Progressive Metal

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Progressive metal, more commonly know as prog metal, is characterized by genre transgression and instrumental virtuosity. Its signature features are guitar driven songs that have complex time signatures and very intricate playing.

Progressive metal as a genre is associated with acts such as Dream Theater, Fates Warning and Queensrÿche, who had their heyday in the early 1990s, but progressive elements have been fused into metal virtually since the inception of metal. For instance, on their early releases, Black Sabbath would incorporate jazzy passages into their compositions, while also drawing on other genres, and many proto-metal acts also had backgrounds in progressive rock and heavy psychedelic rock. In the early to mid 1980s, some NWoBHM groups, such as Iron Maiden would find direct inspiration in progressive rock acts like Genesis, Yes, and King Crimson and incorporate progressive elements, such as complex song structures, twin guitars and changes in time and tempo into their style, while the cult band Mercyful Fate were known for blatantly disregarding the conventions of composition in popular music, opting for complex and unusual song structures.

So, progressiveness was a part of metal since the inception of the genre, but it was not until the late 1980s and mid 1990s as bands like Watchtower, Fates Warning, Queensrÿche, Psychotic Waltz, and Dream Theater that progressive metal became established as an independent subgenre. These bands would draw both on previously established metal genres, like NWOBHM, and progressive rock acts of the 1960s, 70s and 80s. Especially Dream Theater would become iconic of the genre, and their instrumentation, which includes prominent keyboards, became the blueprint for many progressive metal bands to follow. The music that came out was very diverse and even symphonic at times. Not all of it was overly technical, though some bands such as Dream Theater were very technical, while others, like Fates Warning and Watchtower emphasized odd time signature. Psychotic Waltz incorporated psychedelia into their sound, and Queensrÿche began to operate with complex lyrical themes.

After progressive metal had been somewhat popular for some time, it began to take on more extreme forms such as progressive death metal, and so on. Bands such as Edge of Sanity and Atheist took prog metal to greater heights with their infusion of prog and death metal. Atheist also added a jazz/fusion sound to their music to make it true progressive death metal, as did Pestilence on their jazz-influenced Spheres. Also during this time, bands such as Opeth and Voivod changed their style to a more progressive sound. While Voivod changed in the early 1990’s, Opeth became a more progressive metal band in the late 1990’s which was probably an effect of the progressive metal movement that was going on at the time. Some already established metal acts in other genres would similarly cross over into progressive metal territory, such as Savatage, who - although having a background in traditional metal and power metal - released several progressive metal albums. In parallel with the development of progressive extreme metal genres, many power metal acts would take their music in a more progressive direction, resulting in the subgenre of progressive power metal (which is included under power metal here at the MMA) some of which, like Kamelot and Savatage, would eventually become fully fledged progressive metal acts.

Most bands in the progressive metal genre have their own unique style; whether it is more spacey, more symphonic, or more technical while others follow the Dream Theater configuration to a smaller or greater extent (these are sometimes referred to as 'traditional progressive metal' bands), but they all have an equal balance between the influences. Over the years progressive metal has gained the title of having longer songs then regular metal, and while this is mostly true, it isn’t always.

These bands are here because they are different, in a sense, than regular metal bands because they not only include metal but different genres as well, such as jazz/fusion, prog rock, and classical music, and put them all together to make an enjoyable sound. Bands and releases who include progressive elements in their music, but whose central sound is more firmly anchored in another genre are placed in that genre - for instance, Enslaved, whose style is progressive and experimental but still quite firmly based in their black metal roots, are placed in the black metal category, while mathcore and progressive metalcore bands are placed in metalcore.

Sub-genre collaborators (shared with Avant-Garde Metal):
  • siLLy puPPy
  • DippoMagoo
  • Sisslith
  • adg211288

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progressive metal Music Reviews

OPETH My Arms, Your Hearse

Album · 1998 · Progressive Metal
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UMUR
"My Arms, Your Hearse" is the third full-length studio album by Swedish progressive death metal act Opeth. The album was released through Candlelight Records (Europe)/Century Black (US) in April 1998. It´s the successor to "Morningrise" from 1996 and there have been quite a few lineup changes since the predecessor. Bassist Johan DeFarfalla has left and has been replaced by Martín Méndez. Méndez was recruited very shortly before Opeth entered the studio to record the material for "My Arms, Your Hearse", so he didn´t have time to learn the songs, which resulted in lead vocalist/guitarist Mikael Åkerfeldt performing all bass parts on the album. Drummer Anders Nordin also left and he was replaced by Martin Lopez. So only Åkerfeldt and second guitarist Peter Lindgren remain from the lineup who recorded "Morningrise".

Stylistically "My Arms, Your Hearse" is the blueprint album for the sound Opeth would play and built upon on the next meny releases (until "Watershed" from 2008). A lot of the elements found on the subsequent Opeth releases (up until 2008) are found on "My Arms, Your Hearse". In that regard the first two albums stand as phase one of Opeth´s career and "My Arms, Your Hearse" is the beginning of phase two. "My Arms, Your Hearse" is generally darker, heavier, more brutal, and more consistent in style and quality than the preceding albums, and the songwriting is concise, intriguing, and varied. There are no parts here which don´t fit the song that they are a part of, or any unnecessary noodling or progressive ideas. Everything fits and belongs. Brutal riffs and death metal growling are counterpointed by mellow, melancholic, and atmospheric acoustic sections, male clean vocals, and epic melodic moments. The almost constant counterpoint or harmony lead guitar themes and/or riffs from the first releases are not the main guitar riff style any longer, although Opeth still deliver some beautiful, soaring, and epic leads when that is called for. Just take a listen to album closer "Epilogue" for proof of that.

The band sound transformed with new drummer Lopez delivering a more organic, fluent, and varied drumming style than the stiff and unimaginative playing style of Nordin. It´s a huge change and it has great impact on how well the tracks flow and how well the dynamics of the tracks work. While Åkerfeldt performs clean vocals on "Morningrise" (and a few on "Orchid"), "My Arms, Your Hearse" is the album where he ups his game and sounds like he means it. His clean vocals are tasteful and melancholic in tone, while his death metal growling is majestic and brutal. He occasionally performs some higher pitched screaming/snarling vocals, which provide some parts of the album with a blackened touch, but other than those moments and a few other sections, "My Arms, Your Hearse" isn´t particularly black metal oriented or even blackened death metal oriented.

"My Arms, Your Hearse" features a dark, brutal, and powerful sounding production job, which suits the heavier and and gloomy material well. It´s not as detailed or clear sounding as the next couple of Opeth albums, but there is a charm to the rawness and savage nature of this sound production, which no other Opeth album features. Soundwise its closest relative is "Still Life" (1999), but that´s only natural as it´s the direct succeesor to "My Arms, Your Hearse". "My Arms, Your Hearse" is often forgotten or just not mentioned when speaking of the greatest Opeth releases from phase two of the band´s career, and while I do agree that there are more accomplished releases down the line, this album is still a massive progressive death metal release, deserving much more attention than it gets, and a 4 - 4.5 star (85%) rating is fully deserved.

FORGOTTEN SUNS Fiction Edge 1 (Ascent)

Album · 2000 · Progressive Metal
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"Fiction Edge 1 (Ascent)" is the debut full-length studio album by Portugese progressive metal act Forgotten Suns. The album was released through Galileo records in July 2000. Forgotten Suns was formed by guitarist Ricardo Falcão in 1991 (some sources say 1996).

Forgotten Suns play some pretty standard 90/00s progressive metal, featuring guitars, bass, drums, keyboards, and vocals. There´s little here you haven´t heard before and as "Fiction Edge 1 (Ascent)" is packed in a sub par production job, it´s not exactly among the top albums of the genre. The songwriting is also without much passion and conviction, and the epic almost cinematic keyboard instrumentals make this quite the tedious listen. Opening instrumental track "Big Bang" is for example 6:31 minutes long, which is way too long for an intro track to an album. The tracklist is also a bit weird with four out of the opening five tracks being instrumentals. In fact it´s like the first seven tracks of the album are all just part of one long built up towards the 21:20 minutes long "A Journey".

The musicianship is slightly questionable and paired with the unremarkable compositions, and a sound production which is just above demo quality, Forgotten Suns do not exactly hit the ground running with "Fiction Edge 1 (Ascent)". A 2 - 2.5 star (45%) rating is warranted.

OPETH The Candlelight Years

Boxset / Compilation · 2008 · Progressive Metal
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"The Candlelight Years" is a box set release by Swedish progressive death metal act Opeth. The box set was released through Candlelight Records in June 2008. It bridges the gap between Opeth´s ninth- and tenth full-length studio albums "Watershed" (2008) and "Heritage" (2011). The box set includes the first three Opeth albums "Orchid" (1995), "Morningrise" (1996), and "My Arms, Your Hearse" (1998), which were all released through Candlelight Records, hence giving the label the rights to release this box set.

In addition the the material from the three albums, "The Candlelight Years" features a few bonus tracks, where were not featured on the original albums. Some had however appeared on limited editions/reissues of the album releases. It´s a couple of 1992 demo tracks and covers of "Circle of the Tyrants" by Celtic Frost, and "Remember Tomorrow" by Iron Maiden.

The run of albums from "Orchid" to "My Arms, Your Hearse" show a band in rapid development honing their songwriting craft and their playing skills, but also searching for a musical direction, which they more or less found on "My Arms, Your Hearse". Both "Orchid" and "Morningrise" are very different in sound to the subsequent progressive death metal releases (before they dropped the death metal vocals and started to play progressive rock) and although the death/doom metal basis of the band´s sound is there on all three albums featured in this box set, the heaviness and riff styles are quite different. The first two albums use a lot of melodic harmonies and counterpoint melodies as the dominant riff style, while "My Arms, Your Hearse" are a darker, and more chord riff dominated affair (although it also features epic sollowfilled guitar leads and harmonies). Atmospheric and at times folky acoustic parts are a major part of the band´s style. The vocals also changed from the early blackened snarling growling to a deeper more pure death metal growling vocal style on "My Arms, Your Hearse".

All three releases are in many ways transitional releases in Opeth´s discography and while they are certainly worth a listen (especially "My Arms, Your Hearse"), they are early sketches of the more evolved and complete works Opeth would release in the early 00s. A 3.5 star (70%) rating is deserved.

OPETH Morningrise

Album · 1996 · Progressive Metal
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"Morningrise" is the second full-length studio album by Swedish progressive death metal act Opeth. The album was released through Candlelight Records in June 1996. It´s the successor to "Orchid" from 1995. It took almost a year for Opeth to be able to release "Orchid" after the recording sessions were finished in mid- 1994, and they were keen on that not happening again, so after only playing a few show in the UK supporting "Orchid (1995)", they went straight into rehearsal and writing mode and was ready to enter Unisound Studio with producer Dan Swanö in March 1996 (same producer and studio used for recording "Orchid (1995)"). The "Morningrise" recording sessions were finished in April 1996.

Stylistically the material on "Morningrise" is a continuation of the progressive death metal foundation laid in "Orchid (1995)"), but further developed and refined. Featuring four tracks which are over 10 minutes long and one track which is over 20 minutes long, "Morningrise" is a highly progressive and structurally adventurous release. Opeth go all in here with loads of different riffs and sections on each track. Many of the riffs are counterpoint lead themes weaving in and out of each other or harmony themes played in unison, and you won´t find many "normal" death/doom metal riffs on this album. That doesn´t mean it´s not a heavy and doomy death metal release, because for all its intricate songwriting ideas (the album for example features many atmospheric, melancholic, and tranquil acoustic sections) and progressive and skillful performances, the foundation of the music is still death/doom metal.

Bassist Johan DeFarfalla´s performance needs a mentions as it´s out of the ordinary and his contributions are pretty dominant and important for the sound of the album, often complimenting the guitar harmonies with a third harmonic layer or a different counterpoint melody. Lead vocalist/guitarist Mikael Åkerfeldt has a snarling blackened growling vocal style, and occasionally also sings some clean vocals.

While the complex structure of the tracks are praised by many, to my ears main composer Åkerfeldt still wasn´t sure of the direction he wanted for Opeth´s music, and sometimes he overloads the songs with too many different songwriting ideas. Some sections work better within songs than others, and some transitions between different parts of the songs happen in an abrupt way which lack compositional elegance. While this isn´t a major issue, it still means that some parts of the album appear directionless and that some parts become a little tedious. Not because not enough is happening, but because some tracks lack memorable moments. The sound production is not great either. It´s a bit hard on the ears because the drums and the guitars have a harsh tone to them, which doesn´t really fit music in this vein.

Upon conclusion I think of "Morningrise" as a transition album for Opeth, where they got to try out a lot of different songwriting ideas and honing their craft as both composers and performers, and despite my above critique of the songwriting and the sound production, "Morningrise" is still a quality release and pretty unique sounding too. Both on the contemporary scene and within Opeth´s own discography. Quite a few lineup changes would take place between "Morningrise" and Opeth´s next full-length studio album "My Arms, Your Hearse" (1998), and with them also quite a few adjustments to their sound, which again supports my theory of "Morningrise" belonging to the transitional album catagory. Transitional albums are almost always extremely important for the development of a band´s sound, but they aren´t always the best representation of said sound, and the same goes for "Morningrise". Still a 3.5 star (70%) rating is deserved.

DREAM THEATER Awake

Album · 1994 · Progressive Metal
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"Awake" is the third full-length studio album by US progressive metal act Dream Theater. The album was released through East West Records in October 1994. There have been no lineup changes since "Images and Words" (July 1992) but keyboardist Kevin Moore annouched during the mixing process of the album, that he would depart. Moore therefore didn´t tour in support of "Awake", although his keyboard style is an integral part of the sound of the album. Dream Theater hired Derek Sherinian as a touring musician to replace Moore on the tour supporting "Awake" but it took a couple of months before he was announced the official permanent replacement on the keyboard position.

Stylistically "Awake" is quite different to "Images and Words", which is a bit surprising since the predecessor was such a huge artistic and commercial success, but then again Dream Theater already this early on in their career showed that they were not content to release the same album twice and that they were willing to experiment a lot between album releases. It was a gamble considering that they were still not an established act at this point, but it paid off and "Awake" was a big success for them (although the label wasn´t satisfied), although "Images and Words" is still their best-selling release.

While "Images and Words" often featured a light and uplifting mood (although combined with both heaviness and melancholic atmospheres), "Awake" is the darker and heavier brother. The lyrics are darker, James LaBrie´s vocals are more aggressive (although he still sings melodic and hits the high notes when that is needed), the guitars are downtuned (or maybe it´s just a 7-string guitar used), and the rhythm section play some heavy parts too. But while "Awake" can be pretty dark and heavy, the album also features loads of melodic sensibilities and there are as many heavy riffs and rhythms as there are melodic AOR/hard rock influences. The complexity of the compositions and the virtuosic playing are in place too, and "Awake" is a both varied and intriguing release. Heavy tracks like "6:00" and "Lie" sets side by side with melodic inclined tracks like "Lifting Shadows Off a Dream" and "Innocence Faded". "Awake" closes with the atmospheric and melancholic Kevin Moore composition "Space-Dye Vest". A track which points in the direction Moore would take with his solo projects (Chroma Key and OSI) after he left Dream Theater.

Featuring 11 tracks and a total playing time of 75:00 minutes, "Awake" is a long album, but it´s one of the rare cases where a long running time is warranted. The tracks develop naturally and they need to be as long as they are. At no point during the album´s running time do I feel like the album is too long. Everything on the album is just where it´s supposed to be. Personally I don´t have a preference for softer rock/ballad type tracks like "The Silent Man" or "Innocence Faded", but I can´t argue that they don´t serve a function on the tracklist or that they aren´t quality material. The contrast of hearing a track like "Innocence Faded" seque into an increadibly technical instrumental track like "Erotomania" is one of the great strengths of Dream Theater. They master everything they do with what feels like ease.

"Awake" features a heavy, detailed, and powerful sounding production, which suits the new heavier direction of the band´s material. The drums feature a more organic tone than they did on "Images and Words" and that´s a good choice. Moore experiments a little more with his keyboard sounds here than he did on the predecessor and it makes that part of the sound more fresh and modern. It´s interesting to look back at "Awake" in retrospect, because I remember when it was released and the excitement it brought to my ears back then, but it´s aged really well too. It´s a pretty timeless release because of the sound production values and in the terms of Dream Theater´s discography it´s a unique album. It doesn´t sound like the two albums that came before it, and it certainly doesn´t sound like anything Dream Theater have released since. A one of a kind type of release and another seminal progressive metal release from the early- to mid-90s. A 5 star (100%) rating is deserved.

progressive metal movie reviews

OPETH In Live Concert at the Royal Albert Hall

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

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

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

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

DREAM THEATER Breaking The Fourth Wall

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

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

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

DREAM THEATER Live at Luna Park

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

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

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

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

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

DREAM THEATER Chaos in Motion

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

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

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

AYREON Electric Castle Live and Other Tales

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

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

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

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

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

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

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

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