Progressive Death Metal

Progressive Death Metal is a genre of music that combines the elements of progressive rock with death metal. It is a relatively new genre that has emerged as a result of the fusion of two distinct sounds. The genre has its roots in the mid-1980s, but it wasn't until the mid-1990s that it became popular. The origin of the genre can be traced back to the New Wave of British Heavy Metal (NWOBHM) and the progressive rock bands that emerged in the 1970s. Bands such as Rush, Yes, and King Crimson were creating complex and intricate music that would later influence the sound of Progressive Death Metal. The NWOBHM bands, on the other hand, were creating a new sound that combined the energy of punk with the power of metal. The marriage of these two sounds would create a new sub-genre of metal that would come to be known as Progressive Death Metal. The first band to combine the sounds of progressive rock and death metal was Atheist. They released their debut album, "Piece of Time," in 1989, which blended the complexity of progressive rock with the raw aggression of death metal. The album was a success, and it set the stage for other bands to follow. Throughout the 1990s, a number of bands emerged that took the sound of Progressive Death Metal to new heights. Bands such as Death, Cynic, and Pestilence all released albums that featured complex instrumentation, odd time signatures, and technical proficiency. These bands were redefining what it meant to be a death metal band, and they were pushing the boundaries of what was possible with the genre. The 2000s saw a new wave of Progressive Death Metal bands emerge. Bands such as Between the Buried and Me, Opeth, and Mastodon fused elements of progressive rock with death metal to create a sound that was both powerful and complex. These bands were drawing influences from a wide range of genres, including jazz, classical music, and even electronic music. As the genre grew in popularity, it began to evolve. Bands began incorporating more elements of classical music into their sound, creating what is now known as Symphonic Progressive Death Metal. Bands such as Fleshgod Apocalypse and Septicflesh are at the forefront of this sub-genre.

Opeth: This Swedish band is known for their unique blend of progressive rock and death metal. Their early albums are heavily death metal-focused, but they gradually began incorporating more clean vocals and acoustic elements with albums like "Blackwater Park" and "Damnation." Death: Considered pioneers of death metal, Death's later albums, particularly "Human" and "Individual Thought Patterns," saw them incorporate more progressive elements, including complex song structures and technical instrumentation. Obituary: This Florida-based band has been in the scene since the late '80s, and while they're mostly known for their straightforward death metal sound, albums like "World Demise" and "Back from the Dead" show some progressive experimentation with time signatures and riff structures. Cynic: A band that started out as straightforward death metal, Cynic's "Focus" album saw them incorporate jazz fusion and other elements, and became a landmark in the progressive death metal genre. Meshuggah: While mostly known for their extreme technicality and experimentation with time signatures, Meshuggah's later albums, particularly "Catch Thirty-Three" and "ObZen," also saw them incorporating more progressive elements. Between the Buried and Me: This North Carolina-based band has been active since the early 2000s, and their sound combines elements of progressive metal, death metal, and hardcore. Their "Colors" album is considered a modern classic of the genre. The Faceless: This California-based band began incorporating more progressive elements with their album "Planetary Duality," which features complex song structures and atmospheric elements not typically associated with death metal. Suffocation: While mostly known for their straightforward approach to death metal, Suffocation's "Pinnacle of Bedlam" album saw them experiment with more melodic and atmospheric elements, while still retaining their signature brutality. Necrophagist: This German band's "Epitaph" album is considered a landmark in the progressive death metal genre, featuring complex guitar work, intricate drumming, and technical song structures. Fallujah: This California-based band has been active since the early 2010s, and their sound combines elements of death metal, progressive metal, and atmospheric music. Their latest album, "Undying Light," showcases their technical abilities and songwriting prowess.

1. "Colors" by Between the Buried and Me 2. "The Sound of Perseverance" by Death 3. "Altered State" by TesseracT 4. "Focus" by Cynic 5. "Formshifter" by Allegaeon 6. "The Parallax II: Future Sequence" by Between the Buried and Me 7. "Periphery II: This Time It's Personal" by Periphery 8. "Suspended Animation Dreams" by Unexpect 9. "Watershed" by Opeth 10. "The Migration" by Scale the Summit 11. "Lateralus" by Tool 12. "Mammal" by Intronaut 13. "The Great Misdirect" by Between the Buried and Me 14. "The Discovery" by Born of Osiris 15. "Ashes of the Wake" by Lamb of God 16. "Axioma Ethica Odini" by Enslaved 17. "Autumn Eternal" by Panopticon 18. "Shadow Theory" by Kamelot 19. "Focus II" by Cynic 20. "From Mars to Sirius" by Gojira 21. "Astrological Warfare" by Artificial Brain 22. "Incurso" by Spawn of Possession 23. "Planetary Duality" by The Faceless 24. "Leviathan" by Mastodon 25. "The Fibonacci Sequence" by Cryptic Shift.

In his book "Choosing Death: The Improbable History of Death Metal and Grindcore," Albert Mudrian traces the origins of progressive death metal to the late 1980s and early 1990s, when bands like Death, Atheist, and Cynic began incorporating elements of jazz, fusion, and other non-metal styles into their music. Mudrian writes: "Death Metal was never a style that aspired to world domination, but in the early 1990s, a handful of bands began to push the envelope in ways that suggested they were after something much grander than a cult audience. Death Metal, in turn, began to grow more technically complex, incorporating odd time signatures, jazz-fusion solos, and acoustic interludes." Similarly, in his book "Extreme Metal: Music and Culture on the Edge," Keith Kahn-Harris notes that progressive death metal "combines the aggression and heaviness of death metal with the adventurousness, technical prowess, and eclecticism of progressive rock." He writes: "In contrast to much of the more straightforward death metal, which is aimed squarely at the visceral response of its audience, progressive death metal aims to mesmerize the listener, drawing them into complex structures and intricate arrangements. While it still contains all the aggression and power of death metal, the technical virtuosity of progressive death metal musicians adds an extra dimension, as does the incorporation of a wider range of musical influences." Other commentators have focused on specific bands and albums that exemplify the progressive death metal style. In his review of Opeth's "Blackwater Park," Greg Prato of AllMusic wrote: "Taking the musical blueprint of the groundbreaking death metal article, and adding acoustic guitar passages, haunting keyboards, and melancholy melodies more reminiscent of Scandinavian black metal than death metal, Opeth created a singularly unique sound that finally proved that heavy metal could allow one to achieve a sense of enlightenment and inner peace..." Chris McDonald, in his book "Death Metal Music: The Passion and Politics of a Subculture," notes that the band Gorguts "pushed the limits of technical death metal even further, introducing syncopated rhythms, polyrhythms, and dissonant chromatic guitar riffing." He goes on to say that: "The sound of Gorguts was more challenging and complex than much of the other brutal death metal of the time, but it also contained a level of artistry that made it stand out from the pack. While the music was undeniably intense and heavy, there was also a sense of subtlety and sophistication to the arrangements that rewarded careful listening."

Socially, the emergence of progressive death metal coincided with the rise of alternative music. The early 1990s saw alternative rock bands like Nirvana and Soundgarden reach the mainstream. However, as alternative music gained prominence, metal was pushed further into the underground. This created the space for subgenres of metal, including progressive death metal, to emerge and flourish. Culturally, progressive death metal emerged in a time when metal was expanding beyond its traditional themes of rebellion and counterculture. The 1990s saw the rise of environmentalism and a renewed interest in spirituality, which influenced the lyrical themes of progressive death metal. Bands like Opeth incorporated elements of mythology and literature into their lyrics, while bands like Death explored themes of mortality and the human condition. Technologically, the emergence of progressive death metal can be attributed to the advancements in music technology. The accessibility of home recording equipment allowed bands to produce high-quality music independently. This made it easier for bands to experiment with different sounds and to create complex arrangements. Similarly, the rise of the internet and file-sharing technology allowed bands to distribute their music globally, without the need for a record label. Notable record labels that helped bring progressive death metal to a wider audience include Relapse Records, Nuclear Blast, and Century Media. These labels provided a platform for bands to share their music with a larger audience. Journalists and metal critics also played a significant role in promoting progressive death metal. Writers like Dave McGonigle and Jon Wiederhorn helped to popularize the genre, by featuring bands like Opeth and Death in magazines like Rolling Stone and Metal Hammer. The emergence of progressive death metal was also influenced by a number of key figures in the metal scene. Chuck Schuldiner, the frontman of Death, is considered by many to be the pioneer of the genre. His experimental approach to death metal laid the foundation for many of the bands that followed. Mikael Akerfeldt of Opeth also played a critical role in the development of the genre. His incorporation of elements of folk and progressive rock into death metal helped to create a new sound that was both complex and accessible.