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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

4.32 | 1267 ratings
STILL LIFE
Opeth
4.25 | 1292 ratings
BLACKWATER PARK
Opeth
4.24 | 1201 ratings
GHOST REVERIES
Opeth
4.24 | 610 ratings
PALE COMMUNION
Opeth
4.27 | 350 ratings
CRIMSON
Edge of Sanity
4.38 | 114 ratings
OBSCURA
Gorguts
4.24 | 408 ratings
SYMBOLIC
Death
4.22 | 427 ratings
FOCUS
Cynic
4.25 | 242 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.24 | 213 ratings
NOTHINGFACE
Voivod
4.23 | 221 ratings
ELEMENTS
Atheist
4.24 | 151 ratings
OM
Negura Bunget
4.17 | 276 ratings
HUMAN
Death
4.14 | 426 ratings
TRACED IN AIR
Cynic
4.23 | 135 ratings
DIMENSION HATROSS
Voivod
4.14 | 323 ratings
THE SOUND OF PERSEVERANCE
Death
4.15 | 246 ratings
TALL POPPY SYNDROME
Leprous
4.19 | 154 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.17 | 179 ratings
ISA
Enslaved
4.29 | 80 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

MEASURING THE ABSTRACT
Terminal Function
CORTICAL TECTONICS
Canvas Solaris
THE HINDERERS
Daath
FAS - ITE, MALEDICTI, IN IGNEM AETERNUM
Deathspell Omega

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Latest Tech/Extreme Prog Metal Music Reviews


 The Unconsciousness Of Living by ILLOGICIST album cover Studio Album, 2011
3.27 | 9 ratings

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The Unconsciousness Of Living
Illogicist Tech/Extreme Prog Metal

Review by VOTOMS

2 stars Review nº 225

Illogicist - The Unconsciousness Of Living

A quick definition: Italian Death - the band - copycat. At first, there is a giant scale difference between sounding like Death and being a Death copycat. I did like their previous two albums. Same style, very technical lines, not a masterpiece, I can't remember any song from them but no problem, is the kind of album I know if I try again in the future it would be a funny listen. Then some years later, The Unconsciousness Of Living appears and I went "Oh, Illogicist. Let's see what happens now." And that's it. The riffs and musical structure, the Chuck Schuldiner vocalist wannabe (and his voice is almost there, really), this non-brutal but highly skillful playing, and all the rest, they are pretending to be Death. Many times I realized stolen riffs and passages almost identical to Death or another band from the same gang. Otherwise, the musician's level could be a catchy detail. The recording quality is flawless. It's just a question of... Uninspired virtuocity.

 Spiritech by ALCHEMIST album cover Studio Album, 1997
4.24 | 24 ratings

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Spiritech
Alchemist Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Spiritech" is the 3rd full-length studio album by Australian extreme metal act Alchemist. The album was released through Thrust/Shock Records in June 1997. The band released a promotional music video for the track "Road to Ubar". "Spiritech" is generally a critically acclaimed release...

...and it´s obvious why that is, when listening to the album. Both "Jar of Kingdom (1993)" and especially "Lunasphere (1995)" were promising album releases, but Alchemist takes their music to a whole new level on "Spiritech". Stylistically the music is quite the eclectic mix of musical styles like death/thrash metal, progressive/psychadelic rock and middle eastern influences. There are even a few nods toward Australian aboriginal music on the album. It´s a metalized version of Killing Joke I´m mostly thinking about when listening to "Spiritech" though, which should not be perceived as a criticism of the band´s writing style, but just a way to explain how the music sounds. There is generally a bleak atmosphere on the album but also a more aggressive edge and there are sections on the album where the band really unleash their anger in a convincing manner.

This is dynamic music and however raw some parts of the music are there is always a mellow section or some other adventurous/psychadelic surprise lurking around the corner. Best examplified in longer tracks like "Chinese Whispers" and "Figments", which bookend the album (and which are both around 10 minutes long), but also in the more regular length tracks. The tracks are generally intriguing but not overtly complex in structure.

The musicianship is on a high level. The two guitars seldom play the same notes. Instead they compliment each other which provides the music with great depth and richness in detail. The strong and adventurous rhythm section is also a great asset to the band´s sound. The vocals by Adam Agius (vocals, guitar, keyboards) are raw and delivered with passion and conviction. The musicianship was also great on the two predecessors, but the sound productions on those two albums let them down. Thankfully that´s not the case with "Spiritech", which features a professional and powerful sound production. All in all it´s actually quite a great release and it´s like Alchemist really came into their own on this album. A 4 star (80%) rating is deserved.

 Blood Mountain by MASTODON album cover Studio Album, 2006
3.69 | 288 ratings

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Blood Mountain
Mastodon Tech/Extreme Prog Metal

Review by Prog Leviathan
Prog Reviewer

2 stars Before you decide to listen to Mastadon's Blood Mountain you need to ask yourself a question: how much metal sludge, thrash, and slop do you like with your prog metal? If the answer is, "a lot," then you're in for a treat. Blood Mountain delivers. If you like your metal crisp, melodic, dynamic, emotive, or thought provoking, then take heed... Blood Mountain is a noisy and violent slap to the face that will not appeal to everyone.

Mastadon knows how to kick-ass. Every second of this album feels precisely arranged to do just that. However, the band has decided that their style should hide the precision playing, time signature changes, and intense instrumental breaks behind a wall of tuned-down fuzz and crunch that just makes the album sound sloppy. Each band member sounds busy for the sake of being busy, and after several listens I was left wondering what the standout moments were.

Some people love this sound, as you can see in the high ratings for this album, but to me the few moments of genuine creativity are lost in the noise, and it literally hurts my ears to try to find them.

In a way, I guess that's actually a pretty cool compliment to pay a heavy metal album, but if I'm going to subject myself to gruff violence - like someone kicking my chair for 50 minutes - then the pay-off better be high, and Blood Mountain simply isn't interesting enough.

A heavy metal fist held high for those that want to punish themselves with Blood Mountain's bombardment of shredding riffs and indecipherable lyrics, but I'll go back to listening to the other, more interesting metal groups out there.

Songwriting: 2 - Instrumental Performances: 3 - Lyrics/Vocals: 2 - Style/Emotion/Replay: 2

 The Congregation by LEPROUS album cover Studio Album, 2015
4.36 | 54 ratings

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The Congregation
Leprous Tech/Extreme Prog Metal

Review by Mattone

5 stars My expectations were very high with this one. I loved all the Leprous' albums, but I know that every band has to decline, one day. That day has not come yet for Leprous.

When I first listened to the single, "The Price", I totally fell in love with it: the perfect combination of complexity and simplicity, a catchy song with challenging rhythms and powerful arrangement. Then it was the time of "Rewind", which is the third track on the album: from the moving intro to the mindblowing outro, passing through the memorable bass performance... another great song!

So, I first listened to the entire album knowing that it could possibly have more surprises for my ears. But I couldn't imagine how much this supposition was going to be confirmed. "Third Law" features absurd drum patterns and a very rigid performance by everyone. I think it's one of the less beautiful songs on the album, but it's still very positive. "The Flood" and "Triumphant" are simply two masterpieces in a row, the first being a kind of sick power ballad with sounds which appear to be quite new for the band, the second being a sort of epic and energetic march, featuring some of the most amazing grooves of the whole Leprous' discography, and a great chorus. "Within My Fence" closes the first half of the album in a positive, yet not perfect way, since it's probably the less convincing song on the album, though featuring a great drum performance, but no great ideas here.

The second half of the album features more complex and extended songs: four of them in a row are not shorter than six and a half minutes, while the last returns to the four minutes standard. "Red" is an unique journey made of impossible-to-follow grooves and unconventional solutions for the band sound. The instrumental section is just out of my words' reach. "Slave" is an absurdly tragic and obscure song, with a great chorus and a great synergy between guitars and keyboards: together they form an atmosphere worth of the sickest horror movie (but still not fit for it: this song would totally stole the attention from the film). "Moon" features a very interesting electric piano line, together with a great drum performance. It probably goes on too long with the same structures, but they are so good that the overall impression can be nothing but positive. "Down" marks one of the band's highlights, with an incredibly catchy chorus and other powerful grooves used in the intro and in other sections. Some drum fills are totally mindblowing here! The album ends with the graceful "Lower": a tender keyboard intro is blown away by a powerful chorus, just to return a while later in a totally moving arrangement. The special edition also features the bonus track "Pixel", which is ok but frankly nothing special at all.

Wholly considered, "The Congregation" can surely be mentioned as one of this year's best releases, and in my opinion it will be hard for whoever will try to surpass Leprous to manage doing it... once again!

9/10 (five stars, considering his ranking in my personal Top 2015 album list)

 Arcturian by ARCTURUS album cover Studio Album, 2015
3.82 | 13 ratings

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Arcturian
Arcturus Tech/Extreme Prog Metal

Review by gothicelk

4 stars Looks like that this (2015) year is a year of long-awaited (and sometimes unexpected) comebacks. Subterranean Masquerade, Anekdoten, FNM... It is a very good tendency. But enough of this. Today's topic is a brand new Arcturus's album ARCTURIAN ' first studio work since 2005.

Almost 10 years ago I tried to listen their second (best) album. At that time it was not my music. I've returned to the band last year and this time listening goes much more smoothly as I already got much more experience in modern avant-garde music. I'm not a hard core fan so I'll try to be impartial.

Is it good or bad? In this case, especially if we are talking about Arcturus, which is one of the most important bands for the avant-metal music of recent years, there is no unequivocal answer. You can't judge this band by any rules because there are no rules at all. Or, to be more correct, the band is dictating their own rules to us. Arcturus was at the roots of the genre and it's status is allowing them to do it that way.

Much more 'black' then previous and at the same time less weird and eccentric as for me. I really still can't understand what they are trying to achieve with this album. As usual there is a mix of multiple styles ' from mentioned above black metal to electronic and even psychedelic music. There are not so many bands which are able to mix all these genres in a one album with such an ease. This year Arcturus is bringing us not only the mix of different genres but also the mix of their musical journey through endless, frightening and cold space, the mix of the band's musical legacy. Rewrited and rethought. Possibly 'rethought history' are the key words for understanding the key idea. Wу can't be sure. This work is not essential and I'm not a big fun of the band (despite this fact I'm tipping my hat to these guys) but it's a strong 4/5 stars and one of the 'must-haves' of the year. With this album guys did not hit the highs of La Masquerade Infernale (my favorite band's album so far) but it's not a reason to ignore this work. Things that I don't like: it's too 'black' (including sometimes hysterical vocal exercises, if choose between Votrex and mr. Rygg I prefer the latter); strange sound (I guess it was recorded in the cave if not in someone's basement ' sounds like a TNBM band from late- nineties) but it's may be ok if initially the focus was set on the 'black metal' side of the band; lack of cosmic insanity that we saw in theirs previous works.

Thing that was really good for me ' most songs beautiful composition and interesting structure; despite some lack of weirdness (like on since then unattainable Masquerade) the beauty of the boundless space is still here to delight. Immense variety of the music and its wide scope. Impressive vocal (in general). Almost tons of sometimes discrepant ideas which was melted together in a one ~48 min album.

Thing about which I'm not sure (good or bad) ' this is more accessible album in contrast with tricky Masquerade Infernale and Mirrors. And maybe it's a good point to join band's space journey for those who are still not familiar with it. Favorite tracks ' Bane (remember The Chaos Path?), Game Over, The Journey. P.S. Pls sorry for my English.

 Heritage by OPETH album cover Studio Album, 2011
3.83 | 1000 ratings

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Heritage
Opeth Tech/Extreme Prog Metal

Review by TCat
Prog Reviewer

5 stars Opeth takes a sharp left turn on this release and moves away completely from it's trademark death metal sound and veers completely into the progressive metal genre. Gone are the growling vocals completely, which was my only complaint that I had about the band before, even if they did alternate from dirty to clean vocals in the past. Now, this is not the first album where Opeth turned away from dirty vocals completely. In "Damnation", the album was completely mellow and featured all clean vocals, but they remained true to the acoustic aesthetic of death metal. This time, on "Heritage" all death metal leanings are left behind. What you get in replacement is a great reward, 10 top notch progressive compositions that stay completely true to the genre and it's heritage.

In my opinion, this is the best Opeth album up to this point. Opeth has always been know as a band that always improves, but never have they taken as huge of a risk as this. These tracks are all elaborate and heavily progressive songs through and through with variety in abundance. There is still a heavy presence of guitar, but there is also a lot more keyboards with a lot of mellotron. You'll hear all kinds of influences in this music, but even with that, the sound is original. Acoustic is meshed with electronic and with hints of jazz oriented prog thrown in for good measure. This is very apparent in "Nepenthe" which starts on the mellow side and suddenly explodes in a jazz/prog fusion that sounds very much like UK. They also tap into the arpeggios that were made popular by King Crimson and they expand on this beautifully. And Mikael's vocals are amazing. I don't know why he had to hide them under his growling vocals for so long

Of course, most metal heads were furious at this album at first. Some of them never came around, but others, for whatever reason, were intrigued with the sound and eventually fell in love with the album. I love the fact that Opeth could open some minds with this album and with their music. I could never figure out why or how anyone could just stick to one genre anyway, there is so much great music out there under several genres.

Those of you, on the other hand, that thought that Opeth was a great instrumental band but couldn't handle the growling, this is your album. This one has all the prog that you could want and all the variety that you crave. Songs are constantly changing meter, dynamic, timbre, even style. This really almost sounds like another band, but those who have been familiar with Opeth know without a doubt that this is the real band. It's so great to hear them break away from the sound that could really get repetitive and allowed for very little exploration beyond what they had already perfected. This album represents the breaking away of expectations of a narrow genre, even though the band was consistently stretching the boundaries to there limits. Now there are no limits. Now the band is free to explore so many avenues of music, and this is what they do. And it is amazing that they can reach masterpiece status on their first attempt. Yes it's true that they have been honing their skills and musicality on past great albums like "Ghost Reveries" and "Blackwater Park", and now we have the culmination of everything. This is an excellent album and it is a shining example of a band that continues to progress. Amazing! Beyond your expectations. 5 stars.

 Hiraeth by NE OBLIVISCARIS album cover Singles/EPs/Fan Club/Promo, 2015
4.00 | 2 ratings

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Hiraeth
Ne Obliviscaris Tech/Extreme Prog Metal

Review by CassandraLeo

4 stars Consisting of the band's earliest material, the band's Hiraeth EP reveals the band emerging fully formed as if from the head of Athena. While it's not entirely clear if the material has been re-recorded, the compositions here are very strong, not at all what one would expect from a band yet to record even its first demo. The performances, regardless of whether this is a re-recording, are of the high standard one would expect from this august band, and the recording quality is particularly good for a limited release (although the mastering could be better; there's some clipping). This material isn't as good as the material on The Aurora Veil or the band's two full lengths, but it is still well worth hearing for fans of this band. It will probably be almost impossible to track down a physical copy of this release, but it's possible the band will release the material digitally at some point in the future, and it's strongly recommended you acquire it if they do.
 Sarabande to Nihil by NE OBLIVISCARIS album cover Singles/EPs/Fan Club/Promo, 2015
4.09 | 2 ratings

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Sarabande to Nihil
Ne Obliviscaris Tech/Extreme Prog Metal

Review by CassandraLeo

4 stars It's not entirely clear where in the Ne Obliviscaris chronology the compositions on Sarabande to Nihil fit. Some sources have claimed they are Portal of I outtakes, while others claim they predate The Aurora Veil.

In any case, they have been re-recorded for the band's limited edition Sarabande to Nihil EP (one of a pair of limited-edition EPs they handed out to supporters of their crowd funded tour campaign), and they sound great. It's not entirely clear why the band chose not to release these the first time around; they're not as lengthy as the tracks on The Aurora Veil, but they're hardly embarrassing throwaways. The quality of the material may have been perceived as slightly less than the three tracks that did make the cut, which isn't exactly untrue, but when one considers the overwhelming quality of the band's demo, this really isn't a fair comparison to make.

As with Hiraeth, the recording quality here is great, although there is once again clipping in the mastering. And as with Hiraeth, this will probably be impossible to locate in physical form, but interested fans are urged to track down digital versions. Given the paucity of this band's output to date, every little bit of new material is a revelation, and what's here doesn't disappoint.

 Nespithe by DEMILICH album cover Studio Album, 1993
4.26 | 20 ratings

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Nespithe
Demilich Tech/Extreme Prog Metal

Review by CassandraLeo

5 stars Gorguts' Obscura is frequently called "the Trout Mask Replica of death metal". Nespithe might be considered the Ascension or Free Jazz. It's not just that the band's squalling guitars and inhumanly low vocals are atypical of the genre; they also have little apparent predecessor and no one since has managed to duplicate them (which may be one reason Demilich have yet to make another full-length album, though they reformed last year and have not ruled out the possibility of new material). This music genuinely sounds like it was composed and performed by aliens.

The inclusion of Demilich on a progressive site may seem weird at first, but there's undeniably a logic to it: the sheer experimentation of this music represents a progression of the genre of death metal that has seldom been equalled elsewhere, and the compositional complexity of the music does have roots in prog even if they're not immediately apparent. It's not just the unusual uses of scales, rhythms, and harmonies (although those are highly unusual); even the compositional structure of this music is sometimes unusual.

This album may take several listens to absorb (although, after enough listening, several of the songs do become "catchy" in their own way). But the material here is well worth absorbing, and offers rewards that are equalled by few other death metal recordings. This is one of those "unique" albums that really is unique.

Interested listeners are strongly urged to consider the 2CD/3LP compilation 20th Adversary of Emptiness, which contains the band's entire discography, including three previously unrecorded songs. Nespithe has been remastered from the original tapes for the first time, and has never sounded better. (It should be mentioned that, unlike a lot of modern remasters of old classics, the material on this compilation is not ruined with "loudness war" shenanigans; the music remains every bit as dynamic as it has ever been on the new remaster, with plenty of space to breathe). The bonus material is also well worth checking out; the demos (with the exception of the final track) have comparable recording quality to the album and do a good job helping listeners understand how the band developed its signature sound (and also contain a few tracks that were not re-recorded for the album), while the new material is up to the standard of the songs on the album. Hopefully this is not the last material we'll hear from this enigmatic band.

 A Furrow Cut Short by DRUDKH album cover Studio Album, 2015
4.29 | 8 ratings

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A Furrow Cut Short
Drudkh Tech/Extreme Prog Metal

Review by CassandraLeo

5 stars Drudkh's finest release in years, A Furrow Cut Short is a throwback to the band's Forgotten Legends/Autumn Aurora style, but with the added maturity that an additional 12 years' worth of musicianship brings. The album is Drudkh's longest release to date, and the songs are of suitable scale to match; only one track is shorter than seven minutes in length, and only two are below eight. The songwriting is some of Drudkh's strongest in years, possibly since Estrangement or Blood in Our Wells, and the performances are consistently compelling throughout.

The uninitiated should be warned that this is unapologetically a black metal release, so people who aren't fond of blast beats, tremolo picking, harsh vocals, and other hallmarks of the genre won't find a lot to like here. But for those who are fond of the style, this is a superb black metal release with some progressive hallmarks that offers a lot of rewards for listeners.

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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
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
THE 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
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