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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

4.31 | 1501 ratings
STILL LIFE
Opeth
4.25 | 1441 ratings
GHOST REVERIES
Opeth
4.25 | 1546 ratings
BLACKWATER PARK
Opeth
4.36 | 156 ratings
OBSCURA
Gorguts
4.25 | 430 ratings
CRIMSON
Edge of Sanity
4.24 | 497 ratings
SYMBOLIC
Death
4.27 | 255 ratings
NOTHINGFACE
Voivod
4.26 | 286 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.19 | 497 ratings
FOCUS
Cynic
4.23 | 251 ratings
ELEMENTS
Atheist
4.20 | 388 ratings
THE SOUND OF PERSEVERANCE
Death
4.16 | 980 ratings
PALE COMMUNION
Opeth
4.26 | 167 ratings
DIMENSION HATROSS
Voivod
4.24 | 173 ratings
OM
Negura Bunget
4.16 | 338 ratings
HUMAN
Death
4.17 | 256 ratings
THE PARALLAX II - FUTURE SEQUENCE
Between The Buried And Me
4.20 | 173 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.12 | 482 ratings
TRACED IN AIR
Cynic
4.15 | 271 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.31 | 82 ratings
DEATH'S DESIGN
Diabolical Masquerade

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

LAZARUS BIRD
Burst
WARRING FACTIONS
Ansur
CORTICAL TECTONICS
Canvas Solaris
1980
1980

Latest Tech/Extreme Prog Metal Music Reviews


 Blackwater Park by OPETH album cover Studio Album, 2001
4.25 | 1546 ratings

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Blackwater Park
Opeth Tech/Extreme Prog Metal

Review by ale73

5 stars Now Opeth is one of the most affirmed prog entity (and it is all deserved), but there was a time when they were something different. I started listening to them with the former album "Still life", and immediately I came back to their older stuff. Now mixing death metal and prog could appear nothing revolutionary, but in the 90's it sounded completely new. And I think no one else did it with the same feeling, technical expertise and great songwriting as Opeth.

I remember buying this record with big expectations and some doubt, as I was thinking "Still life" could have been unmatchable. But at the first listening to "Blackwater park" I understood my expectations were not only fulfilled but even exceeded. It was 2001 and at that time I was totally into metal music. Even though I was listening to some prog as well (I was listening to Marillion since I was13), my ears were not prepared for a total prog immersion. I know prog purists would not like this record, but for me (it is something difficult to explain) it represented my complete acceptance of the genre, probably because it was a prog record recorded by metal musicians. From then my prog explorations started, in parallel with Opeth journey: mastermind Mikael Åkerfeldt changed his creature through different paths, always sorrounded by great musicians, alternating prog, metal and even acoustic music, clean voice and growling.

In this album Opeth have my favorite line-up. Mikael Åkerfeldt is simply perfect: I love both his growling and clean voice, and his guitar sound is superb; the rhythmic section is well-matched, with a technical setting that seems almost jazz based: it was particularly evident in live sets, and it is something I now regret, new bassist and drummers are great but this feeling misses; Peter Lindgren was the perfect complement to the main-man guitar soloing.

All the album is a mix of aggressive and harsh death metal with growling voice and delicate acoustic parts with a very delicate voice. Every song is very intricate and if you listen to the whole album it is like you are on a rollercoaster. All of them are very long, from 8 to 12 minutes each, with two exceptions: the mellow interlude "Patterns in the ivy", a very short song but at the same time very beautiful (there is a second part of it in "Damnation" album) and the acoustic ballad "Harvest", in my opinion one of the highest creative peaks in Opeth career. But all the album is a sort of "best of", so that at least there are three songs that they often play live still now: "Bleak", "The leper affinity" and "The drapery falls".

Two last observations: the record was produced by Steven Wilson (and production is great); the cover art is fantastic and perfectly shows the mix of melancholy and hope that is the backbone of this masterpiece.

 Sorceress by OPETH album cover Studio Album, 2016
3.80 | 368 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by Prog Leviathan
Prog Reviewer

3 stars The prog-rock Opeth seems here to stay, especially with Sorceress, which offers a panoply of classic progressive inspiration, performed through the down-tuned and sometimes aggressive--sometimes nostalgic--Opeth style. Will you like it? Probably. Will you love it? Maybe not this time.

Sorceress succeeds on many levels. Foremost is in its production and style. This is a masterfully produced and performed album. The instrumentalists are generally underrated in our discussions here, but their work throughout Sorceress is first-rate. Next, is the diversity in songwriting, dynamics, and nuance. There's a lot here for lovers of artistic rock to enjoy and discover. From the thick, fuzzy, bottom-heavy title track, to the gentle acoustic moments and simple accompaniments to Akerfeldt's wonderful singing voice found throughout. While there's never metal chugging-- the band gets heavy in many songs; on the flip-side, though they never breakout into a Scandinavian peasant dance--the band indulges themselves quite a bit in an eclectic combination of folk, fusion, and the lengthy spaces between highlights.

And this is sort of where Sorceress lets me down. The songwriting has a handful of outstanding moments, but it can't grab hold for its entire running time. Some songs feel like interludes, and a few like experiments that almost work. Likewise, Akerfeldt's lyrics are noticeably less interesting this time around.

If you're grooving with Opeth's musical direction, or if you love the prog classics which Opeth is taking inspiration from, then Sorceress is a worthy purchase. If you pine for the days when Akerfeldt would destroy your brain with impossibly intense metal--it's time to say goodbye to Opeth once and for all. If you're like me and think Heritage and Pale Communion are the band's best albums--Sorceress is a solid record (almost a 4-star).

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 3

 Kivenkantaja by MOONSORROW album cover Studio Album, 2003
4.31 | 74 ratings

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Kivenkantaja
Moonsorrow Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars I tend to find the whole "folk metal" thing highly hit and miss, particularly when bands don't integrate the two halves of that formula but simply play mediocre metal and mediocre folk music together and hope that the charms of both sides of the equation smooth over the holes. Moonsorrow's Kivenkantaja, on the other hand, absolutely does not do that, integrating the sounds and motifs of Scandinavian folk music into a majestic, sweeping, almost cinematic metal framework. The compositions tend towards longer tracks with epic, progressive rock-esque structures, and the overall effect wouldn't seem out of place as the soundtrack to an adaptation of some pagan saga of ancient days.
 Embodiment by SCULPTURED album cover Studio Album, 2008
4.66 | 23 ratings

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Embodiment
Sculptured Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

5 stars Sculptured is the personal vehicle for Agallloch member Don Anderson's twisted brainwrongs of avant-prog metal strangeness. With Agalloch taking off to the extent that it's done, Sculptured releases have been few and far between, but 2008's Embodiment is a rather magnificent specimen which takes technical death metal as its launching-off point for wild and deep explorations of diverse musical territories. With a sound about as diverse as your typical late-period Mr Bungle album, it ranges from the atonally noisy to the blissfully melodic and calm, often within the same composition and occasionally, impossibly, at the exact same moment. A genuine avant-metal oddity which doesn't deserve to be left in the shadow of Anderson's Agalloch day job.
 Arcturian by ARCTURUS album cover Studio Album, 2015
3.86 | 59 ratings

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Arcturian
Arcturus Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars Arcturus took a decade off of creating studio albums after Sideshow Symphonies and have returned with this, a pretty solid new release which, though it lacks any fully-fledged epics (with all the song lengths at less than six minutes), still offers a confection of progressive-minded metal with symphonic and black metal touches, with the inclusion of (unless my ears deceive me) an actual string section really allowing them to bring their symphonic aspect to the fore. Sebastian Grouchot guests on violin and adds a nicely melancholic touch to pieces such as Crashland.

Like the preceding Sideshow Symphonies, this does not feel like as striking and groundbreaking a release as any of their first three studio albums (up to and including the classic Sham Mirrors). Still, if you loved those you will probably enjoy this, and even if other musicians have caught up with the far-out territory of Arcturus, Arcturian is still a nicely polished example of this sort of black-about-the-edges progressive metal.

 Sideshow Symphonies by ARCTURUS album cover Studio Album, 2005
3.73 | 101 ratings

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Sideshow Symphonies
Arcturus Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars As far as Arcturus album titles go, "Sideshow Symphonies" is rather apt. "Symphonies" are in play in the sense that the music is deep in progressive realms with, as in the classic Sham Mirrors or La Masquerade Infernale, only hints of their earlier black metal style present (and these are buried deeper than ever). And "Sideshow" in the sense that this doesn't feel like a top-flight, main event level Arcturus album.

Perhaps part of the issue is that the album explores a somewhat more mellow side of their sound, which following the bombastic moments of the previous two albums may feel rather restrained and meek. It's still an interesting enough release in its own right, with influences ranging from Pink Floyd (Shipwrecked Frontier Pioneer) to, I swear, just a hint of IQ (just imagine Peter Nicholls singing Hibernation Sickness Complete and you might see what I mean), but I can see why it's an often overlooked album from them.

 Cold Dark Place by MASTODON album cover Singles/EPs/Fan Club/Promo, 2017
2.86 | 18 ratings

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Cold Dark Place
Mastodon Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

2 stars Following 2017's full release album "Emperor Of The Sand," Atlanta based sludge metal outfit MASTODON gave hardcore fans another slice of their unreleased material on this four track EP titled COLD DARK PLACE which came out in September digitally and on CD but also as a limited edition ten-inch vinyl edition that came out at the end of October 2017.

COLD DARK PLACE is basically the leftover tracks from the band's last two album session. "North Side Star," "Blue Walsh" and the title track all date back to 2014 from the "Once More 'Round The Sun" sessions and "Toe To Toes" comes from the latest "Emperor Of Sand" sessions.

There is nothing on this EP that you wouldn't expect. Nothing here is experimental or out of the parameters of the band's established style that was displayed on the retrospective albums that these were initially recorded for. MASTODON has been toning down the heaviness in their music ever since the 2011 album "The Hunter" and COLD DARK PLACE shows the band continuing their journey into less metal territory with more emphasis on progressive rock.

While most tracks are on the borderline of progressive rock and metal, "Toe To Toes" is exceptionally mellow for MASTODON's overall sound. There are more clean vocals displayed on this EP than on any proper album. Overall i'm not too keen on MASTODON's direction that they've been going.

While metal bands mellowing out and going prog rock isn't anything new or something i'm against in any way, MASTODON seems to be getting stale with super predictable tunes that cruise on auto pilot. This EP is okay with nothing being offensive but i find it quite boring compared to the greatness they unleashed a decade ago.

2.5 but rounded DOWN!!!

 Thoughts From A Stone by COMA CLUSTER VOID album cover Studio Album, 2017
4.00 | 1 ratings

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Thoughts From A Stone
Coma Cluster Void Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
4 stars After becoming one of underground metal's most up and coming revered tech death bands of 2016 with their debut album "Mind Cemeteries," the multi-national COMA CLUSTER VOID unleash their second offering to the world of sonic sadomasochism seekers with THOUGHTS FROM A STONE which while at running length of only 21 minutes and 40 seconds could possibly be thought of as an EP but in reality i haven't seen any reference to it as such by the band themselves so despite clocking in a roughly half the time span as their debut, i would have to assume that this is in fact their second album. While the time length has been shortened, the number of musical cast members has gone up by two. While the five members on the debut all make a reprise, they have also expanded their roles beyond their retrospective instruments or vocal duties. This meaning that there is more of a classical music approach in the intro and other segments strewn throughout that find bassist Sylvia Hinz also playing recorder and guitarist John Strieder tearing it up on the violoncello. Two guests appear with Alexa Renger on violin and Anthony Lipari adding yet more guttural death growls and other vocal utterances.

Once again COMA CLUSTER VOID are on a mission to create the harshest and most atonal dissonant din there is to be experienced. While mostly centered on the bizarre surreal tech death soundscapes of Gorguts' "Obscura" for their source of proggy inspiration with flurries of zigzagging math rock time signatures run amok, the heavy bombast also brings the kings of dissonant djent-fueled orotundity, Meshuggah to mind but it's those slowed down creepy jarring atonal chords and arpeggiations that always point the finger to Deathspell Omega's most demanding listens. While not quite as murky and layered as bands like Portal and Pyrrhon, the distortion that bleeds to infinity adds an extra layer of tension that only becomes ratcheted up to the ultimate creepy climaxes. While the tech death metal parts are fairly similar to the first album, what really sets this one apart is the use of the chamber rock classical music pieces which start to sound like Kayo Dot's most experimental earlier albums however it's the semi-spoken declarative poetic proses uttered by both male and female members that gives it a sense of urgency and unique flavor.

Personally i find THOUGHTS FROM A STONE to expand fairly well from the debut as it takes all the extreme elements set forth and adds new layers of surreality, brutality and technical complexity which all conspire to unleash a startling spine-chilling sonicscape of extremes. Perhaps my favorite is the ending "We Are As Low" which is a jangling distortionfest mess of chords, eerie atmospheric dread and guttural growls trading off with Diamanda Galas-esque types of litanies of horror and anguish. This is the type of complexity that requires acclamation as it is the equivalent of transversing an oxygen-starved environment while climbing Mt Everest. The elements exposed here are built upon the complexities of the high tech arts that preceded and will surely leave the uninitiated into this cult of chaos utterly bereft of any connection to a musical experience whatsoever. Proggy as hell and brutally extreme to the max yet an almost undetectable thread of beauty that stitches the whole thing together. Another winner in my book. COMA CLUSTER VOID is the real deal.

 Urn by NE OBLIVISCARIS album cover Studio Album, 2017
3.98 | 15 ratings

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Urn
Ne Obliviscaris Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Founded in the Australian coastal city of Melbourne in the year 2003, Ne Obliviscaris took the inspiration for their name from the proud motto of Argyll, Scotland's Clan Campbell which means "forget not". From the start, this collective made it clear that they did not intend to follow any trends or walk on well-trodden paths. This is their third album, and again shows their refusal to fit into any particular pigeonhole, but instead is out to prove that music (at least in its truest form) is indeed a living beast but isn't something that will conform to anything in particular. Listen to certain sections of songs and one will be convinced that this is an out and out death metal act, but listen to others and it is obvious to anyone that they are acoustic folk, but to be honest Ne Obliviscaris are one of those incredibly rare things, a progressive band operating out of Australia.

For my sins I have to go to Melbourne about once a month, and I see I need to keep an eye on their website and tie one of these trips in to catch these guys in concert, because if this album is anything to go by they are a force to be reckoned with. Each of the musicians is at the top of his game, and seems able to cope with any and all musical forms. Daniel Presland is a dab hand at powering the band from the back, and is full control of the double bass drum pedals, while guest bassist Robin Zielhorst has an incredibly warm and pronounced style (his impact is so strong that I do find it hard to understand why he isn't a full member of the band). Matt Klavins and Benjamin Baret provide the twin guitar attack, riffing of shredding as the needs prevails, although they can also go acoustic. This then leads the twin frontmen of Tim Charles and Xenoyr. The latter is in charge of the crushed larynx approach while Tim is a clean singer, who also adds violin, but often in a full out frontal attack with the guitars as opposed to something more gentle and melodic, although he can do that as well when required.

This is a consummate act, and one that has produced an incredibly complex album which proves (if it was required) that those who enjoy playing music loud enough to burst ear drums often also have a great deal of musical talent and make their own rules. This isn't gently straddling the lines between quite diverse genres, but is stamping all over them and proving that music is whatever the purveyor wishes it to be. There will be some who say that this is too progressive for their extreme metal tastes, while others will say that the guitars are too much and the drum attack is upsetting them. Me, I think it is bloody excellent and look forward to hearing a great deal more from them.

 Lost Signal by CODE album cover Singles/EPs/Fan Club/Promo, 2017
4.02 | 3 ratings

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Lost Signal
Code Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Lost Signal" is an EP release by UK progressive/avant rock/metal act Code. The EP was released through Agonia Records in January 2017. It's the successor to the band's fourth full-length studio album "Mut" from 2015 and features the same lineup as the album does.

"Lost Signal" doesn't contain any new original material but instead feautures 6 re-recorded and re-arranged tracks from the band's four preceding studio albums. Three tracks off "Mut (2015)" and one track from each of the other three studio albums "Nouveau Gloaming (2005)", "Resplendent Grotesque (2009)", and "Augur Nox (2013)". The tracks off "Mut (2015)" are given a slightly more raw and gritty treatment, while the three tracks from the first three albums are arranged to sound more like the dark and heavy progressive/avant rock/metal of "Mut (2015)". So the black metal influences of the past are mostly gone from the band's sound at this point, although the occasional snarling vocal phrase still stubbornly holds on to a minimal extreme metal orientation. "Lost Signal" however predominantly features clean vocals by lead vocalist Wacian.

Code manage to make the listener feel that "Lost Signal" was recorded live, that's how gritty, authentic, and organic the EP sounds. It's a perfect sound production for the material. Add to that intriguing songwriting and high level musicianship and you have another high quality release by Code on your hands. One of the great things about Code at this point of their career, is that there's stylistic development between every release, and as a listener you just know that they aren't through developing their style yet, and that you can expect more surprises in the future. 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
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
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
CHRONOSTASIS United States
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
COMA CLUSTER VOID United States
CONTEMPLATOR Canada
CONTINUO RENACER Spain
THE CONTORTIONIST United States
CONTRARIAN 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
DARK HERESEY United Kingdom
DARK MILLENNIUM Germany
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
DEMIMONDE Czech Republic
DEMONIC RESURRECTION India
DESCEND Sweden
DEVIUS Argentina
DIABOLICAL MASQUERADE Sweden
THE DILLINGER ESCAPE PLAN United States
DIMESLAND 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
DØDHEIMSGARD Norway
DORDEDUH Romania
DOWN I GO United Kingdom
DREAMGRAVE Hungary
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
FALLUJAH United States
FARMAKON Finland
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