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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 26/10/2019

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

4.33 | 90 ratings
CHILDREN OF GOD
Swans
4.33 | 81 ratings
RANDOM AVENGER
Magyar Posse
4.14 | 555 ratings
ÁGĆTIS BYRJUN
Sigur Rós
4.13 | 570 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.09 | 408 ratings
F# A# ∞
Godspeed You! Black Emperor
4.13 | 82 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.15 | 58 ratings
FOR LONG TOMORROW
Toe
4.08 | 189 ratings
ENTER
Russian Circles
4.06 | 261 ratings
SHADOWS OF THE SUN
Ulver
4.27 | 24 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.36 | 17 ratings
PIEONEAR
Silence Kit
4.20 | 31 ratings
KING NINE
Blueneck
4.16 | 40 ratings
VIXIT
Battlestations
4.55 | 10 ratings
LABRADFORD
Labradford
4.06 | 105 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.06 | 85 ratings
THE EXTENT OF DAMAGE
Battlestations
4.63 | 8 ratings
REANIMATION
Lights & Motion
4.83 | 6 ratings
ATLAS
American Dollar, The
4.05 | 101 ratings
AMERICAN DON
Don Caballero
4.06 | 85 ratings
CODENAME: DUSTSUCKER
Bark Psychosis

Post Rock/Math rock overlooked and obscure gems albums new


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

JINX
Kammerflimmer Kollektief
INVENTIONS FOR THE NEW SEASON
Maserati
ACTUAL MUSIC QUARTET RSM
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WIDOW
Day For Airstrikes

Latest Post Rock/Math rock Music Reviews


 Beyond by HIBERNAL album cover Studio Album, 2020
3.05 | 3 ratings

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Beyond
Hibernal Post Rock/Math rock

Review by TCat
Collaborator Eclectic Team

3 stars Mark Healy's post rock project "Hibernal" has made some decent sci-fi concept albums through the years, and continues to do so. Since 2013, he has released 8 full-length albums including "Beyond", his latest album to date, in January of 2020. This album consists of 8 tracks, all of them reaching between 6 - 8 minutes. The sound on this album tends to move away from the guitar-heavy post rock sound and leans more towards an ambient and electronic sound. However, the story telling method that he uses on his Hibernal albums continues to use voice actors doing both narration and role playing as before.

The story on this album deals with two astronauts, voiced by Scott Gentle and Faleena Hopkins, who experience a strange reality glitch when trying to travel through hyperspace, with a twist in the plot towards the end of the album. Mark has used these two voice actors in previous albums, and they do bring a nice dramatic feel to the story as the long instrumental sections float along, staying away from the guitar heaviness of Hibernal's past few albums, and this time staying in more of a constant beat with flowing synths and laid back guitar atmospheres.

Mark is not the only instrumentalist on this album. As in some of Hibernal's past albums, Rowan Salt also helps out on instrumentation, though it's not really clear who does what. Mark's strengths lie mostly in storytelling, and this is proven by his plotlines and the fact that he has written many novels with cyberpunk themes. The story on this album is definitely not so involved, but that keeps the listener both intrigued by the easy to follow plot line, and also works to keep from distracting from the cinematic feel of the music.

The first four tracks tend to follow a steady beat with an even flow, not much change between the tracks, and also the music is more atmospheric and not really connected to melodies as much as it is to creating a consistent soundscape. The music becomes more experimental and exploratory from "Canopy of Stars" to the end of the album. Also, the story becomes more intense at this point, and those that are into the story will definitely be listening intently.

Listening to a story in this manner is not my preferred way of listening to music, mainly because, just like most average movies or books, once you have watched or read it, the element of surprise is gone. The same thing applies to me with this story/music album. The music is just not interesting enough to be played for its own sake, its not really that cinematic and expressive until you near the end of the album, but even then, it is a bit subdued and flat. The story itself is great for a single listen, but there just isn't enough there to make me want to keep coming back to this album. Sure, there might be some that enjoy the more electronic feel of the music on this album, but to me, it just isn't interesting enough as each track in the first half isn't diverse enough and in the second half, after the first listen, just isn't intriguing enough to keep me coming back. Basically, when all is said and done, the album just falls into the average range and doesn't really entice me to want to listen to it again.

 ONDA by JAMBINAI album cover Studio Album, 2019
4.33 | 13 ratings

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ONDA
Jambinai Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Some of the most extraordinarily different prog rock that I've heard since I first heard Yoshimi P-W's OOIOO. This is Post Rock from Korea with its musicians proudly integrating the traditional instruments of their homeland with those of the rock'n'roll world.

Line-up / Musicians: - Il-woo Lee / guitars, piri (family of bamboo oboes), taepyeongso (short, conical wooden oboe with metal bowl serving as its spout), saenghwang (reedless mouth organ with 17 bamboo pipes, capable of playing two notes at once), vocals - Bo-mi Kim (f.) / haegeum (vertical two-stringed violin like a berimbau, bowed), vocals - Eun-yong Sim (f.) / geomungo (fretted bass zither, plucked), vocals - Byenong-koo Yu / bass, chorus vocals - Jae-hyuk Choi / drums, chorus vocals With: - Hwi-seon Choe / yanggeum (hammered dulcimer) (1,3) - Bo-ra Kim / vocals (5) - Gyouh-yun Jo / chorus vocals (4,8) - Jin-young Han / chorus vocals (4,8)

1. "Sawtooth" (7:39) powerful Post Rock that opens with traditional Korean instruments, wind and stringed. These are joined, eventually, in the third minute, by drums and electric instruments from the more familiar realms of rock'n'roll, providing not one but two very impressive rise and falls over the course of the remaining five minutes. Despite this addition of full drum kit, electric bass, and aggressive electric guitar, it is the Korean instruments that remain the attention-grabbers, expressing very powerful emotions. Dynamic and refreshing Post Rock. A top three song. (14/15)

2. "Square Wave" (5:05) rock and traditional instruments are mixed from the start of this one as is the gorgeous, powerful DAM KAT-like voice of Bo-mi Kim. This is so good! Smooth chorus section at the end of the second minute and then a quiet, spacious, section, latent with potential energy, that is followed by an even more powerful instrumental section in the third and fourth minutes before the final crescendo of sound and ending verse in the final minute. The interplay of the electric rock instruments with the Korean acoustics is incredible! Awesome song! Definitely a top three for me. (9.5/10)

3. "사상의 지평선 (Event Horizon)" (3:55) opens in fifth gear with everybody strumming, beating, and screeching at their fastest and then, equally as suddenly, at the 1:00 mark, everything cuts out save for a bowed berimbau-like haegeum and hand drum/hand percussion. By the end of the second minute vocalist Eun-yong Sim (or Bo-mi Kim) is adding her voice to the weave until 2:41 when the electric contingent rejoins and it plays out like a Death Metal song. (8.75/10)

4. "검은 빛은 붉은 빛으로 (Sun. Tears. Red.)" (5:51) single note played syncopatedly from an electric guitar- or bass-like instrument opens this song before being joined by a choir of voices singing quietly in an almost prayer-like chant- kind of way. Amazing! At 1:35 all hell breaks loose as a heavy LEPROUS-like sound breaks out with vocal and Korean instrumental screeches over the top. Just before the two minute mark, this cuts out and a percussion-supported multi-voice, polylyric, polyrhythm section ensues. Wow! In the fourth minute the heavy walls of sound return for a bit but it is then broken up by alternating quick passages of multi-voice shouting and chanting (and intentionally not in unison). In the fifth minute the music steadies itself, not quite as heavy, as Korean violin solos, but then just before the 5:00 mark, the soundscape thickens and weighs down as a male voice screams his lyrics in two-syllable bursts to the end. Wow! I'm not sure how to judge this one! Unlike anything I've ever heard before! Amazing! Another top three song! (9.5/10)

5. "나무의 대화 (In the Woods)" (13:16) opens like a HYPNO5E song with delicate, spacious, almost folk instrumental inputs from all musicians. Even into the meat of the song, at the 3:30 mark, as Il-woo's saenghwang takes center stage and then gets replicated with several other tracks, the music still feels totally folk-traditional. Wild vocals enter in the sixth minute and then oboes. Drums and bass slowly climb in during the second half of the seventh minute, but then there is a calming break in which the saenghwang leads over haegeum, geomungo, and electric bass. Electric guitar joins in the eighth minute just before the pace and density ramps up. This is definitely Post Rock! At the ten minute mark heavily distorted electric guitars and bass begin providing typhoon-like wind noises as the drummer really starts to go crazy. "ooo" vocals repeat a melody from here to end. Nice song with a stunning beginning five minutes that becomes a little long and drawn out. (21.75/25)

6. "작은 위로가 있는 곳에 (Small Consolation)" (5:18) a single note from an oddly tuned electric guitar signals the start of Ilwoo Lee's almost-whispered voice. Over and over this occurs, like a Tibetan prayer cycle, until at 1:15 Bo-mi Kim's haegeum and Eun-yong Sim's geomungo begin to add their sounds behind and round the guitar and vocal/chanter. At 2:25 the full electric band comes crashing in with heavily strumming guitar, bass, and flailing cymbals and pulsing drums. The Korean strings continue their screechy soloing over and within until things go even fuller-dark at the end of the fourth minute. Then, suddenly, at 4:23, everything stops except for the original three plucked/bowed instruments, which then slowly fizzle and exit. (9/10)

7. "그대가 지내온 아픔들이 빛나는 축복의 별이 되어 (ONDA Prelude)" (2:18) drone of a single sustained electric bass note opens while traditional Korean mouth organ (saenghwang) plays a dirge-like tune over the top. Amazing instrument the way it can project two controlled notes at one time! (5/5)

8. 온다 (ONDA) (7:07) launches straight out of the "Prelude" with lots of hard-driving percussion and haegeum provide initial support for the slow, religious-sounding singing of Bomi Kim. Gorgeous! And powerful! Kim is then joined in chorus form by Ilwoo Lee. The music here reminds me of Middle Eastern prog like Ofra Haza. At 3:15, Bomi Kim switches to haegeum and Ilwoo to his bamboo oboe (pim) as the rhythm section continues to drive on at breakneck speed. The full metal impact of electric instruments reaches full strength at the five minute mark just as choral-singing of earlier slow religious lyric and melody ensue. This is, then, what plays out until cymbal crash at 6:35 and ensuing long decay of the feedback from the final strums of the electric guitar and bass. Amazing. I am numb and in humble shock with the power and beauty of this music. (15/15)

Total Time: 50:29

I feel so excited, so humbled and privileged, to have heard this music--to have continued access to it. Some of the instruments, sounds, stylings, and even melodies sound similar to Mongolian band ANDA UNION--though my untrained ear is most likely lumping all Sino-Korean sounds and melodies together.

A/five stars; a masterpiece of mind-blowing progressive rock music in which the band fuses the traditional instruments and melodies of its native cultural traditions with the best and most powerful of Post Rock techniques better that any other band that I've ever heard.

 Artery by BRONTIDE album cover Studio Album, 2014
4.00 | 2 ratings

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Artery
Brontide Post Rock/Math rock

Review by Wicket
Prog Reviewer

4 stars "Artery" is the second outing by the UK trio Brontide and although it doesn't have the same diverse range of genres and styles that their debut "Sans Souci" displays, it makes up for it by feeling more concise in the compositional department, with more bridges to connect developing themes and less frantically jumping from motif to motif.

"Tonitro" begins with an atmospheric buildup but the whole song feels like a buildup. Even when the guitars and drums enter halfway through, there's no real climax. Sure, there's technically an ending, but it feels like a false alarm as the music fades to electronic noise. Only as it segues into "Bare My Bones" do we actually have a a feeling of a proper intro. Yes, there's more buildup here, but this one actually feels tangible. It grooves, it sings, the guitar tones have a proper place and feel, the melody drives drives you on in a triumphant manner as the drums rock out behind a swath of power chords. And yet it's only halfway through when the drums cut and the snare begins a furious assault do we get a climax. The resulting breakdown is intoxicating. It's such a great groove and it becomes instantly memorable, something that was rather lacking on the debut record. Sure the other half of the song is a melodic soundscape with plucking, wilting guitars, but it's that 30 seconds of pure rock awesomeness in the middle that makes the previous seven or so minutes totally worth it.

"Kith and Kin" decides to go in a different direction that the band has never gone before, more in the realm of indie alt rock stylings, and it works. Interspersing with some calm post rock passages and finishing with a groovy electronic beat at the end, rather minimalist but still a pleasant track, while "Cabin" gets funky with some disco beats to underpin their post rock sound.

"Knives" is the longest track on the record and the most straightforward, lengthy soft passages building to loud climaxes and the drums being the forefront the entire time even to the very end, even channeling Mastodon in some chords in the middle, a far cry from "Still Life" which features no drums at all, just minimalist guitar plucking, almost evoking an early emo vibe a la American Football. Nice.

"Caramel" is short and sweet, much like the candy namesake, which features one long buildup to the very end that wouldn't feel out of place on a pop punk record (can totally imagine Jonny Craig on vocals there), while the album concludes with "Red Gold", another guitar showpiece, with the song's signature thematic motif rising above the building guitars in minimalist fashion, going out in a blaze of glory roughly three minutes in before the remainder of the track is followed with ambient noise and bird calls (also one of the few non Christmas songs to feature sleigh bells as well, fun fact).

All in all, another great record from this plucky English trio. Sure, in terms of musicality, it's nowhere near the showcase of abilities that "Sans Souci" is, but in terms of songwriting, these songs are better. This album has more memorable moments that are worth second and even third listens (and my god, the peak of "Bare My Bones" just never gets old). In that regard, it's a more polished album that its predecessor and hopefully should this band follow up with a third release, it could combine the best of both albums and knock it out of the park, because these guys totally have that ability.

4.5

 sleepmakeswaves (US) by SLEEPMAKESWAVES album cover Boxset/Compilation, 2012
3.83 | 5 ratings

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sleepmakeswaves (US)
Sleepmakeswaves Post Rock/Math rock

Review by TCat
Collaborator Eclectic Team

4 stars 'Sleepmakeswaves' is a post rock band from Australia that has become a well-known band internationally because of their expressive post rock style that is similar to Mogwai, Explosions in the Sky and Mono. The band has put out 3 full length albums and several EPs over the years since their formation in 2006.

This album, which is self titled, is not to be confused with their self titled debut EP. This particular album is actually a compilation made to help promote the band in the US and was released in 2012. The tracks are taken from EPs that are not so readily available in the US, and since the band was seeing some success in the states and fans were demanding more music, this short collection was produced to help satisfy the fans demands. It is a great sample of the style of post-rock that they produce, melodic, expressive and very well performed. Most of their music is organic, but there is some programming involved in some of the keyboard-like tones and some of the percussion. The band consists of two guitarists, Jonathan 'Kid' Khor and Tom Binetter, plus Alex Wilson on bass and programming, and William Smith on drums.

This collection starts off with the bright and upbeat 'Keep You Splendid Silent Sun' and the darker and slightly heavier 'We Sing the Body Electric', both of these tracks coming from the split EP with 'Tangled Thoughts of Leaving' from 2009. The first track involves more electronics than the later, which is a bit darker and more organic sounding. 'The Obstacle is the Path' is taken from the single 'The Obstacle is the Path' from 2010. This track is a great example of the melodic and accessible side of the band that also proves they could also add a progressive edge to it all.

'I Will Write Peace on Your Wings, and You Will Fly Over the World' comes from the EP 'In Today Already Walks Tomorrow' from 2008 is an example of the band at their most dynamic, ranging from fast moving heaviness to slower and pensive sections, leaving out the slow builds that normally come with the longer post-rock tracks, but instead turning it a varying style, again utilizing great melodic structure and driving exploration. There are sections in this track that are quite powerful and strong, almost uplifting in its heaviness because of its level of melodic structure and then ending with lovely shimmering guitars. The one drawback on this one is with it's length, there is a section that is a bit repetitive, but its not really that annoying.

'One Day You Will Teach Me To Let Go of My Fears' is one of the two tracks from the band's original debut EP (2007). This one is almost symphonic in feel with orchestral string effects that are surrounded by strong guitar riffs, the music is quite cinematic and not dark like you might expect, finally becoming more pensive in the last half. The final track is 'It's Dark, It's Cold, It's Winter', another track from 'In Today Already Walks Tomorrow'. This one is actually quite a lovely blend of a chiming guitar melody and some electronic percussion. It is quite soft and flows along in an accessible and lovely melodic style with just a slight bit of unease in the background created by a noisy effect.

This is a very good sample of some of the harder to find tracks from the band, and with the dynamic and melodic sound that reflects the more accessible sound of Mogwai, and the dynamics that are used so well in their music should give a novice listener a great idea of their sound. There is an excellent degree of variety here and it covers the range of styles the band has in their discography. It's a little heavy at times, but never really overbearing and even then , the music tends to have this uplifting factor in it that a lot of Post-rock seems to either be missing, or doesn't quite utilize as well as this band can. I would recommend getting this collection if you are curious about their sound as it is a great representation of the band's music. 4 stars. Excellent melodic post rock.

 Silencia by HAMMOCK album cover Studio Album, 2019
5.00 | 3 ratings

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Silencia
Hammock Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars I totally resonate with the word "resolution" that I've seen used to describe the music of this album; the grieving process that began with 2017's Mysterium must be complete (as complete as grieving ever gets) for that is the feeling one comes away with after hearing this collection of calm, soothing songs. And we, the public, are so blessed for Marc Byrd's choice to process his grief through his amazing music. As I listen to this absolutely gorgeous music, I am bathed in feelings of peace, of relief, of completion and readiness for the journey to pick up and start again, anew, refreshed, after a much needed long and healing delay. Would that all humans were able to find such means to process their emotional challenges; it is a flaw in the human design that so few ever reach the heights of artistic perfection that Marc and Andrew do; it is a gift that some of us get to experience their artful expression.

As other reviewers have noted, this music may be more accurately categorized as ambient or neo-classical though the Post Rock label works, too.

1. "Circular As Our Way" (7:00) strings, muted horns, voices at the end (14/15)

2. "Silencia" (5:09) slow and unevolving, it's about constancy. And backdrop. (8.5/10)

3. "When It Hurts to Remember" (6:16) very much like a BERSARIN QUARTETT song; very little development or change. (8.5/10)

4. "Afraid to Forget" (7:08) haunting female choir and organ and, later, strings, all repeating the same Inception/Harry Potter-like theme. Big shift for the final two minutes. (13.5/15)

5. "Saudade" (5:18) horns, strings, and distant choir carrying "arpeggio" of three descending "chords" for five minutes with varying volume, dynamic, and with occasional addition of other solo instrument like cello, synth "underwater bleep" and others. (9/10)

6. "In the Shattering of Things" (5:51) a song that affirms how amazingly evocative music can be. Stunningly gorgeous. A song that pierces me to the core. (10/10)

7. "We Try to Make Sense of It All" (3:56) Piano! and then, Cello! Multiple strings! A modern day chamber quintet masterpiece. With choir of angels! Wow! (10/10)

8. "Slowly You Dissolve" (5:18) slowly shifting low chords with heavily treated electric guitar harmonics and single notes played, one slowly decaying note at a time, over the top almost ROBIN GUTHRIE-like. Strings join in toward the end of the third minute and begin to take the fore. Brilliant. (8.75/10)

9. "Fascinans" (4:16) slow, murky horn arpeggio joined by synth/strings to expand each "note" into a chord and then add embellishments from individual stringed instruments. Beautiful like a lullaby for mermaids. Effected choir is added to the mix in the fourth minute to back the viola and cello as they sing the lead melody. (9/10)

10. "Life is Life" (3:48) low end horns muted and synth washed open this one while whispery things play about at the other end. Then the treble register intensifies as the Icarus-flighty things soar and dissolve. Another piece of emotive genius. (9.5/10)

11. "Without Form and Void" (8:05) quite heavenly--not unlike some of the gentler, more slowly scored work of BATTLESTATIONS, DAVID DARLING or New Age masters like STEVE ROACH. (13.5/15)

Total Time: 62:05

Songs that sound like they could have come from soundtracks by HANS ZIMMER or CLINT MANSELL or albums by Post Rock bands like ULVER, THE BERSARIN QUARTETT, JAKOB, or GODSPEED YOU! BLACK EMPEROR.

Five stars; a minor masterpiece of progressive rock music and a masterpiece of neoclassical/ambient Post Rock music.

 Sans Souci by BRONTIDE album cover Studio Album, 2010
4.00 | 1 ratings

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Sans Souci
Brontide Post Rock/Math rock

Review by Wicket
Prog Reviewer

— First review of this album —
4 stars Brontide is one of those bands that that neatly balances several genres so well, that to classify them is nearly a herculean task. On here, the band is placed in the Post-Rock/Math-Rock category, and to be fair their sound is a blend of both.

"Matador", the opening salvo off their debut "Sans Souci", starts off atmospheric, then slowly creeps in with repetitive guitar licks and some funky drumming for a bit. Some distorted chords dart in and out, but for the most part it's fairly stable. It's not hectic and unpredictable like Don Caballero, but it's not as minimalistic at times like, say, Battles or Explosions in the Sky. Tension begins to build with some atonal chord teases and progressions towards the end, building up to some beefy distorted power chords before segueing into "Limehosue Ink". Here's where it gets busy, and properly heavy. The first 40 seconds is crushingly foreboding, before the drums lurch into a quick flurry of blastbeats to get your attention. It's properly heavy, but then it cuts out to a hi hat keeping beat, while the guitar gradually fades into a lick, adding a new note each bar before the guitar begins a minimalistic and repetitive motion (a la Steve Reich) before the drums begin a nice groovy syncopated pattern. This takes up most of the middle section before the heavy metal returns and closes with a proper, actual breakdown (you know, the thing that was all the rage with post-hardcore and pop-punk bands between like '07-'12? Classic).

The breakdown fades away as the drum keeps going to start off "Jura" which begins with a really funky guitar lick and maintains a lighter mood overall than "Limehouse Ink". Roughly two and a half minutes in, the distortion kicks in and kicks up a notch for a good minute before it fades away to a solo guitar once again closing out with a nice haunting melody. "Arioso" is all over the board, with math-y time changes, somber atmospheric passages, some unique guitar filters and a sort of punk/surf rock homage in the middle? This track is a bit rough with some long atmospheric passages and some atonal distortion near the end, it's a buffet for fans of post/math rock.

"Bob Mundon" kicks off with a soaring, ascending lick like you'd hear starting off a Between The Buried And Me song. This song features the drums as the star, as the song is constantly moving, chugging riffs and drums like a train out of control before the song fades in a flash with chugging punk, almost Mastodon-esque riffs. "Bespoke" begins where "Mundon" left off. After a slow intro, the song barrels forward with syncopated riffs and beats before it fades to atmospheric nothingness for the second half of the song.

"Tenbytwobyfour" screams math rock, in more ways than one. The distortion is completely absent for the first half of the song, as the guitars and drums noodle along frenetically. The distorted chords midway seem to give an anchor or sense of stability, but this song is about as edgy and dissonant as they come. Some mechanical passages towards the end add a unique spin on the typical sound (almost a bit 90's King Crimson esque) before a brief spastic charge towards the end before the band gets tuckered out and finished with an atmospheric fadeaway into nothing.

The self-titled final song is the longest clocking in at just over ten minutes and as such is slow to build up. After a minute and a half of noise, the band creeps in at a rhythmically minimalist pace. Halfway in the distorted guitars return and chug along at a leisurely pace before fading away once again in a minimalist atmosphere of sound. This song is post-rock in a nutshell, ordered, structured and not at all unpredictable.

Overall, this band is an amalgram of post rock and math rock vibes. Each song for the most part as a main identity, but contains influences from multiple genres rolled together in a fairly cohesive package. For the post rock fan that wants a bit more excitement, but more order than typical math rock, this album is worth a listen.

 Fields And Waves by .O.RANG album cover Studio Album, 1997
3.91 | 2 ratings

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Fields And Waves
.O.rang Post Rock/Math rock

Review by Lewian

4 stars .O.rang are Lee Harris and Paul Webb, formerly drummer and bassist of the legendary Talk Talk, although here they play many instruments; besides the drums Harris plays the bass as often as Webb (and guest Simon Edwards), both do guitars and vocals, and add instruments like accordeon, Thai mouth organ and digeridoo, and on top of that they used many guests (among them a Balalaika player). Fields and Waves is their second and unfortunately up to this day (2019) last album. Their first album "Herd of Instinct" had been absolutely addictive and I gave it 5 stars. Fields and Waves is a good and interesting album, but not quite at that level.

Many of the good elements of Herd of Instinct appear again here, particularly Harris' ethno-influenced sharp and groovy drums and percussion, and the rich jungle-like web of sounds, mostly supporting the rhythms, running through most tracks, made up by mostly warm and breathing sounds as known from Talk Talk (and as expected from the list of instruments), but with some more electronic nuances thrown in. All the tracks are strongly rhythmically oriented, sometimes driven by percussion but a few calmer ones by african-inspired rhythmic guitar licks. There is a good amount of variation between the faster driving numbers and some calmer almost meditative but still pulsating material. Some tracks have strong dynamics building up to a climax or winding down somewhere in the middle to get going again, whereas a few run through at pretty much the same level of intensity. Fields and Waves features 12 tracks against Herd of Instinct's 7, but it is also longer, so one cannot really say that there would be a clear tendency toward shorter tracks. There are four 7+ minutes tracks, although the peak lengths of Herd of Instinct are not reached, and Field and Waves is rather after a variety of ideas, given that as before the tracks on their own are quite homogeneous.

The reasons why this album is not quite as appealing to me as the debut are 1) a few parts seem rather like unfinished sketches (although that's the minority), 2) the variety, while generally welcome, makes it somewhat more difficult to really dive into the hypnotic mood evoked by the rhythms, and 3) rather than only using vocals rather as further instruments as in "Herd" (and here on a few tracks), there are also some attempts at more song-like singing, and in this respect Harris and Webb clearly lack the vocal qualities and song writing skills of their former band leader Mark Hollis. Beth Gibbons of Portishead, with whom Harris and Webb would later record as "Rustin Man" has a very welcome guest vocal appearance on "Jalap".

That said, all these are rather minor criticisms. Overall Fields and Waves is another fascinating, pulsating, atmospheric and innovative piece of music that I recommend full-heartedly. 3.9 stars.

 Allelujah! Don't Bend! Ascend! by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2012
3.68 | 159 ratings

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Allelujah! Don't Bend! Ascend!
Godspeed You! Black Emperor Post Rock/Math rock

Review by sgtpepper

3 stars A long awaited comeback by GY!BE was worth waiting for since the band deliver a decent record coming out of their roots while mildly experimenting and progressing further. Rather than providing another lengthy album as usual, less than an hour must suffice which may be a good decision based on the quality of material and yes, it is in this case.

GY!BE don't provide anything breathtaking, continuation of previous efforts without disruptions is the main credo. Out of two short tracks, the latter is better and less monotonous although both could be classified as drones, nothing to be stand in the line for.

"Mladic" starts off promising with distorted sounds and original textures before post-rock thundering drums kick in and distorted guitars build the main dark motive moving to a fast pacing apocalypse with cellos, bass, multiple guitars falling into abyss. Other post-rock motives are not that original, feel recycled, apart from the good sounding mellotron or its clone. The final majestic is catchy.

"We Drift Like Worried Fire" is my preferred track due to more changes. Glockenspiel with mellow but serious tones accompanied by violin lets the listener in great expectations. The track is more optimistic than a usual GY!BE track. I love distorted multiple guitars in the middle of the composition but also leading violins and cellos with changing drums are very atmospheric. A surprising fast-paced post-rock section still manages to develop before the end of the track. The end of this track is very epic and serves as the album apex. It must be great and chilly listening to it live.

A good album that has a lot to build on in the future.

 Lift Your Skinny Fists Like Antennas To Heaven by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2000
4.13 | 570 ratings

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Lift Your Skinny Fists Like Antennas To Heaven
Godspeed You! Black Emperor Post Rock/Math rock

Review by sgtpepper

5 stars In my opinion, the works by GYBE! in 2000 and 2002 belong to the peak of post-rock and are genre-defining. GYBE! has further perfected their sound while staying ambitious, removing narrations and some other not so much interesting noises that appeared in the 90's. The result is a more accessible, slightly less experimental, more rock than classical music leanings which means also more majestic landscapes. The atmosphere remains dark, reflective.

"Storm" has a cresciendo water river meandering start that brings actually happiness more than despair. The soft part with guitar and violin in the background is absorbing, then cello joins. The motive returns and chords became very serious and so goooood with dramatic echoes staying in the mix. Repeated marching drums keep the tension in the air until a fragile sorrowful piano ends the song. This is the quality of highest calibre and many other post-rock bands would dream of such impressive composition.

"Static" is more similar to the previous releases with calmer ambience but apocalyptic sounding studio tricks and mournful violin. The pace is accelerating and instruments increasing tones resulting in expression of bleakness and furious despair. Relaxing cello and ambiance sounds balance the track towards the end.

"Sleep" has indeed a sleepy beginning with strings and calm guitars noodling, however the bleak motive lets you know what to expect in the following minutes. Drums only emerge after six minutes with fast speed. You can also hear trumpet and high-pitched guitars in a more straightforward post-rock manner. Electronica beat reminiscent of Mogwai before finale comes with multiple guitars.

"Antennas to heaven" starts in a bluesy acoustic format to change completely to human voices and then intensive guitar- dominated arena accompanied by violins. One of the few guitar solos can be heard in this track, albeit not a progressive rock one but still enriching ;). The rest of the composition is experimental but not of high quality and feels forced to have at least 18 minutes done.

A masterpiece of post-rock that you should dive in.

 Yanqui U.X.O. by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2002
3.98 | 310 ratings

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

Review by sgtpepper

5 stars Another 5-star masterpiece by GY!BE. Although the band hadn't much developed and progressed since their 2000's effort and there aren't many steps forward, the amount of talent and sheer musicianship is irresistible and undeniable. Yanqui is the most cohesive album by the band without incorporating narrations and new age elements that could be distracting from the focus. Drumming has become more progressive and likely impressive with rhythm shifts. It is also the most accessible work by the band from their old era.

"09-15-00" Part 1 has a gently flowing start with cello and guitars.Oh, and can you hear mellotron? Bleakness is coming after the first 8 minutes announced by the chord sequence and increasing volume. Drums perform irregular pattern and violins with cellos create a brilliant simple line. Part 2 has a reflective mood with violin.

The contrast is coming soon with "Rockets Fall On Rocket Falls" having excellent sequence of sinister chords and you can easily imagine rockets falling, with melody played by cello/violin being absolutely bleak, among the bleakest by GY!BE. It was one of the tracks that immediately caught my attention a long time ago. Massive wall of sound by guitars and drumming is overwhelming. Even after the drums fade way, creepy cello keeps walking with solemn clarinets and trumpet keep fascinating atmosphere before guitars help repeating the motive. Tension keeps high when drums return however there two-three chords that mirror a glimpse of hope or is it a feeling of acceptance?

"Mother[%*!#]er=redeemer" are the closest track to progressive rock with their original non-trivial drumming and various moods. Especially the second part reminds of a bit of some Genesis drumming hooks. Of course, the classic post-rock guitar solo make this composition not forgettable, too.

And after that brilliant album, who would have said that the fans would have to wait next 10 years!

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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
AIMING FOR ENRIKE Norway
AIUA United States
AL SABO United States
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
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
AN ORDINARY VISION Italy
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
ARROWAY France
ART.FICIAL Brazil
ARTIFICIAL WAVES Russia
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRALIA Spain
ASTRO SONIC Norway
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
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 FOREST / BLACK SEA United States
BLACKPAPERPLANES Belarus
BLUEBRIDGE QUARTET Sweden
BLUENECK 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
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
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
CLEAN OF CORE Japan
CLESSIDRA Italy
CLEVER GIRL United States
CLOUD ARCHIVE United States
COALA PASCAL Ukraine
CODES IN THE CLOUDS United Kingdom
COLARIS Germany
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
COPTIC LIGHT United States
COUNTERFEIT I United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
THE DARK THIRD New Zealand
DATURAH Germany
DAY FOR AIRSTRIKES United Kingdom
DAYCAST United States
THE DEAD SEA Australia
DEADFILE Greece
DEADHORSE United States
DEL REY United States
DESERTSHORE United States
DETWIIJE United Kingdom
DEXTRO United Kingdom
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
EASTSTRIKEWEST United Kingdom
EAT THE SUN United States
EATEN BY TIGERS United Kingdom
THE ECHELON EFFECT United Kingdom
ECHOES AND SIGNALS Russia
EDGAR (ANIMO) Belgium
EF Sweden
EFRIM MANUEL MENUCK Canada
EFTERKLANG Denmark
EIMOG Italy
EKSI EKSO United States
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
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
FLIES ARE SPIES FROM HELL United Kingdom
THE FLOWERS OF HELL United Kingdom
FLY PAN AM Canada
FLYING SAUCER ATTACK United Kingdom
FOBIA INC Poland
FOLLOWED BY GHOSTS United States
FOR A MINOR REFLECTION Iceland
FORM AND FATE United States
FORM OF AN ICE WAVE United States
FORSQUEAK Italy
FOXHOLE United States
FRAGILE China
FRAGMENTS OF AN EMPIRE Austria
FRENCH TEEN IDOL Italy
FRIDGE United Kingdom
FROM MONUMENT TO MASSES United States
FROMABOVEINTHEMOUNTAIN Spain
FUGUE United States
GANGER United Kingdom
GASTR DEL SOL United States
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
HAIDA United Kingdom
THE HALIFAX PIER United States
HAMMOCK United States
HANGEDUP Canada
HANNIBAL MONTANA United States
HARBORING GHOSTS United States
HASHSHASHIN Australia
HAZARDS OF SWIMMING NAKED Australia
HEARTS OF ATLANTIS Russia
HELIOS United States
HELLA United States
HELSINGFORS United Kingdom
HENRY GALE United States
HER NAME IS CALLA United Kingdom
HERMITAGE Italy
HEROD LAYNE Brazil
HERON United States
HIBERNAL Australia
HITCHCOCK GO HOME! France
THE HOSEMOBILE United States
HOW COMES THE CONSTELLATIONS SHINE Portugal
HRSTA Canada
HUA LUN China
HUME United States
HUNGRIA Argentina
HUNGRY GHOSTS Australia
HURTMOLD Brazil
THE HYLOZOISTS Canada
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
INDIGNU Portugal
INFINITE THIRD United States
INTERNATIONAL KARATE Australia
IOSEB Sweden
JAKOB New Zealand
JAMBINAI Korea
JARDÍN DE LA CROIX Spain
JENIFEREVER Sweden
THE JOE K-PLAN Spain
JOHNNYTWENTYTHREE United States
JOVENABUELO Chile
JOY WANTS ETERNITY United States
JUNE OF 44 United States
JUNG PEOPLE Canada
JUNIUS United States
KAIRON; IRSE! Finland
KAKAOKAMKAMI Finland
KALON United States
KALOUV Brazil
KAMMERFLIMMER KOLLEKTIEF Germany
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
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
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MAYBESHEWILL United Kingdom
MEANWHILE BACK IN COMMUNIST RUSSIA United Kingdom
MEET ME IN ST. LOUIS United Kingdom
THE MERCURY PROGRAM United States
MESCALINER Netherlands
METALLIC TASTE OF BLOOD Multi-National
MIAOU Japan
MIDAS FALL United Kingdom
MIGALA Spain
MILHAVEN Germany
MINIMUS Portugal
MINIONTV United Kingdom
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
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
NORDIC GIANTS United Kingdom
NOVA SCOTIA United Kingdom
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
OSHEAN Russia
OSTINATO United States
OVUM Japan
OXES United States
PAIK United States
PALM United States
PANTHER ATTACK United States
PARABSTRUSE United States
PARANOID VOID Japan
PAVING THE LABYRINTH South Africa
PAWA UP FIRST Canada
PEACH PIT Croatia
PELE United States
PENGUINSMEAT Russia
PERHAPS United States
PERTEGO Italy
PETROGRAD IN TRANSIT United States
PG. LOST Sweden
PHEWWHOO Japan
THE PHYSICS HOUSE BAND United Kingdom
PIGLET United States
THE PIRATE SHIP QUINTET United Kingdom
PLAIN FADE Finland
PLANETS United States
PLOKK Germany
PNEU France
POLVO United States
POLYPHIA United States
PORT-ROYAL Italy
PORTRAIT OF A DROWNED MAN United States
PREA HRADA Russia
PRECIOUS FATHERS Canada
PRESENCE OF SOUL Japan
PRETEND United States
PVT (PIVOT) Australia
QUALIA United Kingdom
O QUARTO FANTASMA Portugal
RADIO FREE ISAAC Croatia
RAISED BY SWANS Canada
READER United States
RED ROOM CINEMA United States
RED SPAROWES United States
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
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THE ROCK OF TRAVOLTA United Kingdom
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RODAN United States
ROSA PARKS Hungary
THE RUM DIARY United States
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EL RUPE Portugal
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THE SAMUEL JACKSON FIVE Norway
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SDNMT Germany
THE SEA LIKE LEAD United States
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SENNEN Netherlands
SEPTEMBER MALEVOLENCE Sweden
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
A SILVER MT. ZION Canada
SIOUM United States
THE SIX PARTS SEVEN United States
SKY ARCHITECTS Denmark
THE SLEEP DESIGN United States
SLEEPING PEOPLE United States
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SLEEPSTREAM Greece
SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
SOLKYRI Australia
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SOULS VIBRATING IN THE UNIVERSE United Kingdom
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STATUA Philippines
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STORMS Croatia
THE STRANGE DEATH OF LIBERAL ENGLAND United Kingdom
STUBBORN TINY LIGHTS VS CLUSTERING DARKNESS FOREVER OK United States
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TAPE Sweden
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Japan
TENA NOVAK Croatia
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THIS IS YOUR CAPTAIN SPEAKING Australia
THIS WILL DESTROY YOU United States
SAM THOMAS United Kingdom
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TO DESTROY A CITY United States
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WE ALL INHERIT THE MOON United States
WE ARE KNIVES United Kingdom
WE VS. DEATH Netherlands
WE'RE FROM JAPAN United States
WEARY EYES Russia
WHYOCEANS China
THE WINCHESTER CLUB United Kingdom
WOLVES IN ARAMID United States
THE WORLD ON HIGHER DOWNS United States
WORLD'S END GIRLFRIEND Japan
XMENOSUNO Mexico
YAWN HIC 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
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ZALEM France
ZHAOZE China
ZOMBIE PICNIC Ireland
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