Listening Notes: This is Progressive Metal

Progressive metal spans a vast territory, from Queensrÿche, Dream Theater, and Opeth to Oceans Ate Alaska or even Vildhjarta—the latter being djent in nature.

However, for me, there are distinguishing factors between "pure" or classic prog and its derivatives. These include vocal dominance (clean or otherwise) and the underlying musical foundation. Opeth and Edge of Sanity are rooted in death metal, while Symphony X and Angra lean toward power metal.

Regarding clean vocals, I think almost everyone points to the singular greatness of Dream Theater, even if Fates Warning and Queensrÿche are part of that conversation.

Over time, these vocal boundaries have become dynamic—as seen with Gojira—but one still shouldn't label things haphazardly. For the average listener, it might not matter where a band sits, but for someone like me who prefers clean vocals, finding prog metal that meets expectations often requires adding "clean vocals" to the search to avoid misunderstandings.

Here are six progressive metal releases from my listening history, shared partly to ease my "listener's guilt."

...But A Thought - ...But A Thought (2014)

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...But A Thought is a project featuring members from various countries, led by Japanese female vocalist Ayaka Hayashi.

As I mentioned earlier, Ayaka utilizes two styles—growls and cleans—though the music is a bit too blurred to be strictly called metalcore or groove metal, despite death metal snippets on "Ex." The instrumental dynamics are also jazz-influenced, notably on "Dragon Farm," "Dualipsism," "Outronaut," and "Ex." Consequently, the two main components feel alive and elegant whenever Ayaka showcases her clean vocals.

Highlight: Dualipsism

11th Dimension - Odyssey (2014)

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The debut from this Portuguese band features a recording quality that highlights Diana Rosa’s emotive vocals, making the chord progressions feel less grand. It feels very much like the start of 11th Dimension’s journey. I hope there is a genuine evolution in their only full-length album.

 Highlight: -

Apotheus - Ergo Atlas (2023)

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Apotheus brings something different to their latest album, Ergo Atlas.

First is the tempo. It’s mid-tempo, similar to Fates Warning’s Long Day, Good Night or the latest Leprous album. Is it a coincidence that they chose contemplative essence over pure speed and complexity? Who knows. Additionally, a gothic/doom influence permeates "Re:union" and "Re:genesis," while post-rock/metal vibes surface in "The Unification Project," "Firewall," and "Cogito." It’s certainly not prog-death; "Ergo Bellum" actually sounds closer to Calyces, and Miguel’s vocals on "Firewall" remind me of Three Days Grace.

Ergo Atlas feels modern without needing heavy "djenty" tropes, and it's emotional enough to fit into my prog/power metal playlist. My long deliberation is why I haven't fully executed this album until now.

Highlight: Shape and Geometry, Cogito, Ergo Bellum, Re: Genesis

April Ethereal - Advent (2001)

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Poland’s April Ethereal is perhaps the most extreme entry here, influenced by Opeth and Dødheimsgard. There’s an avant-garde feel thanks to the piano, placing it closer to neoclassical/avant-garde/progressive death metal.

In terms of artistic aesthetics and their approach to death metal, I think it’s okay, but the recording quality isn't quite maximized, and the composition feels a bit too dense.

Highlight: -

Fates Warning - Long Day, Good Night (2020)

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If they weren't on Bandcamp, I might not have tried Fates Warning. It seems major metal labels now view themselves as part of the independent/underground ecosystem, opening shops there and bringing "mainstream metal" into the storefront.

Long Day, Good Night feels intentionally designed across its 13 tracks to drain energy through its mid-tempo pace. "The Longest Shadow of the Day" is the standout epic—mirrored by the cover art—signaling that twilight has arrived. "The Last Song" acts as a lullaby, though it’s less effective for me unless it were instrumental or replaced by "Now Comes the Rain." Then "Liar" arrives at the very end, almost mockingly suggesting that the same day, shadowed by nightmares, will come again.

Conceptually, it’s strong, though I didn't feel entirely satisfied. A revisit? That will require extra preparation.

Highlight: The Destination Onward, Shattered World, Scars, Born Again, The Longest Shadow of the Day, Glass Houses

Leprous - Melodies of Atonement (2024)

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Leprous isn't the first name that comes to mind when I think of "classic" prog metal, but their popularity is surprising.

The offering is relatively light—more like indie/alternative/new wave with a progressive metal touch rather than the other way around. While their listening stats on YouTube Music dropped after "Like a Sunken Ship," an atmospheric vibe breaks through on "I Hear the Sirens." "Faceless" serves as a great example of the emotional yet dynamic vocal contribution of this album, blending elements of Queen with System of a Down. Strangely, the subsequent tracks happened to be the perfect soundtrack while I was reading a novel about family issues. And how did "Self-satisfied Lullaby" know I was awake at night?

In the end, I found something here, even if it took some focus. If played at another time, that feeling might fade again. I appreciate Leprous for choosing this path rather than leaning into the djent or modern proggy -core scenes that are so popular with the youth.

Highlight: Like a Sunken Ship, I Hear the Sirens, Faceless, Self-satisfied Lullaby