
Parade by Martin Wittfooth – album art for Protest the Hero’s Palimpsest
Jessi Gilchrist
Progressive metal is not the genre that we think of when we consider decolonization, anti-racism, or intersectionality. In fact, in 2017, The Atlantic published an article entitled “the Whitest Music Ever,” a critique of one of progressive metal’s predecessors, progressive rock.[i] Spawned in the 1970s with bands like Rush and King Crimson, progressive rock has been known as an avant-garde approach to the operetta rooted in extended structures, quasi-symphonic orchestration, and overt technicality. Something about the virtuosity, the masculinity, and the aggressive concert culture screams whiteness and privilege.
Within the slew of sub-genres that characterizes the metal community, progressive metal has been identified as a fusion between heavy metal and progressive rock that features highly complex melodic and rhythmic constructions, experimental time signatures, extended orchestration and elaborate song structure with a plethora of external influences from classical music to ragtime. Until recently, overt political critique has been less common in progressive metal than it has been in its punk-leaning counterparts. Instead, progressive metal has favoured the concept album in which all songs on an album revolve around a particular theme or tell a particular story leaving the listener to interpret its meaning.