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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

4.30 | 1536 ratings
STILL LIFE
Opeth
4.25 | 1583 ratings
BLACKWATER PARK
Opeth
4.25 | 1476 ratings
GHOST REVERIES
Opeth
4.35 | 163 ratings
OBSCURA
Gorguts
4.25 | 439 ratings
CRIMSON
Edge of Sanity
4.23 | 511 ratings
SYMBOLIC
Death
4.26 | 265 ratings
NOTHINGFACE
Voivod
4.25 | 297 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.19 | 510 ratings
FOCUS
Cynic
4.19 | 400 ratings
THE SOUND OF PERSEVERANCE
Death
4.22 | 260 ratings
ELEMENTS
Atheist
4.15 | 1009 ratings
PALE COMMUNION
Opeth
4.25 | 179 ratings
DIMENSION HATROSS
Voivod
4.21 | 179 ratings
OM
Negura Bunget
4.16 | 350 ratings
HUMAN
Death
4.20 | 176 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.12 | 494 ratings
TRACED IN AIR
Cynic
4.15 | 273 ratings
THE PARALLAX II - FUTURE SEQUENCE
Between The Buried And Me
4.31 | 85 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.17 | 208 ratings
ISA
Enslaved

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 HINDERERS
Daath
THE AURORA VEIL
Ne Obliviscaris
CITRINITI
Citriniti
WINTERSUN
Wintersun

Latest Tech/Extreme Prog Metal Music Reviews


 The Sirens by INTO ETERNITY album cover Studio Album, 2018
4.00 | 1 ratings

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The Sirens
Into Eternity Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars Canadian act Into Eternity released their debut album through DVS back in 1999, with another four coming in quick succession on Century Media, the last two of which two featured Stu Block (Iced Earth) on vocals. The band then decided to put recording on hold, so that they could concentrate on touring internationally. Amanda Keirnan joined on vocals to replace Block, giving the band more depth and breadth with her ability to growl with the best of them as well as providing strong soprano when the need arises. The band decided that after ten years away from the recording scene it was time to return with their sixth album, and they are back with 'The Sirens'.

Spending many years on the road has obviously paid dividends as the guys are incredibly tight, with melodic guitar runs as sharp as one could wish for, while the rhythm section move between providing a foundation and moving more into the secondary melody. Amanda is a real find, the perfect conduit for the style of music they are performing, which is a mix between Arch Enemy, Death, Opeth and King's X. It is deep, it is pummelling, it has hints of Judas Priest yet somehow stays more melodic while losing none of the brutality. Some of the guitar solos, such as on the killer song "Sandstorm", are breathtakingly quick and somehow the band manages to groove and move while at the same time rocking like absolute and total bastards.

They have discovered that fine line between melodic metal and out and out brutality and speed, and have then trampled all over it. This is incredibly clever and solid metal that has much in homage to the death and thrash scene as it does to the prog, and then somehow mixes it all together to create something that fans of all three genres will do well to discover. Let's just hope that we don't have to wait another ten years for the next one, surely not.

 Marrow by MADDER MORTEM album cover Studio Album, 2018
4.00 | 2 ratings

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Marrow
Madder Mortem Tech/Extreme Prog Metal

Review by Antonis Kalamoutsos

4 stars For almost 20 years now, the story remains the same. All critics and aware fans scream their lungs out to tell us that Madder Mortem is one of the best metal bands, in terms of quality and endurance but the majority of the metal scene turns its head the other way, towards opportunistic, trendy or even shallow bands. I have quit all hope that Madder Mortem will get the wide recognition they deserve but then again, why should this matter? Nothing of the above is powerful enough to influence the secret, ritualistic and eclectic delight they offer us with each new album.

For almost 20 years, the story remains the same. Like in their previous 6 endeavours, this year's album, Marrow, remains true to the fundamentally unchanged roots of their music, keeping a masterful balance among lyrical, dramatic and aggressive expressions. The dark tales they weave are ultimately for adult listeners: the atmospheric pursuits are being blended with doomy and prog ideas while the riffing always retains a modern character, despite the Norwegian origins that occasionally draw their music towards melancholic and dreamy soundscapes. It's a fact, Madder Mortem is still very hard to categorize and their compositions are always adventurous and open to transformation. This is music of high intensity that looks like the beast whose skin is silky and its claws ferocious. Art that resembles a beautiful mermaid rising up from a deep abyss enchanting you, only to realize that she has terrible, blood thirsty teeth.

For almost 20 years, the story remains the same. We will continue to regard Agnete Kirkevaag as one of the most, maybe The most amazing female performer in metal music and the majority will go on believing that we exaggerate. It is their right to do so. For us, it will still be a privilege to enjoy these performances and to realize that they have become even wiser and richer in Marrow, with less 'yelling' and more colour and texture. In the same time, some of the included compositions slightly reveal some folk influences, for the listener that yearns to discover things beneath the notes. In the list of all the fantastic songs they have delivered through these 20 years, we have to add many from this album, like the epic 9 minute long 'Waiting to fall', the first single 'Moonlight over silver white' and 'Until you return' ' one of the greatest songs they have ever composed, in my opinion. Just surrender yourself to its hypnotizing groove and watch it explode into an outburst of passionate heaviness.

For almost 20 years, the story remains the same. Each time they release an album, it is doomed to be included among that year's exceptional metal records. Remaining loyal to the stylistic visions they alone created 20 years ago, Madder Mortem is here again, strong and hungry as always. I don't know how success is defined but, artistically speaking, this band is one of the most successful out there. On 21/9 you will have another proof for this.

And I can do nothing more than hope that for the next 20 years the story will just remain the same.

Originally posted in Against the Silence.com

 The Blinding Light Of Faith by DE PROFUNDIS album cover Studio Album, 2018
5.00 | 1 ratings

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The Blinding Light Of Faith
De Profundis Tech/Extreme Prog Metal

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
5 stars Over the course of the last decade De Profundis have built themselves an enviable reputation for delivering music of staggering power and breathtaking skill, both in the studio and on the stage. Although many think of them as a technical death metal band, I actually believe that they would be better stated to be extreme prog metal as they continue to transcend any particular genre, using one form as a base and then going wherever they wish. Earlier this year they released their fifth full-length album, 'The Blinding Light of Faith', through Transcending Obscurity Records and they have now signed a deal with Lusitanian Music to release the album as a limited vinyl edition. This allows the listener to study in detail the intricate, nightmarish album artwork created by Alex Tartsus (Sinister, Depravity etc.) while the band's new logo, also stands out far more than in would in the smaller CD version.

The band have been known to be influenced by doom in the past, and it does point its nose in at different points during the album, but what makes this such a delight is the sheer refusal to conform to any particular pre-conceived ideas. There are times when this is out and out technical death, others when it is almost power metal in its approach, but it is consistently bending and melding, creating something which is always powerful and dynamic, but twisting into different directions so that no-one can work out where and how it is going to end. I find the production really interesting as well, as in many ways it exaggerates the melodic power of the music, with a bass line that is often found to be wandering along creating a sub-melody without the level of attack that one may expect from this form of music.

Incredibly detailed and layered, this is an incredibly complex album which listeners will gain more from each and every time it is played. It is hard to imagine an more imaginative death metal album being released by anyone this year.

 Elvenefris by LYKATHEA AFLAME album cover Studio Album, 2000
4.16 | 64 ratings

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Elvenefris
Lykathea Aflame Tech/Extreme Prog Metal

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

4 stars LYKATHEA AFLAME is, or was actually, one of those many artsy tech death bands that seems to cause derision in the metal community. On the one hand you have the metal purists who find any tinkering with the metal basics of brutal, distorted essentials that separate the genre from the greater rock universe will taint the defining musical "aesthetics" and wish to install a eugenics program to keep metal from "breeding" with other musical genres. And then you have those who love the idea of a brutal tech death band that has the gall to follow in the shoes of avant-gardists like Mr Bungle by adding completely opposing musical moods and styles to the frenetic bantering of the head banging bombast which LYKATHEA AFLAME does in abundance. And of course, you have many who fall somewhere in between.

This band came from the Czech Republic and released this one well known, well loved as well as well hated album after they morphed from their previous incarnation as Appalling Spawn. While in A.S. they had already begun the process of expanding their horizons beyond the Cryptosy meets Nile death metal paradigm, on their sole LYKATHEA AFLAME release ELVENEFRIS, they really let the dog off the leash and like a randy slut at a frat party, mixes company with more styles of music than a brothel sees when a navy ship docks in Bangkok. The result is a blissful journey for the aforementioned artistic types and a wellspring of irritation for the purists who cannot comprehend the massive effort that went into this one.

ELVENEFRIS is a long beast to say the least, so it requires a major commitment to sit through this one but for any open minded tech death metalheads out there, this is on the essential listening list as it randomly drifts at hyperactive speed through a plethora of genres that meet and greet the brutal Cryptosy inspired blastbeat drumming, Nile inspired compositional drive (think Egyptian themes and thundering epic heavy metal melodies that intertwine with the chaotic death metal riffs) and a seemingly random chaotic romp through the tech death universe. What sets LYKATHEA AFLAME apart from almost every other extreme metal band of the day was that they were equally at home with long drifting ebbs and flows that delved in post-metal, classic 80s heavy metal and even metalcore, Pagan black folk metal and of course progressively infused compositional efforsts.

While bantering death growls and orotund pyroclastic aggression is the norm, LYKATHEA AFLAME provide tender moments of melodic folky sections with clean and "properly" sung vocals as well as pacifying new age passages, the longest which ends this sprawling repertoire of just over 72 minutes. It's fair to say that ELVENEFRIS started a trend in the extreme metal world that allowed bands like Between The Buried And Me, Augury, Unexpect and others to radically expand the parameters of what was acceptable within the confines of a death metal listening experience. As with any form of extreme music ranging from punk and industrial to metal, there are those who staunchly resist such artistic liberties and others who wholeheartedly embrace it. Personally i straddle both lines of thought. I love the pure unadulterated styles of death metal but when done right, an artsy mind-blowing mix of genres is exactly what scratches that itch.

It occurred to me that the type of musical delivery that artists like LYKATHEA AFLAME offer comes from a form of musical thought. As a musician i have found my own inner soundtrack operates much like the music presented on ELVENEFRIS, that being a seemingly random parade of riffing variations decorated with various dynamic and tempo shifts that seem to drift in and out of whatever background music of the moment happens to be. Think of this sort of thought process as having a continuous spectrum of counterpoints churning in our heads where metal, post-rock, circus clown music or whatever just sort of emerges as the dominate format at any given moment. It's sort of like a pipeline to that invisible world where creativity comes from and while that is usually the first step for an artist in crafting their works, LYKATHEA AFLAME seemed to find it adequate to utilize these random inspirations into a freeform explosive callithump.

This is very much tantamount to what some musical savants can conjure up as they can effortlessly transcribe a Mozart piece to sound like a Dixieland jazz number on the spot. So too does this occur for a select few musical minds who seem to think in music, however very few artists record their music in this astroplane sort of style. Virtuosos like Steve Vai have had tracks that utilize this process as well as other avant-garde metal artists like Maudlin Of The Well, but in the grimy pits of the extreme death metal world, this sort of thing doesn't emerge too often since death metal by its very nature is more of a hellish beast that is firmly based on a set of unspoken rules. LYKATHEA AFLAME was paramount in taking this underground musical world into the ethereal dream state and channel the results into what would emerge as ELVENEFRIS.

Many consider ELVENEFRIS to be a masterpiece while others a complete piece of trash. Having the same sort of musical loves of never-ending musical variations and genre bending, i have to say that i fall in the camp of loving this album however at the same time, my inner critic emerges to also agree that this is by far an imperfect album. Firstly, it's way too long and some of the meandering in certain sections, especially the lengthy post-rock and ambient parts can be way too long and little editing would've made this much stronger. Both post-rock and ambient can be fine in their own realms but the contrast here seems awkward and not planned out as how to integrate it into the overall mood swings of the album. As many others have stated, the ubiquitous snare drum bombast provides a rather generic percussive drive throughout the album's run. More percussive variation would've gone a long way.

If only the other elements of the music were as diverse as the need for an incessant tempo change and addition of changing subdued elements ELVENEFRIST could've been a much better album. LYKATHEA AFLAME should have developed into a true artistic powerhouse had they recorded another album or two but even taken as is, ELVENEFRIS is a powerfully unique technical death metal experience that more often than not delivers the goods of a true extreme avant-garde maelstrom of metal madness. On the plus side, the album balances melody with dissonance quite successfully and never relies on any trick or trinket within the metal passages for too long. While not perfect in my mind, LYKATHEA AFLAME, like many bands that have emerged from Eastern Europe delivered a strong album that offered a completely new way to experience the perpetually expanding world of the death metal universe and despite the incessant complaints of the wimpy non-metal parts, this is a brutal death metal beast of an album to be reckoned with.

 From Mars to Sirius by GOJIRA album cover Studio Album, 2005
3.97 | 185 ratings

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From Mars to Sirius
Gojira Tech/Extreme Prog Metal

Review by Egyptianprog-Fahmy

5 stars 4.7/5 an excellent metal album, great vocals, wow guitar moments, dirty bass riffs and an exceptional drummer (rounded to a 5). One of Gojira's greatest works.

Gojira have always surprised me with their albums, from Mars to Sirius to me, was a journey of whales, oceanplanets, space and planet exploration to global warming. I was instantly hooked. This is an album with a huge song list of metal and I loved every one of them. Yet, if I choose a favorite it would be Global Warming Flying whales, which was the epitome of this exceptional album.

I do not know what to say other than everyone must listen to this album.

 Clairvoyant by CONTORTIONIST, THE album cover Studio Album, 2017
3.99 | 50 ratings

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Clairvoyant
The Contortionist Tech/Extreme Prog Metal

Review by Egyptianprog-Fahmy

4 stars 3.8/5 great vocals, effects, atmosphere (rounded to 4)

At first I had mixed feelings about this. One one hand, The Contortionist completely abandoned djent roots down tuning and extreme metal, while on the other hand, they actually did it atmospherically right. In the end, I came to terms with it and listened to the whole album with a clear open mind and boy was I happy to do so. This album is just sad and intense. From Monochrome, you can feel a cloud of sadness above you, then a flicker a hope from the paino of Godspeed, to more intense metal from Clairvoyant and return to earth and ending with another sad monochrome.

It is unironically one of my favorite The Contortionist albums.

 Language by CONTORTIONIST, THE album cover Studio Album, 2014
3.76 | 30 ratings

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Language
The Contortionist Tech/Extreme Prog Metal

Review by Egyptianprog-Fahmy

4 stars 4/5 An excellent album, one that is actually worth instead of intrinsic and a good continuation from exoplanet.

Finally we see a djent album that is actually worth it. the source was a good opening to Language 1 and 2, Language 1 with melody and extreme atmosphere, really hit me hard. While Language 2 surprised me that the Contortionist are actually keeping some of their djent roots. Then songs like Thrive remind me of Expire back in Exoplanet album while Primordial sound is completely new.

This is actually one of the Contortionists best works and should not be missed by any djent fan.

 Intrinsic by CONTORTIONIST, THE album cover Studio Album, 2012
3.18 | 22 ratings

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Intrinsic
The Contortionist Tech/Extreme Prog Metal

Review by Egyptianprog-Fahmy

2 stars 2.3/5 overall meh, did not absorb me like exoplanet and did not intrigue me enough with memorable songs. Intrinsic was an attempt from the band to be more melodic than exoplanet. It took a way different approach from the 1st album and as a result was just not as absorbing or memorable as the first one. Sure, the first one lacked overall melody, but was fun to listen to and the deeper metal riffs to calm grooves transition was well worth it and absorbed me into the album. I feel in this album they sacrificed all the pros within the last album, to obtain more melody and more clean vocals.
 Colors by BETWEEN THE BURIED AND ME album cover Studio Album, 2007
4.03 | 363 ratings

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Colors
Between The Buried And Me Tech/Extreme Prog Metal

Review by wheres my prime 4

5 stars COLORS

This album is one hell of an experience, and this album isn't afraid to remind you. It gets you pumped up by its brutal energy and masterful technicality and calms you down by its somber& beautiful acoustics and even utilizes some jazz and even bluegrass influences, making the albums kaleidoscope more musically diverse and progressive.

The energy and soul can be felt throughout every single track. From the build-up from 'Foam Born (A) The Backtrack following towards the complex and formulated masterpiece that is '(B) The Decade of Statues'.

The building riff that comes after the drums & bass and the chilling guitar harmonies in 'Informal Gluttony' give me goosebumps every single time I listen to it and so does the dooming outro with the repeating lyrics "Feed me fear.. (informal..) Feed me fear.. (gluttony..)"

Sun of Nothing is a beautiful progressive piece about a man contemplating his own life and leans towards the voyage of death. There is a lot of emotion in this track, whether it could be due to its serious topic (which they handle it very professionally) or the many progressions from absolutely crushing to acoustically gloomy but still full of hope.

From a such a chaotic outro the song follows into the next song 'Ants of the Sky'. A complex song that knows when to stop its complex madness to seek into its major blues &jazz influences and becoming more intense and slowly creating the anticipation for the hopeful and blessed chorus around 8-minute mark.

'Prequel to a Sequel" feels happier than the rest of the songs but isn't afraid to show its inner magniloquent nature. I don't relisten to this song as much as the ones before this, but every chance I give to it I begin to appreciate it more.

From the jazzy and beautifully chilling 'Viridian' goes into the monstrous finale that is 'White Walls' The song embodies the feeling after finally finishing a book you really enjoyed or watching the ending credits of an amazing movie and the end of the song replicates this feeling, almost as if they wanted to capture that feeling for the listener. Everything from the chillingly crushing riff to the amazing outro solo around the 10-minute mark.

FINAL SCORE: 99.98/10.00 A must - listen to any fan of complex pieces or any prog head of that matter

 A Rare Thunderstorm In Spring by PERIHELION SHIP album cover Studio Album, 2016
4.40 | 16 ratings

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A Rare Thunderstorm In Spring
Perihelion Ship Tech/Extreme Prog Metal

Review by Foxprog

5 stars Pretty sick stuff!

Perihelion Ship's debut album "A Rare Thunderstorm in Spring" is pretty damn good one. I don't know many bands that has as good first album as this one. The genre is progressive rock/metal. Hammond/Mellotron is a big part of the album. Feels little bit like Deep Purple's "Jon Lord" is behind the keyboards. Drumming is really good here. Bass and guitar also does the work perfectly, some amazing and heavy riffs.Vocals are in my opinion superior compared to many other bands what I've heard. They mix up clean vocals and the growling (as opeth). Overall, all the instruments are in perfect balance as it should be.

1. Misplaced Rainfall 9.5/10, The song stars with a sad and interesting mellotron leading to some acoustic guitar before the heavy stuff kicks in. Some really good drumming here! The part that comes around 2.15 is simply incredible. The Mellotron in the backround with the amazing guitar riff makes this unique. Last minute or so is pretty dark. Reminds me a lot of "Van Der Graaf Generator's" Plague of the Lighthouse Keepers". One of the best songs to introduce the bands style.

2. The Emperor Idea 9/10, The one that needed the most listens to get into but now I love it. Harsh, heavy, propably the heaviest song on the album. A lot of put into one song and it does not get boring at all. Some amazing parts but my favourite is the ending just before the classical guitar outro. One of the better riffs I've heard.

3. Fool of White Antlers 8.5/10, The "Pop" song of the album. The first four minutes are nice calm and beatiful music with a nice chorus. Then the song starts to get little bit heavier before it reaches it ending, which is evil. Really good one too.

4. The Poet from the Mad Moon, 8.5/10, The shortest song on the album. This song features a lot of great riffs with a nice Hammond solo in the ending. Again, an amazing song...

A Rare Thunderstorm in Spring, 9.5/10, The longest song (over 20mins). This one is prog rock/metal epic! It starts with a great 2 min instumental beginning leading to one of the most beatiful clean vocals. I love when he sings "The man stood at an edge of green. While the abyss swirled around. Inside the swirl, he could see. The moon and stars and sun ". Around 6.45 comes one of my favourite parts. Harsh and evil, just how I like it. Some great drumming here too! Then it varies between softer and heavier parts before comes the next amazing clean vocals around 11.45. Walking to the city. I see them burning. The grey wind is moving the flames apart. Unique lyrics here! From here It's pure pleasure to the ending, which is beatiful too.

Don't miss this one! One of the very top prog albums ever made. This band that requires way more recognition. Believe me, you won't be disappointed...

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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
AFTER FOREST Finland
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
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