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TECH/EXTREME PROG METAL

A Progressive Rock Sub-genre


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Tech/Extreme Prog Metal definition

This category lists technical Progressive Metal bands that have roots in Extreme Metal or that are strongly influenced by it. The style developed by the end of the 80s in the Thrash Metal scene when a number of bands stretched the boundaries of their sound by including elements from Progressive Rock. Death Metal followed a similar path in the 90s and by the 2000s, also Black Metal and Metalcore saw an increasing amount of bands taking in Prog influences.

Certain bands like EPHEL DUATH and UNEXPECT developed a style that largely abandoned their extreme metal heritage in favour of a highly eclectic jazz-influenced Avant Metal style. These bands are listed under Experimental Metal.


Progressive Thrash Metal
By the end of the 80s Thrash Metal had diversified its sound significantly to an extent where the originally very direct and uncompromisingly aggressive style had become more sophisticated, boasting challenging technical skills and ambitious song structures frequently surpassing the 6 minute mark. The best known examples are METALLICA and MEGADETH.

The bands listed in this section went one step further and embraced notable influences from Progressive Rock, replacing much of the typical Thrash Metal riffs and rhythms with a more progressive and melodic riffing style, influenced by KING CRIMSON and RUSH. The most well-known of these early bands was VOIVOD, who also brought the early psychedelic sound of PINK FLOYD into their unique mold. Important pioneering albums were released by WATCHTOWER, CORONER, MEKONG DELTA, as well as the debut album of SIEGES SEVEN.
More recent examples of Progressive Thrash are SPIRAL ARCHITECT and VEKTOR


Progressive Death Metal
Death Metal further built on the sound of the most extreme bands of the Thrash scene. Next to the brutal sound, blast beat drumming, complex song structures and multiple tempo changes, the most notorious feature of the style is probably the growled vocals. Death Metal is generally highly technical, making the dividing line between Technical Death Metal and Progressive Death Metal sometimes rather faint.

The bands considered for Prog Archives are those that show significant influences from Progressive Rock and/or Fusion. One of the landmarks in the style is "Elements" from ATHEIST, who mixed their hyper-technical Speed Metal with fusion. Other early albums include "Focus" from CYNIC and "Spheres" from PESTILENCE, where progressive riffing, polymetrics, fusion influences and atmospheric keyboards complemented their brutal Death Metal. Also DEATH, the popular founder of Death Metal, incorporated fusion and progressive elements on their later albums.

A different flavour of Progressive Death Metal came from the European continent, when half-way into the 90s leading death and doom-death bands started expanding their basic metal sound. The most significant album relevant to this section is "Crimson" from EDGE OF SANITY. In typical Scandinavian fashion, their epic approach wasn't fusion oriented but less technical and more melodic, introducing the now typical alteration between brutal Death sections and more melodic breaks with clean vocals; an approach perfected in the next decade by OPETH.


Progressive Black Metal
Unlike Thrash and Death metal, Black Metal is not a technical genre. Originally it was even purposely non-technical and low-fi. By the end of the 90s the genre had developed into various sub-styles, of which some incorporated elements from progressive music.
The bands listed in this section are Black Metal bands that traded the minimalism of Black Metal for a more progressive, technical or experimental approach. This distinguishes them from the Black Metal bands that fleshed out their sound with either post-rock and/or shoegaze influences. Those are listed under Experimental/Post Metal.

One of the earliest and best known example of this style is ENSLAVED, who maintained the harsh atmosphere and aggression of classic Black Metal but extended this with a more textured psychedelic sound, chromatic riffing and odd time-signatures, citing influences from PINK FLOYD, VOIVOD and KING CRIMSON. Also IHSAHN, front-man of EMPEROR, should be mentioned here.

Most artists in this section are Symphonic Black Metal-oriented bands with progressive and experimental influences, but without fully crossing over to either Prog or Avant Metal as they remain oppressively dark, harsh, often dissonant and inaccessible. Their strong ties to Black Metal is why they are featured under Tech/Extreme Prog Metal and not in Avant Prog Metal. Examples are DEATHSPELL OMEGA, MOONSORROW, NEGURA BUNGET and the slightly more accessible theatrical Symphonic Black Metal of ARCTURUS.


Modern Phase
In the 2000s trends became more diffuse, introducing bands that had some of their stylistic features in common with the extreme metal genres without fully belonging in any of them. Some of them continued the strong fusion element and hyper-technical approach from ATHEIST and CYNIC. Instrumental acts such a as EXIVIOUS, CANVAS SOLARIS and BLOTTED SCIENCE received lots of critical acclaim from progressive metal fans.

A new trend was set by MESHUGGAH, one of the most defining bands of this era. At the end of the 90s their eclectic mix of Death, Thrash, Avant, Fusion and Prog laid down the groundrules of Extreme Metal for the next decade. Another well known band to take a similar eclectic approach to Extreme Metal was GOJIRA.
In the second half of the 2000's, many young bands copied MESHUGGAH's guitar tone and rhythmical riffing style, giving rise to the so-called 'djent' movement. Many of these bands belong in Tech/Extreme, such as ANIMALS AS LEADERS, CHIMP SPANNER etc.


Progressive Metalcore
The second half of the 2000s also saw the rise of a new generation of Progressive Tech/Extreme acts with roots that lay in Metalcore, Mathcore and Technical Sludge, rather then the 'classic' Extreme Metal genres. Their music is inherently technical and complex and has quite a number of formal features in common with Progressive Metal such as odd time signatures and non-standard song formats.
Prog Archives only lists these bands that go beyond the default expectations of the genre and bring in distinct non-extreme Prog influences. Some of the most eye-catching bands in this area are BETWEEN THE BURIED AND ME, PROTEST THE HERO, BURST, DILLINGER ESCAPE PLAN and MASTODON.


--- Definition by Karl and the Progressive Metal Team, January 2012 ---

The Progressive Metal Team
Karl (bonnek)
Kevin (Necroncommander)
Alex (Rune2000)
Thanos (aapatsos)
Dave (Prog Sothoth)
Louis (rdtprog)

Tech/Extreme Prog Metal Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Tech/Extreme Prog Metal | More Top Prog lists and filters

4.32 | 1430 ratings
STILL LIFE
Opeth
4.26 | 1469 ratings
BLACKWATER PARK
Opeth
4.25 | 1378 ratings
GHOST REVERIES
Opeth
4.38 | 142 ratings
OBSCURA
Gorguts
4.27 | 398 ratings
CRIMSON
Edge of Sanity
4.24 | 470 ratings
SYMBOLIC
Death
4.26 | 278 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.25 | 243 ratings
NOTHINGFACE
Voivod
4.21 | 476 ratings
FOCUS
Cynic
4.18 | 906 ratings
PALE COMMUNION
Opeth
4.24 | 243 ratings
ELEMENTS
Atheist
4.19 | 367 ratings
THE SOUND OF PERSEVERANCE
Death
4.25 | 165 ratings
OM
Negura Bunget
4.24 | 161 ratings
DIMENSION HATROSS
Voivod
4.17 | 316 ratings
HUMAN
Death
4.40 | 67 ratings
KIVENKANTAJA
Moonsorrow
4.22 | 165 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.13 | 463 ratings
TRACED IN AIR
Cynic
4.32 | 79 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.15 | 257 ratings
INDIVIDUAL THOUGHT PATTERNS
Death

Tech/Extreme Prog Metal overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Tech/Extreme Prog Metal experts team

OM
Negura Bunget
WARRING FACTIONS
Ansur
CITRINITI
Citriniti
THE DESIGN
Into the Moat

Latest Tech/Extreme Prog Metal Music Reviews


 Pale Communion by OPETH album cover Studio Album, 2014
4.18 | 906 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

2 stars It isn't as though this wasn't expected. Opeth had been steadily drifting away from their death metal roots for a good long while by this point, with 2003's Damnation avoiding it entirely, so it's hardly an enormous surprise that Pale Communion finds the residual metal thoroughly flushed out of Opeth's sound. In its place stands a hard-rocking tribute to the heavy psych roots of progressive music, which I'm sure is a subject that the band and Steven Wilson collectively have a whole bunch of insight into - and indeed, their take on the style is an effective update of it.

Somehow, however, the proceedings feel hollow and soulless. It's not that I'm crying for the loss of their old sound - that wasn't my cup of tea either. It's just that it feels like this album feels like it's been carefully calculated to tick all the boxes on a heavy psych-prog checklist, rather than being an artistic statement that this style of music happened to be the right medium for. It's all very clinical, controlled... and suffocated. Sorry.

 The Synarchy Of Molten Bones by DEATHSPELL OMEGA album cover Studio Album, 2016
4.04 | 28 ratings

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The Synarchy Of Molten Bones
Deathspell Omega Tech/Extreme Prog Metal

Review by Roane

1 stars I just have found out this group and this album through their good ranking in the Top 2016. Fan of prog music, I always have been fan of metal as well and I like to discover new bands in that sub-genre "Extreme prog metal". Ok but actually concerning this performance, where is the link with a progressive approach? As far as I'm concerned, there is no inspiration, no melodies, no research and varieties in the instrumentation and in the sounds. Basic drums/guitar/bass line-up with permanent aggressive guitars and vocals... So sorry but it doesn't resonate for me and I would be curious to know what would be the rating with 100 followers at least...
 Towards the Sinister by MY DYING BRIDE album cover Singles/EPs/Fan Club/Promo, 1990
2.14 | 7 ratings

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Towards the Sinister
My Dying Bride Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars Before MY DYING BRIDE released their attention getting single "God Is Alone" which got them a ticket in the club of the "Peaceville Three" (meaning they got a contract with Peaceville Records at the same time as Anathema and Paradise Lost), they released this one demo TOWARDS THE SINISTER all the way back in 1990 after the two main founders Aaron Stainthorpe and Andrew Craighan found some buddies in their native Bradford, England music scene and churned out some of the very first examples of death / doom metal.

This short demo contains four tracks with "Symphonaire Infernus et Spera Empyrium" clocking in at 8 minutes and 33 seconds thus already displaying a healthy dose of sophistication and progressive outlook at the very earliest stages of the band's formation. While the production quality is quite horrible as the band used older analog equipment, the music is already quite developed and sounds very much like the the death / doom metal heard on the debut album "As The Flower Withers" with long well thought out compositions and developments.

Like the first two death / doom metal releases by the band, this demo Stainthorpe only uses death growls for vocals. The guitars range from the Sabbath / Pentagram old school doom metal riffs to more energetic old school thrash and death metal riffs. While they haven't added their signature violin melancholy quite yet, the keyboards that are present are already adding that sombre lugubrious effect as to give the music a very unique identity.

"Symphonie Infernus" was re-recorded and released on their first release as an EP while "Vast Choirs" would be re-recorded and appear on "As The Flower Withers." TOWARDS THE SINISTER is hardly essential even for diehard fans even though the other two tracks "The Grief Of Age" and "Catching Feathers" were never re-recorded and placed upon other albums because all of the tracks were included on the "Meisterwerk" compilations. This demo was only ever released as a cassette and sounds like crap in the production department but a fun little listen for history's sake and of course, excellent music that was already quite accomplished.

 Jumalten Aika by MOONSORROW album cover Studio Album, 2016
3.88 | 44 ratings

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Jumalten Aika
Moonsorrow Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars MOONSORROW has carved out a unique niche in the extreme metal world having successfully positioned itself equidistantly smack dab in the middle between the world of black metal and the pagan Finnish folk music that is the source of their inspiration and philosophical outlook. On the black metal side from whence they sprung forth, they have kept many (if not all) of its aesthetics including the corpse paint visual effect, the intense distorted buzz saw wall of noise along with the other ubiquitous black metal elements such as blastbeats and raspy snarled vocals too buried beneath the din to discern all the while wrapped up in chaotic swirls of extreme Viking intensity. They have nurtured these attributes quite well over time never letting the incremental intrusions of the stronger folk elements or slicker production ever once distract from the overall goal of remaining firmly in the extreme shopping section of the greater metal universe. After a long five year wait for rabid fans foaming at the mouth awaiting a followup to 2011's "Varjoina Kulijemme Kuolleiden Maassa," they release their 7th full-length epic black folk metal JUMALTEN AIKA ("The Age Of Gods") and prove that their style seems to have no limits in how to expand into ever widening arenas without significantly changing the core of the band's sound.

One of the most surprising things about MOONSORROW is that it's never really a surprise as to what kind of album they will release. They dutifully check off every single element that defines their sound that began way back on "Voimasta Ja Kunniasta" and adamantly adhere to the formula set forth ever since. That usual formula has consisted of sprawling ten minute plus epic tracks that commence with slow atmospheric build ups that erupt into black metal fury wrapped around Finnish folk metal song structures and then draw out and eke every possible variation from every single cadence possible. In this aspect JUMALTEN AIKA is absolutely identical to previous albums where all these elements pretty much develop in identical fashion. The most surprising thing to me with JUMALTEN AIKA is exactly how gracefully MOONSORROW expands these set standards and create an album even more lush and brutal than its predecessors in a seemingly effortless and logical way. First of all, the song structures are stronger with deep earwormy hooks that sink in deep from the get go and the magical chemistry of the atmospheric keyboards, black metal guitar, bass and drum fury accompanied by the folk aspects that include violin, flute, accordion and mouth harp just play so very very well together.

One of the things that takes JUMALTEN AIKA into slightly more elevated territory is the supreme production aspects along with a more heightened sense of folk and symphonic elements including a larger roster of chorus vocal contributions in addition to the five permanent members of the band. While the black metal has been beaten into submission as to maintain the harsh brutality of that respective world, the folk and symphonic characteristics have been given more of a free rein in creating a more polished sound than before. If that wasn't enough MOONSORROW has certainly attained a state of maturity that allows them the luxury of knowing just how long to let a passage linger before it outstays its welcome as well as knowing when to let certain aspects drop out as to let others shine. I have to admit that i seldom have hope that MOONSORROW will find the gumption to keep their set sound fresh and relevant in the contemporary metal universe but i have to fully admit that with JUMALTEN AIKA they have surprised me and am in awe of their ability to take the slower burner approach of slightly upping their elements incrementally from one album to next by staying true to their core sound but expanding from within in totally logical arrangements.

MOONSORROW once again proves that they are masters of their unique amalgamation of Finnish folk and black metal. As they transcend from one stage of their existence to another, they remain firmly planted in their philosophical roots and only adding new elements to their sound where they are appropriate for inclusion. While as always, all lyrics are in their native Finnish language but the feel and instrumental prowess successfully dictates a story in the making regardless. While the album and first title track JUMALTEN AIKA ("The Age Of Gods") begins the journey, the final track "Ihmisen Aika (The Age of Humans)" shows the culmination of a musical pilgrimage that brings forth the pagan folk philosophies that the usurpation of human introduced technologies imposing their will upon long established "godly" traditions as evidenced in the natural world will bring about a dystopian existence. As with every MOONSORROW release, i'm very much impressed by their style of seamless fusion of folk and black metal and even in awe of their philosophies of sort but never quite finding myself wanting to bestow upon them the credit of creating a masterpiece of the ages. There is always something albeit imperceivibly identifiable missing in that regard but nevertheless this dilemma prevents me from doing so. But that doesn't mean i don't love listening to their music time and time again!

Personally i have the limited edition digibook that has an extra CD with two bonus cover tracks. While i would hardly recommend these covers by Grave and Rotting Christ to be worthy of shelling out the extra dough to get the upgraded version, i do have to say that the inclusion of the beautifully embroidered patch that depicts the album cover is totally awesome! BTW that extra CD is a mere 8 minutes and 28 seconds so it does seem a little gimmicky to include it. They could have at least included some live or unreleased material. So unless you REALLY want a patch, stick to the original five track version. Personally this album is a winner and a top 5 in the year of 2016 for yours truly :) Sorrow Finntroll and other weaklings of the underworld. This band has your asses beat big time!

4.5 stars but rounded down

 Sorceress by OPETH album cover Studio Album, 2016
3.85 | 280 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. OPETH's latest was recorded in 12 days at Rockfield Studios in Wales, by far the quickest they've been in and out of the studio. I would say this is the most diverse album this band has done, a bold move. I like ProgShine's final words in his review because I was thinking the same thing "I am not sure, but I believe Opeth burned all the "fan credits" they still had with this album... bad move." As much as I applaud a band for trying to progresss or change things up, I feel a lot of stuff on here doesn't work. Yes there's some amazing music on here but like the album cover it seems to be an album of one extreme to the another. The song titles seem to pay homage to bands, album and song titles and a record label. Just knowing what a huge Prog fan Akerfeldt is I'm not surprised.

"Persephone" is mostly nylon string guitar with some female spoken words late. Hmmm. "Sorceress" caught my attention right away with those nasty keyboards as the drums pound away. Soon the guitar is helping out and we get heavy riffs after a minute as the vocals kick in. Catchy stuff. A calm around 3 minutes with outbursts of drums then the vocals return as it kicks back in like before. Another calm before 5 minutes with intricate guitar only then some filthy organ joins in. Nice. Then drums as it builds. "The Wilde Flowers" was the first song written for the album. The lyrics are pretty dark but the music is catchy. Like the previous song we get the contrasts between mellow and heavy. A rampage of sounds ends this one.

"Will O The Wisp" opens with strummed guitar and vocals. There's a real JETHRO TULL vibe with this one. I like the guitar before 3 1/2 minutes. "Chrysalis" is heavy with passionate vocals. Yes they are kicking ass and taking names right here. Some excellent organ runs after 4 minutes. It then settles down before 5 minutes with laid back vocals eventually joining in and it stays this way to the end. "Sorceress 2" is a track that Akerfeldt says reminds him of LED ZEPPELIN's "Black Mountain". Picked guitar and some atmosphere as high pitched vocals join in just before a minute. I really like the mood of this one.

"The Seventh Sojourn" was inspired by the band FAMILY and their song "Summer '67". The strings here and throughout the album are done by Will Malone who surprisingly produced the first IRON MAIDEN record. Strummed guitar and percussion before strings and a fuller sound arrive before 1 1/2 minutes. A change after 4 minutes as we get intricate guitar, piano and distant sounding vocals. "Strange Brew" is inspired by that CREAM tune. Akerfeldt was listening to "Disraeli Gears" a lot during the recording sessions to this one. He even tried to get the same guitar tone. The middle section of this song was inspired by MAHAVISHNU ORCHESTRA. We get reserved vocals and a mellow sound to start as the piano is played slowly. Suddenly it kicks in hard as all hell breaks loose after 2 minutes. It settles as Akerfeldt cries out the vocals after 3 minutes. It kicks back in instrumentally before 4 minutes. This is heavy with some killer guitar. The vocals join in then we get a calm before 5 1/2 minutes. Again it kicks in hard. Powerful stuff before a calm ends it.

"A Fleeting Glance" like the song "Wilde Flowers" has dark lyrics but a lighter sound including harpsichord and lighter vocals. I'm not really into this until we get some depth to the sound after a minute although these sections will be contrasted. There's a surprisingly uplifting passage before 4 minutes that makes me smile. "Era" according to Mikael is a 80's heavy metal tune that's hard to play. Piano to start then it kicks in heavily after a minute. Vocals around 2 minutes. A hard rocking tune but I'm not a big fan of it except for the guitar before 5 minutes. "Persephone(Slight Return)" is a minute of piano and spoken female words. It's like the ending of "Era" really and there's a nod to Hendrix with the song title.

This new OPETH era of growl free music hit it's high for me with "Pale Communion", I'm not saying they won't reach those heights again but for me "Sorceress" is a step back even though it is a good album. There's just certain things about this record that bug me for some reason. Things that I wouldn't expect from an OPETH album. I would think traditional Prog fans will really dig this one though.

 Live At Rockefeller Music Hall by LEPROUS album cover DVD/Video, 2016
4.09 | 6 ratings

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Live At Rockefeller Music Hall
Leprous Tech/Extreme Prog Metal

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Leprous is a very original band in the Progressive Metal extreme/technical style. The songs are complex and catchy and if the first two albums were very experimental, the band has simplified things with the last albums with more focused and concise songs. The distinctive clear voice of the singer that dominates the music has always been the trademark of the band. The DVD captures the band at RockfellerMusic Hall in Oslo and no re-recording has been done in the studio for this live show, everything we have is the real live feel. Those who don't enjoy quick camera shots will be disappointed here, he didn't bother me that much because I don't think that the band's music is exciting because of the musicianship like another Dream Theater. The band is focusing more on creating some intense atmosphere with the music and the vocals versatility. The sound and picture quality are excellent, but I am sure many will be pleased with the audio only. 4 stars
 Eccentricity by LIZARD PROFESSOR album cover Studio Album, 2016
4.00 | 1 ratings

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Eccentricity
Lizard Professor Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars "Eccentricity" is the debut full-length studio album by US, Texas based technical/progressive death metal act Lizard Professor. The album was independently released in September 2016. Lizard Professor was formed in 2008 and released the "Offthewallogy" EP in 2010.

A label like technical/progressive death metal can mean a lot of things on today´s music scene, but in the case of the material on "Eccentricity" it means a very eclectic and highly technical form of progressive metal with the odd nod towards avant garde. I hear a lot of different influences throughout the album and I thought about the best way to describe the music, which amounts to this: If Cephalic Carnage, Into Eternity, and Shaolin Death Squad had a menage o trois, the bastard outcome would sound a bit like what the material sounds like on "Eccentricity". The instrumental part of the music is very dynamic and ranges from melodic parts to deathgrinding blast beat sections and fusion influenced technical riffs and rhythms, while the vocal part of the album is very diverse too. There are both death growls, higher pitched aggressive core tinged vocals, and clean melodic singing featured on the album.

It´s often a bit of a chaotic soundscape and not all tracks are equally memorable because they more or less sound like a lot of random musical ideas thrown together with no overall plan for a structured memorable song. So this is not music for those who prefer regular vers/chorus structures and "Eccentricity" is generally a both complex and challenging listen.

While a little more restraint and structure could have made the 9 track, 75:56 minutes long album a more accessible listen, it has other qualities which makes it a high quality release. The musicianship is often through the roof, and there are several jaw- dropping moments of technical wizardry throughout the album. The sound production is also of a relatively high quality, so if you can look past a couple of compositional flaws (in terms of lack of memorable melodies and hooks), "Eccentricity" is a very interesting release. A full 4 star (80%) rating is maybe slightly too much considering the quality of the compositions, but a 3.5 - 4 star (75%) rating isn´t completely wrong.

 Sorceress by OPETH album cover Studio Album, 2016
3.85 | 280 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by eddie_1976

4 stars It is always a pleasant surprise to hear a new album by Opeth, the Swedish band of Metal Extreme Progressive that since the 90's has proven to be a different group and very creative with respect to their peers.

Sorceress, his new production is no exception. Following a trend more inclined towards progressive rock of the 70 as in his previous work "Pale Communion", showing that it is increasingly far back to its origins Death Metal.

My favorite tracks:

"The Wilde Flowers" for its textures and changes of rhythm, in addition to its excellent choir and its great closing. Magnificent.

The beautiful "Will O The Wisp" that reminds me of the "Harvest" theme of his masterpiece "Blackwater Park" with acoustic guitars that bewitch you with their melodies.

The intensity of "Chrysalis" which will be a high point in the live performances if it is included in the setlist of the promotional tour for its dynamics.

"Strange Brew", which is probably the best composition for its originality, its introduction of piano, its dark atmosphere, its abrupt change reminding us to the technical riffs of the homonymous song of his disc "Deliverance", his great solo of electric guitar and its dramatic closure.

The ending with "Era" is excellent, transmitting emotionality as in his more conceptual discs of the past.

In short, the master Mikael Åkerfeldt has returned with impeccable work, without fillings, recovering the thread that was missed in his most recent experimental work. Definitely a candidate to be the best record of the year.

 Live At Rockefeller Music Hall by LEPROUS album cover DVD/Video, 2016
4.09 | 6 ratings

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Live At Rockefeller Music Hall
Leprous Tech/Extreme Prog Metal

Review by javajeff

4 stars This live album is a great place to start for anyone looking to get into Leprous since it is an excellent collection of songs. This Live At Rockefeller Music Hall is an excellent performance, with amazing sound quality. Do not let the Tech/Extreme label scare you off from Leprous since they are very similar to Haken in sound and heaviness. They are a progressive metal group in my book, with a very unique approach to song writing. Expect amazing musicianship, stellar vocals, and the most unique delivery of music in the progressive metal genre. There is absolutely nothing cookie-cutter about them, so they are perfect if you are looking for something new and fresh. Like Haken, they have stunning studio albums in what is still their infancy as a band. I consider them to be a top tier progressive metal group, so you may want to eventually get them all. My review is for the music only since I do not have the video, but the performance is so good that it is likely worth having. This is an excellent addition to any progressive metal music collection.
 Metsä by MOONSORROW album cover Singles/EPs/Fan Club/Promo, 1997
2.18 | 3 ratings

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Metsä
Moonsorrow Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars The origins of MOONSORROW go all the way back to 1995 when cousins Ville Sorvali (vocals, bass) and Henri Sorvali (guitar, keyboards) hooked up in Helsinki, Finland to form a simple melodic black metal band. Before they would introduce the Nordic and Slavic folk elements to their music they started out as a run-of-the-mill 90s black metal band as heard on this early demo turned remastered EP "Metsä." At this point the band was merely a duo with the two cousins handling all vocal and instrumental duties.

While the music is the typical atmospheric keyboard drenched buzz saw feedback distortionfest black metal of the era complete with a two minute atmospheric ambient chill out session, there are faint traces of folk influences that would later dominate such as the inclusion of the mouth harp in their otherwise standard Pagan and spiritually themed melodic metal marches. As with all MOONSORROW albums even to this day, everything is totally in the Finnish language, so if you're not hip to this top dog of Finno-Ugric languages then the meaning will be shrouded in incomprehensible mystery however with screeched lyrics like this it would be impossible to discern any meaning.

In addition to the four tracks feeling amateurish, the production value is fairly weak as well which for some may be an attraction, however the great promise of a melodic black metal band is born here and it's clear that even though this is hardly an essential edition of their discography that the song structures are decent and the keyboards provide more than just a subdued frosting to the cake and actually contribute a significant portion to the overall dynamics. Many reviewers compare the vocals to a pissed off cat and i couldn't think of a better comparison myself. Better things were to come but this is an interesting historical artifact for those who like to dig deep.

2.5 rounded down

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Tech/Extreme Prog Metal bands/artists list

Bands/Artists Country
1980 France
7TH NEMESIS France
A.I.(D) France
ABIGOR Austria
ABORYM Italy
ABSORBED Spain
ACHOKARLOS Spain
ACID DEATH Greece
ACOLYTE United Kingdom
ACRIMÖNIA Poland
ACROSS THE SUN United States
ADEIA Netherlands
THE ADVENT EQUATION Mexico
AEOLIA United States
AEON OF HORUS Australia
AERODYNE FLEX United States
AGARTHA United States
AGE OF SILENCE Norway
AGHORA United States
AINMATTER United States
ALARUM Australia
ALCHEMIST Australia
ALGOPHOBIA Italy
ALKALOID Germany
ALL DREAMS DYING Finland
ALLEY Russia
ALTERA ENIGMA Australia
THE AMENTA Australia
AMOGH SYMPHONY India
AN ISLE ATE HER United States
ANATA Sweden
ANCIENT Norway
ANCIIENTS Canada
ANGEL OF DISEASE Georgia
ANGEL VIVALDI United States
ANGMAR France
ANIMALS AS LEADERS United States
ANOMALY United States
ANSUR Norway
THE ANTIKYTHERA MECHANISM United States
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
ARTIFICIAL BRAIN United States
AT WAR WITH SELF United States
ATEM Finland
ATHEIST United States
ATROPHIA RED SUN Poland
ATRORUM Germany
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
AZURE EMOTE United States
BABYLON SAD Switzerland
BARING TEETH United States
BARREN EARTH Finland
BECOMING THE ARCHETYPE United States
BEHEADED ZOMBIE Russia
BEHOLD...THE ARCTOPUS United States
BELIEVER United States
BELTANE Germany
BETWEEN THE BURIED AND ME United States
BEYOND CREATION Canada
THE BINARY CODE United States
BISBAYE Canada
BLACK SUN AEON Finland
BLOTTED SCIENCE United States
BLUTMOND Switzerland
BORGIA France
BORKNAGAR Norway
BORN OF OSIRIS United States
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