Mercyless: abject offerings. I've not heard their second album 'coloured Funeral' but bet it's also progressive. Similiar to older Morbid Angel,Death and Pestilence
Demigod: slumber of the sullen eyes
Atrocity-Longing For Death,Hallucinations
Immolation: Here In After,Unholy Cult,Failures For Gods,etc....
Demented Ted: promises impure
Deceased: Supernatural Addiction,Fearless Undead Machines, As The Weird Travel On.
Pan.Thy.Monium. Featuring Dan Swano(edge of sanity,bloodbath)
Bloodbath. The 'breeding death' E.P is not progressive but following albums are. Listen to the harmonies most importantly. Solo's on 'Nightmares Made Flesh' also. Dan Swano from Edge of Sanity,Pan.Thy.Monium etc... and Anders Nyström from Katatonia, Diabolical Masquerade,
Theory In Practice- ALL
Therion: Beyond Sanctorum,Symphony Masses: Ho Drakon Ho Megas Full
Revenant: prophecies of a dying world. Reminds of Morbid Angel's second album 'blessed are the sick'. Complex,progressive.
Loudblast: sublime dementia
Skeptic: pathetic being. This album has a great cover of Arctic Crypt by Nocturnus from their second album 'thresholds'
For me, the most disappointing aspect of the post-1996 devolution of extreme metal from a series of artistic movements into a collection of social "scenes" has been the loss of the sense of possibility that once pervaded black and death metal. No longer do I look forward to new artists bringing a fresh creative perspective. The best I have been able to hope for over the past few years is that established artists like the Chasm or Graveland don't fall into the creative obsolescence that eventually overtakes almost all artists.
So I can say I was more than pleasantly surprised to find a work of true genius like The Luster of Pandemonium coming from a band formed after the turn of the millennium. What Crimson Massacre have achieved here is nothing less than the complete re-imagining of the entire "technical" death metal subgenre, turning away from the usual displays of self-important wankery and toward a new vision of the nightmarish postmodern fragmentation of reality delivered at the absolute fringe of instrumental possibility.
There is real innovation at the level of technique here, as phrases are rendered in almost ludicrously hyperextended form, with absurdly complex melodic, harmonic and rhythmic interplay flashing past almost too rapidly for the mind to adequately reassemble what the ear hears. Structurally, songs are built around a narrative framework, but that framework is twisted and disturbing, with the clarity and elegance of Burzum or The Chasm exchanged for paranoid pyrotechnics of an almost Pynchonian sort.
The real genius of The Luster of Pandemonium lies in its ambivalence. Beauty is always crushed by dissonance, dissonance is subsumed by beauty, and resolution is never reached. Passages reveal an inner logic, but the expected conclusion is always deferred. Even the eleven minute accoustic epic "The Hyperborean's Epitaph" builds toward a sublime climax only to collapse into a tortured, wailing death keen that never ends, but simply fades away. Crimson Massacre find in life an inherent meaninglessness, but rather than hiding from it, embrace the chance to build their own meaning from the fragments of possibility, and, in an act of supreme artistic courage, invite you to do the same with through their music.
Wicked Innocence Omnipotence
One of the great ironies of this chaotic life is the way reality and surreality converge with monotonous regularity. The bizarre is as much a daily part of existence as mundanity, and the more one's reality fragments under the weight of onrushing death, the more apparent this becomes.
Capitalizing on their recognition of this fact, Wicked Innocence erected at the intersection of Demilich, Immolation, Atheist and heaping handfuls of hallucinogens a death metal masterpiece in the form of Omnipotence. Crafting an absurdist logic from brutal yet deliberate death metal, Wicked Innocence explore the dark recesses of the human psyche. Walking the razor's edge where order meets chaos, Omnipotence juxtaposes meticulous technicality against structures that do not so much develop as decay (spiraling deliberately into the abyss) and sets often punishing dissonance against tendrils of melody that speak less of hope than of radical corruption. A bizarre, rambling vocal performance (ranging from hideous shrieks, to a percolating belch, to a pitched chant, all delivered in the manner of a conversational asides) solidifies the impression that this is not so much an album as a ringside seat for a descent into madness. Yet, strangely, it is all the more real for this detachment from 'reality,' and Omnipotence stands as a chilling monument to the fragile illusion of normality and the terrifying truth behind the veil.
Yeah, then you can actually listen to the way reality and surreality converge with monotonous regularity, thus juxtaposing romanticist deconstructionism and post-holism in an absurdist yet coherent logic, right?
I think it's great someone mentioned Wicked Innocence 'omnipotence'. Worship is also cool but different. That's their last album with the original line up(drummer being the only original memember). I remember one of the old guitarist rejoined and they did an E.P in 2001 with another new vocalist which was better than Opium Empire which does not even sound the band. Their site has been down since probably 2001,02.
I have this 8 song demo cd they did before Omnipotence which is sick as well.
I bought Omnipotence on Ebay for a pretty good deal. You can still find 'Worship' on some distro's new.