Technical Death Metal

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Technical/progressive (or tech/prog) death metal is considered a legitimate genre by some (or even two legitimate genres), while others argue that it is a pseudo-genre. Bands included in this genre take emphasize technicality in their music, in the form of complex riffs and/or complex song structures, while others apply the ethos of progressive music more broadly without straying from their basic death metal sound. Death, Cynic and Atheist are considered central bands in the establishment of tech/prog death metal. Some bands, like Necrophagist, Obscura, and Braindrill, emphasize technique in their style and are considered technical death metal acts, while others, such as Opeth, Neuraxis, Sectu, and Nocturnus are considered primarily progressive death metal. Sometimes, jazz death metal is listed as a separate subgenre and comprises artists who incorporate elements from fusion jazz into their death metal style, such as Atheist, Cynic and Pestilence on “Spheres”. Given that brutal death metal bands tend to emphasize technique and compositional complexity, many brutal death metal bands, such as Suffocation and Hate Eternal, are also categorized as technical death metal bands. Some tech/prog death metal bands are so progressive on some releases that these are considered progressive metal rather than death metal, as is the case of some Atheist, Opeth and Cynic releases, that they are filed under progressive metal in the MMA rather than under death metal.

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technical death metal top albums

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DEATH Symbolic Album Cover Symbolic
DEATH
4.47 | 181 ratings
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DEATH The Sound of Perseverance Album Cover The Sound of Perseverance
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4.39 | 139 ratings
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GORGUTS Colored Sands Album Cover Colored Sands
GORGUTS
4.45 | 30 ratings
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DEATH Individual Thought Patterns Album Cover Individual Thought Patterns
DEATH
4.35 | 129 ratings
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ATHEIST Unquestionable Presence Album Cover Unquestionable Presence
ATHEIST
4.32 | 81 ratings
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BEYOND CREATION The Aura Album Cover The Aura
BEYOND CREATION
4.43 | 18 ratings
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NOCTURNUS The Key Album Cover The Key
NOCTURNUS
4.37 | 25 ratings
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CRYPTOPSY None So Vile Album Cover None So Vile
CRYPTOPSY
4.33 | 38 ratings
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NILE Those Whom the Gods Detest Album Cover Those Whom the Gods Detest
NILE
4.32 | 41 ratings
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NILE What Should Not be Unearthed Album Cover What Should Not be Unearthed
NILE
4.35 | 24 ratings
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AUGURY Fragmentary Evidence Album Cover Fragmentary Evidence
AUGURY
4.35 | 22 ratings
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NILE Annihilation of the Wicked Album Cover Annihilation of the Wicked
NILE
4.26 | 50 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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technical death metal Music Reviews

MIND RIOT Plasma

EP · 1993 · Technical Death Metal
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UMUR
"Plasma" is an EP release by Finnish metal act Mind Riot. The EP was released through Subvertic in 1993. Mind Riot formed in 1990 and released the May 1991 "The March of Chaotic Priesthood" demo and the January 1992 "Exit Severed" demo before getting signed for the release of "Plasma".

The early- to mid-90s Finnish metal scene is loaded with artists who started out playing death metal but very soon changed their style to death´n´roll or alternative rock/metal, and Mind Riot is another one of those. They haven´t turned towards the alternative rock/metal style they would pursue on future releases just yet on "Plasma" though, which instead features an odd and highly experimental style of death metal. The EP features some pretty technical playing, unconventional song structures, and both male and female clean vocals in addition to the death metal growling. The clean vocals don´t sound that great though as they sound like they are a bit out of tune. The music also features a lot of dissonant riffs and some almost funky rhythm parts (I´m reminded slightly of early 90s Voivod), spaced out jazz/fusion influenced guitar solos and other odd experimental ideas.

The EP features a decent sounding production job, but the eclectic (read: directionless) nature of the songwriting is a bit of an issue. "Plasma" is all over the place, and although I can enjoy it from a musicians point of view, it´s not the most listenable release. There´s still enough quality here to warrant a 2.5 - 3 star (55%) rating though, just consider yourself warned that this is a pretty odd sounding extreme metal release, and by no means a regular death metal EP, although the music does feature normal death metal traits like brutal riffs, blast beats, and growling vocals.

ILLOGICIST Subjected

Album · 2004 · Technical Death Metal
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siLLy puPPy
Influenced by the early technical death metal skills of Death, Pestilence, Atheist and Cynic, ILLOGIST was formed in the Alpine city of Aosta in the northwestern region of Italy in 1997 by guitarist Luca Minieri and original drummer Remy Curtaz and soon joined bassist Roberto Zeppa and then a few other members who came and went until the original duo were left the only ones standing. After recruiting bassist Emilio Dattolo and guitarist Diego Ambrosi, ILLOGICIST was ready to record its debut release SUBJECTED which saw the light of day in 2004 on the Crash Music, Inc label. Prepare yourself for a thrashy deathened brutal ride into oblivion!

It wouldn’t take long for Remy Curtaz to jump ship after recording SUBJECTED leaving only Luca Minieri as a founding member. After recruiting drummer Sergio Ponti, ILLOGICIST embarked on a massive tour of Italy and Europe and has become a staple in European technical death metal ever since. This is a band that means business and it all started with this very debut featured a bedazzling array of nine tracks that bantered and brutalized the senses of nearly 39 minutes of punishing pummelation and raucous riffing rage. This is one of those bands that has the need for speed and SUBJECTED will, well, subject you to a ceaseless blitzkrieg frenzy of some of the most demanding death metal the genre has to dish out.

The album starts with a short intro of a faint scream from the distance before bursting into a neoclassical style of progressive technical death metal that sounds like what you could expect if Necrophagist met Death and perhaps a more thundering galloping thrash metal band like early Sadus. As far as the technical death metal riffing is concerned, ILLOGICIST delvers a relentless procession of fast-tempo speedfests that offer a dizzying array of proggy time signature deviations and hairpin curves well beyond anything Death, Atheist or Pestilence ever dreamed of however Minieri’s raspy screamed vocals do evoke a rather pissed off Chuck Schuldiner having a very bad day! The insane infusion of crazy time-signature riffage though is off the charts with a never-ending chugging in glitch time with fluid frills and fills finding their way into the nooks and crannies of this speed freak’s wet dream come true.

While the guitar neck melting finger breaking distorted bombast of the riffs is the strongest suit going for ILLOGICIST on SUBJECTED, the screamed vocals actually carry profundity as this band eschews worship of Satan or horror, gore and blood but rather engages in the abstract existential quandaries of spirituality and philosophy. In other words, this is nerd metal through and through! Also mentionable is Curtaz’s drumming ferociousness as he is as relentless at pummeling his drum kit into oblivion as is the guitar and bass freneticism. For whatever reason Curtaz never performed with other bands after departing so perhaps he had some health issue or lost interest but he certainly delivered some of the most relentless demanding time precision drumming skills not too far from the virtuosity of percussive wizards such as Virgil Donati.

The twin guitar attacks really add a ferocity well beyond what a single axe could pull making this an unforgiving wild roller coaster ride on the top of a speed train. This is really as demanding as technical and progressive death metal really gets. If these guys played any faster it would be imperceptible and considered noise (although some might think that already!) For those well steeped in the knotty angular brutality of technical death metal and love the most relentless of the lot then ILLOGICIST actually delivers a rather logical slab of molten metal on full fueled adrenaline mode for an entire album’s run with SUBJECTED. While the lineup would never remain the same for long and ILLOGICIST would deliver two more albums before disappearing from the scene, this debut is a force to be reckoned with.

VALE OF PNATH Between the Worlds of Life and Death

Album · 2024 · Technical Death Metal
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UMUR
"Between the Worlds of Life and Death" is the third full-length studio album by US, Denver, Colorado based death metal act Vale of Pnath. The album was released through Willowtip Records in May 2024. It´s the successor to "II" from June 2016, although the two full-length studio albums are bridged by the 2019 "Accursed" EP (at 27:32 minutes it´s only 10 minutes shorter than this album, so maybe mini-album is a more correct label than EP). So it´s safe to say that Vale of Pnath haven´t been the most prolific act in terms of output. They´ve been marred by quite a few lineup changes over the years though and of course the COVID-19 epidemic probably didn´t do anything good for them either. On "Between the Worlds of Life and Death", Vale of Pnath work as the trio of Vance Valenzuela (guitars), Ken Sorceron (vocals, guitars, bass), and Gabe Seeber (drums). The latter two are new in the lineup since the release of "Accursed". Other than the performances by the permanent members of the band, "Between the Worlds of Life and Death" also features quite a few guest performances. Mainly a host of guitarists playing solos on the album, but also Wayne Ingram (Wilderun) who is responsible for orchestration on a couple of tracks (the album intro track and an interlude track later on the album), and Kakophonix who performs cello parts.

Stylistically the material on "Between the Worlds of Life and Death" is a continuation of the technically well played death metal style of the previous releases, but the more dominant use of keyboards and the blackened growling provide this particular release with a symphonic black metal element I don´t think I heard on the preceding output by Vale of Pnath. They´ve toned down the technical playing a bit too, and focus more on epic blackened atmospheres, although there are still plenty of technical playing and complex songwriting ideas on the album. At first it may seem a bit odd to have no less than five different guest solo guitarists play on the album, but the solos are generally very well played and provide the music with a couple of blistering virtuosic moments. They are nicely melodic too.

"Between the Worlds of Life and Death" features a powerful, detailed, and professional sounding production job, and it´s overall a well sounding release, featuring a sound production which matches the material. So upon conclusion "Between the Worlds of Life and Death" is another high quality release from Vale of Pnath. I must confess to being a bit confused regarding the band´s symphonic blackened edge, because that´s not at all how they started out in 2011 on their debut full-length studio album "The Prodigal Empire". Vale of Pnath have of course developed since and the "Accursed" EP also included some blackened elements, but with "Between the Worlds of Life and Death" they go pretty much all in in terms of incorporating symphonic black metal elements to their melodic and technically well played death metal style. While this is arguably high quality music, the development of Vale of Pnath´s style does leave me with the impression that they lack a personal style and musical direction, or that they are maybe just still searching for it. A 3.5 star (70%) rating is deserved.

CYNIC Demo 1991

Demo · 1991 · Technical Death Metal
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UMUR
"Demo 1991" is the fourth demo recording by US technical/progressive metal act Cynic. The demo was recorded for and released by Roadrunner Records in 1991 and was initially only meant to be a promo for the label to decide wether or not they would sign Cynic (which they eventually did).

The demo features demo versions of "Uroboric Forms" and "The Eagle Nature", which would both be re-recorded and included on Cynic´s 1993 debut full-length studio album "Focus", and the third track "Pleading for Preservation", which is exclusive to this demo (although the outro section was used on "How Could I"). The demo versions of "Uroboric Forms" and "The Eagle Nature" sound a bit unfinished and doesn´t feature the vocoder vocals, which made them what they are on "Focus", but it´s still obvious how well playing Cynic are and how many intriguing songwriting ideas they had. They´ve moved from being a technical Bay Area thrash metal influenced act to being a technical/progressive death metal act and the style they play here is much more interesting and unique than what they had produced before. It´s interesting to note that guitarist/vocalist Paul Masvidal has also changed his vocal style and now delivers aggressive snarling semi-growling. This would be his one and only extreme vocal performance as he would stop performing extreme vocals after this demo, because he realised he was hurting his vocal cords.

"Demo 1991" is well produced, the performances are high level on all posts, and the songwriting is unique and intriguing. Cynic took the final step forward with this demo and cemented their position as one of the seminal technical/progressive death metal acts from the late 80s/early 90s. The demo is still a little rough around the edges, but you still get a good idea of the brilliance of Cynic. A 3 - 3.5 star (65%) rating is warranted.

CYNIC '90 Demo

Demo · 1990 · Technical Death Metal
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UMUR
"Demo 1990" is the third demo recording by US technical/progressive metal act Cynic. The demo was released through Epidemic Records in January 1990. It´s the successor to the 1989 "Reflections of a Dying World" demo and features one lineup change since the predecessor as bassist Mark Van Erp has been replaced by Tony Choy.

The demo features three tracks, which are exclusive to this demo (meaning they wouldn´t make it unto Cynic´s 1993 debut full-length studio album "Focus"). Although still rooted in the Bay Area thrash metal style, Cynic show a lot of progression on this demo compared to the first two demos. The technical aspect of their sound is in focus here, and this is generally a highly technical thrash metal release featuring tempo changes and toying with time signatures, and fusion influenced drumming (and guitar solos). Masvidal´s vocals are still raw staccato delivered thrash metal vocals, which get the job done, but not much more than that.

In terms of production values "Demo 1990" was recorded at Morrisound Studios, Tampa, Florida, and it was produced by Scott Burns and Cynic, which means that the demo features a heavier and more meaty sounding production, than most thrash metal demos from those days. Burns had already worked on some of the early death metal recordings by artists like Obituary and Amon (later Deicide), and had a good idea on how to create heavy sounding recordings and the massive production job suits Cynic´s music well.

Upon conclusion "Demo 1990" is a big leap forward for Cynic, but because of the thrash metal riffs and songwriting ideas this still doesn´t sound much like Cynic would just a few years down the line. A 3 star (60%) rating is warranted.

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