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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

4.31 | 1494 ratings
STILL LIFE
Opeth
4.25 | 1437 ratings
GHOST REVERIES
Opeth
4.25 | 1540 ratings
BLACKWATER PARK
Opeth
4.36 | 154 ratings
OBSCURA
Gorguts
4.26 | 427 ratings
CRIMSON
Edge of Sanity
4.24 | 494 ratings
SYMBOLIC
Death
4.27 | 253 ratings
NOTHINGFACE
Voivod
4.26 | 284 ratings
UNQUESTIONABLE PRESENCE
Atheist
4.19 | 495 ratings
FOCUS
Cynic
4.23 | 250 ratings
ELEMENTS
Atheist
4.20 | 385 ratings
THE SOUND OF PERSEVERANCE
Death
4.27 | 166 ratings
DIMENSION HATROSS
Voivod
4.16 | 975 ratings
PALE COMMUNION
Opeth
4.25 | 171 ratings
OM
Negura Bunget
4.17 | 336 ratings
HUMAN
Death
4.39 | 71 ratings
KIVENKANTAJA
Moonsorrow
4.21 | 172 ratings
BACK TO TIMES OF SPLENDOR
Disillusion
4.17 | 252 ratings
THE PARALLAX II - FUTURE SEQUENCE
Between The Buried And Me
4.33 | 81 ratings
DEATH'S DESIGN
Diabolical Masquerade
4.12 | 480 ratings
TRACED IN AIR
Cynic

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

THE AURORA VEIL
Ne Obliviscaris
MEASURING THE ABSTRACT
Terminal Function
CORTICAL TECTONICS
Canvas Solaris
WARRING FACTIONS
Ansur

Latest Tech/Extreme Prog Metal Music Reviews


 Crack The Skye by MASTODON album cover Studio Album, 2009
4.08 | 579 ratings

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Crack The Skye
Mastodon Tech/Extreme Prog Metal

Review by Sinusoid
Prog Reviewer

5 stars My familiarity with Mastodon began in 2012 when I knew they were a big thing in heavy metal at the time but wasn't familiar with their body of work. Flash forward 6 years, and I've grown more well-versed in their work. Enough to figure out kind of a pattern. Every one of their albums seems to slip at some point with a mediocre or forgettable riff that tends to ruin the flow of the album. I don't know quite what it is, but every time I listen to a Mastodon album, some part of it tends to daydream and dips in quality making the album lesser than what it could be given the power and talent of the band.

Every album except this one. This is an all-killer, no-filler album and their magnum opus.

If you want to know why Mastodon is considered a progressive metal band, Crack the Skye is the definitive argument. They've made epics before, experimented with time signatures and toyed with lofty concepts before, but not in the grand scale like this before or since. By far, it is one of the most cinematically epic sounding ablums the genre has given the world, and it matches the ridiculous concept.

To give you an idea of the storyline behind the album, the first track along describes an Icarus situation (winged man flies too close to the sun which melts his wings, but with a umbilical cord in this case) crossed with astral projection that ends up falling into a black hole. Later on in the story, the title character ends up in Imperialist Russia possessing Rasputin. It is mammothly absurd, and if the music didn't hold up the pretense of the story, this would have been a disaster.

That's where the majore success of Crack the Skye lies. It's hard to describe the riffs on the album as anything other than cinematic. The lower-end riffs that stay true to the band's sludge metal roots are as delightfully mucky as ever, always melodious even with the distortion well up. Still, there are plenty of higher pitched guitar lines that balance perfectly with the swampy bottom. Special mention goes to drummer Brann Dailor for being the most obviously virtuoso musician on the album as barely a song goes by without a crazy fill, yet he always seems to find a way to keep the rhythm in check so the drumming performances stay clear of over-indulgence. There are your traditional guitar solos speckled throughout the album, but the songs are pieced together so well that the solos are merely icing on the cake as opposed to the main course. The command of tempo is worth mentioning as (the secret word of the review is "balanced") the band is able to balance out slower, shuffling songs with more breakneck metal songs. The epics can either have excellent, smooth tempo changes or chug the riffs faster to fool the listener.

Prog fans will find more solace in the two longer epics ("The Czar" and "The Last Baron"), but every song is a gem. There's a great contrast of shorter, to-the-point statements you can listen to repeatedly in one sitting mixing in with the larger scale epics to feel like a full listening experience. It's what makes "The Last Baron" far more enjoyable. As a stand-alone song, it's still great, but there's something about listening to it after going through the rest of the album that magnifies the piece. Great albums can make their closing statement that much better when the journey to get to it is equally captivating. It feels so fulfilling to go through the whole album and to hear the swinging tempo at the end.

Without question, this is one of the greatest progressive metal albums to hit the mainstream market. If you want a full 45-minute epic metal gorgefest or need a solid riff or five to headbang to, get Crack the Skye. This is way above the pedestal of sameness that modern metal often gets chided for. If you love progressive metal, this should not be missed. A masterpiece without question.

 Clairvoyant by CONTORTIONIST, THE album cover Studio Album, 2017
4.15 | 28 ratings

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Clairvoyant
The Contortionist Tech/Extreme Prog Metal

Review by Fenris

2 stars In my opinion the new album from The Contortionist is very far from being progressive rock. It has some odd twist and turns and the song structures are more adventurous than your average pop or heavy rock song. But in terms of melodies, creativity in the instrumentation and the overall commercial and polished mainstream sound it resembles nu metal and post rock more than progressive rock. All the while the songs does some interesting things with time signatures, very often the vocal parts parts come off as pretty plain and straight forward, and a lot of the rhythm guitar feels generic. Like many other bands of today they incorporate progressive elements around what basically are pop songs. The musicianship is very good throughout the record, and the vocalist does a good job in contrasting the heavier guitars with a softer and cleaner expression. But, my main issue with this is that I feel that I've heard this so many times before from other bands.

All in all I'd say that this album and band has the potential to break into a big commercial market, but I would never label it progressive rock or progressive metal.

 E by ENSLAVED album cover Studio Album, 2017
4.35 | 14 ratings

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E
Enslaved Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

5 stars Enslaved's latest release is E, as in "E bah gum, in't this one a beauty?" Once again it's sure to confound genre classification nerds (is this progressive black metal or blackened progressive metal), since like much recent Enslaved material it sits right on the dividing line, but what's particularly impressive is how Enslaved have been able to heighten both sides of that equation whilst still retaining the balance.

The prog is more progressive, the blackened parts are dark as a moonless night, and the dabblings in folk have lured Einar Kvitrafn of Wardruna out of the depths of the Dark Folk Forest to come and make little contributions here and there. In short, it's exactly the sort of frothing, Viking-themed genre cocktail that we've come to expect from Enslaved, but the taste is stronger and richer and more delicious than it's been for a while - and that's a high bar to hit considering their usual excellent standards.

 In Times by ENSLAVED album cover Studio Album, 2015
3.80 | 68 ratings

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In Times
Enslaved Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

4 stars Ah, Enslaved. Are they purveyors of progressive black metal, or blackened progressive metal? They've wavered back and forth across that line over the years, but In Times to my ears sounds like it's sat on the progressive metal side of that line, largely consolidating the embellishments and improvements they'd made to their sound on albums like RIITIIR. The more aggressive and recognisably black metal-oriented compositions tend to be front-loaded to the start of the album, so as the runtime progresses you get less snarly blast beats and more progressive shoegaze-y sort of stuff.

It's unfailingly pleasant to listen to, but it doesn't do anything we haven't heard Enslaved already extensively dabble in. If you just want more Enslaved - and I can't fault your taste if you do - it's no disappointment, but it's not where I'd point people as a first port of call to explore their music.

 Nothingface by VOIVOD album cover Studio Album, 1989
4.27 | 253 ratings

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Nothingface
Voivod Tech/Extreme Prog Metal

Review by Luqueasaur

5 stars Farewell, thrash my love... for I now am progressive: 9/10

Beginning with the simplicity of speed metal, the Canadian band VOIVOD developed a lot through its musical journey, being able to output something as complex as NOTHINGFACE. It is certainly less abrasive than its predecessor, DIMENSION HATR'SS, yet, simultaneously, harbors a much more technical style. This happens because NOTHINGFACE is more equally balanced on its progressive and thrash metal proportions, differently than its predecessor which visibly weighs to the latter's side.

In fact, this is VOIVOD's most significant release for the fact it demarked the band's entrance into progressive metal properly. Easily observable materialistically: fluid shifts of time signatures and intricate rhythms permeate the album; experimentative usage of dissonant chord progressions - which have always been the band's watermark - is intensified; a crystallization of VOIVOD's unique storytelling, coupling it with unusual song structures; there is even a track influenced by the Igor Stravinsky's THE RITE OF SPRING. Technicality? Check. Experimentation? Check. Unconventional song structures? Check. Classical influence? Check. Objectively, NOTHINGFACE is progressive.

Departing from this satirical "objectivity" analysis and going to more subjective waters, I'd say that VOIVOD in certain aspects reminds me of MEGADETH. Both initiated their trajectory as speedy and abrasive bands; both developed - especially on a technical level - astoundingly and were important enough to be part of a "Big Four"; both have two magnum opuses (PEACE SELLS/RUST IN PEACE and DIMENSION HATR'SS/NOTHINGFACE) where the first is rawer whereas the second is more polished and widely revered as superior, and both bands kick ass like hell. I consider both bands' first magnum opus better (I like their crude aggression). Both vocalists have pretty similar timbres but, unlike Mustaine, Denis B'langer actually knows how to sing (not like this makes him better, I love Mustaine's sloppy and ducky vocals) and in many moments seems to mimic the American thrasher. Both second magnum opuses offer legendary and catchy riffs but, unlike MEGADETH, VOIVOD's have an absolutely lackluster amount of solos and when they happen are weak (it sounds like alternative metal at best, Denis. Where's DIMENSION HATR'SS' shredding and spectacular harmonic pinching?).

Aside from the scarce amount of solos, another complaint I found whilst listening to NOTHINGFACE is that, in a certain way, the songs sound a little too similar. I think the issue lies in melody because rhythmically/structurally/lyrically they are individually unique and easily distinguishable from each other.

But hell even this wasn't enough to prevent me from headbanging vigorously to NOTHINGFACE's several anthems like I didn't do in a long, long time. If you're looking for quality, slightly eccentric, technically impressive (impressive, not mind blogging) and mildly extreme metal, look no further. NOTHINGFACE, which lies in the frontier between progressive and thrash, will suffice to appease your thirst - and make you headbang like a nut.

 Clairvoyant by CONTORTIONIST, THE album cover Studio Album, 2017
4.15 | 28 ratings

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Clairvoyant
The Contortionist Tech/Extreme Prog Metal

Review by ingmin68

5 stars "Clairvoyant" - a great music prog metal work, varying from more intricate parts to ,catchy mellower "songs (almost-pop, in a good term)", to minisuites. Great vocals - similar in approach to Echolyn ones, though maybe with a little less extension. The sound and production quality is top-notch - a highly enjoying listening experience on cloud speakers or earphones The intro of Monochrome with thunderous-heavy drum beat led me to think about a tech/extreme metal (not my cup of tea)...but it's just a good misleading initial trick: from there the music expands and get mellower ...in the vein of Pain of Salvation. Then just transition well into "Godspeed" fast intro - energic and upbeat song. From here on, you've treated with a continuously different set of music, with the catchy "Reimagined" The top-class "Clairvoyant" uses some of Maudlin-of-the-Well-like heavy chords, then evolves again from min.4:00 to a milder section and then brilliant section with great guitar, keyboard and vocal harmonies, full-band feast of great music. All next songs continues to surprise and show off moment of great musical ideas (ex. the intro of Relapse - remind of something from Riverside). I'm just finishing with the ending "Mochorome (pensive)" - a superbmini suite-slow building till the epic final - I do love these pieces...

Recap: no doubt - one the candidates for Best Album of the 2017. "The contortionist" Bravi, indeed!! 5 stars? Maybe on 9/10 would fit better

 The Best of Atheist by ATHEIST album cover Boxset/Compilation, 2017
5.00 | 1 ratings

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The Best of Atheist
Atheist Tech/Extreme Prog Metal

Review by aglasshouse

— First review of this album —
5 stars Ever wanted to own a major chunk of Atheist's discography without needing to purchase 2005's The Collection for upwards of $60? Fear not, a solution is here!

After seven long years following Atheist's last studio album Jupiter, the band finally decided to digitally release their first ever compilation album to date- and what a compilation it is! In true-to-form fashion Atheist grab the most sonically insane and cosmic songs from their studio albums (as well as a live version of 'Mother Man' from Live At Wacken 2009) in a massive 22-track corpus. Forthright this puts The Best Of leagues ahead of other death metal contemporaries' works like Death's Best Of in '92 or Nile's Legacy of the Catacombs in '07, granted both rather good releases, simply from the vastness of the song selection. Especially considering Atheist's relatively small discography, 90 minutes of pure action may seem a bit hefty at first, but for only $10 (roughly ?8.50 for you Europeans) from Bandcamp it is a fairly free-and-easy deal compared to another compilation that would front you the same price but with half the content.

This album is a perfect introductory release for beginners and also a good pickup for familiars. The only gripes I have with it are the fact that there's no physical release, because I prefer lending actual tangible material to a hypothetical beginner depending on the circumstances, and the fact that my favorite song 'Why Bother?' from Piece of Time is not present. Maybe they took the title a bit too literally?

 Lazarus Bird  by BURST album cover Studio Album, 2008
4.18 | 58 ratings

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Lazarus Bird
Burst Tech/Extreme Prog Metal

Review by ElNapalmo

4 stars Swedish band Burst is back with a new studio record. Three years after the last delivery, they return with a strong opponent for the amazing debut "Origo". Instead of playing safe and recording an "Origo Pt. 2", the quintet focused on composing "Lazarus Bird," a more mature and technical album, with lots of interesting details. If the confirmation had already been made with the previous album, "Lazarus Bird" is the step forward (or indeed, two steps forward, I would say). They are more progressive, more psychedelic, more attractive. The chaos / calm duality, strength / fragility, heavier sound / melody, remains present and undoubtedly omnipresent in this new collective effort. And I really mean collective effort because the whole band is at a higher level. The voice is much more versatile; the guitars are fabulous with superb riffs / solos / melodies; the rhythm section is powerful but always with that progressive and technical side. The fusion of Hardcore, Metal, Progressive Rock and Psychedelic Rock will please fans of Opeth, Mastodon, Porcupine Tree, Anathema, Amorphis, Isis, The Mars Volta, Botch or Coalesce, among others. Very good!
 Clairvoyant by CONTORTIONIST, THE album cover Studio Album, 2017
4.15 | 28 ratings

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Clairvoyant
The Contortionist Tech/Extreme Prog Metal

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars This Indiana-based band has matured and, if truth be known, mellowed over the seven years they've been recording and releasing excellent Metal-oriented heavy Prog albums, but this is their best. They have mastered individual restraint and understated performances in favor of group chemistry, group composition, and seductively gorgeous heavy prog music. Simply stunning.

1. "Monochrome (Passive)" So many creative computer/Hal 9000/synth openings on this album, of which this is the first. As it amps up into heavy guitar and bass distortion it fits! It works. Then the song settles into a softer, almost nujazz groove, with some great guitar and keyboard interaction. I haven't heard this creative and innovative keyboard work in years! (10/10)

2. "Godspeed" (3:14) fast opening and abrasive, settling into great weaves to support Michael Lessard's restrained vocal. Amazing subtle effects and contributions throughout--especially the restrained yet virtuosic guitar work. Michael actually lifts his voice in that last minute just before the guitar does the same. Awesome! (9.5/10)

3. "Reimagined" (3:17) gorgeous heavier song on the KARNIVOOL or VOTUM scale of latently heavy prog. (9/10)

4. "Clairvoyant" (7:37) is the first true metal, djenty song on the album (IMHO)--complete with chorale-styled vocal sections and machine gun bass drum pedal play. Really gorgeous transitions and chorus sections; nothing too difficult or abrasive but all played to group perfection. Also the most diversified and chameleonic song on the album. (9/10)

5. "The Center" (7:34) a smooth, gorgeous song that continues to build while Michael Lessard seduces us with his incongruously sedate vocal. Is he the new Maynard James Keenan? Just brilliant! Reminds me of my favorite song from last year by THE MERCURY TREE. (9.5/10)

6. "Absolve" (5:12) brilliant restraint shown on this vocal despite the yearnings of the music to soar! Makes for a great tension between the two. At 5:05 the song shifts, kind of cuts out, while a spacey, post-esplosion synth- concerto slowly builds and (9.5/10)

7. "Relapse" (6:14) opens as an odd synth experiment with spacey vocal for the first 1:30 before the heavy rock instruments enter. Synth washes and sliding power chords finish off the first half before a piano-based, computer- paced section with Lessard saying "They're clairvoyant." Interesting sliding-tremolo guitar solo in the fifth and sixth minutes. It even gets a little djenty at times. (9/10)

8. "Return to Earth" (6:15) spacious and atmospheric genius that lets loose at the 1:25 into a heavier (though simple) and still gorgeous and inviting prog song. Vocalist Michael Lessard has the silky smooth pipes to keep the listener engaged despite the frenetics of his mates--like a mellower version of LEPROUS. (8.5/10)

9. "Monochrome (Pensive)" (9:24) very nice song that, unfortunately, takes seven and a half minutes to finally soar to the heights one might expect from a nine and a half minute "epic." (9/10)

A five star a masterpiece of gorgeously woven heavy prog. My nominee for Most Improved Band and Best Heavy Prog album of the year--and maybe Most Creative Keyboard Player in Eric Guenther.

 Thrice Woven by WOLVES IN THE THRONE ROOM album cover Studio Album, 2017
3.33 | 6 ratings

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Thrice Woven
Wolves in the Throne Room Tech/Extreme Prog Metal

Review by Lewa

3 stars

A return to their black metal roots, with more ambience and soft passages.

With this album WitTR overall leave behind sound on their last album Celestite and return to their black metal roots, albeit with softer sections, more synths, more ambience and guest musicians.

The production seems clearer than on earlier albums and the singing seems less buried in the mix.

The black metal is as atmospheric, raw and good as ever and the softer passages add some variance to the sound, which is half of a good thing.

Unfortunately, the ambient noises don't always add much to the songs in my opinion. I could very well do without nearly two minutes of sea noises at the end of Fires Roar in the Palace of the Moon and I understand them to be just one very long outro. The transitions between metal and ambient passages don't seem to work very well. Rather, transitions seem to be missing and they often just play metal passages and ambient passages after each other. This can make the songs seem disconnected.

As far as variance and transitions go, the pagan folk passages integrated into the black metal work much better, in my opinion. There are also more synth touches than on earlier albums, a fact that I also quite like. The added variance in singing, with some clear (guest) vocals works very well. In the Old Ones Are With Us these three things are added to the WitTR sound to great effect.

This is a strong album that I don't find quite as exciting as their run from Two Hunters to Celestial Lineage. As such it gets a good but non-essential rating from me.

Maybe this sound and style just worked better 10 years ago, as black metal has been quite thoroughly explored in the meantime.

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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
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 TORKHAÏN France
BURST Sweden
CANVAS SOLARIS United States
CAPHARNAUM United States
CAR BOMB United States
CARBONIZED Sweden
CARCARIASS France
CASTEVET United States
CEPHALIC CARNAGE United States
CEREBRUM Greece
CHAOS DIVINE Australia
CHIMP SPANNER United Kingdom
CHRONOSTASIS United States
CIRCLE OF CONTEMPT Finland
CIRCLE TAKES THE SQUARE United States
CIRCLES Australia
CITRINITI Italy
COBALT United States
CODE Multi-National
COLD NIGHT FOR ALLIGATORS Denmark
COLLAPSAR United States
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
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