Tag: technical death metal

Album Review: Frogg – Eclipse

Bad: Frogg | Album: Eclipse | Genre: Progressive death metal, Technical death metal | Year: 2025

From: New York, USA | Label: Independent

For fans of: Atheist, Atvm, Between the Buried and Me, Vektor

Bandcamp

I covered Frogg’s debut EP, A Reptilian Dystopia, back in 2020, and I really liked it. It was one of my favorite short releases of that year. In the intervening years, they’ve put out a handful of songs (all of which show up here), but now they’re finally back with their first LP.

Frogg’s brand of music is fast, dense, and powerful. I often have somewhat mixed feelings on tech-death bands, as it’s easy for such acts to get lost in their own intricate guitar lines. Frogg, though, demonstrates both a keen ear for melody and a certain compositional ambition often lacking elsewhere in this micro-genre. 

Plus, just look at that album cover. 10/10, no notes.

Continue reading “Album Review: Frogg – Eclipse” →

Album Review: Diskord/Atvm – Bipolarities

Band: Diskord/Atvm | Album: Bipolarities | Genre: Technical death metal, Progressive metal | Year: 2024

From: Oslo, Norway/London, UK | Label: Transcending Obscurity

For fans of: Atheist, Artificial Brain, Gorguts

Bandcamp

I’ve covered at least two split records on here before, both from Ripple Music. (There have been a couple others I’ve considered, but I’m not sure I’ve actually written about them.) One is the stellar stoner/post-/prog metal collaboration between Howling Giant and Sergeant Thunderhoof. And the other is a study in contrasts with Wizzerd and Merlin taking opposing spins on stoner metal and heavy psych. Bipolarities is more in line with the former, as both Diskord and Atvm play complex, tangled varieties of death metal.

Diskord hails from Norway, and they’ve been around for a while. They’re not the most prolific band out there, but they’ve got three solid albums of tech-death under their belt. Atvm, meanwhile, is a newer band whose debut record I absolutely loved.

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Odds & Ends: September 2, 2024

Band: Burnt Log | Album: Time Is a Heron Waiting for Prey | Genre: Progressive rock, Dream pop | Bandcamp

Burnt Log is a one-man project based out of Scotland. The songs skillfully combine intelligent, progressive song structures with floating, dreamy atmospheres. Melodies are smart but accessible, and there’s a vague sense of nostalgia to much of the music here. Touches of post-punk, new wave, and even post-rock crop up here and there. Some passages are perhaps a bit too dream-poppy for my taste, but this is still an overall solid and interesting release.

Score: 72/100

Band: FILESHAREMAIDEN | Album: Veuve | Genre: Progressive metal, Technical death metal | Bandcamp

The first full-length release from Quebecois death metallers File Share Maiden is a swirling, tangled thicket of finger-twisting riffs, guttural vocals, and even moments of surprising lightness. There are many exciting, fun passages that demonstrate both technical skills and songwriting smarts. However, this band also falls victim to the common excesses of other tech-death acts. Many songs are longer than they need to be, and a number of cuts border on purposelessness. That said, there’s still plenty of great material here.

Score: 70/100

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Album Review: Job for a Cowboy – Moon Healer

Band: Job for a Cowboy | Album: Moon Healer | Genre: Technical death metal, Progressive metal | Year: 2024

From: Glendale, USA | Label: Metal Blade

For fans of: The Faceless, early Opeth, Gorguts

Bandcamp

When Job for a Cowboy first came onto the scene in the late ‘00s, I remember them being derided as just another deathcore band with a stupid name. I listened to some of their early work, and I agreed with that assessment. I don’t like deathcore, and their name is dumb. Seriously, it sounds like a lousy innuendo from a bro-country song. There are some bands I haven taken too long to give a shot because of how much I dislike their name (for example, Between the Buried and Me, And So I Watch You from Afar; pretty much any band whose name is a full clause), but JfaC is a band where my distaste for their name was backed up by a distaste for their music.

In the ensuing decade-and-a-half, though, they’ve taken a considerably more technical and progressive turn. When I saw Moon Healer rather high up on the 2024 chart on Rate Your Music, I was baffled. Aren’t these guys just some shitty deathcore band? I thought. My curiosity was piqued, so I gave Moon Healer a listen. I’m glad I did.

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Top Prog EPs of 2020

Welcome to the first installment of my 2020 best-of lists, TheEliteExtremophile’s Top 5 Prog EPs of 2020. Expect the two-part Top 50 Prog Albums list next week.

Prog is a pretty long-winded genre, so the number of EPs I listened to was low, somewhere in the 12-15 range. However, there were some absolutely killer releases, and trimming this list down to 5 was tough.

As I stated last year, I’m sure there are some excellent releases not included. This site is my personal pet project, and I simply cannot listen to everything that gets released. I also have my personal biases against some rather popular trends in prog, which affected the composition of this list. But if you’ve got recommendations, do not hesitate to shoot them my way, either through this site, email, or my Facebook page.

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Odds & Ends – March 9, 2020

a1331639050_10Band: Ak’chamel, The Giver Of Illness | Album: The Totemist | Genre: Krautrock, Psychedelic folk | Bandcamp

The Totemist is a swirl of ritualistic atmosphere and repetition. The murky aura augments the contrasts between the sharp notes of the acoustic instruments and the omnipresent, sinister drone. The compositions morph in naturalistic ways, and subtle touches of jazz are worked in amid the faux-shamanic folk, resulting in something quite creative.

Score: 75/100

a2807075973_10Band: Cthulhu Rise | Album: Last | Genre: Progressive rock, Jazz-fusion | Bandcamp

This instrumental Ukrainian band reminds me a lot of Liquid Tension Experiment. The roots of the act’s sound clearly derive from Dream Theater-style melodic prog metal, but jazz plays a large role here too. The individual musicians flaunt their chops on the three songs here, but the soloing always comes off as purposeful. Each track is full of surprising twists and turns, with few ideas sticking around for more than about a minute at a time. Somehow, it avoids feeling disjointed.

Score: 84/100 Continue reading “Odds & Ends – March 9, 2020” →