RANKED - The 6 Best Prog Metal Songs Over 20 Minutes Long

Morningrise is a sizable improvement over predecessor Orchid, which finds the Swedish troupe fine-tuning their black metal/melodeath/progressive death metal chemistry. “To Bid You Farewell” is its most popular chapter, but its penultimate epic – “Black Rose Immortal” – is equally remarkable for its variety, flow and foreshadowing of Opeth’s subsequent genre supremacy.

Mikael Åkerfeldt‘s scratchy singing and the relatively jazzy and bouncy bass lines (courtesy of Johan De Farfalla) certainly date “Black Rose Immortal.” Plus, it’s forgivably rough around the edges.

Nevertheless, its masterful transitions between devilish brutality and melodic catharsis are still breathtakingly Shakespearean and affective, with gorgeous acoustic guitarwork and tender verses that hold up as well as almost anything else the group has done since the late 1990s.

Oddly enough, it’s the only 20-plus minute track Opeth ever cut, so we can only imagine how amazing it would be if they revisited this blueprint with their modern sensibilities and evolutions.

Haken hit the ground running with 2010’s Aquarius, promptly establishing themselves as one of the greatest new prog bands of the 21st century. They had quite the task in front of them, then, in trying to match – or even surpass – that excellence a year later with follow-up Visions. Fortunately, they did, diving deeper into their prog rock roots with a more sundry and confident approach that culminates in the gargantuan and relentlessly gratifying title track.

It’s a characteristic ride from start to finish, with moody ambience and gradual orchestral tension erupting into panicked keyboard and guitar patterns alongside rambunctious rhythms and ominous narration. Eventually, frontman Ross Jennings’ trademark silky desperation shines through via compelling hooks and detailed storytelling and the rest of the piece oscillates brilliantly between zany aggression and bittersweet reflections.

Sure, shades of their predecessors can be felt (such as Dream Theater’s chaos, Yes’ symphonic relief and Gentle Giant’s tricky arrangements and vocal counterpoints); however, “Visions” does more than enough to solidify Haken’s unique appeal and become an instant progressive metal classic.

Ever since Jethro Tull popularized and perfected the album-long prog song with 1972’s Thick as a Brick and 1973’s A Passion Play, numerous successors have tried their hand at the same structure. Most of the results have been very impressive and enjoyable, yet few have done as much with the form as Green Carnation did with their 60-minute ode to sorrow and survival: “Light of Day, Day of Darkness.”

Inspired by real-life circumstances (the passing of guitarist Tchort’s daughter and the birth of his son), the profound account is ripe with cleverly cohesive segues, powerful revelations and fascinatingly decorative and diverse instrumentation.

Because the whole thing should be heard in one sitting, selecting specific moments as highlights would be doing a disservice what Green Carnation have achieved. Indeed, its interwoven slices of classical, folk, gothic metal and progressive death metal – in conjunction with a few poignant voiceovers – require multiple playthrough to fully etch themselves into your soul (which they're guaranteed to do).

Even if you’ve never gone through such polarizing and intense emotions, “Light of Day, Day of Darkness” is still a stunning experience.

As any fan of Devin Townsend knows, the Canadian virtuoso is among the most versatile and unpredictable musical artists of all time (so choosing a “best” album is nearly impossible since he has so many phases and personas).

That said, 2019’s Empath is probably his most representative and resonant statement, with grand finale “Singularity” being both the record’s superlative section and arguably the finest composition Townsend ever unleashed unto the world.

The six-part journey kicks off with one of his most soothingly introspective and uplifting passages (“Adrift”), a collage of delicate vocals, acoustic guitar strums and radiant orchestration that’s sure to make you smile as you ponder your place in the world.

Afterward, “Singularity” bounces between idiosyncratically strange transitions (“Silicon Scientists”), expertly fashioned anarchy (“There Be Monsters”) and additional angelic mediations (“Curious Gods”). Throughout it all, Townsend’s existential confessions and reassurances are as boundlessly inventive and entertaining as they are spiritually and intellectually enriching.

Far more than just a fun and weird tune, “Singularity” is a therapeutic masterpiece.

When it comes to the neoclassical/power metal side of progressive metal, you really can’t do much better than the legendary Symphony X. Although 2002’s The Odyssey isn’t their best album, its namesake voyage – which is obviously inspired by Homer’s renowned poem – easily ranks as the group’s top track because of its immaculate hybrid of exceptional songwriting, showy yet purposeful musicianship and larger-than-life theatrical splendor.

Following its magnificent orchestral overture, “The Odyssey” immediately and perpetually presents some of vocalist Russell Allen’s most appealing melodies and wide-ranging temperaments. He’s equally adept at telling his tale with fragility and fury, and either way, it’s hard to resist the urge to sing every line alongside him.

Meanwhile, bandleader/guitarist Michael Romeo and company support Allen with the ideal amounts of flashiness, complexity and sensitivity, dashing between gentle wistfulness, vigorous vehemence and cinematic grandeur as needed. Of course, its reprise of Allen’s first movement at the end is the invigorating and touching icing on the cake.

Above all else, “The Odyssey” showcases how much heart and elegance Symphony X can include within their mind-meltingly technical and erratic flights of fancy.

This was the hardest song to pick since Dream Theater have produced several outstanding side-long suites. As amazing as “Octavarium,” “In the Presence of Enemies” and “Six Degrees of Inner Turbulence” are, however, the unmatched creativity, focus and emotional power of their initial one – “A Change of Seasons” – has never been beaten.

Taken from their 1995 EP of the same name, “A Change of Seasons” examines the circle of life; was predominantly influenced by the passing of drummer Mike Portnoy’s mother; and marked the debut of keyboardist Derek Sherinian (whose reserved yet spunky style is a major factor in the track’s impeccable flow and vibrancy).

Likewise, the rest of the quintet ensure that the chronicle is as moving and exhilarating as possible, with acoustic guitar arpeggios, calming rhythms, hyperactive aggression, peculiar accentuations and more exemplifying Dream Theater’s expanded adventurousness and aptitude.

“A Change of Seasons” wouldn’t be half as wonderful without Portnoy’s poetic lyricism and frontman James LaBrie’s operatic purity and passion, though. He nails everything he sings here, giving lines such as “Tripping through / The life fantastic / Lose a step / And never get up / Left alone / With a cold blank stare / I feel like giving up” as much impact as possible.

Three decades on, “A Change of Seasons” remains the king of 20-plus minute progressive metal epics.