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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 | 1276 ratings
STILL LIFE
Opeth
4.25 | 1300 ratings
BLACKWATER PARK
Opeth
4.24 | 1210 ratings
GHOST REVERIES
Opeth
4.26 | 627 ratings
PALE COMMUNION
Opeth
4.26 | 356 ratings
CRIMSON
Edge of Sanity
4.24 | 410 ratings
SYMBOLIC
Death
4.38 | 116 ratings
OBSCURA
Gorguts
4.22 | 431 ratings
FOCUS
Cynic
4.25 | 244 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.31 | 134 ratings
THE CONGREGATION
Leprous
4.24 | 214 ratings
NOTHINGFACE
Voivod
4.23 | 223 ratings
ELEMENTS
Atheist
4.24 | 152 ratings
OM
Negura Bunget
4.18 | 276 ratings
HUMAN
Death
4.23 | 137 ratings
DIMENSION HATROSS
Voivod
4.14 | 429 ratings
TRACED IN AIR
Cynic
4.15 | 327 ratings
THE SOUND OF PERSEVERANCE
Death
4.15 | 255 ratings
TALL POPPY SYNDROME
Leprous
4.18 | 177 ratings
ISA
Enslaved
4.19 | 153 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.29 | 80 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.15 | 222 ratings
INDIVIDUAL THOUGHT PATTERNS
Death
4.23 | 104 ratings
THE OUTER LIMITS
Voivod
4.48 | 41 ratings
ELVENEFRIS
Lykathea Aflame
4.08 | 503 ratings
CRACK THE SKYE
Mastodon
4.14 | 184 ratings
THE SHAM MIRRORS
Arcturus
4.15 | 155 ratings
THE WAY OF ALL FLESH
Gojira
4.33 | 53 ratings
KIVENKANTAJA
Moonsorrow
4.21 | 79 ratings
COLORED SANDS
Gorguts
4.10 | 168 ratings
THE PARALLAX II: FUTURE SEQUENCE
Between The Buried And Me
4.25 | 61 ratings
VISIONS FUGITIVES
Mekong Delta
4.09 | 143 ratings
THE MACHINATIONS OF DEMENTIA
Blotted Science
4.06 | 172 ratings
AXIOMA ETHICA ODINI
Enslaved
4.06 | 176 ratings
AFTER
Ihsahn
4.03 | 256 ratings
COAL
Leprous
4.02 | 296 ratings
COLORS
Between The Buried And Me
4.04 | 208 ratings
ANIMALS AS LEADERS
Animals As Leaders
4.10 | 100 ratings
THE FRAGILE ART OF EXISTENCE
Control Denied
4.17 | 62 ratings
VIIDES LUKU - HÄVITETTY
Moonsorrow
4.07 | 115 ratings
EXIVIOUS
Exivious
4.01 | 219 ratings
THE GREAT MISDIRECT
Between The Buried And Me
4.18 | 56 ratings
LAZARUS BIRD
Burst
4.07 | 108 ratings
VERTEBRAE
Enslaved
4.19 | 52 ratings
DEATH OF A DEAD DAY
Sikth
4.01 | 176 ratings
RIITIIR
Enslaved
4.18 | 52 ratings
SONGS OF DARKNESS, WORDS OF LIGHT
My Dying Bride
4.05 | 113 ratings
CONTROL AND RESISTANCE
Watchtower
4.04 | 114 ratings
PORTAL OF I
Ne Obliviscaris
4.08 | 84 ratings
BELOW THE LIGHTS
Enslaved
3.94 | 1039 ratings
DAMNATION
Opeth
3.94 | 963 ratings
WATERSHED
Opeth
4.20 | 45 ratings
AT THE DREAM´S EDGE
Chimp Spanner
4.64 | 17 ratings
EMBODIMENT
Sculptured
4.08 | 76 ratings
SPHERES
Pestilence
4.79 | 14 ratings
COMA ECLIPTIC
Between The Buried And Me
4.02 | 112 ratings
KILLING TECHNOLOGY
Voivod
3.95 | 344 ratings
BILATERAL
Leprous
3.99 | 147 ratings
FROM MARS TO SIRIUS
Gojira
3.99 | 146 ratings
WEIGHTLESS
Animals As Leaders
4.42 | 23 ratings
NESPITHE
Demilich
3.92 | 595 ratings
MY ARMS, YOUR HEARSE
Opeth
4.09 | 62 ratings
CYBION
Kalisia
4.15 | 46 ratings
THE TREES ARE DEAD & DRIED OUT WAIT FOR SOMETHING WILD
Sikth
4.07 | 66 ratings
CORTICAL TECTONICS
Canvas Solaris
4.00 | 105 ratings
ANGEL RAT
Voivod
4.00 | 101 ratings
RUUN
Enslaved
4.17 | 40 ratings
THEN COMES AFFLICTION TO AWAKEN THE DREAMER
Twisted Into Form
4.12 | 49 ratings
BURIED IN OBLIVION
Into Eternity
4.03 | 76 ratings
FAS - ITE, MALEDICTI, IN IGNEM AETERNUM
Deathspell Omega
3.96 | 151 ratings
CHAOSPHERE
Meshuggah
4.04 | 69 ratings
ENERGETIC DISASSEMBLY
Watchtower
4.07 | 58 ratings
PENUMBRA DIFFUSE
Canvas Solaris
4.10 | 49 ratings
BLACK FUTURE
Vektor
4.13 | 44 ratings
VERISÄKEET
Moonsorrow
4.23 | 30 ratings
SUPERVILLAIN OUTCAST
Dødheimsgard
4.01 | 76 ratings
THE ADVERSARY
Ihsahn
4.18 | 34 ratings
SHIN-KEN
Persefone
4.05 | 57 ratings
MONUMENSION
Enslaved
4.20 | 30 ratings
666 INTERNATIONAL
Dødheimsgard
4.00 | 67 ratings
INK COMPLETE
Spastic Ink
4.20 | 28 ratings
FEEDING THE ABSCESS
Martyr
4.67 | 12 ratings
MEPHISTO LETTONICA
Neglected Fields
4.53 | 14 ratings
CITRINITI
Citriniti
4.24 | 24 ratings
SPIRITECH
Alchemist
4.20 | 26 ratings
THE AURA
Beyond Creation
3.86 | 273 ratings
LEVIATHAN
Mastodon
3.83 | 1005 ratings
HERITAGE
Opeth
4.22 | 22 ratings
TORN BETWEEN DIMENSIONS
At War With Self
4.55 | 12 ratings
PREY ON LIFE
Burst
4.69 | 10 ratings
AS THE ROOTS UNDO
Circle Takes The Square
4.28 | 19 ratings
WARP ZONE
Martyr
4.02 | 43 ratings
LIMINAL
Exivious
3.88 | 140 ratings
LA MASQUERADE INFERNALE
Arcturus
4.03 | 40 ratings
CELESTIAL LINEAGE
Wolves in the Throne Room
3.93 | 66 ratings
INK COMPATIBLE
Spastic Ink
4.01 | 42 ratings
TWO HUNTERS
Wolves in the Throne Room
4.71 | 9 ratings
RESPLENDENT GROTESQUE
Code
4.19 | 21 ratings
IN HARMONIA UNIVERSALI
Solefald
3.97 | 47 ratings
IRRADIANCE
Canvas Solaris
3.96 | 51 ratings
THE WEIGHT OF OCEANS
In Mourning

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

A THIN LINE BETWEEN HEAVEN AND HERE
My Bitter End
THE DESIGN
Into the Moat
OM
Negura Bunget
THE HINDERERS
Daath

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Latest Tech/Extreme Prog Metal Music Reviews


 Morningrise by OPETH album cover Studio Album, 1996
3.72 | 576 ratings

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Morningrise
Opeth Tech/Extreme Prog Metal

Review by AndyJ

4 stars Opeth's 'Morningrise' was one of the cornerstone albums of my teenage years, and was the single album which put me on the path to becoming a progressive rock lover. When I first heard this album I was seventeen years old, I'd just started college and was already obsessed with heavy metal; but apart from the odd progressive Iron Maiden track I hadn't really ever heard progressive music before. I didn't even know there was such a thing as progressive music, focused entirely as I was on a love of heavy metal. Anything that wasn't fairly rigid and well defined heavy metal held little interest for me.

Morningrise changed all of that, in a big way. At the time I thought this was such a ground-breaking record, I'd never heard anything like it before and was under the impression that Opeth were totally one-of-a-kind. Little did I know at the time that Opeth were drawing heavy inspiration from the progressive rock bands of the 1970's that I had yet to encounter in my life. Oh the ignorance of youth!

Of course Morningrise is still at its heart predominantly a metal album. But its also a progressive rock album, at times. And there in lies the beauty of this record, it features a melding of extreme death metal with acoustic interludes, occasional folk leanings and progressive rock sensibilities. Mikael Åkerfeldt delivers his vocals in death metal growls as well as softly sung melancholic tones. The songs on the album transition through a wide range of emotions and styles, from full on death metal all the way through to pastoral acoustic music. As an album it holds your attention well throughout.

The difficultly I have in reviewing this album is that the album is tied up so closely to my teenage memories, and the sense of musical discovery that this album unlocked in me at the time. Fifteen years after first hearing this record I am writing the review for it - but its entirely subjective and coloured by my memories of teenage years and groups of friends sitting around listening to this album.

My heart tells me that this is a five star record, but my brain tells me this is a three star record. In trying to remain unbiased towards this album and reviewing it as honestly as I can then yes, this album does have its flaws. The production is fairly shallow and lacking a lot of dynamic range which would feature on later Opeth albums. The song writing at times feels forced with some of the transitions and some of the songs do tend to meander along without direction from time to time. Opeth definitely wrote better albums after this one, such as the phenomenal 'Blackwater Park'.

But to this day I still listen to this album semi-regularly, perhaps once a month. And if an album can sustain my interest for fifteen years as Morningrise has done then it deserves no less than four stars.

 Colors by BETWEEN THE BURIED AND ME album cover Studio Album, 2007
4.02 | 296 ratings

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Colors
Between The Buried And Me Tech/Extreme Prog Metal

Review by Wicket
Prog Reviewer

5 stars Ok, I'll admit this first off the bat; I discovered BTBAM through Guitar Hero thanks to "Prequel To The Sequel", so according to some people that means I'm not a diehard fan.

Since then, though, I decided to actually buy (buy! when we can just torrent!) all their albums since and will also do so for Coma Elliptic when that is released soon.

Now, I am a fan of some pretty heavy metal. Steel and iron, for two, say. But if it ain't got some melody, unusual shape or form, electronics or epic symphonic strings and choir, or doesn't tell a story, count me out. That means you, Cannibal Corpse.

But BTBAM was different. Even in Alaska, you could just tell that wanted to go bigger. They wanted to tell stories, explore melodically and technically. They wanted to do something no one else had ever done before.

And dear god did they get the recipe right with this.

Looking back on this album now, at times it seems a bit one dimensional compared to their later offerings, but their execution was no less than spectacular. "The Backtrack" provides a nice soft opening which leads to a blistering opening in "The Decades Of Statues". Even though The Great Misdirect and the Parallax discs have a bit more of a sophisticated structure (for lack of a better term), "Colors" still is one of their heaviest offerings. Right away, though, I feel a little bit of disappointment in Tommy Rogers' vocal work. It seems very minimalistic, more of a hypnotized drone than real singing or crooning which he flexes in later albums, which is a shame, because their cover album "The Anatomy Of One" proved he does have some golden pipe chops.

Oh yeah, I got off track. Long story short, "Decades Of Statues" is a [%*!#]ing bludgeoning sledgehammer.

But then "Informal Gluttony" rings in with a gong and some sort of tribal ritual drum and chant kinda stuff. Once the main theme of this song kicks in, then you realize this is no ordinary album. Time signatures are getting mashed, chords are going all freaky like, and Blake Richardson puts on one of the most fantastic chop tracks I've ever heard out of a drummer (and his setup isn't as outlandish as you might think for a metal drummer, he only uses about 4-5 toms.) And after another fine fill, "Sun of Nothing" introduces to us a now familiar staple of their repertoire, a long double-digit track with short introductory heavy section, then a longer softer section, followed by a reprise of the heavier section to close out the track. By "Future Sequence", it becomes predictable, but still nevertheless enjoyable.

This track also gives our first taste of their wacky side roughly 3 and a half minutes, with Richardson rocking out a jazz riff, vocal rhythmic stuff and is that a chorus of laughing babies in the background?

Before long though, the heavy breakout returns and the W&W of metal (Waggoner and Waring) introduces us to the nice happy theme in the middle, before it disappears again under another sheet of BRUTAL. And then BTBAM takes another 360 degree turn to some nice acoustic riffs followed by a very Latin-y drum groove, before Rogers introduces us to the "floating towards the Sun of Nothing" chorus, and then after a big melodic chorus, the screaming returns right behind frankly one of the juiciest melodic licks and phrases I've ever heard, building tension behind another amazing Richardson fill right before "Ants Of The Sky", where the actions literally doesn't take a break, and keeps right on chugging along. Between these two songs, I first heard just how well you could integrate huge heavy phrases between segments of beautifully orchestrated arpeggiated 7th and 9th chords. Then the nice waltzy theme of Ants comes in right before the instrumental breakdown with Rogers rocking the rock organ sound.

Honestly though, "Ants Of The Sky" is one of my favorite BTBAM tracks ever. It just flows so beautifully together like a giant finished puzzle piece, even the section where it flows into the obviously-not-Pink-Floyd-influenced-guitar spot and the rock organ power chords laying down the back beat. Clearly though, before this, technical mastery of multiple genres in a single track was possible, and was done, but just not this smoothly, this elegantly, dare I say. There's even an odd sort of neo-classicism in the high, melodic guitar licks as well. Very structured and ordered. Same as "Sun", in the middle the heavy stuff gives way to a softer buildup with Richardson on the toms, and Rogers crooning possibly the best melody on the disc behind some quite epic power chords. Hands down one of, if not the best track on the album. It really feels like a Shakespearean epic, where the big climax is in the middle of the story.

And of course no epic track can be complete without an homage to an old west bar/saloon with crashing bottles and a nice little acoustic solo, right before the Ants theme returns in epic, happy-mode fashion, which of course segues into the peoples favorite, "Prequel To The Sequel".

Of course, I'm a sucker for that intro melody, was and probably always will be. It's a unique melody, one that can't, and never will be duplicated, which is why it will always be one of the best ever, and what separates good bands from the great bands. Oddly enough, though, this song seems to stray a bit from the norm, as after that main melody plays, it's straight up onslaught from there on out. Although I really like that chugging buildup that ends the track on the Guitar Hero section, I still feel that it's out of place, and kinda feels cut-and-paste when the weird, pirate-y accordion section kicks in.

Also, I still can't figure out who screams at this last section. It's obviously someone else because Rogers is also the typical screamer correct? The sharp contrast behind his typical growling and this high pitched shriek is actually brilliantly done in the closing breakdown, before the song's 2nd theme returns in another cut-and-paste feel again. Perhaps that's why this song never caught onto me like it did everyone else.

Lastly, the obligatory soft (interlude?) "Viridian" resets the table for quite an epic climax in "White Walls", my 2nd favorite off the album. Once again, it's structured in that heavy-soft-heavy format that's become a staple of their repertoire now, as variations on the track's theme recur throughout, before the soft section comes in and Rogers' monotone recital during the buildup is absolutely chilling. Everything about the tempo, the chords, the singing, the melody, the overlapping harmonies, is simply perfectly timed. Something about this section before the growls and the break come in is just mesmerizing, undoubtedly the sound of what a climax to an epic album should sound like. And one last breakdown, a big (roughly) 3 minute finale rings out in true rock star fashion before it all fades to black and Rogers on the keys returns to finish where the album started.

Now, to sum up the album as a whole piece. Is it perfect? Absolutely not. There are parts in the composition that just sound like they would've worked off better in the head then it does through the ears. Frankly though, that's just a small minor detail in the larger cog of this album. What this album represents is something much greater than the sum of its parts. This is the definitive album that shows that melody and technicality can live together in a crazy progressive, death metal smoothie of some kind. Sure, other bands have been doing this for years before, but none have sounded quite as smoothly as when BTBAM recorded "Colors. Sure, listening like Cynic or Electrocution 250 was quite ear-opening, but BTBAM did something amazing, something that no other band has done before or done since, really.

It just... sounded right together.

When dabbling into the world of progressive music, there are undoubtedly moments in time where you hear a phrase and while praising the audacity to perform it, you also think "Gee, that, could've sounded much better". Even though there were some cut-and-paste moments in this album, it was also transparent, so much so that it felt like it was exaggerated so much to the point of sheer idiocy (the laughing babies section in "Sun", for example).

Nevertheless, it established something crucial for BTBAM that they strived for years; an actual identity. BTBAM actually kinda sotra hit the mainstream with "Colors" (which is why I heard it on Guitar Hero, or was it Rock Band? I forget). It almost defies logic; "You can't go mainstream with a concept album that's essentially one hour-long song!"

And yet somehow they did it. And their experience in making Colors has gone on to help refine that strategy to produce The Great Misdirect, Parallax 1 & 2 and Coma Elliptic (which I REALLY hope isn't a more conservative approach to their style, Parallax II is the [&*!#]).

So if you really think more techy-prog metal isn't right for you, try cracking into "Ants Of The Sky", "White Walls" or "Obfuscation" off the Great Misdirect. You just might find that a nice blend of melody and brutally might just wear off on you. It did me, and it took nearly 5 listens of "Colors" in its entirety before I was completely sold on the band. Every time you listen to BTBAM you discover something new.

Honestly this album was a game-changer. Someone send to a metal hall of fame or something!

 Inquisitors of Satan by DEATHSPELL OMEGA album cover Studio Album, 2002
2.32 | 18 ratings

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Inquisitors of Satan
Deathspell Omega Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars While DEATHSPELL OMEGA's second album INQUISITORS OF SATAN has been totally overshadowed by the releases that follow for good reason, it is by no means a waste of time checking out this album. While the debut showed an extremely talented band doing their best second wave lo-fi version of Darkthrone from the decade prior, this second release shows a major step up in the evolution of their sound. Far from the formidable behemoths of black metal beginning with the very next album, but hints of what's to come.

The music itself is that good old school, raw and nasty mix of distorted buzz saw guitar riffing that becomes one with the bass to render the two indistinguishable, a frenetic drum workout complete with blastbeats and high quality raspy vocals to die for. This is a transition album between the primitive debut and the highly developed follow-ups. This album shows the debut of DEATHSPELL OMEGA's propensity of alternating styles. While most of the tracks would feel at home on Darkthrone's "Transylvanian Hunger," there are many departures into purely black rock 'n roll where it feels like hell has gone to the 50s prom and just wanted some good time music from the past. The distortion and overall sound is the same but the contrast between the black metal sound and the old time feel is stark.

I guess i like this one a bit more than most. It hosts their long time fascination with Satanic metaphysics and shows a leap closer to the jangly dissonant progressive workouts they would hone into perfect. While not as spastic and unpredictable as the famous trilogy beginning with "Si Momvmentvm Reqvires, Cicvmspice" the seeds have been sown in an unholy place for them to fester into the great beast that would come. An enjoyable slice of lo-fi brutality if i do say. While hardly essential, i do not find this to be banished to the collector's only bin because i actually really dig listening to this one for the amazing performances on board.

 Lifesblood by MASTODON album cover Singles/EPs/Fan Club/Promo, 2001
3.04 | 16 ratings

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Lifesblood
Mastodon Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Progressive death sludge, anyone? Yeah? Then check out LIFESBLOOD, the very first release by MASTODON. This is the first official release preceding 'Remission' by a year but like that debut LP it's a massive molten heap of hot, sludgy brutality. This EP only contains five tracks that are just shy of the 16 minute mark, but this little beast does not disappoint, that is if you love your metal fast, brutal and raw. Think Behemoth meets Neurosis here, only with the progressive leanings of a much more sophisticated band like early Atheist. While the the vocals are brutal, growly and tortured, the music is equally brutal but sophisticated and unrelenting and most of all shows MASTODON with a unique progressive style of metal from the very first track.

Like many, i didn't hear this one until after all the full-length albums. I never hold out any hopes for these early releases but i have to admit that with MASTODON it's the early brutal beasts that rock my world the most. Brann Dailor is the star here showing us from the start that he is one of the fastest technical drummers in the universe. He claims his playing was developed from playing with the guitars instead of the bass as most metal bands tend to. Whatever the case, wow! I can hardly ignore the excellent guitar and bass work of the rest of the band. Every player is top notch and the passion pits are flowing here living up to the name of the giant extinct mammal after which they are named.

While this EP isn't essential, i would argue that the tracks on it are. They are also available these days on the 'Call Of The MASTODON' compilation albeit without the movie track samplings that begin the tracks on the original, which has become quite the rare collectible only having been produced limited numbers. If you love MASTODON at their most aggressive and unpolished then you will love this one. I swear this even blows 'Remission' away. Not even close to as polished as the later works but satisfying for its raw beastly brutality nonetheless. LIFESBLOOD is an excellent slice of progressive death sludge metal in my world.

 A Umbra Omega by DØDHEIMSGARD album cover Studio Album, 2015
3.65 | 7 ratings

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A Umbra Omega
Dødheimsgard Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "A Umbra Omega" is the 5th full-length studio album by Norwegian progressive extreme metal act Dødheimsgard. The album was released through Peaceville Records in March 2015. It´s the successor to "Supervillain Outcast" from 2007, so there´s been quite gap in time between the two releases. If you look back in the band´s discography that´s not unusual though as there was an 8 year gap between the release of "666 International (1999)" and "Supervillain Outcast (2007)" too. A recording output of 3 albums in 16 years isn´t exactly prolific, but main man behind the project Vicotnik (real name Yusaf Parvez) has been busy with other projects like Code and Naer Mataron, and "A Umbra Omega" also features an almost completely revamped lineup compared to the lineup who recorded "Supervillain Outcast (2007)". Actually the only remaining member from the lineup of the predecessor is Vicotnik. Lead vocalist Kvohst has been replaced by a returning Aldrahn though (Dødheimsgard singer in the period 1994-2004), so there is at least one more familiar face in the lineup on "A Umbra Omega".

Dødheimsgard has been Vicotnik´s project for the last many years though, so while "A Umbra Omega" doesn´t sound like neither "666 International (1999)" nor "Supervillain Outcast (2007)" (or any of their early releases for that matter), it´s still unmistakably the sound of Dødheimsgard. The twisted and abstract take on extreme metal which draws influences from as diverse musical styles as avant garde, progressive rock/metal, black metal, thrash metal, death metal, and industrial metal (and even a touch of goth) is quite unique.

Where "Supervillain Outcast (2007)" typically comprised of "regular" length tracks with recognisable vers/chorus structures (although still quite adventurous), "A Umbra Omega" is a very different kind of beast. 6 tracks and a full playing time of 67:10 minutes means that all tracks, except the short intro track "The Love Divine", are over 10 minutes long and two of them are even close to 15 minutes in length. All tracks disregard regular vers/chorus structures, and almost no sections are repeated twice during any track. So the tracks are long continuous journeys and quite complex in structure. They are not instantly catchy like some tracks on the predecessor, and require many spins before they settle, and even then they are quite hard to tell apart. In fact the whole album feels more like one long track divided into chapters/suites, than seperate tracks.

Stylistically we´re treated to an avant garde/progressive take on black/extreme metal, with quite expressive and paatos filled vocals in front (sometimes black metal raspy and other times howling and deranged). The whole thing comes off as a dark and twisted theater piece. The avant garde approach to singing occasionally sounds a bit constructed to me, and to my ears Aldrahn was a lot more convincing on "666 International (1999)".

"A Umbra Omega" is well produced, and the musicianship is also on a high level, so it´s a high quality release on most parameters. The long tracks with almost no reoccuring sections is an innovative and progressive move by Dødheimsgard, but it´ll probably divide the band´s listeners. Personally I´m a bit biased as I usually praise innovation and boldness in music, but on the other hand there´s little here which makes me feel like I´ve listened to an album that is on par with their two previous releases, and overall "A Umbra Omega" does feel like a step down for the band. A 3.5 - 4 star (75%) rating is still deserved, and if you´re able to appreciate the way the material is constructed that rating should probably be slightly higher.

 Testimony of the Ancients  by PESTILENCE album cover Studio Album, 1991
3.72 | 37 ratings

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Testimony of the Ancients
Pestilence Tech/Extreme Prog Metal

Review by VOTOMS

5 stars Review n' 234

Behold... Pestilence found a keyboardist!!!

The late 80s/early 90s were very important to the acceptance of the extreme metal music towards the progressive rock fans, adding technical, progressive and fusion tendencies to the most brutal bands. There were a wide range of bands already playing progressive metal without a 10-20 minutes epic (ex. Monstrosity), but, as you can see/hear, most of death metal bands uses technical riffage and unusual/complex song structure, bearing the "progressive" in it's meaning without being recognized as prog if the tracks aren't lenghty enough. Fortunatelly there were some records to apply the lacking fanservice elements to a regular prog listener, like Pestilence did with Testimony of The Ancients: similar to Edge of Sanity early releases, this album is still pure death metal (different than the next record Spheres, which felt down into proggy prog metal), although it had the power to be called progressive. For me, everything starts with Dan Seagrave cover art, a master of dark surreal/sci-fi area. Well, some could say the band was following the steps by Death and Atheist. It doesn't change the relevance of the album. Kent Smith symphonic keyboards addition to Pestilence here is epic. After every standard track there's a short instrumental/symphonic segue summoning a dreamy fear, as a catastrophical nightmare. The sound keeps aggressive but isn't so brutal. The guitar solos are melodic and catchty, while the musical chords were well chosen and the surreal atmosphere evokes deep feelings.

No they weren't a group of rebel kids just playing hateful music without meaning. At least not anymore.

 The Anhedony Domain by SAMMATH NAUR album cover Singles/EPs/Fan Club/Promo, 2009
3.00 | 1 ratings

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The Anhedony Domain
Sammath Naur Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "The Anhedony Domain" is the 2nd official release by Polish black/death metal act Sammath Naur. It's a 4 track, 17:04 minutes long EP released independently by the band in May 2009. Sammath Naur was formed in 1999 and released their debut full-length studio album "Self-Proclaimed Existence" in 2005.

The music on three of the tracks on the EP is symphonic black metal with melodic death metal elements. The track "Pyrrhic Beat" is a short ambient synth track. The songwriting is intriguing but not exactly original. The lack of originality is compensated for with the strong musicianship and the well sounding production and overall "The Anhedony Domain" is a quality release by Sammath Naur. The omnipresence of orchestrated synths provide the band's sound with an epic quality, but the music is actually quite dynamic and there are more raw stripped down parts on the EP too. The vocals vary between raspy black metal type vocals and deeper death metal growling.

So despite the fact that Sammath Naur don't bring much new to the table, "The Anhedony Domain" is still a worthwhile release and a 3.5 star (70%) rating is deserved.

 In Times by ENSLAVED album cover Studio Album, 2015
3.82 | 39 ratings

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In Times
Enslaved Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "In Times" is the 13th full-length studio album by Norwegian progressive extreme metal act Enslaved. The album was released through Nuclear Blast Records in March 2015. Enslaved has for the last many albums had a steady touring/recording cycle of two years between studio albums, but "RIITIIR (2012)" was quite the successful release for the band, and they have toured heavily in suppport of the album, so the recording break was a bit longer this time around.

It hasn't resulted in a rushed album written under pressure though as "In Times" comes off exactly as well written and detailed as any other album released by Enslaved. Compared to it's predecessor "In Times" features a few more black metal oriented sections (though not a dominant part of the album), but other than that it's pretty much a natural sounding successor to "RIITIIR (2012)". So the music style is still epic sounding progressive oriented black metal with norse mythology/viking themed lyrics. The songwriting is generally of a very high quality with relatively harsh black metal sections (especially the opening track "Thurisaz Dreaming" features some pretty raw and fast-paced black metal sections) seamlessly intertwined with progressive rock/metal parts, and mid-paced epic metal sections. Keyboards, synths, mellotron, heavy riffs, tremolo picking, melodic guitar solos, clean/harsh vocals (and a few viking chants), and good rhythmic variation are some of the elements which make up the music. The tracks feature natural progressions, which never sound forced or calculated, and that's a great strength when writing and playing music as progressive inclined as this. By now Enslaved masters this art to perfection.

"In Times" features 6 tracks and a full playing time of 53:05 minutes. All 6 tracks are around 8-9 minutes long and in the case of the title track nearly 11 minutes long, so all tracks are given room to breathe and time to develop. Again this doesn't sound calculated but sounds more like it's a question of where the compositions led the band while they were writing them. The adventurous and playful approach to writing material is also reflected in the obvious passion behind the delivery. It's hard to single out any particular tracks as highlights, as they are all great in their own right, but I'd still like to give a special mention to "Building with Fire", which is an unusually melodic track, with a soaring and easily memorable melody line in the clean sung vers. The melodic vers is complimented perfectly by the relatively brutal chorus featuring growling vocals, which provide the music with a death metal touch. The epic title track deserves a mention too as a highlight.

"In Times" features an organic, powerful, and overall very well sounding production. A perfect match for the music, and upon conclusion "In Times" is a high quality release on just about every measurable parameter. Despite the progressive nature of the music, it's an album which feels slightly more predictable than it's predecessor though and in the end I'm not left as surprised as I was when I first listened to "RIITIIR (2012)". That doesn't make "In Times" an inferior release to "RIITIIR (2012)", but the surprise element, which often means an artist has developed their sound a bit more than usual between albums, and which sometimes elevates an album from being brilliant to being a masterpiece creation, isn't present on "In Times". Quality wise it's just as great as "RIITIIR (2012)" though and fans of the sound on that album will probably greatly appreciate the sound and music style on "In Times". A 4.5 star (90%) rating is fully deserved.

 20th Adversary Of Emptiness by DEMILICH album cover Boxset/Compilation, 2014
5.00 | 3 ratings

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20th Adversary Of Emptiness
Demilich Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Just when you thought DEMILICH had lived up to their band name and transported themselves to another plane of existence, they return on this 20th anniversary release celebrating the release of their one and only full album "Nespithe." Here they have unleashed upon us a remastered boxed set of their entire output in a way that every band should. 20TH ADVERSARY OF EMPTINESS is a nightmare come true containing not only the remastered rerelease of "Nespithe" but also the four demos completely remastered as well: "Regurgitation Of Blood," "The Four Instructive Tales... Of Decomposition," ...Somewhere Inside The Bowels Of Endlessness..." and "The Echo." It wouldn't be a proper box set without a few new tracks unavailable anywhere else and they include three new tracks called the "Vanishing Sessions" from their brief comeback in 2006.

The double disc set i possess is chock full of detailed liner notes including an interview with DEMILICH founder and head deviant Antti Boman. The package is also lavishly graced with an entirely new album cover depicting the same grotesque world as seen on "Nespithe" The new cover is also from Turkka Rantanen but worry not for the original "Nespithe" cover is on the inside of the packaging obscured only by CD1 upon which it exists. The remastering job is excellently done and breaths new life into the 20 plus year recordings making them sound fresh and dynamic. Box sets rarely get the job done as well as this one. Not only is this the perfect one-stop shop to acquire DEMILICH's entire output but they also released several collectors items such as a 3LP set limited to 1000 copies with 150 on transparent blood red vinyl, 350 on transparent gloomy green vinyl and 500 on good old-fashioned black vinyl. Maybe not quite as exciting as a full-fledged new album but a perfect release of this unique band's entire history.

 Nespithe by DEMILICH album cover Studio Album, 1993
4.42 | 23 ratings

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Nespithe
Demilich Tech/Extreme Prog Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars After releasing four solid demos, DEMILICH solidified their technical death metal approach by evolving from the old school death metal similar to Bolt Thrower to the full-fledged progressive death metal band they would become on their first and only full-length album NESPITHE. The band is basically the brainchild of vocalist and guitarist Antti Boman who formed the band in Kuopio, Finland in1990. The band name DEMILICH comes from the Dungeons & Dragons game. A lich in the game is a spell caster seeking to defy death through magical means and a DEMILICH is a lich that exists long enough to reach a point in its evolution where it turns away from the physical realm and accesses other planes of existence. The title NESPITHE shows Antti Boman's love of world play as it is simply an anagram of "The Spine." This wordplay also finds its way into some of the tracks like "Erecshyrinol" which once the letters are switched around becomes "No Lyrics Here."

One of the most striking and immediate differences with DEMILICH in contrast to every other metal band out there is the immediate effect of the vocals. Antti Boman went somewhere few others in all of music go by employing extremely low gurgled vocals. This is called the vocal fry register and is the lowest of all vocalizations. Despite the evil sounding nature of this technique, it is used rarely in different genres ranging from gospel to country music but has found a more suitable home in its extreme forms in various forms of metal music with DEMILICH taking this to the utmost extreme where Antti sounds like he's gurgling his own blood or vomit or something equally disgusting! However once you've inured to the vocals which are the most immediate difference from death metal contemporaries, it is really the technical wizardry of the instruments and song structures that stand out. The instrumental prowess of Mikko Virnes' drumming is the backbone or the spine or NESPITHE of the entire musical flow. His bizarre rhythms and jazz-tinged lightning fast drum rolls provide the perfect canvass for the guitar riffs and bass lines to build some highly technical death metal that can sound alienating upon first listen but i have found it to be addicting. The song structures provide plenty of surprises and unpredictability while staying firmly in the death metal camp complete with heavy riffing, blastbeats, Morbid Angel type soloing and, of course, macabre and deranged subject matter!

NESPITHE is simply a wild and aggressive romp through the darkest and most forboding sonicscapes one can think of. DEMILICH successfully takes you into another world on NESPITHE that matches the intensity of the hellacious album cover (no matter which one you may encounter). The alienating vocals mixed with the aggressive dissonant and inapposite instrumentation is a successful recipe that rewards the progressive rock aficionado while satisfying the most extreme head banger in the metal music universe. This is a rare combination for the individuals who love complexity and have a craving for challenging music that requires repeated listens to decipher. NESPITHE is one of those rare technically constructed extreme metal albums that ranks high on my list of classic masterpieces that employs progressive techniques, high speed aggression and atmospheric escapism. I personally have never had a problem with the gurgled vocals. One of the things that puzzles me is how complacent the metal community can be as a whole, preferring to worship consistency and musical complacency rather than rewarding true artistic deviations from the norm. Perhaps this was too much too fast for some but for me NESPITHE sits high on my list as one of the most innovative extreme metal albums of the ages. As with the previous demos you can find NESPITHE on the digitally remastered compilation "20th Adversary Of Emptiness" which includes every single thing the band ever recorded.

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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
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CARBONIZED Sweden
CARCARIASS France
CASTEVET United States
CEPHALIC CARNAGE United States
CEREBRUM Greece
CHAOS DIVINE Australia
CHIMP SPANNER United Kingdom
CIRCLE OF CONTEMPT Finland
CIRCLE TAKES THE SQUARE United States
CIRCLES Australia
CITRINITI Italy
COBALT United States
CODE Multi-National
COLD NIGHT FOR ALLIGATORS Denmark
COLLAPSAR United States
CONTINUO RENACER Spain
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
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
INITIAL POINT United States
INQUISITOR Lithuania
INTERVALS Canada
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ION DISSONANCE United States
IRON THRONES United States
ISLAND Germany
THE ISOSCELES PROJECT Canada
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RON JARZOMBEK United States
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JOURNAL United States
KADENZZA Japan
KALISIA France
KÄLTER Canada
KATABASIS Australia
KATHAARSYS Spain
KETHA Poland
KNIFE THE GLITTER United States
KOBONG Poland
KRALLICE United States
LASCAILLE'S SHROUD United States
LAST CHANCE TO REASON United States
LAZER/WULF United States
LEPROUS Norway
LEVI / WERSTLER United States
THE LEVITATION HEX Australia
LIQUID GRAVEYARD Spain
THE LOCUST United States
LOINCLOTH United States
LOVE HISTORY Czech Republic
LUX OCCULTA Poland
LYKATHEA AFLAME Czech Republic
MADDER MORTEM Norway
MANTRIC Norway
MARTYR Canada
MASTER'S HAMMER Czech Republic
MASTODON United States
MEANS END Sweden
MECHANISM Canada
MEGACE Germany
MEKONG DELTA Germany
MELTINGAZE Germany
MEMFIS Sweden
MENCEA Greece
MESHUGGAH Sweden
METALMORPHOSIS Poland
MINDWORK Czech Republic
MONOGONO Portugal
MOON OF SOUL Hungary
MOONLOOP Spain
MOONSORROW Finland
MOONSPELL Portugal
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
ORGONE United States
ORTHRELM United States
OSIRIS Netherlands
OUTCAST France
OWL Germany
PAINTED IN EXILE United States
PANDEMONIUM Sweden
PENSÉES NOCTURNES France
PERSEFONE Andorra
PESTILENCE Netherlands
PHLEBOTOMIZED Netherlands
PICA FIERCE Norway
PITBULLS IN THE NURSERY France
PORTAL Australia
PRIMO VESPERE Italy
PROJECT 13-5 Germany
PROTEST THE HERO Canada
PSYCROPTIC Australia
PSYOPUS United States
PYRRHON United States
QUO VADIS Canada
RAM-ZET Norway
RANDOM Argentina
RANDOM MULLET Finland
RAZOR WIRE SHRINE United States
THE RED CHORD United States
RED SEAS FIRE United Kingdom
RED TIDE United States
REFLUX United States
RENAISSANCE Belgium
REQUIEM AETERNAM Uruguay
RETARDED NOISE SQUAD Germany
REVERENCE France
REX MUNDI Greece
RIPPED United States
ROLO TOMASSI United Kingdom
LA RUMEUR DES CHAÎNES France
JORDAN K. RUSH United States
SADIST Italy
SAMMATH NAUR Poland
SCHOLOMANCE United States
SCLERA Australia
SCULPTOR Serbia
SCULPTURED United States
SERDCE Belarus
SERIOUS BEAK Australia
SHADOWS LAND Poland
SHINING Sweden
SICMONIC United States
SIKTH United Kingdom
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
T.O.O.H.! Czech Republic
TAINE Romania
TALANAS United Kingdom
TARAMIS Australia
TARDIVE DYSKINESIA Greece
TENEBRIS Poland
TERMINAL FUNCTION Sweden
TEXTURES Netherlands
THANTIFAXATH Canada
THEORY IN PRACTICE Sweden
THOLUS United States
TORRENTIAL DOWNPOUR United States
TREEBURNING Canada
TRINACRIA Norway
TWISTED INTO FORM Norway
ULCERATE New Zealand
UNCROSSED Russia
UNDEFINED Spain
UNEVEN STRUCTURE France
THE UNIVERSE DIVIDE United States
UNMOORED Sweden
UNREAL OVERFLOWS Spain
VALBORG Germany
VAZIMBA Madagascar
VEHEMENTER NOS France
VEKTOR United States
VIATROPHY United Kingdom
VIELIKAN Tunisia
VILDHJARTA Sweden
VINTERSORG Sweden
VOIVOD Canada
VORTICE Spain
VUVR Czech Republic
WANZWA United States
WATCHTOWER United States
WETWORK Canada
WHAT'S HE BUILDING IN THERE? Canada
WILD HUNT United States
WINTERSUN Finland
WITHERSCAPE Sweden
WITHIN THE RUINS United States
WOLVES IN THE THRONE ROOM United States
WRATH AND RAPTURE United States
XANTHOCHROID United States
XERATH United Kingdom
YYRKOON France
THE ZYGOMA DISPOSAL Belgium

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