Progressive Metal 2010s Albums - Page 2

The sixth studio album, and the band's highest US placing at number 6 on the Billboard 200. "High Road" was nominated for Best Metal Performance at the 57th Grammy Awards.

Opeth's eleventh album, from August 2014, and the first with the keyboard player Joakim Svalberg.

Circle naturally weaves together heavy riffs, Nordic shadow, folk-shaped melody and progressive movement.

The self-titled Dream Theater joins complex rhythm, precise ensemble playing and dramatic melody inside a heavy sound world.

Darkness in a Different Light builds complex rhythm, hard-edged guitar and introspective vocal melody inside a quiet field of tension.

Through Our Darkest Days combines Mercenary’s sharp melodic-death-metal riffing with power-metal-sized vocal melody.

The self-titled Queensrÿche places sharp riffs, dramatic vocals and tense arrangements in the foreground, restating the band’s traditional progressive-metal identity.

A Life to Die For uses classical-leaning keyboards, layered choruses and dramatic vocals to build Royal Hunt’s grand progressive-metal world.

Voivod's thirteenth studio album, from January 2013 and the first with Daniel Mongrain on guitar.

Borknagar's ninth album, out in March 2012 and the first with ICS Vortex and Vintersorg sharing the lead vocal.

Epicloud fuses Devin Townsend Project’s massive choirs, thick guitars, electronic texture and surprisingly accessible melodies into one wide-screen sound.

The debut album in which Fuki and the four Gacharic Spin instrumentalists pack metal, hard rock, progressive turns and vivid pop color into ten songs.

Requiem for the Indifferent uses orchestral weight, heavy guitars and the contrast between clean and harsh vocals to frame social concerns on a large scale.

L'Enfant Sauvage uses low, rolling riffs, precise rhythm and guitar textures with an unusual sense of space to create metal that is both massive and reflective.

XI: The Days Before Tomorrow uses heavy guitar, shadowed melody and restrained vocals to create mature hard rock.

The Faceless's third album, released by Sumerian Records in August 2012 and opening with a three-part suite.

Beneath lets Amoral move between heavy-metal riffs, hard-rock songcraft and progressive turns.

The Beginning of Times wraps Amorphis’ mythology-rooted atmosphere in melancholy melody, weighty guitar and soft keyboard color.

Deconstruction packs Devin Townsend’s extreme heaviness, complex turns, humor and unease into one ambitious work.

Ghost uses acoustic guitar, soft vocals and ambient-like sound to create Devin Townsend’s quieter, open-air side.

Dir En Grey's eighth album, from 2011: fourteen tracks running 67:31, recorded between 2010 and 2011.

A Dramatic Turn of Events is a turning-point album for Dream Theater, introducing Mike Mangini through intricate meters, precise ensemble work and large-scale melody.

The fifth studio album, which reached number 10 on the Billboard 200. "Curl of the Burl" was nominated for Best Hard Rock/Metal Performance at the 54th Grammy Awards.

Metamorphosis layers Mercenary’s heavyweight guitar, melodic leads and clean-to-harsh vocal contrast to show the band’s strength amid change.

The third album by Tunisia's Myrath, from October 2011, built on Arabic scales and melody inside progressive metal.

Opeth's tenth album, from September 2011, made without a single death growl and turned towards the progressive rock of the 1970s.

Dedicated to Chaos uses dark sound, irregular rhythm and electronic texture to move Queensrÿche somewhat away from a conventional metal template.

Show Me How to Live reunites Royal Hunt with D.C. Cooper, reconnecting André Andersen’s grand keyboards, melodic guitar and dramatic vocals.

The fourth album by Iceland's Solstafir, out in October 2011: a double record, six songs on each disc.

Iconoclast joins Symphony X’s low, heavy guitar riffs, complex rhythm and Russell Allen’s powerful vocals to push the heavier side of progressive metal.

Aqua uses a water-themed concept to connect Angra’s Brazilian rhythmic feel, progressive turns and melodic power-metal lift.

Return to Heaven Denied Pt. II carries the spirit of Labyrinth’s earlier classic through ornate guitar, grand melody and detailed power-metal construction.

Nevermore's seventh album, from May 2010. It is the last studio record Warrel Dane sang on, and the one that stands immediately before the long hiatus that began the following year.

Periphery's debut, released by Sumerian Records in April 2010 and the record that set the terms for djent-side progressive metal.

X shows Royal Hunt’s symphonic and progressive metal strengths through dramatic keyboards, hard guitar and shadowed melody.

Origins layers Shaman’s Brazilian-metal passion, symphonic color and emotional melody.