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TECH/EXTREME PROG METAL

A Progressive Rock Sub-genre


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Tech/Extreme Prog Metal definition

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

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


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

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


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

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

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


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

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

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


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

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


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


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

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

Tech/Extreme Prog Metal Top Albums


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

4.32 | 1325 ratings
STILL LIFE
Opeth
4.26 | 1361 ratings
BLACKWATER PARK
Opeth
4.25 | 1262 ratings
GHOST REVERIES
Opeth
4.25 | 734 ratings
PALE COMMUNION
Opeth
4.25 | 435 ratings
SYMBOLIC
Death
4.37 | 129 ratings
OBSCURA
Gorguts
4.24 | 370 ratings
CRIMSON
Edge of Sanity
4.26 | 262 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.20 | 455 ratings
FOCUS
Cynic
4.24 | 232 ratings
NOTHINGFACE
Voivod
4.24 | 235 ratings
ELEMENTS
Atheist
4.25 | 156 ratings
OM
Negura Bunget
4.17 | 297 ratings
HUMAN
Death
4.16 | 346 ratings
THE SOUND OF PERSEVERANCE
Death
4.23 | 149 ratings
DIMENSION HATROSS
Voivod
4.13 | 445 ratings
TRACED IN AIR
Cynic
4.18 | 188 ratings
ISA
Enslaved
4.19 | 160 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.15 | 240 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.16 | 207 ratings
THE PARALLAX II: FUTURE SEQUENCE
Between The Buried And Me
4.29 | 80 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.46 | 45 ratings
ELVENEFRIS
Lykathea Aflame
4.12 | 272 ratings
TALL POPPY SYNDROME
Leprous
4.21 | 116 ratings
THE OUTER LIMITS
Voivod
4.15 | 192 ratings
THE SHAM MIRRORS
Arcturus
4.08 | 523 ratings
CRACK THE SKYE
Mastodon
4.10 | 295 ratings
THE CONGREGATION
Leprous
4.15 | 159 ratings
THE WAY OF ALL FLESH
Gojira
4.33 | 57 ratings
KIVENKANTAJA
Moonsorrow
4.26 | 61 ratings
VISIONS FUGITIVES
Mekong Delta
4.09 | 176 ratings
COMA ECLIPTIC
Between The Buried And Me
4.17 | 90 ratings
COLORED SANDS
Gorguts
4.10 | 145 ratings
THE MACHINATIONS OF DEMENTIA
Blotted Science
4.06 | 177 ratings
AXIOMA ETHICA ODINI
Enslaved
4.20 | 66 ratings
VIIDES LUKU - HÄVITETTY
Moonsorrow
4.02 | 314 ratings
COLORS
Between The Buried And Me
4.02 | 294 ratings
COAL
Leprous
4.05 | 161 ratings
WEIGHTLESS
Animals As Leaders
4.10 | 104 ratings
THE FRAGILE ART OF EXISTENCE
Control Denied
4.02 | 235 ratings
THE GREAT MISDIRECT
Between The Buried And Me
4.03 | 222 ratings
ANIMALS AS LEADERS
Animals As Leaders
4.07 | 117 ratings
EXIVIOUS
Exivious
4.06 | 113 ratings
VERTEBRAE
Enslaved
4.18 | 56 ratings
LAZARUS BIRD
Burst
4.05 | 125 ratings
PORTAL OF I
Ne Obliviscaris
4.05 | 121 ratings
CONTROL AND RESISTANCE
Watchtower
4.18 | 54 ratings
AT THE DREAM´S EDGE
Chimp Spanner
4.10 | 79 ratings
THE ADVERSARY
Ihsahn
4.18 | 54 ratings
SONGS OF DARKNESS, WORDS OF LIGHT
My Dying Bride
4.08 | 90 ratings
BELOW THE LIGHTS
Enslaved
3.95 | 1071 ratings
DAMNATION
Opeth
4.04 | 121 ratings
KILLING TECHNOLOGY
Voivod
4.65 | 18 ratings
EMBODIMENT
Sculptured
3.94 | 987 ratings
WATERSHED
Opeth
3.96 | 371 ratings
BILATERAL
Leprous
4.39 | 27 ratings
NESPITHE
Demilich
3.97 | 179 ratings
AFTER
Ihsahn
4.10 | 61 ratings
CYBION
Kalisia
3.93 | 620 ratings
MY ARMS, YOUR HEARSE
Opeth
4.06 | 80 ratings
SPHERES
Pestilence
4.08 | 65 ratings
CORTICAL TECTONICS
Canvas Solaris
4.10 | 61 ratings
MONUMENSION
Enslaved
4.01 | 105 ratings
RUUN
Enslaved
4.15 | 47 ratings
THE TREES ARE DEAD & DRIED OUT WAIT FOR SOMETHING WILD
Sikth
4.17 | 42 ratings
THEN COMES AFFLICTION TO AWAKEN THE DREAMER
Twisted Into Form
3.97 | 155 ratings
CHAOSPHERE
Meshuggah
4.04 | 79 ratings
FAS - ITE, MALEDICTI, IN IGNEM AETERNUM
Deathspell Omega
3.99 | 114 ratings
ANGEL RAT
Voivod
4.12 | 49 ratings
BURIED IN OBLIVION
Into Eternity
3.94 | 183 ratings
RIITIIR
Enslaved
4.07 | 59 ratings
PENUMBRA DIFFUSE
Canvas Solaris
4.03 | 74 ratings
ENERGETIC DISASSEMBLY
Watchtower
4.20 | 34 ratings
SHIN-KEN
Persefone
4.23 | 30 ratings
SUPERVILLAIN OUTCAST
Dødheimsgard
3.94 | 147 ratings
FROM MARS TO SIRIUS
Gojira
4.11 | 43 ratings
TWO HUNTERS
Wolves in the Throne Room
4.21 | 30 ratings
666 INTERNATIONAL
Dødheimsgard
4.23 | 28 ratings
THE AURA
Beyond Creation
4.01 | 70 ratings
INK COMPLETE
Spastic Ink
4.21 | 28 ratings
FEEDING THE ABSCESS
Martyr
4.05 | 51 ratings
CITADEL
Ne Obliviscaris
4.67 | 12 ratings
MEPHISTO LETTONICA
Neglected Fields
4.03 | 53 ratings
DEATH OF A DEAD DAY
Sikth
4.25 | 24 ratings
SPIRITECH
Alchemist
4.53 | 14 ratings
CITRINITI
Citriniti
4.26 | 23 ratings
IN HARMONIA UNIVERSALI
Solefald
3.85 | 1037 ratings
HERITAGE
Opeth
4.56 | 13 ratings
PREY ON LIFE
Burst
4.29 | 21 ratings
WARP ZONE
Martyr
4.67 | 11 ratings
AS THE ROOTS UNDO
Circle Takes The Square
3.86 | 280 ratings
LEVIATHAN
Mastodon
4.24 | 22 ratings
AGONY
Fleshgod Apocalypse
3.98 | 57 ratings
OUTER ISOLATION
Vektor
4.22 | 22 ratings
TORN BETWEEN DIMENSIONS
At War With Self
3.88 | 145 ratings
LA MASQUERADE INFERNALE
Arcturus
3.98 | 55 ratings
BLACK FUTURE
Vektor
3.99 | 50 ratings
LIMINAL
Exivious
3.94 | 63 ratings
TURN LOOSE THE SWANS
My Dying Bride
4.00 | 43 ratings
CELESTIAL LINEAGE
Wolves in the Throne Room
3.93 | 67 ratings
INK COMPATIBLE
Spastic Ink

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

LAZARUS BIRD
Burst
CITRINITI
Citriniti
ANGL
Ihsahn
CORTICAL TECTONICS
Canvas Solaris

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Latest Tech/Extreme Prog Metal Music Reviews


 Akróasis by OBSCURA album cover Studio Album, 2016
3.94 | 7 ratings

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Akróasis
Obscura Tech/Extreme Prog Metal

Review by arschiparschi

4 stars Obscura went through a considerable line-up change in 2015 when both drummer Hannes Grossmann and guitarist Christian Muenzner left the band to pursue other projects. Since they were also composers for Obscura's material, it was unclear in which direction exactly they would head - the only indication was Grossmann's comment, saying that Kummerer wanted to go back into the musical direction of 'Cosmogenesis' rather than follow on in that of 'Omnivium'. Now that the new album has arrived I must say that I am really delighted with it. Sebastian Lanser (Panzerballett) surely is a force to be reckoned with on the drums and new guitarist Tom Geldschläger seems a worthy replacement of Muenzner. The album starts off with "Sermon of the Seven Suns" in the classic sound, quite similar to their well-known "Anticosmis Overload". With a nice balance between more quiet parts, impressive solos and stomping blast beats, all layered with the bright sound of Klausenitzer's bass, it is a nice start to the album sure to please fans of the Obsura sound. "The Monist" is a slower and more heavy-sounding song. It fits nicely between the very melodic "Akroasis" and mixed "Sermon of the Seven Suns". "Akroasis", which was released as a music video before the album's release date, perfectly blends melodic blast beats and excellent guitar playing by Tom Geldschläger. A true highlight for fans of melodic, yet technical death metal. "Ten Sepiroth" starts off with a quiet guitar intro, which soon turns into a fast death metal sound. Intense drumming by Lanser and well crafted transition between the parts make it a song that keeps the listener interested until the end. In the second half, the bass comes to the fore once more and creates a balance between a fast guitar solo and pounding drums. "Ode to the Sun" has a more heavy death metal sound to it with less melodic and lower guitar riffs. Its mostly kept at low speed, which gives it a very heavy sound, layered with robotic, almost ethereal sounding vocals in the middle. "Fractal Dimension" resumes the fast blastbeat sound, though not for long. Intersparsed with multiple guitar solos and a quiet guitar part in the second half, makes it a well-crafted technical death metal song, which does not become boring despite its length. "Perpetual Infinity" starts off quietly and incorporates the auto-tuned vocals already used in "Ode to the Sun". Then, through various shifts in its speed, it returns to a fast-paced death metal sound. "Weltseele" (anima mundi) is an ususually long song but a nice surprise, I think. It develops from a quiet guitar part to a slightly slower death metal blast, marked by multiple time shifts, but then returns to a quiet interlude, which even incorporates strings. From there it slowly returns to a heavier, more speedy sound only to finish on a quiet note.

Overall, I'm very pleased with this new effort by the band. It surely lives up to the standard set by the first records, though at times it could use some more variation with regards to the guitar riffs. The musicianship is flawless, as is the sound. Lyricwise it still revolves around the same cosmic themes, already present in the previous albums. Surely an album that should please fans of the Obscura sound.

 Labyrinth by FLESHGOD APOCALYPSE album cover Studio Album, 2013
4.02 | 13 ratings

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Labyrinth
Fleshgod Apocalypse Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Let the demons and divas play! FLESHGOD APOCALYPSE have become the masters of mixing lush symphonic orchestral arrangements with their trademark brutal death metal that somehow infuses them with touches of power metal including the melodic and often sweeping guitar solos. LABYRINTH is their fourth overall release (3rd full) and continues their tradition of changing things up without sacrificing any of the elements that makes them fairly unique in the burgeoning extreme metal world these days.

What is the same is their usual formula of taking ample amounts of extreme metal, most notably in the death metal department which includes the grim, guttural and growly vocals of Tommaso Riccardi, the down tuned brutal guitar and bass assaults and the frenetic technical wizardry of Francesco Paoli's extraordinary brutal and beastly drumming performances. Like "Agony" where the band stepped up the classical orchestral aspects, LABYRINTH carries that torch even further by extending the role of the symphonics. And once again the tracks all flow together seamlessly as to give a simple album feel broken into many acts or parts rather than completely detached pieces of music. 
What's different on this album is how much more the band has expanded their sound and songwriting. In the beginning the symphonic aspects were tamped down by the death metal and by "Agony" finally found their equal footing but on LABYRINTH they are allowed a lot more room to breath, expand and dominate. The scales are certainly more tipped in this direction as the death metal beast although not having been even close to retired has at least taken a back seat for significant portions of the album. We simply get more completely classical parts that not only make up intros and outros but grace transitioning sections within tracks as well as vying with the metal parts in every part of the album. There are also more uses of Paolo Rossi's clean vocals as well as the operatic diva enchantress duties of Veronica Bordacchini who has free reign at times while other times being part of the beauty and beast team where all three vocalists are harmonizing together.

This is the most diverse album by FLESHGOD APOCALYPSE yet. The arrangements are much more complex and both the classical and metal characteristics have expanded their tentacles into new arenas. The classical not only includes more operatic moments but incorporates expanded Chopin-esque piano and for the first time has acoustic classical guitar as well as the usual neoclassical soloing. On the metal side there are different types of riffs that emerge now and again. There are moments of thrash, industrial and traditional metal in the mix that don't replace the dominate death metal but merely augment. And the way all these instrumental roles mix together sounds fresh and unlike previous albums as well.

At this point, the increase in symphonic involvement does bring bands like Septicflesh to mind however FLESHGOD APOCALYPSE remains more extreme and complex than their Greek cousins and often brings the Canadian Unexpect to mind in its frenetic and unforgiving fusion but once again doesn't quite throw down the extreme avant-garde gauntlet like that band has. The sound stays within the parameters of the sonic collaborative frenzy of classical music with death metal and only mildly extends those boundaries. This is another brilliant album by FLESHGOD APOCALYPSE and i only prefer this one slightly less to "Agony" simply because in the balancing act of symphonic vs. metal i feel they went a little overboard with the symphonic aspects but it is simply a matter of taste and only a minor quiver since the compositions overall exude a more sophisticated approach hinting at the fact that FLESHGOD APOCALYPSE are continuously evolving their sound and haven't yet unleashed the best that the beast has to offer.

 Agony by FLESHGOD APOCALYPSE album cover Studio Album, 2011
4.24 | 22 ratings

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Agony
Fleshgod Apocalypse Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars So you can't decide if you want to go to the opera or have it out at the mosh pit? What to do? Well, luckily there are options and FLESHGOD APOCALYPSE lays it all out as the perfect way to feel like you're getting a little culture while head banging until your eardrums bleed. AGONY is the third overall studio release following in the incremental footsteps of "Oracles" and the "Mafia EP." While on those two releases brutal death metal was the clear winner in the musical version of Predator Vs. Alien with the classical and symphonic aspects that the band incorporates being banished to the underworld where they would only be allowed to come up for air once in a while with only brief smatterings of their underlying importance in the musical structure. On AGONY we get a shift of power and the classical music is vying for dominance as it shares a fairly equally footing with the brutal death metal making this one of the most well balanced symphonic extreme metal albums i have ever heard.

On the very first track "Temptation" we get a dark and sombre taste of a Berlioz sounding "Symphonie Fantastique" with a haunted diva ushering in undulating rhythms that ratchet up the intensity that ultimately summon the metallic beast of the underworld allowing the cacophonous raucousness we call death metal to join the party and bombard us with the monstrous technical drumming of Francesco Ferrini doing his best to rip the classical aspects to shreds. Accordingly he is joined in by the insanely down tuned guitar dual guitar assaults and bass madness, however on AGONY unlike the previous two releases, the classical music has regained its power and now is in full control never letting itself to be diminished to second best. The result is nothing less of outstanding as neither the death metal aspects nor the classical aspects of the music compromise their integral physiognomy in the least bit making this one of the most triumphing releases of this sort of symphonic extreme metal.

I'm serious when i say don't think for one minute that the extremely brutal death metal aspects have been compromised by letting the orchestral elements shine through. Somehow FLESHGOD APOCALYPSE pulls this off with grace. While the majority of the album is highly aggressive on the death metal side with Tommaso Riccardi bantering out the most guttural and growly of death metal vocals alongside some of the best technical drumming skills in the musical world that serves as an anchor to the metal side even at the album's most mellow moments, there are plenty of passages where a more melodic contemplative side are allowed to reign such as on "The Deceit" where Riccardi trades off with bassist Paolo Rossi's clean vocal contributions. In addition there are many more pure symphonic non-metal moments that not only serve as bridges between the ten tracks that seamlessly run together but when the two genre styles are in full swing always is heard as an equal not being subjugated to second class. If that wasn't enough Cristiano Trionfera somehow fits neoclassical power metal guitar solos into the intact death metal sound.

Upon first listen i was a little disappointed as i felt the symphonic aspects dominated a little too much on this one in comparison with the previous two but after a few listens this prejudice literally disintegrated and the beauty of the balancing act between the two styles and the awesomeness of the arrangements and song structures sunk in. Once again, the classical music is the very fabric of the song structures and GODFLESH APOCALYPSE proves here that they are all classically trained musicians who are just a wee bit more caffeinated than the average Yo-Yo Ma's of the world! This is music that you can truly feel so old-worldly cultured in the mosh pit. You can feel like a hoity-toity bigwig for a nanosecond only to be shattered by extremely brutal and frenetic sonic attacks. The album remains really brutal but on "The Forsaking" a classical piano run is the dominant force having wrested control of the death metal and walks it on a leash but on "The Oppression" death chews that leash off and furiously regains its foothold. After all actors in this sonic cockfight are exhausted and call it a day, the finale "Agony" ends the highly energetic fusion affair with a nice Chopin inspired classical piano piece that instills a melancholic dread that leaves the listener feeling like tangled dude on the cover art devoid of hope, light and promise of resolution. Wickedly cool stuff! 4.5 round up!

 Mafia by FLESHGOD APOCALYPSE album cover Singles/EPs/Fan Club/Promo, 2010
3.87 | 10 ratings

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Mafia
Fleshgod Apocalypse Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars FLESHGOD APOCALYPSE followed up their debut album "Oracles" with a short but brutally sweet EP titled MAFIA. Once again this band has conjured up some of the most technically proficient death metal to date. While the band follows close in the footsteps of their debut album by intertwining classical and brutal death metal with the brutality clearly winning out, the classical aspects do shine a bit more through the din. Right from the beginning we hear a violin before being drowned out by a cacophonous din of highly distorted guitar riffs, pummeling blastbeat drumming and guttural growly vocals to die for!

MAFIA is a sonic assault from every standpoint. This is ugly, brutal, cold and an utter onslaught on the senses. The pace is absolutely relentless as the breakneck speed only gives the listener sporadic yet brief respites from the barbarous breakneck pace of the distortionfest. While this is certainly some of the most brutal death metal the planet has to offer, what makes this ever so addictive is that the song structure is so infused with classical music textures that only occasional bubble up from the underworld just long enough as to remind the listener that there is indeed an underlying melodic approach to the madness.

While this album is fairly close to the debut there are some efforts to diversify the songwriting which also includes a final track that is totally written on the piano bringing a Chopin-esque melancholy to conclude a contemplative anecdote to the baleful barrage of the senses. While the classical bubblings are scarce at this point in the band's discography there are a few key points like in "Conspiracy Of Silence" where they emerge to dominate for a brief period to tame the savage beast.

Between the excellent production that updates the death metal sound without sterilizing it and the outstanding musicianship of this phenomenal band that brutally assault the senses at the speed of light while maintaining an impeccable ability to balance the robotic with the progressive subtleties, FLESHGOD APOCALYPSE simply sonically bedazzles and delivers in the most unconventional ways of incorporating melodic anchorage in a seemingly cacophonous din of sonic torture. Not only am i impressed by this madness but i always find my protruding appendages banging and often destroying all objects in my vicinity simultaneously when this repulsive raucousness seriously blastbeats my reality.

 Oracles by FLESHGOD APOCALYPSE album cover Studio Album, 2009
3.74 | 16 ratings

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Oracles
Fleshgod Apocalypse Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Classical music and brutal death metal may sound as appealing as pickles and ice cream (unless you're pregnant) but once upon a time in a galaxy not far away, well THIS one, the same was true of chocolate and peanut butter until two individuals bumped into each other on the street and one's chocolate fell into the other's peanut butter and thus Reese's peanut butter cups were born. Well here we have a similar effect where symphonic classical orchestrations meet the most extreme brutal death metal. Yeah, i know the death metal often wins in the battle but when it sleeps, the symphony awakes. To be fair, the death metal is also unique in that it contains neoclassical guitar solos.

FLESHGOD APOCALYPSE debuted in 2009 with ORACLES and brings these two genres neck in neck and in all honesty the brutal death metal wins out. Mixing such such extreme genres is nothing new of course. Rhapsody, Angra, Therion and probably their closest cousin Septicflesh all started mixing classical music around extreme metal elements but i would have to vote FLESHGOD APOCALYPSE as being the most EXTREME of the lot with the most unrelenting brutality incorporating all the usual suspects death metal has to offer such as the growly guttural vocals, the highly distorted breakneck speed guitar and bass riffing and the blastbeat a million beats per second drumming. The music is technical to be sure but it is more mechanical and focused on just pounding the bleep out of your eardrums.

Yeah, this is tech death metal. Cold, sterile, brutal, designed to wake the dead. While it may seem this is a death match of classical vs. death metal, the fact is that the classical for the most part is simply entwined in the very fabric of the songs themselves. They seem to be written firstly as classical music and then the classical is dropped and layered upon with brutal death metal which is a clear contrast to bands likes Septicflesh tha t merely seem to symphonically embellish extreme metal. ORACLES isn't gonna convert classical music aficionados to brutal death metal lovers or vice versa but it will certainly appeal to those who love both genres and can appreciate the audacity of layering different genres together in a creative way. Think of it as extreme mashups and you'll get the picture! This is a confident and well-produced debut that shows that Italian music isn't all about romanticism and pastoral prog, they can also take the most melodic music and turn it into the most extreme headache music that would put second wave of black metal to shame.

 Untitled Vinyl Box by DEATHSPELL OMEGA album cover Boxset/Compilation, 2009
4.00 | 1 ratings

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Untitled Vinyl Box
Deathspell Omega Tech/Extreme Prog Metal

Review by CassandraLeo

— First review of this album —
4 stars Not to be confused with the later box set collecting the band's Mikko Aspa-era "trilogy" material, this vinyl box set collects Deathspell Omega's earlier Shaxul-era material, from before they evolved towards orthodox Satanism and also before they introduced the degree of complexity into their music for which they are now known. It's become a cliché to dismiss Deathspell's earlier works as primitive Darkthrone worship, but this is unfair. The band certainly adhered to the primitive recording quality associated with the genre at this stage in their career, and their songs were certainly less complex during this era than they are now, but there are still plenty of head-spinning time signature changes and lengthy compositions here (discs 3 and 5 in particular average around seven minutes per song).

Infernal Battles is the band's first album, collecting four new songs on side one with the band's earlier demo on side two. The cheaply recorded demo is the only material in this set that truly sounds like nothing more than Darkthrone worship, and even this uses unconventional time signatures starting with the first song. The recording quality is very low, however, with most frequencies over 10 kHz being inaudible. However, the band makes up for this with some truly magnificent riffs. This isn't likely to appeal to progheads, but it's good stuff nonetheless. The other side of the album has better recording quality, and already showcases a growth in musicianship and composition from the demo tracks. The band later re-recorded "Drink the Devil's Blood" for Si monumentum requires, circumspice, but the song is already impressive here. The other songs are of a similar calibre.

I'm going to review this material in rough chronological order rather than in the order the box set presents it, so next up we have Manifestations 2000-2001 (which collects material from splits with Moonblood and Mütiilation and the Black Metal Blitzkrieg sampler) and the material from the Clandestine Blaze split. (Note to interested parties: Clandestine Blaze is a solo project of Mikko Aspa, who is generally assumed to be Deathspell's second vocalist; however, none of the band's material is presented here, as only the Deathspell Omega sides of their splits are presented). The band stretches out at length here, and explores styles not commonly associated with Deathspell Omega; "The Suicide Curse", for example, could be considered an example of depressive/suicidal black metal. The riffs here are even more solid than those on their début, and the band is actually shockingly melodic here for people only familiar with the band's later material. This is still fairly primitive stuff, but a growth in musicianship is clearly observable here, and for people who enjoy old-school black metal on its own terms like I do, much of it will prove to be a slice of musical heaven.

Inquisitors of Satan dials back the song lengths slightly, but the band's growth in musicianship is further evident here. The riffs remain killer throughout the record and the audio quality is a step up from earlier material. The lyrical subject matter remains fairly standard-issue black metal fare, with little of the philosophical sophistication found on later releases, but that's fine for what this is. This album is generally regarded as the best of the band's Shaxul-era full lengths, and I can't disagree with the conventional wisdom here.

Manifestations 2002 collects material recorded in 2002 intended for splits but not released until 2008. It provides a missing link between the more primitive black metal the band recorded earlier in its career and the more complex Mikko Aspa-era material that would make them famous. It's easy to see why Shaxul, who has favoured more primitive material in his solo career, got disillusioned with the band's direction here and left; the band was unquestionably moving towards progressive black metal here. This may be the strongest material in this collection, although my personal favourites are Manifestations 2000-2001 and the Clandestine Blaze split.

Now, the obligatory audio quality note: The first disc appears to have been remastered for vinyl, without the "loudness war" problems of the CD version (which, to begin with, were the least severe of any of the albums in this collection). The album is, however, the most primitively recorded of Deathspell's material, with the demo side being truly lo-fi. Unfortunately, none of the other discs appear to have undergone similar remastering, and it's worth noting that the mastering of the Manifestations collections, in particular, was very bad, with audible clipping on every song. This is honestly the only demerit I can give this set from a technical standpoint (it would have been nice to have black or clear vinyl available, but the audio fidelity here isn't really of the level where it makes much of a difference).

In summation, whether you enjoy this collection will mostly come down to whether you enjoy black metal for its own sake or whether you only enjoy the more progressive strains of the genre. This set clearly depicts a band evolving from primitive black metal to progressive black metal, but most of the actual progressive material is left out. If Deathspell Omega had only recorded this material, they almost certainly wouldn't have an entry on Prog Archives. However, for interested listeners, this set will prove to be a goldmine. It's also an instructive listen for people who want to hear a band evolve from more primitive material to more complex material. I can't recommend this set for everyone, and you'll probably know from reading this review whether you'll be likely to enjoy it or not. For the people who enjoy this kind of music, though, this collection is difficult to pass up.

 Untitled Vinyl Box by DEATHSPELL OMEGA album cover Boxset/Compilation, 2012
5.00 | 1 ratings

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Untitled Vinyl Box
Deathspell Omega Tech/Extreme Prog Metal

Review by CassandraLeo

— First review of this album —
5 stars One of the most essential black metal bands of the 2000s and 2010s gets a vinyl box set treatment of its finest works to date. While the fidelity of picture discs is frequently lambasted, much of the material here (namely, the contents of the first four discs) has been separately mastered for vinyl, and sounds substantially better than the typically brickwalled CD versions.

The band's Mikko Aspa era started with the double album Si monumentum requires, circumspice (Latin for If You Seek a Monument, Look Around You), which serves as a mission statement for everything the band has done since. It unveiled the band's trademark blend of dissonance, unusual time signatures (though these had been present on previous works as well), complex arrangements, orthodox Satanism, and experimentalism. Much of the album is given over to furious blasting, but the band proves to do this in a much more musically sophisticated fashion than most of its peers. The production is also a major step up from that of the band's previous work; it still sounds filthy and savage, but the album is recorded and mixed clearly enough that every musical detail is clearly audible. This proves all to the better on the departures from the band's black metal sound, such as the three "prayers" and the Old Church Slavonic chant section in the album's centrepiece "Carnal Malefactor". SMRC is a landmark album in the field of black metal whose stature has only grown with time.

The band quickly followed this up in 2005 with an additional two LPs' worth of material between the EP Kénôse (French for Kenosis) and two side-length pieces that were released at the time on split albums. Kénôse is even more dissonant and complex than SMRC, and shows the band's growing musical maturity. It's also philosophically more sophisticated than the band's previous works, showcasing a thorough examination of Christian redemption. From the same era, the twenty-two-minute "Diabolus absconditus" (Latin for "The Devil Is Hiding") lyrically examines existentialism while musically it alternates between blasting dissonance and, strangely, a lengthy acoustic guitar segment accompanied by whispered vocals. "Mass Grave Aesthetics" is the piece on this box set that does the least for me lyrically, but it makes up with it for a musical tour de force that may be the band's finest hour to date.

Fas - ite, maledicti, in ignem aeternum (Latin for Divine Law - Depart, Ye Cursed, into Everlasting Fire) dials up the band's dissonance and complexity even further. With only four proper songs averaging about ten minutes each, the band packs in as many complex riffs as possible and mixes them with head-spinning philosophical lyrics that examine the band's exceedingly pessimistic view of the cosmos. Both God and Satan are presented as essentially incomprehensible to humanity, while man is doomed to suffering. While most of the album is given over to frenetic blasting, the album is also underpinned with creepy pianos and an orchestra, and several passages of the album are nearly silent, which makes the returns to blasting only all the more terrifying. The album climaxes with an utterly gorgeous guitar solo at the end of "A Chore for the Lost", which proves to be one of the album's only concessions to melody. The album is a harrowing listen but remains a landmark of the genre all the same. It's essentially black metal's answer to Gorguts.

The band followed this up with the EP "Chaining the Katechon" (included on disc 7 so as not to break up Paracletus onto two discs, also released as a split with fellow travellers S.V.E.S.T. entitled Veritas diaboli manet in aeternum, Latin for The Devil's Truth Remains in Eternity). Once again the band contributes a twenty-two minute slab of head-spinning black metal, and this time around they waste no time in getting started from the gate. The album largely maintains the style of Fas without the gaps this time around, though it is slightly less dissonant. The album also closes with clean singing, a rarity for Deathspell. Another strong work from reliable black metal stalwarts.

The band's most recent full-length album to date, Paracletus (Latin for Paraclete, meaning comforter), looks from the track list like it simplifies the band's sound somewhat, and to a certain extent this is true when compared to Fas, but appearances can also be somewhat deceiving, as it is essentially two slabs of continuous music averaging roughly twenty-one minutes each. The album is slightly more melodic than Fas, and the riffs are slightly simpler, but this is no primitive Darkthrone worship here. You're still getting musically and intellectually sophisticated music of the highest order. Pointing out track highlights is essentially pointless, though the closing track "Apokatastasis pantôn" (ancient Greek for "Rebirth of Everything") bears mention for its substantially more melodic, almost post-rock take on black metal. A career highlight for sure.

The band's most recent EP Drought closes out the set. Like Paracletus this one consists mostly of continuous music (there are brief gaps between a few sets of tracks here) and this may be the lightest material on this set from a musical standpoint. The band's music barely has anything left in common with traditional black metal by this point, but that's hardly anything worth complaining about when what's here is so good. The band fills every proper song with truly mind-boggling riffs and the album's intro and outro are unique in their catalogue, with the former sounding like a mix between Led Zeppelin and Earth, while the latter includes a particularly nice groove on the bass guitar. The only thing to regret here is that it remains Deathspell's latest work (although the launch of their Bandcamp in December 2015 may herald upcoming new material).

I can't recommend this box set enough. The music is flawless, and my only complaints with its presentation are that it wasn't pressed on black or clear vinyl, and that the last three discs aren't remastered for vinyl. Still, those are minor complaints, especially since the price tag of the box when it was released was startlingly low given how much music is on it ($111 + shipping for nearly five hours of music on vinyl is a hard price to beat). This band's work has been a landmark in the field of black metal, and this box set collects the best of it. Unconditionally recommended.

 The Speed Of Dark by ANGEL VIVALDI album cover Singles/EPs/Fan Club/Promo, 2009
4.00 | 2 ratings

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The Speed Of Dark
Angel Vivaldi Tech/Extreme Prog Metal

Review by Progrussia

4 stars Haven't been to the Angel Vivaldi page for so long that I didn't notice that he finally got an expanded discography! Don't be fooled by his classification as tech/extreme, as he is at his heart a neo-classical shredder influenced by the likes of Joe Satriani, only plays much heavier and denser (there is a second guitarist in tow). The all-instrumental songs are naturally all about the incredible solos, but at the same time I wouldn't call it aimless shredding, as his compositions do have certain hooks, recurring themes and flow (at least maybe starting from this mini-album on). And on this EP one can also find among the dense shredding some clean breaks and even a power ballad of sorts. The guy is pretty cool.
 Horrorscension by BEHOLD...THE ARCTOPUS album cover Studio Album, 2012
3.36 | 18 ratings

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Horrorscension
Behold...The Arctopus Tech/Extreme Prog Metal

Review by Tom Ozric
Prog Reviewer

4 stars Behold The Arctopus - Horrorscension.........says it all, really. The music presented here by Tech/Death Extreme instrumentalists Colin Marston (WARR guitar) Mike Lerner (Guitar) and Christopher 'Weasel' Walter (Drums) is a lesson in over-the-top technical proficiency and ultimate chaos, yet remaining tight, coherent, and ridiculously dissonant and uncompromising!! Not music for the faint-of-heart, I tell you. Opening with a track titled Disintegore - shredding guitar, rumbling WARR guitar in bass range, and stuttering stop-start outbursts of drums, one is likely to shake their head in disbelief. These guys annihilate the listener with a pummelling barrage of relentless noise and ridiculous time sigs (questionable, as the music sounds so random), crushing everyone and everything in their path. More or less a vehicle for NYC's premier Death-Squad of Colin Marston and his Menegroth studio, home to many Extreme underground Metal acts, local and far, where Marston's understanding of the rules and how to break them get a chance to express themselves without any constriction. We get 6 tracks, clocking under a half-hour, where Colin states he did have another piece or 2 for this release, but time ran out and he was more than satisfied with the unusually short running time of this slab of sonic concrete. Sometimes less is more, Y'know. Don't expect any respite from Lerner's guitar fury, the soul- crushing double-pedal work of Weasel, and God-knows-what from Marston and his 12-string beast, the most 'ambient' or moment of relief, comes at the end of Horrorsentience, where we hear a minute of a Mellotron sample. Yep, a 'tron !! Gotta love the 1 min. Putre[%*!#]tion, a freak-out with 380 mph double-kick. I guess I'm fairly new to this part of the PROG World, so I'm mightily impressed, maybe you, fellow readers can be too. Had it not been for fellow reviewer Atavachron, this, disgustingly attractive punch-to-the-face, may never have been unleashed. At least he reached one reader !! And the cover art, love this cover design, great colours. Even better as 12" x 12"......
 Clockwork Sky by TERMINAL FUNCTION album cover Studio Album, 2015
3.00 | 1 ratings

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Clockwork Sky
Terminal Function Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "Clockwork Sky" is the 2nd full-length studio album by Swedish technical extreme metal act Terminal Function. The album was released through Willowtip Records in September 2015. Terminal Function was formed in 1998 and released several demos before releasing their debut full-length studio album "Measuring The Abstract" in 2008. So it´s been 7 years between albums, which even in this day and age is a pretty long recording break. There´s been one lineup change since the debut as bassist Lars Söderberg has left the band. Guitarist Stefan Aronsson handles the bass on "Clockwork Sky".

The music on the album is technical extreme metal strongly influenced by fellow countrymen Meshuggah. At times to the point of "Clockwork Sky" being what I would characterize as a worship release. Thankfully Terminal Function do incorporate other elements too, that seperates them from their more famous countrymen, but there are overall more similarities than differences. Some of the differences include occasional use of clean vocals, keyboards, and the occasional use of more regular rhythms and riffs played in conventional time signatures. The similarities are heavy downtuned riffs and rhythms played in odd time signatures, relatively one-dimensional raw shouting vocals, and fusion/jazz oriented guitar solos.

The material on the 11 track, 40:41 minutes long album is generally well written and relatively catchy although it´s not necessarily memorable in the long run. The musicianship is on a high level on all posts, and it´s hard not to be impressed by what these guys play. They may not compose the most original sounding material, but they sure can play. The sound production is raw, powerful, and suits the music, so upon conclusion there are many positive things to say about "Clockwork Sky". The lack of an original style and a very obvious clone factor are negatives that drag my rating down though, and in the end a 3.5 star (70%) rating is warranted. If you are more forgiving than I am regarding the high clone factor, you can put another half star on top of that.

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Tech/Extreme Prog Metal bands/artists list

Bands/Artists Country
1980 France
7TH NEMESIS France
A.I.(D) France
ABIGOR Austria
ABORYM Italy
ABSORBED Spain
ACHOKARLOS Spain
ACID DEATH Greece
ACOLYTE United Kingdom
ACRIMÖNIA Poland
ACROSS THE SUN United States
ADEIA Netherlands
THE ADVENT EQUATION Mexico
AEOLIA United States
AEON OF HORUS Australia
AERODYNE FLEX United States
AGARTHA United States
AGE OF SILENCE Norway
AGHORA United States
AINMATTER United States
ALARUM Australia
ALCHEMIST Australia
ALGOPHOBIA Italy
ALKALOID Germany
ALL DREAMS DYING Finland
ALLEY Russia
ALTERA ENIGMA Australia
THE AMENTA Australia
AMOGH SYMPHONY India
AN ISLE ATE HER United States
ANATA Sweden
ANCIENT Norway
ANCIIENTS Canada
ANGEL OF DISEASE Georgia
ANGEL VIVALDI United States
ANGMAR France
ANIMALS AS LEADERS United States
ANOMALY United States
ANSUR Norway
THE ANTIKYTHERA MECHANISM United States
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
ARTIFICIAL BRAIN United States
AT WAR WITH SELF United States
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
CHRONOSTASIS United States
CIRCLE OF CONTEMPT Finland
CIRCLE TAKES THE SQUARE United States
CIRCLES Australia
CITRINITI Italy
COBALT United States
CODE Multi-National
COLD NIGHT FOR ALLIGATORS Denmark
COLLAPSAR United States
CONTINUO RENACER Spain
THE CONTORTIONIST United States
CONTROL DENIED United States
CONTROL HUMAN DELETE Netherlands
COPROFAGO Chile
CORAM LETHE Italy
COUNTER-WORLD EXPERIENCE Germany
CRANIUM United States
CROWPATH Sweden
CRYPTODIRA United States
CUBICAL SPHERE Greece
CYCLAMEN United Kingdom
CYNIC United States
DAATH United States
DE PROFUNDIS United Kingdom
DEAD LETTER OPENER Australia
DEATH United States
DEATH MACHINE United States
DEATHROW Germany
DEATHSPELL OMEGA France
DELTA CEPHEID Germany
DEMILICH Finland
DEMONIC RESURRECTION India
DESCEND Sweden
DEVIUS Argentina
DIABOLICAL MASQUERADE Sweden
THE DILLINGER ESCAPE PLAN United States
DIONAEA United States
DIORAMIC Germany
DIREWOLF United States
DISEMBARKATION Canada
DISFIGURING REALITY Canada
DISHARMONIC ORCHESTRA Austria
DISILLUSION Germany
DISKORD Norway
DIVINITY Canada
DODECAHEDRON Netherlands
DØDHEIMSGARD Norway
DORDEDUH Romania
DOWN I GO United Kingdom
DREAMGRAVE Hungary
DROTTNAR Norway
DRUDKH Ukraine
DRYAD'S TREE Germany
DUOBETIC HOMUNKULUS Czech Republic
DYSRHYTHMIA United States
EARTH SNAKE United States
ECCENTRIC PENDULUM India
ECHIDNA Greece
EDGE OF SANITY Sweden
MATTIAS IA EKLUNDH Sweden
ELECTRO QUARTERSTAFF Canada
ELECTROCUTION 250 Sweden
ELENIUM Finland
ELENIUM Poland
EMPYREAN SKY United States
ENDITOL Canada
ENSLAVED Norway
ERA VULGARIS United Kingdom
ERYN NON DAE France
ESCHATON Austria
ETERNITY VOID United States
EVER FORTHRIGHT United States
EXENCE Italy
EXIVIOUS Netherlands
EXTOL Norway
THE FACELESS United States
FALLUJAH United States
FARMAKON Finland
FEARSCAPE Australia
FLESHGOD APOCALYPSE Italy
FLOODLINE United States
FLOURISHING United States
FORCES AT WORK Germany
FORGOTTEN SILENCE Czech Republic
FORNOST ARNOR United Kingdom
FRANTIC BLEEP Norway
FROM A SECOND STORY WINDOW United States
FROM THE EMBRACE United States
GIGAN United States
GLADIATOR United States
GOJIRA France
GOLLUM / HADEA United States
GORGUTS Canada
GOROD France
LE GRAND GUIGNOL Luxembourg
GRIS Canada
GUILLOTINE India
GWYNBLEIDD United States
THE HAARP MACHINE United Kingdom
HACKSAW TO THE THROAT United States
HACRIDE France
HANGING GARDEN Finland
HAUNTED SHORES United States
HELHEIM Norway
A HERO A FAKE United States
HIDDEN United States
HOPE FOR THE DYING United States
THE HUMAN ABSTRACT United States
HUNG United States
HYBRID Spain
HYPNOTHETICALL Italy
IHSAHN Norway
IKUINEN KAAMOS Finland
ILLOGICIST Italy
ILLUMINATI Romania
IN GRIEF Norway
IN LINGUA MORTUA Norway
IN MOURNING Sweden
IN VAIN Norway
INDRICOTHERE United States
INGENIUM Poland
INI Norway
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
LYCHGATE United Kingdom
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
MORBUS CHRON Sweden
MROCTOPUS Portugal
MY BITTER END United States
MY DYING BRIDE United Kingdom
N.A.M.E. United States
NAMI Andorra
NATURUS Hungary
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
ONTOGENY United States
OPETH Sweden
ORAKLE France
ORGONE United States
ORTHRELM United States
OSIRIS Netherlands
OUTCAST France
OWL Germany
PAEAN Estonia
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
SILENCE THE ARIA United States
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
SUPER MASSIVE BLACK HOLES Canada
SUPURATION France
DAN SWANÖ Sweden
SWIM IN STYX France
SYK Italy
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
TRIBULATION Sweden
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

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