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 | 179 ratings
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DEATH The Sound of Perseverance Album Cover The Sound of Perseverance
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4.44 | 136 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
4.34 | 128 ratings
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ATHEIST Unquestionable Presence Album Cover Unquestionable Presence
ATHEIST
4.32 | 81 ratings
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NOCTURNUS The Key Album Cover The Key
NOCTURNUS
4.39 | 24 ratings
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BEYOND CREATION The Aura Album Cover The Aura
BEYOND CREATION
4.43 | 18 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
4.34 | 24 ratings
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AUGURY Fragmentary Evidence Album Cover Fragmentary Evidence
AUGURY
4.35 | 22 ratings
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DEATH Human Album Cover Human
DEATH
4.22 | 132 ratings
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technical death metal Music Reviews

MOLOCH (MN) Upon the Anvil

Album · 2023 · Technical Death Metal
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UMUR
"Upon The Anvil" is the debut full-length studio album by US, Minnesota based death metal act Moloch. The album was independently released in January 2023. Moloch formed in 2012 and released the "Cleansed by Fire" EP in 2015. Other than a very early change on the drummer position Moloch have had a steady permanent trio lineup since 2012.

Stylistically this is technical and relatively brutal death metal. The material is played at an extremely high pace throughout the album, and you´ll hear very few slower parts on "Upon The Anvil". While the tracks are arguably well composed and very well performed (these guys are incredibly skilled musicians), it doesn´t take more than a few tracks before a lack of variation within the songs and between the songs sets in. 9 tracks and a total playing time of 37:24 unfortunately feels much longer, because the album is one-dimensional in nature. A few surprises and more variation wouldn´t have hurt.

But while I may sound a little negative, lack of variation isn´t the worst crime on a technical death metal release, and if you want your death metal delivered at a frantic pace, great intensity, skill, and brutality, this album certainly applies. There´s also a couple of more abstract moments, which remind me a bit of Morbid Angel´s abtracts ideas (twisted riffs and solos), and the demonic double growling/high pitched screaming sections provide a whiff of Deicide, so Moloch certainly know the classics and how to imitate them (be influenced by them).

The sound production is professional and overall well sounding, although I could have wished for a more distinct snare tone, because often the snare and the bass drums sound the same, which means the drums become a slightly chaotic listen. I still enjoy it, but it´s a feature I would look into changing on future releases. Upon conclusion "Upon The Anvil" is a good quality death metal release by Moloch, and although it´s not without a flaws here and there, it´s still an album loaded with great assets and qualities. A 3.5 star (70%) rating is deserved.

CATTLE DECAPITATION Terrasite

Album · 2023 · Technical Death Metal
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Kev Rowland
I must admit, it has been a few years since I last came across an album by Cattle Decapitation, and to say I was surprised when I played this is something of an understatement. This is their eighth studio album, their second with the five-piece line-up of Travis Ryan (vocals), Josh Elmore (guitar), Dave McGraw (drums), Belisario Dimuzio (guitar) and Olivier Pinard (bass), and is way more polished than anything I ever expected from them. They may have started in the grindcore movement, but they are now much more in progressive death, never satisfied and always moving. Ryan has been there pretty much since the beginning and has long had a reputation as one of the more varied singers in the scene, but here he seems to reach into deeper lows, truly guttural, while also providing solid black metal stylings while also able to move into the melodic. At the back is McGraw, long regarded as one of the finest blast beat drummers in the business and here he demonstrates he is far more than just vicious speed, providing a real groove and switching styles and tempos to provide an ever-moving platform for those in front of him.

May people view ‘Death Atlas’, their 2019 album, as the pinnacle of their career to date, right up to the release of this one as the consensus is they have pushed ahead and created something that is just more, in every way. Certainly, there is a power and drama within this which is visceral and will appear to those who want their music to be brutal and uncompromising but there is far more going on than just heads down and meet you at the end as there is a huge amount of complexity within this, with styles changing and complicated arrangements which demonstrate there is far more to this band than just playing riffs quickly. The use of space and different tempos means that when they decide to hit hard there really is an impact as it is not being lost among all the noise but instead there is plenty of contrast to give the dramatic effect it deserves. If you ever felt that Cattle Decapitation were somewhat one-dimensional then this album proves otherwise.

CATTLE DECAPITATION Death Atlas

Album · 2019 · Technical Death Metal
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UMUR
"Death Atlas" is the 8th full-length studio album by US, San Diego, California based death metal/deathgrind act Cattle Decapitation. The album was released through Metal Blade Records in November 2019. It´s the successor to "The Anthropocene Extinction" from 2015 and features two lineup changes since the predecessor as bassist Derek Engemann has been replaced by Olivier Pinard and Belisario Dimuzio has been added to the lineup as a second guitarist, effectively making Cattle Decapitation a quintet on "Death Atlas".

Stylistically Cattle Decapitation continue the technical death metal/deathgrind style of "The Anthropocene Extinction (2015)", but this time with even more clean vocal parts and more focus on melody and atmosphere. Maybe it´s wrong to call Travis Ryan´s vocals clean singing as it has very little in common with what most people will probably think of when the word clean is used to describe vocals, but when he doesn´t growl, snarl, or use some other extreme vocal style to express himself, he sings some pretty intense and raw melodic vocal parts, and for a lack of a better description, I´ll call them clean vocals. Ryan already started experimenting with this vocal style a couple of albums back, but on "The Anthropocene Extinction (2015)" they were more fully integrated in the music. Ryan expands even further on his clean vocal journey on "Death Atlas" and while some of the most conservative deathgrind heads may disagree, I think he succeeds in making the clean vocals an even more integrated part of Cattle Decapitation´s sound, without sacrificing too much death metal brutality and authenticity. This is still a pretty extreme album.

Cattle Decapitation are known for their pro-animal rights/anti-human lyrics, but on "Death Atlas" they focus more on the global warming situation/the pending apocalypse as a result of human exploitation of the earth´s resources. "Death Atlas" is a bleak album and Ryan doesn´t exactly paint a picture of hope and salvation which song titles like "The Great Dying" and "One Day Closer to the End of the World" are also a testament to. These are highly politically charged lyrics urging the listener to consider if they are going to follow the Greta Thunbergs or the Donald Trumps of the world. It´s a highly ambitious and epic apocalyptic concept album.

Cattle Decapitation are as usual a very well performing unit and the musicianship is on a high level on all posts. They can play both slow, heavy- and mid paced, and fast- and blasting in a convincing manner and Ryan´s commanding vocal performance is also passionate and rather unique. Add to that a powerful, raw, and detailed sound production, and "Death Atlas" is through and through a high quality release. A 4 - 4.5 star (85%) rating is deserved.

GOROD The Orb

Album · 2023 · Technical Death Metal
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siLLy puPPy
Emerging from the fertile technical extreme metal scene of Bordeaux, France in 2005, GOROD has incrementally continued to refine its interesting take on technical death metal ever since. The band established itself as a tech death behemoth on its first two albums “Neurotipsicks” and “Leading Vision” and continued to ratchet up the progressive and experimental attributes without sacrificing the finger-melting technical gymnastics which propelled the band onto the world’s stage. This approach served the band for five albums but beginning with 2018’s “Æthra” the band put a self-induced restraining order on itself and veered into the more accessible regions by adding stronger melodies, more familiar songwriting structures much in the same way fellow Frenchies Gojira began as a no nonsense go for the tech jugular type of band only to mellow out a wee bit.

THE ORB is GOROD’s seventh album and pretty much continues where “Æthra” left off with a batch of nine strong tech death tracks that continue the monstrous ferocity of outstanding instrumentation from the now stable lineup of Julien "Nutz" Deyres (vocals), Mathieu Pascal (guitar), Nicolas Alberny (guitar), Benoit Claus (bass) and Karol Diers (drums) who have been together since 2015’s “A Maze Of Recycled Creeds.” With the expect dazzling virtuosity and in-yer-face bombast, GOROD continues down a more melodic path with whizzing guitar riffs and thundering bass stomps coalescing into a greater melodic sum of the parts with some tracks sounding a bit more like melo-death than technical infused (such as the title track for example.)

What has always made GOROD a standout tech death band for me is the amazing diversity in guitar riffing, bass bantering and drumming prowess all stuffed into an album’s run of A-class material. I am, like many others, in disbelief that this band hasn’t reached the status of tech death gods in the vein of Obscura or Nile with its firm attention to detail all the while crafting melodic constructs that don’t stray too far into the competition’s sound spectrum. Not enough gimmicks i guess. In effect GOROD has been and remains a true original in a world where more often than not bands simply emulate past masters without giving their works a proper makeover in the originality department. No such woes for GOROD and as the band continues to release album after album of stellar material, THE ORB only showcases the band firing on all pistons with a delectable menu of nine strong tracks.

The album opens with the fiery “Chrematheism” which leaves little doubt that GOROD is in the house with its unique dueling guitar attacks and strong bass / drum freneticism laced with proggy hairpin turns, eloquent palm-muted freneticism and excursions into melodic connective mojo. The tracks are on the shorter side of things with most well under 5 minutes leaving only the near 7-minute track “Savitri” taking some extra excursions into slower atmospheric passages. Overall THE ORB provides another slice of GOROD’s razor-sharp tech death metal maestrohood as focused and balanced as the tasteful cover art that accompanies the musical performances. Add to that a modern production sheen suitable for a modern extreme metal band that brings each instrument into its perfect sound range.

All in all GOROD does an excellent job of continuing its no nonsense approach of crafting short and to the point tech death compositions while losing none of the fiery passion that has been the band’s powerful puissance since the beginning. GOROD could be accused of playing things safe with THE ORB and not really deviating significantly from its now established playbook but why change a good thing when there is plenty of mileage left? For my ears i’ve not yet tired of the stylistic approach of GOROD and THE ORB continues the band’s legacy with a blazing brash bravado we have all grown to expect from this band.

DEIVOS Theodicy

Album · 2015 · Technical Death Metal
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UMUR
"Theodicy" is the 4th full-length studio album by Polish death metal act Deivos. The album was released through Selfmadegod Records in February 2015. It´s the successor to "Demiurge of the Void" from 2011.

"Theodicy" is stylistically a continuation but also a development of the brutal technical death metal style of the Deivos preceding releases. They are one of the more creative and original acts in the genre, and their adventurous songwriting approach and playing style are not toned down on "Theodicy". On the contrary they push and challenge the boundaries of their brutal technical death metal sound even further on this album. They use quite a few unusual elements and the song structures are complex and could at times even be described as progressive. "Theodicy" is loaded with powerful, sharp, and brutal riffs, intriguing lead guitar work, and creative drumming. The growling vocals are on the other hand relatively regular sounding for the style (although in the more intelligible end of the spectrum).

Drummer Krzysztof Saran is not only a higly technically skilled drummer, but a lot of the unusual and creative songwriting ideas also come from his playing. He is an absolute beast on those drums and his playing here deserves praise...and lots of it. The rest of the band are very well playing too, but it´s predominantly the drumming (and the creative songwriting) which makes Deivos stand out on a scene, which is overcrowded by acts with little to no identity or uniqueness.

"Theodicy" features a powerful and raw sounding production job, which may be a little less savage than the brutal sound productions on the predecessors, but instead features a higher level of details and clarity. Upon conclusion "Theodicy" is a high quality release by Deivos. So if you crave something really brutal and technical but still memorable, original, and creative "Theodicy" comes highly recommeded. A 4 star (80%) rating is fully deserved.

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