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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

4.32 | 1243 ratings
STILL LIFE
Opeth
4.25 | 1266 ratings
BLACKWATER PARK
Opeth
4.23 | 1177 ratings
GHOST REVERIES
Opeth
4.27 | 337 ratings
CRIMSON
Edge of Sanity
4.24 | 400 ratings
SYMBOLIC
Death
4.22 | 581 ratings
PALE COMMUNION
Opeth
4.36 | 114 ratings
OBSCURA
Gorguts
4.22 | 425 ratings
FOCUS
Cynic
4.25 | 237 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.24 | 208 ratings
NOTHINGFACE
Voivod
4.23 | 217 ratings
ELEMENTS
Atheist
4.24 | 148 ratings
OM
Negura Bunget
4.18 | 270 ratings
HUMAN
Death
4.14 | 425 ratings
TRACED IN AIR
Cynic
4.23 | 132 ratings
DIMENSION HATROSS
Voivod
4.14 | 318 ratings
THE SOUND OF PERSEVERANCE
Death
4.18 | 176 ratings
ISA
Enslaved
4.15 | 242 ratings
TALL POPPY SYNDROME
Leprous
4.19 | 153 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
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

CORTICAL TECTONICS
Canvas Solaris
THE HINDERERS
Daath
WINTERSUN
Wintersun
1980
1980

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Latest Tech/Extreme Prog Metal Music Reviews


 I by MESHUGGAH album cover Singles/EPs/Fan Club/Promo, 2004
4.16 | 104 ratings

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I
Meshuggah Tech/Extreme Prog Metal

Review by Tom Ozric
Prog Reviewer

4 stars Now, me being a fan of virtually every sub-genre of Prog, even all things regarding Iron Maiden, Henry Cow, Zao, Spring, Fantasy, Univers Zero etc.... Tool, even Mastodon....... I expected something 'special' from this offering. I came across this vinyl release whilst on holiday, courtesy of Euclid Records, Nawlins, - complete 21min. version of this meisterwerk, with 2 live tracks and a studio recording tacked onto the 2nd side of this 12" platter. I am NOT a fan of the 'death growl' style of vocals - I do, however, realise, that there is a bucket-load of talent and control to achieve this 'death growl' vocal. And I can't see someone like Jon Anderson spewing out lyrics convincingly enough to suit this incredibly abrasive music. Within a few seconds of the side-long piece, 'I', I listen carefully ; I'm convinced my limbs would fall off within the 17th bar......... These guys from Sweden need to be aware they need some O2 cylinders in tow wherever they go. This is technically proficient metal, with respect to some of the 70's giants. I really get into this music, but I do find these death-growl vocals somewhat immature. Take my analysis with a grain of sand, but I don't dig it, but I do return to this album, enjoy every minute of it. The sound is crisp, tight and clean by today's standards - really a notch beyond 'mainstream' dark-metal acts, and I can say that upon the first few plays of this album I did think that this is not the styling that is 'me'. Well, doesn't matter ; I honestly enjoy this music : The ambitious 21 min. 'I' track, begins with a harsh barrage of palm-muted guitar chunking in 7/8 time, cacophonous and noisy, breaking into the vocal part that is jagged, yet flows effortlessly blow-by-blow, until a dead-stop offers some strange singular guitar notes, springing up and down, as if being de-tuned, then BANG ! - complex rhythm that recalls Genesis' Apocalypse In 9/8 section, but heavier, more tech-oriented, and the band continue. Simply put : very impressive,. Moving on, the live tracks, recorded during the Ophidian Trek tour 2012-2013, titled 'Bleed' (7:20), and 'Dancers To A Discordant System' (9:51), show that these guys know their material inside-out, have the intelligence and stamina to pull this music off. It's tough, heavy, dark and ferocious......... I don't claim to be a specialist in this style of music, but it does tick most of the boxes for my ears. There is a 3rd track called Pitch Black, at 6 mins long, and features robotic vocals (better than the growl for me), and a repetitious riff, heavy on bass, that reminds me of something the Zeuhl bands indulge in. Oh how I wish this was instrumental. No doubt, EXCELLENT in most ways.

 The Vaulted Shadows by MY DYING BRIDE album cover Boxset/Compilation, 2014
4.00 | 1 ratings

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The Vaulted Shadows
My Dying Bride Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars "The Vaulted Shadows" is a compilation album by UK doom/death metal act My Dying Bride. The compilation was released through Peaceville Records in May 2014. "The Vaulted Shadows" features the material from the two EPs "The Barghest O' Whitby (2011)" and "The Manuscript (2013)". All 5 tracks on the 54:25 minutes long compilation are original tracks only featured on the EPs and on "The Vaulted Shadows". So no previously released album tracks, demo/single material, live tracks, or other types of usual EP material.

"The Barghest O' Whitby (2011)" EP only features one single eponymously titled track, but at 27:04 minutes in length it´s the longest track recorded by My Dying Bride up until 2011. It´s a track which features almost all of the band´s trademark elements like über melancholic violin parts, atmospheric keyboards, crushingly heavy guitar riffing (as well as great harmony work), heavy yet rhythmically intriguing drumming, and of course the growling and clean vocals by lead vocalist Aaron Stainthorpe. It´s quite an intriguing track but unfortunately also a bit fragmented and at times a bit too repetitive. The fact that the track is divided into two parts to fit the vinyl format, isn´t exactly good for the flow of the track either. When that is said, it´s a track which wins upon repeated listens, and overall it´s a great quality track by My Dying Bride.

"The Manuscript (2013)" features 4 tracks and except for "Vår gud över er" all tracks were recorded during the sessions for "A Map of All our Failures (2012)", but left off the album release. "Vår gud över er" is a harsher and more death metal oriented epic track, than the other three tracks which are more melancholic, doomy, and beautiful in nature. The violin is used extensively on the title track and on "A Pale Shroud of Longing". Although three of the tracks are outtakes from the "A Map of All our Failures (2012)" sessions, the quality of the material featured on "The Manuscript (2013)" is very high throughout.

Upon conclusion "The Vaulted Shadows" is what I would characterize as a "must have" for fans of the band (if they don´t already own the EPs), and more casual listeners could well start here too. A great representation of the different aspects of the band´s sound. A 4 star (80%) rating is deserved.

 Colliding Skies by CHAOS DIVINE album cover Studio Album, 2015
3.62 | 4 ratings

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Colliding Skies
Chaos Divine Tech/Extreme Prog Metal

Review by parubio

4 stars Diving into new releases this 2015 I found this by Chaos Divine. As usual, knowing nothing about the band and its music before listening to a new album is the best way to face the opus.

Subgenre labeling can be confusing since Prog Archives categorize artists, not albums, and they keep the one that was assigned at the time of their inclusion on the site. This is no exception, and though it's labeled as tech/extreme metal the sound is very far from that.

Very mature, complex compositions focusing on melody, emotions and atmosphere. Closer to Devin Townsend's post-metal and classic prog metal era mid tempos a la Fates Warning than to their previous "explicit speedy math rock metalcore".

An album that needs to be listened to several times to get all they have to offer.

It's a good album, not essential, but 3 stars don't do justice to this work. So I think 4 stars are well given, it's an excellent addition to any contemporary prog rock music collection.

 In Times by ENSLAVED album cover Studio Album, 2015
3.88 | 15 ratings

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In Times
Enslaved Tech/Extreme Prog Metal

Review by Nightfly
Special Collaborator Honorary Collaborator

4 stars Not being much of a fan of Black Metal I didn't pay a lot of attention to Enslaved's earlier albums, the earliest one in my collection being 2004's Isa. As good an album as that is, to my ears they have got better and better on each subsequent release as the prog quotient has increased to the highpoint of 2012's Riitiir. In Times has a similar lush production to Riitiir but with just 6 tracks they have upped the prog elements even more.

Despite the prog elements Enslaved have still managed to not lose sight of their black metal roots as opener Thurisaz Dreaming certainly demonstrates coming straight in with frantic blastbeats and bassist Grutle Kjellson rasping black metal vocal style. Like the entire album the vocals alternate between Kjellson and keyboard player Herbrand Larsen's cleaner vocal style which has improved greatly over recent releases.

While there are lighter moments black metal fans will be pleased to know that In Times contains some of the most brutal music I've heard from Enslaved, the dynamics of the songs giving the heavier sections even greater impact. The rich production does the music justice, so much better than the thin weedy sound of much black metal, the brutal riffing complimented by the lush keyboard textures. The songs twist and turn through numerous inventive changes keeping it all fresh and captivating, the eleven minute title track being particularly effective.

Fans of extreme prog metal are going to snap this one up and the bar has been set for prog metal album of the year. As usual with this kind of stuff in the prog community the stumbling block for many will be the harsh black metal vocals. If you can get over that however In Times is a stunning album that will reward with repeated listens, quite possibly their best yet. Perhaps it's now time for me to start investigating those earlier Enslaved albums.

 Animals As Leaders by ANIMALS AS LEADERS album cover Studio Album, 2009
4.05 | 206 ratings

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Animals As Leaders
Animals As Leaders Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars The brainchild of founder Tosin Abasi from Washington DC, the all instrumental jazz-fusion meets djent project ANIMALS AS LEADERS is more or less his baby although the band tours and presents itself as a full-fledged musical collaboration. This creative outlet began with Abasi's involvement as the guitarist in the tech metal core band Reflux. After the band ceased to be, Abasi was approached by the metal record label Prosthetic Records who were majorly impressed with his chops and wanted him to record a solo album but Abasi declined feeling the idea was self-indulgent and instead he took a year off to study music in an academic setting to further his growing interest in jazz, classical guitar and composition. After he finished his homework he took Prosthetic up on their offer and then proceeded to let it all rip and roar. He chose the name ANIMALS AS LEADERS after reading the novel "Ishmael" by Daniel Quinn which dealt with the subject of anthropocentrism.

In 2009 Tosin released his first album playing his eight-string guitar and bass as well as co-producing with his partner in crime Misha Mansoor who handled engineering, drum programming and mixing. This album got a lot of praise when it came out due to its challenging virtuosic performances that add a lot of variety and spice to the often impressive but sterile compositions that many a virtuoso can dish out. A child of his time, Abasi pretty much handled all the duties formerly requiring an army of talents to accomplish and if he had been ten to twenty years older he could have easily fit in on the Shrapnel Records label that ushered in all kinds of young talented virtuoso guitarists to the world. Some of those artists like Tony MacAlpine and Greg Howe seem like antecedent influences to Abasi's work, but i also hear some Pat Metheny in some of the lighter fluffier pieces, some mid-tempo ones bringing Allan Holdsworth and even Shawn Lane to mind and of course, the undeniable palm-muted technique of djent tech thrashers Meshuggah in the metallic edge that many of these tracks dish out.

While the influences on board are plenty, what i find refreshing about the debut album by ANIMALS AS LEADERS is how some fresh new takes on these techy fusion guitar jams play out. While the album is clearly created to show off Abasi's technical wizardry, he was prescient enough to know that wizardry alone for wizardry's sake had been played out and that extra oomph was needed to guarantee a pleasant listening experience. Well, pleasant this is indeed with lots of chops to excite my hunger for lightning fast guitar runs configured with insanely fast and unpredictable progressive time signatures alternating between quiet cozy numbers and rowdy rockers that unleash monster riffage and extreme bass frenetics.

My only complaint is that this album may be a tad too long for its intensity and contains a couple tracks that seem a little redundant but overall i find this to be a beautifully constructed modern day jazz-fusion guitar and bass extravaganza with beautiful atmosphere, crystal clear production and a musical passion that keeps the quality sizzling. OK, one more complaint. I wish there would have been a real drummer. While the programmed drumming is far from unpleasant or bad in any way, it really is no proper substitute for a talented jazz-fusion drummer who can really bring out the best in a band like classic Bill Bruford did in Yes. Excellent album but not quite a classic.

 Once More 'Round the Sun by MASTODON album cover Studio Album, 2014
3.64 | 151 ratings

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Once More 'Round the Sun
Mastodon Tech/Extreme Prog Metal

Review by DrömmarenAdrian

2 stars I am examining some records from 2014 to get an idea of the music of modern times. Sometimes I grab music which dwells in a genre I am not used to, or especially found of. I though listen to it carefully and try to find glimpses of glory also there. Mastodon is an example of such a music. I had heard that band was progressive and inspired of many of my favourite bands. That made me curious and I wanted to hear their latest, the be exact their sixth record "Once More 'Round The Sun" from 2014. The cover is colourful and interesting even if I don't really like monsters on records.

The musicians to be credited for this record are Troy Sanders(vocals, bass), Brent Hinds(vocals, guitar), Brann Dailor(drums, vocals) and Bill Kelliher(guitars). I am not going to be so detailed now. Quite early I understood this music wasn't something for me. It just felt so nasal and American in vocal style and the instrumental parts was almost just heavy. Heaviness often exaggerates and this was the case here. I heard from time to another fine parts of instrumental music, for example in "The Motherload"(6/10) which is one of the most interesting songs on the record. "Tread Lightly"(6/10) and "Asleep in the deep"(6/10) are also quite good songs but over all I have very hard to understand or appreciate these kind of sounds.

I guess Mastodon has something great to offer for people who like agressive and hard music. For people more into sweaping melodies and nice voices, it's not perfect at all. My song to song rating ended at 2.5 stars which I in this case have to lower to two stars. Not extremely bad, but nothing for me.

 Unquestionable Presence by ATHEIST album cover Studio Album, 1991
4.25 | 237 ratings

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Unquestionable Presence
Atheist Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars And then in 1991 one of the landmark tech death metal albums in history was unleashed onto an unsuspecting public. ATHEIST was already a veritable metal act even with their demos and released a gem of a slightly tech death album with "Piece Of Time" with extremely high achievements in both the speed and songwriting department. One of the stars of the show was undoubtedly Roger Patterson whose virtuosic bass playing skills shot the band into a realm above and beyond what anyone else was producing at the time. It was a huge loss when Patterson was killed in a car accident in the midst of recording the second album UNQUESTIONABLE PRESENCE. Any lesser band may have called it a day with such a stress factor suddenly rearing its ugly head but ATHEIST had the tenacity of a post-nuclear holocaust cockroach and stuck to their guns and recruited Cuban bassist Tony Choy to replace the seemingly irreplaceable.

While ATHEIST was already in the midst of upping the technical aspects of their highly aggressive death metal, it was, in a way, fortuitous to land Choy as a bassist, for he found a home with his slap and pop and two-handed tapping playing techniques that allowed him to fully exploit what all those frets are capable of. Because of Choy's involvement not only did they get a more than capable bassist to fill Patterson's shoes, but they got a whole other culture of influences including the Latin rhythms to battle it out with the jazz-tinged time signatures. Because many of the tracks were written with Patterson, this album has the distinct attribute of having one bassist active in the creative birth pangs of the album while another picks it up and adds his different interpretations. The result is one of the most demanding and outstanding tech death metal albums to ever come out.

While the complexity of this album is undeniable, so is the accessibility. The seamlessness of it is the brilliance. It has enough to hook you in instantly but more than enough to continue to lure you deeper and deeper into its seductive grasps. Kelly Shaefer really grows as a vocalist and the dual guitar assaults that he and Randy Burkey pummel the senses leave the progressive headbanger in a steady state of bliss. Each track is diverse and takes the listener on a roller coaster ride of tech death aggressive fury that only ratchets up the luxuriation on subsequent spins. This is one of those growers. It didn't blow me away on first listen by any means but certain has since. The perfect marriage of progressive jazz-fusion and the most extreme metal can be found on UNQUESTIONABLE PRESENCE, one of my all time favorite albums of any musical genre.

 Focus by CYNIC album cover Studio Album, 1993
4.22 | 425 ratings

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Focus
Cynic Tech/Extreme Prog Metal

Review by HoldsworthIsGod

4 stars Let's talk about Death Metal. Normally the guitars are overdriven beyond belief, and the guitars itself have pointy headstocks. Not here. The guitar shifts from clean passages to distorted ones, and the guitars have NO headstocks at all! The lyrics in death metal are usually about necrophilia, murder, and rape, and sound like they're being sung by Cookie Monster with a sore throat. Sure, there's death growls here, but there's also vocoder-processed robot vocals. You won't hear THAT on a Cannibal Corpse record! And the lyrics are meditative, and New Age-y. And in a genre where fans denounce fans of other genres as "gay" or "homos", there are two openly gay members! The standout track is "Veil of Maya", with its synth textures and Allan Holdsworth-inspired solos. Also, "Uroboric Forms" is a heavier song with influences of Death
 TĂU by NEGURA BUNGET album cover Studio Album, 2015
3.75 | 3 ratings

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TĂU
Negura Bunget Tech/Extreme Prog Metal

Review by Lear'sFool

4 stars In part a step down in quality from their earlier work, yet more atmospheric and grim than ever, Negura Bunget have created a fine, folky monster of an album. The sound does feel less powerful and inspired, much as it wonderfully balanced metallic sections and sparse, darkly ethereal sections complete with obligatory chants. The result has already turned off quite a few fans, and that is something to keep in mind when listening, but in all likelihood you will find enjoyment. In spite of splits in the band, this is still good work, and tracks like "Nametenie" make for good listens. Don't expect the next best thing to "OM", but expect some good atmospheric black folk metal.
 Kivenkantaja  by MOONSORROW album cover Studio Album, 2003
4.34 | 52 ratings

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Kivenkantaja
Moonsorrow Tech/Extreme Prog Metal

Review by Alucard Draco

5 stars I am currently listening to a heck of a lot of Black Metal music and to me it's one of the most diverse genres of extreme metal out there. It's a varitety of sounds from Atmospheric Black Metal, Pagan/Viking Black Metal, a combination of Death and Black Metal, Gothic Black Metal and a bunch of other sub genres. Kivenkantaja is most definitely the Viking kind but a most Melodic one indeed. It's really a combination of Folk Metal and a Celtic style mood but done most epically.

The reason I rate Moonsorrow so highly - especially this album is that it's good music - death growls and all which create such an atmosphere that imagining the lands and culture from just listening to this album is so easy to conjour up in ones head and to me I think it's one of the most accessible of Black Scandinavian Metal.

It perfectly creates the loud and epic moments and merges the quieter more traditional folky moments together without ever seeming out of place. The band have got a fine keyboardist and multi instrumentalist in the form of Henri Sorvali from Finntroll, which is one way to make epic even more epic.

I personally rate every song as necessary and so perfectly formed and arranged that Metal as a whole is so much healthier for it and I have no hesitation in given this album the maximum rating of five. Also check out the following albums as Moonsorrow are no one hit wonders and keep getting better and better whilst adapting different styles at the same time, so treat yourself to this wonder of Extreme Metal.

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Tech/Extreme Prog Metal bands/artists list

Bands/Artists Country
1980 France
7TH NEMESIS France
A.I.(D) France
ABIGOR Austria
ABORYM Italy
ABSORBED Spain
ACHOKARLOS Spain
ACID DEATH Greece
ACOLYTE United Kingdom
ACRIMÖNIA Poland
ACROSS THE SUN United States
ADEIA Netherlands
THE ADVENT EQUATION Mexico
AEOLIA United States
AEON OF HORUS Australia
AERODYNE FLEX United States
AGARTHA United States
AGE OF SILENCE Norway
AGHORA United States
AINMATTER United States
ALARUM Australia
ALCHEMIST Australia
ALGOPHOBIA Italy
ALL DREAMS DYING Finland
ALLEY Russia
ALTERA ENIGMA Australia
THE AMENTA Australia
AMOGH SYMPHONY India
AN ISLE ATE HER United States
ANATA Sweden
ANCIENT Norway
ANCIIENTS Canada
ANGEL OF DISEASE Georgia
ANGEL VIVALDI United States
ANGMAR France
ANIMALS AS LEADERS United States
ANOMALY United States
ANSUR Norway
THE ANTIKYTHERA MECHANISM United States
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
ARTIFICIAL BRAIN United States
AT WAR WITH SELF United States
ATHEIST United States
ATROPHIA RED SUN Poland
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
BARING TEETH United States
BARREN EARTH Finland
BECOMING THE ARCHETYPE United States
BEHEADED ZOMBIE Russia
BEHOLD...THE ARCTOPUS United States
BELIEVER United States
BELTANE Germany
BETWEEN THE BURIED AND ME United States
BEYOND CREATION Canada
THE BINARY CODE United States
BISBAYE Canada
BLACK SUN AEON Finland
BLOTTED SCIENCE United States
BLUTMOND Switzerland
BORGIA France
BORKNAGAR Norway
BORN OF OSIRIS United States
BOTCH United States
BURGUL TORKHAÏN France
BURST Sweden
CANVAS SOLARIS United States
CAPHARNAUM United States
CAR BOMB United States
CARBONIZED Sweden
CARCARIASS France
CASTEVET United States
CEPHALIC CARNAGE United States
CEREBRUM Greece
CHAOS DIVINE Australia
CHIMP SPANNER United Kingdom
CIRCLE OF CONTEMPT Finland
CIRCLE TAKES THE SQUARE United States
CIRCLES Australia
CITRINITI Italy
COBALT United States
CODE Multi-National
COLD NIGHT FOR ALLIGATORS Denmark
COLLAPSAR United States
CONTINUO RENACER Spain
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
CUBICAL SPHERE Greece
CYCLAMEN United Kingdom
CYNIC United States
DAATH United States
DE PROFUNDIS United Kingdom
DEAD LETTER OPENER Australia
DEATH United States
DEATH MACHINE United States
DEATHROW Germany
DEATHSPELL OMEGA France
DELTA CEPHEID Germany
DEMILICH Finland
DEMONIC RESURRECTION India
DESCEND Sweden
DEVIUS Argentina
DIABOLICAL MASQUERADE Sweden
THE DILLINGER ESCAPE PLAN United States
DIONAEA United States
DIORAMIC Germany
DIREWOLF United States
DISEMBARKATION Canada
DISFIGURING REALITY Canada
DISHARMONIC ORCHESTRA Austria
DISILLUSION Germany
DISKORD Norway
DIVINITY Canada
DODECAHEDRON Netherlands
DØDHEIMSGARD Norway
DORDEDUH Romania
DOWN I GO United Kingdom
DROTTNAR Norway
DRUDKH Ukraine
DRYAD'S TREE Germany
DUOBETIC HOMUNKULUS Czech Republic
DYSRHYTHMIA United States
EARTH SNAKE United States
ECCENTRIC PENDULUM India
ECHIDNA Greece
EDGE OF SANITY Sweden
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