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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:
Angelmk (Angel)
Zravkapt (Darryl)
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

4.60 | 35 ratings
CHILDREN OF GOD
Swans
4.47 | 27 ratings
THE COLLIBRO
Lis Er Stille
4.32 | 42 ratings
RANDOM AVENGER
Magyar Posse
4.21 | 87 ratings
THE SEER
Swans
4.13 | 449 ratings
ÁGĆTIS BYRJUN
Sigur Rós
4.15 | 155 ratings
ENTER
Russian Circles
4.11 | 424 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.25 | 36 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.53 | 13 ratings
KING NINE
Blueneck
4.06 | 325 ratings
F# A# ∞
Godspeed You! Black Emperor
4.24 | 31 ratings
FOR LONG TOMORROW
Toe.
4.35 | 19 ratings
BEAUTIFUL
About Tess
4.22 | 32 ratings
PHANTASIA
Lite
4.07 | 109 ratings
IN A COLD EMBRACE
Battlestations
4.07 | 87 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.34 | 17 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.55 | 10 ratings
DREAMS THAT COME A THING (PT I) ...NEVER THOUGHT IT MAY SEEM…
Bosch's With You
4.01 | 206 ratings
SHADOWS OF THE SUN
Ulver
4.73 | 7 ratings
NORTHERN SHORE
Lo' There Do I See My Brother
4.14 | 31 ratings
GIVE ME BEAUTY... OR GIVE ME DEATH!
Ef

Post Rock/Math rock overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Post Rock/Math rock experts team

IN EVERYTHING GIVE THANKS
Tenebre
ACTUAL MUSIC QUARTET RSM
Actual Music Quartet RSM
REVERIE
Daturah
I AM YOUR BASTARD WINGS
Eksi Ekso

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Latest Post Rock/Math rock Music Reviews


 Hear You by TOE. album cover Studio Album, 2015
4.90 | 2 ratings

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Hear You
Toe. Post Rock/Math rock

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars A spectacular Japanese math band, Toe here have shifted away from their sort of standard and at times post leaning math to a minimalistic and poppy take on the genre that reaps many unexpected rewards. The complex riffs are light, and feed a collection of tracks that are catchy, relaxing, and often pretty. They pull off some great instrumental cuts, and have chosen only the best guest artists to sing on various others, avoiding the all too common pitfall of featured spots in modern music that create out of place and disastrous results. "G.O.O.D. L.U.C.K." is the best of the tracks with guests, not just having a great vocal set but with the great Japanese percussionist U-zhaan providing traditional drums as part of a killer instrumental backing for the aforementioned vocals. Also on the top flight for this record are the first three tracks, which string together into a beautiful opening sequence. An altogether excellent album that looks set to bring their greatness to a fairly wider audience, there's something here for crossover fans as well as math fans.
 Golevka by EVPATORIA REPORT, THE album cover Studio Album, 2005
4.01 | 21 ratings

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Golevka
The Evpatoria Report Post Rock/Math rock

Review by Horizons
Collaborator Post/Math Rock Team

5 stars From This World and Another

Evpatoria Report is a brilliant band. Their name originates from Yevpatoria, a Crimean city that has a parabolic antenna that sends signals into space that try to describe human life. This background puts everything this band creates into context beautifully.

Their music feels interstellar, putting you in the body of an astronaut as they float among the stars. It can be calming just as much as it is suspenseful while you sit in anticipation for the unknown. It is the flawlessness in how human this music sounds that makes this album so powerful. The songs are long, giving the music plenty of room to breathe and create tension and do with it as it pleases.

To prevent having this particular album mapped out, I want to just showcase a few songs: Taijin Kyofusho, C.S.S Logbook, and Dipole Experiment.

"Those who have Taijin Kyofusho are likely to be extremely embarrassed of themselves or displeasing to others when it comes to the functions of their bodies or their appearances. The symptoms of this disorder include avoiding social outings and activities, rapid heartbeat, shortness of breath, panic attacks, trembling, and feelings of dread and panic when around people." This song is a musical representation of this Japan-bound disorder. The song is a slow, saddening build up to a crushing explosion. Some strings are featured here, setting the grim mood. The drums are hard, yet simple, pulsing like a heartbeat. The guitars just shine as they progress from moody swells to ripping distortion. Beautifully constructed.

"C.S.S Logbook" continues the band's art of storytelling. Tasteful dynamics emphasize each second as you wait for where the music will take you next. Eventually the lone guitars usher in the drums, and the crescendo takes place. Gaining more and more momentum and tension the climax suddenly ends. A reference to the 2003 Columbia Space Shuttle disaster.

Finally, "Dipole Experiment" offers the listener a choir and string-dominated song. Beautiful echoes of the voices pair with some strings to create a pristine atmosphere. The music fades until the drums are finally introduced, bringing new life to "Dipole Experiment". We are then met with the crest of this wave - joining the choir, strings, drums, and distorted guitars into the single voice of The Evpatoria Report.

Golevka is one of the best examples of post-rock done right. Emotion-filled music told from instrumental storytelling. This album is certainly a journey, one that should be experienced by all interested in the genre. I honestly cannot find a single flaw, only praise for a stunning album.

 Herd Of Instinct by O.RANG (.O.RANG) album cover Studio Album, 1994
4.60 | 6 ratings

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Herd Of Instinct
O.rang (.O.rang) Post Rock/Math rock

Review by Lewian

5 stars Herd of Instinct is a stunning, stunning album. It is pulsating and rich, like an unstoppable stream at some places, but very vulnerable and delicate at others. It is not really instrumental, but has an instrumental feel to it in that the voices are mainly used as instruments and building blocks of the overall atmosphere. Given that this is Harris and Webb from Talk Talk, some similarities are not surprising. The production and sound again focuses on bringing out the lively, natural, "breathing" character of the instruments and voices. Harris's drums are straight and direct (although heavy added percussion makes the rhythm much more complex at times) and again many guest musicians contribute to the overall picture, filling it up to the rim with diverse sounds, some calm, some noisy, some funny.

The songs are never driven by conventional melodies. Usually the rhythm takes the command, supported by some melodic riffs and phrases, in many cases with some strong dynamic leading from a rather "tentative" beginning to a veritable storm that takes everything with it; then there are also some more avant-gardish sound experiments that work very well in my view. Influences of Can's rhythmic improvisations and Holger Czukay's sound creations are obvious. If you like this kind of rhythmic, atmospheric stream, this is for you, and in this "genre" it's exceptionally rich and dynamic.

 Third by PERHAPS album cover Studio Album, 2015
3.78 | 12 ratings

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Third
Perhaps Post Rock/Math rock

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars What a way to bow out. A band that might as well have called themselves Janus, Perhaps brilliantly brought old school space and even fusion mores into the modern age through energetic and cutting edge math rock for three years, and their fairly literal swan song - for all three of their LPs are single songs, even this one with its delineations - is the kind of album prog bands dream of exiting stage left having made.

The "Master Destroyer" sequence starts out by unleashing a strange sounding attack, as if a RIO band got into whacking listeners with 2X4s, before stepping back starting with "Butterfly Mirror"; from there, this is a smooth, relaxing, yet perky and pumped up album that provides endless enjoyment. There's not a single boring part or poorly played instrument. The whole suite is fairly diverse yet ultimately, in that masterful way, cohesive with itself and with the earlier work by the band that they are building off of towards new directions. Dare I compare this with "Shine On You Crazy Diamond"? Well, I just did. But don't worry about comparisons with giants or whether time will be kind enough to Perhaps to reward their excellent record with legendary status... just know that it is, *ahem*, perhaps worthy.

 Greed by SWANS album cover Studio Album, 1986
3.24 | 16 ratings

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Greed
Swans Post Rock/Math rock

Review by Dobermensch

4 stars I guess something had to give considering the pulverising onslaught of the previous recordings. 'Greed' reveals a stripped down 'Swans' and is a highly negatively charged album. It doesn't have the masochistic pleasure of the previous 'Cop'. Michael Gira's deep and aggressive vocals remain. He sounds like he has a cement mixer where his larynx should be.

There's no happy go lucky pub-knees-up to be heard anywhere in the vicinity of 'Swans' at the best of times and this is no exception. In fact this is probably their most miserable sounding album they released. The opener has the surprising inclusion of a piano. The half speed guitar plays the same 4 chord guitar sequence as Floyd's 'In the Flesh' and it's a real downer, so if you're not keen on heavy negative emotions you're advised to steer well clear.

Jarboe makes her first appearance as a member of Swans on 'Nobody' - a self-hating dirge that has some wonderfully apocalyptic 'Gira' vocals at the 3 minute mark as some crunching, repetitive drums appear. Jarboe's contribution is relegated to some 'oohs and ahhs' in the background. This is Swans' anti capitalist, money is evil recording. The drums are particularly well mixed in 'Greed' and have a doom-laden echoey feel. There's a clever approach on this album where quiet pauses are used which add to the overall feel of imminent looming disaster.

Musically it's nothing special. Quite poor in fact. It's the emotion and atmosphere it creates that raises this album above the sum of its parts. I wasn't aware of Michael Gira's state of mind until hearing this album which was the most vocal orientated to this point. You therefore pay more attention to what he's bumping his gums about - and it's not good. Not good at all. Clearly his brain was full of broken bottles.

The stodgy lethargy evaporates with the entirely Industrial 'Money is Flesh'. This is a repetitive, thumping, drum based mantra where once again it's the intense baritone and dominant vocals that make the track shine.

The undoubted highlight is the superb 'Time is Money'. An upbeat but really violent track with some very disturbing imagery. It's best I don't dwell on this here. Lets just say that it's sexual in nature. This is probably my favourite 'Swans' track of all time and it's also their most evil moment. The drums are pounding, relentless and machine-gun like. It's also guitar free. 'Gira' sings like he's just flown his kite into an overhead electrical pylon where he spits venom and vitriol from the outset. This is as loud as War itself.

'Greed' and its successor 'Holy Money' are two peas in the same pod. This could easily have been a double album but that would have left even the most strong willed left thoroughly suicidal.

The musicians must have left these recordings bewildered and totally dejected. There's no fun to be had at all. Every sound and beat is used as a vehicle for Michael Gira's demented, tortured and unhappy mindset.

 Holy Money by SWANS album cover Studio Album, 1986
3.76 | 16 ratings

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Holy Money
Swans Post Rock/Math rock

Review by Dobermensch

3 stars It can't have been a bundle of laughs on board the 'Swans' train while recording this. 'Holy Money' sounds like it's being played and sung by the undead from 'Zombie Flesh Eaters'. It's a heavy and bleak dirge despite the occasional Jarboe female vocals.

I guess it's good for clearing unwanted guests from a late night party as those irritating stragglers hang about chatting 10 feet from the door. The atmosphere is oppressive as you'd expect, but it's less of a barrage with a bit of space to breathe compared to their first recordings. And that's not necessarily a good thing...

'Holy Money' like its predecessor 'Greed' is certainly no uplifting experience and lacks the density and violence of those first two excellent sledgehammer albums. In saying that, there is the rather impressive 'A Screw'. Spoken, rather than shouted lyrics are wrapped around a hugely repetitive and heavy stomping drum sequence.

This is one of the first 'Swans' recordings I bought and I was as unimpressed then as I am now 22 years later. It's one of those albums that just rubs me up the wrong way. I find it something of an an annoyance to sit through in its entirety. It's too 'dead'.

The only truly great song is the battering 'Money is Flesh', with its superb jackhammer drums and repetitive lyrics. It's real heavy stuff listeners... and almost guitar free. Michael Gira sounds so much more acceptable to my damaged ears when he's screaming, spitting blood and spouting venom.

Jarboe's 'Blackmail' is a jarring oddity which may well have fit on a different recording. The soft piano and pretty vocal style is totally at odds with bulk of 'Holy Money'. It's like trying to put on a pair of gloves that have four fingers. Annoying.

I'm in a generous mood and full of gin and orange, and therefore find it hard to give it any less than 3 stars. It was a close run thing though.

 Filth by SWANS album cover Studio Album, 1983
3.96 | 24 ratings

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Filth
Swans Post Rock/Math rock

Review by Dobermensch

4 stars I don't know about you but this gets me pumped up like nothing else and I'm now ready to take on the heavyweight champion of the world. Without gloves...

This first Lp by Swans is also one of their best. 'Mr angry' Michael Gira vents his spleen at all who are willing to listen. Agonised barks and shouted vocals about control and violence are at the forefront throughout this beastly 1983 outing. Seriously... this can't have been good for his health at all. His blood pressure must have been through the roof. The man clearly had some issues.

The music within sounds like how the iconic cover looks - visceral. It's a weirdly paced explosive Blitzkrieg of an album.

It's brutal stuff from beginning to end. There's no variation in mood and it's all atonal and nihilistic. Having dual drummers and a thumping repetitive non melodic bass makes a huge impact on the overall bludgeoning sound. It's like being repeatedly hit over the head with a shovel . Not just musically, but lyrically too, as lines are growled many times over. Subtle use of electronics and tapes add an extra dimension - it's incongruous hearing backward wobbly vocals on such a raw album

Deliberately there's no let up. No break in mood, just an all encompassing, pulverising psychic attack. 'Filth' is more lively than their following 3 albums which just leave you feeling shattered. This is therefore a less dismal listening experience. 'Filth' is an ideal listen for participating in endurance sports, as it squeezes every ounce of blood out of your pores.

The guitars played by Norman Westberg sound like some crazed Doctor sawing through bones. They're mean and dark and sound like they're being played with shards of glass rather than plectrums. They are used solely in conjunction with the pounding drums.

Some have called this the heaviest record ever made. It's not. My vote for that award probably goes to 'Dissecting Table', 'Merzbow' or early 'Controlled Bleeding'. However it certainly must be the heaviest album to appear in the 'Archives'. I'm sure most of this websites readers would feel as though they're being run over by a steam-roller in slow motion on first exposure to this aural assault.

'Filth' is an exhilirating and intense experience which will leave you baying for blood. If the Marquis de Sade were alive today, I'm sure it would have been his favourite 'Desert Island Disc'.

You can put the party hats and streamers away folks.

This is military boot camp stuff run by an angry drill Sergeant, so get down on your hands and knees and give me 100 press-ups. Now!

 Love of Cartography by SLEEPMAKESWAVES album cover Studio Album, 2014
3.23 | 12 ratings

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Love of Cartography
Sleepmakeswaves Post Rock/Math rock

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

3 stars I've been listening to this one for a while. I've been having trouble pinpointing just what it is that makes me like this album less than their previous release, 2011's ...and so we destroyed everything, which I love. I think I've finally got it. Most of the sounds and weaves used in the songs of Love of Cartography are far simpler, far more melody-oriented and less filled with the subtle keyboard- and computer-generated "layers" beneath and between the main chords and melodies. The songs on Love of Cartography fall too easily into the bin of "Post Rock for the masses", whereas those of ...and so we destroyed everything each possessed so many delightfully unexpected twists and turns to keep me fully engaged throughout. The band's intimate and idiosyncratic touch to each song of ...and so we destroyed everything was so magical and so interesting that I feel that I could practically feel the joy and enthusiasm these guys were having in the recording and mixing rooms while making that album. I do not feel the same transferral of energy here. As a matter of fact, I feel myself 'tuning out' at some point during almost every song of Love of Cartography. The guitar chords are strummed more aggressively, played with more distortion, and recorded more loudly, and they feel more rehearsed and more methodical, less free-wheeling and spontaneous. Also, what were subtly layered beneath and within the mix before are now right up front and in your face. I can still feel emotion--especially in the solos, but everything else feels so . . . 'by the book.' Are the band members focusing more on composition and the mental side of their music--trying to produce a "perfect, polished" album? Is this just an example of the dreaded "sophomore slump" or is this the more mature band exhibiting the "true" direction that they'd like their music to take? Don't get me wrong, this is a collection of fine song. They are incredibly well produced, but they come straight at you more in the vein of a band like MASERATI than that of a synth-generated GYBE as their previous album had exhibited (at least, potentially). While ...and so we destroyed everything felt new and fresh--like a new great hope for the potentially for growth and 'progress' within the Post Rock subgenre, Love of Cartography feels like good ole Post Rock. Nice stuff for Post Rock enthusiasts. Nothing very new or exciting for the rest of the world.

Favorite songs: the gentle trip-hoppy-turns-rock anthem 10. "Your Time Will Come Again" (8:56); the gorgeous yet simple melodies of 9. "Something Like Avalanches" (5:30); the PINK FLOYD- and MASERATI-influenced 4. "Emergent" (8:28); the straight on power of 2. "Traced in Constellations" (4:37), and; 5. "Great Northern" (4:58). 3.5 star effort rounded down for disappointment factor.

 To Be Kind by SWANS album cover Studio Album, 2014
3.99 | 115 ratings

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To Be Kind
Swans Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars Well this was my introduction to SWANS and lets just say i'm impressed. The negatives for me are few with this double album but include the over 2 hours running time and also the lyrics which don't do a lot for me. This New York City band have been around since the early eighties and have had several phases if you will. The music on this recording is dark, experimental, powerful, angry, repetitive and atmospheric. I do think Post-Rock works as a sub-genre for them although "Experimental" and "Avant" would work although I do feel the spirit of GODSPEED YOU! BLACK EMPEROR is in this music even though this band preceeds them. Lots of different instruments are used as well.

"Screen Shot" is one of my favourites. We get this catchy and repetitive rhythm that is quite sparse but it builds some. It turns more powerful after 7 minutes as the intensity increases. "Just A Little Boy(For Chester Burnett)" is sparse and dark to start as almost spoken vocals arrive after 2 minutes. The vocals become more intense before 5 minutes and we get some creepy sampled laughter that comes and goes. Some intense outbursts will come and go as well. "A Little God In My Hands" has this catchy repetitive rhythm throughout. Vocals a minute in, then a female vocal line is repeated after 4 minutes. Experimental sounds around 5 1/2 minutes in to the end including electronics as the vocals have stopped.

"Bring The Sun/ Toussaint L'ouverture" is over 34 minutes! It's spacey to start then it kicks in hard. A calm after 2 1/2 minutes and vocal expressions arrive a minute later. A vocal line is repeated starting after 5 minutes. It's picking up around 9 1/2 minutes as the vocal line stops and singing begins but again it's repeated over and over. A sawing sound arrives before 17 minutes and then we hear a horse on cobblestone before 18 1/2 minutes as experimental sounds continue along with distorted guitar sounds. A new section takes over around 21 minutes in that is mellow but then these angry vocals join in. I love the sound of the keys that echo. "Some Things We Do" ends disc one. A guitar line is joined by almost spoken vocals and atmosphere.

"She Loves Us" is another favourite of mine. A repetitive and heavy rhythm leads the way early on then we get a repetitive female vocal line as male vocals come and go over top. The vocals stop as it turns experimental and powerful. A catchy beat takes over after 7 minutes and vocals join in. Love this. It slowly becomes more powerful. "Kirsten Supine" opens with atmosphere and deep almost spoken vocals. I'm reminded somewhat of Beefheart here and i'm not the biggest fan of this section. It changes though after 5 1/2 minutes as a beat and more start to build Post-Rock style until it's insane. "Oxygen" has distorted guitar as the drums join in then these crazy vocals. A powerful tune that has some suspense to it. "Nathalie Neal" has these dual vocal melodies to start and they sound pretty cool. Sampled spoken words arrive and for some reason i'm thinking GY!BE. The words stop and the sound picks up. So good. "To Be Kind" opens beautifully with mellotron as reserved vocals join in. Some powerful outbreaks follow until it's a wall of sound.

I really look forward to reviewing many of their earlier albums and highly recommend this one to adventerous music fans.

 Horse Stories by DIRTY THREE album cover Studio Album, 1996
3.09 | 14 ratings

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Horse Stories
Dirty Three Post Rock/Math rock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars DIRTY THREE is an atypical post-rock power trio, well maybe flower trio because of the folky instrumentation of violin (Warren Ellis), guitar (Mick Turner) and drums (Jim White). The bass parts are shared by Warren Ellis (also a member of Nick Cave and the Bad Seeds) and Mick Turner. They deliver a strange sound as they are both folk music and post-rock for the most part with outbursts of frenetic grungy rock freak outs at times, at least on their third album HORSE STORIES. I first checked out DIRTY THREE with their following "Ocean Songs" and was slightly underwhelmed because after this album they tone down a lot by keeping the entire album calm, slow and easy. It was a nice pleasantry and all but never inspired me to dig deeper into their discography. After having discovered HORSE STORIES, i was amazed at how much more diverse sounding their first three albums are.

While HORSE STORIES has plenty of placid post-folk-rock tracks that are similar in sound to the future albums, there are several tracks like "Sue's Last Ride" that begin nice and calm with the folk & country sounding violin along with the post-rock twangy guitar accompanied by the drums that slowly and gently transmogrify the mood into faster accelerating tempos that eventually reach a grunge and folk freakout. The music is never complicated and takes its time to develop but these guys have a playful way about how they weave their respective patterns around each other. I'm really not even sure why this works for me but it does!

While the styles of most of the tracks are similar whether they be slow and melancholic or bursting with energy in their familiar post-folk-rock sound, they also include an unexpected Greek song called "Mia Phora Thymamai" in English titled "I Remember A Time When You Used To Love Me" written by Yiannis Spanos. This very much sounds like a European folk song in post-rock form, it is clearly the oddest track on the album.

DIRTY THREE are not technically proficient musicians to say the least. Anyone expecting complex song structures, lightning fast virtuosity or ridiculously progressive time signatures can look somewhere else. This band is all about setting the tone for a mood and i certainly have to be in the right mood to enjoy it. While i find the later albums are more about mediation and sleepy time, this album actually has some serious rocking parts to it, even resulting in noisy cacophony at times. An acquired taste perhaps, but i'm glad i discovered the earlier chapter of this band.

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Post Rock/Math rock bands/artists list

Bands/Artists Country
*ANCIENTS Multi-National
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
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
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
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
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
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
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