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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

4.48 | 35 ratings
FOR LONG TOMORROW
Toe.
4.35 | 54 ratings
RANDOM AVENGER
Magyar Posse
4.33 | 56 ratings
CHILDREN OF GOD
Swans
4.43 | 28 ratings
SINES
Jakob
4.13 | 479 ratings
ÁGÆTIS BYRJUN
Sigur Rós
4.12 | 460 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.15 | 164 ratings
ENTER
Russian Circles
4.30 | 36 ratings
THE COLLIBRO
Lis Er Stille
4.15 | 128 ratings
THE SEER
Swans
4.46 | 18 ratings
KING NINE
Blueneck
4.36 | 23 ratings
THE LAST DAWN
Mono
4.32 | 25 ratings
BEAUTIFUL
About Tess
4.07 | 347 ratings
F# A# ∞
Godspeed You! Black Emperor
4.16 | 58 ratings
THE EXTENT OF DAMAGE
Battlestations
4.63 | 11 ratings
DREAMS THAT COME A THING (PT I) ...NEVER THOUGHT IT MAY SEEM…
Bosch's With You
4.21 | 37 ratings
PHANTASIA
Lite
4.08 | 110 ratings
ULVER WITH TROMSØ CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.07 | 121 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


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

WIDOW
Day For Airstrikes
REVERIE
Daturah
IN EVERYTHING GIVE THANKS
Tenebre
INVENTIONS FOR THE NEW SEASON
Maserati

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Latest Post Rock/Math rock Music Reviews


 Pequeñas Hiroshimas by A SHELTER IN THE DESERT album cover Studio Album, 2015
4.00 | 2 ratings

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Pequeñas Hiroshimas
A Shelter In The Desert Post Rock/Math rock

Review by admireArt
Prog Reviewer

3 stars A kind of romantic, passionate and shiny bright instrumental Post Rock/Math Rock which is close to Porcupine Tree's influence, yet it at the same time throws some more personal colors and ideas here and there.

In someway the structure of the tracks have the same bases, therefore they can become predictable in that regard, which also means some kind of expressive limitations as far as experimenting and daring music composition goes, opposite to Porcupine Tree´s style which was and is, if still on, one of their greatest assets.

The extended use of acoustic keys sure is welcomed as they usually deliver interesting melody lines. The mandolin like electric guitar, even though quiet ingenious, can become, by abuse, also quiet predictable. Hats off to drum player Alex Rodríguez who keeps on with creativity his role in this kind of "exhalting hymns" like compositions.

There are some fabulous sections and the same a couple of astounding tracks, which if anything point out clearly that A SHELTER IN THE DESERT, is surely a band to keep track of, as this "Pequenas Hiroshimas", 2015, clearly shows out.

As for now, a very a good effort worth listening to.

***3.5 PA stars.

 Pequeñas Hiroshimas by A SHELTER IN THE DESERT album cover Studio Album, 2015
4.00 | 2 ratings

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Pequeñas Hiroshimas
A Shelter In The Desert Post Rock/Math rock

Review by memowakeman
Special Collaborator Honorary Collaborator

5 stars This is beautiful, this is bliss!

Sometimes the most beautiful things are in front of us and we simply don't realise about it, but well, things come when they have to, when it is time to receive them with open arms. I start saying this, because from the last year to these days I have realised that in my country, Mexico, the post-rock scene is amazing with some wonderful and talented bands whose music is kept in hidden places instead of being spread worldwide which is why I am trying to put my grain of sand and help these bands' music reach new listeners.

One of these mexican bands is A Shelter in the Desert, a band that some years ago played in Europe and I was not aware of that, shame on me, but well, now that I have discovered, listened to their albums and seen them live, I can say that nowadays they are my favorite mexican post-rock band and one of the 10 post rock bands from the world I listen the most. Why? Simple, their music has caught me completely, my senses, mind and soul break down while listening to them, putting myself in a state of bliss and grace, surrounded by countless emotions that float in space while every minute of their music sounds. I like a lot their debut album Maze of Memories but this one, Pequeñas Hiroshimas from 2015 made me fall in love at first sight (listen).

This album offers 5 tracks and over 35 minutes of beautiful instrumental music in which your soul will be taken to another state, the band has managed to compose first-class post rock when one can easily realise the member's talent and capacity to offer intelligent songs in a rollercoaester of emotions, in which they go from slow and atmospheric passages to powerful, emotional and disarming moments. An example of this is the amazgin starting song "Otra explosión se avecina", which perfectly works as an introductory track of A Shelter in the Desert's new album.

Soft and delicate piano creates wonderful atmospheres while little by little, guitars begin to build up figures and structures while bass and drums complement the music with an always accurate base. I adore the post-rock realm because its emotional essence really touches my soul, no matter the circumstances that surround my life, listening to this music makes me feel better, comfortable and alive, something that could be contradictory because of the melancholic and even sad parts that this music creates. In the end, music is always a healer, just as the title of the last song of this album reflects.

My favorite song since the very first time I listened to it is "Y dormir, por primera vez, con el alma al lado", my god, what a feast of emotions, sometimes it is enough to close one's eyes and let the music do the rest, you will have a lot of images in your mind, memories, plans, wishes, I don't know, but it is an enchanting excercise that I will always love listening to. These are truly gifted guys because they know how to make good compositions, musically speaking, but also because they know how to reach the listeners' souls, and that is not an easy job.

There are no weak tracks here, all of them are great but one always chose a song over other just as I did with Y dormir? which I chose as my favorite, but reading some other reviews or talking with friends, songs such as "La vida no tiene cura" or the mighty "Healer" are commonly chosen as people's favorites. So, due to this is almost flawless, I would encouragesly recommend this album to any person who loves the post-rock genre, believe me, you will find here pure beauty and that genre greatly represented by a quintet of mexican musicians. So please, go to their bandcamp site, listen-download-buy the album which by the way, has been just released also on CD and LP, and it is worth having.

Enjoy it!

 Guidance by RUSSIAN CIRCLES album cover Studio Album, 2016
4.25 | 8 ratings

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Guidance
Russian Circles Post Rock/Math rock

Review by Porcupineapple

5 stars Before I even start talking about this album I should start by saying that for me Empros was, and simply speaking still is, the best album ever in the genre. And by "genre" I do not necessarily mean post metal (as in that case it would of course invite a lot of strong contenders), instead I mean something like "Sigur rós on acid", as I have no better way to put the level of madness that album represented for me. So, when I heard that after Memorial (which was more mediocre in quality and rather different in style) Russian circles is revisiting the formula they used when putting together that brilliant masterpiece five years ago, I shat bricks just from the sheer idea. Now, the album is here, and I am more than happy to say: they made it! Or, almost made it.

Although not being a fan of track-by-track reviews, this is exactly what I will need to do here, as every track and minute on this album falls into such a beautiful unity that it would be a shame to skip to mention any of it. 'Asa', first of all, is a beautiful ambient opener, bringing back the best downtempo sides of Station and Empros. Of course, in Russian circles' books it is still all about the metal, so when the table is set with 'Asa', the epic 'Vorel' already swoops in to kick it right over, which results in probably the best and most coherent piece of the album. The post-metal rollercoaster rolls right on with two blinders again, as 'Mota' and 'Afrika' show with full pride what the band is the best at: mixing loud and quite in such a way that your heart will pound like it never did since Empros. There are some beautiful, slow build-ups here peaking in brutal riffage and then falling back to earth again with some soothing tunes. There aren't many other bands out there right now, who can find such a harmony between the two worlds, but Russian circles did it again after the mediocre Memorial, marking their way back to the throne. Time for some chill at this point, as the again Empros-like tunes of 'Overboard' slowly give way to some more melancholy, just so that it can again be taken over by one of the most brutal pieces the band has ever done: 'Calla'. Although there are some strong riffs here also, the album at this point starts to pull back a bit, with the tendency then continuing on to the closing track 'Lisbon', which somehow cannot decide whether to be loud or quite, and eventually falls on the ground between two stools. And this is probably the only bad thing I can say about the album, plus the fact maybe that the full album length is not too impressive either (clocking in at just over 40 minutes).

Putting all this aside, this is one outstanding album. Why did I then use the word "almost" when introducing it? Well, partly because of how high the bar has been set with Empros, any maybe also because this Chicago-based trio has chosen a genre (instrumental post metal that is) that might wear out after a while unless they throw in some innovation between each album. And although they did so on Guidance, the striking similarity to Empros and Station might still invite some questions about whether it sounds recycled or not or whether this music wears out with a few listens or will keep hanging on to your playlist. Still, I must hail in front of this trio again for bringing us such an agressive and blinder album, which is pure metal without being hooked up on the riffs too much, instead just being all about the chemistry and the atmosphere again. An album, which is as wicked as Station, which is a bit less dark but definitely more mature than Memorial, and which is playful like Empros but in the dramatic-acid-trips-way again. So, heads up to an album, which might not be a next Empros, but is already on my toplist for this year.

 Siberia by POLVO album cover Studio Album, 2013
4.00 | 1 ratings

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Siberia
Polvo Post Rock/Math rock

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars A striking album from veteran indie band

Polvo is a veteran indie-rock band from Chapel Hill NC who have been around long enough to have a second act. Sounding like young guys from the band Television's sphere of influence, their initial run in the early 90s concluded in 1998 as the guys went their separate ways, due to geography and commitments. Their fans wouldn't let them go. So around 2008 these old friends reconvened for a five year stretch that produced two more albums. After recording "Siberia" they have again retreated to their wives, kids, and real jobs. If this album is to be their last gasp, the guys have went out on a high note.

Forget about "post rock/math rock" labels as this band doesn't need our PA monikers. This is an American indie rock band with a unique vibe. Their 1993 salad days college hangover masterpiece was amusingly called "Today's Active Lifestyles" and could be compared to Dinosaur Jr chilled out with a splash of REM. Downright reckless guitar wars and car stereo killers mellowed just a bit by a laid back, southern gent feel. "Lifestyles" defined their young man sound.

"We couldn't get in that old headspace again if we tried." -Diffuser interview 2013

Fast forward twenty years and college rockers are now parents, yet still great friends separated like many by busy lives. Their reunion yielded two more albums and this was their last.

On Siberia, Polvo sounds like a more svelte Mission of Burma meets Wilco.

Gone are some of the sharp edges and swagger, but none of the ragged beauty. The songs of "Siberia" simply have a bit more maturity, richness, and quality to them. They have a different mindset that wisdom, both in a musical sense and a life sense, bring to the table. But they haven't lost their ability to rock, nor have they gotten lazy in terms of sound and rhythm exploration. One senses the opposite-it took effort and commitment to reconvene one's "old bandmates" and that is an opportunity not to be squandered.

The money shot in this band is the ever-so-cool dual guitar weaves and dances. Despite these songs being more pre-written and less chaotic than days of old, there is still a vibe that anything could happen. Somehow these beautiful ringing chords spar with the layered notes all while serving more accessible songwriting, which boasts plenty of toe tapping and even some decent Jeff Tweedy-like croaking. "Old Maps" could even be an outtake from Midlake's "Van Occupanther." Bass and drums are as shifty as the guitars, certainly grooving, but always ready to list the boat off kilter just for fun. Much of the beauty comes not from the basic song or the jam necessarily, but from the outcome of the band's insistence that both must be equally elevated. The tiles are certainly cool but the good stuff is in the grout.

Ever evocative and never losing my attention, the tracks of Siberia are intelligent rock music not ready for the rocking chair.

 Northern Shore by LO' THERE DO I SEE MY BROTHER album cover Studio Album, 2015
4.12 | 21 ratings

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Northern Shore
Lo' There Do I See My Brother Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars The post-rock pack of Lo' There Do I See My Brother play a style which to my ears seems influenced by the more folky, acoustic end of 1990s and early 2000s post-rock, as exemplified by projects such as Valley of the Giants (though there is, thankfully, no overlong penguin story to be had here). Don't be lulled, though, because they can also turn on a sludgey post-metal sound when it's time to get loud and make an impact. With multiple intertwined lead guitars in play, the album offers various hidden depths for adventurous listeners to dive into. Repeat listens are demanded, and I will be watching to see what they do next.
 The Catastrophist by TORTOISE album cover Studio Album, 2016
3.84 | 35 ratings

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The Catastrophist
Tortoise Post Rock/Math rock

Review by Neu!mann
Prog Reviewer

4 stars After more than twenty years the music of Tortoise is still incredibly hard to pin down. So I turn to guitarist Jeff Parker for an insider's description of the band's eighth and arguably best studio album, which he calls "progressive experimental music with pop sensibilities". You won't find a more succinct analysis of the elusive Tortoise sound than that, and it's almost true.

Some of the material here was first aired in embryonic form as part of a 2010 Chicago commission to celebrate the Windy City's musical heritage. But the much later album far exceeded that original mandate, becoming the band's widest ranging and richest effort to date.

The title track kicks off with some of the nerdiest analog synthesizers heard in forty years: a perfect audio illustration of the album's unfortunate (but eye-catching) cover portrait. After that the stage expands far beyond the shores of Lake Michigan to embrace, and then surpass, all the usual Tortoise detours: lush post-modern grooves; eclectic after-hours lounge bop; jagged ethno-funk with a touch of Krautrock grunge. And, in "Yonder Blue", unexplored territory for this otherwise strictly instrumental group: a truly romantic pop song.

Robert Wyatt was invited (but declined) to be the guest vocalist, which should be a clue to the style of the music. The job eventually went to Yo La Tengo's Georgia Hubley, to these ears a better fit for such an unexpected change of pace.

And then there's the album's other happy surprise: a left-field interpretation of the 1973 David Essex chart-topper "Rock On". The new version presents a suitably reptilian Tortoise re-imagining of an already oddball novelty hit, miles ahead of the similar but less effective avant-pop covers heard on the 2006 album "The Brave and the Bold" (quod vide, but not a true Tortoise recording).

Even their best fans (let's see a show of hands) would have to admit the music of Tortoise can sometimes resemble academic exercises in Post Rock engineering. But the band has never sounded more relaxed, or been so focused. After two decades of unqualified cult success, is it fair to say the Tortoise quintet has finally emerged from its collective shell?

 Turbo Jamz!!!! by PLANETS album cover Singles/EPs/Fan Club/Promo, 2010
3.00 | 2 ratings

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Turbo Jamz!!!!
Planets Post Rock/Math rock

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars Crude and complex EP

Planets are a duo from California featuring Paul Slack on bass/guitar and Tom Crawford on drums. Information is a bit hard to find but I believe they are on hiatus at the moment. They appeared to have a small but enthusiastic fan base when they were more active a few years ago.

Certainly not for the faint of heart, Planets is non-stop adrenaline and noise, power and precision. They marry together the cerebral side of technically difficult math-rock playing with the fury and volume of hard core punk. In a sense they are similar to fellow Californians Minutemen, who were famous for being a punk band that actually had impressive chops. The difference is that Minutemen would play some catchy things with choruses and attempt to appeal a bit wider. Planets is pure jamming and no compromise here. It's a short EP but this is 12 straight minutes of shreddy good whiplash. Slack and Crawford careen from one challenging jam segment to the next with controlled abandon, thrilling listening, if a bit grey and cloudy in mood. There are no vocals but there are some sampled spoken audio effects between songs for brief respite. Four songs are listed but the EP plays like one long track. Also like the 80s punk scene it is a relatively low-fi affair and the cymbal crash is annoyingly loud. But that's my problem, not theirs. Turbo Jamz will have limited appeal at ProgArchives but it is a blast if this kind of music is your thing.

 The Wilderness by EXPLOSIONS IN THE SKY album cover Studio Album, 2016
2.47 | 11 ratings

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The Wilderness
Explosions In The Sky Post Rock/Math rock

Review by Neu!mann
Prog Reviewer

2 stars The celebrated Austin quartet spent the previous half-decade doing movie scores, and on their first stand-alone album since 2011 the group appears stuck in that same, soundtrack mindset. In place of the expected "cathartic mini-symphonies" (their own words) the new album collects a random assortment of shorter instrumentals, each one attractive in its own modest way but together not adding up to an impressive sum.

Every track might have been a leftover doodle from an unrealized film commission, buffed to a spotless high-gloss sheen but hardly developed beyond the level of an impeccable demo. My apologies for using the lowest adjective in a Proghead's critical arsenal, but the dreaded m-word applies here: "The Wilderness" is a very mainstream album, tailor-made for wider commercial appeal with its less challenging, easier-on-the-ears Post Rock aesthetic.

There's nothing wrong with taking the low road, for a change of scenery. But the means to that end required the band to downplay all the uncanny magic that made their earlier albums so compelling. The title track is a good example, presenting a not unpleasant techno variation of the classic EitS sound, more effects-driven than usual but still evocative, up to a point. Previously the music would have risen gradually to a heavenly crescendo, instead of ending suddenly on an unresolved fadeout, well before the five-minute mark.

No album by artists this sensitive or intelligent is going to be a complete sell-out. But it's certainly the band's weakest offering since "The Rescue" (2005): a shallow wade into lukewarm waters from a group more accustomed to the raptures of the deep.

 Guidance by RUSSIAN CIRCLES album cover Studio Album, 2016
4.25 | 8 ratings

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Guidance
Russian Circles Post Rock/Math rock

Review by Rune2000
Special Collaborator Prog Metal Team

4 stars From the first minutes of this album I was convinced that this is a return to form for Russian Circles and I was not disappointed! Russian Circles have been a favorite of mine for quite some time. Even if the trio from Chicago haven't been able to deliver a perfect string of records, even their lesser moments are well worth experiencing.

I really liked the opening track Asa which is then perfectly complemented by Vorel. Unlike the intro on Memorial, which felt way too short and it's transition into Deficit felt abrupt, Asa takes it's time and delivers one of the band's best intros which can only be matched by the excellence of Campaign on Station. The transition into Vorel is seamless and the track that we are presented with is another marvelous piece of music that reminds me of Harper Lewis from, yet again, Station. Mota brings us a moment of sheer beauty as the track slowly unravels itself into another mix of melancholy and sheer power.

I'm really liking the fact that these compositions are slightly longer than most of material on Memorial, thus making the track flow feel more natural and the performances seem almost effortless. Africa is a perfect example of just that. The track commences slowly while feeling very structured in it's delivery as we are treated to a beautiful sounding landscape of musical harmony. The composition shifts into minor scale halfway thought the track and transitions in a completely different beast before returning to it's humble beginnings towards the end, what an excellent piece of music!

Just like Mota, Overboard works as another transitional piece that brings the record even more beauty as we slowly transition towards the final two tracks of Guidance. Calla is a heavy composition that introduces itself in the orderly fashion as we are treated to another pleasant landscape filled with electric guitar and hard hitting percussion work. Lisboa finishes the record off nicely with another slow and atmospheric piece which reminds me, yet again(!), of the ending to Station.

The question that I've pondered on, after giving Guidance a few spins, is whether the record is meant as a follow up to Station. The album does indeed feature quite a few callbacks to one of the finest records of 2008 but I wouldn't really say that the connection is entirely justified. The band have undergone quite a few different milestones during the last 8 years and thus have many different influences to draw it's inspiration from. There is definitely an ambition with Guidance to create another coherent record, which is something that Russian Circles have managed to do in the past with Empros and especially Station. Therefore the connection to Station is more in spirit than in execution. Either way, this is another excellent album from Russian Circles that should not be missed by fans of instrumental rock music!

***** star songs: Asa (4:00) Vorel (5:29) Afrika (6:31)

**** star songs: Mota (6:33) Overboard (5:32) Calla (6:23) Lisboa (6:32)

 Memorial by RUSSIAN CIRCLES album cover Studio Album, 2013
3.38 | 22 ratings

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Memorial
Russian Circles Post Rock/Math rock

Review by Rune2000
Special Collaborator Prog Metal Team

3 stars This is a tough album to review for me. I've been a fan of Russian Circles for quite some time now and even though I've had issues with some of the band's material in the past it was mostly minor complains in comparison to my reactions to Memorial.

After the release of the marvelous Empros, I was ectatic on hearing more from the direction that the band were heading for. Will they continue in their instrumental style or will they add vocals to some of their songs, just like they did on Praise Be Man? Will the band return to the more aggressive style that was heard on early albums, Enter and Station, or will we hear even more material resembling traditional post rock style? Will the new album be able to top the achievements of Empros?

Memorial starts with a short prelude as we are transition to the album's two longer pieces - Deficit and 1777 . The transition from Memoriam to Deficit feels very abrupt, which is quite unusual for a band that is known for fluent and transcendent instrumental pieces. Deficit is a heavy track that fits quite well with the album cover which depicts a harsh but beautiful landscape shot. Some sections of the track brings the band back to the early achievements on Station but I lack the overall coherence from the beginning to the end of the track. 1777 feels a lot more structured but it lacks the memorable punch that I require of my Russian Circle experience. The overall sound is a lot more dreamy and less catchy than what I've come to expect from the trio, still in no way a bad piece of music.

The rest of the album consists of tracks that are between 4-5 minutes long and, starting with Cheyenne, I immediately began to see the general problem with Memorial as an album. The record lacks the feel of consistency and most of the music featured on the second half of the album feels more like experimental ideas rather than full-fledged compositions. I've been trying to enjoy this record ever since it was released in 2013 and I've really been struggling with it. The material that is presented here isn't bad but I lack the distinct Russian Circles flavor that the band are usually able to bring to the table. Even the collaboration with Chelsea Wolfe on the album's title track feels out of place with the rest of the record and would have worked better as a stand alone single.

Even though this record has been somewhat of a disappointment for me, I'm still very interested in hearing what Russian Circles will deliver on their next record. Hopefully they'll take one step back in order to leap two steps forwards, hence return to the format that was featured on Empros and improve upon it.

**** star songs: Memoriam (1:28) Deficit (6:42) 1777 (7:21) Burial (4:43) Ethel (4:03) Lebaron (4:36)

*** star songs: Cheyenne (4:24) Memorial (3:45)

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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 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
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 United Kingdom
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
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