Dagtum

Out of the Mouth of Graves is a South Carolina dissonant death metal trio formed in 2021, featuring members also active in Vølus and Acausal Intrusion, releasing through Vargheist Records. Their debut Harbinger Unceremonious (2022) and the Lovecraft-themed Shrines to Dagon (2023) build cavernous, off-kilter death metal around H.P. Lovecraft's horror mythos.

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Dethklok is the real-world melodic death metal act behind Brendon Small's animated series Metalocalypse, with Small performing guitars, lead vocals, bass and keyboards and Gene Hoglan (Strapping Young Lad, Death, Dark Angel) on drums since the 2007 debut The Dethalbum. Powered by Hoglan's blast beats and Small's technical shredding, the studio project became the highest-charting death metal act in Billboard 200 history at the time. Its over-the-top satirical concept culminated in the sung-through metal opera The Doomstar Requiem (2013). The touring lineup has drawn on Zappa/Vai-school virtuosos including Bryan Beller, Mike Keneally and Nili Brosh.

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Montreal trio blending sludge and death metal weight with jazz-inflected saxophone, ambient dronescapes, and psychedelic textures across long-form concept albums. Their 2022 record Hivemind unfolds as a continuous sci-fi narrative about first contact with an insectoid hivemind, drawing comparisons to early Mastodon, Dvne, Neurosis, and Oranssi Pazuzu. Formed from the ashes of Montreal band The Wild Hunt in December 2016, the band restructured as a three-piece in January 2021 with all members sharing vocal duties and reaching for non-traditional instrumentation.

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Drainbow is the Austin, Texas one-man vehicle of multi-instrumentalist Nicholas Sarcophagus, who writes, performs and records everything himself. Its debut full-length 'The Tower of Flints' (2020) careens between thrash riffing, doom weight, gothic atmosphere, jazz-tinged lounge interludes and ambient post-metal passages inside a single kaleidoscopic record. It occupies the DIY, one-person-band corner of the avant-garde metal scene, prioritizing eclectic mood-shifting over any single subgenre identity.

Rivers of Nihil are a Reading, Pennsylvania band who wrote a four-album cycle with one season each, and turned the autumn record into the one everybody names first. Where Owls Know My Name (2018) put a saxophone in the middle of a technical death metal album — three solos and atmospheric passages from Burial in the Sky's Zach Strouse, with cello and trumpet around them — and it landed because the songs were already long, cinematic and keyboard-shaded, with somewhere for a horn to go. Brody Uttley's keys and programming carry that atmosphere; Adam Biggs moved from bass to lead vocals in 2022, and the self-titled 2025 album was written with no dedicated frontman at all. The saxophone stayed, which is the tell: the band deliberately refused to be 'the sax band' and kept using it anyway, as one more colour rather than a gimmick to retire.

Ingurgitating Oblivion are a German death metal band (active as such since 2002, roots in 1997) built around founder-guitarist Florian Engelke. Their later work, especially Vision Wallows in Symphonies of Light (2017) and Ontology of Nought (2024), moved into progressive, dissonant, avant-garde death metal, lacing Gorguts-style dissonance with jazz guitars, vibraphone, piano and musical saw, and drawing openly on Ligeti, Bartok and jazz. With Defeated Sanity's Lille Gruber on drums for the pivotal 2017 record, they became a fixture of the explorative death-metal underground.

Opeth are a Stockholm band formed in 1990 who spent three decades welding death metal to 1970s progressive rock — Mikael Åkerfeldt growling over one riff and crooning over the next, with acoustic guitar, mellotron and knotty jazz-leaning chord changes given as much room as the heaviness. Steven Wilson's production on Blackwater Park (2001) and the entirely clean, mellotron-soaked Damnation (2003) pushed the prog half to the front, and by Heritage (2011) the growls were gone altogether in favour of jazz rock, Camel and Swedish folk. The Last Will and Testament (2024) brought the death vocals back after sixteen years inside a narrated 1920s will-reading concept record, with Jethro Tull's Ian Anderson on flute and narration. Theirs is the rare case where the experiment became the mainstream success, and the audience followed them into the strange parts anyway.

Blood Incantation are an American death-metal band from Denver, Colorado, formed in 2011 around guitarist-vocalist Paul Riedl and drummer Isaac Faulk. Their 2016 debut Starspawn, on Dark Descent Records, drew wide acclaim for its cavernous, progressive, cosmically themed death metal; they later moved to Century Media and stretched their palette across the fully ambient synth album Timewave Zero (2022) and the sprawling Absolute Elsewhere (2024). They rank among the most celebrated acts of the modern death-metal revival.

Gorguts is a Canadian extreme-metal band formed in Sherbrooke, Québec in 1989 around founder Luc Lemay, and one of the acts that turned death metal toward dissonant, atonal, structurally complex 'avant-garde' territory (notably on 1998's Obscura and 2013's Colored Sands). Their experimentalism lives inside the death-metal idiom rather than in cross-genre blending, pairing technically demanding writing with harsh, jagged harmony. The reunion lineup drew in New York avant-metal figures Kevin Hufnagel and Colin Marston.

A Portuguese progressive death/doom act from Vila Real, active 1997-2011 (as Thanatos until 2001), that pushed from straightforward death metal into an increasingly atmospheric, doom-tinged and progressive direction across five albums. Dual male/female vocals (Guilhermino Martins and Patrícia Rodrigues) traded off over jazzy detours, Middle-Eastern-flavored guitar-and-keyboard passages, and dreamlike, trance-inducing keyboard textures, drawing comparisons to Porcupine Tree and Lacuna Coil before disbanding in 2011.

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