Header

TECH/EXTREME PROG METAL

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Tech/Extreme Prog Metal definition

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

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


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

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


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

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

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


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

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

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


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

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


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


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

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

Tech/Extreme Prog Metal Top Albums


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

4.33 | 1167 ratings
STILL LIFE
Opeth
4.25 | 1196 ratings
BLACKWATER PARK
Opeth
4.24 | 1112 ratings
GHOST REVERIES
Opeth
4.28 | 305 ratings
CRIMSON
Edge of Sanity
4.27 | 339 ratings
PALE COMMUNION
Opeth
4.25 | 370 ratings
SYMBOLIC
Death
4.39 | 101 ratings
OBSCURA
Gorguts
4.22 | 403 ratings
FOCUS
Cynic
4.24 | 201 ratings
ELEMENTS
Atheist
4.24 | 193 ratings
NOTHINGFACE
Voivod
4.28 | 135 ratings
OM
Negura Bunget
4.21 | 216 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.18 | 254 ratings
HUMAN
Death
4.14 | 407 ratings
TRACED IN AIR
Cynic
4.15 | 300 ratings
THE SOUND OF PERSEVERANCE
Death
4.15 | 227 ratings
TALL POPPY SYNDROME
Leprous
4.18 | 162 ratings
ISA
Enslaved
4.31 | 74 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.15 | 208 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.19 | 126 ratings
DIMENSION HATROSS
Voivod

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

MEASURING THE ABSTRACT
Terminal Function
SILHOUETTES
Textures
ANGL
Ihsahn
CORTICAL TECTONICS
Canvas Solaris

Download (Stream) Free Tech/Extreme Prog Metal MP3


Open player in a new window

Download (Stream) Free Tech/Extreme Prog Metal MP3

Latest Tech/Extreme Prog Metal Music Reviews


 Pale Communion by OPETH album cover Studio Album, 2014
4.27 | 339 ratings

BUY
Pale Communion
Opeth Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Pale Communion" is the 11th full-length studio album by Swedish progressive rock/metal act Opeth. The album was released through Roadrunner Records in August 2014. There´s been a lineup change since "Heritage (2011)" as keyboard player Per Wiberg has been replaced by Joakim Svalberg.

With "Heritage (2011)", Opeth more or less took a left turn fully embracing a 70s influenced progressive hard rock sound and leaving their death metal past behind. They did a similar thing on "Damnation (2003)" but returned to their trademark progressive death metal sound on the next couple of albums. This time around they seem to mean business though and as "Pale Communion" is now their second album in a row which features a 70s influenced progressive hard rock sound, we can probably safely assume that the band´s death metal days are now behind them and that a new chapter in the band´s history began with "Heritage (2011)".

So the music on "Pale Communion" is a continuation of the progressive hard rock sound on "Heritage (2011)" and as such has little to do with metal although there are some hard rocking riffing on the album and references to artists like Deep Purple, Uriah Heep, and Atomic Rooster are valid enough (also because of the dominant use of organ). But there are references to a lot of 70s artists and musical styles on the album. Vocalist/guitarist/main composer Mikael Åkerfeldt are known for his broad tastes in music and you´ll hear elements from both hard rock, symphonic progressive rock (the sections with mellotron and the sections with orchestration are beautiful), folk rock, and even a whiff of jazz rock on "Pale Communion", which is ultimately a pretty varied album.

The description above can more or less also be applied to "Heritage (2011)", but "Pale Communion" is not a sequal clone of that album, as the band have opted for a more structured and melodic sound on this album compared to the more messy sounding "Heritage (2011)". "Heritage (2011)" often sounded like Mikael Åkerfeldt had 10.000 ideas and was hellbent to cram them all on the album. That ultimately made that album quite an adventurous ride but at the same time not the most memorable or well composed one. With "Pale Communion" it seems that Åkerfeldt has cut a bit more to the bone and focused on the actual compositions and the longivity of the melody lines. As a result "Pale Communion" is instantly memorable and quite a bit more accessible compared to it´s predecessor.

"Pale Communion" is produced by Mikael Åkerfeldt and mixed by Steven Wilson (Porcupine Tree) and not surprisingly the album is graced with a warm, detailed, and organic sounding production, which suits the music perfectly. The musicianship are as always of high class. The instrumental performances are organic and tight and Mikael Åkerfeldt´s vocals are distinct sounding and delivered with conviction. The use of choirs and backing- and harmony vocals on many tracks are great assets to the music too.

The album features an overall great flow and all tracks are memorable after only a few listens although complex enough to ensure longivity. It´s not easy to pick standout tracks on an album where all tracks are equally great, but I´d like to mention the closing trio of tracks, "River", "Voice of Treason", and "Faith in Others", as some of the highlights. The former because of the surprising shift in atmosphere (here is a track where several different sounding compositional ideas work well together) and the two latter (which seque into each other to form a sort of mini suite) for their intriguing emotional impact and use of orchestration. But then again I could have mentioned any track off "Pale Communion" and call it a highlight.

While "Pale Communion" certainly digs deep into the 70s progressive rock and hard rock scene for inspiration and does feature a retro sound, it doesn´t feel as forced as it´s predecessor did. It´s more fresh sounding, more musical, and overall just a better and more memorable release. I was beginning to wonder where Opeth were heading with "Heritage (2011)", but with "Pale Communion" I think they are back on the right track. A track that brings promises of even greater future output in this style. A 4.5 star (90%) rating is deserved.

 Pale Communion by OPETH album cover Studio Album, 2014
4.27 | 339 ratings

BUY
Pale Communion
Opeth Tech/Extreme Prog Metal

Review by Lute

5 stars What an album! This is one I play constantly. Funny seeing the complaints from some who never want the growling back and the others who dismiss Opeth for not growling any more. Every album is what it is. Opeth have always set the bar very high. This album is right at the top of their own bar. This is very atmospheric, technically brilliant without getting silly. Is this a mix of the good old DT and Steven Wilson I hear? Some say this is 70s and I would agree. That means it is music to my ears. I don't have a favourite track. I tend to play it back to back, 2 or 3 times and still do! Album of the year? Quite possibly!
 I by XERATH album cover Studio Album, 2009
3.96 | 19 ratings

BUY
I
Xerath Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "I" is the debut full-length studio album by UK symphonic extreme metal act Xerath. The album was released through Candlelight Records in May 2009. The band was formed in 2007 and signed to the label in early 2009.

The band play a heavily orchestrated extreme metal style. The extreme metal part of their sound is influenced by the likes of Meshuggah and Strapping Young Lad. Especially chugging groove based angular riffing play a big part on the album. Xerath are no one-trick pony though and the music features influences from all sorts of other artists and musical styles too. Sometimes bordering progressive metal. The classically inspired synth/keyboards work is very impressive and are well integrated with the other parts of the music. Lead vocalist Richard Thomson is quite the asset to the band´s sound. He is a very skilled extreme metal vocalist able to sing in quite a few different styles. The rest of the band are very well playing too.

...the most important thing though is that the music is really powerful and punchy. The symphonic element doesn´t take away any heaviness and just gives the music a slight polished edge and not a power stealing one. The sound production definitely deserves a mention too for helping to achieve this.

Despite the obvious influences heard in the music I´d actually call the music on "I" pretty original or at least inventive and adventurous. It´s not easy to combine heavy riffing and symphonic synths/keyboards and come away successful, but Xerath manage to do just that on "I" and a 4 star (80%) rating is deserved.

 Crimson II by EDGE OF SANITY album cover Studio Album, 2003
3.64 | 78 ratings

BUY
Crimson II
Edge of Sanity Tech/Extreme Prog Metal

Review by Progrussia

4 stars I was greatly surprised to read that Clive Nolan of neo-prog band Arena (and other projects) wrote the lyrics. I have no independent confirmation of this, but the lyrics actually have rhythm and rhyme, in as far, of course, as a song about a demon queen from the future goes.

Anyway, the 40-minute single track Crimson II is a sequel to the first 40-minute Crimson single track, which was influential in metal circles by alternating death metal and variously styled clean breaks. Its good that Dan Swano didn't choose to simply repeat himself. The second Crimson is a richer composition, fully integrating sounds of synths. In fact it often sounds less like death metal and more bombastic power prog metal, only faster, more aggressive and sung in death growls. Because of that dichotomy I am not sure which demographic it aims for, since purists of both genres will likely scoff at this odd combination. I guess that's why Crimson 2 is less beloved by fans, although I think both records are of equal quality.

 Crimson by EDGE OF SANITY album cover Studio Album, 1996
4.28 | 305 ratings

BUY
Crimson
Edge of Sanity Tech/Extreme Prog Metal

Review by Progrussia

4 stars Crimson - a single 40-minute song - is acclaimed as the proggiest that death metal goes, certainly by the time it was released in 1996. It sounds surprisingly coherent, but I like to think of it not as a composition - there is little of advanced compositional technique to speak of - but rather as a story set to continuous stream of music. Opeth's Mikael Akerfeldt was involved, and it shows - it's the familiar for fans of Opeth's mid-period formula of death metal interspersed with calm breaks and more traditional thrash and power metal moments. It's actually fairly accessible and melodic by death metal standards. But I still think it's overrated. It's no Opeth. Calmer breaks are mostly just what they are - breaks, not countermelodies. Production and clean singing is weak - and I'm sick of the excuse that's its weak because it's supposed to convey a theme that is bleak. Opeth's Ghost Reveries production - now that kicks some serious behind.
 The Flesh Prevails by FALLUJAH album cover Studio Album, 2014
3.87 | 4 ratings

BUY
The Flesh Prevails
Fallujah Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "The Flesh Prevails" is the 2nd full-length studio album by US, San Francisco, California based technical/progressive death metal act Fallujah. The album was released through Unique Leader Records in July 2014. "The Harvest Wombs (2011)" debut album was a promising release which was followed up by the even more promising "Nomadic (2013)" EP, so it´s safe to say that Fallujah have started their career in a successful manner.

And that tendency continues on "The Flesh Prevails" which features high class technical/progressive death metal. Fallujah always had a deathcore edge to their music because of the shouting type growling vocals and the start/stop type heavy riffing, but they are predominantly a death metal act. The deathcore elements are also featured on "The Flesh Prevails" though. Other than those elements the music features technical precision drumming and ditto riffing, multible tempo changes, atmospheric sections with clean guitar textures, and semi-jazzy guitar solos, that remind me slighly of "Focus (1993)"-era Cynic.

The band are incredibly well playing and obviously very skilled, which is a great asset when playing this type of music, but on the other hand it´s not like technical playing alone is going to amaze that many listeners in this day and age. Thankfully Fallujah are also pretty skilled composers and the material on "The Flesh Prevails" are well written, brutal, intriguing, and relatively catchy. The whole thing is packed in a clear, detailed, and very powerful sound production, that should please fans of the genre. No old school aestethics here.

Fallujah have taken a step forward with "The Flesh Prevails" and it´s obvious they´ve given the direction of their music a lot of thought. The atmospheric part of their music which is one of the features that makes their music stand out among other artists playing this style of music, is still a major part of their sound, but they balance it off well with brutality and fast technical playing, and end up with a pretty intriguing style. If I have to mention a minor issue it would be that the vocals are pretty generic sounding. They get the job done, but there´s little here that distinguishes them from the growling vocals by other contemporary death metal acts. A more distint sounding and less monotone/one-dimensional vocal style would really have done the trick and lifted the quality of "The Flesh Prevails" to an even higher level, but as it is a 4 star (80%) rating is still deserved.

 The Cube by SUPURATION album cover Studio Album, 1993
4.00 | 1 ratings

BUY
The Cube
Supuration Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars "The Cube" is the debut full-length studio album by French death/doom metal act Supuration. The album was originally released in 1993 through Reincarnate/Danceteria. Holy Records re-released "The Cube" in 1998 with three bonus tracks. This time under the S.U.P. monicker (the band´s side-project). So it´s safe to say "The Cube" has quite the unusual release history.

The music on the album is very unconventional sounding progressive death/doom metal with a mystical sci-fi theme. I´m not sure I would call it avant garde, but it sure is different from most other death metal releases I´m familiar with. There are brutal growls alright and some heavy riffing too, but other than that you´re in for quite a ride with this one. Supuration generally focus on atmosphere over brutality and most guitar riffs on the album are not brutal, downtuned and raw. Instead I hear quite a few influences from psychadelic rock (early Pink Floyd) and progressive rock/metal in the way the guitars are played and also in the varied rhythm arrangements. The song structures are adventurous and provide the music with a surprise element. In addition to the growling vocals there are some futuristic sounding clean vocals on the album too. The clean vocals remind me slightly of early nineties Voivod. Actually quite a few elements on the album remind me of Voivod. It´s not completely wrong to say that "Nothingface (1989)"-era Voivod and "Gothic (1991)"-era Paradise Lost are valid references.

The sound production is delightfully raw but not in a lo-fi way, so you´re fully able to hear everything that is played, which is great because these guys are skilled musicians. It´s in the songwriting department that they really excel though. "The Cube" is a very original sounding album and Supuration combine all their influences seamlessly into a sound of their own. Things never sound forced or out of place and the band are just so full of adventurous ideas that this is an album that is entertaining and twists conventions throughout. A 4 star (80%) rating is deserved.

 First Call/Last Warning by OUTCAST album cover Studio Album, 2005
3.00 | 1 ratings

BUY
First Call/Last Warning
Outcast Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "First Call / Last Warning" is the debut full-length studio album by French thrash/death metal act Outcast. The album was released through Manitou/Thundering Records in March 2005. The band were formed in 1999 under the Overlander monicker but changed their name to Outcast in 2002.

The music on the album is an interesting mix of Slayer type thrash metal riffing and more contemporary progressive thrash/death elements in the vein of acts like Gojira and Hacride. The band are very well playing and the music is delivered with militant precision. The mix of more old school thrash metal riffing and the more groovy contemporary riffs work well for the band and while some tracks don´t stand out enough (especially some of those toward the end of the album), there are some really killer material on the album that overall makes it a very enjoyable listen.

"First Call / Last Warning" is well produced too. Especially the guitar sound is crushingly heavy and the sound production is really a great asset to the album. Even some of the less interesting tracks still sound pretty great because of how well produced they are. "First Call / Last Warning" might not be the most original sounding album out there but it´s a very promising debut album by Outcast and when it´s most catchy the album is really great. A 3.5 star (70%) rating is deserved.

 Vectorscan by AMOGH SYMPHONY album cover Studio Album, 2014
4.00 | 4 ratings

BUY
Vectorscan
Amogh Symphony Tech/Extreme Prog Metal

Review by Willie_The_Pimp

4 stars Extraordinary art of music by extraordinaire musicians with core members from India, United States and Russia. Vectorscan is a marvelous concept album with a Cinematic vision of Post Modernist meets Paranormal in Film Storyboard format. Beautiful combination of Classical music, prog/experimental jazz with Ethnic World spirituality and some very dark and sinister moments of electronics and sound designing uphold by strange experimental metallic layer . The whole album is like a 53 minutes long meditative journey of world and across the borders of a Nomad with ups, downs, shock, fear, anger, lust, happiness, depression, cry, laughter, damnation and salvation as elements. Genre argument is invalid. This album needs experienced and careful listeners who like to find new sounds of music with a unique outlook. Very good!!
 Ghost Reveries by OPETH album cover Studio Album, 2005
4.24 | 1112 ratings

BUY
Ghost Reveries
Opeth Tech/Extreme Prog Metal

Review by Obsidian Pigeon

3 stars I first encountered Opeth quite a few years ago, through their album Still Life. I was enthralled by the album cover, and decided that I wanted to hear the music that potentially warranted the artwork. I wasn't shocked by what I heard, since I had heard descriptions of what the music sounds like, but I did really enjoy it. However, Opeth is something that I simply can't listen to often. I do, though, acknowledge their abilities.

Ghost Reveries is an album that I checked shortly thereafter, and I found it to have some fairly nice songs. Yet like other Opeth albums, I grew fairly tired of it, and I cannot listen to it the whole way through. Many of the sections within the songs are very nice to listen to, and are fairly brilliantly written and arranged. However, Opeth's style is something that I cannot listen to much of at the same time.

I know that this album is well-written and is great for fans of the genre (which I'm not necessarily one of), and for those reasons I believe it merits a 3 out of 5 stars from me, because my personal tastes come in the way of my enjoyment of the album.

Data cached

Tech/Extreme Prog Metal bands/artists list

Bands/Artists Country
1980 France
7TH NEMESIS France
A.I.(D) France
ABIGOR Austria
ABORYM Italy
ABSORBED Spain
ACHOKARLOS Spain
ACID DEATH Greece
ACOLYTE United Kingdom
ACRIMÖNIA Poland
ACROSS THE SUN United States
ADEIA Netherlands
THE ADVENT EQUATION Mexico
AEOLIA United States
AEON OF HORUS Australia
AERODYNE FLEX United States
AGARTHA United States
AGE OF SILENCE Norway
AGHORA United States
AINMATTER United States
ALARUM Australia
ALCHEMIST Australia
ALGOPHOBIA Italy
ALL DREAMS DYING Finland
ALLEY Russia
ALTERA ENIGMA Australia
THE AMENTA Australia
AMOGH SYMPHONY India
AN ISLE ATE HER United States
ANATA Sweden
ANCIENT Norway
ANCIIENTS Canada
ANGEL OF DISEASE Georgia
ANGEL VIVALDI United States
ANGMAR France
ANIMALS AS LEADERS United States
ANOMALY United States
ANSUR Norway
THE ANTIKYTHERA MECHANISM United States
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
ARTIFICIAL BRAIN United States
AT WAR WITH SELF United States
ATHEIST United States
ATROPHIA RED SUN Poland
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
BARING TEETH United States
BARREN EARTH Finland
BECOMING THE ARCHETYPE United States
BEHEADED ZOMBIE Russia
BEHOLD...THE ARCTOPUS United States
BELIEVER United States
BELTANE Germany
BETWEEN THE BURIED AND ME United States
BEYOND CREATION Canada
THE BINARY CODE United States
BISBAYE Canada
BLACK SUN AEON Finland
BLOTTED SCIENCE United States
BLUTMOND Switzerland
BORGIA France
BORKNAGAR Norway
BORN OF OSIRIS United States
BOTCH United States
BURGUL TORKHAÏN France
BURST Sweden
CANVAS SOLARIS United States
CAPHARNAUM United States
CAR BOMB United States
CARBONIZED Sweden
CARCARIASS France
CASTEVET United States
CEPHALIC CARNAGE United States
CEREBRUM Greece
CHAOS DIVINE Australia
CHIMP SPANNER United Kingdom
CIRCLE OF CONTEMPT Finland
CIRCLE TAKES THE SQUARE United States
CIRCLES Australia
CITRINITI Italy
COBALT United States
CODE Multi-National
COLD NIGHT FOR ALLIGATORS Denmark
COLLAPSAR United States
CONTINUO RENACER Spain
CONTORTIONIST United States
CONTROL DENIED United States
CONTROL HUMAN DELETE Netherlands
COPROFAGO Chile
CORAM LETHE Italy
COUNTER-WORLD EXPERIENCE Germany
CRANIUM United States
CROWPATH Sweden
CRYPTODIRA United States
CUBICAL SPHERE Greece
CYCLAMEN United Kingdom
CYNIC United States
DAATH United States
DE PROFUNDIS United Kingdom
DEAD LETTER OPENER Australia
DEATH United States
DEATH MACHINE United States
DEATHROW Germany
DEATHSPELL OMEGA France
DELTA CEPHEID Germany
DEMILICH Finland
DEMONIC RESURRECTION India
DESCEND Sweden
DEVIUS Argentina
DIABOLICAL MASQUERADE Sweden
THE DILLINGER ESCAPE PLAN United States
DIONAEA United States
DIORAMIC Germany
DIREWOLF United States
DISEMBARKATION Canada
DISFIGURING REALITY Canada
DISHARMONIC ORCHESTRA Austria
DISILLUSION Germany
DISKORD Norway
DIVINITY Canada
DODECAHEDRON Netherlands
DODHEIMSGARD Norway
DORDEDUH Romania
DOWN I GO United Kingdom
DROTTNAR Norway
DRUDKH Ukraine
DRYAD'S TREE Germany
DUOBETIC HOMUNKULUS Czech Republic
DYSRHYTHMIA United States
EARTH SNAKE United States
ECCENTRIC PENDULUM India
ECHIDNA Greece
EDGE OF SANITY Sweden
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
GIGAN United States
GLADIATOR United States
GOJIRA France
GOLLUM / HADEA United States
GORGUTS Canada
GOROD France
LE GRAND GUIGNOL Luxembourg
GUILLOTINE India
GWYNBLEIDD United States
THE HAARP MACHINE United Kingdom
HACKSAW TO THE THROAT United States
HACRIDE France
HANGING GARDEN Finland
HAUNTED SHORES United States
HELHEIM Norway
A HERO A FAKE United States
HIDDEN United States
HOPE FOR THE DYING United States
THE HUMAN ABSTRACT United States
HUNG United States
HYBRID Spain
HYPNOTHETICALL Italy
IHSAHN Norway
IKUINEN KAAMOS Finland
ILLOGICIST Italy
IN GRIEF Norway
IN LINGUA MORTUA Norway
IN MOURNING Sweden
IN VAIN Norway
INDRICOTHERE United States
INGENIUM Poland
INITIAL POINT United States
INQUISITOR Lithuania
INTERVALS Canada
INTO ETERNITY Canada
INTO THE MOAT United States
ION DISSONANCE United States
IRON THRONES United States
ISLAND Germany
THE ISOSCELES PROJECT Canada
IWRESTLEDABEARONCE United States
RON JARZOMBEK United States
JESTER'S MARCH Germany
JOURNAL United States
KADENZZA Japan
KALISIA France
KÄLTER Canada
KATABASIS Australia
KATHAARSYS Spain
KETHA Poland
KNIFE THE GLITTER United States
KOBONG Poland
KRALLICE United States
LASCAILLE'S SHROUD United States
LAST CHANCE TO REASON United States
LAZER/WULF United States
LEPROUS Norway
LEVI / WERSTLER United States
THE LEVITATION HEX Australia
LIQUID GRAVEYARD Spain
THE LOCUST United States
LOINCLOTH United States
LOVE HISTORY Czech Republic
LUX OCCULTA Poland
LYKATHEA AFLAME Czech Republic
MADDER MORTEM Norway
MANTRIC Norway
MARTYR Canada
MASTER'S HAMMER Czech Republic
MASTODON United States
MEANS END Sweden
MECHANISM Canada
MEGACE Germany
MEKONG DELTA Germany
MELTINGAZE Germany
MEMFIS Sweden
MENCEA Greece
MESHUGGAH Sweden
METALMORPHOSIS Poland
MINDWORK Czech Republic
MONOGONO Portugal
MOON OF SOUL Hungary
MOONLOOP Spain
MOONSORROW Finland
MOONSPELL Portugal
MROCTOPUS Portugal
MY BITTER END United States
MY DYING BRIDE United Kingdom
N.A.M.E. United States
NAMI Andorra
NAUMACHIA Poland
NE OBLIVISCARIS Australia
NEATH Australia
NEGATIVA Canada
NEGLECTED FIELDS Latvia
NEGURA BUNGET Romania
NERVE END Finland
NEUROMIST Moldova
NEWBREED Poland
NEXT LIFE Norway
NEXUS Australia
NOCTURNUS United States
THE NUMBER TWELVE LOOKS LIKE YOU United States
NYIA Poland
OBLOMOV Czech Republic
OBSCURA Germany
OBSIDIAN Netherlands
OCEANS OF SADNESS Belgium
OCEANS OF SLUMBER United States
ONCE THEM EDENS Greece
OPETH Sweden
ORGONE United States
ORTHRELM United States
OSIRIS Netherlands
OUTCAST France
OWL Germany
PAINTED IN EXILE United States
PANDEMONIUM Sweden
PENSÉES NOCTURNES France
PERSEFONE Andorra
PESTILENCE Netherlands
PHLEBOTOMIZED Netherlands
PICA FIERCE Norway
PITBULLS IN THE NURSERY France
PORTAL Australia
PRIMO VESPERE Italy
PROJECT 13-5 Germany
PROTEST THE HERO Canada
PSYCROPTIC Australia
PSYOPUS United States
PYRRHON United States
QUO VADIS Canada
RAM-ZET Norway
RANDOM Argentina
RANDOM MULLET Finland
RAZOR WIRE SHRINE United States
THE RED CHORD United States
RED SEAS FIRE United Kingdom
RED TIDE United States
REFLUX United States
RENAISSANCE Belgium
REQUIEM AETERNAM Uruguay
RETARDED NOISE SQUAD Germany
REVERENCE France
REX MUNDI Greece
RIPPED United States
ROLO TOMASSI United Kingdom
LA RUMEUR DES CHAÎNES France
JORDAN K. RUSH United States
SADIST Italy
SAMMATH NAUR Poland
SCHOLOMANCE United States
SCLERA Australia
SCULPTOR Serbia
SCULPTURED United States
SERDCE Belarus
SERIOUS BEAK Australia
SHADOWS LAND Poland
SHINING Sweden
SICMONIC United States
SIKTH United Kingdom
SKALDIC CURSE United Kingdom
SLEEP TERROR United States
SOLEFALD Norway
SPASTIC INK United States
SPECTRAL INCURSION United States
SPIRAL ARCHITECT Norway
STARKWEATHER United States
STEALING AXION United States
STONE CIRCLE United Kingdom
STORK United States
SULPHUR Norway
SUPURATION France
DAN SWANÖ Sweden
SWIM IN STYX France
T.O.O.H.! Czech Republic
TAINE Romania
TALANAS United Kingdom
TARAMIS Australia
TARDIVE DYSKINESIA Greece
TENEBRIS Poland
TERMINAL FUNCTION Sweden
TEXTURES Netherlands
THANTIFAXATH Canada
THEORY IN PRACTICE Sweden
THOLUS United States
TORRENTIAL DOWNPOUR United States
TREEBURNING Canada
TRINACRIA Norway
TWISTED INTO FORM Norway
ULCERATE New Zealand
UNCROSSED Russia
UNDEFINED Spain
UNEVEN STRUCTURE France
THE UNIVERSE DIVIDE United States
UNMOORED Sweden
UNREAL OVERFLOWS Spain
VALBORG Germany
VAZIMBA Madagascar
VEHEMENTER NOS France
VEKTOR United States
VIATROPHY United Kingdom
VIELIKAN Tunisia
VILDHJARTA Sweden
VINTERSORG Sweden
VOIVOD Canada
VORTICE Spain
VUVR Czech Republic
WANZWA United States
WATCHTOWER United States
WETWORK Canada
WHAT'S HE BUILDING IN THERE? Canada
WILD HUNT United States
WINTERSUN Finland
WITHERSCAPE Sweden
WITHIN THE RUINS United States
WOLVES IN THE THRONE ROOM United States
WRATH AND RAPTURE United States
XANTHOCHROID United States
XERATH United Kingdom
YYRKOON France
THE ZYGOMA DISPOSAL Belgium

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

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


Server processing time: 0.20 seconds