Header

TECH/EXTREME PROG METAL

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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

4.34 | 1061 ratings
STILL LIFE
Opeth
4.26 | 1078 ratings
BLACKWATER PARK
Opeth
4.23 | 1009 ratings
GHOST REVERIES
Opeth
4.29 | 283 ratings
CRIMSON
Edge of Sanity
4.25 | 352 ratings
SYMBOLIC
Death
4.38 | 88 ratings
OBSCURA
Gorguts
4.20 | 375 ratings
FOCUS
Cynic
4.26 | 187 ratings
ELEMENTS
Atheist
4.25 | 179 ratings
NOTHINGFACE
Voivod
4.28 | 128 ratings
OM
Negura Bunget
4.21 | 202 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.18 | 236 ratings
HUMAN
Death
4.14 | 385 ratings
TRACED IN AIR
Cynic
4.35 | 70 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.15 | 279 ratings
THE SOUND OF PERSEVERANCE
Death
4.21 | 143 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.24 | 111 ratings
DIMENSION HATROSS
Voivod
4.19 | 152 ratings
ISA
Enslaved
4.15 | 194 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.15 | 208 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

EXPRESSIONIST
Beltane
FAS - ITE, MALEDICTI, IN IGNEM AETERNUM
Deathspell Omega
LAZARUS BIRD
Burst
THE FRAGILE ART OF EXISTENCE
Control Denied

Download (Stream) Free Tech/Extreme Prog Metal MP3


Open player in a new window

Download (Stream) Free Tech/Extreme Prog Metal MP3

Latest Tech/Extreme Prog Metal Music Reviews


 A Voice Within by INTERVALS album cover Studio Album, 2014
3.25 | 3 ratings

BUY
A Voice Within
Intervals Tech/Extreme Prog Metal

Review by Gallifrey

3 stars Breaking Apart

Intervals have existed as an instrumental band since around 2011, releasing instrumental EPs of djent music for free through bandcamp, amongst a seemingly infinite number of bands doing the same. But aside from the fact that I could list 100 other bands who play instrumental djent, have sci-fi album covers and single word names on bandcamp, Intervals always stood out to me as a "wow, this isn't terrible" in a vast ocean of "wow, this is terrible". While neither of the EPs blew me away, they were interesting and diverse enough for me not to trash them within seconds, and I always knew Intervals had potential. So now, after a year or so of rethinking their game plan, Intervals have reemerged to the scene with a full-length debut. And a vocalist.

Now, a vocalist can split music in this scene two ways (although it really should be only one). In my humble opinion, instrumental music will never be quite as good as that with a vocalist. Just simply having something to hum along with or having a catchy hook that gets stuck in your head seems to get more of an emotional reaction out of me than plain music, even if it's identical. But there's a regular trend in this scene, and like the trends of having terribly robotic drumming or really uninspired ambience, it's a bad one. Djent bands always feel this strange need to throw some dude vomiting on the top, and call it a 'vocalist'. Fortunately, with TesseracT and Skyharbor only mostly cleans, and Periphery even moving away from the screams, it seems to be on the decline, and I am so thankful that Intervals have pulled someone who can actually sing. As in 'sing', with notes and stuff. Not vomiting.

With Mike Semesky on vocals, Intervals are starting to sound a bit like Australian djent mob Circles, although I certainly prefer Semesky to their vocalist (he even shares the slight tinge of accent on his delivery). But considering Circles' 2013 full-length album was rather a disappointment to me, and to many others, A Voice Within could almost be seen as 'what should have come next' for Circles, but with a better vocalist, and honestly, a better band overall. Mike's vocals are in the higher range, but they aren't in the post-hardcore, whiney-as- [%*!#] region that a good 95% of djent clean vocalists are in. Many of the vocal lines remind me a bit of Periphery's Spencer Sotelo, with his pop-inspired vocal hooks, making the songs as catchy as he can, but Semesky's vocals are far lower, and honestly far less irritating than Sotelo ever could handle, although I don't quite think the vocal parts are as catchy.

In terms of instrumentals, Intervals are definitely miles ahead of Periphery, and many of their contemporaries, in terms of making the instrumental parts of this music at least tolerable, but they do still fall down a whole lot of djenty clichés. For one, I have to say I'm impressed by the post-rock and ambient-inspired softer sections in the fact that they don't sound incredibly uninspired. It's become a cliché in itself for djent bands to have clean delay-ridden guitars in soft parts, but they all seem to use the same guitar tone and base preset for these sections. Intervals splice the ambience into their tracks on a few occasions, particularly evident in the outro of "Atlas Hour", and it's actually rather nice and a good break from the chugging. As for the chugging itself, although I'm still not a fan of the tone at all, Intervals try and make their riffs at least fit under the music, focusing on rhythm and groove unlike bands like Periphery who focus on making their riffs as sloppy as possible. I'm still not sold on the solos, many of them still feel vague and directionless, but they're certainly more tolerable than many of the 'look how many notes I can play' guitarists within this scene.

The vocals and atmosphere are certainly a standout for me personally, and the band really starts to shine in the longer tracks, taking influence from outside of djent in the way they develop the sound and build their songs around atmosphere, reminding me a bit of Anathema actually, albeit with a whole lot of chugging and a more alternative-styled vocalist. But although I enjoy his vocals, there are a couple of stylistic decisions in the vocal style that irk me a bit, and I can understand where many haters of the vocals are coming from in parts, because there are some rather cliché pop punk 'repeat the same line in the background with an effect on' vocal parts, and often his general tonality and vocal timbre start to irritate me. Fortunately, the melodies on there easily make up for that, especially the more atmospheric parts, where I can actually hear a bit of Matthew Bellamy in the way the vocal lines are arranged.

A Voice Within is a solid record, and is probably one of my favourite from the djent scene in a while, although I feel I enjoy it in spite of its djentiness and never because of. The reason I enjoy this is because of its aversion to the many clichés that are plaguing the djent genre, but I can't really say I love it for the same reason ? it does actually have a few rather generic parts that I can't say I'm a fan of at all. Intervals sure are talented musicians, and I feel djent is currently in that maturing state in which some bands start to make stylistic decisions that on the whole allow the genre to be taken a bit more seriously, and this is definitely evidence of that.

6.6/10

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

 The Joy of Motion by ANIMALS AS LEADERS album cover Studio Album, 2014
3.63 | 30 ratings

BUY
The Joy of Motion
Animals As Leaders Tech/Extreme Prog Metal

Review by Gallifrey

2 stars Tolerable, Yet Uninteresting

I've never liked Animals As Leaders. I guess I should state that upfront, so anyone who wants to disregard my opinion can do so, before they get too invested in reading what I have to say. I really don't like this whole subculture, the Sumerian records-led teenager brigade of tech- worshippers. Everything about them, from their awful bedroom chugging projects, to their actual enjoyment of memes as cringeworthy and embarrassing as 'doge', to the complete obsession with such empty and emotionless music just grates me, to the point where I would actually call them a cult. Like the hippies or goths or hiphopheads of pre-internet times, we now have djentfags, and I long await their demise.

At the forefront of this movement and on the back of every djentfag's bedroom door are Animals as Leaders, the project of guitarist and "songwriter" Tosin Abasi. I put songwriter in inverted commas for reasons that I will discuss later, since I don't believe Tosin has written a single actual song in his career. This is their third album, released after a highly regarded debut, and a less popular sophomore, both of which were (in my opinion) compressed and useless pieces of guitar wankery, with absolutely zero sense of time or melody or harmony or even how to construct a guitar tone. Yet they were somehow were lauded by both djentfags and also by people whose opinions I trust and respect. Although they are certainly leaders in the scene, AAL aren't really a true djent band in the genre definition; only a small portion of their music is dedicated to chuggity chug chug, most of it going towards messy and tuneless riffing, filtered through some ungodly number of compressors, and scattered with some uninspired electronics and even more uninspired ambience.

Although actually, on the whole, The Joy of Motion is Animals As Leaders' most tolerable release yet. I would hesitate to say 'best', because this still ain't good, but it's got a significantly larger percentage of moments that I'm not pulling my hair out to or dying of internal bleeding, to the point when I actually enjoy a couple of moments here and there. But on the whole, this is Tosin doing as he has done, genre-wise, and it basically sounds identical to the first two records, with a tiny bit more cohesion and a bit less mess.

"But no!" shout the masses of teenagers in their bedrooms, "this one's different! There's bass!"

And yes, there is a bass guitar here, and I'm sure Adam Getgood's formspring account will be flooded over the next few months with billions of questions about the chain he is using at 3:11 in this song or the Axe FX preset he's got on at 0:29 in that song, but does the bass really change anything here? No, no it really doesn't, especially not with that bloody disgusting tone. The Joy of Motion does have some nice grooves every now and then, and the bass is a significant part of this, but it's not really a major point of difference from the first two albums.

The biggest difference here, one that is also due to Mr Getgood's involvement, along with his Periphery bandmate Misha Mansoor (who I am less of a fan of), is the production. Sure, the tones here are still pretty awful, the drums are plastic, the bass is way way waaay too compressed (and slapped more often than need be), but at least I can bloody hear them. On the first two albums, the thing that surprised me the most about the people praising them, was the fact that regardless of how technical these riffs are, they're under a wall of the messiest bloody production this side of Saint Anger and smothered in the highest levels of compression this side of Death Magnetic. No matter how hard I tried to pretend I liked jazz and enjoy Tosin's use of the D-Locrian mode on that sweep or the triplet run in f#-7-chromatic-minor on that breakdown (which is the only way I can imagine people liking this music), I couldn't hear anything at all under the waves of spluttering electronic drums and bad atmosphere. But here, I can actually say that I listened to this record three times, and I didn't have an aneurism.

The production lifts this up tons, but lets be honest, it really just made it a bit clearer, and under the mess that the first two albums were crawling beneath, there isn't too much here. One of the things I hate about djent, often more than the chugging itself, is the genre's obsession with ~trendy ambience~. And it's not as if it's nice ambience, it is literally the most basic setting on a delay pedal, played with the exact same tone. And with Animals As Leaders being the frontrunners in this scene, you'd imagine them to be a bit more inventive, but no, the useless ambience is here, and in even more abundance than before. It's not the fact that they are using it that bugs me, it's the fact that it's so uninspired, and I have heard it so many times before, combined with the fact that it sounds so mechanical and machine-produced. With the heavy parts being so mechanical themselves, it would be nice if the ambient breaks could have some piano or strings or acoustic guitar or any instrument that has a relatively pleasing timbre.

The heavy parts here aren't a big improvement, but the production advances definitely mean I can tolerate them a bit more. Some of the riffing here starts to even emulate electronic music, and with the clearer production, actually sounds pretty cool. The very beginning of the album has a very glitchy and quite interesting riff that, while being a complete mess, is made up with some really choppy and nice drumming. I'm not a big fan of the tones, and the organ in the background is laughable, but the drumming here is really something, and would be decent if it weren't for the terribly robotic kick and snare tones. Solo-wise, this thing is still damn sloppy. I've never been a fan of djent soloing, it is so without melody and direction. Call it 'jazzy' if you want, and yeah, I've always felt the same thing about a lot of jazz soloing to be honest, but to me it's completely messy.

So what is The Joy of Motion in the end? Is it an improvement? Hell yes it is. Will fans like it? Probably not. Will it go down as significant? Well, no, not really.

Because you see, Tosin does not construct songs, or even melodies or riffs quite a lot of the time, he creates exercises and challenges, the sort of stuff that will fill the next generation of guitar textbooks and inspire legions of 12-year-olds to drop gauge, add a few strings and start chugging. It's the new jazz, in my view, this uber-technical mess music, pretentious as [%*!#], great for critical analysis and pretending you have diverse taste, but on the whole meaningless. And I think where The Joy of Motion sits seems a bit vague. There's enough non-wanky stuff for me to not vomit here, but that will also alienate people who want to come at this album with a pen and notepad. But on the other hand, it has enough messy segments and usual Tosin wank for me to not really want to hear it more than a few times. When I listen to this record, I don't really enjoy it; I'm more just surprised that I don't hate it. The Joy of Motion will inevitably be forgotten in the middle ground, wherever Tosin chooses to go next. And honestly, although this hints at an upward trend toward maybe making something I would like, I'm probably not going to bother the man again. He was a great sight to see live and meet, and I appreciate his talent and dedication, but Tosin will always be Tosin, and he will always write this mathematical and mechanical music. And as much as I can tolerate a good deal of The Joy of Motion, I could never really enjoy such soulless music, regardless of any technicality.

4.5/10

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

 In A Mirror Darkly by MEKONG DELTA album cover Studio Album, 2014
3.05 | 2 ratings

BUY
In A Mirror Darkly
Mekong Delta Tech/Extreme Prog Metal

Review by aapatsos
Special Collaborator Prog Metal and Heavy Prog Teams

3 stars The Wanderer is Lurking in Fear

Third album with new material ("Intersections" excluded as it consists of re-recordings) for Mekong Delta since their revival and second release with almost the same line-up for SPV. Zimniak is missing compared to "Wanderers on the Edge of Time" and "Intersections" and the band is left with one guitar player. In some ways, their 11th studio album comes out as a blend of the 2007 and 2010 releases in that it marries the raw power and the extreme of the former with the more refined, melodic character of the second. A marked improvement, especially compared to "Lurking Fear", is the powerful, mature production.

Apart from that, "In a Mirror Darkly" is what you would call a typical Mekong Delta album, with plenty of their signature tech-thrash (e.g. The Armageddon Machine), a couple of impressive, varied instrumentals with the welcome inclusion of acoustic guitars and classical interludes, and a few (not surprisingly!) deviations to more atmospheric, mid-tempo structures ("The Silver in Gods Eye"). Lemar seems to have glued well with the style of the band and his vocal performance is at times impressive. The characteristic dissonant chords dominate the length of the album and it is fair to say that the melodic aspect has taken a step back, although Hubert does not seem to deviate too much from the classic Mekong Delta song-writing.

I am not sure how many riffs they can fit in 46 minutes, but the trained progressive metal listener and/or Mekong Delta fan will surely not be disappointed from the plethora of structures. What I feel the album might be lacking is the grandiose of the "Wanderer..." album, the quirky melodies, that could have made this just a little bit more special. As it stands, it is another solid release from Mekong Delta, worthy of its legacy. 3.5 stars.

Best moments: Ouverture, Inside the Outside of the Inside, Hindsight Bias

 Fabric Of Intention by GOLLUM / HADEA album cover Studio Album, 2014
3.73 | 2 ratings

BUY
Fabric Of Intention
Gollum / Hadea Tech/Extreme Prog Metal

Review by firefire

4 stars "Changing names after the tragic loss of drummer Hunter Holland, North Carolina's Gollum are now known as Hadea. Gaining a new record deal, this album "Fabric of Intention" is a veritable music stew in the highest form: experimental, progressive, heavy rock with doom, sludge, groove, and thrash/death overtones. Mastadon, Tool, King Crimson, Lamb of God, Compression, Opeth - these are only some of the names that come to mind when hearing the outer worldly "One Guarantee", the relatively straightforward pummeling "Source and Creator" and psychedelic twister "Ignis Fatuus".

What's most important about this 10 song, 51 minute record is the fact that for all the heavy riffing, tempo twists, and unconventional sounds- Hadea settle into this comfortable sonic groove, while the tones are primal and raw as to promote excessive spasmodic body motions and loads of sweat bursting from every pore. Guitars careen in and out as the low end explodes amidst the drumming that is solid as it is propulsive- topped off by the maniacal larynx and expressive melody choices from vocalist Shawn Corbett.

Highlights change by the moment: "Fabric of Intention" captivates with its sudden quarter time tempo drop and whiplash oriented doom chord action, and "Malicious Species" has that sludge/doom/ hardcore trifecta thing going on that I haven't heard since the heydays of Maryland's Compression- the trailing moments of this track psychedelic drone heaven. Nothing overproduced about this recording- all instruments can be heard and you feel a powerful aura about the snare cracks, fleet progressive bass and cymbal hits, and churning electricity all around Hadea's sound.

Picky as I am about hybrid metal these days, this quartet resonates in all facets because they understand you can be aggressive and introspective to make quality, original music in 2014."

- Matt Coe, Eternal Terror

 Kali Yuga Bizarre by ABORYM album cover Studio Album, 1999
2.61 | 3 ratings

BUY
Kali Yuga Bizarre
Aborym Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Kali Yuga Bizarre" is the debut full-length studio album by Italian black metal act Aborym. The album was released through Scarlet Records in April 1999. While an Italian black metal act coming out of nowhere usually didn´t turn heads, the case is a bit different with Aborym, as "Kali Yuga Bizarre" features the vocal services of prolific Hungarian vocalist Attila Csihar (on three tracks). At that point former vocalist of Tormentor and more notably Norwegian legends Mayhem. Such a stunt is always bound to attract attention.

The music on "Kali Yuga Bizarre" is black metal with symphonic sounding synths. The drums are programmed but are overall pretty well programmed and suits the music well. The vocals are raspy and delivered in a convincing manner. The material are generally of a decent quality, but it´s an album featuring little material that stick out. The production is raw but not too raw and primitive. The synths provide the polish that means the album isn´t really raw sounding. The lyrics more or less cover the usual occult/anti-Christian subjects that most black metal acts cover (with an occassional added Hindi theme though in tracks like "Wehrmacht Kali Ma" and "Tantra Bizarre"), which is also obvious when reading songtitles like "Horrenda Peccata Christi", "Darka Mysteria" and "Come Thou Long Expected Jesus".

The musicianship are on a decent level too and "Kali Yuga Bizarre" is upon conclusion a pretty good release by Aborym. It´s not exactly an album that makes my blood boil, but it´s an alright start to Aborym´s career. A 3 star (60%) rating is warranted.

 Kindly Bent To Free Us by CYNIC album cover Studio Album, 2014
3.75 | 69 ratings

BUY
Kindly Bent To Free Us
Cynic Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Kindly Bent To Free Us" is the 3rd full-length studio album by US progressive rock/metal Cynic. The album was released through Season of Mist in February 2014. It's been six years since the release of "Traced in Air (2008)", but in the intermediate time Cynic released the two EPs "Re-Traced (2010)" and "Carbon-Based Anatomy (2011)". They also put out an archival release in 2012 titled "The Portal Tapes", which is a re-release of the 1995 Portal demo. Portal was a shortlived project featuring the core members of Cynic, founded after the latter disbanded. In addition to working on those releases, Cynic have also toured. Probably more than they ever did when they were initially active. So in short there are several reasons for the long break between the two full-length studio albums. Another reason is probably the core philosophy of of the band. While they definitely don't lack neither drive nor ambition, there has always been a tranquil and laid back vibe about them and a feeling that they will only release something when they are 100% satisfied with the material they've written. On this album they work as a trio consisting of Paul Masvidal (vocals, guitars), Sean Malone (bass, Chapman Stick) and Sean Reinert (drums, keyboards).

The music on "Kindly Bent To Free Us" is probably best described as progressive/alternative rock/metal with jazz/fusion elements and a psychadelic vibe. The latter is mostly due to the sometimes Beatlesque vocal lines and harmonies, but the whole atmosphere reeks incense smelling rooms and laid back days in the sun. Paul Masvidal has always been fascinated by spirituality and although some of the lyrics on "Kindly Bent To Free Us" make absolutely no sense, they still bring a smile to my face and they generally suit the tripped out atmosphere of the album well. The organic and warm sound production also supports that particular atmosphere perfectly. I'm not going to say we're completely in hippie land, but the thought of peace loving hippies often cross my mind while listening to "Kindly Bent To Free Us". On the other hand there is a sweet melancholy to the music too, so it's an album that explore different emotions.

The album features a sound that is very different from what we've heard from the band before, and yet again it sounds unmistakably like Cynic. The tracks are generally less metal oriented (only subdued clean and mellow vocals on this one. No growling) and less technical in nature and also a little more tightly structured and as a consequence more easily accessible compared to earlier material by the band. That's not to say, that the music on "Kindly Bent To Free Us" is simple or that there aren't technically challenging parts being played, because that is far from the truth. There is still fusion influenced drumming and a very busy fretless bass (chapman stick is used too) driving the music forward, but on top, the guitars, the vocals and the keyboards flow in an almost carefree atmospheric fashion. The material is greatly dynamic with both loud parts and more mellow subdued parts.

While the new musical direction probably comes as a surprise (or a shock) for some listeners, it really shouldn't if you payed attention to the musical style on the two preceeding EPs, which both featured a mellow and pleasant sound with only few metal elements. Also if you're familiar with Paul Masvidal's and Sean Reinert's alternative rock project 'on Spoke, the sound on "Kindly Bent To Free Us" might not be so surprising after all.

The 41:52 minutes long album features 8 tracks (9 if you own the deluxe CD book, which features the bonus track "Earth Is My Witness"). it's an album with a great flow, and while the material is consistent in quality and style, there are still enough variation between tracks, to easily distinguish between them. Telling the tracks apart is also helped along by the melodic and quite memorable vocal melodies. At first they might not seem that memorable, but once they get in your mind, they stick. A good example is the opening melody line in the title track, which returns in various forms throughout that track.

So is it any good? Well...this is definitely one of those releases where the listener's expectations and will to accept and embrace new musical ideas will be seriously tested. Cynic are still mostly known in progressive extreme metal circles and most of their fans probably come from that segment, and since they've considerably toned down the extreme metal elements here, the music on the album might not go down too well with the part of their fan base that still see them primarily as a metal act. On the other hand they've undeniably progressed and developed their sound in accordance with their creative muse, and it's always fascinating when an artist pursue what they really feel for instead of trying to satisfy their more conservative fans. In other words this is a fan base divider. Personally I find the album incredibly charming. I don't know what it is about Cynic, but with or without death growls, metal elements, furious fusion drumming, and blistering jazzy guitar solos, they always manage to transport me to a tranquil place and leave me in a completely relaxed state of mind. The music on "Kindly Bent To Free Us" is no exception. A 4.5 star (90%) rating is deserved.

 Labyrinth by FLESHGOD APOCALYPSE album cover Studio Album, 2013
4.00 | 5 ratings

BUY
Labyrinth
Fleshgod Apocalypse Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Labyrinth" is the 3rd full-length studio album by Italian death metal act Fleshgod Apocalypse. The album was released through Nuclear Blast Records in August 2013.

Stylistically the band´s music might be rooted in brutal technical death metal, but they incorporate symphonic orchestral arrangements to their material and also male clean vocals and female operatic singing in addition to the growling vocals. The latter is the dominant vocal style on the album. The playing is on a very high technical level and especially drummer Francesco Paoli should be mentioned for his incredibly fast and adventurous playing. There is a neo-classical edge to some sections, but I´d call this symphonic before I´d call it neo-classical tinged.

The album feautures a professional and powerful sound production, which successfully combines the brutal technical death metal foundation of the music with the classical symphonic orchestration. It´s not necessarily an easy task producing music as layered as this is without losing a couple of details in the sometimes chaotic soundscape.

Upon conclusion "Labyrinth" is a high quality release by Fleshgod Apocalypse and yet another example of why they are often refered to as one of the leading symphonic death metal acts on the scene. Be prepared to be met with a non-stop wall of sound, very well played technical parts and a brutality level that´s pretty high on the scale. There are plenty of melodic moments on the album to compliment the more raw parts of the music though, so "Labyrinth" may speak to quite a few extreme metal listeners. A 4 star (80%) rating is deserved.

 Liminal by EXIVIOUS album cover Studio Album, 2013
4.00 | 31 ratings

BUY
Liminal
Exivious Tech/Extreme Prog Metal

Review by Progrussia

4 stars Metallic fusion with post-rock touches. The heaviness comes rather not from the tone of the guitars but density of sound and business of the rhythm section, that I think impresses nor less or even more than guitars. Those who think that instrumental metal music is about speed and emotionless showboating (or boring) would be pleasantly surprised. Its not easy listening or overly melodic by any means, but the band actually creates some coherent soundscapes using repeated musical motifs from mysterious to more excitable. Compositions are a mix between droning and some sweet soloing - sax included!, - although sometimes I wish they'd cut down on the droning or song lengths.
 Liminal by EXIVIOUS album cover Studio Album, 2013
4.00 | 31 ratings

BUY
Liminal
Exivious Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Liminal" is the 2nd full-length studio album by Dutch progressive/fusion metal act Exivious. The album was released through Season of Mist in November 2013. The band´s 2009 self-titled debut album was a self-released affair limited to 1000 copies. A great album that one and hopefully the deal with Season of Mist will bring the band´s music to a wider audience. Exivious have existed since 1997 but went into a hiatus after releasing a couple of demos. They reunited in 2006, but it wasn´t until guitarist (and former vocalist) Tymon Kruidenier joined Cynic for the recording of their 2008 comeback album "Traced in Air", that most people heard about Exivious (bassist Robin Zielhorst is also credited for playing live with Cynic). The rest of the lineup consist of Yuma van Eekelen (ex-Pestilence) on drums (who replaces Stef Broks, who performed in the debut album) and Michel Nienhuis on guitars.

The music on "Liminal" continues down a similar instrumental progressive/fusion metal path to the path the band also tread on the debut album. To my ears the songwriting has improved and the music as a result sound more well thought out and mature. The album as a whole also features a great flow. The tracks are generally very dynamic in nature, featuring both flashy fusion metal sections with blistering jazz scale guitar solos, but also more atmospheric and mellow parts. The greatest asset is how well Exivious work as a unit though. All instruments are qually important in the soundscape and there is an attention to detail that´s intriguing. These guys really understand that flashy playing usually becomes old fast when it´s not paired with well written compositions. And the compositions on "Liminal" are exquisite. Very tasteful yet powerful, melodic and challenging. The addition of saxophone on "Deeply Woven" is just another well tasting spice for the stew, but it´s actually hard to single out highlights as all material on the album are equally strong. I guess the atmospheric "Alphaform" deserves a special mention, but otherwise this is an album that deserves to be listened to as a whole.

To go along with the well written music, the listener is also treated to an incredibly well sounding production, which really brings out the little intriguing details in the music. The sound production may be clear and powerful, but it´s also organic sounding, which is yet another asset to my ears.

"Liminal" is through and through a brilliant release. The musicianship are on a high level (these guys sound at ease with playing the technically challenging sections. Everything just sound very natural and never forced), The sound production is very strong and the songwriting intriguing and powerful. There is nothing in this world that can hold me back from giving "Liminal" a deserved 4.5 star (90%) rating. An absolutely brilliant release this one.

 Kindly Bent To Free Us by CYNIC album cover Studio Album, 2014
3.75 | 69 ratings

BUY
Kindly Bent To Free Us
Cynic Tech/Extreme Prog Metal

Review by Aldebaran_Well

3 stars Cynic was always about change so, I cannot understand all the fans that criticize the band throughout their career for changing. I declare myself a big Cynic fan too and I always knew that this band would constantly evolve, sometimes even in unexpected ways. Finding myself in the uncomfortable position of not being thrilled by a new Cynic release for the first time, I have to clear out that it's not change that troubles me, only the quality of the result.

Most of you know what Cynic's universe is about: A perfect mix of jazz/fusion and metal, technical excellence, space atmospheres, futuristic visions and philosophy, all tied up together with an aura of mystique. Their two full length albums, ''Focus'' and ''Traced in air'', are masterpieces of extreme prog metal and their last effort, the ''Carbon based anatomy'' EP, introduced us to a new balance in Cynic's sound where jazz, metal, rock, space and even world music elements, created a unique and majestic blend that could perfectly sum up the best of 21st century's intelligent prog music. I expected nothing less from ''Kindly bent to free us'' but to step on that road and even evolve it, if possible. Were the expectations met? Are the above characteristics present? Push the play button.

''True hallucination speak'' kicks off with a typical space intro and the first riff welcomes us to the band's familiar complexity. By the middle of the song I realized that something was missing, there was no raw prog power, neither a real space mood. The chorus and the vocal bridge sounds almost cheerful and I was left with an awkward feeling ? to be polite- , especially considering the fact that bands always choose very carefully the opening track. Awkwardness gave its way to the first clouds of disappointment when ''The lion's roar'' set in. Major notes again ? no problem with that, too major for Cynic though -, soft verse and a chorus which, I hate to say, sounds almost cheesy. Of course, if you focus on the rhythm section the song is great but I couldn't help but feeling that this has a very commercial approach, almost like they tried to compose a hit song. Things fall into place with the album's title track, the main riff is really powerful and emotional, reminding very much of Fates Warning (Parallels era). There's a beautiful, mysterious mood throughout the song, before it explodes into a magnificent, pure jazz instrumental part at the end, certainly one of the album's highlight moments. ''Infinite shapes'' starts again with a ballad-like introduction and at that point, I realized that the band uses the same song structure all the time, a constant sequence of loud part-slow part, which works fine in some songs but eventually gets predictable. It's like the songs are not left free to breathe, flow and stretch. The chorus has a dark touch and it's the only part of the album that I thought the old growling vocals would greatly match. ''Moon heart sun head'' doesn't change much, melodic beginning, same developing, good drum groove, an interesting voice sample in the middle, that's all. By this time, one good song out of five was a nightmare scenario but, thankfully, the album's best tracks are the last three.

''Gitanjali'' steps in with a great tribal drum pattern before the big surprise of the appearance of the first, almost straight rock riff in Cynic's discography. Not bad, not bad at all! In fact, while maintaining the band's basic elements, this song is quite refreshing and it shook me alright. And then, at last?''Holy fallout'', by far the album's best track. This, my friends, is craftsmanship, this can only be composed by prog masters! From the very first notes, the enigmatic essence of Cynic appears and never leaves the song. Magic, mysterious, technical super prog that flows perfectly until the unbelievable slow, doom-like part in the end. Even post rock elements can be found and not only in the trippy e-bowed guitars of the outro. Final track ''Endlessly bountiful'' is here and?is this a glockenspiel?! Yes it is! Yes, it could have been written by Sigur Ros, straight post rhythm groove, choir, wise use of effects and a sweet epic mood, before the wonderful melodic jazz part that brings the album to an end.

I have to concentrate firstly on the cons. If compared to the previous full length albums, ''Kindly?'' lacks innovation and it doesn't feel as inspired. There are many parts that don't stand out as something special and it's difficult to accept that from such a special band like Cynic. Their music in the past could make someone feel like being part of an adventurous sonic journey from ancient civilizations to the very ends of the universe. It doesn't trip me that way now. Another weakness is the vocals, the vocoders and the mechanized voices don't fit so well in the new material. Masvidal's clean voice is quite ok but if the band keeps the present musical direction, greater expression and depth will be required. He doesn't have that range now. Finally, I think that they can expand the production and work in richest arrangements too, the sound is a bit dry.

There's no need to overanalyze the pros. Cynic's music is still better than the 95% of today's prog metal. Paul Masvidal is a genius and Reinert/Malone are one of the best rhythm sections rock music has ever seen and heard. Even the most mediocre idea is performed with absolute expression and precision. It's just that I always expect from them to create music as daring and challenging as it gets. Hopefully they'll do better next time.

For every other band this would be a four stars review. For Cynic, three stars are fair enough, they alone have raised the bar of their art so high.

Data cached

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
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
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
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
DYSRHYTHMIA United States
EARTH SNAKE United States
ECCENTRIC PENDULUM India
ECHIDNA Greece
EDGE OF SANITY Sweden
MATTIAS IA EKLUNDH Sweden
ELECTRO QUARTERSTAFF Canada
ELECTROCUTION 250 Sweden
ELENIUM Finland
ELENIUM Poland
EMPYREAN SKY United States
ENDITOL Canada
ENSLAVED Norway
ERA VULGARIS United Kingdom
ERYN NON DAE France
ESCHATON Austria
ETERNITY VOID United States
EVER FORTHRIGHT United States
EXENCE Italy
EXIVIOUS Netherlands
EXTOL Norway
THE FACELESS United States
FARMAKON Finland
FEARSCAPE Australia
FLESHGOD APOCALYPSE Italy
FLOODLINE United States
FLOURISHING United States
FORCES AT WORK Germany
FORGOTTEN SILENCE Czech Republic
FORNOST ARNOR United Kingdom
FRANTIC BLEEP Norway
FROM A SECOND STORY WINDOW United States
FROM THE EMBRACE United States
GIGAN United States
GLADIATOR United States
GOJIRA France
GOLLUM / HADEA United States
GORGUTS Canada
GOROD France
LE GRAND GUIGNOL Luxembourg
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
INDRICOTHERE United States
INGENIUM Poland
INITIAL POINT United States
INQUISITOR Lithuania
INTERVALS Canada
INTO ETERNITY Canada
INTO THE MOAT United States
ION DISSONANCE United States
IRON THRONES United States
ISLAND Germany
THE ISOSCELES PROJECT Canada
IWRESTLEDABEARONCE United States
RON JARZOMBEK United States
JESTER'S MARCH Germany
JOURNAL United States
KADENZZA Japan
KALISIA France
KÄLTER Canada
KATABASIS Australia
KATHAARSYS Spain
KETHA Poland
KNIFE THE GLITTER United States
KOBONG Poland
KRALLICE United States
LASCAILLE'S SHROUD United States
LAST CHANCE TO REASON United States
LAZER/WULF United States
LEPROUS Norway
LEVI / WERSTLER United States
THE LEVITATION HEX Australia
LIQUID GRAVEYARD Spain
THE LOCUST United States
LOINCLOTH United States
LOVE HISTORY Czech Republic
LUX OCCULTA Poland
LYKATHEA AFLAME Czech Republic
MADDER MORTEM Norway
MANTRIC Norway
MARTYR Canada
MASTER'S HAMMER Czech Republic
MASTODON United States
MEANS END Sweden
MECHANISM Canada
MEGACE Germany
MEKONG DELTA Germany
MELTINGAZE Germany
MEMFIS Sweden
MENCEA Greece
MESHUGGAH Sweden
METALMORPHOSIS Poland
MINDWORK Czech Republic
MONOGONO Portugal
MOON OF SOUL Hungary
MOONLOOP Spain
MOONSORROW Finland
MOONSPELL Portugal
MROCTOPUS Portugal
MY BITTER END United States
MY DYING BRIDE United Kingdom
N.A.M.E. United States
NAUMACHIA Poland
NE OBLIVISCARIS Australia
NEATH Australia
NEGATIVA Canada
NEGLECTED FIELDS Latvia
NEGURA BUNGET Romania
NERVE END Finland
NEUROMIST Moldova
NEWBREED Poland
NEXT LIFE Norway
NEXUS Australia
NOCTURNUS United States
THE NUMBER TWELVE LOOKS LIKE YOU United States
NYIA Poland
OBLOMOV Czech Republic
OBSCURA Germany
OBSIDIAN Netherlands
OCEANS OF SADNESS Belgium
OCEANS OF SLUMBER United States
ONCE THEM EDENS Greece
OPETH Sweden
ORGONE United States
ORTHRELM United States
OSIRIS Netherlands
OUTCAST France
OWL Germany
PAINTED IN EXILE United States
PANDEMONIUM Sweden
PENSÉES NOCTURNES France
PERSEFONE Andorra
PESTILENCE Netherlands
PHLEBOTOMIZED Netherlands
PICA FIERCE Norway
PITBULLS IN THE NURSERY France
PORTAL Australia
PROJECT 13-5 Germany
PROTEST THE HERO Canada
PSYCROPTIC Australia
PSYOPUS United States
QUO VADIS Canada
RAM-ZET Norway
RANDOM Argentina
RANDOM MULLET Finland
RAZOR WIRE SHRINE United States
THE RED CHORD United States
RED SEAS FIRE United Kingdom
RED TIDE United States
REFLUX United States
RENAISSANCE Belgium
REQUIEM AETERNAM Uruguay
RETARDED NOISE SQUAD Germany
REVERENCE France
REX MUNDI Greece
RIPPED United States
ROLO TOMASSI United Kingdom
LA RUMEUR DES CHAÎNES France
JORDAN K. RUSH United States
SADIST Italy
SAMMATH NAUR Poland
SCHOLOMANCE United States
SCLERA Australia
SCULPTOR Serbia
SCULPTURED United States
SERDCE Belarus
SERIOUS BEAK Australia
SHADOWS LAND Poland
SHINING Sweden
SICMONIC United States
SIKTH United Kingdom
SKALDIC CURSE United Kingdom
SLEEP TERROR United States
SOLEFALD Norway
SPASTIC INK United States
SPECTRAL INCURSION United States
SPIRAL ARCHITECT Norway
STARKWEATHER United States
STEALING AXION United States
STONE CIRCLE United Kingdom
STORK United States
SULPHUR Norway
SUPURATION France
DAN SWANÖ Sweden
SWIM IN STYX France
T.O.O.H.! Czech Republic
TAINE Romania
TALANAS United Kingdom
TARAMIS Australia
TARDIVE DYSKINESIA Greece
TENEBRIS Poland
TERMINAL FUNCTION Sweden
TEXTURES Netherlands
THEORY IN PRACTICE Sweden
THOLUS United States
TREEBURNING Canada
TRINACRIA Norway
TWISTED INTO FORM Norway
ULCERATE New Zealand
UNCROSSED Russia
UNDEFINED Spain
UNEVEN STRUCTURE France
THE UNIVERSE DIVIDE United States
UNMOORED Sweden
UNREAL OVERFLOWS Spain
VALBORG Germany
VAZIMBA Madagascar
VEHEMENTER NOS France
VEKTOR United States
VIATROPHY United Kingdom
VIELIKAN Tunisia
VILDHJARTA Sweden
VINTERSORG Sweden
VOIVOD Canada
VORTICE Spain
VUVR Czech Republic
WANZWA United States
WATCHTOWER United States
WETWORK Canada
WHAT'S HE BUILDING IN THERE? Canada
WILD HUNT United States
WINTERSUN Finland
WITHERSCAPE Sweden
WITHIN THE RUINS United States
WOLVES IN THE THRONE ROOM United States
WRATH AND RAPTURE United States
XANTHOCHROID United States
XERATH United Kingdom
YYRKOON France
THE ZYGOMA DISPOSAL Belgium

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | GeoIP Services by MaxMind | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.25 seconds