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Mean Deviation: Four Decades of Progressive Heavy Metal
Revered former Metal Maniacs editor Jeff Wagner analyzes the heady side of metal in this exhaustive narrative history of a relentlessly ambitious musical subculture. Beginning with the hugely influential mid-1970s efforts of Rush and King Crimson, Wagner unfurls a huge tapestry of sounds and styles, including Queensryche, Fates Warning, and Dream Theater; extreme prog pioneers Voivod and Celtic Frost; Norway’s post-black metal avant garde acts Ulver and Arcturus; and the 1990s global movement that spawned Opeth, Meshuggah, and others.Fighting a tide of tradition and conservatism, progressive metal has proven to be one of the most viable, malleable forms in all of modern music; here its preeminent scholar tells the tale.
- GenresMusicNonfiction
384 pages, Kindle Edition
First published January 1, 2010
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218 people want to read
About the author
Jeff Wagner
15 books29 followersJeff Wagner is an American writer and published author who writes books, articles, reviews, CD liner notes and blogs about heavy metal.
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Displaying 1 - 11 of 11 reviews
August 7, 2013
Jeff Wagner tries what in an academic field would seem a thoroughgoing and even brainy task: to chronicle the entirety of a musical subgenre that isn’t really a subgenre, and whose content cannot be readily identified by formal analysis alone. But even Wagner, being the dauntless historian that he is (or maybe precisely because of that), does not completely fulfill the academic expectations of such work. Instead, he offers an excellent introductory text to the heterodoxy of metal, avoiding (thankfully) the limitations of what could have been an A-Z "prog-encyclopedia" of every single little band in the world.
If he does not succeed entirely in his task is because he does not address the philosophical and sociocultural impact of progressive metal, its flirting with humanist and modernist approaches as opposed to the romantic and "anti-humanist" (this specially in extreme metal) of the metal orthodoxy. I would've loved to read more theory from not only a cultural, but also from a musicological point of view intertwined with the history, because in the end the author does not succeed in defining progressive metal in all its complexity. Sure, there are several quotes from the musicians, but it is known that the artist usually fails at describing his own art when compared to a good critic or a theorist.
Also, the more philosophical among us may further object to the very grounds for Wagner’s criteria for “progressive-ness” — that is, how much the work in question defies convention and expectations. Sometimes the author seems too optimistic on the implications of the term. For example, at which point should we stop calling "progressive" certain bands which, more than "progressing", seem to be artisticaly declining into meaninglessness?
Aside from that flaws, I applaud his initial divide between what is now commonly known as Progressive Metal proper (the "subgenre", the "style") — Fates Warning, Queensrÿche, Dream Theater, etc— and "progressive" metal (which is not a "subgenre", but carries the spirit or progression) that started with speed metal aberrants Watchtower, Voivod, Celtic Frost, Coroner, and a small conglomerate of other leaders whose names consistently haunt the chapters further on.
In the end, "Mean Deviation" is a very well-written, well-referenced book, that reevaluates the metal timeline and invites to discussion of the acceptance and reclusion of certain bands, albums and even terms themselves.
If he does not succeed entirely in his task is because he does not address the philosophical and sociocultural impact of progressive metal, its flirting with humanist and modernist approaches as opposed to the romantic and "anti-humanist" (this specially in extreme metal) of the metal orthodoxy. I would've loved to read more theory from not only a cultural, but also from a musicological point of view intertwined with the history, because in the end the author does not succeed in defining progressive metal in all its complexity. Sure, there are several quotes from the musicians, but it is known that the artist usually fails at describing his own art when compared to a good critic or a theorist.
Also, the more philosophical among us may further object to the very grounds for Wagner’s criteria for “progressive-ness” — that is, how much the work in question defies convention and expectations. Sometimes the author seems too optimistic on the implications of the term. For example, at which point should we stop calling "progressive" certain bands which, more than "progressing", seem to be artisticaly declining into meaninglessness?
Aside from that flaws, I applaud his initial divide between what is now commonly known as Progressive Metal proper (the "subgenre", the "style") — Fates Warning, Queensrÿche, Dream Theater, etc— and "progressive" metal (which is not a "subgenre", but carries the spirit or progression) that started with speed metal aberrants Watchtower, Voivod, Celtic Frost, Coroner, and a small conglomerate of other leaders whose names consistently haunt the chapters further on.
In the end, "Mean Deviation" is a very well-written, well-referenced book, that reevaluates the metal timeline and invites to discussion of the acceptance and reclusion of certain bands, albums and even terms themselves.
Currently reading
November 19, 2012Yea, I'm a geek.
July 23, 2018
An interesting book that makes a good job in pointing out the relation between progressive music and Heavy Metal in all of its brands. The book reflects pretty well the style it presents, for the fans it's going to be exciting, adventurous and uplifting, haters are going to find it arrogant, pompous and uptight. Expect a lot "forward thinking", "intelligent music", "open minded", and other remarks in that line.
I say that prog is a style and not a genre, because the author makes it clear that prog is not limited to lengthy songs and millions of notes, but a desire to break boundaries musically. Sometimes the pushing of that notion of prog gets muddied on the way, just like what happens with its antithesis: Punk.
With that in mind, I have an honest question for the author: a band such as ABBA undoubtedly is not Heavy Metal band, but could it be considered prog pop due to all their musical exploration?
I say that prog is a style and not a genre, because the author makes it clear that prog is not limited to lengthy songs and millions of notes, but a desire to break boundaries musically. Sometimes the pushing of that notion of prog gets muddied on the way, just like what happens with its antithesis: Punk.
With that in mind, I have an honest question for the author: a band such as ABBA undoubtedly is not Heavy Metal band, but could it be considered prog pop due to all their musical exploration?
May 3, 2018
One of the best books about rock I’ve read. Very informative and detailed, although I expected more anecdotes and curious facts.
The author preference for the harsher spectrum of metal became clear. He thinks most of the so-called Progressive Metal is not really progressive in their essence. I understand his reasoning but wish he dedicated more time to the melodic bands. He completely skipped Seventh Wonder, for example.
Very interesting, if a little bit shocking, to see how the majority of the bands cite Voivod, Rush and Celtic Frost as their main influences. Rush is one of my favourite bands, but I totally ignored the other two my whole life. Will have to change that.
In all, a very enjoyable read, especially when you know the band he is writing about.
The author preference for the harsher spectrum of metal became clear. He thinks most of the so-called Progressive Metal is not really progressive in their essence. I understand his reasoning but wish he dedicated more time to the melodic bands. He completely skipped Seventh Wonder, for example.
Very interesting, if a little bit shocking, to see how the majority of the bands cite Voivod, Rush and Celtic Frost as their main influences. Rush is one of my favourite bands, but I totally ignored the other two my whole life. Will have to change that.
In all, a very enjoyable read, especially when you know the band he is writing about.
June 25, 2022
A good book with a good amount of new bands and info. Could use some spicing up and some editing here and there. Would also love to see a new edition outlining all the great progressive metal, post 2010.
March 4, 2017
Amazing and comprehensive history of progressive metal music from its inception through about 2010. This is a book that could serve as a key resource in understanding the Rob Rich experience.
November 27, 2016
With Mean Deviation: Four Decades of Progressive Heavy Metal, former Metal Maniacs editor Jeff Wagner has penned the definitive analysis of progressive heavy metal in all its myriad forms. Starting with a look at early progressive artists like King Crimson, Black Sabbath and especially Rush, Wagner takes readers on a journey of progression that has some unexpected detours. Obviously, attention is paid to "the big three" of Fates Warning, Queensryche and Dream Theater, but equal emphasis is placed on the influential early works of Celtic Frost and Voivod. Wagner also devotes chapters to Watchtower's early "math metal," progressive thrash, innovations in the early Florida death metal scene, progression in the Swedish death metal scene, avant-garde Norwegian black metal offshoots, the Japanese progressive scene, the ProgPower and NEARfest events, and just about any kind of heavy metal where boundaries are being pushed to new extremes.
King Crimson, Black Sabbath, Rush, Fates Warning, Dream Theater, Queensryche, Celtic Frost, Voivod, Watchtower, Sieges Even, Anacrusis, Believer, Atheist, Death, Cynic, Borknagar, Arcturus, Sigh, Diablo Swing Orchestra, Therion, Pain of Salvation, Devin Townsend and Opeth are but a sampling of the bands Wagner covers in Mean Deviation, and for every band you're already familiar with, it seems like there's at least one you haven't yet discovered.
Taking a potentially controversial stand, Wagner makes it clear that there's a LOT more to progressive metal than Dream Theater worship. This is probably Mean Deviation's "line in the sand." We all know that there are scores of bands who are essentially playing music in the Dream Theater mold. Wagner makes it clear that while these bands may be playing what is known as Progressive Metal, there's very little about their music that is truly progressive. This may come as a shock to those expecting to read a book about bands like Circus Maximus, Manticora and Empty Tremor.
With a pace and style similar to Sound of the Beast: The Complete Headbanging History of Heavy Metal by Ian Christe (who edited this book), Mean Deviation is informative, enlightening and eminently readable, never getting too dry or clinical in its analysis of a genre that is by definition quite complex. Wagner's narrative as an obvious fan of the music ensures that while it is a painstakingly-researched book, it's also a labor of love and a real tribute to the artists it covers. The book includes plenty of quotes and inside information from the genre's heavyweights as well as some of its more obscure figures. It also features photos, cover art and interesting checklist-style appendices, not to mention an introduction by Porcupine Tree mainman Steven Wilson and illustrations by Voivod's Michel "Away" Langevin.
Progressive metal disciples are often seen as outsiders, even among metal fans. Mean Deviation is at once a validation of our love for this kind of unconventional music as well as a challenge to broaden our horizons even further. If you're a fan of progressive metal, Mean Deviation is your new Bible. Buy it. Read it. Then read it again, this time with a highlighter to note the bands Wagner covered that you aren't familiar with.
King Crimson, Black Sabbath, Rush, Fates Warning, Dream Theater, Queensryche, Celtic Frost, Voivod, Watchtower, Sieges Even, Anacrusis, Believer, Atheist, Death, Cynic, Borknagar, Arcturus, Sigh, Diablo Swing Orchestra, Therion, Pain of Salvation, Devin Townsend and Opeth are but a sampling of the bands Wagner covers in Mean Deviation, and for every band you're already familiar with, it seems like there's at least one you haven't yet discovered.
Taking a potentially controversial stand, Wagner makes it clear that there's a LOT more to progressive metal than Dream Theater worship. This is probably Mean Deviation's "line in the sand." We all know that there are scores of bands who are essentially playing music in the Dream Theater mold. Wagner makes it clear that while these bands may be playing what is known as Progressive Metal, there's very little about their music that is truly progressive. This may come as a shock to those expecting to read a book about bands like Circus Maximus, Manticora and Empty Tremor.
With a pace and style similar to Sound of the Beast: The Complete Headbanging History of Heavy Metal by Ian Christe (who edited this book), Mean Deviation is informative, enlightening and eminently readable, never getting too dry or clinical in its analysis of a genre that is by definition quite complex. Wagner's narrative as an obvious fan of the music ensures that while it is a painstakingly-researched book, it's also a labor of love and a real tribute to the artists it covers. The book includes plenty of quotes and inside information from the genre's heavyweights as well as some of its more obscure figures. It also features photos, cover art and interesting checklist-style appendices, not to mention an introduction by Porcupine Tree mainman Steven Wilson and illustrations by Voivod's Michel "Away" Langevin.
Progressive metal disciples are often seen as outsiders, even among metal fans. Mean Deviation is at once a validation of our love for this kind of unconventional music as well as a challenge to broaden our horizons even further. If you're a fan of progressive metal, Mean Deviation is your new Bible. Buy it. Read it. Then read it again, this time with a highlighter to note the bands Wagner covered that you aren't familiar with.
August 16, 2013
Great book. To the best of my knowledge the only book on this subject matter. Jeff early on splits music into two camps of Progressive metal. Capital letter Progressive Metal (best represented by the "Big Three": Queensryche, Dream Theater, and Fates Warning) and lower case progressive metal where all bets are off. He spends much more time here. I bought this because I am a huge fan of Dream Theater and Fates Warning. However, I loved reading about bands that have come and gone in my listening life (Watchtower, Cynic, etc) and discovering tons of new bands and genres I had never heard of. Example, though I am not a fan of Black Metal, at all, that section was still very interesting.
If you are a fan of music history or prog metal I would highly recommend this book. This is actually the second time that I have read this book.
*Truthfully I would have given the book 5 stars if for no other reason than the fact that Crimson Glory is included.
If you are a fan of music history or prog metal I would highly recommend this book. This is actually the second time that I have read this book.
*Truthfully I would have given the book 5 stars if for no other reason than the fact that Crimson Glory is included.
September 3, 2015
Being an aficionado of progressive rock, heavy metal and their fascinatingly fractured collisions, I wanted to read this book to get both a critical overview of the practitioners of the genres involved and to see if I had missed anything significant.
Wagner's well-researched book sometimes reads more like a compilation of articles from a very literate zine, but that's not intrinsically a bad thing.
In the end, I now have a list of new-to-me bands and artists to check out and a comfortable feeling that I was not alone in many of my thoughts about some of the music of the past four decades.
The book needs an update, however, as some thing have changed significantly in the scene since the writing of this tome.
Wagner's well-researched book sometimes reads more like a compilation of articles from a very literate zine, but that's not intrinsically a bad thing.
In the end, I now have a list of new-to-me bands and artists to check out and a comfortable feeling that I was not alone in many of my thoughts about some of the music of the past four decades.
The book needs an update, however, as some thing have changed significantly in the scene since the writing of this tome.
September 27, 2015
A great journey on everything progressive metal. Loved all the bits of information in it.
December 31, 2013
Fantastic history of progressive metal.
Displaying 1 - 11 of 11 reviews