenced by progressive rock. Their debut, ''Melissa'' (1983), has as its centrepiece the 11-minute "Satan's Fall", and that's not all. Although not typically considered a progressive metal band themselves, they are extremely important to the development of the genre. Some of their recordings are more overtly influenced by progressive rock than others are; the title track of ''Dead Again'' (1998), another notable case, runs for some 13:40. |
| 311 | ** Music/IronMaiden: Without a doubt the most commercially successful band to emerge from the NWOBHM, they also created multi-part epics such as "The Rime of the Ancient Mariner" and "Powerslave" (both 1984, reaching nearly 14 minutes and 7 minutes respectively) and "Seventh Son of a Seventh Son" (1988, reaching 10 minutes) that qualified as prog. They embraced progressive metal even further when their classic lineup reformed starting in the 2000s, with ''The Book of Souls'' (2015) containing the 18-minute "Empire of the Clouds" - and that's not all. |
| 312 | ** Music/{{Metallica}}: ''...And Justice For All'' (1988), also listed as prog metal on Wikipedia, had several tracks that ran for almost ten minutes, but even before then, ''Music/RideTheLightning'' (1984) and ''Music/MasterOfPuppets'' (1986) had several tracks with multiple segments that ran for seven or eight minutes. |
| 313 | *** Recently, Wikipedia also considers ''Death Magnetic'' (2008) as prog metal, given its similar-to-AJFA structure combined with Load/Reload's experimentation. |
| 314 | ** Music/{{Megadeth}}: The Chris Poland/Gar Samuelson lineup was significantly more technical and complex than their peers, featuring numerous non-standard song structures with multiple tempo changes, as well as prominent jazz fusion elements from Poland and Samuelson's shared backgrounds. 1990's ''Rust in Peace'', meanwhile, descended particularly deep into progressive metal territory, especially on tracks like "Holy Wars... The Punishment Due" and "Five Magics". |
| 315 | ** Music/{{Watchtower}}: Extremely technical ThrashMetal band whose material is often cited as an early example of progressive metal due to its complexity (see their usage of UncommonTime and EpicRocking); their work has been cited as a major influence by numerous other prog metal bands, such as Music/DreamTheater, Music/{{Atheist}}, Spiral Architect, and Music/{{Death}}. The website Allmusic writes that Watchtower's debut, ''Energetic Disassembly'' (1985) "is generally considered to be the recording most responsible for the development of the progressive metal genre" and "set the bar for complexity and technique for all who followed." |
| 316 | ** Warlord: They had far more elaborate and complex songs than the rest of their Los Angeles peers, with Rainbow and Jethro Tull cited as major influences, while founding drummer Mark Zonder (who would later join Fates Warning) brought a jazz background that lent a further air of sophistication. |
| 317 | ** Fates Warning: Early albums such as ''The Spectre Within'' (1985) and ''Awaken the Guardian'' (1986) show them developing increasing progressive tendencies; ''No Exit'' (1988), with the twenty-one-minute "The Ivory Gates of Dreams" taking up the entire second side, is an even more noteworthy argument. They have also been cited as a key influence by later bands, particularly Music/DreamTheater. |
| 318 | %%** Music/CrimsonGlory. |
| 319 | %%** Many of the proggier HardRock / ArenaRock and heavier ProgressiveRock bands of the 70s count to some extent as well- good examples are Music/UriahHeep and Music/{{Budgie}} (heavy enough to practically count as Metal, but still very progressive), Music/{{Kansas}} and Music/{{Styx}} (hard-rocking, proggy ArenaRock bands) and the aforementioned Music/{{Rush|Band}} and Music/KingCrimson (the latter of whom would come to fully embrace the genre in the late 90's), along with Music/JethroTull and more obscure bands like Music/{{Hawkwind}}, The Pink Fairies, Wishbone Ash, Atomic Rooster, High Tide, Epitaph and Blackwater Park (yup, the band Music/{{Opeth}} named their biggest album for). It helps that the boundaries between early HeavyMetal, HardRock, ProgressiveRock and ArenaRock were pretty fluid back then-- Metal as a whole was still an UnbuiltTrope at that point. |
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