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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.

Current team members:
as at 7/1/2022

Luca (octopus-4)
Keishiro (DamoXt7942)

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

4.84 | 16 ratings
SUNSET MISSION
Bohren & Der Club Of Gore
4.30 | 119 ratings
CHILDREN OF GOD
Swans
4.28 | 109 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.27 | 97 ratings
RANDOM AVENGER
Magyar Posse
4.13 | 640 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.12 | 601 ratings
ÁGĆTIS BYRJUN
Sigur Rós
4.10 | 449 ratings
F# A# ∞
Godspeed You! Black Emperor
4.53 | 12 ratings
ATLAS
American Dollar, The
4.32 | 22 ratings
NEW LEVELS NEW DEVILS
Polyphia
4.33 | 21 ratings
THE BONES OF A DYING WORLD
If These Trees Could Talk
4.34 | 19 ratings
PIEONEAR
Silence Kit
4.26 | 26 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.22 | 31 ratings
SILENCIA
Hammock
4.77 | 7 ratings
MAA ANTAA YÖN VAIENTAA
Horte
4.06 | 205 ratings
ENTER
Russian Circles
4.14 | 51 ratings
VIXIT
Battlestations
4.05 | 288 ratings
SHADOWS OF THE SUN
Ulver
4.47 | 11 ratings
EUTHERIA
Equus
4.56 | 9 ratings
A SÉANCE OF DARK DELUSIONS
Nordic Giants
4.36 | 14 ratings
LABRADFORD
Labradford

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
DATURAH
Daturah
JINX
Kammerflimmer Kollektief
REVERIE
Daturah

Latest Post Rock/Math rock Music Reviews


 Ants from Up There by BLACK COUNTRY; NEW ROAD album cover Studio Album, 2022
4.07 | 10 ratings

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Ants from Up There
Black Country; New Road Post Rock/Math rock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars February 4th has turned out to be a great day for music fans with not only the release of Animal Collective's latest which finds them back on top of their game but also the second anticipated release of Black Country, New Road which took the world by storm last year with its debut that blended a unique concoction of prog, klezmer, punk, jazz and indie rock. To make things even more dramatic, vocalist and guitarist Isaac Wood left the band just a week before this album's release today. Cited mental health issues as the reason, the band is forced to cancel its American tour. Well that sucks! Fortunately before Wood left he contributed his last creative efforts which deliver an amazing payoff with an instantly loveable album in the form of "Ants From Up There" which finds the band taming things a bit in the direction of post-rock, chamber pop and slowcore with only a few heavier moments for contrast. Sounding a bit like a more modern version of David Bowie's art rock from the glam rock days, this album also finds the band sounding a bit like more modern acts like Arcade Fire and Wolf Parade. Also cited as existing in the emo camp, Black Country, New Road's has indeed delivered one of the most consistently brilliant albums of 2022 so far not only in that it instantly crafts memorable melodies but displays a distinct unique sound all its own even setting it apart from last year's debut. So far the best album of 2022 that i've so far experienced and this has been a pretty good year so far!

4.5 but not rounded up

 For the First Time by BLACK COUNTRY; NEW ROAD album cover Studio Album, 2021
4.10 | 10 ratings

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For the First Time
Black Country; New Road Post Rock/Math rock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars While the internet has allowed artists from once unthinkable geographic regions to spawn interesting new music, former musical meccas such as London, England still seem to be going strong with new generations of musicians gathering to catch the next wave of whatever is en vogue. Here is one of England's newest up and coming artists called BLACK COUNTRY, NEW ROAD which formed in 2018 out of the ashes of a band called Nervous Conditions but due to multiple sexual assault allegations against member Connor Browne, the members of Tyler Hyde (bass), Isaac Wood aka The Guest (vocals, guitar), Lewis Evans aka Good With Parents (saxophone), Charlie Wayne (drums) and May Kershaw (drums) left and created BLACK COUNTRY, NEW ROAD and rarely does a band hit the ground running with a sound that stands out from the millions of bands that exist these days.

Just recently released on 5 February 2021, FOR THE FIRST TIME showcases an innovative mix of post-punk, free jazz, math rock and a style of post-rock most often compared to Slint's "Spiderland" but what sets this album truly apart from any other is the addition of klezmer which adds a festive jocularity to the otherwise post-rock processions that implement heavy doses of post-punk guitar dissonance that in tandem with episodic bouts of free jazz can resemble the irreverent skronk of 80s no wave or the detached free-flowing reverie of Maudlin of the Well's more contemplative moments. The addition of Georgia Ellergy on the violin who has played in the pop band Jockstrap as well as the wild Happy Bagel Klezmer Orchestra adds a contrasting heft to FOR THE FIRST TIME unlike any other rock album i've heard outside the more experimental realms of techy progressive rock that is.

After the fittingly named introduction of "Instrumental" which sets the overall mood for the album, the true distinguishing sound of BLACK COUNTRY, NEW ROAD comes from lead singer Isaac Wood whose paranoid fueled lyrics and half-spoken, half-sung singing style that brings David Byrne's similar outbursts in the Talking Heads to mind. Although Wood also has channeled his inner Bryan Ferry as a hopeless romantic trying to navigate a world gone made. For an experimental rock album FOR THE FIRST TIME successfully straddles the world of post-rock which provides the cyclical loops that in the case of "Sunglasses" sprawls on to almost 10 minutes of playing time but fortified with post-rock guitar heft providing the sinewy textures for the klezmer and crafty atmospheres to weave around while Wood provides the perfect counterpoints with his moody oft unstable vocal contributions.

We can thank the UK label Ninja Tune for bringing BLACK COUNTRY, NEW ROAD out of the seas of Bandcamp artists. Although this label that has been around since 1990 and specializes in downtempo and nu jazz releases, they clearly have their ears on the pulse of the modern music market and recognize a winning stylistic approach when they hear it. The beauty of FOR THE FIRST TIME is that it perfectly balances the constituent sum of the parts so deftly as to perfectly align them so that they reflect a completely unique display of music that transcends the influences that have been incorporated. While many have compared this to "Spiderland," in reality this album goes far beyond that album and not being the biggest fan of Slint's so-called magnum opus, i personally find this album to be a much more interesting listening experience as it adds so many more elements and juggles them with a circus performance precision unlike many first timers these days. This is indeed a band that has crafted a winning formula in this third decade of the 21st century and hopefully will continue to do so.

 Pttrn Skrs by CONTINUOUS BATTLE OF ORDER, THE album cover Studio Album, 2010
4.00 | 1 ratings

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Pttrn Skrs
The Continuous Battle Of Order Post Rock/Math rock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

— First review of this album —
4 stars Their only one creation "Pttrn Skrs" (wondering how we could pronounce the title) is less than 30 minute long but filled with energetic, enjoyable soundscape really. We can understand enough that the two talented duo Hornby and Kearney play in a digestive and enthusiastic manner, and that such a tense musical method has disbanded them so early.

The first airbreak "001-1" is kinda innovative. The combination of guitar and drums after ambient electronica is specifically violent and toxic for our inner mind. But mysteriously their crazy venomous melody lines and rhythm bases sound like narcotic analgesics ... very exciting but no painful. Such a tense atmosphere is continuing. "001-2" is another complication of all musical essence. We would be knocked out completely by their massive mass-y power via the fundamental instruments. The following "002" lets us enjoy mystic sound effects, simple repetitive phrases, and great uptempo instrumental agitation. So, it's quite interesting that we can hear "003-1" stabilized and refined (the track should not be so smooth nor steady though). "003-2" reminds me of the similar vein to Nettaiurin by a Japanese madness Jungle. Kearney's piquant percussion is pretty comfortable and notable. "004"'s acoustic calmness flooded with a complex guitar ensemble is another yum and gem to give us safe and sound, peace of mind. The last "006" can be called as sorta mass of energy. Through their final barks we can feel their great last run so magnificently.

The 30-minute suggestive creation drives us into a fantasy. Let me say we could enjoy such a wonderful space for a longer time.

 Part 1 / On VHS Remastered by FIERCE & THE DEAD, THE album cover Boxset/Compilation, 2021
3.00 | 1 ratings

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Part 1 / On VHS Remastered
The Fierce & The Dead Post Rock/Math rock

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
3 stars Although I have been a huge fan of TFATD for some years now, I must confess to having never heard their early material as my first introduction to the band was their second album, 2013's 'Spooky Action'. This means I missed out not only on their debut album but some early EPs, but that has now been resolved with this new release which features the first two EPs in full, re-mastered by TFATD bassist Kevin Feazey. This means we start with their first ever release, 2010's 'Part 1' which consists of one extended instrumental track of the same name (more than 18 minutes long). At this point the band were a trio, comprising guitarist Matt Stevens, Kev Feazey (bass, synths) and drummer Stuart Marshall. Their sound back in the early days was clean, with far more space, and while interesting it is possible with hindsight to look back and see that in many ways, here we have a band still looking for the sound and what they wanted to achieve. When the band really start to kick off it starts to sound more like the band we know and love today but realistically it was only with the addition of second guitarist Steve Clayton that the band really began to develop their signature style.

That the second EP kicked off with "666?6" is something of a surprise as I did not realise that this song had been around for so long as it is still something they perform today. With wonderfully distorted bass and crunching drums, the guitars come in over the top and hearing this straight after "Part 1" it is quite a shock to the system as the band have changed dramatically in a very short period of time. Interestingly, this is again something which can be viewed better in hindsight as the band were moving in different directions as they searched for their signature so while the original songs are more cognisant of what they would become, the remixes of "On VHS" don't fit in at all, which shows just how the band were in flux at the time.

While I would hesitate to recommend this release to someone who is not already aware of the band, to the fan this is simply essential.

 El desierto avanza by COLA DE ZORRO album cover Studio Album, 2022
4.00 | 1 ratings

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El desierto avanza
Cola De Zorro Post Rock/Math rock

Review by nick_h_nz
Collaborator Prog Metal / Heavy Prog Team

— First review of this album —
4 stars [Originally published at The Progressive Aspect]

Before I begin this review, I probably need to apologise to Cola de Zorro, as I suspect I have inferred meaning from this instrumental album that was not intended. The album translates as 'The Desert Advances', and I can only assume that refers to an environmental crisis in Chile that is literally seeing the desert advance. So far so good. But where I suspect my inferences diverge from the band's intention is that I can't help but frame the album around John Steinbeck's The Grapes of Wrath - not least because the first piece of Cola de Zorro's album is entitled Tortuga (Turtle), and anyone who has read The Grapes of Wrath will know the importance of meaning placed on that animal.

Intriguingly, in chapter three of the book, devoted to the passage of the turtle, are mentioned clover burrs, oat beards and fox tails. Cola de Zorro translates as 'Fox Tail'. I had assumed the band was named after the geological formation along the border or Argentina and Chile, but perhaps it was after this desert plant. Regardless, like the turtle it's named for, Tortuga opens the album elegantly and slowly. It might even be described as languid, were it not for the insistent underlying rhythm, which gives the piece a sense of purpose and determination. There is a wonderful passage where after a slow crescendo, rather than climax or diminuendo, the music falls away in drips and drops. I absolutely love this moment, which sounds to me beautiful and sublime. Throughout the piece, no matter any moment of tension, Tortuga always remains positive and optimistic in feel and sound.

After the optimistic opening number, Ollas y Sartenes crashes and clatters in, sounding darker and edgier. It's an altogether heavier affair. Perhaps these pots and pans are cast iron? I love the way this track sounds likes it's barely held together, and could at any second fall into complete disarray. Yet the playing is tight and taught, holding together as it drives onward with the same determination and sense of direction as the turtle that preceded it, albeit at an altogether greater pace. Again, as with Tortuga, I'm reminded of an intercalary chapter in The Grapes of Wrath, this time Al's diner in chapter 15. A family pulls in to the diner, their car precariously stacked to the roof (and beyond) with as much as they can carry, and sets forth a series of events where the staff and patrons help each other out in turn.

In The Grapes of Wrath, the turtle of chapter three is a symbolism that man can overcome the drought and water crisis of the Dust Bowl of the 1930s. Is it too much to wish for that Chile can overcome their own drought and water crisis? Even though The Grapes of Wrath follows the passage of those thrown off their land, notably Steinbeck never (directly) vilifies the landowners and banks who have turned the people off their land. Steinbeck asserts that the economic system makes everyone a victim ? rich and poor, privileged and disenfranchised. All are caught "in something larger than themselves." Similarly, Al's diner business somewhat insulates him from the crisis of the Dust Bowl, while still being dependant upon the travellers. Al knows that individual survival is impossible, and that it is only by working together that people can effect change. Thus, with the opening pair of songs, though they each have very distinct and disparate sounds, in my mind they come to the same conclusion. Is it the "right" conclusion? Is it the conclusion the band intended? Probably not. So, as I wrote in the introduction, I apologise.

Back to the album; the abrupt end of Ollas y Sartenes is incredibly effective, and we're back to a more serene and sedate pace with El Desierto Avanza. But then, I guess I'd like to think, and hope, that the pace might slow, or even stop completely. After all, the desert advancing is not something we should be celebrating. At times there's a real sense of melancholy to the title track, that makes this otherwise light sounding piece sound quite heavy. It's a particularly contemplative piece after the first two, which seems appropriate. This is a piece I almost feel bad enjoying. As can be seen from the scorching summer we have been experiencing in the UK this year, climate change is very real, yet though we all (well, almost all) know and acknowledge this, little ever seems to be done about it. Are we all, like the characters of The Grapes of Wrath, caught in something larger than ourselves? Perhaps, but unless we all stand up and work together we will never effect change, so much as listen to pieces of music like this and think how sad it is.

The next track, Tanu, was the album's lead single, possibly because it includes some of the most impressive guitar on the album. It is surely a very good piece of music (and, yeah, I freaking LOVE that guitar solo), and probably well- chosen as a single, even if it is possibly my least favourite overall. Rather, it is the following Circulo that might well be my favourite on the album. It's the longest piece, which allows it to cover a lot of ground. The band mix a lot into their sound, including Latin, post-rock, jazz and Krautrock ? and it is in this track that the Krautrock element is most overt, and beautifully presented. But Circulo is just a joy to listen to, regardless of whichever styles and sounds are crammed into it.

And, I can't help it, I'm drawn back to comparing the music with an intercalary chapter of The Grapes of Wrath - this time, chapter 29. This is the final intercalary chapter and reflects both chapters three and 15. After drought, rain causes floods rather than relief, and one more strain on the accumulated hardship of those who have fled the desert's advance. After the rain stops, the men go out, and are described as squatting in a circle. It seems certain that they must surely have now reached breaking point. But in the men's faces, fear turns to anger, and anger to determination. As long as they can work together, they will be able to survive. It comes as no surprise, then, that the following Al Cubo is one of the most stridently optimistic sounding tracks on the album. It is reminiscent of Tortuga, but at a pace the turtle could only dream of. Like Tortuga, there are moments of tension, but they are easily overcome, and the piece drives on with the same sense of purpose and direction as before. If this were the final number of the album, it would be unsurprising, and perfectly bookend it.

This leaves me ambivalent, in the true sense of the word, about final number Largo Carmino al Silencio. It is an absolutely terrific closing number, full of dignity and gravitas, that lends it the heaviest of airs, despite its quiet and subdued nature. And while it translates in the band's native tongue to "Long Road to Silence", it is hard to ignore that largo is a musical direction to play with a slow tempo and dignified style - which is exactly as this piece presents. Now look, I hate to belabour the analogy, but in The Grapes of Wrath there's no symbol more loaded with meaning than the road. Not the turtle. Not the Diner. Not the Circle. Steinbeck writes about the "road of flight" as a route on which the disparate characters unify into a community. The road symbolises the path that will lead them to opportunity. It's a symbol of both comfort and hardship; of faith and hope, as well as of death and despair. What it leads to is ultimately up to us. When the desert advances, what are we going to do to stop it? Let's hope the road does not end in silence, because Largo Carmino al Silenco almost sounds like the end of the road, and the crushed hopes of Al Cubo. It doesn't have to be that way?

 Homey by CHON album cover Studio Album, 2017
3.23 | 14 ratings

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Homey
CHON Post Rock/Math rock

Review by Mirakaze
Collaborator Eclectic Prog Team

3 stars Even on Chon's very good debut from two years earlier did the threat of stagnation loom, and their sophomore release sounds disappointingly formulaic: well-played, well-constructed, even pleasant to the ears, but ultimately very inessential and a little monotonous. There's not much development from the previous album and not much to distinguish it all from many other math rock acts, except for the few random hip-hop and electropop excursions which (safe perhaps for the amusing cut-and-pasty "Glitch") blend about as well with the rest of the material as oil in water. Highlights include the multi-part "Here And There", and "Wave Bounce" which has a rawer and heavier production style than the squeaky clean production that the other songs invariably sport.
 Myriad by OH HIROSHIMA album cover Studio Album, 2022
4.00 | 1 ratings

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Myriad
Oh Hiroshima Post Rock/Math rock

Review by alainPP

— First review of this album —
4 stars For once I'm not going to talk about each title, nor try to dissect them to try to extract the substantial progressive marrow. OH HIROSHIMA is a Swedish group that is labeled post-rock, one of the borders with prog. Genre often accepted because of long moments with explosive crescendos at the end, for a meditative, intimate sound, for all this and many other things. It is for OH HIROSHIMA especially the fact of proposing 'without knowing it' a concept album where the 7 titles are chained, where the atmosphere vibrates in the firmament. Above all, it is the fact that this music is sung that gives it a plus; sung but also incorporated into the notes which makes it an instrument in its own right. In short, OH HIROSHIMA is like a menu that I will relate and not dissect the emotions felt.

'Nour' like caviar reminding me of KILLING JOKE. 'Veil Of Certainty' as an awakening to life, on a stoner who hides his name, a dark prog title ŕ la PARADISE LOST. 'All Things Pass' as a monolithic appetizer, just to get the auditory taste buds used to it; sinister and beautiful. 'Ascension' like the Norman hole with a hang sound, hints of DEAD CAN DANCE; piece that is likely to make you go up with this beautifully crafted spleen guitar. 'Humane' dark and rising towards the glaucous firmament. 'Tundra' arid as the title, a salad without sauce whose leaves themselves give the scents of said sauce. A pure moment of unequaled flavour, of renewed invention, I think back to THE CURE, to JOY DIVISION with the creation of OH HIROSHIMA. 'Hidden Chamber' for the coffee sprout, violin in addition to sip the digestive and take the time before returning to work, the sinews of war; least dark title to take as a dreamy ballad.

Very good album to savor you will understand.

 Eraser by LONG DISTANCE CALLING album cover Studio Album, 2022
3.90 | 10 ratings

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Eraser
Long Distance Calling Post Rock/Math rock

Review by nick_h_nz
Collaborator Prog Metal / Heavy Prog Team

4 stars [Originally published at The Progressive Aspect]

Long Distance Calling are a band that has a reputation for almost starting from scratch with each new album. I made the comment in my review for their previous album that the band "seem to take on a different aspect of the post-rock expanse for each subsequent release. Each of their albums has been quite different, and in that respect they are possibly one of the most progressive of post-rock bands." Thus it comes as no surprise that Eraser is a very different album from its predecessor. And yet, in many ways it seems almost to be a companion album. Recorded during the uncertainty of the global pandemic, which was a frustrating and frightening time for most musicians as their very livelihood (more than so many other occupations) was on the line; perhaps this is why Long Distance Calling seem to be continuing upon a theme. Eraser and How Do We Want To Live? are conceptually quite similar, and tell the same story from different viewpoints.

The band have made clear that this is an album about endangered species. Each track is supposedly dedicated to a particular animal, though it is not always obvious which that is. But what is clear is the lack of human voice - either in samples or vocals. This is not an album for the human voice, but those of the animals. You can hear the difference as where How Do We Want To Live? had a futuristic sound full of samples and synths, all clean and clinical, Eraser has a rawer, more natural and organic feel. It's the sound of a band playing together in the studio, rather than studio tricks augmenting the performance. In this sense, sonically it's reminiscent of Long Distance Calling's debut, Satellite Bay. That's not to say there are not additions to the band's performance, but this time around they are not samples and synths, but strings and woodwinds - real strings and eal woodwinds, no less!

Wonderfully, these additional instruments aren't applied in the manner you might expect. So often instruments like strings and woodwinds are used to create a symphonic background, as you might find on many prog and prog metal albums, that is bombastic and almost used as a background "wall of sound". There's often no subtlety or beauty in the way symphonic elements are added to prog. However, Long Distance Calling use these elements sparingly, and beautifully. To my ears, they almost provide leitmotifs, and I'll go even further - those leitmotifs are reminiscent, for me, of Prokofiev's Peter and the Wolf, the plot of which, as I'm sure we all know, sees the triumph of man (Peter) taming nature (the wolf). It's not difficult to make comparisons with the animals of Eraser. Like Prokofiev's wolf, we may end up seeing some of these animals only in a zoo, if at all.

The album begins with a quiet and melancholy tune entitled Enter: Death Box, which eventually reveals itself to be an inverted reprise of the title track, with the two tracks beautifully bookending the album. I can't say I know exactly what the band mean by this title, but it brings to my mind the spreadsheets used to record the movements of endangered and vulnerable birds in New Zealand (and probably other countries). There are a number of boxes for data to be entered, including Sex, Area, Frequency, On, Off, Total? and the Death box. The track itself is very short, and works more as an introduction to Blades, which crashes in with a great heaviness. Without the delicacy and beauty of Enter: Death Box, Blades would not have the impact it does.

Probably because birds are already on my mind from Enter: Death Box, I imagine the blades to be those of a wind turbine. The blades of wind turbines are known bird killers. Millions of birds around the world are killed by the blades. While proponents of wind drams will point to studies that show that generally less than 1% of any one country's bird population is affected, this is a case of seeing what you want to see from statistics. Studies also overwhelmingly show that due to location, endangered and vulnerable bird species are disproportionately victims of wind turbine blades, and almost solely due to wind turbine deaths, some species have been moved from vulnerable to endangered, or endangered to critically endangered. And, honestly, if you can't hear the way the music turns, you must be deaf. The sense of turning is so tangible it is incredible. The use of dynamics is great, too. Just as when you see a wind turbine from a distance, and the blades appear to be turning slowly, when you are right underneath them, you realise how fast they actually turn. So the spinning sensation of the music seems slower when it is quieter (further away), and faster when it is heavier (closer).

The lead single, Kamilah, follows - the subject of which is the gorilla famous for being the first to have its full genome sequenced. Am I imagining it? Is it because I'm still reeling from the turning sensation of Blades? Or do those galloping and intertwining Maiden-like passages resemble the double helix structure of DNA? Maybe the visuals I get from Blades and Kamilah were not what was intended by the band, but it just goes to show how great the music is that it can provoke such images (intended or not). Just as a good book will always beat a film adaptation, because it makes your imagination soar; so will a good piece of instrumental music always beat one with vocals. (There are two species of gorilla, each with two sub-species. All four are critically endangered, with the main threats being poaching and habitat loss.)

I'm aware of how long this review already is, so I'm wary of continuing track by track, suffice to say that all are both affective and effective. I have never before considered that the vocal samples and lyrics might have distracted, or even detracted, from the music of Long Distance Calling (their previous album was probably my favourite yet, which shows that the sheer amount of samples didn't spoil that release for me), but without them, the music really does fire the imagination, and seems almost as visual as it is audio. Dynamically, this is possibly the most diverse Long Distance Calling album, and that also helps inspire those visuals. I have not yet decided whether I like this more than How Do We Want To Live?, but these two (together or apart) are my favourites in Long Distance Calling's consistently great discography.

I guess I need to mention Sloth as it is likely to be the stand-out track for many. Appropriately for its title, it is probably the slowest Long Distance Calling number ever. Especially with the addition of Jřrgen Munkeby guesting on saxophone, this almost sounds like some lost Pink Floyd track. Long Distance Calling have always had a Floydian tinge to their music, but this is taking that sound to whole new levels, while never sounding derivative. Sloth still sounds like Long Distance Calling, but drawn out to a quite sublime slow pace that is simply beautiful. It's followed by the second single, Giants Leaving, which again brings me imagery from back home, as Dunedin (my hometown) is, I believe, the only mainland breeding colony of Royal Albatross. Given that albatross are known for their long wingspan (one species has the longest wingspan of all birds, and five of the next nine birds, by length of wingspan, are also species of albatross), this is a surprisingly short song ? but, especially after Sloth, appropriately uplifting, soaring to heights not yet felt on this album. If you have the vinyl, I guess this is an absolute banger to start side two, and will probably be a real crowd pleaser when played live. (All but seven of the world's 22 species of albatrosses are threatened with extinction, with the main threat being incidental death (bycatch) by commercial fisheries.)

With Landless King, one of the key issues regarding survival of the endangered and vulnerable species is addressed (or perhaps, addressed once more, but more overtly than previously). While the "king of beasts" is not endangered (the lion is listed as vulnerable), three quarters of their populations are in decline, and it is estimated that at the current rate of decline (due to poaching and, yes, habitat loss) the lion will be extinct in the wild by 2050. Like Prokofiev's wolf, if you want to see the lion, you will need to go to the zoo. The music for this track is suitably majestic, full of poise and gravitas. But it also feels confined, and there are passages which really do, for me, sound like the lion pacing back and forth in its enclosure (as anyone who has seen a lion at the zoo, may have witnessed). Thus there is a certain sadness about this track, although it ends on what sounds like a quite optimistic passage to me. This naturally leads to the last track, and the last species - us.

It's almost a callback to the last track of How Do We Want To Live? Humanity is the virus. Humanity is the "Eraser". We are responsible for the habitat loss, for the poaching, for the incidental death by "Blades" or bycatch, for the climate change. Humanity on one hand are the ones who are endangering all these species, and ultimately our own species also. Yet, on the other, we are the only ones who can do anything about any of this. We are the only ones who can push back the habitat loss, prevent the poaching and incidental death, and do something about climate change. Only we can save these endangered species, including ourselves. I could bring this back to Prokofiev and Peter and the Wolf once more. The moral for that symphonic fairy tale is often given as one variation or another of "the only way to be a hero is to take some risks". Eraser is the darkest track on the album, but it's always darkest before dawn. What we do (or don't do) on the new day could either help out future, or seal our fate. How Do We Want To Live?

 Hardcore Will Never Die, But You Will by MOGWAI album cover Studio Album, 2011
3.82 | 143 ratings

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Hardcore Will Never Die, But You Will
Mogwai Post Rock/Math rock

Review by Dapper~Blueberries

4 stars It has been a while since I looked at a post rock album, let's change that. Post Rock as a whole has been sort of an enigma for me. Not that I do not like it but it sort of that odd genre of music that I never seem to fully understand. At one point it is about textures and lengthy suites with Godspeed You! Black Emperor, and then it becomes some kind of evolution to space rock and psych rock with Crippled Black Phoenix, to then be cryptic, loud, and abrasive experimental music with Swans. It is a genre that never really is what people say it is. When you think you know what the genre is about it shifts on your head like a dime. Each post rock band has something completely new, which does make the genre exciting. How will a band contrast the rest, how will things go for them? What is their method, their thought process, how do they play, what do they focus on? It is sort of a given that I found a sort of attachment to the genre, not a full blown obsession to it, but if given the chance I would definitely listen to an album by a post rock outfit. One of the most critically acclaimed post bands to come out and one I think is my personal favorite, is Mogwai.

Formed in Glasgow in the mid 90s, with Stuart Braithwaite on guitar and vocals, Dominic Aitchison on bass, Martin Bulloch on drums, and a few others that have gone and left throughout the band's career on various instruments, namely the keyboards or flute. Where most post bands have songs that feel very inconsolable, I always found Mogwai's music to be more celebratory. They are a happy brand of post rock, as happy as post rock can get. This, added on with their less atmospheric and more rock driven output makes them a very interesting band. Unlike other post bands, they never really made any longer songs too. They have made longer pieces of music like with Mogwai Fear Satan on their debut album, Young Team, and the two part untitled dark ambient suite on the Zidane OST, but relatively they focus on smaller songs that showcase a bit of what the band has to offer in terms of sound and style. This direction leads their albums to be a little divisive among fans. Someone's all time favorite will most likely differ from else's which leads this band into a more fun route to take for a conversation, because I truly think Mogwai is a great post rock band to start with and go through all their albums. That aside, in 2011 they released their seventh studio album (not including any remix albums, session albums, or soundtrack albums), Hardcore Will Never Die, But You Will.

Now do not let the title fool you, this is not some loud and abrasive hardcore album filled with fast riffs and a punk nature, no, instead you will get some very well made post rock mixed with a bit of an alternative rock sound. The first song White Noise definitely shows this quite well. I can hear hints of more emo and softer rock vibes within this song in the pitter patters of the drums, and the soft yet defined guitars. It builds rich and defining atmospheric melodies that build into this noisy, yet somehow still very mellow and lush sound that is rich in its abilities. It feels all so squeezed up, but not like a fist being clenched, but like a hug. It is soft and warm, yet still has a tight grip on you. I think this is one of Mogwai's most defining tracks out there, and it is a shame it isn't as talked about as I would like it too. Definitely an amazing opening for this album.

Things do change with Mexican Grand Prix. While still post in nature, they shifted gears into a more EDM direction. I do admit this is my least favorite track on this album because it feels a little out of nowhere, and that it doesn't really fit with everything else this album has. It isn't a bad song though. I like the vibes on here, being very jovial and danceable while keeping the aesthetic Mogwai presents themselves having ever so truly. It is a fun track to listen to, but definitely not their strongest output.

Everything gets back up again with Rano Pano. Talk about being loud and proud, because this song is just noisy, and I honestly really like it. How the guitars create this airy yet thin atmosphere that gets built up more and more as the song progresses, with each beat of the drums making things expand more and more. It all gets louder and more crisp, which even despite all of this, it still has that very buoyant feel to it all. Even with style and sound changes the band still can create a very happy sound to it all. I cannot help but just love that main riff and how it repeats and never gets old. It is like how Mike Oldfield with Tubular Bells or Ommadawn made repetitious music that never gets forgettable or annoying in its structure. I feel like the more I talk about this song the more good I have to say about it, but that is just because I think it is another one of their many flawless greats.

This also goes to Death Rays, but I do have some critics on it, but from an album standpoint. As a song, it is just pretty. The melody and the structure of it all just hits everything right on the head of the nail. How it all builds towards a finish that feels so lush makes me just fall for this song each time I hear it. On an album stance though it feels like the band is back peddling when they do not need to. It feels like they are retreading similar steps from White Noise when it seems like this album is built off trying different styles and noises to create a complete work of art. It is something that slightly gets under my skin, which I think is really unfortunate because I really do love this song. It is still perfectly good, but I do see it as a tiny misstep.

However I do admit that San Pedro is such a good track. It dives head first into that sort of alt rock sound that was popular in the late 80s and 90s. It has this grunge and emo vibe to it all that it makes it feel like some anthem song for those who grew up on that type of music. I can tell this song might seem off putting to many people, but I do enjoy this song. It is different, it is something you do not get every day in the vein of post bands. It is taking a sound and style, and making it work in their own unique ways. It is short but it is fun to look at.

But on a completely different note, Letters To The Metro is such a comely track. I just love how it builds but never gets anything loud in the end. Instead we get beautiful piano and guitar works that build this ambient and somber sound. This is probably their most sad song yet. In their wake of mirthful melodies, they can definitely work really well with more dreary movements. This change in sound really helps the album move forward into new directions that I think benefits the album really well. It's calm, it's focused, and it is bittersweet.

We got back into that alt rock groove though with George Square Thatcher Death Party. We have that noisy, and emotional sound returning in full force, and much stronger now. Everything feels so right in it together that you can feel everything rolling into one complete work of art. It's alternative rock in its pure sense. It has that Sonic Youth drive, that My Bloody Valentine noise, and that Velvet Underground spunk. It is what the entire alt rock movements stand for and go by, and I just love it. A plus material as always.

We get back into a more post rock sound with How To Be A Werewolf. For some odd reason I find this song to be kinda on the weaker side of things. I feel like as I stated before with Death Rays that it feels like back peddling when they should instead move the music forward. Still isn't a bad song, but it does get under my skin in terms of effectiveness, since I already heard something like that before where it builds up to something loud and jovial. It is retreading on familiar territory that I do not think needs to be retreated.

I do, however, think Too Raging To Cheers is a good improvement on that sort of formula I talked about in How To Be A Werewolf where it builds up into something loud. Unlike How To Be A Werewolf, it instead uses the buildup to explore a more electronic sound rather than that of a rock one. The guitars are still there, but I get vibes from more glitchwave and even techno music. It allows itself to truly be unique in presentation without the need for going back a few steps. It is that type of post rock that deserves a lot more attention. It is a post rock that combines the slow, methodical, and atmospheric charge, with more nuanced and differing genres and sounds, and making it work highly well.

Lastly is You're Lionel Richie, and this final track sets a good end mark for this album. Tracks through that familiar post rock mixed with alt rock sound this album has had for the course of most of its run time, but going about it with a longer focus and atmosphere. This 8 minute track shows a good amount of intricate details that create for a good experience throughout it. How everything is guitar driven without it being overly distorted or loud until the halfway point where it quickly gets more loud as it crescendos across through the end, makes this track extremely well made in style, sound, and overall presentation, making for an ending that is very solid.

Definitely not their best, but far from their worst. It is flawed, but this album has a ton of stuff to love about it. The sound, the unique styles found here, the interesting elements used here, and the entire emotional spectrum this has, combining joyous movements, with somber tones and textures, makes this a treat in every way possible. Check it out if you wanna hear what Mogwai can do as an example of great post rock music.

 Celestial Bleakness by STATUA album cover Studio Album, 2016
3.00 | 1 ratings

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Celestial Bleakness
Statua Post Rock/Math rock

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

— First review of this album —
3 stars Repetitive like Zeuhl, dark and dreamy like a Kafka nightmare. I'm happy to have been in the evaluation team when Statua was added to the site.

Prog from Philippines is not very common and thinking to the sunny nature of those Islands in the Pacific Ocean, one wouldn't expect so much "greyness" in this album. Probably the album cover is not a coincidence.

Statua is a solo project of some Samuel Flanza. If you try to google him you won't find anything about him on the web. He probably hides himself behind the grey.

The tracks have an average "just out of radio-friendly" length, and how it often happens, the best one is the longest. So what we have here?

We have a number of instrumental tracks which in some moments may be close to newage, if it wasn't for background dissonances and a general darkness which is not in line with the newage standards. There's some oriental flavor, maybe thanks to the northern neighbour, Japan. But the principal ingredient is the dramatic mood which becomes quite cinematic in tracks like "Dark Sun", another very good one, where you can find a very nice guitar part reminding of Andy Latimer. It fades into a "Guitar Improv" which lasts for a couple of minutes. The less impressive thing of the whole album, I think

Then there's the mentioned longest track:"Sculpted In Stone". I wouldn't have been surprised to hear somebody sing in Kobaian on it, even after the intro, when the acoustic guitar takes the ownership of the track. It's hypnotically repetitive, until the drums and the keyboards start enriching the sound on a three chords progression. It's a pity that it doesn't have a proper end but a fade out (sorry for the spoiler). In total, the album scores less than 37 minutes, there was enough room for a proper ending if the artist wanted.

Few words also for the dark and depressive closer "Ghost Town". Very in tune with its title. As often happens in prog, we have a string of instrumental which seem to tell a story. Looking at the songs titles one can derive a story. In my own interpretation, likely completely uncorrect, it makes me think to a journey through the dark, in H.P. Lovecraft style, while the album title may be referring in some ways to Kobaia (just my own interpretation, likely it doesn't have anything to do with both Lovecraft and Vander).

So, should you give it a try? Yes. It doesn't present anything so new and intriguing as some well known masterpieces actually did, but is a good journey and the best way to enjoy it is laying down with airbuds on and closed eyes.

Data cached

Post Rock/Math rock bands/artists list

Bands/Artists Country
.O.RANG United Kingdom
[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 FOOL'S ERRAND Netherlands
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
AI Italy
AIMING FOR ENRIKE Norway
AIUA United States
AL SABO United States
ALARMIST Ireland
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL INDIA RADIO Australia
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALPHA MALE TEA PARTY United Kingdom
ALRIGHT THE CAPTAIN United Kingdom
AM FOST LA MUNTE SI MI-A PLACUT Romania
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
ANCIENTS Multi-National
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
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARMS OF TRIPOLI United States
ARROWAY France
ART.FICIAL Brazil
ARTIFICIAL WAVES Russia
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRALIA Spain
ASTRO SONIC Norway
ATSUKO CHIBA Canada
ATTILION Indonesia
AUDREY FALL Latvia
AUREA HYBRIDE Mexico
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
AXES United Kingdom
BAFFODORO Italy
GABRIEL BAKER United States
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
THE BASEMENT PAINTINGS Canada
BATHYSCAPHE France
BATTLES United States
BATTLESTATIONS Belgium
BEAR THE MAMMOTH Australia
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
THE BEAUTY THE WORLD MAKES US HOPE FOR France
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BESIDES Poland
THE BEST PESSIMIST Ukraine
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 COUNTRY; NEW ROAD United Kingdom
BLACK FOREST / BLACK SEA United States
BLACKPAPERPLANES Belarus
BLUEBRIDGE QUARTET Sweden
BLUENECK United Kingdom
BODY HOUND United Kingdom
THE BODY LOVERS United States
BOHREN & DER CLUB OF GORE Germany
WES BORLAND United States
BOSCH'S WITH YOU Russia
BOXHEAD ENSEMBLE United States
BRAINBOW United States
BRASS KNUCKLE SURFER United States
BRAVEYOUNG / GIANT 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
CADDYWHOMPUS United States
DAN CAINE United Kingdom
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
CAVALLO United States
CAVES OF STEEL Norway
CECILIA::EYES Belgium
CELESTIAL WOLVES Belgium
CHARTS AND MAPS United States
CHEVAL DE FRISE France
CHICAGO ODENSE ENSEMBLE Multi-National
CHILDSPEAK United States
CHON United States
CHOOSE YOUR OWN ADVENTURE United States
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
CISNIENIE Poland
CLEAN OF CORE Japan
CLESSIDRA Italy
CLEVER GIRL United States
CLOUD ARCHIVE United States
COALA PASCAL Ukraine
CODES IN THE CLOUDS United Kingdom
COLA DE ZORRO Chile
COLARIS Germany
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
THE CONTINUOUS BATTLE OF ORDER United Kingdom
COPTIC LIGHT United States
COUNTERFEIT I United States
COVET United States
CROMBIE United Kingdom
CRUSHING MY PALMS BETWEEN THE GLASS SHARDS YOU GAVE ME Finland
CUE United States
CUL DE SAC United States
CYANO Denmark
DARA Romania
THE DARK THIRD New Zealand
DATURAH Germany
DAY FOR AIRSTRIKES United Kingdom
DAY OF DEPARTURE United States
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
DIALECTS United Kingdom
DIANOGAH United States
DICK HUDSON Italy
DIETRICH Argentina
DILUTE United States
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
DRIVING SLOW MOTION United States
DROP ELECTRIC United States
ALEX DUNFORD United Kingdom
EASTSTRIKEWEST United Kingdom
EAT THE SUN United States
EATEN BY TIGERS United Kingdom
THE ECHELON EFFECT United Kingdom
ECHO SAYS ECHO France
ECHOES AND SIGNALS Russia
EDGAR (ANIMO) Belgium
EF Sweden
EFRIM MANUEL MENUCK Canada
EFTERKLANG Denmark
EIMOG Italy
EKSI EKSO United States
EL TEN ELEVEN United States
ELIZABETH THE LAST Germany
ELLIS THE VACUUMCHILD Sweden
ELOHYMN United Kingdom
EMPHASIS Croatia
EMPTY SILOS ECHO WAR United States
EN PLEIN AIR Italy
ENABLERS United States
THE END OF THE OCEAN United States
ENGRAMA / [ENGRAMA] Multi-National
ENSEMBLE PEARL 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
EXPIRATION OF A YOUNG MAN Egypt
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
FLASH THE READIES Czech Republic
FLIES ARE SPIES FROM HELL United Kingdom
FLORAL United States
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
FUEHLER Germany
FUGUE United States
GANGER United Kingdom
GASPARD Canada
GASTR DEL SOL United States
GASTRIC BAND United Kingdom
GEORGE DORN SCREAMS Poland
GHOSTS AND VODKA United States
GIANTS United States
GIARDINI DI MIRO Italy
GIFTS FROM ENOLA United States
GIRAFFES? GIRAFFES! United States
GLASGOW COMA SCALE Germany
GLASS AMERICA United States
GLASTON Switzerland
THE GLUTTON Norway
GO RUN DONKEY HOT! Croatia
GOD IS AN ASTRONAUT Ireland
GODSPEED YOU! BLACK EMPEROR Canada
GOONIES NEVER SAY DIE United Kingdom
LA GRAN PERDIDA DE ENERGIA Argentina
GRANDE DUKE United Kingdom
GREGOR SAMSA United States
GRIMÉNY Germany
HAASTA Poland
HAIDA United Kingdom
THE HALIFAX PIER United States
HALMA Germany
HAMMOCK United States
HANGEDUP Canada
HANNIBAL MONTANA United States
HARBORING GHOSTS United States
HASHSHASHIN Australia
HASHTEA Russia
HAZARDS OF SWIMMING NAKED Australia
HEARTS OF ATLANTIS Russia
HELD BY TREES United Kingdom
HELIOS United States
HELLA United States
HELSINGFORS United Kingdom
HELU Australia
HENRY GALE United States
HER NAME IS CALLA United Kingdom
HERMITAGE Italy
HEROD LAYNE Brazil
HERON United States
HIBERNAL Australia
HITCHCOCK GO HOME! France
HORTE Finland
THE HOSEMOBILE United States
HOW COMES THE CONSTELLATIONS SHINE Portugal
HRSTA Canada
HUA LUN China
HUBRIS. Switzerland
HUME United States
HUNGRIA Argentina
HUNGRY GHOSTS Australia
HURTMOLD Brazil
THE HYLOZOISTS Canada
HYPERTOAD Russia
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
IN-DREAMVIEW United States
INDIGNU Portugal
INFINITE THIRD United States
INTERNATIONAL KARATE Australia
INTHEBACKGROUND United States
INVALIDS United States
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
KALOUV Brazil
KAMMERFLIMMER KOLLEKTIEF Germany
KASCHALOT Estonia
KATRE Turkey
KEPZELT VAROS Hungary
KERMIT Spain
KERRETTA New Zealand
KHARA Macedonia
KILLINGTON FALL United Kingdom
KIMIKA Canada
KINDER Peru
KITSCHY United States
KLEVER Russia
KOKOMO Germany
KOMAS MIDA Sweden
KOMATSU Finland
KONTAKTE United Kingdom
KOVLO Switzerland
KRAENE Germany
KRISTEN Poland
KROBAK Ukraine
KSHETTRA Russia
KUATO Canada
KURS KAYA Russia
KWOON France
LA FLAG Portugal
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
MEKONG AIRLINES Germany
THE MERCURY PROGRAM United States
MESCALINER Netherlands
METALLIC TASTE OF BLOOD Multi-National
MIAOU Japan
MIDAS FALL United Kingdom
MIGALA Spain
MILHAVEN Germany
MINIMUS Portugal
MINIONTV United Kingdom
A MINOR FOREST United States
MIRROR Japan
MOGWAI United Kingdom
MŘN 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
MUGGLE China
LA MUNECA DE SAL Spain
MUSTARD GAS AND ROSES (MGR) United States
MY BELOVED Denmark
MY DAD VS YOURS Canada
MY EDUCATION United States
NAVIAN Norway
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
NILE ON WAX Belgium
NO CLEAR MIND Greece
NO ONE WISHED TO SETTLE HERE Poland
NOMADS United States
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NUITO Japan
NYA Argentina
O'BROTHER United States
OAQK Japan
OBLIGOD (PREVIOUSLY FOX TERRITORY) Czech Republic
OBSTACLES Denmark
OCEANIC Canada
ODDARRANG Finland
OH HIROSHIMA Sweden
OISEAUX - TEMPETE France
OKETO United States
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OVUM Japan
OXES United States
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PAWA UP FIRST Canada
PEACH PIT Croatia
PELE United States
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PERTEGO Italy
PETROGRAD IN TRANSIT United States
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PHEWWHOO Japan
THE PHYSICS HOUSE BAND United Kingdom
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PLAIN FADE Finland
PLANETS United States
PLANISPHERE Germany
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POLVO United States
POLY-MATH United Kingdom
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PORT-ROYAL Italy
PORTAL United States
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PRECIOUS FATHERS Canada
PRESENCE OF SOUL Japan
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QUALIA United Kingdom
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RADIO FREE ISAAC Croatia
RĆDSEL Germany
RAISED BY SWANS Canada
READER United States
RED ROOM CINEMA United States
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THE REDNECK MANIFESTO Ireland
REGA Japan
REMINDER Sweden
RESERVE DE MARCHE Russia
THE RETALIATION FOR WHAT THEY HAVE DONE TO US United States
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
THE RUM DIARY United States
RUMAH SAKIT United States
EL RUPE Portugal
RUSSIAN CIRCLES United States
SADDLEBACK Australia
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SAIREN France
SALARYMAN United States
SALVATORE Norway
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SARAX Chile
THE SATELITE Peru
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SCIENCE IN THE CAVE United States
SCRAPS OF TAPE Sweden
SDNMT Germany
THE SEA LIKE LEAD United States
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SEQUENCE PULSE Japan
SET FIRE TO FLAMES Canada
SGT. Japan
SHALABI EFFECT Canada
SHAPES STARS MAKE United States
A SHELTER IN THE DESERT Mexico
SHORA Switzerland
THE SHY TRAFFICKER United States
SICKOAKES Sweden
SIGUR RÓS Iceland
SILENCE KIT Russia
SILENT ISLAND Hungary
A SILVER MT. ZION Canada
SIOUM United States
THE SIX PARTS SEVEN United States
SKY ARCHITECTS Denmark
THE SLEEP DESIGN United States
SLEEP TOKEN United Kingdom
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
STATUA Philippines
STEARICA Italy
STERLING United States
STONED DIPLODOCUS France
STORMS Croatia
THE STRANGE DEATH OF LIBERAL ENGLAND United Kingdom
STRAWBERRY GIRLS United States
STUBBORN TINY LIGHTS VS CLUSTERING DARKNESS FOREVER OK United States
SUMMER FADES AWAY China
SUN COLORED CHAIR United States
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SWANS United States
SWEEK Belgium
SWEEP THE LEG JOHNNY United States
SWEET MOTHER LOGIC Canada
SWIMS United States
SWINGERS Belgium
SYBAX France
SYBERIA Spain
TÁLAMO Spain
TAN FRIO EL VERANO Venezuela
TANGLED THOUGHTS OF LEAVING Australia
TAPE Sweden
TARANTULA AD United States
TARENTEL United States
THE ANTONI TASHEV PROJECT Bulgaria
Japan
TENA NOVAK Croatia
TENEBRE United States
TERA MELOS United States
TERRAFORMATION United States
TERRAFORMER Belgium
TFVSJS China
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
THOSE WHO RIDE WITH GIANTS Australia
THREE TRAPPED TIGERS United Kingdom
THREEMOVEMENTS United Kingdom
TIDES OF MAN United States
TIERPARK Korea
TIME COLUMNS United States
THE TIMEOUT DRAWER United States
TO DESTROY A CITY United States
TOE Japan
TOM'S STORY Philippines
TOMAN Belgium
TONE United States
TORCH THE BRIDGE United States
TORNGAT Canada
TORTOISE United States
TOTORRO France
TRACER AMC Ireland
TRANSIT Belgium
TRANSMIGRANT United Kingdom
THE TRICKLE-DOWN EFFECT United States
TRICOT Japan
TRISTEZA United States
TROTTOIR Germany
TUBER Greece
EL TUBO ELÁSTICO Spain
TULSA DRONE United States
TUNA LAGUNA Norway
TUNDRA LIGHTS United States
TUNTURIA Canada
TURING MACHINE United States
UFAJR Czech Republic
UI United States
ULAN BATOR France
ULVER Norway
UNCONSCIOUS MOTIFS Italy
UNDER LANGUID LIGHTS Germany
UNLEARN United States
UNTIL SUNRISE United States
UNWED SAILOR United States
UP THERE: THE CLOUDS Italy
UPCDOWNC United Kingdom
URSA Spain
URTHONA Japan
US ON ROOFS United States
UZRUJAN Croatia
VALERINNE Romania
VALLEY OF THE GIANTS Canada
VAMPILLIA Japan
VESSELS United Kingdom
VIRTA Finland
VIRVEL Serbia
VOLTA DO MAR United States
VOTIVA LUX Italy
WADDLE France
WANG WEN China
WASSERMANNS FIEBERTRAUM Multi-National
WATTER United States
WAY STATION Ukraine
WE ALL INHERIT THE MOON United States
WE ARE KNIVES United Kingdom
WE BE THE ECHO United States
WE DESERVE THIS Germany
WE VS. DEATH Netherlands
WE'RE FROM JAPAN United States
WEARY EYES Russia
WHAT ALEPH SAID Switzerland
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
YAWN HIC Russia
YAZYK DOZHDYA Russia
YEARS OF RICE AND SALT United Kingdom
YNDI HALDA United Kingdom
YOU ALREADY KNOW United Kingdom
YOU SLUT! United Kingdom
YOU.MAY.DIE.IN.THE.DESERT United States
YOUR TEN MOFO Austria
YOUTH PICTURES OF FLORENCE HENDERSON Norway
YOUTHMOVIES United Kingdom
ZALEM France
ZHAOZE China
ZOMBIE PICNIC Ireland
ZUKR France

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