Is Progressive Metal Progressive?

king_crim_courtf

I got thinking about this while reading through some of the stuff on The Gabriel Construct’s webpage. He said he wants to make progressive metal progressive again. After thinking about this, I realized that this really strikes a chord with me. It is probably one of the reasons I’ve felt so uninspired by the stuff I’ve been listening to.

Let’s take as a case study: HeavyBlog’s top 12 of 2013 so far list (restricting to 2013 will not influence this discussion at all, since the best prog of 2012 falls into the same tropes) and pull the albums that can be labelled as “prog.” I actually like a lot of prog metal. You should remember this, because it is going to sound like a post in which I slam prog metal. Instead, this should be read as a sadness that such a promising genre has hit a stasis.

This is going to get hairy with putting bands into certain boxes, but as I see it the list is Tesseract (should djent actually count as a form of prog?), Persefone (is symphonic metal a form of prog?), Coheed and Cambria, Intronaut, Extol (OK, I haven’t actually listened to this one, but the list says it’s prog), Leprous, and The Ocean.

What do these bands have in common that makes them prog? They tend to have technical playing with technique that derives from classical skills of fast arpeggios and scale patterns than more traditional metal/rock techniques. The chord progressions tend to be less straightforward. This can mean jazz influenced or excessive chromaticism. The time signatures tend to be less straightforward and can even involve alternating time signatures and metric modulations. Lastly, the songs tend to be longer and more thoroughly developed and tied together with a common theme.

So what’s the problem? Well, at one point in time doing these things within metal was a progressive thing to do. They weren’t being done. It was interesting and new. It was moving the genre forward. Now it seems that these things that define the genre have become tropes. You have to have x number of time changes, y number of chromatic patterns, and z number of songs over 8 minutes long. Oh yeah, and we’ll praise you mindlessly if you make these numbers without actually doing anything original.

Instead of being truly progressive and trying to bring in new influences to make interesting and new music, it all ends up sounding similar. Just because you came up with a way to arpeggiate faster, using a “new” pattern, and you do more chromatic steps doesn’t mean you’re “more progressive” or even more interesting. It is more of the same pretending to be different.

Maybe I’m reacting to an over-saturation of prog lately, and I won’t feel this way after a break from it, but sometimes when listening to prog it sounds like a joke. It sounds like the band is stringing together a bunch of tropes in mockery of how derivative it all has become. Scale the Summit is unfortunately going to get my wrath, but I can’t listen that new album. It has such high praise all over the place, but I’m so bored by it. I mean listen to this. It is pretty, and quite impressive technically at parts, but how many times have you heard this?

No offense to Scale the Summit, I could have picked something off literally any of the bands listed above and some of those albums might even make my top 10 of the year. It is just a feature of the current prog scene. It has become static. There are the occasional minor details that are new, but overall, it isn’t progressing.

Progressive metal can become progressive again. To some people it may seem shocking. What more do I want? They are already employing all of the complexity you would find in any fully trained classical composer. I’d reply, well, yes, any trained composer through the 19th century. But this stuff is more than a century old now. You could incorporate tons of modern developments. You don’t have to write atonally, but you can incorporate interesting post-tonal techniques to make something progressive without losing your band’s characteristic sound.

Other than tonality, there have been tons of other innovations from play style (stop with the incessant arpeggios, please), to modern electronic filtering of sound in new ways, to how your band layers together its pieces texturally, to instruments used (thank you Hybrid for showing us clarinet can be used in metal), to more original genre crossover, and on and on. You shouldn’t have to be an Animals as Leaders or Dream Theater clone to be prog. I bet I could write a fugue a la Hindemith that would sound really good by a metal band. How about someone tries that for originality?

I know there are actually lots of bands out there doing this, but they immediately get labelled as avant garde and pushed out of the prog scene. As I pointed out last time, this term should probably be reserved for the really, really out there stuff. Incorporating these techniques subtly into your standard prog sound should still count as prog metal. We should embrace more experimentation to finally get out of this stasis.

Steve Wilson criticizes the glut of “progressive” metal bands

Steve Wilson of Porcupine Tree recently conducted an interview with Metal Wani. In the linked second part, he suggested an aesthetic reason for the backlash against the swarm of “progressive” metal acts – according to him, there are too many progressive metal bands that are overusing the “metal guitar sound”, to the point that such loses its impact. In the mean time, Wilson is trying to explore dark and melancholic themes outside of metal, most notably in his collaboration with Mikael Akerfeldt in Storm Corrosion. This is obviously a different perspective than our usual narrative here at DMU – if you ask us, your pseudo-progressive band failed not because metal guitar is a cliched sound (which doesn’t eliminate the possibility), but more likely because your songwriting either took the form of modern pop in disguise or incoherent nonsense.

Progressive war metal

There’s a new style that’s rising which combines progressive metal with the True Metal styles that emphasize a warlike outlook.

While progressive metal has neat instrumentals and all, it’s generally caught in an effete urban altruism and disconnected from Machiavellian reality.

These progressive war metal bands are fixing that with epic, Nietzschean and complex compositions that challenge the status quo of “progressive” metal!

Jeff Wagner – Mean Deviation: Four Decades of Progressive Heavy Metal

Human progress will forever be linked to those most primal memories of our species, wherein there emerged that intrepid curiosity that formed the crux on which history could be built. Moreso than the will to merely survive and subsist, it was the will to forsake the paradise of safety and pursue instead the harsh, untamed dusklands of the unknown, where intense tribulation could reveal the fiercest potentials of the few that could overcome. Within the realm of music — that most iconically Romantic of arts — this sentiment persists as a striving to expand the capacities of willful expression into an all-encompassing whole, swelling into symphonic full bloom during the 19th Century. But now, in the dreary modernity that constitutes post-World War II planet Earth, Metal music has proven to be an improbable successor to this upward-climbing composing ethos, and its 40-year history itself resembles less some linear development than it does the genealogy of a warrior race: evolving as one from troglodytic Rock origins, but then splintering into variegate subdivisions as established kingdoms become ever stiflingly overpopulated. If it is those most radical of subdivisions commanded by wildcat eccentrics, hermitic technicians, and sadistic savants that best define the nebulous label that is “progressive metal”, then ‘Mean Deviation‘ — the new and exotic pet project of Metal Maniacs veteran Jeff Wagner — is the one book ambitious enough to fasten a historical yoke around such a chaotically polymorphous Metal strain.

It’s a ridiculously exacting task to try and chronicle the entirety of a musical subgenre that isn’t really a subgenre, and whose content cannot be readily identified by formal analysis alone. And yet Wagner, being the dauntless historian that he is, enters the Nocturnus Time Machine® with naught but the earnest objective of highlighting whichever works were exceptionally bizarre, brainy, or both. Placing his starting coordinates in the late 1960′s when progressive rock and early ambient music had already begun to explore more neoclassical avenues, Wagner narrates the concomitant emergence of heavy metal, and oversees its unprecedentedly rapid appropriation of prog complexities. The most non-canonical, wildly erratic career choices of Black SabbathKing Crimson, and especially Rush receive extensive coverage, and upon this foundation of classic radio giants, Wagner uncovers many of the grandiose intellectual motivations that would plant the seeds of ambition in the burgeoning ’80s underground — an explosive era that Wagner veritably lived and breathed throughout.

From this point is of course where the bulk of the book begins and where divergent paths are most numerous and dramatic, starting with an initial divide between what is now commonly known as Progressive Metal proper — Fates Warning, Queensrÿche, Crimson Glory, and [must we mention them?] Dream Theater as examples — and the more abrasively progressive styles that were set in motion by speed metal aberrants WatchtowerVoivodCeltic FrostCoroner, and a small conglomerate of other leaders whose names consistently haunt the chapters further on. The subsequent outgrowth of extreme metal within the following decade then takes the spotlight for what seems like a third of the book, and the magnitude of its proliferation logically finds Wagner having to document deviance on a steady, region-by-region basis. But in this manner, he is as remarkably thorough in his examinations of familiar prog-extremists as he is with some of the more impossibly obscure names, reliably identifying which recordings showed noteworthy marks of ingenuity. A study of Finland, for instance, seizes Demilich by the tentacles and takes special interest in Beherit‘s darkwave transmogrification. Norway’s chapter highlights Mayhem‘s early adoration of Swedish prog band Änglagård and of course German synthpop and kosmische musik, and goes on to investigate the growth of Manes, Burzum, Enslaved, and Neptune Towers. Continental Europe reveals a constellation of luminaries ranging from Supuration to Atrocity, whilst the melting pot frontiers of the Americas yield regional anomalies as diverse as Gorguts and Obliveon up in Québec to Atheist and Hellwitch down in Florida. And, wherever possible, Wagner takes great efforts to cite any intellectual influences or achievements on the bands’ parts; tellingly, Classical and ambient music is a frequent subject here, as are academic degrees in a surprising array of fields.

It is surely impossible to write a “progressive metal” book that will be accepted in all circles of the culture, as controversy and even widespread disapprobation seem to be taken for granted in the music itself. But for the particular minority who identify themselves as hessians, it is certain that many will lose interest as the final hundred pages close in, simply because almost all of the so-called cutting edge Metal bands of the late ’90s and onwards fail to contribute anything significant to the genre; but in Wagner’s defense, there are many instances where he does bring attention to the growing problem of entropy. The more philosophical among us may further object to the very grounds for Wagner’s criteria for “progressive-ness” — that is, how much the work in question defies convention and expectations. To build from an early example, Wagner argues that Voivod’s ‘Angel Rat‘ — an album widely lambasted as a sell-out for its regression to verse-chorus, consonant indie stylings — is in fact a progressive step for the band because it was so utterly unlike any of the albums that preceded, or anything else in the scene at the time. But this is nothing if not the most prostrate kind of optimism, which accepts an undesirable antithesis — in this case, total artistic decline into meaninglessness — as a necessary part of a dubious process towards some ideal of absolute artistic freedom or whatever. It’s true that to speak of “progress” we need to postulate an objective or end of some sort to move towards, but externalities like novelty and individuality alone are insufficient; something more intrinsic to Metal’s being must be identified, otherwise you allow for a flood of the same self-obsessed, irrelevant music-as-product to garner the association simply because it’s clever enough to imitate the distorted aesthetic. Therefore it is best to assert as an axiom that for the subject to be Metal, it must have as its essence that visceral if rather elusive-to-define spirit of vir, whose amorally creative will to power is partially outlined in the introduction to this review. From here, determining progression in Metal is only a contextual (and decidedly more limited) matter of whether the subject meaningfully transmits its central motivation using methods previously unexplored, for any number of nuanced reasons ranging from technical breakthroughs to conceptual maturation to ingenious angles of arrangement; of course, the ironic consequence to progressive forms is that they are often seized upon by the majority and ossified into standard forms over time. So, based on these tenets, you would have to re-evaluate progressive-labelled, impostor Metal bands like Opeth as actually not effectively progressive as a band like Morbid Angel, who were significant not only for innovative technique, but for using their talents towards representing death metal philosophy with hitherto unheard-of imagination and perspicuity. Take this same critical hammer to the “progressive eras” of Enslaved, Amorphis, Death, and all related corrupted prodigies who allowed themselves to be domesticated into entertainers, and suddenly ‘Mean Deviation’ is chiseled down from a bloated tome to a slim pamphlet.

Now it’s apparent that ‘Mean Deviation’ surely has its points of contention, but then again the book’s stated aim isn’t to illustrate a concrete and ontologically-sound definition of what progressive metal is, nor is it out to namedrop every single band that may have garnered the label through whatever happenstances of popular delusion. Essentially, the book’s aim really is as simple as what its title conveys: to reevaluate the Metal timeline with a specific interest in whatever was outstandingly highbrow and/or shunned by the hypothetical average headbanger. It is a scholarly, well-referenced, yet personable inquiry of metallurgical innovation, which harbors aspirations towards objectivity and acceptance amongst society’s intellectual elite, but never mistakenly reduces the art to a mere science. Rest assured that trivia in abundance is here to tantalize the reader’s inner nerd; just remember to take it all in with a sizable grain of sodium chloride.

Written by Thanatotron

Dream Theater Are Pop, Not Progressive

Dream Theater are commonly mistaken to be a “progressive” metal band. Their fans love to brag about how “progressive” the band is as it makes them feel smarter than the typical rock and mainstream Maiden and Metallica metal fans. This is the same sort of intellectual smugness that pretentious urban leftists and the communist-infiltrated ivory tower have about the working class, those who do not shout whatever their currently favored political slogans in the street are like Mao’s Red Guards, or whoever openly dislikes the latest pretentious socialist realist film awarded a trophy by the liberal media shills to promote their Marxist agenda.

Continue reading Dream Theater Are Pop, Not Progressive

Sadistic Metal Reviews: Inquisition of the Unworthy

Burn them all!

Continue reading Sadistic Metal Reviews: Inquisition of the Unworthy

A.V. Club Editor David Anthony Posts Metal Hit List

Social justice warrior hipster scumbag David Anthony of communist multimedia shill website The A.V. Club (owned by The Onion) thinks that heavy metal has a Nazi problem. David Anthony is a bitchy, neurotic pinko throwing a fit that certain musicians who want to kill everyone as all humans are damn, dirty apes are not particularly fond of the concept of arbitrarily protected classes of people. The AV Club think that mildly successful and average death metal band Disma should be publicly hanged, drawn, and quartered in front of all of the proletariat as former Incantation frontman Craig Pillard released a National Socialist themed techno album over a decade ago. Nobody is spared from David Anthony’s hit list. Joining Pillard in the AV Club’s metal pogrom are Inquisition, AbsurdLemmy from Motorhead, Slayer (especially Tom Araya), Varg Vikernes, Deafheaven, Antichrist Kramer, Lord Mantis, and No Colours Records. Anthony also cited two quotes from Mayhem drummer Hellhammer‘s interview in Until the Light Takes Us as of course closet case David Anthony does not listen to black metal and only watched the movie. The only relatively unknown dirt he dug up was Lord Mantis fucking a transvestite but that was from a Vice interview he probably bookmarked due to the graphic description of a casual homosexual encounter.

Continue reading A.V. Club Editor David Anthony Posts Metal Hit List

Black Metal, Nihilism, and Heresy

I. Degrees of an Allegory in Black Metal

Black metal, as any art, spans not only the musical, but the ideological as well as some kind of social component. Those who claim its flag range from popular musicians dressing up, to occult panderers playing at magickians, to extremists, to individuals that society would consider degenerates. There are more groups that could be mentioned but that we do not need to mention explicitly. Needless to say, all of these groups have a very different understanding of what black metal is, and what their seminal exponents such as Quorthon intended or what his work represents, or should represent, once it was out of his hands.

Continue reading Black Metal, Nihilism, and Heresy

Emperor: Metal for Mordor

The music of Emperor is commonly misconceived by the mainstream metal media and certain YouTube clowns to be merely an atmospheric wall of sound or symphonic black metal orchestration engineered for superficial, surface level aesthetic appeal to an audience atypical for black metal. This is in fact not the case. In the Nightside Eclipse is just as perplexing to typical headbangers on first encounter as it was upon release in 1994. Mainstream audiences are even more flabbergasted and regard the record as a mere curiosity produced by those murderous church burners, preferring Emperor’s more rock-structured later work such as Anthems to the Welkin at Dusk, which abandoned the band’s signature riffing style and method in exchange for ones influenced by more stereotypical Norwegian B-listers such as Enslaved and Kvist. Emperor did eventually sell out, becoming technical guitar wank, rock-structured heavy metal after their rhythm guitarist Samoth and drummer Faust were imprisoned in 1994 and their songwriting influence subsequently waned. Yet In the Nightside Eclipse‘s hymns to Satan and Sauron remain as natural mutations of their metallic predecessors’ attempts to imitate horror scores and classical music’s overwhelming power of sublimity.

Continue reading Emperor: Metal for Mordor

Sadistic Metal Reviews 11-26-2016

shit-snake

We get this poop in the mail. We don’t trash it unlike our readership, we use it for target practice with our AR-15s!

Continue reading Sadistic Metal Reviews 11-26-2016