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Found 52 results

  1. Link To My Channel: LORD THORGORATHHope nobody minds if I do a little self-promotion on here. Hard to getyour name out there nowadays....What's going on extreme brothers & sisters?!😈My name's Lord Thorgorath and I am a new YouTube vlogger.I was inspired by the likes of Jackass and Viva La Bam to start going on my own wild adventures in life and to spread ananarchistic free love-type message to the masses. All complete withplenty of extreme (and softer, more subtle) music choices 😎So....if anybody is interested in checking me out,click on the link posted ABOVE.If you don't like my content, that's fine, I still love you anyway \m/ I'm all about bringing people together despite personal differences.Let's all have a party!!
  2. Greetings, My band is looking for a guitarist for an experimental/progressive extreme metal band. Bands influences are Ihsahn, Leprous, Ne Obliviscaris, Blotted Science, Death, etc... Guitarist is to be experienced, reliable, has the ability to record and use online tools, we're all from different countries (UK, USA, South Africa, Lebanon) and are looking forward to releasing our first album in mid 2021. ~ Long Term ~ May have to travel for live performance. Thank you. - Mike
  3. An intro to a song I was just listening to made me think about an album I used to have on an old spotify account, now I can't think of it's name. It has a guy who sounds like a pirate or something, he's telling a weird story... I remember something about him saying, 'They want to know what's in her pockets'. Very obscure and idk wtf it is but it will bug me. I think it's progressive anyway. I know one of you guys will know it hahahha. Thanks in advance!
  4. Hello, Lead bassist of Nil Rovaan here. We are looking for both a drummer and a DJ, for our experimental band. Quite hard to explain what we want, other than that we are evolving our ideas constantly and want to change things around, but also keep what makes us us. We love a creepy, eerie atmosphere, probably foggy stage, however we'll be going from chugging like gojira, to playing funky nu-metal stuff. We want to be more than just one thing and we also want to be able to blend these things, for an unpredictable experience. We are based in Sweden. We want a drummer that can not only go fast but also play slower technical stuff. (I'm really bad at explaining drumming lol) We do not need an expert, but if you can hold a beat and evolve with us from there, shit message us, we can work things out. We have a good idea for what you'll look like, atleast (if you're a man, that is, otherwise we'll rethink it ofc) You'll be Porkgrinder, the human pig. More on that, if you're interested, it's only aesthetic anyway. We've also had an idea of a circular drum kit, but that is only up for debate and we'd begin thinking of that later on anyway. This is all up for debate ofc, if you have your own character, or way of playign that fits the band, we'll ofc look at it all as a band. DJ time! Turntables, synth, noisemaker and ambiance player. Hard to explain, but examples would be a combination of ministry's DJ, incubus DJ and what rammstein's keyboardist does. Take sounds/samples from our instruments and shift em around like the magician you are and use em in the songs. We also have ideas to plug our instruments, most likely a bass or guitar (or both) into your mixer(?) and let you mix the sound around and make all sorts of trippy stuff. So, if you feel like you're qualified by any margin, feel free to message us and make some new friends and connections. Any skill level and gender is allowed, don't be shy.
  5. Hey everyone! I'm new to the forum and wanted to share some of my mixing work. I'm currently offering a discount to mix your band's next single/album. I specialize in metalcore, death metal, deathcore, progressive, and doom. If you want lush ambient leads over low sludgy aggressive instrumentals, send me a message on here or email me at: [email protected] I have a base price of $100 per song, and $25 for post production/editing. Message me before the deal is up. I only have so many openings this next month. Here's some of my past work:
  6. Progressive Metal Band from Russia, Kovrov
  7. #progressive #atmospheric Listen: https://archive.org/details/pakkaslumi15 Mp3 download: https://archive.org/download/pakkaslumi15/Valovoima%20-%202018%20-%20The%20Great%20White%20Landscape_mp3.zip Flac download: https://archive.org/download/pakkaslumi15/Valovoima%20-%202018%20-%20The%20Great%20White%20Landscape_flac.zip
  8. Hello there everyone! Thank you in advance, for opening this thread ! I am a young musician from Greece, specifically from a town called Larisa, and this is my first song!! https://www.youtube.com/watch?v=wx4_NGPbe0k Music composed, performed and produced by Jim Gaianos Mastered by Nasos Nomikos at VU Productions Video filmed & edited by Bob Katsionis for PVG
  9. After two singles – 2014’s poppy “inner Enemy” and the somewhat more straight-laced “The Promise” in 2016 – Swedish progressive metal maestros Seventh Wonder have recently announced their new album “Tiara”. The release is being mixed by Oyvind Larsen, the man responsible for mixing on the already-mentioned singles. The album has undergone mastering by Jens Bogren at Fascination Studios. Bogren has previously worked with other progressive metal stalwarts such as James Labrie, Katatonia, Opeth and Symphony X. ( Frontiers Records will oversee the worldwide release of the 13-track concept album, including as a double LP. The band used the following lyrics in their promotion: “’We've watched you since the dawn of time, with every moment gone by. A million suns fade and die, this is the end?’ Beware, for they're coming..!” These are presumably an allusion to alien forces, given the cosmic imagery. The precedent for a concept album about exists in the band’s widely-lauded “Mercy Falls”, and more within melodic progressive metal more generally, perhaps most notably in Evergrey’s “In Search of Truth”, which also concerned aliens and isolation. Musically it’s very much in keeping with the band’s tradition. From the promo, the work sounds rather more like “Mercy Falls” than the preceding “The Great Escape”. It’s less melodic (of course this should be taken with a grain of salt given the general character of their oeuvre) but slightly darker than their previous work. From the musicianship I trust this will work; Anubis Gate attempted this in 2017 and failed, as did Adagio who despite employing the preeminent “dark prog” master Kelly Carpenter (Beyond Twilight, Darkology, Epysode, Outworld, Zierler) dropped their neoclassical edge and therefore their unique appeal. If anything it sounds like SW might be making the opposite ‘mistake’, but their style is developed enough that for them churning out the same stuff would be at least to my ears an entirely acceptable route. The tracklist is unknown, but Seventh Wonder’s promo video can be found here:
  10. I’ve been watching a bunch of nature documentaries recently. Dangerous animals only, for the most part, because I refuse to devote an hour of my life watching turtles mosey around the deep blue. Additionally, I’ve sought out very in-depth material so I can appreciate the animal being analyzed. As a result I’ve been able to watch a decent amount of material closely scrutinizing the habits of predators, and that’s given me a particularly good context for understanding Sadist’s 2015 album “Hyena”. This album is intended to track the habits of a hyena. Seems a bit on the nose, but bear with me; the album’s style is important. The album takes the listener on a markedly violent safari in an open-top jeep. Feel the wind in your hair, enjoy the natural splendor of the savannah, watch some animals murder and/or eat each other. Bring along some Mango Jive but for goodness sake leave your droewors back at the hut. Musically, as far as the metal goes – it’s a technical death/thrash album with the ferocity of the latter and the substance of the former. The vocals are higher-pitched snarls, characteristic of Sadist and perfect for the concept; in fact the entire production isolates the smooth bass to allow for moodier lines from said instrument. For the majority of the review, though, I’ll analyze track-by-track, since that best allows me to show what the album is evoking. “The Lonely Mountain” weights a little heavily on its central riff, a baffling decision given the strength of the rest of them. That being said, the mellow swells and forays here are essential to the concept. Generally, predators don’t hunt at full blast 24/7. There’s a lot of downtime in the veld. The sharp contrast between tranquility and violence is vital to setting the scene. That said, “Pachycrocuta” would have made a better opener. As a proof of concept for the album it’s a much tighter song that better maps out its piano and forte. The more prominent keyboard work in “Bouki” seemed a little out of place until I learned that the name indicates a malevolent trickster spirit in Senegambian and later Louisianan folklore. This somewhat melodramatic take suits the mythic nature of the character. That said, it doesn’t feel as dry as the first two tracks, which I would consider a point against it. “The Devil Riding the Evil Steed” begins even farther from what looks like the album’s central “theme” by having a much colder beginning straight out of a Forest Stream album. It’s this song that has a foreign language spoken in it. It’s not Xhosa or Zulu, neither does it appear to be Hausa or Yoruba, but whatever tongue it is, it works. That being said, this passage and the latter half of the song evoke a campfire tale told at the end of a long hunt, which ties back into the theme of the album nicely. The opening of “Scavenger and Thief” heaves in a certain sense, aping the haggard breathing of some heavy creature. Deriving from the ending of the previous track, and the lyrics here, we might interpret this as a nighttime hunt, especially given the eldritch keyboard. The song nicely evokes the idea of the hyena feeding heavily from some dying behemoth and fighting off competitors while doing so. The term “Gadawan Kura” refers to a type of traveling traditional show in northern Nigeria, in which domesticated hyenas often feature. That said, Gadawan Kura frequently travel into the cities to make their money, and it’s here that the The Tangent influence on this instrumental makes sense. As hyenas are usually heavily restrained and carted about in this alien, urban environment, the tranquil feel helps illustrate a chained beast meekly confused and out of its element taking in the sights and sounds of the metropolis. It’s kinda like Babe: Pig In the City as envisioned by Yes. “Eternal Enemies” begins with some plucking on what sounds like a musical bow, a popular traditional instrument across Africa, and particularly among the Xhosa and Zulu of South Africa. It’s definitely the most intense track, with plenty of lurching and screeching. Judging from the lyrics, perhaps a pack of hyenas trying to fight a lion. “African Devourers” has some of the most confusing lyrics, but they are nonetheless helpful. A morning hunt, driven by the enervating energy of a good night’s sleep. The Spiral Architect-style bass riffs particularly help give a focused air to the whole track, while the rest of the song evokes a group heading out on a mission. “Scratching Rocks” takes us to the nighttime and a territorial dispute between hyenas. The eldritch keyboards return. The relentless nature of the track makes more sense here, bringing to mind the need for constant vigilance and the fatigue brought on by a prolonged fight. Thankfully it manages this without being monotonous. Suddenly the ferocity stops, as is the case in the wild – and presumably the animals take stock of their gains and losses – before a few seconds more at the end, which from the lyrics sounds like a last attack where the one who fought to maintain its territory dies and dwells on the sum of its life. “Genital Mask” is, from a lyrical standpoint, one of the funniest songs I’ve ever seen. It makes almost no sense thanks to Sadist’s ESL writing, but it addresses the concept of hermaphrodism among hyenas owing to the female hyena’s bizarre anatomy, which consists of an elongated clitoris that splits for mating. Musically, this is probably the closest to sensual that the album ever gets, albeit through the lens of an amusingly Procrustean femdom sensibility and nowhere near the blatancy of the corny porno guitar and bass Gorod cheekily threw in to spice up "Varangian Paradise". That the album should end with a song about mating makes some sense, as this is frequently seen as the whole point of existence in the first place. Even the repetitive nature of the riffing makes sense for relatively obvious reasons. The flow of the song suggests not only mating, but also pregnancy, birth and the ensuing infant cannibalism that takes place among hyena babies. I’ve always noticed that in the grand sweep of folk metal African music usually gets left out. Makes some sense – I’ve heard quite a lot of traditional African music and it’s way too happy and tropical. Then again, Dan Swano, Skindred and even Equilibrium have managed to make Caribbean music work in metal, so it’s not impossible. The next best thing is something thematically evocative, which is what “Hyena” represents. It’s not perfect; Sadist could have paced out the textures better and deepened the nature sounds, perhaps taking influence from the largely untouchable Russo-Finnish metal masters Second To Sun. That being said, it’s a one-of-a-kind work and Sadist deserves credit for taking their vicious brand of tech-death on a sun-bleached adventure into the wild.
  11. Akercocke has always been an eclectic band. Eighteen years after the release of their debut, they're more eclectic than ever. "Renaissance In Extremis" finds their trademark pastiche of extreme metal, progressive rock, electronic textures, and moody atmospheres at its most varied and dynamic. Yet, for all of its expansiveness, there's still an evident connection with the brutish black/death metal of their early years. Longtime fans of the band (especially their previous two albums, 2005's "Words That Go Unspoken, Deeds That Go Undone" and 2007's "Antichrist") should feel right at home. For some newcomers, this album will be an acquired taste. The opening track, "Disappear", provides a fitting introduction to the variety of sounds on display: a thrashy DM gallop gives way to a short arpeggiated section that wouldn't be out of place on a late 70s Rush album, before dropping away into a lull of clean, atmospheric guitars and delicate vocals, and then building back up into melodic lead guitar excursions that swoop and dive through tasty chord changes. Later moments on the album offer dissonant black metal, restrained background keyboards, and even a lonely beach soundscape of birds and surf. In some hands, this kind of mashup could be a recipe for confusion; not so here. The songs are held together by excellent musicianship, a strong sense of pacing, and above all by the conviction with which they're delivered. The production is tight and clear; guitar tones breathe, with more vintage grit than crushing gain. The band is deft and energetic throughout. Engaging riffs are underpinned by thoughtful bass lines and propulsive drumming, sometimes serving as a backdrop for graceful guitar solos that never outstay their welcome. The solos themselves are a highlight of the album, tasteful and technically accomplished to a higher degree than on their previous outings. Technicality isn't the focus here, though; the main point of this album is the passion and human drama conveyed by the vocals. Frontman Jason Mendonça's voice is one of Akercocke's most defining features, and his vocals are at their most expressive on this album - snarling growls, blackened shrieks, stentorian bellows, and strained rasps, side by side with haunting cleans, frequently bordering on frailty. The overwrought theatricality of earlier albums has given way to a genuine, sometimes intimate quality that (to my ears, at least) is more mature, and no less powerful, than anything they've done to date. This is partly due to the lyrics; the overt, religious Satanism for which Akercocke is known has been put to the side in favor of songs about loss, personal struggle, and even some kind of redemption. The subject of the lyrics isn't always obvious, but the tension between despair, anger, and perseverance is clearly drawn. It's tempting to wonder what could have inspired this internal strife, and maybe that mystery is part of the appeal. "Renaissance In Extremis" won't connect with everyone. The frequency of apparent genre shifts may throw some listeners off, and the vocals can be polarizing. I was introduced to the band through their third album, "Choronzon", and it took me several months of on-and-off listening to finally warm up to the vocal approach. I can also see how fans of some of Akercocke's earlier material might be put off by the comparative fragility of some passages on this album. If you find yourself in any of those camps, all I can suggest is that you give this album a chance to grow. If, on the other hand, you're like me, this album may be the unexpected comeback you didn't know you'd been wanting for the past decade. In terms of texture, tonality, and vocal approach, it picks up where "Antichrist" left off; but it's far more focused, without the miscues and dead weight that made that album feel drab after the masterful "Words...". Akercocke may have been broken up for the past ten years, but they've returned with a vital addition to their catalog, retaining the essence of their sound while pushing their own boundaries. In terms of songwriting and production, this is their "lightest" recording to date; in my opinion, it's also one of their best, and my favorite release so far this year. They lost themselves in the wilderness, and now they're back to tell us all about it. Sit down and listen.
  12. Story telling band from the south west of the UK. Progressive black metal stoner fuck your production hairy balled mother fuckers making some crazy shit noise with a story xx https://trollmother.bandcamp.com/album/forest-child
  13. Hi Everyone, I am looking for some feedback on my newest album. This is part of a 3 album series - Atmospheric black metal that should appeal to fans of Marduk, Dissection, Khors etc. Let me know what you think! https://noxaeternum.bandcamp.com/album/the-reflection https://facebook.com/noxaeternumband/
  14. Hello, guys! How's it going? My name is Nahuel Barbero. I'm the lead guitarist for a new solo project I'm starting in South Florida under the name Sentience. I am currently beginning this after my old band (Neuropath) broke up. I'm just here to say, anything you guys need, if you're in South Florida or not, I'm happy to help. I have great connections, studios, venues, anything to help you guys get on your feet as well. You can always email me at [email protected] or DM me at Facebook.com/sentienceband with any music needs. Thanks!
  15. Hello, guys! How's it going? My name is Nahuel Barbero. I'm the lead guitarist for a new solo project I'm starting in South Florida under the name Sentience. I am currently beginning this after my old band (Neuropath) broke up. I'm just here to say, anything you guys need, if you're in South Florida or not, I'm happy to help. I have great connections, studios, venues, anything to help you guys get on your feet as well. You can always email me at [email protected] with any music needs. Thanks!
  16. Hi guys this is me and my band practicing Let me know what you think
  17. Hi folks! I released an album this week under the moniker "Eulogy" called "Into the Heart of Light." It loosely chronicles my recovery from a brain hemorrhage I suffered after falling while hiking in West Virginia. I'm based in the Indianapolis area, and my primary influences include King Crimson, Neurosis, and Converge. I'd love for you guys to take a listen and share your thoughts. I've included links to the music, as well as my social media accounts. Cheers! --Sean https://eulogymusic.bandcamp.com/ https://www.facebook.com/Eulogysongs/ https://twitter.com/Eulogytune
  18. Only a 6 strings bassplayer & a drummer , support this street musicians Like thier facebook : https://m.facebook.com/story.php?story_fbid=1882942521719452&id=1083762018304177 or watch them on youtube : https://youtu.be/ZCNxtOoMeWM
  19. Great for listening to while studying, driving or programming. YouTube: Spotify: Bandcamp: https://bloomfilter.bandcamp.com/releases
  20. Hey Guys, I recently finished writing a progressive Metal EP called 'Normality Paralysis'. I would be honoured if anyone took the time to listen to it. You can listen to it here: Alternatively, if you don't like/use youtube, you can listen to it on spotify, itunes, google music and a billion more platforms!
  21. Chris Bennett - The Great Blue DivideAvailable for Streaming on YouTubehttps://www.youtube.com/watch?v=GfFQ-kb10ocPlease SupportMany Thanks
  22. Hello dear metalheads of the world! My name is Thales Krüger, i'm a guitarist, composer and musician from Brazil, and i just released my first single ever! I'd like to present to you "The Corruption of Men's True Power" by me, Thales Krüger, hope you like it! The style is Instrumental Metal, with elements from symphonic, progressive and melodic metal. There are links in the description if you want to download the song.
  23. On August 31,, When Bitter Spring Sleeps will celebrate the return to underground metal with the stunning new full-length, Star-Thrown. While honoring WBSS' pagan black metal roots, Star-Thrown adds choral vocals, and space atmospheric elements to its underground sound. In a bold move, the vocals performed by Lord Sardonyx are now entirely choral in style, somewhat akin to a cloister of secluded monks. Combined with the black metal guitars and ethereal guitar synth leads, this achieves not an "orchestral" sound, but the feel of a sort of "Cosmic Cathedral". Star-Thrown creates a cosmic atmosphere without sounding like other atmospheric metal acts. Instead of cold, digital synths, only purely analog instruments are used to conjure all sounds on the album. Instead of screeching, or roaring vocals, a chorus of ethereal chants. The metal part of the music itself claims inspiration from acts like Summoning and Bathory. Mastering of STAR-THROWN was performed by the almighty Andrew D'Cagna, owner/engineer at Sacred Sound Recording and Mastering as well as member of such amazing acts as OBSEQUIAE, NECHOCHWEN, IRONFLAME, and COLDFELLS. For a preview of the album, a new video for the track "CosmiCathedraLumination" can be viewed HERE. When Bitter Spring Sleeps' Lord Sardonyx comments: "All previous WBSS albums contained unifying concepts told through mythical tales. The concept for Star-Thrown is much less specific, but all the tracks share my belief that nature does not end at the Earth's horizon. She is merely a part of the universe and all of Nature was previously part of dying stars. All of this will someday be destroyed, transformed, and reformed into new matter. When the mighty Earth is consumed by our dying sun, everything will be thrown to the universe on a possible path to rebirth as new lifeforms or merely inanimate matter. These songs tell a tale of destruction, transformation, and rebirth on a cosmic scale." "I am very pleased with the sound of the album. I believe it is the best sounding album I've done. You will not be destroyed by the crushing intensity of it, because that was not the intention at all. I strived to create a smooth, warm atmosphere that was also very powerful and uplifting. There is a bit of sorrow and dreamlike darkness within, but mostly I feel that it portrays a very positive vibration concerning the transmission of our material to other worlds. A celebration of freeing the spirit from the physical body." Star-Thrown is When Bitter Spring Sleeps' THIRD full-length album, following full-Length albums COVEN OF THE WOLVES and SPIRIT IN FLAMES, a self-titled demo, and a split album with the mighty PANOPTICON. Previous album SPIRIT IN FLAMES featured a very raw and heathen sound with heavy Bathory and Summoning leanings. Pagan black metal with clean vocals. Before that, COVEN OF THE WOLVES featured theprimordial beauty of nature, cast into songs of melodic, earthbound pagan doom Just this year, When Bitter Spring Sleeps' song "The Sky Has Not Always Been This Way" was also covered by German pagan black metal act HORN on the very well-received album "Turm am Hang" and Lord Sardonyx performed lead vocals for the song on HORN's album. where the album can be pre-ordered in the following formats: --Digipak CD --Digital Download Featuring a cover and layout by Misty Visions Art (Wędrujący Wiatr, Stworz, Fall, etc.) Star Thrown track-listing: 1. CosmiCathedraLumination 2. Lost Amidst This Moonlit Verdure 3. Astral Blood 4. From Soil To Stars 5. Eternity Speaks When Bitter Spring Sleeps online: www.paganflames.com http://whenbitterspringsleeps.blogspot.com When Bitter Spring Sleeps online: www.paganflames.com http://whenbitterspringsleeps.blogspot.com
  24. A lot of my favorite bands have gone in so many less exciting directions, Northlane's new music since Adrian has been lack luster, After The Burial's newest album has its moments but isn't anything like "In Dreams" and so on. but this local just dropped a Music video yesterday thats WAY higher quality than most locals right out of the gate. got my jimmy's all excited. so i pre-ordered their album and i'm hoping this purchase wont burn me. I really hope they get the recognition they deserve. Go check out QuietKind on facebook. i'll link the music video i saw too.
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