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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)

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

4.33 | 1145 ratings
STILL LIFE
Opeth
4.25 | 1173 ratings
BLACKWATER PARK
Opeth
4.24 | 1094 ratings
GHOST REVERIES
Opeth
4.24 | 306 ratings
CRIMSON
Edge of Sanity
4.22 | 376 ratings
SYMBOLIC
Death
4.19 | 401 ratings
FOCUS
Cynic
4.23 | 196 ratings
NOTHINGFACE
Voivod
4.20 | 204 ratings
ELEMENTS
Atheist
4.27 | 108 ratings
OBSCURA
Gorguts
4.17 | 219 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.12 | 411 ratings
TRACED IN AIR
Cynic
4.14 | 258 ratings
HUMAN
Death
4.19 | 142 ratings
OM
Negura Bunget
4.15 | 192 ratings
PALE COMMUNION
Opeth
4.11 | 303 ratings
THE SOUND OF PERSEVERANCE
Death
4.19 | 126 ratings
DIMENSION HATROSS
Voivod
4.11 | 211 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.10 | 234 ratings
TALL POPPY SYNDROME
Leprous
4.13 | 156 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.05 | 490 ratings
CRACK THE SKYE
Mastodon

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

THE DESIGN
Into the Moat
MEASURING THE ABSTRACT
Terminal Function
WINTERSUN
Wintersun
OM
Negura Bunget

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Latest Tech/Extreme Prog Metal Music Reviews


 Pale Communion by OPETH album cover Studio Album, 2014
4.11 | 191 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by rdtprog
Collaborator Heavy Prog Team

5 stars The use of death vocals seems to be a thing of the past for Opeth. I always appreciated the clean vocals from Mikael Akerfeldt. It gives a better view of how he can be a good singer. The previous album Heritage wasn't convincing. Again the band is showing the soft side of their music The song "Eternal Rains will come" display some haunting harmonies progressions with some dark keyboards sound similar to VDGG. "Cups of Eternity" show a vocalization hook repeated almost like an incantation. There are some nice grooves here and a display of heavier guitars. With "Moon, Above, Sun Below" we recognize the same compositions structures of the band with intense and melancholic passages, the melody at the beginning is suddenly switching to a complete new mood so we get the feel that the song is like different parts melt down to build a 10 minutes song, but it works. The song "Goblin" is inspired by the band of the same name with a little touch of jazz. "River" is another different track with some classical rock influence. "Voice of Treason" is another track in which the listener is challenge with the impossibility to reach an accessible melody, like the band was playing with restraint. It illustrates the new direction the band is, by keeping the music outside the extreme metal. The last track "Faith of Others" is full of strings, classical arrangements and some acoustic progressive rock not too far from the band Landberk.

While this release could be perceive as homage to the old progressive rock bands, the retro sound of the organ and mellotron should appeal to old progressive rock fans, it keeps the band own style, less metal than the majority of their albums, but more in the line of Damnation and Heritage. For me, those two albums despite their progressive side were not the best of their discography, but I think the latest is more satisfying and if I had doubt about the direction the band was headed when they took a break from their metal prog, I am more confident for the future that it's the right direction to go now. And Mikael Akerfeldt looks like a musician that is in a mood to do more melodic music with clean vocals the rest of his career.

 Pale Communion by OPETH album cover Studio Album, 2014
4.11 | 191 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by jverweij

3 stars A good redeeming album dragged down by the mixing

I have always been a huge fan of Opeth. Up until Heritage they could do no wrong in my book. Even though I have clear favourites (blackwater Park, Still Life, Ghost Reveries), all their other work is superb. Heritage was their first album I just couldn't get into. It lacked focus and felt disjointed and rushed. I'll be honest: I feared for Opeth.

Their newest release: Pale Communion has proven me wrong. Heritage was just a misstep, they are still going strong. With Mikael Akerfeldts newfound resentment of heavy metal, the band has taken a more gentle approach to music. In reality this doesn't really change that much to the music. Sure a bit more keys are added (a very good thing imo) and the distortion is less heavy, but otherwise, the music is very similar to what it was before Heritage.

I'm not going to go through all the songs, but I'll say that every song (yes even Cusp of Eternity) has grown on me. I especially like Moon Above, Sun Below, Goblin, and Faith in Others. Musically, this is easily a 4 star album.......

Yet I'm giving it 3..The reason for this is the mixing. Done by the otherwise flawless Steven Wilson, the mixing is way too bass heavy for my ears. Both the bass and the bassdrums are predominantly present. For me, this is distracting enough to lower my rating from 4 to 3 stars. I can only say this is a damn shame, because this could have been really great.

 Pale Communion by OPETH album cover Studio Album, 2014
4.11 | 191 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by javajeff

4 stars This is another solid release by Opeth, and they have a right to make any type of album they want. If you are looking for Ghost Reveries, Still Life, or Blackwater Park, then you should look elsewhere. This is a throwback, 70s vibe progressive rock release in the vein of something you would expect from Steven Wilson or Motorpsycho. It took me a long time to accept the growls, and now I am used to them. With that being said, I really love the three albums mentioned earlier and think they are brilliant. The combination of extreme metal with the softer moments is very special. I do not hear progressive metal in this release, but there are a few heavier moments. This may just be the softest Opeth album yet with Damnation and Heritage in the mix. As a progressive rock fan, I have nothing bad to say about this release. However, expectations are hard to overcome at times, and I would like to hear another album similiar to the heart of their catalog. This is an excellent addition to any prog rock music collection.
 Extol by EXTOL album cover Studio Album, 2013
4.07 | 15 ratings

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Extol
Extol Tech/Extreme Prog Metal

Review by Proghead1

5 stars Extol's sound is exceptionally well honed. But what's new? After so many years crafting it, Extol have proven themselves to be innovative noise makers of the highest calibre. And after an 8 year hiatus, I'm glad to say that that has not changed. With 'Extol', the band, now pared down to a three piece comprising Peter Espevoll (vocals), Ole Borud (guitars, bass, 'clean' vocals and mellotron) and David Husvik (drums and vocals), have most certainly produced an album that will stand the test of time. As with all great experimental albums, with each spin of the disc, the listener is introduced to new sonic subtleties. Take, for example, the mesmerizing title track, where bone crushing riffs are found co-existing with strains of cello (courtesy of Martin Rosenhoff), or 'Unveiling the Obscure', complete with tightly delivered three-part vocal harmonies for the chorus. Whilst not compromising in terms of the level of intensity of the music (think 'Burial' and 'Undeceived'), the band's sound is wonderfully intricate, melodic and atmospheric. This is an absolutely stunning set of songs from an exceptionally talented band.
 Once More 'Round the Sun by MASTODON album cover Studio Album, 2014
3.61 | 80 ratings

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Once More 'Round the Sun
Mastodon Tech/Extreme Prog Metal

Review by Gallifrey

4 stars For the first few songs on Once More 'Round The Sun, I finally start to understand Mastodon. Over the last decade or so, the Georgian four-piece have basically become one of the metal bands that the masses collectively beat off to. All of their records up to 2011's The Hunter have been praised beyond belief for various reasons, from the intense energy and crushing groove of their early material to the progressive-sludge linings of 2009's Crack the Skye, Mastodon essentially had the metal world (or at least the critics) begging for more. And honestly, I never really got it. I mean, I dig Crack The Skye somewhat, being a big prog nut, but I could never really hear what people were gushing over, it was just a pretty good album that merged two metal genres pretty well. I guess if I focused on the instrumentation solely then it is pretty damn tight, and they certainly have a knack for a good groove, but I never really enjoyed it.

So come 2011 and Mastodon are tired of being Mastodon and (gasp!) decide to go mainstream and accessible. And honestly, I still didn't get it. To me, The Hunter is basically the Mastodon of before with shorter songs and less screaming. The cries of "radio-friendly hard rock!" went straight through me, because "Curl of the Burl" is actually pretty bloody heavy for modern radio. Some people I know went as far as to condemn them to hell - a good friend of mine even saying "that band is basically on the same level as Nickelback to me now". But even "accessible Mastodon" evaded me a bit.

But man, the first three songs on this new album have really clicked with me. They take the 'radio friendly' hooks of The Hunter, and make them better and more memorable, but they have amped up the intensity and intricacy of the instrumentals around them, which honestly heightens both aspects immensely. "Tread Lightly" is [%*!#]ing insane, with Brann Dailor's spastic drumming (one of the best parts of this record, and one of the best performances from this year, even if he does use the same snare fill a lot) and Troy Sanders' rumbling bass keeping the energy up for five straight minutes of intensity. It's here that the intricacy of Mastodon's instrumentals really start to come through, but they're amplified by the insanely catchy hooks. You can't tell seriously me that the vocal chorus of "The Motherload" isn't the catchiest [%*!#]in thing you've heard this year. It's so majestic and fun, but it doesn't compromise complexity for a memorable hook. Lead single "High Road" also has a hell of a chorus, soaring high above the sludgy and tight verses to lift the song up so high. You combine tight grooves, insane playing and proggy riffs with majestic and insanely catchy choruses that make everyone want to sing along and you've got a recipe for whatever the metal equivalent of a 'banger' is.

And then it just floats away. I honestly don't think the term "top-heavy" can be more true here, because the rest of the album just never matches the tight intensity of the opening three. I guess it's kind of hard to construct an album to follow such an explosive beginning, because if you keep going down the same path then the album gets repetitive, and if you change and pull out some songs with different moods, the energy dies and the listener gets bored. It's not all bad though, and the mid-album duo of "Chimes at Midnight" and "Asleep In The Deep" are probably at the same level as the openers, but for different reasons. These two are both more linear tracks, following pretty much the same mood for the whole track, and both are without an extremely definable hook. Of course, the pleb in me really just wants a bitchin chorus to come in and lift it up, and the latter of the two nearly does, but the songs are pretty solid in themselves. The former is a groove-fest, with the entire song being driven by a paced and insanely tight triplet pattern on the guitars. The latter is a slower song, really bringing out Mastodon's influence from stoner rock on this album, with a guitar pattern that reminds me a lot of modern occult-rock bands like Jess and the Ancient Ones.

But the rest of the album really just doesn't hold up, despite having moments. "Ember City" and "Halloween" both have relatively good hooks, but there isn't enough substance outside of the choruses to hold them up. Many of the latter tracks - notably "Aunt Lisa" and "Feast Your Eyes", have riffs that really don't lock into a solid groove and end up sounding like a slop of random notes, and then we have "Diamond In The Witch House", which is honestly just straight-up boring in its nearly 8-minute length, even though longer songs is something I normally lap up. The biggest problem with an album as top-heavy as this is that I want to turn it off as soon as I get to track seven. It's not bad in any way, but it just doesn't hold up its weight throughout. As for how it compared to the Mastodon discography, I can't really say, because as I said at the start, they have really not impressed me to this level in the past. I think that the combination of groove, melody, accessibility and complexity that they showcase in this album's opening quarter is really impressive, though, and even though this may be an 'accessible' album (I mean, I like it, so it must be), there's still a lot for the classic fans to love in here.

7.2

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog

 Pale Communion by OPETH album cover Studio Album, 2014
4.11 | 191 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by robbob

5 stars Well Opeth in constant changing. Their last album was in an acoustic line... This one is like a typical Swedish heavy prog...reminds me very much Anekdoten...Anglagard...Paatos..bands that are inspired in 70 ies prog with that Nordic touches. What I have always love from Opeth is their instrumental heavy jazzy passages and Mikael vocals...what I hate are the guttural noises ...very typical of the dark metal albums ...this disgusting and unnecessary element...finally it seem is in the past of Opeth... So now we can listen to a clear ,defined and excellent heavy prog . A very mature album Beautiful songs.. Near a masterpiece in heavy prog ...so I want to prize Opeth.. 5 stars
 Oslo We Rot by DISKORD album cover Singles/EPs/Fan Club/Promo, 2010
3.00 | 1 ratings

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Oslo We Rot
Diskord Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "Oslo We Rot" is a double 7" EP split release featuring tracks by four different Oslo, Norway based death metal acts. The split was released through Unborn Productions in April 2010. "Oslo We Rot" is limited to 500 copies. The title of the release is of course a pun on the the title of the legendary debut album "Slowly We Rot (1989)" by Florida based death metal act Obituary.

The split features material by Lobotomized, Obliteration, Execration and Diskord. The Execration track and one of the Diskord tracks were later featured in re-recorded versions on the "Odes of the Occult (2011)" album by Execration and the "Dystopics (2012)" album by Diskord respectively. The rest of the tracks on the split are, as far as I´ve been able to find out, exclusive to this release.

"Oslo We Rot" is a relatively varied split although all four acts are rooted in old school Scandinavian death metal. Lobotomized is probably the act that sticks out the most as they employ a heavy dose of hardcore punk in their filthy take on old school death metal. They play an original track titled "Piss on My Grave" and two cover tracks. One Mentors cover and one Autopsy cover. The absolutely caustic vocal delivery is a great asset to their energetic and punked death metal style. The Obliteration track is sligthly more standard death metal. Both the Execration and the Diskord tracks are more technical in nature but without sacrificing filthy old school death metal darkness.

The sound production on most tracks are murky, dark and filthy, which suits the music on the split well. Overall "Oslo We Rot" is quite an entertaining release to my ears and especially Lobotomized and Diskord stand out as very convincing at what they do. A 3.5 star (70%) rating is deserved.

 The Manuscript by MY DYING BRIDE album cover Singles/EPs/Fan Club/Promo, 2013
3.91 | 4 ratings

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The Manuscript
My Dying Bride Tech/Extreme Prog Metal

Review by thwok

4 stars The Manuscript is definitely one of My Dying Bride's finest singles/EPs, perhaps one of the finest releases in their whole discography. Incidentally, what is the distinction between a single and an EP? Is it a matter of length? An interesting question for the purposes of our website, I think. The Manuscript is a big advancement over MDB's earlier EPs. The early releases tend to be more straightforward doom/death metal. That is not inherently a bad thing, but it makes earlier releases like Deeper Down less interesting for the followers of Prog Archives. Musical progressiveness means creating something that's different, innovative, not done before. What makes My Dying Bride interesting is what they add to the doom/death metal formula. I very much prefer the MDB releases that include violin. In the case of The Manuscript, it's played beautifully by keyboardist Shaun MacGowan. Since The Manuscript only has four songs, I won't pick favorites. As an MDB fanatic, I like anything they do. My only minor complaint is that "Var gud over er", although it's more death metal, sounds a lot like the next track "A Pale Shroud of Longing". I would change the order of the songs. Otherwise, The Manuscript would be an excellent pick for anyone with an interest in the band. Unreservedly a 4 star CD.
 Pale Communion by OPETH album cover Studio Album, 2014
4.11 | 191 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by DeepPurplePL

5 stars Opeth - even if this is not mighty Heavy Metal any more, it is their right to progress. Opeth dare to move into uncharted music territories which means to me they are still "alive" and kicking. As a big fan of Deep Purple I hear some bits of Purple heritage on this album, especially in terms of keyboard work. I am more and more addicted to Pale Communion, it is dynamically "growing" every day. Fantastic hard rock, progressive journey offered by Opeth. I understand fans of growl that may be disappointed, but on the other hand Opeth do not follow Dream Theater, example of stagnation and lack of creativity. I have just realized, that Opeth are quickly climbing on my personal list of favourite bands. Welcome to top 10. In times when bands earn little if anything from selling albums, it is the effort and achievement I respect.
 In A Mirror Darkly by MEKONG DELTA album cover Studio Album, 2014
3.24 | 17 ratings

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In A Mirror Darkly
Mekong Delta Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "In a Mirror Darkly" is the 10th full-length studio album by German technical/progressive metal act Mekong Delta. The album was released through Steamhammer Records in April 2014. "In a Mirror Darkly" features the same lineup who recorded the band´s preceeding studio album "Intersections (2012)". It´s actually been a stable lineup since "Wanderer on the Edge of Time (2010)", which is not exactly business as usual for Mekong Delta.

The music style on "In a Mirror Darkly" is a technical type of progressive metal with strong thrash metal leanings. Mekong Delta are relatively distinct sounding but if I have to mention some references it would be artists like Psychotic Waltz and Fates Warning at their heaviest. Lead vocalist Martin LeMar (who at times has a pretty thick German accent) is more of a US power metal type singer though. Pretty powerful and raw sounding but also capable of singing more melodic clean vocals.

The material on the album are generally very well written and at times quite intriguing. Just from listening to the opening trio of tracks, the classical tinged acoustic nylon string guitar intro, the instrumental "Ouverture", and the heavy, thrashy, and aggressive "The Armageddon Machine", it is pretty clear that this is a varied and very cleverly composed release, but the whole album is full of great challenging tracks and high level musicianship. The sound production is also well sounding and suits the music perfectly.

So all in all another quality release by one of the veterans of the genre, who are still actively pushing boundaries and inspiring other aspiring artists in the process. A 4 star (80%) rating is deserved.

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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
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
ATHEIST United States
ATROPHIA RED SUN Poland
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
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
BOTCH United States
BURGUL TORKHAÏN France
BURST Sweden
CANVAS SOLARIS United States
CAPHARNAUM United States
CAR BOMB United States
CARBONIZED Sweden
CARCARIASS France
CASTEVET United States
CEPHALIC CARNAGE United States
CEREBRUM Greece
CHAOS DIVINE Australia
CHIMP SPANNER United Kingdom
CIRCLE OF CONTEMPT Finland
CIRCLE TAKES THE SQUARE United States
CIRCLES Australia
CITRINITI Italy
COBALT United States
CODE Multi-National
COLD NIGHT FOR ALLIGATORS Denmark
COLLAPSAR United States
CONTINUO RENACER Spain
CONTORTIONIST United States
CONTROL DENIED United States
CONTROL HUMAN DELETE Netherlands
COPROFAGO Chile
CORAM LETHE Italy
COUNTER-WORLD EXPERIENCE Germany
CRANIUM United States
CROWPATH Sweden
CRYPTODIRA United States
CUBICAL SPHERE Greece
CYCLAMEN United Kingdom
CYNIC United States
DAATH United States
DE PROFUNDIS United Kingdom
DEAD LETTER OPENER Australia
DEATH United States
DEATH MACHINE United States
DEATHROW Germany
DEATHSPELL OMEGA France
DELTA CEPHEID Germany
DEMILICH Finland
DEMONIC RESURRECTION India
DESCEND Sweden
DEVIUS Argentina
DIABOLICAL MASQUERADE Sweden
THE DILLINGER ESCAPE PLAN United States
DIONAEA United States
DIORAMIC Germany
DIREWOLF United States
DISEMBARKATION Canada
DISFIGURING REALITY Canada
DISHARMONIC ORCHESTRA Austria
DISILLUSION Germany
DISKORD Norway
DIVINITY Canada
DODECAHEDRON Netherlands
DODHEIMSGARD Norway
DORDEDUH Romania
DOWN I GO United Kingdom
DROTTNAR Norway
DRUDKH Ukraine
DRYAD'S TREE Germany
DUOBETIC HOMUNKULUS Czech Republic
DYSRHYTHMIA United States
EARTH SNAKE United States
ECCENTRIC PENDULUM India
ECHIDNA Greece
EDGE OF SANITY Sweden
MATTIAS IA EKLUNDH Sweden
ELECTRO QUARTERSTAFF Canada
ELECTROCUTION 250 Sweden
ELENIUM Finland
ELENIUM Poland
EMPYREAN SKY United States
ENDITOL Canada
ENSLAVED Norway
ERA VULGARIS United Kingdom
ERYN NON DAE France
ESCHATON Austria
ETERNITY VOID United States
EVER FORTHRIGHT United States
EXENCE Italy
EXIVIOUS Netherlands
EXTOL Norway
THE FACELESS United States
FARMAKON Finland
FEARSCAPE Australia
FLESHGOD APOCALYPSE Italy
FLOODLINE United States
FLOURISHING United States
FORCES AT WORK Germany
FORGOTTEN SILENCE Czech Republic
FORNOST ARNOR United Kingdom
FRANTIC BLEEP Norway
FROM A SECOND STORY WINDOW United States
FROM THE EMBRACE United States
GIGAN United States
GLADIATOR United States
GOJIRA France
GOLLUM / HADEA United States
GORGUTS Canada
GOROD France
LE GRAND GUIGNOL Luxembourg
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