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TECH/EXTREME PROG METAL

A Progressive Rock Sub-genre


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Tech/Extreme Prog Metal definition

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

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


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

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


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

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

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


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

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

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


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

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


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


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

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

Tech/Extreme Prog Metal Top Albums


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

4.30 | 1531 ratings
STILL LIFE
Opeth
4.25 | 1576 ratings
BLACKWATER PARK
Opeth
4.25 | 1470 ratings
GHOST REVERIES
Opeth
4.35 | 161 ratings
OBSCURA
Gorguts
4.25 | 439 ratings
CRIMSON
Edge of Sanity
4.23 | 509 ratings
SYMBOLIC
Death
4.27 | 264 ratings
NOTHINGFACE
Voivod
4.25 | 295 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.19 | 508 ratings
FOCUS
Cynic
4.19 | 399 ratings
THE SOUND OF PERSEVERANCE
Death
4.22 | 258 ratings
ELEMENTS
Atheist
4.15 | 1004 ratings
PALE COMMUNION
Opeth
4.25 | 177 ratings
DIMENSION HATROSS
Voivod
4.22 | 178 ratings
OM
Negura Bunget
4.16 | 349 ratings
HUMAN
Death
4.20 | 176 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.12 | 494 ratings
TRACED IN AIR
Cynic
4.31 | 85 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.14 | 329 ratings
TALL POPPY SYNDROME
Leprous
4.15 | 279 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.17 | 208 ratings
ISA
Enslaved
4.14 | 272 ratings
THE PARALLAX II - FUTURE SEQUENCE
Between The Buried And Me
4.15 | 212 ratings
THE SHAM MIRRORS
Arcturus
4.31 | 75 ratings
KIVENKANTAJA
Moonsorrow
4.08 | 592 ratings
CRACK THE SKYE
Mastodon
4.14 | 197 ratings
THE WAY OF ALL FLESH
Gojira
4.22 | 105 ratings
BELOW THE LIGHTS
Enslaved
4.15 | 132 ratings
THE OUTER LIMITS
Voivod
4.24 | 68 ratings
VISIONS FUGITIVES
Mekong Delta
4.03 | 449 ratings
THE CONGREGATION
Leprous
4.64 | 25 ratings
EMBODIMENT
Sculptured
4.20 | 77 ratings
VIIDES LUKU - H─VITETTY
Moonsorrow
4.09 | 155 ratings
THE MACHINATIONS OF DEMENTIA
Blotted Science
4.09 | 143 ratings
CONTROL AND RESISTANCE
Watchtower
4.04 | 272 ratings
THE GREAT MISDIRECT
Between The Buried And Me
4.02 | 362 ratings
COLORS
Between The Buried And Me
4.12 | 111 ratings
COLORED SANDS
Gorguts
4.11 | 116 ratings
THE FRAGILE ART OF EXISTENCE
Control Denied
4.39 | 36 ratings
NESPITHE
Demilich
4.07 | 156 ratings
PORTAL OF I
Ne Obliviscaris
4.03 | 197 ratings
AXIOMA ETHICA ODINI
Enslaved
4.00 | 367 ratings
COAL
Leprous
4.08 | 121 ratings
EXIVIOUS
Exivious
4.10 | 97 ratings
SPHERES
Pestilence
4.10 | 97 ratings
THE ADVERSARY
Ihsahn
4.01 | 263 ratings
ANIMALS AS LEADERS
Animals As Leaders
3.96 | 1113 ratings
WATERSHED
Opeth
4.07 | 124 ratings
VERTEBRAE
Enslaved
3.96 | 1219 ratings
DAMNATION
Opeth
4.18 | 58 ratings
LAZARUS BIRD
Burst
4.09 | 94 ratings
FAS - ITE, MALEDICTI, IN IGNEM AETERNUM
Deathspell Omega
4.04 | 141 ratings
KILLING TECHNOLOGY
Voivod
4.30 | 36 ratings
SUPERVILLAIN OUTCAST
D°dheimsgard
3.99 | 199 ratings
AFTER
Ihsahn
4.13 | 61 ratings
ELVENEFRIS
Lykathea Aflame
4.10 | 73 ratings
CORTICAL TECTONICS
Canvas Solaris
4.11 | 65 ratings
CYBION
Kalisia
4.14 | 58 ratings
AT THE DREAM┤S EDGE
Chimp Spanner
3.93 | 719 ratings
MY ARMS, YOUR HEARSE
Opeth
4.17 | 48 ratings
SHIN-KEN
Persefone
4.11 | 63 ratings
SONGS OF DARKNESS, WORDS OF LIGHT
My Dying Bride
4.04 | 91 ratings
ENERGETIC DISASSEMBLY
Watchtower
4.13 | 53 ratings
TWO HUNTERS
Wolves in the Throne Room
3.96 | 196 ratings
WEIGHTLESS
Animals As Leaders
4.17 | 44 ratings
THEN COMES AFFLICTION TO AWAKEN THE DREAMER
Twisted Into Form
4.00 | 120 ratings
RUUN
Enslaved
3.94 | 261 ratings
COMA ECLIPTIC
Between The Buried And Me
4.11 | 55 ratings
THE TREES ARE DEAD & DRIED OUT WAIT FOR SOMETHING WILD
Sikth
4.06 | 70 ratings
MONUMENSION
Enslaved
4.33 | 27 ratings
WARP ZONE
Martyr
3.95 | 182 ratings
FROM MARS TO SIRIUS
Gojira
4.06 | 65 ratings
PENUMBRA DIFFUSE
Canvas Solaris
4.24 | 32 ratings
FEEDING THE ABSCESS
Martyr
4.09 | 55 ratings
BURIED IN OBLIVION
Into Eternity
4.04 | 71 ratings
TURN LOOSE THE SWANS
My Dying Bride
3.94 | 180 ratings
CHAOSPHERE
Meshuggah
4.01 | 80 ratings
INK COMPLETE
Spastic Ink
3.94 | 158 ratings
LA MASQUERADE INFERNALE
Arcturus
4.25 | 29 ratings
SPIRITECH
Alchemist
4.17 | 37 ratings
666 INTERNATIONAL
D°dheimsgard
3.89 | 439 ratings
BILATERAL
Leprous
4.00 | 75 ratings
BLACK FUTURE
Vektor
4.59 | 14 ratings
MEPHISTO LETTONICA
Neglected Fields
4.04 | 57 ratings
DEATH OF A DEAD DAY
Sikth
3.98 | 82 ratings
OUTER ISOLATION
Vektor
4.25 | 26 ratings
AUTOMATA II
Between The Buried And Me
4.14 | 36 ratings
THE AURA
Beyond Creation
4.15 | 35 ratings
└MR
Ihsahn
3.88 | 325 ratings
LEVIATHAN
Mastodon
4.02 | 61 ratings
VERIS─KEET
Moonsorrow
4.48 | 16 ratings
SWEVEN
Morbus Chron
4.61 | 13 ratings
CITRINITI
Citriniti
4.03 | 52 ratings
E
Enslaved
4.19 | 27 ratings
Кров у наших криницях (BLOOD IN OUR WELLS)
Drudkh
3.89 | 203 ratings
RIITIIR
Enslaved
4.47 | 15 ratings
PREY ON LIFE
Burst
4.06 | 41 ratings
AUTUMN AURORA
Drudkh
4.21 | 25 ratings
AGONY
Fleshgod Apocalypse
3.98 | 65 ratings
LIMINAL
Exivious
4.48 | 14 ratings
AS THE ROOTS UNDO
Circle Takes The Square

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

CITRINITI
Citriniti
CORTICAL TECTONICS
Canvas Solaris
WINTERSUN
Wintersun
THE SENSE APPARATUS
Frantic Bleep

Latest Tech/Extreme Prog Metal Music Reviews


 Complications - Trilogy Of Intricacy by AGE OF SILENCE album cover Singles/EPs/Fan Club/Promo, 2005
2.98 | 9 ratings

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Complications - Trilogy Of Intricacy
Age Of Silence Tech/Extreme Prog Metal

Review by martindavey87

2 stars 'Meh'.

I bought this CD in a shop in Germany for 50 cents or something equally daft. I'd never heard of Age of Silence (and apparently, neither had anyone else, since they were in the literal bargain bin), but it was a metal CD, so why not?

Labelled as avant-garde metal... whatever the hell that means... this sounds a lot like something Devin Townsend would do, complete with obscure, gloomy cover art and unusual song titles. Age of Silence have a big sound, with multiple-layered guitars overproduced to give each of the three tracks a huge feeling about them. But otherwise, these songs are fairly dull. The overbearing 'big' guitar chords are heard through each track, leaving me feel like there's been an ongoing chord played throughout the entire EP.

But it doesn't stop there. It starts to overshadow the vocals, any lead parts, the drums... the whole lot. I don't 'get' this kind of music. I understand it's based more on ambience and what-have-you, but for the most part this is just pretty boring and repetitive. There's one or two moments where something might sound catchy or interesting, but as a whole, considering this is only a three-song EP, it's not really anything I'd come back to.

The shop I'd bought it from was probably relieved to be rid of it.

 KÚn˘se by DEATHSPELL OMEGA album cover Singles/EPs/Fan Club/Promo, 2005
4.51 | 34 ratings

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KÚn˘se
Deathspell Omega Tech/Extreme Prog Metal

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

5 stars Starting with their third album 'Si Monvmentvm Reqvires, Circvmspice,' the French black metal band DEATHSPELL OMEGA went from a rather run-of-the-mill second wave clone going through 90s Darkthrone inspired motions and undertook a major leap of sophistication with their Satanic liturgical distortionfests with hitherto unthinkable experimentalism and progressiveness that catapulted the entire black metal world to a completely new level.This was also the beginning of the trilogy of albums that tackled metaphysical theology from a Satanic perspective with lyrics inspired by the French philosopher Georges Bataille.

Sandwiched in between the three albums 'Si Monvmentvm Reqvires, Circvmspice,' 'Fas ' Ite, Maledicti, in Ignem Aeternum' and 'Paracletus' were many EPs and splits. K╔NďSE emerged as the first 'in-between' release and although technically classified as an EP, runs slightly over 36 minutes. During this period DEATHSPELL OMEGA, while black metal in menacing sonic demeanor, structured their albums more like progressive rock albums of the 70s. The official trilogy albums themselves mimicked the structure of vinyl double albums whereas some EPs such as this could count as fully fledged albums within their own right.

K╔NďSE was intended to be supplemental material to accompany the 'Si Momvmentvm' album. The term K╔NďSE is French for 'kenosis' which itself emerged from the Greek language (κένωσις, k'nōsis), refers to the self-emptying of Jesus' will and becoming receptive to the God's divine will which refers to the Biblical passage in Philippians 2:7. This release pretty much perfectly fits between the newly adapted 'Si Monvmentvm' and the even more challenging and experimental 'Fas - Ite.' While similar, K╔NďSE exists in its own universe and delivers one of the most terrifying banterfests of DOS' avant-garde black metal career.

This EP consists of a mere three tracks simply titled 'I' 'II' and 'III' with the opener serving as the longest and casting an ominous spell with a four minute death march that slowly ratchets up the tension before bursting into the more famous jangle black metal dissonance that DOS have made their frightening signature sound. 'II' continues the indecipherable vocal litanies with ever changing mixes of guitar riffs, time signature changes and hypnotic percussive bantering until it reaches a frightening angularity of complete rhythmic breakdown by the end. 'III' calms down a bit with a Gregorian chant type of vibe dressed up in a dissonant blackened doom metal wrap. The track hypnotically lollygags in a near nine minute rant that ends the EP leaving a feeling of despair and sadistic sacrifice of the soul.

K╔NďSE ups the ante manyfold. The musicianship is off the chart with the guitar and bass mostly existing as a single super instrument and the drumming all interacting in staggering complexity like the aural specter of the entire jazz, classical and metal universe unleashing the darkest forces of the underworld in unison. The production is perfect as it allows the more subdued build- ups to hypnotically seduce complacence before the full metal fury unleashes the full Satanic theological rage about esoteric theological rants about hypostasis and philosophical quandaries. In short, this is the absolute perfect example of an authentic progressive black metal album.

 Elvenefris by LYKATHEA AFLAME album cover Studio Album, 2000
4.13 | 61 ratings

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Elvenefris
Lykathea Aflame Tech/Extreme Prog Metal

Review by fmatah

1 stars I never write negative reviews, but based on the hight rating here at Progarchives I made the mistake to buy this record. I have no doubt that the death metal fans will be very happy hearing it, but I don't see any relation with the progressive rock I like. Let's keep our things apart. This is not a superficial opinion, I really listened several times the CD with an open mind and read references about the band. and I still don't find any esthetical connection with progressive music. I can only give it one star, this is only for those who want to explore another genres. I cannot say that the record is bad, only that it's not progressive.
 Meta by CAR BOMB album cover Studio Album, 2016
4.92 | 3 ratings

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Meta
Car Bomb Tech/Extreme Prog Metal

Review by JagaKing

5 stars This album is just absolutely mind blowing. This band has really took meshuggah's style to new levels (as impossible as it may sound). Unlike so many modern meshuggah-esq bands, those guys wouldn't be labeled djent as they dont share that computerised kind of 8-string chugging (i.e periphery, tasseract etc.) But rather strive for very aggressive sound with barely ever laying back, changing riffs as fast as...erm something very fast. With the help of Joe duplantier (Gojira) as producer (even delivering guest vocals on one song) this particular album elevates to new heights, with even stronger sound design, without sacrificing the bands signature complexity and agression. All in all this is very highly recommended if you're looking for something on the heavy side and dont mind that there's very little mellower sounds through the entire album.
 The Animation of Entomology by BLOTTED SCIENCE album cover Singles/EPs/Fan Club/Promo, 2011
4.08 | 38 ratings

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The Animation of Entomology
Blotted Science Tech/Extreme Prog Metal

Review by TCat
Prog Reviewer

3 stars Back in 2007, Blotted Science put out their first LP. The band, however, was not a bunch of newcomers to the tech metal scene, but were actually 3 musicians from other tech/prog metal bands. Ron Jarzombek from Watchtower and Spastic Ink and Alex Webster from Cannibal Corpse decided to start a new project that would take tech/prog metal to another level. They recruited Charles Zeleny, a session drummer, and released the LP "The Machinations of Dementia". Nothing new came of this band after this release until 2011, when this EP was released. A new drummer has been recruited in Hannes Grossman who had collaborated with Jarzombek in another project "Terrestrial Exiled". The result is this 7 track EP of very hard and heavy instrumental metal which was re-released on vinyl in 2013.

The first 3 tracks are mostly speed metal with countless time signature changes that will blow you away. The guitar parts are full of quick arpeggios and scales with the bass following along doing it's own thing, more than just a support to the guitar, but a bridge between the guitar and the rapid fire drums. Everything about this is prog tech metal. Themes are very difficult to pick out until you become more familiar with the music, so the payoff there, or the appreciation, don't really grab a hold of you until you listen to it several times. Before that, it is easy to feel lost and confused in this ever changing landscape of heaviness. There are a few breaks in there where you can catch your breath, but don't expect these more quieter breaks to last very long. There are times, especially in "Cretaceous Chasm" that you will swear that Jarzombek is playing a keyboard because of the clarity and phrasing of the notes, not to mention the speed of the notes flying by, around and over your head. The nice thing about all of this, is it's not ruined by growling or shouted vocals. This is completely instrumental. And ideas, melodies, key and time signatures change so fast that your mind won't comprehend it at first.

The last 4 tracks are actually movements of a longer work called "A Sting Operation". The overall work is around 9 minutes long, so each individual section doesn't go over 3 minutes. The style of the preceding tracks continue on these tracks, but in shorter form, as there are noticeable breaks between the movements. This actually makes the sound easier to wrap your head around, and you will pick out those subtle mood shifts between tracks.

Overall, this can seem like a bunch of chaos in the first few listening's, but it will start to make more sense as you hear it more. Typically, I'm not a big fan of Tech Metal, because it tends to lose emotion and songs can start to sound too much alike. This particular release however, is just the right length at over 24 minutes total. This makes it surprisingly more accessible, but there will be many that won't even be able to handle even that short length of time. No doubt that the players involved are talented and they even add dynamics to the various short subsections of the tracks, making things much more interesting. This, however, is not an album that I listen to a lot, because it's just not my taste. Sure I love hard and heavy music, but the technical aspects can tend to sound too much alike after so many minutes. But the good thing about this album is, I find it more accessible given it's shorter length and it might even work towards helping newcomers to this style of music to appreciate it more. I know it influences me to want to understand it better.

 The Formulas Of Death by TRIBULATION album cover Studio Album, 2013
3.88 | 7 ratings

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The Formulas Of Death
Tribulation Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "The Formulas of Death" is the 2nd full-length studio album by Swedish death metal act Tribulation. The album was released through Invictus Productions/The Ajna Offensive in March 2013. It┤s been a few years since the release of "The Horror (2009)", and there┤s been one lineup change as drummer Jakob Johansson has been replaced by Jakob Ljungberg.

However judging by the sound of "The Formulas of Death" the longer recording break probably had little to do with lineup changes and more to do with time spend with the development of the band┤s sound. Tribulation were founded under the Hazard monicker in 2001 but changed their name to Tribulation in 2004. They initially played a fast-paced and brutal death/thrash metal style, which is also heard on the "Putrid Rebirth" EP from 2009. They tweaked their sound towards a more old school type of death metal on their debut full-length studio album "The Horror (2009)" (still with nods towards more aggressive death/thrash though), but has changed their sound again on "The Formulas of Death". This time around the listener is treated to a progresive and psychadelic tinged death metal that is quite unusual sounding.

The material on the 11 track, 75:48 minutes long album is generally pretty adventurous with both long structures and innovative ideas. There┤s a retro 70s feel to some of the proceedings, but it┤s only an element of the band┤s sound. The organic sounding production further enhances that feeling. This is still old school death metal in many ways though, and at times also rather brutal, but seldom for long before a laid back psychadelic section kicks in, or a tempo change or break leads to something else. The tracks are still pretty consistent though, and nothing feels completely out of place or forced. It┤s music that takes a bit of getting used to though, and to my ears the growling vocals (which are actually higher pitced and aggressive rather than deep and growling) are slightly monotone and could easily have prospered from more variation (and a higher place in the mix).

Upon conclusion "The Formulas of Death" is a very bold move by Tribulation, which could have sunk their career by alienating their fans, but as far as I understand it┤s an album which has received almost universal praise. And it┤s obvious why. The songwriting is simply on a higher level than on most contemporary releases on the scene and paired with strong musicianship, and a very well sounding production, "The Formulas of Death" ultimately comes off as a very high quality release. There are a few issues like the ones mentioned above and the too long playing time is also a slight issue, but other than that it┤s a great release for fans of innovative/progressive old school death metal with a psychadelic twist and a 4 star (80%) rating is deserved.

 Diluvium by OBSCURA album cover Studio Album, 2018
4.08 | 5 ratings

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Diluvium
Obscura Tech/Extreme Prog Metal

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

4 stars OBSCURA in a way carried on the interesting cross-pollinating potentials of Necrophagist after guitarist Christian Muenzner jumped ships and brought forth his virtuosic neoclassical shredding skills infused within the sensibilities in a death metal context. While Muenzner would move on to crank out some solo releases as well as hook up with various bands such as Spawn Of Possession, Paradox, Alkaloid and Eternity's End, OBSCURA retained a great deal of the his influence, that being the delicate balance of tech death metal bombast with the reverie of classic progressive rock. Throughout OBSCURA's history only founder Steffen Kummerer has remained the glue that keeps the band together but somehow through thick and thin he has proved to be quite the director of the ever rotating cast of stunningly brilliant musicians who cross paths with him. On OBSCURA's fifth studio album DILUVIUM, a new lineup is in play with Tom Gelschlńger taking up guitar duties following Rafael Trujillo's departure after "Akrˇasis."

Tech death metal in the 21st century is an increasingly complex beast with bands spiraling out in all kinds of directions and often fizzle out into unrecognizable territory and alienating the extreme metal fanbase before latching onto something tangible to grasp onto. OBSCURA has been the exception to this rule with each following album getting more focused and tighter than the last. While the band started out more as a simple brutal death metal band, their progressive tendencies ratcheted up to the point where "Akrˇasis" seemed like the band could go full-on prog but on DILUVIUM, they dial back the prog aspects a bit and instead hammer out some extremely heavy and tight death metal delivery with more direct riffing, more recognizable song structures that remind a bit of Necrophagist with easier to follow compositions that only judicially exercise the meandering tendencies into more complex departures. DILIVIUM is the final album of the four album concept series following "Cosmogenesis" (2009), "Omnivium" (2011) and "Akrˇasis" (2016).

As "Clandestine Stars" abruptly begins DILUVIUM, it's clear that OBSCURA aren't wimping out as they mature but rather place their wisdom in better musical constructs rather than less intensity however this album isn't afraid to experiment or continue bold and daring bouts into the progressive metal world in the least. The opening track announces the bombastic return of Germany's premier tech death metal band with a vengeance but soon begins the welcome contrasting sounds by incorporating some cool coded vocals that i personally haven't really heard since Cynic's debut "Focus" all the way back in 93, well at least not as well incorporated into a heavier metal sound and not just for one track but the coded vocal effects find their way scattered throughout the entire album. Unique for the band and the album for that matter is the track "Ethereal Skies" which utilizes some symphonic effects in the from of cello, violin and other string arrangements but don't worry - this track is still a brutal beast with the full death metal bravado, neoclassical guitar wankery with the string arrangements simply adding a bit of ambience and a few moments in the spotlight.

DILUVIUM simplifies the compositional constructs a bit and there are less meanderings into the arcane prog world which the previous two albums dived into, however simplicity is not in OBSCURA's vocabulary and new forms of complexity emerge with the riff changes, Sebastian Lanser's technical drumming craziness as well as Linus Klausenitzer's excellent fretless bass workouts. The return of V. Santura's excellent production skills guarantee a continuation of the beautifully mixed subtleties that marry the sensuality and aggressiveness fitting for a 21st century extreme metal album. All of this is great news for those who dislike long drawn out bouts of spaced out sonic surfing into the sonicsphere and eschew the heavyhead banging bombast that fans of this stuff are utterly addicted to. Being both a proghead as well as a metalhead, i do not prefer one or the other finding both styles compelling but something about DILUVIUM screams seasoned metal band reaching new heights of glory.

After five albums, OBSCURA shows no signs of slowing down or toning down the ferocious intensity. Instead the band is more focused by cranking out precisely cut progressively tinged tech death metal candy like there is a bottomless wellspring of creative energy to be tapped. As i see it, OBSCURA is playing the cards exactly right. There is always the tendency for a techie band to go for the jugular and continue the journey into the inaccessible for the average fan but on the other extreme the temptation to tame the music down so much for greater exposure can mean that it becomes tediously inane. OBSCURA on the other hand simply changed the equation around a bit by not jettisoning any of their signature traits but merely rationed them in more intelligent proportions. The result is perhaps the most balanced album of their career, one that walks the tightrope between the tech death and progressive metal that they have juggled throughout their career. While some may like this more or less than the previous albums, i simply find this to be yet another satisfying edition to a solid canon of intelligently designed sci-fi fueled tech metal that satisfies from beginning to end. Well done, guys.

 Si Monumentum Requires, Circumspice by DEATHSPELL OMEGA album cover Studio Album, 2004
3.75 | 55 ratings

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Si Monumentum Requires, Circumspice
Deathspell Omega Tech/Extreme Prog Metal

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

4 stars The term "black metal" was simply born as a title of the 1982 Venom album who was one of metal's first bands to venture into a more ambitious extreme new world but like Rosemary's baby was just a mere sprout that morbid and fertile imaginations would transmogrify into the harsh and ugly wave of extreme metal that began in Scandinavia. While bands like Hellhammer and Celtic Frost nurtured this evil spawn through the toddler years, it was a fast learner and soon the Swedish band Bathory would unleash the first true black metal with its trademark fast tempos, shrieking vocals, heavily distorted buzzsaw guitars and tremolo picking. Originally the style began as more as a Pagan based rebellion against religious intolerance but soon it would attract a second wave of followers who would take it to absolute extremes.

Once the floodgates were opened, a whole legion of imitators followed and this extreme form of metal splintered into myriad directions. Atmospheric with ambient keyboard use, industrial black, war black, Viking, blackgaze and even hybrids with death metal and many other non-metal genres. The great evolutionary diversification splintered with subject matter ranging from hostile misanthropy, anti-Christian sentiments, Pagan folklore, romantic Gothic tales and depressive hopelessness. While bands like Mayhem, Darkthrone, Satyricon, Emperor and Gorgoroth frightened the masses with their cacophonous din with some even having burned down a few churches in their wake, these face painted miscreants were more focused on adolescent angst and shocking appearances as the rebellious antithesis of Christianity rather than delving into the philosophical theology of true Satanism.

DEATHSPELL OMEGA were a part of this legion of imitators with two albums that sounded like countless others based in the second wave of black metal with their second album "Inquisitors Of Satan" sounding like it easily could've been slipped into the Darkthrone canon and no one would've thought twice about it. As if Satan himself had selected this mysterious and anonymous French ensemble, the band emerged from a rather generic epigone to one of the most experimental and intellectually developed outfits within the entire black metal universe. On their third album SI MONVMENTVM REQVIRES, CIRCVMSPICE (Latin for "If You Seek His Monument, Look Around You,) DEATHSPELL OMEGA launched the first of a trilogy of albums that focused on the Theistic Satanist's perspective and one that ostentated that Satan is pervading every aspect of the physical and metaphysical universe and that Man's relationship with Him should be one of reverence and devotion.

While lyrically entranced in Satanic metaphysics in a liturgical presentation, stylistically the works are heavily influenced by the 20th century French philosopher Georges Bataille. Musically DOS evolved significantly beyond the second wave tritone dissonance into a sophisticated progressive black metal band that utilized wide varieties of stylistic shifts interspersed with unpredictable time signature changes and even incorporated complete deviations from metal altogether into Gregorian chants that take references from the Christian Bible and fully invert them as heard on the beginning "First Prayer" that finds backmasking wrapped around the liturgical sermon. The album, like true Satanic ideologies, is rife with symbolism both visually in the album cover and liner notes but also with the juxtaposition of Christian philosophies with dark arts metaphysics. This is the real deal. A musical experience so dark and heavy that it makes Anton LaVey's Church Of Satan look like a skit with the Church Lady on 80s Saturday Night Live.

SI MONVMENTVM REQVIRES, CIRCVMSPICE is a very long album. At 77 minutes and 47 seconds it was intentionally designed to mimic the structure of progressive rock double albums from the 70s with each fictitious side opening with a prayer with an additional lengthy devotion occurring with the eleven minute plus "Carnal Malefactor." While the album doesn't let up in its intensity for one second, the diverse elements that flow through manage to keep even the most attention span deprived metalhead from bouts of ennui. While segments flow and find repetitive segments of structure, the band's approach is to change the instrumentation subtlety and also at time startlingly abrupt, by offering up new riffs, new drumming patterns or vocal rants. At times the band plays together as a cohesive unit in traditional black metal fashion but more often offers up the most avant-garde and mind bending displays of angular dissonance and progressive bombast. The overall impression of this album is that of a black mass from a fly on the wall perspective.

DEATHSPELL OMEGA took the entire metal world by storm with SI MONVMENTVM REQVIRES, CIRCVMSPICE, having created one of the most thought provoking and musically mysterious metal albums of the ages. This is the kind of blackened art album with the sophistication of great classical composers with every composition, production value and lyrical utterance casting a darkened cloud over the world and twisted into an unholy irreverence in an antithetically aligned manner that goes far beyond a flaming vitriol for Christianity but rather ups the game to become its equal. While DEATHSPELL OMEGA could be viewed as a pseudo-intellectual cauldron of mumbo jumbo, there is no denying that their craft has mastered the art of Christian inversion to its logical conclusion and utilized its own contradictory Biblical passages against it with a thoughtful and peremptory authority. While cleverly presented, DEATHSPELL OMEGA, the newfound masters of the great Satanic theological soundtracks hadn't quite attained perfection as it would on the follow-up "Fas ? Ite, Maledicti, in Ignem Aeternum," but it's pretty damn close.

4.5 but rounded down

 Sorceress by OPETH album cover Studio Album, 2016
3.73 | 389 ratings

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Sorceress
Opeth Tech/Extreme Prog Metal

Review by The Crow
Prog Reviewer

2 stars Twelfth album from one of my favorite prog-metal bands!

And after the mediocre Heritage and the better Pale Communion, my expectations with Sorceress were high. In addition, the band said that this album would be heavier and harder. That is not necessary if the quality of the music is fine, but's that was like a comeback statement. Moreover, that is always interesting.

But to my surprise, Sorceress is an strange and convoluted album which mixes ideas of the two previous works with some heavier influences from the past. And that makes the harder songs like Chrysalis and Era sound just wrong! We have riffs from the past, but without the growls and a Mikael trying to sound high pitched, like a some kind of Dio impersonator... Just wrong and inadequate.

I rather prefer the Pale Communion style, where the band improved the work made in Heritage despite being faithful to their new style. Sorceress is a sad failure in my opinion and a clear step back in their career.

Conclusion: Sorceress have some good ideas, a pair of good songs and great instrumentation, but it's overall a rather mediocre album only recommended to die hard fans the Opeth's last stage.

Best Tracks: The Wilde Flowers (Heritage style but better), Strange Brew (prog and cool) and Spring MCMLXXIV (very 70's prog rock with great Hammond organ)

My rating: **1/2, rounded down to two stars.

 Automata II by BETWEEN THE BURIED AND ME album cover Studio Album, 2018
4.25 | 26 ratings

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Automata II
Between The Buried And Me Tech/Extreme Prog Metal

Review by tempest_77

5 stars Automata II is definitely the better half of the Automata series. There's a lot more variation in the sounds and it feels more explorative than the first record, including what sounds like a banjo on the opening track. The album is also less heavy handed in the death metal realm than Automata I, with few blast beats, and more melodic and/or innovative passages behind the death metal vocal sections.

"The Proverbial Bellow" is the longest track in the Automata series at almost 13 and a half minutes. It's a sprawling piece with great energy and diversity, and opens with a heavy riff backed by organ, almost reminiscent of Haken on The Mountain. The opening section is carried up and down varying levels of energy, before finally breaking into a blast beat part in classic Between the Buried and Me fashion. The whole opening sequence of this piece is one of the greatest moments of either album, as it brings in new energy but maintains their classic sound. This song really shows some great exploration, with a whole section that sounds quite like Porcupine Tree in their psychedelic moments. It's filled with exhilarating guitar riffs, and an energy that flows between the constantly changing grooves. The death metal sections are still more prominent than on Coma Ecliptic, but the overall sound is still more melodic than their earlier albums. Definitely a high point in the Automata series, and the most progressive in terms of extended and detailed composition, though that's pretty much due to its length. The energy comes down near the end into a beautiful soft piano section, over which Tommy Rogers' distant voice emotionally sings, "Please pick up / Pick up the phone / It's been ringing." This section releases into a full band, melodic chorus, similar to some of Spock's Beard's choruses. The chorus leads into a heavily composed section, with odd time signature riffs doubled between two guitars, and reinforced by the organ?again showing some similarity to Spock's Beard?before shifting back to 4/4 for a guitar solo. Waggoner does a great job combining the technical side of the solo with true feeling, echoing solos like Tosin Abasi's on Tempting Time. The solo ends with a seemingly abrupt break of militaristic snare drum, similar to the end of California ▄ber Alles, only much much shorter, before the band crashes into a final hit for the ending. The organ sustains its chord, and fades into...

"Glide" is a very quirky piece; it's an carnival/cabaret style song that starts with an accordion section. It shifts to a more laid-back piano section, backed by organ, and then repeats both, this time with added percussion and vocals. It's a short piece, but it serves as a wonderful prelude to the next song, as it switches to an upbeat swing feel at the end, and segues into...

"Voice of Trespass," clocking at 8 minutes, is the weirdest song on either Automata record, and also probably my favourite. Imagine a swing song from a musical. Then add death metal. That's Voice of Trespass. The song starts with the same feel as the end of Glide, but with a heavy down-tuned guitar leading the way. Complete with a horn section and a classic swing turnaround, the intro comes down into a more traditional feel, with hi-hat and bass filling the space. When the piano comes in at the top of the verse, it almost feels like flat out swing, but snarl in Rogers' vocals reminds us that this is the heaviest swing song we've ever heard. It's reminiscent of The Dear Hunter's Act II and Act III, where Casey Crescenzo mixes jazz, swing, tango, and more into the band's post-hardcore-tinged progressive rock. And that's just the first half of the song. The second half of it switches into a straight 4/4 section with another blast beat part, and eventually comes down into slow, heavy, doom metal-esque section. It's a great release of tension after the whole piece has constantly kept moving under the relentless swing feel. The vocals in this section recall the previous Automata record ("We are hollow / Condemned to the gallows"). The song ends with double time section that reintroduces the horn section, and eventually climaxes with the drums adding a rapid double bass part to the beat. With its heavy riffs and hit sections every four bars, its almost reminiscent of Thank You Scientist, another post-hardcore/prog rock that fuses their sound with jazz, particularly funky jazz fusion. The song ends with an distorted ambient section of people's voices under a piano part. The piano holds a final chord, which leads into the drum build up for...

"The Grid" starts out with a melodic section, similar to the end of "The Proverbial Bellow". The death metal is quickly introduced, and before the energy drops briefly, they mix the two together for an interesting effect. The first half of the song features a few brief mid-volume sections with a lot of tension, reminiscent of verses in certain Tool or TesseracT songs, combined with the band's melodic death metal sections, along with a few melodic clean vocal choruses. The first part of "The Grid", just under 6 minutes long, is definitely the least explorative part of the record, in the sense that it is most similar to their previous material on Automata I and Coma Ecliptic. That's not necessarily a bad thing, though: there's a reason Between the Buried and Me are a progressive death metal band. The second melodic chorus closes out the first section of the song, as the second section starts with an acoustic guitar alone, setting a significant contrast from the first part. A piano and clean electric guitar come in, reinforcing the acoustic, as do the vocals, with the final line of the song, "We are in this together," sung for the first of several times. The drums build up and come in, playing a swung 4/4 (or just 12/8, who knows) feel, but they come in with just the bass?no distorted guitars?indicating the beginning of a gradual and dramatic build up. The harmonies and backing vocals come in, along with atmospheric strings, until, almost at the 8 minute mark, the lead guitar finally comes in, with Waggoner playing another wonderfully emotional solo, even better than the one in "The Proverbial Bellow", which is harmonised by Waring. The song climaxes and comes to a final crash, clocking in just under 10 minutes, with the guitar sustaining and ending the album with snarly distortion fading out. The ending is the only part of the album I thought wasn't the strongest; I think they should have brought in the rhythm guitar and extended the ending from where the acoustic guitar started. They had an opportunity to make it really anthemic and epic, which I think they missed a bit. However, being a progressive death metal band, ending with an atmospheric section like that, which is almost reminiscent of some of Plini's earlier, less heavy work, is a bold move, which I have to commend them for.

All in all, I think the two albums are really at their best when they are combined into a single entity; the dark, heavy, and undeniably death metal first record needs somewhere to release its energy, and it feels much more satisfying to have all of that tension and aggression pour out on the second record. The story doesn't feel as short, and the sounds on the two albums compliment each other wonderfully. I would definitely recommend anyone interested in the Automata series to consider them one album, and to listen all the way from the first record through this one.

While Automata II isn't perfect, I thought it was much better as an individual record than Automata I was. I gave Automata I 4 stars, and while Automata II isn't a solid 5 on it's own, I'm giving 5 stars anyways, because it definitely deserves an extra star over the first record, and when combined, the whole series is quite a masterpiece. I'd say Automata II is probably about a 4.4/5, and if the whole series were one record it would probably be a 4.6/5.

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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
ACRIMÍNIA Poland
ACROSS THE SUN United States
ADEIA Netherlands
THE ADVENT EQUATION Mexico
AEOLIA United States
AEON OF HORUS Australia
AERODYNE FLEX United States
AGARTHA United States
AGE OF SILENCE Norway
AGHORA United States
AINMATTER United States
ALARUM Australia
ALCHEMIST Australia
ALGOPHOBIA Italy
ALKALOID Germany
ALL DREAMS DYING Finland
ALLEY Russia
ALTERA ENIGMA Australia
THE AMENTA Australia
AMOGH SYMPHONY India
AN ISLE ATE HER United States
ANATA Sweden
ANCIENT Norway
ANCIIENTS Canada
ANGEL OF DISEASE Georgia
ANGEL VIVALDI United States
ANGMAR France
ANIMALS AS LEADERS United States
ANOMALY United States
ANSUR Norway
THE ANTIKYTHERA MECHANISM United States
APRIL ETHEREAL Poland
ARCTURUS Norway
ARKAN France
ARRHYTHMOGEN United States
ARTCELL Bangladesh
ARTIFICIAL BRAIN United States
AT WAR WITH SELF United States
ATEM Finland
ATHEIST United States
ATROPHIA RED SUN Poland
ATRORUM Germany
AUGURY Canada
AUTOCATALYTICA United States
AXAMENTA Belgium
AZURE EMOTE United States
BABYLON SAD Switzerland
BARING TEETH United States
BARREN EARTH Finland
BECOMING THE ARCHETYPE United States
BEHEADED ZOMBIE Russia
BEHOLD...THE ARCTOPUS United States
BELIEVER United States
BELTANE Germany
BETWEEN THE BURIED AND ME United States
BEYOND CREATION Canada
THE BINARY CODE United States
BISBAYE Canada
BLACK SUN AEON Finland
BLOTTED SCIENCE United States
BLUTMOND Switzerland
BORGIA France
BORKNAGAR Norway
BORN OF OSIRIS United States
BOTCH United States
BURGUL TORKHA¤N 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
COMA CLUSTER VOID United States
CONTEMPLATOR Canada
CONTINUO RENACER Spain
THE CONTORTIONIST United States
CONTRARIAN United States
CONTROL DENIED United States
CONTROL HUMAN DELETE Netherlands
COPROFAGO Chile
CORAM LETHE Italy
COUNTER-WORLD EXPERIENCE Germany
CRANIUM United States
CROWPATH Sweden
CRYPTODIRA United States
CUBICAL SPHERE Greece
CYCLAMEN United Kingdom
CYNIC United States
DAATH United States
DARK HERESEY United Kingdom
DARK MILLENNIUM Germany
DE PROFUNDIS United Kingdom
DEAD LETTER OPENER Australia
DEATH United States
DEATH MACHINE United States
DEATHROW Germany
DEATHSPELL OMEGA France
DELTA CEPHEID Germany
DEMILICH Finland
DEMIMONDE Czech Republic
DEMONIC RESURRECTION India
DESCEND Sweden
DEVIUS Argentina
DIABOLICAL MASQUERADE Sweden
THE DILLINGER ESCAPE PLAN United States
DIMESLAND United States
DIONAEA United States
DIORAMIC Germany
DIREWOLF United States
DISEMBARKATION Canada
DISFIGURING REALITY Canada
DISHARMONIC ORCHESTRA Austria
DISILLUSION Germany
DISKORD Norway
DIVINITY Canada
DODECAHEDRON Netherlands
DěDHEIMSGARD 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
EXTREMITIES Netherlands
F Finland
THE FACELESS United States
FALLUJAH United States
FARMAKON Finland
FEARSCAPE Australia
FLESHGOD APOCALYPSE Italy
FLOODLINE United States
FLOURISHING United States
FORCES AT WORK Germany
FORGOTTEN SILENCE Czech Republic
FORNOST ARNOR United Kingdom
FRANTIC BLEEP Norway
FROM A SECOND STORY WINDOW United States
FROM THE EMBRACE United States
GERYON United States
GIGAN United States
GLADIATOR United States
GOJIRA France
GOLLUM / HADEA United States
GORGUTS Canada
GOROD France
LE GRAND GUIGNOL Luxembourg
GRIS Canada
GUILLOTINE India
GWYNBLEIDD United States
HAAR United Kingdom
THE HAARP MACHINE United Kingdom
HACKSAW TO THE THROAT United States
HACRIDE France
HANGING GARDEN Finland
HATED Russia
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
INFAMIA Italy
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
K─LTER Canada
KATABASIS Australia
KATHAARSYS Spain
KETHA Poland
KHONSU Norway
KING GOAT United Kingdom
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
LIZARD PROFESSOR United States
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
MOEBIUS Italy
MONOGONO Portugal
MOON OF SOUL Hungary
MOONLOOP Spain
MOONSORROW Finland
MOONSPELL Portugal
MORBUS CHRON Sweden
MROCTOPUS Portugal
MURMUR United States
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
NUX VOMICA United States
NYIA Poland
OBLOMOV Czech Republic
OBSCURA Germany
OBSIDIAN Netherlands
OCEANS OF SADNESS Belgium
OCEANS OF SLUMBER United States
OCRILIM United States
ONCE THEM EDENS Greece
ONTOGENY United States
OPETH Sweden
ORAKLE France
ORGONE United States
ORTHRELM United States
OSIRIS Netherlands
OTHERS BY NO ONE United States
OUTCAST France
OWL Germany
PAEAN Estonia
PAINTED IN EXILE United States
PANDEMONIUM Sweden
PENS╔ES NOCTURNES France
PERIHELION SHIP Finland
PERSEFONE Andorra
PESTILENCE Netherlands
PHLEBOTOMIZED Netherlands
PIAH MATER Brazil
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
Q'UQ'UMATZ 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
RIVERS OF NIHIL United States
ROLO TOMASSI United Kingdom
LA RUMEUR DES CHA╬NES France
JORDAN K. RUSH United States
SADIST Italy
SAMMATH NAUR Poland
SCHAMMASCH Switzerland
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
SKIZMA Finland
SLEEP TERROR United States
SLUGDGE United Kingdom
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
SUNLESS United States
SUNSET IN THE 12TH HOUSE Romania
SUPER MASSIVE BLACK HOLES Canada
SUPURATION France
DAN SWANÍ 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
UR DRAUGR Australia
VACANTFIELD Greece
VALBORG Germany
VAZIMBA Madagascar
VEHEMENTER NOS France
VEKTOR United States
VENENUM Germany
VIATROPHY United Kingdom
VIELIKAN Tunisia
VILDHJARTA Sweden
VINTERSORG Sweden
VOIVOD Canada
VOKYL Bulgaria
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
THE WORLD IS QUIET HERE United States
WRATH AND RAPTURE United States
WRVTH United States
XANTHOCHROID United States
XERATH United Kingdom
YYRKOON France
THE ZYGOMA DISPOSAL Belgium

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