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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 | 1179 ratings
STILL LIFE
Opeth
4.25 | 1204 ratings
BLACKWATER PARK
Opeth
4.29 | 378 ratings
PALE COMMUNION
Opeth
4.23 | 1123 ratings
GHOST REVERIES
Opeth
4.29 | 306 ratings
CRIMSON
Edge of Sanity
4.26 | 378 ratings
SYMBOLIC
Death
4.39 | 103 ratings
OBSCURA
Gorguts
4.22 | 402 ratings
FOCUS
Cynic
4.25 | 200 ratings
ELEMENTS
Atheist
4.25 | 192 ratings
NOTHINGFACE
Voivod
4.28 | 135 ratings
OM
Negura Bunget
4.21 | 218 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.18 | 257 ratings
HUMAN
Death
4.14 | 405 ratings
TRACED IN AIR
Cynic
4.15 | 304 ratings
THE SOUND OF PERSEVERANCE
Death
4.33 | 74 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.23 | 121 ratings
DIMENSION HATROSS
Voivod
4.19 | 163 ratings
ISA
Enslaved
4.20 | 147 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.15 | 227 ratings
TALL POPPY SYNDROME
Leprous

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

WARRING FACTIONS
Ansur
EXPRESSIONIST
Beltane
RUUN
Enslaved
THE HINDERERS
Daath

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Latest Tech/Extreme Prog Metal Music Reviews


 Glorification Of Pain by VALBORG album cover Studio Album, 2009
4.00 | 1 ratings

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Glorification Of Pain
Valborg Tech/Extreme Prog Metal

Review by Lear'sFool

— First review of this album —
4 stars Valborg are a death doom band that features progressive elements, ones that lead to a unique and solid take on their sub-genre. In their interpretation of death doom, they variously switch from playing a thick take on death, a loud take on doom, or even playing one and then changing to another within a single track. The last of these reminds me of the constant tempo and time signature changes of math rock, and one might go as calling them math doom, since these changes are much more spaced out and slow coming as one would expect of doom. That plus the vocals and the intricates of their music clearly lean doom more than death. In the end, "Glorification of Pain" works out to be a great album that showcases the band's style wonderfully and, to some, to an extent epic. Unique and recommended.
 Sweven by MORBUS CHRON album cover Studio Album, 2014
5.00 | 3 ratings

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Sweven
Morbus Chron Tech/Extreme Prog Metal

Review by Lear'sFool

5 stars Slowly, quietly, but surely a guitar plays, over time rising in volume. Other instruments soon join, and when the drums join you know you're soon in for the crunch of metal. But for now they play as before. It takes awhile, but eventually this intro breaks into the expected progressive death metal, and demonic voices rise from the depths to welcome you. Things eventually calm back down, and then return to fury. This continues on to the fifteen minute mark. That would be an apt description of the first three, united tracks of Morbus Chron's second outing, "Berceuse", "Chains", and "Towards a Dark Sky", and also sums up the style of the rest of the record. To my ears this is strictly an improvement over the already excellent style of Edge of Sanity on their seminal "Crimson", likely part of the inspiration for these newly minted Swedes. A top album of 2014 for me, I recommend fans of prog death, especially those who find quiet interludes pleasing, check this wonderful record out.
 Hymns of Ahriman by ONTOGENY album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 1 ratings

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Hymns of Ahriman
Ontogeny Tech/Extreme Prog Metal

Review by Prog Sothoth
Collaborator Prog Metal Team

— First review of this album —
4 stars Sometimes I wonder concerning EPs if the original intention was to make a full length, but the band ran out of money and/or time, or ideas that seemed good at first flew out the window resulting in a writer's block after three numbers. Maybe an EP was their full intention from the get-go. "We're going to make three songs, and that's that. Forget full lengths, it's all about the EP now." Whatever the reason, for this release the EP format works quite well...three really strong, varied and busy tracks for a total of 22 minutes highlighting the band's strengths and with none of the three tunes being drawn out or overstaying their welcome.

The sound is full and dense, with the monstrous guitar presence getting the premium attention, although all instruments are clear and noticeable. The production is excellent, and while the vocals could be considered a bit low in the mix, they are still very much audible, being a mostly mid-to-low toned growl that sometimes veers into "anguish" territory.

The dominant heavy sections offer a slew of riffs that range from Voivod to latter-day Death stylistically while racing with the intensity of the more brutal technical death acts of recent years. There's also some djent flavor here and there, though it serves more as an occasional supporting element rather than the focus of any of these three tunes. Technically psychotic for sure, but riff-based without resorting to constant sweeps and other somewhat tiresome means to fill out space.

What I really enjoy here is when the band diverts away from metal, their spacey, jazzy passages are quite skillful and melodic. Cooler than some spooky ambient thing, the musicians really get to show their chops during these more subdued moments such as the snazzy guitar solo in "Synethic" or the fusion-like drumming during "Phantom Hate".

There's pretty much nothing I don't like about this EP; it's Ontogeny's best release so far, and it would be interesting if they can keep up this level of creativity over the course of a full length album someday. Hopefully it will eventually happen.

 Seepia by PORTAL album cover Studio Album, 2003
3.89 | 8 ratings

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Seepia
Portal Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Seepia" is the debut full-length studio album by Australian death metal act Portal. The album was released through Blacktalon Media in November 2003. Portal have made quite the name for themselves in the extreme metal underground during their existence as a band and already this early on in their career their abstract horror/occult concept and theatrical live performances (the band perform wearing costumes) were fully developed. The same can be said about their unique approach to playing death metal. They obviously had a fully developed conceptual plan from the get go and followed it.

Portal play an incredibly dense, almost suffocating, murky, dissonant and experimental form of death metal. It´s fast, it´s brutal, murky and dark, but from there most "conventional" ideas of how death metal should sound are thrown out the window. The tracks feature unconventional structures, the riffs are twisted, distorted and dissonant and the unintelligible growling vocals are placed low in the mix. The album features a sound, that to the untrained ear, might sound like utter chaos and dissonant noise, but upon closer examination is meticulously crafted. I guess a more experimental and dissonant sounding Incantation could be mentioned as a reference, but "Seepia" is overall quite unique sounding. The abstract/occult horror atmosphere (I´m thinking a more abstract and beastly H.P. Lovecraft) provides the album with a little extra too.

If words like experimental, odd, abstract, dissonant, intense, murky, uncompromising and chaotic spark your interest, "Seepia" is the kind of album that applies to those words. Portal skillfully weave the meaning behind the above mentioned words into their own unique take on death metal. It´s not an easy listening experience and upon initial listens it might come off as uninviting, but "Seepia" grow upon repeated listens and I dare say I have even discovered hooks in the music over time. A 4 star (80%) rating is deserved. It´s nice to hear that there are still artists able to challenge the rather strict conventions of death metal and thereby helping the style to expand.

 Sofia by ARKAN album cover Studio Album, 2014
5.00 | 2 ratings

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Sofia
Arkan Tech/Extreme Prog Metal

Review by Pieromcdo

5 stars WOW this is very good extreme prog at the top of my expectation ther other work before ware amazing but with Sofia it come with more harmony and progression .The voice of Sarah Layssac for the clear part is perfect ,most of the singing for this album is her with the right amount of the groth voice just well balance(if your looking for music mcdo@bell.net) The Music on sofia is more organise ,melodic and simply glow true. this is extreme prog melodic for a larger audience and very, very good true the all Album A refined sound from France with a Arab touch Just great to her
 Watershed by OPETH album cover Studio Album, 2008
3.94 | 921 ratings

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Watershed
Opeth Tech/Extreme Prog Metal

Review by brainsuccasurgery

4 stars Outside the rain hits the glass with a dry sound, depending on the speed of my fingers on the keyboard, writing slowly at first then faster. I looked at the object I need to review, the 2008 Opeth record. I thought, another book to the twilight atmosphere. I shivered contemplating photos on the front and back cover. I felt something cold, incomprehensible. The sensation of touching a dead tree. I write as the good old days of first spectral Black Sabbath. An avalanche of blinding lack of pictures then make me waver. A moment of 1980 when I listened for the first time this old thing. I pause, look back at all that has been written on Watershed, rubbing my temples. Oboe and medieval death metal? Headache overtakes me. The overwhelming rhythmic heaviness does not help. From the beginning, the work of Opeth seems certify room presence, effective, an army of shadows moving. All his ghostly iconography, carrying a very nineteenth century Gothic despair. Watershed does not alter the case. Ideal for dark days, it contains some of their essence. The apparent clarity of "Coil" which opens the album with hot and sweet voice of Nathalie Lorichs (Remember Julianne Regan of All About Eve) is not sufficient to relieve a general feeling oppressive. But I see nothing serene or bucolic there. Watershed tends to the gods his heart like poison coated dishes we pass in a divine meal.

After "Coil" Watershed continues with "Heir Apparent," a continuation of Ghost Reveries, this very personal vision has Mikael Åkerfeldt of death metal. "Burden" is more surprising with its unbridled solo Hammond organ and a final daring flamenco and detuned guitars. As usual, Mikael is ubiquitous: only "Porcelain Heart" is co-written with guitarist Fredrik Åkesson faithful. As a bonus to the special edition, the heroic "Derelicts Hands" (6:28). And three times, including the rampant Blues, "Brigde of Sighs" (6:55). The storm that moved away, rumbling east (the voice of giants?). I put in the drive and Watershed plunges me into reading an old Bram Stoker demonstrating that nothing is shorter than our life and death is only silence. Voice and music of giants!

 Pale Communion by OPETH album cover Studio Album, 2014
4.29 | 378 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

5 stars After being impressed with Opeth's wonderful "Heritage" album my hopes were set very high on "Pale Communion". I make no secret of my dislike for really abrasive growls in Prog. I believe Opeth's finest hour is the melancholy and haunting "Damnation" and now they are blending that beautiful vocal approach with the progginess of "Heritage" to produce one of the albums of the year.

"Pale Communion" is a stunning album on every level, opening with a soundscape of keyboard layers, capturing a dramatic ambience from the start. The vocals are harmonized and sound not unlike the style of Yes in some ways. Perfect harmonies, and easily decipherable lyrics on "Eternal Rains Will Come".

This is followed by the one that hit the online community in the initial stages, "Cusp of Eternity". Akerfeldt's voice is sensational as always, he won't be growling on this album. The catchy chorus hook will settle in your brain after a few listens. Definitely a keeper in the Opeth greatest hits package.

"Moon Above, Sun Below" is an 11ish minute mini epic with a steady rhythm and some glorious guitar and keyboard flourishes. There is a darker feel on this with the vocal style, more aggression and heavier riffs, though this is still as far removed from the style on "Deliverance" as you can imagine. The hypnotic mantra of the title will engrave itself upon you, then there is a gorgeous twin guitar section. After this tranquility Akesson launches into a blinding lead break. Then it settles into a haunting keyboard motif and reverberated vocals. This is so catchy it always jumps out on the album. The melodies are as good as Opeth gets.

"Elysian Woes" is driven by somber acoustics and vocals at first. Akerfeldt's voice is crystalline clear; surely one of the greatest vocalists this year. The influence of Steven Wilson shines through. The melancholy approach is startling, with beautiful guitar interplay and some angelic keyboards at the touch of Svalberg.

"Goblin" is an instrumental driven by raging keyboard finesse and quirky time sigs. "River" returns to quiet solitude with acoustics, sweet harmonies and pleasant lead guitar soloing. I love how the time sig changes and locks into a twisted meter and some incredible lead guitar trade offs. The Hammond is delicious and oh the sweetness of the Mellotron!

"Voice of Treason" has a fantastic drumming performance from Axenrot and those keyboards are absolutely divine. This is a powerhouse track that springs from nowhere and it keeps building with amazing vocals and ominous musical embellishments. The bass solo of Mendez works nicely with the drums. The staccato violin style keys remind me of the recent James Bond theme song. This track is a definitive highlight that gets better on every listen.

"Faith in Others" closes things with Mellotron soundscapes encapsulating a Pink Floyd atmosphere. The mood swings from dramatic tension to a very heartfelt gentle emotion at the end. Mellotrons float lambently to the end as Akerfeldt croons softly. It is an effortless light approach from Opeth that may surprise some with its consistence ambience.

There's not a shred of metal on "Pale Communion" so headbangers keep your distance. This album is more symphonic than anything Opeth have done previously. It is another "Heritage" style exploration of retro prog?and I like it!

 Oscillations by DISKORD album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 1 ratings

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Oscillations
Diskord Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars "Oscillations" is an EP release by Norwegian death metal act Diskord. The EP was released through Hellthrasher Productions in August 2014. It´s a 6 track, 25:58 minutes long release, and if the EP had featured just a few more tracks, this could well have been the band´s 3rd full-length studio album. So you´ll get plenty of quantity for your money.

Not surprisingly the quality of the material is also high. Diskord are known for delivering a brutal and old school oriented type of technical/progressive death metal, and that trend is continued on "Oscillations". It´s still artists like Cadaver, Carbonized, and pre-black metal Darkthrone that are the main influences, but add to that some dissonant riffing in the vein of Voivod, and a description of the band´s music is formed. The riffs are raw and delivered with fierce conviction and energy, the drumming is fusion influenced but still powerful and suiting the old school death metal atmosphere, and the vocals are poison filled and sneering death metal growls. So while the music is certainly both progressive and technical in execution, brutality and aggression are always in the high seat. There´s no complex playing for the sake of it. The technical playing and the progressive ideas are a means to an end.

The sound production is raw, dark, and powerful. The drums are slightly less organic and bit more clicky sounding than on the two album predecessors, and I´m not sure I think that´s a good idea, but it´s not a major issue. so "Oscillations" is overall another really strong release by Diskord, and although I think I prefer the two preceeding studio albums over this EP release, a 3.5 - 4 star (75%) rating is still deserved.

 Citadel by NE OBLIVISCARIS album cover Studio Album, 2014
4.39 | 9 ratings

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Citadel
Ne Obliviscaris Tech/Extreme Prog Metal

Review by Rowsol

4 stars I've listened to this maybe 20 times over and Portal Of I probably 50 times. I feel I have enough experience to write my experience with this.

If I had to rate my top songs from them it would be: (in this order)

Forget Not Xenoflux Painters of the Tempest Tapestry of the Abstract

Citadel is a much shorter album than the previous and not as good. I see people on the internet saying Citadel is better than Portal Of I, and I have to disagree. That's not to say it's not good, it's still a 4 to me. "Portal" was just that damn good.

Citadel has only a few stand out parts in my opinion. The last 5 minutes of Painters, and 4:00 and 9:00 of "Devour Me, Colossus".

Portal had the middle of Tapestry, the last half of Xenoflux, and the entirety of Forget Not that was excellent.

I saw someone compliment their choice to make this new album shorter than Portal. Why? Portal was 70 minutes and great the entire time. Why would they want to shorten it?

I guess that's all I have to say.

 Naturbål by VINTERSORG album cover Studio Album, 2014
3.09 | 11 ratings

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Naturbål
Vintersorg Tech/Extreme Prog Metal

Review by DrömmarenAdrian

3 stars Vintersorg is a metal band around the Swedish metal musician Andreas Hedlund. He has been around for a while making records but this was the first one to came to my knowledge. Since its start "Vintersorg" has released nine studio albums. Three of them are mostly in English but he mainly sings in Swedish, which is great. It's actually a peferable language if you have an origin like his. "Naturbål" then came 2014 and features Andreas Hedlund who plays bass, guitars and keyboards and sings and Mattias Marklund who plays guitars. Together they have created a different sounding record that gives a music lover like me a lot to enjoy.

The music is heavy as metal uses to be, but not too heavy. All the time, it's driven by folk inspired melodies and mystic lyrics which seem taken from the folk world. It's very melodic music and I guess this is an album that could grow for me. The reason why I don't give it four stars is that I don't like growl. It's a lot of growl, but a lot of normal singing as well, but growl allways destroys according to me. However was this a fresh and interesting album for me that perhaps open new doors to the metal world. Many songs on the record are very good such as "Elddraken" (The fire dragon) which has a hypnotic text(8/10) and the whirling "Ur aska och sot" which should catch the interest(8/10). "Överallt och ingenstans"(7/10) and "Natten visste vad skymningen såg"(7/10) are also tracks I recommend. The others are good as well. My average rating ends at 3.28 which makes it a solid three star record which though has intentions upwards.

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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
FALLUJAH 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
GUILLOTINE India
GWYNBLEIDD United States
THE HAARP MACHINE United Kingdom
HACKSAW TO THE THROAT United States
HACRIDE France
HANGING GARDEN Finland
HAUNTED SHORES United States
HELHEIM Norway
A HERO A FAKE United States
HIDDEN United States
HOPE FOR THE DYING United States
THE HUMAN ABSTRACT United States
HUNG United States
HYBRID Spain
HYPNOTHETICALL Italy
IHSAHN Norway
IKUINEN KAAMOS Finland
ILLOGICIST Italy
IN GRIEF Norway
IN LINGUA MORTUA Norway
IN MOURNING Sweden
IN VAIN Norway
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