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POST ROCK/MATH ROCK

A Progressive Rock Sub-genre


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Post Rock/Math rock definition

POST-ROCK:

The term post-rock was coined by Simon Reynolds in issue 123 of The Wire (May 1994) to describe a sort of music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbres and textures rather than riffs and powerchords."

Originally used to describe the music of such bands as Stereolab, Disco Inferno, Seefeel, Bark Psychosis and Pram, it spread out to be frequently used for all sorts of jazz- and Krautrock-influenced, instrumental, electronica-added music made after 1994. Bands from the early 1990s such as Slint, or earlier, such as Talk Talk were influential on this genre. As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental.

The aforementioned Tortoise was among the founders of the movement. After the second Tortoise LP Millions Now Living Will Never Die, the band became a post-rock icon. After Millions... many bands (e.g., Do Make Say Think) began to record, inspired by the "Tortoise-sound" and were often described as post-rock.

In the late nineties, Chicago, Illinois, became the home base of many different groups. John McEntire (of Tortoise) became an important producer for lots of them, as well as Jim O'Rourke (of Brice-Glace, Gastr del Sol and many more). Post-rock began to range from the slow, guitar-based ambience of Boxhead Ensemble to the up-tempo electronica of Stereolab.

Montreal, Quebec band Godspeed You Black Emperor! - later renamed 'Godspeed You! Black Emperor' - brought a political element with anti-globalization movement leanings.

By the early 2000s, the term had started to fall out of favor, while the major artists kept on making high quality recordings. The wide range of styles covered by the term had robbed it of its usefulness almost from the moment it was coined.

Closely related to post-rock is the genre known as Math rock, characterized by more percussive timbres, and more dissonant harmonic gestures.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Post-rock".



MATH ROCK:

Math Rock is a genre that emerged in the late 80's and that was influenced by both the intricacies of progressive and avant-garde rock - King Crimson, Frank Zappa, Henry Cow - and 20th century composers such as Steve Reich and John Cage. The music is characterized by complex structures, angular melodies and constant abrupt changes in tempo and time signature. The name Math Rock is a term that grew out of the Chicago scene and the artists working with engineer Steve Albini in an effort to describe the new style.

The basic building blocks of Math Rock can be traced back to the late 60's and 70's where Progressive Rock artists were making more elaborate compositions than the standard rock bands and were experimenting with song structures. Early Avant-garde groups like Massacre, and artists such as Captain Beefheart and John Zorn were highly influential to Math Rock bands and traces of their music can still be heard throughout the genre. Another big influence to the Math Rock approach was Slint with their album "Spiderland" which showcased many techniques that Math Rock bands will follow in the future. Punk also had significant impact on the sound of Math Rock bands. Other notable influences are: Post-Rock, Heavy Metal, and Jazz.

Although there are Math Rock bands in different countries around the world, most reside in the United States, the Midwest in particular, and tend to be divided by regions: Pittsburgh bands (Don Caballero, Six Horse) Chicago bands (Shellac, U.S. Maple), Ohio bands (Keelhaul, Craw) Louisville bands (June 44, Rodan, The For Carnation, Crain), and San Diego bands (Drive Like Jehu, Tristeza) among others on both coasts. Japan was also an important country in the Math Rock genre with bands like Ruins and Zeni Geva.

POST/MATH ROCK TEAM MEMBERS:
Zravkapt (Darryl)
Kelvin (LearsFool)
Audun(The Bearded Bard)
Angelmk (Angel)
The Truth (Tanner)
Austin (Horizons)
Jason (Second Life Syndrome)

Post Rock/Math rock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Post Rock/Math rock | More Top Prog lists and filters

4.53 | 32 ratings
FOR LONG TOMORROW
Toe.
4.52 | 26 ratings
SINES
Jakob
4.33 | 51 ratings
CHILDREN OF GOD
Swans
4.28 | 53 ratings
RANDOM AVENGER
Magyar Posse
4.34 | 35 ratings
THE COLLIBRO
Lis Er Stille
4.13 | 477 ratings
GTIS BYRJUN
Sigur Rs
4.16 | 125 ratings
THE SEER
Swans
4.12 | 453 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.15 | 164 ratings
ENTER
Russian Circles
4.46 | 18 ratings
KING NINE
Blueneck
4.36 | 23 ratings
THE LAST DAWN
Mono
4.18 | 57 ratings
THE EXTENT OF DAMAGE
Battlestations
4.07 | 346 ratings
F# A# ∞
Godspeed You! Black Emperor
4.32 | 24 ratings
BEAUTIFUL
About Tess
4.63 | 11 ratings
DREAMS THAT COME A THING (PT I) ...NEVER THOUGHT IT MAY SEEM…
Bosch's With You
4.22 | 36 ratings
PHANTASIA
Lite
4.08 | 110 ratings
ULVER WITH TROMS CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.07 | 120 ratings
IN A COLD EMBRACE
Battlestations
4.14 | 48 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.10 | 71 ratings
CODENAME: DUSTSUCKER
Bark Psychosis

Post Rock/Math rock overlooked and obscure gems albums new


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EMBERS
Up-C Down-C Left-C Right-C ABC + Start
INVENTIONS FOR THE NEW SEASON
Maserati
ACTUAL MUSIC QUARTET RSM
Actual Music Quartet RSM
REVERIE
Daturah

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Latest Post Rock/Math rock Music Reviews


 Von by SIGUR RS album cover Studio Album, 1997
2.47 | 91 ratings

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Von
Sigur Rs Post Rock/Math rock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars The ethereal post-rockers from Iceland hit it big with their huge international hits "gtis byrjun" and "( )" but the band really began way back in 1994 in Reykjavik slowly developing their post-rock visions and finally releasing their debut album VON ("Hope" in Icelandic") in 1997. This is one of those overproduced albums that the band states turned out nothing like planned but when all was said and done decided to stick with the finished produced due to all the money and time expended. While the album was only moderately successful in their native Iceland at the time of release, after international fame came from the more ethereal and successful albums that followed, VON was re-released and has since become an well established and well known release in the band's discog.

It's quite the surprise that this is a sort of a proto-SIGUR ROS album that has all the elements of future releases in play but doesn't quite make them gel together in the brilliant cohesive manner of later albums. The ethereal parts are here of course as are the post-rock elements but they don't quite wanna go on a date together yet and what we are treated to here are snippets of ideas albeit lengthy meandering snippets that exhibit sonic interests but haven't been put on the work table as to how to properly gestate their nascency into a fully functioning organism, therefore leaving a disjointed feel for the whole shebang, And no one hearing this album at the time would ever been able to predict that this album would lead to a band that would create some seriously bizarre and original music.

Track one which is ironically titled "SIGUR ROS" which is a frightening ambient track with high pitched vocal screeches, synthesized horrific sounds and depressive developments that ultimately cedes into the second track "Dgun" which sounds like the Cocteau Twins on valium or something. A rather de-popped space pop version of something on "Victorialand" where the female vocals echo and bellow amidst the shimmering sonicities of ambient keys creating the sonic counterpart to a desert mirage. It turns into a full-fledged ambient desert caravan surreal effect that creates a most surreal and outlandish collage effect of a single melodic note being accompanied by sound effects. Tracks like ""Hn Jr ?" are very Dead Can Dance-ish but with heavy alternative rock accompanying it.

As stated, this album is really packed full of different cool ideas but doesn't quite simmer them down into a digestible tonic and a little bitterness must be experienced to get much out of this album, but if you have a taste for such things, then this is a crude and raw first step into the SIGUR ROS universe as it shows just how the group threw all the ingredients into the cauldron and boiled them down into a musical blessing. Personally i love this album on rare occasions as it requires the precise mood to enjoy but when that mood hits me, VON is a distinct and bona fide mood enhancer indeed. This is probably one of the hardest SIGUR ROS albums in that it has frenzied guitar passages despite accompanying mid-tempo percussion.

As with many debut albums, i have a soft spot for the totally experimental that the brave and the bold display. SIGUR ROS is one of those bands. The passion is on full flame here even if the full compositional prowess had not yet developed. I love this album simply for its utter unpredictability where ambience and hard post-rock alternate, marry and then divorce in sudden whims of passion. While not nearly as ethereal as future releases, VON is definitely a post-rocker's eclectic dream come true with jangle pop, ambient, drone, shoe gaze and avant grade all having a sublime orgy of sonic possibilities and for that it is truly innovative in its approach despite not being mature enough to create something that would pass as totally grown-up.

3.5 rounded UP because this is a really cool album that doesn't get enough love

 Children of God by SWANS album cover Studio Album, 1987
4.33 | 51 ratings

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Children of God
Swans Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars The culmination of Swans' early post-punk no wave era offers up what is, for the most part, a unique sonic experience. Not entirely - album opener New Mind sounds like The Fall so much I swear that Michael Gira is doing some sort of Mark E. Smith impersonation on the vocals. Dark post-punk nearly-gothic music running down religion isn't exactly rare, but music which sounds like it's full on dead and rotting on the inside like some sort of sonic zombie is a whole other deal. It's no surprise that from here they went down the full-on gothic neofolk route they took from The Burning World onwards, because this takes their early sound about as far as it can go without descending into absurd self-parody.
 La Di Da Di by BATTLES album cover Studio Album, 2015
4.03 | 44 ratings

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La Di Da Di
Battles Post Rock/Math rock

Review by Lewian

4 stars The Battles are perhaps the most original and fresh rock band I've heard in the last few years, and this extends easily to La Di Da Di. Characteristic for the band and particularly this album is the combination of electronic loops with very energetic but still precise drumming, which means that the whole thing is dominated by rhythm and a very physical affair. La Di Da Di has a bright summery feel and should put a smile on your face. It's all instrumental. It's also quite addictive. At the moment I get more and more into the state that I want to listen to this again and again. It's just the kind of music that in certain (rather light-hearted) phases of life can become a persistent feature. Yeah, let's listen to Battles once more. It wasn't exactly love at first sight, and I can still see certain flaws in this. There isn't much fascinating melody to follow here; much of the melodic material has a rather repetitive merry-go-round kind of style, and often presented in a percussive attitude that makes it rather part of the overall rhythmic stream than something to appreciate on its own, and it depends on the mood to what extent this is rather part of the fun or rather a defect. Many of the tracks follow a similar recipe (there are some different degrees of drum dominance and intensity, though), although in exchange, at times we get some unexpected twists within the same song, and the dynamic is strong throughout.

Overall it's not perfect and I could see some potential for broadening the approach of the band, but this doesn't take away from the freshness and fun.

 To Be Kind by SWANS album cover Studio Album, 2014
3.94 | 162 ratings

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To Be Kind
Swans Post Rock/Math rock

Review by Warthur
Prog Reviewer

3 stars Eh, I'm not sure about this one. It isn't bad - of course it isn't, this is late-period Swans here - but much of it seems to lack a certain Swans something. The band seem to draw on the influence of Godspeed You Black Emperor here and there - see in particular the climax of Nathalie Neal - and whilst for the most part that is a good thing, it does make this a disorienting listen. And two hours is probably too long by far, the band showing little willingness to actually edit down their material to tease out the successful parts and rework the limp bits.
 The 5 EPs by DISCO INFERNO album cover Boxset/Compilation, 2011
4.50 | 2 ratings

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The 5 EPs
Disco Inferno Post Rock/Math rock

Review by admireArt
Prog Reviewer

4 stars Browsing through my prog/rock collection of pretty well rated releases in this PA site, which I have acquired due to the same , I skipped some but left DISCO INFERNO-"The 5 EPs", 2011, which as far as I remember was recommended by fellow reviewer LearsFool, well Kudos!

For starters what caught my attention, I have to confess, is the fact that it is not stuck in the borders of the quiet repetitive Prog's protocols, which by itself, is highly refreshing. I will try to explain what is going inside this 5 EPs collection.

Kind of a mix between Nick Cave's up front, lo-fi recorded, explosiveness (his both highly refined yet raw Punk 80's music, not his untouchable lyrics of course), this happening here and there, some splashes of David Sylvian's Japan like mode of story telling singing, lots of trashy experimental electronics, trashy guitars, Sigur Ros' early and Cabaret Voltaire's polished "post-Punk" attitude, even "Zappaezques" gentle reminders and yeah, it has its TALK TALK kind of momentums (here and there).

It will show its timing in its music composition, so feel forewarned and be prepared for a joyful and amazingly "un-cliched" trip to those post 80's, less obsessed with what their ancestors craved for.... FAME!

Prog sub-genre wise, its experimental nature and focused carelessness could appeal also to the RiO enthusiasts but its post-80's touch, although perfectly suited, may scare half of them.

A daring array of songs that never cease to offer thrills and intelligent solutions, yet it will show its age more than once, as I have mentioned more than once. Aside from that, a keeper in my selection and the kind that makes you look for more of DISCO INFERNO's other releases.

****4.5 PA STARS.

 The 5 EPs by DISCO INFERNO album cover Boxset/Compilation, 2011
4.50 | 2 ratings

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The 5 EPs
Disco Inferno Post Rock/Math rock

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars First of all: I don't even know how to start this review. I could say that Disco Inferno is one of the best bands you never heard of, or how post rock doesn't even begin to describe them, or how they're the best plunderphonics group ever without even focusing on being a plunderphonics group, or "Flipping faders, Batman! These three Brits covered so much ground and always sounded so beautiful and perfect!", or mentioning how this goes above and beyond the great experimental EPs and killer collections thereof in the '90's... or I could string all that together into one long run on of gush for these demigods.

Released over three years in original format, and first collected by an enterprising internet bootlegger in '99, these fifteen cuts touch a mind boggling myriad of genres and styles and master each and every one as they are subsumed into a eudaimonic whole. I'll just list: post rock, post punk, plunderphonics, electronics, britpop, noise pop, noise rock, acoustica, ambient, IDM, concrete. It was always ethereal, always experimental, always flawless. Nature and urban samples and electronic washes both surrounded and acted as the foundation for the band's exercises in genre busting, with tracks variously spacing out, chugging along like an '80's post punk band on Talk Talk, forming a pop song, or, by the end, just losing themselves in the set dressing. Ian Crause could gently and forlornly speak through the sheets of sound, or sing along when the song called for it. And on top of all that, "The Atheist's Burden" uses the electronics for rhythm, and "It's A Kid's World" drives on the back of pounding drums plundered from you'll-know-where.

This really is something else, with no words for it. Outclassing all comers, both from the genres they took from and from fellow EP wielding experimentalists like The Beta Band and Brainiac, this stands as Disco Inferno's completed magnum opus. And thank goodness that this collection eventually got an official release.

 Random Avenger by MAGYAR POSSE album cover Studio Album, 2006
4.28 | 53 ratings

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Random Avenger
Magyar Posse Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars MAGYAR POSSE are a Post-Rock band from Finland and this their third studio album(and last so far) released in 2006. "Random Avenger" is one of the highest rated Post-Rock albums on the site here and if this is their last album they certainly went out on top. They are a six piece band with the two guitarists who also playing bass while we also get two keyboardist, a drummer and a violinist. Two guests help out with cello and female vocal melodies respectively.

"Whirlpool Of Terror And Tension" has a brief eerie soundscape before pulsating sounds kick in then the guitar comes in over top a minute in. Some vocal melodies too. I really like the sound of this. Violin at 3 1/2 minutes then the vocals become more of the focus after 4 minutes. "Sudden Death" opens with keys and a beat before it builds with electronics and more. Love the atmosphere after 2 minutes. It calms right down at 3 1/2 minutes then the violin joins in as it stays relaxed. It's so uplifting 5 1/2 minutes in before it kicks back in at 8 minutes. This is both beautiful and uplifting. "Black Procession" has sparse keys and atmosphere before some mournful cello joins in.

"European Lover/ Random Avenger" builds slowly until it's fuller at 1 1/2 minutes. Violin before 2 minutes. This is good. At 4 1/2 minutes I'm thinking it's going to break out but then they pull it back before kicking some ass after 5 minutes. A calm follows as it slowly builds but it doesn't really kick back in until after 10 minutes with some ripping guitar. The final minute is mellow. "Intercontinental Hustle" has this bright guitar intro but it turns full quickly with pulsating keys and more. Great sound to this one and the violin is incredible here. An all out blitz before 6 1/2 minutes but then it settles right down after 7 minutes. "One By One" has picked guitar to start. Nice. Some vocal melodies come and go as it blends into "Popzag". Pulsating organ arrives quickly followed by vocal melodies. Violin around 3 minutes in this uptempo closer.

I'm not as thrilled with this as most seem to be but yes this is a very strong Post-Rock album that I'm happy to own. A solid 4 stars.

 The Future Symphony by LOSS OF A CHILD album cover Studio Album, 2003
2.82 | 5 ratings

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The Future Symphony
Loss Of A Child Post Rock/Math rock

Review by skillna den

2 stars i think this was the most worthless [&*!#] i've ever heard in my entire life. and what i read above in two other reviews look like a copy of my own description for my music which delivers what the words promise, if you wanna get expectations, as i did here. loss of a child sounded like a tired and messy/lazy musicians performing something really useless from some sad idiot must have written, but it sounded like quality instruments were used so there must have been a will to achieve great results, which in reality only can be done if the instrument is handled with great skill and feeling. it was not the case with this album the little time i could even handle listen to it, i knew after pretty few seconds that it was all meaningless bullcrap so who are those two guys above that praised this nebulous music in a way i would describe my own music if i was free to feel proud and loud about it. listen to my album instead if you want something more like what those two reviews above talk about. search for Skillna Den on spotify.
 Brahim Izdag by SPARKLE IN GREY album cover Studio Album, 2016
3.48 | 4 ratings

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Brahim Izdag
Sparkle In Grey Post Rock/Math rock

Review by philippe
Special Collaborator Honorary Collaborator

4 stars A few years after the excellent and tremendously innovative "Thursday Evening" and "mexico" the Italian post-rockin chamber collective is back with a new release, once more published in cooperation between different independent labels, including Old Bicycle and Grey Sparkle (Matteo Uggeri's own label), based in Italy. The eclectic, energetic and poetically charged apsects of the music is still here and vibrant. However the musical syncretism seems to be brought up a step further with a load of unexpected musical styles and influences, even with some funkadelic and groovy touches. The general mood is dreamlike, with hints of humor-esque extravagence, blissful atmospheres enriched by heavy guitar tricks, plaintive violin lines and various electronic manipulations. Definitely a modern ambodiement of crossover prog, a bridge between the krautrockin' universe of Can, Neu!, La Düsseldorf, openely post-rockin orchestrations and ambient folk expression (especially in the middle section of the album). "Brahim Izdag" is a challenging and dynamic album that will seduce fans of contemporary adventurous music of any kind.
 Brahim Izdag by SPARKLE IN GREY album cover Studio Album, 2016
3.48 | 4 ratings

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Brahim Izdag
Sparkle In Grey Post Rock/Math rock

Review by admireArt
Prog Reviewer

3 stars Again, as always, with Sparkle in Grey's releases this is not Progressive Electronic as such (the same way The Clash, Joe Strummer, Mano Negra or Manu Chao are not Prog, but in a subtle way these band's/musician's stylings are closer in spirit to this release's aural environments), therefore maybe Eclectic Prog and Crossover Prog or both, but not P.E.

That established, let me move on with the review.

Sparkle in Greys, 2016, "Brahim Izdag" is in my S.i.G. collection, probably, its weakest link. No matter how hard I have tried to let myself go, this album lacks the depth, punch and magnetism of their previous works. Of course their experimental side is still there, their provocative lyrical and conceptual focus as always, their flawless and simple beauty when encountered and the musical talent to do so and the refinement to translate their close influences in this album. But still something is missing.

In some sense this release's groundbreaking, creative highlights have already been presented in other of their albums (of course in different forms) and in those, these were part of more deserving showcases.

To cut it short, Sparkle in Grey's less fortunate effort, would be the envy of 1000s of famous or infamous Prog/Rock bands or artists, but not enough for their self marked level of excellence and above all if you are going to be inspired to travel those first mentioned musician's roads, well, you really have to break a leg (or both), those guys, in their own field, were and are the top of the tops.

***3 PA stars.

-(This review was written before PA changed Sparkle in Grey from Progressive Electronic to Post Rock/Math Rock.)

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Post Rock/Math rock bands/artists list

Bands/Artists Country
*ANCIENTS Multi-National
[BLEU] Switzerland
100 ONCES United States
1099 Norway
12TWELVE Spain
33.3 United States
37500 YENS France
3ND Japan
417.3 Russia
52 COMMERCIAL ROAD United Kingdom
65DAYSOFSTATIC United Kingdom
A. ARMADA United States
ABOUT TESS Japan
ACANTILADOS Argentina
ACROSS THE WAVES Iran
ACTARUS Luxembourg
ACTIVITIES OF DUST United States
ACTUAL MUSIC QUARTET RSM Russia
ADEBISI SHANK Ireland
AERIAL Sweden
AESTHESYS Russia
AFFORMANCE Greece
AIUA United States
AL SABO United States
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALRIGHT THE CAPTAIN United Kingdom
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
AND SO I WATCH YOU FROM AFAR Ireland
AND STARS COLLIDE United Kingdom
ANOICE Japan
ANTARCTIC United States
THE ANTARCTICANS United States
ANTENNAS TO HEAVEN United Kingdom
ANTETHIC Russia
APRICOT RAIL Australia
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARROWAY France
ART.FICIAL Brazil
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRO SONIC Norway
ATTILION Indonesia
AUDREY FALL Latvia
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
BAFFODORO Italy
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
BATTLES United States
BATTLESTATIONS Belgium
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BESIDES Poland
BETRAYAL AT BESPIN Finland
BEWARE OF SAFETY United States
BEYOND FREQUENCY Brazil
LA BIBLIOTECA DESERTA Italy
BILL IN THE TEA Italy
BILLY MAHONIE United Kingdom
BLACK FOREST/BLACK SEA United States
BLACKPAPERPLANES Belarus
BLUEBRIDGE QUARTET Sweden
BLUENECK United Kingdom
THE BODY LOVERS United States
BOSCH'S WITH YOU Russia
BOXHEAD ENSEMBLE United States
BRAINBOW United States
BRASS KNUCKLE SURFER United States
BREADWINNER United States
BRONTIDE United Kingdom
BRONZE FAWN United States
THE BRONZED CHORUS United States
BROUGHTON'S RULES United States
BULLETS IN MADISON United States
THE BURNING SEA Australia
BY THE END OF TONIGHT United States
C Czech Republic
C'EST MORTEL United States
THE CALM BLUE SEA United States
CANYONSOFSTATIC United States
CARNENERA Italy
CARTA United States
CARTOGRAPHER Netherlands
CASPIAN United States
CAUDAL Germany
CAVES OF STEEL Norway
CECILIA::EYES Belgium
CELESTIAL WOLVES Belgium
CHARTS AND MAPS United States
CHEVAL DE FRISE France
CHICAGO ODENSE ENSEMBLE Multi-National
CHON United States
CHOOSE YOUR OWN ADVENTURE United States
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
CLEAN OF CORE Japan
CLESSIDRA Italy
CLEVER GIRL United States
CLOUD ARCHIVE United States
COALA PASCAL Ukraine
CODES IN THE CLOUDS United Kingdom
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
COPTIC LIGHT United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
DATURAH Germany
DAY FOR AIRSTRIKES United Kingdom
DAYCAST United States
THE DEAD SEA Australia
DEADFILE Greece
DEADHORSE United States
DEL REY United States
DESERTSHORE United States
DETWIIJE United Kingdom
DEXTRO United Kingdom
DIANOGAH United States
DIETRICH Argentina
DIRTY THREE Australia
DISCO INFERNO United Kingdom
DISPOSITIVOPERILANCIOBLIQUODIUNASFERETTA Italy
DO MAKE SAY THINK Canada
DON CABALLERO United States
DON'T LOOK BACK France
DON'T MESS WITH TEXAS Croatia
DORENA Sweden
DRESDA Italy
DROP ELECTRIC United States
EASTSTRIKEWEST United Kingdom
EAT THE SUN United States
EATEN BY TIGERS United Kingdom
THE ECHELON EFFECT United Kingdom
ECHOES AND SIGNALS Russia
EDGAR (ANIMO) Belgium
EF Sweden
EFRIM MANUEL MENUCK Canada
EFTERKLANG Denmark
EIMOG Italy
EKSI EKSO United States
ELLIS THE VACUUMCHILD Sweden
ELOHYMN United Kingdom
EMPHASIS Croatia
EMPTY SILOS ECHO WAR United States
EN PLEIN AIR Italy
ENABLERS United States
ENGRAMA ([ENGRAMA]) Multi-National
ENVY Japan
EPIGRAM Canada
EQUUS Switzerland
EROICA United States
ESMERINE Canada
EUPHORIA Japan
EVERSHAM Australia
EVERYTHING IS MADE IN CHINA Russia
THE EVPATORIA REPORT Switzerland
EXHAUST Canada
EXPLOSIONS IN THE SKY United States
FALCONBROOK United States
FARAQUET United States
FAREWELL POETRY France
FATHER FIGURE United States
THE FIERCE & THE DEAD United Kingdom
FLARES Germany
FLIES ARE SPIES FROM HELL United Kingdom
THE FLOWERS OF HELL United Kingdom
FLY PAN AM Canada
FLYING SAUCER ATTACK United Kingdom
FOLLOWED BY GHOSTS United States
FOR A MINOR REFLECTION Iceland
FORM AND FATE United States
FORM OF AN ICE WAVE United States
FORSQUEAK Italy
FOXHOLE United States
FRAGILE China
FRAGMENTS OF AN EMPIRE Austria
FRENCH TEEN IDOL Italy
FRIDGE United Kingdom
FROM MONUMENT TO MASSES United States
FROMABOVEINTHEMOUNTAIN Spain
GANGER United Kingdom
GASTR DEL SOL United States
GASTRIC BAND United Kingdom
GEORGE DORN SCREAMS Poland
GHOSTS AND VODKA United States
GIANTS United States
GIARDINI DI MIRO Italy
GIFTS FROM ENOLA United States
GIRAFFES? GIRAFFES! United States
GLASGOW COMA SCALE Germany
GLASS AMERICA United States
GO RUN DONKEY HOT! Croatia
GOD IS AN ASTRONAUT Ireland
GODSPEED YOU! BLACK EMPEROR Canada
GOONIES NEVER SAY DIE United Kingdom
GRANDE DUKE United Kingdom
GREGOR SAMSA United States
HAIDA United Kingdom
THE HALIFAX PIER United States
HAMMOCK United States
HANGEDUP Canada
HANNIBAL MONTANA United States
HARBORING GHOSTS United States
HAZARDS OF SWIMMING NAKED Australia
HEARTS OF ATLANTIS Russia
HELIOS United States
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ILYDAEN Belgium
IMMANU EL Sweden
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INFINITE THIRD United States
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SGT. Japan
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SIGUR RS Iceland
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SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
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STERLING United States
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T Japan
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THE BEAUTY THE WORLD MAKES US HOPE FOR France
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THE END OF THE OCEAN United States
THE GLUTTON Norway
THE RETALIATION FOR WHAT THEY HAVE DONE TO US United States
THEM, ROARING TWENTIES United States
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THIS IS A PROCESS OF A STILL LIFE United States
THIS IS YOUR CAPTAIN SPEAKING Australia
THIS WILL DESTROY YOU United States
THREE TRAPPED TIGERS United Kingdom
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THE TIMEOUT DRAWER United States
TO DESTROY A CITY United States
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UP THERE: THE CLOUDS Italy
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URTHONA Japan
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WE'RE FROM JAPAN United States
WEARY EYES Russia
WHYOCEANS China
THE WINCHESTER CLUB United Kingdom
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WORLD'S END GIRLFRIEND Japan
XMENOSUNO Mexico
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YEARS OF RICE AND SALT United Kingdom
YNDI HALDA United Kingdom
YOU ALREADY KNOW United Kingdom
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YOU.MAY.DIE.IN.THE.DESERT United States
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YOUTHMOVIES United Kingdom
ZALEM France
ZUKR France

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