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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)
Mike (TCat)

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

4.30 | 1683 ratings
STILL LIFE
Opeth
4.26 | 1756 ratings
BLACKWATER PARK
Opeth
4.25 | 1634 ratings
GHOST REVERIES
Opeth
4.24 | 475 ratings
CRIMSON
Edge Of Sanity
4.30 | 187 ratings
OBSCURA
Gorguts
4.21 | 572 ratings
SYMBOLIC
Death
4.24 | 310 ratings
NOTHINGFACE
Voivod
4.20 | 452 ratings
THE SOUND OF PERSEVERANCE
Death
4.26 | 211 ratings
DIMENSION HATROSS
Voivod
4.20 | 332 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.15 | 1150 ratings
PALE COMMUNION
Opeth
4.16 | 547 ratings
FOCUS
Cynic
4.19 | 281 ratings
ELEMENTS
Atheist
4.15 | 395 ratings
HUMAN
Death
4.14 | 524 ratings
TRACED IN AIR
Cynic
4.16 | 312 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.20 | 196 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.31 | 90 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.14 | 376 ratings
TALL POPPY SYNDROME
Leprous
4.11 | 636 ratings
CRACK THE SKYE
Mastodon

Tech/Extreme Prog Metal overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Tech/Extreme Prog Metal experts team

EXPRESSIONIST
Beltane
CHMURY NIE BYLO
Kobong
1980
1980
CITRINITI
Citriniti

Latest Tech/Extreme Prog Metal Music Reviews


 Powerclashing Maximalism by AUTOCATALYTICA album cover Studio Album, 2020
4.00 | 1 ratings

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Powerclashing Maximalism
Autocatalytica Tech/Extreme Prog Metal

Review by nick_h_nz

— First review of this album —
4 stars [Originally published at The Progressive Aspect]

I admit it. I was ready to be underwhelmed by Powerclashing Maximalism. It might be the third album from the band, but I'd never heard of Autocatalytica, so had no idea about the diversity of their sound, and though I had no problem with the heaviness of the music, when the vocals first came in after a minute of opening number Borndun, my heart fell. I've never been a fan of harsh vocals, and as the track carried on I feared that it might be a whole of album of this, which would be more than I could stomach. There was a brief reprieve, as clean vocals came in, but I could still hear this becoming tiresome'

And then, everything changed, and suddenly we are in territory closer to the prog-pop of bands like 22 and Maraton, closely followed by some jazzy notes, before heading back into heavier territory. What's more, every shift, despite how unexpected it might be, was fluid and natural. My interest was immediately piqued, and from this moment on, the harsh vocals were merely one more ingredient in an eccentric and eclectic mix. Autocatalytica are grindcoretechdeathartpopjazzfusionavantgardemathmetal. I have no idea what they are actually, but they're damn good at it!

Borndun is probably my least favourite track, too, so the album just gets better from there. Zippler adds a Mars Volta vibe to the already crowded mix of Enslaved, Meshuggah, Protest The Hero, and the aforementioned 22 and Maraton. And that's just a start. Parts are positively Beatle-esque or reminiscent of Queen. The mastermind behind the band, Eric Thorfinnson, has said that the album 'is an expression of the many different facets of progressive and heavy music I am engaging at this point in my life, with little to no regard for thematic consistency between tracks.' Those different facets can appear in just one song, so every movement reveals new reflections and refractions, and the whole is a flawless gem cut to perfection.

But if the first three tracks are all quite varied, yet all quite heavy, then Cheggo changes tack completely. While there is undoubtedly an undercurrent of jazz throughout the album, this track is the most overly jazz fusion based, and it's a bit of a banger! The final minute or so is sublime. It's at this point that I realise that the album has started with its most violent number, and has been dialling back the intensity ever since. It's an interesting choice to make, and definitely doesn't lull you gently into the action, so much as beat you over the head and kick you while you're down. But battered and bleeding on the ground is perhaps the perfect place to listen to the remainder of the album. Some of the quieter moments are quite uplifting, so in a way Thorfinnson helps us back to our feet, after flooring us.

So if we use the analogy of a bonfire, Powerclashing Maximalism burns brightly, and slowly dulls to glowing embers. But the heat remains, and there are still intense and incendiary moments. At the beginning of the album, if there are moments that are not bursting with brutality, you know that it's merely a lull within the storm, and a battery of pain will be coming back very soon. As the album progresses, the storm has largely passed, so the expectation of sheer heaviness is no longer there. The first real respite from the sturm und drang comes with the gloriously named Bananas Have Potassium. The vocals of Amy Beth Anders on penultimate track Crawboi provide the most beautiful moment of the album. It's incredible to think this song exists on the same album as Borndun. Beauty and the beast, indeed. This is probably my favourite song on the album, and there's still an awful lot going on in it.

The revolving list of collaborators no doubt helps add to the variety, but it also shows once more how Thorfinnson manages to keep to his vision. I've heard too many albums with multiple collaborators that just sound a mess. If Autocatalytica is the 'bubbling cauldron of scatter-brained prog-metal insanity' Thorfinnson describes it as, then the contributions of his collaborators are added to the cauldron in perfectly measured quantities. The cross-pollination of various sounds pushes boundaries, bewilders, and enchants in equal measures. But by Crawboi, I'm almost beginning to forget that this is a prog metal album. Oh, there we go, my reminder has just arrived! It's another quite unexpected treat, and my favourite use of harsh vocals on the album. Wow!

Just as the album began with ferocity and noise, it bows out in tranquillity and quiet. Graveo is a beautiful acoustic instrumental, and a lot of its beauty comes in its simplicity. After all the technical intensity and wizardry, and all the constant changes of previous tracks, Autocatalytica plays it straight, it's a wonderful end to a wonderful album. I could never have guessed at the start how much I would love it by the end. Every song is a rollercoaster of unexpected delights, none of which sound out of place, no matter how disparate. It's crazy how well this works, and how well it flows. Actually, it's just crazy. But I like crazy, so I like this. This album isn't for the faint of heart, but will definitely reward intrepid explorers.

 Orchid by OPETH album cover Studio Album, 1995
3.27 | 675 ratings

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Orchid
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

2 stars Opeth first album was already a one of a kind in the metal genre yet not showing band's potential. All band members were in their formative years and the drummer and bass player to be replaced be the trademark alternatives. Singing both clean and growling are average and on the top of the game as we know Åkerfeldt from the turn of millenium.

While you can hear diversity in the sound ranging from brutal death metal, decent heavy metal and acoustic mellow guitars, even a great short piano piece, the compositions are not astonishing. The mood is dark but not nihilistic or anti-Christian. It is surprising that the short acoustic track is not guitar-driven like in almost all cases in the future, it is pure piano beauty. Riffs are usually memorable even though not yet in the typical evil Opeth spirit.

To a progressive rock and even metal fan, this album won't be so pleasing so I will give it 2.5 stars but personally I like it more.

 Stare into Death and Be Still by ULCERATE album cover Studio Album, 2020
4.05 | 5 ratings

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Stare into Death and Be Still
Ulcerate Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Stare into Death and Be Still" is the 6th full-length studio album by New Zealand death metal act Ulcerate. The album was released through Debemur Morti Productions in April 2020. It´s the successor to "Shrines of Paralysis" from 2016 and features the exact same trio lineup who recorded the predecessor.

Two words and one influence have always been among the descriptors of Ulcerate and that´s inaccessible, dissonant, and Gorguts. While Ulcerate have managed to stay relevant and continue to release albums in the years since their inception in 2002, they haven´t strayed too far from their original formula or from their obvious Gorguts influence on any of their previous releases. What they have done though is develop their sound slowly but steadily from album to album, and adding more and more of a unique touch to their bleak and dissonant technical death metal style and that´s what has happened again on "Stare into Death and Be Still". One more step out of the shadow of Gorguts.

When that is said this is still strongly Gorguts influenced technical death metal, featuring dissonant twisted riffs and open chords, complex and challenging technical rhythm work, and some deep growling vocals, which this time around has become slightly more intelligible. I won´t remove the inaccessible label from my description of the music, but "Stare into Death and Be Still" is to date the most accessible release from Ulcerate and I hear more memorable and catchy moments here than before. The songwriting is more focused on those qualities and while this is still bleak and brutal music, it features a little less of the impenetrable darkness of some of the predecessors. It´s actually quite atmospheric at times and occasionally leans towards post-metal territory.

Ulcerate generally seem a little more interested in opening up their intriguing take on technical death metal to the listener, and it´s not done by compromising their integrity or the brutality of their music. It´s small details like a semi-melodic hook, an intelligible vocal phrase, or maybe a heavy groove, which is a bit more catchy and simple than usual. A good example is the title track, which is an incredibly creative composition, featuring many intriguing riffs and rhythms and an atmospheric middle section. But while it´s certainly a complex and challenging song, there are also some more simple features, which makes it at least occasionally accessible.

"Stare into Death and Be Still" features a crushingly brutal and heavy sound production, which is perfect for the material and helps the tracks to shine. This is an album for those who are interested in a different take on technical death metal. Forget about conventional power chord riffs, guitar solos, or regular drum patterns. When you cross the threshold and enter "Stare into Death and Be Still" you are in for an adventurous ride that´s sure to challenge the conventional ideas of what death metal should sound like. A 4 star (80%) rating is fully deserved.

(Originally posted on Metal Music Archives)

 Circadian by INTERVALS album cover Studio Album, 2020
4.73 | 2 ratings

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Circadian
Intervals Tech/Extreme Prog Metal

Review by ssmarcus

5 stars How can music be this technically sophisticated yet so melodic, colorful, and imaginative at the same time? This is the question Aaron Marshall, the virtuoso guitar mastermind behind Intervals, has been moving listeners to ask themselves since exploding onto the instrumental modern progressive metal scene in the early 2010's. On Interval's latest record, Circadian, Aaron takes his signature blend of Steve Vai-inspired lead guitar, djenty rhythm sections, and pop-punk-inspired melodies to their greatest heights, rivaling and, in many respects, even surpassing the greatest output of his peers in the instrumental modern progressive metal scene including Plini, early Polyphia, Chimp Spanner, and David Maxim Micic.

While every single track on this record showcases brilliant skill and songwriting, three songs deserve special mention: 5-HTP, Lock & Key, and Earthing. 5-HTP kicks off the record in the same fun and explosive way we've been accustomed to on previous Intervals records. Lock & Key showcases arguably one of the best riffs ever written by Aaron. And Earthing, the record's closer, showcases an emphatically out-of-this-Earth chorus that, despite leaving you breathless, will have you begging to start the record all over again. I am simply overjoyed to make Circadian my first 5-star review of 2020.

 American Nervoso by BOTCH album cover Studio Album, 1998
3.69 | 7 ratings

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American Nervoso
Botch Tech/Extreme Prog Metal

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

4 stars Progressive metalcore is one of those splinter genres that is too wildly abrasive for prog lovers and too artsy fartsy for many who indulge in the core section at the metal supermarket but has been somewhat popular in crafting a unique hybridization of the two styles for those into both sides of the fence. The term mathcore covers a lot of these bands in a generic sense but just like technical death metal and progressive death metal, has slightly different dynamics which take place. The Tacoma, WA based BOTCH straddled the lines between straight out metalcore and mathcore and thus found a few fans from both sides of the fence including Aaron Turner who was the vocalist for the post-metal band Isis and founder of the Hydra Head Records label.

BOTCH formed all the way back in 1993 and released a series of EPs of loud and abrasive metal / mathcore but also was more adventurous than the usual band of noisemakers by covering unexpected pieces such as Carl Orff's "O Fortuna" on "The John Birch Conspiracy Theory" EP. After several years of taking the mathcore realm to more fertile grounds and incessantly touring which gained the band a larger following, BOTCH finally released its debut album AMERICAN NERVOSO in 1998 which featured a stealthy mix of mathcore laced post-hardcore with occasional drifts into piano based progressive rock. The album sort of went over the heads of many as whole progressive metalcore thing hadn't really caught on yet but nevertheless the band toured with The Dillinger Escape Plan and Jesuit. The album as you may have guess debuted on Hydra Head Records!

AMERICAN NERVOSO originally only had nine tracks on the first pressing but subsequent releases have added five bonus tracks which are all worthy editions albeit clearly in the bonus track realms. The album starts off in full metalcore mode with "Hutton's Great Heat Engine" and is a little misleading as the album doesn't start crafting a more intricate deliveries with more frequent time signature changes until the track takes off. Late on it hots softer passages that escape the incessant bombast of the frenetic bass, drum and guitar assaults linked with Dave Vereillen's frantic screaming, however even on the opening number, BOTCH are clearly not your run of the mill metalcore group as there are moments of more atmospheric contemplation with subdued clean vocals and more guitar sustain than rampaging chords.

Perhaps what is most effective in this kind of extreme metal is the diversity of the guitar riffs and styles of playing throughout the album. One trick pony extremism can become quite tiring for an album's run yet BOTCH excel at keeping the raw core bombast as the album's emphasis while pulling enough tricks out of their sleeves to leave an extremist metal lover's attention fully in tact. In addition to rhythmic variations and tempo changes, the band delivers some progressive deviations as well as a few moments of respite to allow the contrast to sink in such as the space rock beginning of "Dead For A Minute." While labeled as mathcore on many databases, AMERICAN NERVOSO is much more of a progressive metalcore album with some mathcore seeping in once and a while. Regardless of how you classify BOTCH's debut full-length, it's certainly a compelling listening experience if you can handle the incessant screamed vocals. BOTCH would release one more album before breaking up but they certainly made their short run count.

 Damnation by OPETH album cover Studio Album, 2003
3.98 | 1330 ratings

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Damnation
Opeth Tech/Extreme Prog Metal

Review by sgtpepper

4 stars Wanna her progressive rock with feelings?

This release catapulted Opeth to the rest of progressive rock fans who were looking down on them because of growling vocals and death-metal drumming. At the time of the release, I belonged to the second group of listeners and despised other Opeth records but acoustic numbers. With the help of Steven Wilson, the Opeth singer (who was born on the same day in the year as me) shows his sensitive colourful voice and the band confirm that they have outgrown metal sphere since a long time. Tasty acoustic or mellow electric guitar playing is greatly complemented by retro mellotron or contemporary piano as on the masterfully bleak "To rid the disease". And yet vocals are used sparingly to give way to reflective instruments and a couple of nice guitar solos. Playing tasty solos may not be easier than metal riffing and fast soloing. Most of the numbers have some level of melancholy or even depression.

What is missed by lack of flamboyant instrumentaton and complex composition is compensated by rich feelings of introspectiveness. Even though the music is mellow, the chord structure, lyrics and motives remain mostly dark, so typical Opeth. The section after 4:40 in "To rid the disease" is one of the most depressing moments in Opeth discography without being heavy. Something similar will come 9 hours later on "Pale Communion".

Excellent companion to moments which you spent with people that don't want to listen to your complex 12- minute long epics!

 Legacies by CHAOS DIVINE album cover Studio Album, 2020
4.13 | 7 ratings

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Legacies
Chaos Divine Tech/Extreme Prog Metal

Review by ssmarcus

4 stars Chaos Divine are one of the most lovable metal bands to emerge from Australia's metal boom of the last decade. While generally described as a progressive metal act, on the band's latest release Legacies, the group seems to pivot further away from prog proper and embrace a more straightforward melodic metal sound to spectacular effect. Songs are characterized by meaty guitar riffs and choruses with the big open sounding chords accompanied by vocalist David Anderton's arena rock wailing. The arrangements strike an ideal balance between heaviness and beauty. I find myself resisting the urge to simply play outro of "Beacon" on repeat for hours on end.

Unfortunately, this album does suffer from a mild case of run-time-over-one-hour-itis. If given the choice between leaving your audience exhausted or hungry for more, the latter seems like the better of the two options.

 Palimpsest by PROTEST THE HERO album cover Studio Album, 2020
4.38 | 15 ratings

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Palimpsest
Protest the Hero Tech/Extreme Prog Metal

Review by oliasunhillow

5 stars Masterpiece.

After months wandering through some nice, but quickly forgottent tunes, I discovered PTH for 1 months, thanks to a review of Palimpsest on SputnikMusic. Since then, I just listen to this album on a daily basis. I listened to other PTH albums, but they sound like rehearsals for this one, which seems to embody all what PTH has been aiming to, during its now 13 years career.

I has all what a prog fan would dream of : themes carefully chosen (catastrophies in the 20-30's USA), epic drive, poetic and yet down to earth lyrics, complex time signatures, impossible guitar riffs, strong and full soundscape... Rody Walker really shines on this one with his operatic, catarthic singing style.

I signed in just to write this short review because I really wondered why there was not even one. I hope it will encourage others to review this album more in detail.

My advice is to listen to it from the beginning to the end, and then to start again. At first, songs sound a bit the same, but soon, you will be amazed by their individual beauty.

 Morningrise by OPETH album cover Studio Album, 1996
3.72 | 768 ratings

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Morningrise
Opeth Tech/Extreme Prog Metal

Review by progtime1234567

4 stars Morningrise by Opeth was the second album released by the band. Opeth was still playing a very heavy black metal and melodic death metal sound back then, and mixed in with the progressive rock influence, it turns out pretty good. The album is very long, with the album including one of the longest songs ever recorded by the band, the epic Black Rose Immortal. The song shows everything the band is about, the death growls, the heavy guitar, the acoustic parts, and the clean singing as well as very melodic parts. Songs like the mentioned Black Rose Immortal and the opening song, Advent, are very good and I thought they were the best songs on the album.

I wouldn't start with this album if you were getting into Opeth, but it is a good album and it's one of my favorite albums that the band has to offer.

 Remission by MASTODON album cover Studio Album, 2002
3.48 | 190 ratings

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Remission
Mastodon Tech/Extreme Prog Metal

Review by progtime1234567

3 stars Mastodon's first album is in my opinion their heaviest and it got them off on the right foot. Remission is very heavy, with there being no clean vocals and there being lots of very heavy drop A riffs. Fire is a concept on the album, as Mastodon's first four albums have an elemental them going on with them, with this on being fire. It is also about drummer Brann Dailor's sister, who committed suicide, which is where the album title comes from as the album helped the drummer cope with her death. Sad stories aside, the album is very sludge metal like, and it even has some thrash metal like moments going on too. The progressive rock influence also exists, with songs like Trainwreck and Ole' Nessie slowing down and showing the other side to the band.

With very heavy riffs, distorted bass, jazz-like crazy drumming, and non-stop screaming, Remission should appeal to any fan. I wouldn't start with this album as an introduction to Mastodon, but nevertheless, it is a pretty good album.

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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
ASHENSPIRE United Kingdom
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
BACK TO R'YLEH Spain
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
BLOOD INCANTATION United States
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
CHAOS OVER COSMOS United States
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
CONTROL HUMAN DELETE Netherlands
CONVULSING Australia
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
DARK HERESEY United Kingdom
DARK MILLENNIUM Germany
DE PROFUNDIS United Kingdom
DEAD EMPIRES United States
DEAD LETTER OPENER Australia
DEATH United States
DEATH MACHINE United States
DEATHROW Germany
DEATHSPELL OMEGA France
DELTA CEPHEID Germany
DEMILICH Finland
DEMIMONDE Czech Republic
DEMONIC RESURRECTION India
DESCEND Sweden
DESTRAGE Italy
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
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ONE STEP FROM THE EDGE Greece
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OTHERS BY NO ONE United States
OUTCAST France
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PORTAL Australia
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RINGS OF SATURN United States
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ROLO TOMASSI United Kingdom
LA RUMEUR DES CHAÎNES France
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RXYZYXR Russia
SADIST Italy
SAMMATH NAUR Poland
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SCULPTOR Serbia
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SHINING Sweden
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SKIZMA Finland
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STONE CIRCLE United Kingdom
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SUNSET IN THE 12TH HOUSE Romania
SUPER MASSIVE BLACK HOLES Canada
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DAN SWANÖ Sweden
SWIM IN STYX France
SYK Italy
T.O.O.H.! Czech Republic
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TERMINAL FUNCTION Sweden
TEXTURES Netherlands
THANTIFAXATH Canada
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TRINACRIA Norway
TWISTED INTO FORM Norway
ULCERATE New Zealand
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UNDEFINED Spain
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WHAT'S HE BUILDING IN THERE? Canada
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WITHIN THE RUINS United States
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