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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".

POST-ROCK TEAM MEMBERS:

Angelmk (Angel)
Zravkapt (Darryl)
The Truth (Tanner)



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.

MATH ROCK TEAM MEMBERS:
Andy Webb
Austin (Horizons)
Tanner (The Truth)
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

4.50 | 23 ratings
CHILDREN OF GOD
Swans
4.17 | 141 ratings
ENTER
Russian Circles
4.12 | 420 ratings
ÁGĆTIS BYRJUN
Sigur Rós
4.11 | 385 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.32 | 34 ratings
RANDOM AVENGER
Magyar Posse
4.13 | 60 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.03 | 295 ratings
F# A# ∞
Godspeed You! Black Emperor
4.08 | 83 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.26 | 24 ratings
FOR LONG TOMORROW
Toe.
4.05 | 109 ratings
IN A COLD EMBRACE
Battlestations
4.70 | 8 ratings
DREAMS THAT COME A THING (PT I) ...NEVER THOUGHT IT MAY SEEM…
Bosch's With You
4.22 | 22 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.42 | 12 ratings
BEAUTIFUL
About Tess
4.07 | 44 ratings
EASILY MISUNDERSTOOD
Samuel Jackson Five, The
4.15 | 27 ratings
GIVE ME BEAUTY... OR GIVE ME DEATH!
Ef
3.96 | 194 ratings
SHADOWS OF THE SUN
Ulver
3.95 | 293 ratings
( )
Sigur Rós
4.35 | 13 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
3.95 | 230 ratings
YANQUI U.X.O.
Godspeed You! Black Emperor
4.18 | 22 ratings
THE COLLIBRO
Lis Er Stille

Post Rock/Math rock overlooked and obscure gems albums new


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Actual Music Quartet RSM

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Latest Post Rock/Math rock Music Reviews


 Yanqui U.X.O. by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2002
3.95 | 230 ratings

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Yanqui U.X.O.
Godspeed You! Black Emperor Post Rock/Math rock

Review by siLLy puPPy
Prog Reviewer

4 stars YANQUI U.X.O (Spanish for Yankee followed by "unexploded ordnance" is the fourth release (third full album by GODSPEED YOU BLACK EMPEROR (they dropped the "!" on this one) and although it wasn't lauded with the praise that their previous releases had because of the fact they dropped their field recordings and some of the techniques they had utilized in the past, this album still retains the post-apocalyptic feel and sense of impending doom and dread of the others. In fact, the album cover says it all. It is simply an aircraft in the process of dropping bombs which leaves a world of devastated death, destruction and bleakness. The fact that they included no human utterings whatsoever only heightens that bleakness for me. The music is admittedly a tad more simplistic but it feels even darker and more hopeless than even I thought possible.

In short, this album is the logical extension of the others. It still retains the pulsating post-rock triumphs that GODSPEED is so famous for without all those extra touches that some may have deemed distracting. The music is the sole focus and they deliver it in a mesmerizing and hypnotic fashion. The repetitive string laden passages and the ominous hooks ratchet up to a harder and more frenzied climax this time around however it is true that GODSPEED doesn't really add much new to the mix. I can understand the criticism and all about this particular release but when a band catches on to a sound this profound and powerful I am not the least bit disappointed to hear another similar album in the vein of its predecessors There was more than enough life left in this sound to make a fourth release that was a viable addition to their discography. Due to the crazy amount of side projects taking up band members' time, there would not be another GODSPEED album for another ten years. Creepy and excellent.

 Red Forest by IF THESE TREES COULD TALK album cover Studio Album, 2012
3.97 | 21 ratings

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Red Forest
If These Trees Could Talk Post Rock/Math rock

Review by progadicto

4 stars One of the most delightful surprises from the post-rock genre of the latest years. ITTCT first album is a piece that every post-rock fan would love from the slow and soaring intro til the late notes of "When the Big Hand Buries the Twelve".

After the first hypnotic two minutes, arrives to our ears the majestic and powerful "The First Fire", a piece full of heavy riffs but still nostalgic between drums that break through soaring sonic landscapes. Like other reviewers, I feel a lack of constant structures, but the mix of surprising moments of calm and explosions of epic guitar riffs and drums it's really captivating.

The formula built on three guitars and a solid base of drums and bass, repeats into the other songs of the album but always with different textures. "Barren Lands of the Modern Dinosaur" sounds like an awsome fusion of Red Sparowes and EITS best moments, but still with the original imprint of ITTCT. Same with "They Speak with Knives" a five minutes piece that removes your emotions with lots of interesting moments built on amazing walls of sound. Another 5 stars moment comes with "Red Forest", a very obscure post-rock jewel based on a repetive guitar riff surrounded by heavy but still floating atmospheres.

The "grand finale" comes with "When the Big Hand Buries the Twelve", an almost 10 minutes piece a little bit repetitive but with more great epic and inspired instrumental sections.

Beside the deployment of rich textures we find five very talented musicians who are capable to take your emotions and squeeze it almost every minute of this brilliant álbum. At least to me, it's a must have!

 Bergtatt - Et Eeventyr i 5 Capitler by ULVER album cover Studio Album, 1994
3.91 | 94 ratings

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Bergtatt - Et Eeventyr i 5 Capitler
Ulver Post Rock/Math rock

Review by TCat

4 stars Thus begins the journey. I was intrigued when I first read about Ulver and how their style is so varied. I just had to explore this band and (for the most part) I have done a thorough job of it. Now, just because their first album turned out to be considered Black Metal, is it really fair to label them as a Black Metal band that has "sold out"? Or are they really a innovative band out proving that music should not be limited to labeling? This first official album by Ulver is definitely Black Metal and considered by many to be one of the best ever. I don't know if I can judge it as being the best since I am not an expert in black or technical metal and am limited somewhat to my knowledge of Progressive Metal, but I do know that this album has an amazing amount of ingenuity and beauty in amongst the noise and discord that is prevalent here. After hearing most of their discography, I would consider Ulver one of the best all around groups ever, because everything I have heard from them is quality material in some form. This album is no exception. Now it might be hard for those who do not like black metal to appreciate this on the first several listens, and I do admit it was hard for me to appreciate it for a while. But listening to this album from time to time has brought out the genius of the music that is here. This album is full of surprises throughout, chanting, growling, clean vocals, folk acoustic and a lot of black metal mayhem. It's all here. This album and this band definitely deserves a place in the Prog Archives without a doubt. They are unpredictable and in most cases, masters of each genre of music they tackle. The one thing that seems to be consistent throughout their discography is darkness, their music is dark and is always dark. It doesn't pretend to be anything else. Opeth, Amathema, and Agollach are all band that I also love and that have also explored many facets of different genres, but not even close to the extent that Ulver has. Those other great bands mostly stay in the realms of variations of customary rock, but no one has ventured as far and as successfully as Ulver. Electronica, jazz, folk, movie soundtracks, poetry/literature, spoken word, ambience, and yes even silence have been explored by this band and always done well. I recommend this album, but then I do recommend that all prog-heads become familiar with all of their discography. You will be surprised many times on your journey. I guarantee it.
 We Were Exploding Anyway by 65DAYSOFSTATIC album cover Studio Album, 2010
3.00 | 21 ratings

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We Were Exploding Anyway
65DaysOfStatic Post Rock/Math rock

Review by progadicto

3 stars Got to make a kind of stand about this album. To many others this one is the weakest 65dos album but IMO is not bad at all. Different from the "classic" 65dos?... Yes!... Not proggy enough?... Maybe... Not post-rock? Definitively no.

Post-rock is an experimental genre that constatly look forward for innovation and new sounds. Well, this album is a kind of traditional post-rock album mixed with some hard electronic, drum & bass and even techo dance sections which sometimes enriches the musical textures we find on the 9 tracks of the album starting with the catchy opener "Mountainhead", located between the well-known hard rhythmical bases of this band and some pop beats. The second track, "Crash Tactics", is a classic "65dos-style" from the Stumble.Stop.Repeat era; a great, complex and heavy (but too short!) instrumental journey such as "Weak4".

If I got to pick another remarkable song of this album I go to "Debutante", a piece based on floating and hypnotic keyboards and soft but proggy guitar riffs. The other tracks got some poppish electronic mixtures, such as "Come With Me" with Robert "The Cure" Smith on vocals, and "Tiger Girl", a dance-electronic piece with some catchy rhythms extremely long and repetitive.

Got to say that is not an album for hard post-rock lovers but it has great and enjoyable sections, well made electronic athmospheres, and (why not?) awsome dance tracks. And maybe is the perfect piece to introduce some beginners into this genre. 3* to me?

 Give Me Beauty... Or Give Me Death! by EF album cover Studio Album, 2006
4.15 | 27 ratings

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Give Me Beauty... Or Give Me Death!
Ef Post Rock/Math rock

Review by progadicto

4 stars Such a great pleassure to finally got in my hands first Ef album... Many friends told that it was fantastic and I have to agree with them.

From the opener "Ett", a delicate and melodic piece that reminds me some the first works by EITS, the tracks passes through very different atmospheres in some long pieces full of powerful moments leaded by guitar and keyboards but with some fine chamber arrangements that turns every song into a floating delight.

Perhaps it's an album that you'll enjoy from the first minute, there's no way to deny the inffluences of the most melodic post rock bands from 90 and 2000. However, most of the tracks are rich in textures and nostalgic passages mixed with epic sections, such as in the inspirate "Hello Scotland"and "Tomorrow My Friend...", maybe the most original, elegant and powerful pieces of this album.

I insist: it was a great pleasure to have this tracks running through my ears. Recommended for every melodic post rock fan. 3.5* to me...

 All The Suits Began To Fall Off by MERCURY PROGRAM, THE album cover Singles/EPs/Fan Club/Promo, 2001
3.92 | 3 ratings

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All The Suits Began To Fall Off
The Mercury Program Post Rock/Math rock

Review by progadicto

4 stars It was really interesting for me to met the catchy sound of The Mercury Program some years ago. Even when I enjoy most of their discography, this EP is one of my favorite post rock pieces from the early 2000.

This album is a perfect mix of Tortoise and Gastr del Sol inffluences with some heavy sections that we will find in post rock tracks from the late 2000. Not much atmospherical stuff, but great sections leaded by slow guitars, specially on "There Are Thousands Sleeping In Peace", "Marianas" and "A Delicate Answer", maybe the most enjoyable pieces of this EP because the constant sense of "in crescendo" based on drums and bass work that leads the most epic moments of the album.

Maybe this album look like many others of the genre, but if you want to find some delicate minimal tunes mixed with heavy and even some proggy sections, this one could suprise you. It's a 4* for me...

 Ágćtis Byrjun by SIGUR RÓS album cover Studio Album, 1999
4.12 | 420 ratings

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Ágćtis Byrjun
Sigur Rós Post Rock/Math rock

Review by Conor Fynes
Prog Reviewer

4 stars 'Agaetis Byrjun' - Sigur Ros (81/100)

I think I've come a long way in my appreciation for Sigur Rós. Sometime during high school, I came across a copy of Takk... available for loan in a public library. For all of the great things I'd heard about the Icelandic darlings, I was pretty quickly repulsed by the all-too precious tone and childlike vibe that seemed to have worked its way into every lilting moment of music on that album. I barely made it through a single listen before setting them down for good, passing Sigur Rós off as some sort of moody Alvin and the Chipmunks-type deal. Years (and some eye-opening experience with ( )) later, I've dived into Ágćtis byrjun with a more enlightened set of ears. It's probably still too precious, too cutesy, and too childlike for my usual tastes, but the reasons why the album has earned such an honoured place with so many fans have not gone over my head. Ágćtis byrjun skirt the uncommon boundary between rock and ambient music; the sweeping textures are vast and effective, and the songwriting underneath is most often inspired. I might still prefer the brooding atmosphere of ( ) over this, but the fact remains: Ágćtis byrjun serves everything a listener could possibly want out of a Sigur Rós record.

Even relative to other post-rock, Ágćtis byrjun feels incredibly ambient in the way Sigur Rós have arranged and realized it. Most post-rock bands (I'm thinking go-to staples like Godspeed and Explosions in the Sky) revel in this sort of soaring atmosphere, but there's almost always a sense of rock repertoire in the music. With Ágćtis byrjun, I would hesitate to say there's even much in the way of guitar riffs. Most of the distinctive sound is brought in waves of texture, delivered by a guitar played with a bow- the sort of unconventional approach Led Zeppelin's Jimmy Page would take out during extended live solos as an intriguing novelty. With Ágćtis byrjun especially, Sigur Rós have taken the potential of a bowed guitar to its natural conclusion. Beyond a doubt, it's the most innovative aspect Sigur Rós have in their arsenal. The bowed guitar flourishes are larger-than-life, but lack any sort of threatening edge or the grit of traditional riffs. In many cases, I'd cite non-threatening instrumentation as a bad thing. For Sigur Rós, they wear it as an asset. And it works.

As is often the case for the brighter side of ambient music, the atmosphere here is one of soaring. Cheery, hopeful, redemptive feelings are awash in the midst of the indistinct guitar textures, the light string sections and pleasantly dreamy atmospherics. It's interesting (though, for many, redundant) to note that singer Jonsi vocalizes in an invented language called Vonlenska (Hopelandic, for us anglophones). Relative to the surge of positive emotions on Ágćtis byrjun, it's quite a thing that the so-called lyrics are about nothing at all. I may be digressing a bit, but it says something about the nature of music when such vivid mental images are conjured when listening to songs with no set or determined meanings. Moreover, at least from my own experience as a listener, it's quite rare to hear a band take such ambitious lengths to portraying the positive side of emotion. Very often, it's the darker feelings that evoke strong artistry. Is it because happiness is seen as unworthy or shallow in the eye of the artist? I'm not sure, but to date, there haven't been many albums I've heard that, at their best moments, convey the sort of positive warmth that Sigur Rós have evoked on Ágćtis byrjun.

It feels important, however, to stress that these grand feelings are drawn from moments, rather than Ágćtis byrjun as a whole. There isn't filler here per se, but the album's distinctly ambient leaning can make the 70-odd minute length strain a listener's attention. For whatever reason, the album's latter act never really grips me, at least in the same way the first few tracks did. Is it because there is a true dip in quality? I don't think so. Most likely, it's because the magic of Sigur Rós' atmosphere begins to wear off when the somnolent ambiance is pushed past the hour mark. I don't think that's a failure as a listener either; added surprises (like the quaint woodwinds melody on "Olsen Olsen") would have served to alleviate he increasingly lackadaisical impression. Even so, there are songs here that would have sparked my attention no matter where they were on the album. "Starálfur" is an instantly lovely track, alight with piano and strings. "Olsen Olsen" is another nice one, with a similarly light and cheery feel to it. "Flugufrelsarinn" is not a world away from the rest of the album's general cheer and warmth, but compared to "Starálfur" before it, it has a more mysterious, even foreboding atmosphere to it. Sigur Rós are best with arrangement and texture, but they've proven themselves to be capable songwriters as well.

I'm not sure why I've left the most negative thing about Ágćtis byrjun and Sigur Rós as a whole until the last, but I also figure my general distaste for Jonsi's vocals are the most controversial(?) thing I have to say about the album. Looking back to the initial disgust I had towards Takk..., veyr little of it had to do with the instrumentation. Every doubt I had was pointed at Jonsi's voice, which was (and still) almost insufferably elfish and precious. Compounded with the Hopelandic lyrical angle, Jonsi's vocals aren't for everyone, and they're certainly not for me. With that said, it's rare to come across a vocalist in any genre who seems to embody their own originality so well. Jonsi's voice doesn't fill me with the joy in which others have felt, but his voice is instantly and irrefutably 'him'. No other singer is quite like Jonsi, which is certainly saying something to the band's credit.

With Ágćtis byrjun, Sigur Rós more or less established themselves as the musical equivalent to filmmaker Wes Anderson. It's a regression to a childlike innocence and wonder most of us felt at some point, and ultimately grew past. I've heard this childlike atmosphere in music before (I much prefer the way maudlin of the Well does it) but in that and so many other things, Sigur Rós have, in their own little way, found a slight slice of perfection. It does not have the dramatic intensity of ( ), nor do I find my heart infiltrated by it the way I'd expect from a considered masterpiece or favourite album, but Ágćtis byrjun has altogether earned its place in the post-rock canon. Beautiful, it is.

 The Samuel Jackson Five by SAMUEL JACKSON FIVE, THE album cover Studio Album, 2012
3.85 | 80 ratings

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The Samuel Jackson Five
The Samuel Jackson Five Post Rock/Math rock

Review by Progulator

3 stars Norwegian rock band The Samuel Jackson Five sure knows how to lay down some impressive grooves on their self-titled, fourth album. I was not disappointed by this collection of instrumental spacey tracks (I could do fine without the two vocal songs). While it seems that most tend to talk of SJ5 in terms of postrock, I feel like with this latest album they're sounding a bit less postrock and jazzy than earlier releases, and a bit more spacey, psychedelic, and even krautrock-esque. Compositionally, these guys are at the top of their game, delivering accessible songs that are densely layered and maturely arranged. The choice of instrumentation is always top notch, mixing a slew of arpeggiators and gorgeous leads with the occasional traditional instrument, like the sax on the track "And Then We Met the Locals." On a side note, the way the piece erupts and then leaves you floating out in space with some hyper-melodic female vocals is breathtaking. In reality, this album is all about fun musical ideas and sounds. Take "Never Ending Now," the first track, for instance. I originally got my head spun with the intro, wondering if the playback was messed up, until all the cool bells, nice beats, and dazzling fuzzingly melodic bass came in. I'm looking forward to a fifth album from these guys.
 Standards by TORTOISE album cover Studio Album, 2001
3.47 | 42 ratings

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Standards
Tortoise Post Rock/Math rock

Review by siLLy puPPy
Prog Reviewer

4 stars TORTOISE doesn't believe in stagnation. They have proved from album to album that they are only interested in experimenting in any direction they please. With their fourth album STANDARDS they make avant-garde and experimental rock even weirder and more extreme than previous releases. While they can still be classified as a post-rock act, they have a much looser approach to their music this time around borrowing equally from free form jazz and electronic sound effects all sewn together with a post-production effect. In fact it all kinda makes me think of a trippy electronic band like Coil who delved into the avant-garde jazz world. It is all fairly mellow so don't expect energetic outbursts or anything of the sort.

The music is just weird! It has interesting electronic beats competing with jazzy lounge music and at times the different parts seem to drift off into their own worlds creating a detached sounding wild ride but it usually comes back together somehow. There is a whole random feel to this album as well as it meanders from track to track with little keeping a unifying feel but somehow all being alien enough to make you feel like you are walking through a giant forest of bizarre plant-like creatures on another world where carbon isn't the main bonding element in organic chemistry.

It took many more listens to get into this one as opposed to the albums that came before but it did click with me after I accepted its bizarre charm and adapted to the strangeness that unfolds. TORTOISE prove to me again that they are a unique musical outfit that demands new directions with every move they make and if you have what it takes to keep up with their ambitiousness then you will not be disappointed by this strange concoction of post-rock gone astray.

 The Anatomy Of Sharks by JUNE OF 44 album cover Singles/EPs/Fan Club/Promo, 1997
3.92 | 3 ratings

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The Anatomy Of Sharks
June Of 44 Post Rock/Math rock

Review by TCat

4 stars I cannot compare this EP with any of the bands other recordings because, quite honestly, this is the only recording of theirs that I have heard. But I must say that I was quite impressed even from the first listen. Post rock is definitely the correct subgenre for this music. There are definite leanings and inspiration from both Slint and Tortoise. What you won't hear is much to compare is with Explosions in the Sky or Red Sparrowes . In the first track the build ups are quick, the tempo changes and dynamic changes are much more often than either of those bands and sometimes they are even instant with no warning or build up. I like this because the song does not wear out it's welcome and stays interesting throughout it's 11+ minutes of playtime. There are also vocals in the first track. The vocals are a little harsh, but I think they fit the music well and don't seem out of place. The musicianship is excellent. The 2nd track is all instrumental with the percussion being the focus that carries the same basic rhythm throughout with some jazzy brass weaving throughout the beat and the bass. Very Tortoise- like to me, but they handle the style very well. The last track has a nice guitar hook and some interesting and tricky percussion. There are vocals in this track also, though they start out a little more subdued until things start getting a little more dramatic. But I never did find the vocals going overboard obnoxious for very long. Again, the dissonant vocals never seem out of place. Again in this track, there are sudden dynamic and tempo changes, but they are a little more predictable here because they almost follow a chorus/verse format.....not quite, but almost. Anyway, from this little taste of the band, I definitely think it is worth checking out their other work (whenever I get the chance). Excellent addition to any post rock lover's library mostly because they challenge the subgenre's usual formulas.
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Post Rock/Math rock bands/artists list

Bands/Artists Country
*ANCIENTS Multi-National
100 ONCES United States
1099 Norway
12TWELVE Spain
33.3 United States
37500 YENS France
3ND Japan
417.3 Russia
52 COMMERCIAL ROAD United Kingdom
65DAYSOFSTATIC United Kingdom
A. ARMADA United States
ABOUT TESS Japan
ACTARUS Luxembourg
ACTIVITIES OF DUST United States
ACTUAL MUSIC QUARTET RSM Russia
ADEBISI SHANK Ireland
AERIAL Sweden
AESTHESYS Russia
AFFORMANCE Greece
AIUA United States
AL SABO United States
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALRIGHT THE CAPTAIN United Kingdom
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
AND SO I WATCH YOU FROM AFAR Ireland
AND STARS COLLIDE United Kingdom
ANOICE Japan
ANTARCTIC United States
THE ANTARCTICANS United States
ANTENNAS TO HEAVEN United Kingdom
APRICOT RAIL Australia
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ART.FICIAL Brazil
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRO SONIC Norway
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
BAFFODORO Italy
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
BATTLES United States
BATTLESTATIONS Belgium
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BEWARE OF SAFETY United States
LA BIBLIOTECA DESERTA Italy
BILL IN THE TEA Italy
BILLY MAHONIE United Kingdom
BLACK FOREST/BLACK SEA United States
BLUEBRIDGE QUARTET Sweden
BLUENECK United Kingdom
THE BODY LOVERS United States
BOSCH'S WITH YOU Russia
BOXHEAD ENSEMBLE United States
BRAINBOW United States
BRASS KNUCKLE SURFER United States
BREADWINNER United States
THE BRONZED CHORUS United States
BROUGHTON'S RULES United States
BULLETS IN MADISON United States
THE BURNING SEA Australia
BY THE END OF TONIGHT United States
C Czech Republic
C'EST MORTEL United States
THE CALM BLUE SEA United States
CANYONSOFSTATIC United States
CARTA United States
CASPIAN United States
CAUDAL Germany
CECILIA::EYES Belgium
CELESTIAL WOLVES Belgium
CHARTS AND MAPS United States
CHEVAL DE FRISE France
CHICAGO ODENSE ENSEMBLE Multi-National
CHOOSE YOUR OWN ADVENTURE United States
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
CLEAN OF CORE Japan
CLOUD ARCHIVE United States
COALA PASCAL Ukraine
CODES IN THE CLOUDS United Kingdom
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
COPTIC LIGHT United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
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