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Every
genre of music carries one or more names that are (or should be) used to
characterise it precisely, by including the meanings of its forms, its
sound, its feelings etc. Of course, music varies and (fortunately) so do
the characteristics of every kind, but the way we put music under one or
another name has to do with a common idiosyncrasy applied to any music
element of a genre. Regarding now to progressive metal, the situation becomes
a bit confusing, as there have been too many descriptions for this expanding
kind that embodies constantly more influences. The problem with many of
these It is difficult to define exactly what "metal" is, but generally
it has to do with heavy, mainly guitar driven sound that differs from the
monotony of punk and comes much closer to hard rock, which is close to
blues etc. etc...A Martian would scratch his head and would possibly quit
the efforts to understand this definition (which surely cannot put an easily
seen frame, for example, does death metal comes close to blues????), but
we all know what "metal" mainly is, don't we? Now, progressive metal is
the movement that tries to expand the limits and boundaries of metal. In
general, progress in music means evolution, new ways of creating, embodying
of new influences, exploration of unknown techniques and, in few words,
denial of imitating by using a personal way of creating. To become more
exact, metal suffered for many years by the illness of imitation and reproduction
of a commonly accepted sound, image and after all, way of thinking. The
way Iron Maiden and Judas Priest played and composed determined, as we
all know, what heavy metal was back in the '80s. The great majority
of the groups in these years was working in formats that contained the
(double) guitar driven sound Maiden/Priest maintained, simple arrangements,
exact rolesmfor every music organ (melodic, not quite technical bass, speedy,
heavy drums with lack of great variety on playing, vocals on high scales
with an epic sound etc.) and lyrics that very often were really ridiculous
(epic bullshit, hymns to metal, weird tales of darkness and sorcery, beer
dedications and such things...). On the other side, thrash metal took quickly
a great place on people's preferences, and we all know that thrash in most
cases means high speeds, raw playing (in some cases...no playing at all)
and for once more, ridiculous lyrics (with some exceptions of course, e.g.
Megadeth). I won't spend much words to talk about glam/sleaze, you surely
know these freaks that tried to ensure their male nature through their
music (and not only, their photos are more classic in comedy than Monty
Pythons). Fortunately, they did not last THAT long... Well, I sometimes
feel very happy for being too young to have experienced these ages. It
seemed that nobody cared for real expression through music, it seemed that
nobody in metal faced this genre as art, it seemed that nobody was interested
for something new, personal, inspired! Metal was purposed to express either
people like Manowar, who wanted to satisfy their oversized ego, or headbangers
who were listening to music with their neck, not with their mind (the phrase
is borrowed). Everybody was happy with copying something well known and
widely accepted - it's a fact that the masses dislike changes and adore
standardisation. To avoid misunderstandings, I've got to say clearly that
I don't underestimate music that is used by the listener just for fun.
I own a lot of records that are perfect for just headbanging, air-guitar
playing, singing, or that simply fit with relax and a cold beer. There's
nothing bad on that, and honestly, I adore groups like Skynyrd or Free.
But, talking about music as an art, things get much more esoteric... ...And
that's the point that makes a progressive creation different, that's the
point on which the characterisation "progressive" is based. It has surely
to do with open-minded people who realise that music is a uniform field
on which we draw borders for greatest ease, not for extra difficulty on
crossing it. It is also demanded a wealth of talent and of serious occupying
with music, because the creation of something new, different and interesting
and the transformation of impression to a satisfying and expressive final
result, cannot become reality if the musician does not take care of his
talent and when he is not characterised by an ability of reconstructing,
combining and, finally, eliminating the differences of the music styles
in order to produce a multiple but unique result. But, after all, it's
these inner processes that lead a musician to a personal way of writing,
it's the need to express the thoughts, the ideas, the feelings (one more
borrowed phrase...) combined with the denial of imitating, that give the
meaning of progress. The need that makes the artist ignore what the companies,
the audience and the press are prepared to face and that finally gives
the reason for search and evolution. Now, you might ask how are these characteristics
found within the work of the artist, how are the intentions, the ideals
and such personal things found, who should be put within the meaning of
progressive, and one million other questions, that surely cannot be answered
at once - or at all... Of course, the thoughts stated above are nothing
more than aspects that can be (or possibly are) wrong in a greater or smaller
percentage. But in few words: progressive music is the one made by artists
who try to expand the limits of the genre where they belong, with creating
new models and replacing the act of imitating with the one of embodying.
To me, prog metal is NOT a genre. Why is progressive a replica of Theater,
and the last two albums of Psychotic Waltz are not? Why has someone to
use weird rhythms and time changes or many keyboards to be progressive?
Warlord, who were the first ones to use Byzantine and Renaissance melodies
and orchestrations, are not progressive, despite the fact that they did
it in 1983? It sounds ridiculous to me, to name "progressive" groups with
nothing personal and new and to refuse to give this name to groups that
are far beyond their era. Of course, in no way is absolutely bad something
that has nothing new to show. For God's sake, there are hundreds of bands
and artists that create in common ways and styles and they are really interesting
or, why not, just perfect! But in my opinion, the inner need for evolution
and exploration of new places in music is so much important and necessary,
that the artists who manage to produce progressive and qualitative works,
should be mentioned as models. And that's the reason of existence for this
page. Just atribute to those who made metal music so interesting, emotional
and exceptional...
John
Vidiadakis
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Epigram
for the last straw ©2000
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