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TECH/EXTREME PROG METAL

A Progressive Rock Sub-genre


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Tech/Extreme Prog Metal definition

This category lists technical Progressive Metal bands that have roots in Extreme Metal or that are strongly influenced by it. The style developed by the end of the 80s in the Thrash Metal scene when a number of bands stretched the boundaries of their sound by including elements from Progressive Rock. Death Metal followed a similar path in the 90s and by the 2000s, also Black Metal and Metalcore saw an increasing amount of bands taking in Prog influences.

Certain bands like EPHEL DUATH and UNEXPECT developed a style that largely abandoned their extreme metal heritage in favour of a highly eclectic jazz-influenced Avant Metal style. These bands are listed under Experimental Metal.


Progressive Thrash Metal
By the end of the 80s Thrash Metal had diversified its sound significantly to an extent where the originally very direct and uncompromisingly aggressive style had become more sophisticated, boasting challenging technical skills and ambitious song structures frequently surpassing the 6 minute mark. The best known examples are METALLICA and MEGADETH.

The bands listed in this section went one step further and embraced notable influences from Progressive Rock, replacing much of the typical Thrash Metal riffs and rhythms with a more progressive and melodic riffing style, influenced by KING CRIMSON and RUSH. The most well-known of these early bands was VOIVOD, who also brought the early psychedelic sound of PINK FLOYD into their unique mold. Important pioneering albums were released by WATCHTOWER, CORONER, MEKONG DELTA, as well as the debut album of SIEGES SEVEN.
More recent examples of Progressive Thrash are SPIRAL ARCHITECT and VEKTOR


Progressive Death Metal
Death Metal further built on the sound of the most extreme bands of the Thrash scene. Next to the brutal sound, blast beat drumming, complex song structures and multiple tempo changes, the most notorious feature of the style is probably the growled vocals. Death Metal is generally highly technical, making the dividing line between Technical Death Metal and Progressive Death Metal sometimes rather faint.

The bands considered for Prog Archives are those that show significant influences from Progressive Rock and/or Fusion. One of the landmarks in the style is "Elements" from ATHEIST, who mixed their hyper-technical Speed Metal with fusion. Other early albums include "Focus" from CYNIC and "Spheres" from PESTILENCE, where progressive riffing, polymetrics, fusion influences and atmospheric keyboards complemented their brutal Death Metal. Also DEATH, the popular founder of Death Metal, incorporated fusion and progressive elements on their later albums.

A different flavour of Progressive Death Metal came from the European continent, when half-way into the 90s leading death and doom-death bands started expanding their basic metal sound. The most significant album relevant to this section is "Crimson" from EDGE OF SANITY. In typical Scandinavian fashion, their epic approach wasn't fusion oriented but less technical and more melodic, introducing the now typical alteration between brutal Death sections and more melodic breaks with clean vocals; an approach perfected in the next decade by OPETH.


Progressive Black Metal
Unlike Thrash and Death metal, Black Metal is not a technical genre. Originally it was even purposely non-technical and low-fi. By the end of the 90s the genre had developed into various sub-styles, of which some incorporated elements from progressive music.
The bands listed in this section are Black Metal bands that traded the minimalism of Black Metal for a more progressive, technical or experimental approach. This distinguishes them from the Black Metal bands that fleshed out their sound with either post-rock and/or shoegaze influences. Those are listed under Experimental/Post Metal.

One of the earliest and best known example of this style is ENSLAVED, who maintained the harsh atmosphere and aggression of classic Black Metal but extended this with a more textured psychedelic sound, chromatic riffing and odd time-signatures, citing influences from PINK FLOYD, VOIVOD and KING CRIMSON. Also IHSAHN, front-man of EMPEROR, should be mentioned here.

Most artists in this section are Symphonic Black Metal-oriented bands with progressive and experimental influences, but without fully crossing over to either Prog or Avant Metal as they remain oppressively dark, harsh, often dissonant and inaccessible. Their strong ties to Black Metal is why they are featured under Tech/Extreme Prog Metal and not in Avant Prog Metal. Examples are DEATHSPELL OMEGA, MOONSORROW, NEGURA BUNGET and the slightly more accessible theatrical Symphonic Black Metal of ARCTURUS.


Modern Phase
In the 2000s trends became more diffuse, introducing bands that had some of their stylistic features in common with the extreme metal genres without fully belonging in any of them. Some of them continued the strong fusion element and hyper-technical approach from ATHEIST and CYNIC. Instrumental acts such a as EXIVIOUS, CANVAS SOLARIS and BLOTTED SCIENCE received lots of critical acclaim from progressive metal fans.

A new trend was set by MESHUGGAH, one of the most defining bands of this era. At the end of the 90s their eclectic mix of Death, Thrash, Avant, Fusion and Prog laid down the groundrules of Extreme Metal for the next decade. Another well known band to take a similar eclectic approach to Extreme Metal was GOJIRA.
In the second half of the 2000's, many young bands copied MESHUGGAH's guitar tone and rhythmical riffing style, giving rise to the so-called 'djent' movement. Many of these bands belong in Tech/Extreme, such as ANIMALS AS LEADERS, CHIMP SPANNER etc.


Progressive Metalcore
The second half of the 2000s also saw the rise of a new generation of Progressive Tech/Extreme acts with roots that lay in Metalcore, Mathcore and Technical Sludge, rather then the 'classic' Extreme Metal genres. Their music is inherently technical and complex and has quite a number of formal features in common with Progressive Metal such as odd time signatures and non-standard song formats.
Prog Archives only lists these bands that go beyond the default expectations of the genre and bring in distinct non-extreme Prog influences. Some of the most eye-catching bands in this area are BETWEEN THE BURIED AND ME, PROTEST THE HERO, BURST, DILLINGER ESCAPE PLAN and MASTODON.


--- Definition by Karl and the Progressive Metal Team, January 2012 ---

The Progressive Metal Team
Karl (bonnek)
Kevin (Necroncommander)
Alex (Rune2000)
Thanos (aapatsos)
Dave (Prog Sothoth)
Louis (rdtprog)

Tech/Extreme Prog Metal Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Tech/Extreme Prog Metal | More Top Prog lists and filters

4.31 | 1639 ratings
STILL LIFE
Opeth
4.25 | 1702 ratings
BLACKWATER PARK
Opeth
4.25 | 1595 ratings
GHOST REVERIES
Opeth
4.31 | 178 ratings
OBSCURA
Gorguts
4.22 | 461 ratings
CRIMSON
Edge Of Sanity
4.25 | 295 ratings
NOTHINGFACE
Voivod
4.21 | 549 ratings
SYMBOLIC
Death
4.20 | 432 ratings
THE SOUND OF PERSEVERANCE
Death
4.21 | 322 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.25 | 200 ratings
DIMENSION HATROSS
Voivod
4.18 | 534 ratings
FOCUS
Cynic
4.15 | 1116 ratings
PALE COMMUNION
Opeth
4.21 | 258 ratings
IN CAUDA VENENUM
Opeth
4.20 | 276 ratings
ELEMENTS
Atheist
4.16 | 381 ratings
HUMAN
Death
4.21 | 188 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.16 | 302 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.12 | 509 ratings
TRACED IN AIR
Cynic
4.31 | 88 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.15 | 297 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

CORTICAL TECTONICS
Canvas Solaris
LAZARUS BIRD
Burst
KOBONG
Kobong
EXPRESSIONIST
Beltane

Latest Tech/Extreme Prog Metal Music Reviews


 Origo by BURST album cover Studio Album, 2005
4.63 | 13 ratings

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Origo
Burst Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

5 stars "Origo" is the 4th full-length studio album by Swedish progressive post-hardcore act Burst. The album was released through Relapse Records in October 2005. It´s the successor to "Prey on Life" from 2003 and features the exact same lineup who recorded the predecessor. "Prey on Life (2003)" saw Burst signing to Relapse Records, after releasing their first two albums on a smaller label, and they generally received a lot of posititive feedback from fans and critics alike.

Stylistically the music on "Prey on Life (2003)" was progressive post-hardcore, which is both aggressive and adventurous in nature, and the basis is the same on "Origo" although it´s overall a relatively different sounding album to it´s predecessor. Linus Jägerskog´s aggressive shouting hardcore vocals are still the main vocal style, but a few more clean vocal sections have been incorporated to the material on "Origo", and it´s overall a more melodic and varied release than "Prey on Life (2003)". Heavy progressive tracks like "Sever" and "Flight´s End" are complimented by faster and more aggressive tracks like "Slave Emotion" and "Stormwielder", and Burst even venture into instrumental post-rock territory on "It Comes Into View", which is a nicely atmospheric track.

In the case of "Origo" it´s not really fair to only mention specific tracks though, as the album is cleverly constructed to be a collective listening experience. Great care has been taken to place the songs on the tracklist to create the right atmosphere or emotion at the right time and it´s a praise worthy effort which pays off in the end, when the listener is left with a feeling of having listened to a journey of creative musical ideas, which comes together as a perfect whole (not completely unlike how "Prey on Life (2003)" is also constructed).

Although the basis of the band´s music is predominantly made up of two guitars, bass, drums, and vocals, Burst have opted to include atmospheric keyboards to the music. The keyboards are generally used tastefully and only for effect, so it´s not an omnipresent dominant feature. "Origo" features a powerful, clear, and detailed sound production, which suits the material perfectly, and we´re also treated to high class musicianship from all involved, so upon conclusion this is a high quality album release by Burst. There´s not a single negative thing I can say about "Origo" and a 5 star (100%) rating is fully deserved.

(Originally posted on Metal Music Archives)

 Hyaena by SADIST album cover Studio Album, 2015
3.32 | 12 ratings

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Hyaena
Sadist Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Hyaena" is the 7th full-length studio album by Italian progressive death metal act Sadist. The album was released through Scarlet Records in October 2015. It's the successor to "Season in Silence" from 2010. Sadist was one of the more prolific technical/progressive death metal acts out of Italy in the early- to mid 90s, but after releasing the NU- metal oriented "Lego (2000)" their star faded and they disbanded. The band reunited in 2005 and released an eponymously titled comeback album in 2007. "Hyaena" is the third album released after Sadist opted to reunite.

Stylistically the music on "Hyaena" is technical/progressive death metal with jazz/fusion influenced sections and a touch a of world music too. Artists like Cynic, Atheist, and Pestilence ("Spheres (1993)") are obvious influences but Sadist aren't clones by any means. The omnipresence of keyboards for example make them a bit different.

The vocals are snarling and aggressive, which suits the music well and the instrumental part of the music is very well performed too. Sadist are obviously very skilled musicians who know how to handle their instruments. Fusion influenced drumming and bass playing, death/thrashy guitar riffs and jazz/fusion influenced guitar solos, and atmosphere enhancing keyboards. It all works very well (and also better than on "Season in Silence (2010)"), but upon conclusion it's not many tracks which stand out (I'd mention "Gadawan Kura" as a standout track), but it's a highly enjoyable release while it plays. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives)

 The Machinations Of Dementia by BLOTTED SCIENCE album cover Studio Album, 2007
4.09 | 157 ratings

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The Machinations Of Dementia
Blotted Science Tech/Extreme Prog Metal

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

4 stars Technical metal jam sessions are a dime a dozen at this time in the 21st century with countless examples of instrumental wankery showcasing the virtuosic abilities of the musician's involved like an Olympic training session in the hope of winning a gold medal however without a lead vocalist to offer some kind of emotional connection to the extreme freneticism that can result, many of these bands tend to forget that someone else out there is supposed to be listening to what their crafting and much of it seems to exist in a self-made bubble. Luckily that isn't always the case.

Once in a while a team of seasoned masters congregate to create bona fide craftsmanship and artisan amperage which results in a ridiculous fun listen although the music churns out some of the most demanding technical passages allowed by law. BLOTTED SCIENCE was a short lived act but in its short existence cranked out one killer full length album followed by another shorter length EP. This trio was formed in San Antonio, TX by Watchtower and Spastic Ink shredder Ron Jarzombek, one of modern metal's most innovative guitar masters who helped push progressive metal into the limelight with Watchtower's 1989 extravaganza 'Control And Resistance' as well as going on to play with Gordian Knot and Spastic Ink amongst others.

In order to make this a band album and not just a guitar demo for the next tech death metal band, Jarzombek solicited the help of two other seasoned instrument abusers to bring BLOTTED SCIENCE into existence. Cannibal Corpse bassist Alex Webster fit in perfectly and after Hate Eternal's Derek Roddy and Lamb of God's Chris Adler opted out, the slot of drum skin abuser in chief was handed to Charlie Zeleny of Behold'. The Arctopus. With a trio of music mangling maniacs in tandem, it was guaranteed that this would be a wild ride and on the sole full-length album THE MACHINATIONS OF DEMENTIA, the listener is guaranteed to enter a frenetic time signature rich tech extreme metal with an incessant flow of angular rhythms, staccato stop / start outbursts whizzing by at faster than the speed of light tempos.

While many instrumental tech albums are steeped in neoclassical riff attacks, THE MACHINATIONS OF DEMENTIA succeeds in its varied structures that are based on the jittery complexities of jazz underpinnings while dressed up in ridiculously fast guitar rampage of thrash, death and progressive metal riff attacks while the bass and drumming antics exist in their own independent realities but are dialed into create a uniform symbiotic effect. While similar to bands like Animals As Leaders and Liquid Tension Experiment, BLOTTED SCIENCE mastered the art of keeping the tracks engaging with accessible hooks and unexpected twists and turns that manage to remain innovative throughout the album's run however at a near hour of playing time, it does become enervating to absorb such frenetic wankery.

A classic in the world of jazz-fusion meets tech metal, THE MACHINATIONS OF DEMENTIA remains a favorite for those who love prog induced high octane metal that doesn't wimp out for one moment despite incorporating softer passages that break the monotony of the one-dimensionality that instrumental tech metal can often offer. BLOTTED SCIENCE dished out an amazing delivery of tracks on this one. Jazz metal tracks laced with math rock, progressive rock and hints of death, thrash and even classical elements, MACHINATIONS is a stellar release worthy of the high praise it has received over the years and stands the test of time that it has so far been released and a much more engaging instrumental experience than many similar albums of its ilk. Perhaps not quite the masterpiece it's made out to be, it's nonetheless an excellent example of three top tier performers working in tandem to create a behemoth of bountiful bombast.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.21 | 258 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by uribreitman

4 stars Not really an Opeth album - more of a Mikael Akerfeldt solo project. The atmosphere is more relaxed, more retro and very 70's. Akerfeldt seems very comfortable leaving the extreme prog-metal behind, although he knows that his fans still want the heavy stuff. Three major tracks are "Dignity", "Heart In Hand" and the orchestral "Next Of Kin". The album never recovers from there, trying to be eclectic but gets a bit boring and mundane, in the process. By the time I reach the closer "All Things Will Pass", not much enthusiasm is left. So it sounds pretty good from a production perspective, and Akerfeldt surely knows how to arrange his songs - but this is clearly not the Opeth metal monster of the great years (1999-2005). All in all, this new product will enable Opeth to expand its stage repertoire, reach an older audience and perhaps to get closer to the world of Steven Wilson and the long-gone Porcupine Tree. It's not Opeth's best work to date (far from it), but it's good enough to be listened to.

 In Cauda Venenum by OPETH album cover Studio Album, 2019
4.21 | 258 ratings

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In Cauda Venenum
Opeth Tech/Extreme Prog Metal

Review by ProgShine
Collaborator Errors & Omissions Team

4 stars I respect Opeth very much! And I still believe they are one of the most important/innovative bands of the last 30 years. As the world sank with regrets over the group's changes since Heritage, I was curious to know where the band was going.

It turns out that the band... keeps going! After the great Pale Communion Opeth released a very weak album with Sorceress and I really didn't have much hope for the next album, but here they are with In Cauda Venenum!

First of all I need to get out of my head two little things that I noticed right away that are little easter eggs in the album (maybe there are more): The title of the album was obviouslyce mezzo-stolen from Italian Jacula's In Cauda Semper Stat Venenum. The album's opening track, Livets Tr'dg'rd, is a clear 'tribute' to the Swedish group 'lgarnas Tr'dg'rd. Being Mikael 'kerfeldt an avid 70s Prog collector this is no surprise. This makes me a little unquiet, I still don't know why.

In Cauda Venenum is a record that should please fans of the band's new phase. Despite the completely unnecessary introduction (an instrumental introduction only makes sense if it is linked to the concept of the album, it is not the case here, at all) the album brings variety, weight and also a little freshness to the band's sound. The fact that the album was composed in Swedish is extremely pleasant to my ears (yes, there is an English version, but Mikael himself in an interview said that for him the official album is in Swedish). There are several times when the weight takes over the songs, but there are parts with strings and many vintage keyboards.

The production of the record did not please me completely, the sound seems too compressed, there is the attempt, it seems, that everything has to sound vintage, but obviously recorded in digitail system. The drums suffer the most, a shame as Martin Axenrot did a fantastic job. But at the same time the insertion of voices and dialogues in Swedish throughout the album comes in quite well done.

Now, speaking about how long it is... 67 minutes! Needlessly long, at least 20 minutes longer than it should and this weighs on the end result: hearing fatigue.

Nevertheless, in the end, the Swedes delivered an exquisite work that requires some auditions to enjoy the album (I needed 4 and counting) and can easily reach the ears of the band's Prog period fans.

 Random's Manifest by ACID DEATH album cover Studio Album, 2000
2.74 | 3 ratings

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Random's Manifest
Acid Death Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Random's Manifest" is the 2nd full-length studio album by Greek technical/progressive death/thrash metal act Acid Death. The album was released through Black Lotus Records in the spring of 2000. Acid Death formed in 1989 and released a couple of demos, a single, and split with Avulsed, before releasing their debut full-length studio album "Pieces of Mankind" in 1998. They disbanded in 2001, but not before releasing "Random's Manifest" in 2000. Acid Death reunited in 2011 and have released new material since. There´s been one lineup change since the predecessor as guitarist Themis K. has been replaced by Nikos Andreadakis.

Stylistically the material on "Random's Manifest" pretty much continues the progressive/technical death/thrash metal which was initiated on "Pieces of Mankind (1998)". It´s music highly focused on technical playing. Time signature changes, challenging death/thrash riffs, the occasional jazz/fusion part, and adventurous song structures are some of the characteristics of the music. "Random's Manifest" is a relatively diverse release with both harder edged aggressive sections, atmospheric sections, and melodic sections. Artists like Coroner, Sadist, and Death are valid references, but Acid Death aren´t copycats, and don´t really sound like anyone else in particular.

"Random's Manifest" features a decent sound production, but it could have been more powerful. The musicianship is on a high level on all posts, but the raw/growling vocals are a bit powerless to my ears. They get the job done, but they aren´t exactly caustic in nature. There´s sparse use of clean vocals on the album too, but it´s not enough to make much impact.

Upon conclusion "Random's Manifest" leaves me with a similar impression to the impression I got after listening to "Pieces of Mankind (1998)". It´s a good quality technical/progressive death/thrash metal release, and especially fans who favor technical playing and adventurous song structures over catchiness and hooks should be able to find quite a lot of listening satisfaction here. To my ears more focus on the songwriting and memorability of the tracks and less on the technical playing and creative songwriting ideas would have made the album a little more interesting. There´s nothing wrong with highly technical music, and artists like for example Atheist, Cynic, and Watchtower pull off playing very technical music and still successfully write memorable material, but Acid Death just aren´t in that league of players. A 3.5 star (70%) rating is still deserved.

(Originally posted on Metal Music Archives)

 Pieces Of Mankind by ACID DEATH album cover Studio Album, 1997
3.13 | 4 ratings

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Pieces Of Mankind
Acid Death Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Pieces of Mankind" is the debut full-length studio album by Greek technical/progressive death/thrash metal act Acid Death. The album was released through Metal Mad Music in October 1998. Acid Death formed in 1989 and released a couple of demos, a single, and split with Avulsed, before releasing "Pieces of Mankind". They disbanded in 2001, but not before releasing their sophomore studio album "Random's Manifest" in 2000. Acid Death reunited in 2011 and have released new material since.

The 1990s were ripe with pioneering technical/progressive death and thrash metal acts like Atheist, Cynic, Death, Pestilence, and Gorguts (just to mention some of the best known acts on the scene, because there are a host of other lesser known contemporary acts out there too). Some successful and some who didn't make as great waves, and some who have only been recognized retrospectively. The fact is a sub genre was born in those years, which influenced several other artists to produce music in a similar vein. Most of the artists mentioned above are "first wave" technical/progressive death/thrash metal acts, but although Acid Death were formed in 1989, the fact that they didn't release an album until 1998 makes them more of a "second wave" technical/progressive death/thrash metal acts.

By the time they released "Pieces of Mankind", the interest in the genre had diminished greatly compared to the interest in the early 1990s, which is probably one of the reasons why Acid Death aren't one of the best known artists on the scene. Another is the quality of the music on the 10 track, 44:45 minutes long album, which is certainly high, but doesn't quite reach the heights of the top notch artists in the genre. I'd put Acid Death in the same second tier catagory as artists like Sadist and Alarum, who arguably released some great quality music, but who also didn't quite reach the heights of the artists mentioned in the above paragraph.

Stylistically the music on "Pieces of Mankind" is technical/progressive death/thrash metal. Lead vocalist/bassist Savvas Betinis has a raw voice and relatively powerful delivery, which sometimes fall under the growling vocal style catagory, but predominantly sounds more like raw thrash metal style vocals. The tracks are relatively complex featuring both multible tempo- and time signature changes and quite a few adventurous compositional details. Fusion influenced drumming, intriguing death/thrash riffs, skillfully played guitar solos, and some atmospheric parts to make it all a bit more varied. That's the basis of the music.

For all the good intentions, the high level musicianship, and the decent sounding production, the songwriting unfortunately ends up bringing the listening experience down a bit. It's not a major issue, but the material really aren't that memorable. The vocals are also a bit one-dimensional and emotionless, and while there are several great musical moments on the album, it's still like there are far too many of the riffs and the song sections which are unremarkable. The tracks simply lack hooks and killer riffs. It's still an entertaining release, and especially the high level musicianship (and in particular the fusion influenced drumming) is really impressive, so there are enough quality here to warrant a 3.5 star (70%) rating.

(Originally posted on Metal Music Archives)

 Core by PERSEFONE album cover Studio Album, 2006
4.06 | 40 ratings

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Core
Persefone Tech/Extreme Prog Metal

Review by sgtpepper

4 stars The album is stronger than their debut one and shows extreme versatility of the band, to be compared to Between the Buried and me. You will find quiet keyboard sections, death-metal growls, a lot of progressive metal moments and great melodies. The second track has even some female vocals. The fourth track has blistering keyboard solos, while the sixth track has nice acoustic guitars. Growling vocals are acquired taste and I don't like them much. Overall, this is not a highly compositional work but displays a lot of various styles and offers plenty of moments that need to be listened to multiple times to be digested.
 A Map Of All Our Failures by MY DYING BRIDE album cover Studio Album, 2012
3.24 | 36 ratings

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A Map Of All Our Failures
My Dying Bride Tech/Extreme Prog Metal

Review by sgtpepper

3 stars The strongest release since 2006's "A line of deathless kings" marking increased death/doom influences and hardening their sound. "Kneel till doomsday" has a pretty heavy black and death metal kick with not only standard growling but actually spitting. Other songs belong to the most miserable songs MDB ever created in terms of feeling. Bleak, desolation, lack of power and filled with sorrow, this music is best appreciated at dawn, in the dark and in the winter or autumn season.

The first two songs are very strong numbers, the first one showing increasing violin link, strong melody and new moments in MDB sound. "The poorest waltz" indeed is a mournful song but not sure about the 3/4 time signature, it's closer to regular 4/4. "A tapestry scorned" adds nice epic organ to the sound. "Like a perpetual funeral" is one of the most melodic and commercially viable songs on the album, while the title track has a memorable violin motive, but cellos and guitars also fit in nicely for more reflective moments.

"Abandoned as Christ" is one of the doomiest songs by MDB ever. So slow, gloomy with simple yet effective riffs.

Not an essential album but one of the better ones for doom lovers and an average one for proggers.

 The Barghest O' Whitby by MY DYING BRIDE album cover Singles/EPs/Fan Club/Promo, 2011
3.25 | 18 ratings

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The Barghest O' Whitby
My Dying Bride Tech/Extreme Prog Metal

Review by sgtpepper

3 stars I have a certain association between this EP and the EP "Faustian echoes" by Agalloch because of their similarities:

1. They both represent return to a great shape and more earthy, original sound with growling vocals. 2. The EPs were released almost in the same year 3. These are epic and high quality epic pieces that symbolize the longest track in band's history.

My dying bride may have felt the guilt of releasing a non-working experiment "Evinta" that featured symphonic re-covers of their famous melodies, which may have been well accepted by non-metal fans but divided the traditional fans. Maybe as an apology, the band pulled out this epic masterpiece.

Low-tuned guitars, dramatic drums and whimsical growling help imagine dark moor with evil monstre. However there are enough slow reflective and mournful parts, especially in the first half of the track. The last 5 minutes are pretty intense with black and death-metal echoes.

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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
ABNORMAL THOUGHT PATTERNS United States
ABORYM Italy
ABSORBED Spain
ACHOKARLOS Spain
ACID DEATH Greece
ACOLYTE United Kingdom
ACRIMÖNIA Poland
ACROSS THE SUN United States
ADEIA Netherlands
THE ADVENT EQUATION Mexico
AEOLIA United States
AEON OF HORUS Australia
AERODYNE FLEX United States
AFTER FOREST Finland
AGARTHA United States
AGE OF SILENCE Norway
AGHORA United States
AINMATTER United States
ALARUM Australia
ALCHEMIST Australia
ALGOPHOBIA Italy
ALKALOID Germany
ALL DREAMS DYING Finland
ALLEY Russia
ALTERA ENIGMA Australia
THE AMENTA Australia
AMOGH SYMPHONY India
AN ISLE ATE HER United States
ANATA Sweden
ANCIENT Norway
ANCIIENTS Canada
ANGEL OF DISEASE Georgia
ANGEL VIVALDI United States
ANGMAR France
ANIMALS AS LEADERS United States
ANOMALY United States
ANSUR Norway
THE ANTIKYTHERA MECHANISM United States
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
ARTIFICIAL BRAIN United States
AT WAR WITH SELF United States
ATEM Finland
ATHEIST United States
ATROPHIA RED SUN Poland
ATRORUM Germany
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
AZURE EMOTE United States
BABYLON SAD Switzerland
BARING TEETH United States
BARREN EARTH Finland
BECOMING THE ARCHETYPE United States
BEHEADED ZOMBIE Russia
BEHOLD...THE ARCTOPUS United States
BELIEVER United States
BELTANE Germany
BETWEEN THE BURIED AND ME United States
BEYOND CREATION Canada
THE BINARY CODE United States
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
CHAPEL OF DISEASE Germany
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
COMA CLUSTER VOID United States
CONTEMPLATOR Canada
CONTINUO RENACER Spain
THE CONTORTIONIST United States
CONTRARIAN United States
CONTROL DENIED United States
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