As we enter winter once again, the writers of The Progressive Subway have come together in conjuring a playlist in recognition of the legendary heritage of Opeth. Make no mistake, this playlist is not a requiem, or a funeral portrait (the band is still going strong, thank you very much). But it’s a fair judgment that Opeth has been incredibly influential to music fans and musicians alike, forming a large part of the windowpane into heavy progressive metal for many and it is this deliverance that we examine today. 

In the late nineties/early noughties, Opeth bottled lightning with a distinctive blend of melodic death metal, prog rock, inspired writing and excellent musicianship to create some incredibly compelling, atmospheric albums which led them to becoming nigh on iconic in alternative music circles. Despite this, constant debate has surrounded Opeth‘s later musical direction towards a distinctively lighter sound: For some this has been an eternal soul torture, but nectar to the ears of others, allowing Opeth to reach a wider audience with differing musical sensibilities.

“Opeth-worship” bands quickly followed as a whole generation of music lovers and bedroom-shredders strangled the necks of their guitars attempting to produce the bar chords from ‘The Drapery Falls’. We on this blog have sometimes been somewhat critical of bands that lean too heavily on their Opeth influences as opposed to producing their own musical ideas. But for this playlist, we’ll let that all go. It’s officially open Opeth-worship season on the site.

We are focusing our celebration of Opeth on smaller bands, the many heirs apparent to Opeth‘s legacy: the master’s apprentices, if you will. Writers Christopher, Doug and Zach have collected sounds from the prog underground that show their Opeth influences like a face in the snow. that carry the Opeth torch onto the next generation and into the frost of winter.

As always, you can scroll down to read our writers’ rationale for their choices and check out links for bands that the Blog has reviewed in the past.

Christopher

Selections: Anciients, Obsidian Tide, Luna’s Call, Vinsta, The Reticent, Wilderun

Anciients have just announced that they’re going into the studio to record album number three, thank god. They’re one of the most promising Opeth-inspired bands out there, fusing the inimitable Blackwater Park era sound with a sludgier vibe reminiscent of Mastodon and The Ocean. Y’know who else needs to get back in the studio? Obsidian Tide. Their debut album Pillars of Creation demonstrated a more circuitous take on the Opeth sound, with the Phrygian elements of their native Israel, and a quiet eye towards experimentation that bodes well for future releases.

There are two questions that lurk around our minds in those quiet moments when little else occupies us: as sleep takes over our bodies, as our loved ones turn away, as the tide pulls away from the shore… The first is: what if Opeth had continued on the prog death path? The answer is Luna’s Call, an incredible evocation of Opeth’s classic sound with something more energetic driving it. And the second question is: what if Opeth were Bavarian and they yodled? The answer to that question is Vinsta. 

The Reticent made the best album I will never listen to again. The Oubliette is an emotional nightmare of a concept album about dementia painted on an Opethian canvas that hits all the high points: incredible melodies, brutal death metal, impeccable storytelling. This is the only album to have ever made me truly weep and want to scream, and it did both at the same time at one point. And yet there are even better bands out there. Imagine if Opeth accompanied themselves with epic orchestration and leaned into a more dynamic sound. That’s Wilderun, and at the risk of being controversial, Wilderun are even better than the most iconic band in progressive metal. Come and flame me. 

Doug

Selections: Sisare, Hillward, Echoes and Signals

As the Subway’s latest resident prog rocker, it apparently falls to me to cover Opeth’s late-period heavy progressive rock output. Deep, deep down beneath the upper strata of artists often likened to Opeth’s post-Watershed style – your Anathemas, your Porcupine Trees, your Soens – lies an even deeper well of hidden gems who likewise ply their uncrunchy guitars and their melancholy, introspective, atmospheric lyrics in obeisance to the dark god Opeth.

Sisare bring a mostly uncomplicated style to the table, though their composition still bespeaks a wealth of depth and complexity. Featuring healthy layers of Soen-esque lightly distorted guitars, lively bass, mournful vocals, and unassuming but tightly plotted percussion, Sisare’s second and far more noteworthy album Leaving the Land triumphs in its simple yet effective execution.

Hillward opt for a more cinematic approach, featuring greater presence of keyboards and acoustic guitar, somewhat reminiscent of Riverside. Layering these elements on top of the shared foundation of heavy prog rock, the band have refined this formula across their three releases, culminating in 2021’s Alternate Timelines.
The latest addition to this list, Echoes and Signals, have only more recently settled into their Opethian style after a gradual metamorphosis of sorts through a few varieties of alternative rock and metal. Their 2021 album Mercurial further incorporates a light, ethereal haze that raises the sense of melancholy to its limits. “Broken Machine” is the keystone of this album, an emotional and moving lament concerning the frailty of the human condition.

Will

Selections: Hands of Despair, Piah Mater, Athela,

True story: Opeth was my gateway into heavier music with harsher vocals. Coming from a background in classic rock, early metal bands like Led Zeppelin and Deep Purple with a sprinkling of 90’s and 00’s indie, bands that made use of screams and growls felt somewhat inaccessible to me. I wanted to enjoy it but felt like I just couldn’t get a good handhold on it. “The Drapery Falls” changed that for me. The writing on that track, starting with an acoustic driven, deeply atmospheric melody before building into heavier sounds and feeding in Åkerfeldt’s death growls with such subtlety gave me an in. Everything clicked in my teenage mind and the rest is history. In honour of this, I chose “Amendment” from Athela‘s three track EP, this track does a good job of mimicking this progression from piano to forte, from haunting atmosphere to growling melo-death.

Piah Mater, once described on this site as being the perfect band for people who want to live an alternate reality where Åkerfeldt never stopped growling, is straight up pure black-tar Opeth-worship. From pacing, guitar tones, solos, vocals, even the way finger movement on a guitar strings during a chord transition gets picked up on the recordings in acoustic sections are all deeply reminiscent of Opeth‘s style. No playlist worshipping the Swedish giants would be complete without including them.

Hand of Despair, like many progressive death metal bands, is clearly saturated in Opeth influence. But, unlike Piah Mater, the Quebeqois band make it their own, assimilating it into a sound all their own. 12-minute epic “Doppelganger” manages to feel fresh while still clearly having one food in their metal heritage.

Zach

Selections: Disillusion, Ne Obliviscaris, Dessiderium

What’s the secret to my dashing good looks and extra strong muscles despite the fact I’m actually over 10,000 years old? Well, I’m glad you asked. It’s simple really. I go to the gym 36 times a day, do my rigorous skincare routine thrice and I listen to Opeth every day. That last part probably isn’t a joke. Blackwater Park, in my humble opinion, is the best thing to happen to music since the invention of prog, and I consider the ‘peth in their prime to be the greatest band to ever walk this earth. No other band has the riffs and vocal prowess that Mikey Anklefeet brings to the table. So, why so little picks? Well, one, I wanted to let all the other proglings have their say. Two, I literally pick an FFO for Opeth every playlist. 

We start off with Ne Obliviscaris. If you’re a self-professed Opeth fan and you haven’t heard them, there are bigger problems in your life that I need you to sort out pronto. They resemble the Morningrise-era if they’d kept that jazzy bass and added a violinist to the lineup. Seriously, these guys are stupid talented and one of the best torchbearers of the progressive death metal sound. This was a hard choice, but I decided to choose ‘Forget Not’, probably one of the best metal songs ever written, for its insane use of the 12 minutes it has you captive. Seriously, this song feels like it’s 5 minutes long. 

Then we have our newly uncovered Lost in Time pick, Disillusion. A band with one of the strongest debuts in existence, who combine Opethian songwriting strategies with a mid 2000s melodeath aggressive edge. ‘Back to Times of Splendor’ the titular track of their debut, is the best example of their sound. The violin-driven riff in the beginning and that triumphant chorus get my blood pumping every single time. 

Lastly, we have the Zach-approved darling of the blog, Dessiderium. You could pick a good chunk of the playlists I’ve participated in, and chance is you’ll find a writeup about Alex Haddad’s one man masterclass of progressive death metal. But I’ll remind you again. Aria is one of the greatest albums ever made and ‘Pale’ has one of the coolest riffs you’ll ever find in a prog-death song. A swirling, dreamlike masterpiece that’s sure to enamour those who want lengthy, dynamic compositions. 

• Hands of Despair (included in 2018’s AOTY posts)
• Piah Mater
• Dessiderium
• Disillusion (Coming soon!)

The post Playlist – FFO Opeth (or, A Dirge for November) appeared first on The Progressive Subway.

Do you conduct the music you’re listening to; waving your hands in the air like a Hogwarts dropout as the Best Guitar Fill of All Time roars through your head? Do you get that look on your face (you know: the one where people aren’t sure whether you’re weeping or gently farting) when the drums completely switch up the tempo and blast beats the song into overdrive? Are your friends and loved ones in constant danger of being shushed as you count them into the Most Epic Part Of The Song?

Us too.

That’s why our brave contributors have put together our picks of some of the best moments in Prog. Epic cleans, amazing drum sections, solos, fills and bass drops, all here for your aural pleasure. Staying true to our underground focus, we’re bringing you huge musical moments from the smallest bands.

Scroll down to find our playlists, an explanation of what we chose from each writer, links to any featured band reviews, and the comments section; where you can tell us what we missed!

Nick

Selections: The Escapist by Jekyll (chorus), Alastor the Blind by The Morgana Phase (bridge), Typewriter II by Panzerballett (intro)

I’ll never forget getting out of work, flipping on my local alt rock station during their international showcase hour, and being thrown right into the transcendental chorus of “The Escapist” by Jekyll. Coming from The Whispering Galleries EP, Jekyll takes notes from the early works of Muse (particularly Showbiz) yet makes a sound that is entirely their own. First kicking in at 1:45 (nearly halfway through!) the theatrical chorus cuts through the built tension and unease. The lyrics themselves hit hard, portraying someone filled with regrets overtaken by emotion. It’s simple, but effective.

My second pick is from everyone’s favorite The Dear Hunter knockoff, The Morgana Phase. “Alastor the Blind” comes off of the badass rock opera II: The Eyes of Time and, while I’m an absolute sucker for the chorus, I also hate being repetitive. Instead of that, I’m going to be focusing on the instrumental bridge that begins around 3:23. Taking a page out of The Dear Hunter‘s theatrics playbook, they slowly build layer upon layer over a clever arpeggiation. While I rag on them for their obvious influences, their songs are filled with neat songwriting tricks like this.

Speaking of neat songwriting, I just HAVE to highlight the introduction to “Typewriter II” by Panzerballett. The toying with stereo sound, hopping ear to ear, is tightly executed and almost goosebump inducing. The use of a typewriter sound effects also help give the impression of the notes being keypresses. I’m gonna go out on a limb and say that this may, in fact, be among the coolest ideas in the history of prog metal.

Christopher

Selections: Wilderun, Soulsplitter, Obsidian Tide, Subterranean Masquerade, Clément Belio, Meer

When asked for best song moments my mind instantly goes to about a dozen moments from Wilderun, but I’ll settle for just one: the climax of “The Means to Preserve” at 8:32 as the choir croons ‘Sleep at the edge of the earth, far from the spring of life’s…’ cue Evan Berry screaming: ‘… REBIRTH’ and then the epic instrumental section kicks in. Chills everytime. My second moment goes to “Disconnected” from Soulsplitter, and the gorgeous tapping sequence at 3:37 with subtle piano chords and delicate female vocal accompaniment which feels like being adrift in a psychedelic sea.  

Obsidian Tide know how to do an epic moment and none grabs me like the climax of “Pillars of Creation” at 3:05: snare rolls and massive strums accompany some of the best lyrics I’ve heard in years: ‘a secret star a shining gem, a regal night sky diadem, the vault of heaven welcome’s another god’; an incredibly catchy evocation of something intangible and transcendent. Their kinfolk Subterranean Masquerade are also one of my picks. A song where the climactic refrain in the chorus is about ‘striking a minor note in a place that was made for fairytales’ needs to end on an appropriate moment of melancholy, and “Place For Fairytales” does it perfectly in its glorious final chorus (5:14) with the poignant revelation from our singer ‘I am the vagabond’ before the plaintive cry of a fiddle kicks in, perfectly encapsulating all the melancholy of the difficult journey ahead. 

I’m a sucker for a bit of good piano work and two of these picks have it in spades: Clément Belio’s “Take Your Time” is a gorgeous prog/jazz symphony segueing through multiple movements until it reaches what sounds like a close, but then that piano solo at 6:37 kicks in and it’s like the sun has burst from behind the clouds to reinvigorate you. Meanwhile, “Honey” by Meer is a wonderful work of proggy art rock and in the epic final chorus (4:45) of this song there’s so much going on to enjoy the Haken-esque backing vocals,  joyous piano work which culminates in an ascent up the keys which never fails to put a smile upon my face.

Will

Selections: Hands of Despair, Aquilus, Toundra, Alter of Plagues,

A truly epic moment in music is something hard to quantify or define – but we damn well know it when we hear it. It can be a moment when the song seems to be kicked into a whole new level. “Crimson Boughs” by Hands of Despair, a darling of this blog, has a double whammy here. First at the 2.50 mark with some menacing vocals and one of the coolest verse structures I’ve heard in a long time (also objectively the best pronunciation of the word ‘North’ ever committed to tape). This track keeps on giving with an epic build up and release of tension crashing into soaring clean vocals at the 5.18 point. That’s the beautiful moment that you listen to a track on repeat for.

In the theme of menacing sounds, Alter of Plagues‘ “Mills” is one of the most riveting introductions to an album ever. Piercing violin; distorted, demented spasms of vocals; down-tuned bass and ominous drum lines. The first drop of the bass and drums is the key moment that lets you know what you’re in for with this album.

I’m forever grateful to my colleague, Zach who introduced me to Aquilus. Listening through I was blown away by the ending to the track “Loss” where, for the final verse, the music pulls out and the rough, hushed vocals continue on mirroring a motif originally laid down by the piano. It’s beautiful, haunting and terrifying all at once.

Finally, to warm things back up again like a warm bath after a cold day, we have Toundra‘s opening track to their third album, “Ara Caeli”. Translating to ‘The Alter of Heaven’ this track is the first step in a beautiful journey of an album. After the opening delicate strings, Toundra‘s distinctive full, rich sound kicks in and it’s gorgeous.

Zach

Selections: Ne Obliviscaris, Wilderun, Dessiderium, Hath, Abiotic, Vale of Pnath, Aquilus, An Abstract Illusion, Aethereus, Dyssidia

I rarely, and I mean rarely love an album upon first listen. I think what a lot of people underestimate is that well-written music is no different from a well-written book in the sense that you won’t get everything on your first read. There are details that you’ll pick up on the second, third, and maybe fourth reread that’ll make you appreciate it that much more. But, you think of those seminal moments on the first read that made you go back for another go-around. With my favorite albums, I’ll remember those massive riffs or vocal lines, but I’ll catch new details or riffs that I’d never caught before. And that makes me enjoy the music that much more, but it all starts with a single moment that I caught upon first listen. That’s why there are so many picks up there.

So, we’re going to start with the moment that made me absolutely lose my god-damn mind the first time I heard it. The bass break in ‘Devour Me, Colossus’ by Ne Obliviscaris is quite possibly one of the coolest things I’ve ever heard. After nearly 9 minutes of going on this journey, building with each new section, you’re treated to an amazing bassline and yet another amazing buildup with the riff that starts underneath it, soaring right into one of the finest finales I’ve ever heard. Speaking of bass, Abiotic promised a dueling bass solo between Killian Duarte and Jared Smith from Archspire, and delivered on it to the highest degree.

It would be cheating to put ‘Blackwater Park’ on here, so I opted for the next best thing. Wilderun‘s ‘Garden of Fire’ with Evan Berry’s absolutely beautiful delivery of the clean vocals around the 6:15 mark that has provided plenty of motivation on those tough gym days. Hath, a band that don’t usually use clean vocals (but are welcome whenever they pop up), have quite the amazing line in ‘Decollation’ about being baptized in muck. Makes me feel like an Uruk’hai warrior riding into battle whenever I listen to it. And while we’re on the topic of amazing vocals, I can’t forget to mention the outstanding voice and delivery of Dyssidia‘s Mitch Brackman in the chorus of ‘Hope’s Remorseful Regret’.

Then there are the occasions where a riff is so good it makes me mosh in my living room. You take one listen to Vale of Pnath‘s ‘Unburied’ and tell me that ending riff isn’t one of the finest things to bless your earholes, especially with that blast beat behind it and how it evolves during the song’s last minute. Then there’s the keyboard and lead guitar combo in An Abstract Illusion‘s ‘Abode of a God’ that drives the song through its several movements.

But then there’s stuff that didn’t stick at all on first listen, which grew into the whole song being that one “moment”. And these are moments I consider my favorite. Dessiderium‘s Aria and Aquilus‘s Griseus have so many of these it was hard to narrow down. The title track on Aria has incredible, emotion-drenched screams throughout and a riff in the middle section that gives me full body chills. Griseus‘s intro track, ‘Nihil’, might be the perfect tone-setter for an album. Aethereus‘s ‘The Living Abyss’ is only last because I find it so much better in the context of Leiden, but that intro will hook any stray listener in immediately.

Sebastian

Selections: Overtoun, Cryptodira, The Offering, Charlie Griffiths, Sweven, Growth

I don’t remember which one of these people thought of the idea of “best song moments” for our next Subway Playlist, but I will say, they did not know what kind of can of worms they were opened by such a suggestion. When each of us got down and started listing our favorite song moments, whatever we had just wasn’t enough. A snowball becomes an avalanche. One “Omg, but how can we forget about this track!” leads to another and we then have 20 picks each to choose from, which would be far too many for a digestible playlist. So, I took the task of whittling down my list to a manageable six choices of cool moments of underground (and underground-ish) prog metal artists and wrote about them enough so that I feel like I gave them justice.

I will begin with a track from one of my favorite progressive/tech death metal albums of last year Overtoun‘s “Pitch-Black”. This track begins with more of the band’s signature style of mixing the technical death/thrash style of Revocation with the old-school death metal tendencies that Death inspired, full of squealing pinch harmonics, groovy riffage, and death growls. However, what really stood out to me on my first few listens to this was the smoothest of Opethian transitions at 2:23 from the hostile combination of hostile growls and electric, high-gain guitar riffs to an unexpected sentimental interlude of acoustic guitar chords (with a timber almost sounding like a ukelele) accompanied by growing violin flourishes. This interlude is then followed up by more prog death from your inner hell, but this moment of lush respite is akin to a ray of hope amongst the dark storm that surrounds it. 

How often is it that you hear harsh vocal poetry? Honestly, Cryptodira showed me that it should be a hell of a lot more than I currently do because their intro to “Self-(Affect/Efface)” is really neat. Beginning with nothing but an ominous ambiance and solo drum fills, the fills back chanting growls which fill this minimal space with disgust, grief, and brutality. The growls are actually done by two of the band members who have their own harsh vocal styles and cadences, and having them alternate gives you that similar love for acts like White Ward and Hands of Despair. It’s always brilliant hearing different harsh vocal styles implemented side by side, and on the same track, and having them lament the suffering of history and the separation of the self makes it all the more novel.

To make a third quick mention to one of my favorite proggy dissodeath bands Growth, their 2020  output features some of the chunkiest, technical riffs I’ve listened to, and “Darkly, It Tightens Its Grip:” is not different. It finishes its six-minute attack of dense dissonant instrumentation with a dense, bulky riff that meticulously pounds you into a fine paste. But the moment I want to focus on here is what follows: an out-of-place spoken word interlude that escalates to a screamed word interlude as a woman pleads to someone unknown (Her significant other? Her nurse? The audience? Herself? We don’t know) but what we don’t know about this situation makes it all the more absurd when we hear it, and it’s very uncomfortable. This makes for quite the memorable transition into the next track.

The next moment I will reference has pretty much become an underground metal classic at this point. And yes, I am referring to the phenomenon that is “Just another way! Another Way! Another Step into the…” in The Offering’s debut album. It is in the second track of the album which is probably my favorite in a group of high-class songs. You are introduced to this moment at the 0:24 second mark, and it is a thrashy, groovy chorus, which is followed by technical riffs, guitar techniques, and soaring vocals more fitting to power metal (this band is certainly a fusion of many metal genres). But it is not until the build-up that leads to the moment at 2:02 where this familiar chorus really pops off with a three-member vocal harmony. This pop-off still gives me the stank face to this day.

The next artist I’ll mention is also not entirely unknown, but his Spotify page has less than 10k monthly listeners, and that is Charlie Griffiths. It really wasn’t until his solo album that I finally realized that he was for sure my favorite Haken member. All those years of listening to their zany, groovy riffs and I didn’t realize exactly how much Griffiths played a role in Haken’s songwriting that made moments in their material amazing. The moment from one of his songs I wish to mention is in “Dead in the Water”, one of the most rhythmic and avant-garde tracks on the album. This song introduces a few headbanger riffs from djentle chugs to riffs closer to a wacky prog/avant-garde death metal band but one of these riff arrangements is reorganized into an instrumental duo breakdown played by the sax and xylophone-sounding synths which is soon accompanied in harmony with some guitars, and you have a memorable groove. 

The final moment I’ll be writing about is from one of my favorite underground prog metal debuts The Eternal Resonance by Sweven. The album is filled with many impressive climaxes like this one but the moment on “Mycelia” is easily my favorite. For the first four and a half minutes, the song ebbs and flows with atmospheric, distorted guitar chords, blast beats, and vocals reminiscent of Chuck Schuldiner. This all builds tension as the song goes on with reverb that makes you feel like you’re in a chasm. Then at 4:56, the band introduces a guitar riff that’s as ominous as it is epic. While Sweven fleshes out this big doomy riff, various instruments accompany it: rolling drum fills, jazzy rhythm guitar, groovy bass, and fluttering keyboard arrangement embellish the backdrop with increasing velocity as the riff is drawn out to a satisfying conclusion.

Related Progressive Subway Articles:

• Hath
• Dessiderium
• Aethereus
• Dyssidia
• Aquilus
• Hands of Despair
• Overtoun
• Cryptodira
• Charlie Griffiths
• Sweven
• The Offering
• Growth
• Wilderun
• Clément Belio
• An Abstract Illusion (coming soon)
• Obsidian Tide
• Subterranean Masquerade
• Meer
• Soulsplitter

The post Playlist – The Best Moments in Prog appeared first on The Progressive Subway.

Mathis, Sam, Sebastian, Will, and Zach are already doing their part: Can you do yours? Stay Hydrated; Think icy thoughts; Break out the corpse paint and enjoy the Progressive Subway’s playlist ov the month!

As always, keep scrolling to see what each contributor chose and why. You’ll also find album links at the bottom of the page.

Sebastian:

Selections: Tomarum, IER, Cicada the Burrower, Kreationist, She Said Destroy, Dreadnought, The Chemical Mind, Thy Light, Dark Fortress, Antipope, Stormkeep, Summoner’s Circle, Esoctrilihum

Well, it looks like the time is here. The fun, bright, and carefree days of summer are coming to an end, and many of us (Zach, Sam, and I included) are going back to school. So, what better music is there to prepare us for the grueling hardship of graduate school than the cultish land of black metal. Yep, this is not only a playlist to put on when you’re in the mood to get brain-blasted into another realm, but it is a playlist for when you’ve abandoned all hope and need a playlist to cry along to.

I added a general variety of progressive black, and a couple of borderline prog black metal songs from Thy Light’s legendary DSBM album Suici.De.Pression, and Stormkeep’s perilous debut album. I also wanted to provide a mix of more abrasive prog black metal artists along with lush and melodic artists. The harder songs I added were pulled from the putrid soundscapes of hell that come out of Esoctrilihum, the demonic Japanese spirits of the damned that lurk in the music of IER, or the awakening whirlwind present in Tómarúm’s debut album. 

A song on the opposite side of the spectrum of filth is from Cicada the Burrower’s 2021 album, Corpseflower; this is an incredibly beautiful album with crystalline guitar tones, saccharine hooks, and an overall gorgeous atmosphere. Stuff like this is very common in blackgaze stuff, but this album is unique. Similarly, I added songs from Summoner’s Circle, Kreationist, and The Chemical Mind because they are primarily prog-black most of their duration but have isolated moments of juxtaposing sonic beauty, like an oasis on a hateful desert. Other songs I chose because of their focus on catchy lead guitar melodies are “Sharpening the Blade” by She Said Destroy and “Apostle of Infinite Joy” from Antipope. 

Other songs I like for more miscellaneous reasons. For instance, the ending to Dark Fortress’s “The Spider in the Web” is just sick, in a similar way to the closing riffs in the songs on Opeth’s Deliverance. Another is from Dreadnought’s 2019 album Emergence, one of the most detailed and progressive atmospheric black metal albums I’ve heard, with loads of keys, varied female clean vocals and screams, odd song structures, and tempo shifts galore.

Will:

Selections: Dragged into Sunlight, Hoth, Stortregn, Batushka, Ultar, Epitaphe, Numenorean

My selections here reflect my being more drawn to melodic, atmospheric themes in music. Hoth, Numenorean and Ultar offer unforgiving soundscapes and cosmic horror themes in an immersive blackened post-metal style that threaten to swallow the listener whole. 

Though I haven’t chosen a track from their excellent new album II, I certainly wanted to include some Epitaphe, just for the amazing jagged soundscapes the french band is capable of producing.

In terms of oppressive melody, it doesn’t get much icier than Batushka, whose Eastern Orthodox Christian-infulenced imagery with a dark twist is sure to cool you down during the rampant heatwaves of summer.

Mathis:

Selections: IATT, Deconstructing Sequence, Antisoph

I know very little about black metal or progressive black metal. I also do not like or listen to black or prog black metal. However, there are some cool things happening in that terrifying void of distant screams and relentless blast beats that are actually pretty neat.

Zach: 

Selections: Aquilus, Abduction, Doldrums, Galar, White Ward

Let it be noted that I am a lifelong death metal fan. In the seemingly never-ending subgenre wars on which one is cooler, I’ll always say death metal. But for some reason, progressive black metal just hits different. I find something incredibly soothing about the long-winded nature of proggy black metal, like an ever constant ebb and flow between soft acoustic parts with a sampled wind sound and trem riffs that sound as dark as the winter nights themselves. Because I’m a native Floridain, I don’t know what anything besides summer is, so for the sake of this playlist, let’s merely pretend to be in a winter cabin in the middle of nowhere, shall we? For the sake of atmosphere, just go along with it. 

The members of Galar might as well be the human embodiments of winter. They do everything a proggy black metal band should, and then some. The frigid riffs, strings that don’t sound programmed, and plenty of triumphant clean vocal sections. If you need to fill that Windir hole left in your heart, these guys are for you. And speaking of doing everything right, White Ward’s brand new opus was too popular to join the ranks of Subway Approved albums, but that doesn’t mean I can’t sneak it onto this playlist. Just like our first choice, the unconventional sax and noir atmosphere make you feel like you’re standing in the middle of a snowy, quiet city after dark. On the other side of things, the symphonic, sweeping music of Aquilus will take you to an abandoned campground in a dark fall afternoon, just as the sun is setting. I feel like it’s cheating to include one song, so if my pick is up your alley, make sure to check out the whole album! Abduction piles on the old fashioned production with modern writing sensibilities, with song structures more Opethian than the traditional black metal buildups. But enough with black metal to chill (ha) to, I know you want a little primal aggression in there too, so I added Doldrums’ and their beautifully horrific new album into the mix. 

Sam:

Selections: Enslaved, Phendrana, Fjoergyn, Massen, Dordeduh

As the planet downloaded TR 43 and used Overheat, we from the Subway opened our underground cooling systems and brought out some winterly chill in the form of some nice and cold black metal to counterbalance. Unfortunately for the planet though, we’re a bunch of cowards and have eluded the raw Nokia recordings in the arctic forests of Norway in favor of the warmer progressive variant with fashionable turtleneck sweaters. And I have opted for an even warmer route by going folky as well. Dordeduh brings the Romanian pagan atmosphere with dream-like songwriting and Massen adds a violin to a dynamic prog/black/death concoction. Phendrana is an atmospheric band full of yearning and melancholy, and Enslaved add in the Floydian touches to really hammer in that our planet is fucked. Finally Fjoergyn goes for the epic route as a soundtrack to the incoming apocalypse. Perfect.

• IER
• Cicada The Burrower
• Antipope
• Summoner’s Circle
• Esoctrilihum
• Dordeduh
• Massen
• Epitaphe
• Aquilus
• Dordeduh
• Stortregn
• IATT
• The Chemical Mind

The post Playlist – Midsommar Progressive Black Metal appeared first on The Progressive Subway.

In our ongoing efforts to please everyone over the globe, the Progressive Subway Department for Musical Weather Suitability have devised a playlist for you that can at once capture the liveliness of Spring as well as the longing for shelter and a bit of coziness that comes with Autumn: Jazz.

Yes, Jazz. Often raucous and lively, often sombre and contemplative. The ultimate blend of music to suit your needs. Our writers Mathis, Sebastian and Will have tirelessly scoped out the very best the underground has to offer for Jazz-infused Prog music for your listening pleasure, whatever the season. Enjoy.

Will

Though I’m no expert on the subject, I’ve been a fan of Jazz for some time. There’s a lot to like about and engage with in Jazz and it’s always exciting to hear it being incorporated into prog. In selecting tracks for this playlist, I kept in mind the three main “traits” of Jazz that I love (Calm, smoky atmospheres, complete creative chaos and inspired technical musicianship) and found tracks in the prog-universe (“progosphere”?) that best reflected these traits:

Pure creative chaos can be found in Ephel Death’s “Passageway” embodies the creative chaos that I enjoy about Jazz and that Tom Waits used to great effect in tracks like “Midtown”. Ephel Death takes it further in adding overdriven guitar and the primal rawness of the human voice’s scream to create an atmosphere of pure energy. Candiria brings some similar energy with a proggy-jazz infused rap-metal which has to be heard to be believed!

At the extreme other end of the spectrum, Maudlin on the Wall embodies the calm, smooth, melodic sounds of artists like Dexter Gordon or Coleman Hawkins. SE:UM has been a band very close to my heart since I saw a few of their early tours in Seoul. “Abyss” is a smoky, mysterious piece that would make a beautiful soundtrack to a Korean Film-Noir, by effortlessly blending jazz and traditional Korean instruments to tremendous effect.

For the sheer technical brilliance that we so often find in Jazz musicians, I suggest you look no further than Mestís. Technical brilliance as well as heartfelt playing, Mestís is known for a lot of genre-hopping in his work and the track “Menta” is 5 minutes of pure brilliance.

Keeping true to The Progressive Subway’s mission of connecting listeners with underground proggressive music, most of my selection has been taken from smaller bands. However, I couldn’t resist sneaking some more well-known bands into the mix: Rivers of Nihil are well known for their incorporation of Jazzy saxophone solos to be incorporated into their track. And, after the lukewarm fan reception to latest album The Works, it’s important to go back to this band to remember why we fell in love with them in the first place. Jazz lost it’s best new drummer when Brann Daylor of Mastodon first spun up a metal CD. Daylor’s jazz-infused drumming, full of swung beats and beautifully subtle grace notes is sublime and deserves a spotlight in this playlist. Finally, no prog-jazz playlist would be complete without a nod to jazz powerhouse Snarky Puppy who, through the overwhelming force of their incredible musicianship, cannot be denied a spot on this playlist.

I enjoyed my jazzy journey making this playlist. Readers, please send me your suggestions of further jazz prog I may have missed!

Sebastian

For all of my jazz fusion picks, I decided to stay true to my prog metal roots. There is almost no underground band that I think better exemplifies the stereotypical conception of prog metal / jazz fusion than Panzerballett and the lesser-known Wax People. These both convey the complexity and precision of the two genres well and they authenticate the jazz flavor by including full-time saxophone and clarinet players. I also wanted to include the equally impressive instrumental jams from Mental Fracture and Coevality which have strong jazzy elements mixed in with their proggy breakdowns.

Another small but growing field of jazz-fusion metal is the resurgence of zeuhl in prog metal. Back in 2021, I had the privilege of reviewing Papangu’s debut album Holoceno. Not knowing jack about what this sophisticated, jazzy subgenre of progressive rock entailed I was thrown down a rabbit hole of researching Zeuhl history from the classics produced by Magma and Eskaton to modern gems like All Traps on Earth. To the standards of a die-hard zeuhl fan, the compositions in Holoceno are a bit down to earth and digestible but it still is one of the most cohesive fusions of metal and zeuhl to date and I would easily recommend it. I also wanted to include a song from a band nearly nobody has heard of; Odd Fiction may not be the most experienced but they deliver a short EP that provides a challenging listen and a more dissonant approach to the genre.

Mathis

When I think of jazz fusion the first artist that comes to mind is Plini. He played a major role in my interest and love for fusion, and was one of the first prog artists I discovered. I used to think that everyone was just trying to sound like him, but my ears were untrained. Eventually I discovered a plethora of other great jazz fusion acts. Nuclear Power Trio (NPT) is much more grand and energetic than the typical progressive jazz fusion you may know and love. For better or worse NPT is a satirical instrumental fusion band that consists of Kim Jong Un on Drums, Donald Trump as the guitarist, and Vladimir Putin on bass. It really is a sight to behold, and it conveys a beautiful message that music can unify us no matter how different we may be.

Then on the other hand we have Sound Struggle‘s “The Bridge” which is a story to be taken much more seriously. This song is a twenty minute epic that sits halfway through a massive concept album. Sound Struggle takes a different approach to fusion and blends metalcore with blaring horns, synths, and the occasional obscure instrument. Now we have strayed quite a bit from Plini‘s softer ethereal sound, but we can go even further with The Sound That Ends Creation (TSTEC). Who would have guessed grindcore and jazz mix so perfectly together? No one, it is actually nightmarish. TSTEC sounds like the soundtrack to zombie clowns attacking the horns section of a middle school band on methamphetamine. The music sounds kinda cool though, there’s nothing else like it.

Related Progressive Subway Articles

• Wax People
• Papangu
• Coevality
• Von Citizen
• Sound Struggle
• James Norbert Ivanyi
• Umpfel
• Mental Fracture

The post Playlist – Jazz-Infused Prog appeared first on The Progressive Subway.

Our writers Mathis, Sebastian, Will and Zach have each chosen their favourite song from the Meshuggah back catalogue as well as finding hidden gems from smaller bands that we think you’ll love if you’re a Meshuggah fan.

We hope you enjoy this month’s Progressive Subway Playlist. As always, keep scrolling for some more info about our picks from the writers themselves (including a veritable thesis from Sebastian) as well as links to albums of bands included in this playlist that The Progressive Subway has previously reviewed.

Will

The connection I have with Meshuggah was they’re one of the bands I listened to almost on a loop when I was studying Art for my A-Levels. In the school’s art studio, I would find some out-of-the-way corner, open whatever painting or sketch I was working on at the time and spin up ObZen or Destroy Erase Improve on my iPod. Then, everything else in the world seemed to fall away. I was blissfully alone; just me and the texture of paints, the smell of turpentine and the cacophony of Djent.

Finding smaller bands that have taken a leaf out of the Meshuggah playbook has therefore been something of a nostalgic experience for me. I couldn’t resist including “Future Breed Machine” from Destroy Erase Improve on this playlist. I love the incorporation of the alarm sound in the intro (and then again at various points throughout the track). And I think the way the vocals are delivered and punctuated in such a way as to add to incorporate them as yet another staccato instrument in the ensemble. My love of electronic and siren-like noises in djent informed my inclusion of “Thousand Arms Fortress” by Returning We Hear The Larks for their technical, pinch-harmonic heavy riffs that could well be the soundtrack to a murderous AI.

Zach

In my humble (yet, undoubtedly correct) opinion, Meshuggah are probably one of the coolest bands in existence. No band has created a signature sound so sought after that it spawned a whole new genre in the process. And you can say whatever you want about “djent”, but it doesn’t seem to be slowing down any time soon. Some bands have come incredibly close, while others see putting their own spin on chugs and polyrhythms, but none of them sound like Meshuggah. Maybe it’s Haake’s second to none, mind melting drums. Or maybe it’s the jazzy sensibilities of Thordendal’s solos. Either way, ‘Shuggah’s influence is here to stay, and I for one welcome our 8 stringed overlords.

Hippotraktor is the youngest and one of the most interesting bands from our selection of chuggy offerings today. They’re clearly ‘Suggah and Gojira influenced with their riffs and ferocious vocals, buttheir cleaner sections remind me of Karnivool and ISIS‘s softer soundscapes. If you like a bit of post-metal buildup and clean vocals with your chugs, these guys are for you. Omega District and Humavoid are cut from the same cloth, adding symphonic elements to the core sound and creating amazing results in the process. The former rely on synths, keeping with the Blade Runner theme of the album, while the latter features prominent piano and strings all the way through. Letters from the Colony and Limbo bring back the heavy, sacrificing the symphonic thrills for a more clear-cut, djent-y sound. And then we have Vildhjarta. Many of you will probably know them, as they’ve been somewhat of a prog-metal darling throughout the years, but I couldn’t not include them. They are what happens when someone says Meshuggah aren’t rhythmically weird enough. I dare you to try and count along with ‘masstaden nationalsang (under vatten)’. If I could, I’d include all of Masstaden Under Vatten, but you’ll just have to lose your mind to this one song. Hey, maybe it’ll make you check the whole album out. I highly recommend it!

Sebastian

Well, well, well it looks like the time has come: the month of Meshuggah’s 9^th (or 10^th) studio album. I think it’s no secret by my choice in album review selections that I am a huge fan of their patented style which seems endlessly sought after in modern metal. To celebrate such a historic date I want to shine some light on ten, yep you read that correctly, ten underground prog metal bands that are inspired by Meshuggah‘s djent.

Riccardo Moccia is an Italian metal virtuoso who has a knack for creating incredibly industrial, mechanical, evil-sounding, almost blackened djent. We got a promo from his 2022 album Sensed which was released just over a month ago because we’ve been somewhat short-staffed as of late I don’t think we’ll be getting to a full review of Moccia. But he definitely deserves it, god damn it! His songs are all packed in densely with abrasive, dissonant soundscapes, headbanging riffs, and the gutturals of a catacombs demon. One aspect I absolutely love about Meshuggah is their illustration of dark and nihilistic themes. The way they are able to deeply convey the inexorable mechanisms that dictate the universe through relentless, oppressive chugs and unyielding percussion. This is the kind of spirit that Ricco Moccia delivers well on and provides his own spin on it. For this reason, I included his single “Freewill” in the playlist.

Aeons was a band that Dylan and I were fighting over for reviewing back in 2021 because of how interesting they are at face value. They are what it would sound like if a 2000s metalcore band tried making a cross between Opeth and Meshuggah. A lot of the sonic choices used in their Consequences album are questionable but unique, oftentimes blending metal styles that you would never have expected to hear front to back. For instance, there is a song in it that sounds a little bit too close to “Death Whispered a Lullaby”, sandwiched between two djent-tastic songs with aggressive barks and down-tuned, vibrating, mechanical riffs. The highlights from Aeons are the songs that book-end Consequences, closing their album about as well as they started it.

I could not live with myself if I let a “Meshuggah FFO” playlist go by without mentioning Polars Collide, in my opinion, this band is the best reimagining of Meshuggah‘s aesthetic style except they take their music in a more organic and down to Earth direction. Their debut album Grotesque was undoubtedly one of my favorite underground albums of last year and Polars Collide is one of the smaller bands that I am most hoping will succeed in future albums. To give a short summary of what they excel on, they are able to deliver the right balance of disgusting, misanthropic brutality, melody, and sophisticated complexity in their songwriting. Their riffs are memorable and their songs have very progressive twists and turns that one should expect from a good progressive metal band. Being inspired by other bands like Gojira, Lamb of God, Death, Sepultura, and a pinch of Opeth, they have added an excellent album to the pool of extreme metal.

Giant’s Knife is a band that I reviewed last year and I will say that they are one of the three bands that I believe I most underrated. Being smaller, of course, their production level might not be as expensive as many bigger bands and I complained a good bit about the “stream of consciousness” songwriting style of the last two closing tracks. However, I will say that most of the tracks on this album are very coherent, filled with melody, and are pretty much bangers. To give you more of an idea of what they sound like, they are an instrumental (or should I say, InstruDjental) progressive metal band with post-metal leanings; they take their greatest inspirations from Cloudkicker, The Contortionist, Meshuggah, and AAL. Currently at 15 monthly listeners on Spotify, their music is highly underappreciated, so I would check them out and share a little bit of love.

Woe Unto Me is not the kind of band that you might expect from extreme djent; rooted in the deep atmosphere of funeral doom, it was surprising for me to see that they released a death-doom/progressive metal album during March of last year. The 30-minute EP, Spiral-Shaped Hopewreck is an atmospheric experience, drifting through the cosmos, and contemplating existence. Woe Unto Me are in their comfort zone when conveying deeper soundscapes which contrast well with their more proggy EP. The tracks ebb and flow between small spacey interludes which sets the tone for a mellow and soothing listen; that is until the final non-interlude track comes into play which is a cover of Meshuggah‘s “Lethargica”. This cover brings the old Obzen track into modern soundscapes and delivers effective grooves with deep impact and solid production.

My experience with WAIT (We are In Transit) is a perfect example of how incongruent expectations can ruin your experience of an album. Coming off of their high from Egoiista, Alex Weber and Max Phelps from Exist were joined by Charlie Eron, and Anup Sastry from Intervals to create the debut album for WAIT. The Cynic-esque, prog-death prodigies came into this album with very different goals than what one gets from their other projects. This is better defined as atmospheric djent, with crooning, mellow vocals, and lengthy chugging sections. I would say their album The End of Noise takes the spirit of Meshuggah with their immutable, chuggy, high-gain, palm-muted, polyrhythmic riffs; when WAIT gets on a groove, they basically do not stop until they’ve sapped all resistance out of you. It seems as though a lot of people don’t mind this quite as much as I did but if they meandered less, I would like The End of Noise much more because as it stands, it is one of the more unique djent albums to come out over the past few years.

For those who don’t know, Stömb is probably one of the most interesting instrumental djent artists to exist in 2022. Their songs are long and highly complex, not stopping too long on one musical piece before changing gears to another. Their songs take several detours that build up to monster crescendos with the combination of post-metal induced, pounding djent riffs, alien sci-fi keyboards, and atmospheric synth chords. Their guitar tones sound like a mix between the lowness of Meshuggah and the punchy, grooviness of Gojira. From the looks of it, Stömb will be coming out with a new album sometime this year and from the singles that were released, I think this one will be a slobberknocker.

Kobong is a band that only the prog metal historians seem to know about, and it is a darn shame because, one, they are the second chronological djent band to exist, and two, their style of funk-metal combined with avant-garde, djenty, prog alternative metal is something to behold. They might be as unknown as they are because they only had two albums before breaking up. Their self-titled debut is a lot more on the alt-metal/funk metal side while their 1997 sophomore album, Chmury nie było is very djenty and groovy. And for the time, competing with albums like Chaosphere and Destroy, Erase, Improve they were very well off in the scene. Who knows, in an alternative universe where Kobong never broke up, it might be Kobong and Meshuggah leading the djent charge together as competing factions.

Atria is an Iranian prog metal band with deep gutturals, heavy, djentrified riffs, and symphonic arrangements somewhat similar to Xerath (but better). In researching for this post I had only recently discovered their 2020 debut album Reincarnation but it is a quick, 28-minute experience that packs their songs with riffs that are heavy and energetic like bouncing bowling balls. The aggression that this band has is something to behold but they do well at spacing out tranquil tracks to separate the sonic beatdowns. Sitting currently at 20 monthly listeners on Spotify, Atria is officially the most underrated band on this list.

Can you imagine the audacity of a band that literally uses the name of an iconic song of their favorite band? I can, Stengah is a French progressive metal band that can be classified as somewhat tech death, somewhat groove metal, somewhat post-metal, but all in all, very djent. The songs on their debut album, SOMA SEMA are tightly written and contain a lot of quality material as far as their riff-writing is concerned. Additionally, they deliver quite a bit of dynamic variation in their songwriting to make sure none of what they have to offer becomes stale, with the inclusion of a power ballad (something that Meshuggah would never do), soothing acoustic interludes, and a saxophone section. Stengah overall excels at delivering quality songs with great use of polyrhythmic riffs, solid percussion and drum fills, and good mix and production.

Mathis

Admittedly I am not the biggest fan of Meshuggah. However, they have grown on me recently. A few months ago I was working with extremely loud equipment, and I am the kind of guy that can’t sit in silence. I always need some sort of soundtrack for whatever it is I am doing, and when working in a loud setting I didn’t like listening to more technical stuff. Enter Koloss. This record quickly became my work music because it was easy to hear amidst all of the grinding, banging, and whirring. Without a doubt my favorite track is “I am Colossus”, it is so slow and groovy and easy to keep track of. Eventually, I had to change up my playlist, ya know how you can aggressively over listen to an album. Well to avoid that I started listening to Humavoid, and I prefer them to Meshuggah because of the alternating vocals as well as the introduction of keyboards. So I listened to them quite a bit and then began searching for other similar bands. That’s when I came across BEAR, ok that is actually dishonest. I listened to them before but wasn’t a fan. I love them now though, and their newest album is great. “Propaganda” is the closest to Meshuggah, but the rest of the album has great grooves and heavy riffs.

Related Progressive Subway Articles:

• Humavoid – Lidless
• Hippotraktor – Meridian
• Polars Collide – Grotesque
• Giant’s Knife – Oracle
• Aeons – Consequences
• WAIT – The End of Noise
• Stengah – SOMA SEMA

The post Playlist – FFO: Meshuggah appeared first on The Progressive Subway.

But never fear, intrepid reader! Our writers have put together another rip-roaring playlist to keep your fitness goals on track – this time focusing on prog music that Rocky Balboa himself would be proud to have playing over his montage sequences.

Whether you are a regular gym goer, a new years resolutioner or just love to hear progressive music that makes you feel like you can fight a house, we hope you find something in our new playlist that gets you in the zone.

Will

I have something pretty shameful to admit here: Progressive genres don’t feature heavily in my gym playlists – I find it can be pretty difficult to keep a pace with rapid tempo and time signature changes. That said, there are those songs that motivate and beg you to keep pushing when exhaustion drags at your heals. Songs like Melancholy‘s epic-feeling “Moon Spirit”, or The Vision Bleak‘s “By Our Brotherhood With Seth”. Mastodon also demanded inclusion in this playlist for the sheer brutal savagery of some of their riffs.

Mathis

I workout maybe 3-4 times a week, I want to be a calisthenics god and do cool pull ups and handstands and what not. Right now I am too chonky and need some motivation, and more than any other genre of music I turn to Progressive metal. I don’t know what Will (^^^) is on about, there is plenty of great progressive music to inspire a good sweat sesh. There is stuff for HIIT workouts like “Sing Sing Ain’t My Style” by First Signs Of Frost. Maybe you want a really good fast paced run, so you opt for “Outrun God” by Azure. If you look hard enough you will find some great workout jams, but always remember your strongest muscle is the heart so don’t lose hope when you don’t have a perfect gym playlist. You have what it takes in here (places hand gently on chest), some good anime training arcs help too.

Zach

It is a well known fact around the Subway Office that I am a literal fitness god. Nearly seven feet tall with muscles on my muscles, even Schwarzenegger said he was jealous of me. But I wasn’t always like this, I was once a weakling, just like you, reader. But with a healthy diet of crushed up vinyl records and 30 hours in the gym every day, I became the absolute Adonis that I am today. However, a workout is only as good as the playlist that accompanies it. You wanna hit the big lifts? You gotta listen to Meshuggah, this is workout 101 here. ‘Bleed’ is the obvious choice. You just set that on repeat for your entire workout and you should be fine.

Oh, wait, you’re still here? Why aren’t you at the gym? You want more playlist diversity? Fine, I guess. We’ve got the blackened, djent-y sensibilities of Immanifest with enough power in one song to kill a fellbeast. With Inferi in your workout playlist, you’ll be sure to feel like ‘A New Breed of Savior’ by the time your lifting is done. And no cardio day would be complete without The Odious Construct. I’d put the whole EP here but that would just be cheating. And capping it off is a song heavier than a neutron star. Unfathomable Ruinition‘s ‘Pestilential Affinity’, which has a riff that makes me want to run through a brick wall. You have the tricks of the trade now, little progling. Now get out there and go slam some steel bars to the ground!

Sebastian

When I workout, I pretty much listen to whatever I have scheduled to listen to that week, be it for our reviews, or for a discography run of one of the big prog metal bands that I have not yet given a chance to. But I included some of the underground songs that I think I would especially appreciate while exercising. I added Polars Collide because it is a top tier progressive groove metal album with very heavy riffs and immutable Meshuggah influences. I also added songs by Ihlo, Cave of Swimmers, and Umpfel because they have a lot of inspiring and upbeat melodic energy; great for persevering through cardio.

Related Progressive Subway Articles

• Melancholy

The post Playlist – January Workouts appeared first on The Progressive Subway.