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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

4.30 | 71 ratings
RANDOM AVENGER
Magyar Posse
4.26 | 74 ratings
CHILDREN OF GOD
Swans
4.14 | 519 ratings
ÁGÆTIS BYRJUN
Sigur Rós
4.12 | 529 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.13 | 181 ratings
ENTER
Russian Circles
4.20 | 50 ratings
FOR LONG TOMORROW
Toe
4.07 | 385 ratings
F# A# ∞
Godspeed You! Black Emperor
4.15 | 66 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.28 | 27 ratings
KING NINE
Blueneck
4.06 | 244 ratings
SHADOWS OF THE SUN
Ulver
4.35 | 17 ratings
VIXIT
Battlestations
4.30 | 19 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.07 | 83 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.06 | 98 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.04 | 136 ratings
ULVER & TROMSØ CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.07 | 78 ratings
THE EXTENT OF DAMAGE
Battlestations
4.12 | 45 ratings
PHANTASIA
Lite
4.04 | 131 ratings
IN A COLD EMBRACE
Battlestations
4.15 | 33 ratings
BEAUTIFUL
About Tess
4.05 | 93 ratings
AMERICAN DON
Don Caballero

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

I AM YOUR BASTARD WINGS
Eksi Ekso
RECORDING A TAPE THE COLOUR OF THE LIGHT
Bell Orchestre
REVERIE
Daturah
IN EVERYTHING GIVE THANKS
Tenebre

Latest Post Rock/Math rock Music Reviews


 Weak4 by 65DAYSOFSTATIC album cover Singles/EPs/Fan Club/Promo, 2010
2.95 | 2 ratings

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Weak4
65DaysOfStatic Post Rock/Math rock

Review by TCat
Prog Reviewer

3 stars "WEAK4" is an EP from "65daysofstatic" which was released only in Japan shortly before the worldwide release of their 4th full length album "We Were Exploding Anyway". The EP features the album version of the title track "WEAK4", plus 3 more tracks not available on the LP.

The band was moving away from their original thick guitar-laden sound to one that utilized more synthesizer. Even though many fans dislked the new sound as it strayed away from its thick and heavy metal sound, it was proof that the band was willing to experiment with the Post Rock genre by adding in synths and electronics. It is obvious right away that the members of the band knew what they were doing, as the sound is quite mature for a band just starting to experiment with new styles. The music on this EP is all instrumental.

You immediately hear the synth/electronica feel on the title track. It uses rapid fire percussion, which could be synthesized. This one feels completely electronic until a guitar comes in for a short time later. It is quite melodic, but almost gives you a rave style feel. It becomes more chaotic towards the end as more sounds are layered in, but it is obviously driven by synthesizers.

"PACIFY" starts out minimalistic with droning tones swirling around each other. A processed piano finally provides an achor that gives a feeling of movement in the track, and percussive and other processed sounds continue. A guitar provides more texture. A rhythm finally kicks in, a persistent, thumping beat. Finally, a thick sounding guitar comes in providing memories of the bands past post-rock sounds, and it takes the foreground, but the electronics and more percussion continue underneath it in several sonic layers. This one builds in intensity until it comes to a sudden end.

"ANTIQUE HYPER MALL" starts off with experimental electronic textures and a plucked guitar. The electronics feel rather chaotic next to the contrasting slow guitar. The melody provided by the guitar gets more interesting as it continues. A sudden stop, and then the percussion takes over for a while, then synths start adding layers. Suddenly the guitar kicks in the loud metallic sound, mixing the old post rock sound with the new techno sound. The biggest surprise is when the percussion drops out at the end, that you hear a thick wall of sound, but instead of being all guitar, there are plenty of electronics there also.

"GOODBYE, 2007" starts off with a repeating chime sound and a heavy thudding base provides a foundation. A heavy, fuzzy synth builds underneath while a somewhat cheerful arpeggio continues in the foreground.

The mix of Post Rock with Electronica gives a new edge to the genre and opens up a lot of avenues for those bands in the genre to work with. The band not only adds in electronica, but they make the music danceable, approaching a 'techno-style' sound while mixing in aspects of their original genre. The tracks on the EP will definitely appeal to the fans (known as "65kids") because, other than the title track, are only widely available on this EP. It may be appealing to progressive music lovers too, since it's base is in Post Rock, but it shows the band's beginning to branch out and experiment. The music stays interesting and dynamic throughout. This EP is a good way enter into the new sound of the band to determine if it is for you or not. Of course, the shortness of the EP works towards its disadvantage as a stand alone release, it is more effective as a companion to go along with the album released shortly after. In any case, it is a solid 3 star EP, lacking only because it has the short duration of 18 minutes.

 B EP by BATTLES album cover Singles/EPs/Fan Club/Promo, 2004
3.05 | 2 ratings

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B EP
Battles Post Rock/Math rock

Review by TCat
Prog Reviewer

3 stars 'Battles' is a math rock/experimental band that was formed by Ian Williams from 'Don Caballero' who plays guitars and keyboards. There were 3 other members including drummer John Strainer who also played for 'Tomahawk' and 'Helmut'. This album is the 2nd in a series of 3 EPs that were released through a period of 3 months.

It starts off with 'SZ2', a nine minute track. It starts off with a pair of noodling guitars, and suddenly explodes into life at 2 minutes. The music is harsh and processed, so it's sometimes hard to tell what instrument is playing. The music is straightforward rhythm, but that is all that is straightforward about it, with strange harmonies and exciting counter melodies and textures. If you are familiar with 'Don Caballero' music, then just take that and add an element of hardness/loudness, and you'll have an idea. The meter/tempo changes throughout, and the playing is amazing, with the virtuosity that you would expect from a group of masters like this.

Next there are two short tracks just barely over 1 minute each. 'TRAS 3' is a strange sounding track that sound like a melodic washboard with guitars. 'IPT2' features a quickly picked guitar and other strange sounds with a basic rhythm. Other interesting sounds ensue. This could have been developed into something really interesting, but it's over too quickly. These two short tracks take previously released songs from past albums/EPs and reinvent them for pair of quickies.

'BTTLS' comes next and clocks in at over 12 minutes. This is made up of an ambient drone with processed percussive sounds that sound like they were sent through a synthesizer and chopped up and mixed around. After the heaviness and thickness of the first track, this is almost like a complete opposite, a study in minimalism. The drone at the beginning stops being constant, but gets manipulated itself by changing volumes, and it remains far in the background. Nothing really develops here, and it almost reminds one of trying to start a car that shows a lot of promise, but only spurts and sputters and won't turn over. Too bad this goes on for way too long.

The last track is 'Dance'. This one takes a repeating drum loop, then adds regular drums over it, and a funky organ. Plucked guitars add to the funkiness. The tempo seems quick with the percussion, but the 'melodic' parts are more sustained. The sound gets quite metallic after a while, and has a hypnotic, yet nice effect. This is a good track to end the EP.

If we were to rely on the excellence of the 1st and last tracks to rate the album, with the short tracks as filler, then this would have been an excellent EP. However, with the long 'BTTLS', the EP gets brought down quite extensively. Yes it's one track, but it makes up nearly half of the EP. Maybe if these 3 EPs were released as one album, things would have been better, and a full album may have been able to support the long 4th track, but it only bogs everything down on this EP. It's too bad the great material here has to be ruined by one track.

 For Long Tomorrow by TOE album cover Studio Album, 2009
4.20 | 50 ratings

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For Long Tomorrow
Toe Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars This album really is like a breath of fresh air. A four piece Math-Rock band out of Japan with 2 guitarists, a bassist and drummer. Lots of guests though including keyboards on 8 of the 13 tracks, 2 sax players and a clarinet all on one song plus three different vocalists. Released in 2009 it's really cool how they achieve a catchy sound with all that complexity. These guys can play and as Drew says in his review the drummer is outstanding!

I'm surprised they opened with the two tracks they did though. Not the best start with that 40 second experimental song to begin with followed by "Vanishing Point And Whistle" with the clapping that comes and goes although the guitars and drumming are great. "After Image" is where I start to get really impressed. Those female vocal melodies to start as picked guitar and drums join in, bass too. I like this a lot. Punchy and mathy.

"Esoteric" has faint guitar sounds to start then a second guitar joins in then it kicks into gear just before a minute. K.C. like here with those guitar lines. It's heavier before 3 1/2 minutes to the end. "Say It Ain't So" has intricate guitar as drums, keys and male vocals join in. A catchy and poppy sound but mathy. Piano as well here. A calm before 2 1/2 minutes with piano and faint sounds as quiet vocals return. It kicks back in before 3 minutes. Kind of a cool track. Different. "Two Moons" has some beautiful guitar melodies to start and more. Drums just before 2 minutes as it starts to build.

The next two tracks are parts one and two called "I Can't Hear Mosquitone Anymore" totalling less than 5 minutes combined. Sounds like vibes here along with piano and the second part is more of the same but a different shade. Vocal melodies around 1 1/2 minutes are brief. "Night" is one of my favourites. Some nice drum work to start then it settles in. Love how this sounds. Vibes and synths in this one as well. "Goodbye" has pleasant picked guitar for about 1 1/2 minutes then it kicks in some. Female vocal melodies 2 minutes in. Excellent sound to this one. Some interesting drum work 4 1/2 minutes in. Catchy stuff.

"You Go" has intricate guitar and beats. Some brief vocals 2 1/2 minutes in. A bright catchy tune. "Our Next Movement" is another highlight for me. This one has the guest horns on it and they arrive quickly with beats and intricate guitar lines. Some amazing drum work here as well and it dominates until 3 1/2 minutes in when they stop and a horn returns. Not for long though as it all kicks back in. Nice. "Long Tomorrow" ends it with picked guitar only to start. It kicks in before a minute with a full sound. Catchy and complex.

A solid 4 stars and I wish I had picked up some of their other studio albums back in the day.

 Waking Season by CASPIAN album cover Studio Album, 2012
3.97 | 11 ratings

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Waking Season
Caspian Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars This is a really enjoyable Post-Rock album from an American band called CASPIAN. This is their third studio album and they are a six piece with three guitarists, drums, bass and keys/synths. So much of this is A+ for me but besides some not so great material my biggest issue are the intrusive drums. Either mixed high in this recording or simply loud on purpose, I don't know but that was an issue for me from the first spin. Too bad because this had 4.5 stars or more written all over it. Still this is a very solid 4 stars and one of the better Post-Rock albums I've reviewed of late. I like the title "Waking Season" the cover art not so much.

"Waking Season" opens with some powerful atmosphere that is replaced by piano quickly but the atmosphere will come and go until acoustic guitar takes over but then atmosphere is back one more time. A beat and full sound soon arrive. It starts building and it sounds really good at 4 1/2 minutes. It ends abruptly, too abruptly. "Procellous" opens with keys as atmosphere rolls in then a beat. It's building. It's heavier after 2 minutes and there's so much going on. They're kicking it pretty hard 3 minutes in with guitars over top. Powerful is the word after 4 minutes. It then settles back and continues to wind down as we get piano only to end it.

"Gone In Bloom And Bough" is a top three for me. The atmosphere gets louder as sounds start to pulse and drums join in. Melodic guitars before 1 1/2 minutes. Heavier drums follow and then some emotion before 3 minutes. It's even heavier before 4 1/2 minutes but then a calm arrives a minute later with atmosphere and picked guitar. Beautiful. It's slowly building again before it kicks in after 7 1/2 minutes and it picks up speed. A calm after 9 minutes as deep sound vibrate to end it. "Halls Of The Summer" has fast paced percussion and strummed guitar. More too actually as heavy drums kick in just before a minute.

"Akiko" is a pretty good tune and I especially like the sound at 2 minutes as we get some emotion with that guitar. It settles right down over the final minute a we can hear a baby laughing. "High Lonesome" opens with atmosphere that builds along with what sounds like vocal melodies. I really like this. Guitar before 3 1/2 minutes as the atmosphere stops. "Hickory '54" has heavy beats and guitar as spacey sounds and more are added as it builds. Post-Rock guitars come in over top at 3 1/2 minutes. Great sound to this one in the second half. Quite powerful and it winds down late.

"Long The Desert Mile" is a top three as well. Atmosphere and picked guitar as drums join in. Vocal melodies a minute in and this is emotional. Love this! Back to the guitars. How good does this sound 3 1/2 minutes in as the guitar lights it up. Such an uplifting sone. "Collider In Blue" is a 2 1/2 minute soundscape of mostly spacey atmosphere that sounds like an intro for the closer "Fire Made Flesh" my final top three. That spacey atmosphere from the previous song continues here as it blends into it. Drums and guitar start to rise out of this eventually and soon it's getting powerful around 2 1/2 minutes. It continues to build as a wall of sound hits us with heavy drums. Check out the sound before 4 1 1/2 minutes, so catchy and heavy. Spacey sounds join in too making this sound amazing! The guitars are soloing over top. It's building again. Heavy duty to end it as it ends abruptly.

A must listen for Post-Rock fans out there.

 Adverse Camber / To Day Retreival by TORTOISE album cover Singles/EPs/Fan Club/Promo, 1998
2.00 | 1 ratings

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Adverse Camber / To Day Retreival
Tortoise Post Rock/Math rock

Review by TCat
Prog Reviewer

— First review of this album —
2 stars 'Autechre' is a band composed of two individuals who do a lot of electronic and ambient remixes along with an impressive discography. 'Tortoise', as most proggers know, is a band of several talented individuals, who, along with being very influential in Post Rock, have experimented with several different genres.

The track 'Ten-Day Interval' is a track from Tortoise's album 'TNT'. It is a song driven by a shimmering, arppegiated percussive instrument with a melody played by a piano and various other keyboards. It is an interesting enough son as it is, rather simple and pleasant.

This release is a two sided single that takes Tortoise's 'Ten-Day Interval' and changes it up into two different remixes which are both done by Autechre. The A-side is called 'Adverse Chamber' which is about 6 minutes long. The percussive arpeggios are deeper as are the other sounds, as if everything is done in a lower register. The piano is less conspicuous, but there are more fuzzy electronic sounds evident. It gives everything a more tropical sound. Nothing really seems to stand out much, it just sort of noodles around. The last minute becomes ambient with electronic sounds that linger. The B-side is called 'To Day Retreival' and clocks in just under 4 minutes. This one takes the piano melody and processes the sound to make it more sustained and drone-like. There are some neat sounds and textures on this one which makes it more interesting. I really like this version as it deconstructs the track and makes it new and fascinating.

Both of these tracks are available on Tortoise's rare tracks collection called 'A Lazarus Taxon'. I would suggest getting that collection as it is easier to obtain than this single since it is not available anymore, unless you want to buy it used at an outrageous price. That makes this single obsolete and only for collectors, even though the b-side is quite good. Those that are interested should search out the rarities collection.

 Subsets Of Sets by JAKOB album cover Studio Album, 2001
3.97 | 13 ratings

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Subsets Of Sets
Jakob Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

4 stars Just an excellent debut from these New Zealander Post rockers. The cover art really gives a clue to how the music sounds as well. Dark and melancholic with lots of depth and atmosphere. Lots of repetitive sounds but more outbursts of power than their "Solace" album from 2006 which is partly why I like this one better. Some guest cello on a couple of tracks but this is pretty much guitars, bass and drums in the Post-Rock tradition.

"Drive Here And Then" is catchy and restrained with that beat and guitar. It kicks in with power at 2 minutes then settles back as contrasts continue. A good opener. "I'm On Your Side" is laid back with some depth and bass sounds. I'm drawn to this sound so much. It then explodes after 2 1/2 minutes then settles back a minute later with guitar playing over this time.

"Nice Day For An Earthquake" is laid back again to begin with along with plenty of depth. Some guitar in the Post-Rock style before 2 minutes and it slowly gets louder until dropping out before 3 1/2 minutes. It kicks in with power after 4 minutes. "Ageena" is a top three for me. Drums only to start as some nasty bass joins in followed by guitar. Great sound! It kicks in around 1 1/2 minutes then settles back as contrasts continue. Amazing sound after 5 minutes as it gets experimental and powerful.

"A Moment From Different Angles" is another one with a relaxed start along with depth. The tempo picks up just before 3 minutes but not for long. "Aural" has beats, guitar and cello and is rather short at 2 minutes. "Calmrock" has bass and shimmering sounds as the drums join in. It's laid back but building as Post-Rock guitars join in. It settles back again. "Overseen" is a repetitive, melancholic piece with a laid back vibe once again. Guest cello 2 1/2 minutes in.

"Saiines" has strummed guitar as drums join in and it's rather dark and atmospheric as it builds. Some power before 2 minutes. Nice. It calms right down at 3 minutes to the end. "Ryan" is a top three and it just sounds so good as they continue with the same sort of sound. It stays fairly repetitive until kicking in after 4 minutes. Gotta love that guitar 5 minutes in.

"The Collar Sets Well" has some fast paced guitar as drums join in. This one has a brighter sound to it. It kicks into a powerful sound a couple of times. "Some Summer" ends it and it's the longest at 7 1/2 minutes. Pleasant guitar as drums and bass join in. It's laid back really although it settles more after 3 minutes and again at 5 minutes the latter has guitars that echo and spacey sounds too.

I just like the overall sound of this one and would rate it right there with their EP called "Dominion", a solid 4 stars.

 Susurul Râurilor Care Curg În Jos, Sau În Sus, Depinde Cum Te Uiți by AM FOST LA MUNTE SI MI-A PLACUT album cover Singles/EPs/Fan Club/Promo, 2016
3.00 | 1 ratings

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Susurul Râurilor Care Curg În Jos, Sau În Sus, Depinde Cum Te Uiți
Am Fost La Munte Si Mi-a Placut Post Rock/Math rock

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

— First review of this album —
3 stars It's not reported on the Bandcamp's download page, but the album contains seven tracks instead of six. The closer is a perfect cover of John Cage's 4'33''. Of course a track made of 4 minutes and half of perfect silence has to be perfect. It's clearly a joke and the sense of humor of the band is evident reading the track titles. Ok, they are in rumenian, but google helps a lot.

This EP is sometimes reminding of the best Mogwai, in particular the last (non silent) track which has a bit of the dark atmosphere of "Les Revenants". But the outstanding track is as usual the longest which is also the title track. Apart of some speech inside this one, the album is fully instrumental and flows very smoothly even when some harder moments appear.

I can't say much more about an EP, but it's a name your price download so I'm very happy to recommend it to whoever likes post rock.

 Goodbye Melody Mountain by SAMUEL JACKSON FIVE, THE album cover Studio Album, 2008
3.69 | 37 ratings

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Goodbye Melody Mountain
The Samuel Jackson Five Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

3 stars I just couldn't get into this one the first time around so I put it aside and spent more time with it over the past week. Same results I'm afraid which surprised me given I'm such a fan of this Post-Rock band from Norway. The previous album "Easily Misunderstood" and the followup to this which is self-titled leave this in their shadows as this seems lacklustre for some reason. Just my tastes I suppose but there's little in the way of highlights for me.

It gets off on the wrong foot with "Face The Fax" which is okay but not for an opener. The closing part section of "Hey Now, Who Really Cares" stands out for me but it's hit and miss throughout. I like the horns starting before 4 minutes on "Eye Eat Lotus" and the title track is really good but short at 2 1/2 minutes.

"So Many Cowboys, So Few Indians" is a catchy little number with dual guitars intertwining before a beat and horns join in. Cello before 3 1/2 minutes and it turns heavier late. Nice. "Slow Motion Simulator" contrasts the piano led sections with the mellotron-like sounds that lead the other section. I like it. The closer is the longest, approaching 9 minutes. Not into the violin sounds late but the dual guitars early are cool.

I gave this one a second chance just because I really like this band but this one just doesn't do it for me. 3 stars.

 ATGCLVLSSCAP by ULVER album cover Live, 2016
4.06 | 39 ratings

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ATGCLVLSSCAP
Ulver Post Rock/Math rock

Review by TCat
Prog Reviewer

5 stars Ulver, of course, is a band that has no specific style, other than art rock, only because that is the closest anyone can come to giving their style of music a name. Never a band to stick with any one single style, the only genre they could fit under is progressive rock. Always unpredictable, yet almost always producing and creating the best music possible. They are probably the most diverse band out there. Yet, not many people know who they are, even with an impressive discography as they have.

The album 'ATGCLVLSSCAP' is no exception. The title is derived from the first letter of the signs of the zodiac. The music on this album is considered 'free form'. All of the music is improvised and recorded live during one of their recent tours. The improvisations are all based on previous songs released by Ulver from various albums. The band collected the best of their free form experiments for the album and in the process, created new songs out of old songs.

The first track is 'England's Hidden' which is very drone like and atmospheric. It is based off of the track 'England' from 'The War of the Roses'. Vocal samples are used and manipulated to create the drone-like feel of the track. 'Glammer Hammer' is more upbeat and more traditional than the last track. It is an improvisation from 'Glamor Box' from 'Messe I.X ' VI.X'. This recording is excellent and dramatic full of strength and extremely dynamic. I have never heard a 'newly realized' song to sound so good, especially improvised. Amazing. 'Moody Stix' is based off of samples of 'Doom Sticks' from 'A Quick Fix of Melancholy'. This is another dramatic and cinematic track. The percussion drives the track which is excellent and so is the overall mood of the piece.

'Cromagnosis' takes it's sweet time to establish itself with atmospheric and psychedelic sounds, but it all culminates eventually in a rhythmic and melodic track eventually. When it does, it feels like coming out of a forest into daylight. It is very krautrock sounding when it settles into it's spacey groove. There is a sudden change at the 6 minute mark, a more frantic beat and bass line take over, almost reminding one of early 'Hawkwind' instrumentals. Everything speeds up during the last minute and then stops like everyone has fallen to the floor exhausted.

'The Spirits That Lend Strength Are Invisible' is a shorter, experimental track. The sounds at the foreground are harsh and metallic, but in the background you can hear a melody playing, but it is mostly drowned out by the noises in the foreground. This one is a spooky sounding track, but is homage to the talent and imagination of the band. 'Om Hanumate Namah' utilizes soundscapes that can remind one of being in the cold arctic, standing at the top of the world listening to the sounds reflecting off of the surface of the Earth and echoing back to you. After 2 minutes, percussion kicks in and there are distant whispered vocals (whispering the title of the track) along with a nice guitar that has a very distinctive mid-Eastern flair. Again, the hints of krautrock become apparent. It grows in intensity as it continues. It might seem repetitive, but that is only if you listen to it on it's surface. Deep down in the mix, there is a lot of activity going on. Only those paying attention will notice.

'Desert Dawn' builds slowly on soft sounds that could actually be sounds of the dawn approaching on the desert. As the volume increases, you start to pick up new sounds and textures. This track is very hypnotic. You could easily get lost in this sound. All of the sounds eventually get lost in the sound of sustained notes from an organ. After it fades some, it comes back very orchestral and majestic. Beautiful! 'D-Day Drone' is a soft drone, possibly created by syths I believe, is layered under a mysterious sounding instrument, something like a processed sitar and guitar feedback, but staying ambient and sparse-like. I swear I can hear voices or singing way down deep inside the drone. Eventually, you will hear voices being transmitted just keep listening closely. 'Gold Beach' is a 5 minute, ambient electronic piece, very pensive and quiet.

'Nowhere (Sweet Sixteen)' is a rearrangement of 'Nowhere/Catastrophe' from the album 'Perdition City'. It is quite a surprise as it is the first track on the album to have lyrics. The vocals are probably the most perfected vocals that Kristoffer Rygg has ever recorded. They are sung at full voice, no whispers or subdued vocals. This is probably the closest thing to a radio friendly track on the album. It even has the majestic flair of some of the best Pink Floyd songs. 'Ecclesiastes (A Vernal Catnip)' is a reimagining of parts of 'Tomorrow Never Comes' also from 'Perdition City'. There are spoken vocals in another language. It is driven by a beautiful piano loop and swirling ambient sounds. Later, Kristoffer sings in English, the lyrics are the words from Ecclesiastes 3:1-8. I think that the melody might be improvised, but it is melodic enough that it is hard to tell and could easily be composed, not improvised. The vocals are surprisingly emotional. 'Solaris' is a short 2 minute epilogue to the album. It is a atmospheric piece, with processed effects and sounds. Very peaceful and calming.

This album reveals new things everytime you listen to it. Every new realization and improvisation completely re-writes the source material that it comes from. If there is such a thing as Progressive Remixes, this is it. Everything about this album is new, even if it came from older sources. You can call this hypnotic, psychedelic, art rock, avant-prog, ambient, or whatever and you are right in all cases. The final result of this experment results in a dynamic, ever changing landscape of music that is exciting and new everytime you listen to it. I would go so far as to say this is one of the best Ulver albums in my opinion, and with the range of their discography, that says a lot. There is so much variety here among the tracks, and a surprise at every turn. And there is plenty of variety so that there is something here for everyone. This is an experiement that can be considered a huge success. Ulver continues to surprise and excel at almost everything they do. Their output has not always been perfect, but it has always been intriguing if nothing else, but this one is close enough to perfect to be 5 stars.

 At The Soundless Dawn by RED SPAROWES album cover Studio Album, 2005
3.79 | 91 ratings

BUY
At The Soundless Dawn
Red Sparowes Post Rock/Math rock

Review by TCat
Prog Reviewer

3 stars This is the debut album of the band 'Red Sparowes', a post rock band formed with 2 members from Prog Metal band 'Isis', Jeff Caxide and Bryant Clifford Meyer, both guitarists. Besides them, there were 3 other members in the band that were involved in this album.

The band utilizes a lot of pedal steel guitar. The music is also all instrumental and makes it's statements through samples and field recordings, but also through the long titles of each track. The music is hard and heavy, a lot like the band 'Pelican', and is based on the formula of building on a musical foundation through the use of crescendo, the basis of a lot of post rock. The concept of this album is about how there have been 5 extinctions throughout the history of the Earth, all of which were the result of natural occurrences. This album deals with The Sixth Extinction, which we are all now a part of and which is entirely a result of mankind.

The overall sound of the music is heavy and metallic, mostly dark, with the pedal steel adding a unique tone of brightness to the otherwise darkness. The wall of sound technique is used, but isn't always prevalent, and this helps create a great use of dynamics. It has an expansive sound and can get quite loud at times, as would be expected from a band that takes it's leadership from two members from 'Isis'.

'Alone and Aware'' has a lot of dynamics, not in the use of slow buildup, but in sudden changes. This lends a lot of variety to the track. The pedal steel is used quite effectively in the first part of the track. Towards the last part, the sound almost abruptly ends leaving only the sound of birds, and then some atmospheric sounds and processed vocal samples come in.

'Buildings Begin to Stretch'' is based on a repetitive melody played at times by the guitar and others by the bass. I like the way background noise caused by guitars come in and then suddenly disappear, building up and tearing down that wall of sound. The music drops off suddenly to a single guitar, and the melody comes back in variations. Dynamics are used with layering to bring back the initial loudness later. There is a metallic tone that reminds one of GY!BE. This is an excellent track with a lot of emotion felt through the orchestration.

'The Soundless Dawn'' is the shortest track at just over 4 minutes. This one utilizes a repeating pattern and shimmering guitars, but doesn't deliver the punch of the previous 2 tracks. It's more accessible because of its length and lesser intensity. However, it just doesn't really go anywhere or make any statement. At least it is short.

'Mechanical Sounds'' by contrast, is a 9 minute track. It starts off quite minimally with low tones. Layers of dark guitar sounds are built on this. This becomes almost drone like and goes on for 3 minutes before it fades and is replaced by a single guitar playing a repeating pattern softly. Drums are added later, but things remain subdued until about 5 minutes, then things get louder. This track starts off interestingly enough, but pretty much just follows the basic post rock formula, so it doesn't really hold my interest for as long as it should considering it's length. The pedal steel does bring in some Pink Floyd atmosphere however, but not enough to save the track by the time it comes in.

By the time 'A Brief Moment of Clarity'' comes in, it is a big surprise because it is suddenly very positive and bright sounding. This is very effective because of it's placement on the album. The pedal steel is back, but is utilized much better here. The rhythm is more straightforward here, which is also a nice surprise considering the overall feeling of darkness that has come before. Layers build, making things louder, but it still doesn't drown out the joyfulness of the track. This is a perfect example of how the music and the title of the track are spot on. By the time you get to the 4 minute mark though, there is a sudden drop off and a spoken vocal is heard in the distance, and darkness returns with a drone-ish sound from a guitar. This is a very effective track and it shows the creativity of the band.

'Our Happiest Days Begin to Turn'' again fits the 'narrative' of the title with another track that starts off with that positive feeling, but the beat is more hesitant here. Suddenly, discord starts to come into the picture, slowly. The happy feel of the track doesn't want to let go, but after a while, the track gets darker. This is instrumental storytelling at its best. By the end, we have returned to dangerous times and this is expressed by loudness, repetitive power chords and dissonance.

'The Sixth Extinction Crept Up Slowly'' is a 19 minute behemoth of a track. It starts immediately on a building crescendo that suddenly turns pensive at 2 minutes. It settles into this feeling as drums are added. It's not until 7 minutes in before the intensity increases and builds. This repeating strumming pattern has been going on all along, and continues through the build. A sudden apex is reached at 9 minutes, but it's still based on that same strumming pattern. It almost reaches screeching levels at 11 minutes. You will hear keyboards suddenly take over and break everything down. And then '..silence'. until 16 minutes. A drone that increases and then diminishes in volume carries the listener to the end. This track is too repetitive, and follows the typical formula too closely for way too long. That repetitive strumming pattern is just too much.

So, there are some very impressive tracks and passages here, but there is a lot of formulaic and predictable sections. The way the band tells the story through instruments only is quite amazing. There are some very well done and effective dynamics and some great surprises, but there are also moments of predictability that go on too long. There are times when the album easily reaches 5 star level, but other times when things drag on too long. It is tough to decide where to rate this one, but I'm going to have to go with a 3 here. There are so many places where the band rises above the post rock crowd, but it only makes it more disappointing when they resort to the worn out formula when they don't expand on it enough. Still, it's good enough to merit repeated listens, but probably with the help of a 'FF>>' button.

Data cached

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 SHELTER IN THE DESERT Mexico
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
AIMING FOR ENRIKE Norway
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
AM FOST LA MUNTE SI MI-A PLACUT Romania
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
AN ORDINARY VISION Italy
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
AND SO I WATCH YOU FROM AFAR United Kingdom
AND STARS COLLIDE United Kingdom
ANOICE Japan
ANTARCTIC United States
THE ANTARCTICANS United States
ANTENNAS TO HEAVEN United Kingdom
ANTETHIC Russia
ANTIER Spain
THE ANTONI TASHEV PROJECT Bulgaria
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
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
BIRDS OF FIRE United States
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
CARLOS DANGER 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
DICK HUDSON Italy
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
EL RUPE Portugal
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
EXXASENS Spain
F.A.T. France
FALCONBROOK United States
FARAQUET United States
FAREWELL POETRY France
FATHER FIGURE United States
THE FIERCE & THE DEAD United Kingdom
FINLAND Norway
FJORD Romania
FLARES Germany
FLIES ARE SPIES FROM HELL United Kingdom
THE FLOWERS OF HELL United Kingdom
FLY PAN AM Canada
FLYING SAUCER ATTACK United Kingdom
FOBIA INC Poland
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
FUGUE United States
GANGER United Kingdom
GASTR DEL SOL United States
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GEORGE DORN SCREAMS Poland
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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
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HELIOS United States
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HELSINGFORS United Kingdom
HENRY GALE United States
HER NAME IS CALLA United Kingdom
HERMITAGE Italy
HEROD LAYNE Brazil
HIBERNAL Australia
HITCHCOCK GO HOME! France
THE HOSEMOBILE United States
HOW COMES THE CONSTELLATIONS SHINE Portugal
HRSTA Canada
HUA LUN China
HUME United States
HUNGRIA Argentina
HUNGRY GHOSTS Australia
HURTMOLD Brazil
THE HYLOZOISTS Canada
I AM THE ARCHITECT Germany
I AM WAITING FOR YOU LAST SUMMER Russia
I HEAR SIRENS United States
I LIKE TRAINS United Kingdom
I WAS GIVEN FEET TO FOLLOW YOU United States
I WILL KILL CHITA Russia
IF THESE TREES COULD TALK United States
ILYDAEN Belgium
IMMANU EL Sweden
IN EACH HAND A CUTLASS Singapore
IN THE WAKE OF GIANTS United States
IN(OUR)FINITE SPACE Canada
INDIGNU Portugal
INFINITE THIRD United States
INTERNATIONAL KARATE Australia
IOSEB Sweden
JAKOB New Zealand
JAMBINAI Korea
JARDÍN DE LA CROIX Spain
JENIFEREVER Sweden
THE JOE K-PLAN Spain
JOHNNYTWENTYTHREE United States
JOVENABUELO Chile
JOY WANTS ETERNITY United States
JUNE OF 44 United States
JUNG PEOPLE Canada
JUNIUS United States
KAIRON; IRSE! Finland
KAKAOKAMKAMI Finland
KALON United States
KAMMERFLIMMER KOLLEKTIEF Germany
KEPZELT VAROS Hungary
KERMIT Spain
KERRETTA New Zealand
KILLINGTON FALL United Kingdom
KIMIKA Canada
KINDER Peru
KLEVER Russia
KOKOMO Germany
KOMAS MIDA Sweden
KOMATSU Finland
KONTAKTE United Kingdom
KOVLO Switzerland
KRAENE Germany
KRISTEN Poland
KROBAK Ukraine
KUATO Canada
KURS KAYA Russia
KWOON France
LA FLAG Portugal
LA GRAN PERDIDA DE ENERGIA Argentina
LA MAR Venezuela
LABIRINTO Brazil
LABRADFORD United States
THE LADIES United States
LARSEN Italy
LAURA Australia
LAZONA Italy
LEBANON Israel
LEECH Switzerland
LET AIRPLANES CIRCLE OVERHEAD United Kingdom
LIAM Germany
LIGHTS & MOTION Sweden
LIGHTS AT SEA United States
LIGHTS OUT ASIA United States
LIKE BELLS United States
LIKE NOMADS United States
A LILY United Kingdom
LIMP Denmark
LINDA MARTINI Portugal
LIS ER STILLE (LISERSTILLE) Denmark
LITE Japan
LO' THERE DO I SEE MY BROTHER United States
LONG DISTANCE CALLING Germany
LOOSE LIPS SINK SHIPS United States
LORAINE United States
LOSS OF A CHILD United Kingdom
LOST IN THE RIOTS United Kingdom
LOST REVERIE Mexico
LOTTO Poland
LOVELY GIRLS ARE BLIND France
LOWERCASE NOISES United States
THE LUNA MOTH United States
LUNAR Croatia
LUZPARÍS Argentina
LYMBYC SYSTYM United States
MAGYAR POSSE Finland
MAN MOUNTAIN United States
MAN ZERO Croatia
MAPS United States
MAPS & ATLASES United States
MARRIAGES United States
MASERATI United States
MAYBESHEWILL United Kingdom
MEANWHILE BACK IN COMMUNIST RUSSIA United Kingdom
MEET ME IN ST. LOUIS United Kingdom
THE MERCURY PROGRAM United States
MESCALINER Netherlands
METALLIC TASTE OF BLOOD Multi-National
MIAOU Japan
MIGALA Spain
MILHAVEN Germany
MINIMUS Portugal
MINIONTV United Kingdom
MIRROR Japan
MOGWAI United Kingdom
MØN France
MONO Japan
MONOCEROS Mexico
THE MONROE TRANSFER United Kingdom
MOONCAKE Russia
MOONLIT SAILOR Sweden
MOTEK Belgium
MOTIONLESS United States
MOUNTAIN MEN ANONYMOUS United Kingdom
MOVING MOUNTAINS United States
MOVING STRUCTURES United States
MOYA Belarus
MR. MAPS Australia
MUDDY WORLD Japan
MUDY ON THE SAKUBON Japan
LA MUNECA DE SAL Spain
MY BELOVED Denmark
MY DAD VS YOURS Canada
MY EDUCATION United States
NED HOPER Russia
NEGEV United Kingdom
NEIL ON IMPRESSION Italy
NEW CENTURY CLASSICS Poland
A NEW SILENT CORPORATION Italy
NEWSPAPERFLYHUNTING Poland
NICE WINGS ICARUS! Ukraine
NO ONE WISHED TO SETTLE HERE Poland
NOMADS United States
NOVA SCOTIA United Kingdom
NUITO Japan
O'BROTHER United States
O.RANG (.O.RANG) United Kingdom
OAQK Japan
OBSTACLES Denmark
OCEANIC Canada
ODDARRANG Finland
OISEAUX - TEMPETE France
OKETO United States
OSHEAN Russia
OSTINATO United States
OVUM Japan
OXES United States
PAIK United States
PANTHER ATTACK United States
PARABSTRUSE United States
PAVING THE LABYRINTH South Africa
PAWA UP FIRST Canada
PEACH PIT Croatia
PELE United States
PERHAPS United States
PERTEGO Italy
PETROGRAD IN TRANSIT United States
PG. LOST Sweden
PHEWWHOO Japan
THE PHYSICS HOUSE BAND United Kingdom
PIGLET United States
THE PIRATE SHIP QUINTET United Kingdom
PLAIN FADE Finland
PLANETS United States
PLOKK Germany
PNEU France
POLVO United States
PORT-ROYAL Italy
PORTRAIT OF A DROWNED MAN United States
PREA HRADA Russia
PRECIOUS FATHERS Canada
PRESENCE OF SOUL Japan
PVT (PIVOT) Australia
QUALIA United Kingdom
O QUARTO FANTASMA Portugal
RADIO FREE ISAAC Croatia
RAISED BY SWANS Canada
RED ROOM CINEMA United States
RED SPAROWES United States
THE REDNECK MANIFESTO Ireland
REGA Japan
REMINDER Sweden
RESERVE DE MARCHE Russia
RETROVERTIGO Venezuela
RHONE United States
RIDING PÂNICO Portugal
RIDING THE DIPLODOC Russia
THE ROCK OF TRAVOLTA United Kingdom
ROCKET MINER United States
RODAN United States
ROSA PARKS Hungary
RUMAH SAKIT United States
RUSSIAN CIRCLES United States
SADDLEBACK Australia
SADGAYERS United States
SALARYMAN United States
SALVATORE Norway
THE SAMUEL JACKSON FIVE Norway
SARAX Chile
THE SATELITE Peru
SAVAGE LUCY South Africa
SAWHORSE United States
SAXON SHORE United States
SCIENCE IN THE CAVE United States
SCRAPS OF TAPE Sweden
SDNMT Germany
THE SEA LIKE LEAD United States
SEAWORTHY Australia
SEMIOSIS Romania
SENNEN Netherlands
SEPTEMBER MALEVOLENCE Sweden
SEQUENCE PULSE Japan
SET FIRE TO FLAMES Canada
SGT. Japan
SHALABI EFFECT Canada
SHAPES STARS MAKE United States
SHORA Switzerland
THE SHY TRAFFICKER United States
SICKOAKES Sweden
SIGUR RÓS Iceland
SILENCE KIT Russia
A SILVER MT. ZION Canada
SIOUM United States
THE SIX PARTS SEVEN United States
SKY ARCHITECTS Denmark
THE SLEEP DESIGN United States
SLEEPING PEOPLE United States
SLEEPMAKESWAVES Australia
SLEEPSTREAM Greece
SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
SOLKYRI Australia
SOMMA Russia
SONNA United States
SONNÖV Spain
SOULS VIBRATING IN THE UNIVERSE United Kingdom
SOUNDS LIKE THE END OF THE WORLD Poland
SOUVARIS United Kingdom
SOUVENIR'S YOUNG AMERICA United States
SPACES United States
SPARKLE IN GREY Italy
SPARROWS SWARM AND SING United States
SPEAKER GAIN TEARDROP Japan
SPURV Norway
STAR FK RADIUM United States
STARSCREAM United States
STEARICA Italy
STERLING United States
STORMS Croatia
THE STRANGE DEATH OF LIBERAL ENGLAND United Kingdom
STUBBORN TINY LIGHTS VS CLUSTERING DARKNESS FOREVER OK United States
SUMMER FADES AWAY China
SUNLIGHT ASCENDING United States
SWANS United States
SWEEK Belgium
SWEEP THE LEG JOHNNY United States
SWEET MOTHER LOGIC Canada
SWIMS United States
SWINGERS Belgium
SYBAX France
TAN FRIO EL VERANO Venezuela
TANGLED THOUGHTS OF LEAVING Australia
TARANTULA AD United States
TARENTEL United States
Japan
TENA NOVAK Croatia
TENEBRE United States
TERA MELOS United States
TERRAFORMATION United States
TERRAFORMER Belgium
THE BEAUTY THE WORLD MAKES US HOPE FOR France
THE BEST PESSIMIST Ukraine
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
THESE MONSTERS United States
THETA NAUGHT United States
THINGS FALLING APART United States
THIS IS A PROCESS OF A STILL LIFE United States
THIS IS YOUR CAPTAIN SPEAKING Australia
THIS WILL DESTROY YOU United States
SAM THOMAS United Kingdom
THREE TRAPPED TIGERS United Kingdom
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TIDES OF MAN United States
TIME COLUMNS United States
THE TIMEOUT DRAWER United States
TO DESTROY A CITY United States
TOE Japan
TOMAN Belgium
TONE United States
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TRACER AMC Ireland
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TRANSMIGRANT United Kingdom
THE TRICKLE-DOWN EFFECT United States
TRICOT Japan
TRISTEZA United States
TUBER Greece
EL TUBO ELÁSTICO Spain
TULSA DRONE United States
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UFAJR Czech Republic
ULAN BATOR France
ULVER Norway
UNDER LANGUID LIGHTS Germany
UNLEARN United States
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UP THERE: THE CLOUDS Italy
UP-C DOWN-C LEFT-C RIGHT-C ABC + START United Kingdom
URTHONA Japan
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UZRUJAN Croatia
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WASSERMANNS FIEBERTRAUM Multi-National
WATTER United States
WE ALL INHERIT THE MOON United States
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WE VS. DEATH Netherlands
WE'RE FROM JAPAN United States
WEARY EYES Russia
WHYOCEANS China
THE WINCHESTER CLUB United Kingdom
WOLVES IN ARAMID United States
THE WORLD ON HIGHER DOWNS United States
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
YOUR TEN MOFO Austria
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