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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

4.31 | 1370 ratings
STILL LIFE
Opeth
4.25 | 1407 ratings
BLACKWATER PARK
Opeth
4.25 | 1306 ratings
GHOST REVERIES
Opeth
4.24 | 805 ratings
PALE COMMUNION
Opeth
4.38 | 134 ratings
OBSCURA
Gorguts
4.26 | 381 ratings
CRIMSON
Edge of Sanity
4.24 | 457 ratings
SYMBOLIC
Death
4.27 | 272 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.21 | 465 ratings
FOCUS
Cynic
4.24 | 240 ratings
ELEMENTS
Atheist
4.24 | 241 ratings
NOTHINGFACE
Voivod
4.27 | 161 ratings
OM
Negura Bunget
4.22 | 192 ratings
ISA
Enslaved
4.18 | 306 ratings
HUMAN
Death
4.16 | 357 ratings
THE SOUND OF PERSEVERANCE
Death
4.23 | 157 ratings
DIMENSION HATROSS
Voivod
4.21 | 163 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.13 | 458 ratings
TRACED IN AIR
Cynic
4.16 | 246 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.17 | 220 ratings
THE PARALLAX II: FUTURE SEQUENCE
Between The Buried And Me

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

WINTERSUN
Wintersun
THE HINDERERS
Daath
THE DESIGN
Into the Moat
CITRINITI
Citriniti

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Latest Tech/Extreme Prog Metal Music Reviews


 The Congregation by LEPROUS album cover Studio Album, 2015
4.09 | 355 ratings

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The Congregation
Leprous Tech/Extreme Prog Metal

Review by poito

5 stars In a way I coincide with some of the detractors of the fifth album of the band Leprous. They have been evolving continuously but some of the band's movements were not necessarily good, or at least they were risky to the global project. In particular, the band nearly completely dropped the solo passages, it all is orchestrated, no soloist pieces anhy more. But the creativity and originality of these giants is here at their best, they produce brilliant tracks one after another with the musical resources of their choice. The music in this album is a perfect thread of instruments in which all have important creative labor, none is weak, and none is lazy, including bass and drums that have changed so many times in the lineups through the years. The themes appear more transcendent, solemn, may be melancholic as others pointed well. I do not listen to the lyrics, so I can't tell you if they are telling sad stories, but the music is kind of dramatic. I guess one may postpone having fun for a while when something important is happening. Whether it reflects the mood of the songwriters or they were after this effect on purpose I do not know, but it all keeps reinforcing the legend. It doesn't matter what they do or how they feel, they always express it with amazing musicality. I see a step backwards though: their increasing use of melodic resources takes them too close to mainstream. I can imagine that someone approaching the band for the first time with this fifth album may not feel that impressed as if he knows the trajectory, and would probably be reminded of bands doing similar things or using similar sounds, like Ayreon, Muse, Comedy of Errors, Circus Maximus, Haken, and the like. Is it an evolution or a confluence? Anyway, for the time being, enjoy this masterpiece.
 Coal by LEPROUS album cover Studio Album, 2013
4.02 | 308 ratings

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Coal
Leprous Tech/Extreme Prog Metal

Review by poito

4 stars Another great release by this contagious band. Yeah, I know leprosy is not contagious, but like the virus of the flu, they keep evolving and spreading. Just from where it was left in their excellent previous album BILATERAL, this originally djenty-based band gaiend a sophistication then that climbs here to much higher heights. Good news for Prog. Also, the land gained by singer Solberg keeps growing. His singing has become a main pillar in the composition, simultaneously to the reduction of his work at the keys, which gets limited simple accompanying and filling. On one hand, the dominant voices facilitate some textures that the band had never used and were unthinkable in their early work, but on the other, the tracks lose the briskly moments one always expect in Prog music when guitar or keyboard go riffing. These passages have nearly disappeared from the repertoire of Leprous. Yet, the music hasn't lost a bit of variety and fun. At times, the voice motifs repeat more than necessary and after a few times listening, they get too present in your ears as to bother, such as in the tracks Foe, The Valley and Echo. A good guitar/keyboard riff instead might have work better. This was something I had anticipated it could happen when I noticed the growing presence of Solberg's voices in the structure of the music in former albums Hopefully, they'll keep it there and it won't affect the quality of the composition in subsequent releases. Also, they began using some sounds from rock bands that make the arrangements more digestible to a wider audience but also dangerously recognizable. My favorite tracks are Chronicle,The Cloak, and The Valley.
 Terminal Redux by VEKTOR album cover Studio Album, 2016
4.16 | 44 ratings

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Terminal Redux
Vektor Tech/Extreme Prog Metal

Review by RuntimeError

5 stars Vektor perfected their style and released the best thrash metal album of all time.

I have never been a big fan of the so called 'Thrash Metal' but somehow Vektor can keep this style interesting. The style is basically the same as from the 2 previous albums but with better production, better riffs and better songwriting.

This, like the previous releases take some time to get into. At first the songs seem like a mess since the riffs, tempos and beats vary very quickly. The vocals are 'horrible' as well, so get used to them! But once you have listened to the album a couple of times, the passages seem more clear and the vocals fit the music quite fantastically.

This is a concept album so the songs are fitted with each other quite well. The two opening songs: 'Charging the Void' and 'Cygnus Terminal' open the album superbly. The power and energy that the band delivers is unmatched by any band that I know of. The riffs drive the songs onwards, going to quick breaks and finally to climaxes.

The style presented in the first two songs is pretty much continued through the album. It's a very loud record and the middle section is the weakest part of the album. However the last two songs; 'Collapse' and 'Recharding the Void' punish you with the proggiest work Vektor have done yet. 'Collapse' features beautiful clean passages and much more melodic approach to the riffs. 'Recharging the Void' is quite possibly the best track on the album, as the songwriting is very strong here. This is the most coherent track I would argue. There are no unnecessary tempo changes and the riffs are very melodic and the guitar solo around 5 minute mark is gorgeous. Funnily enough the album ends with some Pink Floyd type of clean vocal/female choir passage that is very beautiful as the album concept has reached its end, it bursts into melodic riffing and beautiful lead guitar work. The final 6 minutes of the album is just so good that you have to listen to it yourself.

 Miss Machine by DILLINGER ESCAPE PLAN, THE album cover Studio Album, 2004
3.01 | 70 ratings

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Miss Machine
The Dillinger Escape Plan Tech/Extreme Prog Metal

Review by aglasshouse

2 stars There's a certain point where music can build up too much of a head of steam and simply become a malformed mess of half baked ideas and botched compositions. This is the fate of Dillinger Escape Plan's second album, Miss Machine, released in 2004. Myself never a fan of the band, I will admit their early albums set some standards. Unfortunately such influence does not excuse the honestly poor quality of Miss Machine. The cover alone explains everything wrong with this album; a jumble of angst-ridden songs that try so very hard to be aggressive that it falls backwards into the silly category. Not to mention when placed alongside the band's other (mediocre) discography, this honestly disquieting work sticks out like blood on snow. Any talent the band could show unfortunately does not translate well here. Uncomfortable and enjoyable, this album is one for only those who seek the roughest listening experience possible.
 -Nomadic- by FALLUJAH album cover Singles/EPs/Fan Club/Promo, 2013
4.09 | 4 ratings

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-Nomadic-
Fallujah Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Nomadic" is an EP release by US,San Francisco based technical/progressive death metal act Fallujah. The EP was released through Unique Leader Records in April 2013. It´s the successor to the band´s debut full-length studio album "The Harvest Wombs (2011)". Fallujah have existed since 2007 and released a couple of demos and the "Leper Colony (2009)" EP before signing to Unique Leader Records for the release of their debut album.

The music on "Nomadic" pretty much continues the sci-fi themed technical/progressive metal style of "The Harvest Wombs (2011)". Fallujah are still pretty unique sounding within the genre because of how they combine technical/progressive death metal parts with atmospheric (at times ambient) synth heavy parts. The technical level of playing is high, the sound production clear and powerful, and the songwriting is strong too.

"Nomadic" features 3 tracks and a full playing time of 18:11 minutes. "The Dead Sea" and "Venom Upon the Blade", which bookend the EP, are both in the style described above while "Silent" is an atmospheric ambient track. The whole thing reeks of sci-fi atmosphere, which is a type of mood Fallujah are really successful in creating. My issues with the vocals on "The Harvest Wombs (2011)", which I felt were slightly generic, have been solved. This time around the growls are convincing and intelligible. The higher pitched screams also work to great effect.

Overall "Nomadic" shows development of the band´s sound and the promise I heard on "The Harvest Wombs (2011)", is even more apparent here. A full-length release of this quality and I think the band will have fullfilled that promise. A 4 star (80%) rating is deserved.

 The Harvest Wombs by FALLUJAH album cover Studio Album, 2011
3.16 | 6 ratings

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The Harvest Wombs
Fallujah Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The Harvest Wombs" is the debut full-length studio album by US, San Francisco based technical death metal/deathcore act Fallujah. The album was released through Unique Leader Records in November 2011. Fallujah was formed in 2007 and released a couple of demos and the "Leper Colony (2009)" EP before signing to Unique Leader Records for the release of "The Harvest Wombs".

The band play a sci-fi themed type of technical death metal/deathcore. The deep growling vocals are at times paired with higher pitched raspy ones. The vocals are a bit generic to my ears or if I play nice I´d say they are pretty standard for the genre. They get the job done but not much more than that. The music alternates between brutal technical death metal parts and blasting (for the most part) atmospheric parts. The musicianship is on a very high level and I´m especially impressed by the well played semi- jazzy guitar soli, that somewhat remind me of Cynic´s ditto, and also the innovative technical drumming. Fallujah are generally much more brutal then an act like Cynic and it´s more contemporary artists like Vale of Pnath, Obscura, Augury and Beyond Creation that come to mind, while listening to "The Harvest Wombs".

The material on the 10 track, 44:05 minutes long album is of high quality all the way through the playing time. "The Harvest Wombs" is in addition to the "regular" technical death metal/deathcore tracks, spiced up with two rather intriguing instrumentals in "The Flame Surreal" and "The Harvest Wombs", which are both great for the variation of the album.

The sound production is clear and powerful, which suits the material well. The drums might be a bit too high in the mix and there´s little here that you can call organic, but other than that "The Harvest Wombs" is a very well produced album, and upon conclusion it´s certainly a promising debut album. A 3.5 star (70%) rating is deserved.

 Red on Chrome by CROWPATH album cover Studio Album, 2004
3.00 | 1 ratings

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Red on Chrome
Crowpath Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "Red on Chrome" is the debut full-length studio album by Swedish, Malm' based extreme metal act Crowpath. The album was released through Willowtip Records in USA and Earache Records in Europe in April 2004. Crowpath has existed since 1997 and released a couple of minor releases before releasing "Red on Chrome".

Stylistically Crowpath play an incredibly intense, chaotic, and dissonant type of extreme metal. The vocals on the album are aggressive shouting type hardcore vocals and although there are some death- and grindcore traits to be found in the music, it's not right to call it neither. This is definitely not your typical one-dimensionally blasting type grindcore release and certainly not you're standard death metal release either. So maybe technical/chaotic extreme metal is a better overall description of the band's music. The music is very complex and technically very well played, with constantly shifting drum patterns, breaks, and tempo changes. A schizophrenic sounding, 'ber distorted, and dissonant wall of noise. The word "noise" should be interpreted as something positive in this respect, just so I'm not misunderstood. The atmosphere is bleak and aggression is in the high seat.

"Red on Chrome" is not an easy album to get into, and the distorted and noisy sounding production probably won't help someone challenged by the already chaotic nature of the music. The music and the sound production suit each other well though and a more clean sounding production probably wouldn't have suited the music in the same way.

Overall the high energy level, the chaotic soundscape, and the complexity of the playing are sure to challenge even seasoned extreme metal listeners. 13 tracks distributed over a 29:59 minutes long playing time and then the mayhem is over and you'll probably be left exhausted, bruised, and broken. I dare you to jump aboard this one-way ticket to hell. Repeated listens over several years have convinced me to buy said ticket and a 3.5 star (70%) rating is deserved.

 Bilateral by LEPROUS album cover Studio Album, 2011
3.93 | 386 ratings

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Bilateral
Leprous Tech/Extreme Prog Metal

Review by poito

5 stars The third release of a great band. One more step ahead, firmly heading to the Olympo. The evolution of Leprous' music is constant. From creative tech-death prog metal in their debut AEOLIA, followed by the more complex and subtle (yes it can be in spite of the powered background) TALL POPPY SYNDROME, they got to this BILATERAL, in which the music has become more melodic and closer to main stream compositional Prog. Here the tech-death has been reduced to a few well-placed bits and the voices by Solberg have gained a prominent place in the structure of the tracks. At times, one may feel some have been composed to be sung, which is not very Prog... unless the voice plays music, and this is the case here. Excellent. This guy is becoming one of the greatest singers. I never liked the voices to be a main point in Prog music because the instrumental composition tends to reduce and degrade. It is not the case in this album, but let's keep an eye on it for the future. In this album there are new ambient elements substituting for the excellent piano interludes in the first AEOLIA, I miss the rough freshness of the starter, but I'm afraid it has gone for good. The band has sophisticated quite a lot, the roughness flipped into bombastic, but their creativity is at the highest, so we rather do not complain. Thorn, Mb Indiferentia, Waste of Air, Acquired Taste, thay are all great compositions, actually there are no weak tracks. All have talent inside.
 Angel Rat  by VOIVOD album cover Studio Album, 1991
3.92 | 121 ratings

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Angel Rat
Voivod Tech/Extreme Prog Metal

Review by Modrigue
Prog Reviewer

3 stars Grunge from outer space?

First VOIVOD studio album from the 90's, "Angel Rat" marks a musical orientation change from dark thrash prog metal towards more accessible "space grunge". Fans of the 80's stuff from the Canadians may be a bit disappointed at first listen. It's also the last record with bassist Jean-Yves Thériault (Blacky). However, "accessible" does not necessarily mean of lesser interest, and grunge is a subgenre that VOIVOD influenced. In fact, the band has been cited as a reference by the members of NIRVANA, due to their particular dissonant sonorities.

Furthermore, there's still a bit of metal as well as typical VOIVOD tortured sounds in this opus. Therefore, "Angel Rat" is more a logical evolution than a radical turn, and thus deserves attention.

The first half of the disc is the most interesting. "Shortwave Intro" is a short electronic opening for the powerful and somber "Panorama". Its dynamic riff sets the tone for the rest of the album. "Clouds In My House" and "The Prow" are efficient grunge songs with a few spacey touches and haunting moments. Very nice. "The Prow" may be my favorite of the disc, ideal to navigate aboard a cosmic ship! "Best Regards" is a cool 80's heavy rock with some changes, while the dissonant "Twin Dummy" is a bit average. After this sonic deluge, calm comes back momentarily with the title track. An enjoyable alternative rock track, nothing more.

The second half of the record is unfortunately not as good. The hard grunge "Golem" and the US big rock "The Outcast" are not very convincing. The best and most original passage of this second half is undoubtedly "Nuage Fractal". This strangely named space rock will you make you travel through the dark universe! "Freedoom" is another alternative rock song, but more peaceful and floating this time. Not bad, but does not really maintain attention until near the ending. The disc concludes with the average "None Of The Above".

Neither very progressive nor often cited by fans, "Angel Rat" contains however very good tracks that should interest the fans. Even if the overall result is unequal, the band manages to keep their musical identity while merging their style in the then nascent grunge genre. Don't pick this disc if you're looking for heavy/thrash prog metal, but if want punchy, accessible and a little somber rock, or just to discover VOIVOD, then you can go for it.

 Terminal Redux by VEKTOR album cover Studio Album, 2016
4.16 | 44 ratings

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Terminal Redux
Vektor Tech/Extreme Prog Metal

Review by eliunger

5 stars Vektor is thrash band that incorporates prog elements into their music as well as the singing style of legendary death metal singer Chuck Schuldiner. They sound like if Chuck Shuldiner was in Megadeth meets Voivod. They have lyrics that are science fiction themed through their discography, which makes it amazing. They sound thrash and progressive in their three albums they have released. They use elements of thrash and prog; it does not over power one from the other. In this album, the order of which the tracks where placed flows to the next to and makes the next track work even well than the previous one, which some albums do not do.

The riffs on the album take you back to the heavy thrash metal of the 80's, which sound really cool. The singing style is in the style of the band Death that might be turn of for some people it sounds like screaming to some people. Can't wait to hear the next Vektor album because their prog style is really intriguing and they sound like a leader in the progressive thrash metal campus. This album from start to finish is really progressive and is from start to finish an amazing peace of work Hope to see how they progressive over the next albums.

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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
ATEM Finland
ATHEIST United States
ATROPHIA RED SUN Poland
ATRORUM Germany
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
AZURE EMOTE United States
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
CHRONOSTASIS United States
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
CONTRARIAN 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
DIMESLAND 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
DREAMGRAVE Hungary
DROTTNAR Norway
DRUDKH Ukraine
DRYAD'S TREE Germany
DUOBETIC HOMUNKULUS Czech Republic
DYSRHYTHMIA United States
EARTH SNAKE United States
ECCENTRIC PENDULUM India
ECHIDNA Greece
EDGE OF SANITY Sweden
MATTIAS IA EKLUNDH Sweden
ELECTRO QUARTERSTAFF Canada
ELECTROCUTION 250 Sweden
ELENIUM Finland
ELENIUM Poland
EMPYREAN SKY United States
ENDITOL Canada
ENSLAVED Norway
ERA VULGARIS United Kingdom
ERYN NON DAE France
ESCHATON Austria
ETERNITY VOID United States
EVER FORTHRIGHT United States
EXENCE Italy
EXIVIOUS Netherlands
EXTOL Norway
THE FACELESS United States
FALLUJAH United States
FARMAKON Finland
FEARSCAPE Australia
FLESHGOD APOCALYPSE Italy
FLOODLINE United States
FLOURISHING United States
FORCES AT WORK Germany
FORGOTTEN SILENCE Czech Republic
FORNOST ARNOR United Kingdom
FRANTIC BLEEP Norway
FROM A SECOND STORY WINDOW United States
FROM THE EMBRACE United States
GERYON United States
GIGAN United States
GLADIATOR United States
GOJIRA France
GOLLUM / HADEA United States
GORGUTS Canada
GOROD France
LE GRAND GUIGNOL Luxembourg
GRIS Canada
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
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WHAT'S HE BUILDING IN THERE? Canada
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